And Everything Nice

Part 2

(January 26, 2005)

Written by Tyreseus and Deeva
Act Three

EXT. THE MOVIE STUDIO/INTERNMENT CAMP - NIGHT - ESTABLISHING

EXT. A BAR NEAR THE MAIN GATE - NIGHT

NO AUDIO - Gunn is standing in the doorway of a swanky-looking bar, watching the main gate of the studio.

His POV - GWEN RAIDEN passes through the gate, stopping a moment to flash credentials to the GUARDS on duty.

INT. THE SWANKY BAR ACROSS FROM THE STUDIO

TIME CUT - AN HOUR LATER

Before the chaos broke out, this establishment used to be the spot for the crème de la crème of Hollywood to "do lunch and mingle." Now, the place is patronized by off-duty NATIONAL GUARDSMEN, most of them still in fatigues or uniform as they mingle around the bar or in private booths along with civilians who have gravitated toward the relatively safe part of the city controlled by the military.

Gwen and Gunn are tucked away in a small booth, looking for all anyone can tell like a couple on a date. The remains of their meal are on the table, and they are now nursing drinks while they talk.

GWEN
I'm sorry, you want me to do what?

GUNN
It's favor for a friend. And it's important.

GWEN
Sorry, Charlie, but it's not going to happen.
You risked that street kid in sending me a message.
You know he's going to spend all night in
processing, right?
Then you beg me to meet you at the "Rec. Hall,"
eating up my precious personal time, just to ask me
to do something you know I can't do.

GUNN
(with a slight smile)
These are fine eats, by the way.

GWEN
(waving a hand dismissively)
Ugh. These are Army rations compared to what it was
like when your last name had to be "Spielberg"
to get a reservation.

GUNN
Still better than most places.
(he looks in her eye)
You know as well as I do that a good percentage of
the demons you got in there shouldn't be in there.

GWEN
Do you think I like seeing some of my former
clients locked up like this?
Well, okay, I like seeing the ones who cheated
me locked up. But my hands are tied, Gunn. Ever since
Katie Kaboom took out buildings Four and Twelve,
we're on strict lock-in only.
There's no way I could smuggle any demons out of
there, no matter how peaceful and puppy-dog-like
they are.

GUNN
Can you at least tell me if they're all right?

GWEN
(sighing, picking up her PDA)
Fine. You said they're Sh'Amick?

GUNN
Yeah.
She taps some keys on her PDA.
GWEN
Yup, I see them in there. Three of them.
They hang out near the refuse pile outside
the catering department. No reports of
participation in violence or disturbances.

GUNN
See, they're behaving themselves.

GWEN
Yeah, but demons don't get time off for good behavior.

They are interrupted by a LOUD CRACKLE from Gwen's radio. Gwen puts her PDA down on the table in front of her.

FEMALE OFFICER
(on the radio)
Base to Raiden.

GWEN
(picking up her radio)
This is Raiden. I'm off duty.

FEMALE OFFICER
Sorry, Raiden. We need you back here.
Generators five and six are offline again.
They need a jump start.

GWEN
(annoyed)
Can it wait until I finish dinner?

FEMALE OFFICER
The Captain says you've got ten minutes
before your ass is in a sling.

GWEN
(frowning)
Roger that.

Gwen puts the radio down and sighs. She smiles apologetically at Gunn.

GWEN
Some of the most high-tech security equipment
in the Western world--body-temp scanners,
automated electric fences, cameras in every
building within a mile....

Her eyes flicker upwards.

REVERSE ANGLE - the ceiling in the corner of the room. There is a small camera positioned there, recognizable to anyone who bothers to look at it, but not calling any attention to itself.

Gwen looks back at Gunn.

GWEN (cont.)
And crappy government-issue generators to run it.
One of these days they're all going to go dead at once.

GUNN
What happens then?

GWEN
Don't get too excited, lover-boy. If the power failed
on that massive a scale, all those little collars
would go "pop" and it'd be raining heads over there.
(she indicates her PDA by waving at it)
Unless someone's got one of these bad-boys
tied to a separate power source to keep the
overrides active.

With that, she stands up, indicating that the meeting is over. She steps forward next to the table. Gunn rises, smiling, and crosses around Gwen until she is between him and the table.

GUNN
Promise me you'll check in on my friends,
make sure they're O.K.?

GWEN
I'll try.
(then, with a smile)
And hey, next time you stop by, let's make it a
social call. Otherwise, I'll start thinking that
you're just using me.

GUNN
(closing the distance)
Sounds like a plan. Is it safe to hug?

GWEN
You might get a little jolt.

GUNN
(smiling)
I'll risk it.

Gunn wraps his arms around Gwen cautiously.

CLOSE-UP on the table behind her. Gunn palms the PDA. He pulls it against himself as they separate and slides it into his pocket. With another smile, he turns and walks out. Gwen casually places her hand on the spot where she left the PDA and smiles to herself.

GWEN
Like a pro.

EXT. THE ALLEY WHERE VANESSA WAS CAPTURED - NIGHT

Two slayers have pulled stakes on Angel and Spike. Angel is guarded by a Japanese girl dressed in a blue-and-red plaid sports bra covered by a black mesh top that reveals a dozen or so silver pendants and necklaces. Small silver crosses dangle from chains in her earrings. The slayer guarding Spike, in contrast, is taller and huskier than most women. She has close-cropped hair and is imposing in camouflage cargo pants and a brown military-style undershirt.

