ATS
4.11
Soulless
Transcribed by:
CariCranberry
For:
http://www.buffyworld.com
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GUNN
If you kill him, I'm gonna lose you.
Gunn breaks the Professor's neck, and pushes him into the portal. It closes behind the Professor. Fred and Gunn stare at each other, trying to absorb what just happened.
Cut to:
2 EXT. HOTEL / ANGEL INVESTIGATIONS
- DAY
Fred and Gunn come in through the garden on their way back from the client's
house. They go up the stairs, Fred first, to the front door.
GUNN
We haven't even touched each other since—
FRED
(they both look down, avoid eye contact) Since we murdered Professor Seidel.
Cut to:
3 INT. WESLEY'S APARTMENT - DAY
Wesley is walking into the living room.
FRED
You've been keeping track of me?
WESLEY
Yes.
Cut to:
4 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS - NIGHT
Gunn and Wesley are having a confrontation.
GUNN
You move on Fred, and I'm gonna put you down hard.
Cut to:
5 EXT. SKY TEMPLE CLUB ON KIMBALL
BUILDING ROOF - NIGHT
The beast kneels on one knee, punching the floor at the center of his human
square, sending a trail of fire out along the floor in the shape of the Eye
of Fire symbol. A shock wave emanates from the area, knocking everyone back
a few feet. The fire is tall now, taller than the beast. The Beast leaps straight
up into the sky, riding the fire that he created.
Cut to:
6 INT. CONNOR'S PLACE - NIGHT
Connor and Cordelia are standing next to each other, looking out the window
at a shaft of fire that's shooting straight up into a red circular cloud in
the sky right over downtown. The column of fire is sucked up into the cloud
where it disappears and the clouds close. Still glowing, the clouds now rain
tiny fireballs all over the city. They stare in disbelief.
CORDELIA
It's coming, and no one can stop it. Connor, you never had a childhood, or anything
that's real, and if this is the end, I want you to have something that is.
Cut to:
7 INT. CONNOR'S PLACE - NIGHT
Connor and Cordelia are in bed together, making love. Lying on top of Cordelia,
Connor kisses her tenderly amid gentle undulations under the sheets.
Cut to:
8 EXT. CONNOR'S PLACE - NIGHT
Zoom outside through the window. Fire rain is falling down all around, and Angel's
there, on the roof of a nearby building, looking into the attic, where he can
see Connor and Cordelia in bed together making love.
Cut to:
9 INT. CONNOR'S PLACE - DAY
Standing, holding the assembled artifact in front of him, the Beast breathes
out black smoke into the orb which rests on two metal wings.
WESLEY (V.O.)
The Beast is planning to block out the sun permanently.
Cut to:
10 EXT. STREET BEHIND CONNOR'S
PLACE - DAY
The sun becomes blocked out by blackness.
Cut to:
11 INT. CONNOR'S PLACE - DAY
The Beast walks up to Angel.
BEAST
Angelus.
Cut to:
12 EXT. STREET BEHIND CONNOR'S
PLACE - DAY
Cordelia and Connor are waiting anxiously by the car. Angel and crew come out
of the building, and Cordelia runs to them.
ANGEL
The Beast knows me.
CORDELIA
No, it doesn't. It knows Angelus.
ANGEL
I'm telling ya, I don't know this beast.
WESLEY
We need Angelus.
Cut to:
13 INT. LOBBY AT HOTEL/ANGEL
INVESTIGATIONS
The gang is sitting around in the lobby of the hotel.
FRED
I'd much prefer we had a plan.
WESLEY
(walks in the front door with a man dressed in purple robes) Wo-Pang. He can
deliver Angelus to us.
Cut to:
14 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Wesley and Gunn are strapping Angel to a table inside the cage. The shaman places
a jar on a table, and Cordelia is curious about it.
CORDELIA
What is that?
WO-PANG
It's the receptacle that will house his soul.
The shaman goes inside the cage with Angel, shutting the door behind him. Angel is lying on the table in the cage. Connor, Cordy, Gunn and Wesley look on. The shaman puts his hand on Angel's head, closes his eyes, and when the shaman's eyes open again, they're red.
WO-PANG
It is done.
Angelus turns his head to look at Angel's gang as they watch him.
CORDELIA
Angelus.
Fade to black.
