Existential Scoobies presents
Angel: the Series Season 6
(December 16, 2004)
Written by Masquerade and OnM
PREVIOUSLY, ON ANGEL -
- The gang stands in the pouring rain outside the HYPERION. THE DEMON HORDES approach.
- A DRAGON opens a PORTAL. Angel, Gunn, Spike, and Illyria are sucked inside.
- The Gang and the Wa!Jani Shaman use the dragon's stone to return through the portal to L.A.
- Scenes of UTTER DEVASTATION around Los Angeles.
- The interior of a MONASTERY CHAPEL with high, stained-glass windows.
- Angel, Spike, Illyria and Gunn in the MONASTERY DINING ROOM with a MONK.
- The interior of a MILITARY VAN. Spike and Illyria-as-Fred are in cuffs and shackled to a bench inside the van.
- A former movie studio, now a DEMON INTERNMENT CAMP.
- The interior of a dark, trashed-out movie theater.
- A group of STREET KIDS in a room lined with film canisters.
You know, I don't get why they got those demons all
locked up there like that. Why don't they just kill 'em?
(he shakes his head)
Place like that, packed full of animals, they're just
asking for it.
A sorcerer. And with knowledge of the Old Ones.
- The demon child G'NEA, sitting next to Spike in the internment camp.
My momma said not to tell anybody while I was here.
She said that names give humans power over us, and
then they'll kill us.
- Aerial shot of the interment camp--a HUGE FIREBALL rises up from the open lot.
FADE / CUT TO:
EXT. OUTSIDE THE MOVIE STUDIO DETENTION CAMP - EVENING
CLOSE-UP on the gang's faces as they stare at the flames rising from inside the camp. Fire alarm klaxons BLARE ACROSS THE LOT. In the distance, we hear the WAIL OF MULTIPLE SIRENS.
MEDIUM SHOT - The gang, standing, weapons in hand. Gunn glances towards the sirens' sound anxiously.
Well, here comes the cavalry.
(then, to Angel)
Do we use them for cover, or do we keep the hell out of
Angel is still gaping across the street in shock.
(snapping out of it)
(he looks at Gunn)
Oh, the fire department.
His eyes scan over in the direction of the approaching sirens.
Tough call. The chaos could work to our advantage, but it
could also get us attacked on sight.
We should wait.
ANGLE ON Michael, then back to Angel, who is scrutinizing him doubtfully.
The WAIL OF THE SIRENS is getting closer, now melded with the roar of the fire truck engines. Everyone except Michael glances over towards the sound. Michael gazes pensively at the flames still rising from the studio lot.
There's something very odd here. I'm sensing....
ANGLE on Illyria-in-blue, who raises her sword.
We are wasting time! We can still enter before the fire
containment forces arrive; to delay will only increase our
Michael's attention shoots to Illyria. He sees her raised sword and backs away from her, then turns to Angel.
We have no idea what it's like inside there, or what
caused the explosion. We should wait until it's safer.
Give the firefighters time to do their job.
Angel shakes his head.
No. We're going in.
He motions to Illyria to lower her weapon, which she does, slowly.
Well then, at least let me do the spell,
so we know where we're going.
(eyeing him, puzzled)
You already did the glamour on me. Will it work or won't it?
It will make you appear human to their instruments, yes.
But I don't mean the glamour, I mean the location spell
to find your friend. We shouldn't just rush in there without
knowing where we're going--
I thought you said you'd do the spell once we got in there.
Well...the closer we can get, the more accurately I can
pinpoint his location, especially if he's moving around.
But--but the spell has a pretty good range.
He probably isn't moving around at all. If Spike is even
still alive, he's certainly locked up in a cell or something
somewhere. You don't allow "dangerous" creatures
to run around freely inside a prison.
We don't need his "spell." We can force the information
from one of those in charge.
Please--I only need a moment.
ANOTHER BLARE OF SIRENS heralds the arrival of the FIRE TRUCKS, which are now visible barely a block away, their flashing lights stippling the nearby buildings and intertwining with the shifting light cast by the fire from the compound.
Illyria swiftly moves over to Michael, one hand touching the hilt of her sword. Her voice is dangerously cold and her look is a glare that could melt steel.
This is insane. He is trying to delay us!
Gunn steps forward, holding out a hand at her. He speaks quietly but firmly.
(he looks at Angel)
The dude makes some sense, Angel. I mean look at us,
ready to rush in without knowing where we're going,
(he hefts his axe)
carrying big-ass conspicuous weapons....
Angel ponders Gunn's words, then looks back across the street.
REVERSE ANGLE - Army soldiers have appeared outside the compound and are waving the fire trucks inside.
CUT TO - MEDIUM SHOT OF ANGEL, gripping his sword. He brings it down to his side and shakes his head.
Gunn, we can stand around and wait, but every minute we
do is one more minute Spike's in there by himself. We have
a window of opportunity here, and I'm not wasting it.
We'll find a place inside for you to do your spell, Mr. Barber.
At that, Angel pivots, walks over to the curb, and steps down into the street, taking one discreet glance over at the entrance to the detention camp.
CLOSE-UP on the curb. There is a DRAINAGE GRATE there leading to the sewers below. Angel kneels down, pries it free with his fingers, then drops his sword down into the darkness.
We hear a muffled clang, clang as it hits bottom.
CUT TO Gunn, whose eyes widen. He shakes his head, hesitates for another moment, then walks over to the curb. He gives his axe a sullen once-over.
This is the last we'll see of these, that's for sure.
He carefully inserts his axe into the opening, and releases it down into the sewer.
CUT TO - Illyria, watching this, mystified. Her hand tightens on her sword.
I will not abandon my weapon.
Angel gives her a glare.
Then stay here.
With that, he pivots and eyes the front entrance of the compound. Gunn walks over to his side.
There's a building down the street that has almost no
camera coverage. We'll enter there, find a quiet little spot
for Barber's locator spell.
(with an anxious sigh)
Right. Let's do it.
Angel starts down the street walking briskly. Gunn follows.
REVERSE ANGLE - Illyria, eyeing them coolly. As we HOLD on her, her stubborn frown turns to frustration and then annoyed uncertainty. Finally, she walks over to the sewer opening and glares down at it.
Behind her, Michael clutches his leather "house call" satchel, looking uneasy.
But I...we...there's no....
His eyes turn to Illyria, who is now gazing at her sword with ambivalence. With a scowl, she bends down and thrusts it into the sewer. Then she replaces the grate, rises, and stalks off after Angel and Gunn, pointedly ignoring the bewildered Michael.
CLOSE-UP on his face as, slowly, he turns to follow her.
