TEASER
FADE IN:
INT. CORDELIA'S APARTMENT - DAY
CORDELIA, GUNN and FRED are sitting in the living room,
watching tv. Relaxing. A pizza box rests, open, on the table.
FRED
(watching the tv)
Just think Cordy, tomorrow, you'll
be doing that.
CORDELIA
I know. It's weird. And exciting. I
mean, for the first time in, like,
forever, I'm getting a chance to be
a part of the normal, real world.
GUNN
Yeah. That's exactly how I'd describe
those Hollywood types. Normal.
FRED
I don't think you've mentioned what
the show is about yet.
CORDELIA
I haven't?
Fred shakes her head.
CORDELIA (CONT'D)
Oh. Well, y'know how those WB shows
are. It's like I already know the
material.
FRED
What's it about?
CORDELIA
Life. That kinda thing. It's really
boring, actually.
FRED
C'mon, I wanna know. I've never known
a real actress before. I mean, besides
my aunt Leslie, who acted in the
community theater one year. But she
only played a tree.
Cordelia sits up.
CORDELIA
Seriously? When I auditioned, the
scene seemed oddly familiar.
(MORE)
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2.
CORDELIA (CONT'D)
Y'know, like I'd read it before or
something. Which isn't really likely,
I know. I mean, I had a life in high
school, so I wasn't doing much reading
that didn't involve demons and zombies
and stuff. And the last couple of
years, I've pretty much passed on
the Oprah book club.
GUNN
But you've read it before?
CORDELIA
Yeah. Kinda already said that. Pay
attention.
FRED
Weird.
CORDELIA
Isn't it?
(beat)
And the weirder part is... they want
me to wear a blond wig. I mean, I
tried telling them that blond isn't
my color, but they wouldn't listen.
GUNN
The nerve of some people.
CORDELIA
I know. But don't worry. I'm sure
they'll realize that the blond hair
just won't work for me. I mean, just
because they're tv producers doesn't
mean they're total morons, right?
Fred and Gunn share a look.
EXT. STREET - NIGHT
A WOMAN walks down the street. She's small. Weak looking.
It's dark. Quiet. Nobody around. She looks around. Scared.
Alone.
From out of nowhere, a horrible looking ZOMBIE jumps out at
her. She SCREAMS and tries to run away, but TWO MORE ZOMBIES
cut her off.
WOMAN
Someone help me! Please!
She starts to cry as the zombies get closer and closer to
her.
DIRECTOR (O.S.)
Cut!
------------------------------------------------------------------------------------------------------
3.
REVEAL a FILM CREW, filming the whole thing. The director
walks to the woman, and the zombies.
DIRECTOR (CONT'D)
That was good. I want it exactly the
same when we do the next angle.
ZOMBIE
I don't know. Do you think I did
okay? I really want to get to the
heart of the character. What it's
like for him to be one of the living
impared?
WOMAN
I totally lost track of my motivation
halfway through the scene.
DIRECTOR
You both did fine. Just do it again.
(beat)
Back to one!
They all walk back to their original marks.
WOMAN
Do you think I should limp, maybe?
DIRECTOR
Audrey! Someone tell me why that
girl insists on running off.
As everyone sets up to continue working, a HOODED FIGURE
walks across the background, hardly noticable. It makes it's
way to an ally.
FADE TO BLACK:
END OF TEASER
------------------------------------------------------------------------------------------------------
4.
ACT ONE
FADE IN:
INT. MAKEUP TRAILER - DAY
Cordy is sitting in a makeup chair, reading her script.
Mouthing her lines as she reads them.
DEREK (late 20's good looking guy) walks into the trailer.
Cordelia looks up and sees him.
CORDELIA
(to herself)
Hello nurse.
DEREK
Did you say something?
CORDELIA
Oh, umm... just that I'm need to
rehearse. Are you one of the stars
too?
DEREK
No. Actually, I'm here to do your
makeup.
Cordelia is let down.
CORDELIA
Figures.
DEREK
Huh?
CORDELIA
Oh. I just mean that it figures you'd
be gay, what with being so good
looking and all.
Derek smiles.
DEREK
I'm not gay.
CORDELIA
You're not? But I thought you said
you do makeup.
DEREK
I do. But I'm not gay. It's not like
I'm a hair dresser or something.
CORDELIA
Oh. I just thought...
------------------------------------------------------------------------------------------------------
5.
DEREK
Don't worry. I get it a lot.
Cordelia smiles.
CORDELIA
Okay, so do me.
DEREK
(flustered)
Huh?
CORDELIA
My makeup. And also, a wig.
DEREK
Oh, right. Blond.
CORDELIA
Against my better judgement. And by
that, I mean better than the
producers.
DEREK
Agreed. You don't really strike me
as a blond.
CORDELIA
Try telling them that.
Another man, PAUL MANNING (early 20's, attractive, but messy)
walks in and sits in another chair.
PAUL
Makeup. And hurry, I wanna make a
call before filming.
DEREK
Hold on. We're a little behind. One
of our makeup artists ran out on us
last night. Just there one minute
and gone the next.
Paul ignores Derek. Cordelia looks over at him. Extends her
hand.
CORDELIA
Hi. I'm Cordelia. I think I'm your
new co-star.
PAUL
Whatever. New actress, old actress,
I don't care. What I do care about
is makeup.
(to Derek)
Which is your job, so do it.
------------------------------------------------------------------------------------------------------
6.
CORDELIA
So you're pretty much gonna be a
pain in my ass then.
INT. CORDELIA'S APARTMENT - DAY
Fred is asleep on Cordelia's couch. It's still early. There's
a KNOCK on the door. At first, Fred doesn't hear it. There's
ANOTHER KNOCK. This one wakes her up. She gets up, still
groggy, with messed up hair. She walks to the door and opens
it. It's Gunn.
FRED
Charles? What time is it?
Gunn checks his watch.
GUNN
Eight-thirty.
FRED
Oh. I thought it was earlier. I'm
thankful that Cordy let me stay here
instead of the big, dark, empty hotel
by myself but she really doesn't
know how to set a clock very well. I
think she forgot daylight savings.
GUNN
No offense, sweetie, but you look
like you've been attacked by a demon
hair brush.
Fred puts a hand on her head.
FRED
It's not fair to comment on a girl's
look when she just wakes up.
GUNN
I'll keep that in mind.
He walks into the apartment, closing the door behind him.
Fred leads the way into the kitchen.
INT. CORDELIA'S APARTMENT - KITCHEN - CONTINIOUS - DAY
Gunn sits at the table.
FRED
Coffee?
GUNN
I had some already.
FRED
How long have you been up?
(MORE)
------------------------------------------------------------------------------------------------------
7.
FRED (CONT'D)
You usually sleep straight through
the a's and into the p's.
GUNN
I decided to get an early start today.
Fred pours herself a cup of coffee. She takes a sip. It's
cold. She cringes.
GUNN (CONT'D)
You okay?
FRED
Yeah, it's just cold.
She takes another sip. Gunn cringes this time.
FRED (CONT'D)
So why the early start?
Gunn pulls a newspaper out of his back pocket.
GUNN
Because of this.
She looks at the paper.
FRED
Was there something in there? Demons?
Gunn smiles.
GUNN
No.
He unfolds it. It's the classifieds.
GUNN (CONT'D)
The only hunting I'm doing today is
for a job.
FRED
A job?
Fred sits.
FRED (CONT'D)
But the agency just closed last week.
Isn't it kinda soon?
GUNN
Once you've been through the whole
"you're fired" thing with Angel once,
it loses it's punch. I figured it
was time to get back on the horse.
------------------------------------------------------------------------------------------------------
8.
FRED
But what if he decides to come back?
He can't stay away forever, can he?
GUNN
I'm just getting a job. I'm not
signing up for solitary confinement.
Fred looks a little hurt. Gunn picks up on it.
