.:: Transcript Angel the Series 5x03 - Unleashed ::.

Written by Sarah Fain & Elizabeth Craft
Directed by James A. Contner
Original U.S. Air Date: October 15, 2003

Transcribed by: CariCranberry
For: http://www.buffyworld.com

NB: The content of this transcript, including the characters and the story, belongs to Mutant Enemy. This transcript was created based on the broadcast episode.

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P ROLOGUE:

1 EXT. PARK - NIGHT
Several muscle cars are parked in a row alongside a small park bench where Angel, Gunn, Lorne, Wesley and Fred are gathered.

LORNE
Hey, uh, who wants some mu shu? I got beaucoup mu shu here.

FRED
I'll take some, thanks. Angel, this little picnic was such a good idea.

GUNN
Yeah, man. Why haven't we done this before?

Pan over to show Fred is scanning Wesley while Lorne operates the machine out of a silver briefcase.

ANGEL
Well, you know, you've all been working so hard...

WESLEY
Has anyone seen the plum sauce?

Fred stops scanning Wesley and puts the scanner back in the briefcase on the picnic table.

FRED
We're clean. Nobody's listening.

ANGEL
You were late.

WESLEY
Thought I was being followed.

GUNN
I get that we have to be careful, but feels weird hiding from the company we're supposed to be running.

ANGEL
We're not hiding, we're being safe. There are factions at Wolfram & Hart, people who want to see us destroyed.

FRED
But still, it's not like everyone there's evil. I mean, we work with these people. Some of 'em I see more than I see you guys, at least lately, anyway.

WESLEY
And you think you can trust him?
(Fred gives him a look)
Them.

FRED
What?

WESLEY
These...people, the ones you're spending so much time with lately. Knox, for example.

FRED
(embarrassed)
Uh, we're, you know, heh heh, friendly, but he's under me— or I'm on top of him. Professionally. All I'm saying is, he—he's not evil.

ANGEL
I think we're all agreed that the senior partners are. They put us in charge for a reason. What we need to know is...why?

GUNN
We've only been there a month.

FRED
Turns out running a company doesn't leave a lot of time for, you know, covert ops.

LORNE
Yeah, I'm up to my horns in schmoozin' starlets and boozin' hipsters, Angel.

WESLEY
What about Gunn?

GUNN
What about Gunn?

FRED
It's...well, what they put in your head. All that law knowledge and whatever. Maybe you know something, more than the rest of us.

WESLEY
The alteration to your mental capacity—

GUNN
My capacity's the same as it's always been. The good doctor just revved up some idlin' brain cells, set 'em in motion.

ANGEL
It's a legitimate concern. You gave them access to—

GUNN
I made a deal. We all did. Seems like I'm the only one who's willing to accept that. Everybody here got something out of this.

ANGEL
Fear, mistrust, a great motor pool.

LORNE
I got the Nancy Sinatra collection. Original 45s.

WESLEY
I did get a rather nice pen.
(takes the pen out of his pocket)
Sterling.
(admires his pen)
Has my name on it. Which is not the point at all.

GUNN
No, the point is what, that I'm some spy for the senior partners?

ANGEL
Nobody's saying that.

GUNN
Just thinking it.

FRED
No. Charles...

ANGEL
The point is, the senior partners have a plan for us, and if we're not prepared—

FRED
Angel, it's not like we don't want to be ready. We just have, you know, plates...big, heaping, full plates.

WESLEY
Between running our departments, handling clients, dealing with Spike—

ANGEL
Spike is a distraction. As soon as he's released from his ties from Wolfram & Hart—

WESLEY
That could take years.

FRED
Using the amulet to destroy the hellmouth, it turned Spike into—

LORNE
A spook?

FRED
Well, he's more than a ghost. He's something unique.

WESLEY
Regardless, whatever binds him—

ANGEL
(looking off into the distance)
(to Wesley) Can I borrow your pen?

WESLEY
(irritated)
Uhh, sure.

Nearby, a woman screams as a growling hairy monster follows her, knocking her down to the ground.

Fade to black.

Opening credits.

A CT I :

2 EXT. PARK - NIGHT
Resume. The monster attacks the girl, slashing her shoulder then biting her neck. Angel pulls the monster off of the girl and begins fighting with it himself. Angel punches it then jams Wesley's silver pen through its chest. The creature falls back to the ground and immediately turns back into the shape of a man. The girl ran away during all the commotion, and the next sound is that of car tires screeching as she drives away.

ANGEL
Damn it.

Cut to:

3 INT. LOBBY - DAY
Angel and Gunn are talking as they walk through the lobby of Wolfram & Hart. Angel's holding a sketch of the girl from the park.

ANGEL
She was bitten. I smelled her blood on him.

GUNN
Tonight's the second night of the full moon, which means 2 more nights for her to go all dog-girl.

ANGEL
12 hours till moonrise, and then— If she hurts anyone—

GUNN
She won't. We'll find her.

