Some Things Wicked, Part 2

Some Things Wicked

Part 2

(November 02, 2005)

Written by Lady Starlight and Deeva

Act Three

INT. TYPICAL MEDIUM-INCOME APARTMENT COMPLEX - EVENING

OPENING POV - looking up the stairs. A bit of debris is scattered around the steps, graffiti (including "Tood loves Janey" in a heart) is scrawled on the walls of the stairwell, and a full garbage bag is slumped in the corner at the top of the landing.

GUNN (v.o.)
Are we there yet?

FEMALE VOICE (v.o.)
One more flight. Jeez, big monster hunter like you
and you can't go up four flights of stairs?
Gunn comes into frame.

GUNN
Hey, normal day, I could do this at a dead run carrying
a broadaxe. I just haven't had my coffee yet.
Kara, the human woman from Act One, comes into frame.

WOMAN
Another half-flight and you're there.
They continue up the last few steps before stopping in front of apartment 4-F.

GUNN
(to himself)
I hope that's not a sign....
(to Kara)
So you gonna knock or should I?
Kara stands directly in front of the peephole and knocks firmly. We hear a lock click.

KARA
Ralph? It's me, Kara. And a friend.
Another lock clicks.

GUNN
(to himself)
If this guy's last name is Wiggins or Kramden, I'm so out of here.
The door opens just enough for Kara and Gunn to slide through.

INT. RALPH'S APARTMENT - EVENING

PAN AROUND a small kitchen/living room. It is fairly neat, with a shabby dark brown sofa and loveseat facing each other beside a picture window with the blinds drawn. We hear the clicks of the locks being locked again.

Gunn's POV - Ralph is a shortish man, older, with thinning black hair in an obvious comb-over. He stands with his back to the door, looking steadily at Gunn, who looks right back. Kara finally breaks the silence.

KARA
Ralph, Gunn, Gunn, Ralph. You still got tea, Ralph?
Off Ralph's nod, Kara moves into the small kitchen area and fills a kettle from a full pot of water on the counter. She sets the kettle on the stove and turns the gas on. Gunn finally sticks his hand out.

GUNN
Nice to meet you. Kara said we should talk.
Ralph gestures towards the sofa. He follows Gunn over and sits in the loveseat across from him. This is obviously his space--books are piled on the end table and on the floor, and there is an ashtray and coffee mug balanced precariously on the arm of the loveseat.

RALPH
What do you think I did before all this?
Gunn is a little taken aback by this question, but gives Ralph a considering look.

GUNN
Accountant? Middle management?
Ralph chuckles slightly, leans back in the loveseat, and lights a cigarette.

RALPH
Middle management is pretty close.
(he leans forward)
Boy, I was in the Mafia. I got pulled in for questioning and knew
nobody in the Mob would believe me if I said I didn't spill anything, so
I turned states' and they set me up in the Witness Protection Program.
I been in California for five years now. Whaddya wanna know?

GUNN
Uhhh, what're you gonna tell me?

RALPH
You're starting something, Kara tells me.
Something that could help everyone in L.A.
But you're having credibility issues in some corners.
So the question is...do you want to lead it,
or just start it?
Gunn looks down at his loosely clasped hands, then back up at Ralph.

GUNN
I wanna lead it.

INT. ANGEL'S CAR - EVENING

Angel is once again driving. His not-so-firm control of the wheel indicates he is still has some sobering up to do. He flicks his turn signal on and with one hand on the steering wheel, makes a left.

With his right hand, he fishes his cell phone out of his coat pocket. He flips it open and starts poking out a number with his thumb, his eyes moving back and forth from the phone display to the road. His left hand jerks on the steering wheel briefly as the car swerves. He brings the phone up to his ear.

CLOSE-UP on his ear. We hear ringing. Then -

MALE VOICE
Cracker.
Angel grapples with the phone as he speaks, trying to keep it up to his ear and drive at the same time.

ANGEL
Cracker, got a job...for you.

CRACKER
Oh, no....
I nearly got my head chopped off on the last job
I did for you, Angel.

ANGEL
Yeah, but vampires don't eat...
(the phone slips a bit, Angel brings it up)
Slod demons...most of the time.

CRACKER
Who's the vamp you're looking for?

ANGEL
You remember Drusilla. She's in town.
Someone has to have seen her around.
Tall, thin, long dark hair.
Likes to wear flowy dresses.
Ask around, let me know.

CRACKER
(without enthusiasm)
Yeah...yeah.
I'll call you as soon as I--
The phone slips out of Angel's hand and tumbles down to the floor of the passenger side of the car.

ANGEL (o.s.)
Crap.
EXT. CITY STREET - EVENING

Angel's Cavalier comes to another intersection and turns right. He pulls up to the sidewalk and stops.

PAN ACROSS the street - UNIQUE ANTIQUES.

INT. ANGEL'S CAR - EVENING

ANGEL
(murmuring)
See, Spike? Keeping an eye on Michael, too.
EXT. UNIQUE ANTIQUES - EVENING

TIME CUT - Angel walks a trifle unsteadily to the door, shoving his cell phone back into his coat pocket. As he reaches out for the door handle, there is a small ARC OF MAGICAL ENERGY from the door handle to his hand.

