A
Allycat
Guest
This script is part of the VirtualSlayer.tk virtual continuations project, which features Angel s6, Buffy s8, and Buffy s9. The following script can also be found on our website, where you can also find general info about our shows as well as previous episodes.
Supposedly this episode is just a bit better than the last one; I hope you agree. I also hope that we can manage to keep improving the Angel-continuation and get it up to par with the Buffy-continuation.
Angel 6.03 "Family First"
Written by Allycat
TEASER
EXT. MIDDLECLASS CITY NEIGHTBOURHOOD - DAY
PAN OVER the lane, large house on both side, like NINA's
sister's, or BUFFY's house in Sunnydale... Only this is L.A.
CUT TO:
EXT. HOUSE - DAY
Same lane, one of the houses there. A BOY and GIRL are in the
garden playing with a baseball. Then the door opens the
FATHER and MOTHER walk out. The father calls the boy. We
can't hear any sounds though. The boy runs to him, we see the
father picking up a bag and giving a baseball cap to the boy.
Obviously, the boy has a game and the father is taking him
there. The girl joins with her mother and as the boy and the
father get in their blue sedan and leave, we PAN OUT, and the
mother and daughter wave as they leave and by now we're back
in the same angle we were panning over this scene in in the
previous scene.
CUT TO:
OPENING CREDITS (click to watch)
David Boreanaz
J. August Richards
Julia Lee
Adam Baldwin
Jenny Mollen
and James Marsters
Guest Starring: Zhizi Zhang, Michelle Pfeiffer, Vincent
Kartheiser, Rod Rowland
ACT I
INT. ANGEL INVESTIGATIONS - MORNING
The main hall is quite crowded for an early Saturday morning.
Obviously some sort of meeting is going to be held. The lift
is rising and reaches the main hall, ANGEL steps out. He
works his way through the people, none of them taking
particular interest in him, but when he reaches his office,
ANNE steps up to him.
ANNE
Hey, wait up.
Angel turns around to her, with a sad look on her face. He
walks on into his office, but leaves the door open, she
follows him.
CUT TO:
INT. ANGEL'S OFFICE - MORNING (CONT'D)
ANNE
You wanna talk about it?
ANGEL
(Distracted)
It?
ANNE
Nina... How's she doing? Feeling
any better yet?
ANGEL
Not really. Before, being a
monster, to her, was something
abstract...
(clears his throat to
indicate a change of
topic)
So what are all those people here
for.
ANNE
They're all sponsors we found for
one of our events. So we're having
a meeting now as to you know...
Explain a bit, introduce everybody
around. You know.
ANGEL
Good, I guess... So where are all
the others?
ANNE
Gunn's out doing I don't know, and
I saw Spike... erm... Don't have a
clue either.
We've all been rather busy...
Talking about that, I should really
get back... Sorry.
ANGEL
No, go, it's fine... I'll be fine.
Anne walks to the door, then looks over her shoulder one more
time and walks out, knowing that he, of course, is not fine.
FADE TO:
EXT. RASPINATZA HOTEL - DAY
A very expensive looking hotel, just on the border of the
centre of town.
CUT TO:
INT. RASPINATZA HOTEL MAIN HALL - DAY
A lot of people in suits are buzzing around in the main hall,
which is decorated with gold and exotic looking patterns and
drawing with strange looking creatures on it. We make our way
through guest and personnel alike walking about the main
hall, doing their thing, towards a small corridor in front of
which is an "authorised personnel only"-sign. We follow the
corridor till we reach a dark door, it slowly opens and
reveals a stair case into the basement.
FADE TO:
INT. RASPINATZA HOTEL BASEMENT - DAY
At a round table, in a dimly lit room, three RASPINATZA
ELDERS are sitting. They're talking in a tongue we don't
understand. Finally, they seem to agree on something and the
turn to a fourth figure at the table, who's face is in the
shadows.
RASPINATZA ELDER #1
Alright, we have discussed and
decided on this issue.
RASPINATZA ELDER #2
We believe your plan to distract
Angel will secure that our
transport reaches us safely.
RASPINATZA ELDER #3
We leave this mission to you then,
(They all get up.)
Mr. Fries.
Now the fourth man gets up and his face moves out of the
shadow; it's a grinning CORBIN FRIES.
CUT TO:
INT. ANGEL'S OFFICE - DAY
Angel's behind his desk studying some documents, when Nina
comes in. She's dressed in a too big bathrobe, Angel's we can
only assume.
NINA
(softly)
Hi.
Angel looks up, when he sees Nina, he gets up right away and
walks up to her. He stands behind her and puts his hands on
her shoulders.
ANGEL
Hi... How are you?
Nina turns her head around to him sadly, and then turns
around.
ANGEL (CONT'D)
Yeah, I thought so.
She moves away from him and turns to face him.
NINA
I just need to get out of here,
away from these people. When I came
down here, everyone was starring at
me.
ANGEL
Have you considered it may be
because of the bathrobe? You do
look... you know.
Nina smiles faintly.
NINA
All kidding aside. I really need to
get out of here. Just to empty my
head.
ANGEL
(Nods understandingly.)
Okay. How-... How long will you..?
NINA
I don't know. Maybe just for the
night, maybe a month, little under
a month that is. I don't know, as
long as it takes.
ANGEL
I understand.
NINA
I know.
They approach each other, and there's an odd moment where
neither of them knows whether to kiss or to hug the other.
Finally, they decide to hug. Then they let go.
ANGEL
Goodbye then, and I'll see you
soon, I hope.
NINA
Yeah... bye.
After yet another awkward moment, Nina walks off, but quickly
turns around again and kisses Angel on the mouth.
NINA (CONT'D)
(Softly.)
I love you.
Then she walks off, too fast for Angel to be able to reply.
Angel looks down.
ANGEL
(Confused, to himself.)
I-I think I love you too.
He looks up at Spike, standing in the doorway.
SPIKE
I'm flattered, but I'm not really
into that sort of thing.
ANGEL
What are you doing here?
Spike walks in, and now Gunn also enters.
GUNN
We have a meeting, remember?
ANGEL
Yeah, sure... course.
As they take their places at the conference table, Anne and
Chyou enter and join them.
ANGEL (CONT'D)
Okay, so erm... what do we have?
Erm, shall we just go clockwise?
GUNN
Sure, I'll start then. We managed
to remove any evidence that could
link Nina to... well, erm.
Because it violated security codes
regarding fire exits, we also
managed to have a cafe closed down,
which a lot of clan members of the
Terranera's have been visiting. We
think it will drive them more
towards the docks, and hopefully
away from residential areas.
Angel nods agreeingly and turns to Chyou.
CHYOU
On a lot of our research project's
we're making good progress, but
nothing we can use yet. It's all a
bit technical; we are making a lot
of progress with the stake-proof
vests, but we still haven't found a
way to make them lighter.
She turns to Spike.
SPIKE
Erm, I kinda... well, been hanging
about, staked me a few fellas. And
erm... oh, right, word on the
street is there's some big
transport coming into town, with
some valuable artefacts, the
Raspinatza clan is after. So, I
would like to suggest, I gather
some fighter and raid the
transport, when it unloads from the
ship onto ground transport.
