War Zone (April 4, 2000) Written by: Garry Campbell Teaser EXT. ALLEY - NIGHT We're in a bad part of town. People gave up trying to call this home a long time ago. The ghost town that you can find somewhere in every big city. A LONE WOMAN, young, pretty and scared walks down a darkened alley. This is ALONNA. She's a street kid, dressed accordingly, but even she knows that there's something scary about these streets. She keeps darting frightened glances behind her and walks just a bit too fast. In harm's way and knows it. She stops for a moment. She's heard a noise. Turns and stares but there's nothing there. Nothing she can see yet, anyway. She knows something's there. We follow her a little further down the alley until she hits the obligatory dead-end. It ends in a fence. Too high to climb, too solid to get past. She turns to see THREE VAMPS standing behind her. They block her way out of the alley. The hunt is over. The vamps just don't kânow it yet. The three vamps start to move forward. Vamp #1 hears something, they turn. VAMP #1 You. We start in low and see a pair of black boots walk into frame. We move up to reveal black leather pants and the bottom of a long black coat. We move up further to reveal a gloved hand holding a drawn sword. The camera moves all the way up to reveal, not Angel but a YOUNG MAN. Hard beyond his years. This is CHARLES GUNN. Standing behind and to the sides of him now are FOUR SIMILARLY HARD LOOKING YOUTHS. One holds a crossbow, two are holding nasty looking pikes and the fifth, CHAIN, holds a nasty length of chain with a spiked ball on it. IDLING behind them is a crappy but tricked out old pick-up truck with gatling gun on the bed, aimed over the cab, and stake pikes on either side. Off this stand off of the Mexican variety... GUNN You were expecting someone else? BLACK OUT. END OF TEASER Act One INT. PENTHOUSE APARTMENT - NIGHT A HIGH SOCIETY PARTY is going on in a ðpenthouse apartment. The wealthy have gathered, UNIFORMED CATERERS are moving through the partygoers. CORDELIA, WESLEY, and ANGEL arrive. A caterer wielding a tray of hors d'oeuvres passes by them. Cordy breathes deep, experiences a moment of rapture. CORDELIA I've missed that smell. WESLEY Camembert, I believe. CORDELIA What? No. Money. I like to smell a little money once in a while. Looking around, Cordy moves into the party. Wesley casts a dubious glance at Angel. ANGEL She's not just saying that. Hide some in the office sometime and watch her. It's uncanny. CORDELIA Ooh! There he is. Angel follows Cordy into the party. After a beat, Wesley follows as well. CORDY approaches a MAN ON A COUCH. This is DAVID NABBIT. Nabbit's a mousy-looking billionaire, a Bill Gates type. He's holding a tray of hors d'oeuvres, stands as they approach. CORDELIA Mr. Nabbit, hi! NABBIT Hi! I'm so glad you could come. ANGEL Thanks for having us. NABBIT A pleasure. Small, uncomfortable paus1/2e. NABBIT Who are you? CORDELIA Oh! I'm Cordelia Chase. We spoke on the phone. NABBIT Right! Yes. So, you would be... (quietly) ...Angel? ANGEL Yes, and this is Wesley, my associate. WESLEY Lovely party. NABBIT Yeah, isn't it nice? CORDELIA Oh my god. Is that Welland Harding? Cordelia indicates a DISTINGUISHED LOOKING MAN talking to a woman. NABBIT I have no idea. I don't know most of these people. I don't even talk to... the people... they come to the party and I think they have fun... These are crab. He offers crab puffs. Wesley grabs a couple. ANGEL If this is a bad time to meet... NABBIT Well Miss Chase said you could only meet at night... ANGEL It's more convenient, but-- NABBIT And that we'd be less conspicuous during the party. Angel shoots a look at Cordy, who's all smiles. Great plan, n'est pas? She snags a champagne glass from a passing tray. NABBIT I think it's good. We probably won't be interrupted. IÐ always said I'd make a billion dollars in the software market and then learn to talk to girls. I'm still working on step two. He smiles -- more or less at ease with his social ineptitude. ANGEL Why don't you tell us about your case? NABBIT My case. Yeah. It somewhat has to do with blackmail. ANGEL Go on. NABBIT Are you familiar with Dungeons and Dragons? ANGEL I've seen a few. WESLEY You mean the role-playing game. ANGEL Oh. Game. Yeah. The game. NABBIT I used to play a lot in high school. It's... It's pretty cool, you know, you... get to be someone else for a while. A wizard, a warrior... and the whole world is majick. Fighting trogladytes, romancing exotic demon princesses... it's a rush. CORDELIA (sincerely) Did someone find out you're a big nerd? NABBIT That's actually public record. But... some of us got really into it. Especially the demon romance part. Then we heard about this place, with real... the guys were joking about getting soáme "tail". WESLEY You went to Madame Dorion's. NABBIT Just once. WESLEY (to the others) It's a demon brothel. NABBIT Or twice. WESLEY In Bel Air, I believe. The Watcher's Council is rife with stories about it. ANGEL (to Nabbit) And how many-- NABBIT Twelve. Times. ANGEL --people knew about you going? NABBIT Oh. Just my friends. But my security people already identified the guy with the... pictures. Lenny Edwards. They just can't find him. ANGEL We'll see if we can't do better. NABBIT If my stockholders see these pictures... ANGEL They won't. CORDELIA Don't worry, we're incredibly discreet. We'll mingle for a few hours after this so no one suspects. NABBIT I moved to L.A. I thought it was all glamour and valet parking. There's a whole world here that no one ever sees. ANGEL More than one. A glamorous COUPLE passes, waving to Nabbit. NABBIT (smiles) Great to see you again! (to our gang, re: couple) No idea. EXT. STREET - NIGHT A VAMPIRE'S FACE - Whips INTO FRAME. It's fighting with one of Gunn's pike kids. There's general battling the vampires chaos in this dead end alley as we re-enter the conflict from the teaser that's graduated into brawl. Gunn battles another Vamp... Chain uses his, well, chain as he fights a VAMP. On the War Wagon, BOBBY, mans the gatling gun, swinging it around looking for a shot. Alonna has made it over to the War Wagon and safe viewing distance. Kid #1 continues to fight. As he does another VAMP approaches him from behind. Bobby