6 x 07 - Soldiers, Part 1

Scene: Overview of a generic piece of suburbia. A caption is on the bottom of the screen: “Victorville, CA – 1999”

Scene: A typical suburb house. We hold on the outside for a moment. It’s nice, reasonably sized, well kept, with Christmas lights twinkling on the outside. Everything seems perfectly calm and normal. Then we hear a smash of a bottle breaking and raised, arguing voices.

Scene: Inside the house. A couple are fighting in the kitchen, a MOTHER and a FATHER. And boy are they really going for it. Thrown bottles, thrown plates, thrown knives. They’re screaming at each other at the top of their voices. The MOTHER is obviously steaming drunk.

MOTHER: Well what am I expected to do when you can’t keep your dick in your pants!

FATHER: Oh that’s rich, coming from the ice-queen. What can I do when you won’t let me near you?

MOTHER: You can’t fit an oyster in a slot machine, no matter how hard you try!

FATHER: You self-involved bitch! For fuck’s sake, it’s Christmas out there! And here you are getting drunk, again, and getting onto me about nothing!

MOTHER: I only drink because I can’t face spending time with you sober!

FATHER: You never think about anybody but yourself! You even give a damn about Alex?

MOTHER: Don’t you dare bring her into this!

FATHER: Your daughter is upstairs right now, knowing that her mother has spent the evening with a bottle of whiskey again. How d’you think that’s working for her?

On this sentence, we move out of the kitchen and drift along the hall until we can see the balcony style-landing above the stairs. A girl, maybe ten years old is standing by the banister, listening to the argument. She’s dressed in a nightgown and is obviously ready for bed. She’s blonde, pretty and of a normal weight, maybe even a couple of pounds over, not the starved-looking waif that we know from seven years on. The is YOUNG ALEX.

The argument continues O/S.

MOTHER: She isn’t your child, she’s my baby too!

FATHER: You haven’t got a right to be her mother. Not when you’re coming home like this.

MOTHER: How dare you!

There’s a smashing sound and YOUNG ALEX winces.

MOTHER: I don’t have to stay here and take this!

FATHER: Right. RIGHT! You go back to your cheap dive bars. Leave your daughter without her mother at Christmas, why don’tja!

MOTHER: It’d be better than staying here with YOU!

There’s a kerfuffle and the MOTHER storms out the front door, slamming it behind her. YOUNG ALEX looks heartbroken. Then there’s a footfall in the hall. YOUNG ALEX’s expression turns to alarm and fear, and she races across the landing, into her bedroom, shutting the door and leaping into bed, turning the light off and pulling the duvet over her to feign sleep.

We hear the footfalls coming up the stairs and then her FATHER’s voice.

FATHER (softly): Alex?

YOUNG ALEX squeezes her eyes tight shut. We hold on a close of her shut eyes, morphing into the present-day ALEX…

Scene: Still close on ALEX’s shut eyes. Suddenly they snap open and she bolts upright, her hand clutching a stake. We get to see the contrast between her and her young self – she’s dirty, half-starved, her hair’s a mess and she has obviously just been awakened from sleeping rough in an alleyway.

ALEX looks around for a moment, then stalks up to an intersection of the alleyway, keeping as silent as she can. She waits for a second, then pounces as a figure turns the corner, grabbing him and slamming him back against the brick wall.

ALEX: I told you to leave me…

The figure resists, knocking her hands away and shoving her back, before they both get a chance to look and see that the other’s harmless. It’s ANGEL.

ANGEL: Little jumpy? <inspects the brickwork dust on his leather jacket> What did I do to deserve that?

ALEX is still holding her stake and looking a little bit wired.

ALEX: That’s a good way to get yourself killed man. I aint even sure if I like you yet.

ANGEL: Well, I couldn’t exactly ring first. My source told me you lived on this street, but I didn’t think he mean literally. <looks at the blanket on the ground> You sleep here?

ALEX shrugs.

ANGEL: It’s not exactly secure. Not as though anyone needs an invitation to walk in and bite you in your sleep.

ALEX: You just come round to criticise my crib?

ANGEL: Just thought you might appreciate having an actual, you know… room. I mean there’s literally hundreds just going spare at the hotel…

ALEX: I aint your kept girl all right? Like I said, I aint even sure if I like you yet.

ANGEL: The option’s there if you want it.

