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Btvs Guide

Amour et Sexe dans BTVS - 1 - Evolution générale

on . Posted in Btvs Guide - L'univers de Buffy

 
http://i157.photobucket.com/albums/t46/drakestboy/Buffy%20The%20Vampire%20Slayer/Season%204/4-13.jpgIl semble être temps de parler de cela car la série a énormément évolué:
En saison un, il était question des dangers des relations amoureuses trop passionnées chez les adolescents, à travers le personnage d'Angel, vampire romantique jusqu'à ce qu'il se transforme en Angelus en saison 2. L'aspect dangereux de l'homme a toujours été évoqué dans des transformations en bêtes comme pour Oz le loup-garou, ou Pete dans Les belles et les bêtes. Si en saison 4, les personnages vivaient leur maturité (choix définitifs d'un partenaire ou d'une forme de sexualité: Alex et Anya, Willow et Tara, Buffy et Riley), leur vie semblait assez "calme", sauf affres de la jalousie ou étreintes trop "chaudes" suite aux manœuvres d'un poltergeist.

En saison 5, tout change avec le départ de Riley: il n'est plus question que de difficultés de trouver l'homme ou la femme de sa vie lorsqu'on est au lycée ou à la fac, l'amour, et le sexe prennent dans la série une tournure plus adulte et plus débridée. Tout n'est pas simple. On aborde une forme de fétichisme avec le mannequin qu'utilise Spike pour mimer Buffy, les relations sado-maso lorsqu'il enchaîne aussi bien Drusilla que Buffy (ce n'est pas la première fois dans la série, mais il était temps d'enfin le signaler dans ce site). Enfin, pour la première fois, on nous montre une sexualité débridée, simplement axée sur la recherche du plaisir, au travers des robots April et le Buffybot. Et Buffy, pour la première fois, semble n'être amoureuse de personne et se satisfaire d'être seule, toujours seule. On est bien loin de l'image de l'amour qu'a la ménagère de moins de 50 ans. Et le prochain qui me dit que BTVS est une série pour gamins!!!!! Impossible, il faudrait presque le bon vieux "rectangle blanc" parfois :))

Pourtant, Spike semble capable, enfin, d'amour vrai, lorsqu'on le voit pleurer à chaudes larmes près du corps sans vie de Buffy dans l'apocalypse: il ne s'agit plus là de désir bestial. Ce vampire est sans âme mais il est aussi ambigü que les humains.

L'amour de Spike pour Buffy ne s'est en rien éteint avec la mort de celle-ci dans L' Apocalypse. En effet, le vampire admet dans Chaos ne pouvoir soutenir la vue du Buffy-robot tant cela lui brise le cœur. Notre vampire a toujours admis être "l'esclave de l'amour" (love's bitch) , notamment dans La faille, mais si ses sentiments perdurent malgré la mort de la tueuse, c'est qu'il n'est peut-être pas si mauvais que cela...

De plus, l'expérience de la résurrection les rapproche, ils ont à présent un point commun dans le surnaturel, au point qu'il devient son seul confident. Lorsqu'ils se mettent à échanger des baisers (Que le spectacle commence!), Spike souhaite que ce soit une vraie relation, alors que Buffy la vit dans la dénégation permanente. Buffy dit à qui veut l'entendre qu'elle a besoin de faire confiance pour aimer. A cela je réponds: alors pourquoi déjà deux vampires dans sa vie?

Même une fois que les choses sont devenues, euh, sérieuses entre eux, le schéma continue, Buffy fait la dégoûtée, et Spike la suit partout en espérant qu'elle continuera à coucher avec lui. La seule différence, c'est qu'il peut à nouveau la frapper...

C'est justement ça qui va faire évoluer leur relation... jusqu'à ce qu'elle le quitte dans La roue tourne. Et là, tout va mal tourner pour le vampire. Entre ses sentiments de culpabilité pour une tentative de viol, et sa décision de voir un démon africain pour "se retrouver lui-même comme avant", Spike va récupérer son âme... Par amour ou par hasard? (Toute la peine du monde (2)).
A partir de l'épisode Que le spectacle commence!, les choses se corsent entre Spike et Buffy. On se souvient de l'amour que celui-ci avait commencé à ressentir, de manière obsessionnelle, pour la tueuse l'année précédente. Eh bien ici, du fait de leurs points communs (Tous deux sont revenus d'outre-tombe, Spike est devenu le seul vrai confident de Buffy), leur attirance provoque un premier baiser, puis un second dans Tabula rasa. Les deux fois, Spike prend ceci comme un début d'engagement amoureux et un bon signe (qu'il ait ses chances, en somme), tandis que la jeune fille, très perturbée, pratique le déni à grande échelle: il ne s'est rien passé, ça ne compte pas, c'est répugnant, tu n'es pas humain, etc, en plus de prendre la fuite régulièrement en courant... Les passions sont donc exacerbées plutôt que d'être purgées par ces deux rapprochements.

La relation est consommée, et de façon très explicite, dans Ecarts de conduite (voir photos). La métaphore se poursuit dans l'écroulement de la maison où ils se sont réfugiés, avec une immense fissure qui apparaît dans le mur. C'est La chute de la maison Usher, c'est du pur Edgar Poe, l'histoire de l'attirance folle d'un jeune homme pour une enterrée vivante qui est revenue! On n'en revient pas de la ressemblance, plutôt!

Spike vient d'accuser Buffy de n'être plus humaine puisqu'il est à nouveau capable de lui taper dessus! Bref, rien de plus malsain que cette relation sado-masochiste, à laquelle une Buffy qui "ne peut plus se regarder dans la glace" ne peut pourtant résister. On voit bien qu'elle est folle de Spike. Mais pas forcément pour les bonnes raisons... Conclusion, pour Joss Whedon, le sexe est toujours aussi malsain et tordu, même s'il est nécessaire; et, très souvent, les seules relations qui fonctionnent sexuellement sont celles qui sont interdites, c'est-à-dire entre humains et vampires ou humains et démons: pensons aussi à Alex et Anya.

Dans La femme invisible, Buffy laisse libre cours à toutes ses pulsions puisque personne ne peut la voir, ce qui fâche énormément Spike: Buffy a donc honte de lui, et pourtant elle fait toutes sortes de galipettes dans son lit... Puis dans Fast-food, elle profite de sa pause pour se laisser prendre contre un mur, son visage ne montrant aucun sentiment!

Dans Esclave des sens, un épisode qui porte bien son titre français**, Buffy se réveille chez Spike où ils ont enfin une véritable conversation d'amants, avant que la jeune femme ne se remette à résister. Le vampire est obligé de lui prouver dans la pratique qu'il est beaucoup plus agréable de se voir en cachette, et en public! C'est à dire au premier étage du Bronze, alors que ses amis dansent en dessous! Une fois de plus, le désir prend le dessus, mais Buffy commence à réagir dès la fin de cet épisode où, attirée dans le cimetière, elle ne franchit pas la porte de Spike pour la première fois, et dans l'épisode suivant, Sans issue, l'épisode de la maturité puisque Buffy a pris un an de plus, où elle le repousse à plusieurs reprises, se sentant sans doute épaulée par le fait que Tara est au courant. Elle devient plus forte, malgré son attirance, et donc beaucoup plus distante. On dirait que le feu de paille est terminé.

Mais alors pourquoi Buffy est-elle si mal à l'aise lorsqu'elle revoit le vampire? Et surtout, pourquoi est-elle blessée et jalouse lorsqu'il a une aventure avec Anya dans Entropie (Relation sans lendemain qui laisse les deux partenaires très embarrassés, rien à voir avec ce qui se passait entre Buffy et Spike justement)? C'est son visage tourmenté qui fait découvrir la vérité à ses amis justement... Le sexe serait-il de l'amour? A mon avis oui, mais Buffy, comme sa mère au sujet des vampires à Sunnydale, est la reine de la dénégation.

**En anglais, Dead things insistait surtout sur la présence de cadavres encombrants pour Buffy, et dans tous les sens du terme: elle fait l'amour sans arrêt avec un mort-vivant qu'elle méprise et cette réalisation s'ajoute à sa culpabilité de la mort de Katherina, une jeune fille normale. Au point qu'elle soit prête à aller se dénoncer au commissariat. (Ceci fait beaucoup penser au parcours de Faith , à présent en prison pour rédemption, après une vie des plus violentes et débridées). D'autre part, les questions que se pose Buffy sur sa résurrection refont surface: elle s'imagine vraiment qu'elle couche avec William parce qu'elle n'est pas revenue normale de l'au-delà! Quelle illusion...

L'amour semble le grand absent de la saison 7, sans doute à cause de l'attitude de Buffy elle-même, froide, distante et professionnelle. Mais Spike l'aime toujours, son sacrifice pour récupérer son âme le prouve, et il souffre en silence. En bref, il l'épaule, il accepte tout et ne demande plus rien, symbolisant l'abnégation même, au point de se brûler sur une croix pour elle. Quant à Buffy, elle semble soit ne rien voir, soit souhaiter ne pas y penser, bien que ses motivations soient obscures. Pourtant, elle compte sur Spike comme sur une âme-sœur, et c'est réciproque.

Lorsque Cassie déclare à Spike "elle te le dira, elle te le dira un jour", on pense immédiatement à une déclaration d'amour, mais elle semble bien improbable à présent.

Pourtant, c'est la tueuse qui refuse que le vampire quitte la ville, en lui déclarant ne pouvoir supporter son absence dans Rendez-vous dangereux, et Giles lui reproche justement de ne plus raisonner "droit" à cause de ses sentiments!
L'amour ne concerne pas que le vampire en saison six pourtant: on ne peut pas passer sous silence la relation de Willow et Tara, toute basée sur la tendresse et la réconciliation, dont la fin va, elle aussi, faire basculer Willow; et l'amour d'Anya et Alex qui est justement trop fort pour eux. Je m'explique: leur amour est trop parfait pour supporter l'angoisse du mariage, ce qui les sépare en milieu de saison, bien que les sentiments soient toujours là... C'est bien compliqué, même chez les démons!
En bref, l'amour est le catalyseur de choses très mauvaises en saison 6:

- La liaison de Buffy et de Spike, créatrice de mépris, de haine de soi, et de rapports sado-masochistes. Conclusion: Buffy est perturbée, se croit mauvaise, et le vampire a le cœur brisé, ce qui le pousse même à une tentative de viol dans Rouge passion.

- L'amour de Willow pour Tara qui déclenche tout le côté sombre de la jeune sorcière, au point qu'elle soit prête à détruire le monde pour atténuer sa souffrance lors de la mort de sa compagne.

- L'amour d'Anya et d'Alex, incapable de survivre aux conventions ordinaires et à la vie quotidienne. Anya va redevenir démone! Et Alex redeviendra tout seul...

-L'amour fraternel entre Buffy et Dawn qui, sans cesse négligée, croit qu'on ne veut pas d'elle et fait toute sorte de bêtises, de la kleptomanie ordinaire à l'invocation d'Halfreck.

-Enfin, à cause des problèmes de chacun, Buffy ne se confie plus à ses amis, et réciproquement, et tout le monde en souffre et la rancune s'installe (Voir le comportement d'Alex dans Entropie envers Buffy, et la réaction de Willow dans Rouge passion lorsqu'elle apprend la vérité au sujet de Buffy et de Spike; Voir aussi comme Buffy est interloquée de n'avoir pas su ou vu que Willow devenait dépendante à la magie en début de saison).
Mais en saison 7, lorsque Willow tombe amoureuse de Kennedy dans Duel, sa culpabilité l'assujettit à un sort très dangereux puisqu'elle se transforme en Warren et prend peu à peu ses côtés meurtriers. Mais, comme dans les contes de fées, un baiser sincère la sauve!
 
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RESSOURCES BTVS - La relation Buffy-Giles

on . Posted in Btvs Guide - L'univers de Buffy

Buffy et Giles:évolution d'une relation I

Des débuts un peu difficiles

http://i56.photobucket.com/albums/g185/torimc/guys/buffy_giles.jpgBuffy a envie d'envoyer balader Giles !

C'est du moins sa réaction dans Bienvenue à Sunnydale, dès qu'il se présente comme Observateur. Buffy croit avoir de bonnes raisons de rejeter l'autorité de Giles :

Elle veut échapper à son destin de tueuse, que Giles lui présente comme inéluctable.
Elle a continué sa mission seule durant plusieurs mois, après la mort de Merrick, son premier Observateur.

Il n'est donc guère surprenant qu'elle refuse l'obéissance que toute tueuse doit à son Observateur, au grand dam de Giles.

Toutefois, dès la fin du pilote, elle finit par s'en remettre à lui. Buffy a conscience de se trouver sur la Bouche de l'Enfer: elle choisit d'assumer son rôle de chasseuse de vampires et de démons, et elle va avoir besoin des connaissances de Giles.

En fait, elle se plie de mauvaise grâce à ses ordres, même si elle le respecte étant donnés la fonction et l'âge de Giles.

Giles a été formé pendant des années pour être Observateur, mais rien ne l'a préparé à être confronté à Buffy : sa Tueuse refuse son destin ! Il est momentanément désarçonné mais il finit par accepter de faire des concessions. Buffy (peut être consciente des doutes de Giles) arrive à obtenir un assouplissement des règles. Il lui permet d'avoir des amis au courant de son secret, qui interviennent dans ses missions. Enfin, permettre... Disons qu'il se retrouve mis devant le fait accompli et il laisse faire. On se rendra compte plus tard que ses amis rendent Buffy beaucoup plus forte et que c'était une bonne idée, finalement.

Pendant toute la S1, Giles entraîne Buffy avec rigueur, la forme à son rôle de Tueuse... et essaie de la mettre en garde contre la tentation d'avoir une vie privée, sans grand succès !

Il est réticent à l'idée qu'elle sorte avec Owen (Un Premier Rendez-Vous Manqué) ce qui pourrait mettre en danger la vie du jeune homme (bonne anticipation !). A l'inverse, il se montrera peu inquiet de la relation grandissante entre Buffy et Angel (enfin, au début). Comme Angel sait que Buffy est la Tueuse, Giles peut estimer qu'il est assez costaud pour s'en sortir seul, d'autant qu'il aide et protège Buffy... Giles s'inquiétera beaucoup trop tard de cette relation : Angel sera déjà redevenu Angélus. C'est sûrement une faute professionnelle très grave d'avoir laissé Buffy fréquenter un vampire mais Giles ne raisonnait pas en tant qu'Observateur mais en tant qu'ami de Buffy.

http://i123.photobucket.com/albums/o308/gremalien/BuffyandAngel/my/gilesandbuffy.jpg?t=1250559408

[...]J'ai échoué. Je devais te protéger. J'aurais dû être plus vigilant et prendre plus de temps pour t'entraîner. (Billy)
C'est moi qui vais affronter le Maître. C'est moi. Je me fiche de ce qui disent les textes. Je défie la Prophétie. Je me battrai et rien de ce que tu pourras dire ne m'en empêchera. (Le Manuscrit)

L'affection est déjà là

Il est évident dès la S1 que Giles est très attaché à sa Tueuse. Dans Billy, nous découvrons que son pire cauchemar est que Buffy se fasse tuer .

Il est tellement inquiet qu'il souhaite à plusieurs reprises se battre à la place de Buffy pour la sauver (ce qui n'est sûrement pas préconisé par le Conseil, qui considère les tueuses comme de la chair à canon !).

Dans Le Manuscrit, il veut affronter le Maître à sa place alors que cette réaction est suicidaire. Buffy est obligée de le mettre KO pour ne pas qu'il se fasse tuer à sa place.

Il voudra aussi l'aider dans Attaque à Sunnydale et sera d'ailleurs de plus en plus présent dans les batailles au fil des trois saisons, finissant même par sauver la vie de sa Tueuse dans Sans Défense.

S'il ne le dit pas à Buffy, Giles pense déjà qu'elle est douée ("Mais tu étais si douée", Billy) et, malgré l'attitude un peu rebelle de la jeune fille, il lui accorde sa confiance.

Petite mise au point :

Mais cette confiance a un prix ! Giles se montre très exigeant avec sa Tueuse, la poussant à se dépasser jour après jour, et l'entraînant très dur.

On l'a vu dans Billy, il a une bonne raison : la garder en vie. Mais il ne se rend pas compte de la pression qu'il met sur la jeune fille et elle finit par craquer dans Dévotion : Giles la fait s'entraîner trop durement alors que tout est calme en ville.

Buffy dérape et ment à Giles pour la première fois ! Willow doit mettre les points sur les i de Giles (on se demande s'il se serait aperçu de tout ça lui-même).