GUNN (CONT'D)
Hey. Listen, if Angel decides to
come back and open shop again, I'll
be there before the "Grand Re-Opening"
sign is even up. But I can't just
sit at home, waiting.
She looks at him.
GUNN (CONT'D)
I mean... not that there's anything
wrong with waiting. It's a valid way
to pass the time if you're into that
kind of thing.
She grins, and pulls the paper closer to look at it. There
are several listings circled.
FRED
Bouncer?
Gunn smiles and nods.
INT. CAVE - DAY
It's day, but one would never know by the light in the cave.
It's dark. The only light comes from a single candle that
rests on the ground.
In the dim light, a FIGURE dressed in black from head to toe
sits in the corner. We can't make out the face just yet. His
head is down, chin resting on his chest. His legs are pulled
close to his chest as well.
The WIND HOWLS through the cave. The man looks up, and for
the first time, we see that it is ANGEL. He's been deep in
thought for a while now. Not much else for him to do in this
place.
He stands up and walks closer to the candle. A gust of wind
blows it out as he nears it. The only light in his life is
gone.
Angel quickly turns around. When he does, he finds Cordelia
standing behind him. Her face is without expression.
------------------------------------------------------------------------------------------------------
9.
CORDELIA
It is not in the stars to hold our
destiny, but in ourselves.
ANGEL
What? Cordelia?
Cordelia VANISHES. Angel turns around again, to find Fred
behind him.
FRED
Is this how it ends? You just run
out?
ANGEL
I didn't have a choice. I told you
that.
FRED
That didn't help Gunn.
ANGEL
What? What happened?
Fred points behind Angel. Angel turns. Gunn is standing behind
him, a big bloody hole in his chest.
GUNN
I always knew you'd turn on us. Just
a matter of time, right?
Angel's confused. Sorry.
ANGEL
I didn't mean to...
Gunn TURNS INTO WESLEY. He's holding the papers which have
yet to be translated about Conner.
WESLEY
Bestia. Occisor. You should leave,
Angel. You don't belong among us.
Among the living. You're an animal.
Dead to the world, and a bringer of
your own kind. The world is better
off without you.
LORNE (O.S.)
Being a little dramatic here, aren't
you?
Angel once again turns. LORNE is there now.
LORNE (CONT'D)
Don't get me wrong. I dig the whole
frenzied dream thing, but c'mon. You
know your place in the world.
(MORE)
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10.
LORNE (CONT'D)
You know what you have to do. So my
part in this whole sequence is to
tell you to get off your leather
covered behind and be yourself, sugar.
WESLEY
He's not one of us.
LORNE
(to Wesley)
True.
(to Angel)
Very true.
Angel VAMPS OUT.
LORNE (CONT'D)
See what I mean? So just because you
went a little far with the whole
human act before doesn't have to
mean that you lock yourself up and
throw away the cream.
Angel looks at him, confused. Lorne agrees with the confused
look.
LORNE (CONT'D)
Your dream, not mine.
Behind Lorne, on the cave wall, GRAVO climbs like a spider.
He MORPHS INTO CORDELIA. Then MORPHS INTO GUNN. Then MORPHS
INTO ANGEL.
Angel watches this. Lorne takes a look back, then looks at
Angel with a smile.
LORNE (CONT'D)
Time for you to slay your demons.
Learn and move on. Don't leave your
friends out in the cold without a
scarf.
INT. CAVE - DAY
Angel wakes up with a jolt. He looks back at the wall. No
Gravo.
EXT. TECHTROPOLIS - DAY
Gunn walks up to the building, holding a newspaper in his
hand.
It's a club. Techo in style. Lots of lights and lasers that
look like they'd be impressive at night when they're turned
on. But the place is dead now.
------------------------------------------------------------------------------------------------------
11.
Gunn walks to the door and knocks. The door swings open.
Gunn has to back away to avoid being hit by it. When it's
open all the way, he looks in to see who is there, but nobody
is.
GUNN
(calling inside)
Hello?
He walks in.
INT. TECHNOTROPOLIS - DAY
Gunn walks into the club. The door closes behind him. He
looks back at it, and then looks around the club. It's a
nice looking place. Metallic decor. Big tv screens on the
walls, which aren't turned on at the moment. A stage. No
windows. All of the things you'd expect in a hip techo club...
or a club in a Star Trek movie, as opposed to the series
where they didn't have a budget big enough for this.
Gunn walks around the place. Looking for anyone. Not seeing
anyone.
GUNN
Anyone here?
A hand reaches from behind Gunn and taps him on the shoulder.
Gunn spins. Not jumping in shock, but preparing himself for
a fight.
When he turns, he sees NICK STARR (a well built techno dresser
in his early 30's). Nick steps back to avoid any punshes
Gunn may throw.
NICK
Whoa, there. I won't bite.
Gunn relaxes.
GUNN
Sorry. It's a habit.
NICK
Not a bad one to have. Are you here
for a job?
GUNN
Yeah. Bouncer.
NICK
You certainly seem ready for the
task. My name is Nick.
GUNN
Charles Gunn.
Nick walks to the bar.
------------------------------------------------------------------------------------------------------
12.
NICK
Drink?
GUNN
Sure.
NICK
What'll it be?
Gunn thinks about it for a moment.
GUNN
I think I should stick to a coke
right now. It's a bit early for me.
NICK
Me too.
Nick gives Gunn a coke. He fixes himself a bloody-Mary. Gunn
looks at the drink. Nick looks at him.
NICK (CONT'D)
It's early. It's not forbidden.
GUNN
Fair enough.
Gunn sits at the bar and sips his soda.
NICK
So what makes you think you should
have the job, Charles?
GUNN
You can call me, Gunn.
(beat)
I guess I think I'd be good because
I won't let anyone past me who
shouldn't be in here.
NICK
And how would you stop them?
GUNN
Before this, I worked at a private
investigator's agency. I know a thing
or two about stopping someone in
their tracks.
Nick nods.
NICK
What was your upbringing like, Gunn?
Gunn hesitates a little.
------------------------------------------------------------------------------------------------------
13.
GUNN
My sister and me grew up on the
streets most of the time. I mean, we
had places to go sometimes, but most
of the time we didn't have anyone to
depend on but each other. I guess I
learned everything I know on the
streets and from her.
NICK
What did she teach you?
GUNN
She taught me to think before I act.
To be kind to those in need. And to
never turn my back when I could be
doing something good.
NICK
She sounds wise.
GUNN
She was.
NICK
Was?
Gunn doesn't like talking about this. But he forces himself.
GUNN
Alonna died a couple years ago.
Murdered.
NICK
And how did you react to that?
GUNN
I was angry. I made it my mission to
kill everything that even came close
to being like the monsters that killed
her.
NICK
What happened with that?
GUNN
I was so busy going after them that
I wasn't paying attention to who I
was going after.
Gunn's mind begins to drift. Nick gives him a moment. Then
he perks up.
NICK
Well, if it's any consolation, you
have the job.
------------------------------------------------------------------------------------------------------
14.
EXT. HEMORY HIGH - DAY
The film CREW sets up cameras and lights and stuff. Preparing
to shoot a scene just in front of the school.
Cordelia is sitting in a chair, reading through her script.
Her blond wig is in place, and she's ready to film.
ELLIE BROWN (19 years old, dark hair, made up to look very
fashionable) walks up to her.
ELLIE
Are you Cordelia?
Cordy looks up.
CORDELIA
That's what it says on my trailer.
(beat)
Or, it will in four to six working
days.
ELLIE
(with a smile)
I'm Ellie. I'm playing Karma.
CORDELIA
That makes you my supporting star
then, doesn't it?
ELLIE
Yup. You must be going crazy, coming
in here to late like this. I mean,
we've all been working at this for a
while and you didn't even get to
come to the table reading.
CORDELIA
I'm doing okay. The first couple
takes of my first scene were weird,
but that could just be because I was
making out with a primo butt-hole.
