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otp

Saturday Night in the City of the Dead, Part 1 (airdate December 14, 2005)

Posted by masqthephlsphr on 2007.12.31 at 21:42
Current Mood: dorkyawkward

Saturday Night in the City of the Dead

Part 1

(December 31, 2007)

Written by: Masquerade

Teaser

INT. SEWER TUNNEL - LOCATION UNKNOWN - NIGHT

A WOMAN darts into the FRAME and pauses, her face obscured by shadows. Clack, clack. FOOTSTEPS CUT the murky darkness behind her. She hurries on.

DISSOLVE TO - INT. THE SAME SEWER TUNNEL - DAY

Light seeps in from the street above. Two approaching flashlight beams criss-cross.

MAN
So what are we doing down here?

TIGHT SHOT of two men, both thirty-something. One has a Catholic priest's collar. He is tense and agitated.

PRIEST
It's safer. They're less likely to find me.

He continues forward. His friend follows, bemused.

CUT TO - INT. SEWER - NIGHT

A tunnel ends at the bottom of a concrete stairwell. The woman grasps the railing to launch herself up the steps. Pale light from above casts her face in an eerie glow. There is a deep, glistening cut on her forehead. She ascends. Footsteps echo below.

DISSOLVE TO - INT. SEWER - DAY

And a disorienting view STRAIGHT UP THE STAIRWELL. Light breaks through vents above. The priest winces up.

PRIEST
This is it. The Episcopal cathedral.
The vampire caught up with Tammy here.

His friend rests his fingers on the handrail and looks up.

PRIEST
Tracked her all the way from New York.
Probably on their orders.

The priest starts up the steps.

FRIEND
Who are "they"?

The friend lifts his hand from the rail and grimaces. INSERT - His fingers are smeared glistening RED.

CUT TO - INT. CATHEDRAL

The men enter and look around.

LONG SHOT - Vaulted arches and ornate pillars. The stained glass windows are dim, dark blue. The stone floor between our vantage point and the pews is embedded with an intricate, maze-like LABYRINTH. The WOMAN enters the FRAME in CLOSE-UP, and we realize we are seeing the cathedral at the night hour she was there. She gapes in HORROR as - Clack, clack, clack.

CUT TO the open back entranceway. The VAMPIRE is an indistinct blur at the side of the FRAME. It enters the sanctuary. LOW SHOT of old-fashioned feminine boots following the tightly curved labyrinth path.

WOMAN
(screech echoing)
Help me! Someone!

The woman brings up her cell phone and backs away from the vampire, her fingers fumbling over the buttons. BAM! She HITS a TABLE along the wall. The vampire is ON HER in a second. She screams. The phone clatters to the floor.

DISSOLVE TO - CATHEDRAL - DAY

The priest approaches the table. Candlelight dances on the faux stone walls. He kneels on the floor. His friend remains standing, sad.

FRIEND
I'm so sorry, Brad.

The priest fumbles around under the table.

PRIEST
Huh?

He reaches for something and stands, looking puzzled.

PRIEST
Oh. Tammy isn't dead.
(he holds up the object in his hands)
She just wanted me to find her cell phone.

CUT TO - INT. CATHEDRAL - NIGHT

Panicked, the woman grapples blindly behind herself. She grasps something on the table and THRUSTS IT OUT. Vampires POV, in CLOSE-UP - An iron CHI RO. Dismayed, the woman tosses it away and scrabbles behind again. REAR SHOT - Her hands wrap around a candlestick. She brings it around and STABS IT at the vampire. The camera remains on the woman as HYSTERICAL SHRIEKS fill the high reaches of the sanctuary.

WIDE LONG SHOT from across the church - the vampire spins in a circle, black hair flying, the sleeve of her red dress AFLAME. Finally, she bolts out the doorway into the night.

The woman sags in relief.

DISSOLVE TO - INT. CATHEDRAL - DAY

The priest tucks the phone in his coat and hurries towards the doorway.

PRIEST
C'mon, before they find us.

His friend follows.

FRIEND
Who are "they"?

BLACK OUT.

END OF TEASER
Opening Credits
The theme song plays as we see images of


CONNOR REILLY walking to classes, swinging a SWORD in a street fight,

starring

Vincent Kartheiser

FAITH THE VAMPIRE SLAYER, taking aim with her CROSSBOW at a multi-armed, blade-swinging DEMON,

Eliza Dushku

and AIDEN WALSH, sitting at a TABLE with a BOOK opened in front of him.

and

Sean Maher

Act One

with special guest stars

J. August Richards
David Boreanaz
Rachel Leigh Cook
Alan Tudyk
and
Amy Acker


EXT. SLAYER COUNCIL BUILDING - SILVER LAKE - LATE AFTERNOON

The opening strains of the zany, frenetic classic "Sabre Dance" start up over the placid view of the four-store office building.

INT. SLAYER COUNCIL SUITE

IN FRAME - To one side, the GRAY MISTY portal to the LIBRARY POCKET DIMENSION; to the other, the open door of the OFFICE, where scholars RACHEL GREEN and NIGEL VAIDEEKI sit reading. Suddenly, out the library mist bursts AIDEN. In FAST MOTION, he shuttles back and forth and back and forth between the library and the office, ferrying piles of books of varying heights, manila folders, ancient scrolls and artifacts, and a plastic bag full of trash. A paper coffee cup falls out and he replaces it before he exits the FRAME down the hall.

In a beat, he is back. He enters -

INT. THE BLANK WHITE VOID OF FURNITURE THAT IS THE LIBRARY

- where, in continued FAST-MO, he starts re-shelving books. More COUNCIL SCHOLARS sit at the table, talking and examining scattered books and scrolls at NORMAL SPEED while around them, FAST-MO Aiden fetches files from the file cabinet, leaves, comes back with more books, shelves them, tries to straighten up the books and files spread all over the table, gets his hand slapped, and is sent back to the bookshelves for YET MORE BOOKS.

He is just finishing distributing the stack when, at NORMAL SPEED, he collapses against the bookshelf with an exhale. The music cuts off abruptly. A clipped British voice is the first sound we hear.

MALE SCHOLAR ONE
...A Reginald Jaynes approached us asking for access.

CUT TO two unknown male scholars, sitting at the table.

