Darth Masq, Sith Lord of Philosophy (![[info]](http://p-stat.livejournal.com/img/userinfo.gif){kind=small} masqthephlsphr) wrote in ![[info]](http://p-stat.livejournal.com/img/community.gif){kind=small} orlon_window,@ 2005-08-06 07:02:00 |
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| Current mood: |  brooding |
The Life of Reilly, Part 1 (airdate Mar. 09, 2005)
| The Life of Reilly Part 1 (August 05, 2005) Written by: Masquerade |
| Teaser |
EXT. BACK PARKING LOT - CHURCH OF THE MOST HOLY TRINITY - EVENING
PANNING - empty save for two run-down cars in the far corner. Connor stands slumped, staring out across the lot, his make-shift stake on the ground at his feet. Faith is just outside the back door of the church, propping up the sagging, wounded Slayer Julie. Julie has a dark stain on her shirt. She winces and inhales raggedly. Faith casts her a worried glance, then aims a glare at Connor.
Connor!?
Connor glances back. CLOSE-UP on his face - a mixture of stunned shock, anguish, and acknowledging guilt. He says nothing.
(disgusted)
I don't have time for this.
She starts walking a hobbling Julie forward.
Just then, HEADLIGHTS ARC into the parking lot.
CUT TO a CLOSE-UP looking through the front windshield of the car as it pulls into the lot. It's Faith's Impala. ANGEL is at the wheel.
Connor's eyes rise to the car.
The car comes to a halt. Angel jumps out, leaving the engine running, and helps Julie into the back seat. He gives Connor a puzzled glance.
Connor?
Connor turns and bolts out of the lot.
(to Faith, concerned)
What happened?
FAITH
(opening the driver's side door)
I don't know and I don't care.
She climbs inside.
Angel compresses his lips, then turns and walks quickly over to the edge of the parking lot.
His POV - looking downhill at the dim-lit RESIDENTIAL STREET. A CAR headed towards the church STOPS, its headlights beaming. In the bleed off the lights, we can see Connor's gangly silhouette. He opens the passenger side door and gets in.
Angel stands there a moment, his expression pensive. We hear the soft squeal of brakes and an idling engine.
Yo, Angel! Are you coming?
Angel turns and heads over to Faith's car.
BLACK OUT.
 |  |  |
CONNOR REILLY walking to classes, killing a vampire
Vincent Kartheiser
FAITH THE VAMPIRE SLAYER, fighting in the SLAYER TRAINING ROOM with
Connor
and REPORTER AIDEN WALSH, pulling his CAMERA away from his face.
Sean Maher
Jim Abele
Adrienne Brett
Emma Hunton
Andy Hallett
Megalyn Echikunwoke
and
James Marsters
Juliet Landau
David Boreanaz
Julie Benz
INT. FRONT HALLWAY - REILLY HOME - DAY ("FLASHBACK")
SUPER LEGEND: May, 2003
A nicely tiled foyer with rustic wood trim on the walls. The FRONT DOOR OPENS. The Reillys--a longer-haired Connor, Connor's aunt, Doreen, Colleen, and finally Lawrence--enter the house one by one, talking and laughing. Connor is dressed in nice slacks, a button-down shirt, and a tie. He has a BLUE ROBE slung over his arm and a square, tasseled GRADUATION CAP in his hand.
(to his aunt)
You're staying for dinner, right?
AUNT
(raising a wine bottle)
I wouldn't miss toasting my favorite nephew.
CONNOR
(with a chuckle)
I'm your only nephew.
DOREEN
(eyeing the wine bottle)
Do I get to have some of that?
AUNT
How was the big party last night?
Colleen's eyes flit over to her son.
(in a mock-reprimanding tone)
I seem to recall hearing a door squeak at
three a.m.
Lawrence shuts the front door behind them.
INT. FAMILY ROOM/DEN - DAY
Brightly-lit and homey. The mahogany shelves are filled with books, trinkets, and family photographs--school portraits and framed snapshots of the family.
Connor's aunt sets her wine bottle on the coffee table and raises the camera slung around her neck.
One more picture!
CONNOR
(with good humor)
Jeez, not another one. I want to change!
Doreen plops down on the large leather couch.
Connor sets his unframed diploma and cap down beside her, then slips his gown over his shoulders and pops on the cap. He picks up the diploma. Lawrence's hand settles on his shoulder.
(with a squeeze)
I'm proud of you.
