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Date Posted: 16:01:04 08/13/02 Tue
Author: Noggins
Subject: Act 3
In reply to: Noggins 's message, "Act 2" on 15:58:34 08/13/02 Tue

ACT III
Scene: Wolfram and Hart, Underground Car Park [Int.], Afternoon
WESLEY walks down towards his car carrying a briefcase. He presses a button on his key and the alarm deactivates. He presses it again and the door unlocks. He opens the passenger seat door and throws the case in.

He looks around dully, without emotion, then slowly get to the driver's side. He takes a step back out of shock.

FRED is sitting on the ground, leaning against the car, looking down at her feet.

WESLEY freezes. He doesn' say anything but his eyes say it all.

FRED
Why didn't you get in touch?

WESLEY
What?!

FRED
I read about the fire. Why didn't you tell us... you were
safe and not dead or whatever.

WESLEY
(coldly)
Somehow I get the impression that there are people
who wouldn't have cared either way if I'd perished.

FRED
Well I do!

FRED gets up to her feet and looks WESLEY in the eye.

FRED
(cont.)
And I don't know why. It's probably totally insane and
I'm not entirely comfortable with it but after everything
you've done to us... to hurt us and split us up... for
some reason I still care about you.

WESLEY
Your mistake. Maybe you should take a lesson or two
from Angel. At least his opinion of me is consistent.

FRED
I wouldn't be too sure. We still have our souls, Wesley.
Maybe you sold yours but... but we still have ours...

WESLEY stares at her for a moment. There's almost a moment of breakthrough but he dismisses it.

WESLEY
Well you keep on caring... just leave me alone while
you do it. There might have been a point a few months
ago when I gave a crap but not anymore.

WESLEY pushes FRED out of the way to get to his car. She gets in his way again.

FRED
(shouting)
Then why did you save me from that demon?!

WESLEY stares at her. He remains silent. He pulls the car door open.

FRED looks at him. She calms down a little, speaking slowly and quietly again.

FRED
(cont.)
You risked everything to save me... I know you care.
And not just about me. About us all.

WESLEY is in his car already. He turns to her. His eyes are full of emotion that he's trying to hold back.

WESLEY
Too much has changed.

He slams the door shut. FRED just watches silently as he starts the engine and drives off.

FRED tries to stop the tears forming in her eyes.

CONNOR
(o.s.)
You didn't tell us.

FRED spins around. CONNOR is sitting on the front of a nearby care.

FRED
Connor...

CONNOR
You didn't tell us he helped you.

FRED
It doesn't work like that. He asked me not to.

CONNOR
Maybe dad would think differently about it if you
said something.

The two of them begin to walk out of the car park.

FRED
I want him to, Connor. I really do... but Wesley needs
to decide what he wants first.


Scene: Wolfram and Hart [Ext.], Afternoon
We see WESLEY'S car speed passed the building. CONSTANTINE walks up the steps into the main building.


Scene: Wolfram and Hart, Lilah's Office [Int.], Afternoon
LILAH is sitting alone. There's a quick knock on the door and CONSTANTINE walks in with a shit-eating grin on his face. LILAH smiles.

LILAH
Ah, Jason. So good to see you.

CONSTANTINE
The pleasure's all mine. Have you got them?

LILAH
Of course. The translator just finished up.

LILAH taps a key on her computer and the printer whirrs into action. She pulls the sheet out and looks over it.

LILAH
(cont.)
There you go.

CONSTANTINE eagerly takes it from her.

CONSTANTINE
Perfect! I never thought we could get it done but...
Astonishing. Every detail needed.

LILAH
Just as you requested.

CONSTANTINE
(reading)
"Banished to the realms of nothingness the Fromainian
and Silde rest, prophesied that if the Fromainian be
allowed to return to the mortal realm and posses, a great
apocalypse will be incurred. Be forewarned, while the
Fromainian and Silde hold great power; they also hold
great darkness."

LILAH
Great darkness. Don't you just love the sound of that.

CONSTANTINE
Personally, I think "possess" just rolls off the tongue.

LILAH
And everything's set for that.

CONSTANTINE
I believe so. You have the spell to bind the Silde? We
don't want those pesky good spirits spoiling our fun
now, do we?

He grins at LILAH.

LILAH
I assure you, everything is ready.

CONSTANTINE slowly folds up the papers.

CONSTANTINE
Then my dear, all we need is for the summoning to take place
and all hell will break loose!


Scene: LA Cityscape [Ext.], Sunset
We watch the sun set at a great speed and night falls in one of those funky quick flashes that we know and love.


Scene: Near Shelter [Ext.], Evening
ANNE and CORDELIA are walking along the sidewalk, discussing things.