MALE SCHOLAR ONE (cont.)
Specifically, for information on demons.
(he lowers his voice, his tone oozing with scandal)
Among his known affiliations is the Enash Cabal.

MALE SCHOLAR TWO
The Cabal? In Los Angeles?

SCHOLAR ONE
(with disdain)
We don't need their lot getting access to these materials.

The second scholar glares over his shoulder at Aiden.

SCHOLAR TWO
I thought this library was a secret!

Aiden chuckles.

AIDEN
A secret?
Why do you think it's hidden in a pocket dimension?
There isn't a single demon
in this town who doesn't know we have this stuff.

SCHOLAR TWO
How did that happen?

AIDEN
You haven't been in L.A. long, have you?
When Faith and I transported the library over here--

A pretty female scholar across the table glances up curiously from the ancient scroll she's been perusing.

FEMALE SCHOLAR
I'm not familiar with the Enash Cabal.

AIDEN
--we were attacked outside the Temple Luna club--

SCHOLAR ONE
(with eyes only for the woman)
They're an extremist group who believe all demons should be killed
or driven from the Earth.

Aiden lifts the hem of his shirt an inch and glances down. He points.

AIDEN
Now I've got this scar--

FEMALE SCHOLAR
And how is that different from Slayers?

SCHOLAR ONE
(with an air of knowledgeability)
It's the methods they employ that distinguish them from Slayers--

Aiden looks up.

AIDEN
You probably have no interest in my scar.

SCHOLAR ONE (cont.)
--Torture, dark magicks,
weapons of indiscriminate destruction....

The female scholar smiles.

FEMALE SCHOLAR
You've obviously never worked with a Slayer.

The male scholar squashes a defensive, flirtatious smirk.

SCHOLAR ONE
The point is,
they would use this library to chaotic result.

Aiden glances around. His POV, PANNING - Books, folders, papers, half-empty tea cups, and crumpled up, grease-stained bags are scattered across the table and piled on the file cabinets. On the floor, opened cardboard boxes have Styrofoam peanuts falling out of them.

AIDEN
(mumbling)
Yeah, 'cause you wouldn't want that.

The second male scholar gapes at the first.

SCHOLAR TWO
You believe they're the ones who bombed that warehouse!

The first scholar looks from one colleague to the other with a scandalized, know-it-all look.

SCHOLAR ONE
It is suspicious that they would surface now,
after that incident.

The other scholars nod their agreement. Aiden takes an interest.

AIDEN
They must know something about what was going on there--
that demon fight club and all?
Are you going to talk to them?

The scholar sniffs and returns to his books.

SCHOLAR ONE
The bombing doesn't concern us.
The sanctity of this information does.

The other two go back to work as well.

SCHOLAR TWO
This library should be relocated to the central facility.
It will be safer, more convenient--

SCHOLAR ONE
(with enthusiasm)
I'm eager to compare these local atlases
with the demonographies we have at the British Museum.
I'd wager there's very little overlap.

Aiden shakes his head and turns towards the library "door."

AIDEN
You guys have fun.
I'll come back when your jet lag kicks in.

CUT TO - INT. HALLWAY

We can hear the steady sound of Rona leading drills, followed by the Slayers' chanting replies. CLOSE-UP on Aiden's wary anticipation as he approaches the source. He stops at the door and watches with interest. His POV - Rona is standing at the mirror, directing a rank-and-file squad of Slayers through a series of martial arts stances.

Aiden's eyes drift to one side. He smiles. IN FRAME - The Slayer Kristin, expertly performing the same moves in unison with others, her thick black hair tied in a ponytail behind her.

AIDEN
(wistfully)
I bet you'd like to see my scar.

His eyes dip away. Quickly, he turns and hurries off.



CONNOR (VOICE-OVER)
It's one thing for you to plant yourself
in the middle of a bunch of Lakers' fans.

EXT. REAR PARKING LOT - FAITH'S APARTMENT BUILDING - EVENING

INT. FAITH'S IMPALA

Faith pulls into a parking spot. Connor is in the passenger seat.

CONNOR
It's another to make obscene gestures at Kobe Bryant with a....

He raises a GIANT FOAM GREEN FINGER awkwardly.

CONNOR
...this.

Faith cuts the engine.

FAITH
It's not like any of them actually hurt me.

With a chuckle, Connor opens the car door--

CONNOR
I donno, I think Jack Nicholson could have taken you.

--and gets out, leaving the finger behind. Faith sets the parking brake and reaches for the finger. Then startles as Connor pokes his head through the open window, grimacing insanely.

CONNOR
Heeeere's JOHNNY!

The finger tumbles to the floor.

FAITH
(with a scowl)
You know, it's really creepy when you do that.

Connor snickers. Faith reaches down for the finger. Connor's eyes follow. His POV - the collar of her t-shirt bends as she does, revealing a firm line of cleavage. Faith sits up without noticing Connor's unsettled expression.

CUT TO - INT. BASEMENT HALLWAY - A MOMENT LATER

Connor trails Faith down the hall.

FAITH
All I'm saying is, cut him a break.
There's no way he's a lackey for the Senior Partners.

CONNOR
So what, he's undercover or something?
"Angel: vampire secret agent"?
Pink wigs and sunglasses that can see infrared?

AIDEN (O.S.)
'Bout time.

CUT TO Aiden, waiting by the door to Faith's apartment.

FAITH
Well, maybe not a pink wig.

CONNOR
(nodding in greeting)
Hey. You ready?

FAITH
(musing)
Probably.

AIDEN
Yeah, in a minute. I need to talk to Faith.

CUT TO - INT. FAITH'S APARTMENT

The two men follow Faith inside.

AIDEN
So what's this about Angel in a pink wig?

CONNOR
(sounding skeptical)
He wants me to go with him on a father-son "outing."
(then, to Faith)
What am I going to do with him
for two whole days?

Faith sets her foam finger on the kitchen counter and turns to the refrigerator.

FAITH
(opening it)
Well, first, you're gonna chill.
And second, I don't know, bond?

Connor shoves a shoe aside on the mattress and plops down.

CONNOR
But he's going there on "business,"
and so far, he hasn't suggested doing anything
together that's actually fun.

FAITH
Well, that's just Angel being Angel.

