The One and Only Angel Season 5 Thread

[Guest Brian]

Here's her disc art:

 

[Mole 0]

That would be the best thing ever.

 

Actually, that should be the box art.

[Ravenbomb 0]

Giles is in like 13 eps in season 7. Anya is a regular and is in 19. She gets a disc over him. Caleb is in 5 eps, screw him.

 

 

That reminds me, it's bogus how they underused Anya so much she is actually gone for 3 eps. Barely in a couple of them too, like in Lessons she is in one scene.

Giles is one of the main four (Buffy, Willow, Xander, Giles), the main four have priority over all of them.

 

 

Spike was only in one episode in season 3, and he got a disc. Caleb was in five. Plus he cyclposed Xander

[Mole 0]

Caleb will get a disc because he is a villian.

 

Glory and EVIL~ Willow got a disc, so my money is on Caleb getting one too.

[Ravenbomb 0]

Yeah, Seasons 2 and 3 got villains, too. Did season 4 get a villain?

[Mole 0]

Nope, but Oz did even though he was only there for half of the season.

[Anya 0]

Spike being on a disc in season 3 when he doesn't even appear on any ep on the disc is the biggest injustice in disc art history, besides anya being left out.

 

 

That pic of her body is worse than her actually getting cut. the blood coming out of her mouth makes me really sad.

 

 

 

They should give anya Buffy's spot. Buffy is all over the thing , she doesn't need a disc.

 

 

I can't wait to see Cordy on the box to Angel season 5.

[Mole 0]

Ummm, Buffy the Vampire Slayer having a disc without Buffy?

[Anya 0]

Yeah, why not? She is all over the case. It's like, the star gets the box, but the friends get the discs.

[Mole 0]

Yeah...

[Guest Brian]

"This Year's Girl" was on in reruns. Pretty fucking good stuff. Gotta love SPIKE~!

[AnonymousBroccoli 0]

I really liked the Faith sequence of episodes on both shows. I don't think I'd seen them before, so that helped a little, even though I knew she was somehow ending up in jail.

[Mole 0]

"This Year's Girl" is a underrated episode. It doesn't show up on too many people's top ten list or anything.

[Anakin Flair 0]

Spike being on a disc in season 3 when he doesn't even appear on any ep on the disc is the biggest injustice in disc art history, besides anya being left out.

If you mean during the season, Spike did appear in one episode (where he kidnaps Willow and forces Angel and Buffy to help him.)

If you mean the specific disk, then yes, you have a point.

I never did get why Spike got a disk. The Mayor should have had a disk.

[Mole 0]

The Mayor should have defeintly gotten a disc. But they gave it to Faith because she is, well, fuckin hot. I wouldn't have mined if Wes got a disc because he is gold during that season. Looking back now it is just amazing how much his character has changed. And it all is because of a little lady from Texas.

 

And they should release the artwork for season 7 any day now. Season 6 was released in May, so by the 6 month rule, season 7 would be released in November. And the season 6 DVD artwork was released in January, four months before the DVD release, so season 6 artwork should have been released in July.

[BlackFlagg 0]

G'damn, no matter how many times I see it the end to Forgiving is just as amazing as ever.

[Mole 0]

Is that when Angel goes insane on Wes? If so, that is amazing. The first time I saw that my mouth dropped and I had to watch it again to make sure that was what I saw.

[Guest Brian]

It always is, no matter how many times you see it.

[AnonymousBroccoli 0]

I watched Fool for Love and Darla today--the episodes with some cross-series flashbacks delving into Spike and Darla's pasts. Even though Spike's an evil bastard, you have to feel for him when he simply gets crushed by the girl he loves, twice, 120 years apart, with the same line, no less. The ending scene was so strange, and still very touching.

 

Were there other Slayers featured during either series, other than Buffy, Faith, Kendra, Wood's mother, the Chinese Slayer, the SITs, and Dana from Damage? I'm kind of curious what happened to the pre-Buffy Slayer, for example.

[Mole 0]

No, those were the only slayers discussed.

 

There is a series of books on stories on past slayers. I've never read them but I've only heard good things about them.

[Anakin Flair 0]

If I remember correctly, "Pretty Maids all in a Row- a Spike and Dru book" deals with the Slayer directly before Buffy. No, check that. Pretty Maids deals with a Slayer in the 40's, "The Book of Fours" deals with Buffy's predecessor.

[Tawren 0]

There are the Tales of the Slayer books. 3 volumes are out so far. They're all short stories collections. None are really great, but they are all solid reads.

[Ravenbomb 0]

I watched Fool for Love and Darla today--the episodes with some cross-series flashbacks delving into Spike and Darla's pasts. Even though Spike's an evil bastard, you have to feel for him when he simply gets crushed by the girl he loves, twice, 120 years apart, with the same line, no less. The ending scene was so strange, and still very touching.

 

Were there other Slayers featured during either series, other than Buffy, Faith, Kendra, Wood's mother, the Chinese Slayer, the SITs, and Dana from Damage? I'm kind of curious what happened to the pre-Buffy Slayer, for example.

don't forget the first slayer

[Guest Brian]

I doubt there's much to them, really. Most lived uneventful lives probably, dying rather quickly. Wasn't that brought up during Season 5 or so, that Buffy had lived comparably long as a slayer.

[Mole 0]

And that she was the best one.

[Guest Brian]

Well, I lost contact with Tony Jaymz, so I ended up writing this episode and now it's a two parter. After I get done with the second part, I'll get the next four eps up quickly. Sorry it's been so long, I'll repost the earlier eps afterward for reference. This is going to be a love/ahte ep, as some are going to be annoyed with Connor but I hope overall people like the direction. Tentatively titled "The Hunt: Part 1":

 

Scene 1:

 

<Connor and Kent are patrolling the LA streets at daytime.>

 

Kent: It’s an ugly world out here.

 

Connor: You haven’t see it all.

 

Kent: What did you see out there?

 

Connor: Why?

 

Kent: I didn’t get any notes coming down here. More of an order. My path was supposed to intersect with yours. No more, no less. So you’re going to need to bring me up to speed out here.

 

Connor: Ever heard of Quor’toth? Well, I lived there. My childhood. Kill, kill, kill. That’s what you do to survive in an environment like that. Not pretty for a little kid, at four, to realize that you’re whole life is about fighting and killing.

 

Kent: Do you need some help…

 

Connor: No, I can handle it.

 

Kent: Maybe we need some help out here.

 

Connor: What are you trying to say?

 

Kent: Maybe we could use an extra hand around here. We don’t quite have the numbers around here, and you could benefit if some of the weight was lifted off your shoulders. Nothing big to ask for.

 

Connor: I can handle this out here.

 

Kent: Then why are we still hunting during the day?

 

Connor: Why are you bugging me?

 

Kent: Mine first.

 

Connor: I have to make sure you can tag along. You couldn’t handle it out here when the big things come out to play.

 

Kent: Are you sure of that?

 

Connor: Maybe tonight we should get out.

 

<Night on the LA streets. Two shadowy figure race across the street, behind a charred car and a flickering streetlight. The dragon flies overhead. Suddenly it falls to the ground, fifteen feet and all. The two shadowy figures stop in their tracks, and turn. Two feet step into frame, as a sword drops to its side and cuts the dragon along its neck, as it lets out one struggle and cry. The two shadowy figures take off running. Cut to intro.>

 

Scene 2:

 

<Connor is packing a bag full of weapons. Eliana walks into the room, leaning against the entrance.>

 

Eliana: What are you doing?

 

Connor: Getting ready for the hunt.

 

Eliana: This isn’t really a good time to go out there. You told me that.

 

Connor: The times are changing.

 

Eliana: Connor, we can’t make it out here without you.

 

Connor: Kent will be with me.

 

Eliana: And what happens to me if I lose both of you.

 

<Connor gets up and walks over to Eliana, grabbing her by the shoulders.>

 

Connor: Don’t worry. You’ll be safe here.

 

Eliana: But I’m not anymore. Or did you forget the last time neither of you were here to protect me.

 

Connor: That demon was coming after me. You’ll be fine here by yourself.

 

Eliana: Don’t go.

 

<Connor walks over to pick up his bag, then turns and walks past Eliana. He brushes by Kent, who’s waiting just a few steps past the door.>

 

Kent: You sure you’re prepared for this?

 

Connor: I was born ready. I’ve been listening at night, trying to pick up their movements. I know what these things are going to do, I’ve felt their movements in my ears. I’m just not sure about you.

 

Kent: You’ll have other things to worry about.

 

Connor: Then let’s get going.

 

<Both of them walk through the door, Eliana looking on.>

 

<Cut to Rudy and a robed figure. The latter is swinging a watch like a pendulum.>

 

Robed Figure #1: Tick, tock, tick, tock.

 

Rudy: Are you going to lecture me or are you going to play Rain Man?

 

Robed Figure #1: I’m just waiting on you. We’ve given you multiple chances, we’ve opened up the doors. We’re just waiting for the interest to come through on our loans.