ANGEL
We better. She won't even know what's happening to her.

GUNN
(presses elevator button)
Well, she'll figure it out soon enough. McManus did. The guy you... killed. I pulled his credit card records, cross-checked 'em with police reports.
(reads from the folder)
He left his wife and kids a couple years ago, kept moving, staying in the middle of nowhere most of the time. First year or so, a few mangled bodies showed up here and there, but the last 6 months, guy was leaving corpses like bread crumbs.

ANGEL
Probably tried to control it for a while and just gave up.
(they walk into the elevator)
Thought he had to fight it alone, ended up with nothing worth fighting for. But this girl, she's not alone. She's got us.

Cut to:

4 INT. FRED'S OFFICE - DAY
Fred's reading reports, working busily, when Spike appears in her office.

SPIKE
Well, aren't we the busy little beaver.

FRED
Hi, Spike.

SPIKE
I don't suppose all this bugaboo's about yours ghostly.

FRED
What? No, not you. It's—

SPIKE
Werewolf girl. Right. Heard about that. Bloody shame about the poor little miss, but—

FRED
Spike, I'm sorry, but I'm kind of busy right now with the situation.
(gathers papers and walks toward the door)

SPIKE
Hey, I'm a situation, remember? I'm a bloody phantom. And you and your serious girl spectacles were gonna help me with my bloody little problem.

FRED
I know, and I bloody will. I had some ideas.

SPIKE
Really? What? What ideas?

FRED
(reading her files)
They're gonna have to wait till—

SPIKE
Later? There may not be a later, luv. It's getting worse.

FRED
(turns to look at Spike)
Worse? You mean your—

SPIKE
My winking out of existence? Yeah.
(looks out the window)
And I'm not talking about quick pops to the netherworld. They're lasting longer now.

FRED
How long?

SPIKE
Feels like forever.
(walks closer to Fred)
Look, something's trying to hold onto me... on the other side. If you don't do something soon, one of these times... I may not come back.

FRED
Wesley might be able—

SPIKE
No!

FRED
He knows more about the mystical than—

SPIKE
I can't.
(walks back)
We got a history, him and me.

FRED
What?

SPIKE
It was a long time ago. He was a young watcher, fresh out of the academy, when we crossed paths. It was a, what-you-call, battle of wills...and blood was spilled. Vendettas were sworn. It was a whole—

FRED
My God...
(shakes her head)
you're so full of crap.

SPIKE
Yeah. OK. Truth is I just don't want anyone else to know about my condition, right? Last thing I need is this getting back to Angel.

FRED
(gathers files and walks to the door)
Spike, I appreciate your condition, but right now we have a more pressing priority. Like finding and helping this girl.

SPIKE
And me, I'm just left to fade into nothingness.

FRED
(shakes her head at Spike)
There's no need to be dramatic. Look, just try not to disappear, and we'll figure it out eventually. This place? We have access to everything.
(walks out the door)

Cut to:

5 INT. LAB - DAY
Angel paces the lab as Fred, Wes, and Gunn work busily at different computers.

ANGEL
We're useless. Is that what you're trying to tell me? All this resources—

WESLEY
We're doing everything we can.

ANGEL
2 years of history on a dead guy and we can't get one lead on a living, breathing girl.

FRED
Fingerprints—have his, don't have hers.

ANGEL
There must be something at the attack scene.

WESLEY
So far, not even an earring.

SPIKE
(appears in the lab)
Bloody shame, letting the girl run off like that. Somebody's slipping.

ANGEL
(hands a sketch of the victim to a lab worker)
I want people on the street with this in 15 minutes. You find anybody who's seen her, you let me know.
(to Fred) Tire prints?

FRED
I'm working on it. It takes time, Angel.

WESLEY
Psychics are working on traces of the girl's blood. They picked up images, imprints.
(hands a sketch to Angel)

ANGEL
Must be her bedroom. Can they make it clearer? Maybe they could—

WESLEY
It's not like a photograph.

Angel turns toward a doctor inspecting the man Angel killed in the park. The man Angel killed had a fuzzy graying beard and was rather hairy for a man.

DR. ROYCE
Pretty rare breed you've got here.

WESLEY
Dr. Royce is the cryptozoologist on my staff. I brought him in to tell us what we'll be dealing with when we find the girl.

ROYCE
Lycanthropus exterus . Undocumented in North America... until now, obviously.

FRED
How is it different from a standard werewolf?

ROYCE
Oh, biped, for one thing. Walks upright. Canines are a bit longer than normal. Arm span is—

ANGEL
I don't care about that. All I care about is the girl.

SPIKE
That's rough. 'Cause here on out, she's in the kill-or-be-killed club.

ANGEL
Here on out, she's under my protection.

SPIKE
If you find her before she turns. Catch her after she goes all growly, won't be easy taking her out. I had a wee spat with a werewolf myself once. Fought for over an hour. Brutal, vicious.
(holds up his hand, wiggles his fingers)
Almost lost my—

FRED
(impatiently)
Angel killed him with a pen.