ANGEL
(blinking)
Whoa.
Before he can open the door, Michael opens it for him.

MICHAEL
Sorry about that. I had a...visitor tonight and decided to
work on the shop wards.
Angel is still looking at his hand. He shakes his head once and looks at Michael.

ANGEL
That was, uh, interesting. How are you?
Michael is a little flummoxed by this.

MICHAEL
Good. Uh...why don't you come in?
Angel walks into the shop.

INT. UNIQUE ANTIQUES - EVENING

Michael closes the door behind them and sketches a symbol in the air with his hand.

The doorframe GLOWS A BRIGHT BLUE again.

Michael walks over to the retail counter.

MICHAEL
Not that this visit isn't pleasant, but why are you here?
Angel turns in a slow circle, taking in the WOODEN CROSS on the counter and the SHATTERED CHINA DOLL in the corner. He raises his head slightly and breaths through his nose.

ANGEL
She was here.

MICHAEL
She who?

ANGEL
(voice rising; agitated)
Drusilla. Vampire.

MICHAEL
(cautiously; nodding)
There was a vampire here earlier tonight, yes.

ANGEL
Did she talk in riddles?

MICHAEL
She said something about "her daddy" and "flying with no wings...."
(his voice trails off)
She was talking about you, wasn't she?
Michael gazes down uncomfortably.

MICHAEL
So that was Drusilla.
The one you sired. The one you...drove her crazy first.

ANGEL
(still looking around the shop)
Yes.

MICHAEL
She was here. Looking for you.
Angel finally looks at Michael.

ANGEL
Did you see which way she went?
Did she say anything about where she was going next?

MICHAEL
(appearing distracted)
No. She didn't say anything like that.
But I can find her.
He hurries over to a cupboard tucked behind the counter and starts pulling out glass bottles and bags of herbs. He places them on the counter.

MICHAEL
It's a simple locator spell. She was here, so I can track her.
It'll only take me a couple of minutes to set it up.
Michael turns away from the cupboard and rummages around under the counter. Angel idly pokes through a battered tin on the counter heaped with small objects. He pulls out an ornate jeweled hat pin and a buttonhook with a carved ivory handle.

ANGEL
(absently)
Mind if I borrow these?
Michael brings up a street map of Los Angeles and sets it down.

He looks at the items in Angel's hand with a puzzled expression.

MICHAEL
Help yourself.
Angel pockets the items.
MICHAEL
You can take the map with you when you go,
and track her that way.

ANGEL
(distracted)
Yeah, O.K.
Suddenly, Angel's cell phone rings. He glances down at his pocket, then awkwardly yanks the phone out, clicks the connection, and raises the phone to his ear.

MALE VOICE
Angel. Cracker.
I got someone who says he's seen a vamp like that,
down in the warehouse district south of Little Tokyo.

ANGEL
(murmuring to himself)
Near the monastery.

CRACKER
What's that?

ANGEL
Nothing. Thanks. I appreciate it.
Angel disconnects the phone and lowers his hand. He starts towards the door.

Michael gazes up after him, his expression bewildered.

MICHAEL
Angel, what about the locator spell?
Angel stops and looks back at him.

MICHAEL
It'll help narrow things down.
Angel turns back to the door.

ANGEL
I don't have time for that.
Angel pulls the door open and exits the shop, leaving Michael looking flummoxed. Then irritability settles over his features. One by one, he picks up his paraphernalia and shoves it back in the cupboard.

MICHAEL
Why do I bother.

INT. SPIKE'S CAR - EVENING

Spike peers out the front window of his car.

SPIKE
Bloody ponce. Go look for Angel, go find Angel.
Why should I care if Angel's out prancing round the city?
Spik'es POV - out the right hand window of the car. We see a vampire DRAGGING A KICKING AND SCREAMING YOUNG MAN down the street.

Spike SLAMS ON THE BRAKES. He throws the car into park and flings the door open.

EXT. CITY STREET - EVENING

Duster billowing, he strides around the front of the car and over to the vampire, pulling out a stake from inside his coat as he goes.

The vampire frowns at him dismissively.

VAMPIRE
Dude, this is my supper. Go find your own.

SPIKE
(aggravated)
I. Don't. Have. Time. For. This!
He SLAMS THE STAKE into the vampire's chest, grabbing the young man by one hand as the vampire DISSOLVES INTO DUST. Spike yanks the man upright and gives him a small, but not ungentle, shove down the street.

SPIKE
Go home! Or go somewhere else.

YOUNG MAN
(jittery with fright)
Thanks man, I was just....
Spike turns back to his car, stowing the stake back in his coat.

SPIKE
Don't care. Got places to be. People to find. Go home.
The young man stands and watches Spike go back to the car and drive off.

YOUNG MAN
(looking around)
Where am I again?
The young man checks out the number on the store beside him and starts down the street. We follow. As he crosses to the next block, we see Angel's Cavalier pass in front of him.

We leave the young man to follow Angel's car.

INT. ANGEL'S CAR - EVENING

Angel grips the steering wheel with steady hands, his eyes intent on the road.

INT. RALPH'S APARTMENT - EVENING

Ralph scrutinizes Gunn.

RALPH
So, you wanna lead. You gonna lead by example,
brute force, or because you're the golden child?