FAITH
Nyoko, Princess, stand down.
Didn't I tell you that these were friends?

NYOKO and PRINCESS step back. Princess, the large butch slayer, deftly returns her cross to one of a dozen pockets and straps on her pants seemingly designed for such specific purposes.

SPIKE
Your name is Princess?

PRINCESS
Which seemed cute until I was about eleven.

Spike and Angel take a look at the assembled slayers.

SPIKE
(small look of recognition)
Rona?

ANGLE ON the African-American -
RONA
The one and only.
(unimpressed)
Welcome back to the land of the living.

ANGEL
Faith, clock's ticking.

FAITH
Right. Cali, Susan, Duena, Rona, I want you
pacing us to the south. Nyoko, Jacki, Princess,
and Mandy, to the north. Stay close enough to
respond, but not so close that we could be flanked.
Christina and Britney, you're to stick behind us,
by Brian, until I tell you otherwise.

As Faith issues orders, the camera lingers over the girls. They are a mix of races, heights, and apperance, but all look like they've seen their share of violence and lived to tell the tale.

Before they can move, Brian stops them.

BRIAN
I see her.

All turn back to him. Brian's eyes have made the familiar leap to all-white.

BRIAN (cont.)
(voice rising with anxiety)
She's scared, she's....

INT. THE DOMVACK'S DEMON LAIR - NIGHT

We see only Vanessa's face now, BLOODY and BRUISED. She is unbound. A tentacle around her neck holds her steady. The look in her eye is still venom, mixed with terror and pain.

EXT. THE ALLEY - NIGHT

Brian has his hand to his temple.

BRIAN
(urgently)
Something's trying to block me.
I think they know we're coming.
(voice rising with emotion)
Oh, god, she's so scared!
They're hurting her, they're....

His eyes fade back to normal. He sags visibly.
BRIAN (cont.)
I lost it.

FAITH
Any idea how many?

BRIAN
It was hard to tell. I couldn't hold the link.
Maybe a dozen?

FAITH
Anything else?

BRIAN
It was some kind of office building--
first floor, lots of windows.

FAITH
Good job. O.K. everyone. They know we're coming,
so change of plans.

INT. THE MONASTERY BASEMENT SITTING ROOM - NIGHT

Gunn has reunited with Michael, Illyria, and Lorne.

GUNN
New plan. They won't release the Sh'Amick peacefully,
but I think we can still get them out of there.

MICHAEL
I thought you and Ms. Raiden had a "connection."

CUT TO - Illyria. Her eyes narrow as she looks at Gunn and we see a flicker of something there--disdain perhaps, or jealousy.
ILLYRIA
Human loyalty is never much to be counted on.

GUNN
Gwen helped, just not in the way we were hoping.
(he produces the PDA)
Michael, what do you know about electricity?

Michael, Lorne, and Gunn huddle around the PDA, staring at it. Illyria stands off to the side, out of their line of sight.

MICHAEL
Not much. I deal in antiques, not hi-tech gadgets.

GUNN
Do you think you could conjure up some mojo
that would wipe out their generators?
Not permanently, just take 'em down long enough
for us to get in and out?

MICHAEL
That's big magic. I'd have to be close.

GUNN
We can do that.
We just need to figure out a way to keep this thing
tied to a power source, or as soon as you move, it's
going to be "off with their heads" for every demon
in the compound.

LORNE
(panicked)
No!

GUNN
(with a glance at him)
Easy, buddy, as long as we've got this one working,
nothing's going to happen. Except that we
get to decide who leaves and who stays.

MICHAEL
But how would you do that? My control is still
pretty rusty, and redirecting electrical currents
to this one device would be pretty delicate work.

LORNE
(mumbling)
There didn't seem to be anything rusty about
the spell you used to call me here.

MICHAEL
Except that I was going for a campfire and produced
a mini-supernova. I'm afraid I might slip and fry
the circuitry.

ILLYRIA-F (o.s.)
(in Fred-voice)
Do y'all think I could take a look at that little gizmo?

ANGLE ON - ILLYRIA, now suddenly in her FRED APPEARANCE.

The other three turn to her, startled by the sudden shift, mouths gaping.

ILLYRIA-F (cont.)
(in Illyria voice)
You forget that I absorbed the memories of
Winnifred Burkle. Manipulating human technology
is no challenge.

GUNN
(slightly angry)
Fine. But that was cruel.

ILLYRIA
(shifting back to demon king form)
My intention was to remind you that I carry this
shell's memories, not to wound you.

GUNN
Can you do this?

ILLYRIA
I can use the battery pack from the radio Angel has
upstairs to modify the power source of this device.

GUNN
Do it. But this is our only plan, so be careful.

ILLYRIA
I will not fail.

Illyria exits to retrieve the radio. Lorne watches her go, shaking his head.

LORNE
(sadly)
Go Fred.

GUNN
Lorne, when we bust in there, we're probably
going to come up against some very angry
and not-at-all peaceful demons.
Can I count on you to back me up?

LORNE
(turning his attention to Gunn)
I don't know, pussycat. Sometimes it's hard to
tell the peaceful ones from the not-so-peaceful
ones. Especially since they've been locked up in
there for so long. I don't want to make any mistakes.

GUNN
It might not be that easy.

