Morality Play, Part 1

Mutant Existential Scoobies presents

Angel: the Series Season 6

Episode 10

Morality Play

Part 1

(April 13, 2005)

Written by Alliterator

Teaser

PREVIOUSLY, ON "ANGEL"

- Scenes of UTTER DEVASTATION around Los Angeles.

- The interior of a MONASTERY CHAPEL with high, stained-glass windows.

- Angel, Spike, Illyria, and Gunn sit in the monastery dining room with a MONK.

- The same monk kneels in an alleyway outside of the monastery, offering up a silver cylinder to DRUSILLA.

DRUSILLA
Such a good boy.

- NINA gazes up from the bed at a shirtless Angel in Angel's room.

NINA
You promised we'd have time.
Now you're pushing me away again.

ANGEL
I've still got work to do,
and you're not a part of that.

NINA
I want to be.

- RONDELL faces off with Gunn on a city street.

RONDELL
What the hell did the big takedown
of Wolfram and Hart get you?
What did it get the rest of us?

- Faux Rondell stands in the lobby of the Loews State Theater. His mouth widens unnaturally and the corpse of the real Rondell slides out and falls to the floor. Faux Rondell morphs into a TRANSLUCENT, TOAD-LIKE BEING.

- FRED sits on a crate in an alley, surrounded by Angel, Gunn, and Spike.

FRED
(puzzled)
Illyria died a year ago.

- Shot of Gunn, Angel, and Spike in the same alley, standing a distance away from Fred/Illyria.

GUNN
Maybe that really is Fred.
Maybe she's been inside Illyria all along.

ANGEL
It can't be.

- The combined forces of the Fang Gang, Slayers, and Anne's group BATTLE VAMPIRES, WEREWOLVES, and DEMONS outside the Loews State Theater.

ILLYRIA (VOICE-OVER)
All solutions are ultimately military in nature.

- One by one, the Slayers FALL.

- A demon throws a CIVILIAN into a burning building.

- Rooftop shot looking down - Angel walks among the human and demon BODIES that litter the street. Soldiers open fire on demon stragglers.

- Angel, Spike, Gunn, and Illyria trudge through the sewers.

GUNN
I'm going back. Maybe they're still lost down here.

ANGEL
We searched everywhere. If they made it out,
they're long gone by now. There's no point in--

GUNN
Not your decision to make.

EXT. THE HYPERION HOTEL - NIGHT - ESTABLISHING

The old hotel is still standing, although it's looking a little worse for wear.

EXT. THE HYPERION HOTEL COURTYARD - NIGHT

Gunn, Spike, and Illyria walk up to the entrance. Gunn is carrying a CARDBOARD BOX filled with stuff. Spike has another box that contains Gunn's NEW HUBCAP AXE and a crossbow. Illyria is holding a small suitcase.

GUNN
This is where I'll be staying.

ILLYRIA
(scanning the entrance with her eyes)
I remember this place.

SPIKE
Surprised this whole area hasn't been demolished yet.

He nods towards the door.

CLOSE-UP ON - a Notice of Demolition seal on the door frame.
SPIKE
Sign on the door says it's ready to go.

FLASH-CUT TO -

EXT. AN ALLEY - NIGHT

Angel is fighting a HORDE OF DEMONS. They are all the RED-COLORED, LEATHERY-LOOKING members of BUCON'S RACE. Angel swings his sword left and right, CUTTING OFF a demon's head and SLICING INTO another demon's torso. He grimaces as he cuts yet another demon IN HALF.

CUT BACK TO -

EXT. THE HYPERION HOTEL - NIGHT

GUNN
Hey, this place has been around forever.
Didn't Angel tell you he used to hang out
here in the fifties?

SPIKE
Angel barely has two words for me lately.
And usually they're "shut" and "up."

GUNN
Yeah. I wish he wasn't so paranoid.
I wouldn't have left if he just....

FLASH-CUT TO -

EXT. ALLEY - NIGHT

Angel is still fighting the demon horde. We PAN BACK to a WIDE SHOT and see that he has killed all but SEVEN. They look frightened as Angel, his face frozen in anger, CHARGES AT THEM.

Then the camera REVERSES and we see at the FAR END of the alley BUCON HIMSELF. He has new wounds leaking blood. His old wounds are scabbed over.