GUNN
Eddie Murphy reference.
That's really gonna make me listen to you.
Ralph leans forward and smacks Gunn upside the head.

GUNN
(angrily)
Hey!
Gunn raises his hand and rubs the side of his head.

RALPH
That right there would be brute force leadership.
And just judging your whole bearing, I can tell...
you've been a leader before
and got a lot of use out of that method.
(beat)
Is that how you want to lead now?

GUNN
(shaking his head somberly)
No. I'm...not that guy anymore.
Ralph sits back in his seat and takes a puff from his cigarette.

RALPH
Didn't think so.
Kara is sitting at Ralph's small dinette set. She clears her throat and both men turn to her.

KARA
Besides, you start acting like that, nobody'll listen to you. Ever.

RALPH
Thought so. O.K., so brute force is out. What's left?

GUNN
I think the best way to lead is by example.

RALPH
(scoffing)
You gonna lead every charge, waving your axe and yelling
"They can take our lives, but they'll never take our freedom"?
(off Gunn's slightly bewildered look)
I watch a lot of movies. So?

GUNN
Uhhh.
Ralph leans forward again and jabs a finger at him.

RALPH
"Example" is only the first step.
Delegate. De-le-gate. Learn that word.
You can't be everywhere.
A guy like you, trying to manage so many groups?
You need to build up a corps of lieutenants.
People you trust. People who can think on their own,
but stay with your mission.
(he smiles nostalgically)
Of course, when I did it, we'd negotiate with the head of a gang
taking over our territory, offer to split the profits with him,
and if that didn't work, move down to the next guy.
See if he was more...amenable.
You might not wanna do that so much. Up to you, though.
Gunn sits back in his chair with an impatient frown. Ralph catches his expression and sits back himself, scrutinizing Gunn.

After a second, Gunn leans forward and looks Ralph in the eye.

GUNN
Mr...er, Ralph.
Is this going anywhere?
'Cause as much as I'd like to sit here all night
drinking tea with you,
I don't need a lecture on leadership,
and I have better things to do with my time.
Now Kara brought me here because you have a lot of
connections and influence in the Pasadena area.
So why don't you tell me about the people here--
what they think's going on, what they think
ought to be done about it.
Ralph throws Kara an impressed grin.

RALPH
You were right about this guy.
Kara nods.

Ralph turns his attention back to Gunn.

RALPH
O.K., Mr. Gunn. Let's talk about what people do when
they've lost all faith in the government to protect them, shall we?

EXT. DARK CITY STREET - EVENING

Angel's Cavalier is stopped in the middle of a street. Inside, we can see Angel looking rather intently at a building across the street from him. He gets out and walks over to the building. On the sidewalk, he bends down and picks up a FILMY BIT OF CLOTH. He presses it up to his nose. He looks around, a determined expression settling on his face.

ANGEL
Dru?

FADE TO -

EXT. A LONDON STREET - NIGHT (FLASHBACK)

SUPER LEGEND: London, 1860

Angelus presses a plain white hankerchief to his face, then drops his hand to his side.

ANGELUS
Drusilla.
He smiles, tucks the hankerchief into his waistcoat pocket, and glances back down the street.

LONG SHOT down the cobblestone street. We see a lone woman hurrying in his direction.

Angelus slips into a doorway. We hear footsteps growing louder. The woman passes through the frame.

Angelus steps out of the doorway.

ANGELUS
Excuse me, ma'am?
The woman stops and turns to face Angelus. She is middle-aged and matronly.

ANGELUS
Did I not see you in church last Sunday?
The woman's POV - Angelus is smiling, looking quite the prosperous, merchant-class gentleman.

WOMAN
You may have.

ANGELUS
Then permit me to escort a lady safely home.
There are cutpurses and rogues out tonight, an' I would sorely
hate to see a lady such as yourself brought to grief.
Father Innis himself has preached the need to protect our gentle ladies.
The woman is clearly reassured by Angelus' mention of her pastor. Angelus steps to her side and crooks his arm. The woman slips her hand inside. They start walking.

ANGELUS
And if I might inquire...where is your husband tonight?

WOMAN
He is tending to business in the City. Some sort of
crisis in shipping. I'm sure I don't understand it at all.
She laughs gaily and waves her free hand in the air.

ANGELUS
Ah.
A quick smirk plays over Angelus' face, then a spurious look of concern replaces it.

ANGELUS
And your lovely daughters? Surely they're safe in the house?

WOMAN
Of course.
(she looks rather askance at Angelus)
My daughters are quite sensible.
And we're no more than a block away.
Angelus stops, drawing Drusilla's mother to a halt with him.

ANGELUS
(with keen interest)
No more than a block?
He points to the one house with the outside gas lights on.

ANGELUS
Then that one is yours?
Drusilla's mother is starting to look alarmed. She tries to pull away from him.

DRUSILLA'S MOTHER
Yes. And I believe that I can make my own way there.
She tugs against Angelus' hold again, a little more forcefully this time.

Angelus looks down briefly, then CLAPS HIS HAND over her mouth and VAMPS OUT. The woman's eyes widen in fear. She starts to struggle in earnest.