LORNE
(sighing)
Listen. I've spent the last few months trying to
convince the neutral and friendly folk of the
underworld not to take up arms in the battle that's
going on.
You know I'm not against self-defense, or even
lifting a sword against the truly evil, but it gets
hard to keep the peaceable folks peaceful sometimes.
If I start fighting, how am I going to convince
others not to? What's to stop them from giving
in to some of their darker demon instincts?
Or their perfectly natural fear?

GUNN
We may not have a choice, Lorne.

Lorne stops to consider this.


LORNE
If things get heavy, if my back's against the wall....
Well, I'll cross that bridge if we come to it.

EXT. THE DOMVACK'S DEMON LAIR - NIGHT

Just outside the lair, Angel, Faith, and Spike pause as the other slayers take their positions.

ANGEL
Sure you want to do this?
Put all these lives on the line for the sake of one?

FAITH
Yeah, I'm sure.

ANGEL
For all we know, she may be dead by now.

FAITH
(angrily)
Ever heard of the saying, "leave no man
behind"? I don't care if all I'm carrying out
of there is a body, I'm not leaving her as a
fun new toy for those things.

ANGEL
There are bigger things at stake here here than
the life of one slayer.

FAITH
I thought we didn't pick and choose who was
worth saving, Angel.
(pause)
Look, if you don't want to be here, leave. But
I'm going in.

Faith storms off toward the main door, Spike right behind her. With a grim expression, Angel follows.

INT. THE MONASTERY OFFICE - NIGHT

Illyria is standing by the desk. She has the PDA open and the RADIO disassembled. She connects a wire in the electronic circuitry of the PDA, then pauses for a moment to lift Angel's ANCIENT BOOK from its spot on the desk in order to make more room.

ANGLE ON - Angel's DRAWING PAD, which is still open to the sketch of Fred and Wesley.

CLOSE-UP on Illyria. Her expression is distant and unreadable.

CUT BACK TO a full shot. Illyria snaps the covering back on the PDA and the screen flickers to life. It is now attached to the battery pack of the radio.

INT. THE MONASTERY BASEMENT SITTING ROOM - NIGHT

Gunn, Michael, and Lorne are sitting around a pad of paper on which they've sketched a crude map of the studio.

GUNN
(pointing and explaining)
Michael casts his spell here. He'll wait outside,
and this will be our rendezvous point.
Lorne, Illyria, and me enter from here, because
Gwen said we'd probably find them about here.
That also puts us in the path of the fewest demons and
human guards.

ANGLE ON the door. Illyria returns to the room with the PDA in her hands.

ILLYRIA
It is ready, but we must act now. The charge on
this device is already low, and even with my
modifications of the inefficient power flow
system, it will only last an hour, maybe less.
If we have not removed the collars and restored
normal electrical power to the compound before it
dries up, we'll likely kill most of the demons
in the base.

GUNN
Most?

ILLYRIA
I've perused the records stored in this machine.
Some of the creatures cannot be killed by
decapitation. It does, however, tend to make
them violent and extremely dangerous.

LORNE
(trying to lighten the moment)
Plus, have you ever wanted to scratch your nose,
but it's out of reach?

GUNN
Then we don't let that happen. Everyone ready?

MICHAEL
I'll grab my kit from the storeroom and meet you
out front.

GUNN
I'll grab some weapons.
(with a glance at Lorne)
For when our backs are against the wall.

Michael and Gunn exit the room.

LORNE
(to Illyria)
A word with you, oh goddess of the leather?

ILLYRIA
I will deign to admit that I have missed
your casual, if odd, flattery.

LORNE
(smiling)
And you're becoming more in touch with your human side.

ILLYRIA
(insulted, but also a bit rattled)
Nonsense. I have no human side.

LORNE
I beg to differ. The shell you're in was human.
(pause)
You're beginning to feel them, aren't you?
Human emotions? When did this start?

Illryia doesn't say anything for a beat, then her eyes dip briefly.

ILLYRIA
The Burkles....
And when Wesley died, I felt remorse. Grief.
For a human.

LORNE
(nodding)
That's a doozy, all right.
Now listen, cupcake. When we get in there,
I'm asking you nicely not to let those emotions
get out of control. I don't want anyone getting hurt.

ILLYRIA
(with a withering look)
Your unwillingness to suffer their hurt is
your weakness.

LORNE
Sometimes the strongest thing we can do
is choose not to fight, Majesty.

ILLYRIA
Very well, I shall try.

INT. THE DOMVACK'S DEMON LAIR - NIGHT

Faith, Spike, and Angel enter the Throne Room of the demon hideout, clutching their weapons. They immediately see -

Vanessa, barely conscious, no longer chained up but held in the grip of Frenhg. She is clearly hurt very badly and almost catatonic with shock, but the demon has a tentacle wrapped menacingly around her neck, ready to snap it in a second. The other demons work their way over to surround Faith, Spike, and Angel. One steps forward as the leader. It is BUCON.

BUCON
You walk right in here, even though you are outnumbered.

FAITH
(with a snort)
We like those odds. Three of us took out an entire
gang of your buddies earlier tonight.

BUCON
But as you can see,
we have leverage.

SHOT OF Frenhg, holding Vanessa. Then a REVERSE ANGLE to Frenhg's POV. He is listening to the conversation.

FAITH
I think you're going to want to let her go.