ANNE
So what exactly is going on between you and Angel?

CORDELIA
What?

ANNE
You seemed very close... and I don't think I've seen
anyone order him around like you do.
(smiles)
It must be love.

CORDELIA
I... I really do care aboout him but it's just... there are
issues.

ANNE
All relationships have issues. You've just got to find a
way to overcome them.

CORDELIA
I guess. But with Angel we're talking major issues. Like
issues that can come back and bite you and suck you
dry.

ANNE smiles a little.

ANNE
I don't think I've got too much experience with those
types...

They get to the door of the shelter. ANNE pulls out a key and puts it in the lock.

ANNE
(cont.)
...but I hope you can work it out.

VOICE
(o.s.)
Yeah, well we're hoping we can work something out
too...

CORDELIA and ANNE turn around. Four of the STREET KIDS from Wes' office are behind them. One of them points a knife in their direction.

FIRST THUGLET
Where's the kid?

ANNE
Wh-what kid?

FIRST THUGLET
You know which one... Tell us where they are.

ANNE
I... I don't know what you're talking about.

SECOND THUGLET
Bull! Where are they?

CORDELIA
You heard her. We don't know what you mean.

The SECOND THUGLET produces a knife and holds it to ANNE'S throat.

SECOND THUGLET
We know you're hiding them both so cut the crap!
Where are they now?

ANNE
They're gone...

SECOND THUGLET turns to his companion.

SECOND THUGLET
This isn't working, Rico!

FIRST THUGLET
Then you just have to do... this!

He thrusts his knife into ANNE'S stomach. ANNE looks down, shocked. CORDELIA call out.

CORDELIA
No!!!!!

The SECOND THUGLET holds his knife to CORDELIA'S throat, pinning her to a wall.

SECOND THUGLET
Where are they?

CORDELIA
Hyperion Hotel... a few miles west of here...

The FIRST THUGLET smiles knowingly. Wes has obviously told him about this.

FIRST THUGLET
Yeah, we know it. C'mon.

The small group of THUGLETS make a run for it, waving their knives in CORDELIA'S direction to make sure she doesn't follow.

CORDELIA leans down next to ANNE. She's holding her wound tight but blood is escaping.

ANNE
Y-you told them...

CORDELIA
I had too... but if everything's ready then the hotel's
already secure. Besides, they just a bunch of kids.
Angel, Gunn and Connor can take care of them...
Now... let me...

CORDELIA takes ANNE'S hand away from her stab wound. She's pale and shaking.

ANNE
What-what are you doing? I need to...

CORDELIA
Ssshhh...

CORDELIA holds her hand out over ANNE'S wound. ANNE gasps desperately, clearly terrified. CORDELIA'S hand begins to glow a bright white.

ANNE stares in disbelief as her injury is slowly being healed.

ANNE
What are you???

CORDELIA
A little less human than I was when we met up last.

ANNE begins to sob.

ANNE
They know where Jo is... Oh god... What if there's more
of them?

CORDELIA
We just get them out. Now.

CORDELIA pulls out her cell phone and speed dials.


Scene: Hyperion Hotel, Lobby [Int.], Evening
ANGEL is near the desk, speaking on the phone. We can tell from his voice that things are getting pretty tense.

ANGEL
Cordy? Where the hell are you? We need to get
things together.

CORDELIA
(Over Phone)
Anne's been hurt! They know where Jo is! You have to...

ANGEL
Anne's been... Is she okay?

CORDELIA
Yeah, but you have to get outta there! Now!

ANGEL
I'm on it! Meet us at the station in an hour.

ANGEL puts the phone down. He gets to the middle of the lobby, in action guy mode.

ANGEL
We're leaving!

GUNN
What?

ANGEL
Some people are heading here. We have to get Jo
away and quickly.

GUNN
So you're telling me I busted my ass off to seal this
place up and now we're just running?

ANGEL
That's exactly what I'm telling you. Get your truck ready.
I'll get Jo and Charlotte. We're outta here.

ANGEL rushes up the stairs. GUNN is left alone. He reaches into his pocket and pulls out the keys to his truck. He makes a move to leave when...

...the front door bursts open suddenly.

GUNN spins around, in fighting mode.

FRED comes in with CONNOR.

GUNN smiles, suddenly relieved. He runs up to FRED. He pulls her into his arm and they kiss deeply. They pull away after a few seconds. FRED giggles a little.

GUNN
Where've you been, girl? You got me worried.

FRED
(a little wary)
Something I had to do...

CONNOR doesn't react. If FRED doesn't want to say anything then he won't.

CONNOR
What's the plan?

GUNN
We're leaving.