J. August Richards
EXT. THE DETENTION CAMP - EVENING
A WIDE SHOT of the lot as seen from the gang's previous position. The original central pillar of flame has finally disappeared from view, and the fires remaining are those that have spread to adjacent structures. We can hear the sound of WATER STREAMS GUSHING from fire hoses, the FRANTIC SHOUTS of the soldiers, and the HISSING OF STEAM rising from CREAKING WOOD AND METAL BUILDING FRAMES.
EXT. THE DETENTION CAMP - OUTSIDE BUILDING 12 - EVENING
WIDE SHOT - Fire trucks are scattered around the area between adjoining buildings. Fire fighters, Army soldiers, and National Guardsmen are working together to deal with the various blazes, which are being gradually extinguished as we watch.
CUT TO - The center of the lot, where we see a SMALL, SHALLOW CRATER burned into the concrete, glowing a dull orange-red in spots. In the background, we can see soldiers and medics lifting and carrying away bodies of the dead and wounded humans. Most of the demon bodies are still lying where they fell or were blown by the explosion.
CUT TO - A CLOSER SHOT OF THE CRATER, approximately fifteen feet away. We see the CAPTAIN and several other soldiers gazing down at the crater. Beside the Captain, kneeling, is an ORDNANCE TECH. GWEN RAIDEN is also standing close by, her hand pressed to her down-turned forehead, wincing.
Something doesn't jibe here. It should be larger than this.
The Ordnance Tech gapes at him.
Chrissakes, how large do you want it to be?
He gestures around him at the buildings, the trees, and the scorched movie sets.
Look at the damage!
Gwen glares at the Tech between her fingers.
That's just it, you idiot. This size hole shouldn't have
caused that much collateral damage. This isn't a
conventional bomb--one of the demons did this.
The Tech glares back at her dismissively.
(sucking in his impatience)
With all due respect, ma'am, I haven't completed
my assessment. And...what is your business here?
(muttering under his breath)
...Christ all mighty. Always have to look for the
(then, more audibly, and with attitude)
I say this is the work of those damn
(he shakes his head)
...Really oughta spend some time here before they
get all tree-huggin'-friendly with these monsters.
Never mind, Fredericks, just follow your training. And if
you need help, ask for it. This is a priority.
He turns back to Gwen and angrily jabs a finger at her.
And as for you, Ms. Raiden, you will address my men with
the proper respect. If I hear you use such a derisive term
with one of them again, I'll have you stripped of whatever
privileges you still have remaining.
About the only thing you could strip. Otherwise,
there'd be some...shocking results, wouldn't there?
The Ordnance Tech snickers, then recovers at once as the Captain glares at him.
Your job. Now, please.
The Ordnance Tech nods and hurries off, gesturing to several of the surrounding soldiers.
You should go get that head wound checked.
I think the infirmary's a little busy at the moment.
The Captain stares one last time at the crater, then starts across the lot towards Building 12.
His POV - THE EXTERIOR OF BUILDING 12. The former studio/warehouse is scorched and pitted in numerous places along its walls. The majority of the windows gape open, their glass shattered by the explosion, but otherwise the building is still standing.
REVERSE ANGLE - Gwen walks quickly to catch up with the Captain.
(reaching his side)
You know damned well I'm right. So why did you order a
The Captain doesn't respond. He continues walking towards the garage door entrance.
ANGLE on the entrance - we see soldiers clutching rifles and collar-trigger PDAs busily herding the remaining demons back into the building.
Gwen gazes at the creaky-looking structure nervously, then at the Captain.
Are you sure you want them back in there? The building
might fall down and kill them all.
The Captain finally halts his forward movement and turns back towards Gwen.
(stern, but clearly exhausted)
I'm going to interview the witnesses now, even though I'd
very much like to just go back to my quarters and get some
sleep. Make up a list of everyone who was out there at the time
of the explosion and make sure they get to my office.
Start with the vampire and the Frehmayn.
(he pauses, then looks her in the eye)
And then report to the infirmary.
He turns to enter Building 12.
Gwen frowns and salutes behind his back in a haphazard manner, like Hawkeye Pierce to Frank Burns -
Then her attention is caught by a group of seven soldiers passing by carrying stretchers. Two of the stretchers hold bodies covered with BLOODIED SHEETS. The man on the third stretcher has been badly wounded but is still alive. He is the YOUNG SOLDIER from Episode 4, the survivor of those who watched Nina metamorphose into her wolfen form.
The soldier who is not helping with the stretchers, a MEDIC, signals the Captain with his hand. The Captain stops. The Medic gestures to the others to continue on to the infirmary building. Then he pulls the Captain aside. They converse in hushed, barely audible tones.
Gwen stops. We see her head tilt as she strains to overhear.
The Medic shakes his head vigorously.
You've got to be kidding me!
After this? Are you out of....?!
Gwen smiles, thin-lipped, then turns and walks out of frame.
INT. BUILDING 12 ADMINISTRATIVE HALLWAY - EVENING
SPIKE is seated on a small wooden bench just outside the door to the CAPTAIN'S OFFICE. On the opposite end of the bench, to Spike's right, is G'NEA. Both are wearing their METAL DECAPITATION COLLARS. Beyond them near the door stands a UNIFORMED NATIONAL GUARD MILITARY POLICE CORPORAL, his eyes on them.
G'nea stares into space, her eyes unfocused and hardly blinking. Spike brushes some soot and small flecks of debris off of his jacket casually, alternately eyeing the door to the Captain's office and then G'nea. We HOLD for about ten seconds on the two of them. Then Spike's eyes settle on G'nea.
Look, don't worry. I'm not gonna let them hurt you, or
take you away. I reckon they just want to ask us some
questions about the fire.
(he forces a grin to his face)
As soon as we're done, we'll go ask around about yer mum.
I'll rough up some of those bums. Somebody'll know what
happened to her.
G'nea continues to stare blankly at the floor ahead of her.
Sure it does. Gotta try. Can't be assumin' the worst--that
won't get us anywhere.
G'nea says nothing for a moment. Finally -
They'll kill you. And me, too.
(she finally looks at him)
You can't stop it.
They'll find out.
Find out what?
(quietly, barely audible)
Nuthin' wrong with your name, luv.
It's a perfectly good one.
He reaches out his arm to gently pull her over to his side of the bench. G'nea leans away. Spike stops, holding his arm outstretched for a beat. Then he sighs audibly and brings it back down to his side.
G'nea goes back to staring into space.
CUT TO - A MEDIUM SHOT, showing them on the bench against the wall, looking vulnerable.
EXT. THE DETENTION CAMP - OUTSIDE BUILDING 9 - EVENING
A building on the lot two blocks down from the main entrance.