ANGEL
Sounds okay to me. You'll assemble
your own team, work it all out
yourself, I suppose... So, Anne,
how about your department?
ANNE
We're hosting a big charity event;
it's for the renovation of one of
our shelters. We got all sponsors
in the lobby now and we should
really get to them, introduce you
around. Apart from that, the
construction of the new shelter's
going pretty well.
They all look at Angel, in anticipating of whether he'll say
anything about Nina's condition, but he doesn't.
ANGEL
Okay, then I guess that's it. Let
us get to introducing me to all
these people.
He gets up, but the others remaining seated, still hoping
he'll say something about Nina.
ANGEL (CONT'D)
Meeting closed.
Then he turns around and walks off, into the lobby.
CUT TO:
EXT. HARBOUR - DAY
A black van is driving through the mildly busy harbour and at
a certain points take a turn into a dark alleyway, close to a
docked ship.
DOLLY IN ON THE VAN
Spike is in the seat next to the driver, he takes out
binoculars and stares at the docked ship.
CUT TO:
INT. VAN - DAY
Spike puts down his binoculars. He turns to the man next to
him. From behind another man, PERCY, closes into them and
listens in.
SPIKE
There seems to be four of them, but
it looks like they've already
loaded up the van. So, we'll have
to move fast.
PERCY
Should I order two people to block
the exit routes.
SPIKE
No, I think we'll manage. Alright
then, let's roll.
FADE TO BLACK.
ACT II
EXT. HIGHWAY NEAR THE HARBOUR - DAY
A blue sedan is driving over the highway.
CUT TO:
INT. CAR - DAY
The father and the boy from before are driving over the
highway.
FATHER
That was a good game, hey son?
The father looks to his side and notices his boy is watching
one of the big ships in the harbour.
FATHER (CONT'D)
It's big isn't it?
BOY
Yeah, I bet it's three-hundred
million feet tall.
FATHER
(Laughs.)
I don't know about that. What do
you say we drive by it, so you can
have a look.
The boy turns around to him enthusiastically.
BOY
Can we, daddy? Can we?
FATHER
Yeah, we can.
The boy's excited face makes him smile, as he takes the next
exit off the highway.
FADE TO:
EXT. VAN IN ALLEY - DAY
Spike, with his team of about ten, is standing in the alley
near the ship. The high warehouses provide him with shadow
and protect him from the sun. The van they're to raid is also
in the shadow. Spike draws a dagger. The others also draw
their weapons, ranging from guns, to crossbows, and from
swords, to axes and stakes. Finally, Spike starts to move to
the end of the alley, trying to keep out of sight of the men
near the van. When they reach the end of the alley, they
charge the unsuspecting men. The men are vamps and as soon as
the see the charge, they vampface. Nevertheless, they're no
match for ten well-trained and well-armed AI fighters. As the
others take on the 3 vamps trying to defend the van; Spike
makes way for the one who tries to get away. He makes a
pretty good run for it, but Spike jumps at him, which pushes
the vamp into the sunlight. He starts burning, but manages to
get back into the shadow. He's heavily burnt though. As Spike
draws his stake to finish the guy off;
he turns around to see the rest of the team has taken care of
the three vamps easily. And they're now preparing to open the
van. Then Spike turns around to the vamp he's about to stake.
VAMP
Go ahead, stake me. You're all dead
anyway... we'll finish this in
hell.
Spike looks confused, then scared. He quickly turns around.
SPIKE
(Yelling.)
AMBUSH!
But as he does, the doors of the van open and about ten vamps
storm out, armed to the teeth, and over the railing of the
ship, some two or three men with guns appear, who start
blasting at Spike's team, (which consists of humans.) Spike
runs toward the battling group of humans and demons and
starts mixing himself in the fight and within mere seconds
manages to decapitate one and stake another. But at the same
time, the shooters have hit two of Spike's team mates and
seriously injured another. As the fight progresses the demons
clearly take the upper hand. Then suddenly, a blue sedan
comes driving into the street.
SPIKE (CONT'D)
Damn, more of them.
Spike picks up a gun one of his team members now lying dead
on the ground was carrying. And as he steps away from the
fighting group toward the oncoming car, he shoots the tires.
As the driver loses control, Spike looks at who's in the car,
and his eyes widen and mouth opens as he sees a father and
his son. The car drives off the dock and with a loud SPLASH
it lands in the water. Spike walks closer to the edge and
sees how the man and his son are trying, unsuccessfully to
get free. Spike takes a step further to the, but it's in the
sunlight so he has to take a step back, he drops to his knees
as she watches the car with the father and son slowly sink,
with nothing he can do about it. The others are still
fighting again, while Spike stays on the ground just starring
at the water with wide open eyes in complete shock. Finally,
he's picked up from the ground, by Percy, who drags him
along. Percy's firing madly at the demons charging at him.
The others are all dead. Spike starts running too and the two
of them make way for their van.
PAN UP TO THE ROOF OF ONE OF THE WAREHOUSES
On the roof-top, with binoculars are Corbin Fries and a
Raspinatza assistant. Corbin's grinning.
CORBIN FRIES
(To himself.)
That went even better than
expected.
He hands the binoculars over to the Raspinatza.
CORBIN FRIES (CONT'D)
Now for Angel and his boy.
Then they turn around and walk off.
CUT TO:
INT. ANGEL INVESTIGATIONS LOBBY - DAY
LONG SHOT FROM THE TOP
We can't hear anything because of the distance and the music.
Anne is walking Angel around, letting him meet and greet with
some of the important sponsors, when Percy, tidied up a bit,
and not in combat outfit, walks up to them; he whispers
something in Angel's ear, after which Angel excuses himself
from his guest and takes Percy into his office.
CUT TO:
INT. ANGEL'S OFFICE - DAY
ANGEL
So, tell me, what's this important
news?
PERCY
It was decoy.
ANGEL
As in?
PERCY
Someone leaked us the wrong
information on purpose. They were
waiting for us. We were ambushed.
Practically slaughtered us.
ANGEL
Many injured?
PERCY
Me and Spike are the only ones
left. Mild injuries only. Chyou is
with Spike in the medical bay now.
However, he seems to be suffering
some sort of mental breakdown; I
don't know why though.
ANGEL
(Extremely surprised.)
Spike? A mental breakdown?
PERCY
Of sorts, Chyou says he should be
fine, probably. But there's more.
We found out the location of the
real transport, only thing is we
don't have any people to send.
ANGEL
I'll go then.
Angel picks up his coat.
PERCY
There's one more thing, I think you
should know.
ANGEL
What?
PERCY
A courier just brought us this.
He hands over a large envelope to Angel. Angel takes the
content out of it; he looks at it. We can't see it, cause the
back of the paper is turned to us.
ANGEL
I have to go...
PERCY
It could be another ambush?
ANGEL
I still have to go.
PERCY
What about the transport.
ANGEL
(Thinking.)
Hmmmm.
(Sighs.)
They win.
Then he drops the envelope and walks of. Percy is left behind
clueless.
CLOSE UP OF THE ENVELOPE AND THE CONTENTS; PICTURES OF CONNOR
AT HIS NEW HOME.