Ce moment est crucial : à la fin de l'épisode, Giles promet à Buffy qu'il ne la poussera plus autant et, dans les épisodes suivants, il tiendra sa promesse. Les rapports entre Buffy et Giles vont changer progressivement mais profondément : très professionnels, ils se teintent d'amitié.

http://i289.photobucket.com/albums/ll223/Moonmyst/BuffyGiles01s.jpg

Et vous, vous la forcez toujours à s'entraîner, à partir en patrouille. Et d'accord elle est l'Elue, elle accomplit sa mission. Mais elle a une telle pression sur le dos, ça la tue ! Elle a 16 ans, sa jeunesse lui est volée ! (Dévotion)

Apparition de la figure paternelle

Dans Mensonges, il s'inquiète de Buffy, lui conseille de se détendre, d'aller quelque part avec Angel. La fin de cet épisode, touchante, nous montre Giles montrant une attitude très paternelle avec Buffy alors qu'il lui explique les réalités et les difficultés de la vie adulte. Il dépasse ses fonctions d'Observateur et parle avec elle de choses qu'elle n'arrive pas à partager avec sa propre mère. Buffy trouve en Giles un confident, quelqu'un qui peut la comprendre et qui ne la juge pas comme un parent le ferait.

L'épisode suivant, La Face Cachée, marque un nouveau tournant dans leurs rapports. Buffy, qui jusqu'ici voyait Giles à travers le stéréotype de l'adulte raisonnable, rassurant et toujours présent pour l'aider, se rend compte que Giles n'est qu'un être humain, avec ses faiblesses, ses doutes, ses peurs et ses erreurs. Elle en est d'abord effrayée et désorientée (comme tout enfant qui découvre que ses parents sont aussi des personnes, avec leurs défauts).

Cela lui permet de s'apercevoir qu'elle peut se débrouiller seule. Mais elle découvre aussi avoir plus de points communs avec Giles qu'elle ne le croyait : il est faillible, fragile et en proie au doute. Elle perçoit une autre ressemblance : leur quasi-impossibilité d'avoir une vie privée normale. Si Giles est tombé de son piédestal, il a conservé le respect de sa Tueuse tout en gagnant son affection.

De l'utilité de l'affection :

Kendra finit par nous confirmer ce que nous soupçonnions depuis longtemps : Giles prend des libertés avec le règlement du Conseil. Il est assez gêné lorsque Kendra le remarque (notamment au sujet des amis de Buffy).

On se rend compte, en comparant Buffy et Kendra, que Giles a fait un bon choix. En lui permettant d'avoir une vie relativement normale, il l'a rendue plus forte, plus équilibrée.

Buffy développe à l'égard de Kendra une jalousie de petite fille ayant une nouvelle petite sœur : elle a peur que Giles lui préfère Kendra, si conforme à l'idéal classique de la tueuse. Elle se demande s'il est vraiment fier et content de son travail:
"Peut être qu'il aimerait que je sois un peu plus intello."

En fait, Giles préfère la vivacité, la personnalité affirmée et le sens de l'initiative de Buffy. Kendra a tout l'air d'une machine à tuer, ce qui donne une idée des normes voulues par le Conseil. Buffy l'a vraiment échappé belle grâce à la clairvoyance de Giles.

Kendra :Mais la sécurité exige que la Tueuse travaille dans l'anonymat.
Giles : Naturellement. Mais, mais euh, avec Buffy, la règle est, enfin, est plus flexible qu'avec les autres.(Kendra)
 

Buffy et Giles: évolution d'une relation II

L'union sacrée :

Nous arrivons à Innocence, l'épisode où Angel perd son âme après avoir fait l'amour avec Buffy et où elle est incapable de le tuer. Il y a bien sûr cette scène émouvante à la fin, dans la voiture de Giles, où il assure Buffy de son soutien indéfectible.

Qui n'a jamais rêvé, un jour où il avait fait une énorme bêtise, que ses parents lui parlent comme ça au lieu de lui crier dessus ?

Il faut dire que Giles sait qu'il est aussi responsable de la catastrophe, et même plus que Buffy, puisque, en tant qu'Observateur, il aurait dû empêcher Buffy de fréquenter un vampire. Mais Giles, en tant qu'ami, a voulu qu'elle ait un peu de bonheur. Il est heureusement assez intelligent pour ne pas reporter toute la faute sur Buffy. Lui dire Je te l'avais bien dit, Tout est de ta faute, aurait été si facile, mais si douloureux pour Buffy. Giles a jugé (comme dans Dévotion) qu'elle avait déjà eu son compte.

C'est ensuite au tour de Giles de subir un coup du sort lorsque Angel tue Jenny Calendar. Il perd totalement les pédales et se serait fait tuer en essayant de se venger d'Angel si Buffy n'était pas intervenue. Elle intervertit les rôles comme dans La Face Cachée en le protégeant de lui-même, sans savoir qu'elle va subir les mêmes affres en étant obligée de tuer Angel dans Acathla.

Elle souffre tellement qu'elle s'enfuit à L.A. sans un mot et sans prévenir ses amis, ce qui n'est pas très sympathique de sa part, il faut le reconnaître.

Giles la recherche activement et doit subir les réflexions de Joyce, qui lui reproche d'avoir pris sa place auprès de Buffy, de se l'être accaparée, et d'avoir outrepassé son rôle. Il est évident qu'elle se rend compte que Buffy n'a fait que se tourner vers la personne qui était la plus à même de l'écouter. La réaction de Buffy souligne son échec dans son rôle de mère et elle s'en prend à Giles.

Après cette explication orageuse et le retour de Buffy, elle essaie de s'occuper de sa fille en tandem avec Giles, ce qui fait de lui le père virtuel de Buffy. Ca n' arrange pas la Tueuse car ce qui était bien avec Giles, c'est qu'il se comportait pas en parent ! Il est drôle de se rappeler que Giles devient physiquement (et sur le capot d'une voiture de police) le père de Buffy dans L'Effet Chocolat ! Puisque Giles a fait deux fois l'amour avec Joyce, le couple parental se reforme dans la tête de Buffy, qui accepte assez bien la situation !
Pour parler du retour difficile de Buffy à Sunnydale (Le Masque de Cordolfo), Giles est le seul à ne pas lui faire de reproches. D'abord parce qu'il est trop content de la revoir et ensuite parce qu'il est le seul à même de comprendre la souffrance liée à la perte d'Angel. De plus, il serait malvenu de la critiquer puisque lui-même s'est enfui devant son destin d'Observateur lorsqu'il était jeune.

http://i27.photobucket.com/albums/c171/buffyfreak29/Welcome5.jpg

Giles : Plus un mot. Je ne te rappellerais pas que le destin du monde est souvent lié au tien. Tu connais ce chapitre. Je ne te redirais pas à quel point tu as mis en danger les vies qui te sont proches et chères en tombant amoureuse d'un monstre. Mais souviens-toi de ce qu'Angel m'a fait subir des tortures pour le plaisir. Tu devais me dire qu'il était vivant. Tu ne l'as pas fait. Tu as manqué de respect pour moi, et pour mon travail.(Révélations)

Buffy : J'ai dû beaucoup vous décevoir, je me trompe ?
Giles : Non. Non tu ne m'as pas déçu, non.
Buffy : Tout ça c'est de ma faute.
Giles : Ecoute. Je ne crois pas, non. Tu veux que je te gronde et que je dise que tu as été imprudente ? Oui, c'est vrai. Et alors ? Tu es tombée amoureuse de lui. Et lui, il a prouvé plus d'une fois qu'il était amoureux de toi. Tu ne pouvais pas savoir ce qui arriverait. Mais si tu attends que je te dise que tu es coupable, ne compte pas sur moi. Tout ce que tu auras de moi c'est, c'est mon appui. Et mon respect.(Innocence)

Trahisons mutuelles :

Révélations voit la confiance de Giles en Buffy sérieusement mise à mal lorsqu'il apprend que Buffy ne lui a pas avoué le retour d'Angel. Il a la délicatesse de ne pas la discréditer devant ses amis (c'est déjà fait, remarquez), et prend même sa défense. Mais une fois qu'ils sont seuls...

Ce discours est en totale opposition avec celui tenu dans Innocence. Il faut dire à sa décharge que Buffy a vraiment poussé le bouchon trop loin. Remarquez comme il quitte le rôle d'ami à la fin de sa phrase pour se replacer uniquement en tant qu'Observateur, ce qu'il n'a pas fait depuis longtemps. Il met une distance qui doit être difficile à accepter pour Buffy.

Dans Sans Défense, c'est au tour de Buffy d'être trahie par la personne en laquelle elle a une confiance aveugle : Giles. Celui-ci le fait par obligation envers le Conseil : il lui fait perdre ses pouvoirs pour le Cruciamentum. Mais il ne peut supporter l'idée de mettre volontairement Buffy en danger alors qu'il s'efforce de la protéger depuis si longtemps. L'ami prend le pas sur l'Observateur et il lui révèle tout, enfreignant toutes les règles du Conseil.

Buffy est complètement effondrée : tout son monde s'écroule, elle ne peut même pas avoir confiance en Giles. C'est d'autant plus insupportable pour elle qu'elle venait de substituer vraiment Giles à son père. Ce dernier refusant de lâcher son travail pour l'anniversaire de sa fille, Buffy pousse sans succès Giles à le remplacer en l'invitant à un spectacle sur glace.

Elle le rejette violemment. Giles est désespéré et ne sait pas comment se racheter. C'est la plus grosse crise qu'ils n'aient jamais traversée.

Définitivement amis et complices :

Giles va se racheter en trahissant le Conseil pour sauver la vie de Buffy : il se fait virer à cause de son affection pour elle.

Buffy prend (enfin) conscience qu'elle est devenue plus importante pour Giles que sa propre mission d'Observateur. Il s'est grillé pour elle : Giles vient de jeter 20 ans de sa vie aux orties pour la sauver. Comment ne pas lui pardonner ?

Le Conseil est tellement borné qu'il ne rend même pas compte que l'affection de Giles pour Buffy et ses entorses au règlement ont fait d'elle une Tueuse hors pair.

Dès lors, leur complicité grandit et se renforce avec l'arrivée de Wesley, le nouvel Observateur de Buffy. On n'est jamais aussi unis que devant l'adversité ! (ou : deux personnes s'entendent souvent sur le dos d'une troisième)

Dès le début, Giles prend fait et cause pour son ex-Tueuse, qui devient son amie à part entière puisqu'il n'a plus son rôle d'Observateur à jouer.

On s'aperçoit dans El Eliminati que le Conseil se fait des idées sur les relations qu'entretiennent Buffy et Giles et que Travers a peut être parlé d'affection paternelle pour rester correct.

Faith fait l'erreur de ne pas mesurer la profondeur de leur confiance mutuelle dans Au-Dessus des Lois: elle n'arrive pas à faire croire à Giles que Buffy ait tué l'adjoint du Maire.

Giles soutient Buffy à chaque fois face à Wesley, surtout quand elle laisse tomber le Conseil (La Cérémonie). Cette mutinerie change à nouveau la nature de leurs rapports. Jusqu'ici, ils avaient été plus ou moins liés par leurs destins et leurs missions réciproques. Maintenant, ils n'ont plus d'autre raison que leur amitié et leur affection. Giles, qui aurait très bien pu émettre le souhait de retourner en Angleterre, n'en parle pas un seul instant.

Cerise inattendue sur le gâteau, il voit les nombreux sacrifices de sa protégée enfin reconnus par les élèves de Sunnydale dans Les Chiens de l'Enfer. Il explose littéralement de fierté toute paternelle et d'orgueil pendant le discours de Jonathan alors que Wesley semble s'en battre l'œil !

http://i179.photobucket.com/albums/w293/emjanita/buffy/GilesandBuffy.jpg

Travers : Votre affection pour la Tueuse vous a rendu incapable d'avoir un jugement clair et impartial. Vous avez l'amour d'un père pour cette enfant et c'est inutile à notre cause. (Sans défense)

Wesley : J'ai dit que vous aviez UN problème affectif. Vous mesurez la différence?
Giles : Mon attachement à cette jeune fille n'est pas un problème. De mon point de vue, il y a longtemps.
Wesley : La manière dont vous menez votre mission est plutôt embarrassante pour le Conseil.
Giles : Si vous voulez critiquer mes méthodes, allez-y. Mais gardez vos insinuations malsaines pour vous.(El eliminati)



Buffy + Giles: juste une rumeur?

Et si tout n'était pas si simple ?

On peut aussi voir les liens entre Giles et Buffy comme très éloignés de la relation père-fille !

Certains fans, les Buffy/Giles New Relationshippers (shippers pour les intimes), ont développé, parfois depuis les tous débuts de la série, une conception très différente de cette relation.

Pour eux, Giles et Buffy sont amoureux l'un de l'autre et, accaparés par leur mission, ne s'en rendent tout simplement pas compte !
Ils attendent avec espoir le jour où cela arrivera et ils prennent leur mal en patience en écrivant des fanfics où l'Observateur et sa Tueuse ont plus une relation homme/femme que père/fille !

On trouve des centaines de ces fanfics sur le Net, dans les nombreux sites créés par les shippers. Ils imaginent des scénarios par dizaines pour réunir leur deux héros. Presque tous ces récits sont écrits par des *jeunes filles* américaines.

Ce succès du couple Buffy/Giles n'est pas un hasard. Il faut reconnaître que, théoriquement, ils ont tout pour former un couple idéal. Ils partagent déjà confiance, affection, complicité et respect et ils ont d'importants points communs. Ils sont tous les deux atypiques, un peu isolés du monde ordinaire à cause de la mission qu'ils accomplissent, leur destin (parfois difficile à assumer) les empêchant d'avoir une vie privée normale. Ajoutez à cela les innombrables épreuves qu'ils ont traversées ensembles, secouez le tout et... Bang ! Vous avez un couple parfait.

Les preuves ?

Tous ces fans sont devenus des shippers à cause de l'ambiguïté qu'ils ont parfois perçue dans certaines situations entre Buffy et son Observateur. Cela peut être une attitude, une parole ou tout simplement un regard, un geste. Les shippers épluchent chaque épisode de Btvs à la recherche du moindre signe des sentiments que partagent Buffy et Giles. Ils analysent ces épisodes minutieusement, font des captures d'écrans des scènes qu'ils jugent tendancieuses... Bref, de vrais hardcores fans !

J'ai relevé tout un florilège de ces scènes (seulement les plus significatives) et je dois reconnaître que, si je ne suis pas toujours d'accord avec les observations des shippers, il y a tout de même des choses troublantes ! Bienvenue à Sunnydale: eh oui, même dès le début. Les shippers voient une tentative de flirt dans l'attitude de Buffy la première fois qu'elle entre dans la bibliothèque et qu'elle parle à Giles ! Il est vrai que Buffy est très gentille et très souriante mais a-t-elle conscience que son attitude peut être interprétée autrement ? «Buffy est une fille mignonne et elle le sait. Elle aime se montrer séductrice et séduire (même hors contexte sexuel). Il n'y a pas de raison qu'elle change de comportement à l'égard de Giles. Cette attitude n'est pas forcément contradictoire avec une relation père/fille : les petites filles savent, en toute innocence, avoir un comportement séducteur à l'égard de leur père. Seulement, pour Buffy, le jeu de la séduction a pu aller beaucoup plus loin que prévu !», dixit Almak du ng buffy.
Une chose est sûre, son comportement change du tout au tout dès que Giles lui dit être son Observateur. D'ailleurs, beaucoup de shippers sont persuadés qu'ils seraient ensembles depuis longtemps s'ils n'avaient pas eu leur mission à accomplir.
Il y a tout de même une scène troublante : lorsque Giles aborde Buffy au Bronze et lui demande de détecter un vampire dans la foule. Vous vous souvenez ? Ils sont à l'étage, Buffy, appuyée à la rambarde, regarde en bas et Giles vient se placer juste derrière elle, très près, avec ses bras de chaque côté du corps de la jeune fille. Beaucoup ont trouvé ça très suggestif et assez érotique.

Innocence (2) : observez le visage de Giles lorsqu'il apprend que Buffy a fait l'amour avec Angel : il est complètement perdu et choqué. Il vient de découvrir que sa Tueuse n'est plus une petite fille.
J'ai déjà parlé de l'autre scène plus haut. Giles assure Buffy de son soutien indéfectible et de son respect. Avez-vous vu la façon dont il la regarde ? S'il s'était penché pour l'embrasser à ce moment, je n'en aurais pas été étonnée outre mesure ! Cela aurait été tout à fait dans le ton de la scène !