The Start Of Episode
Prologue:
TRANSCRIBER'S NOTE: Since the sun is blotted out in metro Los Angeles, I will
not describe the setting in terms of day or night as it's irrelevant until the
plot point is resolved. Scenes that take place outside the affected area will
be described appropriately.
15 EXT. STREET IN LOS ANGELES
A stack of newspapers, bundled for delivery reads "Crime Wave Shuts Down
City." Connor grabs the bundle and swings it at a vampire's head. Connor's
fighting several vampires at once. They're jumping out from every direction,
each time he knocks one down, another shows up to take its place.
One of the vampires pushes Connor into a metal canister. Connor twists the wheel at the top, releasing gasses from within. The vampires shriek, disoriented. Connor manages to knock a couple of them down now, but two more vampires grab him by each arm, holding him for a third vampire.
CONNOR
Lemme guess. Out-of-towners?
VAMPIRE
Yeah, Tucson.
The vampire comes toward Connor, but Connor kicks him in the chin, knocking him down. Then he gets free of the two vampires that were holding him and engages them in a fist fight. Connor triggers the release of a concealed stake from a device attached to his wrist. He dusts one of the vampires, dodges another who was coming at him, sending him through a window, then stakes him. He punches the last vampire, throwing him into a billboard. When he falls to the ground, Connor picks up a stake from the ground.
CONNOR
Welcome to L.A. (hurls the stake at the vampire, dusting him) Tourists.
When he looks around, Connor sees a dozen or more vampires walking toward him from either end of the alley.
Cut to:
16 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
Close-up of a drawing depicting the aerial view of of a park. Wesley walks up
to the picture and opens it like a door, revealing a safe behind it. He twists
the dial on the safe door to the right combination. Cordelia's standing behind
him, holding the receptacle that's contains Angel's soul. Fred, Gunn, and Lorne
are also in the room.
FRED
Seeing Angel's soul all floaty like that kinda makes me crazy.
LORNE
Yeah, it's not forever, sugar plum. We're just borrowing it.
WESLEY
(opens the safe door, holds his hands out to Cordelia) Cordelia. (she hands
him the receptacle)
FRED
Don't drop it.
Wesley puts the receptacle in the safe, closes the safe door, then closes the picture over it, concealing the safe.
WESLEY
(turns to face everyone) Angel is gone.
CORDELIA
I can't believe...it's done.
GUNN
Taking out Angel's soul. Putting it in a jar. I hope we know what we're doing.
WESLEY
If Angelus knows how to destroy the Beast, it's all we've got.
LORNE
Yeah, otherwise, permanent midnight.
CORDELIA
He's dangerous. I know. I've seen it. But we're doing the right thing.
WESLEY
As long as we're very careful. Before Angelus was ensouled, his viciousness
was mythic. You all know his history.
FRED
Killing, maiming, torture...
LORNE
Puppies nailed to walls. Thank you, Cordelia, for that lovely image. But, uh,
I think that brings us up to speed.
WESLEY
There's only one thing Angelus will be focused on: getting free so that he can
slaughter us.
CORDELIA
We're Angel's only link to humanity. Angelus will hate us for that. He'll want
to make us suffer.
WESLEY
Watch the monitor when I go down. Pay attention to everything he does, everything
he says. He'll try to confuse you, to play on your emotions so you drop your
guard. If he succeeds—even for an instant—we're all dead. (stands, paces) I
spent my life training for this, and I'm still not ready. (pan out, viewing
them from outside the room) He's smarter than I am, and a great deal more focused.
(pan over to the front desk where there's a monitor showing Angelus in the cage)
He'll exploit everything Angel knows about me and go for the jugular.
Cut to:
17 INT. BASEMENT AT HOTEL / ANGEL
INVESTIGATIONS
Enter the dark and creepy basement where the cell that holds Angelus is cloaked
mostly in shadow.
WESLEY (O.S.)
Whatever he's got, I'm not gonna see it coming.
Zoom in on the darkest back corner of the cell. Angelus is sitting on the floor, singing "Teddy Bear Picnic" to himself.
ANGELUS
(singing) If you go into the woods tonight, you won't believe your eyes. If
you go into the woods tonight, you're in for a big surprise...
Fade to black.
Opening credits.
ACT I:
18 INT. BASEMENT AT HOTEL / ANGEL INVESTIGATIONS
Wesley walks downstairs into the basement and stands a few feet away from the
cage. Angelus is lurking in the shadows.
WESLEY
Angelus.