CUT BACK TO -

EXT. THE HYPERION HOTEL - NIGHT

Gunn sets his box on the ground. Spike does the same.

SPIKE
I'm not saying I understand the bloke,
but don't you think he has reason to be paranoid?

GUNN
Yeah, if the Senior Partners were still around.
But so far, we haven't seen one sign of them.
All we've dealt with are the demons and people
caught up in the chaos.
The chaos that we started.

FLASH-CUT TO -

EXT. ALLEY - NIGHT

As Angel CUTS ONE DEMON IN HALF, another demon YANKS THE SWORD away from him. We go to SLOW MOTION for a second as Angel leaps at the demon, then RESUME REGULAR SPEED as he dodges a swing of the sword and SNAPS THE DEMON'S NECK. His face is filled with RAGE.

CUT BACK TO -

EXT. THE HYPERION HOTEL - NIGHT

SPIKE
Well, we're still not sure....

GUNN
I am. The Circle of the Black Thorn had their fingers
in every pot. And suddenly, their hand is gone
and there's chaos sprouting up all over the place.
Without them, there's a vacuum.

SPIKE
And nature abhors a vacuum.

ILLYRIA
As Raef said. He wants to fill it.

GUNN
(with a glance at Illyria)
Right. Him and a lot of others.
(beat)
But Angel still won't believe it. He still thinks
the Senior Partners and Wolfram and Hart are behind
everything, that this whole thing is part of their
"master plan."

FLASH-CUT TO -

EXT. ALLEY - NIGHT

Angel has now picked off FIVE MORE DEMONS. Only TWO DEMONS and Bucon are left. Angel slowly picks up his sword and mockingly WAVES it at the demons. They turn tail and run. Bucon alone remains.

CUT BACK TO -

EXT. THE HYPERION HOTEL - NIGHT

GUNN
I wish you guys would come with me.
This is a hotel, after all.
There's lots of room.

SPIKE
Sorry, Charley. Someone needs to keep
ol' Paranoid in check. Maybe I'll be able to...
I don't know, help somehow.

GUNN
What about you, Illyria?

Illyria is still holding the suitcase. She shifts it from hand to hand, seemingly nervous.

ILLYRIA
My form is volatile at the moment. I cannot.

GUNN
(shrugging)
That's O.K.

SPIKE
You take care, Charley.

GUNN
You too.

Gunn and Spike SHAKE HANDS. Then Gunn turns to Illyria.

GUNN
Bye. You take care, O.K.?

ILLYRIA
I....

For once, the God-King has nothing to say. Gunn pats her on the shoulder and then squats down, awkwardly piling the boxes on top of each other. Spike pulls the door open, breaking the "Notice of Demolition" seal on the door frame.

GUNN
I'll see you guys later.

He ENTERS. Illyria follows with the suitcase.

POV - looking through the door. Illyria sets the suitcase down on the foyer floor, then nudges it closer to Gunn with her foot. After a beat, she turns and exits the hotel. Spike lets the door close softly and sighs. He and Illyria glance at each other, turn and walk away.

INT. HYPERION LOBBY - NIGHT

Gunn looks around the old hotel.

PAN THE LOBBY - There are dust and cobwebs everywhere.

He places his boxes on the ROUND COUCH and sighs.

GUNN
Well, here I am.

FLASH-CUT TO -

EXT. ALLEY - NIGHT

CLOSE-UP on Angel's face. It's grim. Blood is splattered on one cheek, but not from any major lacerations on him.

REVERSE ANGLE - Bucon now has more fresh cuts and bruises and looks much more afraid than before.

CUT BACK TO - Angel. He smiles.

ANGEL
Well, here I am.

BLACK OUT.

END OF TEASER

Opening Credits

Starring

David Boreanaz

J. August Richards

Amy Acker

And

James Marsters

Act One

INT. HYPERION OFFICE - NIGHT

Gunn sets his two boxes down on the desk and goes back to the lobby and fetches his suitcase. He sets it on the desk chair. There is DUST floating in the air around him.

POV - Behind Gunn we can see, out of focus, the WINDOW of the office and the lobby beyond it.

Gunn looks around, then starts to take his things out of the boxes. He pulls the crossbow out of one box and a few books out of the other. He puts them on the desk.