La Boule de Thésulah : les shippers ne se lassent pas de la scène où Buffy prend un Giles sanglotant dans ses bras.

Le Masque de Cordolfo : la réaction très forte de Giles au retour de Buffy. Il est tellement heureux qu'il manque de pleurer de joie, et il ne lui fait aucun reproche. Sans parler du fait qu'il l'a recherchée comme un fou pendant des semaines.

El Eliminati: observez leur complicité à l'arrivée de Wesley, tous les deux assis sur une table, les regards qu'ils échangent. Pour les shippers, cela a tout de la complicité amoureuse. Le même type d'attitude se renouvelle dans La Cérémonie (1).

Sans Défense : cet épisode est un modèle du genre.
Giles torturé à l'extrême à l'idée d'infliger le moindre mal à sa chère Tueuse. La réaction de Buffy est pathétique lorsqu'elle découvre sa trahison : ses mots font penser à une femme qui accuserait son petit ami de l'avoir trahie.
Observez l'expression de Giles lorsque Travers dit "Vous avez l'amour d'un père pour cette enfant". Il n'ose même pas regarder du côté de Buffy, on dirait qu'il a honte qu'elle découvre qu'il a des sentiments pour elle, quels qu'ils soient. A cet instant, Buffy relève brusquement la tête et regarde Giles comme si elle le voyait pour la première fois de sa vie. Sous un jour différent ? Elle semble se dire : Il m'aime donc à ce point ?
J'ai lu plusieurs fanfics qui affirment que Giles n'a pas voulu contredire Travers sur la vraie nature de ses sentiments pour Buffy pour ne pas heurter celle-ci, déjà pas mal éprouvée par sa journée.
D'ailleurs, beaucoup de fanfics fonctionnent de cette façon : Giles est le premier à se rendre compte qu'il aime Buffy (à cause de son attirance physique grandissante pour elle). Mais il n'ose pas lui avouer ses sentiments car elle lui a si souvent envoyé de vannes sur son grand âge. Il a fini par croire qu'elle pensait vraiment ce qu'elle disait et qu'elle ne le voit que comme un vieil adulte. On s'aperçoit en fait que Buffy trouve Giles très sexy et tout à fait à son goût.
Et la scène finale de l'épisode ? Giles qui essuie tendrement le visage de Buffy. Vous avez vu son regard à cet instant ?! Difficile de dire avec certitude que c'est un regard paternel ! Un shipper a écrit à ce sujet : Si mon père me regardait de cette façon, j'aurais des problèmes. Plusieurs fanfics reprennent cette scène et enchaînent avec Giles et Buffy faisant l'amour !

Les chiens de l'enfer : lorsque Buffy dit à Giles que c'est fini avec Angel et qu'il quitte la ville, beaucoup de shippers sont persuadés d'avoir vu une brève lueur de joie dans les yeux de l'ex-Observateur. Au début, je me suis dit qu'ils inventaient, mais après un ou deux visionnages, je crois qu'ils sont dans le vrai.
L'admiration réciproque qui se lit dans les yeux de nos deux amis lorsqu'ils se voient dans leurs tenues de soirée respectives.
Les shippers n'ont pas fini de maudire Angel d'être finalement venu au bal car ils sont persuadés que Giles était venu parler à Buffy pour l'inviter à danser. C'est ce que je pense aussi, ça m'aurait semblé tout naturel.

La Cérémonie(2): Buffy sort en courant de la bibliothèque où elle vient d'attirer le Maire/Démon. Elle s'accroupit près de Giles avant qu'il ne fasse tout exploser et... Bon sang, elle lui met la main sur la cuisse ! Par la suite, Giles se met en quatre pour récupérer un simple bout de papier au milieu d'une bataille. Si ce n'est pas de l'amour...

Je ne ferais pas de spoiler sur la S4, je dirais simplement que de nombreuses scènes Buffy/Giles sont déjà cultes pour les shippers US. (Note: cet article d'Aurore a été rédigé au début de la diffusion de la saison 4. Il peut donc tout-à-fait être complété aujourd'hui!)

 

Que chacun pense ce qu'il veut !

Je ne dirais pas que je suis une shipper pure et dure. Je trouve juste qu'il y a de sérieuses ambiguïtés dans la relation entre l'Observateur et sa Tueuse et que, plus le temps passe et plus ce fait devient difficile à occulter.

Je me demande parfois jusqu'à quel point Joss Whedon n'en est pas conscient et ne joue pas avec la censure américaine. Vous imaginez : un homme à qui on a fait endosser le rôle de père de substitution avoir une relation amoureuse avec une jeune fille ayant 20 ans de moins que lui ? La censure en ferait une attaque !

Tout ce que je viens d'écrire ne vous aura peut être pas fait changer d'avis sur la nature des rapports entre Buffy et Giles. Cela n'était pas mon but de toute façon.

Mais, honnêtement, seriez-vous vraiment choqués s'ils échangeaient un baiser ? Trouveriez-vous ça dégoûtant ou tout naturel ? Après tout, ces deux-là se connaissent depuis longtemps et ont traversé tellement de choses ensemble...

 

Tags:

RESSOURCES BTVS - Tueuses et Observateurs

on . Posted in Btvs Guide - L'univers de Buffy

 http://i169.photobucket.com/albums/u201/vtuggle/giles.jpgComment cela fonctionne-t'il? Voici ce que disait le site officiel de la WB au début de la diffusion de la série et c'est ce que j'ai utilisé dans l'animation de ma page d'accueil:

"In 1845, Boston shipyards were plagued by a series of grisly murders. The attacks ended when a quiet young woman arrived in town.

In 1893, in the Oklahoma Territory, a series of savage attacks claimed the lives of 17 homesteaders. The murders stopped when a young woman blacksmith passed through town.

The year is now 1997, and Sunnydale, California is on the brink of ruin. Can another girl come to the rescue? As long as there have been demons, there has been the Slayer. One girl in all the world, a Chosen one, born with the strength and skill to hunt vampires and other deadly creatures, to find them where they gather and to stop the spread of their evil and the swell of their numbers. When one Slayer dies, the next is called and trained by the Watcher. A Watcher serves by finding the next Slayer, leading her on her path. It is the destiny of the Watcher to guide the Slayer.

In the words of librarian Rupert Giles, "This world is older than any of you know, and contrary to popular mythology, it did not begin as a paradise. For untold eons, Demons walked the earth; made it their home -- their Hell. In time they (the demons) lost their purchase on this reality, and the way was made for the mortal animals. For Man. What remains of the Old Ones are vestiges: certain magicks, certain creatures.

And Vampires."

 

Traduction:

En 1845, les chantiers navals de Boston subissent le fléau d'une série de meurtres répugnants. Les attaques cessent lorsqu'une tranquille jeune femme arrive en ville.

En 1893, dans le Territoire de l'Oklahoma, une serie d'attaques sauvages fait 17 victimes parmi les colons. Les meurtres s'interrompent lors du passage en ville d'une jeune forgeronne.

L'année: 1997. La ville: Sunnydale. La Californie est au bord du gouffre. Une autre jeune fille viendra-t-elle nous secourir? Depuis que les démons existent, il y a eu la Tueuse. Une fille unique au monde, une Elue, née avec la force et l'habileté nécessaires pour tuer les vampires et autres créatures mortelles, les trouver là où ils se réunissent, arrêter l'expansion du mal et leur prolifération en nombre. Lorsqu'une Tueuse meurt, une autre est appelée et entraînée par son Observateur. L'Observateur a pour mission de découvrir la prochaine Tueuse, et de la guider sur sa voie. C'est le destin de l'Observateur de guider la Tueuse.

Comme le dit le bibliothécaire Rupert Giles, "Ce monde est plus vieux qu'aucun de vous ne l'imagine, et, contrairement à la mythologie populaire, il n'a pas commencé dans l'état paradisiaque. Pendant des temps indéfinis, les démons ont arpenté la Terre, s'y sont installés, y ont bâti leur Enfer. A un moment, ces démons ont perdu leur emprise sur cette réalité, et la brêche s'est ouverte aux animaux mortels. A l'homme. Ce qu'il reste des Anciens, ce sont des vestiges, une certaine magie, certaines créatures.

Et les vampires."

 

 

Tags:

5x02 - Just Rewards

on . Posted in Btvs Guide - Angel Script

ANGEL (V.0.)
Previously on Angel...

1 EXT. RANDOM LOS ANGELES ALLEY - NIGHT

Angel rushes to the rescue of a young blonde woman in a dark alley being attacked by a vampire. The vampire falls to the ground again. Angel pulls a stake out of his belt, twirls it like an old gunfighter might, and lunges it dramatically into the vampire's chest. The vampire disappears in a cloud of smoke.

GIRL
(to Angel)
Who are you?

Cars screech. A group of armed men dressed completely in black gather suddenly at the end of the alley, pointing guns in Angel's direction. Several cars pull up to the end of the alley, all with their headlights pointing at Angel. Several people get out and walk toward him. Angel seems confused.

NOTARY
(holding a contract, speaks to the girl)
This is to confirm that you have been rescued by Angel, C.E.O. and President of Wolfram & Hart...

GIRL
(to Angel) You run a law firm?

ANGEL
(innocently) Well, just lately.

Angel looks around at the array of dozens of people in utter disbelief.

Cut to:

2 INT. LOBBY OF WOLFRAM & HART - DAY
Wesley walks up to the elevators from the lobby, holding a coffee mug, as Fred steps off the elevator carrying a box of her belongings.

WESLEY
Why on earth are we here?

FRED
What? Because we're crusaders against evil and now the law firm that represents most of the evil in the world has given us its L.A. Branch to run however we want?

Angel starts walking across the lobby, flanked by Gunn and Wesley.

ANGEL

(buttons his jacket)
We're turning this place inside out.

The focus moves to Lorne, who's walking through the lobby, talking on a cell phone, accompanied by a man holding three binders.

LORNE
Yes, it's perfect. It's the project you've been waiting for. Yeah, it's "Joanie Loves Chachi" meets "The Sorrow and the Pity."

Cut to:

3 INT. ANGEL'S OFFICE - DAY
Angel is going through papers on his desk. Angel's secretary brings him a mug and places it on his desk in front of him.

ANGEL
(sips from his mug, then looks up at his secretary)
Harmony.

HARMONY
Hey! Boss.

ANGEL
You're my secretary?

Cut to:

4 INT. LOBBY OF WOLFRAM & HART - DAY
Fred's talking to Wesley.

FRED
Have you seen my lab? It's giganamous. And I'm in charge.

Cut to:

5 INT. GUNN'S OFFICE - NIGHT
Gunn walks back to his office to grab his jacket. Someone speaks to him from the corner.

EVE

I'm just wondering if you're ready for the next step.

GUNN

You don't know me or you wouldn't ask that question.

Eve hands Gunn a business card.

Cut to:

6 INT. DOCTOR'S OFFICE - DAY
Tubes are attached to Gunn's head via some contraption from the strange doctor's office. Gunn's grunting and gasping and breathing hard.

Cut to:

7 INT. COURTHOUSE - DAY
Someone in a fancy suit and expensive shoes walks through the lobby carrying an alligator-hide briefcase. As he enters the room, pan up to show it's Gunn in a pin-striped suit with a silk tie, all decked out.

EVE (V.O.)
Charles agreed to let us enhance his mind with a comprehensive knowledge of the law.

Cut to:

8 INT. ANGEL'S OFFICE - DAY
Angel is talking to the gang in his office.

ANGEL
(rubbing his chin)
Yes, we are. We're gonna change things. We came to Wolfram and Hart because it's a powerful weapon.
(picks up the envelope from his desk, rips open the envelope)
We'll deal...

(an amulet falls out of the envelope)

with whatever comes next.

Immediately, the amulet activates. A black whirlwind erupts from it, causing papers on Angel's desk to stir. The ashen whirlwind starts to glow with flecks of orange as something begins to materialize inside it. A man's skeletal form shows, then it gradually fills out until it's complete. The wind fades and Spike is standing there, screaming and grunting, in the middle of the office, right where the amulet fell.

SPIKE
Aah!
(doubles over in pain, panting, glaring ferociously)

WESLEY
(softly)
Spike?

ANGEL
(angrily)

Spike.

Fade to black.

START OF EPISODE

PROLOGUE:

9 INT. SUNNYDALE HELLMOUTH - DAY
TITLE:

Sunnydale, California
The Hellmouth
Nineteen Days Earlier

Buffy and Spike are the only ones left in the hellmouth. Spike is still glowing from the amulet, sending rays of light out into the hellmouth, dusting the prehistoric vampires within. Buffy stands in front of him, staring, still holding her scythe.

SPIKE
Go on, then.

BUFFY
No. No, you've done enough. You could still—

SPIKE
No, you've beat them back. It's for me to do the cleanup.

The walls are crumbling around them.

BUFFY
(worried)
Spike!

SPIKE
I mean it! I gotta do this.
(holds out his hand to stop her)

Buffy laces her fingers through Spike's.

SPIKE
(another earthquake; Buffy lets go of his hand)
Now go!

(Buffy runs up the stairs)
I wanna see how it ends.

Spike stands in the crumbling hellmouth with light shining down on him from above, grinning from ear to ear and laughing as he burns up from the sunlight. He dusts slowly—first his skin singes, then his muscles, then his bones—then he's gone. The hellmouth crumbles in around him.

Cut to:

10 INT. ANGEL'S OFFICE - DAY
Spike doubles over in pain, gasping, as he materializes in Angel's office at Wolfram & Hart. He looks around him, panic-stricken, at the unfamiliar faces. He sees Harmony, Lorne, Fred, Wesley.

SPIKE

(confused)
What...what...

HARMONY
(hands on her hips)
What the hell are you doing here, Spike?

WESLEY
Harmony, please.

GUNN
(sneering)
This is Spike? The Spike?

FRED
Wait a minute. Who's—

LORNE
(calmly, to Spike)
Easy, slim. Easy. No one's gonna hurt you.

GUNN
Speak for yourself, green jeans.

FRED
OK, would somebody please tell me who—

WESLEY
William the Bloody. He's a vampire. One of the worst recorded. Second only to—

ANGEL
Me.
(an angry Spike turns to face Angel)
But you're dead.

HARMONY
(gesturing widely, rolling her eyes knowingly)
Well, yeah. Who here isn't?
(looks around)
Besides him (to Wes) and him (to Gunn) and her (to Fred) and...

(to Lorne) What are you again?

Spike, still staring at Angel, transforms into vampire facade and lunges angrily at Angel, snarling fiercely. Angel braces for impact, but Spike goes right through him. Spike stops, turns around, looks down at his body—his legs have disappeared inside Angel's desk.

SPIKE
(looks up and frowns)
Bugger.

Fade to black.

Opening credits.

ACT I:

11 INT. ANGEL'S OFFICE - DAY
Resume. The gang has just discovered Spike's not corporeal.

SPIKE

(looks down at his body in the desk)
What? What's happened to me?

HARMONY
Well, I'm no doctor, but I think you're a ghost.

SPIKE
(points at her)
I'm no—I'm no bloody ghost.

HARMONY
Hey, you're the one sticking out of a desk, pal.
(angrily)
And you can't talk to me like that. We're not going out anymore.

GUNN
Where'd he come from?

WESLEY
(picks up the amulet from the floor)
From this.

FRED
What is it?

ANGEL
Something I gave to Buffy before—

SPIKE
Buffy! Is she—

ANGEL
She's OK.

SPIKE
Where—where is she?

ANGEL
Europe, last I heard from her.

SPIKE
Wanna see her... Wanna talk to her.

ANGEL
That's gonna be tough.

SPIKE
(scoffs)
You can't keep her from me.

ANGEL
She's not mine to keep... or yours.

SPIKE
Says you. You got no idea what we had.

ANGEL
You never had her.

SPIKE
(in Angel's face)
More than you, you poncy—

HARMONY
Oh...my...God! You and the slayer actually... I mean, I know you had that twisted obsession with her, but...yecch. That's just... yecch.
(walks away, stops)
I... yecch!
(leaves)

SPIKE
I must be in hell.

LORNE
Uh, no. L.A., but a lot of people make that mistake.

FRED
(to Wes and Gunn)
So Spike and Buffy are—

WESLEY
He was, um, an ally of hers for some time, at least that's what Angel told me. That's all Angel told me.

GUNN
So he's a good-guy vampire like Angel?

ANGEL
He's nothing like me.

SPIKE
Got that right. What have you done to me?
(looks around the office)
What is this place?!
(to Fred, Gunn and Wes) Who are you people? What the bloody hell is happening?!