ALEX: Right, and this is just out of the goodness of your non-beating heart? <makes disparaging sound> Gotta bet a lotta people’d willing to provide room and board in return for Slayer-protection nowadays. Definitely after you personally brought LA to its knees.

ANGEL looks guilty and ALEX watches him, suspicions confirmed.

ALEX: So it’s true then.

ANGEL: Where’d you hear that?

ALEX: Man, you’re famous all over this town. Soon as I started asking after Angel, people started talking.

ANGEL: You were checking me out?

ALEX: I like to know who.. or what I’m dealing with. Lotta people got no love for you. I could make good money just for beating you down and delivering you to the right people.

ANGEL: So why don’t you?

There’s a beat as ALEX looks thoughtfully at ANGEL, assessing him.

ALEX: You said you can make me better at what I do.

ANGEL: I can.

ALEX: Why? I mean, you’re a vampire, man. Shouldn’t you be out killing Slayers, ‘stead of tryna train them up?

ANGEL: I’m not just a vampire. I’m different.

ALEX: Cause what? You got a soul?

ANGEL: I’m one of the good guys.

ALEX  looks at him for a second, then lashes out with a lightning-fast jab. ANGEL reels, holding his chin.

ANGEL: What was that for?

ALEX goes to hit him again. ANGEL catches her arm, only to be caught by two right crosses to his head. ANGEL reels, his vampire face coming to the fore. ALEX pulls her arm away and look at him with satisfaction.

ALEX: That’s what’s inside.

ANGEL: That’s not everything.

He unvamps.

ANGEL: We’re on the same side here.

ALEX turns away, amused by this.

ALEX: My side, right. Had a lotta people telling me that lately.

ANGEL (interested): Really?

ALEX: Everyone tryna tell me that they’re the badass group who’re gonna save LA. <looks up at him> That’s what you’re here for, right? Convince me to join your X-men or some shit?

She steps close to him, looking up into his face.

ALEX: So, you tell me, vampire. Why in hell should I be on your side?

ANGEL: Cause my side’s going to win. Drive out the demons and take back LA.

ALEX: You certain you wanna save the city? Last thing I heard, it wasn’t broken till you tried to fix it.

ANGEL (incredulous): You don’t think LA was broken?

ALEX shrugs and walks over to her blanket and bag of possessions.

ALEX: I survived it.

ANGEL: Is survival enough? Don’t you want to make things better?

ALEX: A thing is what it is. You aint never gonna change the world, bro, and the quicker you learn that, the easier it’s gonna get. Best you can do is learn how to survive in it.

She turns to walk away down the alleyway with her bag slung over her shoulder.

ANGEL: So why do you fight?

ALEX turns to look at him.

ALEX: Cause I been fighting all my life. It’s what I am.

ANGEL: That doesn’t have to be everything.

ALEX: I kill dead things. What else is there to do?

ANGEL: You’re more than just a Slayer.

ALEX: Really not.

ANGEL: But you could be. If you wanted.

ALEX: All I want to be is left alone.

She turns and walks away.

Scene: Open up with a view from above of a glass-topped desk. There are several papers spread across it, most prominent of which is a map of Los Angeles, with annotations, shading of different areas and a thick report next to it. A deep male voice speaks O/S and as it does, we pan up to see a middle-aged military OFFICER speaking, in full uniform.

OFFICER: As you can understand Agent, the United States cannot let this situation alone. No hostile force has established a beachhead like this on American soil for hundreds of years. Official policy dictates that we must act. We must take back our land.

The OFFICER paces around the desk. The camera angle is set up deliberately so that we can’t see who he’s talking to. He leans over the map and glowers at it.

OFFICER: We’re losing more territory day by day. The demon threat is encroaching further and further as more clans start to believe that they have a real chance of taking us down. Already, there have been uprisings in Cleveland and Ohio and word of clans arming themselves in Washington and New York. We’ve had word of near open war in parts of Britain, Italy and France and unconfirmed reports from behind the Bamboo curtain. Preachers are calling it the end of days, conspiracy nuts are claiming vampirism is the result of a bioweapon and our enemies are licking their chops, just waiting for us to weaken enough for them to strike. <sighs and turns back to whomever he’s talking to> The United States needs to act, Agent. We need to show the world, our people and these demons that we are not weak, that we will take action. Starting with Los Angeles.