REFOCUS - Gunn and the desk BLUR as the camera FOCUSES IN on the background. We can see through the window of the office through the lobby all the way to the bottom of the STAIRS.

REVERSE ANGLE - looking at Gunn unpack in the office from a POV on the top of the staircase. The camera PANS DOWN to the bottom of the stairs.

CUT TO - a CLOSE-UP of a DEMON, standing at the top of the stairs. It steps down a step. It has an upturned nose and its face is furry in patches.

ANOTHER DEMON'S VOICE (o.s.)
Oooh'argh yarf glah.
(subtitles)
What is it?

DEMON ON THE STAIRS
Orgelfu klah. Nag glahj kly ifw.
(subtitles)
Dinner. Go back to the den. I will bring it to you.

REVERSE SHOT - GUNN putting things away. He sneezes a couple of times, then opens a drawer and pauses for a second. He pulls something out of the drawer.

POV - Over Gunn's shoulder. It's the picture of Cordelia, Wes, and Angel from Tomorrow.

PAN TO - Gunn sets the suitcase on the floor and sits down on the office chair, absently waving a hand at the dust cloud that briefly envelops him. He leans forward, propping his chin on one hand, studying the picture intently.

GUNN
(quietly)
What happened? We used to have a mission.

He brushes his free hand across his eyes.

GUNN
We used to know what to do.

INT. MONASTERY MAIN ENTRANCE - NIGHT

POV on the front door. Spike and Illyria enter. Spike pauses in the foyer.

SPIKE
Honey, we're home!
(waits for answer)
Figures he's not here.
Probably off at Michael's
or beating the snot out of somebody.

The two of them proceed into the sanctuary.

ILLYRIA
Why do you maintain an
antagonistic relationship with him?

SPIKE
Because.

INT. MONASTERY SANCTUARY - NIGHT

Spike sits down on a pew and gazes ahead. Illyria remains standing.

SPIKE (cont.)
Well...'cause that's how it's always been.
He orders me around and I make fun of his
enormous forehead and funny hair.

ILLYRIA
Then why serve him?

Spike looks at her.

SPIKE
Hey, I don't serve anybody. I just
I choose to be here, like you.

ILLYRIA
(bristling)
I would gladly leave if I could.

Spike raises one eyebrow.

SPIKE
Would you, now?

ILLYRIA
(slightly defensive)
I would. But this world is still strange to me.

Illyria gazes at him suspiciously. Then suddenly, she squeezes her eyes shut and GRABS HER HEAD.

ILLYRIA
My head hurts.

SPIKE
Gods get headaches?

ILLYRIA
(as if fighting something)
I...no. No!

She curls her trembling fingers into fists and places them against her temples, but it's no use. She TRANSFORMS INTO FRED. Fred stares around the sanctuary, disoriented and then frantic.

FRED
Oh god. Ohgodohgodohgod.

SPIKE
(concerned)
Fred?

FRED
(eyes settling on Spike)
...Spike?
(she blinks)
Help me, please.

Fred sits down beside him on the pew. He reaches out and takes her hands in his.

SPIKE
I'll help you. Just need to
lay you down someplace and...

FRED
(shaking her head)
No, no, that won't help.
(she raises her free hand to her forehead)
It's in my mind, I can feel it.
I can feel her. Sometimes...sometimes
I think she knows my thoughts.

Tears roll down her face.

SPIKE
I thought you didn't remember.

FRED
(voice shuddering)
I can remember now...what's it's like.
My body isn't mine anymore,
my mind is hers to play with.

SPIKE
(tenderly)
Don't worry luv, we can find a way to beat this.
You just need to rest or something.

FRED
(gaping at him)
You don't understand!

Fred jerks her hand away and buries her face in her palms. Spike stares at her, stunned.

FRED
(looking up at him)
Spike? Could--Would you get Angel for me?

SPIKE
(a little hurt, standing slowly)
Sure, pet. Sure. I'll get him
to come over right away.

EXT. ALLEY - NIGHT

TWO-SHOT - SIDE-VIEW. Angel and Bucon face off, standing several meters apart. Angel has his sword at his side. Bucon holds an axe across his chest.

CLOSE-UP of Angel's eyes. They narrow.

CLOSE-UP of Bucon's eyes. They also narrow.