Cut to:

12 INT. SCIENCE LAB - DAY
The gang has moved on to the science lab. Wesley is looking into a microscope while Fred scans Spike with a beeping instrument.

LORNE
(to Wes) Honey of a story.

WESLEY
Story?

LORNE
Yeah, the vampire slayer both men loved, both men lost. Oh, I could sell that to any studio in a heartbeat. I see Depp and Bloom. But then I see them a lot. Sorry. Hazard of running the entertainment division. Gotta get out more.

SPIKE
(to Fred) So what are you then? Scanner girl?

FRED
(scanning Spike)
I'm Fred. I head up Wolfram & Hart's Science Department.

SPIKE
Wolfram & Hart. Heard of that. Thought it was a law firm.

FRED
It is, among other things.

SPIKE
Also heard they represent the worst evil in the universe.

ANGEL
It did, among other things, but now I'm in charge.

SPIKE
Are you now?

FRED
Weird.
(picks up a folder)
I'm getting electromagnetic readings consistent with spiritual entities, but there's no ectoplasmic matrix.

GUNN
Meaning?

FRED
Ectoplasm's what makes ghosts visible to the human eye. If he's a ghost, technically we shouldn't be able to see him.
(writes in the folder)
And I'm detecting brainwave activity.

ANGEL
On Spike?
(chuckles)
That is weird.

FRED
Also, ghosts generally absorb light and heat energy making the area around them a few degrees cooler. Spike's radiating heat.

SPIKE
(smirks)
Think I'm hot, do you?

FRED
Mm...lukewarm. Just above room temperature.

SPIKE
Well, what the hell am I then?

WESLEY
Whatever he is, it's clearly tied to this amulet. Spike's essence, for lack of a better term, must have been held within it.
(to Spike) Do you have any memory of a strange sensation when it released its energy?

SPIKE
What? You mean my skin and muscle burning away from the bone? Organs exploding in my chest? Eyeballs melting in their sockets? No. No memory at all. Thanks for asking.

ANGEL
OK, he's connected to the amulet. Last I heard it was buried deep inside of the hellmouth. How did it end up here?

FRED
Maybe he's here for a reason. You know, some higher purpose or something he's destined for. Sent to us by the powers that be to help us or—

SPIKE
Who gave them the bloody right to do that?
(scoffs, paces)
Can't a man die in peace without some high almighty deciding it's not his time. Let's have a little more fun with him, eh? You think that saving the sodding world would be enough to earn me a rest. You'd think—

Spike starts to fade before their eyes.

FRED
Spike?

SPIKE
Hmm?
(looks at his body)
Oh, balls.
(disappears)

Fred goes over to scan where Spike was standing.

GUNN
Now what?

FRED
I don't know. He just...
(looks at Angel) What did he mean, "saving the world"?

ANGEL
Oh, that—well—Buffy did most of the work. Well, he helped, but—

SPIKE
(rematerializes)
Hmm? What? What?

LORNE
Took the "what's" right out of our mouths.

GUNN
Where'd you go?

FRED
Don't you know?

SPIKE
I'm—I was...
(to Angel) You! This is your fault.

ANGEL
Mine?

SPIKE
You brought that bloody amulet to Sunnydale. You would have been the one to use it, until you
chickened out.

ANGEL
What did you—

SPIKE
(incensed)
You heard me! You left town in the nick of time, didn't you, before the death and mayhem? Abandoned the woman you claimed to love.

ANGEL
She made the call. Wasn't my choice.

SPIKE
And this, bloody hell, wasn't mine. I'm not you. I don't give a piss about atonement or destiny. Just because I got me a soul doesn't mean I'm gonna let myself be led around by—

FRED
E-excuse me?

WESLEY
Did—did you just say— Spike has a soul?
(to Angel) You never said.

ANGEL
Didn't seem worth mentioning, you know.

GUNN
(frowns)
Seems to be a lot of that.

SPIKE
Or maybe Captain Forehead was feeling a little less special. Didn't like me crashing his exclusive club—another vampire with a soul in the world.

ANGEL
(in Spike's face)
You're not in the world...Casper.

(walks away)

Cut to:

13 INT. LOBBY - DAY
Angel walks down the hall toward the lobby, and Spike materializes behind him.

SPIKE
Running away again.

(Angel rolls his eyes and continues walking)
Nice new M.O. I can see why heroes like you get rewarded with the shiny new glass and chrome. Why didn't I think of that?

ANGEL
I'm not responsible for what happened to you.
(walks past Harmony's desk)

HARMONY
Angel, it's almost three o'clock. You have a meeting scheduled—

ANGEL
Not now, Harmony.

SPIKE
And here you've even managed to get my ex-tumble, the littlest vampire, fetching coffee for you. Nice perks for the sell-out.

ANGEL
Little tip, Spike: Try not to talk about things you don't understand.

SPIKE
I'm not the prat here. I know you, Angel. What do you think you're doing? Made some devil's bargain to take over this company. Thought you'd use it to fight the evil of the world from inside the belly of the beast. Trouble is you're too busy fighting to see you and yours are getting digested.

ANGEL
(stops in front of the elevators)
Not gonna happen.

SPIKE
Oh, you think you're in control here? Guess again, mate. You're no more in control than I am. Except I'm not gonna bloody stand for it, while you're just a blind...
(looks over Angel's shoulder)
Grox'lar Beast.

ANGEL
What?

Angel turns to see the Grox'lar Beast has just stepped out of the elevators behind him. Angel throws a punch at the demon, but the demon punches him back, knocking him down. Spike throws a punch at the demon's head, but his fist goes right through without making an impact.

SPIKE
Oh, brilliant.

The demon goes toward Angel, and they continue fighting hand-to-hand. Angel finally overpowers the demon, throwing him against the wall, and knocking him out.

ANGEL

Somebody want to tell me how a Grox'lar Beast got past security? I don't have time for this.

SPIKE
Of course not. Man's gotta stay focused on profit margins and power lunches.

HARMONY
Angel—

ANGEL
Yeah, Spike? I got a business to run. That means responsibilities, appointments to keep.

HARMONY
That was your three o'clock.

ANGEL
That...
(Spike laughs at him)
I'm meeting with Grox'lars?! They eat babies!

HARMONY
Just their heads. You were supposed to open negotiations with his clan.

ANGEL
Negotiations for what?

GUNN
(walks up to the scene)
Get 'em to stop eating baby heads.

ANGEL
Oh. So that's good. Oh, so this—this is bad.

GUNN
No, actually the Grox'lar clan respects someone who takes a strong opening position. Wolfram & Hart didn't just jack me up here with the human laws, also demon laws from every dimension. Probably should have been briefed you about the Grox'lar, but we got a little...
(looks at Spike)
sidetracked. Plus I've been implementing our reforms. Mostly staff overhaul. I've fired 40 employees in the past 2 days.

ANGEL
(walks away)
How's that going?

GUNN
(follows Angel)
As expected. Anger, tears, venomous death threats.

HARMONY
(to Spike) Listen, I know I was a little crabby before. I mean, hello?! A little awkward seeing you at my work. But if you want to talk or something, you know, about us or...
(Spike walks away without acknowledging her)

OK. Too soon. I understand...
(under her breath) Slayer-loving freak.

Cut to:

14 INT. GUNNS OFFICE - DAY
Angel and Gunn are talking in his office.

GUNN

Caught an associate we laid off trying to smuggle this out of the voodoo division.

Gunn holds up a voodoo doll that has black skin and is wearing a suit just like Gunn's.

ANGEL

(takes the doll)
It's a nice likeness.

SPIKE
(walks up to the door)
This place just goes on and on, doesn't it? Like a ruddy theme park attraction.

ANGEL
I'm in a meeting, Spike.

SPIKE
Oh, I'm sorry. I didn't care.

GUNN
Look, we're ruffling a lot of dangerous feathers out there. There's gonna be a backlash. Count on it.

ANGEL
Well, we'll just have to ride out the ripples for a while.

GUNN
(looks at the door)

I'm sensing a ripple on its way now.

A man wearing a loud blue dress shirt and a spotted yellow tie walks in the room.

NOVAC
Yes, uh...Novac, sir. Uh, what's this about you shutting down the Internment Acquisitions Division?

ANGEL
(to Gunn) Internment Acqui—

GUNN
Grave-robbing.

NOVAC
Listen, I know you fellas are in charge now, and you're doing a bang-up job. I'm with you 110%, but that department brings in mucho revenue to this company.

ANGEL
Well, Novac, we'll just have to tighten our belts and do without.

NOVAC
No, you're not getting it... sir. I.A.D. is under contract to provide fresh bodies to Magnus Hainsley. You know who he is, right?
(Angel looks at Gunn)
Oy. OK. He's one of our oldest clients. Big potatoes. We stop delivering, and he is not gonna be... thrilled.

ANGEL
Then he's probably not gonna like it when you advise him that he's no longer our client.

NOVAC
(worried)
Me?

ANGEL
(walks toward Novac)
You got it, counselor. You tell Mister—
(clears throat)

GUNN
Hainsley.

ANGEL
Hainsley that Wolfram & Hart is under new management and out of the grave-robbing business. Now, run along and go argue your case.

NOVAC
(unsure)
Me?

ANGEL

Go.

Novac walks toward the door, shuddering at the thought of his assignment, when Spike addresses him.

SPIKE
You don't have to take that from him, mate.

ANGEL
Stay out of this, Spike. You don't work here.

SPIKE
Damn right I don't. Look at you. This is what you do now? Delegate the dirty work to spineless, low-level flunkies.
(to Novac) No offense.
(Angel walks back toward Gunn)
The mighty hero reduced to a bloody bureaucrat. If a certain slayer could see you now—

ANGEL
Get out of here, Spike.

SPIKE
Gladly. Cruel enough punishment being stuck here as a spook while you play "Chairman of the Boring." But hell if I'm gonna spend my afterlife in your stinking city. Get stuffed.

Cut to:

15 INT. ANGEL'S OFFICE - NIGHT
Angel's sitting alone in his office staring out the window, when Wesley walks up to the door. Wes starts to walk away, when Angel speaks to him.

ANGEL
You don't think he's really gone, do you?

WESLEY
That what's on your mind?

ANGEL
(stands, walks to sit behind his desk)
Could have been me, Wes. Was supposed to be me.

WESLEY
You're not feeling guilty?

ANGEL
About Spike?
(chuckles)
He's not—that's not—that's not—
(sighs)
Wolfram & Hart gave me the amulet. They must have expected me to use it. And they had to have known it would've done to me what it did to Spike, so—

WESLEY
Why bother handing you the keys to the kingdom?
(sits)

ANGEL
Doesn't make sense. What are the senior partners playing at?

WESLEY
Maybe there's dissent in their ranks, or maybe there's another player in the game they—and we don't know anything about. Then again, maybe they got exactly what they were after.

ANGEL
Spike.

WESLEY
He may be the one they—

ANGEL
What are you doing here? I thought you left town.

SPIKE
(standing in the doorway)
Don't think I didn't bleeding try. Every time I got as far as the city limits I kept popping back here like my insides are getting yanked.

WESLEY
Hmm. I suspected as much. The amulet's Wolfram & Hart's property. It's bound to this place, and since Spike's connected to it...

SPIKE
Hey! I'm nobody's bloody property, Percy. So what? I'm just stuck here forever?
(to Angel) I bet you're loving this, aren't you?

ANGEL
Knowing you'll be haunting me till the end of time?
(smirks)
Hmm. It's a dream come true.

HARMONY
(knocks on Angel's door)
Uh, boss? That Novac lawyer you sent over to dump the client... well, he's back.

ANGEL
OK, send him in.

HARMONY
Mmm, OK.

Two men in suits walk into the room carrying three buckets full of a sloppy red liquid, one with a bright yellow spotted tie hanging over the edge, covered in blood.

ANGEL
What is...

The men place the buckets on Angel's desk.

SPIKE
(smirks)

Ol' buckets here was right. You guys are doing a bang-up job.

Fade to black.

ACT II:

16 INT. LOBBY - NIGHT
Angel walks out to Harmony's desk in the lobby.

ANGEL

Harmony, get me Novac's contact list, close relations, next of kin, and let's be discreet about this for the time being, OK?

HARMONY
Discreet? Oh, you mean like not tell anyone about bucket-o-lawyer.

ANGEL
Harmony, contact list.

GUNN
(walks off the elevator, hands a file to Angel)
Hey, got word you wanted the file on Magnus Hainsley. Dig this. He's a sorcerer, big time. Rich with old money and older mojo. Owns a respectable block of shares in Wolfram & Hart and he's connected up the wazoo. Carries influence with power players in the entertainment industry, politics—

ANGEL
(flipping through the file)
He's a necromancer.

WESLEY
Power over the dead. That explains the bodies Wolfram & Hart's been providing him.

17 INT. ANGEL'S OFFICE - NIGHT
Angel walks into his office, followed by Wesley and Gunn.

ANGEL

But not what he's been doing with them.
(to Spike) Out of my chair.

SPIKE
Make me.

GUNN
What's in the buckets?

Angel sighs.

SPIKE

Your man Novac. Guess he's been— what do you call it? Downsized.

ANGEL
It's a message from Magnus Hainsley, and I'm gonna reply to it personally.

WESLEY
You can't take Hainsley on yourself.

ANGEL
(walks toward his private elevator)
I'm not gonna risk him turning somebody else into chowder.

WESLEY
Angel, you have a multi-billion dollar company at your disposal with armed and trained personnel.

ANGEL
They cramp my style.
(walks into his elevator)

WESLEY
Your style's not gonna cut it with a necromancer. We should probably avoid an eye-for-an-eye escalation here.

ANGEL
Not going for his eyes, Wes.

GUNN
I know what you should go for.
(Angel stops the elevator doors before they close)
It'll hurt him. Bad.

Cut to:

18 INT. GARAGE - NIGHT
Angel walks out of the elevator into the garage. His cars are lined up along the wall. He walks toward a black Viper, opens the door.

SPIKE

(sitting in the passenger seat)
Knew you'd pick the Viper. So bloody predictable.

ANGEL
Spike, get out of the car.

SPIKE
No.

ANGEL
What?

SPIKE
This haunting-you-till- the-end-of-time idea of yours is starting to sound appealing. I could drive you completely starkers, right out of your gourd. Yeah, and you wouldn't be able to do a sodding thing about it.
(Angel slams the door and walks over to the next car, a silver Camaro)
(Spike is sitting inside the car in the passenger seat; Angel groans)
Fancy a road trip. This'll be fun, eh? You and me together again. So...where are we off to?

ANGEL
To see the wizard.

(starts the car and drives away)

Cut to:

19 INT. HAINSLEY'S FOYER - NIGHT
The butler lets Spike and Angel inside Hainsley's house.

BUTLER
Do you have an appointment with Mr. Hainsley?

SPIKE
Let's just say he sent us an invitation.

ANGEL
We're—I'm from Wolfram & Hart.

SPIKE
I'm his date.
(Angel rolls his eyes)

BUTLER
Mr. Hainsley is with a customer at the moment. I'm afraid he does not suffer interruption lightly.

ANGEL
Not so worried about his suffering. Go ahead and interrupt.

BUTLER
As you wish. Please wait here, gentlemen.
(exits)

SPIKE
Oh, life among the power elite. It's all so civilized. Hainsley grinds up one of your people into chum, and you drop by for tea.

ANGEL
I'm hoping to avoid a body count here.

SPIKE
(looks off into the other room) No worries. Looks like this Hainsley keeps one on hand.

Cut to:

20 INT. HAINSLEY'S LIVING ROOM - NIGHT
Spike walks into the adjacent room. Angel follows. The room is decorated like a Victorian parlor, complete with a few dozen people standing around posed, as if it were a wax museum.

SPIKE
(scoffs)
Man likes to play with dollies.

ANGEL
This isn't for him. It's a showroom.

Cut to:

21 INT. HAINSLEY'S WORKSHOP - NIGHT
A woman is lying on a table in the center of a red pentagram that's painted on the floor. A middle-aged man stand over her chanting eerily, while a demon speaks from the shadows behind them.

DEMON
(casually)
I thought about going older with it. I don't know, more distinguished, kind of a 50-something Shirley Temple Black with it. You know, that ultra-respectable ambassador to somewhere feel. But in the end I... I went with pretty. I suppose we all do, in the end, don't we? You know, in the end. Pretty people just seem to have it so much—
(the man sticks his hand in the woman's belly)
Oh. Whoa. There's something you don't see every, uh—
(the man reaches a hand back toward the demon)
Augh! Mmm!
(the man's hand glows orange as the demon's essence flows into the man's body through one hand, and out through the other, going into the woman)
OK, yeah, that's feelin' a little weird.