FADE TO BLACK.
ACT III
INT. MEDICAL BAY - EVENING
Spike's laying on a bed, not hooked up to some machine, on a
chair next to him is Chyou. Slowly, he opens his eyes.
SPIKE
Wh-What did you give me?
CHYOU
I gave you some sedatives, to make
you sleep a little. I hope it did
you some good.
Spike starts pulling the tubes out. And gets up out of bed.
Chyou gets up to try to stop him.
SPIKE
I need to go.
CHYOU
No, you need to calm down, lie
down.
SPIKE
No, I need to go; there's something
I got to do.
He then exits the room. And now Chyou is left behind
clueless.
CUT TO:
INT. CONFERENCE ROOM - EVENING
In this large conference room, hotel staff is working hard to
arrange tables and chairs, to set the tables and to prepare a
walking buffet, as well as decorating the room. In the middle
of the action is Anne, overseeing it all. From behind her
Gunn approaches her.
GUNN
Hey.
ANNE
(Surprised.)
Hey, didn't expect you here yet.
GUNN
Well, I wrapped up everything at
the office a little earlier to see
if I could help you with anything.
ANNE
(Smiling.)
Well, isn't truly gentleman-like of
you.
GUNN
(Proud of himself.)
I'd like to think so.
ANNE
So would I... but, we don't have
anything for you to help with left.
So, one could think you anticipated
this and thought it'd be an easy
way out of work.
GUNN
Now, who would believe such a
thing.
ANNE
Dunno; I don't.
GUNN
That's all that matters to me.
They exchange looks, but then they're interrupted by the
chef.
CHEF
(Heavy French accent.)
Mizz, you have to taste ze soup.
C'est magnifique.
DOLLY OUT TO THE WHOLE ROOM.
FADE TO:
EXT. MIDDLECLASS CITY NEIGHTBOURHOOD - EVENING
PAN OVER the lane, large house on both side, like NINA's
sister's, or BUFFY's house in Sunnydale... Only this is L.A.
CUT TO:
EXT. FRONT PORCH - EVENING
Spike is standing on a front porch; he's visibly nervous and
still shaken by what happened before. Finally, he rings the
bell. First, there's just silence, but then we hear noise in
the house. Finally, the door is opened by the mother from the
second scene, LAURA, she's been crying.
LAURA
Hello? How may I help you?
SPIKE
I-I'm... are you Laura Quaye? Wife
to Richard and mother of Robin?
LAURA
I was.
She bursts out in tears. Spike stands there unsure what to do
for a second, then he steps forward and holds her, to comfort
her.
FADE TO:
INT. QUAYE RESIDENCE LIVING ROOM - EVENING
Laura's on the couch, her eyes red from crying. Spike walks
in with a cup of tea.
SPIKE
I hope I made it the right way...
and I hope I didn't make too much
of a mess out of your kitchen.
LAURA
It's fine...
(Takes the cup.)
Thank you. So, what did you say
your name was, and why are you
here?
SPIKE
I'm Spike... and I came to-...
well, I was there, when it
happened.
Laura freezes for a second; then she puts her cup down.
LAURA
Tell me what happened.
SPIKE
I-I don't know whether I-
LAURA
Tell me.
SPIKE
I work at a sort of counter
terrorism-like unit. I'm afraid I
can't, erm... be too specific about
it. We're the good guys, that's
really all I can say. At the docks,
we were going to raid a transport
of, erm... well, we were ambushed.
From all over the place we were
attacked. And then, you're husband
unknowingly of what was going on
drove into the street. And a member
of my team though that the car was
the erm, terrorists to. So, he,
erm... popped their tires. Your
husband lost control and car got
into the water.
Laura looks shocked by what she hears, and is on the verge of
crying again.
SPIKE (CONT'D)
I'm sorry, I should've tol-
LAURA
It's fine; I asked for it. I needed
to hear.
SPIKE
I-I want to offer to help you. I
mean, financially... make sure
you're provided for.
LAURA
Is that all you came to do here?
Offer me money; think it would go
all away?
(She gets up.)
GET OUT OF HERE! I don't need your
money; I need my husband and my
son!
SPIKE
(Gets up too, to calm her
down.)
No, noo! It's not like that. We-I
just wanna help.
LAURA
(Crying.)
You can't buy off your feeling of
guilt! You can't make up with
money... I lost my husband!
SPIKE
I lost all my team members. Only
one other survived.
Laura becomes quiet upon hearing about Spike's loss. They
both sit down again.
LAURA
Oh. I see... the man who, did he?
SPIKE
He's still alive.
LAURA
Where is he?
SPIKE
Right across from you.
A beat.
CUT TO:
INT. RILEY RESIDENCE - NIGHT
It's the hall of a regular suburban house. There's some
fumbling at the door, finally it is kicked in by Angel. He
quickly enters the house. We follow him through the kitchen
and dining room to the living room. There are some signs of a
fight there. The table is upside down and a lamp is broken.
As Angel looks around, the lights in the garden are switched
on. Quickly Angel turns around and sees Connor tied to a
chair and beaten up in the garden. Angel quickly walks into
the garden.
EXT. RILEY GARDEN - NIGHT (CONT'D)
The chair Connor is on is on the hatch over swimming pool,
which of course is closed. Angel walks over to the hatch and
is about to step onto the hatch too, to walk to Connor.
CORBIN FRIES (O.S.)
Don't you just love Wes Craven?
Angel turns around. Corbin is on the roof of the house, which
Angel looks suspicious about.
CORBIN FRIES (CONT'D)
I'm sorry I couldn't come any
closer, it's just that well your
reputation has it you're a bit
dangerous.
ANGEL
Like yours hasn't?
CORBIN FRIES
Hmmm. Touché.
ANGEL
What are you doing here?
CORBIN FRIES
Making a bit of cash really; what
can I say, tried to kill my own son
that didn't really work out, so I
thought I'd try something
different.
ANGEL
You're sick.
CORBIN FRIES
And soon to be rich!
ANGEL
The Raspinatza-clan hired you? To
protect their transport?
CORBIN FRIES
Classified information, but I'm
sure one of your snitches could
tell you. Maybe the same one who
told Spike where to raid?
ANGEL
(Angry.)
Give me one reason not to kill you!
CORBIN FRIES
Well, actually I don't have any
right now. I need to still keep you
occupied for a few more minutes; if
killing me takes that long.
ANGEL
I could arrange for it to be slow
and painful, if you want.
CORBIN FRIES
(Smirks.)
Bring it on!
Having anticipated the inevitable fight, Angel runs to the
house and with a quick one-two step you usually see in Kung
Fu movies walks on the wall and jumps onto the roof. Corbin,
expecting this, picks up a lead beam he had hid on the roof
and as Angel charges him, he hits Angel with it, who then
falls flat on his back. Corbin steps forward to hit Angel
again, but Angel grabs the beam and then kicks Corbin, who
lets go of the beam. Angel throws the beam away, and jumps
onto Corbin, who is now flat on his back. Angel begins to hit
him. Just as he is about to hit him again, Corbin begins to
speak.
CORBIN FRIES (CONT'D)
I wouldn't do that if I were you.