CONNOR
It's just a high school diploma. Everyone has one.
LAWRENCE
Not everyone. And not everyone's going to Stanford.
CONNOR
I haven't definitely decided on Stanford yet.
I still have a month or two.
LAWRENCE
But you have choices, Connor.
And that's why I'm proud.
Connor smiles at his father, then sits down next to Doreen.
His aunt is on the other side of the coffee table. She waves Connor's parents over to the couch.
C'mon. Squeeze in.
Colleen and Lawrence sit down next to their kids.
Let's see that diploma.
VIEW THROUGH AUNT'S CAMERA - Dad, Mom, Connor, Doreen, squeezed together on the couch, smiling. Connor holds up his unframed diploma. The image FREEZES in the light of the flash.
Slowly, we PULL BACK to see that we are now looking at a FRAMED PHOTOGRAPH sitting on Connor's bookshelf.
INT. CONNOR'S APARTMENT - EVENING
PAN AROUND to the front door. Connor stands there with his hand on the light switch. His face is grim. He closes the door.
QUICK FLASH -
The church parking lot. Darla walks towards him, head tilted, smiling.CONTINUOUS - Connor's GRIM EXPRESSION.
Finally he blinks, focusing in on the room.
PANNING - it's just as he left it--books and notebooks spread out on the kitchen table, his book bag limp on the couch. Shoes tipped over on the living room floor.
Connor crosses to the table almost mechanically. His eyes dip to his books.
QUICK-FLASH -
Darla's delicate features twist into the wrinkled forehead and fangs of a DEMON. She closes in on Connor, taunting him.CLOSE-UP on Connor's hands, gripping the edge of the table. TREMBLING.
His face contorts with pain. He GRABS a textbook off the table and HEAVES it into the corner beside the stove.
Aauuhhhhhhhhhhhhhhhh!
Then he HEAVES ANOTHER. Then he UPTURNS THE ENTIRE KITCHEN TABLE and KICKS IT, HARD. It SLAMS against the kitchen cabinet and SPLITS IN TWO.
Connor throws his head back, gasping.
His POV - the CEILING.
Slowly, he circles around, face crumpling, and sinks to the floor.
FADE TO -
CLOSE-UP of a TRANSPARENT PANE OF GLASS. We see Faith's dim reflection in it. Her expression is solemn.
Then the FOCUS SHIFTS so we can see THROUGH THE GLASS at what she's looking at. It's JULIE, lying in a bed, hooked up to an I.V. line and machines monitoring her vital signs.
INT. HOSPITAL INTENSIVE CARE UNIT - EVENING
LONG SHOT of the CORRIDOR - Faith stands gazing through a window. Beyond her are more rooms with critical patients in them, also set behind glass. A nurse bustles down the corridor passing Angel, who strolls towards Faith carrying two cups of coffee.
He halts at Faith's side and hands a cup to her.
(looking in)
How's she doing?
FAITH
It wasn't deep. It cut into her breast bone,
but no, you know, vital...stuff.
Faith takes a sip of her coffee and lowers the cup. Her jaw stiffens with anger and determination.
Angel, I want you to tell me everything
you know about Drusilla. And I mean everything--
(her head snaps towards him)
what she wants, how she thinks
--if that's even possible--
and what the hell it's going to take to
bring her down.
Angel's brow knits.
Faith, you can't blame yourself for--
FAITH
(angrily)
She killed two of my girls--almost
three--just because they got in her way!
(her jaw stiffens again)
And I've stood around hoping Spike, and then
you, would take care of her.
CUT TO Angel, frowning, but listening.
Well, now she's got Spike.
She's got the Amulet and the orb....
And there's a really good chance she'll get you, too.
There is silence between them for a beat.
Then you already know what she wants.
A nurse walking by throws them a reprimanding glare.
(low)
Let's go for a walk.
CUT TO - EXT. CEDARS SINAI MEDICAL CENTER - EVENING - STOCK - ESTABLISHING
Traffic passes under the large glass main building.
EXT. TERRACE - CEDARS SINAI MEDICAL CENTER
Angel and Faith stroll past empty benches clutching their coffee cups.
Angel, I should be the one to get
the Amulet and the orb, not you.
ANGEL
I can get immunity to the orb.
I know a shaman who deals in these kinds of things.
Faith stops and stares Angel down, bringing him to a halt.
Yeah, and what if you can't?