BUTLER
Excuse the interruption, sir. There are some more men from Wolfram & Hart asking to see you. They seem rather adamant.

HAINSLEY
Kill them.

BUTLER
Very good, sir.
(exits)

Cut to:

22 INT. HAINSLEY'S LIVING ROOM - NIGHT
Angel and Spike walk around among the posed people in the parlor.

SPIKE
I don't know. Maybe the geezer's just lonely. Throws himself a surprise party every night. Picks out one of these painted pigeons and shows her a good time, if you know what I mean. What? I'm sure they don't mind.

ANGEL
Yeah, I mind.

SPIKE
Why? They're the lucky ones, aren't they? It's over for them. They've shuffled off, cleanly, the one time. Nobody's shoving them back into the stinking world against their will.

ANGEL
(angrily)
I mind.

BUTLER
(enters the room)
Mr. Hainsley has asked that I send you back to Wolfram & Hart, gentlemen.
(reveals that he's holding butcher knives behind his back)

In a manner of speaking.

The butler plays menacingly with the knives trying to intimidate Angel and Spike.

SPIKE
Uh-oh. Looks like it's buckets for you.

Angel reaches for a tiny teaspoon being held by a posed person beside him. He throws the spoon at the butler, and it lands in his forehead. The butler screams.

SPIKE
A spoon?! That's just...
(the butler reaches up to his forehead, pulls the spoon out, and turns toward Angel angrily)
Well, OK, that's more...
(the butler collapses)
Disappointing, really.

ANGEL
I know you can't help me, but could you maybe not root for the other team?

SPIKE
Hey, I'll root for anyone with half a chance of taking you down a notch.

ANGEL
What is your problem?

SPIKE
(walks up to Angel)
You are, ya ponce! You're my problem. You got it too good.
(Angel walks away, Spike follows)
You're king of a 30-floor castle, with all the cars, comfort, power, and glory you could ever want, and here I save the world, throw myself onto the proverbial hand grenade for love, honor, and all the right reasons, and what do I get? Bloody well toasted and ghosted is what I get, isn't it? It's not fair.

ANGEL
(stops, turns to Spike angrily)
Fair?! You asked for a soul. I didn't! It almost killed me. I spent a hundred years trying to come to terms with infinite remorse. You spent 3 weeks moaning in a basement, and then you were fine! What's fair about that?!

SPIKE
(fading again)
Are you getting blurry, or is it—
(disappears)

Angel grunts from frustration, then walks away.

Cut to:

23 INT. HAINSLEY'S WORKSHOP - NIGHT
Hainsley is rinsing his hands out when Angel breaks the door down.

HAINSLEY
Come in. It's open.

ANGEL
Hainsley.

HAINSLEY
(drying his hands)
Didn't know it was the head cheese himself. I thought for sure you were another lackey. You should show more respect.

WOMAN
(lying on the table, the woman sits up)
Oh, uh, I can see you guys have a thing going on.
(walks toward the door)
Don't wanna get in your way. I'll let myself out.

Angel grabs the woman by the arm as she walks by him. Her eyes glow red and she snarls at him. Angel punches her out.

ANGEL
So how much do you charge, huh? Installing the average demon in a human body? I'm sure a lot of them would love to pass as people. You know, walk amongst the sheep.

HAINSLEY
Believe me, friend, the average demon can't afford it.
(laughs)

ANGEL
I'm cutting off your supply, Hainsley. As of now your body shop is—
(with a flick of his wrist, Hainsley takes control of Angel's body, freezing him in place)
Aah!

HAINSLEY
Who do you think you're talking to?
(turns his hand, causing Angel pain; Angel groans; Hainsley pulls Angel toward him)
I eat the dead for breakfast, son. And you're just another plate o' bacon and eggs.
(Spike shows up behind Angel)
A ghost, huh? You brought a ghost as your backup, vampire?

SPIKE
I'm not here to back him up. I just haunt the bastard.

ANGEL
Stay out of this.

SPIKE
Oh, stick it—far as it'll go. You go ahead, wiz. Do what you want.

HAINSLEY
What I want is to turn you inside out, like a shirt. I could dust you right now, boy. Wouldn't even need a stake.
(lets go of Angel, who grunts from the pain he was in)
But that would be too big an insult for the senior partners to overlook. Seems that they've got plans for you

ANGEL
(exhales sharply)
I've got plans of my own.
(dials his cell phone)
Gunn, do it.

HAINSLEY
And what was that? Just call in an air strike?

ANGEL
I just froze all your bank accounts, terminated your paper assets, and turned your books over to a very motivated contact we have at the I.R.S. 5 minutes from now, you'll have nothing but this house. 10 minutes from now, that'll go into foreclosure.

HAINSLEY
(frowns) You can't do that.

ANGEL
I'll let myself out.

HAINSLEY
It's not legal. You think you can get away with that?
(scornful chuckling)
I'll sue you to hell.

ANGEL
Good luck. We're your lawyers.
(walks out)

HAINSLEY
This isn't over, vampire.

Cut to:

24 INT. HAINSLEY'S FOYER - NIGHT
Angel is walking toward the door as Spike follows him.

SPIKE
That's how you're gonna fight the forces of evil now—call the I.R.S.?

ANGEL
Whatever it takes.

SPIKE
Hello, I.R.S.? Will you fight my battles for me? And while you're at it, will you wipe my wide, spotty...
(disappears)

ANGEL
Oh, thank God.
(walks out of the house)

SPIKE
(reappears)
Ass?
(to Hainsley) You...

HAINSLEY
Power over the dead. But enough about me. Let's talk about you. You're a ghost. Well, close enough, anyway. That's just a horrible way to be. You're not here, you're not there, just lost, somewhere in the middle. And you can't fight against it. You can't fix it. Hell, you can't even lift a finger 'cause you simply don't have any.

SPIKE
Yeah. What's it to you?

HAINSLEY
I can give you back what's been taken from you—freedom, power of choice. I can put your destiny back in your own flesh-and-bone hands. That's right. A corporeal body. I can make that happen. But to do that, I need you to do something for me. Something that might require...

SPIKE
(excited)
Hurt Angel, that it? You want me to hurt Angel?
(grins devilishly)

You've come to the right ghost.

Fade to black.

ACT III:

25 INT. ANGEL'S OFFICE - NIGHT
Gunn follows Angel into Angel's office.

GUNN
Wiped out every asset we could find on Hainsley. Wasn't easy. Man's got his fingers in a lot of dirty pies.

ANGEL
Yeah, well, I think pies are gonna be off his menu for a while.

GUNN
Yeah, well, it's gotta hurt. I mean, damn, who doesn't love pie? (sits)

Fred and Wesley walk into the room.

FRED
You're back.

WESLEY
Hainsley out of business?

ANGEL
Yeah, for the time being.

FRED
So he's not going away?

ANGEL
Well, I think that, "this isn't over yet, vampire," may be the tipoff. Look, guys, can we get back to my, uh, spiritual crisis?

WESLEY
Yes. Spike.

ANGEL
Popped out on me at Hainsley's place. But we all know that he'll be back and back and back, and I really don't want that happening again, so explain to me how we're gonna get him out of here.

FRED
He can't get out of here.

ANGEL
Please don't tell me that.

FRED
OK. Wesley...you tell him.

WESLEY
I've had my entire department doing thorough research on the amulet. There's not much. Not in the way of releasing Spike from it, anyway. At least not in the conventional sense.

ANGEL
And what's the unconventional sense?

WESLEY
Something he asked for. Eternal rest.

Cut to:

26 INT. LOBBY - NIGHT
Spike appears in the lobby, and walks by Harmony's desk on his way to Angel's office.

HARMONY
(straightening her desk)
Fine. Don't talk to me.

SPIKE
What?

HARMONY
Whole time we were a thing, you treated me like day-old rat blood. Why should now be any diff, just 'cause you've gone all Patrick Swayze?

SPIKE
What are you on about?

HARMONY
Well, gee, nothing much. Just since you're all soulful now, I thought maybe, just maybe, you might've learned to open up a little. You know, talk? But I guess the leopard can't change his stripes.

SPIKE
Spots, you dink. Leopards have spots.

HARMONY
Oh! Excuse me, Mr. Brainy. Thank you so much for sharing. Wow. What a breakthrough.

Spike walks toward Angel's office and overhears them talking about him.

ANGEL (O.S.)
This is an unusual situation, but I think it's our only choice.

WESLEY (O.S.)
It's what we'd do in any case of a haunting, isn't it? An exorcism of sorts.

FRED (O.S.)
We're talking about killing him.

Cut to:

27 INT. ANGEL'S OFFICE - NIGHT
Resume. Angel, Wes, Fred, and Gunn are discussing options for dealing with Spike.

FRED
I mean, I know he's already dead, but... he'd be gone-dead. Forever. It just doesn't seem right.

WESLEY
I agree, but neither is leaving him here, trapped between realms, with no control over his fate, not able to touch anything, affect anything. Unable to fight. Letting him cross over seems the most merciful thing—

ANGEL
Yeah, yeah, mercy. I'm all for it. Just, hey, tell me how we do it.

WESLEY
The amulet's protected, invulnerable to anything, but... the magic that's protecting it doesn't work on hallowed ground.

GUNN
Hallowed. Like a church?

WESLEY
Or cemetery, yes. It has to be taken there and destroyed.

FRED
Destroyed how?

WESLEY
I think a sharp blow would probably do the trick.

GUNN
Angel, what do you think?

ANGEL
(sits back in his chair)
I think I want to sleep on it.

Fred places the amulet on Angel's desk. Wes, Gunn, and Fred leave.

Cut to:

28 INT. ANGEL'S BEDROOM - NIGHT
Angel walks into his apartment and gets ready for bed, climbing under the blankets with a big sigh.

SPIKE
(from the shadows near Angel's windows)
Well, look at you.

ANGEL
Aw, no. No. No, no!

SPIKE
Sitting in luxury's ample lap. Top of the world. Looking down on... well, everyone. It's good to be king, isn't it?

ANGEL
Ground rules. Haunt me all you want during business hours, but this space—off limits.

SPIKE
Relax, beefcake. I didn't come for a fight.

ANGEL
Really?

SPIKE
Not that I could, right? Can't touch, can't affect anything... Yeah, I overheard your little group powwow about me.

ANGEL
How much?

SPIKE
Enough of enough.

ANGEL
Look, Spike—

SPIKE
Necromancer tried to make a deal with me.

ANGEL
What?

SPIKE
Said he could bring me back—body and soul—if I used our close personal relationship to double-cross you.

ANGEL
Tempting. So what'd you say?

SPIKE
You see, right there, that's the problem. You having to ask me that. I don't play for that side anymore, or haven't you heard? Besides... even if mr. Death could do what he promised, I trust him about as much as you trust me.

ANGEL
What do you want from me?

SPIKE
I can't live like this, Angel. Being useless.
(sighs)
Being nothing. I want it to end.

Cut to:

29 EXT. CEMETERY - NIGHT
Angel and Spike are walking through a cemetery together.

SPIKE
Suppose this'll do. Feels hallowed enough.

ANGEL
(looks at the amulet he's holding)
Sure you want to do this, Spike?

SPIKE
(scoffs)
What, think I could really stand hanging out with you and your lot, now and forever? Wisecracking ghost sidekick. No bloody thanks. Come on. You know as well as I do, it's for the best.
(Angel picks up an urn from a nearby grave)
I'm glad it's you, though. Finally doin' me in. Feels right. You being my grandsire and all. Circle of death, eh?

ANGEL
Good-bye, Spike.

SPIKE
See you around, Angel.

Angel picks up the urn and aims for crushing the amulet, but hits himself in the head instead.

SPIKE
Uh, I think you missed.

Angel hits himself in the face again, and then is picked up off the ground unable to move. Hainsley steps out of the shadows.

HAINSLEY
And the dead shall rise! Just 'cause I say so.

ANGEL
Hainsley—

HAINSLEY
Vampire should think twice before messing with a man who wields power over all things lifeless.
(drops Angel to the ground, knocking him out)
If you ask my advice.

SPIKE
Took your sweet time stepping in, Hainsley. I came this close to getting a one-way to the great beyond.

HAINSLEY
Relax, son. I wasn't going to let anything happen to you. You're the linchpin of my plan.

SPIKE
Our plan. And you bloody better hold up your end of it. I'm not gonna be used by you.

HAINSLEY
Yes, you are. But afterwards, I'll give you your reward, just as you asked. I'll put you back in the driver's seat of your afterlife. Control. That's all anyone really wants, isn't it?

Fade to black.

ACT IV:

30 INT. HAINSLEY'S WORKSHOP - NIGHT
Angel's lying on the same table that the girl was on before Hainsley put the demon inside her.

HAINSLEY
Hello, vampire. Have a nice nap?
(Angel tries to sit up, but Hainsley uses his power to push him back down)
Naw, don't get up. You've had a rough day. You know, so have I, thanks to you.

ANGEL
Yours is about to get a hell of a lot worse.

HAINSLEY
I don't think so. Me necromancer. You...dead. You can't lay a finger on me.

ANGEL
Maybe not. But what do you think the senior partners are gonna do to you when I turn up missing?

HAINSLEY
Oh, you're not going to be missing. You're going to show up to work bright-eyed and bushy-tailed tomorrow morning, when you'll reverse the seizure of my personal assets and reinstate the Internment Acquisitions Department.

ANGEL
And why would I do that?

SPIKE
(steps out from the shadows)
Not you. Me. Wearing your body.

ANGEL
And to think I didn't trust you.

SPIKE
Come on, Angel. What choice did I have? Bloody exorcism? Letting you and yours banish me to oblivion? No, thanks. Necro here's gonna give me my body back... after I take yours for a test drive, fix his little problems. And here's the kicker: I go in, and you go... pfft! Off to never-never-come-back land. And then... yours very truly will be running the show. Your cars, your fancy digs, everything—everyone—I deserve...will be mine.
(wistfully)
And maybe I'll have a go with that Fred. She looks like a goer, and she seems to really look up to you.

ANGEL
Shut up.

SPIKE
You know what? You're right. Enough talk. Let's do this, already. I'm itchin' to get physical.

HAINSLEY
I've never installed anyone in a conscious dead body before. I imagine this is going to be extremely painful.
(chuckles)

Hainsley starts his eerie chanting again, then plunges his hand inside Angel's belly. Hainsley reaches back toward Spike, and absorbs Spike's energy into his own body. Spike disappears, and Hainsley's hand glows orange. The orange glow flows through Hainsley's body toward Angel's belly, but stops short.

HAINSLEY
(to the orange glow in his arm)
Unh! What? What...are you doing?

The orange glow goes back up Hainsley's arm and disappears into his chest.

 

ANGEL
Spike...would you mind?

HAINSLEY
(pulls his hand out of Angel's body)
No! Noooo!

ANGEL
(stands up and faces off with Hainsley, kicking him across the room)
Can touch you now, Hainsley.

HAINSLEY
(controls Angel's body again, throwing him across the room)
Think you're clever, eh? But—unnnnh!— Your ghost can't control me for long. I hold the power. I rule the dead.
(reaches toward Angel, but can't control him anymore)

ANGEL
Not today.

Angel fights with Hainsley and ultimately pushes him into a nearby table, knocking him down to the ground. Hainsley gets up again and engages Angel in hand-to-hand combat again. Angel throws a blade at Hainsley, cutting his head off. Hainsley's head falls to the ground, and Spike's head floats above Hainsley's neck.

SPIKE
Oh, bollocks.
(Hainsley's body falls to the ground)
I was just getting warmed up.

ANGEL
That was you hitting me?

SPIKE
The last bit, yeah. Hainsley's been dead since he hit the table.
(Angel frowns)
Oh, come on. Had to get a few licks in, didn't I?

Cut to:

31 INT. LOBBY - DAY
Wesley and Angel are walking together through the lobby.

WESLEY
I see. So Spike came to you with this plan.

ANGEL
More or less. Once he learned Hainsley used himself as a conduit for body transfers, our trap fell into place.

Harmony hands a file to Angel.

WESLEY
A bit reckless. Well, if Spike's going to be sticking around, it'd be prudent of him to share his plans with the rest of us in future.

ANGEL
Yeah, well, sharing's not something Spike does very well.

HARMONY
Preaching to the horse's mouth.

Cut to:

32 INT. FRED'S OFFICE - DAY
Fred walks into her office in the Science Department. Spike is standing in the doorway.

FRED
Spike. What are you...can I help you?