ANGEL
Or else you're gonna WHAT me to
death?
CORBIN FRIES
As I remember you're boy tested how
long you could stay under water,
let's test the same with him.
Corbin gets a small remote control from his pocket and pushes
a button. The hatch of the swimming pool opens, and as
Connor's chair is right in the middle, he falls in.
Angel immediately jumps off Corbin and in two large leaps he
reaches the end of the roof and from it, he jumps into the
water.
CUT TO:
INT. SWIMMING POOL UNDERWATER - NIGHT (CONT'D)
Angel, who's just jumped in, swims to Connor on his chair,
who's on the bottom. When he reaches him, Angel tries to
untie him, but it isn't exactly worker, and the ropes being
wet are extremely tight. Then above him, he notices the hatch
is closing again. With all his might he starts pulling Connor
and the chair up, just in time before the hatch closes he can
throw Connor onto the terrace near the pool; he himself can
climb out in time too.
FADE TO BLACK.
ACT IV
INT. QUAYE RESIDENCE LIVING ROOM - NIGHT
After now having heard that Spike was the one directly
responsible for the death of her husband and her son, Laura
looks at him in shock; suddenly, she snaps and she grabs her
teacup and slings it at him. Spike jumps up in pain, as the
hot tea burns him. As Laura realises what she just did, she
rushes to Spike, to aid him. She takes a towel, she had
previously been using to dry her eyes, to now dry spike's
shirt.
LAURA
My god, I'm so sorry, I don't know
what's gotten over me.
SPIKE
It's okay, it's fine; I
understand... I-
Spike suddenly breaks off talking and puts his hand over his
face, as he's starting to cry. Laura tries to comfort him,
but as soon as she does, she breaks down again and starts
crying too.
DOLLY OUT.
FADE TO:
INT. RILEY RESIDENCE TERRACE - NIGHT
Angel is standing alone on the terrace, in only his
underwear.
(Good one, aye ladies?) Then Connor walks out and hands him
over some dry clothes. Angel starts dressing himself. Connor
has already changed clothes.
CONNOR
You gonna tell me what that was
about?
ANGEL
It was, an old enemy, wanting to
take my attention away from some
important transport of artefacts.
(Coughs.)
This was exactly why-
A beat.
CONNOR
Why you send me here?
ANGEL
(Stops dressing, his
shirt's still
unbuttoned.)
Yes, amongst others.
CONNOR
(Sits down.)
I wanna know.
ANGEL
I don't th-
CONNOR
Dad? Please?
Angel sits down, and so does Connor.
ANGEL
I just... I thought it would make
you happy.
CONNOR
I am happy.
ANGEL
And safe.
CONNOR
I'll never be safe.
ANGEL
So, I realise, but you are happy.
CONNOR
I suppose, bu-...
ANGEL
But what?
CONNOR
I don't belong here. I mean, my
parents, they're great people, but
they're not really my parents; I'm
not like them.
ANGEL
I know.
CONNOR
I belong somewhere else.. You know
that too.
ANGEL
(Sighs.)
Yes, I do.
CONNOR
So?
ANGEL
(Gets up.)
Finish college.
CONNOR
(Sighs.)
You promise?
Angel nods, then Connor smiles, and gets up too, to show his
father out.
CUT TO:
INT. CONFERENCE ROOM - NIGHT
The conference room is now filled with men in smokings and
women in dresses. On stage, are Anne, another MAN IN SMOKING
and an ASSISTANT, who hands the man over a mic.
MAN WITH MIC
On behalf of all the sponsors, I
would hereby like to offer this
cheque.
An assistant hands him over a large symbolic cheque.
MAN WITH MIC (CONT'D)
Of a two hundred and fifty thousand
dollars, for the renovations of the
young and homeless shelter in South
Central.
There's loud applause, as Anne steps forward to receive the
cheque; she takes over the mic.
ANNE
Well, what can I say. To everyone,
who's contributed to this; thank
you ever so much; this is so much
more than we could have hoped for,
thank you, on behalf of all the
young and homeless too.
Then, she under more applause steps back, as does the man and
his assistant. As they do, the curtains behind them are
opened, and behind them is a big band, which starts playing.
ANGLE ON THE STAIRS NEXT TO THE STAGE.
Anne is descending and as she does hands over the symbolic
cheque to an assistant. Gunn approaches her and offers his
hand as she takes the last few steps down.
GUNN
Wow, that went better than
expected, huh?
ANNE
(Radiant)
Yes, oh my god, we can do so much
with this money.
GUNN
I know; god, you're really happy,
aren't you?
ANNE
(Broadly smiling.)
Yeah! I'm really happy with this.
GUNN
Say, erm, you want to dance?
Anne looks at the empty dance-floor, then back at him.
GUNN (CONT'D)
Someone has to take the initiative.
ANNE
(Smiles.)
Okay, let's go.
Gunn then takes her by the arm to escort her to the dance
floor.
FADE TO:
INT. ANGEL'S OFFICE - NIGHT
Angel is sitting behind his desk, doing some late night paper
work. In the background a blurry figure enters the office.
Angel looks up and sees its Nina, carrying her bag.
He gets up from his desk and walks towards her. She runs
towards him and jumps into his arms. They kiss passionately,
then she hugs him. She's nearly crying.
NINA
I'm sorry.
ANGEL
Sorry, for what?
NINA
That I went away.
ANGEL
It's alright, I understand.
NINA
No, you don't. I had to get away;
only to find out, here is where I
belong.
ANGEL
(Smiles.)
Before you left in such a hurry
this morning, there was something I
meant to say.
Nina lets go of him.
ANGEL (CONT'D)
I love you too.
Nina smiles, then kisses him softly.
NINA
I'll go upstairs to unpack.
ANGEL
Okay, I'll be up for another while,
I think.
Nina kisses him again, then gets her back and leaves. Angel
walks over to one of the big comfy chairs, which he turns to
face the window, and he sits in it, just staring outside.
Then Spike walks in. His eyes are still red. Without saying
anything, Spike picks up a second chair and puts it next to
Angel's, also facing the window, and he sits down.
SPIKE
Don't make any jokes now... Please.
ANGEL
I won't.
There's a silence.
ANGEL (CONT'D)
Where'd you go?
SPIKE
To see her, the mother and the
husband.
ANGEL
Oh... I'm sorry about what
happened, you know.
SPIKE
I know. Did you stop the transport
in second instance?
ANGEL
(Sighs)
No. I-I couldn't do it.
SPIKE
(Puzzled)
What do you mean.
ANGEL
I was send pictures of Connor's
house. I had to choose... I'm
sorry.
SPIKE
No, it's okay... I understand; I
think I do at least.
ANGEL
He's family; however important the
work that we do may be, family
always comes first...
SPIKE
(Looks at Angel)
Friends too you know...
ANGEL
(Look at Spike and smiles)
Yeah, friends too...
Then they both turn to looking outside again.
FADE TO BLACK.
THE END
For an archive of the other episodes in this project visit our website at www.virtualslayer.tk
If you've read the story, by all means reply and let us know what you thought of it. Constructive criticism is much appreciated. We do not however take to bashing. If you feel an absolutely inescapable urge to bash, I suggest you do so with your head into a brick wall.