Faith turns, proffering a beer in Connor's direction. Connor shakes his head.

FAITH
Say, doesn't he like hockey?

CONNOR
I don't think they have a hockey team.

Aiden is standing on the other side of the counter from Faith.

AIDEN
Who's "they"?

Faith offers him the beer. Aiden shakes his head as well.

CONNOR
Knowing him, we'll end up killing vampires in a nightclub.

Faith twists the cap off the beer.

FAITH
Angel, clubbing?
(she takes a swig)
Now I know there's no way he's gone evil.
'Cause Angel dancing? We're talking major spaz.

AIDEN
You could challenge him to a couple rounds of handball.

Connor shakes his head dismissively. Aiden grins.

AIDEN
What, are you afraid you've found someone who can actually beat you?
(he gazes off into space)
Man, that would be bad-ass. Handball on steroids.

Connor knits his fingers together, elbows on his knees.

CONNOR
He wants me to go to San Francisco with him.

AIDEN
Really?

Faith leans against the kitchen counter.

AIDEN
(with a glance at her)
Well, that beats our weekend.
We're interviewing a "Warrior-king of the Demon Era."

Connor's eyes dip solemnly.

CONNOR
Illyria. Faith told me.

AIDEN
That's right, you met her.
(then he looks stricken)
And you knew Fred.

He gestures towards the bathroom awkwardly.

AIDEN
I'm gonna go use the....

Aiden makes a bee-line for it. After the door shuts, Connor gazes up at Faith.

CONNOR
Thanks for taking me to the game.
I've been kinda stir-crazy without a car.

Faith strolls over to the bed.

FAITH
I figured.

She eases down beside him. Connor looks uncomfortable again for a beat.

FAITH
So we haven't talked about
what happened at that club in Long Beach.
How're you doing?

CONNOR
I'm fine.
(off Faith's disbelieving stare)
I am.
(he chuckles grudgingly)
It was stupid, I know it was stupid. But....
(his face tenses)
Have you ever felt so...crazed...
that the only possible response was to do something...extreme?

His gaze is earnest. Faith chuckles with irony.

FAITH
Sure. But what's got you that nuts?

Connor hesitates. The silence is filled by the muffled sound of the toilet flushing. Finally, Connor gives Faith a pointed look.

CONNOR
I'm not the only one acting extreme.

FAITH
(defensively)
Hey, I call it "slaying without micromanagement."

Aiden exits the bathroom just as - Faith scowls petulantly.

FAITH
Besides, it's not like I'm one of the "big chosen heroes."

Aiden compresses his lips solemnly and approaches them.

CONNOR
(puzzled)
Sure you are.

AIDEN
(to Connor)
She's talking about those attacks on supernatural humans
over Thanksgiving weekend.
I think you had a front-row seat for one?

Connor scoffs.

CONNOR
You didn't want to be in on that, trust me.
Sahjhan--or whatever that was--nearly killed the Reillys!

Faith nods and stands.

FAITH
And Slayers died, I know.
But this was personal.
Someone targeted you, and Buffy, and the others
by making your personal nightmares come to life or whatever.
Why? Who did it? What are they up to?

Faith steps around Aiden and strides towards the kitchen counter. Her demeanor is tense and defensive again.

AIDEN
(to Connor)
About a minute before the first attack,
there was this huge surge of dark mystical power
right here, near L.A.
There's going to be a full-scale investigation
by the Council.

Faith takes a sip of beer.

FAITH
Let me know what's happening with that.

Aiden nods and heads over to the desk at the foot of her bed. It is piled with papers and books.

CONNOR
(to Faith)
And what are you going to do?

Aiden gathers up the books into the crook of one arm. Faith lowers her bottle with a casual shrug.

FAITH
What I've been doing.

CONNOR
Without the other Slayers for backup?
Without all those books at the office?

FAITH
What do I need all that for?
I've got you. I've got Angel.
I've got--

With a cascade of thuds, the books tumble to the floor.

FAITH
...Aiden.

Aiden glances over sheepishly, then kneels down to retrieve them.

FAITH
How is the library, anyway?
Watchers all over it?

AIDEN
"Scholars."

FAITH
Whatever.

He twists towards her.

AIDEN
Have you ever heard of a group called the "Enash Cabal"?


EXT. DYKSTRA HALL - UCLA - EVENING - ESTABLISHING

INT. CORRIDOR

IN FRAME - the ELEVATOR DOORS part. Duffle-bag slung over his shoulder, Connor enters and plants himself a few feet from a girl already inside. Her back is to him as she digs through her purse. The doors shut.

INT. ELEVATOR

Connor stares up at nothing as the elevator hums its way down. Then -

GIRL (O.S.)
So, what is it with you and vampires?

Connor's brows knit. He turns. ALIX. She is dressed in black jeans and a form-fitting LAMBDA PHI t-shirt. For a split second, Connor has the agitated look of a trapped animal. Then his expression flattens.

CONNOR
I told you not to come around here anymore.

Alix saunters towards him, undaunted. Connor doesn't budge.

ALIX
I mean, I meet vampire-obsessed humans every day.
But you....

Connor's eyes shift away.

ALIX
(voice intensifying)
You were riding my one-way ticket to oblivion,
and who plucks you out of my clutches?
(she guffaws as if stunned)
That was Angelus.

CONNOR
(annoyed)
His name's Angel.
(he throws her a glower)
What do you want?

A tentative smile.

ALIX
To see if you were okay.

With a skeptical scoff, Connor turns to face the elevator door. Thunk. The elevator comes to a halt. The doors open. Quickly, Connor strides out, hand clutching his bag strap.

INT. LOBBY

Alix scurries after him.

ALIX
Who is he to you?!

Connor crosses the lobby. Students glance up from their studying, talking, and television-viewing. Alix lowers her voice as she falls into wide, persistent step beside him.

ALIX
He called himself your "daddy."

Stony silence. She sighs with frustration.

ALIX
Okay, fine. 'Cause I have a few theories on that.

Connor reaches the front door and throws it open. He marches out into the night.

EXT. DYKSTRA HALL

Alix is at his heels.

ALIX
"A"--he actually is your father, which is impossible.
"B"--he's like a father to you, which is just...
(she scoffs)
...weird.