 

Rudy: I’m working on it. It’s a little more complex than I expected. You found that out yourself.

 

Robed Figure #1: Too many missed opportunities.

 

Rudy: Maybe. But you live and learn.

 

Robed Figure #1: You’re not following. We want results.

 

Rudy: They’re coming.

 

Robed Figure #1: And when it comes down to just you and him? Because all your assassins are dropping like flies. Those are the only results we can expect from your actions, or lack thereof.

 

Rudy: You’ll get what you wanted.

 

<Rudy begins to walk away. The robed figure turns as the other two members of the Order of Soraska step through the shadow.>

 

Robed Figure #1: He’s almost ready.

 

Robed Figure #2: Does he have a chance?

 

Robed Figure #3: Does it matter?

 

Robed Figure #1: Tick, tock.

 

<Cut to Connor and Kent under the cover of a doorway. They quickly move from one end to another of the alley to another doorway. Connor puts his arm over Kent, who tries to peer out. A giant walks by, half its body out of the frame.>

 

Connor: Are you ready?

 

Kent: Let’s.

 

<Connor turns, drawing his sword, and starts pacing away from the giant, with Kent following.>

 

Connor: Quiet is the name of the game. Eyes open, mouth shut.

 

Kent: I’m not naive.

 

Connor: We’re in an open stretch here. I don’t smell any demons for a ways. We just had to avoid that thing.

 

Kent: Scumaroon demon, one of the few we can classify out here.

 

Connor: Whatever it was, it’s too big and strong to take on, and even if I did, it’d attract too much attention. We need something small…

 

<Suddenly Connor is interrupted by something jumping onto him. He rolls away, then comes up on his knees, sword extended. Cut to black.>

 

Scene 3:

 

<Connor is still on his knees, with his sword in his left hand, arm extended, and his right hand in a fist. Cut across to something standing there, a person dressed in black, with a veil covering its face. It has its katana pointed, leg slightly bent. Kent turns his head from Connor to the samurai, but gets an elbow in the face. Connor leaps into the air and his sword comes crashing down on the samurai’s. They push off, and then start dueling with their katanas. The samurai catches Connor on an overhead swipe, pointing Connor’s blade towards him. It kicks Connor in the gut, pulling both blades away and leaving Connor defenseless. Connor rolls away, as the samurai charges, Connor ducks and rolls again to dodge the blades. Connor uses a lamp post as protection to block the blades. A double swipe comes at Connor, but he jumps, hitting the splits in mid-air and blocking both arms. Another shot from the right is blocked using the post, but the samurai puts down a left coming straight at Connor. Kent uses the broadsword to block, but gets a front kick, and Connor knocks the samurai back while it was off balance. The samurai shoots one katana low and the other high, but Connor spins in mid air, landing on his left and hitting a high spin kick to the face. The samurai charges swinging the blade. Connor grabs the samurai’s left arm and quickly peels in, hitting a right elbow to the face, the peeling back out a breaking the samurai’s grip on the left hand katana. The samurai rebounds, spinning one-hundred eighty degrees and hitting a sidekick. Kent shoots an arrow at the samurai, who spins, returning the arrow and hitting Kent in the thigh. Connor turns and dodges a swipe, bridging backwards. The samurai kicks him in the stomach, leaving Connor on his back. He tries to stab at Connor, but Connor kicks his arm away and kips up. Connor gets kicked in the chest, sending him flying back into a doorway. Connor takes a step forward, then looks up at the sign above the door that says “The Restaurant Store”. He barges through the door as the samurai charges. He spins the wood door around, catching the blade in the midst of another stab. He tosses the door to the side but gets a punch in the face. Connor steps back, then motions for the samurai to come forward. The samurai charges. Connor blocks a punch, then has one of his own blocked. They both kick, canceling each others out. Connor spins away and the samurai flies forward with a kick. It misses, as Connor grabs a linen and wraps the samurai’s arm. The samurai’s left arm connects with a cross, and a second try is wrapped up by Connor, handcuffing both arms. The samurai throws a knee to the body, but Connor trips him up, grabbing a chef’s knife and bringing it to the samurai’s neck.>

 

Samurai: My life is yours demon.

 

Connor: Demon…

 

<Kent comes limping into the door, holding a piece of cloth with Japanese characters on it.>

 

Kent: Don’t kill him, he’s human.

 

<Connor gets up, helping the samurai up.>

 

Samurai: My name is Ronin Karimura.

 

<Cut to the rooftop, looking downward.>

 

Rudy: New player in town.

 

<Cut to Rudy, focusing in on a hairy, grizzly faced demon behind him.>

 

Assassin: I’ll file with the union for overtime.

 

Scene 4:

 

<Kent, Connor, and Ronin are sitting around a table in the lair. Eliana is in the kitchen, out of frame.>

 

Eliana: Would you like any sugar with your tea?

 

Ronin: No thank you.

 

Kent: I don’t understand it. You came here, you chose to come here, right? What are you trying to do here?

 

Ronin: I was called. I am a member of the Sakrishi.

 

Kent: Weren’t they wiped out in the twelfth century?

 

Ronin: Most everyone. The survivors rebuilt, keeping the followers small, and low key. Much like anywhere else, a ruler does not like to have rogue forces working in his kingdom.

 

Kent: Serving the God Phumtra.

 

Ronin: Times changed, though. The worship had heavy burdens, and we tended to stick out. We all went are separate directions, mainly as mercenaries, and the order largely disintegrated.

 

Connor: So what does that make you?

 

Ronin: A demon hunter. They deserve to die, and I am here to fulfill that.

 

Kent: And you got here how?

 

Ronin: The well. I through in my tribute, and the well pointed me here.

 

<Eliana comes in with a tray of cups and a tea kettle. Kent arises from his chair to the bookshelf.>

 

Ronin: Thank you.

 

Kent: That well you speak of, what was it?

 

<Kent flips through pages.>

 

Kent: I remember reading something about it, but I’m a little strapped on resources.

 

Ronin: The Well of Eyes.

 

Kent: And it wanted you here.

 

Ronin: My path pointed to here. The Well only reflected it.

 

Connor: We can get around to thanking this well later. Let’s go out and even up these sides.

 

<Cut to Rudy entering a warehouse. A robed figure enters out of the shadows, then gets knocked down by a cross from Rudy.>

 

Rudy: And here I was thinking you wanted me to do something for you.

 

<The robed figure is staggering up.>

 

Robed figure: Coninue.

 

Rudy: Today, I notice a new player on the streets, and he’s working with the boy. No planning, no prep. You didn’t give me much of a warning when it came to the girl and the man. It’s like you don’t want me to get this done.

 

Robed Figure: Situations arise…

 

Rudy: And you’re supposed to know.

 

Robed figure: We did know. We assessed the situation and decided the samurai would play right into your hands. They won’t accept him.

 

<Cut back to Connor and the samurai, going through the weapons.>

 

Ronin: Night is the best time to hunt.

 

Connor: We have the advantage during the day, when the light is out.

 

Ronin: But the things that need to be killed most come out during the night. You can’t get things done by being afraid.

 

Connor: I’m not afraid of anything. These things fear me.

 

Ronin: Then why are you down here?

 

Connor: It’s not worth the risk.

 

Ronin: You let fear run you and the monsters will take charge.

 

Connor: I have an obligation here, that I can’t afford to risk.

 

Ronin: Is that what’s holding you back?

 

Connor: Nothing’s holding me back.

 

Ronin: So let’s go out then.

 

<Connor grabs the katana and stake shooter, walking into the main room, where Eliana and Kent are sitting.>

 

Kent: Are we heading out again?

 

Connor: I have work to do.

 

<The samurai walks by and through the door.>

 

Scene 5:

 

<Eliana and Kent are still sitting around the table.>

 

Eliana: Aren’t we going after him?

 

Kent: No. He needs time to get this new martyrdom out of his system. I’m not looking to get in the way of that right now.

 

Eliana: Martyrdom? Doesn’t that assume he’s going to die for his cause?

 

Kent: No. It means he doesn’t know why he’s doing it. He doesn’t have a clue right now.

 

Eliana: And we’re just going to sit here and wait for him to get killed then.

 

Kent: He’s not going to get killed.

 

Eliana: You’re not worried about him?

 

Kent: No need to be.

 

Eliana: So were just going to do nothing.

 

Kent: We’ll do what it takes.

 

Eliana: Which is sitting here?

 

Kent: We’ll get up eventually.

 

<Kent opens up a book and points at a demon.>

 

Kent: You should be studying.

 

<Cut to Connor and Ronin walking the streets at night. Both are armed with swords.>

 

Connor: There’s thrill to doing all this at night that I can’t quite put into words.

 

Ronin: Knowing that this is the right way, the only way to hunt. You have to go right after these things.

 

Connor: You’re right. I know exactly what you’re saying. They’ve been holding me back.

 

<A shadowy figure drops down, hitting both Ronin and Connor and sending them rolling. Camera turns to show the assassin.>

 

Assassin: They told me this would be hard.