The OFFICER straightens and offers a folder of documents to his (as yet unseen) listener, who takes them.

OFFICER: The primary aim is reconnaissance and recruitment. This situation will require the conscription of any outside forces that you consider necessary to get the job done. I see from your record that you understand the necessity of this kind of external assistance. Very few soldiers have the depth of knowledge or experience that you do, which is why you’re here.

The OFFICER paces around the desk again, sitting down in his chair.

OFFICER: I understand that the last few weeks have been problematic for you and ordinarily I would insist that you take more leave to ensure that you’re fighting fit for the battles to come. But these are not ordinary times. I need the best out there and you know as well as I do that that’s you. <nods curtly> You leave for LA tonight. Any questions?

The shot turns to the mystery listener and pans upwards from feet to head to reveal the scarred and stony-faced RILEY Finn.

RILEY: No sir.

Credits

Scene: Hyperion lobby, at night. Slow and quiet music. LORNE enters the doorway, carrying a small bag and looks despondently around at the lobby. He pauses for a moment and then walks into the room, shifting his bag from hand to hand as he does.

ANGEL comes out of the back offices and sees LORNE standing there.

ANGEL: Lorne. I wasn’t sure you’d come.

LORNE: Not as though I’m overwhelmed with options.

ANGEL: It’s good that you’re here.

LORNE: Believe me, I wouldn’t be if I had anywhere else to go.

ANGEL: Oh. Well, it’s still good to see you.

There’s an awkward pause.

ANGEL: Is that all your luggage?

LORNE: Surprisingly enough, having a price on your head encourages you to pack light. This’s all I own in the world anymore.

ANGEL: Oh.

Another pause.

ANGEL: I made up your usual room.

LORNE starts walking towards the staircases without a word and ANGEL follows.

ANGEL: I mean, I’ll understand completely if you want to completely remake the room; I don’t have a touch with interior…

LORNE (sharp, turning to face him): Angel.

ANGEL stops and listens.

LORNE: Let’s get one thing straight. Things aren’t how they used to be. I’m not coming back here to be a soldier on Team Angel again. I’m not even sure if I’m coming back here to be your friend. I said I was done with you and I meant it.

Shot of ANGEL’s face as he reacts to this.

LORNE: You’re giving me a place to hang my hat, and I’m grateful for that. But I can’t ever undo what you asked me to do.

He turns and walks up the stairs with his bags, leaving ANGEL standing.

LORNE (without looking back): I’ll make up a room on the top floor. Keep out of your way.

Scene: Army command centre. It’s very brilliant white, shiny and pristine, with chrome furniture and people in sharp uniforms doing important things at various terminals.

RILEY strides in, noticeably the most blurry-edged in the room. The rest of the soldiers look like they’ve escaped a Wilkinson’s Sword advertisement , but his hair’s ruffled and he’s unshaven.

A bright young soldier strides up to RILEY and salutes him. He has a livid scar down one cheek. This is PALMERSON.

PALMERSON: Agent Finn. Everything is prepared for your inspection. May I say what an honour it is to have…

RILEY holds up a hand in a tired fashion to stop the flood of bullshit.

RILEY: Step down soldier. I’ve been travelling for the past sixteen hours; I don’t need the full civic reception. All I need is my quarters…

He trails off as there’s a commotion at one of the terminals. One of the operators is trying to take a crackly and panicked radio message.

OPERATOR: Say again 73, we did not copy.

RADIO: …too many to fall back. Requesting immediate backup… OH GOD, HELP US!!!

The radio crackles into silence.

OPERATOR: Unit 73. 73! Respond!

RILEY is now standing at the operator’s shoulder.

RILEY: Situation?

OPERATOR: Unit 73’s become separated from the supply chain and are surrounded by hostiles. They’ve been driven into Sector 9S in quadrant four.

RILEY: How far is that from here?

OPERATOR: Only 2 kilometres, but that’s vampire territory…

The radio crackles back into life again.

RADIO: Control, this is 73. Situation is stable, but still extremely hostile. We need that backup a-sap!

RILEY picks up the radio handset and gives the OPERATOR a pointed glance.

RILEY: There’s no such thing as vampire territory in my city. <to radio> 73, hold your position. Backup’s coming.

He turns to PALMERSON who is on his shoulder. PALMERSON looks shocked.