Angel gazes at her levelly. Faith throws out her hands.
All I'm saying is, this is my fight as much
as it is yours. So why take that chance?
Angel frowns thoughtfully.
Faith brings her cup up close to her lips. She looks uncomfortable.
It's because you don't trust me.
Angel gives her a quizzical stare.
Of course I trust you.
What makes you think I don't trust you?
FAITH
(eyeing him)
The Syndicate. Drusilla.
All the other crap going on in this town.
You think I can't handle it.
ANGEL
(baffled)
When did I say that?
FAITH
You didn't have to.
You don't think I can handle it.
ANGEL
(scoffing)
Of course I think you can handle it!
You've been handling it.
(long reflective pause)
It's just...now I'm here to help.
Faith looks away. She takes a sullen sip of coffee.
(reassuringly)
Faith, I'm not trying to step on your toes.
I realize you've spent the last year
establishing the Council in L.A.,
but I spent five years before that getting
to know this town pretty well.
Faith's face is expressionless.
We're on the same side here.
You have the Slayers you've trained,
I'll have my friends back soon.
Then we'll take on whatever this town
throws at us. Together.
(he smiles wryly)
I do have some expertise in bringing
down multi-billion dollar criminal organizations.
And an in with the police officer in charge
of the Syndicate investigation.
(his smile fades)
And no one knows Drusilla better than I do.
Faith's eyes finally rise back up to him. She wanders over to a trash can and tosses her coffee cup away, then pivots around.
All right. You can start by telling why she
has such a big Jones for Connor.
ANGEL
(uncomfortably)
I can't tell you that.
Faith scoffs at him.
(defensively)
Not because I don't know. And not because
I don't think you should know.
(an awkward pause)
It's just...personal.
FAITH
(not impressed)
Oh, it's personal!
Angel shifts on his feet.
What I mean is, you're going to have to ask Connor.
It's not my place to tell you.
Faith chuckles. She lets out a long, slow sigh.
Fine.
Then tell me about Drusilla.
(she looks him in the eye)
What's she going to do next?
INT. CONNOR'S KITCHEN - EVENING
Connor sits where we left him. He has his knees drawn up; his arms rest across them. He stares across the room stonily.
CLOSE-UP on HIS FACE, which then BLEND/FADES INTO -
The face of DARLA.
Her expression is wary and lost.
EXT. A BRIGHTLY-LIT PEDESTRIAL MALL - EVENING
WIDE SHOT - families, teenagers, singles, and couples stroll past boutiques or sit chatting on benches. The air is filled with their voices and laughter and the soft thud music from the nearby Planet Hollywood. Darla wanders the thoroughfare, hands clutching her elbows, still dressed in her long white gown. A large woman bustles up behind her and jostles her shoulder. A greasy-haired MAN in a leather jacket gives Darla an appreciative once-over, his gaze ending at -
CUT TO - Darla's BARE FEET.
Darla passes him, casting one discreet, aloof glance back.
The man turns to a friend standing beside him and nods towards the receding Darla. The second man smirks and scratches his beard stubble. He shoves his hands in the pockets of his plaid coat. The two them start forward.
Their POV - Darla moves through the crowd ahead of them. After a moment, she glances back again, her expression wary and puzzled.
The men continue their stroll.
Darla picks up her pace, looking around apprehensively. People wander by, shopping and talking. With one last quick glance behind her, Darla cuts down a SIDE STREET that crosses the pedestrian mall.
A moment later, the men reach the intersection, turn onto the side street, and SLOW.
EXT. SIDE STREET - EVENING
Their POV - not as well-lit and deserted. An asphalt road and office buildings. There is no sign of Darla.
(whispering)
Where'd she go?
FIRST MAN
She's slippery.
The second man guffaws.
They walk in silence for a moment, then -
CUT TO - a RECEDED BUILDING ENTRANCE ahead of them. Darla peeks out from it cautiously.
Her POV - the MEN.
Her eyes widen. She lowers her head quickly and starts up the sidewalk, keeping a brisk but unpanicked pace.
The men stride forward until they are within a few feet of her.
(making kissing sounds)
Hey, baby.
Darla doesn't look back. She keeps walking, passing an alley. As she does, the first man LUNGES AT HER, grabbing her arm and SWINGING HER AROUND into the mouth of the alley. Darla GASPS.
(voice low and playful)
Why are you being so unfriendly?