SPIKE
Well, that's the heart of it, isn't it? The crux. The nub.

FRED
I'm sorry?

SPIKE
You're the smart one, aren't you? The go-to girl who knows all about this ghost mumbo-jumbo.

FRED
Um...
(laughs nervously)
Well, actually, Wesley's the occult expert. He—he was trained as a Watcher. He knows about the supernatur—

SPIKE
Yeah, but you're the science queen. The hows, the what-ifs—that's your cup of tea. You figure things out in that cute little noggin of yours.

FRED
(nervously)
I guess. What... I-is there something...

SPIKE
I'm slippin'.

FRED
What?

SPIKE
Don't wanna go, but it's like... It's like the ground underneath me is... splitting open and my legs are... straddling both sides of this bloody big chasm. It's getting wider, pulling me in.

FRED
Is that... is that what's happening when you keep vanishing?

SPIKE
(faces away from Fred)
I know what's down there—where it's trying to take me—and it's not the place heroes go. Not by a bloody long shot. It's the other one. Full of fire and torment. And it's happening. And I'm terrified.
(faces Fred)
Help me?

Fade to black.
EPISODE INFORMATION:
Creator: Joss Whedon
David Greenwalt
Producer: Stephen S. DeKnight
Co-Producer: Skip Schoolnik
James A. Contner
Consulting Producer: David Greenwalt
Supervising Producer: Ben Edlund
Co-Executive Producer: David Fury
Jeffrey Bell
Executive Producers:

Joss Whedon

Sandy Gallin
Gail Berman
Fran Rubel Kuzui
Kaz Kuzui
Produced By: Kelly A. Manners
Teleplay By: David Fury
Ben Edlund
Story By: David Fury
Directed By:

James A. Contner
 
Starring:

David Boreanaz as Angel
James Marsters as Spike
J. August Richards as Charles Gunn
Amy Acker as Winifred "Fred" Burkle
Andy Hallett as Lorne
and Alexis Denisof as Wesley Wyndham-Pryce
Guest Starring:

Mercedes McNab as Harmony
Victor Raider Wexler as Magnus Hainsley

Co

Originally transcribed for: http://www.buffyworld.com/.

Tags:

5x01 - Conviction

on . Posted in Btvs Guide - Angel Script

PROLOGUE:

1 EXT. RANDOM LOS ANGELES ALLEY - NIGHT
A young woman is walking through an empty alley in the dark when a vampire jumps out at her. She screams, and Angel hears her scream from his vantage point atop a high-rise building.

GIRL
(backing away from the vampire slowly)
Please, you don't have to do this. I can get you money. You don't have—
(the vampire grabs her; she screams)
Somebody help! Aah! Aah!

Angel runs across the high-rise's rooftop, grabs hold of a rope, and jumps off. He swings to the alley between the buildings ala Spider-Man. As he nears the ground, Angel kicks the vampire in the face, knocking him down. Angel does a back flip in the air as he touches down, his black leather coat billowing around him like Batman's cape. He turns around and saunters toward the vampire.

ANGEL
Doesn't sound like the lady's interested. Maybe you're coming off as too needy.

The vampire does a fancy karate move to get himself up off the ground as he launches into a side kick into Angel's ribs. They fistfight as the girl looks on. Angel finally kicks the vampire in the chest, knocking him down flat on his back in the alley. In another impressive karate move, the vampire arches his back and leaps to his feet to engage Angel again. Angel grabs the vampire's foot and spins him around in the air as he hurtles the vampire into the wall. The vampire falls to the ground again. Angel pulls a stake out of his belt, twirls it like an old gunfighter might, and lunges it dramatically into the vampire's chest. The vampire disappears in a cloud of smoke.

GIRL
(in awe)
What ju—I don't understand.

ANGEL
Look, don't try. Just get yourself home and stay out of dark alleys. You'll be all right.
(smiles, walks away)

GIRL
(asking after him)
But...who are you?

ANGEL
(without turning around)
It doesn't matter.

Cars screech. A group of armed men dressed completely in black gather suddenly at the end of the alley, pointing guns in Angel's direction.

MAN IN BLACK
Angel!
(into his CB)
Area's secure. Angel is unharmed. Hostiles contained. Sweep area and confirm.
(pulls off his ski mask, to Angel)
Angel, sir.

Several cars pull up to the end of the alley, all with their headlights pointing at Angel. Several people get out and walk toward him.

LAWYER
Angel!

MAN IN BLACK
We got report of your movement and came for backup.

ANGEL
But—

MAN IN BLACK / HAUSER
I'm Agent Hauser. I run your operations team.

LAWYER
Angel!
(out of breath) Hi. Glad we caught you. Really would—
(to another lawyer, a notary) Get the forms from her.
(to Angel) Really would prefer it if you didn't leave a rescue scenario until we had a chance to control the scene. Of course, that is your decision, sir, but—

ANGEL
(confused)
How did you guys—

LAWYER
(points to Angel's collar)
Tracking monitor in your lapel. And what a time-saver, too, huh?
(looks at his watch)

NOTARY
(holding a contract, speaks to the girl)
This is to confirm that you have been rescued by Angel, C.E.O. and President of Wolfram and Hart,
(flips page)
and this is to indemnify Wolfram and Hart—

LAWYER
(pushing Angel in the direction of the girl)
If we can just get a couple pictures of you two, that would be great.
(whispers) Now, uh, the vampire that you terminated, he actually did work for one of your clients.
(smiles) So, but, hey! First week, no one will squawk, ok?
(pats Angel on the shoulder)

GIRL
(to Angel) You run a law firm?

ANGEL
(innocently) No. I mean... well, sort of.
(camera flashes)
Well, just lately.

NOTARY
(to the girl, who's busy staring at Angel) I need you to initial here concerning your immortal soul.

GIRL
(signs the document while questioning Angel with disgust)
You did this for publicity?

ANGEL
No! I help...(realizing it sounds silly) the helpless.

LAWYER
(to Angel) Would you like me to bring your car around, sir? Or anything at all? Mocha? Latte? Decaf?

Angel looks around at the array of dozens of people in utter disbelief.

Fade to black.

Opening credits.

ACT I:

2 INT. HALLYWAY AT ELEMENTARY SCHOOL - DAY
Children are walking through the halls between classes.

BOY
Hey, Matt! Wait up!

MATT
Did you get to the store?

BOY
They didn't have a lot. I got Punisher.

MATT
My dad won't let me read that.

BOY
Oh, man! It's so good. He kills everyone. You can borrow mine.

MATT
OK. Do you have X-Men?

BOY
Which one?

TEACHER
(as the boys walk into the classroom, the teacher hands Matt a paper)
Matthew. It's pretty good. We can talk about it after class. OK, let's settle down, everyone.

Cut to:

3 INT. LOBBY OF WOLFRAM & HART - DAY
The mail clerk pushes a basket full of office mail down the hallway. The top package is an envelope addressed to Angel. As the clerk passes the elevator, the elevator bell pings, and the focus turns toward it. Inside, front and back sets of doors open, and Fred stands there confused, holding a box of papers and personal belongings, looking out the wrong side. Wesley walks up to the elevators from the lobby, holding a coffee mug.

WESLEY
Fred?

FRED
(as the elevator doors begin to shut)
Wesley!
(Wesley holds the doors open as Fred walks out toward him)
Oh! I'm always getting turned around.
(looks around the lobby in awe)

WESLEY
Can I help you with any of that?

FRED
It's so big.

WESLEY
It does take some getting used to.

FRED
Have you seen my lab? It's giganamous. And I'm in charge.

WESLEY
I'm sure you'll have no trouble—

FRED
I don't even understand half of what they're doing. There's this machine, 6 feet tall, it makes this noise— whoompa! Whoompa! Phht! Not a clue.

WESLEY
Well, I'm still stuck back at, "Why on earth are we here?"

FRED
What, because we're crusaders against evil and now the law firm that represents most of the evil in the world has given us its L.A. branch to run however we want, probably in an attempt to corrupt, divide, or destroy us, and we all said yes in, like, 3 minutes?

WESLEY
(breathes deeply, then nods)
Your run-on sentences have got a lot less pointless.

FRED
Oh, that's so sweet. And a tad condescending.

WESLEY
Uh, you sure I can't help you—

KNOX
(from the lobby stairs)
Ms. Burkle!
(runs toward Fred)

FRED
Hi! Oh, um, Wesley, this is Knox. And I told you to call me Fred.

KNOX
A-any minute now, I'm gonna start. Ha! That's a promise from me to you.
(points to the box)
Can I help you with that?

FRED
(smiles)
Oh, thank you.

WESLEY
So, Knox, how long have you been, uh, evil?

KNOX
Oh! Heh! I just mix the potions, you know? And now that I'm taking orders from "el jefe" here, I'll probably be saving the world on a weekly basis.
(Fred giggles)

WESLEY
Good for you.

KNOX
Do you know how to get to your office from here?

FRED
Why, did somebody eat my breadcrumbs?

KNOX
Heh! It's not that hard. I'll show you.

FRED
Thanks, Knoxy.
(they start up the stairs, Fred turns around to Wes)
Oh! See ya!

KNOX
(to Wes)
Oh, it was nice to meet you.

Wesley watches Fred leave.

GUNN
Think fast!
(throws a basketball toward Wesley, who catches it in his belly with one hand because the other still has the coffee mug)
Heh! Gotta be faster than that in this place.

WESLEY
Cricket's more my game.

GUNN
I've made up my mind. How's Fred doing?

WESLEY
I'm sure Knoxy will take wonderful care of her. Don't you think it's a bit unseemly adding y's to the ends of people's names?

GUNN
Does that mean I have to call you "Westle"?

WESLEY
(frowns)
Made up your mind about what?

GUNN
(pulls Wesley toward the offices)
Oh! I want the one on the left. This one makes me feel a little bit less completely out of place. I'd say 17% less. Plus...
(gestures toward the windows)
a little bit of a view of the mountains. Lived my whole life in L.A., now I find out there are mountains. A brother should be told.

WESLEY
It's very nice.

GUNN
So's yours. I mean, if it works for you.
(walk to the adjoining office)
We can switch if you don't like the—you know, the kung pao or whatever.

WESLEY
Feng shui.

GUNN
Right. What's that mean again?

WESLEY
That people will believe anything. Actually, in this place, feng shui will probably have enormous significance. I'll align my furniture the wrong way and suddenly catch fire or turn into a pudding.

GUNN
You having second thoughts?

WESLEY
You're not?

GUNN
Man, do I look like I belong here? You got the mystical creds at least. I just hit stuff. I mean, even if this works, and we can turn this place around, use it to do some good, it's gonna be a long, long while before any of us gets anywhere near comfortable here.

The focus moves to Lorne, who's walking through the lobby, talking on a cell phone, accompanied by a man holding three binders.

LORNE
Oh, sweetie, it's perfect! Yes, it's perfect. It's the project you've been waiting for. Yeah, it's "Joanie Loves Chachi" meets "The Sorrow and the Pity." It's "Joanie Loves Pity." And you're—
(puts the phone to his shoulder and nods at one of the binders the man beside him is holding out)
yeah, that carpet's great because I want our clients to become dizzy and vomit. Keep flipping, huh?
(to the phone) Yeah, you're a shoo-in. The part's yours. Yeah, I've got a whole freezer full of horses' heads downstairs. No, I'm just kidding. But listen, the producer's a client, so read it and we'll talk.
(to the man with the binders) OK. Better. Horrible and pathetic, but better.

As Lorne walks by, the elevator doors open to reveal Angel standing inside. Gunn calls to him from the lobby.

GUNN
You lost, boss?

ANGEL
(walks out of the elevator toward them)
On a lot of levels.
(gestures widely with his hands)
Did you hear what happened to me last night?
(starts walking across the lobby, flanked by Gunn and Wesley)

GUNN
You got lucky?

ANGEL
They put a tracer on me. I was working the town, helping the helpless, which is a thing I like to do. All of a sudden, the entire firm shows up in the alley.

WESLEY
We'll make sure it doesn't happen again.

ANGEL
(buttons his jacket)
We're turning this place inside out. If they wanna see how I handle running Wolfram & Hart, they're gonna find out. Everything must go...

4 INT. ANGEL'S OFFICE - DAY
Angel opens both doors to walk into his office. He stops his sentence abruptly and stares at his desk.

ANGEL
Starting with that.

Pan over to reveal a young woman wearing a red suit sitting on the edge of Angel's desk with her long legs crossed and accentuated as she sits under the accent light.

YOUNG WOMAN
Hi. It's really neat to see you guys.
(smiles)

ANGEL
(walks up to her, unbuttons his jacket)
I'm pretty sure this is supposed to be my office.

YOUNG WOMAN
Never happen again. Just wanted to, you know, see your face.

ANGEL
You like to make an entrance.

YOUNG WOMAN
You always open both doors when you enter a room?
(Angel looks down)
I don't need to make an entrance. I need to make an impression. I'm gonna be your liaison to the firm. I'll help you find your way. My name is Eve. And just so we get the whole irony thing of the way...
(picks up a shiny red apple from the desk and throws it to Angel)

ANGEL
(catches the apple)
Who do you answer to?

EVE / YOUNG WOMAN
The senior partners, and if you're thinking, which, by the way, you are, that you can use me to get to them, let go of the dream. I answer to them. I don't lunch with them.

WESLEY
Still... a pretty powerful position for a young woman.

EVE
How exactly can you be sure I'm either of those things?
(smiles, stands)
OK, let me tell you how this works.

ANGEL
I thought I was in charge.

EVE
(pacing)
Of the Los Angeles offices of a multi-dimensional corporation. Now, I'm stressing that last word because that's what we are. We're a business, and we have a bottom line. Now, you could take your new client list and start hacking away from the top down. A lot of our clients are demons, and... almost all of them are evil.

ANGEL
Almost?

EVE
Things are always more complicated than they seem, champ.
(shaking her head)
You can shut this place down, but... then...well, then you wouldn't have it anymore. If the place closes down, the connections dry up. Evil goes next door. (beat) This is the catch—I'm explaining the catch so you don't have to stand around wondering what it is. See, in order to keep this business running, you have to keep this business running. And that means keeping your clients—most of them, anyway—happy.

GUNN
(frowns)
Means letting them get away with stuff.

EVE
(chuckles)
Sweetie, they were getting away with it while you were all sitting around your hotel waiting for the phone to jangle. Well, you're on the ins now, and you can stop the worst of it. Maybe find some new solutions to some old problems.
(smiles, chipper)
Come on! Isn't anybody excited? This is a crazy time of fun. The most powerful evil around has given a pivotal position over to its sworn enemies. You're not scared, are you?

Angel stares at Eve as he takes a bite of the apple with a crisp crunch.

EVE
The client files are all in there. You might want to start going through 'em.

Cut to:

5 INT. CONFERENCE ROOM - NIGHT
Angel, Lorne, Fred, Wesley, and Gunn are sitting around the conference table going through files. The table is full of papers and file folders, and the gang seems exhausted.

ANGEL
This is unbelievable.

FRED
I think I've lost my appetite, which is kind of a first.

LORNE
(reading a file)
Hmm, well, this is interesting. Apparently old Joe Kennedy tried to get out of his deal with the firm.

ANGEL
That explains a lot.

LORNE
Yeah, but George, Senior—he read the fine print. There's no one these guys don't have a piece of.

ANGEL
(stands)
How are we even supposed to start making things right?
(tosses a file on the table)

GUNN
(reading a file)
Here's a winner—Corbin Fries. On trial for smuggling Asian girls in for cheap labor and prostitution. Been charged with drugs, gun running, nothing stuck.

WESLEY
And that's one of our human clients.

GUNN
Looks like the trial's not going too well this time.

ANGEL
Hmm, first good news all day.

GUNN
(closes the file, looks at the table)
I can't even remember which pile is which.

ANGEL
I'll get my secretary to go through it in the morning. Do I have a secretary?

WESLEY
I imagine they'll find you someone who can stomach the idea of working for the side of the righteous.

GUNN
My impression is a lot of these guys are just opportunistic. They'll go with the flow.

FRED
You know we're gonna have to check the whole staff, make sure we don't have any die-hard evildoers plotting against us.

WESLEY
(sits back)
And here I was, worrying about the clients.

ANGEL
We're doing the right thing...right?

LORNE
Well, uh...
(sits forward)
We're doing it tomorrow, exalted one. My horns are falling asleep.

ANGEL
Yeah. You guys go get some rest.

FRED
What about you?

ANGEL
I'll work a while yet. Go on.