ANGELUS
You're but a means to an end, m'dear.
A delicious means, but a means nonetheless.
He BITES INTO HER NECK. Her struggles get slower and slower until they stop altogether. Angelus raises his head from her neck and licks his blood-stained lips. He shakes off the vampire.

ANGELUS
Now, where did I leave that basket?
CUT TO - he drops the body behind a tall hedge and walks unhurriedly back to the doorway where he was first hiding. He pulls out a LARGE WICKER BASKET with a lid and strolls back to the body.

PULL BACK to a LONG SHOT of Angelus. He goes behind the tall hedge again. After a moment, we start to hear some very unpleasant sucking and tearing sounds, and can see the obscured silhouette of Angelus stuffing something into the basket. We really don't want to get any closer.

TIME CUT TO - Angelus carries the now (thankfully) covered basket up to the house he indicated to Drusilla's mother earlier. He approaches to the doorstep and sets the basket down. He fusses with the basket, turning it this way and that, nudging it closer to the door, then pulling it back a touch. After he's satisfied with how the basket looks on the doorstep, he reaches into his waistcoat pocket and pulls out a length of pale colored ribbon and a piece of paper. He threads the ribbon through a hole in the paper and ties the ribbon to the basket's handle.

As he walks away from the doorstep, a gentle breeze flips the piece of paper over so we can see what is written on it.

INSERT - the PAPER - there is an exquisite drawing of a long-stemmed rose in full bloom with the name "Drusilla" in elegant, flowing Victorian script.

INT. SPIKE'S CAR - PRESENT DAY

Spike is stopped in front of Illyria's building, gazing at it as if debating with himself if he wants to go in. Finally, with a disgruntled frown, he opens his car door and gets out, slamming the door behind him and leaving the engine running.

EXT. ILLYRIA'S LIBRARY - EVENING

SPIKE
One urge to do a lute solo and I'm gone.
He trudges up the stairs and pushes the doors open enough to get through.

INT. LOBBY

Spike stands just in front of the doors.

SPIKE
Illyria?
He listens to his voice trail off into faint echoes and moves a little deeper into the lobby.

SPIKE
Illyria? Blue?
There is a faint flicker of movement to his right. He turns toward it, hands out in a conciliatory manner.

SPIKE
Illyria?
(to himself)
This could get old real fast.
Illyria steps out of the shadows, holding a small axe.

ILLYRIA
I am here. What do you want?

SPIKE
Um, how've you been?
Illyria says nothing, but starts to swing the axe gently back and forth. Spike eyes the axe-swinging and backs up a step.

SPIKE
And I can see that you're just peachy.
Has Angel been here tonight?

ILLYRIA
Yes. He reeked of spirits just as you do.

SPIKE
Did he happen to mention where he was headed?

ILLYRIA
He did not.

SPIKE
(turning)
Right. I'll just show myself out then. Uh...thanks.
Illyria watches him go, her expression going from impassive to clearly, darkly, irritable.

EXT. LIBRARY - EVENING

Spike stomps down the steps, clearly mad at the whole world. He gets back into the car, throws it into gear, and floors it down the street.

TIME FADE TO - INT. SPIKE'S CAR - EVENING

Spike's POV, through the windshield - the MONASTERY is just in sight when a RED WARNING LIGHT BLINKS on the dash, followed quickly by a horrible grinding noise. The car shudders to a halt.

Spike pounds on the steering wheel in impotent rage and screams, his face contorted. After a couple seconds, he drops his head onto his clenched fists. Then he sits up and triggers the hood release and gets out of the car.

EXT. SPIKE'S CAR - EVENING

His shoulders are slumped defeatedly as he raises the hood and waves away a CLOUD OF BLACKISH SMOKE. He peers into the engine's innards, poking here, checking a dipstick there, then SLAMS the hood down.

He gazes at the BMW with a deep expression of disgust on his face.

SPIKE
Crap. It's always the oil.
He kicks the tires a few times before heading off at a slow walk to the monastery.

SPIKE
(grumbling)
I miss the Buick.
EXT. MONASTERY - EVENING

Spike pulls the door open and enters, letting the door slam behind him.

INT. MONASTERY FOYER

He leans back against the door. His eyes close.

THROUGH THE DOORWAY INTO THE SANCTUARY - we see FRED stand up and walk towards him. She enters the foyer and reaches out to him, then lets her hand drop.

SPIKE
(tiredly)
What is it, luv?
His eyes open and he musters a smile for her.

FRED
Are you going out again any time soon?
INT. SANCTUARY - EVENING

Spike heaves himself up from the door and enters the sanctuary. Fred follows. Spike walks over to a pew and collapses into it.

SPIKE
Yeah. Soon as I sit here a minute. Fried the Beemer.
Cheap hunk of metal, anyway.
That old Buick was tougher.
Fred perches on the edge of a pew beside him.

SPIKE
Gonna head out on foot, keep trying to find Angel.

FRED
Would you take me to Gunn when you do?
Fred's twisting the hem of her skirt between her fingers as she talks.

SPIKE
(puzzled)
Sure, pet. How come?

FRED
I was just thinking...what if Illyria shows up here?
(she glances down, as if looking through the floor)
I mean...that room down there is hers, not mine.
And you still haven't removed her from the invitation spell.

