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Date Posted: 05:30:15 08/09/02 Fri
Author: Jeanny
Subject: Angel #7: Sticks and Stones - desperately in need of edit, Prev Scenes/Teaser

WESLEY
(v.o.)
Previously on Angel...

Season I, Episode XX: War Zone
GUNN and his gang attack ANGEL; ANGEL saves ALONNA’s life

GUNN
It don't matter why you're here, or what you are. If you
ever show your face down here again, don't count on
any long good-byes.

Season III, Episode III: That Old Gang Of Mine
GUNN is being spurred on to stake ANGEL at Caritas.

ANGEL
Here, Charles -- let me make it simple for you.

He MORPHS to VAMPFACE.

ANGEL (cont'd)
Take a good look. This is what I am. Deal with it, or
don't.
(then)
But make a damn choice.

GUNN
It's not gonna happen.

Later, outside:

GUNN
No matter what else, I think I proved you could trust
me when I could've killed you -- and I didn't.

ANGEL
No. You'll prove I can trust you when the day comes
that you have to kill me -- and you do.


Season IV, Episode II: Breach
FRED and GUNN try to talk CONNOR down.

CONNOR
(to GUNN)
You're trusting a demon. You put your trust in the
words of demons.

GUNN
I understand having a problem with demons. I grew up
hatin' 'em…time was, you couldn't convince me that a
demon could be a good thing. And then I met this guy
who was fighting the same fight I was. I didn't like him
much, especially when I found out he was a demon
himself. I may not like the demon, but the man in him's
pretty decent. Somewhere along the way I had to admit
to myself that I was wrong. Not all demons are bad…


Season IV, Episode VI: Separation
NANCY drugs and flirts with GUNN; FRED gets upset; GUNN kills the harmless demon.

CORDELIA
GUNN! He was innocent. He was a good demon. You
know, the kind that don't need you to go all gung-ho on
them!

GUNN
No! You know the drill when demons go on a killing
spree! Think first and ask questions later... before
anyone else can get hurt.

FRED confronts GUNN

FRED
You were flirting with another woman. You wanted to be
with a complete stranger more than you wanted to be
with me.

GUNN
It wasn't like that! She was flirting with me... I...

FRED
You just let her.

GUNN
Okay, I messed up bad. But this can't get in the way
of what we've got.
(beat)
You're my life.

FRED
(crying)
I feel the same way.

GUNN
So this is gonna work out?

FRED
No.

Season IV, Episode IV: Where You Belong
LILAH introduces WESLEY to CONSTANTINE.

LILAH
Jason Constantine.

CONSTANTINE puts a book down on a table.

CONSTANTINE
The subject matter has already been verified.
It concerns certain Celtic spirits.

WESLEY
The Fromainian and…

CONSTANTINE
…and the Silde.


Season IV, Episode V: Legions
CONSTANTINE visits WESLEY unannounced.

CONSTANTINE
I wanted to find out the status of my… our
Celtic scrolls.

WESLEY
I've been assured that they're being retrieved as
we speak.

CONSTANTINE looks at his watch.

CONSTANTINE
Now if you excuse me, I have a charity dinner
to be at and I haven't found myself a date.
Have to keep up appearances, you know.

CONSTANTINE walks out of the office. WESLEY looks up for the first time.

WESLEY
Yes. We do, don't we.

WESLEY walks through the open door into the corridor. CONSTANTINE is talking to LILAH. LILAH glances over to WESLEY and smirks. She places her arm around CONSTANTINE's. WESLEY is left alone.


Season IV, Episode VI: Separation

MONTAGE of shots of FRED crying, ANGEL getting the injection and coming on to CORDELIA, ANGEL trying to drown CONNOR, CONNOR running away.

LILAH
(v.o.)
We're stepping up our little project. I think you realize
what your little task over the past few months has
been about.

WESLEY
(v.o.)
Yes, I have to split up the members of Angel
Investigations.

ANGEL confronts WESLEY

ANGEL
Don’t talk to me or any of my friends ever again.

WESLEY
Last time I checked you didn’t have any.

ANGEL jumps out of his chair and grabs WESLEY by the throat and pushes him against his door.

ANGEL
Looks like we're both in a very similar position.


TEASER

Scene I: Ext. Celtic Museum of Antiquities, Night

Establishing shot of the museum, which is set up in a fortress-like castle. We see that the moon is full.

Scene II: Int. Celtic Museum of Antiquities, Night.

The camera focuses on a room that looks like a storeroom, very disorganized, with some suits of armor propped up near some old fireproof cabinets against the far wall. There are pools of dim light and shadow that indicate high windows letting in the moonlight. Into the foreground a rope drops, and a man quickly descends, his face in shadow under the brim of his weathered fedora. He looks up suddenly and we see it’s CONSTANTINE.

He sees the cabinets in the back and starts toward them, as red glowing eyes appear in three suits of armor. The animated suits of armor move to intercept CONSTANTINE, who ducks under the blow of the first one to reach him, then kicks up and knocks the sword out of the knight’s hand. He parries blows from the other two suits of armor while spinning in a circle before dropping and rolling towards the first knight, knocking it down and causing the suit to fall apart.