lets loose with a stake from the gatling gun -- WHOOSH! The Vamp that was coming up behind Kid #1 goes DUST. Bobby whoops and cheers. BOBBY I got him! He's reloading the gun now as... Gunn uses his sword to drive his vamp backward, then does a quick move, decapitating the vamp. Chain uses his chain to pull down his vamp, dropping it to its back, then staking it. Bobby is sºearching for a new shot. He doesn't notice as -- ALONNA Bobby! -- Vamp #1 has circled around on the War Wagon, reaches up and pulls Bobby down. He flings him through the air to crash into a wall. He is stunned. The Vamp stalks toward the fallen boy -- Vamp #1 cracks Bobby's back. The wet crack is sickening. GUNN AND CHAIN Have vanquished their vamps. They see the attack on Bobby, race to his side. Vamp #1 takes off. Gunn and some of the others gather up the wounded Bobby, loading him into the truck. Chain grabs a crossbow from the truck. Is about to nail the fleeing sucker. Gunn reaches out, stays his hand. Chain looks at him. GUNN No. Chain doesn't get it. Gunn's letting this vamp get away. Once it's nearly to the top of the wall -- GUNN (now) Dog 'em. Chain nods, moves to follow the vamp. ALONNA Gunn! Come on! Gunn looks to Alonna, who is ministering to Bobby, who doesn't look good. Gunn joins the others in the War WagÚon. GUNN Go. And the War Wagon pulls out of there, leaving behind the battle field... EXT. WAR WAGON HIDING PLACE - NIGHT The War Wagon pulls around the corner into a concealed-from-the-streets area. Bobby is carefully lifted out of the War Wagon. He's clearly in a lot of pain. A tarp is quickly pulled over the War Wagon, concealing it from view. The group carrying the wounded Bobby moves through old staked crates, through some loose slats into... EXT. CURVED ALLEY WAY - NIGHT The troops appear in the alley way. Above them WE SEE SENTRIES POSTED, moving along rooftops or walls, coming in and out of view. Some dour looks from up there to the scene below where the kids carry their wounded comrade... They pass through a metal door at the side of a warehouse like structure and into... INT. BRICK HALLWAY - NIGHT The entourage carries the wounded Bobby through this bricked in corridor, in through another door, to ... INT. ABANDONED SLAUGHTER HOUSE - NIGHT Ò ...Gunn and company come down some stairs into this abandoned slaughter house. Evidence of old meat hooks, faded signage, etc. An appropriate place for people who know they've become "food. " Their "home." it's a large warehouse-like area with high windows covered with old plastic bags, tarps, make-shift coverage. SEVERAL KIDS ranging from early teens to early twenties are in the area as well as some OLDER STREET PEOPLE. There are mattresses along the walls and a couple of fires burning in fifty-gallon drums. Bobby is gently laid out on one of the mattresses. Alonna holding his hand. BOBBY Gunn? Gunn leans in. GUNN Right here, man. BOBBY He picked me up like I was a baby. GUNN He's dust, Bobby. Forget about him. BOBBY I'm not a baby. A beat. Bobby can't stay focused or conscious. He closes his eyes. Alonna hovers at Gunn's shoulder. Gunn rises. ALONNA He needs a doctor. Gunn glances at her, then starts to move away. GUNN James! SENTRY respéonds instantly coming to Gunn's side. Gunn has moved to a weapons rack, unloads his stuff, including sword, there. GUNN How we fixed for tonight? SENTRY Beck and me lifted some can stuff. Wasn't much in the bins behind Mel's. And we got that -- Sentry nods toward a FAMILY huddled in the corner. Newcomers. Gunn reacts to that, takes it in. SENTRY I told them we don't take squatters. GUNN Everybody eats. Kid nods, moves off. Alonna is staring at him. ALONNA Gunn. He needs a doctor. GUNN What for? And without looking to Alonna or Bobby, Gunn moves off to tend to more business. As he does, he reveals Bobby in the background. Dead. Off Alonna, registering that... INT. MADAME DORION'S - NIGHT We are inside MADAME DORION'S demon bordello. A very high-end establishment. A COUPLE OF DEMONIC LOOKING WOMEN IN LINGERIE walk past as Angel walks in. A MIDDLE-AGED HANDSOME LOOKING WOMAN, MADAME DORION, notes him. Approaches. She shows no signs of demoninity. She gives Angel the onceè over. MADAME DORION We don't do vampires. Sorry. ANGEL I just came to talk. MADAME DORION We don't do that, either. Angel produces the photo of Edwards, flashes it. ANGEL His name's Lenny Edwards. You know him? MADAME DORION Even if I did, I wouldn't tell you. ANGEL Discreet. That's good. MADAME DORION Essential in my line of work. ANGEL How discreet would you say it is for one of your clients to be secretly photographed here -- and then blackmailed? She reacts to that, surprised. MADAME DORION What? ANGEL Bad for business, I'd guess? Her look tells us it would be. ANGEL You tell me where I can find Lenny Edwards, and maybe I can stop this before word hits the streets. Madame Dorion weighs this, simmering. Finally: MADAME DORION Who was the girl? ANGEL I don't know. But I can tell you who the client was -- David Nabbit. Madame Dorion's face hardens, she calls out: MADAME DORION Lina! (to Angel) Talk to Lina. LINA enters. Lina is a quill-headed demonº. She's wearing a long, diaphanous gown. Very beautiful. LINA Oh, he's a pretty one. She moves in close, pressing herself against him. MADAME DORION (stonily) He's a vampire, Lina. LINA (considers that) Really? Well, we can make an exception. Just don't do that face thing and we'll get along great. (then) Look ma, no hands. Lina holds her hands up in the air. Angel stands very still, looks at her wryly. He's being groped. He reaches down out of frame, holds up a prehensile tail. If possible it should be erect-ish, twitching and flicking. MADAME DORION That's not why he's here. Angel holds the tail with one hand, holds up the photo of Lenny Edwards with the other. ANGEL I'm looking for him. Lina's tail (if possible) droops in Angel's hand even as her expression falls. She glances to Madame Dorion, knows she's busted. ANGEL I think your boss here would like you to cooperate. Lina is stuck between Angel and Madame Dorion. KÖnows she can't wriggle out of this. LINA (with contempt) Vampires. Off that -- INT. VAMP HIDEOUT - NIGHT We're inside the vamps' nest. It's a typical