SPIKE
(sitting up)
Well...O.K. Yeah. That's a good point.
(he stands)
I'll take you there then, if that's where you'd rather stay.

FRED
Thank you.
Fred rises from the pew and goes back to where she was first standing. She drags a large duffle bag back over to Spike, sets in on the pew, and rummages through it for a minute. Then she raises something from it. It is a CROSSBOW with what looks like an engine attached to it.

She swings it up, POINTING THE BOLT right at Spike.

FRED
I got bored waiting for you to come back.

BLACK OUT.

END OF ACT THREE

Act Four

INT. MONASTERY SANCTUARY - CONTINUOUS

Fred still has her turbo-charged crossbow POINTED STRAIGHT AT SPIKE.

His eyes widen in shock. He dives for the floor below the pew.

SPIKE (o.s.)
Fred, pet, d'ya think you could put that away?

FRED
(casually)
Sure, of course.
She leans down and drops the crossbow back into the duffle bag, then rummages through it and brings up a large book. She opens it, and rests the spine on the underside her arm.

FRED
Did you think I was gonna pull the trigger?
Spike gingerly levers himself up from the floor and sits back down on the pew.

SPIKE
The thought had crossed m'mind, yes.
Just a reflex when pretty girls point crossbows at me.
Fred smiles apologetically at him.

SPIKE
You got bored, huh?

FRED
(flipping through the pages of the book)
Well, that, and I've been thinking about our "friend" Illyria.

SPIKE
You mentioned that.
She looks up at him. Her face has that old "joy of discovery" look.

FRED
I found this book.
(she shoves the book forward slightly)
It's Brendon's
"Metaphysical Realities Dealing with the Physical Body".
And I believe there might be a way to just...shove her out of there.
Metaphysically speaking, of course.
Spike looks at her with an uncertain expression.

SPIKE
Of course.
Fred brings the books down, puts it back in the duffle bag, and zips it closed. Spike reaches for the handle of the bag.

SPIKE
We'll take the tunnels over to Gunn's.
Not a place Blue liked to hang out much.

FRED
O.K.
Spike hefts the bag over his shoulder with a muffled "oof."

EXT. MONASTERY - EVENING

They head out the front door and down the steps. Spike stops to scout the street, then heads over to a sewer grating.

FRED
(pointedly)
There's been no sign of her, right?

SPIKE
(with a comforting smile)
Don't worry, she's not here.
He drops the duffel bag and kneels down to pry up the sewer grate.

SPIKE
(with a flourish)
After you, pet.

EXT. A DARK ALLEY - EVENING

Angel walks along, keeping to the side of the alley and using trash cans and packing crates for cover. He peers around, obviously looking for something. He's got the piece of filmy fabric he was smelling earlier in one hand. He comes to a large metal door and stops in front of it. As he reaches out to push it open, we -

DISSOLVE TO - EXT. CONVENT - NIGHT (FLASHBACK)

SUPER LEGEND: London, 1860

Angelus and Darla stand in front of a small wooden door set into a large stone wall. Darla looks up at him, giving him a stern look.

DARLA
So, is this it? Will we finish this tonight?

ANGELUS
(grinning wolfishly)
Yes.
(he takes a deep breath)
Can y'not smell them? All the purity'n there?

DARLA
(flatly)
The only thing I smell right now is the stench
from an uncleaned drain.
Angelus turns to Darla and cups her face in his hands.

ANGELUS
Ah, Darla, t'will be glorious.
A slaughter of the innocents. Now faint.
Darla rolls her eyes, but obligingly SWOONS into Angelus' waiting arms. He cradles her against his chest and kicks at the door several times.

ANGELUS
Help! Please help us!
(to Darla)
I just love weddings. It's all that "until death do us part."
He kicks the door a few more times. A small window in the door slides back. Two eyes peer out.

WOMAN'S VOICE
(timidly)
What is happening here?

ANGELUS
(pleadingly)
M'wife. She just fainted. Please, can you help?

WOMAN'S VOICE
(uncertainly)
Bring her inside. Our nursing sister may be able to help.

ANGELUS
Thank you, sister. Surely God himself is smilin' on you now.
With a metal clank, a nun in a brown habit swings the door open, revealing a LONG STONE CORRIDOR. Angelus carries Darla through it and stops.

INT. CONVENT CORRIDOR - NIGHT

He turns back to the nun, who is shutting the door, and drops Darla to her feet.

ANGELUS
Sister?
The nun turns to Angelus, who has VAMPED OUT. She freezes, her face filled with fear. Angelus SNAPS HER NECK and lets her crumple to the ground. Then he takes Darla's hand. Together, they start down the corridor. Angelus' free hand trails along the corridor wall. He is humming tunelessly.

They come to the end of the corridor and stop in front of two large carved DOORS that fill the wall space. A smile spreads over Angelus' face. He puts both hands on the doors and leans forward. We can hear a hymn faintly through the doors.

ANGELUS
(sing-song)
Dru-sil-la...
(normal voice)
...I'm here.
He turns to Darla and bows, then THROWS OPEN THE DOORS with a flourish.

An elderly nun is standing there. Darla VICIOUSLY BACKHANDS HER across the face.