TWO-SHOT - SIDE-VIEW again. Bucon RUSHES Angel, raising the axe over his head. Angel doesn't lift his sword. He SIDESTEPS Bucon and GRABS HIS EAR.

BUCON
Ow ow ow!

The axe clatters to the street. Angel kicks it away.

ANGEL
(raising his sword to Bucon's neck)
Now play nice.

BUCON
What do you want?! You already slaughtered
my entire army and now you're torturing me?

ANGEL
This isn't torture. You'd know it
if I were torturing you. There'd be
lots of sharp objects like needles and knives
and red-hot pokers. Possibly a chainsaw.
(beat)
I just want some information.
If I get it, then I'll let you go.

BUCON
(scowling)
What's the point? My people are dead.
They can never be free now.
You made sure of that.

ANGEL
That wasn't my intention.

BUCON
(laughing mockingly)
Really? I couldn't tell.

CUT TO - POV - looking down at Angel and Bucon from the TOP OF A ROOF. The camera REVERSES, and we see -

DRUSILLA. She's wearing a purple dress and a shawl. She gazes down and smiles.

DRUSILLA
Oranges and lemons,
say the bells of St. Clement's.
You owe me five farthings,
say the bells of St. Martin's.

CUT TO - The alley.

ANGEL
Tell me the truth and I'll let you go.

BUCON
Why should I believe you?

ANGEL
Because it's your only choice.
Now I want to know where they are.

BUCON
You're going to have to be more
specific than that. "They" who?

ANGEL
You know.

BUCON
Really don't.

ANGEL
(leaning in closer)
The Senior Partners.
Who works for them now? Where are they?

BUCON
I haven't heard anything about them.
Nobody has, since Wolfram and Hart fell.
(beat; a frown)
Nobody really cares, either.

Angel digs the sword deeper into Bucon's neck. Bucon's eyes widen.

BUCON
(panicked)
I'm telling the truth! I swear!

Angel continues pushing the sword into Bucon's neck until, with a SIGH, he YANKS IT BACK.

ANGEL
Damn it! Just once, I want something
to go my way.
Just once!

CUT TO - DRUSILLA'S POV. Angel and Bucon look tiny on the ground.

DRUSILLA (o.s.)
When will you pay me?
say the bells of Old Bailey.
When I grow rich,
say the bells of Shoreditch.

CUT TO - The alley. Angel's still frustrated. He paces, turning his back on Bucon.

BUCON
(rubbing his neck)
I can't give you information I don't have.

ANGEL
Yeah, well, thanks for nothing.

BUCON
Hmm. I wouldn't say it was all for naught.

Bucon crouches down and silently grabs his axe. He stalks towards Angel, then RUSHES him. Angel SPINS AROUND and MAKES ONE CLEAN SLASH HIS SWORD.

CUT TO - the asphalt. BUCON'S HEAD lands there half a second later. The axe clatters to the street.

CUT BACK TO - Angel. He sighs again.

ANGEL
That's just great.

TIME CUT TO -

EXT. THE MOUTH OF THE ALLEY - NIGHT

Angel exits the alley and almost collides with -

SPIKE.

ANGEL
(angrily)
What are you doing here, Spike?

He shoves past Spike. Spike grabs Angel's arm, forcing him to stop.

SPIKE
Followed your scent. Wasn't far.
Fred wanted to see you.

Angel half-heartedly tugs against Spike's hand.

ANGEL
(not looking at him)
You mean Illyria?

Spike tenses and yanks Angel around to look at him. They lock eyes.

SPIKE
No, I mean Fred. It's her.

ANGEL
(just as adamantly)
No, it's not.

Angel turns away again. We see him brush his hand over his eyes.

SPIKE
Yes, it is. You heard Gunn.
And I can see it as well.

Angel twists his arm out of Spike's hand. He walks a couple of steps, then pivots back around.

ANGEL
(firmly)
Illyria's an Old One. She's messing
with our heads. Changing back and forth--
it's a parlor trick.

Spike steps forward and GETS IN ANGEL'S FACE.

SPIKE
(exasperated)
Why do you refuse to even entertain the thought
that it could be her?

Angel looks off to one side. His mouth works silently before he finally forces the words out.

ANGEL
Because her soul was destroyed.

SPIKE
(scornfully)
And you know this because that doc who worked
for Wolfram and Hart said so?
That's not gospel. That's the trick.