RILEY: Soldier, arrange a unit to extract those men.

PALMERSON: Sir, you can’t send men in there!

RILEY glowers. He looks very dark, the scars all across his face making him look dangerous, and PALMERSON visibly quails.

RILEY: Can’t?

PALMERSON: I mean… Sir, that territory’s swarming with hostiles. It’s suicide to even go in there.

RILEY: I am not ceding any land to those things. This is a human city, you understand me?

He glowers at PALMERSON.

RILEY: I want that unit ready for my command in ten minutes dead. Do we have an understanding?

Scene: Streets of LA, night time. RILEY and a commando unit are quickstepping it, fairly quietly, through town. They’re dressed in black camouflage gear, very similar to that worn in BtVS 6x15 – As You Were.

RILEY slows up abruptly and holds up his fist in the stop signal to the rest of the unit. The unit stops. The SECOND in command casts RILEY an enquiring look. RILEY makes a listen signal. On cue, there’s a quiet noise of glass smashing off to the left. The shot moves to show a figure in the shadows breaking into a shop.

RILEY (quietly): Looters.

The figure opens the door of the shop and slides inside.

SECOND (quiet): Shall I call command for another unit? They could be here in…

RILEY: Negative. They’d be gone before another unit got here. We’ll have to deal with this one ourselves.

SECOND: Sir, we are pressing hard on the RV time.

RILEY: Then we’ll just have to do it quickly.

He unsheathes a retractable baton.

RILEY: We can’t leave this slide, soldier. We’re here to return order to this city.

The door of the shop opens and the figure slides lithely out. RILEY steps forwards, brandishing his baton and shining a torch at the figure.

RILEY: You! Stay where you are and put your hands in the air.

The light plays across the figure’s face. It’s ALEX and her arms are full of food. She glowers at RILEY.

ALEX: You a cop?

RILEY takes another step forward.

RILEY: I said put your hands up.

ALEX pulls a face at him and starts to walk away. As she does, there’s a gunshot and the bullet skips off the pavement just by her feet.

RILEY: I won’t ask again. Hands up.

ALEX turns, looking unimpressed.

ALEX: You gonna shoot me over a loaf of bread?

RILEY: You’re looting in an area of martial law and yes, I will shoot you if you do not raise your hands.

ALEX lifts her hands sarcastically, dropping her food. A tin of something hits the floor and she kicks it as it bounces, sending it flying at RILEY’s head. RILEY dodges and she’s moving, already upon the SECOND before he can draw his gun. He’s out in a second and she grabs him in front of her as a shield from the aimed guns. Then she pushes him towards his comrades, twisting to dodge a bullet and moving to kick the gunman in the head.

RILEY recovers and swings his baton towards her. She catches it just before her head and twists, kicking out at another attacking soldier before blocking RILEY’s counter-punch and throwing him across the alleyway. Another soldier attacks and runs straight into a right jab and lightning left cross. He crumples and ALEX turns to be faced by two soldiers aiming guns at her.

RILEY (shouting): Hold!

The soldiers freeze, still aiming at ALEX and she looks at them uncertainly. RILEY stands and walks in front of her, staying out of punching range.

RILEY (to soldiers): Lower your weapons.

They do so, but ALEX still keeps a fighting stance.

RILEY: We need to talk.

ALEX: Really don’t.

She starts backing away, keeping a wary eye on the soldiers.

RILEY: Oh come on. It’s been a time since I’ve spoken to a vampire slayer.

ALEX stops moving and looks at RILEY suspiciously.

ALEX: How do you know about Slayers?

RILEY: Well, that’s a longer story than you’d want right about now. I know enough to know that you and me are on the same side.

ALEX: We are, huh? So that whole shooting me for bread thing was just a big misunderstanding?

RILEY: Person like you got all sorts of skills they can use afore stealing.

ALEX (most enthused): So I could really join you guys? Learn to shoot other people for bread? <back to sardonic> I’m sure I’ll live without.

RILEY: Why not? You’d be doing what you do anyway, just without having to worry about funding yourself.

ALEX (incredulous at choice of words): Funding?

RILEY: Fight the good fight, on your terms.

ALEX thinks and walks slowly towards RILEY.

ALEX: So, you guys ‘fight the good fight’? Kill demons?