 

<The assassin holds his right hand out, as it turns to spikes. Connor and Ronin kip up. They both swing their katanas. The assassin blocks Connor’s katana with Ronin’s. He swings his right, hitting Ronin and knocking him. He throws Connor back first into a wall. Ronin fight back, blocking a right and returning with an array of punches and kicks. The demon falls to its knee. Connor is starting to move towards the fight. The samurai pulls a knife, stabbing at the demon. It grabs Ronin by the arm, and stands holding him over his head. Connor is rushing now, and he jumps and kicks. The assassin sidesteps it, but Connor throws a back elbow, connecting and causing the assassin to release Ronin. Connor spins but gets hit by a punch. He’s brings his head back, but rather than looking fazed, he has fire in his eyes. He swings violently with his right hand, hitting four times and bring the assassin down to both of its knees. Ronin tosses the knife, but Connor catches it, looks at it briefly, then drops it. He continues wailing away at the assassin as it crumbles to the ground.>

 

<Cut to Kent, watching from a dimmed alley down the street.>

 

Kent: He’s losing control

 

Scene 6:

 

<Connor walks into the lair, not even bothering to acknowledge Kent and Eliana sitting at a table in the main room. Connor walks into the next room, and is looking through an open weapon’s bag. Kent walks in from behind, with Eliana poking her head from a book in the background.>

 

Kent: So, how was your night? Have fun playing the bloody daredevil? Or was it the punisher, out for revenge?

 

Connor: I killed. I came back alright. And you didn’t die. I don’t see why you’re so angry.

 

Kent: You’re acting like a child.

 

Connor: In case you’ve forgotten, I didn’t have a childhood, Kent. So give me some room.

 

Kent: I think I’ve given you enough room.

 

Connor: Are you going to play dad tonight?

 

Kent: If that’s what you feel like you need.

 

Connor: I’m not feeling like a lecture tonight.

 

Kent: And I don’t feeling like giving one.

 

Connor: Too bad. I had this whole thing planned where I was going to give a speech about how you neither have the power nor the authority to control me, and then I was going to walk out on you. Guess I’ll just have to settle for the walking out bit.

 

<Connor brushes by Kent with the katana in hand. Fade away, centered on Kent’s stunned face with Connor walking out over his shoulder.>

[Guest Brian]

Connor Ep. 1, to help get everyone back up to speed:

 

Scene 1:

 

<Angel, Illyria, Spike, and Gunn are shown from behind as an army of monsters face them. The camera pulls back to the street in front of the Hyperion, revealing Connor racing to the second story window as the cries from the monsters grow louder. A second camera shows Connor from behind, calling for his dad as the four warriors leave his sight.>

 

Connor: Dad!

 

<Connor turns and runs to the stairs. He hits the bottom step and gets stopped just before the door. A hand pulls him back against the wall.>

 

Kent: You’re not ready for this yet.

 

<Connor pushes his arms away>

 

Connor: My dad is out there. I have to help.

 

Kent: This is his fight, not yours.

 

<The camera pans back, showing a legion of monsters running wild through the streets. Two of them head through the doors. Connor recognizes the monsters, as he is hit with a flash back of Quor’toth.>

 

<The scenery is rocky, with no foliage in sight. Holtz arises from a fallen monster, facing Connor in his animal skin garb.>

 

Holtz: You must show no mercy with these beasts. You must not hesitate for one moment. You cannot think, you can only act.

 

<In the hotel, one of the monsters, goes at Kent and takes him to the side. The other goes after Connor, tossing him into the weapons chest. The camera cuts to Connor arises, now in the flashback.>

 

Holtz: Right. Left. Block.

 

<Connor follows Holtz’s directions, as he fights against a monster that is exactly the same as the one he’s fighting. The camera switches to the demon, who has fallen to its knees, back in the hotel. The camera switches back to Connor in Quor’toth.>

 

Holtz: Finish him.

 

<The camera is back in the hotel, as Connor reaches out to the monsters head and snaps it. He grabs a piece of glass from the broken cabinet and throws it at the second monster, which was straddling Kent. The camera shows Kent’s vantage point, as the monster falls off to the side with a piece of glass lodged in its head. Connor pulls the monsters off and pulls Kent up. They head to the door.>

 

Connor: Want to tell me what I’m not ready for.

 

<Connor opens the door. The streets are in flames, blood is running down the side of the street with the rain. Opening credits roll.>

 

Scene 2:

 

<Kent pulls Connor back inside.>

 

Kent: They told me you would be a work in progress.

 

<Connor pushes Kent’s arms aside.>

 

Connor: Did my father tell you that?

 

<Kent is looking through the weapons chest, searching for a weapon.>

 

Kent: No. The Powers That Be told me that.

 

Connor: What Powers That Be what? I have to get outside, I have to help.

 

Kent: It’s over now. They’re too strong. There’s too many right now.

 

Connor: It’s not over. I can help them.

 

<Kent finds the entrance to the sewers. He motions to Connor.>

 

Kent: They’re gone. We have to leave.

 

<Connor takes another look outside, then heads to Kent. They enter the sewers. Connor pulls Kent aside>

 

Connor: What is happening?

 

Kent: The apocalypse.

 

Connor: THE Apocalypse?

 

Kent: Okay, an apocalypse. But this one’s is different. This is evil inc. They’ve been operating here for years, under the radar of many. They’ve been building for this, waiting for the chance. And your father, he made a choice, a series of choices, his choices. What he chose, he had to deal with…we had to deal with.

 

Connor: What do “we” have to deal with? Who else? What are these powers?

 

Kent: You, me, were here, on the ground. The Powers That Be, they’re up there, and they said that you still have a role to play. Your father, Spike, Illyria, and Gunn; I don’t know where they are, I haven’t been told. The Powers tell me that you’re important, that you’re valuable to them. You didn’t think killing one demon would be the only thing they had planned for the son of a mystic birth.

 

<A group of people, four strong, emerge from the dark, looking around as they move. They’re all scared from the events unfolding above ground. The leader spots Connor and Kent, signaling to the others.>

 

Vampire #1: At least there something warm around here.

 

<The lead vampire’s face transforms. Camera is back on Connor and Kent, as Kent pulls a stake out of his coat.>

 

Kent: Now let’s see why I should invest myself in you.

 

<Kent tosses the stake to Connor, then fades back into a pipe. The vampires charge. Connor blocks the first two, then stakes the Vampire #3. Vampire #4 lands a punch, and the leader tries to pounce on Connor. Connor kicks him away, then leg sweeps Vampire #4. Vampire #2 tries to hit Connor but gets staked. Vampire #4 kips up as the leader looks on. Vampire #4 and Connor trade punches. Vampire #4 tries to hit Connor with a spin kick but Connor grabs him and throws him into the wall behind him, staking him like an ice pick. The leader emerges, kicking the stake out Connor’s hand. The leader throws Connor into the side of the tunnel, crashing into pipe. The leader comes charging, but Connor quickly spins, breaking off the pipe and bending it into the vampire’s chest. He crumbles into ashes. Kent emerges from the shadows.>

 

Kent: So I see that you’re more than just a face. I just don’t know what exactly.

 

Connor: And neither do I. And I don’t care. I have to get back to my father.

 

<Connor heads to an opening in the sewer. He looks outside through the bars. Kent picks up the stake.>

 

Kent: You’re not going out there. Not yet.

 

Connor: Who are you to say?

 

Kent: The Powers That Be. They sent me here to help you. I’m Kent.

 

Connor: And I’m heading out. I have to get to work.

 

<Connor turns as he witnesses a pack of monsters tearing a woman to pieces. He turns back to Kent.>

 

Connor: I need more. I need weapons.

 

Kent: You need to step back. There’s something else at work, that we have to let play out. You need to get ready. The city…by morning there will be little, if anything left. By daybreak, you’ll be able to fight them.

 

Connor: I won’t fight them. I’ll kill them.

 

<Connor grabs the grates, ready to leave, but turns away.>

 

Scene 3:

 

<Connor is in Quor’toth. He’s squatting, in a cave. Holtz is looking around. Both are breathing hard. Holtz turns to Connor.>

 

Holtz: These beasts will not stop until they’ve finished. They know nothing but the hunt and the taste of blood. They will kill and continue to kill without discretion. You’re smarter than them, and you must use that. You must always be aware of their instincts, Steven.

 

Connor: They live to feed.

 

Holtz: It’s never that simple, and you must be aware of everything. They’ve have their urges, and instincts. But they are not that primitive, nothing is ever that simple. If they have control, you give up that predictability. You must always have control.

 

<Cuts back to the sewer. Connor is squatting, Kent is standing upright. He takes a cigarette, puts it in his mouth, than rethinks lighting it and puts it away.>

 

Kent: You can’t give these monsters something to chase. We have to be in control.

 

Connor: Why are you here?

 

Kent: Consider me your guide, your guru. The Powers That Be are much like those at Wolfram and Hart, the Senior Partners. They’re been around since the beginning, in some form, since the beginning. They’ve been relegated to guiding, helping humans. The Senior Partners have been measuring, waiting for an opportunity to advance. They’ve taken it. And we have to restore a balance.