Ellie doesn't exactly know what to say, so she just moves
on.
ELLIE
So how are you coming along with the
lines? All of the slang and stuff
tends to throw me off.
CORDELIA
I could swear I've been through all
this before.
ELLIE
Deja vu? Weird.
(MORE)
------------------------------------------------------------------------------------------------------
15.
ELLIE (CONT'D)
Maybe you had a psychic dream or
something.
(beat)
Okay, this job is starting to get to
me. I don't even believe in that
suff.
Cordelia laughs.
CORDELIA
Psychic visions? Yeah, like that's
realistic.
(beat)
Maybe you should get out of the sun.
ELLIE
Yeah, I think it's frying my brain.
CORDELIA
That and you're blocking my light.
Cordy holds up her script, with a "trying to read here"
expression on her face.
ELLIE
Oh. Right. I guess you should probably
learn your lines, huh? I'll see ya
in a while then, 'kay?
CORDELIA
You bet.
Cordelia goes back to reading her script.
ANGLE : CRAFT SERVICES
A CREW MEMBER is picking at a bowl of chips. A CRASH makes
him look up. He looks around. It doesn't sound like anyone
else heard it.
He walks away from the table, toward a trailer that's not
too far away.
CREW MEMBER
Hello?
He looks around. Doesn't see anything. He walks behind the
trailer, out of sight.
A SPLAT is heard. Followed by the SOUND OF A BODY falling to
the ground.
EXT. HEMORY HIGH - LATER
The crew is all set up and ready to film. Cordelia (still in
wig) and Ellie take their places toward the door to the
school.
------------------------------------------------------------------------------------------------------
16.
Another actress, PIPPA STRONGWOOD (pretty, but dressed in
geek's clothing) is sitting on the steps in front, reading a
book. The director is behind the camera.
DIRECTOR
Rolling!
(beat)
Action!
Cordelia and Ellie start walking down the steps, as though
just exiting the school.
ELLIE
(valley girl mode)
The first rule is to know your losers.
Once you can identify them all by
site, you will know who to avoid.
Cordelia smiles at her politely. This all still seems to
familiar to her, but she's trying to stay in character.
Ellie stops where Pippa is sitting.
ELLIE (CONT'D)
(to Pippa)
Wendy, nice outfit. It's good to
know you've seen the better part of
the Walmart clothing isle.
Pippa looks up sheepishly.
PIPPA
My mom picked it out.
Cordelia can't believe how familiar this all seems. She's
confused.
ELLIE
Wow. No wonder you're such a guy
magnet.
Then it hits Cordelia. She knows where this is all from. Her
eyes widen as the realization hits her.
CORDELIA
Oh, God.
Ellia and Pippa look at her.
DIRECTOR
Cut!
FADE TO BLACK:
END OF ACT ONE
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17.
ACT TWO
FADE IN:
INT. WESLEY'S APARTMENT - DAY
Wesley is sitting in his living room, working on translating
the Biru scrolls about Conner. He has a pile of old books
around him, but nothing seems to be helping at all.
He holds a magnifying glass to the scroll, and then reads
out of one of his books. He gets frustrated.
WESLEY
Damn.
He closes that book. He's gone through so many books already
that he doesn't know what to do anymore. After a pause, and
some thinking, he picks up the phone. He dials and holds it
to his ear.
WESLEY (CONT'D)
(beat)
Hello? Jeffrey, it's Wesley.
(beat)
Yes, that Wesley. Please, don't hang
up. I have something that I think
the Council may be very interested
in, but I'm going to need their help
first.
INT. CORDELIA'S TRAILER - DAY
Cordelia is looking out the window of the trailer, while
talking on her cell phone.
CORDELIA
It's almost exactly the same. I mean,
some changes here and there, but for
the most part, it's what happened
when I first met her.
INTERCUT WITH:
INT. CORDELIA'S APARTMENT - DAY
Fred is on the other side of the conversation.
FRED
I guess that explains why you thought
you knew the story.
(beat)
Seriously though, you couldn't tell
from the name of the show?
CORDELIA
I just thought it was something in
my field of expertise.
------------------------------------------------------------------------------------------------------
18.
FRED
And you're playing her?
CORDELIA
Yup. I'm the damn zombie hunter.
FRED
Wow. What are you gonna do?
CORDELIA
First, I'm gonna finish shooting.
You'd be amazed how easily one can
connect with the scene once they've
lived through it in real life.
Fred rolls her eyes.
CORDELIA (CONT'D)
But then I'm planning on doing some
serious finding out of what the hell
is going on.
FRED
Do you need help? I could call Angel's
cell phone.
CORDELIA
No! Don't call Angel. The last thing
he needs to see is me pretending to
be his long lost love.
FRED
Yeah, I guess that might be weird.
You want me to come over?
CORDELIA
Yeah. And I need you to bring
something for me.
FRED
Okay, what?
CORDELIA
Y'know that cute little black beaded
purse I have? I need it here, stat.
They have the girl who is playing me
walking around with what looks like
a dead rat. If my life is going to
be plagiarized, then it's going to
be done accurately.
EXT. MUSEUM - DAY
Establishing. People walk in and out of the museum.
------------------------------------------------------------------------------------------------------
19.
INT. MUSEUM - HALLWAY - DAY
Wesley is being escorted by a man, JERRY GRIER (aging, brainy
type). Wes is dressed in a suit, carrying a briefcase.
JERRY
I have to tell you, I was a little
shocked when I got the call. We've
had these books in storage for a
while now, and nobody's ever asked
to see them.
WESLEY
Yes, that's understandable. I don't
suppose there'd be much interest in
them, would there?
JERRY
Since nobody knows they exist, I
guess not.
WESLEY
Where do they come from, exactly?
JERRY
Greece. They were discovered three
hundred years ago in the remains of
a building that was over four thousand
years old, according to some people.
WESLEY
And nobody knows about them?
JERRY
Nope. For some reason, the people
who funded the dig, the same group
that left them here, didn't want
them to be made public.
(beat)
It's interesting that the same group
exists today, isn't it?
WESLEY
I suppose so.
Jerry stops and opens the door to an office. He lets Wesley
go in first.
INT. MUSEUM - OFFICE - CONTINUING - DAY
They walk into the office Jerry closes the door behind them.
JERRY
So what brings you here for them?
WESLEY
I'm not sure I should be talking
about it. It's really very classified.
------------------------------------------------------------------------------------------------------
20.
JERRY
Classified? What, is this an Indiana
Jones type of thing?
Jerry laughs at his own joke. Wesley does not. Jerry sits at
his desk. Wesley take one of the other seats.
JERRY (CONT'D)
I guess you're in luck. You need
them and they just happen to be here.
WESLEY
Yes.
Jerry picks a wood box up off of the floor and puts it on
the desk. He opens it. Inside are two books. Very old. They
both have writing on them, but each is in a different
language. One has the demon writing from the scrolls Wesley
has. The other has the words "Demon Text" written in ancient
Greek. Wesley picks them up. Studies them
JERRY
What do you think?
WESLEY
I think they might help me a great
deal.
EXT. HEMORY HIGH - DAY
The crew is setting up for another scene. Cordelia is back
in her chair, reading her script. A SECURITY GUARD walks up
to her.
SECURITY GUARD
There's a Fred Burkle to see you.
Cordelia doesn't even look up.
CORDELIA
Let her in.
The guard nods and walk off. Cordelia keeps reading. A moment
later, Fred walks up to her.
FRED
You have security protecting you?
CORDELIA
Not me specifically. Sometimes people
like to get onto the set of tv shows
and cause trouble.
FRED
Ah. So have you found anything?
CORDELIA
What do you mean?
------------------------------------------------------------------------------------------------------
21.
FRED
Y'know. The script is ripping off
the life of your friends. Remember?
CORDELIA
Oh. That. Yeah, I haven't checked it
out yet. But this script it pretty
good. I had no clue that some of
this was happening.