She gets face to face with him. Well, as close as she can get considering the height difference. Suddenly, she lashes out, slapping him lightly, but swiftly around the face with an open hand. RILEY looks sheepish.

ALEX: You didn’t even see that, did you? What good are you?

RILEY: Everybody’s stronger together. Alone gets you nowhere but dead.

ALEX: No, alone gets me uncomplicated. And that’s the way I like it.

She stalks off, past RILEY and the soldiers, and out of the alleyway.

Scene: Streets of LA, just coming up to dawn. ANGEL is walking back to the Hyperion, taking in the sights of the much abused city.

We get a brief montage of him looking serious against a sweeping backdrop of people struggling, in the same style as the one in 1x01 - City Of. They’re just emerging from their homes – it’s light enough to give them confidence, but it’s obviously false confidence as it’s not frying ANGEL yet. Families are repairing the damage done to their homes, vigilantes are tooling up for the day and there are people preparing to bury the newly dead. ANGEL watches and looks sombre.

The music is quiet, melodic and subdued as ANGEL walks, lost in his own thoughts, just metres from the Hyperion. We pull out from our view of ANGEL, traversing up the side of a building, where we see a shadowy figure on a fire-escape. The figure looks down at ANGEL and then leaps, lithely hopping over the guardrail to land nimbly right at ANGEL’s feet in a squat. ANGEL almost stumbles over it and looks down in surprise. It’s a CYBERNINJA, dressed in all black clothes, black balaclava and carrying the typical chain.

Before ANGEL even moves, the CYBERNINJA puts all its weight on its hands, kicking up to plant both feet in ANGEL’s face, making him stumble back into CYBERNINJA2, who has appeared from nowhere without making a sound. CYBERNINJA2 grabs ANGEL by the throat and squeezes. This turns out to be a bad move, as ANGEL grabs CN2’s arm and uses it to flip it over his head and into CN1. He smiles with satisfaction and moves to finish them off.

He’s interrupted by a chain wrapping around his ankle. It’s pulled violently backwards by CYBERNINJA3, pulling ANGEL off his feet. CN3 then swings the chain, twirling ANGEL around by his foot, before letting go and sending him flying into a nearby building. The populace scatters. ANGEL comes up snarling, in full vamp-face.

ANGEL: I was hoping you’d come back.

He attacks and we blipvert into:

Scene: Hyperion Hotel lobby. WESLEY is sitting on the circular settee, looking at his hands with great concentration. He looks very bedraggled – completely unshaven, hair unkempt, bloodshot eyes.

WESLEY: You’ve just got to focus on what’s real. Nothing else matters.

Beat.

FRED (O/S): Nothing?

He stands and turns to see FRED standing the other side of the settee. She looks at her absolute prettiest and the bright sunlight coming through the open lobby doors seems to surround her in a corona. WESLEY smiles.

WESLEY: Well, there is that.

He walks towards her, placing one hand on the small of her back to pull her in for a deep, long passionate kiss. FRED responds with equal passion. Then suddenly they break apart.

WESLEY: You can’t ignore the little details you know.

They both look with perfect synchronisation towards the dais and steps in front of the main Hyperion doors. SPIKE is sitting there in the streaming sunlight. He yells and holds at his head in true vision-style.

FRED (curious): How did that happen?

WESLEY: It’s all terribly simple. All we have to do is ignore it and it’ll go away.

They kiss again. The light they’re standing in darkens and there’s a huge roll of thunder. FRED looks worriedly towards the doors. SPIKE is no longer sitting there and the doors are now shut. Rain is pelting against the glass and there’s a flash of lightning outside.

FRED: Is it time yet? Has it come?

WESLEY: Shhh.

He places a finger to her lips.

WESLEY: Focus.

He spins her around and they kiss again, very deeply, entwining against one another as they fall back onto the circular settee, FRED under WESLEY. They kiss some more, hands wandering and, as the viewpoint moves from one side of Wesley to the other, FRED’s clothes disappear like magic (although we see no more than a few hints of bare skin).

There’s another rumble of thunder and WESLEY looks up in front of him. The lobby goes on for a few metres in front of him and then stops, segueing smoothly into the bridge from 6x05 – Undone. The stone plinth that WESLEY performed his spell on is being pelted with rain and WESLEY stares at it curiously.