 

Connor: And why me?

 

Kent: You’re all that is left. You’re strong. And you have a destiny.

 

Connor: Who says? I am in control of my life.

 

Kent: We all have a role to play, some greater than others.

 

Connor: So they control things then. Me, my dad, the others, we’re all just pawns. Those people out there are just sacrificial lambs.

 

<Connor grabs Kent by the neck of his coat, pushing him against the wall>

 

Connor: So you come out here, because things are a little out of sync. People are dying, and you keep me in here so I can fulfill you’re wishes. I’m going to keep things going for you, make sure that you two are playing on an even field.

 

<Connor releases Kent, who straightens his coat and feels his neck>

 

Kent: We’re here to save people too. But you don’t always have an opportunity, and sometimes you have to fall back. You can’t save everyone, and you can’t fight everything alone.

 

Connor: These beasts are running wild, and I’m in here doing nothing.

 

<Cut back to Connor and Holtz in the cave in Quor’toth.>

 

Connor: But they’re in control now. I have to get out there.

 

Holtz: You’re smarter than these beasts. They think they have it, but they can never beat you. You stay one step ahead, and when they slip, you’ll be there to take care of them.

 

Scene 4:

 

<Kent and Connor are in the sewer. Kent peers out through the sewer drains.>

 

Kent: The vampires have been driven underground. These things are too powerful.

 

Connor: I don’t worry about the vampires.

 

Kent: You should. This may be are only cover, and its infested as it is. We need to find a place to stay.

 

Connor: We need to get out there and fight.

 

Kent: I don’t even know if you can survive out there. You got through this once, by luck. But you’re not conditioned to survive in this place, especially now.

 

Connor: You shouldn’t worry about me. I can take care of myself.

 

Kent: No, you can’t. This isn’t LA anymore.

 

Connor: It isn’t, but I’ve seen it before.

 

Kent: And you have to play things smart. We’re not here to get our heads cut off. We hunt during the day, lay low during the night. Nothing could make it out there with what’s going on outside right now.

 

 

Scene 5:

 

<Outside, a panorama as night transforms to day and the smoke emanating from the city. Many of the buildings are in ruin. Connor and Kent are still in the sewer. Connor peers outside.>

 

Connor: The sun has hit. These beasts are in retreat. I should be out there. I still have people to protect…

 

<Connor kicks down the grate and rushes through. He runs straight through the park. Kent is left behind. Kent rushes out after him but stops.>

 

Kent, to himself: You give me absolutely nothing to work with. I can’t control this brat.

 

<Connor comes running down the middle of the street in a suburban community. In one house, a group of monsters is raging, throwing furniture out the house. Connor reaches a house that looks unaffected from the outside. Connor makes it to the driveway, and is a few steps up. Suddenly the door is kicked down, as then a monster comes through the entrance, talking with others in a jovial manner. He’s large, with fangs and a huge forehead, and a wrinkled face. As he comes through the door two other demons follow, both carrying hostages. They are the parents that were given to Connor through the false memories.>

 

Lead Monster: So, the Destroyer is here.

 

Connor: Let them go!

 

Lead Monster: You’re not in a position to command me right now. We’re in a new world now. In this place, you can’t win, you can only lose. Too many innocents, too many victims. This is a brave new world for us. This is our playground. And now, you’re going to see what happens when we take control. <Turns to the other monsters> Kill them. <Pauses> No, let them watch. I want them to see him die.

 

Connor: No!

 

<Connor races up to the first monster. They trade punches to the face. Connor tries another swing but gets blocked. He headbutts Connor, who falls away.>

 

Lead Monster: I remember you being stronger. And more armed.

 

<A long blade emerges from the back of the lead monsters forearm. Connor comes back with a series of kicks. The fourth is blocked, and Connor is struck across the chest with the blade. Connor staggers, his shirt ripped and body scratched. >

 

Lead Monster: Ehh, there’s not much to watch now. Kill them.

 

<An arrow brushes by, just missing the leader. The camera moves to Kent on his motorcycle, clutching a crossbow. The lead monster dusts himself off. In the background, one of the monsters falls, freeing the woman. She begins to crawl away, crying.>

 

Lead Monster: Damn humans. <Turns to his living accomplice> What are you waiting for.

 

Husband: Run…

 

<The monster holding the husband snaps his neck Connor rushes to the lead monster. He lands two punches and a kick. The monster hits Connor with a forearm, but he doesn’t fall back. The lead monster takes a swipe with his blade, but Connor catches his arm. He breaks the blade cleanly off his arm with the palm of his hand. He twists the arm around and the monster drops to his knee. Connor snaps his neck and shoulder. Kent is down on the ground, after trying to stop the other monster. It has already killed Connor’s mother. Connor runs over, ducks a punch, and delivers a clubbing-blow to the back of the head. Connor pulls him up by the head and delivers a clothesline to the back of the neck, still holding. He drops the monster and races to his mother. He drops to his knees, clutches her in his arms. He begins to cry.>

 

Connor: Don’t die on me! Mom!

 

<Kent limps over, crossbow in hand>

 

Kent: I’m sorry…I tried to save her.

 

Connor: You kept me in there while these monsters were running wild. And look at what it cost me. I have nothing left.

 

Kent: I kept you alive in there. I kept you under control. I made sure you didn’t go out and get yourself killed.

 

Connor: You can’t control me.

 

Kent: I have to. I have to keep you alive, it’s far too important. <Raises his voice> You may not get this, but there’ll be a lot more deaths if you’re not around. We’re here to keep people alive, and there are going to be casualties along the way. It may be hard for you to understand right now, but you have a responsibility here. And no one else can do that.

 

Connor: I’ve lost everything in the last twenty-four hours. I have nothing left. The city is burning, and these monsters are running wild.

 

Kent: You can protect them.

 

Connor: I couldn’t even protect my own family. I didn’t fight side-by-side with my dad.

 

Kent: You’re going to save these people, just like he did. And you’re going to keep his memory alive.

 

Connor: Why?

 

Kent: Because you can, and no one else will. This is your responsibility, it’s your destiny. These monsters have killed you’re family. If you do it for anything, you do it for them. You can’t get them back, but you can honor their memory.

 

<Connor walks over to the motorcycle. He pulls out a katana from Kent’s bag. He practices with it in his hand.>

 

Connor: And if I do it for them, what will I get out of it.

 

Kent: You’ll be doing the right thing.

 

Connor: I’ll settle for blood on this sword.

 

<Connor drags the sword as he walks away. Kent pulls a fresh arrow out of his bag and loads his gun, and get on his motorcycle. He starts it. Picture fades to black.>

[Guest Brian]

Here's episode 2:

 

Scene 1:

 

<The street is grimy. Cars are overturned. Buildings are smashed, glass on the street. The sun is setting. Camera fades up from the foot level. A woman rushes by. A winged creature swoops down on her, with red eyes. She falls to the ground, and the winged creature lands. Suddenly Connor lands next to the monster, wielding a sword. He takes a swing, but the creature blocks his arm it with his wing. Connor drops the sword and catches it with the other hand. He tries an uppercut but the creature takes flight. Connor jumps and grabs it leg, whipping it down hard. He drops the sword into its chest.>

 

Young woman: <crying> What happened? What’s going on?

 

Connor: Death. And pain. That’s all there is left in this place.

 

Young Woman: You saved me from that monster.

 

Connor: It’s my job.

 

Young Woman: How can I thank you?

 

Connor: I said it was my job.

 

<Connor begins to turn away, as a pack of hell beasts emerge and pounce on the woman. Connor turns back, sighs, and lifts his sword. Fade to intro.>

 

Scene 2:

 

<Camera enters the sewer through a pipe, focusing on two images. The sound of punches is heard in the background. Camera turns around the corner, revealing that Connor and Kent are sparring. Connor delivers a series of lightning quick blows, ending by knocking Kent into a wall.>

 

Kent: You’re stronger than I was led to believe.

 

Connor: It doesn’t help.

 

<Kent puts down his pads.>

 

Kent: It can’t hurt.

 

Connor: And yet, people are still dying out there.

 

Kent: People always die. In the risk that we take by going outside, by picking up this sword, by living everyday.

 

Connor: There’s nothing I can do about it. I watched a woman die in front of me after I saved her. And that’s all I’ll ever see. I’ll save them, and they’ll die later.

 

Kent: It’s not hopeless, though. You can’t change things by sitting back and letting it play out; you need to risk yourself. You need to give it all up to win sometimes. You need to fight like there’s no tomorrow. Because sometimes there’s not.

 

Connor: Like today. Or yesterday. Nothing changes. I kill a few, and they keep coming. For every one, there’s a hundred more. So what am I fighting for?

 

Kent: For yourself. And don’t forget it.

 

<Fade out of scene. Camera is blurry, then focuses on a sign titled “Wolfram & Hart”. Camera turns to Connor and Kent.>

 

Connor: This is the source. This is where we last fought together. This is where the evil has come from.