Still no reaction from Connor. Alix darts out in front of him, whirls, and walks backwards facing him. Connor slows abruptly.

ALIX
(grinning lasciviously)
Or "C"--You have a much more interesting relationship.

A scowl of disappointment off Connor's unamused glare.

ALIX
And I'm gonna have to go with "B."

He lurches around her and heads down the sidewalk. Alix starts to follow, then comes to a self-conscious halt. Her POV, LONG SHOT - the parking lot ahead. A CONVERTIBLE is idling there, top down. ANGEL is in the driver's seat, scrutinizing her circumspectly. Connor continues towards him. As he halts beside the car, Alix sighs wistfully.

ALIX
But wouldn't it be more fun if it was "C"?

CUT TO - Connor brings his bag around, balking.

CONNOR
We're driving to San Francisco in that?

Angel's lips part defensively. He twists in his seat, hand still on the steering wheel.

CONNOR
I can't believe you still have this fossil.

ANGEL
You were the one who didn't want to take
the Wolfram and Hart jet!

CONNOR
(gesturing)
That's before I knew you were gonna show up in this.
We've got to get over the Grapevine, Dad!
That's four thousand feet!

Angel turns back around with a scowl.

ANGEL
Get in.

With a flicker of a grin, Connor tosses his bag in the back seat.

ANGEL
(grumbling defensively)
It just so happens this is the first car you ever road in.

Then strolls around to the passenger side.

ANGEL
You weren't five minutes old.
Okay, maybe ten--

Connor opens the door.

CONNOR
(getting in)
Dad--

ANGEL
...There was this whole thing with Holtz
(Connor shuts the door)
and a crossbow and it was pouring rain--

CONNOR
Dad--

ANGEL
And Sahjhan was there--the real Sahjhan.
(he looks at Connor)
I didn't hear you complaining then.
(then a deep frown)
Or maybe that's what all the crying was about.

Connor grins.

CONNOR
Dad, I'm giving you a hard time.
(a beat; CUT TO Angel's earnest befuddlement)
The car's very cool. I've always thought so.

ANGEL
(hopefully)
You have?

Connor looks forward again.

CONNOR
Yeah. Let's go.

WIDE SHOT - Angel still looks befuddled as the Plymouth inches forward. Connor shakes his head.

CONNOR
Too easy.

EXT. SHOT - Angel's Plymouth heads out of the parking lot. REVERSE ANGLE - Alix reemerges onto the sidewalk leading from the dorm, staring after it.

FADE TO BLACK.


FADE UP TO - EXT. DAZZLING AERIAL SHOT - EARLY MORNING

Libera Me, a haunting movement from the Roman Catholic Requiem Mass, plays over a GLOWING CITYSCAPE seen across a shimmering expanse of water. A suspension bridge in two sections, each with a set of dramatically arcing, lit-up cables, stretches from our vantage point to meet it. We begin a slow DOWNWARD SWEEP towards the city, following the progress of scattered inbound traffic on the top level of the bridge.

As we reach the shoreline, our descent takes us past a ferry building with a clock tower. Block letters on the side read "WELCOME TO SAN FRANCISCO." Soon we are on ground level, gliding past deserted bus stop islands and darkened shop windows, under blinking red traffic lights and over street car tracks. It's the wee hours, and the sidewalks in the financial district are rolled up after dark. The only signs of life are an occasional whooshing car and the glowing windows of high rises.

But as we gradually move uptown block after block, scattered late-night revelers and street people appear.

And two figures standing on a corner waving down passing vehicles like maniacs.

EXT. SOMEWHERE IN THE TENDERLOIN

TIGHT TWO-SHOT - Angel looks perturbed and tired. Connor throws his father a withering glare.

CONNOR
We could have driven to the restaurant, but no,
you had to keep the bat-mobile parked at
that high-priced hotel.

Angel waves at a car, which turns out to be a worn Ford Focus.

ANGEL
(irritably)
I'm not going to drive around for an hour looking
for street parking,
then end up getting my car scratched and dented!
(Connor rolls his eyes)
Besides, you were the one who wanted to eat Indian food
at three in the morning!

CONNOR
(in protest)
I was hungry!
(then, grumbling)
I can't believe there's nothing on Interstate Five.
(another glance at his father)
Not that you stopped that often.
That car was seriously reeking of B.O.--

ANGEL
Vampires don't sweat.

Connor raises his brows skeptically.

CONNOR
Well, I know I showered.

ANGEL
You also slept through most of the trip.
Now it's my turn.
(he waves at another passing car)
Where's a damned taxi?

Connor sighs matter-of-factly.

CONNOR
You know, we are super-beings.
We could walk to the hotel.

Angel scowls. Without another word, Connor turns and starts up the sidewalk. A beat later, Angel follows. At that moment, the CAMERA ONE-EIGHTIES. Standing on the diagonal street corner is a PALE, THIN YOUNG MAN with long hair and an old-fashioned suit. He gazes solemnly at the spot Connor and Angel occupied, then turns on his toe and -

WIDE SHOT - disappears from the corner.

BLACK OUT.


END OF ACT ONE

Act Two

EXT. AERIAL SHOT - SAN FRANCISCO - LATE MORNING

A seven-mile square of green-tipped hills and concrete valleys under an overcast sky.

EXT. HALLIDIE PLAZA

Automobiles, commuter buses, and pedestrian shoppers come and go along this busy stretch of Market Street. A multi-game chess tournament is in full swing on a set of card tables. Tourists queue up to board a red-and-gold cable car, which ends its crawl down Powell Street with a ching, ching. CUT TO - Connor sits on a concrete bench, sketching. His other hand is wrapped around a sourdough sandwich, which he chomps down on heartily. After a moment, he looks up at the activity around him.

SPEEDED-UP TRANSITIONAL SHOT - The round glow of the sun moves west behind a vast dome of clouds.

EXT. THE ARGENT HOTEL - AFTERNOON - ESTABLISHING

A valet attends to an arriving Mercedes in the semi-circular driveway.


DISSOLVE TO - INSERT - A COMIC BOOK PANEL SKETCH we've seen before, sitting on a black zippered case atop a mahogany table--a weathered middle-aged man stands on a hill watching a TINY FIGURE IN TANNED ANIMAL HIDES battle a MONSTER below.