BUCON
And why would I do that?

DEEP VOICE (o.s.)
(with a commanding tone)
Frenhg, let her go.

FRENHG
(looking up towards the Domvack's empty throne)
Huh? But you said--

Bucon turns to look at Frenhg with an angry glare.

BUCON
Keep quiet.

FRENHG
I thought you said--

BUCON
You will know when I address you.

FRENHG
Yessah.

EXT. THE OFFICE BUILDING - NIGHT

A shadowy spot just outside the building. Brian's eyes are white as he gazes at the scene past the glass.

BRIAN
Do not question me, Frenhg, I said to....

CUT TO -

Frenhg's POV again.

DEEP VOICE (o.s.)
...let her go. Just drop her. It's all part of the plan.

Frenhg releases his hold on Vanessa. She falls forward and away from him. She is weak, but she crawls in the direction of Faith. Bucon wheels around angrily at Frenhg.

BUCON
What are you--

CUT TO Brian. His eyes flash.

FAITH (o.s.)
(quietly)
Now.

CUT TO FRENHG's POV -

A DOZEN WINDOWS SHATTER INWARD as the slayers enter the building in a surprise attack. Three of the demons closest to the glass are taken out in a matter of seconds. The other demons, taken off guard, begin to engage.

EXT. THE MOVIE STUDIO/INTERNMENT CAMP - NIGHT

EXT. A SMALL ALLEYWAY ACROSS FROM THE STUDIO

Michael is chanting while Gunn, Illyria, and Lorne stand watch. Their backs are to him, waiting for the lights to go out in the compound. Michael opens one eye to peak at them. When he's sure they aren't watching, he reaches a hand into his jacket pocket and pulls out the DRAGON'S STONE. It glows pale red. He clutches it tight in his fist.

MICHAEL
I call upon the gods of thunder--Zeus, Summanus,
and Thor. Ancient spirits of light and sound,
remove yourselves from this place
and grant me your sacred power.

ANGLE ON - the sky above the compound. There is a FLASH OF LIGHTNING OVERHEAD as a SUDDEN STORM flares up in the night. Ominous clouds glow a faint green and red. Lightning flickers across the sky. The lights in the compound SUDDENLY GO DARK.

MICHAEL
(to the others)
This is powerful magic, my friends, I suggest
you go now.

EXT. MOVIE STUDIO/INTERNMENT CAMP GATE - NIGHT

Two guards stand watch, glancing up intermittently at the sky. They have pulled out their PDAs and radios.

GUARD ONE
(frowning at his equipment)
Freak storm knocked 'em out.

GUARD TWO
(tapping keys)
The collars are still online, but I'm locked out of
the control system.

GUARD ONE
Don't worry. As long as Raiden can reboot the
generators before the demons figure that out,
we'll be okay.

GUARD TWO
(pulling his rifle forward)
Let's not take any chances.

CUT TO - Gunn, Illyria, and Lorne creeping along the studio wall just outside the guards' line of sight.

GUNN
(whispering)
Only two ways past them, Lorne. I send Illyria over
there to knock some heads, or you give 'em one
of your big belted Babs-style notes.

LORNE
Gunn, I--

GUNN
Your choice--give them a mild headache for the
rest of the night, or a massive concussion?

Lorne nods his agreement. He stands and walks into sight of the guards, who immediately target him with their semi-automatics. Lorne throws his hands up in genuine fear.

GUARD TWO
What are you doing out there?

LORNE
(nervously)
Relax...fellas, I--I just wanted to talk about the
dangers of war.

GUARD ONE
Yeah, right.

LORNE
(singing and modulating up the scale to a very high note)
All I am saying, is give peace a chaaaaaaaaaance....

The Guards drop their weapons and fall to the ground, hands clutching the sides of their heads. Illyria and Gunn, fingers in his ears, rush past the guards and into the studio. Lorne follows them.

LORNE
Bless you, John Lennon.

INT. THE DOMVACK'S DEMON LAIR - NIGHT

The demons and slayers are deep in battle. Angel and Spike are engaging Frenhg. Two on one, they're holding their own against the four-tentacled creature.

FRENHG
Didn't I hurt you enough last time we met?

ANGEL
You tried.

Frenhg gets three tentacles wrapped around Angel. Spike SLICES THE TENTACLES off with his sword.

SPIKE
Not doing so well now.

The tentacles fall to the floor, still wiggling. Angel drops to the ground beside them.

SPIKE
Well, that kind of evens things up a bit, don't it?

Immediately, Frenhg REGROWS THE LOST LIMBS.
FRENHG
(sarcastically)
Ooh! Ahh! The pain! The pain!...is forgotten rather quickly.

Frenhg wallops Spike with the newly-grown tentacle, sending him FLYING ACROSS THE ROOM. Angel wastes no time leaping up after the demon again.

ANGEL
Why don't we find out which parts don't grow back.

ANGLE ON - The slayers, who appear to be winning the fight. Faith has Bucon on the ground, her axe poised dangerously close to his neck.

FAITH
As far as traps go, I wouldn't say yours is the best.

Suddenly, the slayers, Spike, and Angel all DROP TO THE GROUND IN PAIN.

ANGLE ON - THE DOMVACK, who steps into the room with a knife held to Brian's neck.

DOMVACK
I don't know. I thought it worked out pretty well.