 

<Camera reveals a battered down building, with debris scattered.>

 

Kent: They didn’t leave anything. They no longer have to conceal what they do.

 

Connor: I was here when they destroyed this place.

 

Kent: This was their base of operations, wasn’t it? Why would they get rid of it?

 

Connor: Because they don’t need it anymore.

 

<Connor bends down. He picks up a handful of gravel.>

 

Connor: I can still smell him.

 

<Connor throws the debris and begins to walk away.>

 

Kent: You can’t live in the past forever.

 

Connor: <Under his breath> I try not to.

 

<Scene 3>

 

<Connor is walking down a suburban street, sword in hand. Kent follows behind with his crossbow, a bag over his shoulder. Kent is nervously looking around.>

 

Kent: The sun’s going down. We have to get underground soon.

 

Connor: We still have another half hour. Besides, some of them are feeding. The blood is in the air.

 

<Connor looks around. His ears twitch. He begins to run.>

 

Kent: Connor, wait!

 

<Inside a house. Furniture is turned upside down. Couch is ripped. Three people are sitting, crouched into the ground. A young girl, fifteen, is crying. Two monsters are talking to each other. One has scales and a spiked tail. The smaller monster also has scales but has gills.>

 

Bigger monster: I like this place. Food all over; defenseless. <Heads over to girl, looks her over and gives a lick.> And virgin blood for desert. <Girl breaks down again.> Don’t worry honey, you’ll get to outlive your parents. And it won’t take too long.

 

<Door flies out and Connor is standing in the opening.>

 

Connor: Am I interrupting something?

 

<The smaller monster attacks Connor. Connor blocks a punch and delivers a series of punches to its stomach, followed by a roundhouse kick, knocking him backwards.>

 

Smaller monster, to larger monster: A little help.

 

<The larger monster wipes blood from his teeth. He stands to his feet, the mother and father both slain. He whips his tail out, hooking Connor’s leg and throwing him into the wall.>

 

Smaller monster: You started without me.

 

Bigger monster: He’s getting up.

 

<Smaller monster pounces on Connor, mounting him. His mouth opens wide, revealing a second set of teeth. Connor punches him once but the monster doesn’t flinch.>

 

Bigger monster: This doesn’t look good for you.

 

<Connor throws a left. The smaller monster smiles and bends down to take bite. Connor headbutts the monster in the mouth. The smaller monster raises its head and spits out a tooth.>

 

Bigger monster: You going to let that human do that to you.

 

<The smaller monster tries a right, but Connor blocks it. Connor hooks his arm. The smaller monster tries a left, but that gets caught and hooked. Connor delivers a series of headbutts while rising to his feet. Connor releases both arms and drives his knee into the monsters head, denting the skull and dropping it to the ground. Connor turns and sees that the other monster has left. He picks up his sword. Kent comes running through the door.>

 

Kent: What did I miss?

 

<Connor brushes by him and heads straight to the motorcycle. He grabs the bag and looks through it. He grabs a double-headed axe.>

 

Kent: It’s getting dark, and they’ll have the numbers.

 

Connor: I’m not going to let this one die.

 

Kent: Let who die?

 

Connor: The girl. I should have saved her. I’m going to save her.

 

<Connor heads to the manhole. He lifts up the cover.>

 

Connor: Head back to cover. I’ll take care of this.

 

Kent: You’re being rash and unreasonable. He’s heading straight to a nest, and you don’t have the firepower.

 

Connor: I’m tired of watching people die.

 

Kent: Connor, people die. It’s natural, and it happens.

 

Connor: And all this, does all this just naturally happen. I don’t fight, people die. I fight, people die. Well, I’m already tired of it all. I’m not going to let it happen again.

 

<Connor drops down the manhole. Kent heads over to the manhole, gathers his things, and starts the cycle.>

 

Scene 4:

 

<Footsteps are heard in the sewer pipe. Connor is seen running through the sewers. A hand grabs Connor and pulls him into another pipe. Connor reacts, delivering a punch and a kick. Camera reveals Kent falling to his knees.>

 

Kent: I already know about your strength. But your decision-making. You need to think about what you’re doing.

 

Connor: I’ve already thought about what I’m doing. I think about it every time I walk those streets. I see it in their eyes. I smell it in the blood. It’s death. And fear. And it has to stop. I need to stop it. I have to start with her.

 

Kent: You’re reacting to something you can’t control.

 

Connor: I’m in control.

 

Kent: You’re not in control. You’re operating out of emotion. I see it everyday too. But you can’t go out and try to do more than you can because of it.

 

Connor: I can handle it.

 

Kent: She’s lost Connor, and there’s nothing you can do. You can’t save everyone.

 

Connor: But I’m going to save her. So leave me before I lose the scent.

 

<Connor takes off, sword and axe in hand. Kent picks up his crossbow, and begins to jog after Connor, slowly.>

 

<The large monster gets to his den. He puts the girl down.>

 

Large monster: He can track me. I’m going to have to eat you now.

 

<The girl begins to whimper as the tip of his tail strokes her face. It rises as he nears her. Suddenly an axe flies through, catching the tail between the two heads. Connor charges, sword in hand. He swings but the monster steps back. He takes a second swing but the monster pulls the axe out of the wall and blocks. He whips his tail out and sweeps Connor out from under his feet. Connor rolls to dodge an axe smash and spins himself up. Kent hits the scene, crossbow pointed, walking slowly.>

 

Connor: Get to the girl.

 

<Connor charges at the monster and they block each other’s weapons shots. Connor turns the sword and deflects an axe blow to the ground. They drop their weapons. Connor tries to hit a punch but the monster blocks and delivers a headbutt and a punch. Kent gets knocked back ten feet by the monster’s tail. The girl tries to run but the monster gives chase, picking her up. Connor’s hand grabs at it, but the monster spins around and under his arm, catching him again with the tale. The monster hits an uppercut on Connor, sending him to the ground. He takes off with the girl, as an arrow misses. Kent crawls over to Connor. Connor staggers up as Kent grabs him. >

 

Connor: I’m not going to lose her.

 

Kent: Get out of here.

 

<Connor runs off. Kent slowly gets to his feet. Cut to Connor catching the monster and throwing him against the wall. The girl falls to the ground.>

 

Connor: Get out of here.

 

<She begins to run away but Kent catches her. He escorts her through a tunnel.>

 

Large monster: I guess it’s just you and me.

 

Connor: The way it should be.

 

Larger monster: Are you sure about that?

 

Connor: Yeah, I am.

 

<Connor dodges a tail whip, crashing into the cement and causing a crack and dust to kick up. Connor steps in and lands a few body shots, quickly. The monster tries for a sweep with the tail but Connor jumps on the tail and attempts a roundhouse. The monster ducks and spins, trying for a clothesline. Connor gets then tail to the gut and the monster turns and hits an elbow to the back of the head. Connor falls to his knees. The katana slides out to Connor, who grasps it before the monster steps on it. Kent lands an arrow on his calf while clutching the girl with his other arm, allowing Connor to pull up the sword. The monster jumps to a ladder, climbing out of the sewer to a manhole.>

 

Large monster: We’ll continue this later human.

 

Connor: Are you okay.

 

Girl: My parents.

 

Connor: I know what it’s like. These monsters killed my family. I won’t let this one get away.

 

Girl: Who are you?

 

Connor: That’s a good question.

 

Kent: We need to get back home. It’s dark outside.

 

<Connor grabs a holder for the sword and straps it to his back. He jumps straight up through the hole.>

 

Kent: There he goes again.

 

Scene 5:

 

<The city is dark, with almost all lights dark. Few streetlights are on. The dragon flies overhead. Camera pans down to an alley where Connor is hiding, under cover. Connor begins to move slowly.>

 

Connor: I’ve never seen this place at night.

 

<Kent emerges from the shadows.>

 

Kent: I hope we don’t have to.

 

Connor: But we do. We need to take the fight to them. We can’t keep on sitting back.

 

Kent: We’re not sitting back. We’re staying alive.

 

Connor: What about the girl.

 

Kent: She’s fine.

 

Connor: How many of them are out there?

 

Kent: It’s like a big nest. I can’t even tell.

 

Connor: I’m going to kill them all. <Pauses> Go back and protect her. I know exactly where it is.

 

<Connor quickly scales the building, leaving Kent alone to look on.>

 

<The large lizard monster is walking the streets, strutting along. A gargoyle-like monster gets out of its way.>

 

Large monster: What are you looking at?

 

<Connor jumps down, slicing the head of the gargoyle creature.>

 

Connor: Looking at you, sunshine.

 

Large monster: You just don’t go away do you.

 

<He whips his tail but Connor jumps and spins, hitting kick and swinging the sword. The monster falls back but block Connor’s arm, and knocks the sword out of his hand. Connor gets backhanded in the face. Connor returns with a right hand to the face and a high kick just under its jaw. The monster tries to whip its tail but Connor grabs it this time and throws it into the building. Connor picks up his sword and strolls over.>

 

Large monster: You really think it’s this simple. You kill me, there’s a hundred thousand more out there. There’s nothing you can do, so why try?