Cut to:

6 INT. GUNN'S OFFICE - NIGHT
Gunn walks back to his office to grab his jacket. Someone speaks to him from the corner.

EVE
Lot simpler fighting vamps on the street, wasn't it? Tricked-out pickup, loyal gang, just you and the pointy wood against the living dead.

GUNN
This gonna be a thing with you, jumping out at people, or do you just not have an office of your own?

EVE
I'm just wondering if you're ready for the next step.

GUNN
Or if maybe I'd like to go back to living on the street, eating garbage and watching my buddies get picked off one by one?
(nods sarcastically)
Yeah, that was the life.

EVE
(stands)
So you're not backing out?

GUNN
You don't know me or you wouldn't ask that question.

EVE
I can see why the senior partners chose you.
(hands Gunn a business card)
Have fun.
(walks out, the says over her shoulder)
You'll feel like a new man.

WESLEY
(watching from his office next door)
What did she mean?

GUNN
(looks at the card she gave him)
Tailor. Guess I'm not dressed for success.
(shrugs)

A flash of a black panther in a white room plays on the screen.

Cut to:

7 INT. ANGEL'S OFFICE - DAY
Angel is going through papers on his desk. He picks up the envelope that was mailed to him, but puts it aside without opening it. He presses a button on his phone.

ANGEL
(to phone)
Um...can I get a cup of coffee or something?

PHONE MENU VOICE
You have reached ritual sacrifice. For goats, press one, or say "goats."

ANGEL
(hastily presses the button, pauses, tries again by pressing a different button)
Hello?

WOMAN'S VOICE
This is Angel's office. How can I help you?

ANGEL
This is Angel.

WOMAN'S VOICE
No, this is his new assistant.

ANGEL
No, this is Angel.

WOMAN'S VOICE
Are you sure?

ANGEL
(scoffs)
Less and less. Can I get a cup of coffee? Or if there's blood—

WOMAN'S VOICE
Oh! Right away.

Angel presses the button to hang up, but he's switched to the previous line.

PHONE MENU VOICE
To sacrifice a loved one or pet, press the pound—

Angel hastily presses the button to hang up, holding it down longer this time. He stares at the phone, disgusted, for a moment, then goes back to his papers. The phone rings, and Angel answers it on the speakerphone.

ANGEL
(to phone)
Hello?

WESLEY (O.S.)
It's Wesley. Can I stop in? We might be into a situation.

Angel's secretary brings him a mug and places it on his desk in front of him.

ANGEL
Uh, sure. Come on by.
(sips from his mug, then looks up at his secretary)
Harmony.

HARMONY
Hey! Boss.

ANGEL
You're my secretary?

HARMONY
(sighs indignantly)
Hello! Assistant.

ANGEL
Explain why I shouldn't kill you.

HARMONY
Secretary's fine.

ANGEL
(stands)
No, it's not fine. Where is it fine? You've been working here?

HARMONY
Yeah-huh.

ANGEL
Why?

HARMONY
(scoffs)
Well, duh! I'm a single undead gal trying to make it in the big city—I have to start somewhere. And they're evil here, they don't judge. They've got the necrotempered glass—
(dances in front of the window) no burning up—a great medical plan, and who needs dental more than us?

ANGEL
This is surreal.

HARMONY
Now, before you go threatening to fire me—

ANGEL
I threatened to kill you.

HARMONY
(backs up slowly)
Don't let's quibble. Before anything, just think—I'm strong, I'm quick, I'm incredibly sycophantic—if that means what that guy said—and I type like a superhero...if there was a superhero whose power was typing. And, hey, we keep the same hours. Creatures of the night...(holds her fist up) unite.
(hands him his mug again)
How do you like your blood?

ANGEL
Tell me that's not—

HARMONY
It's pig's blood. I'm totally off the human blood. That's not even a thing.

ANGEL
(smells it)
It tastes—

HARMONY
Pretty good, right?
(leans in)
The extra ingredient is otter.

WESLEY
(knocks, opens the door, and walks in)
Angel, it's one of our cases. It's becoming problematic.
(nods to Harmony)
Harmony.

HARMONY
Hey, Wes.

ANGEL
(to Wesley) You knew that she was—

HARMONY
Wes is the one that picked me out of the steno pool.

ANGEL
But why... You, uh...
(sighs)

WESLEY
Well, I thought a familiar face would be just the thing in a place like this.

ANGEL
(shakes his head)
You turned evil a lot faster than I thought you would.

WESLEY
Nonsense.

HARMONY
We're gonna get along great, boss. The whole gang. I mean, Cordy is gonna lose it when she finds out—
(notices that Angel and Wesley are frowning)
I mean...you are gonna tell her you're OK with this, right? I mean, I know she was mad at me for trying to kill you all, but she wouldn't—I mean...

WESLEY
I thought she knew.

ANGEL
Cordy's sick. She's in a coma.

HARMONY
(shocked)
Oh. God, I—I didn't... What happened? Is she gonna be OK?

ANGEL
We don't know.

HARMONY
(nearly in tears)
Cordy was my best friend, like... my whole life. She's my role model. How can she...
(breathes deeply, then is chipper again)
So, anyway, I really think you should not fire me, and Wes does, too.

WESLEY
Harmony, would you ask the men in my office to join us, please?

HARMONY
Righty-ho.
(nods, exits)

WESLEY
If there's a way to help Cordelia, we will find it.

ANGEL
What's the case?

WESLEY
(hands folder to Angel)
Corbin Fries. The lowest piece of pond scum I've met in, oh, hours. He's about to get 20 years for kidnapping, pimping—

ANGEL
I saw the file.
(hands it back to Wesley)

WESLEY
Yeah, well, personally, I think he deserves to be eaten by weasels, but he's hinting we'd best help him. Threatening, actually.

ANGEL
(the door opens)
Mr. Fries.

HARMONY
Mr. Fries, this is Angel.

WESLEY
I've been bringing him up to speed on your case.
(gestures toward the couches in the corner of Angel's office)

FRIES
(flatly)
Terrific.

KEEL
(to Angel) Desmond Keel.

WESLEY
One of ours.

ANGEL
Nice to meet you.

KEEL
I've heard, uh, things.

HARMONY
Would anybody like coffee?

FRIES
Oh, yeah, let's all chit-chat and have tea and crumpets 'cause I got so much time. Here's the skinny: Tomorrow the D.A. Puts my tit in a wringer for good and all, and that... does not stand with me. Butt-munch here, he got his law degree at dog training school,
(Harmony giggles)
and the prosecution has everything they've ever dreamed of.

ANGEL
Because you're guilty.

FRIES
Of course I'm guilty. What the hell are you changin' the subject for? The point is, when Holland Manners was running things, this would've never got to trial. Now, I bring a lot of money into this firm, more than most, and I don't do that so I can be handed over to the frickin' law.
(points at Angel)
You... gotta get me off.

ANGEL
It's strange, my lack of incentive.

FRIES
You think I give a ferret's anus about your new regime here? Yeah, I know who you are, and I care to the sum of zero. You're my lawyers. And if you don't do every last thing to keep me out of jail, you will regret it.

KEEL
Well, we can't dance around this one. We're not in a position to have anyone killed.
(Angel and Wesley glance at him)
Not that we would. And the jury's, uh, tamper-proof. Literally. I think one of the D.A.'s shamans has conjured a mystical shield around them.

WESLEY
So this one has to be won on the merits of the case.

KEEL
Now, we have top men on this—

FRIES
Who are doing jack! I am not gonna be made an example of. Either you get me off tomorrow—

ANGEL
I think you should calm down.

FRIES
(walks up to Angel, in his face)
To hell with calm down. Either you get me off, or I drop the bomb.

WESLEY
Bomb?

FRIES
Let me put it this way: If they bring in a conviction, bye-bye, California. I say the magic word, the only people left standing are gonna be the ones that are already dead.

HARMONY
(sighs)
Oh, well, that's a relief.
(stutters) I mean—
(points angrily) Hey!

Fade to black.

ACT II:

8 INT. CONFERENCE ROOM - DAY
Lorne opens a notebook and addresses a room full of people.

LORNE
OK, well, we all know why we're here. So why don't we get started.

WOLFRAM & HART
EMPLOYEE EVALUATION SESSION 2D

EMPLOYEE OKAY ON THE BUBBLE EVIL TO BE FIRED YIKES!
Rabinowitz, Cindy          
Rabinnovich, Brad          
Radion, Erica          
...          

LORNE
Uh... Cindy...Rabinowitz?

CINDY
(singing off key)
There once was a woman who loved a man
He was the one that she took poison for
They say that nobody ever loved as much as she
But me, I love you more

Cut to:

9 INT. FRED'S OFFICE - DAY
Knox is in Fred's office helping her move in. Fred's busily hanging a poster. Knox plays with her toy duck.

KNOX
So...he can read your mind?

FRED
Oh, while you're singing, he can sort of feel out your aura, your future. It should help us weed out the, you know, most evilest, which I'm sure you're not.

KNOX
Hey, I'll go up there right now, warble away. I want you feeling 100% secure running this lab.

FRED
Yeah, that'll never happen in this lifetime.
(tacks one corner of the poster to the wall)
Uh, evil aside, I'm not sure that I'm much of the running-things type. I'm more the running-away-from-things type.
(tacks the other corner of the poster to the wall)

The telephone rings, and Fred goes to answer it, letting the poster unroll to reveal it's a Dixie Chicks poster.

KNOX
Why do I have trouble believing that?

FRED
Maybe you're not very bright.
(to phone) Hi, this is Fred. I mean, Practical Science Department, this is the head...Fred. How may I help you?

Cut to:

10 INT. ANGEL'S OFFICE - DAY
Fred and Lorne have joined Wesley and Angel in Angel's office.

FRED
Blow everybody up?

ANGEL
Well, he said "drop the bomb." We don't know what that means.

WESLEY
We very nearly found out.

ANGEL
What? I'm not allowed to hit people?

WESLEY
Not people capable of genocide.

ANGEL
Those are exactly the types of people I should be allowed to hit!

LORNE
Hey, back to the here and now, chickadees. Where do we stand?

WESLEY
We need to find out about this bomb and somehow disable it in case that jury comes in with a conviction.
(Angel nods)
We think it may have some mystical element.

ANGEL
Fries said, "I say the magic word." He could mean exactly that.

WESLEY
Which is my department. We also think it probably isn't an explosive. This isn't the sort of man to risk his own life. So that could mean more magic—

FRED
Or it could be a virus, ebola kind of thing.

ANGEL
Right. The main thing is, any of this stuff could've come from right here.
Keel, the lawyer, says he doesn't know anything, and I believe him.

FRED
Why?

ANGEL
He's terrified.

LORNE
(nods)
It's going around.

WESLEY
Fred, go through the lab records. See if Wolfram & Hart deals in viruses.
Lorne, you're in the courtroom. Monitor the case. Let us know how it's going.

LORNE
But lunch with Mary-Kate... She was gonna tell me about Ashley's new piercing.

HARMONY
I paged Gunn 3 times. Still nothing.

FRED
Why isn't he here?

LORNE
Why is she?

HARMONY
Long story.

ANGEL
Maybe not.

HARMONY
Oh, and I got Spanky's address.
(hands a note to Angel)

LORNE
Spanky?

ANGEL
Freelance mystic. He's showed up in Fries' files a few times. I'm gonna do some legwork.

FRED
Can you get there by sewer?

ANGEL
Not this time.

Cut to:

11 INT. GARAGE - DAY
The elevator bell rings, the doors open, and Angel walks out into the dark basement garage. It's full of classic sports cars from every decade.

ANGEL
(looks at them, unable to decide)
Oh, God, they're so beautiful!
(chooses a yellow 1970's era car, opens the door)

HAUSER
(walks out from the shadows to speak with Angel)
Sir?

ANGEL
Hauser, right?

HAUSER
We got word there's a floater you wanted brought in.

ANGEL
(walks up to Hauser)
How exactly did you get that word?

HAUSER
That's my job, sir. You want us to bring him in?

ANGEL
I'll take care of it.

HAUSER
Traditionally, my unit handles all the wet work.

ANGEL
I know you meant field work.

HAUSER
(smirks)
Of course.

ANGEL
Mm-hmm. I'll take care of it.
(walks back to the car)
Later on, you can tell me all about tradition.

Cut to:

12 INT. SPANKY'S APARTMENT - DAY
Angel knocks on the door, and a 50-something man walks to the door in a sweaty tank top.

SPANKY
So what do you want?

ANGEL
I'm here from Wolfram & Hart. Here about a job.

SPANKY
Well, then....get your butt in here. Pardon the sweaty. I was working out. Uh, you want a drink? I got a pitcher of daiquiris.

ANGEL
I'm good, thanks.

SPANKY
So am I. And I'm about to be better.

ANGEL
(walks around the apartment, stops, stares at something on the wall in front of him)
Hmm. So tell me...
(reveal that Angel's staring at a wall full of paddles and whips)
why do they call you "Spanky"?

SPANKY
I'm a big "Our Gang" fan.

ANGEL
That's what I figured.

SPANKY
(sips his daiquiri)
Look, buddy, I'm gonna be up-front with you. I got nothing against people doing their thing. It's a wide and wonderful world, but...I don't spank men. It's not a judgment. Men have fine, firm asses. You've been to the web site, you know how much I work on mine. But when you said Wolfram & Hart, I assumed you were here about a mystical job.
(sips his daiquiri)

ANGEL
I am. The one you did for Corbin Fries.

SPANKY
Yeah? OK, I don't discuss my old jobs. Mystic-client privilege.

ANGEL
You're gonna tell me what you did for Mr. Fries. Now... or very soon from now.

SPANKY
I built him a container, a mystical vessel. You can put anything you want in it.

ANGEL
Like a bomb.

SPANKY
A bomb, a curse, a golden retriever. Anything. I don't know what he wanted it for. The vessel just holds it until the magic word dissolves the vessel.
(sets down his daiquiri)

ANGEL
OK, then, where'd you place the vessel?

Spanky lunges around behind Angel, puts his forearm in front of Angel's neck, and squeezes.

SPANKY
You know what I'm doing now? I'm applying pressure to your windpipe. You'll pass out, and then I'll let Mr. Fries decide if he wants you to wake up again.

ANGEL
Do you know what I'm doing now? Not using my windpipe.

Angel grabs Spanky's forearm, and twists it around until Angel is behind him, still twisting his arm.

SPANKY
Vampire.

ANGEL
Capital "V." And there's something else you should know about me.
(pushes Spanky forward a bit, still holding his arm, grabs a cricket paddle from the wall, and swings it at Spanky, sending him across the room)
I have no problem spanking men.

Cut to:

13 INT. MEDICAL OFFICE - DAY
Gunn sits patiently in the world's worst-decorated doctor's office waiting room. Finally, a man in a high-necked white dentist's shirt walks out holding a file.

DOCTOR
(reading from the file)
Charles...Gunn?

GUNN
(reading a magazine)
Hold on a sec. This is deep stuff. Looks like Demi might be breaking up with Emilio.

DOCTOR
I'm afraid the magazines are a little out of date.

GUNN
Then you shouldn't keep people waiting for 5 hours.
(puts down the magazine and stands)

DOCTOR
(leads Gunn into the next room)
Not nervous, are we?

Gunn looks around at the weird office full of electronic and mechanical gadgets.

GUNN
No. Definitely past nervous here.

DOCTOR
So...I understand you were in the white room. Spoke with the conduit himself.

GUNN
That's between me and the big cat. We gonna do this thing?

DOCTOR
By all means. Please... remove your shirt.

Cut to:

14 INT. FRED'S OFFICE - DAY
Fred and Knox are sitting on the floor going through papers that are strewn all over.

KNOX
(reading)
Oh, OK, this could be bad.

FRED
Bad what? How? Where?

KNOX
We did do some work with Fries on illegal pesticides, rodent killers, but this guy Lopez...
(walks up to Fred's computer)

FRED
The lab technician?

KNOX
Yeah. I don't know him.
(types, reads)
Oh, OK. He was fired. Oh, no, I'm sorry. He was set on fire.

FRED
That's interesting. For working with Fries?

KNOX
Maybe under the table.
(types)
There's a link to his name. A cult.

FRED
"The Black Tomorrow." Oh, thrills.

KNOX
I think you were right, boss. These guys specialize in quick-fire disease scenarios: Sarin gases and viruses.

FRED
(stands, backs away)
Which you all built.

KNOX
Hey, no. We've contained more plagues than we've ever designed.
(shrugs)
I'm not all about destruction here.