FRED
Don't you think we should maybe do
something? Ask around, or something?
Look for clues?
CORDELIA
I have to film a scene in about three
minutes. But the day's almost done.
We can do all kinds of research then.
FRED
What about the writer?
Cordelia looks at the script's first page.
CORDELIA
Nancy Johnson.
FRED
Do you know her?
CORDELIA
Don't think so.
FRED
She had to know about Buffy, right?
CORDELIA
I guess.
(beat)
Maybe we can pay her a visit tonight.
Cordelia goes back to the page she's reading.
CORDELIA (CONT'D)
Okay, I am not looking forward to
page thirty-seven. I have to kiss
that addict in the making co-star of
mine. Again. The guy smells like
dead fish.
Fred looks around. She sees the craft services table. And
the trailer nearby. And the feet sticking out from under it.
Her eyes widen.
FRED
Um... Cordy?
------------------------------------------------------------------------------------------------------
22.
CORDELIA
Hmm?
FRED
I think there's a dead body under
that trailer over there.
Cordelia looks up at what Fred sees. A look of pain and
sadness comes over her face.
CORDELIA
Great.
(beat)
You think we can keep it hidden until
after filming? We only have so much
sunlight left.
Fred looks back at Cordelia with a grossed out expression.
EXT. TECHTROPOLIS - NIGHT
The sun has just set. Gunn and Nick are standing outside as
Nick shows him the rules of the game. There are already PEOPLE
waiting to get in.
NICK
Around here, we open at sunset and
close at dawn. We like to be here
when they want us. We'd be open all
day if we thought our regulars would
show up.
GUNN
I guess their bosses wouldn't like
them ditching out on work.
Nick laughs.
NICK
That's right.
He opens the door to the club.
NICK (CONT'D)
Let the party begin.
The first person in line walks up. He's a BIG MAN. Muscles,
and fancy clothes. Nick waves him in.
The next person is a BEAUTIFUL WOMAN. Blond hair. A mini-
skirt. Nick lets her in.
The people that follow are all pretty much the same. Pretty
women. Good looking guys. All hip and cool. Nick waves them
in.
GUNN
This doesn't look too hard.
------------------------------------------------------------------------------------------------------
23.
NICK
It's not once you know the regulars.
It's only the newbies you have to
check out before letting them in.
A SMALLER MAN walks up in line. Not cool looking at all.
Nick looks at Gunn.
NICK (CONT'D)
What do you think?
Gunn checks the small man out.
GUNN
I think this guy should go play with
some dumbbells and try again when
he's grown a muscle.
Nick looks back at the man. Smiles and lets him in.
GUNN (CONT'D)
Okay, I'm confused. The kid didn't
look like the type of person you'd
let in here.
NICK
Aside from the regulars, a good part
of a techo club's crowd comes from
the parts of society that can't get
into other places.
GUNN
So how am I supposed to know who to
let in and who not to?
NICK
You'll know after a couple days.
Just watch me.
GUNN
Yeah. I think I might need a couple
weeks to catch onto this system of
yours.
EXT. HEMORY HIGH - NIGHT
Filming has stopped. Police cars and reporters are all around
the area. Fred is talking to a COP. We PAN OVER to where
Cordelia is. She's talking to a REPORTER.
CORDELIA
C-H-A-S-E. I'm from Sunnydale,
originally, but I moved here to be
an actress. It's a kinda sad story,
really. What happened was...
REPORTER
Can you tell me what happened here?
------------------------------------------------------------------------------------------------------
24.
CORDELIA
Oh. Well, we were right in the middle
of filming a few scenes for my show,
Mitzy The Zombie Hunter, which debuts
mid-season on the WB next year. It's
about a girl who discovers her destiny
is to be a zombie hunter, but it's
not as lame as it sounds.
REPORTER
I meant the murder.
CORDELIA
Right. I'm getting there. Anyway, I
was reading my lines in that chair
over there, and my friend noticed
the dead body under the trailer.
REPORTER
What can you tell me about the body
itself?
CORDELIA
You mean, other than the fact that
it looked like a pizza with half the
cheese ripped off? Not much.
REPORTER
Thank you.
The reporter walks off.
CORDELIA
That's it? Don't you need more
information about me?
The reporter is gone. Off to talk to the cop that Fred was
talking to. Fred is on her way back to Cordelia.
CORDELIA (CONT'D)
That reporter just totally blew me
off.
FRED
Something isn't right here.
CORDELIA
Well, duh. Bodies, and weird scripts.
FRED
You think they're connected?
CORDELIA
I've been doing this long enough to
know they are.
FRED
So what do we do now?
------------------------------------------------------------------------------------------------------
25.
CORDELIA
We track down the ick of the week,
and figure out a way to make it go
away.
FRED
But how?
CORDELIA
I thought you were supposed to be
the smart one. We find the writer
and figure out what it really is.
They walk away. As they do, that hooded figure from the teaser
makes it's way across the background.
EXT. TECHTROPOLIS - NIGHT
Gunn is still with Nick, watching Nick as he does his bouncer
thing.
As one person walks into the club, Gunn looks back to see
who the next one in line is. It's Angel. Gunn's a little
surprised.
Nick checks Angel's look out. Lots of black.
NICK
Sorry, dude. This isn't a goth club.
GUNN
It's cool. He's a friend.
NICK
Oh. Sorry.
(extends a hand)
I'm Nick. Gunn's new boss.
Angel looks down at Nick's hand. Unsure of the man. Unsure
of everyone around. Finally, he shakes Nicks hand.
ANGEL
I'm his old boss.
NICK
So, you must be Angel then. I've
heard some crazy stories about you.
Angel looks at Gunn, wondering what he's been saying.
NICK (CONT'D)
Is it true you once drove a car
through a night club?
ANGEL
Yeah.
(to Gunn)
Can I talk to you?
------------------------------------------------------------------------------------------------------
26.
Gunn looks to Nick. Nick gives him an "okay" nod. Gunn walks
off to the side with Angel.
GUNN
What's up? Everything okay?
ANGEL
I was about to ask you the same thing.
GUNN
What do you mean?
ANGEL
I just wanted to make sure everyone
was okay.
GUNN
Yeah, we're fine. Why, did you hear
something?
ANGEL
I just didn't want it to seem like I
ran off.
GUNN
In that case, maybe you shouldn't
have run off.
ANGEL
I didn't have a choice. With Gravo
out there, I can't risk exposure.
GUNN
I get that. Fred took it a little
hard though.
ANGEL
She's not at the hotel anymore.
GUNN
She's at Cordy's. I offered to let
her stay with me, but she told me
her mom would freak.
ANGEL
Oh. So she's okay?
GUNN
Yeah.
ANGEL
Good. And how's Cordelia?
Gunn smiles.
------------------------------------------------------------------------------------------------------
27.
GUNN
See, I was waiting to see how long
it took you to get there.
(beat)
Cor's doing fine. She started work
on her show today. Fred said something
about going to see her at Hemory
high school.
ANGEL
Hemory?
GUNN
Know it?
ANGEL
I've seen it.
ANGLE : NICK
A TECHNO MAN (dressed in a silver suit) walks up. Nick shakes
his hand.
NICK
Good to have to here again.
TECHNO MAN
How's the crowd tonight?
NICK
Fresh and full of energy.
TECHNO MAN
Nice.
ANGLE : ANGEL AND GUNN
GUNN
Listen, I have to get back to work.
ANGEL
You found this job pretty quick.
GUNN
You know me. All about getting back
on that horse.
Gunn slaps Angel's shoulder and starts to walk away. Before
he's too far, he turns back to Angel.
GUNN (CONT'D)
Hey, you and Cordy... think that's
still gonna happen?
Angel takes a moment to think about it. He doesn't know what
to say. Gunn gets the message and goes back to work.
------------------------------------------------------------------------------------------------------
28.