ANGLE ON - the side of the building. We can see the METAL FENCE that surrounds the studio just beyond the edge of the building.
Around the corner of the building come Angel, Gunn, Michael, and Illyria disguised as Fred. They stop just beyond the edge of a pool of light cast by a security lamp. Michael edges forward until he is beside Angel.
Once we find your friend, I'll need to get him someplace
isolated so I can work on his collar.
Angel's eyes scan the area ahead of them.
We'll cross that bridge when we come to it.
All right. But I'd also--
I'd like to get a sample of the debris from the explosion.
Angel glances at him, puzzled.
A sample? Why?
There's something about it. I'm not sure what yet, but--
Angel shakes his head.
No time. We find some place to do your spell, track down
Spike, get him out of that collar and get out.
(off Michael's expression of dismay)
You said you wanted to be part of the team. Well, that's how it's done.
Michael frowns. Michael's POV - Angel's attention has gone back to scanning the camp, his brow wrinkled with puzzlement. Michael glances over to where Angel is looking.
Their POV - a WIDE STRETCH OF STUDIO LOT. About seventy-five yards away, we can see that BRIGHT FLOODLIGHTS have been set up over an area where soldiers are busy at work, picking things up from the ground, patrolling the area, talking, pointing. There is a SKID parked near them scooping up debris and, beside it, a small FLATBED TRUCK.
That must be where it happened.
Sitting on the truck bed are several LARGE PLASTIC CONTAINERS. A soldier is crouched beside them, making notes on his PDA as soldiers carry over debris and deposit it in the plastic containers.
MEDIUM SHOT of Angel as he turns back to the others.
C'mon, let's get going.
As they start forward, we hear the FLATBED TRUCK ENGINE FIRE UP.
EXT. A SMALL GROUNDSKEEPER'S SHED ON THE OTHER SIDE OF BUILDING 9 - EVENING
The shed is in an alleyway, hugging the side wall of Building 9. The gang stops to one side of it.
Their POV - We can see a SOLDIER guarding the shed door. He is facing the alley, which stretches past him and ends at the front of Building 9.
Angel glances back at the gang.
Angel slips forward silently. As he approaches the soldier, the man finally hears his footfalls. He spins rapidly, raising his rifle.
The soldier's POV - a FIST.
MEDIUM SHOT, Angel's POV - The soldier slumps to the asphalt.
Angel steps over the soldier.
CLOSE-UP on the shed door. It is locked with a small padlock on a thin metal hasp.
Angel leans against the door, pressing until the hasp twists loose from the surrounding frame. With a quick glance around, Angel swings the door open and peers inside. Satisfied, he waves the gang inside. Gunn and Illyria/Fred follow him into the shed, FREEZING momentarily as we hear, and CUT TO -
The flatbed truck from earlier in the scene RUMBLES into view at the front of the alleyway. We can see it at the top of the frame, its passenger side to the camera, but slightly out of focus. It brakes with a squeal and then idles.
CUT BRIEFLY TO - Angel pulls the shed door shut, then -
The truck again, now in focus. We can see a soldier behind the wheel and another soldier riding on the bed. Neither is looking in the direction of the shed. A third soldier runs into the frame, coming to a halt at the end of the truck. He converses with the soldier in the bed. That soldier slowly rises and walks to the end of the bed and hops to the ground. Both soldiers walk over to the driver.
CLOSE-UP on Michael, still standing at the shed door gazing over at the truck. He starts towards it.
INT. GROUNDSKEEPER'S SHED - EVENING
O.K., here's the plan--
Angel, where's Barber?
Angel turns, scanning the shed.
PAN THE SHED, Angel's POV - rakes, hoes, and lawnmowers, shelves of gardening tools and chemicals.
He turns and carefully opens the shed door.
Angel's POV - Michael is still in the alley, already halfway to the truck--too far for Angel to call out to. Quickly, Angel slips out of the shed and follows him.
CUT TO - Gunn and Illyria/Fred standing at the door, watching.
Their POV - Beyond Angel, we see Michael nearing the passenger side of the truck, bent low, sneaking toward the back of the bed. He stops, rises to standing, and gazes inside.
Michael's POV - PLASTIC CONTAINERS FILLED WITH DEBRIS FROM THE EXPLOSION--scorched wood, melted chunks of asphalt and rock, and bent metal.
Michael steps over to the container with the MELTED ROCKS. He opens his satchel and rapidly begins transferring some of the chunks from the container to the satchel.
PULL BACK until we can see the entire truck, and Angel from the back, crouched on the passenger side of the truck, crawling around to Michael at the rear.
REVERSE ANGLE - The door of the shed, cracked just enough for Gunn and Illyria/Fred to look out.
INT. GROUNDSKEEPER'S SHED - EVENING
Illyria/Fred backs away from the door, fuming, her arms crossed.
The sorcerer has betrayed us. He has used us to get
passage into this place for his own purposes.
Gunn frowns at her, his brow wrinkled.
I don't think so. I think he's just curious about the
cause of the explosion and he--
Illyria/Fred scoffs at him. She turns, reaches for the doorknob, and begins to open the door. Gunn reaches out to yank her back.
EXT. GROUNDSKEEPER'S SHED - EVENING
Illyria/Fred exits the groundskeeper's shed and starts towards the truck, stalking briskly, her long brown hair rising in her wake.
REVERSE ANGLE - One of the soldiers standing by the driver's side door looks up. His eyes widen. He steps back and raises his rifle.
You there! What are you doing?
To the side of the frame, we see Michael, standing at the rear of the truck. Michael freezes for a fraction of a second and then dips down to a crouch. The soldier's eyes remain on Illyria/Fred.
Civilians aren't allowed in this area. You belong over by
To her credit, Illyria/Fred neither freezes nor launches into attack mode, but simply continues over to the truck calmly.
Angel, who has been working his way down towards Michael, finally reaches the back of the truck and Michael's side just seconds before Illyria comes to a halt by the truck.
CLOSE-UP on Illyria/Fred, who smiles in that sweet, guileless Texas way.
I'm sorry. We just got processed a little while ago.
She glances over in the direction where Angel and Michael are hiding.
...And the Lieutenant there said
we could leave, but then we heard this terrible explosion,
and he went running out of the building and left us there.
Angel gapes in amazement at Illyria's performance.
The soldier with the rifle on Illyria leans towards the soldier standing next to him.
She is a civilian, right?
CLOSE-UP on the soldier he is speaking to, the one who was previously riding on the truck bed. Now that we see him up close, we recognize him as SANCHEZ from Episode 4. He peers down at his PDA, blinking, then nods.