TIME-CUTS TO A SERIES OF GRUESOME SCENES -

INT. CONVENT CHAPEL - NIGHT

Angelus ADVANCES ON A GROUP OF NOVICES trapped in a corner of the chapel. One of the novices raises her hands to her throat, inadvertently pushing her crucifix towards Angelus. He drops back a step. The novice, noticing this, steps forward. Angelus snarls at her and RIPS HER THROAT OUT with one hand. The rest of the novices scream and cover their eyes.

INT. CONVENT CORRIDOR - NIGHT

Darla drinks from a weakly struggling nun. We see more bodies at Darla's feet. Her dress is now torn and blood-spattered.

INT. CONVENT CHAPEL - NIGHT

FROM BEHIND - Angelus crouches over the body of a nun. Then he rises and TURNS AROUND. Blood is smeared around his lips. He wipes his mouth on his sleeve.

INT. CONVENT CORRIDOR - NIGHT

Darla shoves a young nun through a window.

INT. CONVENT CHAPEL - NIGHT

Angelus stalks towards the altar. For the first time, we see DRUSILLA, dressed in a simple brown novice's gown. She is cowering there, clutching her crucifix and crying.

INT. SEWER TUNNEL - PRESENT

Spike and Fred stand beneath an access shaft.

SPIKE
Want me to go up first? Check things out?

FRED
Go ahead. But I'll be right behind you.
Don't step on my fingers.

SPIKE
(smiling)
Then don't stick 'em under my boots.
He starts climbing the ladder, duffel bag still over one shoulder. Fred, true to her word, is right on his heels, grabbing the rungs right beside his boots. Spike stops at the top and with one hand heaves the manhole cover open. Fred cringes at the sound of the cover HITTING the street above.

Spike looks down past his arm.

SPIKE
Sorry, pet.
Fred frowns up at him.

EXT. CITY STREET - EVENING

Spike climbs the rest of the way out of the shaft, then turns to help Fred. She clambers out on her own.

SPIKE
(turning and pointing)
The hotel's just across the street there.
Fred frowns at him again, then turns, taking in the hotel.

FRED
I know where it is.
Her POV, looking across the street - the familiar five-story white HYPERION HOTEL. The only lights on are coming from the first-floor lobby and front courtyard.

FRED (cont.)
I used the tunnels all the time when we lived here.
(she shrugs)
Mostly the ones going into the basement, though.
Fred starts forward. Spike hurries after her, then reaches over to take her hand. Fred brushes it away, then stops abruptly, staring up at the hotel.

SPIKE
Fred?

FRED
(looking worried)
Do you...do you think Gunn'll be happy to see me?

SPIKE
Of course.
Slowly, she starts forward again. Spike takes several long strides until he is walking just slightly ahead of her.

SPIKE
Cut the heart out of all of us when you...died.
(to himself)
And how sick am I of saying that to girls I love?
(to Fred)
Come on, pet.
They cross the street.

INT. HYPERION LOBBY - EVENING

Lorne leans against the lobby desk, looking at Gunn, who is sitting on one of the round couches, a long sword leaning up against the cushion beside him.

LORNE
It sounds like things are going well.
This Ralph guy--someone we want to keep on
our nonexistent payroll?

GUNN
Maybe. He knows his neighborhood.
Although I suspect that's 'cause he's set himself up
as a bit of a semi-benevolent warlord.
Still, I think he's worth listening to...
(he chuckles sardonically)
...if you can get past all the movie quotes.

LORNE
As long as he doesn't start quoting "Shaft" at you,
I think you're O.K.

GUNN
(glancing up with a smirk)
Original or Samuel Jackson remake?

LORNE
Either.
The door opens.

Gunn rises to his feet and turns to face the door, his left hand going behind his back to reach for his sword. Lorne freezes in place.

SPIKE
Evenin', gents. No need to get the weapons out just yet.
He steps through the doors, tugging Fred along with him.

SPIKE
Brought someone to see you.

LORNE
Fredkins!!
Lorne rushes to hug Fred, but Gunn is stopped in his tracks. Spike gets out of Lorne's way and goes down the stairs to stand by Gunn.

LORNE
How are you, sweetie?
And why haven't you come over earlier?
Fred is blushing but pleased.

FRED
Oh, you know. Had to invent some things.
At these words, Spike lets the duffel bag drop gently to his feet.

SPIKE
And you're welcome for carrying them.
(to Gunn)
Well? Go say hello, be polite.
Gunn finally snaps out of his "Oh look, Fred's here" daze and walks over to her. She smiles at him.

GUNN
Hi, Fred.

FRED
Hi.
He looks at her with warm appreciativeness for a second, then grabs her in a big hug and lifts her off her feet. He sets her down and rubs his eyes.

GUNN
So, what's up?

SPIKE
Fred wasn't feeling terribly comfortable staying
at the monastery, so I brought her here.
(he glances briefly at Fred)
And she was wondering--

FRED
I'd like to stay here, if I can.

LORNE
Of course you can stay here, sweetie.
Lorne reaches down for her duffle bag and starts to lift it. His eyes bug out. He lets go of the handle and stands, smiling nonchalantly and tugging on the hem of his jacket.

Spike smiles at Fred, then brings his hands together.