EXT. THE MOVIE STUDIO/INTERNMENT CAMP - NIGHT

Gunn, Lorne, and Illyria hide between a pair of sound stages.

Their POV - The end of the alleyway where they're standing. Several guards run past.

Illyria consults the PDA.

ILLYRIA
We should cross through this building. Its captives
are in cages and the human guard has been
redirected to a less secure location.

GUNN
How's that thing holding up?

ILLYRIA
I estimate that it will continue to function for
another fifteen minutes.

CUT TO - The lightning continues to flash overhead as they duck into the entrance of Building Eight. Inside it is dark, but the intermittent flashes of lightning reveal large demons rattling the bars of their cages. The building also contains the remains of a set, apparently an ancient palace. Illyria studies the PDA intently. As the three of them move into the shadowy interior, its greenish screen casts a strange light on her face.

LORNE
I recognize this. Brad Pitt filmed a nude scene on
this set once.
(shaking his head in sorrow)
Now look at it.

ILLYRIA
There is much on this device I do not recognize.
(pointing)
But there is an exit behind that wall. We'll find your friends
outside there. They appear to be alone.

In silence, the trio crosses the set. Something growls at them as they pass.

ANGLE - The camera lingers long enough for us to see a LARGE, HAIRY BEAST WITH FIERY ORANGE EYES, definitely not in a cage, stalking them from a hiding spot behind them.

EXT. THE MOVIE STUDIO/INTERMENT CAMP GARBAGE COLLECTION AREA - NIGHT

The SH'AMICK DEMONS are short, humanoid demons with scales on their exposed skin. Each has a stubby pointed tail sticking out of a hole in the rear of their pants. There are three of them hovering near the trash bins. One of them opens its mouth and its chameleon-like tongue flicks out to catch a fly from the air.

The first drops of rain begin to fall from the sky.

Gunn, Illyria, and Lorne emerge from the side of Building Eight nearby.

LORNE
Cheryl, Shirley, and Dobbith! There you are.

GUNN
Illyria, deactivate their collars.

Illyria strides forward and grasps the collar on the first demon.

ILLYRIA
I have already done so.

She snaps the metal apart. Lorne and the demons wince, waiting for an explosion, but when none comes, there is a collective sigh of relief. Illyria quickly breaks the other two free.

LORNE
Great work, kiddies, now let's get skedaddled
before someone shouts "Lights! Camera! Action!"

Illyria moves back toward the door they came from, then suddenly STOPS. PAN UP from her hands, holding the PDA, to reveal that she is in FRED form. She turns around to face Gunn, Lorne, and the Sh'Amick demons.

ILLYRIA-F
Charles? Where am--

Suddenly, she is KNOCKED OFF HER FEET FROM BEHIND and sent FLYING THROUGH THE AIR. We see her land, the force of the impact knocking the PDA from her hand, which sends off small sparks. Illyria/Fred lies on the ground, apparently unconscious. The HAIRY DEMON steps forward into the space she occupied. It points at the Sh'Amick demons and ROARS.

DOBBITH
It's our master!

INT. THE DOMVACK'S DEMON LAIR - NIGHT

Spike, Angel, and the slayers are back on their feet, disarmed and SURROUNDED. The Domvack still holds a knife to Brian's throat. Vanessa still lies on the ground near Faith.

DOMVACK
So, the mighty slayers and the famed Angelus are in my home.

SPIKE
What am I, chopped liver?

DOMVACK
Silence, cur.

Spike grabs his head again, wincing in pain.

SPIKE
(though the pain)
I...wish...people would bloody well stop...
messin' with my soddin'...brain!

ANGEL
Shut up, Spike.

DOMVACK
Ah, so it's true that you are as shrewd a leader
as they said you were. You clearly know when you
are outmatched.

ANGEL
I didn't say that. I have no idea who you are.

DOMVACK
I am the Domvack. And you are the man who set me free.

ANGEL
I what?

DOMVACK
For three times a thousand years, I was bound
to be servant to my most hated enemy.
He feared my power over all things demonic,
as I feared his power over reality and perception.
My great enemy tricked me into believing we
were friends, and made me swear a blood oath,
binding my will to his.
(pause)
Until you had your people destroy him....Cyvus Vail.

ANGEL
Wait, that doesn't make sense. If he had control
over someone with your powers, why did he never--

DOMVACK
Use me to destroy you? I'm sure the thought crossed
his mind, but my master had masters of his own
who wanted you alive.

ANGEL
The Senior Partners.

DOMVACK
Fortunately, I now serve no master but myself.
And I have you to thank for it. So I'll offer you a
choice. You can willingly take the blood oath
and become my servant, or I can kill all your
friends slowly, starting with the little
telepath here.

BLACK OUT.
END OF ACT THREE
 
Act Four

EXT. THE MOVIE STUDIO GARBAGE COLLECTION AREA - NIGHT

Gunn has his arms spread wide as if he could shield Lorne and the Sh'Amick from the hairy demon with his body alone. Rain is falling around them, dotting their faces.

GUNN
(to the hairy demon)
Easy, big guy, we can work this out.

One of the Sh'Amick demons tugs on Lorne's sleeve.

LORNE
We're a little busy, Dobbith.

DOBBITH
(whispering)
But, sir, the Master. Talking
in his presence makes him very angry.