She's human. Ninety-eight-six. Or rather, I should say,
(he looks up)
All four of them.
(raising his voice)
Hey, the rest of you! Show yourselves!
REVERSE ANGLE - Gunn emerges from the shadows near the groundskeeper's shed. Behind him, we can see that the shed door is now closed, and from this angle, it is difficult to make out the small amount of damage to the door lock.
ANGLE on Angel, who rises, tugging Michael up beside him. Angel grins at the soldiers lamely.
(he peers at Sanchez)
I guess that would be "Corporal"?
We were just curious. Lotta stuff happening here.
Firemen and all.
(he steps back)
We'll be going.
Sanchez frowns with disgust. Then he peers at Illyria/Fred. His brow wrinkles.
Wait a minute....
(furrowing his brow)
You look really familiar.
Yeah... I remember.
We sent you to Human Processing yesterday morning.
Sanchez raises his rifle as well, clearly uneasy.
Gunn reaches Angel's side. Angel glances at him.
(under his breath)
When I give the signal, you go after the driver. I'll take
(also under his breath, with a hint of apprehension)
Uh, Angel, you may be able to survive a chest-load of
bullets, but I'm getting some serious déjà vu here, and
we're fresh out of magic spiders.
These guys think we're just looky-lous. I say we go
But if we do that, we'll have to--
CUT TO - Sanchez' POV as Illyria/Fred gives Sanchez the same sweet, slightly flirtatious look she used the previous day.
Oh god, I'm so embarrassed.
I just wanted to see what had happened in here, and these guys--
(indicates Angel, Gunn and Michael)
--were afraid I'd get hurt, and they came along with me, and before
I knew it....
You just came back looking for a few souvenirs, huh?
(he shakes his head)
(to the three men)
If you were really worried about her, you'd have gotten her
the hell out of this snake pit ASAP.
He cocks his rifle.
O.K., people, let's go.
Michael starts forward instantly, his eye on the rifles.
(with an almost Illyria-esque timbre)
Where are you taking us?
I'm escorting you off the premises, ma'am. And since it's after
curfew, I suggest you four head on home before you get in some
(softly, under his breath)
I'm gonna kill Barber.
EXT. THE DETENTION CAMP - MAIN ENTRANCE - EVENING
The truck with the explosion debris pulls up as the gates crank open slowly.
Angel, Gunn, Illyria/Fred, and Michael hop off the back of the truck bed and start down the driveway. Sanchez watches them like a hawk as they walk away. He shakes his head and frowns.
Damn. Some people are just friggin' loco, man.
INT. THE DETENTION CAMP - BUILDING 12 - THE CAPTAIN'S OFFICE - EVENING
Gwen enters the office and comes to a halt in front of the Captain's large wooden desk. She glances at G'nea, who is sitting in a chair opposite him, and staring at him, and then at her, her eyes slowly filling with fear.
The Captain is ensconced in his chair looking over a small stack of papers spread open atop a manila folder on his desk. Gwen gazes down at them.
Her POV - A printout from a computer page. The label at the top of the page, upside down from her perspective, reads, "THE FREHMAYN," Beneath it, also upside down, is a chunk of text and a color photo of a Frehmayn clan family--an adult male, an adult female, and two children, each clutching a doll.
The Captain glances up at Gwen. She hands him a PDA.
Here's your list.
He takes it, nestles it into a dock to one side of his computer, presses a few buttons and watches as it downloads.
His POV - the information quickly scrolls up on the computer's screen. A few more seconds pass, then -
He undocks the PDA and hands it back to her.
Thank you. Now, could you take the child to stay with the
Shashank demons and send the vampire in here?
Gwen says nothing, simply frowns, then turns and looks down at the child. G'nea stands up slowly, her eyes wide with anxiety. Gwen gestures her towards the door. As Gwen and the child exit, the Captain closes his file folder and reaches for the mouse of his computer.
He is gazing at the flat-panel monitor on his desktop, slowly drumming the fingers of one hand and moving the mouse with the other, when Spike seats himself in the chair G'nea just left. The Captain clicks on the mouse button several times, his eyes never leaving the monitor.
Spike's attention jumps towards the sound reflexively. His eyes widen with apprehension.
Spike's POV - the Captain's hand on the mouse. Beside it is the Captain's COLLAR-TRIGGERING DEVICE.
Finally, the Captain looks up.
(in a calm, measured voice)
I'm told you go by the name "Spike."
Spike gives him a thin smile.
Guess Little Blue was right about names after all. Not
something you should just give away.
Oh, we knew who you were before you introduced yourself,
"Hostile 17." Or at least I did.
He pauses, glancing at his computer screen again, then -
It's just "Spike."
Spike. You were out near the site of the explosion.
What can you tell me about that?
Spike eyes him warily.
I was just out there with the kid. Sure didn't expect to
see fire raining from the sky, or a rampaging werewolf.
The Captain scrutinizes him.
What do you know about the child?
Frehmayn. Can't find her mum. Locked up in here with the
rest of us. Thought she could use a friend.
You're familiar with the Frehmayn.
Not really. Met one once, is all. Grownup. Purplish and
peaceful-like, just like the kid.
The Captain releases his mouse.
Spike, officially speaking, one of my duties as C.O. of this
facility is to "process" the detainees--put together a report
for my superiors that will help determine what's to be done
He clears his throat and leans forward in his seat. He looks Spike dead in the eye.
But I'll tell you something. The reality of it is, my job
is to dispose of the prisoners in this facility, and always
be able to justify it. You understand what I'm saying?
Spike stares back at him with alarm.
Why tell me that?
So you don't misunderstand me.
He gazes at his computer.
His POV - we can see a military-style report on screen, with extensive text.
Now, there's all sorts of standard stuff in here that we
have on every vampire or demon who was formerly in
Initiative custody. Biometric analyses, chemical analyses,
the physician's report on your behavior modification
surgery, and the report on getting your chip removed.
(he sits up and points at the computer screen)
But then it goes on....
He peers around the computer at Spike.
...and this is where it gets interesting.
Seems you have quite a reputation.
Had. Past tense.
Yes. Your behavior has ramped down a bit in recent years,
probably due to that chip, huh?
It's a lot more than that.
The Captain nods cryptically.
The point is, we don't normally see this kind of personal
history in a military report. But based on this alone, it
seems pretty clear what my processing report should say
and what my duty should be.
Spike stares up at him, his expression darkening. The Captain shakes his head.
But, luckily for you, there's more. Another report attached
to your file about a year ago. It seems at that time that the
Sub-terrestrial Bureau officially assigned custody of you
to a civilian.
He leans back in his chair.