Darla wrenches away from him and steps back. She stares between the two men.
(voice shaking)
I--I have mace.
FIRST MAN
(frowning comically)
Now that's definitely unfriendly.
(to the second man)
Don't you think that's unfriendly?
The second man nods matter-of-factly. His eyes slide over Darla.
His POV, PANNING DOWN - a tiny woman with no purse and no pockets.
With a high-pitched grunt, Darla TRIES TO PUSH THROUGH THEM. They block her way, laughing. The second man seizes her arms and holds her in place. Darla struggles. The first man PULLS A KNIFE. He brings it up to her throat. Darla raises her chin and FREEZES. Her eyes sink towards the blade.
That's better.
(he traces her throat with the blade)
Now...which one of us would you like to get
to know first?
Darla's eyes rise to him. She smiles wryly.
Her FACE GOES VAMP.
Oh, I don't know...I kind of like
the quiet ones myself.
The men gape at her in horror.
Darla reaches out for the first man and THROWS HIM HARD AGAINST THE WALL. He HITS it head-first and slumps to the ground. Then she GRABS the second man by the hair and YANKS his head to one side, exposing his throat. She pauses and looks back down at the first man.
(voice low and sultry)
But don't worry. You'll get your chance.
I'm real friendly that way.
EXT. CONNOR'S APARTMENT BUILDING - NIGHT
Connor's LIVING ROOM WINDOW glows behind closed blinds, the BEDROOM WINDOW, behind curtains. We are looking at them from over the shoulder of a DARK FIGURE.
CUT TO - ANGEL, leaning against a tree that stands near the curb in front of Connor's building. His hands are deep in his coat pockets. He looks undecided.
CLOSE-UP - the lights from the building reflect on his face. Then the reflection dims just a little.
His POV - Connor's living room window has gone DARK. A moment later, the bedroom light goes off as well.
Angel stands tall. He gazes at the building for another few seconds, then pivots and starts down the sidewalk. We see the building in the background behind him as he passes out of the frame. HOLD on the building, then -
TIME FADE into MORNING. The sky beyond the apartment building grows lighter and lighter, but not bright. The morning is overcast and gray.
The front door OPENS. Connor steps out, his book bag slung over his shoulder. He starts down the front walk with a downcast gaze.
Arid's slow, haunting "All Will Wait" starts as we FADE-CUT TO a MONTAGE OF SCENES -
INT. HOSPITAL ICU - MORNING
A weary-looking Faith sits in a chair watching Julie sleep. She glances at her watch, pushes her hair out of her face, and slowly rises to her feet.
CUT TO - INT. FAITH'S APARTMENT - LATE MORNING
Faith throws her denim jacket onto the bed and starts around to her wardrobe. Then she pauses as something CATCHES HER EYE -
The blinking ANSWERING MACHINE.
She walks over to it, hits play, and crosses around her bed again, pulling her shirt off. She is just about to yank a fresh shirt out of the wardrobe when the answering machine draws her attention again. She SCOWLS at it. Still in her sports bra, she stalks over to the kitchen counter and snatches up the phone. She stands holding it, her finger frozen over the buttons. Then she TOSSES THE PHONE AWAY.
(inaudibly)
Fuck!
It skitters across the counter and SMASHES against the wall several meters away.
She KICKS the counter cabinet. The cheap wood CAVES under the force of her foot, leaving a GAPING, SPLINTERED HOLE.
Faith whirls around and throws herself down on her bed. She pulls her cell phone out of her jacket pocket and starts jabbing buttons.
FADE TO -
EXT. A HALFWAY HOUSE - WESTLAKE DISTRICT - NOON
A once-affluent 1920's era home, later subdivided into apartments and now another run-down building in a run-down neighborhood. A prematurely aging thirty-something WOMAN in a waitressing uniform trudges towards the front steps. She looks up to see someone approaching the steps from the other side.
Her POV - AIDEN, a book bag slung over his shoulder. He gives her a sympathetic smile.
CUT TO - INT. BEDROOM - HALFWAY HOUSE
Two single beds with an end table between them topped with a cheap lamp. The woman is sitting on one of the beds. Aiden is in an old plaid armchair. The woman gestures at the back of her hand with a finger. Aiden scrutinizes it curiously, then sketches something into his reporter's notebook.
INSERT - the SYMBOL he's drawn on the lined page -
The woman's face crumples with grief. She buries her face in her hand.