ANGELUS
Wes. Why the long face? Aren't you happy to see me?
WESLEY
Should I be?
ANGELUS
Well, if it wasn't for you and your shaman friend, I wouldn't be here. I'm feeling
the love.
WESLEY
The choice was Angel's.
ANGELUS
Angel, schmangel. You're the man with the brain.
WESLEY
You're comfortable?
ANGELUS
Nice acoustics. Wouldn't hate a chair.
WESLEY
(rearranges the gun he's holding, paces) You'll have to forgive the accommodations.
The last time you were free, you terrorized Sunnydale.
ANGELUS
That slayer—she's a pistol.
WESLEY
I've imagined this moment many times. Years of study, research... I've read
everything ever written about you...
ANGELUS
Stop, I'm blushing.
WESLEY
To be one-on-one with the legendary Angelus. (sits in a chair a few feet away
from the cage) As a former watcher, it's a high point.
ANGELUS
(walks toward Wes) Buttering me up. Getting me all relaxed, hm? Not the most
innovative interrogation technique, but... OK, I'll play.
WESLEY
Is it a game?
ANGELUS
Hey, open book. Anything you want to know. How sweet that virgin gypsy tasted.
The special smell of a newborn's neck. My first nun—now that's a great story.
WESLEY
We could start there.
ANGELUS
(shakes his head) Don't be coy, Wes. You're just dying to know about the big
Beastie. Fire away.
WESLEY
All right. Did you know the beast?
ANGELUS
(staring at Wesley) Well, now that's a question. Not a great question. Not even
an insightful question. Not a Wyndham-Pryce-worthy question—
WESLEY
If you knew the Beast, why wouldn't Angel remember?
ANGELUS
I don't know. Maybe he doesn't remember the good times. Maybe he won't let himself.
(rolls his eyes) So like him. (looks at Wes) Here's one for you: what's he deal
with Angel and the Raiders of the Lost Ark?
WESLEY
The movie?
ANGELUS
The "perfect day" fantasy he came up with. Caves, booby traps, the
requisite phallic sword.
WESLEY
He fought the Beast in the fantasy?
ANGELUS
Real candy-ass.
WESLEY
The Beast?
ANGELUS
Angel. Not enough to be the hero—couldn't be happy unless the whole gang's pitching
in.
WESLEY
So, he killed the Beast in this fantasy.
ANGELUS
Had to. To get what he wanted. We all want something, Wes. It's the way of the
world. Everybody's got an agenda.
WESLEY
(leans back in his chair) And you want to tell me mine.
ANGELUS
You want to come down here, get your vital stats on lava boy, play the big hero—
WESLEY
I want to know how to kill the Beast. It has nothing to do with being a hero.
ANGELUS
Sure it does, but why now? Can't be because there's an apocalypse coming—always
one of those around the corner.
WESLEY
Enlighten me.
ANGELUS
(walks up to the cage bars) "Foul rag-and-bone shop of the heart."
That's where you live.
WESLEY
Meaning?
ANGELUS
You want to impress the girl. Move in, get her to love you, and after a couple
days of flowers and chocolate covered cherries, (bangs his hands on the bars)
you'll bend her over the kitchen counter—
WESLEY
That supposed to rattle me?
ANGELUS
Kinda bony for my taste, but different strokes...
WESLEY
The Beast called you an adversary.
ANGELUS
(leaning against the bars, fondling them with his hands) Bet he loves to rub
that shiny bald head against her soft, milky skin. Mmmm...good...
Cut to:
19 INT. LOBBY AT HOTEL / ANGEL
INVESTIGATIONS
Lorne, Gunn, Fred, and Cordelia are watching Wesley and Angelus on the monitor
set up on the front desk.
ANGELUS
(through the monitor) Come on, Wes. Not like your schoolgirl crush is a secret.
FRED
Charles, remember, we can't believe anything Angelus says.
GUNN
(his arms crossed) How 'bout the stuff that's true? (looks at Fred) Can we believe
that?
CORDELIA
He distorts everything. He lies with the truth. It's part of what makes him
so dangerous.
LORNE
Yeah, don't let him get to you, kiwi.
GUNN
He's not the only one that's gettin'.
FRED
Charles...
GUNN
I know. I know.
FRED
It's just words.
WESLEY
(through the monitor) You've found a vulnerability, exploited it. Well done.
Cut to:
20 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Wesley is still interviewing Angelus.