Now, I would have liked to have gotten in touch with this
individual and asked her to vouch for you, but...
things being what they are, that's not really a possibility at
Spike chuckles and shakes his head slowly.
Yeah. Guess they are.
But I did talk to Agent Finn, and he told me the reasoning
behind his decision.
He leans forward again, looking Spike in the eye.
Now listen to me. I respect the chain of command. I follow
orders. Sometimes I agree with them, sometimes I don't.
But I've seen some real crap in this facility in the last
few months. And most of it, I can't do anything about.
And my orders concerning vampires--well, let's just put it
this way. If they even live long enough to make it into
this facility, it's because we have Initiative records on
them. Escapees, like yourself. The ones you've seen
around here are due to be "shipped out" in a couple of
days, and I say good riddance to them.
You, on the other hand....
Since you no longer have a chip, my orders are clear.
CUT TO a MEDIUM TWO-SHOT. The Captain picks up the COLLAR-TRIGGER DEVICE and points it at Spike. Spike jumps up out of the chair, knocking it back onto the floor. He starts to back up himself, but there's no place to go.
CLOSE-UP on Spike's PANICKED face.
Whoa, wait, hey!!
PULL BACK TO (Captain's POV) a full view of Spike, hands grappling his collar desperately, then -
BACK TO the TWO-SHOT. The Captain impassively presses a series of buttons on the control pad, then -
BACK TO CLOSE-UP on Spike's face. We hear a LOUD CLICK and a WHINE from the collar.
Spike squeezes his eyes shut.
SMASH CUT TO BLACK.
INT. THE CAPTAIN'S OFFICE - EVENING
CLOSE-UP on Spike, who is still squeezing his eyes shut, waiting for certain dustage, but as we -
CUT BACK TO a TWO-SHOT of him and the Captain -
Nothing happens. The room is quiet as Spike slowly opens his eyes again.
Spike's POV - the Captain stares back at him, his expression still impassive.
It didn't work.
The Captain sets the PDA back on his desk, a thin smile creasing his lips.
No, it worked. I disabled the collar--lethal mechanism,
comm unit and all. Which means it can't hurt you, nor will
it register on a guard's PDA. And that means you have to
leave this facility now. And I mean right now,
before somebody notices.
Spike gapes at him, stunned, lips parted.
And as for that, you're on your own. I've done enough
right here to get myself court-martialed.
Now you could get the thing off if you messed with it long
enough, but I don't recommend that until you're clear of
this facility. Once someone goes looking for you and you
don't register on the instruments, they'll start a search.
When you come up missing, we can report you as a
"malfunctioning collar escapee."
You've done this before.
The Captain nods.
Only once, but I don't regret it.
(he raises his eyebrows)
Don't make this be the time that I do.
The Captain rises, indicating for Spike to stand. Spike does, slowly, still eyeing the Captain with a hint of suspicion.
By the way, how's the leg?
Spike glances down at the leg that was injured, caught off-guard by the tangential comment.
Uhh, good. OK. All but healed.
The Captain shakes his head and smiles a wry smile.
Damn sure don't envy your kind for very much, but that's
one ability I wouldn't mind having.
Spike grins in return, but it's a nervous grin.
Yeah, especially with the way health care's getting so
costly these days, eh? I know lotsa folks who're planning
to move to Canada.
The Captain shakes his head. He steps around the desk.
Not now they aren't. Border's closed, no one goes either way.
He walks over to the door, opens it wide, and gestures Spike through. Spike starts forward, then pauses and turns.
Thanks, mate. I won't forget this. You're O.K. in my book.
You and that Finn guy, both.
Uhh...don't tell him I said that.
We see the BUILDING ACROSS FROM THE MAIN ENTRANCE to the studio from which the gang has done most of their surveillance. They aren't there.
PAN across the sidewalk and into the street, focusing on the curb and, in particular, the DRAINAGE GRATE leading to the sewers below.
INT. SEWER TUNNEL BELOW THE STREET - LATE EVENING
It's DARK AND DANK. The only light is a dim beam shining through the grate from the street lamps above.
Suddenly, ANGEL CHARGES into the shaft of light, scowling. He stops. Illyria-in-blue, Gunn, and finally Michael come to a halt beside him. Michael is carrying his leather satchel somewhat awkwardly, as if trying hard not to jostle the contents. He looks apprehensive.
Angel turns on him, livid.
Now tell me what was so damned important that you screwed
up the rescue over it!
Gunn steps forward, an expression of concern on his face.
Hold up. He didn't screw it up, Angel!
Gunn points at Illyria, who is searching the shadows for her weapon.
It was you two running after him that drew that guard's
(shaking his head somberly)
No, Mr. Gunn. They never would have done that if I hadn't
insisted on going over to that truck.
So why did you?
Michael raises one hand defensively, cuddling his satchel protectively with his other arm.
I know you don't have any reason to trust me, or my
motives, but I'm fighting on the same side you are.
And ever since we saw that explosion, I've just had
this feeling that it's....
He frowns thoughtfully, his eyes jumping from Angel to Gunn.
In the background, we hear the deep clank of metal on metal, followed by Illyria's snort of disgust.
I think the source of this fire is mystical, cau--caused
by magicks, or--or some other supernatural means.
Whatever the cause, I don't think the authorities inside
that place are in any position to deal with it.
(calmer, but still guarded)
And you are?
I may be out of practice, I'll admit, but yes. I need to
investigate this, find out what caused it. Otherwise, it
could happen again.
Illyria walks into the frame beside them, eyeing the filth on her sword.
If we are going to make a second attempt to enter the
facility, it would be prudent to do so wearing some form
of disguise. That soldier at the vehicle was present when
Spike and I were captured. He clearly recognized me.
The glamour talismans could take care of that. But I only
(turning to Angel)
the one you used to enter, and the one I intended for your
vampire friend. I could alter them to serve as glamours
for Mr. Gunn and the Old One. I'll stay behind.
Illyria gazes at Michael with the same expression she had for her sword.
I do not require your crass magicks, sorcerer. I can alter
my appearance myself.
Michael blinks at her, then turns his attention to Angel.
Then we'll use them for you and Mr. Gunn.
(forcing a smile)
It's just "Gunn."
Michael smiles back briefly. Then his eyes return to Angel.
I'd like to return to my store and investigate the cause
of the explosion. There are specific ingredients I need there.
Angel glances down at Michael's satchel.
What are those things you took from the truck?
Michael zips open the top of the satchel, then holds it out for the others to look inside. FIVE IRREGULARLY-SHAPED STONES are nestled inside, their glassy surfaces glistening dully in the dim streetlight beam.
They're what are usually known as "fulgurites"--
chunks of rock or sand that have been vitrified by the
strike of lightning.