FADE TO -
A CLOSE-UP of eight-year-old ANTHONY, his face cherubic and serious.
EXT/INT. CHURCH OF THE MOST HOLY TRINITY - AFTERNOON
A SERIES OF QUICK CUTS -
a dead demon in the nave; a dead demon in the side yard; a dead demon in the back roomINT. CHURCH BASEMENT
WIDE SHOT - Anthony stands beside the Kailiff demon Mach, soberly taking in the sight of two dead Grappler demons. He kneels down and pinches up some vampire dust in his fingers. Then he stands and fires an order at another thug-like demon behind him. The demon nods and starts quickly up the back steps.
FADE TO -
In CLOSE-UP - the AXIS OF PYTHIA, an ornately-carved METAL ARCH set in a cylindrical base. The interior of the arch is GLOWING, but the glow begins to fade as we look at it, until we see nothing within the arch but the edge of a wooden desk across the room.
INT. SPECIAL COLLECTIONS OFFICE - L.A. MUSEUM OF CULTURAL HISTORY - AFTERNOON
WIDE SHOT - MISTRESS MEERNA sits in front of the Axis, talking as Angel paces behind her. He skirts the patch of sunlight pouring through the high windows, a curled finger raised to his lips. Meerna finishes what she is saying and turns to look at him. Angel's expression is DARK AND FRUSTRATED.
FADE TO -
EXT. BRUIN WALK - UCLA - AFTERNOON
The WIDE PATHWAY that cuts across campus is scattered with people. Among them, we can see Connor's friend Dave, Dave's girlfriend Amy, and another girl engaged in avid conversation. Connor plods along beside them, gazing around himself, lost in his own thoughts.
His POV - a gray sky, campus buildings, the gnarled branches of trees. Faculty and students with bags and books MOVE IN SLOW MOTION - reading, talking, and passing in both directions on their way to class.
END SLO-MO - Connor's friends break into laughter. He glances up at them briefly, then goes back to brooding.
BLACK OUT.
EXT. A STEEP WOODED SLOPE - DAY ("FLASHBACK")
Four nine- and ten-year old boys RACE DOWN a rocky leaf-and-gravel-covered slope under a canopy of oaks and redwoods, slipping, skidding, and laughing.
(with a giddy grin)
Go, go, go!
In the middle of the pack is a ten-year-old CONNOR, his backwards Dodgers baseball cap slightly askew and his face, knees, and arms smudged with DUST. He throws an anxious glance back, then continues down with the others, breaking into a grin.
INT. REILLY HOME - DAY
The grandfather clock ticks in the foyer. The front door opens. Young Connor peeks his head in, then slips in the door and shuts it behind himself. He exits into the back hallway and starts up the stairs.
Connor. Please come in here.
Connor pauses on the steps. He brushes dusty hands on his pants.
CUT TO - INT. LIVING ROOM
Soft indirect sunlight filters through sheer white curtains. A youngish Colleen Reilly is standing in front of the couch.
Connor enters the room.
What's up, Mom?
Colleen sits down next to Connor's father.
Connor looks between the two of them. He shoves his hands into his pants pockets and fidgets, shifting his weight from one foot to the other.
(gesturing)
Sit down.
CUT TO - the ARMCHAIR across the coffee table from her.
Connor twists around and looks at it. He pulls his hands from his pockets, saunters over to it, and sinks down.
Mr. Crawford called. He said he heard what
sounded like firecrackers up by his house.
Do you know anything about that?
CONNOR
No.
LAWRENCE
(with strained patience)
Connor, I went into the garage.
Some of the fireworks we bought for
the Fourth of July are missing.
Do you know anything about that?
Connor grips the arms of the chair. His eyes dip away.
Some of the kids....
LAWRENCE
Yes?
CONNOR
Some of the kids...wanted to set some off.
Lawrence draws in his chin and exhales.
Connor, we bought those fireworks to take to
your grandparents' house. We told you specifically
that they weren't supposed to be set off here
at home. Can you remember why?
CONNOR
(eyes on his shoes)
'Cause there's too many trees and bushes and
stuff that can catch fire.
LAWRENCE
That's right. That's why they're illegal
in the mountains.
Colleen leans forward, setting her elbows on her thighs. Her voice is gentle, but firm.
Not only was it dangerous, Connor,
and against fire regulations, but it was stealing.
Connor's eyes rise, his head still tilted down.