Angel starts to walk off. As he passes the door to the club,
he sees as the techno man shakes Nick's hand and walks into
the club. He watches the man. His eyes narrow.
INT. TECHTROPOLIS - NIGHT
The club is FULL OF PEOPLE, dancing to the sounds of LOUD
TECHNO MUSIC. The club is alive. Fancy lights flashing all
over the place. Tv screens active with all sorts of images.
The Techno Man makes his way into the club and stops. He
looks around and smiles at the sight of so many dancing
people. And as he smiles, his face VAMPS OUT.
FADE TO BLACK:
END OF ACT TWO
------------------------------------------------------------------------------------------------------
29.
ACT THREE
FADE IN:
EXT. PRODUCTION COMPANY BUILDING - NIGHT
Cordelia and Fred make their way closer and closer to the
building, looking around to make sure nobody is watching.
FRED
Are you sure we can be here?
CORDELIA
I'm the star of the show.
FRED
Are you sure we can be here?
CORDELIA
Just come on. We're demon hunting,
remember? Since when did we need a
pass card for that?
They reach the door to the building. Cordelia tries to pull
it open. It won't budge.
CORDELIA (CONT'D)
It's locked.
Fred looks around the door, and sees a keypad meant for
entering the code.
FRED
Do you have the code?
CORDELIA
Don't you think we'd be inside already
if I did?
Fred thinks for a minute.
FRED
Do you have any powder?
CORDELIA
Yeah.
Cordelia reaches into her purse and pulls out a compact and
a brush. She hands them to Fred.
CORDELIA (CONT'D)
I didn't think this was the time,
but I'm glad you finally decided to
do something about that shine of
yours. I was afraid you'd hit the
moonlight the wrong way and send out
a flash of light that would draw
attention to us.
------------------------------------------------------------------------------------------------------
30.
Fred takes the compact and just looks at Cordelia for a moment
without any way to express exactly what she's thinking. Then
she turns back to the door.
FRED
I saw this on tv once when I was a
kid.
She brushes some powder into the keypad. Cordelia watches.
CORDELIA
Oh. I get it.
On the keypad, fingerprints can be seen. Fred smiles.
FRED
It worked.
CORDELIA
Nice job. So get us in there.
Fred looks at the keypad. Studies it. The prints on the
buttons.
FRED
Small problem.
CORDELIA
What's that?
FRED
I know the numbers to hit, but I
don't know what order to hit them
in.
CORDELIA
So we're still screwed?
FRED
This never happened to Richard Dean
Anderson.
CORDELIA
What do we do now?
Fred stops and thinks. She looks at the door. Looks at the
keypad. Notices that the light on the keypad is green.
FRED
Wait.
She pulls on the door. It doesn't open. Then she pushes on
it. The door swings open. Fred and Cordelia look at each
other.
CORDELIA
Since when do these things open in?
------------------------------------------------------------------------------------------------------
31.
FRED
Bad construction, I guess.
Fred hands Cordy her compact back and starts to walk into
the building.
CORDELIA
Wait!
Fred stops and turns around.
FRED
What?
CORDELIA
We can't be too careful.
She brushes some powder onto Fred's face. Fred slaps her
hand away.
FRED
Let's go.
Fred leads the way into the building.
CORDELIA
It was for your own good.
EXT. TECHTROPOLIS - NIGHT
Gunn and Nick are still working. Nick checks his watch. He
looks back at the line of people.
NICK
Sorry, folks. We've reached our limit
for the moment. We'll start letting
people in again once we've cleared
some out.
MOANS from the crowd.
NICK (CONT'D)
(to Gunn)
Let's get a drink.
Nick leads the way into the club. He closes the door behind
them.
INT. TECHTROPOLIS - CONTINUOUS - NIGHT
They walk into the club, on their way to the bar. They walk
through crowds of dancers, moving to the MUSIC.
They sit at the bar. The BARTENDER comes to them.
NICK
(to the bartender)
You know what I want.
------------------------------------------------------------------------------------------------------
32.
GUNN
Beer for me.
The bartender nods and goes to get their drinks.
NICK
So what do you think of this place
so far, Gunn?
GUNN
Doesn't suck.
NICK
Good. That's always one of the goals
when opening a club.
The bartender comes back with their drinks. A beer for Gunn
and a bloody-Mary for Nick.
NICK (CONT'D)
Your last boss didn't seem like he
was into having this much fun.
(raises glass)
Bloody-Mary on the job.
GUNN
Angel isn't really the guy you want
to hang around when he's in too good
a mood. But I gotta say, he can drink
the bloodies as well as the next
guy.
Nick raises his glass and takes a drink. Gunn sips his beer.
NICK
I think you're gonna like it here.
It's a fun place to work.
GUNN
And at least I'll keep my days free,
right?
NICK
After being up all night, I usually
just like to sleep right through the
days. They're usually too bright
anyway.
GUNN
My girl would kill me if I slept all
day and worked all night.
NICK
I don't think you'll have to worry
about anyone killing you.
Nick VAMPS OUT.
------------------------------------------------------------------------------------------------------
33.
NICK (CONT'D)
Actually, I think it'll be the other
way around.
Gunn's eyes widen.
INT. PRODUCTION COMPANY BUILDING - NIGHT
Cordelia and Fred make their way down the hallway, looking
in doors as they go. It's dark and quiet. Nobody is there.
FRED
Do you think the writer will still
be here?
CORDELIA
A good writer always uses the dark
forces of evil late at night. It's
the only way to ensure maximum
dramatic effect.
Cordelia stops. Sniffs the air.
CORDELIA (CONT'D)
Do you smell something?
Fred smells.
FRED
No.
CORDELIA
It's like gardenias or something.
FRED
Maybe someone has a plant in their
office.
CORDELIA
Maybe.
They continue walking. From behind them, the sound of a DOOR
CLOSING is heard. They spin around.
FRED
Someone's here.
CORDELIA
And you figured that out all by
yourself, did you?
FRED
Do we go after the sound?
CORDELIA
Kinda why we're here.
------------------------------------------------------------------------------------------------------
34.
Cordelia leads the way toward the sound. As they walk, they
hear FOOTSTEPS RUNNING behind them. They spin again.
They're getting a little scared.
FRED
Are you sure we shouldn't call Angel?
CORDELIA
We can do this. We're experienced.
FRED
So which way do we go? Toward the
door, or the footsteps?
Cordelia thinks.
CORDELIA
Footsteps.
They slowly start walking down the hall again. Fred is staying
close to Cordelia.
Unknown to them, the hooded figure quietly walks up behind
them. It walks along with them for a few paces. Watching
them. And then, finally, the figure makes a noise. It takes
a breath.
Cordelia and Fred stop. They turn around quickly and are
shocked to see the figure there. Fred GASPS.
Cordelia kicks the figure, but it does no good. The hooded
figure raises it's arm, and swings it at Cordy. She slams
into the wall, and falls to the ground. She tries to regain
her composure. The figure hits her in the head again, and
she goes down.
FRED
Cordelia!
Fred looks back at the figure. The figure looks at her. We
can tell, even though we can't see the figure's face. It
cocks it's head slightly.
Fred begins to breath heavy, knowing that the figure is about
to attack.
FRED (CONT'D)
Cordy, get up. Please get up.
Cordelia is groggy. Trying to regain herself, but fighting
to just stay awake.
The figure steps toward Fred. Fred tries to hit it, but she's
not a fighter. It grabs her arms and holds her there. She
struggles to get free, trying to keep from losing it.
------------------------------------------------------------------------------------------------------
35.
FRED (CONT'D)
Cordy, help me!
But Cordelia can't. Fred keeps struggling, and finally knees
the figure in the gut. She twists around just enough to get
free from the figure.
She backs away slowly. Looking down at Cordelia, and back to
the figure. The figure is ignoring Cordelia now. It steps
toward Fred. Fred keeps backing away. She doesn't know what
to do.