SPIKE
Right, then. I'll leave her in your hands.
(Spike shakes his head off their curious expressions)
Angel's got a hair across his ass about Dru.
I was out looking for him earlier, but couldn't track him down.
Need to find him.
Gunn and Lorne nod with understanding. Then Gunn gives Spike a sober look.

GUNN
Listen, Spike. I got a call a little while ago from
an old snitch of Angel's named Cracker.
He said Angel was out looking for Drusilla,
and he sent Angel out on a lead he'd found for him.

SPIKE
Yeah, why would he call you?

GUNN
It's an area of town some of my guys hang in.
A warehouse district south of Little Tokyo.
Spike nods.

SPIKE
Right, then. That's where I'm off to.
He waves to Fred and heads for the door. Gunn hesitates for a second, then makes up his mind and goes back for his sword. He raises it up.

GUNN
(advancing towards Spike)
I'll come with you.

SPIKE
(lifting one eyebrow)
You sure?

GUNN
Yeah. Wouldn't want you to have to put
the smack down on one of my guys.

SPIKE
(rolling his eyes)
Right.
Gunn turns and gives Fred another warm smile.

GUNN
I'm glad you're here.
(Fred smiles)
Be back in a while.

SPIKE
(to Fred)
And it won't take but half a tick, pet.
He and Gunn turn and head out through the doors.

We can hear Gunn's voice grow fainter as they recede.

GUNN
"Half a tick"? You English are weird.

SPIKE
Sod right the hell off.

EXT. AN ALLEY IN A WAREHOUSE DISTRICT SOUTH OF LITTLE TOKYO - EVENING

Spike and Gunn are crouched behind a large trash can. We hear loud shouting and metallic clanging.

SPIKE
This happen often around you?

GUNN
First time for everything.
Gunn takes a quick peek out from behind the can.

His POV - we see a group of ten or so horned MITHRAL DEMONS, all carrying weapons. One of the Mithral is engaged in a shouting argument with a small group made up of humans, Madowk warriors, and green Ly'Chymni demons.

GUNN
It looks like there's some of my crew just behind them.

SPIKE
The cavalry, eh? Good to know.
We gonna go out and do something?
Gunn takes another peek.

GUNN
Yeah. I've talked to some of these Mithral before.
Things might go well.

SPIKE
Or they might not. Good odds, those.
They duckwalk out from behind the trash can and stand up.

GUNN
(shouting)
Hey! What's happening here?

SPIKE
(rolling his eyes)
Do you have to ask that?

GUNN
(reprimandingly)
Shut up. This isn't your business anyways,
you're just here.
A Mithral demon turns to Gunn and Spike.

MITHRAL DEMON
We're just doing some shopping, human.

GUNN
Doesn't look like shopping to me.
No bags with logos on them, no list, no nothing.

MITHRAL DEMON
(taking a step towards Gunn)
This isn't your business.
The conversation with Gunn's crew has broken off by now. The crew is slowly trying to maneuver over to where Gunn is, eyeing the Mithrals closely.

GUNN
(advancing on the Mithral)
You're talking to my crew, that makes it my business.
Does the rest of your clan know you're out?
'Cause the last time we talked to them,
some of them wanted out of the city.

MITHRAL DEMON
We're getting supplies.

GUNN
I told Anne to go back to your clan leader and offer help.

SPIKE
Where's the fighting?

GUNN
(muttering)
Shut up, Spike.

MITHRAL DEMON
(lowering his weapon)
You did?

GUNN
Yes. If you want out of the city, we'll help you get out.
But you have to let us help you.
The demon gathers his clan members around him. Gunn's crew takes this opportunity to finish their maneuvering. They cluster at Gunn's back.

SPIKE
(somewhat plaintively)
We gonna fight or what?
Gunn turns to Spike while keeping one eye on the Mithrals.

GUNN
Hopefully not. I'd rather solve this without fighting.
Just as Gunn finishes his sentence, the Mithrals EXPLODE INTO ACTION. The head speaker charges Gunn, who brings his sword up to parry the blow.

SPIKE
(yelling)
Guess you were mistaken!

GUNN
(grunting with effort)
Guess I was!
Spike blocks a blow from a Mithral and KICKS it in the stomach. As the demon doubles over in pain, he grabs the demon's head and twists sharply. The demon collapses to the ground. We see Gunn with his back to the trash can, fighting the head Mithral. Gunn's crew is spread out, fighting the rest of the Mithrals.

Spike ducks a roundhouse and drops to the ground, sweeping the legs out from under the Mithral he is fighting. He rolls to his feet and grabs a dagger from the belt of a downed Mithral. He lunges forward and down, slitting the Mithral's throat.

Gunn continues to fight the head Mithral. Suddenly, the Mithral commits everything to a forceful lunge. Gunn dodges the lunge, letting the Mithral stumble into the trash can. Gunn pivots sharply and DRIVES HIS SWORD through the Mithral's back.

The rest of the Mithrals see this and the fighting dies down. Gunn pulls out his sword out and turns around.

GUNN
(panting heavily)
Go back to your elders. Tell them that I'll be paying
them a visit to explain what happened.

MITHRAL
(nastily)
Why should we?
Spike moves up beside Gunn.

SPIKE
(shaking out his hands and grinning)
Because he said so.

MITHRAL
This wasn't our idea.