INT. DOUBLE SUITE - THE ARGENT HOTEL

A masculine hand flips the sketch over. Underneath is a well-rendered drawing of an EIGHTEENTH-CENTURY WOMAN in a fancy gown and ringlets. There is a metallic rattle OFF SCREEN. The hand quickly closes the folder.

Connor enters the darkened space and quietly shuts the door behind him. His attention is drawn to the open BATHROOM DOOR. The light is on, and the mirror steamed.

CUT TO - But Angel is at the far end of the room by the desk, hair wet, chest bared, with a towel around his waist. The curtains are drawn tight.

Connor looks away awkwardly and heads into the bathroom.

CLOSE-UP - Angel's fingers are splayed over CONNOR'S BLACK VINYL PORTFOLIO. Quickly, he zips the portfolio up, walks over to one of the two queen-sized beds, and grabs up a pair of pants.

CUT TO a moment later. The toilet flushes. Connor emerges from the bathroom to find Angel dressed in slacks and a sweater.

ANGEL
(casually)
So where'd you go?

CONNOR
Just wandered around.
Checked out a couple comic-book stores.
(a shrug)
Figured I'd let you snore in peace.

If Angel was paying more attention, he would have caught the subtle twinkle in his son's eyes. But as usual, it escapes him.

ANGEL
Vampires don't snore.
(then, continuing with the awkward)
But I'm glad you went out.
You should see some of the city while we're here.

CONNOR
Well, we've got all weekend, don't we?

ANGEL
Yeah. It might take that long to do what I've got to do.

CONNOR
(pointedly)
Which is what, anyway?


EXT. HAIGHT STREET - JUST AFTER DUSK

QUICK-CUT BETWEEN SERIES OF SHOTS - A psychedelic mural on the wall of a corner boutique; a large plaster pair of women's legs protruding over a store; scruffy-looking young people with backpacks sitting at the low-gated entrance to Golden Gate Park. TIGHT SHOT - Connor and Angel stroll along a crowded sidewalk, Connor in his tan jacket, Angel in a long leather coat.

CONNOR
(conversationally)
So, ever been here before?

ANGEL
(non-committally)
San Francisco? Yeah.

CONNOR
When was that?

ANGEL
Once or twice...with your mother.
(a chuckle)
She hated it. Said it was "filthy."

Angel hesitates. Then -

ANGEL
And after that...just once.

Connor waits expectantly. Finally -

ANGEL
It was nineteen sixty-seven.
(Angel gazes around)
"The Summer of Love"--
free food, free love, free drugs....

CONNOR
What were you doing here?

ANGEL
It was the place to be, I guess.
I only stayed for a couple days.
It was too difficult to get fresh blood
when you didn't drink people, and, well....

DISSOLVE TO - GOLDEN GATE PARK - EVENING (FLASHBACK)

SUPER LEGEND:
JUNE, 1967


The Mama's and the Papa's "San Francisco" plays as we PAN OVER a crowd of long-haired, flower-wearing HIPPIES smoking pot and huddling under blankets against the summer cold. The music FADES as we CLOSE IN on a homeless man RETCHING into a bush. He stands up and turns. It's ANGEL. He is bearded and has really bad hair. Past his shoulders and ratted bad. Worse than the alley scene in Becoming, Pt. 1 bad. Worse even than the coffee shop scene in Orpheus.

No, really.

Twangy sitar music plays as he staggers in place, eyes unfocused. His POV - A psychedelic bubble-lightshow dances superimposed over the hippies and the park.

Homeless!Angel collapses.

DISSOLVE BACK TO - EXT. HAIGHT STREET (PRESENT DAY)

ANGEL
...What was happening here was a little redundant for me.
Rejecting the Establishment--
war, materialism, organized religion, IBM....

Connor glances around the current-day neighborhood. QUICK-CUT MONTAGE - The Gap. Ben and Jerry's. Wells Fargo Bank.

ANGEL (V.O.)
"Turn on, tune in, drop out."

CONNOR
Uh-huh.

Angel comes to a halt at a store front.

ANGEL
This is the address.

REAR TWO-SHOT - They are standing before a wide glass window. Inside, we can see a vast array of SMOKING PARAPHERNALIA.

Connor eyes the establishment skeptically.

CONNOR
You're meeting your mystical contact...
in a head shop.

ANGEL
This is the address Vina gave me.

CONNOR
With bongs and pipes and roach clips and...rolling paper.

Angel throws a look at him.

ANGEL
What do you know about it?

CONNOR
(innocently)
Me? Nothing.
(quickly, he points)
Hey look--the signs in there says "for tobacco use only."

They glance at each other.

TOGETHER
Yeah, right.

They go in.

INT. HEAD SHOP

A black woman dressed in a colorful gathered skirt and blouse reminiscent of a fortune teller is behind the counter.

ANGEL
Hi, I'm looking for Juniper.

The woman gives them a distrustful once-over.

WOMAN
I'm she.

Then her eyes widen.

JUNIPER
You must be the vampire with a soul!
Vina said you would come.

She sashays around the counter and approaches Angel.

ANGEL
Vina told me you could--

JUNIPER
(hand up)
Wait! I must read your aura.

ANGEL
(warily)
You don't want me to sing, do you?

Then slows, puzzled.

JUNIPER
No.

CONNOR
(muttering)
Thank God.

Angel's sideways glare is cut off as Juniper raises an open palm to either side of his head. She closes her eyes and sways.

JUNIPER
(melodramatically)
Your aura is powerful.
I sense your strength,
your resolve to do what's right.
(her eyes slit open and slide towards Connor)
There's very little it would waver for.

She lowers her arms and gives Angel a matter-of-fact frown.

JUNIPER
You're a little neurotic at times.
(Connor chortles)
And you have really bad karma with gypsies.

ANGEL
I'm working that out.

Juniper relaxes.

JUNIPER
But I'd say you pass.

Connor is still grinning when she turns on him.

JUNIPER
And you....

He gulps. She approaches him, hands raised, but says nothing as she "reads" him. Finally, she lowers her hands and looks from Connor to Angel and back, positively nonplussed.

JUNIPER
...Are your father's son.

Connor chuckles wanly.