ANGEL
(shaking his head)
I don't have time to this.
I have places to be.

Angel stalks away.

SPIKE
(frustrated; nearly bouncing on his toes)
You always have "places to be"!
And--and demons to kill, and never any time
for your mates!
(beat)
You weren't even there when Gunn moved out!

Angel stops and looks back at Spike. He jabs a finger at himself.

ANGEL
Gunn left me!
(a jab at Spike)
I didn't leave him!
He left the mission.

SPIKE
(with sudden anger)
Oh, sod the bloody mission!
You're so wrapped up in your Senior Partners crap
that you don't care that your friends are hurting.

Angel turns back around and takes several slow steps towards Spike.

ANGEL
The Senior Partners are still out there, Spike.
Who's going to watch for them if we don't?

SPIKE
(sarcastically)
You mean if you don't.
It's a lot easier to chase shadows
than to deal with the people around you.

ANGEL
(turning away again)
Believe whatever you want to believe.
I don't care anymore.

Angel walks away, leaving Spike alone at the mouth of the alley.

SPIKE
(shouting)
What about Fred?!

CLOSE-UP ON Angel's face. It's blank and emotionless.

ANGEL
You take care of her.

CUT TO - Drusilla on the rooftop, looking down at Angel and Spike. She giggles.

DRUSILLA
When will that be?
say the bells of Stepney.
I'm sure I don't know,
says the great bell at Bow.

She removes the shawl from her neck and drops it into the alley. Then she giggles again.

CUT TO Spike. He pivots around KICKS THE HELL OUT OF A TRASHCAN. Then he turns and walks into the alley.

His POV - BUCON'S HEADLESS BODY.

And then his HEAD.

Spike stops beside it and KICKS it, too, sending it SKIDDING DOWN THE ALLEY.

And then he STOPS. He sniffs the air. He walks halfway down the alley and looks down at the ground.

His POV - A PURPLE SHAWL. Spike picks it up and holds it to his nose.

SPIKE
(worried tone)
Bugger.

CUT TO - Drusilla. She's no longer looking down, just waiting on the rooftop.

DRUSILLA
(cooing; swaying)
Here comes a candle to light you to bed,
Here comes a chopper to chop off your head.

INT. HYPERION HOTEL - NIGHT

WIDE SHOT - Gunn is standing in the lobby, his back to the staircase. His expression is puzzled. He sighs, and as he does, the HAIRY DEMON enters the frame, descending the steps. Gunn doesn't seem to notice.

DRUSILLA (v.o.)
Chop, chop, chop,
the last man's dead!

BLACK OUT.

END OF ACT ONE

Act Two

INT. HYPERION HOTEL - NIGHT

The same shot we left off with. The demon is still creeping up on Gunn, who is standing in front of the round couch. CLOSE-UP on Gunn's face. His eyes dip to the side. Then -

Gunn leaps forward, vaults over the round couch, tucks, hits the ground, and rolls up his feet. He jogs the few steps to the counter, grabs his HUBCAP AXE, and pivots to face the demon.

CLOSE-UP on the demon's face. It GROWLS menacingly.

SIDE SHOT - PANNING from the demon to Gunn, with the couch in between them. We hear the growl again and ZOOM IN ON a CLOSE-UP of Gunn.

GUNN
Yarg fl'ya! Yarg fl'ya!
(subtitles)
Stop! Stop!

CUT TO the demon's face. The look of MENACE changes to SURPRISE. When the demon speaks, its talks slowly in a deep voice.

DEMON
(subtitled)
You speak our language?

SIDE SHOT - Gunn, still holding up the axe, and the demon, with the couch between them.

GUNN
(subtitled)
Yes. You're a Northal demon, right?

DEMON
(subtitled)
Yes. You know of Northal demons?

GUNN
(subtitled)
I know of a lot of demons. Where's your clan?

NORTHAL DEMON
(eyes dipping)
(subtitled)
My clan is dead. Only my family survives.

GUNN
(subtitled)
I'm sorry.

NORTHAL DEMON
(subtitled)
Why are you sorry? You did not strike
the blows that killed them.

Gunn gazes down uncomfortably.

GUNN
(subtitled)
I thought Northals only ate small animals,
you know, rats and cats and stuff.

NORTHAL DEMON
(subtitled)
Yes. But food is scarce and wary now.
We resort to eating other things.
Things other demons disdain.