GUNN
(exasperated)
So why'd you start the fighting, then?

MITHRAL
(pointing to their dead leader)
Because he did.

GUNN
And look where that got him.
The Mithrals consider this for a second, then turn and go. Spike moves to follow them, but Gunn grabs his arm.

GUNN
No. Leave it.

SPIKE
Never leave a live enemy.

GUNN
You learn that from Angelus?

SPIKE
(considering)
More Slayers, really.

GUNN
I gotta deal with this now. If I don't....
His voice trails off and Spike shrugs.

SPIKE
Go play demon U.N. I got places to go.
Gunn circles around to his crew, then turns back.

GUNN
Thanks.

SPIKE
What?

GUNN
(smiling)
Thanks. You were not completely useless.
Spike grins in response, lifts a jaunty wave, and turns to head down the street.

TIME CUT TO - EXT. UNIQUE ANTIQUES - EVENING

Michael is outside locking the door. He has two medium-sized suitcases beside him. Spike comes up behind him, looking puzzled.

SPIKE
Hey, Michael.
Michael doesn't turn around. He takes his key out of the lock, then raises his hand and sketches a symbol in the air. A wash of orange covers the door quickly, then fades. He turns around to face Spike once it does.

SPIKE
(pointing at the bags)
What's this now? Deserting us in our time of need?

MICHAEL
Deserting you?
(he glances down at the bags)
Oh, no.
(he looks up)
Just moving a few things to a new location.
Spike crosses his arms.

SPIKE
And where would that be?

MICHAEL
(with a sigh)
Some place a little more secure.

SPIKE
In town?

MICHAEL
Yes, in town.
If Angel really wants to know where I'll be,
all he has to do is ask.

SPIKE
I'm asking.

MICHAEL
(frowning wearily)
Look, I'll send you a number where you can reach me.
But you can tell Angel that if he wants me doing mojo
to find "agents" of the Senior Partners,
I'm not going to do it.

SPIKE
(grudgingly)
I can understand that, but shouldn't you tell him that yourself?

MICHAEL
He won't listen to me. He's so focused inward--
on Drusilla, on the Senior Partners. Not on anyone else.
He used to look at the suffering of others and want to do something.
I've talked to people he's helped. I've talked to Gunn, and you, even.
But now, it's like he can't see outside his little narrow corridor.
He raises his hands to the sides of his face like horse blinders.

MICHAEL (cont.)
(lowering his hands)
And that's not what the people of this city need.
Michael grabs up the handles of his bags.

MICHAEL
You can tell him that, too.

SPIKE
What makes you think I'm going to find him?
Or that he'll listen if I do?

MICHAEL
Then you know what I mean.
Michael walks off.

TIME CUT TO -

EXT. A LARGE DARK WAREHOUSE BUILDING - LATER THAT NIGHT

LONG SHOT - looking down the length of the building. There is a FAINT LIGHT in one of the upper story windows.

WE ZOOM UP towards the light. THROUGH THE GLASS - flickering candles behind bent window bars.

INT. UPPER STORY ROOM - NIGHT

PAN THROUGH the bars to a long TABLE. There are candles at each end and a group of five or six large tapers in a candelabra in the middle. A long fork with razor sharp tines, a pair of pliers, a hat pin, wire cutters, a buttonhook, and other assorted objects also lie along the table. Continue the PAN to another long table, this one bare, and then UP ABOVE the table to a barred and broken window that has boards nailed across it in the shape of a CROSS. Then -

OVER-THE-SHOULDER SHOT of someone standing at the table. A HAND in a thick leather glove reaches out and fingers the hilt of what is revealed to be a large KNIFE. The SAME HAND moves over to a set of thumbscrews, slowly running one finger over the smooth metal.

WE HEAR a metallic rattling noise.

We continue PANNING as if we are walking with the hand's owner. The same hand glides over various objects of pain and torture, lingering on some, touching all of them at least briefly. There is NO SOUND except the same rattling noise. Finally, the HAND picks up a large glass jar.

We PAN LEFT and UP from the table to a brick wall. The rattling noise accompanies us.

Then we PAN SLOWLY ACROSS until we see a pair of MANACLES. The rattling noise becomes louder and we see the manacles moving slightly.

The PAN continues until we can see the chains and where the chains are bolted to the wall. The chains move back and forth.

PAN DOWN again. We see DRUSILLA manacled to the wall. Her filmy dress is TORN at the collar. On the underside of her raised arms, we can see faint BRUISES. Her hair is in disarray. She looks genuinely distressed.

DRUSILLA
I don't like this game any more.
Can't we play something else now?
(beat)
Daddy?
CUT TO ANGEL standing by the table. He has a thick leather glove on his right hand. He picks up the large glass jar, turns, and walks slowly toward Drusilla.

ANGEL
Don't parents always say "this will hurt me
more than it hurts you"?
Angel tilts the jar over Drusilla's bared collar bone. CLOSE IN on the RED, BLISTERING burns caused by the holy water. Drusilla starts screaming in pain.

ANGEL
(over the screaming)
They lied.

BLACK OUT.

TO BE CONTINUED

Comments?

Written by	Lady Starlight and Deeva
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

Drusilla	Juliet Landau
Darla	Julie Benz

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