FRED notices that his attention is off her and twists, trying to see what he’s looking at.

FRED: What? What is it?

WESLEY looks back down at her and smiles. She smiles back, reassured.

WESLEY: It’s nothing.

They continue kissing, but the camera leaves them, moving down to follow WESLEY’s hand as it picks up a knife from the floor. The black-bladed obsidian knife from 6x05. He grips it firmly in his hand and we see him break from FRED to look down and smile at her. Then he slashes viciously, cutting off her scream with the motion of the knife (O/S). He look down, smiles and speaks, but it’s ANGEL’s voice that comes out of his mouth:

ANGEL (V/O): It’s nothing at all.

Scene: Still the Hyperion Hotel lobby. There’s a brief split-second of WESLEY lying asleep on the circular settee, before he bolts upright, leaping off the sofa and launching himself at the poor unfortunate figure who’s nearest to him, which happens to be LORNE. This all happens so fast that it’s practically a continuation of the last scene.

WESLEY: No!

His leap takes the figure down and WESLEY’s hands are at his throat before a second’s past. LORNE struggles, but WESLEY’s grip’s too strong for him to even get a word out.

There’s a beat and then WESLEY relaxes, releasing LORNE’s throat.

WESLEY: Oh. Sorry.

He gets up and sits sedately back down on the circular settee. LORNE holds his throat gingerly, moving to a sitting position.

LORNE: Nice welcome. Wouldn’t “Hello” work just as well?

WESLEY: I thought you were someone else.

He gives LORNE a curious look.

WESLEY: Can I do something for you?

LORNE: I was going to ask you the same question before you started grappling for my windpipe. What were you doing down there?

WESLEY (as if obvious): Sleeping, I suppose.

LORNE: You came all the way over here to bunk down on the couch?

WESLEY: No, I came all the way over here to… <breaks off in confusion and stands up> Where’s Angel?

LORNE: He’s out, I guess.

WESLEY: No, no, he was here. Just a second ago. <getting agitated> I have to warn him.

LORNE: He’s not here Wes.

WESLEY: I have to tell him. Something’s coming!

LORNE: Wes, calm down. What’s coming?

The main doors to the Hyperion open and both WESLEY and LORNE turn their heads as a girl walks in and looks around expectantly. She’s about 20 years old and she looks very, very scared. This is CAROLINE.

CAROLINE: Excuse me. Is this Angel Investigations?

Suddenly, from the opposite lobby doors smash as a flying ANGEL is thrown in. He skids across the floor and LORNE has to leap out of the way to avoid him. ANGEL slides to a stop at WESLEY’s feet. WESLEY is still looking at CAROLINE, who looks even more scared than she did before.

WESLEY <still looking at CAROLINE>: War. <looks at LORNE> War is coming. <down at ANGEL> In fact, I think it might’ve just arrived.

Fade out/Fade in

A CYBERNINJA struts through the broken doors, twirling its chain threateningly, focussed solely on ANGEL. ANGEL picks himself up, looking exceedingly pained and weary. He catches the twirling chain with one hand and uses the other to try and punch CN1. CN1 blocks ANGEL’s punch and headbutts him with a metal clang, raising its foot to kick him in the stomach. ANGEL reels back into WESLEY, who catches him, just keeping him on his feet.

WESLEY (as if this is very helpful advice): I wouldn’t let him do that again if I were you.

He pushes ANGEL back toward CN1, who twirls to backhand him in the face. ANGEL ducks the second punch, uppercutting into CN1’s ribs three times in quick succession. CN1 attempts another punch, but ANGEL grabs his arm, spinning around to hurl CN1 out, through the broken doors, and into the garden, which is now reasonably brightly lit.

CN1 sprawls across the ground. ANGEL charges to the door to finish it off, but is baulked by the brightened sunlight. He stops still at the edge of the shade, sending evil glowers out at CN1, which is just getting to its feet. Then he notices that smoke is rising from it.

CN1 staggers about a moment and then looks up at the rising sun. The smoke is increasing and flames rise from its upper chest, arms and legs. Small, localised flames lick across these areas and the black outfit starts to smoulder and slowly burn away. The flames grow, although still confined to specific areas and CN1 screams. Then it slowly collapses into itself, forming a pile of steaming metallic and fleshy rubble. The whole thing has taken about ten seconds.