Cut to:

6 INT. BEDROOM - DAY
The young woman who was attacked by the werewolf in the park squirms in bed. She wakes up sweaty and uncomfortable. She pushes her hair back from her face and hears giggles from the other room a little too clearly. She gets out of bed unsteadily.

Cut to:

7 INT. KITCHEN - DAY
The young woman walks groggily into the kitchen where a woman and child are cooking.

WOMAN
(to the girl) Careful with the knife.

GIRL
It's not even sharp.

WOMAN
It's sharp enough.
(to the young woman) Hey, look who's up.

YOUNG WOMAN
How long was I out for?

WOMAN
All day. I figured you must be sick.
(smiles)
Zach called. He said he missed you in life drawing.

YOUNG WOMAN
That's nice.

The young woman snaps her head toward the window to look at the source of a loud buzzing sound, but it was made by a regular fly.

GIRL
(to the young woman) Why is your neck purple?

YOUNG WOMAN
I don't know.

The young woman pulls her hair aside and looks at her reflection in the chrome teakettle. The woman, dressed in a nurse's uniform, puts together an ice pack and hands it to the young woman.

WOMAN
Is there something you want to tell me?

YOUNG WOMAN
(takes the icepack and holds it to her neck)
No. I...I must've tripped on my run.
(glancing at the hamburgers on the stove)
Don't overcook the meat.

GIRL
Ooh, can I flip?

WOMAN
Ask Auntie Nina to help.
(to young woman) Hey, are you sure you're up for watching Amanda tonight? I could try to change shifts.

YOUNG WOMAN / NINA
No, I... I just needed to...

Nina's attention drifts to the hamburgers as they fry on the griddle. Zoom close in to their bloody sizzling.

GIRL / AMANDA
Aunt Nina?

Nina looks up at young Amanda and gasps when she sees red jagged claw marks slashing her throat. When she double-takes, she realizes that Amanda's throat is unhurt.

AMANDA
Are you OK?

NINA
I'm fine. I'm fine.

Cut to:

8 INT. LAB - DAY
Fred is looking at a photo of tire prints on her computer as Lorne looks over her shoulder.

FRED
Those fine lines? Bad for the car, good for us. Apparently, they mean old tires, at least 5 years.

GUNN
Nice sketch. Somebody saw your girl last night— East Hollywood.

ANGEL
All right. We're looking for a mid-size sedan, at least 5 years old, somewhere in the Hollywood area.

SPIKE
Tick-tock, tick-tock. The moon's a-risin', ladies and gents.

WESLEY
I'm in the DMV database, but there are thousands of possible matches.

LORNE
Color me clever. Sister gets slammed around by a werewolf, she's putting pedal to metal. I mean, red light, green light, same diff.

GUNN
Traffic cameras. We networked?

WESLEY
Yep.

GUNN
I'm looking at the cameras. You get set to run with it if I find a match. 'Course I might leak the info to the senior partners, 'cause we're tight.

WESLEY
Just do it.

ANGEL
Is the van ready?

FRED
Yep. I triple checked.

ANGEL
Good, 'cause we got less than an hour.

SPIKE
(to Fred) A lot of fuss over one girl. Other things to do around here—important things.

ANGEL
(to Spike) You know that whoosh thing that you do when you're suddenly not there anymore? I love that.

GUNN
10:19 last night, 1992 Honda Civic ran a red light at Western and Franklin. Blond woman.
(hands a printout to Angel)

ANGEL
That's her.

GUNN
License number: 2ABM-543.

WESLEY
Address: 2315 Harvard.
Name: Nina Ash.

Cut to:

9 INT. NINA'S HOUSE - NIGHT
Nina pushes her nose into different positions as she poses for Amanda, who's sitting on the floor drawing pictures.

NINA
How's that? Does this look better?

AMANDA
(giggles)
Yeah, do that.

NINA
Nah, you want something nice.

Amanda hums while she sketches on the paper with a pencil. Nina's focus closes in on the pencil marking the paper and the sound is magnified. Nina seems uncomfortable, almost ill.

AMANDA
What's wrong?

NINA
I'm gonna...lie down.
(stands, walks upstairs)

Nina walks into her bedroom and closes the door. She collapses on the floor.

AMANDA
(walks to the foot of the stairs, calls upstairs)
Aunt Nina?

Nina grunts as her transformation begins.

AMANDA
(walks up to Nina's door)
Aunt Nina?

Nina's teeth transform into the huge pointy teeth of a carnivore and her hand transforms into a paw before her very eyes.

Fade to black.

A CT II :

10 INT. NINA'S HOUSE - NIGHT
Nina's twitching on the floor as her transformation continues. Amanda is standing right outside her door.

AMANDA
Aunt Nina? Can I come in? Can I come in?
(touches the doorknob)
Aunt Nina? Are you OK?