GUNN
(subtitled)
Like humans?

NORTHAL DEMON
(subtitled)
You will be the first.

GUNN
(subtitled)
You don't need to eat me.
I can show you where to get food.

NORTHAL DEMON
(subtitled)
Where would this food be?
Enough for my family?

GUNN
(subtitled)
Yes. It might even be enough to allow
you to get out of the city.

NORTHAL DEMON
(subtitled)
Show me.

EXT. UNIQUE ANTIQUES - NIGHT

MICHAEL opens the front door to Angel, who enters.

ANGEL
Made any progress?

Michael glances outside for a second, then closes the door.

INT. UNIQUE ANTIQUES RETAIL AREA - NIGHT

He follows Angel back to his office.

INT. MICHAEL'S OFFICE - NIGHT

Angel walks over to Michael's desk, where several books sit, including the BOOK STOLEN FROM WOLFRAM AND HART. He flips it open, and we see that the spine is almost torn apart and that the pages are withered and yellow. He studies the SYMBOLS on one page as Michael appears at his side from off-screen.

MICHAEL
No. I still can't figure out most
of what it says, and what little
I can figure out doesn't make much sense.

Michael sits down at the desk and pulls the Wolfram and Hart book towards him.

MICHAEL
It's as if it's written in code,
so that you have to translate the language
and then decipher it as well.

ANGEL
But you can do it, right?

MICHAEL
I might, but it'll take a while.
It might go more quickly if I could
get Gunn to translate it for me.

ANGEL
That might not be an option anymore.

Michael looks up from the book, surprised, but doesn't comment.

MICHAEL
O.K. It could take a couple of weeks,
then. Maybe a month.

ANGEL
A month? That's too long.

MICHAEL
I'm sorry, Angel, but that's how long
it'll take me. What's so important in this book
that it has to be translated right away?

ANGEL
I don't know, but I need to find out.
It could contain some hints about what
the Senior Partners are doing now,
or who their new agents are. Or it might
contain a prophecy that could tell us something.

Michael's face grows inscrutable.

MICHAEL
I hope it's not the latter.
Prophecies...don't always mean what you
think they do.
They could lead you down the wrong path.
Or worse.

Angel scrutinizes him with a puzzled expression.

ANGEL
I know that. I just need to find out
what it says, all right?

Michael nods, looking back down at the book.

MICHAEL
Certainly.

Angel turns and heads towards the door.

EXT. ALLEY ROOFTOP - NIGHT

ANGLE ON - The stairwell DOOR that leads to the lower floors of the building. The door opens. Spike strolls out, the shawl clutched in one hand. He sniffs the air and looks around, then walks to the edge of the rooftop. He puts one foot on the ledge and sees -

His POV - the stretch of alley where Angel and Bucon were fighting earlier.

REVERSE ANGLE - FRONT VIEW of Spike, and someone positioned behind him, sneaking up slowly on him out of the camera's view. A FEMININE HAND reaches up over his shoulder.

CLOSE-UP on Spike's face - He sniffs the air again and SMILES.

SPIKE
You.

He turns around quickly and GRABS THE HAND.

SPIKE
...are not Drusilla.

PULL BACK to a TWO-SHOT. It is, indeed NOT Drusilla, but a BLONDE VAMPIRE garbed in a black dress.

SPIKE
Who are you? Where's Dru?

The female vampire smiles, her face shifting into the vampiric visage.

FEMALE VAMPIRE
Mistress calls me Charity.
She has been waiting for you.

SPIKE
She's your mistress now, is she?
Well, be a good girl and tell me where she is,
and I'll not keep her waiting.

Charity continues to smile. An uncertain look comes to Spike's face.

Suddenly, out of the darkness, TWO MORE FEMALE VAMPIRES appear. They rush at him, and PUSH HIM OVER THE EDGE OF THE ROOF.

INT. A DARKENED HALLWAY - NIGHT

Gunn walks down a hallway with stained and faded wallpaper, glancing down at a piece of paper in his hand.

CUT TO - INSERT - the piece of paper. It has some numbers scribbled on it, followed by words North Mission Road, room 47.

Gunn continues down the hall and stops at a door. Number 47. He raises a hand and knocks. It opens to reveal LORNE, looking slightly bedraggled and holding a tall glass filled with rose-red liquid.