CONNOR
Great. You had to go and say that.
(he thumbs towards Angel)
Now he's going to be insufferable
for the rest of the weekend.

Juniper wanders around behind the counter again.

JUNIPER
(breezily)
You're looking for a priest by the name of Father Pitts.

ANGEL
Word is, he's gone into hiding.

JUNIPER
Well, there's hiding, and there's hiding.
I couldn't tell you where he lives,
but I know where he can be found sometimes.

ANGEL
Where's that?

JUNIPER
A bar on Eighteenth and Noe called "The Midnight Room."
(an apologetic shrug)
Sorry, that's the best I can do.

CUT TO - EXT. HAIGHT STREET

Connor and Angel exit the shop.

CONNOR
So now we go to this bar?

ANGEL
Yeah.

Suddenly, they FREEZE IN PLACE, bodies tensed.

CONNOR
Vampires.

Angel nods. Connor glances around. His eyes fall on - REVERSE ANGLE - A store across the street, MENDEL'S.

ANGEL
This would be the neighborhood for them.
Lots of homeless kids, tourists--

CONNOR
Art supplies.

ANGEL
(peering at him)
What?

He looks where Connor is looking.

ANGEL
Oh.

Without further comment, Angel flags down a passing taxi and steps into the street. Moony gaze still on the art supply store, Connor follows. Then keeps walking. He dodges around the taxi.

CONNOR
You go, I'll catch up!

Angel pauses, fingers on the now-idling taxi's door latch.

ANGEL
Connor!

Connor cuts across the street. Angel frowns, resigned.

ANGEL
(calling out)
If I'm not at that bar, go back to the hotel!

CONNOR
Okay!

Connor steps up on the curb.

CONNOR
(mumbling)
Mother hen.

Angel climbs into the back of the taxi.

ANGEL
I heard that.

CUT TO a WIDE SHOT - The cab pulls away.

DISSOLVE TO - EXT. MENDEL'S - A SHORT WHILE LATER

Connor exits the store with a bulging plastic bag, frowning down at the loose change in his hand. He looks up as someone passes.

CONNOR
Excuse me, do you know how I can get to
Eighteenth and Noe with....

A crazy homeless guy strides past him, screaming at the top of his lungs. No except Connor is paying him any attention.

CONNOR
...two dollars and fifty-eight cents?

With a frown, Connor pockets the change. A woman passes by. Connor does a double-take. His POV, from behind - She is petite and blond, and moves just like--

CONNOR
(murmuring)
Mom?

Connor starts to follow her. Then a SQUEAL and the HONKING of a horn draws his attention to the street. A near-collision has two drivers screaming at each other from inside their cars. Connor looks back towards the woman. She is gone.

CUT TO - EXT. HAIGHT AND ASHBURY

Connor crosses the street and comes to a halt below a bus stop sign.


INT. PERFORMANCE HALL - TURN-OF-THE-CENTURY THEATER - EARLY EVENING

LONG SHOT - Ornate dragons and Chinese characters accent the walls. Faded velvet seats descend towards a red-and-gilt curtained stage. Two men stand on it, facing each other. SIDE TWO-SHOT - Ruffles, velvet, and waistcoats. Only someone living underground for two centuries would think that was still the look. One vampire has dark hair and an intense expression. The other is the long-haired man from the street corner the night before. The dark-haired vampire's words are drawn out and melancholy.

ADRIAN
(thick Spanish accent)
Angelus?
So soon after our other visitor?
It can't be a coincidence.

LUC
What do they want?

ADRIAN
The Order of Aurelius has been stirring in Los Angeles.
They may be trying to discover what's going on up here.

LUC
Then perhaps it's time we greeted them.


EXT. HAIGHT-ASHBURY BUS STOP - EVENING

Connor continues to stand, waiting.


The rhythmic intro of Frankie Goes to Hollywood's "Relax" starts up over -

EXT. HOLLYWOOD BOULEVARD - EARLY EVENING

SIDEWALK DOLLY SHOT of the WALK OF FAME. Thick-soled black boots stride over the pink and charcoal terrazzo stars. Judy Garland...James Dean...Cecil B. De Mille....

LONG SHOT - A humorless, blue-haired ILLYRIA strolls purposefully down a sidewalk three hundred eighty miles south of San Francisco. And in this town, passersby will notice you and look at you oddly--if you're a pedestrian. Traffic crawls past on the street. The only other people on foot are a few loitering women of suspicious virtue and a lone male tourist raising his camera to take a photo of the street sign at Hollywood and Vine...the women of suspicious virtue.

CLOSE-UP on Illyria. The music FADES.

AIDEN (VOICE-OVER)
Is it smart, having her in on this?

INT. HOBO'S BAR

The only patron in the Hollywood dive is a drunk taking a nap at the bar. Gunn is slouched in one of the torn-and-patched black vinyl booths, fiddling with a coaster on the tabletop.

GUNN
If we're careful, and don't forget what she is.

His eyes rise puzzlingly to - Faith, perched on a barstool next to the drunk. She is paying no attention to him. A vexed Aiden is seated across from Gunn.

AIDEN
She's a...friggin' Old One.
Not only that, but she--it--was, like, the king!

EXT. HOLLYWOOD BOULEVARD

Illyria stops in front of a novelty shop. Her head tilts with curiosity at the Will Rogers, Bob Hope, and Lucille Ball bobbing-head dolls in the window display.

GUNN (V.O.)
With an ego to match.

CUT TO - INT. NOVELTY SHOP

Illyria enters the store, looking around. She pauses in front of a colorful box on a shelf with a H O L L Y W O O D Hills image painted on it. Her fingertips brush it.

GUNN (V.O., cont.)
Careful you don't step in a pile of that.

BOING! Illyria's head snaps back. Out pops a PLASTIC ELVIS in a Hawaiian shirt and a guitar, his mouth open in song.

INT. HOBO'S BAR

Gunn shoves the coaster away, eyes saddened by memories.

GUNN
After Illyria took over Fred's body, she tried to call forth
her demon army to take back the Earth,
but they were long dead.

Aiden does not look reassured by this.

AIDEN
If she tried that once,
who's to say she won't try again?

EXT. HOLLYWOOD BOULEVARD

Illyria continues on, passing the receded street foyer of the Hollywood Wax Museum. Tourists mill around the box office.