The guys, they just--
COLLEEN
Yes, but you went along with them.
LAWRENCE
(also gentle, but firm)
Connor, you're going to know a lot of people
in your life. Good and bad.
And you know how you'll know the good ones?
The people who are worth being friends with?
(Connor nods quickly)
They won't ask you to do things that make you
uncomfortable. They won't ask you to do things
you know are wrong.
Lawrence rises to his feet.
I'm leaving the rest of the fireworks in the
garage. And I know that they'll be there when
we're ready to go to Grandpa and Grandma's
next week. You know how I know that?
(Connor's eyes dip again)
Because I trust you, Connor.
And I know you're not going to want to spend
the rest of your allowance replacing them.
Are you?
Connor shakes his head.
Lawrence walks over and comes to a halt by the armchair. He squeezes his son's shoulder reassuringly.
INT. UNDERGROUND - SOMEWHERE IN LOS ANGELES - LATE AFTERNOON
STEADY CAM - LONG SHOT down a narrow basement hallway - a concrete floor and drywall. DARLA enters the frame, her back to us, and turns into an open doorway. We follow her into a CLUTTERED BASEMENT ROOM. She winds her way past wood shelves, an old television, wicker baskets, and teetering piles of books.
At the far end of the room is SPIKE, seated in a threadbare armchair, reading the newspaper. He doesn't look up.
She rises.
Darla gazes around and frowns.
(dryly)
Well, as usual you have us hiding in a sewer.
Spike ignores her.
Darla picks up a pair of smudged white slip-on shoes from a nearby vanity table and flips them over, inspecting the soles. She sets them back down.
Tell Dru I'll be in a suite at the Four Seasons.
After I find something decent to wear.
SPIKE
(glancing up)
You might want to rethink that. That Syndicate
outfit tried to kill us last night, if you recall.
DARLA
(breezily)
Tried to kill you, you mean.
If they wanted me dead, I wouldn't be here
at all, would I? Wasn't it one of those
"Syndicate" witches that brought me back?
SPIKE
(snapping his newspaper uncomfortably)
Yeah, well, er...not sure about that one.
Darla circles around, a grimace on her face, and starts to make her way back through the clutter.
But Grandmother!
She turns around again.
DRUSILLA stands behind Spike's chair, pouting.
If you go now, you'll miss the party.
Drusilla gives Spike an affectionate caress on the cheek, then passes behind the chair and over to a small table. On the table is the faintly glowing ORB OF ÃTMA sitting in a chipped ceramic cereal bowl. Drusilla kneels down behind it and reaches out to it with long fingers.
I have special party favor for Angel.
(her eyes rise to Darla)
Pssst, pssst....
Your baby boy's invited, too.
She rises up on her knees, then pauses, frozen, gazing into space.
I think I shall call him "uncle" now....
Darla chuckles derisively and saunters towards her.
If you mean that parasite Angel knocked me up with,
I've seen him. He's a pathetic shadow of his pathetic father.
Why you'd want to turn that into a vampire....
Drusilla stands, her dark eyes on Darla.
But the beast's already there, inside.
She CLAWS at the air with TALON-SHARP NAILS.
(condescendingly)
Dru. Honey.
I know you're all excited about this
little family project of yours,
but believe me, no one else cares.
Darla pauses and peers into a cardboard box. She pulls a tanned leather HANDBAG.
Spike's only going along with it because he's
never learned to stand up to you--
(Spike throws her a frown)
--and Angel, despite all evidence to the contrary,
isn't stupid enough to fall into your trap.
(she sighs and sets the bag down on a crate)
And I--
Drusilla wanders over to her.
(voice sultry and sing-songy)
Can't wait to see if I pull it off....
Drusilla picks up the handbag and circles around with it.
Darla scoffs.
And spend any more time in this rat-hole?
I don't think so.
Drusilla picks up a heavy silver hairbrush from the vanity.
(examining it)
Your heart burns with curiosity....
And hope.
She slips it inside the handbag.
Darla grimaces and presses her fingertips to her chest.
That's the greasy low-lifes I had to eat
for breakfast.
(she plucks the bag out of Drusilla hands)
I'm off to order room service now.
And with that, she pivots and exits the room.
Spike flips a page in his newspaper.
Well, that settles that.
Drusilla gazes after Darla.
Not in the least.
She drifts towards the door and stops.
(murmuring)
Say what you must, Grandmother.
You forget your own words.