underground, no-window, pseudo-gothic vampire-looking domicile. THE HEAD VAMPIRE, KNOX, is having a war council with his UNDERLINGS. He moves among his ranks as he speaks. KNOX Street trash. That's what they are. Stupid, human, street trash. Knox continues to move. Throughout the following, he'll be zeroing ever closer to Vamp #1, the vamp Gunn let escape. KNOX For seventy years we ruled this neighborhood. Our neighborhood. Used to be decent people lived here. Working people. And now what's left? Can't even finish one without wantin' to puke. He's now right next to the escapee vamp, who is listening intently with the others. KNOX So whose fault is it, huh? Theirs? I don't think so. it's our fault. We let it happen. We got lazy. Dropped our guard. Knox looks to Vamp #1. KNOX Ty -- you ever been lured iÞnto an ambush before? Vamp #1 shakes his head "no." KNOX 'course not. Knox gives a friendly smile to Vamp #1, looks to others. KNOX Ty's been around almost as long as me. He's survived, like me, 'cause he's smart. But they did this to him -- and that means they could do it to any of us. And why? 'Cause this trash ain't afraid to go for the heart -- Knox produces a stake and wicked quick stakes Vamp #1 who dusts (off camera). Knox moves away, revealing dusted vamp no longer there. He lets this act hang there for a moment, then continues... KNOX And now that's what we're gonna do. No more picking 'em off one by one. We concentrate on the heart. Take the heart -- and the rest will fall. INT. ABANDONED SLAUGHTER HOUSE - NIGHT Alonna moves through the space. Some people are sleeping, others talk. She approaches one of the extras, er, I mean people. ALONNA Have you seen my brother? He points. She nods, moves to -- GUNN Coming in with a group of guys. Possibly a jæust finished burial party for Bobby. They quiet as they see Alonna approaching. Gunn nods for the others to leave them alone. ALONNA "G", we need to talk. GUNN What is it? ALONNA What happened to Bobby... GUNN No. We don't talk about that. That's done. He tries to end this conversation by walking away, she won't let him. ALONNA We're dying here, Gunn. GUNN Everybody dies. I just want to make sure when we die, we stay dead. ALONNA It shouldn'ta gone down the way it did. (then, what she's here to say) You're getting reckless. GUNN I do what I have to do. ALONNA No. You do more than you have to do. Three weeks, "G." Three weeks and no teeth. Then you had to ring the dinner bell like that. You just couldn't go another day without getting a little death in, could you? GUNN You think I like this? ALONNA No. I think you love it. And you won't be happy until you get as close to death as you can. GUNN You're wrong. ALONNA I hope so. Because I can't lose you, tíoo. He sees the real fear in her eyes. He moves to her, they hug. GUNN Not going to happen, little sister, never gonna happen. Now Chain appears, approaching with some other guys. They talk and laugh together, happy. Gunn moves to them, knows what this may mean -- GUNN You smoked them out -- CHAIN Dead boy led me right to the nest. They high-five each other. CHAIN It's close -- practically right around the goddamn corner. Four blocks. They're nesting under the old blue jean factory. GUNN Now we gotta chance to do some damage. Alonna shoots him a worried look; he pretends not to notice. Now a SENTRY appears SENTRY Incoming. Moving this way, fast. Jumping roof top to roof top. GUNN (to Chain) You were followed. CHAIN No way. GUNN (to Sentry) We'll check it out. Gunn nods to Chain who follows him. EXT. OLD BAKERY BUILDING - NIGHT LENNY EDWARDS, a big tough thug who we recognize from his photo, moves towards a car, fumbling in his pockets for keys. A whirl of dark cÜloth and silence falls from the sky behind Edwards. It's Angel. He taps Edward on the shoulder. EDWARDS What do you want? ANGEL Big question. What do I want? Love, a family, a place on this planet to call my own... but you know what? EDWARDS What? ANGEL I'm never going to have any of those things and, unless these next couple of minutes go just the way I want them to... neither are you. (then) Where are the pictures of David Nabbit? EDWARDS Never heard of him. ANGEL Oh, and you only get one lie. Probably should've mentioned that first. EDWARDS Look, pal, you're obviously not from around here, but trust me -- you do not went to see my bad side. ANGEL You show me yours... Angel VAMPS. ANGEL I'll show you mine. Angel grabs Edwards, pulls him face-to-fangs. ANOTHER ANGLE Gunn and Chain appear, creeping in the shadows, coming around a corner, spying, close enough to hear the following exchange, as -- ANGEL AND EDWARDS ANGEL Okay, so now I'm from arounàd here. In fact, I'm moving in. Taking over. You understand me? I will dog you every night for the rest of your very short life until you bring me what I want. Are we clear? Edwards can only nod. Angel releases him, shoving him against his car. ANGEL See you tomorrow. Edwards fumbles his way into his car, then takes off. Angel watches him go, then, WHOOSH -- Angel's gone. WE HOLD for a beat, then... GUNN AND CHAIN emerge from the shadows. CHAIN (musing) He's moving in, huh? GUNN Yeah, well, he ain't gonna stay too long. Off that death sentence... BLACK OUT. END OF ACT ONE Act Two Cordy and Wes are with Nabbit. Nabbit is finishing up writing a check. NABBIT This should cover your expenses to date. And I want you to know I really appreciate what you did at the party. WESLEY At the party? (looks at Cordy for help) What we did at the party? Cordelia hasn't a clue, but she smiles brightly to cover the memory scan. CORDELIA It was a wonderful party. NABBIØT We talked. We had some good times. It meant a lot to me. WESLEY Yes, but...you were paying us to be there. NABBIT I do that all the time. But you guys actually hung with me. It was special. Nabbit hands the check to Wesley, but Cordelia grabs it quickly. CORDELIA I'm in charge of the -- Then she sees the check. She almost loses her breath and her hand goes to her head -- CORDELIA -- mu... mu... Wesley looks at Cordelia. Is she about to have a vision? Then he sees the check. WESLEY Oh Lord. I think there must be some mistake. Cordy shoots Wesley a look. CORDELIA I'm sure Mr. Nabbit knows how to write a check! NABBIT