Werewolf Nina stands and growls at the door.

ANGEL
Hey, doggy.
(Nina turns toward Angel, who's sitting in her window)
Come and get it.

Werewolf Nina lunges toward Angel, who pulls her out the window and they both fall from the roof to the ground.

Cut to:

11 EXT. NINA'S HOUSE - NIGHT
Angel and Nina wrestle until Wesley shoots a tranquilizer dart into Nina's body.

ANGEL
Nice shot.

Cut to:

12 INT. CAGE - DAY
Human again, a naked Nina wakes up inside a prison cell. She's got scratches on her shoulder.

NINA
Oh, God.

She hears someone walking toward her and gasps. She reaches between the bars and grabs some clothes from a pile sitting right outside her cell. Angel walks up to the cell, unlocks the door, and walks inside.

NINA
(backs into the corner)
What—who are you?

ANGEL
It's OK. My name's Angel. You're safe now.

NINA
Safe? Oh. Well...great. That's...
(makes a run for it, but Angel grabs her)
Get off me! Let go of me! Help me, somebody!

ANGEL
What I'm trying to do, Nina, is help you.

NINA
Said the psycho rapist. How do you know my name? What do you want with me?

ANGEL
I just want you to see something.

Cut to:

13 INT. ANGEL'S OFFICE - DAY
Using a laptop, Angel shows Nina a video of a werewolf pacing inside a cage.

NINA
I don't— What am I supposed to be looking— God, what is that?

ANGEL
You don't remember?

NINA
Remember?

ANGEL
2 nights ago... You were attacked... in the woods. You were jogging.

NINA
Jogging. Wait. Yeah. I remember that I... that thing attacked me.

ANGEL
Not exactly. I was in the area, I heard screams, but by the time I got there...

NINA
That was you. Yeah, I remember you... You saved me.

ANGEL
I was too late.

On the video, the werewolf collapses on the floor of the cage and transforms back into human form—into Nina's form.

NINA
Oh, my God.

ANGEL
It was a werewolf, Nina, and you were bitten.

NINA
No. This is... insane.

ANGEL
The bite already started a process. You may have already started to feel the effects: Distorted vision, heightened senses.

NINA
Blood. Jill, my sister, she was cooking meat. Oh, my God. I...I smelled the blood. It was making me...Oh, God, Amanda, my niece.

ANGEL
She's OK, and so's your sister.

NINA
No, you don't get it.

ANGEL
Nina, it's OK.

NINA
No, it's not!

ANGEL
You didn't—

NINA
I wanted to rip her throat out!

Nina sighs, runs her fingers through her hair, and walks toward the window.

ANGEL
It wasn't you. It was that thing inside.

NINA
Oh, like there's a difference?

ANGEL
There is, a big one. I know this is a lot to take—

NINA
Don't tell me what you know. You didn't wake up and find out you're A...monster. You don't know anything.

ANGEL
I'm not a werewolf like you, but I—I know what it's like. I'm a monster, too.

NINA
So...what? You're like a Frankenstein?

ANGEL
What? No!
(rubs his forehead)
I'm—I'm a vampire.

NINA
Vampire.

ANGEL
But I have a soul. I'm—I'm not evil, and neither are you.

NINA
But vampires kill people, and they—

ANGEL
Can control themselves if they want to. I do it every day, and so can you. I'll help.

NINA
Can you...cure me?

ANGEL
No. But I can keep you safe.

Cut to:

14 INT. LOBBY - DAY
Angel walks out of his office, and Fred and Dr. Royce are waiting outside.

FRED
How is she doing?

ANGEL
Oh, agreed to stay in the holding cell tonight, but she's pretty scared. So, what do we do now?

SPIKE
(appears down the hallway)
We wait for the show. Should be a good one. Everyone on pins and needles, dreading the moonrise, then pop goes the werewolf.

ANGEL
(turns, walks away, Royce and Fred follow)
I can't stop what's gonna happen, but I can keep her from getting hurt.

ROYCE
These first few transformations are the worst. Werewolf's strength combined with the disorientation and fear...

FRED
You mean, she could hurt herself?

ROYCE
Oh, I've seen 'em bang their heads against walls, claw at their own skin.

ANGEL
We'll just have to tranq her, let her sleep through it.

ROYCE
Well, that could work for tonight, but, uh, over the long haul, bad idea.

FRED
Well, there has to be something.

ROYCE
They like familiar scents, images. Maybe if you took her home, let her get a few things, could have a calming effect.

SPIKE
Fetching her blanky's not gonna make a bloody bit of difference.

FRED
Spike, really not helping.

SPIKE
I'm just saying, the girl's a killer. Maybe not tonight or tomorrow, but she will get out of that cage.

ANGEL
Not if she doesn't want to.

ROYCE
Oh, she'll want to. It's unfortunate, but...