When highly charged energy--be it natural or supernatural--
hits the Earth, it creates these stones. With the right
spell, I can "read" the stones--figure out the
nature of the energy that created them.
(brow wrinkled--getting it)
You're looking for a supernatural cause.
The military authorities will probably assume it was
some kind of explosive.
Before I leave, I can do that spell to locate
the approximate position of your friend.
(nodding his approval)
O.K., but make it quick, and I mean yesterday.
Michael swallows hard. He kneels down on the damp floor of the tunnel and, being careful not to damage the fragile fulgurites, starts poking through his satchel for some ingredients for the spell. He pulls out a small GLASS VIAL OF SAND and opens it. Then he searches the floor for a dry patch of concrete. When he finds one, he hunkers down over it.
HOLD for a few seconds on Michael's face. A small nervous tic jitters in the corner of one eye.
He turns suddenly, still crouching, and glances up at the gang.
His POV - Angel, Gunn, and Illyria staring down at him blankly.
The object of your friend's you retrieved?
Gunn gazes at him in confusion for a moment, then his brows rose.
He pulls a SHORT BLACK COMB out of his pocket and hands it to Michael. Michael takes it, then returns to his previous position and sets the comb on the ground. He sprinkles sand from the vial onto the concrete.
Most ancient of energy...seek the source.
He crawls back a step, raises his chin, and exhales a shuddering breath.
CUT TO - the GRAINS OF SAND in a pile on the concrete. They tremble, then slowly begin to draw apart, forming a thin RECTANGLE.
Michael glances up.
Then a tiny bundle of the sand shifts towards the center right of the rectangle. A small WISP OF SMOKE rises from it, then transforms into a brief FLARE OF FLAME. Michael's eyebrows rise. He stares down at the SAND MAP.
He's in a building near the center of the lot....
(he glances up again)
It's very close to the epicenter of the explosion.
Practically on it.
CUT TO - Angel and Gunn's grim faces. Gunn coughs and waves his hand as the wisp of smoke reaches him.
Michael quickly corks the glass vial and places it and Spike's comb back into his satchel. Then he pulls out something else--a SMALL, ROUND, GOLD TALISMAN hanging from a chain. Michael stands up.
O.K., now we just need to do the glamours. I'm going to
need the other one back, since this spell will be slightly
different from the previous one.
You need to make us look like the guards we saw in the camp.
Angel reaches up and pulls a similar talisman on a chain out of his shirt and then over his head. He hands it to Michael.
Gunn eyes it, concerned.
Angel looks at him.
Once we get in there and get Spike's collar off, he's
still going to register as a vampire. If you and me are
using the glamours--
Angel pauses for a moment, deep in thought. Then he nods as if reaching a decision.
You guys should go in and find Spike. I'm going to go with
Michael back to his shop.
(giving Angel an uncertain look)
Don't you think--
Angel glances at Michael and Illyria, then pulls Gunn off to the side. Illyria drifts over to them.
(whispering, barely audible)
I'm not letting this guy out of my sight.
(he glances at Illyria, then back at Gunn)
If you find Spike, use your judgment, but don't take any
big risks. We can always go back in as a group if we have to.
And keep a low profile in there--stay away from
everyone as much as possible, demons and humans. We'll
meet back right here in three hours.
Gunn gazes around the tight tunnel space. He rubs his forehead wearily.
Damn, it's got to be late now. I think I've had three
hours sleep in the last few days.
Angel turns towards Michael.
Mr. Barber. Just one glamour, for Gunn. I'll be going with
you back to your shop.
As Michael turns to Gunn to begin the incantation on the talisman, Angel turns to Illyria.
Suit up, Illyria.
Illyria closes her eyes for a brief moment, then opens them as she quickly morphs into the UNIFORM OF ONE OF THE GUARDS. Her hair turns a darker brown, and her skin tone also darkens slightly, making her less recognizably like Fred.
Angel nods approvingly.
INT. THE DETENTION CAMP - BUILDING 12 BASEMENT CELL BLOCK - NIGHT
We start at a SCRATCHED BEIGE WALL, seen low, almost at floor level, then PAN ACROSS a tight corridor until we see WOLF-NINA in an undamaged cage, unconscious, being attended to by the MEDIC we saw in ACT 1. The wolf is lying on a thick, comfortable-looking brown blanket. The Medic, who is kneeling beside her, grunts softly as he massages an ointment into WOUNDS in the animal's leathery skin. Just behind him, another person is standing outside the door of the cell.
Captain, with all due respect, I think...this is just
going too far. I mean, there are still others--humans, our
men, who need my attention, and here I am taking care of
a...creature that killed two of them, and nearly one other!
Specialist, she is human, except for three nights a month.
And what happened isn't her fault.
It wasn't her choice to become this...thing. And those men
provoked the attack.
The medic finishes his task and places his things back in a plastic tote with a red plus sign on the side.
(still not appeased)
Yeah, so you say.
He stands and exits the cage, raising his tote.
O.K., that's about all I can do. This stuff's not
veterinary quality, you know. I have no idea how it'll
(he indicates the wolf)
The Captain regards him expressionlessly.
Thank you, Specialist.
You can go now, I'll see to the rest.
The medic walks down the corridor, glances back briefly at the Captain, then turns and heads out the door to the stairway.
ANGLE ON - The Captain, who stares down at -
THE WOLF, which is starting to twitch with returning consciousness. He steps back and closes the cell door, then stops. He opens it again. He reaches inside and picks up the wrinkled lump of Nina's INSTITUTIONAL SHIFT off the floor and sets it on the floor outside her cell near a pair of simple BROWN WOMEN'S SHOES. The Captain rises and locks the cage.
Then he walks over to a cabinet on the wall. Below it on the floor is the BROKEN WALL RACK that held the tranq gun from the previous night, but he pays no attention to it, only slides open a drawer in the cabinet and retrieves a clean, fresh shift from the inside. Then he opens another drawer and pulls out another brown blanket.
He walks over to the cell with them and sets them down on the floor near the shoes, picks up the old shift, and stands. He clutches the shift against his chest for a moment and gazes down at the wolf, his expression inscrutable.
Then he turns and exits the cell block.
INT. THE DETENTION CAMP - BUILDING 12 - CAPTAIN'S OFFICE - NIGHT
POV - Inside the office facing the front door, although we don't know this yet. It is PITCH BLACK. The only light is the crack at the bottom of the door. We hear the DOORKNOB RATTLE, and then the SLOW SCRAPE OF METAL AGAINST METAL. Then the DOOR OPENS, bringing light from the corridor and an INDISTINCT HUMAN FIGURE into the room. The figure enters quickly and shuts the door, casting the room into darkness again.