No, no mistake. I believe in rewarding good work. WESLEY This is amazingly generous, Mr. Nabbit, but we're really not finished with the job. If Cordelia could kick Wesley she would. NABBIT It's only money and I've got sackfuls. And it's David. You guys call me David. CORDELIA I like David. It's such a strong, masculine name. It jÒust feels good in your mouth. Wesley shoots Cordelia a look. If he could kick her he would. WESLEY Well - David - you won't be disappointed and we'll earn every cent of your generous confidence in our firm. Wesley takes Cordelia by the arm and escorts her away. With a last quick smile at Nabbit -- CORDELIA Bye. As Wesley and Cordelia head for the exit... WESLEY (aside to Cordy) It feels good in your mouth? CORDELIA I was flustered! EXT. OLD BAKERY BUILDING - NIGHT Edwards is waiting for Angel at the same spot as before. He's got a manila envelope under his arm. HEARS SOMETHING. Turns around to find Angel... EDWARDS You're a sneaky sonuvabitch, aren't you? ANGEL You brought the photos. Edwards smiles, holds up the envelope. EDWARDS Of course I brought 'em. Angel reaches for the envelope. EDWARDS And a little something extra. SOMETHING HUGE AND SILENT steps into place behind Angel. Angel spins around to see HUGE MOFO DEMON, who smiles as heÑ's uppercutting Angel. Angel goes flying. Angel lands hard, rolls to his knees and shakes his head. This demon's got one hell of a right. Edwards smiles approvingly. EDWARDS Love that. Angel VAMPS and rushes at Mofo. Mofo stands there as Angel goes for a headbutt and ends up bouncing off. Mofo didn't budge. Mofo slams Angel again. Angel goes flying again. Gets up a little more slowly this time. Looks at Edwards. EDWARDS Whatever he's paying you isn't enough, is it big fella? Angel approaches Mofo cautiously. Mofo takes another swing and Angel drops under and sweeps Mofo's legs out. Mofo falls hard. Angel leaps on him. Mofo gets his legs under Angel and, once again, sends Angel flying. Angel crashes into Edwards, who goes down. Hitting his head. As Angel stands up, he grabs the envelope and stuffs it into his coat pocket. Turning to face Mofo. Then Angel holds out his arms in a "come and get me" gesture. Mofo charges and Angel... turns and runsÂ. Mofo right behind him. Angel grabs a street sign pole, swings around on it and crashes feet first back into Mofo, knocking it flying. Now the fight gets nasty. The two close and exchange a series of brutal punishing shots. Just hammering each other. Finally Mofo gets Angel in a bear hug and starts squeezing. Angel's arms are free and after two or three ineffectual jabs to the side of Mofo's thick skinned head, Angel just grabs the head and starts pushing back. As Mofo squeezes harder we HEAR a COUPLE of ANGEL'S RIBS CRACK... Angel, in pain, pushes as hard as he can on Mofo's head. Another of ANGEL'S RIBS POPS. Angel jams Mofo's head back as hard as he can and we HEAR a truly disgusting CRACK as Mofo's head suddenly goes limp and his arms fall. Mofo staggers a couple steps and drops. Angel falls to his knees. Glaring at Mofo. Angel is hurt. Trying to catch his breath when WHAM... he's hit from behind and a STAKE PROTRUDES from his Üshoulder. Angel looks down in disbelief. SCREECHING TIRES and the ROAR of an ENGINE turn Angel around. HEADLIGHTS HIT HIM. THE BLACK PICK-UP TRUCK Is roaring toward him. In the bed of the truck, over the cab, is a mounted PNEUMATIC STAKE-FIRING CANNON. And Gunn and Chain are in the process of reloading. ANGEL Pulls the stake out of his shoulder. And runs. IN THE BACK OF THE TRUCK Gunn aims through a rigged up MERCEDES HOOD ORNAMENT which serves as his gun sight -- GUNN FIRE! Chain pulls the trigger. The stake is launched. ANGEL Turns a corner as the stake slams into the building just over his head. Angel starts to run into the street, but the truck skids into the turn. Angel drops back, running hard. The truck drops back, staying slightly behind... as if it's herding him. Moving fast enough to keep him running, but no so fast as to catch up with him. Angel tries to duck down an alley, but the truck accelerates and cuts him off. He is being herded. ê There is a big, abandoned warehouse in front of Angel. A roll up metal door is about two feet off the ground. Angel launches himself at the opening, rolling underneath as the truck roars up behind him. INT. ABANDONED WAREHOUSE - NIGHT Angel leans back against the door, exhausted, as the TRUCK RAMS THE DOOR from OUTSIDE, TWO STAKES PIERCING the metal door on either side of Angel's head. He takes off at a run through the building. It is strewn with heaps of garbage and debris... almost as if it's forming a passage... Angel jumps over broken furniture, hitting a partially raised piece of wood... WE HEAR SOMETHING SNAP. Angel looks up as... AN OLD METAL BED FRAME WITH SPIKES JAMMED INTO THE SPRINGS Is suddenly released from the ceiling and plummets toward him. ANGEL Jumps aside as the spikes slam into the floor right next to him. Angel's look says it all: What the fuck is going on here? Angel gets up just as he HEARS a sound behind him. A KID suddenly leaps onto Angeîl's back as he plunges a stake at his back. But Angel flips him over. The kid crashes to the floor, losing the stake. Angel grabs the kid and is about to pound him when the kid looks up at and Angel suddenly sees the face of a frightened sixteen year old. Instead of hitting the kid, Angel pushes him away. Angel moves forward. Hurting and confused. He's being hunted by children? From the darkness, we see MORE STAKES being fired by SNIPERS at Angel as he runs. Angel ducks and runs... faster than they can aim... slamming into another ATTACKER. GUNN prepares to fire a crossbow. But Angel has grabbed this last Attacker as she hits him. And we SEE IT'S ALONNA. Gunn can't fire. GUNN ALONNA! (to others) DON'T SHOOT! ANGEL Realizes the firing has stopped because he's holding the girl, who is struggling hard to get free. ANGEL What are you people playing at?! GUNN We're not playing. Angel lets Alonna go. She moves quickly away. ANGEL You're gonna get yourselves killed. GUNN Wöe're gonna get you killed first. CHAIN Let's dust him. Gunn raises his crossbow. And the other kids follow as-- Alonna steps back. Her foot hitting -- A TRIP WIRE