ANGEL: Well now. Isn’t that interesting?

Scene: Back in the Hyperion lobby. ANGEL limps in and collapses down on the settee. He looks exhausted.

WESLEY (to LORNE): You see? War.

ANGEL: What war?

WESLEY: The one that’s already happening. Out there. I’ve found reports from all over the city. There’s a lot of things to tell you.

CAROLINE: Excuse me?

Everyone turns.

CAROLINE: Normally I’d ask if this was a bad time, but I’ve got nowhere else to go.

LORNE looks around at ANGEL and WESLEY, obviously expecting them to spring into action. But ANGEL doesn’t move and WESLEY is still standing by ANGEL, waiting to tell him all the news.

LORNE: Guys?

ANGEL: Maybe you’d better deal with this one Lorne. <looking at WESLEY> If things’re as bad as Wesley says, then I think I may be needed elsewhere.

LORNE pats CAROLINE’s arm and smiles at her.

LORNE: I tell you what sweetpea, why don’t you go and park yourself in that office over there while I just check on something.

CAROLINE goes to the office and LORNE waits until she’s gone before striding down the steps to confront ANGEL.

LORNE (quiet hissing): First of all, let’s just remind ourselves of a little conversation we had some months back. I don’t work for you anymore, remember?

ANGEL: So?

LORNE: So, I’m not your flunky to be ordered around anymore!

ANGEL: Look Lorne, I’ve got to deal with what’s in front of me. I cant be in more than one place at one time  and right now, I’m needed elsewhere. <turning towards WESLEY> Wes, I’m gonna need to know details of the players...

LORNE fumes, grabbing ANGEL’s arm to turn him back again.

LORNE (very annoyed, but still trying to keep quiet): What in the name of Julie Andrews is wrong with you? That poor girl needs help.

ANGEL: Which I’m sure that you can give to her. I have other things to deal with. <starts to turn back to WESLEY>

LORNE: Looking at the big picture, right?

That stings ANGEL and he turns back.

LORNE: That girl’s problems should be our problems. We’re supposed to be helping these people, not ignoring them.

ANGEL: And the best way I can help them is by stopping a war. If I don’t deal with this, then that girl will be one of the ones caught in the crossfire. I’ve got to go where I’m needed most.

LORNE: And try not to notice the travails of those stuck under your feet? Boy, that was a short epiphany.

ANGEL: I’m sure you can help her with her problem.

LORNE: Again! I don’t work for you anymore!

ANGEL: Then don’t help her.

LORNE reacts to this blunt statement.

ANGEL: I’ve got to deal with this.

He leads WESLEY away, leaving LORNE bewildered in the middle of the lobby. Then he turns towards the offices.

Scene: Hyperion Offices. LORNE enters and wanders round to the desk, choosing to perch himself on the edge rather than sit behind it. CAROLINE looks up at him hopefully.

CAROLINE: I’m sorry for interrupting… whatever was going on out there. I don’t know anywhere else to go.

LORNE: Don’t you worry yourself. You’ve got my full attention.

CAROLINE: So, you’re still Angel Investigations?

LORNE tries to work out how to answer this, but fails to find words

CAROLINE (off his consternation): Okay.

LORNE: It’s complicated.

CAROLINE: But you do still help people right? I mean, you protect people who are in danger, right?

There’s an awkward silence as LORNE again tries to work out what to say.

CAROLINE: Is that complicated too?

LORNE: It’s… We’re going through a bit of a trans… We’re… So, yes, complicated.

LORNE takes a deep breath and composes himself, trying to find something apposite to say. He eventually settles on:

LORNE: So, how’d you find out about us?

CAROLINE: I found this a couple of days ago.

She pulls an yellow Angel Investigations flyer from her bag, paperclip logo and all.

LORNE (surprised): Where’d you dig that up?

CAROLINE: They’re everywhere around town. <beat> You didn’t make them?

LORNE: Not that I know of.

He takes the flyer from CAROLINE and looks at it curiously.

LORNE: I haven’t seen one of these in near three years.

CAROLINE: I got this one from the hospital. There’s a whole stack there.

LORNE: Oh. Well, how come you were at the hospital?

CAROLINE: My dad died last week.

LORNE: Oh sweetie, I’m sorry.

CAROLINE: Something… something killed him. And I think it’s coming for me.

LORNE reacts.

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