STEADY CAM - our view moves away from Drusilla, out the door and down the austere hallway. As it does, we hear Drusilla's voice drifting with us -
"What we once were will inform all that we have become...".
At the end of the hall is an open door, and beyond it, murky shadows. We hear the soft clang, clang of metal.
"The same love will infect our hearts....
...even if they no longer beat."
Drusilla wanders back to Spike and circles slowly around him, her fingertips caressing his chair.
Distantly, we hear Darla's voice echo through the sewer.
(irritably)
I never said that.
CUT TO Spike, who lowers his paper.
Should I go after her?
DRUSILLA
She'll be back.
She pouts down at him.
But you don't want her here.
Or Angelus.
Spike looks back and up at her with guarded curiosity.
His POV - her dark eyes bore into his.
I know.
She leans down and kisses his cheek.
(murmuring against it)
But you'll see, my sweet.
This time...it will be different.
EXT. FAITH'S APARTMENT BUILDING - LATE AFTERNOON
Connor's car pulls up to the curb. He stares over at the building.
The Slayers Kelly and Isabel are out on the sidewalk, sparring. A few neighborhood boys watch their kicks, punches, and blocks with coy interest. Connor exits his car.
CUT TO - INT. BASEMENT HALLWAY
OVER THE SHOULDER CAM - he heads down the stairs and through the basement hallway towards Faith's OPEN APARTMENT DOOR. We can hear voices and a steady squeaking thudding. Connor stops just short of the doorway.
CLOSE-UP - he eyes it warily.
Then he proceeds forward.
INT. FAITH'S APARTMENT
PAN THE ROOM - Faith's bed is gone, clearing out an open area of floor now occupied by SEVERAL MORE SLAYERS. They are milling about--standing, leaning against the desk, sitting on the floor--chatting amongst themselves. At the kitchen counter is the witch VAUGHNE. She opens a lap top computer and sets it down. AIDEN is on the barstool next to her, pulling his notebook out of his book bag.
Anthony's mom said he had some kind of tattoo
on his hand the last time she saw him.
(he shows Vaughne his sketch from Act 1)
We can cross-reference it with possessing entities.
Vaughne nods.
At the far end of the room is FAITH. Her MATTRESS AND BOX SPRINGS are propped up against the wall beside the bathroom door. She THROWS A FIST at the mattress with an irritable scowl on her face. Then she stops and turns towards Aiden and Vaughne.
Whoa. What are you guys doing?
AIDEN
(glancing at her)
Just surfing some paranormal websites,
searching for information on the--
Faith reaches out for the computer and snaps it closed. Her eyes dart to the assembled Slayers.
(furtively)
Not here, O.K.? Not right now.
Then she notices that Aiden isn't looking at her. She turns around.
CUT TO Connor, gazing at her from the doorway, hands deep in his jacket pockets.
I need to talk to you.
Faith frowns and turns back to the mattress.
Not the best time, chump.
She takes another swing at it, and another.
(scowling)
The fucking Council--
(thud)
--won't let me send my newbies back out into
the field until they pass a
"(thud) Field (thud) Certification Test."
She circles around and eyes him coolly.
I really don't have time for someone who has
a problem killing vampires.
Connor's arms and shoulders tense.
I don't....
(pause)
It's important.
With a sigh, Faith reaches behind Vaughne's computer and grabs a towel off the counter. She dabs the back of her neck with it and looks at him.
So talk.
Connor gazes around at the others with discomfort.
Alone.
Faith waves her towel at the door.
Aiden and Vaughne watch as Connor and Faith file out into the hallway.
INT. HALLWAY - LATE AFTERNOON
Connor wanders down the hall and starts up the stairs to the first floor landing. Faith trails after him, rolling her eyes.
LONG SHOT up the stairs - as Connor and Faith ascend, Isabel and Kelly appear at the top of the stairs and start down. Just after they pass, Kelly pauses and stares back up after them, her hand sliding towards a small leather sheath attached to her belt. There is a DAGGER there.
CLOSE-UP on her face - her eyes glow gold briefly.
CUT TO - Connor paces the foyer.
(murmuring)
It's about that vampire from last night.
FAITH
(eyebrows raised)
You mean the one that's out there right now
having a party on somebody's neck?
Connor looks down and nods. After a beat, his eyes slowly rise.
It was Darla.
Faith's slack posture visibly tenses. She gazes at Connor uncertainly, then brings up her towel clenched in both hands.