Releasing a trigger. WE SEE SOMETHING SHOOT from out of the wall. ANGEL Steps to Alonna suddenly, holding out his hand right in front of her face. A THIN SHARP METAL SPIKE IMPALES HIS PALM - saving Alonna's life. QUICK REACTIONS FROM THE GANG... Gunn... Chain... the others as they realize Angel has just saved Alonna's life. For them, this is the last thing they ever expected from a vampire. Angel stands there, arm out, palm impaled. Holds the hand up to show Gunn. ANGEL (making a point) Ow. He pulls the spike from his hand, looks at Gunn. He's tired, badly wounded and ferociously pissed. ANGEL For some reason I get the impression you don't like me. Maybe I'm just overreacting. But Gunn continues to aim at Angel through the sight on his crossbow. Everyone is edgy. Not quite knowing how to handle this situation. GU÷NN What, you gonna pretend you're different from the rest of 'em? ANGEL Yeah, then I'll pretend I just saved her life. (looking around him) Put a lot of work into this. Some clever stuff, really. I'm impressed. But I have a few suggestions. GUNN Don't think we're interested. ANGEL You should be. Who do you think this would've killed? Angel tosses the spike at Alonna's feet. ANGEL We're fighting on the same side. CHAIN Same side of what? ANGEL I didn't come here to kill you. GUNN It doesn't matter why you're here... or what you are... but if you ever show your face down here again, don't count on any long goodbyes. Gunn gives the signal and the kids run outside. We HEAR THE ENGINE OF THE TRUCK roar to life, SCREECHING TIRES. And they're gone. ANGEL is left wondering what the hell he just walked into. WESLEY (V.O.) That's very nice work. INT. ANGEL'S OFFICE - DAY Wesley is looking at the PHOTOGRAPHS from the manila envelope that Angel retrieved from Edwards. WESLEY I'm sure ¿Nabbit will be greatly relieved to get these back. Wesley flips to another photo. His expression says it all -- WESLEY Oh my. Angel has his shirt off as Cordelia wraps a bandage around his torso. Angel is looking at Wesley. ANGEL It's upside down. Wesley turns the photograph upside down. His eyebrows arch. WESLEY Certainly not something you want to have framed. CORDELIA How does it feel? WESLEY I can't possibly imagine it was pleasant. CORDELIA I'm talking to Angel. Wesley looks up from the photos. WESLEY Oh, right. Sorry. ANGEL It feels... (sore as hell) ...better. CORDELIA You need to rest. You look, uh... ANGEL ...like I've been beaten and stabbed? CORDELIA (Finding the bright spot) You want to see the check again? ANGEL I want to find those kids. I don't think any of 'em have homes -- they're probably living together somewhere. WESLEY How many are there? ANGEL I'm not sure. Six, seven ... maybe more. A coupleß of them couldn't have been older than sixteen. CORDELIA God. Twenty minutes ride from billionaires and crab puffs, kids are going to war. ANGEL This is not something they just started doing. They were ready. They've been pushed to this. WESLEY If they are, I can certainly understand their Stake First, Ask Questions Later state of mind. It's how they survive. CORDELIA And the idea of a vampire in a white hat probably seems a little "give me a break"-ey. ANGEL They're in over their heads and they're going to get themselves killed. If they're hunting vampires then there's got to be a nest in the area... Wes, I want you to find out where the kids live. WESLEY Consider it done. ANGEL And I'm going to find that nest before they do. They've gotta be close, probably a ten block area. It'll have to be a building with sewer access. Angel exits, pauses in the doorway... feeling some pain. After a beat, he comes back in. ANGEL Can I just see the check again? Cordelia pïroudly shows it to him. Hard to believe. ANGEL You're sure it's not a mistake? INT. ABANDONED SLAUGHTER HOUSE - DAY Gunn, Chain, and Alonna are alone in one area of the hideout. CHAIN I don't want to hear this. ALONNA I'm saying he could be useful. CHAIN Gunn, don't even be listening to her. ALONNA You know there's something different about him. I'm just thinking he knows stuff we don't... and he didn't have to do what he did. CHAIN If he hadn't, he woulda been dead. GUNN Maybe. CHAIN No maybe. We woulda killed him. GUNN (thinking it through) Guy bugs me, Alonna. ALONNA Everybody bugs you. Gunn actually smiles at that -- showing charm and affection we hadn't seen. GUNN And you bug me the most. ALONNA I'm trying to keep you alive. I'm not saying trust him... GUNN Just doesn't play. If he's not looking to kill, what's he want? Why the hell would he come to a place like this? INT. VAMP HIDEOUT - DAY We HEAR POUNDING on a SEWER CAP... Then it pushes open and Angçel climbs up out of the sewer into the vamp hideout. Ready to be deadly. He moves quickly through the dark squalid room. Searching for vamps to vanquish. But it doesn't appear as if anyone is home. Odd, considering it's in the middle of the day. The room is messy, stuff strewn everywhere. Like a bunch of guys live here. Angel moves through the stuff, taking inventory. ANGLE: LOOKING UP AT A VAMP Hanging in the dark recesses in the high ceiling. Vicious and horrible and ready to kill. He drops right at Angel. ANGEL moves suddenly as the VAMP crashes to the floor, full spread eagle. Slamming hard. Angel grabs him and flings him against the wall. The vamp is terrified. ANGEL Where are they? INT. ABANDONED SLAUGHTER HOUSE - DAY Gunn is working on the stake cannon as Alonna walks up. She's holding some bread. ALONNA Got some food. GUNN Not hungry. ALONNA Not hungry? When was the last time you ate? GUNN Seems like just yesterday. ALONNA Poe made a trip to the maórket. Gunn looks up from the cannon. GUNN Alone? ALONNA Jason watched his back. They got away clean. Gunn gives her a look. GUNN Like last time? ALONNA No cops this time, no chase. (breaks off some bread) Come on, you eat this. And there's more. They got hamburger and some apples and lots of other stuff. Like we're havin' a home cooked meal tonight. Alonna looks up at Gunn, but he's tense... listening... she catches it immediately and snaps out of her moment. ALONNA What? Suddenly Gunn is in motion, grabbing up his crossbow from the floor. GUNN Get everybody out! ALONNA What is it? Gunn turns to her suddenly, grabbing