AIDEN (V.O.)
She just needs the means and opportunity.

She pauses there, her rigid pose mirroring the poster of the wax Arnold Schwarzenegger she is staring at.

INT. HOBO'S BAR

Gunn shakes his head.

GUNN
She doesn't have a fraction of the power
she had after she returned. Wes siphoned it off.
(he taps his temple)
Plus, she's got some kind of...empathic thing.
She can sense human emotions. She hates that.

FAITH
So where is she?

Gunn steals another glance at her.

GUNN
(nonchalantly)
On her way.

FAITH
(realizing)
You don't know where she is!

GUNN
(defensively)
Well, she was a king.
You don't just tell her what to do.

EXT. HOLLYWOOD BOULEVARD

POWER WALK - Illyria continues on her way.


EXT. HAIGHT-ASHBURY BUS STOP - EVENING

Connor continues to stand, waiting.


EXT. THE MIDNIGHT ROOM - EARLY EVENING

The sign glistens in upscale neon.

INT. NIGHTCLUB

TIGHT SHOT of the BAR. It's obvious from the sheen on the wood and the impressive collection of alcohol behind the young, good-looking bartender that this is a very different sort of establishment from Hobo's. A patron in a shirt, tie, and leather jacket stands at the end of the bar clutching a scotch, chatting with another man seated at a barstool. Angel enters the FRAME. The man in the tie gapes up, stunned.

MICHAEL
There was a rumor you were in town!
(he thrusts out a hand past his friend)
Welcome to San Francisco!

Angel gives it a shake.

ANGEL
So Adrian knows I'm here.

Michael shrugs.

MICHAEL
Wouldn't know.
But I'd suggest not staying long.

ANGEL
Wasn't planning to.
(he sets a forearm on the bar)
I'm looking for a guy named Bradley Pitts.

The bartender glances over from behind the margarita he's adding a lime to.

BARTENDER
(murmuring)
Aren't we all.

MICHAEL
(dismissively)
He means Father Brad.
(then, to Angel)
He comes in here on Saturdays. But not until later.

ANGEL
You wouldn't happen to know where he lives?

Michael shakes his head.

MICHAEL
Brad's not exactly cordial,
and not really my type. Too high strung.
(a glance at the bartender and his friend)
Father Brad I mean, not the one...married to Angelina.


EXT. HAIGHT-ASHBURY BUS STOP - EVENING

Connor continues to stand, waiting. Finally, a bus lurches around the corner and stops in front him. He gets on with a scowl.

CUT TO - EXT. BUS STOP - EIGHTEENTH STREET AND NOE - HALF AN HOUR LATER

A bus roars off. Connor tromps down the street.

INT. THE MIDNIGHT ROOM

ANGLE ON the front door. Connor enters, glancing around. Then frowns, uncertain. WIDE SHOT - We recognize the bar at the end of the dim-lit room. Between here and there is a smattering of men standing or sitting at tables. A convention of HAIR GEL AND LEATHER COATS.

CONNOR
(uncertainly)
Dad?

Connor starts forward. Patrons glance at him as he passes.

MAN IN THE CROWD
I'll be your daddy.

He continues to the bar.

BARTENDER
What'll you have?

CONNOR
Have you seen a tall guy, dark hair, leather...coat?

The bartender gives Connor a blank stare. A door off to the side beyond the bar opens. Angel leans out and beckons to him.

ANGEL
Connor, in here.

CUT TO - INT. BACKROOM

TIGHT ANGLE on the door. Connor enters warily.

Sure enough, the backroom is also filled with men. Playing poker. A haze hangs over the card table. Michael, seated, raises his eyebrows with innuendo, a cigar between two fingers.

MICHAEL
Now who's this?
(he throws Angel a knowing look)
I always wondered about you.

Angel stares at Michael in confusion for a beat, then does a double-take of Connor.

ANGEL
No, it's not like that. Connor's my--

MICHAEL
Really? 'Cause Spike said--

ANGEL
Spike?

Michael sticks his cigar between his teeth, adds a card to his hand, then throws some chips in the center stack.

MICHAEL
(mumbling around his cigar)
Okay, mayee...was dat crazy sire-mama o'his.

ANGEL
When did you meet Dru?

Connor crosses his arms, taking in Michael with skepticism.

CONNOR
I think the better question is, why are you still alive?

Michael pulls out the cigar and exhales smoke. He scrutinizes Connor.

MICHAEL
What'd you say your name was?

Then Michael's brows pinch curiously. His POV - Connor and Angel are both standing with their legs slightly apart, jaws firm, arms crossed.

CONNOR
I didn't. It's Connor.

MICHAEL
(returning to his hand)
I've met Drusilla more than once, actually.
And I wouldn't be sitting here if I didn't
(feigning a bad cockney accent)
"taste like 'a rusty door knocker.'"

A man across the table guffaws, then looks up at Angel.

MAN
Father Brad's got a studio on Valencia and Seventeenth.

The man suddenly has the astute smirks of everyone in the room.

MAN
(defensively)
What? A priest. Are you saying you're not at least curious?
(with a frown, he reaches for a cocktail napkin)
Here, I'll write down the address.

ANGEL
Thanks.

CUT TO - EXT. NIGHTCLUB

LONG SHOT - Connor and Angel head up Eighteenth Street. Ahead, we can see the busy heart of the Castro district. An occasional car or pedestrian passes father and son as they walk.

CONNOR
Friends of yours?

ANGEL
Michael is. I consulted with him a few times in L.A.
He knows a lot about the dead. And the undead.
He's a funeral home director.

Connor gives his father a glance.

CONNOR
Shopping for a new coffin?

ANGEL
(with annoyance)
Vampires don't sleep in--

Angel cuts himself off as he sees his son's smile. He sheepishly returns it. Several seconds pass. Then -

CONNOR
Guy must see a lot.

ANGEL
You could say that.
(he takes in their surroundings)
Demons stay clear of San Francisco.
It's the climate--cold, wet, foggy.
(beat)
But the dead?
Michael's seen more than his share of zombies, vampires,
ghosts, botched reanimation cases.
The dead are drawn here.

CONNOR
Why do the dead dig so much on San Francisco?

ANGEL
The key word being "dig."