The hairy demon lets out a loud bellow of rage and pounds its chest like an aggressive gorilla.

GUNN
(whispering angrily)
Great. Any non-violent ideas?

LORNE
(whispering)
Sorry.

The hairy demon steps toward them and takes a swing at them. Suddenly, ILLYRIA APPEARS BEHIND HIM, picks him up despite his mammoth size, and THROWS HIM INTO A WALL.

ILLYRIA
(to Gunn)
Get the device and get moving.

Gunn does as he's told.

ANGLE ON the PDA in his hands--it has clearly suffered damage.

Gunn and the demons start forward towards the building.

REVERSE ANGLE - The hairy demon staggers to his feet, but before he can mount an attack, Illyria THROWS him again. This time he lands inside a dumpster. The lid smashes down with a loud clang.

Illyria joins the others as they make their way into Building Eight. Back in the darkness, Illyria takes the PDA from Gunn.

ILLYRIA
(in Fred-voice)
Uh-oh.

GUNN
What "uh-oh?" No.

Illyria taps the keys frantically.

ILLYRIA
(in her normal voice)
The device has been damaged.
It has deactivated all the restraint collars
in the compound, and I cannot bring them back online.

GUNN
(anxiously)
How long until you think the demons figure that out?

The night is suddenly overwhelmed by the SOUNDS OF HOWLING AND GUNFIRE.

LORNE
I think the secret's out.

GUNN
Let's move.

CUT TO a series of BRIEF SHOTS -

Rain, falling on the ground.

A group of vampires ripping collars off their necks as a frightened soldier fires at them ineffectually with a handgun.

Several commandos with machine guns firing at pack of aggressive-looking demons.

Gunn, Lorne, and the Sh'Amick slipping through the fighting.

EXT. AN ALLEY ACROSS FROM THE MOVIE STUDIO - NIGHT

Michael is anxiously watching the gate his friends went into.

His POV - the guards have disappeared and rain is pouring down now in torrents. Various demons and vampires crash the gate and run off in different directions.

Michael still clutches the dragon's stone in his right hand, but now his eyes have a bit of the same RED GLOW.

MICHAEL
Come on, come on....

Gunn, Illyria, Lorne, and the Sh'Amick demons emerge from the gate.

Michael glances up at the clouds.

MICHAEL
(in a much louder voice)
Release and be free!

There is one last pulse of reddish light from the dragon's stone, and -

ANGLE ON the sky above the camp. Lightning suddenly FLASHES BACK TOWARD THE GROUND, touching down at the corners of the studio lot.

Sirens begin to wail as the LIGHTS OF THE CAMP COME BACK UP AGAIN. The rain stops.

ANGLE on the main gate - Behind Gunn, Illyria, Lorne, and the Sh'Amick, another vampire exits the gate, struggling to remove his collar. He gets as far as the street, but the power is back on and the collar is TRIGGERED, DECAPITATING HIM and leaving only a puff of dust behind.

Michael pockets the dragon's stone, breathing a sigh of relief. His friends reach the entrance to the alleyway.

MICHAEL
Whew. Thank goodness that's over.

INT. THE DOMVACK'S DEMON LAIR - NIGHT

Angel stands defiant, even as the Domvack threatens to kill Brian.

ANGEL
Forget it.

FAITH
Angel!

DOMVACK
Very well.

He presses the knife blade to Brian's neck, drawing a trickle of blood.

FAITH
Wait! I'll take your damned blood oath!

DOMVACK
(blinks)
Well, I don't know.

FAITH
A slayer's better than a crappy vampire with a soul anyway.

ANGEL
(urgently)
Faith, what are you doing?

FAITH
(glancing at Angel)
Whatever sacrifice is necessary.

Faith steps forward, but Angel stops her.

ANGEL
No. I'll do it.
(he looks at the Domvack)
I'm the one you wanted.
I'm the one who set you free, I deserve it.

EXT. THE ALLEY OUTSIDE THE STUDIO - NIGHT

Gunn, Illyria, Lorne, Michael, and the Sh'amick demons rest for a second.

GUNN
(grinning at Michael)
My man, you did it.

LORNE
Too bad we set about a hundred big bads free in the process.

ILLYRIA
We accomplished your goal. We have freed your friends.

LORNE
And, hey, why don't I take these little scamps
back where they'll be safe.

But the Sh'Amick demons apparently have a different idea as they all kneel down at Illyria's feet.

DOBBITH
What do you wish of us, Master?

GUNN
(puzzled)
Lorne, what's going on?

LORNE
(to the Sh'Amick)
Hey, hey, guys. What have I been telling you.
You can choose for yourselves.

DOBBITH
She defeated our old master. We are bound to her.

LORNE
(to Gunn)
Their race have been prey to bigger demons for
millennia; they're usually minions or grunts.
Subservience is almost genetic with them.

GUNN
Illyria, tell them they're free to go
with Lorne so we can get out of here.

ILLYRIA
(gazing at the Sh'Amick)
Why? It has been a long time since I've had proper slaves.

MICHAEL
It's not right.

ILLYRIA
What do you know about the relationship between
ruler and those beholden to them? Would I not
be a better master than they have known?
Would I not keep them safe? Why shouldn't I accept
these creatures?

GUNN
You've still got Fred's memories.
Look at them now and see what slavery used to
do to the human race. She understood the kind of
damage that lasts for generations after it's over.