 

<The monster tries fighting with its tail but Connor blocks each of the three shots with his sword. The monster hits two shots to the gut, sending Connor reeling. Connor dropkicks the monster as a last ditch, throwing his sword and missing. Connor spins to his feet.>

 

Large Monster: Is that all you got?

 

<Connor whips out two knives from under his shirt sleeves, throwing them to his side, hitting two slimy creatures in the chest. They both fall.>

 

Connor: That was all I had.

 

<Large monster charge at Connor but Connor weaves around two punches and grabs his neck. The monster turns and throws Connor into the wall, causing him to release his grip. He tries an elbow but Connor catches it and throws him head first into the wall. Connor clotheslines him as he falls on his back. The monster uses its tail to buoy itself up to deliver a kick, sending Connor flying to his side and into one of the fallen monsters. The monster walks over, Connor getting up slowly. As the monster nears, Connor removes the knife from the head and stabs into the monster. He jumps up, bringing the knife to the monster’s neck. He pulls the knife out, allowing the monster to fall to its knees, then its stomach. Connor walks away, leaving a bloody trail of footsteps.>

 

<Back in their den, Connor is returning the sword to its place. He heads over to a cot and sits next to the girl.>

 

Connor: My name’s Connor.

 

Girl: I’m Eliana.

 

Connor: It’s not easy losing people out there, especially your parents. I lost mine too.

 

Girl: Does it ever get any easier?

 

Connor: Some days, it is.

 

Girl: Is that why you fight?

 

Connor: I fight because it’s the right thing…sometimes it’s the only thing you can do.

 

Girl: And what about me.

 

Connor: I’m going to protect you.

 

<She puts her head on Connor’s shoulder.>

 

<Cut away to the streets. The sun is beginning to break. A robed figure walks by, meeting with a spiked face demon in a business suit. Close-up on the robed figure’s face, which is pale white with a sanscrit letter on each cheek. He bends down to examine the dead bodies.>

 

Robed Figure: So this is the work of the vampire’s son.

 

Demon: He strong. Stronger than we anticipated.

 

Robed Figure: You know what must be done.

[Guest Brian]

Here's episode 3:

 

Scene 1:

 

<Kent is fitting something on Connor’s arm. Connor turns and shoots at a target, placing three stakes in rapid-fire fashion along the rim of the bullseye.>

 

Kent: This idea of yours works well. It should be a good tool out there.

 

<Eliana strolls in. Connor picks up a sword from the rack.>

 

Connor, smiling: Are you ready to start learning how to use this?

 

Eliana: I’m not strong enough to help you out there.

 

Connor: It’s not about being strong. It’s about being smart.

 

<Connor wields the sword in his hand. Cut to flashback in Quor’toth. Connor is battling against an ubervamp.>

 

Holtz: Know their moves before they make them.

 

<The Ubervamp swipes, scratching Connor along the chest.>

 

Holtz: Identify the weakness, lure it in, and attack.

 

<Connor lunges back, deflecting a charge with his sword. He brings the blade down in the back and through the heart, causing the ubervamp to dust.>

 

Holtz: And that is how you do it my boy, Steven.

 

<Cut back to present.>

 

Connor: When the time comes, you need to know how to use it.

 

Eliana: And what if I don’t want to kill.

 

Connor: You’ve seen it out there, just like I have. And you’ll do the right thing.

 

<Connor puts the sword in its sheath.>

 

Connor: Because if you don’t, they’ll kill you.

 

<Connor shoots a final stake at the target, hitting the bullseye. Close in on bullseye, fade to intro.>

 

Scene 2:

 

<The sun beams down and hits Connor’s sword. Connor raises it and comes down on a demon’s chest. Connor turns to watch as Kent does battle, blocking a punch with a spear and punching it into the monster’s abdomen.>

 

<The spiked-faced demon is watching from above on a building. He’s taking notes.>

 

Spiked Demon: Now that’s not a good test of strength. One good right and he was done for. What was he worth?

 

Robed Figure: Can you get something stronger?

 

Spiked Demon: Of course I can. There are plenty of mercenaries around here for hire. And they’ll all want a piece of him.

 

<Spiked-faced demon pops a few pills. He shakes himself.>

 

Spiked Demon: I can feel the power.

 

Robed Figure: Good. You’ll need it.

 

<Back in their underground den, Connor and Kent are standing over a sleeping Eliana on a cot.>

 

Kent: She’s too young to be a part of this. But she has no choice. They were going to kill her out there.

 

Connor: There are others out there just like her.

 

Kent: Don’t get too attached to the idea that you are their savior.

 

Connor: I’m not. It just feels right now like there’s so much I can do.

 

<Connor heads over to the stove, turning on the gas to a propane can and lighting a fire. He puts a pot of water over the burner. Kent follows him.>

 

Kent: What we need to do is start trying to figure out what their next movement is. These monsters all have their patterns, all have instincts that they adhere to.

 

Connor: I remember.

 

Kent: What was that?

 

Connor: I know, I’ve seen it.

 

Kent: And we’re going to start making impressions around here. There are some big players out there, and their going to start paying attention. Sooner or later.

 

<Cut to the spiked-faced demon. He’s meeting with a large, muscular demon with rough, tanned skin. They’re in the street at night.>

 

Spiked-faced demon: So you’re the great Volar. I’m Rudy.

 

Volar: No need for names here.

 

<Volar takes two pictures from Rudy.>

 

Volar: So this is the son of the vampire.

 

Rudy: Watch out. He’s quite the little firecracker out there. He might give you a little trouble.

 

<Three blades emit from the back of Volar’s fist. He whips them at running human, with all three striking the side of the head within an inch of each other.>

 

Volar: Do you want to say that again?

 

Scene 3:

 

<Middle of the day, streets of Los Angeles in the barrio. Connor and Kent are walking the streets, both armed with swords.>

 

Connor: Do you really think these things are going to smarten up? They’re all beasts at heart, they all live for the kill, are all driven by blood.

 

Kent: Aren’t we all?

 

Connor: I mean, these creatures are not adaptable. They have one drive that rules them. They know only violence.

 

Kent: For monsters so bent on destruction and mayhem, they do seem to know what times to avoid. Does it seem a little quiet out here?

 

<A long scratching is heard in the background. Camera turns to show Volar, in a trenchcoat, with both fists armed.>

 

Connor: Well, I’ve been looking for a good fight.

 

Volar: Look no further.

 

<Connor and Kent charge at Volar. Volar grabs Connors sword and deflects Kent’s blow, kicking him away. He hits a right hand on Connor, and tosses his sword to the side. He whips his arm and flings three blades at Connor, which he rolls away from and returns fire with three rapid stakes. Two are dodged, and a third caught between the blades of Volar’s left hand. Kent is slowly rising from his left side, picking up Connor’s dropped sword. In the process, Connor has kip-upped and is now standing.>

 

Volar: Is that the best you have?

 

Connor: No, I have one more.

 

<Connor shoots a fourth stake, braising against Volar’s leg. He takes a step backward, then regroups.>

 

Volar: Three of a kind trumps that.

 

<Volar raises his arm and prepares to whip it. Kent meets his arm on the downswing, taking off two blades before Volar changes directions. He spins, throwing the final blade at a charging Connor nailing him in the upper ribs. Connor stumbles, falling to a knee. Kent throws him both swords, and Connor crosses them, rising to his feet. Kent whips out a mini-crossbow from under his coat, circling back towards Connor.>

 

Volar: So we bid ado. Parting is such sweet sorrow.

 

<Volar turns away, leaving. As he gets out of sight, Connor falls back to his knee. He pulls the blade from the wound. Kent puts away his crossbow and helps Connor down a manhole.>

 

<Back at the den, Connor has his shirt off and cloth around the wound. Eliana is watching. Kent is grabbing supplies out of the cabinet. He walks over to Connor with a new washcloth, dabbed with alcohol. He cleans around the wound.>

 

Kent: You heal quickly.

 

Eliana: What happened?

 

Kent: Connor made a new friend.

 

Connor: I can take him.

 

Kent: We don’t even know what he is and were poorly equipped as is. You stay here with Eliana, I’m going to head above ground.

 

<Kent empties out a bag full of weapons. He picks up the double-headed axe. He clips on a box of throwing stars to his belt, and carries the katana is its sheath over his shoulder. He carries the empty bag in his other hand and leaves into one of the tunnels.>

 

Connor: Do you want to come with me?

 

Elaina: I heard him say that we were staying here. As in not going out there. As in not getting killed.

 

Connor: I’m not going to let you get killed.

 

Eliana: But you’re hurt.

 

Connor: I have to find this guy before he finds us. He was definitely coming after me. And more than likely, he’s not going to stop. I need to find him first. I’m not going to let him hurt you. And the only way I can make sure he can’t hurt you is if you’re with me.