FRED (CONT'D)
I'm sorry. I'm so sorry.
And with that, Fred takes off, running. The figure follows,
walking quickly after her, but not running.
Fred runs as fast as she can. When she's far enough down the
hall, she stops and turns around to see where the figure is.
It's nowhere to be seen.
Fred tries to open a nearby office door, but it's locked.
She tries another, but it's locked. She looks back to see if
the figure is coming, but still doesn't see it.
She turns to continue running. As she does, she bumps into
the figure which has somehow gotten behind her. She screams.
It tries to grab her, but she slips away from it, and runs
down the hall.
EXT. PRODUCTION COMPANY BUILDING - NIGHT
Fred runs out of the building. She looks around for someone
to help her. Anyone. But nobody is there. She continues
running.
INT. WESLEY'S APARTMENT - NIGHT
Wesley is hard at work, trying to translate the scrolls.
He's using the books that he got from the museum, and is
writing a lot in a notebook.
There's a KNOCK on his door. He goes to it and opens it.
Fred is there. Out of breath and crying.
FRED
Help me.
WESLEY
Fred?
FRED
Please.
(MORE)
------------------------------------------------------------------------------------------------------
36.
FRED (CONT'D)
Cordelia was attacked and I tried to
call Gunn and Angel, but they didn't
answer, and I didn't know who else
to go to.
WESLEY
Fred, where is Cordelia.
FRED
The production company's office. We
went there to track down the writer.
Wesley, we have to help her. She's
alone.
WESLEY
We will.
Wesley goes back into his apartment and grabs a knife out of
one of the drawers.
WESLEY (CONT'D)
Take me there.
They walk out of the apartment.
INT. TECHTROPOLIS - NIGHT
Gunn is standing on the dance floor. There is a circle around
him cleared as people watch on. Nick and the techno man walk
toward him, still in vampire faces. The MUSIC STOPS.
In the crowd, some of the people start to worry.
NICK
Don't worry, Gunn. Soon, you'll be
happy we made you one of us.
GUNN
You wouldn't happen to know a good
place for stakes around here, would
you?
NICK
You joke.
GUNN
Yeah, I joke. Look at you two. All
vamped out and thinking you can take
me.
NICK
I like your style. About to die and
still talking big.
------------------------------------------------------------------------------------------------------
37.
GUNN
I only talk big because as vampires
go, you guys are about as scary as a
Gilligan's Island rerun. Only a whole
lot funnier.
TECHNO MAN
I hope you like pain.
GUNN
I hope you like disappointment.
(beat)
Hey, y'know, I could go on all night
with this repartee, but I'm kinda in
the mood for violence now, so can we
get on with it?
NICK
Why not?
Nick and the tecno man rush at Gunn. Gunn works some fancy
moves and tosses Nick across the dance floor while avoiding
the techno man. The techno man attacks Gunn with a punch.
ANGLE : THE DOOR
People rush at the door, trying to get out. But the door is
locked. They start to SCREAM and YELL in fear.
ANGLE : DANCE FLOOR
Gunn continues to battle the techno man. Nick gets back into
the fight, and Gunn is forced to fight both at the same time.
He doesn't have any weapon, so it's all about skill. Punches,
and avoiding. And he's doing very well.
Eventually, Gunn manages to get to a table where a tray is
set. On the tray rests a pad for taking drink orders, and a
pencil to go with it. As the techno man moves to punch Gunn,
Gunn uses the tray to block the punch. At the same time, he
grabs the pencil, and jams it into the techno man's chest.
The techno man TURNS TO DUST.
Gunn grins and looks back to Nick.
GUNN
Your turn, boss.
NICK
It doesn't have to be like this.
Trust me, once you become one of us,
you'll thank me.
GUNN
I guess we'll never know, will we?
------------------------------------------------------------------------------------------------------
38.
Gunn goes after Nick. Punches fly. Gunn flips Nick onto the
ground and pins him there. Nick kicks him off, sending Gunn
sliding across the floor.
Nick gets up and starts walking toward Gunn. Gunn hasn't
quite recovered yet. Nick punches him, sending him back to
the ground.
NICK
It's time.
Nick grabs Gunn and pulls him close, about to bite his neck.
ANGEL (O.S.)
Better check again.
From above, Angel drops down. His long leather coat looking
as cool as Batman's cape ever did. He lands on the floor
behind Nick. Nick turns around and sees Angel.
NICK
You?
Gunn punches Nick, and breaks free of his grasp. Angel pulls
a stake out of his jacket. He tosses it to Gunn.
ANGEL
Yeah, me.
Gunn stakes Nick from behind. Nick TURNS TO DUST.
Gunn walks over to Angel.
GUNN
Thanks. I needed that.
They start to walk out. But there are still people panicing
in the club. The doors still aren't open.
The circle of people around Angel and Gunn doesn't open to
let them pass. All those who are panicing are in the back of
the room. The calm ones, dozens of them, are surrounding
Angel and Gunn.
And all at once, they VAMP OUT.
FADE TO BLACK:
END OF ACT THREE
------------------------------------------------------------------------------------------------------
39.
ACT FOUR
FADE IN:
INT. TECHTROPOLIS - NIGHT
Angel and Gunn take in the sight of the dozens of vampires
around them.
GUNN
I was not expecting this.
ANGEL
I kinda was.
GUNN
Thanks for the heads-up.
(beat)
So what's the plan?
ANGEL
We fight.
GUNN
Good plan.
Angel hands Gunn a stake. He takes one out for himself too.
GUNN (CONT'D)
Let's do this.
They charge into the crowd of vampires. The vampires attack
them. The place turns into a riot of vampires, trying to get
to the center of the fight.
Angel grabs a vampire, and throws him into the crowd, keeping
some vamps away from him as he continues fighting.
Gunn does his best to avoid the punches that are being thrown
at him. He grabs the arm of one vampire as it tries to punch
him, and twists it until the vampire can't move. Then he
drives his stake into it's chest. The vampire TURNS TO DUST.
But Gunn doesn't have time to take joy in the kill. He jumps
right into another fight with another vampire.
In the back of the club, normal humans try to get the door
open, but they can't. The doors are locked, and everyone
inside is trapped.
INT. PRODUCTION COMPANY BUILDING - NIGHT
Wesley and Fred enter the building. Wesley is still holding
onto his knife, and Fred is holding onto him.
WESLEY
Where did you last see her?
------------------------------------------------------------------------------------------------------
40.
FRED
This way.
Fred leads the way through the halls, trying to find Cordelia.
But the place is dark and empty.
FRED (CONT'D)
I shouldn't have left. I could have
helped her.
Wesley doesn't know how to respond. Is he still angry with
her? What is their relationship now? Finally, he decides.
WESLEY
How? You say the demon was strong.
If you'd stayed, you would have been
killed, and so would Cordelia.
FRED
You say that as though it hasn't
happened. But we don't know...
WESLEY
If she's dead, then where's the body?
What reason would there be to take
the body?
FRED
Then where is she?
INT. PRODUCTION COMPANY BUILDING - BASEMENT - NIGHT
Cordelia's tied to a chair, unconscious. She's tied with her
hands behind her back. Nothing too fancy. She has her blond
wig back on. Around her, candles burn. A desk sits on one
side of the room.
She begins to stir. Her eyes open. She lifts her head and
looks around the room.
CORDELIA
(groggy)
Where am I?
A voice comes from the back of the room. From an unseen
person. It's a DISTORTED VOICE. Not quite human.
FIGURE (O.S.)
Welcome to my office.
CORDELIA
Where are you?
FIGURE (O.S.)
I am all around you.
The voice moves to the other side of the room. Cordelia's
head follows as she tries to figure out where the figure is.
------------------------------------------------------------------------------------------------------
41.
FIGURE (O.S.) (CONT'D)
On the left, and right. In front and
behind.
The voice moves again.