Finally, I hope you enjoyed it. Next week, Buffy 9.03 "Cheating Death" watch the trailer here.
Supposedly this episode is just a bit better than the last one; I hope you agree. I also hope that we can manage to keep improving the Angel-continuation and get it up to par with the Buffy-continuation.
Angel 6.03 "Family First"
Written by Allycat
TEASER
EXT. MIDDLECLASS CITY NEIGHTBOURHOOD - DAY
PAN OVER the lane, large house on both side, like NINA's
sister's, or BUFFY's house in Sunnydale... Only this is L.A.
CUT TO:
EXT. HOUSE - DAY
Same lane, one of the houses there. A BOY and GIRL are in the
garden playing with a baseball. Then the door opens the
FATHER and MOTHER walk out. The father calls the boy. We
can't hear any sounds though. The boy runs to him, we see the
father picking up a bag and giving a baseball cap to the boy.
Obviously, the boy has a game and the father is taking him
there. The girl joins with her mother and as the boy and the
father get in their blue sedan and leave, we PAN OUT, and the
mother and daughter wave as they leave and by now we're back
in the same angle we were panning over this scene in in the
previous scene.
CUT TO:
OPENING CREDITS (click to watch)
David Boreanaz
J. August Richards
Julia Lee
Adam Baldwin
Jenny Mollen
and James Marsters
Guest Starring: Zhizi Zhang, Michelle Pfeiffer, Vincent
Kartheiser, Rod Rowland
ACT I
INT. ANGEL INVESTIGATIONS - MORNING
The main hall is quite crowded for an early Saturday morning.
Obviously some sort of meeting is going to be held. The lift
is rising and reaches the main hall, ANGEL steps out. He
works his way through the people, none of them taking
particular interest in him, but when he reaches his office,
ANNE steps up to him.
ANNE
Hey, wait up.
Angel turns around to her, with a sad look on her face. He
walks on into his office, but leaves the door open, she
follows him.
CUT TO:
INT. ANGEL'S OFFICE - MORNING (CONT'D)
ANNE
You wanna talk about it?
ANGEL
(Distracted)
It?
ANNE
Nina... How's she doing? Feeling
any better yet?
ANGEL
Not really. Before, being a
monster, to her, was something
abstract...
(clears his throat to
indicate a change of
topic)
So what are all those people here
for.
ANNE
They're all sponsors we found for
one of our events. So we're having
a meeting now as to you know...
Explain a bit, introduce everybody
around. You know.
ANGEL
Good, I guess... So where are all
the others?
ANNE
Gunn's out doing I don't know, and
I saw Spike... erm... Don't have a
clue either.
We've all been rather busy...
Talking about that, I should really
get back... Sorry.
ANGEL
No, go, it's fine... I'll be fine.
Anne walks to the door, then looks over her shoulder one more
time and walks out, knowing that he, of course, is not fine.
FADE TO:
EXT. RASPINATZA HOTEL - DAY
A very expensive looking hotel, just on the border of the
centre of town.
CUT TO:
INT. RASPINATZA HOTEL MAIN HALL - DAY
A lot of people in suits are buzzing around in the main hall,
which is decorated with gold and exotic looking patterns and
drawing with strange looking creatures on it. We make our way
through guest and personnel alike walking about the main
hall, doing their thing, towards a small corridor in front of
which is an "authorised personnel only"-sign. We follow the
corridor till we reach a dark door, it slowly opens and
reveals a stair case into the basement.
FADE TO:
INT. RASPINATZA HOTEL BASEMENT - DAY
At a round table, in a dimly lit room, three RASPINATZA
ELDERS are sitting. They're talking in a tongue we don't
understand. Finally, they seem to agree on something and the
turn to a fourth figure at the table, who's face is in the
shadows.
RASPINATZA ELDER #1
Alright, we have discussed and
decided on this issue.
RASPINATZA ELDER #2
We believe your plan to distract
Angel will secure that our
transport reaches us safely.
RASPINATZA ELDER #3
We leave this mission to you then,
(They all get up.)
Mr. Fries.
Now the fourth man gets up and his face moves out of the
shadow; it's a grinning CORBIN FRIES.
CUT TO:
INT. ANGEL'S OFFICE - DAY
Angel's behind his desk studying some documents, when Nina
comes in. She's dressed in a too big bathrobe, Angel's we can
only assume.
NINA
(softly)
Hi.
Angel looks up, when he sees Nina, he gets up right away and
walks up to her. He stands behind her and puts his hands on
her shoulders.
ANGEL
Hi... How are you?
Nina turns her head around to him sadly, and then turns
around.
ANGEL (CONT'D)
Yeah, I thought so.
She moves away from him and turns to face him.
NINA
I just need to get out of here,
away from these people. When I came
down here, everyone was starring at
me.
ANGEL
Have you considered it may be
because of the bathrobe? You do
look... you know.
Nina smiles faintly.
NINA
All kidding aside. I really need to
get out of here. Just to empty my
head.
ANGEL
(Nods understandingly.)
Okay. How-... How long will you..?
NINA
I don't know. Maybe just for the
night, maybe a month, little under
a month that is. I don't know, as
long as it takes.
ANGEL
I understand.
NINA
I know.
They approach each other, and there's an odd moment where
neither of them knows whether to kiss or to hug the other.
Finally, they decide to hug. Then they let go.
ANGEL
Goodbye then, and I'll see you
soon, I hope.
NINA
Yeah... bye.
After yet another awkward moment, Nina walks off, but quickly
turns around again and kisses Angel on the mouth.
NINA (CONT'D)
(Softly.)
I love you.
Then she walks off, too fast for Angel to be able to reply.
Angel looks down.
ANGEL
(Confused, to himself.)
I-I think I love you too.
He looks up at Spike, standing in the doorway.
SPIKE
I'm flattered, but I'm not really
into that sort of thing.
ANGEL
What are you doing here?
Spike walks in, and now Gunn also enters.
GUNN
We have a meeting, remember?
ANGEL
Yeah, sure... course.
As they take their places at the conference table, Anne and
Chyou enter and join them.
ANGEL (CONT'D)
Okay, so erm... what do we have?
Erm, shall we just go clockwise?
GUNN
Sure, I'll start then. We managed
to remove any evidence that could
link Nina to... well, erm.
Because it violated security codes
regarding fire exits, we also
managed to have a cafe closed down,
which a lot of clan members of the
Terranera's have been visiting. We
think it will drive them more
towards the docks, and hopefully
away from residential areas.
Angel nods agreeingly and turns to Chyou.
CHYOU
On a lot of our research project's
we're making good progress, but
nothing we can use yet. It's all a
bit technical; we are making a lot
of progress with the stake-proof
vests, but we still haven't found a
way to make them lighter.
She turns to Spike.
SPIKE
Erm, I kinda... well, been hanging
about, staked me a few fellas. And
erm... oh, right, word on the
street is there's some big
transport coming into town, with
some valuable artefacts, the
Raspinatza clan is after. So, I
would like to suggest, I gather
some fighter and raid the
transport, when it unloads from the
ship onto ground transport.
