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?