her arm, looking into her eyes. GUNN Just do it! Go! ALONNA Be careful! Alonna runs through the building as a WINDOW SMASHES OVERHEAD. And a TEAR GAS CANISTER slams onto the floor -- SPEWING SMOKE. GUNN Chain! TWO MORE GAS CANISTERS SMASH THROUGH windows. SMOKE POURING into the room. Chain runs up, weapon in hand. CHAIN Cops?! GUNN I don't know. CHöAIN Are they in?! Chain and Gunn move into the smoke, having trouble seeing and breathing. But ready to fire at whatever comes at them. The ROOM IS FILLING WITH SMOKE. Gunn glances back to SEE -- ALONNA disappearing into the smoke with some of the others. Heading for outside. Chain and Gunn move farther into the building. Searching. But there is nothing there. CHAIN There's nothin'! It doesn't make sense. And it suddenly hits Gunn. Quickly -- GUNN Oh God... EXT. STREET - DAY The kids start to pour outside, coughing, choking from the tear gas. As Alonna runs into the street... A BLACKED OUT VAN roars into their midst and slides to a halt right beside Alonna. The doors fly open. CLOAKED AND COVERED ARMS reach out and drag her inside. The vamps are completely covered, hooded and goggled. Gunn runs out just in time to witness Alonna being pulled into the van. GUNN No! He drops his sword and leaps for the back of the van as it pulls away. THE VAN Tears down the street. Gunön clinging to the back door. GUNN ALONNA! ALONNA! Gunn looks IN THROUGH THE WINDOW... INTO THE DARK INTERIOR OF THE VAN ...and sees the VAMPIRES feasting on Alonna. She is struggling, but they are holding her down. There is terror in her eyes as she sees Gunn. Knox looks up at Gunn and smiles, blood dripping from his fangs. Then he throws a fist at the window, SMASHING THE GLASS. GUNN Is knocked off the back of the van. He drops into the street hard, rolling to a stop. He looks up weakly at... THE VAN ...disappearing around a corner. BLACK OUT. END OF ACT TWO Act Three EXT. STREET - DAY Angel's convertible moves down the street, Wesley driving, Cordelia in passenger. The car pulls to the curb NEXT TO CAMERA, stopping with CORDELIA IN FRAME. She's wearing a brightly colored scarf on her head to keep her hair in place. She's looking at the sights through sunglasses. We don't see the sights yet. CORDELIA You know, there is nothing like riding in a convertible with the toùp down to make you think of sun and sand... HER P.O.V. OF THE SIGHTS We are in the derelict abandoned building part of town. Boarded up buildings, graffiti, a burned out car, a derelict truck... a stray mongrel dog eating from a pile of garbage. Cordelia forces a smile. CORDELIA Smell that salt air. Wesley has binoculars to his eyes and he's scanning the skyline. Searching... WESLEY That's not salt. CORDELIA I don't think it's air either, but reality is a choice, Wesley. You see what you want to see, I'll see what I want to see. WESLEY (looking o.s.) A man pushing a shopping cart, exiting an alley... CORDELIA No, I see a very tanned lifeguard type with large -- WESLEY No, over there. Cordelia looks as Wesley gestures. A HOMELESS MAN Moves toward them from across the street, pushing the shopping cart. WESLEY These kids must be getting electricity into their building. They might've tapped into one of the power lines and run it illegally. If I can spot the tap, that will tell us wöhere their hideout is. So, you ask this gentleman if he's seen anybody that fits the description of our young vampire killers while I check the power lines for taps. Wesley gets out of the car. CORDELIA Why don't you ask him and I'll check for taps? WESLEY Because you can imagine him as a scantily clad buff young stud and I'm stuck with the naked truth. Wesley moves down the street as the Man with the shopping cart approaches the car. Cordelia sighs... forces a pleasant smile as she -- CORDELIA Excuse me... The homeless man looks at Cordelia. A little uncertain. Is she talking to me? CORDELIA Do you live around here? WESLEY Comes to the end of an alley. Looking up at the WIRES ABOVE. ONE LOOKS LIKE A TAP, wrapped with duct tape. Certainly illegal looking. But he can't really get a good look at it from where he stands. Wesley quickly sizes up the situation and starts climbing up a pile of broken foul smelling debris piled against the wall. BACK TO CORDELIA AND THE HOMELESS MAN Corôdelia continues her interview of the homeless man. In the b.g. WE CAN SEE WESLEY climb on top of the pile. CORDELIA No, believe me, I understand. It's terrible to be left by someone you love... I mean I've never been left by someone I've loved... The Homeless Man just stares at her. CORDELIA ...but I have left several people who loved me. As she speaks: In the b.g. WE CAN SEE WESLEY topple away. We HEAR a BIT OF A YELL. And a bit of a CRASH. INT. LOOKOUT HALL - DAY SENTRY is on duty. Watching, listening. Scanning the street below with binocs. We HEAR a slight SOUND. Sentry turns. Angel grabs him by the throat. ANGEL Ask me in. INT. ABANDONED SLAUGHTER HOUSE - DAY Gunn and the gang are gearing up. Everybody strapping on the big guns. Crossbows, stakes, and the piece de resistance... TWO ACETYLENE TORCHES WITH TANKS that can be strapped on someone's back - essentially they are handmade flame throwers. With red lensed goggles for the eyes. ANGEL You're going to get a lot of people îkilled. Everyone turns quickly to find... Angel behind them, one hand around Sentry. Angel lets Sentry loose. He moves quickly to the gang, relieved that he's still alive and very happy to be out of the clutches of a vampire... even one that's purportedly good. Gunn gives Sentry a look. SENTRY (guilty) I suck, okay? Gunn turns to Angel. Anger right near the surface. GUNN You don't wanna be here. ANGEL Going after them is what they expect you to do. GUNN I don't need advice from a middle class white man that's dead. You don't know what my life is. You have no idea what it's like down here. They continue to gear up. ANGEL Some of you will die... Maybe all of you. CHAIN People die all the time. Some from talkin' too much. Gunn picks up one of the flame throwers. GUNN We're done. ANGEL I can help you. Gunn stops, whipping towards him, violence close to the surface. ANGEL Unless of course, death is what you're after. Then you're on your own. GUNN I'm always