CONNOR
Wait... didn't you just spend all day...

GUNN
(interrupting)
Don't say it. Just don't.

ANGEL comes running down the stairs with CHARLOTTE in his arms. JO follows quickly behind.

JO
What's happening? What's going on??

ANGEL
We're getting you out of LA. We can take all the
precautions we want but it's not going to be safe
here. Not for you, not for Charlotte!

JO
But they could still follow me...

ANGEL
Believe me, I'll make sure they don't. Even if I have
to kill everything thing that gets in the way with my
bare hands.

JO
(sardonically)
My hero.

ANGEL nods to GUNN.

ANGEL
You ready?

GUNN
As I'll ever be.


Scene: Hyperion Hotel [Ext.], Evening
GUNN'S truck pulls out of the hotel and onto the main road. It begins to speed off. We stay at the hotel for a few moments. Two more vehicles pull up.

INSIDE FIRST CAR: One of the THUGLETS looks ahead.

THIRD THUGLET
They've gone!

FIRST THUGLET
Damn it! Go!

The two cars rev up and quickly pursue the truck.


Scene: Gunn's Truck (Travelling), [Int.], Evening
GUNN is at the wheel, putting his foot down hard on the accelerator. JO is cradling CHARLOTTE in her arms next to him. FRED is on the passenger seat.

GUNN looks in the rear view mirror. He can see the two cars behind them. He leans out of the window.

GUNN
We got incoming!


Scene: Gunn's Truck (Travelling), [Ext.], Evening
ANGEL and CONNOR are standing the back of the truck, holding onto the bars at the side. CONNOR has an axe on his back, attached by a leather strap. The cars behind them are getting closer.

ANGEL
I see them!

ANGEL turns to CONNOR.

ANGEL
(cont.)
You know what to do?

CONNOR holds up a crossbow and grins.

CONNOR
Yup.

They suddenly turn a corner sharply. ANGEL falls back. CONNOR holds out his hand and grabs his father, pulling him back.

ANGEL
Thanks.

CONNOR
No problem.

CONNOR raises the crossbow, having difficultly aiming because of the bumpy road. He lets a bolt fly.

It zooms back into the first car, piercing the window on the side of the driver.

The car swerves a little.

INSIDE THE FIRST CAR: The THIRD THUGLET has the bolt jammed in his shoulder. He cringes in pain as he tries to maintain control.

FIRST THUGLET
Screw this!

The FIRST THUGLET pulls out a gun. He aims it out of the window and begins letting off shots in the direction of ANGEL and CONNOR.

BACK OF GUNN'S TRUCK: It's swerving again. The bullets are shooting passed CONNOR and ANGEL. One ricochets off one of the bars. CONNOR lets go instinctively.

CONNOR tries to load another bolt.

ANGEL takes another look at the car. He nods to himself and begins to count under his breath.

ANGEL
One... two... three...

With a sudden burst of energy, ANGEL dives off the truck and lands on the front of the first car. He grabs the FIRST THUGLET'S hand, desperately trying to wrestle the gun from his grasp.

Another shot is let off!


Scene: Gunn's Truck (Travelling), [Int.], Evening
The bullet flies through the back window. FRED hear the shattering and pulls JO down just in time. The bullet flies overhead and leaves a hole in the front window.

GUNN
Damn it!

GUNN turns the steering wheel sharply.


Scene: Gunn's Truck (Travelling), [Ext.], Evening
CONNOR jerks to the side, just managing to grab on. The crossbow bolt in his hand flies over the side of the truck. CONNOR growls, annoyed at himself. He throws the crossbow down.

ANGLE: ANGEL continues to grab the FIRST THUGLET'S hand. He tightens his grip. We hear a cracking sound as the kid's wrist is broken. He calls out in pain.

ANGEL
Stop this. Now!

FIRST THUGLET
Up yours, vampire.

ANGEL, still holding onto the car with one hand, reaches in and pulls the FIRST THUGLET out of the window. He gets stuck halfway and is dangling out, his head close to the road.

FIRST THUGLET
Agh! Oh God! Agghh!!!

ANGEL grabs the back of his shirt and pulls him up. He morphs into his game face.

ANGEL
I said stop it now!

FIRST THUGLET
I... I can't. I'm not in charge here.

ANGEL
Kinda guessed that.

ANGEL lets go. The TEEN THUG falls again. He tries to pull himself up but can't.

ANGEL looks up suddenly. We see CONNOR jump onto the roof of the car and then onto the second one.

ROOF OF SECOND CAR: There's a loud thunk as CONNOR lands. He rolls across the roof until he's at the back. He reaches behind his back and pulls out his axe. With a mighty swing he shatters with window.