GUNN
I need your help. And maybe a drink.

EXT. ALLEY ROOFTOP - NIGHT

The THREE VAMPIRESSES stand on the rooftop, a blonde, a red-head, and a brunette. The red-head looks at the brunette, while Charity, the blonde, gazes over the edge.

REDHEAD
Did we break him?

BRUNETTE
Oh, Mistress will not be happy with us then.

REDHEAD
(to the brunette)
Prudence, you were the one that decided to push him off.

PRUDENCE
Me? You're the one that gave the final shove,
Temperance. I was just trying to disorient him.

ANGLE ON - Charity jumps backwards, startled, as Spike SWINGS HIMSELF UP AND ONTO THE LEDGE, JUMPS back onto the roof, and GRABS HER.

SPIKE
Your mistress coulda done better than the lot of you.

He shoves Charity. She stumbles into Temperance and Prudence before falling to her knees. The other two tumble back several steps, but quickly regain their composure and RUSH back at Spike, FANGS OUT.

SPIKE
Fool me once...

He PUNCHES Prudence in the face and DUCKS to avoid Temperance's attack.

SPIKE (cont.)
Shame on you.

Charity rises to her feet and GRABS SPIKE'S SHOULDERS, her mouth open, revealing her FANGS. Spike HEAD BUTTS her and then PUNCHES her in the stomach. Then he SPINS HER AROUND and gets her in a HEADLOCK. She pushes at Spike's arm and tries to lower her head to bite him, but she can't get out of the hold. Spike walks backwards, still holding onto her, until he finally reaches the ledge.

Temperance and Prudence approach.

SPIKE
Uh-uh, don't think so.

They stop when they see he's about to throw Charity over the edge. He gives them a thin-lipped smile.

SPIKE
See how you like it.

He swivels quickly so he and Charity are next to the ledge, then reaches down and grabs up her legs. He raises her high and THROWS HER OUT OVER THE LEDGE. We hear her SCREAM. Spike, his hands free again, CLAPS ONCE.

SPIKE
Right, then. Who's next?

COOL FEMALE VOICE (o.s.)
(Cockney accent)
Would that you would choose...me.

Spike turns.

REVERSE SHOT - DRUSILLA.

She walks slowly across the rooftop towards him, her violet dress billowing in the wind.

SPIKE
(warily)
Knew you were here somewhere, Dru.
Your nursemaids need some work.

Drusilla stops between Temperance and Prudence. She draws one hand up and strokes Temperance's hair and then Prudence's. Leaning her face near Prudence's cheek, she stops...and turns to face Spike.

DRUSILLA
How do you like your sisters?
Careful I was with them.
Plucked from their families like posies.
Poor things, wasting away.
But I saw them, I did.
(beat)
Just like I saw you.

SPIKE
Did you, now?

DRUSILLA
You've debased my Virtues.
Oh, poor, poor Charity.
She's fallen from grace.
You've sent her flying, but she has no wings.

SPIKE
(shrugging)
She'll survive.

DRUSILLA
But will I? Will you and Daddy allow me
to carry on?

Spike's face softens from carefully guarded to thoughtful.

SPIKE
That depends on you, sweet.

INT. LORNE'S APARTMENT - NIGHT

A desk and some shelves. Wallpaper is peeling off the walls in swatches. Lorne sits in an overstuffed chair, his Sea Breeze in his hand. Gunn is perched on a wooden stool, his hands clasped together.
LORNE
I know it's not much, but it...
actually, that's all I was going to say.

GUNN
(looking around)
It's not...horrible.

LORNE
It's someplace to sleep. Someplace no one will blow up
or shoot up--
Or if they do, I can just move
next door and set up there.

He takes a sip of his drink.

LORNE
You know the one thing that is guaranteed to drive me
around the bend?

GUNN
The smell?

LORNE
Oh, sugar, when you've bunked with a Klarvel demon,
you get used to bad smells. It's the wallpaper.
Could it be more depressing? At least
the Hyperion's wallpaper was green--but this?
It's just grey.
Not a color that lifts you up.

GUNN
...Getting back to why I came here.

LORNE
It wasn't for my devastating wit?
Or my stash of liquor?

GUNN
I got a Northal couple holed in the Hyperion.
Apparently, food is scarce and they're starving.
Their clan is dead, and I promised
to find them some food.