 

<Connor walks over to the pile of weapons. He pulls out the crossbow, then walks over to Eliana. He pulls an arrow from a quiver and arms it.>

 

Connor: It arms just like that. Aim through the hairs and pull the trigger.

 

Eliana: I see.

 

<Connor picks up the broad sword. He straps the stake shooter to his wrist.>

 

<Cut to Volar and Rudy are meeting inside a warehouse. Volar has his back turned, Rudy is pacing.>

 

Volar: You lied to me.

 

Rudy: I gave you a target.

 

Volar: You didn’t tell me about the man. I could have killed them both if I would have known.

 

Rudy: Then why didn’t you.

 

Volar: They got away. They won’t next time.

 

<Cut to Kent walking down the tunnel. A female vampire emerges from the shadows.>

 

Vampire: Boys, it’s time to eat.

 

<Three other vampires emerge, with the camera shooting from ground level behind Kent. He drops his bag.>

 

Scene 4:

 

<Scene is cut-up, as Kent is fighting all four vampires. He finishes the female off last by slicing her head off with his axe.>

 

<Cut to Connor, who is back on the same city street in the barrio as earlier. He’s looking around trying to find something.>

 

Eliana: Are you picking up on anything.

 

Connor: No, I think he went south. But the scent is fading.

 

<Eliana looks up at the setting sun.>

 

Eliana: How much longer should we stay out here?

 

Connor: We’ll move south and catch up to him. We should be able to find cover if we miss him.

 

<Connor grabs Eliana by the hand and starts to move out.>

 

<Cut to Kent standing over the fallen Hyperion. He’s digging in the rubble. He finds a volume and stashes it in his bag.>

 

<Cut back to Connor and Eliana. They’re outside a warehouse. Connor looks around, then takes a step back.>

 

Eliana: What are you going to do?

 

<Connor lunges at the door, kicking it down. He steps inside, with Eliana following.>

 

Volar, v.o.: So, the offspring has returned.

 

<Volar jumps down from a two-story drop.>

 

Volar: Are you on a date? Is it alright to come out and play?

 

Connor: It’s always alright.

 

Volar: You sure you’re up to this? Not too hurt are we now?

 

Connnor: I heal quickly.

 

<Volar extends his arms, emitting three blades on each hand.>

 

Volar: This is gonna be fun.

 

<Volar whips his arm throwing a blade at Eliana. Connor blocks it with the sword, but it gives Volar enough time to get inside on Connor. Volar attempts to punch him in the gut but Connor dodges, slicing off three spikes. Connor reverses his grip on the sword and tries to take of his head, but Volar ducks and slices Connor. Connor lets go of the arm and staggers back. Volar licks the blood on his two remaining blades on his left hand. Connor is clutching his prior wound.>

 

Volar: You’re making this too much fun.

 

<Connor charges back. He swings but Volar catches it with his left and brings down a right on Connor’s face. Connor breaks the hold with a kick and hits a jumping roundhouse. Connor tries it again but gets caught and thrown across the room, tumbling on the floor. Volar whips his final two blades at Connor, but he rolls away and kips up.>

 

Volar: Guess we’ll have to do this the old fashioned way.

 

<Volar and Connor meet hand to hand, exchanging right hooks. Connor goes from a high body kick but Volar blocks and backhands him, then meets him with a clothesline. He stands over him, looking at his right hand, as three new blades emerge.>

 

Volar: Ahh, got to replenish the well.

 

<Eliana shoots an arrow at Volar, which he dodges rather easily.>

 

Volar: You missed.

 

<He looks down, as Connor has just deposited three stakes in his gut.>

 

Connor: No, I didn’t.

 

<He puts a fourth in his forehead for good measure. Eliana runs over and helps him two his feet.>

 

Eliana: Are you okay?

 

Connor: Yeah, we got him didn’t we?

 

<Connor notices something sticking out of the coat pocket. He bends down and picks up two pictures. He looks at them.>

 

Scene 5:

 

<Rudy is meeting with the robed figure in a torn up lobby.>

 

Rudy: We should be able to get better accommodations then this. Who’s going to stop us.

 

Robed figure: You failed.

 

Rudy: I didn’t fail. He failed. We can find better.

 

Robed figure: Then find me better. And get the job done.

 

<Rudy pulls a cell phone out of his jacket and starts dialing as the robed figure walks away.>

 

<Cut to Connor and Eliana return to their den. Eliana is elated about getting to be a part of some of the action. Kent is sitting down at a desk.>

 

Kent: Where have you two been?

 

Connor: Hunting.

 

<He drops the two pictures of himself on the desk.>

 

Connor: They’re after us.

 

<Kent looks after the pictures. He passes an open section of a book to Connor.>

 

Connor: What’s a Turkiyan Knight.

 

Kent: Strong beast, used to be of a mystical order. Much weaker then in their former state. Work as mercenaries, strictly for the violence.

 

Connor: So someone bigger is after me.

 

Kent: The question is, how much bigger?

 

<Cut to a robed figure walking up to the Hyperion ruins, just a skeleton of itself engulfed by rubble. It searches through the rubble, and uncovers a bookcase. It pulls out three books, stacking them on top of each other. The top book has a picture of a wolf on its cover.>

[Guest Brian]

Episode 4:

 

Scene 1:

 

<Eliana is pointing around as Connor moves furniture around. Connor pushes in a new bed. Eliana begins hanging clothes on a pipe. Kent walks in, arms folded, and leans against a wall.>

 

Eliana: We have to do this more often.

 

Kent: You took her shopping?

 

Connor: We were short a bed and we needed some clothing. Besides, all the stores are abandoned.

 

Kent: You took her out there again? There’s an assassin after you, in case you’ve forgotten.

 

Connor: I went armed.

 

Kent: That doesn’t matter. You took her out there when that Turkiyan was after you. And now you have no idea what’s coming. You put her at a serious risk, and you could have distracted yourself if a fight arose.

 

Connor: We can’t keep her in here all day, everyday. Besides, she needed something to do.

 

<They look over at Eliana, who is looking over her clothing in the mirror.>

 

Kent: Whomever it is, they’re going to send someone else after you. And you’re not ready for it. And neither is she.

 

<Cut to Rudy, who’s sitting at a desk with the camera facing him.>

 

Rudy: A lot of experience in this sort of game. You are corporeal, right? <Pauses> This one isn’t just an easy target though. He’s got a lot of strength, and he’s got relative amount of ingenuity. And he’s got help. <Puts a picture of Kent and Eliana on the desk> We’ve been keeping tabs on him, but we tend to lose him underground. He only seems to come up during the light hours.

 

v.o.: As long as I can kill him, it doesn’t matter.

 

<Camera pulls back to reveal no one there except Rudy. Fade to intro.>

 

Scene 2:

 

<Three robed figures are meeting in a dimly lit cavern. One of the robed figures claps twice, and the lights come on. All three remove their heads, revealing pale white skin, and three different Sanskrit letters, respectively, on each of their cheeks. The room is much more elegantly dressed than it looked in the dark. One of the figures heads over to mini refrigerator, pulling out a longneck bottle of beer and opening it.>

 

Robed Figure 1: He’s progressing nicely. He should be ready soon. And the master will soon control this place.

 

Robed Figure 2: And the assassins? Will they succeed?

 

Robed Figure 3: No, but they won’t need to. The ceremony is coming.

 

<Cut to Kent, who is showing Eliana steps of a kata with the katana. He gives the katana to Eliana. Connor is watching from away.>

 

Kent: Ichi. <Eliana stabs forward> Ni. <Eliana brings the katana up and back> San. <Eliana spins but falls out of position> Hold it!

 

<Kent walks over and pulls Eliana’s hand back into position.>

 

Kent: And then finish. That’s basic. Three simple moves, one offense, one defense, and one counter. Practice it.

 

<Kent steps over to Connor and sits down right beside him. He picks up a towel and dabs his forehead, with Eliana in the background.>

 

Kent: If we’re going to take people in, we’re going to have to teach them how to defend themselves. They need to learn how to kill, understand it’s psychological. You can teach them how to fight all you want, but it takes something else to kill. This place doesn’t nurture those who can’t adapt.

 

Connor: I wasn’t thinking about that.

 

Kent: Then what?

 

Connor: I was thinking about all the other people who have died out there because of what has happened. Because of what I did, and don’t do.

 

Kent: Don’t let it get to you.

 

<Eliana drops her sword.>

 

Kent: It’s better that you’ve saved some then none at all.

 

<Kent walks back to Eliana and fixes her form back to starting. Connor picks up his axe and begins walking away. Camera cuts to Connor in the tunnel practicing with lightning quickness. Suddenly, Connor gets whipped to the side of the tunnel, his axe knocked to the side.>

 

Scene 3:

 

<Connor pulls himself up immediately and is ready to fight. He looks around, and sees nothing. He picks up on something moving and swings the axe. Kent blocks it in front of his face with his katana. They both drop their weapons to their sides.>

 

Kent: I’m learning, aren’t I? Can’t sneak up on you. Always got to be ready for a blow.