SPIKE
And when it's not that time of month? She'll be wracked by the guilties. What with a soul and all.

ANGEL
Didn't seem to bother you.

SPIKE
Oh, it's been nothing but a pain in my...
(disappears)

ANGEL
Finally. I'll take Nina by her house.

FRED
Angel, it's the middle of the day. Unless you plan on waiting in the car...

ANGEL
Take security. In case she changes her mind.

Cut to:

15 INT. VAN - DAY
Fred and Nina are riding in a van along with a couple of security guards in suits.

NINA
(looks around)
So, the entourage. All this for me?

FRED
Um, no... yeah, kind of. I mean, it's just in case you, you know.

NINA
Run away.

FRED
It's not like you're a prisoner. You're totally not. It's just... really important that you stay with us tonight.

NINA
This is just so... I should be in ceramic's class right now. We're learning raku. Seems like somebody else's life.

FRED
Nina, it's just 3 nights a month, not even days. Your life doesn't have to change...much.

NINA
How would you—you're not a monster, too, are you?

FRED
Nope. Standard-issue science nerd. I did spend 5 years in a demon dimension... 'til Angel saved me.

NINA
Guess he saves a lot of girls, huh?

FRED
Girls, guys...puppies. He's pretty much an equal-opportunity saver.

NINA
So, you two are like a couple?

FRED
Uh, me and Angel? Oh, God, no. He—he was seeing someone, sort of... but she... Angel doesn't date much—at all. 'Cause of his circumstances.

NINA
'Cause he's a vampire.

FRED
Kind of. But that doesn't mean—his situation's just complicated.

NINA
Must be lonely.

FRED
Sometimes, maybe. But it's not like he doesn't have anyone. We all... we try to be there for each other.

NINA
Like a family.

FRED
Yeah. A demon-hunting, helpless-helping, dysfunctional family.

Cut to:

16 INT. GUNN'S OFFICE - DAY
Gunn's sitting behind his desk holding a paper while Angel signs it. Angel sits down in the chair beside Gunn's desk and stares off into the distance.

GUNN
You sign this, we're all set to turn McManus' body over to his family. They've made arrangements to transport his body back to... the North Pole. Turns out he had a close personal relationship with Santa. Angel?

ANGEL
What? Uh, I'm with you. Turning over the... Santa?

GUNN
Angel, you saved that girl's life.
(stands)
If you hadn't gotten there when you did—

ANGEL
The werewolf would've killed her. I know. Doesn't change what she's gonna have to go through.

GUNN
Well, that part sucks, no doubt, but... you did everything you could.

ANGEL
(snaps)
You know what, Gunn? Don't need a pep talk right now. Just do your job.

GUNN
Right. I'll just go do that... someplace else.
(walks out of the room)

LORNE
(walks in)
Whoa! Watch it there! Just passing by and got splashed with a heap of grouchy. Got to tell you, Angelkins, that extra weight is not looking so good on you.
(Angel looks down at his belly)
I'm talking about psychic pounds, pumpkin. Why don't you consider me the Jenny Craig for the soul, huh? So let's hear it.

ANGEL
I'm not gonna sing.

LORNE
Couldn't bear it if you did. No, it's talking you need... or maybe a shoulder to—

ANGEL
I'm not gonna cry either.

LORNE
I was going to a leaning place. OK, Atlas, how about a shrug? Look, so you got the weight of the world. It's a burden, sure, but breaking news it ain't.

ANGEL
Listen, Lorne, this isn't a good time.

LORNE
No...No, it never is. Spike showing up your first day in the Wolfram & Hart saddle took the jolly right out of the rancher. We've been feeling it ever since, Angelcakes.

ANGEL
OK, so it's no secret. I don't like the guy.

LORNE
Like him, don't like him—that's up to you. You're fighting so many enemies around you, Angel, your punches are getting sloppy, and we've got the bruises to prove it. We're operating in unfriendly territory, champ. I don't want you to forget about the people covering your back.

Cut to:

17 EXT. NINA'S HOUSE - DAY
Fred and Nina step out of the van and walk toward Nina's house.

NINA
I changed my mind.
(turns around)

FRED
Um, I could go in first, explain—

NINA
No, let's just—

FRED
Hey, I know you're scared, but running away is not gonna help.

Nina sighs.

Cut to:

18 INT. NINA'S HOUSE - DAY
Fred and Nina walk into Nina's house.

NINA
What about fleeing? Can I flee?

FRED
Maybe they're not even here.

WOMAN / JILL
(walks up to Nina yelling)
What the hell happened to you? I've been worried— Who are you?

FRED
I'm Fred. It's nice—

JILL
I come home and you're just gone. Amanda was terrified.

NINA
Jill, I'm sorry.

JILL
Who leaves the house without their purse or keys? What'd you do, jump out the window?

NINA
I thought Amanda heard me say I was leaving.

JILL
Oh, that's great. Blame it on a 9-year-old.