LORNE
And besides, these guys have a bigger destiny
than serving you.
(Illyria glares at him)
No offense.

ILLYRIA
(thoughtful)
Very well.
(to the Sh'Amick)
As the one who defeated your master,
I command you to go with Lorne and be your own
masters from this day on.

The Sh'Amick rise, nervous and unsure, but obedient even to this command.

LORNE
Ah, thank you. I'll get these guys tucked away safely.

GUNN
Where's that?

LORNE
Some place you don't need to worry about.
I'll be by tomorrow night for my part of the bargain.

GUNN
We'll be there.

Lorne and the Sh'Amick head off in one direction. Gunn, Illyria, and Michael watch them go before heading off another.

INT. THE DOMVACK'S DEMON LAIR - NIGHT

Angel places himself directly in front of the Domvack, who tosses Brian aside. Brian lands on the ground next to where Faith dropped Vanessa's knife. It is near his foot. The Domvack grins smugly at Brian and notices him noticing the blade.

DOMVACK
(to Brian)
I wouldn't, if I were you.
(to Angel)
Now, hold out your arm.

The Domvack places his own knife to Angel's forearm and is about to cut it when Angel uppercuts him. The Domvack staggers back a step, but Angel is on the floor in pain again before he can take a second swing. In the distraction, Brian manages to kick the knife across the floor. It skitters towards Faith.

DOMVACK
Fool. Did you really think I'd fall for such a--

Suddenly the Domvack FALLS TO THE GROUND. As he does, his head twists and we see the KNIFE STICKING OUT OF THE BACK OF HIS HEAD. VANESSA stand behind him, still weak from torture, but with MURDER IN HER EYES.

Frenhg leaps at her and wraps his tentacles around her. Vanessa struggles. Chaos breaks out as the demons and slayers start up their battle again. Faith jumps on the demon holding her axe. It swings at her, but she deftly dodges the blade. Spinning away from a lunge, she gets her hands around the axe and jabs the butt backward into the stomach of the demon, wrestles it free, and then decapitates the astonished demon in a deft move.

CUT TO - In the confusion, Bucon slips out a door with a last, contemptuous look at the Domvack's body.

Frenhg holds Vanessa high above his head with two tentacles as he uses the other two to keep the unarmed vampires away. Vanessa glares at him, her fingers digging into his tentacle.

FRENHG
Face it, leeches, you ain't never gonna take me
down. Not when I can do this.

With a twist of his limbs, he folds Vanessa in half in a direction the body wasn't meant to go. There are a series of SICKENING SNAPS, then he throws her broken body at Spike, who tries to catch it gently, but instead falls under its dead weight.

FAITH
(seeing what happened)
NO!

Angel, knocked aside by a blow, comes to rest next to the Domvack's body. He rears up, pure rage filling his vamped-out face. Vanessa's KNIFE is in his hand. Angel and Faith engage the demon together. The other slayers, having defeated their own demon adversaries, join in the fight. Frenhg falls to the ground. The SLAYERS SWARM OVER HIM.

Meanwhile, Spike holds Vanessa's body and Brian crawls over to them, tears streaming down his face.

FADE TO BLACK.

MUSIC CUE - "Seven Year" by Norah Jones (the song will play under the next few scenes).

MUSIC
Spinning, laughing, dancing to
her favorite song....

FADE UP -

EXT. THE MONASTERY GARDEN - THE FOLLOWING NIGHT

A gentle rain is falling this night as well. Hobbes is standing before a muddy grave as several of the slayers lower a recently-made, simple wooden COFFIN into the ground. Faith and the slayers step back to one side. Angel, Spike, Michael, and Gunn form another group on the opposite side of the grave. Illyria stands alone a short distance away, as does Lorne. We can see the tip of a MANILA FOLDER peaking out flap of his overcoat.

MUSIC (cont.)
A little girl with nothing wrong
Is all alone
Eyes wide open
Always hoping for the sun
And she'll sing her song to anyone
that comes along....

As Hobbes begins to shovel dirt over the grave, the slayers break into groups and leave. The remaining attendees scatter in different directions. Faith watches everyone else depart before picking up a second shovel. Silently, she begins tossing dirt over the grave as well. Hobbes shares a small sad smile with her.

INT. THE MONASTERY ENTRANCEWAY - NIGHT

Gunn and Lorne stand near the door. Lorne hands Gunn the manila folder.

GUNN
Thanks for bringing this.

LORNE
Hey, just keeping up my end of the deal.

MUSIC (cont.)
Fragile as a leaf in autumn
Just fallin' to the ground
Without a sound....

GUNN
You're sure you don't want to talk to Angel?

LORNE
Yeah. I am.
And if I change my mind, I'll find you.
Don't call on me like that again.

INT. THE MONASTERY OFFICE - NIGHT

Angel is sitting at the desk, deep in thought and looking at the map on the wall. Spike pours himself a drink in the corner. There is a knock at the door and Faith comes in, mud still clinging to her hands.

MUSIC (cont.)
Crooked little smile on her face
Tells a tale of grace
That's all her own....

FAITH
Look, Angel, these girls--they all came from
rough backgrounds. That's why they're with me.
We thought that if anyone could relate to them....
(pause)
Vanessa was cocky, angry, and didn't trust anyone.
More than any of the girls, she reminded me of myself.