on my ownô. ANGEL Doesn't have to be that way. Gunn moves away, exiting. ANGEL Why can't we do this together? Suddenly Gunn pulls a rope... WINDOWS CRASH OPEN from above. SHAFTS OF SUNLIGHT BLAST downward... ...striking Angel. Angel jumps back, hissing, as Chain and Gunn ram him backwards... INTO AN OLD MEAT LOCKER... Angel falls to the floor, still a little dazed by the sunlight. He looks up as Gunn looks in -- GUNN You figure it out. Angel scrambles to his feet, jumping at the door just as it SLAMS SHUT. Locking him in. BLACK OUT. END OF ACT THREE Act Four EXT. VAMP HIDEOUT - NIGHT All is still and creepy. Down the block something turns the corner -- the war wagon, lights out. It coasts silently to a stop near the hideout. CLOSER - Gunn, showing cuts and bruises from his run-in with Angel, slips a stake into his jacket, climbing off the truck. The others are about to jump out as: GUNN Hold up. Give me ten minutes to check it out. CHAIN What do we do if you're not out in ten?ñ GUNN Come on down and kill anything that moves. Gunn moves off into the night, slipping around the corner or slipping into a side entrance. INT. ABANDONED SLAUGHTER HOUSE - NIGHT CAMERA PUSHES in on meat locker as we HEAR ANGEL throwing his body against it from the inside. INT. MEAT LOCKER - NIGHT Angel hurls his body against the metal door -- hard -- but to no avail, it's thick, bolted from the outside, and holding firm. Angel walks around the locker, scanning and feeling walls, floors, ceiling, looking for cracks, any way out. Nothing. He returns to the door, gives it a really hard kick. No dice. He traces the molding around the door and the wall next to it, which is paneled. He punches the shit out of the wall three or four times, splintering one of the panels just enough to get a small finger hold on it. He starts working the panel and with a great deal of effort pulls a hunk of it off, revealing ... thick metal mesh behind it and more paneling behind that. HIS FINGERS CÓurl through the mesh, trying to bend it, break it, anything... ANGEL Grips the metal, straining to bend it... The mesh slowly starts to bend... but it's taking every ounce of Angel's strength. The metal groans as it begins to bend slowly... Sweat beads on Angel's forehead... INT. VAMP HIDEOUT - NIGHT Dark in here. Gunn moves through, stake in hand. Schmucky with the bait... very quiet... until he hears someone humming (faintly, softly), a girl's voice... his sister's. He picks up the pace, rounds a corner. Down this hallway, half in a little pool of dim moonlight, half out, a female figure leans against the wall. GUNN - moves towards it, hoping against hope to see his sister alive again. GUNN Alonna? ALONNA Hey big brother, what took you so long? GUNN (relieved) Oh god, you're not... Overwhelmed, he moves to her, but stops short of embracing her, the thing that's happened to her dawning: GUNN (quietly ) ...dead. She just smiles. Like she ànever smiled in life. ALONNA Well... His first joy at seeing her degenerates into grief. GUNN No... ALONNA Shhhh, don't be sad, I'm not. GUNN They killed you. ALONNA I look dead to you? I'm stronger and faster and better than ever. Wanta see? She suddenly -- and I mean suddenly -- shoves him. He flies back unbelievably fast and hard, bouncing off a wall. ALONNA We were on the right track, just the wrong team. All that rage and hatred we got? You get to keep all that -- except on this side: no guilt, no grief, just the hunt and the kill and the fun. And come on, how often did we go out in daylight anyway? GUNN Lonna, I can't do this... ALONNA No, but you can fight and die in a bombed out building with a bunch of fool kids... This is where we belong, "G" -- my God, you were made for this. ALONNA And all that misery and moping -- gone -- I promise. GUNN I was never going to let anything happen to you... I was supposed to protect you, you were my sister. ALçONNA Hey, I still am. He shakes his head. ALONNA Then why don't you kill me. He looks down at the stake in his hand, then up at her. Helpless, he can't kill her. ALONNA You can't. You got the guilt. And I got the greatest guilt cure ever. I can free you and we can be together -- our family can stay together -- forever. What do you say? PUSH IN ON GUNN, not knowing what to do here. INT. MEAT LOCKER - NIGHT ANGEL'S FINGERS Possibly a little bloody, finally work a small hunk of the metal mesh free. Angel leans against the door, exhausted, then, with renewed determination he grabs the mesh, opening a larger hole, maybe six or so inches square. Then he looks at the wood paneling on the far side of the mesh, hauls off and punches it hard. It doesn't shatter but it gives a little. He winds up again -- INT. ABANDONED SLAUGHTER HOUSE - SAME TIME Angel's bloody fist punches through the wood on this side. INT. MEAT LOCKER - SAME TIME He's made a hole at last. He shovñes his arm through it, catching his shirt or coat on the mesh, ripping it, scratching his arm, straining through. INT. ABANDONED SLAUGHTER HOUSE - SAME TIME Angel's ripped arm reaches and stretches and strains. His fingers are inches from the meat locker door handle. INT. MEAT LOCKER - NIGHT Angel shoves his arm deeper into the hole, hurting himself, really straining now. INT. ABANDONED SLAUGHTER HOUSE - SAME TIME Angel's fingers inch towards the latch, closer and closer... we hear his efforts. Just as his fingers reach the latch a HAND ENTERS FRAME, a lady's hand, and opens the latch. The meat locker door swings open. Angel drags his battered arm back out of the hole, looks up to see Wes and Cor. CORDELIA (simply) Were you trying to open that? He gazes at them. CORDELIA They locked you in, huh. ANGEL No, I just love old meat lockers. He steps out. WESLEY You should have tried to call us on your cell phone. (off Angel's look) You probably forgot to bring it. Angel's (béloodied) hand pats his inside coat pocket -- clearly he had his cell phone all along, he just forgot it. ANGEL Those cell phones hardly ever work and it was actually a lot easier and quicker to just... (mimes "punching", feels his wounded hand) ...look, I'm the boss here, I say when we use the cell phones and people are going to die and I have to go. He heads off, leaving the two of them standing there staring