FRED
It's my fault. I called Nina like totally suicidal 'cause this guy in our ceramics class dumped me. And then my car got towed. And she wanted to call, but my cell phone battery—

JILL
Do you mind, whoever you are? This has nothing to do with you.

NINA
Leave her alone.

JILL
Oh, like you left Mandy alone—in the house at night? Do you know she didn't want to go to school today. I had to lie, tell her I heard from you.

NINA
Shut up! Just shut up!

JILL
(yelling)
I called the police! I thought—
(calmer)
You sleep all day. You've got bruises you don't remember getting. Just tell me. What's going on?

NINA
I'm sorry about last night, but you can't count on me all the time.

JILL
Since when?

NINA
Just... find another babysitter.
(walks out)

FRED
I'll just...
(grabs a picture)
if that's OK. And maybe...
(grabs a stuffed animal)
she's... she'll be OK.
(walks out)

Cut to:

19 EXT. NINA'S HOUSE - DAY
Fred and Nina walk back toward the van.

FRED
So she was yelling and furious, but that's good. It means, you know, she cares.

NINA
If something happened to Amanda...

FRED
But it didn't, and it's not going to.

NINA
You don't know that.

FRED
Angel will—
(notices the van's door is ajar)
That's weird.
(looks inside the van at the security guards—they've been killed)
And really not good.
(to Nina) Run!

Fred takes out her tranq gun as several masked men pour forth out of a nearby van. The men grab Nina, who screams. Fred shoots some of the men with her tranq gun, but another man grabs her from behind. She punches him in the face with her elbow, but another man knocks her out. Fred falls to the ground.

MASKED MAN
(to his cell phone)
We got the package.

Cut to:

20 INT. MANSION - DAY
A man answers the phone at his house.

MAN
Bring it around back. I just had the floors done.

Fade to black.

A CT III :

21 INT. MANSION - DAY
Men chain Nina up in a basement.

NINA
No! Let me go! Ohh! No, don't! What are you doing? Let me go! You have to let me go! Uhh! Please.

A woman walks into the room and OKs another man to spray water on Nina. The woman cuts Nina's clothes off with scissors and starts scrubbing her down. Nina pants and sobs as the woman works on her.

Cut to:

22 INT. CONFERENCE ROOM - DAY
Royce is singing for Lorne.

ROYCE
(singing)
And she's loving him with that body, I just know it
And he's holding her in his arms, late, late at night
You know, I wish that I had Jessie's girl
Oh, I want Jessie's girl
Oh, oh, oh, Jessie's girl

Lorne gestures "thumbs up" to Angel and crew in his office next door.

Cut to:

23 INT. ANGEL'S OFFICE - DAY
Angel, Wesley, Fred and Gunn are meeting in Angel's office.

WESLEY
Lorne's read the entire security team already, and the lab staff, as well as half of my department.

ANGEL
If the kidnappers have someone inside Wolfram & Hart, Lorne'll know.

WESLEY
What if she was detected somehow before we found her?

GUNN
Yeah, but by who?

FRED
The scariest thing was how organized they were, almost military.

WESLEY
An underground monster-hunting military organization. It's happened before.

FRED
It's all my fault. I'm stupid.

ANGEL
Anything happens to Nina, it's on me.

FRED
That's weird. Why don't I just approach the mysteriously ajar door?

GUNN
Stop with the mocking. Get enough of that from blondie bear.

FRED
(looks concerned)
Spike. Has anyone seen him since—

ANGEL
Since he went poof? No.

FRED
(stands)
Uh, but it's been hours. Angel—

Royce knocks on the door, then enters the office.

ANGEL
What do you got?

ROYCE
Usual suspects. There's the sacrificers, wackos who want to rid the world of abominations, and werewolf packs looking for new recruits. Then there's the paranormal sporting groups.

Fred sees a sort of transparent Spike walking through the lobby.

FRED
I'll be...
(runs out of the office)

ROYCE
Vampire hunting in Eastern Europe. That kind of thing.

FRED
(following Spike through the lobby)
Spike. Spike, wait! Spike!

Cut to:

24 INT. HALLWAY - DAY
Spike walks down the hall, seemingly unable to hear Fred's calls to him. He just keeps walking.

FRED
Spike, stop! Spike?

Spike walks through a wall.

Cut to:

25 INT. OFFICE - DAY
Fred follows Spike by going through the adjacent door into an office.

FRED
Spike, wait!
(Spike disappears through the wall)
Spike, wait!
(Fred knocks over a trashcan trying to follow Spike)
Ohh! Oh, damn. Like he can't hear me. Just whoot! Right through the—

Fred starts putting the trash back into the trash can, but stops when she notices something peculiar. Just then, Dr. Royce walks into the office.

ROYCE
Were you looking for me?

FRED
(stands)
Oh, is this your office? I'm so sorry. I was following Spike, and I—I kind of made a mess. He just went right through the wall.
(Royce looks at the wall)
It's so annoying when he does that, 'cause there's nothing you can do to...
(Fred clubs Royce with his lamp, knocking him out)
stop him.