Angel waves at a passing taxi, but it continues on its way.

ANGEL
Little-known fact:
there are only two graveyards inside the city limits,
and the only one accepting new internments is
the military graveyard on the Presidio.
But the city's been around for over one hundred and fifty years,
and several Indian tribes lived here for centuries before that.

CONNOR
So where'd all the dead people go?

ANGEL
Graveyards, at first, scattered all over the city.
But when the population grew and the land didn't,
the bodies were dug up and moved south of town.
(beat)
Some of them, anyway.
Story is, a lot of them were just left where they were.
Buildings and streets were constructed over them,
and their gravestones were turned into masonry.
There are places all over the city where you wouldn't know it,
but you're walking over the dead.

Connor picks his feet up one after the other with a grimace.

CONNOR
I take it they're not happy about that.

Angel pauses to let Connor catch up. They walk.

CONNOR
So what about the undead?

Angel is silent for a moment before answering.

ANGEL
There's a local vampire clan here known as "the Family."
We've had some...dealings.

CONNOR
(with a smirk)
"Bad blood"?

Angel harrumphs non-committally. He flags down another passing taxi, but someone else beats him to it.

ANGEL
(to Connor)
Let's just say that vampires are very territorial.
They like to stake their claim on a human population
and keep other vampires out.

Connor glances about with a grimace.

CONNOR
That explains the urine I keep smelling in the alleyways.

ANGEL
Needless to say, the Family and the Order of Aurelius
have been getting in each other's way for centuries.
I'd just as soon avoid them, if possible.
Get done what we need to get done, and get out of here.

They enter an intersection lively with pedestrians and automobiles, restaurants and bars.

CONNOR
So much for sight-seeing.

ANGEL
I thought you did that earlier today.
(another broad wave)
Taxi!


INT. HOBO'S BAR - HOLLYWOOD - EARLY EVENING

Illyria strolls down the aisle between the bar and the seating area, taking in the dive in her stiff, bird-like manner. Aiden tracks her with scrutiny.

AIDEN
So, you're saying we shouldn't worry about
those demons from the warehouse and the mansion?

Illyria ignores him. Her gaze settles on Faith.

ILLYRIA
You are a Slayer.

Faith is still lounging on the stool beside the sleeping drunk.

FAITH
Called and balled.

Illyria closes in on her.

ILLYRIA
I've wanted to meet one of your kind.
The human warriors who drove my own kind from this plane.

FAITH
I'll give you an autograph later.

ILLYRIA
(with a sneer)
You are nothing more than a child.

A casual shrug.

FAITH
Don't blame me.
The Watchers were the pervs who decided
knocking up teenaged girls with demon dust
was a nifty plan for fighting the underworld.

ILLYRIA
And where are your "Watchers" now?

FAITH
Daddy's been fired.
And good riddance.
You deal with me.

Gunn sighs with impatience.

GUNN
(to Aiden)
I think what Illyria's saying is,
demons have been trying to take back this dimension
for thousands of years, and humans are still here.

Illyria turns back around, still not looking at Aiden.

ILLYRIA
Wesley was a Watcher.

Aiden sinks low in the booth, scowling.

AIDEN
Yeah, but why?

GUNN
Lots of reasons.
The difficulty of cross-dimensional passage,
demon-human interbreeding,
friends in high places--

FAITH
Slayers.

GUNN
(a nod of acknowledgement)
Slayers.
Not to mention--

FAITH
Demons can't stop butting their horns against
each other long enough to ban together on anything?

Gunn stabs a finger at her.

GUNN
What she said.
(to Aiden)
They can't agree on an agenda.

Illyria stares around as they talk, absorbing everything.

AIDEN
Not even, "death to all humans"?

GUNN
Not even that.

FAITH
What about that stuff in the Nyazian-whatever
about a big final battle between humans and demons?

AIDEN
It's not just the Nyazian Scroll.
A lot of prophecies predict that.
Council scholars have been taking them
more seriously since the re-discovery of
the Scythe and the creation of a "Slayer army."

Aiden finally has Illyria's attention. Or her scoff.

ILLYRIA
The cowardly perceive an "army" where there is none,
and use it as a rallying cause.
But only one of these "cults" you fear poses any danger.

FAITH
Which one?

ILLYRIA
The Anunnaki.

The name brings a look of recognition to Aiden's face.

AIDEN
I've heard of them.

GUNN
From the Syndicate library?

AIDEN
No. Connor mentioned them.
I forgot about it when we were doing our research because...
I'd forgotten Connor.
(he snaps his fingers)
Their name was on the napkin Julia Moore gave him!

FAITH
(with puzzled interest)
That chick whose death Connor was investigating?

Aiden nods.

AIDEN
The napkin was from Sekhmet.

Illyria's expression darkens.

ILLYRIA
What is "Sekhmet"?

FAITH
A vamp club in Long Beach.

ILLYRIA
It is a haven for vampires?

FAITH
(shrugging)
And whatever else wanders in off the street.


INT. CLUB SEKHMET - LONG BEACH - EVENING

A faint heartbeat of music fills the dimness. The smattering of regulars glance up from their tables briefly as the FRONT DOOR OPENS.

CUT TO the POV of the new arrival, whom we have yet to see - After a SWEEPING PAN of the seating area, we STEADICAM FORWARD past the go-go dancer cages. Along the periphery, we see club patrons start to take notice of the newcomer--glancing over surreptitiously, trading comments, staring. Newcomer's CONTINUED POV - A lone couple is on the dance floor. They break apart as the music ends and wander off together towards the back door. We follow.

TIGHT SHOT of the BAR, bathed in its crimson glow. Alix takes a sip from her stem glass, sets it on the bar, and slides off her stool.

CUT TO - EXT. REAR PARKING LOT - A MOMENT LATER

LOW SHOT - The young woman from the dance floor slumps dead on the asphalt beside her slain beau.

The back door of the club opens. Alix slips outside. She glances down briefly, then looks directly into the camera.

ALIX
Hi. Uh...you don't know me,
but if you're going to drink at this club,
y--you really should talk to Da Silva first.

Alix looks downright intimidated at the reception this gets.

ALIX
Or...not.

BLACK OUT.


END OF ACT TWO

Part 2 (click here)



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