FIGURE (O.S.) (CONT'D)
I'm everywhere.
And finally, the figure steps out in front of Cordelia, from
a shadow.
CORDELIA
What do you want with me?
FIGURE
I should ask you that question. It
wasn't me who brought you here.
CORDELIA
Well, when you leave a trail of
corpses, you're bound to draw some
attention to yourself, don't you
think?
FIGURE
It's not every lead actress that
would come here.
(beat)
But I should have expected it from
the day you were hired. You were
always part of her group. I just
thought it would add realism. I didn't
think you were the type to go hunting
without her.
CORDELIA
Her? What are you talking about?
Buffy?
FIGURE
The great and powerful Buffy Summers.
CORDELIA
What did she ever do to you?
FIGURE
Oh, what didn't she do? As if it's
not hard enough to go through life
as a smart girl. As though there
wasn't enough trouble getting guys
to notice me, or people to see just
how much effort I put into my work.
(beat)
That wasn't enough. How could it be?
When you have a girl who does
backflips onto the roof of the school.
Class protector.
------------------------------------------------------------------------------------------------------
42.
CORDELIA
Okay. Someone's gone a little insane
since graduation.
(beat)
Who are you?
FIGURE
You don't know?
(beat)
Why should you? Who remembers...
She takes the hood off. The face revealed is that of NANCY.
The girl who was jealous of Buffy in the episode, "Earshot".
Her voice is still messed up.
NANCY
Nancy Johnson.
Cordelia doesn't remember her.
CORDELIA
Nancy?
And then she remembers.
CORDELIA (CONT'D)
Nancy.
INT. TECHTROPOLIS - NIGHT
Gunn is thrown over the bar, landing behind it with a CRASH.
He tries to recover as quickly as possible. As he does, he
takes in the sight of the vampires attacking Angel. Then he
looks around. There must be some way to make this easier.
Angel is surrounded by five big vampires, all wanting a piece
of the action. They form a circle around him, giving him no
way to escape. He holds his stake tight in his hands and
eyes them back. He VAMPS OUT. Finally, he decides it's time.
He attacks. He quickly stakes one of them without any trouble.
The others all attack. He grabs one of them and throws him
into another one. As they're dazed, trying to recover, Angel
shoves his stake into the one that he just threw. Before the
vampire turns to dust, Angel kicks the stake, sending it
back into the heart of the vampire behind the one he threw.
Both TURN TO DUST. He quickly pulls another stake from his
jacket, just in time to get another one of the vampires as
it tries to attack him.
Other vampires watch the fighting, laughing and having fun.
This is a game for them.
Meanwhile, Gunn is fighting off two vamps that have gone
after him. He's still stuck behind the bar, so there's not
much room to fight, which is both good and bad for him. He
stakes one of the vampires. The other attacks quickly. Gunn
punches him in the face and stakes him in the chest.
------------------------------------------------------------------------------------------------------
43.
Angel is getting angry now. He punches one of the vampires
attacking him in the chest, grabs his head, and flips him to
the ground by it. With a ROAR, Angel twists the head of the
vampire on the ground until SNAPS. The vamp remains on the
ground without moving but does not turn to dust.
Angel looks back up just in time to see ten more vampires
charging at him.
GUNN
Angel!
Angel looks over and sees Gunn holding a bottle of brandy.
When he sees this, he ducks down, and covers himself with
his jacket.
The vampires jump on him, attacking brutally. But they are
soon stopped. Gunn throws the bottle of brandy at them. It
shatters, sending the alcohol all over them. This is followed
by more and more of the same. Every bottle Gunn can find, he
throws at the vampires. Eventually, they are soaking.
A moment passes, and they pay little attention to him, or
the fact that they're soaked. They continue to beat on Angel.
Finally, something happens. Somehow, all of the vampires
that are soaked BURST INTO FLAMES.
The alcohol soaked ground around them does catches on fire.
The vampires stumble to get away, trying to find some way to
put the fire out. They go to other vampires who were watching
the fighting, grabbing onto them, seeking help. But in come
cases, that just makes the other vampires catch on fire.
Soon, with a POOF, those vampires who are on fire are TURNED
TO ASHES.
Gunn looks back to where Angel was. In the center of the
floor, Angel still rests. His leather jacket, in flames,
covering him. He stands up, and tosses the jacket to the
ground, stomping on it to put out the fire. Gunn rushes out
to him.
GUNN (CONT'D)
I'm guessing it's better to be wearing
leather in a fire than metallic
polyester?
Angel slips his lighter back into his pocket. He looks back
at the remaining vampires. Some of the vampires are about
ready to attack. Others notice that the floor is still on
fire, and it doesn't look like the fire is going out anytime
soon.
Those vampires rush for the door. But they discover what the
scared humans have been fighting with all night. The door is
locked. Using their vampire strength, they manage to beat
the door down and escape. Now, only about a dozen vampires
remain to fight Angel and Gunn. Angel eyes them.
------------------------------------------------------------------------------------------------------
44.
ANGEL
You really wanna do this?
INT. PRODUCTION COMPANY BUILDING - BASEMENT - NIGHT
Nancy is still in front of Cordelia. Cordelia is struggling
to get free.
NANCY
I honestly don't know what to do
with you. Kill you? But then I lose
the star of my show. And we just
went through the recasting process
once. But if I let you go, you'll
cause all kinds of trouble, won't
you?
CORDELIA
How did you do this? How did you
know what to write? And most
importantly, why the hell does this
place smell like gardenias?
NANCY
Those were the only candles I had on
hand. Sorry. I needed them for the
spell.
Nancy opens her desk drawer and pulls out a GLOWING PURPLE
ORB.
NANCY (CONT'D)
Pretty, huh? It lets me channel the
power of Patecus. The revealer. The
spell allows one to access the lives
of their enemies. Usually, it's so
they can kill their enemies in a
horrible and bloody way. But me? I
thought of a better way to use this.
Finally, I will gain something from
that bitches glory. Fame. Fortune.
Maybe a spinoff about her zombie
lover with a soul.
CORDELIA
You're sick.
NANCY
I get that a lot. Hell, it's why I
missed graduation.
CORDELIA
Tht's too bad. I honestly mean that.
NANCY
See why I cast you to play her? Who
better?
(MORE)
------------------------------------------------------------------------------------------------------
45.
NANCY (CONT'D)
I've seen what you've been doing
lately. It's like you were playing
the part before I even wrote it.
CORDELIA
What are you talking about?
Cordelia is still struggling to get free. She's getting there.
NANCY
You don't see it? You did everything
you could to be her. Her job. Her
personality. Her boyfriend. Even her
hair color. I've been watching you,
wondering where the hell Cordelia
Chase went, and when she was replaced
by a pod person.
CORDELIA
Okay, I can't disagree there. But
one thing is for damn sure.
She pulls her hands free, and stands up. she rips off the
blond wig.
CORDELIA (CONT'D)
I don't have her punning skills.
She dives onto Nancy. But Nancy is strong. She throws Cordelia
across the room. Then she grins.
NANCY
Super strength. It's part of the
spell. It's all about sacrificing
people.
She steps toward Cordelia.
NANCY (CONT'D)
You don't have any super strength,
do you, Cor?
INT. PRODUCTION COMPANY BUILDING - NIGHT
Wesley and Fred are still trying to find Cordelia.
FRED
Where is she? We've been looking
forev... Wait.
Fred smells the air.
WESLEY
What?
FRED
Gardenias.
------------------------------------------------------------------------------------------------------
46.
WESLEY
What about them?
FRED
We smelled them just before the demon
appeared. We have to follow the smell.
She starts leading the way.
INT. TECHTROPOLIS - NIGHT
Angel and Gunn continue to fight vampires in the burning
building. Angel stakes one. Gunn throws another onto the
fire. They are winning the fight. No doubt about it.
There are five vampires remaining, plus the one who still
rests motionless on the ground.