FIRST CAR: ANGEL grabs the handle to the passenger door. He pulls it open and the FIRST THUGLET rolls out onto the road and is quickly left far behind.

ANGEL jumps in and smiles at the THIRD THUGLET.

ANGEL
Bit of advice for you. Don't follow that car!

He reaches for the bolt in the THIRD THUGLET'S shoulder and rips it out forcefully. The THUGLET calls out in pain. ANGEL knocks him out with one hard punch and takes control of the car.

THE FIRST CAR suddenly spins around until it's blocking the road.

At the last moment, CONNOR leaps forward to safety as the second car suddenly rams into it.

CONNOR lands in front of the wreck. ANGEL is already there.

ANGEL
Good work.

CONNOR
You're not too bad either.

ANGEL smiles at CONNOR. They begin to run towards GUNN'S truck which has slowly down for them. They jump up onto the back again and it speeds off.


Scene: Outside Train Station [Ext.], Evening
GUNN pulls up. ANGEL jumps off the back and looks inside. He opens the door for JO.

ANGEL
Come on.

He holds his arms out for CHARLOTTE. JO is still a little wary but hands the child to him then gets out herself. ANGEL gives the child back to her mother.

The three make a move for the entrance to the station.

We suddenly hear a gun click.

ANGEL and JO turns slowly around slowly.

FAMILIAR VOICE
(o.s.)
Don't move.

It's WESLEY. He aims the weapon at the child.

JO looks horrror stricken. She pulls CHARLOTTE close to her body.

JO
Don't hurt her... please...

ANGEL steps in front of them both.

ANGEL
Don't even think about it.

CORDELIA and ANNE come running from the station complex.

GUNN, FRED and CONNOR join them from the truck.

ANGEL, JO and CHARLOTTE are in the middle with WESLEY.

FRED
Wesley... no!

WESLEY stares coldly at JO and CHARLOTTE.

FRED
(cont.)
You've still got a choice. Don't make the wrong decision.

WESLEY
I know what I'm doing, Fred. Get away from me.

ANGEL
That's not exactly something we're planning on doing,
Wes. You even come close to pulling that trigger and
I'll break your neck.

WESLEY
I don't doubt it.

FRED continues to look pleadingly towards WESLEY. GUNN has his hands on her shoulders.

FRED
Don't make the same mistake again. Remember the
last time... a child with a destiny... an impossible
decision. You made the wrong choice then. Please
don't do it again.

WESLEY looks at her, then at CONNOR who remains silent, his eyes fixed on WESLEY.

FRED
(cont.)
It's time you starting fixing those mistakes not make
any more. Please... Wesley...

FRED stops talking. She's made her point. There's silence. You could hear a pin drop. WESLEY still has the gun aimed at JO and CHARLOTTE.

ANGEL stares at WESLEY with steely determination.

FRED'S face is a picture of hope and desperation.

GUNN is angry and ready to kill WESLEY if he makes a move.

CORDELIA is rubbing her hands together out of frustration.

ANNE is terrified. She wants to move, to jump in the way but she can't.

WESLEY'S face doesn't change. He moves his thumb onto the safety catch and pulls it back.

ANGEL morphs into game face.

WESLEY looks into JO'S eyes. He's made his decision.

JO closes her eyes and pulls CHARLOTTE even closer to her chest.

WESLEY lifts the gun and fires it into the air. BANG! Then a second shot. BANG! Then silence.

He reaches into his jacket pocket and pulls out a sound recorder attached to a earpiece. He throws it to the ground and stamps on it, shattering it to pieces.

WESLEY looks over the group. Their faces range from shock, to distrust to relief.

WESLEY
It's over.

WESLEY turns to JO.

WESLEY
(cont.)
Wolfram and Hart think you're dead. For the moment.
You've got time to get away from here, far from here.
Do it now.

JO
What about the others?

WESLEY
Factions? The Senior Partners ordered them to be
destroyed. The only one left of any significance is
the firm. Now go.

JO
Thank you... thank you...

JO looks over to ANGEL.

JO
And you... all of you...

She rushes off towards the station, clutching CHARLOTTE tight.

ANGEL gives WESLEY a dirty look. WESLEY doesn't respond to it.

FRED
What happens now?

WESLEY
Either Wolfram and Hart has me killed for destroying
them... or they have me killed for letting them get
away. Whatever happens, I'm probably dead.

FRED
They'll be coming after you?

WESLEY
(nods)
That's why I'm leaving. I'm returning to London.

WESLEY turns. He begins to walk off. He pauses for a moment and turns around. He's about to say something but stops himself. Shaking his head he walks off.

ANGEL watches WESLEY with a cold expression on his face.

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