 

Connor: Good.

 

<Connor looks around.>

 

Kent: What’s gotten into you?

 

Connor: I’m not sure. You didn’t see it?

 

<Kent raises his sword.>

 

Kent: See what?

 

Connor: I’m not sure what it was. But it nearly took me out with a single blow. And it moved so fast, I didn’t see where it went.

 

<Cut to Rudy at his desk.>

 

Rudy: You had him and you didn’t kill him! What were you thinking?

 

<Rudy is picked up from his desk and is hanging by his collar. Suddenly, Rudy breaks the hold and pins something to the desk. With his other hand, he pulls a knife out quickly from an open drawer and stabs at the desk. A man materializes.>

 

Rudy: And now, you’re visible. If you let him get you, and bring you into the light, he’s going to kill you. Do that again, I’m going to kill you. You had an open shot at him and you blew it. Don’t blow it again.

 

<Rudy pulls the knife out of the table, wipes it clean, and puts it back in the drawer, closing it.>

 

Rudy: Now go take care of him.

 

<The Man dematerializes. Rudy gets up out of his chair and heads to the liquor cabinet. He put some ice in a glass, pours himself some cognac, and takes a sip. He pulls a medicine bottle from his coat pocket and takes a few pills.>

 

<Kent is thumbing through a book, looking for something. Connor is leaning over the desk, standing adjacent from him.>

 

Connor: He was moving quickly, but there was nothing special about the way he hit me. It was strength, not size, that hit me.

 

Kent: There are a hundred different demons out there like this. It could have been a Tyaraken demon. Takes the form of humans, but keep their strength and speed, as well a psychic ability. Toursaeg demons are the size of humans. You could be dealing with anything.

 

<Kent turns the pages. He stops and shoots his head up.>

 

Kent: What if it wasn’t something you could see, and that’s why you couldn’t get to it. Not a ghost, but something under a cloak. Obviously, something strong is behind this, some sort of magic.

 

Connor: I hate magic.

 

Kent: We don’t have the tools to break that spell, so you’re going to be fighting an invisible man. We need to get something to help us out around here. We need to find this guy.

 

Connor: How can I fight something I can’t see?

 

<Kent gets up and starts to put his book away.>

 

Kent: Sometimes you have to trust your other sense out there. You’re going to have to find his openings. He makes sounds, he has footsteps, and he’s obviously solid. If he can bleed, you can hurt him.

 

Connor: But where is he?

 

Kent: I think we need to find out who he’s working for.

 

<Cut to an empty sewer tunnel. Footsteps are seen on a small amount of standing water but no body is visible.>

 

Scene 4:

 

<Connor and Eliana are seen walking through the sewer tunnel, both armed with swords. Eliana looks very happy.>

 

Eliana: I can’t believe you’re taking me out there again. I can’t wait. I saw this dress last time we forgot to grab, and you could use a suit or something. Like James Bond. You could so…

 

<Connor cuts Eliana off, putting a hand over her mouth.>

 

Connor: Do you hear something?

 

<Connor lets go of Eliana. He turns around and throws a big hook at the air. Suddenly, he gets hit in the gut and drops to his knees. Connor leg sweeps, making a splash where the invisible man hits the water.>

 

Connor: Run!

 

<Eliana shoots up a ladder to a manhole as Connor takes a shot in the gut, dropping his sword. He sees steps in the water moving towards Eliana, and quickly leaps at the steps, diving onto something. Connor gets up and throws it at the wall. Eliana screams. Connor jumps up, quickly scaling through the hole.>

 

<Cut to the city street during daytime. The manhole is wedged between two large buildings, and Eliana is trying to fend off an ubervamp but gets knocked down. Connor is just getting out of the sewer. He clamps the manhole cover down, then shoots a stake, dusting the ubievamp. He runs over to Eliana, on the ground.>

 

<Cut to Rudy on the rooftop, with one of the robed figures.>

 

Rudy: Now we’re going to get to see some action. <Pauses> Well, maybe we won’t be able to see everything.

 

Robed figure: Is he going to finish the job?

 

Rudy: He should.

 

<Cut back to Connor and Eliana, looking on. Connor’s clutching Eliana, checking to make sure she’s alright. Suddenly the manhole cover flies off. Connor shoots a stake at above the hole, but it continues through, not catching anything. Suddenly, Connor gets an uppercut sending him a few feet backwards.>

 

Rudy, v.o: I love this stuff.

 

<Eliana runs after Connor, but get pulled backward. She tries to swing with the sword but fans. Connor gets up and leaps, tackling Eliana.>

 

Connor: Where is he?

 

<Connor gets hit in the face, but returns fire. Connor gets up. Eliana throws the sword to Connor.>

 

Connor: I can go all day.

 

<Connor takes a shot to the gut, throws a right and misses. He gets hit and falls to a knee. He swings the sword overhead, but misses. He gets hit right in the face and drops the sword. Connor gets hit with another punch and falls to his back. The invisible man picks up the sword but Connor shoots a stake, right into his hand. The invisible man materializes. He screams, and then pulls the stake out of his hand. Connor rushes over and they fight face to face. Connor throws a right and gets blocked, but backhand him with his left. Connor grabs the arm and kicks him in the face, then follows with a straight jab to the chest, sending him back into the wall.>

 

Invisible Man: You’ve got a lot of power. Too bad you don’t know what you’re doing with it.

 

<He closes his eyes and slowly fades away. Connor runs forward and tries to get in a shot, but misses and gets thrown into the wall. Connor gets his hand up but gets hung from the left side with a cross.>

 

Eliana: Connor!

 

<Eliana grabs the sword and heads over to help but gets knocked back. She lands by a fire hydrant. She slowly gets up, and looks at Connor swinging at air. She turns the sword, and uses it to unscrew the hydrant. Suddenly water bursts out and sprays all over, hitting around the shape of the invisible man. Connor hits a sidekick and walks forward, without hesitation. Eliana throws him the sword and he catches it nonchalantly. He swings, and the head falls off, making an impression with the falling water as the runoff turns crimson. Connor turns around to Eliana.>

 

Connor: So, you think I’d look good in a suit with a tie or not. Because I was thinking that I could go without the tie. Like my…like a solid color shirt underneath.

 

Eliana: I think we should go with the tie. You need to look professional when you’re doing you kill.

 

<Cut back to the rooftop, where Rudy is pacing.>

 

Rudy: I don’t get it. He’s just a kid. Yeah, he had vampires for parents, but I had demons for parents and you don’t see me with that kind of power. It doesn’t make any sense, he’s human.

 

Robed figure: No, he’s definitely not human.

 

Rudy: It still doesn’t make sense.

 

Robed figure: And you’re still failing. We’re getting tired of your games.

 

Rudy: Hey, give me a break here. I underestimated him. He’s smarter, more resourceful than I assumed. So I’m going to have to bring in something bigger. We’ve got to take him out of his game.

 

Robed figure: And the girl and the man?

 

Rudy: We won’t have to worry about him when this cat shows up. He’ll take care of those two without a hassle.

 

Robed figure: You’re running low on time.

 

Rudy: Don’t worry about it.

 

<Rudy turns away, and pulls out his cellphone. He dials and puts it to his ear.>

 

Scene 5:

 

<Kent is in a large room with no ceiling or walls, only pillars. He facing up to a podium, though the camera never rises enough to show who is there.>

 

Kent: There’s something else out there after him and I need to know what it is. He’s can’t do this alone, there’s something else bigger than him out there pulling the strings. And the whole city is overrun.

 

v.o. (bellowing voice): We sent you to protect him, put him in position for his eventual fate.

 

Kent: How can I protect him if I don’t know what’s going on. We are seriously understocked in terms of weapons. We’re short of information. I can’t handle it, he can’t handle it.

 

v.o.: Fate will always intervene when it is needed. You’re concerns are unwarranted. You may exit now.

 

<Kent grudgingly leaves.>

 

<Cut to Eliana, who is hanging up her new clothes. Connor walks out from a hallway, dressed in a solid colored suit.>

 

Eliana: It looks good.

 

Connor: Yeah.

 

<Kent walks in, obviously frustrated. He heads straight to his desk.>

 

Connor: You like my new suit.

 

Kent: It’s fine Connor. But we have more important things to figure out then what we’re going to where to the prom.

 

<Kent turns around in his chair and grabs a book.>

 

Kent: Because we have no idea what we’re going up against.

 

<Cut to the robed figures, sitting in a circle around a table.>

 

Robed Figure #1: We need to do something about the boy. The demon cannot do it alone.

 

Robed Figure #2: They’re time will come.

 

<Cut to Rudy, working out around a punching bag. He hitting it hard, and breaks the chain off the bag, opening it. He walks over to a bulletin board, with a picture of Connor pinned to it.>

 

Rudy: Our time will come, boy. Then we’ll see what you’re made of.

 

<Rudy downs a few pills, then punches at the billboard, leaving a rather large dent. Fade to black.>