The vampires attack, but are cautious of the fire. Thee of
them go after Angel. Two after Gunn.
Gunn avoids the punch of one vampire, grabs him, stakes him,
and throws him at his friend. The staked vampire TURNS TO
DUST in the face of the other vampire, making it impossible
for the other vampire to see anything for a moment. In that
moment, Gunn stakes that vampire. It TURNS TO DUST.
Angel is busy fighting the other three vampires. When Gunn
is done dusting his vampires, he sees Angel dealing with the
other three.
GUNN
Angel!
And with that warning, he tosses Angel his stake. Angel grabs
it with his free hand. Now he has two. He quickly stakes two
of the vampires, spins around, and stakes the third. They
all TURNS TO DUST.
Gunn walks to Angel.
GUNN (CONT'D)
Talk about a rush. How freaky was it
when they surrounded us like that?
Angel walks to the vampire that is on the ground. He stakes
him, and starts to walk out the door. Gunn follows.
As they leave, the building still burns.
INT. PRODUCTION COMPANY BUILDING - BASEMENT - NIGHT
Cordelia is trying to avoid Nancy, who is walking toward
her.
------------------------------------------------------------------------------------------------------
47.
NANCY
Y'know, if you'd just promise not to
tell anyone, we could both be made
famous from this. Think of the money.
You could go back to Sunnydale and
hold your head up high again.
Cordelia thinks the offer over.
CORDELIA
I would. I really would. But it's
not gonna be fun when the show gets
a reputation for having it's crew
members turn up dead, with the face
peel from hell.
NANCY
So you'd rather go back to being a
nobody, working for a vampire?
CORDELIA
Let's see, now. Go back to possibly
being a nobody, or work on a show
run by a maniac who butchers the
crew, and whose hightlights look
like they were done by a one armed
chimp? That's a toughie.
NANCY
Fine. In that case, you're more than
welcomed to die. We can always recast
the lead. You think Harmony would do
it if we promised no day shoots?
Nancy gets closer and closer to Cordelia. Cordy tries to get
away, but there's noplace left to go. She tries kicking Nancy
in the gut, but it does nothing.
Nancy raises an arm, about to hit Cordy. As she does, there
is a BANG. Someone trying to break into the locked basement
door. Nancy looks up. Cordelia takes the chance to slip away
to the other side of the room. Another BANG.
NANCY (CONT'D)
Who could that be? You're little
friend? Got tired of running, did
she?
The door CRASHES open. Wesley and Fred rush down into the
basement.
CORDELIA
Wesley?
NANCY
See, now if it was the vampire, I
might be worried.
------------------------------------------------------------------------------------------------------
48.
FRED
This is the demon?
CORDELIA
No, this is just another disgruntled
product of the Sunnydale High geek
squad. Watch out, she's strong.
Nancy smiles at Wesley as he raises his knife.
NANCY
That's not gonna get you far.
WESLEY
We'll see.
Nancy turns all of her attention to Wesley. It's all like a
game to her. Wesley attacks with the knife. Nancy avoids,
and hits Wesley. He stumbles back. She walks toward him.
Hits him again. He drops the knife.
FRED
Wesley.
Fred tries to help Wes, but Nancy swats her away. She falls
back against the desk.
CORDELIA
Fred, the orb!
Fred looks up and sees the glowing orb on the desk. She picks
it up.
Nancy hits Wesley once more, sending him to the ground.
FRED
What do I do with the orb?
CORDELIA
Break it. Now!
Fred throws the orb onto the ground. A WHOOSHING SOUND fills
the room as the PURPLE ENERGY VANISHES. Nancy is left
powerless. Her voice RETURNS TO NORMAL.
NANCY
No!
She's tapped on the shoulder. She slowly turns. Cordelia is
behind her.
CORDELIA
You write like a hack. Even when
you're shown what to write word for
word, you still suck. You're still a
nobody.
(MORE)
------------------------------------------------------------------------------------------------------
49.
CORDELIA (CONT'D)
And in high school, you weren't even
close to being the smartest. I may
be really stupid at times, or really
foolish. But you've never really
been much of anything at all. And
with all that said, I leave you with
this one final closing thought.
Cordelia punches Nancy right in the face. Nancy goes down.
Cordelia smiles a little. Then she grabs her hand in pain.
CORDELIA (CONT'D)
Ow!
INT. CORDELIA'S APARTMENT - ONE WEEK LATER - NIGHT
Cordelia is sitting on the couch, reading a magazine. There's
a KNOCK on her door. She gets up and answers it. It's Angel.
CORDELIA
Hey.
ANGEL
Hi.
CORDELIA
Come on in.
ANGEL
Is Fred here?
CORDELIA
Out with Gunn.
Angel walks into the apartment. Cordy closes the door behind
him.
CORDELIA (CONT'D)
So, I heard about your encounter at
the night club of the living dead.
ANGEL
Yeah. And you... The writer girl.
CORDELIA
Yup. My first taste of the real world
in years, and I end up on the tv
show that's being written by a
demonically possessed girl with a
chip the size of Las Vegas on her
shoulder. But hey, it's better to
get that out of the way early right?
Move on to bigger and better things?
ANGEL
At least you still have a job.
------------------------------------------------------------------------------------------------------
50.
CORDELIA
Actually, I don't. The network didn't
like all the bad press. Shocker.
(beat)
Anyway, the show was canceled a few
days ago.
ANGEL
I'm sorry.
CORDELIA
Don't be.
She looks him in the eyes.
CORDELIA (CONT'D)
It's time I stopped playing Buffy.
He looks down. Getting the message.
ANGEL
So what will you do now?
CORDELIA
(smiles)
I have no clue. I guess I go back to
auditioning. Plus, I should really
figure out who I am. I've gone from
acting like a ditz in high school,
to acting like a super hero here.
ANGEL
So where do you think you'll wind
up?
CORDELIA
Don't know. Probably someplace in
the middle. I'm tired of acting like
Molly Sweet-N-Bright, but at the
same time I kinda like being taken
seriously.
ANGEL
You have a lot to think about.
CORDELIA
Should be interesting.
Angel's CELL PHONE RINGS. He holds up a finger, telling her
to hold on a sec. And then he answers it.
ANGEL
(into phone)
Yeah?
He's not happy to hear the person on the other end of the
line.
------------------------------------------------------------------------------------------------------
51.
ANGEL (CONT'D)
When?
(beat)
Yeah, I'm on my way.
He hangs up.
CORDELIA
Wesley?
ANGEL
How'd you...?
CORDELIA
There are about four people who call
that phone. And only one of those
can get you to scowl like that.
ANGEL
I have to go.
CORDELIA
What's up? Anything you need a
confused ex-cheerleader for?
ANGEL
No.
Angel starts to walk out.
ANGEL (CONT'D)
I'll talk to you later.
INT. WESLEY'S APARTMENT - NIGHT
Wesley is once again working on the scrolls. He has the
"Tehosh Biru" book out, as well as the two that he picked up
at the museum. He's been working long, hard hours to translate
the scrolls.
There's a KNOCK on his door. He goes to it and opens it.
It's Angel.
WESLEY
Angel, come in.
ANGEL
You said you translated the scrolls.
WESLEY
Most of them, yes. I'm afraid it's
not something that any of us were
expecting.
ANGEL
What do they say about Conner?
------------------------------------------------------------------------------------------------------
52.
WESLEY
You should sit.
ANGEL
I don't want to sit. I want answers.
Wesley stays standing with Angel. He looks at him, not knowing
how to say what he must say.
WESLEY
I've checked the scrolls several
times. I can't get an exact
translation, but the meaning is still
the same.
ANGEL
Just tell me.
Wesley looks at the ground. Then back to Angel.
WESLEY
Angel, Conner isn't your son.
Angel looks at Wesley. Confused as hell. How can this possibly
be?
FADE TO BLACK:
END OF SHOW