ANGEL
Sounds okay to me. You'll assemble
your own team, work it all out
yourself, I suppose... So, Anne,
how about your department?
ANNE
We're hosting a big charity event;
it's for the renovation of one of
our shelters. We got all sponsors
in the lobby now and we should
really get to them, introduce you
around. Apart from that, the
construction of the new shelter's
going pretty well.
They all look at Angel, in anticipating of whether he'll say
anything about Nina's condition, but he doesn't.
ANGEL
Okay, then I guess that's it. Let
us get to introducing me to all
these people.
He gets up, but the others remaining seated, still hoping
he'll say something about Nina.
ANGEL (CONT'D)
Meeting closed.
Then he turns around and walks off, into the lobby.
CUT TO:
EXT. HARBOUR - DAY
A black van is driving through the mildly busy harbour and at
a certain points take a turn into a dark alleyway, close to a
docked ship.
DOLLY IN ON THE VAN
Spike is in the seat next to the driver, he takes out
binoculars and stares at the docked ship.
CUT TO:
INT. VAN - DAY
Spike puts down his binoculars. He turns to the man next to
him. From behind another man, PERCY, closes into them and
listens in.
SPIKE
There seems to be four of them, but
it looks like they've already
loaded up the van. So, we'll have
to move fast.
PERCY
Should I order two people to block
the exit routes.
SPIKE
No, I think we'll manage. Alright
then, let's roll.
FADE TO BLACK.
ACT II
EXT. HIGHWAY NEAR THE HARBOUR - DAY
A blue sedan is driving over the highway.
CUT TO:
INT. CAR - DAY
The father and the boy from before are driving over the
highway.
FATHER
That was a good game, hey son?
The father looks to his side and notices his boy is watching
one of the big ships in the harbour.
FATHER (CONT'D)
It's big isn't it?
BOY
Yeah, I bet it's three-hundred
million feet tall.
FATHER
(Laughs.)
I don't know about that. What do
you say we drive by it, so you can
have a look.
The boy turns around to him enthusiastically.
BOY
Can we, daddy? Can we?
FATHER
Yeah, we can.
The boy's excited face makes him smile, as he takes the next
exit off the highway.
FADE TO:
EXT. VAN IN ALLEY - DAY
Spike, with his team of about ten, is standing in the alley
near the ship. The high warehouses provide him with shadow
and protect him from the sun. The van they're to raid is also
in the shadow. Spike draws a dagger. The others also draw
their weapons, ranging from guns, to crossbows, and from
swords, to axes and stakes. Finally, Spike starts to move to
the end of the alley, trying to keep out of sight of the men
near the van. When they reach the end of the alley, they
charge the unsuspecting men. The men are vamps and as soon as
the see the charge, they vampface. Nevertheless, they're no
match for ten well-trained and well-armed AI fighters. As the
others take on the 3 vamps trying to defend the van; Spike
makes way for the one who tries to get away. He makes a
pretty good run for it, but Spike jumps at him, which pushes
the vamp into the sunlight. He starts burning, but manages to
get back into the shadow. He's heavily burnt though. As Spike
draws his stake to finish the guy off;
he turns around to see the rest of the team has taken care of
the three vamps easily. And they're now preparing to open the
van. Then Spike turns around to the vamp he's about to stake.
VAMP
Go ahead, stake me. You're all dead
anyway... we'll finish this in
hell.
Spike looks confused, then scared. He quickly turns around.
SPIKE
(Yelling.)
AMBUSH!
But as he does, the doors of the van open and about ten vamps
storm out, armed to the teeth, and over the railing of the
ship, some two or three men with guns appear, who start
blasting at Spike's team, (which consists of humans.) Spike
runs toward the battling group of humans and demons and
starts mixing himself in the fight and within mere seconds
manages to decapitate one and stake another. But at the same
time, the shooters have hit two of Spike's team mates and
seriously injured another. As the fight progresses the demons
clearly take the upper hand. Then suddenly, a blue sedan
comes driving into the street.
SPIKE (CONT'D)
Damn, more of them.
Spike picks up a gun one of his team members now lying dead
on the ground was carrying. And as he steps away from the
fighting group toward the oncoming car, he shoots the tires.
As the driver loses control, Spike looks at who's in the car,
and his eyes widen and mouth opens as he sees a father and
his son. The car drives off the dock and with a loud SPLASH
it lands in the water. Spike walks closer to the edge and
sees how the man and his son are trying, unsuccessfully to
get free. Spike takes a step further to the, but it's in the
sunlight so he has to take a step back, he drops to his knees
as she watches the car with the father and son slowly sink,
with nothing he can do about it. The others are still
fighting again, while Spike stays on the ground just starring
at the water with wide open eyes in complete shock. Finally,
he's picked up from the ground, by Percy, who drags him
along. Percy's firing madly at the demons charging at him.
The others are all dead. Spike starts running too and the two
of them make way for their van.
PAN UP TO THE ROOF OF ONE OF THE WAREHOUSES
On the roof-top, with binoculars are Corbin Fries and a
Raspinatza assistant. Corbin's grinning.
CORBIN FRIES
(To himself.)
That went even better than
expected.
He hands the binoculars over to the Raspinatza.
CORBIN FRIES (CONT'D)
Now for Angel and his boy.
Then they turn around and walk off.
CUT TO:
INT. ANGEL INVESTIGATIONS LOBBY - DAY
LONG SHOT FROM THE TOP
We can't hear anything because of the distance and the music.
Anne is walking Angel around, letting him meet and greet with
some of the important sponsors, when Percy, tidied up a bit,
and not in combat outfit, walks up to them; he whispers
something in Angel's ear, after which Angel excuses himself
from his guest and takes Percy into his office.
CUT TO:
INT. ANGEL'S OFFICE - DAY
ANGEL
So, tell me, what's this important
news?
PERCY
It was decoy.
ANGEL
As in?
PERCY
Someone leaked us the wrong
information on purpose. They were
waiting for us. We were ambushed.
Practically slaughtered us.
ANGEL
Many injured?
PERCY
Me and Spike are the only ones
left. Mild injuries only. Chyou is
with Spike in the medical bay now.
However, he seems to be suffering
some sort of mental breakdown; I
don't know why though.
ANGEL
(Extremely surprised.)
Spike? A mental breakdown?
PERCY
Of sorts, Chyou says he should be
fine, probably. But there's more.
We found out the location of the
real transport, only thing is we
don't have any people to send.
ANGEL
I'll go then.
Angel picks up his coat.
PERCY
There's one more thing, I think you
should know.
ANGEL
What?
PERCY
A courier just brought us this.
He hands over a large envelope to Angel. Angel takes the
content out of it; he looks at it. We can't see it, cause the
back of the paper is turned to us.
ANGEL
I have to go...
PERCY
It could be another ambush?
ANGEL
I still have to go.
PERCY
What about the transport.
ANGEL
(Thinking.)
Hmmmm.
(Sighs.)
They win.
Then he drops the envelope and walks of. Percy is left behind
clueless.
CLOSE UP OF THE ENVELOPE AND THE CONTENTS; PICTURES OF CONNOR
AT HIS NEW HOME.