A FLASHLIGHT BEAM cuts across the back wall. In the bleed off the beam, we can just make out the face of GWEN RAIDEN. She steps quickly over to the Captain's desk and sits down.
Her POV - the slow blink of the Captain's computer in standby mode. We hear the tap of keys. Light from the computer screen plays across her intent face as the black screen clears and a login page comes up.
She pulls a device from her pocket and inserts it into the comm dock on the side of the computer.
CLOSE-UP on the device's LED ALPHANUMERIC DISPLAY. We see a jumble of words and numbers gradually resolve into one word.
What kind of password is "Wourali"?
She taps in the word with GLOVED HANDS. The regular computer screen comes up and we see her wry smile. She reaches for the mouse with one hand and pecks on the keyboard with the other, quickly accessing -
Her POV - the INTERNMENT CAMP RECORDS, and finally one record in particular. Beside a long column of text, we see an image of G'NEA.
Gwen detaches her descrambler and inserts her PDA into the comm dock. Her eyes quickly scan over the text as the information is downloaded. As text scrolls by, a percent indicator bar above it slowly reaches one hundred percent.
When it does, Gwen detaches her PDA and pockets it. With several taps on the keyboard, she brings up a COMPUTER LOG USE SCREEN. We watch as she removes all record of her use of the computer for the period 1:15-1:25 AM, Wednesday.
In a matter of seconds, she brings the computer back down to standby. Then she rises, heads to the door, and slips out of the room.
INT. THE DETENTION CAMP - BUILDING 14 - NIGHT
We open with a HIGH SHOT looking across the upper framework of the studio building--a CRISS-CROSSING MAZE OF METAL BEAMS AND OTHER STRUCTURAL MEMBERS supporting the roof and providing a platform for lighting equipment. And for several SMALL, WINGED, BIRD-LIKE DEMONS as well. They are perched on the horizontal beams, chittering away softly and occasionally letting loose with a LOUD KEENING SOUND from deep in their throats. Their curved, hawk-like beaks pick at something unidentifiable scattered across the rafters. CUT TO the POV of one of the bird-demons. Our view shifts abruptly as the creature LEAPS FROM ITS PERCH AND FLIES SMOOTHLY DOWNWARD. As it swoops and dips and finally "lands," we catch glimpses of haphazardly scattered tents and other hastily-assembled forms of shelter lining the floor of the warehouse below. Some of them have obviously been made by fastening together parts of old production sets and various props from elsewhere within the studio property.
The POV of the bird-demon shifts. Now we are looking outward and up at a figure wandering along the rows of tents and other improvised "privacy" structures. The camera tilts slightly to one side, and we see that the figure is SPIKE, looking back at the bird-demon, regarding it warily.
CUT TO Spike's POV - looking at the bird-demon looking back at him. Then - The bird's POV on Spike again. His wary expression turns to bafflement.
Why are you here?
They take the sky from you somehow?
DEEP, SOLEMN VOICE (o.s.)
No. They won't leave until we do.
Spike whirls to his right. We REMAIN ON HIM as he gapes at the source of the voice.
If we do, that is.
Can I help you?
Finally, we CUT TO - A LARGE, MUSCULAR-LOOKING DEMON who bears an amazing resemblance to Hagar the Horrible, assuming Hagar had actual horns growing out of his head as opposed to merely a cool-looking hat with horns attached.
Spike crosses his arms, regarding "Hagar" cautiously.
Uhh, I dunno. Looking for Shashanks. You know if they're
in here anywhere?
The horned demon grunts.
Shashanks--they're the ones with the really loose skin,
fond of kittens, Beetlejuice unfolding face option?
Yeah, that's them. Know where they are?
The horned demon makes a light clucking noise. The winged demon fly-hops over to the floor beside him, then nuzzles up against his leg. "Hagar" reaches down and strokes the bird-demon affectionately on the back of the neck.
(looking back at Spike)
What's your business with 'em?
A friend of mine is supposed to be staying with them.
Trying to find her.
Huh. That so.
The bird-demon suddenly flaps its wings energetically and takes off, heading back up to the metal latticework above. Spike watches it go, then looks back at the horned demon, a baffled expression on his face.
Why dunnit fly out of here? Ain't wearing a collar.
They've got death-ray laser beams up on the rooftops or
(matter-of-factly, but with an undertone of reverence)
They're bound to us. We care for one another. They are our
eyes above the ground. We are their protectors.
Well, that's all very familial an' all. Glad for you.
The horned demon pauses for a moment, sizing Spike up. Finally he jerks a thumb to his left.
They're over there, about five tents down.
Yeah, thanks, and...take care of your little birdie friend
No problem. And by the way...if you try to harm the
(he nods upward at the rafters)
...Helga will rip your throat out.
The horned demon smiles broadly.
Spike's smile fades.
Right. No problem.
REVERSE ANGLE as Spike wanders away.
CUT TO - Spike's POV as he walks briskly past several tents and a structure that looks like it was pasted together from the remains of a science-fiction show U.F.O. Just beyond it is another CANVAS STRUCTURE, and as Spike nears the flap on the front that passes for a doorway, we -
CUT TO -
INT. SHASHANK TENT - NIGHT
POV - Looking back at the tent flap. Spike's face appears, followed slowly by the rest of him. He stands just inside the entrance, gazing directly towards the middle of the tent.
Spike's POV - Three demons that look very much like Clem from BtVS turn to look at Spike. The demons gaze at Spike silently for a moment. Then -
Looking for someone, a young girl, about yea high,
purplish. Friend of mine. Heard your clan might be looking
You wouldn't happen to have any cats on you?
Spike shakes his head.
And, no, haven't seen any demon girl. Sorry.
Not here, eh? Know where, then?
The food situation's pretty tight. We couldn't afford to
be takin' anybody else in.
The demons glance at each other nervously. Spike peers at them, then scans the interior of the tent, and finally stops.
Spike's POV - a SMALL EYE peers out from behind the slats of a stack of wooden crates piled up near the back of the tent.
That's right. Can't afford it. You know how it is in this place.
Right. Got it. Only enough for the four of you.
Spike takes a few steps forward, then walks briskly towards the crates. As he does, the three demons all stand at once and move to block his way.
Three of us. Just three.
And you need to leave now. Nothing here for you.
Beg to differ.
Spike pushes the demons aside. In turn, they grab him by the arms and legs, lift him off his feet, and drag him out through the door flap.
INT. BUILDING 14 - OUTSIDE THE SHASHANK TENT - NIGHT
Lookit, I don't wanna fight you, I just....
CUT TO - DEMONS OF VARIOUS OTHER SPECIES standing nearby turn instantly to gawk.