"Darla"? As in Angel's sire, Darla?
(her brows knit)
Are you saying Drusilla--
CUT TO - INT. FAITH'S APARTMENT
Kelly and Isabel enter the room. Aiden gets up off the bar stool and slips past them out the door.
CUT BACK TO - INT. FOYER
CLOSE-UP on Connor. He stares forward, his blue eyes troubled.
She looked just like her picture.
Faith twists her towel into a knot anxiously.
Fuck.
(she lets out a shuddering breath)
Three down, one to go.
She says nothing for a moment as she takes it in. When she finally looks up at Connor, her challenging expression has returned.
That doesn't explain why you just let her
run off, Connor.
Connor crosses his arms and turns away from her.
(voice rising)
You had a straight shot.
There's no way you could have missed.
But you didn't even try!
CLOSE-UP on Connor. There is a glimmer of moisture in his eyes.
(quietly)
I know.
(then, voice rising with anxiety)
I know I should have. I just couldn't.
FAITH
Why not!?
(she jabs the air with a finger)
If you knew who she was and how dangerous she is,
why the hell didn't you kill her on the spot!?
Connor's face contorts with pain. He whirls around at her.
Because she's my mother!
Faith's angry expression dissolves into a slow, dumbfounded blink.
Huh?
CUT TO - INT. HALLWAY
The STEADY MURMUR of the waiting Slayers drops to dead SILENCE.
Aiden's lips compress. His gaze drops to the floor.
CUT BACK TO - INT. FOYER
Connor gapes at Faith, his wide eyes wild and shimmering.
You've wanted to know what I was since you met me!
Why I have powers? Well, that's why!
(his voice drops to a murmur again)
My parents are vampires.
Demons.
(pause)
Darla is my mother...and....
He gives her a furtive, tight-lipped look. His eyes fall away.
Faith stares at him, thrown.
Angel's your father.
(she exhales)
Jesus. How is that--?
Just then, the door opens. The Slayer Misha appears. She looks between Connor and Faith, realizing she's walked into something personal.
(to Misha, pointing)
Downstairs.
Misha slips past them and down the stairs.
Faith stands staring after Misha for a moment, arms crossed. Finally, she turns back to Connor, chuckling softly. She raises her shoulders and shoves her hands in her pants pockets.
(with a bewildered frown)
O.K., still trying to wrap my brain around
all of this.
But...what I really don't get it is...
why wouldn't you just tell me?
And why didn't Angel ever tell me?
I mean, the two of us have been friends for....
She trails off. Connor says nothing.
You were worried, weren't you.
That I'd freak or something.
CONNOR
(shaking his head)
No.
(he shrugs)
I don't know.
(he stares down pensively)
It's complicated.
FAITH
(chuckling)
Yeah, just a little.
CONNOR
No, I mean the reason I didn't tell you
is complicated.
Then he smiles a wry smile. He stares down at the floor.
(softly)
I just didn't want to...make a thing.
(beat)
Just wanted the past in the past.
He looks up across the foyer, gazing at something unseen, the smile still on the edge of his lips.
Everything was going to be normal...
college, friends, my family.
(he chuckles)
I was just going to be "Connor Reilly."
With a sigh, Connor slumps against the wall.
Faith scrutinizes him, looking even more confused. She strolls over and leans in beside him.
O.K.... I know I don't have the whole story.
(she grins)
But dude, if you really just wanted things
to be "normal", why the hell'd you
start hanging with me?
Another wry sideways smile from Connor. They stand in silence for a beat.
I do know something about having a past
you don't want to think about, though.
(she smiles mischievously)
So...you know...if you show me yours,
I'll show you mine.
Connor grins bashfully.
What I mean is, you can talk to me about it
if you want. It won't get back to your...
to Angel.
Connor nods non-committally.
Faith's gaze shifts to the stairs. She clasps Connor on the shoulder.
Listen, I've gotta go take care of the spazzes.
She heaves herself up from the wall and turns to face him, her hand still on his shoulder.
But we'll talk later, O.K.?
Connor glances at her hand reflexively. Then he meets her eyes and smiles.
O.K.
FAITH
(grinning)
Cool.
She turns and starts down the stairs. Connor's smile lingers as his eyes follow her descent.
When she is finally gone, he tilts back his head and lets out a shaky breath.
BLACK OUT.
Part 2 (click here)