Cut to:

26 INT. ROYCE'S OFFICE - NIGHT
Fred, Gunn, and Wesley are rifling through Royce's office. Wesley examines a vial.

WESLEY
You're right. It's Calendula. He must've known we'd have him sing for Lorne.

FRED
So he came prepared to block the reading. It's like taking a valium to pass a polygraph test. I knew as soon as I saw the vial in the trash can.

GUNN
How'd you end up going through Royce's trash anyway?

FRED
It was... well, Spike. He led me in here.

Gunn pulls out the false bottom of a drawer revealing Polaroid photos, a knife, and papers.

GUNN
Yo! Here we go! We got ourselves a secret panel.

Cut to:

27 INT. ANGEL'S OFFICE - NIGHT
Angel throws Royce against the wall.

ANGEL
Where is she?

ROYCE
I don't know what you're—

ANGEL
Wrong answer!
(throws Royce against his desk)

ROYCE
But it's a secret! If I tell you, this man, he's not like you. You're a good guy, but he's a... well, no offense, but he's scarier than you.

ANGEL
(bends his face toward Royce, vamps out, growls)
Wanna bet?

Cut to:

28 INT. ROYCE'S OFFICE - NIGHT
Fred, Wesley, and Gunn are going through the items in the secret compartment they found in Royce's drawer.

FRED
(looking at the Polaroids)
Are they...? Eww!
(drops the photos)
We'll just— yeah, burning. Burning would be good for these.

WESLEY
(holding the knife)
Not exactly an autopsy knife.

GUNN
(holding a paper)
You're not gonna believe this.

Gunn shows the paper to Wesley and Fred.

FRED
Oh, God.

Cut to:

29 INT. LOBBY - NIGHT
Angel walks out of his office. Fred, Wesley, and Gunn walk up to him holding the paper from Royce's office.

ANGEL
I know where she is.

FRED
Angel, we found...
(hands the paper to Angel)
It's what they plan to do to her.

ANGEL
It's a menu.

Cut to:

30 INT. BANQUET HALL AT MANSION - NIGHT
Classical music is playing. A gagged Nina is being wheeled out on a cart, garnished with kale, peppers, and carrots, into a crowded room full of black-tie guests. The guests applaud.

MAITRE D'
Ladies and gentlemen, thank you for coming together on such short notice. We have a very rare and special treat for you tonight. Moonrise is in 15 minutes. Shortly thereafter...dinner will be served.

Fade to black.

A CT IV :

31 INT. BANQUET HALL AT MANSION - NIGHT
Resume. The Maitre D' entertains guests at his mansion while they wait for dinner to be ready.

MAITRE D'
When I dined on werewolf in Seville, the cocinera used an understated mole sauce to bring out the meat's tanginess. I've never forgotten that exquisite burst of taste. But Chef Renaud swears serving it en neige with a light drizzle of white truffle oil will be quietly surprising.

There is a knock on door. A waiter goes to answer it. He opens the small window, and Dr. Royce's face looks back at him. He opens the doors. Gunn knocks out the waiter, and he, Angel, Wesley, and Dr. Royce walk into the house.

GUNN
I'm all up in the law now, but damn it feels good to get my violence on.

ROYCE
Crane's not gonna like this.

ANGEL
If I were you, I'd just be hoping the girl's alive.

WESLEY
She has to be, at least through dinner. Once a werewolf dies, it reverts to its human state.

GUNN
You mean, to eat werewolf, they got to eat her alive?

MAITRE D' / CRANE
(to Royce) Evan, you've brought guests.

ANGEL
We're just here to pick up a friend.

Gunn points a shotgun at Crane. Angel knocks out the chef with a silver platter. Angel walks up to Nina, who's still lying on the cart, gagged.

ANGEL
Jesus, they garnished you?
(unties Nina's gag)

NINA
No, get away! Just let them choke on me.

ANGEL
(unshackles Nina by hitting the cuffs with a metal urn)
Listen to me. Tomorrow you're gonna be home.

NINA
This is what I am. I can't go back there, ever. This is better.

ANGEL
Nothing better about ending up in a doggy bag.

GUNN
(reading the menu)
(to Crane) What, no leprechaun souffle?

CRANE
There's no such thing as leprechauns.

Other men with guns sneak up on Wesley and Gunn, pointing cocked weapons at them.

WESLEY
(to Angel)
We've hit a snag.

ANGEL
We're not leaving without the girl.

CRANE
I'm willing to let my men die. Can you say the same?

GUNN
(to Crane)
I go, you're going with me.

CRANE
It's a risk. What can I say?

ANGEL
Probably should've told me to drop this.