FRED
We have to find out what he had access—
(telephone rings, Fred rushes for it)
Department of—Fred—Angel, yeah. It looks like our client might be playing with a virus. Spread by touch or maybe even airborne.

Pan out to show Angel's still in Spanky's apartment, and Spanky's lying unconscious on the floor.

ANGEL
That's the bomb.

FRED
Safe guess. So did you find out where he put it? (beat) Angel?

ANGEL
Yeah. I found out where he put it.

Cut to:

15 INT. CLASSROOM AT ELEMENTARY SCHOOL - DAY
Matt is talking to a girl in the desk behind him, when the teacher catches him.

TEACHER
Matthew Fries! Do you want to spend the rest of this class in the corner?

Zoom in on Matt's chest while a heartbeat-like thumping sounds plays.

Fade to black.

ACT III:

16 INT. DOCTOR'S OFFICE - DAY
Zoom through tubes rapidly, then zoom out to show the tubes are attached to Gunn's head via some contraption from the strange doctor's office. Gunn's grunting and gasping. The doctor hands him a cup with a straw, and Gunn drinks from it too fast.

DOCTOR
Uh-uh-uh! Slowly, slowly.
(Gunn is still breathing hard)
Do you want to stop?

GUNN
Are we finished?

DOCTOR
Not quite yet.

GUNN
Then shut up and do it.

The doctor continues with Gunn's treatment.

Cut to:

17 INT. LOBBY - NIGHT
Fred and Wesley are walking through the lobby talking.

WESLEY
You got anything, Fred?

FRED
I'm not sure. We've isolated a few strains which fries may have had access to.

WESLEY
Any antidote?

FRED
Nothing. The antidote probably died with the tech guy that made the virus.

WESLEY
Fries must be immune. There has to be—

FRED
And we're not even sure which strain it is. I'm trying, Wesley.

WESLEY
I'm not doing much better. I can't disable the trigger if I don't know the magic word.
Short of killing Fries, I—

FRED
That could trigger it, too.

WESLEY
I know.
(sighs)
Back to our respective grindstones, I guess.

FRED
(looks into Angel's office)
He gonna be all right?

WESLEY
He does seem to be taking it very personally.

FRED
Probably this place.
(looks around)
It gets to you.
(walks away)

Cut to:

18 INT. ANGEL'S OFFICE - NIGHT
Eve walks up to Angel, who's standing over his desk.

EVE
Rough day at work?

ANGEL
His son. He took a lethal virus, and he stuck it inside his son.

EVE
Hits you where you live, doesn't it?
(Angel stands, glares at Eve)
Of course I know. You lost your son. Well, gave him up.

ANGEL
To save him.

EVE
Which you did. He's happy and well-adjusted now that he has no memory of you, and the rest of the world, including your best friends, (whispers) never even heard of Connor.

ANGEL
That's not a name I want passing through your lips.

EVE
(grins, coyly)
And what would you like passing through my lips?

ANGEL
News flash: You're not cute when I'm angry!

EVE
I'm just curious how you're gonna play it.

ANGEL
Well, I'll isolate the boy if it comes to that. Stop it...from spreading.

EVE
Here's the news from this sector: If every case hits you this hard, you're not gonna last a week.

ANGEL
Now, I don't want you coming into my office again unless I ask for you. I don't want to hear another word right now unless you decide to start helping out.

EVE
How do you know I'm not?

Cut to:

19 INT. SCIENCE DEPARTMENT - NIGHT
The table is full of 8"x10" glossy photos of victims of deadly ebola-like germs and diseases. Interspersed among the photos are Chinese food boxes, sauces, and chopsticks, as if whoever was looking at the photos was eating while doing so. A very tired Knox is looking through a microscope when Fred walks up to him.

KNOX
Yeah, I'd say we're looking at a retrovirus. Spread by touch. Some derivation of the phonaya strain.

FRED
Are you sure?

KNOX
Couple more tests.

FRED
Are you running them?

KNOX
I'll get someone on it.

FRED
Don't get someone on it, have someone on it. Did we build this thing? Do we have an antidote? Do—do we have an Antidote Department? Do you do anything besides pretending you're running an evil Radio Shack?
(to the whole department) Y'all are tired, I know. I just want you to understand that in a few hours a virus is gonna start spreading in this city that'll kill every person in it, and when blood starts streaming out of our noses, eye sockets, and fingernails, I'll have the intense satisfaction of knowing that I'm dying with the only people in the world that actually deserve it! Now, focus, people!
(walks upstairs to her office)
Work the damn problem!
(slams door)

KNOX
You're the boss.

Cut to:

20 INT. COURTROOM - DAY
The courtroom is full of onlookers as Fries's trial comes to a close. Lorne is incognito in the audience, wearing gloves, a hat and sunglasses.

KEEL
Your honor, the defense objects to this entire line of questioning.

JUDGE
Yes, of course the defense objects. The defense always objects. I'm curious, Mr. Keel, is it just the sound of people talking that offends you?
(the courtroom fills with laughter)

KEEL
We still feel that this line of...

LORNE
(walks out of the courtroom to talk on his mobile phone in the lobby)
Angel toes, Lorne. Hey, listen, I'm gonna go ahead and recommend we get that boy into isolation pronto.

ANGEL
How long do we have?

LORNE
The defense is drawing it out, but the judge is making merry sport of them, and, well, now the jury's looking at Fries like he's O.J... without the commanding performance in "Towering Inferno."

ANGEL
Do you think he's gonna say the word?

Cut to:

21 INT. BLACK VAN - DAY
Hauser and his team of agents is gathered in a surveillance van listening to Angel and Lorne's phone conversation.

LORNE (O.S.)
Before they even deliver the verdict. He's dead meat, and he knows it. I think Fries, Junior, is about to become Patient Zero.

ANGEL (O.S.)
All right. Thanks. Uh, I'll get to the school. Stay in there.

HAUSER
OK. Let's show the new boss how a threat is contained.

AGENT
Terminate the kid?

HAUSER
This is a level one, possible contagion. We take out the kid, the class, anyone within 50 yards. A clean sweep, people. No survivors, no witnesses.

The black van speeds off as the agents inside cock their guns and prepare for the task ahead of them.

Fade to black.

ACT IV:

22 INT. ANGEL'S OFFICE - DAY
Angel rifles through papers on his desk hurriedly.

WESLEY
Fred's got the lab techs on track for an antidote, but it could be days.
Same with removing the mystical container, I'm afraid. If we could get them to suspend the trial—

ANGEL
Not gonna happen.
(grabs his coat)
I gotta get to the school.

HARMONY
Uh, boss?

ANGEL
(dismissively)
It can wait.

HARMONY
Maybe not.

ANGEL
(to Wesley) Go to the courthouse. Plan C. I'll let you know when I've isolated the boy.

HARMONY
The special ops team already left for the school.

ANGEL
(stops, turns to her)
What?

HARMONY
They left, and they called for the cleaners to meet there. I have it from some of the girls "cleaners" means a big job. Lots of bodies.

ANGEL
How long ago?

HARMONY
10 minutes.

WESLEY
You'll never beat them on the street.

ANGEL
Well, I gotta try.

HARMONY
Um, boss?

ANGEL & WESLEY
(simultaneously) What?!

Cut to:

23 INT. CLASSROOM - DAY
As the black van speeds toward the school, show that the class is still in session. About 30 children, including Matt Fries, are watching attentively as the teacher lectures.

Cut to:

24 INT. COURTHOUSE - DAY
Wesley walks into the courtroom and sits beside Lorne in the very back row.

WESLEY
How's it going?
(Fries turns around and stares at them)
Never mind.

D.A.
...calling witness after witness, each less credible than the one before...

LORNE
Yeah, so, what's the plan? You've got a plan?
(Wesley sighs and opens his coat to give Lorne a glimpse inside)
Oh, and here I thought we were desperate.

Cut to:

25 INT. CLASSROOM - DAY
The black van full of agents pulls up to the school, and agents pour out. The gather in the hall outside the classroom and put their gas masks on. They kick open the door and toss a gas canister inside. Pan around to show the room is empty except for Angel.

ANGEL
So it turns out, with this new deal and all, I own a helicopter.

HAUSER
Where's the boy?

ANGEL
You just missed everybody.
(waves the smoke out of his face)
Oh, I probably don't wanna be breathing that.

HAUSER
Kid's still a threat, which means you have him isolated, probably nearby.

ANGEL
I can see why they made you the leader. Do I even have to start with how fired you all are?

HAUSER
(chuckles, removes his mask)
That's not how it works.

ANGEL
Oh, right! Tradition. Why don't you show me how that's done?

HAUSER
Thank you, sir. Take him out!

Agents open machine-gun fire on Angel, who dives for cover behind the teacher's desk. After far too much shooting, one man approaches Angel with a wooden hunting knife. A vamped-out Angel overpowers the agent, then another, then leaps across the desks toward the other agents near the door. One agent starts to open a bottle of holy water, but Angel kicks it away from him. Angel uses the wall to propel himself into the air with a spinning kick to the agent's face. Angel lunges at another agent, pushing him out the door.

Cut to:

26 INT. COURTHOUSE - DAY
Wesley and Lorne sit nervously on the back row watching the proceedings.

JUDGE
If there are no more objections, I'll hear final summations.

Someone in a fancy suit and expensive shoes walks through the lobby carrying an alligator-hide briefcase. As he enters the room, pan up to show it's Gunn in a pin-striped suit with a silk tie, all decked out.

GUNN
Your honor, the defense requests one more minute to confer.

JUDGE
Another defense lawyer. What a joy.

KEEL
(Gunn whispers to him)
Uh, Your Honor, at this point, I'd like to cede the floor to my colleague Charles Gunn.

JUDGE
So noted.

GUNN
Thank you. Your Honor, the defense moves for a mistrial.

JUDGE
(the judge stares blankly at Gunn as the whole courtroom starts to murmur)
You are, of course, joking.

GUNN
Your Honor, that's the second prejudicial remark you've made against the defense since I entered the room.

JUDGE
What are your grounds for requesting a mistrial?

GUNN
You are, Your Honor. I'm asking that you recuse yourself from this trial.

JUDGE
The thin ice you are on is over very deep water.

GUNN
No judge shall be appointed to try any case concerning a business colleague or employee. (picks up a file) Permission to approach the bench.

JUDGE
These are...?
(opens the file)
What are you doing with my tax records?

GUNN
The highlighted portions indicate stock in Oriental Bay Exports, which is owned by Loros, Incorporated, which in turn is owned by a consortium that includes the defendant, Corbin Fries.

JUDGE
I have brokers who do my— You submit that I could possibly have known about this connection?

GUNN
I found out, and I've been on the case
(looks at his watch)
6 hours.

JUDGE
The ice is melting, counselor.

GUNN
The defense submits it has learned how to swim.
(looks around at the jury, who's laughing)
I withdraw that statement with apologies.
(picks up a thick law book)
McCracken vs. The State of Maine,1954: "Any financial dealings shall be deemed the responsibility of the interested party, regardless of number or function of employees unless said party has been judged mentally incapable."
(puts down the book)
Permission to approach. And furthermore, the strain on my client's several businesses has forced Oriental Bay Exports to shrink its holdings of late. If Mr. Fries is convicted, the interest your honor has in it would represent a controlling interest. I would prefer not to present the rest of our findings in front of the jury.

JUDGE
I'll see counsel in my chambers. Right now.

Cut to:

27 INT. SCHOOL HALLWAY - DAY
Vamped Angel is still fighting agents in the hallway. Finally, Hauser points a shotgun at Angel.

ANGEL
(slips back to human face)
You know that won't kill me.

HAUSER
It'll hurt. That part's fun.

ANGEL
Agent Hauser, I'm honestly beginning to suspect that you're not part of the solution.

HAUSER
You really think you can solve the problem? Come into Wolfram and Hart and make everything right? Turn night into glorious day? You pathetic little fairy.

ANGEL
I'm not little.

HAUSER
That's exactly what you are. You're minuscule. A dust mote on the shelf of that great institution. Now, you think I'm just a trigger-happy jerk who follows orders, but I am something you will never be. I'm pure. I believe in evil. You and your friends, you're conflicted. You're confused. We're not. That is why you are gonna lose, because we possess the most powerful thing in the world... conviction.

ANGEL
There is one thing more powerful than conviction. Just one. Mercy.

Angel kicks Hauser in the chest, forcing the shotgun to point at Hauser's head. A gunshot sounds, and Hauser and his gun fall to the floor. A bloody splatter covers the wall where Hauser's head used to be.

AGENT
What happened to mercy?

ANGEL
(walking out)
You just saw the last of it.

Flash to Eve, later, staring at the bloody mark on the wall.

Cut to:

28 INT. ANGEL'S OFFICE - DAY
Harmony brings a bottle of water to Eve as she chats with Angel, Wesley, Fred, and Lorne about Gunn.

EVE
It's very simple, really.
(to Harmony) Thank you.
(to the group) Charles agreed to let us enhance his mind with a comprehensive knowledge of the law.

Gunn uses a cigar cutter to snip the tip off of a cigar.

WESLEY
Without asking us?

GUNN
Mother, may I?

FRED
Without telling us?

GUNN
'Cause I knew you guys would freak. Look, it's me here. They didn't evil me up. All I got stuck in my head was the law. And for some reason, a messload of Gilbert and Sullivan.

EVE
Standard. Great for elocution.

ANGEL
How can you possibly know they didn't do anything else?

GUNN
'Cause I saw the man in the white room. He does a lot of scary things, but lying ain't one of them.

EVE
You needed a lawyer to get by here. Charles had the most unused potential.
His degrees are all forged, but he's the real deal.

GUNN
You want me to sing for Lorne? I could give him a little "Pirates of Penzance." All of it, actually.

EVE
I would also point out that he did just save the day, without ever resorting to violence.
(to Angel) How'd you do?
(smiles)
I think you guys are gonna make it work. Yay, team.
(walks to the door)
I'll see you around.
(exits)

LORNE
Of course, saving the day meant getting the scumbag who was ready to sacrifice his own son off on a technicality and then returning said son to said scumbag.

WESLEY
Fred and I have enough time to disable the charm now. He won't be in danger.

GUNN
And Fries is gonna have to dial down the criminal activities 'til this thing comes to trial again. Which I can draw out for months.

FRED
Is this gonna be our lives now? Fighting our own employees, our own clients? Are we really gonna do any good?

ANGEL
(rubbing his chin)
Yes, we are. We're gonna change things. We came to Wolfram and Hart because it's a powerful weapon, and we'll figure out how to wield it.

WESLEY
Or kill ourselves with it.

FRED
(flatly)
Yay, team.

ANGEL
No, sooner or later they'll tip their hand, and we'll find out why they really brought us here.
(picks up the envelope from his desk)
Meanwhile, we do the work...our way, one thing at a time.
(rips open the envelope)
We deal...
(an amulet falls out of the envelope)
with whatever comes next.

Immediately, the amulet activates. A black whirlwind erupts from it, causing papers on Angel's desk to stir. The ashen whirlwind starts to glow with flecks of orange as something begins to materialize inside it. A man's skeletal form shows, then it gradually fills out until it's complete. The wind fades and Spike is standing there, screaming and grunting, in the middle of the office, right where the amulet fell.

SPIKE
Aah!
(doubles over in pain, panting, glaring ferociously)

WESLEY
(softly)
Spike?

ANGEL
(angrily)
Spike.

HARMONY
(sticks her head through the office door, smiling)
Blondie bear?

Fade to black.

To be continued...
EPISODE INFORMATION:
Creator: Joss Whedon
David Greenwalt
Producer: Stephen S. DeKnight
Co-Producer: Skip Schoolnik
Consulting Producer: David Greenwalt
Supervising Producer: Ben Edlund
Co-Executive Producer: David Fury
Jeffrey Bell
Executive Producers:

Joss Whedon

Sandy Gallin
Gail Berman
Fran Rubel Kuzui
Kaz Kuzui
Produced By: Kelly A. Manners
Written By: Joss Whedon
Directed By:

Joss Whedon
 
Starring:

David Boreanaz as Angel
James Marsters as Spike
J. August Richards as Charles Gunn
Amy Acker as Winifred "Fred" Burkle
Andy Hallett as Lorne
and Alexis Denisof as Wesley Wyndham-Pryce
Guest Starring:

Sarah Thompson as Eve
Mercedes McNab as Harmony
Jonathan Woodward as Knox
Dane Northcutt as Hauser
Jacqueline Hahn
Marc Vann
Michael Shamus Wiles
Rod Rowland as Corbin Fries
Co-Stars:

 

Originally transcribed for: http://www.buffyworld.com/.

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