(from the tent)
Don't hurt him, guys. He's O.K.
The three demons stop, then unceremoniously let go of Spike. He falls to the hard concrete ground and winces. Then he gapes over at the tent.
REVERSE ANGLE - G'NEA steps out of the tent cautiously, then RUNS OVER TO SPIKE and hugs him.
(elated, smiling broadly)
You came back for me! An' I thought I'd never see you
Spike grunts loudly, startled not only by the emotion of the moment but by G'nea's surprising strength as she hugs him far more tightly than might be expected from a child who looks only about eight years old. Then he turns his eyes from her momentarily, gazing about in a short arc around himself.
PAN the various other demons, all looking back at him as if he is a Martian.
He smiles back at G'nea reassuringly and pats her on the shoulder.
Not gonna happen, luv. You and me are an item now.
EXT. THE DETENTION CAMP - NEAR BUILDING 12 - NIGHT
Illyria and Gunn cross the studio lot, both apparently in MILITARY UNIFORMS. They are walking out in the open, trying to look intent on their business. They slow, however, as they notice they are approaching the apparent EPICENTER OF THE EXPLOSION.
Their POV - The hubbub of activity around the CRATER has died down for the most part, but there is still DEBRIS scattered around the ground. Several teams of guardsmen are working in front of the Western movie set, picking up pieces and placing them in plastic containers.
Looks like we've reached ground zero.
(he glances around)
There's a lot more people around here. Gonna find out real
soon if we can pass for legit.
Illyria eyes the guards with dismay.
There are very few female guards present in this
facility. My appearance may draw suspicion,
particularly since I do not have any of their type of
weaponry to complement my exterior garment emulation.
(her eyes narrow)
Perhaps I can capture a guard, render him unconscious and
confiscate his weapon.
(trying to be helpful)
Couldn't you create the appearance of weapons? You know,
like you do with your clothes?
Illyria frowns briefly.
No doubt I could, but such action would be pointless.
The weapons would not be real.
I thought that you were all into the "acting" thing now.
Yielding a feigned weapon would invite injury.
Gunn chuckles. He gestures towards the building on their left.
C'mon, let's find Spike and get the hell out of here.
EXT. UNIQUE ANTIQUES - NIGHT - ESTABLISHING
Michael's ANTIQUE SHOP, with the name embossed in gold across the fully-intact glass window. A small sign set on the window sill inside says "Closed."
INT. UNIQUE ANTIQUES - NIGHT
Angel and Michael cross down an aisle in the dimly-lit retail area. Michael is clutching his satchel in one hand as he pockets his keys with the other.
So what's with the antique store? Some kind of front for
selling mystical artifacts?
(shaking his head)
No, no, it's...just an antique store. I opened it about
eighteen years ago.
I just wanted to be a "normal person."
Angel glances at him quizzically. Michael chuckles softly.
I haven't always been quite as out of touch with magic as I am
now. When I was young--well, let's just say I was a little
precocious with it. But...you get older, your priorities change.
INT. UNIQUE ANTIQUES BACK ROOM - NIGHT
REVERSE ANGLE, from inside the room - Michael and Angel enter Michael's office. Michael flips on the light.
Angel glances around.
His POV - the same room we saw in Episode 4. Barrister bookshelves, cluttered knick-knacks, an old wooden chest on the floor, and a walnut desk.
Angel's eyes fall on a FRAMED POSED PHOTOGRAPH of a BOY of about four or five. He is smiling up at the camera sweetly. Angel's fingers brush the frame.
You have a family.
ANGLE ON Michael, who gazes down at the photograph somberly.
(glancing over at Michael)
Where's your family now? Out of town?
(with a sigh)
Danny and his mom....
He glances away, his demeanor more awkward than usual.
Well...Danny, he, uh--he never got any older than you see
Angel's fingers drop away from the photograph frame.
Michael turns towards the trunk on the floor. He kneels down beside it, sets his satchel on the floor, then opens it and removes the FULGURITES one by one. Then he pulls his keyring out of his pocket and unlocks the trunk.
Don't be. I don't have a problem talking about it. It was
twenty years ago. But people...feel awkward anyway. It's
hard for them to imagine what it's like to lose a child.
Angel only stares at the photograph pensively. Then he turns, smiles politely, and crosses his arms.
Let's do that spell and get back.
Michael rummages around in the trunk for a while, then finally pulls a JAR OF SAND, three INCENSE STICKS, and three INCENSE HOLDERS out of it.
(expelling a nervous breath)
Been a long time since I did this one.
He murmurs to himself, going over the ingredients.
Angel stares around the room again. His eyes finally rise to the map of L.A. hanging above the desk.
Michael clambers over to the center of the carpet and slowly draws a CIRCLE WITH THE SAND. Then he lights the INCENSE in the incense holders and sets out four of the FULGURITES, one at each compass point. Finally, he sits down in the middle of the circle, holding the fifth fulgurite inside his folded hands.
This is going to require that I enter into an extended
trance, so I'd appreciate some quiet.
Angel nods and takes a seat at the desk.
Not a problem.
He gazes over at an ANTIQUE CLOCK on one of the bookshelves.
Angel's POV - the CLOCK, which reads 2:34 a.m. We close in on it, closer and closer, until it blurs, then HOLD for a moment. Then we PULL BACK again. The time is now 2:49.
CUT TO - Michael on the floor, still clutching the fifth stone, his eyes closed. Slowly, he opens his eyes, blinks, and swallows. He gazes down at the floor, his face betraying astonishment. Angel notices the movement and sits up in the desk chair, leaning towards Michael.
What is it?
(quivering a bit)
I was right. The source of the fire is mystical. The
signature surrounding the power indicates that the
individual who caused it is a firestarter.
(he glances up at Angel)
A person with the ability--
To start fires by will alone, yes, I know.
(shaking his head)
But it wasn't just a fire, Mr. Barber, it was an explosion.
I've seen mystical fire before, plenty of times--it
doesn't usually explode the way this did.
I know. I think--I think it was accidental.
Whoever or whatever started it is either a rank novice
or else supremely immature and not in control of
He stares into space thoughtfully.
Firestarting...in order to achieve the level of force we saw--
(he looks over at Angel)
--it nearly always requires a genetic
predisposition. But an experienced practitioner could
control that power.
An inexperienced practitioner? ...might not be able to arrest
the instability. This individual's power is strong...but it's unfocused.
Like a kid playing with matches who burns down the house.
Which means another blaze or explosion could break out at
the camp again at any time, just as I feared.
Then we have another job at the camp besides just
We're going to have to find this creature
and stop it. Any way we can.