LORNE
Promised?

GUNN
O.K., I bargained. I could have probably
killed them before they ate me, but I don't
want to hurt a demon that isn't evil.

LORNE
You're a good man, Charley Gunn.
And you also didn't want to chance coming down
with a severe case of dead if the Northal
got the drop on you. Understandable.
So you want help with the hunter-gatherer lifestyle?

GUNN
I know you still have connections.
If you don't mind helping me.

LORNE
A mere bagatelle. In fact, I think I can
find something even better than food.

Gunn frowns, surprised.

GUNN
Really?

LORNE
Not promising anything, mind you.
But come along, and we'll see what we can see.

He gets up and puts the glass on the desk.

LORNE
Let's blow this pop stand.
Metaphorically speaking, of course.

Gunn smiles and Lorne smiles back. They head out the door.

EXT. ALLEY ROOFTOP - NIGHT

Spike stands next to the edge of the rooftop. Temperance and Prudence flank Drusilla.

DRUSILLA
Temperance, Prudence, go find your sister.

PRUDENCE
(motioning to Spike)
But what about him?

Spike just glares at her.

DRUSILLA
(pouting at Spike)
I need to speak to my poor lost knight.
Fetch your sister back to me.
My Virtues need to flock together.

PRUDENCE
But...

Drusilla raises her hand to Prudence's shoulder. CLOSE-UP on Drusilla's SHARP FINGERNAILS wrapping around the back of Prudence's neck.

DRUSILLA
We need some time alone, my princesses.

PRUDENCE
(whispering)
Yes, mistress.

She and Temperance hurriedly leave the rooftop.

Drusilla turns her dark attentive eyes to Spike.
SPIKE
What are you doing here, Dru?
Fancy a more-than-death wish?

Drusilla steps closer to him.

DRUSILLA
I've missed you, my Spike.
It's not the same without you.
Or the rest of my poor sundered family.

SPIKE
You've created another family, I see.

DRUSILLA
They're young. Not like us.

SPIKE
You'll always be young, Dru.

DRUSILLA
(drawing her head back with swooning pleasure)
Flatterer.

She comes closer, close enough to reach out and touch him. She holds her palm next to his face, not quite touching it.

DRUSILLA
We were always good together.
(then, murmuring)
Come back to me, Spike.
We'll dance through the streets
while the night wind sings to us.

SPIKE
(eyes on her firmly)
Dru, sweet, I can't. I've changed.

DRUSILLA
(pouting)
But the wicked little girl's not here.
Went away, far away across the wine-dark sea.
She left you, my Spike.

She pulls her hand away quickly as if it's been burnt.

DRUSILLA
(shrieking)
Nasty, nasty!

She shakes her hand violently.

DRUSILLA
It gnaws and bites and has claws that catch.
Caught you in them! Why, Spike?

SPIKE
It's called a soul, luv.

DRUSILLA
Horrible. Nasty voices whispering, whispering
what a bad doggie you've been. Makes you a puppet
with your strings pulled tight.
And you hung on the gallows, burning.
Makes my poor knight weak.

She reaches out to Spike's shirt front and trails her fingertips slowly down. Spike glances at them briefly.

SPIKE
Remains to be seen. But you knew I had it.
Knew it before you got here, I suspect.
Why are you here, kitten? Why come back
when you know it can't end good?
Better off stayin' away.

DRUSILLA
(suddenly cool)
Dearie, dearie me. Is my now-despoiled knight
threatening me? Would you really stake me?

SPIKE
I don't want to, Dru.

DRUSILLA
Ah, so you're trying to save me, then?
(she giggles madly at the notion)
Well, if you aren't a prince after all.

At this, Drusilla smiles furtively. She backs away a bit.

DRUSILLA
But don't worry, my Spike.
I'm here to save you.

Suddenly, Spike's expression CONTORTS IN CONFUSION AND PAIN.

SPIKE
What the bl--

He FALLS DOWN. Sticking out of his back is a NEEDLE-LIKE DART.

REVERSE ANGLE - crouching at the edge of the rooftop is a MAN. His face is painted with rune-like symbols and he wears several amulets around his neck. He is holding a blowgun. His lips are moving.

BLACK OUT.

END OF ACT TWO

Part 2