Angel throws an urn in the air, then sucker punches Crane. Someone shoots Angel, knocking him aback. Nina turns into a werewolf and growls as she lunges at the guests. She bites a man on the neck, ripping his throat out. Gunn points his shotgun at Nina, but hesitates. Nina knocks him to the ground, but before she can attack him, Wesley shoots her with a tranquilizer dart. Nina falls to the ground. Gunn lets out a sigh of relief.

ANGEL
This is the part where we take our friend and go.

CRANE
I'm afraid not. Tonight may not be salvageable, but my guests have paid a high price...
(glances at the man Nina attacked)
...some higher than others. And I promised them a werewolf.

Nina rolls over suddenly and bites Dr. Royce's leg. He screams in pain.

ANGEL
(shrugs)
And a month from now, you'll have one.

ROYCE
No. No. Mr. Crane, please. Oh, no! No, please don't do this to me, Mr. Crane! I'm sorry!
(Crane's cronies drag Royce out of the room)
Mr. Crane, I'm sorry! No! Ohh! Mr. Crane, I'm begging you! No! Mr. Crane! Please! No!

Cut to:

32 INT. FRED'S OFFICE - NIGHT
Fred walks into her office, turns on the light and gasps. Spike is standing in the corner, only the faintest of shadows, barely visible.

FRED
Spike. I've been looking for you. You were there again. Where you go when you're not...here.

SPIKE
There. Nowhere.
(gasps)
I didn't think I was coming back.

FRED
But you did.
(laughs nervously)
Mostly. And you led me to Dr. Royce's office, which was... completely not on purpose, was it? But still...you're here.

SPIKE
Last gasp before eternal fire and brimstone. Let's party.

FRED
We have to tell Angel.

SPIKE
No.

FRED
But he could do something, talk to the senior partners.

SPIKE
(through gritted teeth)
I said no.

FRED
OK, then I'm going to help you. Well, I—I don't know exactly, but I am going to find a way to bring you back, really bring you back. I promise.

SPIKE
(becomes less and less transparent, nearly as visible as he was before)
Well, all right, then. No need to get dramatic.

Cut to:

33 INT. ANGEL'S CAMARO - DAY
Angel drives up to Nina's house, with Nina as his passenger.

ANGEL
This is it.

NINA
(watches her niece drawing in chalk on the sidewalk)
She's a really good artist.

ANGEL
Oh. My refrigerator's always available if she's looking to show.

NINA
How do you live with it? Knowing that you've...killed people?

ANGEL
Nina, they were going to eat you for dinner.

NINA
I just wanna wake up. You know?

ANGEL
At some point you'll be at the grocery store or with Amanda, and the whole werewolf thing, it'll just be a part of who you are.

NINA
Next you're gonna tell me you actually like being a vampire.

ANGEL
Well, being nearly indestructible is cool.

NINA
I can't tell them.

ANGEL
Maybe, maybe not. That part's not covered in the manual. They're waiting for you.

NINA
You don't ever think about letting go, disappearing somewhere?

ANGEL
Heh. Look, if you separate yourself from the ones you love, the monster wins.

NINA
You make it sound simple.

ANGEL
Well, it's not.

NINA
See you next month.

Nina gets out of the car and walks up to her sister and niece, who give her a hug. Angel watches them together, then drives away.

Cut to:

34 INT. ANGEL'S APARTMENT - NIGHT
Lorne, Fred, Gunn, and Wesley stare out the window.

LORNE
Mm, talk about a room with a view.

FRED
(points)
Wow, is that the hotel?

WESLEY
Where? No I think that's the Center for Scientology.

FRED
(giggles)
Oh, right. They look nothing alike at all.

GUNN
I was starting to think we were never gonna see the inside of this place.

ANGEL
I'm sorry. I probably should've had you guys over sooner, but I'm still trying to get used to the place myself.

LORNE
(notices the bar)
Look at this. I'm home! Hey, cosmos all around?

FRED
Sounds good.

WESLEY
Quite luxurious.

ANGEL
Yeah, it's not bad.

GUNN
Don't mean to talk shop, but Crane's Bistro of the Bizarre...?

ANGEL
Out of business. Permanently.

WESLEY
What if I have a craving for Sasquatch Soup?

GUNN
Is that something you English eat with your beans on toast?

FRED
Mmm, you guys are making me hungry.
(holds up a menu)
Who wants Chinese?

GUNN
Long as nothing comes tar-tar, I'm in.

WESLEY
(Fred offers him a menu, but he shakes his head)
No, I'm too tired to make any decisions.

LORNE
Just order the usual, Fredikins.

ANGEL
I'm buying.

LORNE
Ladies and gentlemen, hell just froze over.

GUNN
(to Angel) So...werewolf girl. Think you got a shot?

ANGEL
She gave me a look.

WESLEY
Really? A look?

FRED
(to phone) We moved, actually, to a law firm. Uh-huh. Different. No, nice. OK, um... one mu shu chicken, two beef and broccolis, one cashew shrimp ... umm maybe some lettuce wraps...

Fade to black.