FADE TO BLACK.
ACT III
INT. MEDICAL BAY - EVENING
Spike's laying on a bed, not hooked up to some machine, on a
chair next to him is Chyou. Slowly, he opens his eyes.
SPIKE
Wh-What did you give me?
CHYOU
I gave you some sedatives, to make
you sleep a little. I hope it did
you some good.
Spike starts pulling the tubes out. And gets up out of bed.
Chyou gets up to try to stop him.
SPIKE
I need to go.
CHYOU
No, you need to calm down, lie
down.
SPIKE
No, I need to go; there's something
I got to do.
He then exits the room. And now Chyou is left behind
clueless.
CUT TO:
INT. CONFERENCE ROOM - EVENING
In this large conference room, hotel staff is working hard to
arrange tables and chairs, to set the tables and to prepare a
walking buffet, as well as decorating the room. In the middle
of the action is Anne, overseeing it all. From behind her
Gunn approaches her.
GUNN
Hey.
ANNE
(Surprised.)
Hey, didn't expect you here yet.
GUNN
Well, I wrapped up everything at
the office a little earlier to see
if I could help you with anything.
ANNE
(Smiling.)
Well, isn't truly gentleman-like of
you.
GUNN
(Proud of himself.)
I'd like to think so.
ANNE
So would I... but, we don't have
anything for you to help with left.
So, one could think you anticipated
this and thought it'd be an easy
way out of work.
GUNN
Now, who would believe such a
thing.
ANNE
Dunno; I don't.
GUNN
That's all that matters to me.
They exchange looks, but then they're interrupted by the
chef.
CHEF
(Heavy French accent.)
Mizz, you have to taste ze soup.
C'est magnifique.
DOLLY OUT TO THE WHOLE ROOM.
FADE TO:
EXT. MIDDLECLASS CITY NEIGHTBOURHOOD - EVENING
PAN OVER the lane, large house on both side, like NINA's
sister's, or BUFFY's house in Sunnydale... Only this is L.A.
CUT TO:
EXT. FRONT PORCH - EVENING
Spike is standing on a front porch; he's visibly nervous and
still shaken by what happened before. Finally, he rings the
bell. First, there's just silence, but then we hear noise in
the house. Finally, the door is opened by the mother from the
second scene, LAURA, she's been crying.
LAURA
Hello? How may I help you?
SPIKE
I-I'm... are you Laura Quaye? Wife
to Richard and mother of Robin?
LAURA
I was.
She bursts out in tears. Spike stands there unsure what to do
for a second, then he steps forward and holds her, to comfort
her.
FADE TO:
INT. QUAYE RESIDENCE LIVING ROOM - EVENING
Laura's on the couch, her eyes red from crying. Spike walks
in with a cup of tea.
SPIKE
I hope I made it the right way...
and I hope I didn't make too much
of a mess out of your kitchen.
LAURA
It's fine...
(Takes the cup.)
Thank you. So, what did you say
your name was, and why are you
here?
SPIKE
I'm Spike... and I came to-...
well, I was there, when it
happened.
Laura freezes for a second; then she puts her cup down.
LAURA
Tell me what happened.
SPIKE
I-I don't know whether I-
LAURA
Tell me.
SPIKE
I work at a sort of counter
terrorism-like unit. I'm afraid I
can't, erm... be too specific about
it. We're the good guys, that's
really all I can say. At the docks,
we were going to raid a transport
of, erm... well, we were ambushed.
From all over the place we were
attacked. And then, you're husband
unknowingly of what was going on
drove into the street. And a member
of my team though that the car was
the erm, terrorists to. So, he,
erm... popped their tires. Your
husband lost control and car got
into the water.
Laura looks shocked by what she hears, and is on the verge of
crying again.
SPIKE (CONT'D)
I'm sorry, I should've tol-
LAURA
It's fine; I asked for it. I needed
to hear.
SPIKE
I-I want to offer to help you. I
mean, financially... make sure
you're provided for.
LAURA
Is that all you came to do here?
Offer me money; think it would go
all away?
(She gets up.)
GET OUT OF HERE! I don't need your
money; I need my husband and my
son!
SPIKE
(Gets up too, to calm her
down.)
No, noo! It's not like that. We-I
just wanna help.
LAURA
(Crying.)
You can't buy off your feeling of
guilt! You can't make up with
money... I lost my husband!
SPIKE
I lost all my team members. Only
one other survived.
Laura becomes quiet upon hearing about Spike's loss. They
both sit down again.
LAURA
Oh. I see... the man who, did he?
SPIKE
He's still alive.
LAURA
Where is he?
SPIKE
Right across from you.
A beat.
CUT TO:
INT. RILEY RESIDENCE - NIGHT
It's the hall of a regular suburban house. There's some
fumbling at the door, finally it is kicked in by Angel. He
quickly enters the house. We follow him through the kitchen
and dining room to the living room. There are some signs of a
fight there. The table is upside down and a lamp is broken.
As Angel looks around, the lights in the garden are switched
on. Quickly Angel turns around and sees Connor tied to a
chair and beaten up in the garden. Angel quickly walks into
the garden.
EXT. RILEY GARDEN - NIGHT (CONT'D)
The chair Connor is on is on the hatch over swimming pool,
which of course is closed. Angel walks over to the hatch and
is about to step onto the hatch too, to walk to Connor.
CORBIN FRIES (O.S.)
Don't you just love Wes Craven?
Angel turns around. Corbin is on the roof of the house, which
Angel looks suspicious about.
CORBIN FRIES (CONT'D)
I'm sorry I couldn't come any
closer, it's just that well your
reputation has it you're a bit
dangerous.
ANGEL
Like yours hasn't?
CORBIN FRIES
Hmmm. Touché.
ANGEL
What are you doing here?
CORBIN FRIES
Making a bit of cash really; what
can I say, tried to kill my own son
that didn't really work out, so I
thought I'd try something
different.
ANGEL
You're sick.
CORBIN FRIES
And soon to be rich!
ANGEL
The Raspinatza-clan hired you? To
protect their transport?
CORBIN FRIES
Classified information, but I'm
sure one of your snitches could
tell you. Maybe the same one who
told Spike where to raid?
ANGEL
(Angry.)
Give me one reason not to kill you!
CORBIN FRIES
Well, actually I don't have any
right now. I need to still keep you
occupied for a few more minutes; if
killing me takes that long.
ANGEL
I could arrange for it to be slow
and painful, if you want.
CORBIN FRIES
(Smirks.)
Bring it on!
Having anticipated the inevitable fight, Angel runs to the
house and with a quick one-two step you usually see in Kung
Fu movies walks on the wall and jumps onto the roof. Corbin,
expecting this, picks up a lead beam he had hid on the roof
and as Angel charges him, he hits Angel with it, who then
falls flat on his back. Corbin steps forward to hit Angel
again, but Angel grabs the beam and then kicks Corbin, who
lets go of the beam. Angel throws the beam away, and jumps
onto Corbin, who is now flat on his back. Angel begins to hit
him. Just as he is about to hit him again, Corbin begins to
speak.
CORBIN FRIES (CONT'D)
I wouldn't do that if I were you.