Angel and Spike say nothing. Faith holds up her muddy hands and looks at them.

FAITH
I'm trying to keep these girls from making my
mistakes, and I'm not--I'm not sure if you're the best
role models right now.
(she glances down briefly)
I'm trying to say...thanks for helping back there, but....

ANGEL
But?

FAITH
Look, Brian and I will sit down with Merlin the
Magician out there and go over everything we
know since you guys checked out of Planet
Hollywood. I hope you find your bad guys, but
I've got other things to concentrate on right now.

ANGEL
We're on the same side, Faith.

FAITH
I don't know if it's a question of "sides."
We just want people to be able to live their lives.
(beat)
Are we really fighting the same battle?

She turns to go, then stops and turns back.

FAITH
Oh, and B sent a message. Next time you two decide to
show up in Italy and stalk her on a date, just say "hey"
instead.
(beat)
You know where to find me.

WIDE SHOT on Angel and Spike sitting as Faith closes the door behind her. Angel looks grumpy; Spike looks shocked and speechless. HOLD on them in tableau.

ANGEL
(eyes widening)
A date....

MUSIC
Fragile as a leaf in autumn
Just fallin' to the ground
Without a sound....

INT. MONASTERY - ILLYRIA'S BEDROOM - NIGHT

Illyria is huddled in a corner where her bed touches the walls, in a SEMI-FETAL POSITION reminiscent of the early days of Fred when we first met her in Pylea. She is CRYING, and her body shakes with the sobs.

The camera does a slow ZOOM in. As it gets closer and closer, we see on the bed next to her Angel's SKETCH OF WESLEY AND FRED, which she has torn from his sketch book. As the camera gets even closer, we FOCUS and HOLD on her eyes -

Tears stream down her cheeks. Her eyes shift back and forth from the blue of her demon king form to the brown of Fred Burkle.

MUSIC
Crooked little smile on her face
Tells a tale of grace
That's all her own

Spinning, laughing, dancing to her favorite song
A little girl with nothing wrong
And she's all alone

A little girl with nothing wrong
And she's all alone....

INT. THE MONASTERY OFFICE - LATER THAT NIGHT

The mood is still depressed. Angel, Gunn, Michael, and Spike are going through the paperwork.

GUNN
I hate to spoil the mood, but that thing you fought
last night...you're sure it wasn't the Senior
Partners' new agent?

ANGEL
Wasn't him. Just another power hungry demon.
He didn't answer to them.

GUNN
O.K., not the best news, but taking down a
power-hungry demon isn't exactly bad news, either.

Michael leafs through some notes. His expression is devastated.

MICHAEL
Angel, this information from Faith and Lorne.
All this destruction.
Rome, Amsterdam, Tokyo, Moscow, Rio....

Angel looks up at the map of Los Angeles, now heavily color-coded and scribbled upon.

ANGEL
(grimly)
Faith was right. We're going to need a bigger map.

GUNN
(to Michael)
Let me have that stuff back.

Gunn takes the papers from Michael and starts looking through them. Spike crosses over to the map.

SPIKE
Well, at least we know there's nothing left
to hide over here.

He scribbles over the notes they had on the area controlled by the Domvack.

SPIKE
Should I put an axe there?

ANGEL
I'm not sure. We're going to have to go over that.

Angel rises and heads for the door.


ANGEL
Good job guys. Keep working on that stuff.

SPIKE
Where are you going?

ANGEL
I just remembered. I have a date.

ANGLE ON -

GUNN
Angel, wait.

Angel pauses.
GUNN
(mumbling to himself, nodding)
It wasn't all at once.
(he leafs through some pages)
Wait, where did it start....

ANGEL
(impatient)
Gunn, what is it?

GUNN
I'm not sure, but it looks like the cities
that fell into chaos first were the ones
with branches of Wolfram and Hart.

He continues flipping pages, more rapidly now.

GUNN
Followed by the ones where they had major
investments and holdings.

ANGEL
Keep working on it.
And get that book I took out of the Wolfram and Hart
office translated. I want to know what it says.

Gunn nods, distracted. Angel leaves.
GUNN
(still mumbling, eyes on the pages)
It was only after those cities fell that
the economic and social structure collapsed in
the suburbs and rural areas.

Slowly, Gunn raises his head. He looks puzzled.

GUNN
And it all started in Los Angeles.
Just after we disappeared.


EXT. THE WATERFRONT - NIGHT

Bucom walks unafraid and tall through the streets as he approaches an old warehouse not far from the ocean.

INT. JUST INSIDE THE WAREHOUSE - NIGHT

Bucon continues into the building. A demon who looks like him snaps to attention, but says nothing as he passes. A DEMON IN GLASSES of the same species approaches Bucon, who never slows his pace.

DEMON IN GLASSES
You have returned.

BUCON
The Domvack is no more. I am free.

Bucon rounds a corner and strolls out onto a catwalk overlooking a large space filled with hundreds of demons, many like himself, but also including others we saw earlier imprisoned in the compound. They cheer at the sight of him.

BUCON
Free to finally lead us out of the
oppression and tyranny of the humans!

BLACK OUT.

THE END


Comments?


Written by Tyreseus and Deeva
Directed by DLGood
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

Guest Starring
Gwen Raiden Alexa Davalos
Nina Jenny Mollen
Faith Eliza Dushku

Special Guest Star
Lorne Andy Hallett

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