CLOSEUP on CONSTANTINE. His eyes flash black.

CONSTANTINE
Move.

The parts of the broken suit fly across the ground, striking the other two animated suits and knocking them down, where they also collapse. CONSTANTINE grins in satisfaction.

CONSTANTINE
That’ll teach you to test my mettle...God, that is
awful...

He removes a small tape recorder, talks into it.

CONSTANTINE
Noelle, I need to work on my witty asides. Ummm...
hire me a coach or something.

CONSTANTINE puts the recorder away and moves towards the cabinets. He reaches for the drawer handle, then pulls back knowingly.

CONSTANTINE
That’s how you lose a finger...

He looks around and spots a crowbar lying against the wall nearby. Standing a safe distance back, he hooks it through the drawer and, bracing himself (and with a dramatic musical crescendo), pulls the drawer open. Nothing happens.

CONSTANTINE
(nonplussed)
Huh.

CONSTANTINE stares for a beat before cautiously approaching the open drawer. He pulls out three obviously ancient scrolls, held together in some unknown way, possibly magic. CONSTANTINE looks at then reverently.

CONSTANTINE
I’ve got them.
(looking up)
You see this? If you want something done right,
you’ve got to do it your...

CONSTANTINE slams the drawer shut and a loud alarm begins to sound.

CONSTANTINE
(weakly)
...self.

CONSTANTINE POV: Three security guards, guns drawn, are running towards the camera. SWISH PAN in the other direction to see two large and quite slimy demons coming from the other side.

CLOSEUP on CONSTANTINE looking back and forth.

CONSTANTINE
Okay, guns or demons? Guns or demons?

GUARD
You there! Stop where you are!

A bullet whizzes past his ear. He ducks, then nods, tucking the scrolls into his jacket.

CONSTANTINE
Demons.

CONSTANTINE turns and runs towards the two demons, who move with surprising speed to intercept. CONSTANTINE begins rubbing a bracelet on his wrist as he runs; the bracelet begins to glow. Several more shots ring out, bouncing off the stone walls. The demons stop and wait for him; there is no way he can pass them. CONSTANTINE is effectively trapped.

CONSTANTINE
(muttering)
This thing had better be worth the fortune I paid for it…

As CONSTANTINE approaches the demons he doesn’t break stride at all. Seconds before one of them is about to grab him, he becomes insubstantial as a ghost for just long enough to run through the demon blockade. Moments later, solid again, he continues running at top speed up the corridor. We see a door up ahead - his escape is almost secure.

CONSTANTINE
(panting)
Almost...there...

His hand touches the knob. CONSTANTINE pulls the door open at the same moment a slimy claw grabs his shoulder . The demons have caught up with him. He is yanked backwards out of the frame and we hear him scream...

CUT TO:


Scene IV: Int. Constantine’s Office, Day.

CONSTANTINE is sitting at his desk. He screams again seeing the hand on his arm until he realizes it’s the well-manicured hand of Noelle, his stunning, efficient personal assistant.

NOELLE
(calmly)
Mr. Constantine?

CONSTANTINE
Oh! Oh, it’s you, Noelle.
(a moment to calm his heart, then)
You needed something?

NOELLE
Just to tell you that Lilah Morgan called.

CONSTANTINE
(impatient)
And?

NOELLE
And the papers you’ve been waiting for are ready and
waiting.

CONSTANTINE
(standing eagerly)
Good. Very good. Excellent.
(a beat, then sitting)
On second thought, call Lilah Morgan and tell her to
expect me in the morning.
(conspiratorially)
Don’t want to seem too eager, right? Gotta keep them
on their toes.

NOELLE
(smiling)
Yes, Mr. Constantine.

CONSTANTINE
That will be all for now.
(after she turns to leave)
Noelle?

NOELLE
Sir?

CONSTANTINE
Wake me up like that again and you‘ll be out on the
street in an hour, and I don‘t just mean out of a job.

NOELLE blinks, stunned and frightened; he can follow up on his threat and they both know it.

NOELLE
(swallowing hard)
It won‘t happen again, sir.

NOELLE walks away, and off of CONSTANTINE’s smug smile we cut to:

Scene V: Ext. Los Angeles Alley, Night

There is a gray tabby cat running towards and then past the camera. From the same low angle we see a MAN walking nervously down the alley.

MAN
Oh come on!
(a sigh, then)
Kitty! Here, kitty kitty kitty!
(muttering)
Stupid cat...don’t you know it’s dangerous…

The MAN wanders a bit further into the alley. We get a shot of the cat sitting on a nearby garbage can, eyeing the MAN implacably.

MAN
(cont’d)
Come on, kitty kitty kitty…ha! There you are!

He hurries to the garbage can and scoops the cat up, just as a shadow falls. The man stiffens, the cat in his arms. He turns, his eyes wide with fear, as we hear a door open a few yards back. An elderly WOMAN steps out.

WOMAN
Murray? What are you do-

We go to a CLOSEUP of the WOMAN’s face, as her mouth opens in a silent scream.


CREDITS

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