ANGEL
Or else you're gonna WHAT me to
death?
CORBIN FRIES
As I remember you're boy tested how
long you could stay under water,
let's test the same with him.
Corbin gets a small remote control from his pocket and pushes
a button. The hatch of the swimming pool opens, and as
Connor's chair is right in the middle, he falls in.
Angel immediately jumps off Corbin and in two large leaps he
reaches the end of the roof and from it, he jumps into the
water.
CUT TO:
INT. SWIMMING POOL UNDERWATER - NIGHT (CONT'D)
Angel, who's just jumped in, swims to Connor on his chair,
who's on the bottom. When he reaches him, Angel tries to
untie him, but it isn't exactly worker, and the ropes being
wet are extremely tight. Then above him, he notices the hatch
is closing again. With all his might he starts pulling Connor
and the chair up, just in time before the hatch closes he can
throw Connor onto the terrace near the pool; he himself can
climb out in time too.
FADE TO BLACK.
ACT IV
INT. QUAYE RESIDENCE LIVING ROOM - NIGHT
After now having heard that Spike was the one directly
responsible for the death of her husband and her son, Laura
looks at him in shock; suddenly, she snaps and she grabs her
teacup and slings it at him. Spike jumps up in pain, as the
hot tea burns him. As Laura realises what she just did, she
rushes to Spike, to aid him. She takes a towel, she had
previously been using to dry her eyes, to now dry spike's
shirt.
LAURA
My god, I'm so sorry, I don't know
what's gotten over me.
SPIKE
It's okay, it's fine; I
understand... I-
Spike suddenly breaks off talking and puts his hand over his
face, as he's starting to cry. Laura tries to comfort him,
but as soon as she does, she breaks down again and starts
crying too.
DOLLY OUT.
FADE TO:
INT. RILEY RESIDENCE TERRACE - NIGHT
Angel is standing alone on the terrace, in only his
underwear.
(Good one, aye ladies?) Then Connor walks out and hands him
over some dry clothes. Angel starts dressing himself. Connor
has already changed clothes.
CONNOR
You gonna tell me what that was
about?
ANGEL
It was, an old enemy, wanting to
take my attention away from some
important transport of artefacts.
(Coughs.)
This was exactly why-
A beat.
CONNOR
Why you send me here?
ANGEL
(Stops dressing, his
shirt's still
unbuttoned.)
Yes, amongst others.
CONNOR
(Sits down.)
I wanna know.
ANGEL
I don't th-
CONNOR
Dad? Please?
Angel sits down, and so does Connor.
ANGEL
I just... I thought it would make
you happy.
CONNOR
I am happy.
ANGEL
And safe.
CONNOR
I'll never be safe.
ANGEL
So, I realise, but you are happy.
CONNOR
I suppose, bu-...
ANGEL
But what?
CONNOR
I don't belong here. I mean, my
parents, they're great people, but
they're not really my parents; I'm
not like them.
ANGEL
I know.
CONNOR
I belong somewhere else.. You know
that too.
ANGEL
(Sighs.)
Yes, I do.
CONNOR
So?
ANGEL
(Gets up.)
Finish college.
CONNOR
(Sighs.)
You promise?
Angel nods, then Connor smiles, and gets up too, to show his
father out.
CUT TO:
INT. CONFERENCE ROOM - NIGHT
The conference room is now filled with men in smokings and
women in dresses. On stage, are Anne, another MAN IN SMOKING
and an ASSISTANT, who hands the man over a mic.
MAN WITH MIC
On behalf of all the sponsors, I
would hereby like to offer this
cheque.
An assistant hands him over a large symbolic cheque.
MAN WITH MIC (CONT'D)
Of a two hundred and fifty thousand
dollars, for the renovations of the
young and homeless shelter in South
Central.
There's loud applause, as Anne steps forward to receive the
cheque; she takes over the mic.
ANNE
Well, what can I say. To everyone,
who's contributed to this; thank
you ever so much; this is so much
more than we could have hoped for,
thank you, on behalf of all the
young and homeless too.
Then, she under more applause steps back, as does the man and
his assistant. As they do, the curtains behind them are
opened, and behind them is a big band, which starts playing.
ANGLE ON THE STAIRS NEXT TO THE STAGE.
Anne is descending and as she does hands over the symbolic
cheque to an assistant. Gunn approaches her and offers his
hand as she takes the last few steps down.
GUNN
Wow, that went better than
expected, huh?
ANNE
(Radiant)
Yes, oh my god, we can do so much
with this money.
GUNN
I know; god, you're really happy,
aren't you?
ANNE
(Broadly smiling.)
Yeah! I'm really happy with this.
GUNN
Say, erm, you want to dance?
Anne looks at the empty dance-floor, then back at him.
GUNN (CONT'D)
Someone has to take the initiative.
ANNE
(Smiles.)
Okay, let's go.
Gunn then takes her by the arm to escort her to the dance
floor.
FADE TO:
INT. ANGEL'S OFFICE - NIGHT
Angel is sitting behind his desk, doing some late night paper
work. In the background a blurry figure enters the office.
Angel looks up and sees its Nina, carrying her bag.
He gets up from his desk and walks towards her. She runs
towards him and jumps into his arms. They kiss passionately,
then she hugs him. She's nearly crying.
NINA
I'm sorry.
ANGEL
Sorry, for what?
NINA
That I went away.
ANGEL
It's alright, I understand.
NINA
No, you don't. I had to get away;
only to find out, here is where I
belong.
ANGEL
(Smiles.)
Before you left in such a hurry
this morning, there was something I
meant to say.
Nina lets go of him.
ANGEL (CONT'D)
I love you too.
Nina smiles, then kisses him softly.
NINA
I'll go upstairs to unpack.
ANGEL
Okay, I'll be up for another while,
I think.
Nina kisses him again, then gets her back and leaves. Angel
walks over to one of the big comfy chairs, which he turns to
face the window, and he sits in it, just staring outside.
Then Spike walks in. His eyes are still red. Without saying
anything, Spike picks up a second chair and puts it next to
Angel's, also facing the window, and he sits down.
SPIKE
Don't make any jokes now... Please.
ANGEL
I won't.
There's a silence.
ANGEL (CONT'D)
Where'd you go?
SPIKE
To see her, the mother and the
husband.
ANGEL
Oh... I'm sorry about what
happened, you know.
SPIKE
I know. Did you stop the transport
in second instance?
ANGEL
(Sighs)
No. I-I couldn't do it.
SPIKE
(Puzzled)
What do you mean.
ANGEL
I was send pictures of Connor's
house. I had to choose... I'm
sorry.
SPIKE
No, it's okay... I understand; I
think I do at least.
ANGEL
He's family; however important the
work that we do may be, family
always comes first...
SPIKE
(Looks at Angel)
Friends too you know...
ANGEL
(Look at Spike and smiles)
Yeah, friends too...
Then they both turn to looking outside again.
FADE TO BLACK.
THE END
For an archive of the other episodes in this project visit our website at www.virtualslayer.tk
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Finally, I hope you enjoyed it. Next week, Buffy 9.03 "Cheating Death" watch the trailer here.
P
ProphecyGirl
better but not quite "there"