after him. After a beat: CORDELIA You're welcome. INT. VAMP HIDEOUT - NIGHT Gunn and Alonna, as before. ALONNA Remember when we were kids in that shelter on Plummer Street... He nods. ALONNA Second floor was all rotted out... we called it no man's land -- you dared kids to cross it. Of course you were the best at it 'cause you were the bravest. I wanted to be like you so bad... so I went up... and the floor gave out. I would have broken my neck but you'd been watching me the whole time, you were standing right below. You caught me. Remember? GUNN Yeah. ALONNAê Ever since I can remember you've been looking out for me, well you don't have to anymore -- I'm good Ð it's my turn to look out for you now. GUNN How? ALONNA Look at you, "G", running and hiding, cold and hungry, you call that living? You're the one who's falling now. Let me catch you. (beat) Don't you want to stop falling? He looks at her for a long, sad beat; then, simply: GUNN Yes. ALONNA (smiles, leaning in) I'm gonna fix it... And she MORPHS into a hideous VAMP! ALONNA Say goodbye to everything you ever knew. And she leans to his neck and bites! His arms go around her, holding her close for just a moment. CLOSE ON GUNN'S FACE GUNN (softly) Goodbye. And his hand lurches up -- hard and fast -- and in, sinking a stake in her heart. She rears back, the shock registering on her vamp face for a beat before she goes to dust. AND AS SHE DUSTS WE SEE, SEVERAL FEET BEHIND HER (i.e., in her shot) -- Angel, standing there watching. Beat. Gunn drops the stake from his haðnd. It hits the floor. Angel moves up, there's nothing to say. Gunn just stands there, the fight seems drained out of him. ANGEL Let's get out of here. Gunn looks up at him... then: Chain and the rest of Gunn's gang come flying in, weaponed to the max, ready for blood. CHAIN (to Gunn) Dude, what are we waitin' on -- (sees Angel) -- how'd he get out? Chain raises his flame thrower, ready to ignite Angel when GUNN'S HAND comes down on top of Chain's. GUNN Don't. (then) We're leaving. Gunn starts to head out. CHAIN Leaving? (re: Angel) What about him and his bro's? We got some killin' to do. In fact, Gunn's way out is now blocked by TWO VAMPS standing in it. And behind Angel and the others, FIVE MORE VAMPS. (NOTE: HEAD VAMP and his number one henchman in vamp face; three others in lesser vamp face, and we can probably hide an extra or two in the dark.) KNOX (O.S.) She was so sweet... Knox steps out of the shadows. KNOX Your sister. Smooth goin' down, know what I mean? Gunn tðurns, looks at Knox. Murder in both their eyes. Vamps and gang get ready to fight (hands touch stakes and triggers, etc.) Angel starts talking from the shadows -- to the vamps behind Knox, not looking at Knox. ANGEL Here's the deal. Heads turn at the sound of his voice, including Knox's. ANGEL You can go. KNOX What? ANGEL If you go now and I never see any of you again, you get to live. KNOX Are you high? ANGEL L.A.'s my territory. You'll want to stay out of it for the rest of your eternal lives. These kids, my town, off limits from now on. KNOX Who the hell are you? You know who you're talking to here, fool? ANGEL Name's Angelus... We see some of the vamps react to "Angelus". ANGEL ...and I wasn't actually talking to you. Angel's fist moves lightning fast and next thing Knox knows he's got a big stake in his heart. He dusts. ANGEL (to vamps) Now, you want a truce or you want to die? CHAIN Truce? We can take 'em. ANGEL Not without them taking a couple of you. CÁHAIN Gunn? You're gonna come all this way and not kill any vamps? Beat. GUNN I already did. Gunn heads for door. Angel looks at vamps. They all back away and disappear into the night. Pushing in on Angel... FLASHY CUTS -- SUN GOES UP, DOWN, UP, DOWN -- BIG OLD CITY AT NIGHT. EXT. CAPPUCINO SPOT - DAY Bright, bright sun shiny day. Wesley and Cordy move from the coffee cart to a table. Wesley regards his cup topped high with a mountain of foam. WESLEY I asked for a coffee... I know it must be here someplace. Wesley scrapes at the foam, searching. Cordy looks pensive. WESLEY Are you all right? You haven't said two words since we left the office. CORDELIA I'm just thinking about those kids. WESLEY Yes. That place was pretty awful. CORDELIA I thought my first apartment was bad. Can you believe people actually live there? WESLEY Certainly gives one a sense of perspective, doesn't it? CORDELIA (her new resolve) Yes. It does. Aµnd I think, perspectively speaking, I might want to prostitute myself to billionaire David Nabbit. WESLEY Cordelia! CORDELIA (backpedaling) What I mean is... he's a nice guy who wants companionship. I could use some security. So when I say "prostitute," what I mean is... WESLEY Prostitute? CORDELIA For instance. WESLEY Do you really think you could? CORDELIA I don't know. I could probably learn to love him. Looks aren't everything. Or chemistry. Personality, that's important. And character. That makes up for a lot of... other... (then, valiantly trying again) It's not what's on the outside... that... (then, deflating) Nevermind. I'm fine here. Poor and alone. She takes a drink of her coffee. And off her sulking... EXT. ROOF TOP - NIGHT A couple of nights later. WIDE - A LONE FIGURE WALKS the roof, checking out the city. CLOSER - It's not Angel, it's Gunn. Still fighting the grief. ANGEL (O.S.) You okay? Gunµn whirls around. Angel's very nearby. GUNN What are you doing here? ANGEL Skulking. Professionally. Beat. GUNN Look, I'm glad for what you did, okay? But I don't need a Guardian Angel and I don't need a talkin' to -- it won't change the way it is down here -- they're gonna keep comin' and we're gonna keep fightin'. ANGEL I know. Beat. Gunn waits for more. GUNN That's it? You're not gonna talk at me, be all daddy figure? ANGEL What am I gonna tell you that you haven't already learned? Another beat. Gunn says, almost to himself: GUNN I killed her. ANGEL You didn't. GUNN Near enough. She was the reason, man... (looks at him) How come you do it? How come you're out here? ANGEL What else are we gonna do? They look out on the city. ANGEL I'll be around. GUNN (not looking at him) I don't need any help. ANGEL (disappearing into the shadows) I might. By the time Gunn turns, Angel is gone. BLACK OUT. THE END