WESLEY
Can we move on now?
ANGELUS
I'm just getting started. Tell you this— (lets go of the bars) all that digging
you've been doing on the horny giant—wrong place. (paces)
WESLEY
(stands) And the right place?
ANGELUS
I could tell you. (smirks) Wouldn't be sporting.
WESLEY
(paces) But you were adversaries—you and the Beast.
ANGELUS
Guy like me... friends, enemies...hard to keep track.
WESLEY
(stops, looks at Angelus) If he was an enemy, I'd be doing you a favor in destroying
him.
ANGELUS
You know, you're not fooling anyone. Get some new clothes, cool haircut, hit
the gym—you're still the same loser none of the other kids wanted to sit with
at lunch.
WESLEY
Yet you're locked in that cage, and I'm out here.
ANGELUS
So? (walks up to the bars) You've got no leverage. What are you going to do?
Kill me?
WESLEY
If I have to.
ANGELUS
(chuckles) Wait 'til they drop, Wes, then try that line again.
WESLEY
I'll put your soul back. You won't talk, no problem—we'll bring Angel back and
be no worse off than we were.
ANGELUS
Making you a failure again.
WESLEY
You want to waste my time, you can rot down here. (walks away)
ANGELUS
Nice stamina, Wes. No wonder Fred's not interested. (Wes stops)
WESLEY
Whatever your connection to the Beast, clearly you don't know anything that
can help us. (starts walking upstairs)
ANGELUS
Is this the part where I'm supposed to get defensive, start talking to prove
you wrong? What else you got? (walks to the back wall, leans against it)
WESLEY
(stops) You must hate it—that Angel fights evil.
ANGELUS
Eats you up inside, doesn't it. Seeing all those idiots flock around him, calling
him a champion. Anyone ever call you a champion?
WESLEY
(turns to face Angelus) I do my part.
ANGELUS
Right. Like letting Lilah suck Lorne's brain. Or, here's an oldie but a goodie:
Faith. Good job being her watcher. She turned out to be a peach.
WESLEY
(walks up to Angelus) And you managed to get your soul back, not once, but twice,
saving the world several times in the process. Nobody's perfect.
ANGELUS
Then there's kidnapping the fruit of my loins. Smooth.
WESLEY
He survived.
ANGELUS
I guess you just can't understand that special bond between dad and son, given
that your own father's ashamed of you—
WESLEY
And Connor's ashamed of you. The universe's way of maintaining order, I guess.
ANGELUS
(chuckles) Twerp really gives me the creeps. You?
WESLEY
In Cordelia's vision, you and the Beast were standing on a field—
ANGELUS
Oh, God, yeah. (walks up to the bars) Let's talk about Cordy, shall we? Now,
there's a rack to write home about. Too bad about the personality, though. (bobbing
his head) "Yap, yap, yap, yap, yap!" (mocking Cordelia) "Oh,
God. Oh, Angel. Angel, we can't. I love you, but you were so bad. You ate babies."
(scoffs) Chicks.
Cut to:
21 INT. LOBBY AT HOTEL / ANGEL
INVESTIGATIONS
Lorne, Gunn, Fred, and Cordelia are watching Wesley and Angelus on the monitor
set up on the front desk.
LORNE
Sticks and stones, sweet potato.
GUNN
We don't have to l—
CORDELIA
No, I'm OK.
FRED
Like you said—just little bitty bits of truth twisted all up into lies.
ANGELUS
(through the monitor) Which do you think is worse, Wes? Stealing my kid like
you did, or banging him, like Cordelia. (Fred looks at Cordelia then at Gunn,
Lorne shakes his head, Cordelia just stares at the monitor deadpan) All that
bumping and grinding. Fire raining in the sky. Quite a picture. Well, more of
a snapshot, 'cause Connor— (chuckles)
FRED
Now, that's just ridiculous. Connor's Angel's son. It'd be like sleeping with
your own— (Lorne gestures that she stop) Oh.
ANGELUS
(through the monitor) At least you thought you were doing the right thing. Hey,
who's a guy gotta kill to get a drink around here?
Connor walks through the front door, beaten and exhausted.
CORDELIA
Connor, what happened? Are you all right?
CONNOR
They're coming from all over. Too many to fight. (realizes everyone's staring
at him) What?
WESLEY
(enters the lobby) He wants blood.
FRED
I'll get it.
GUNN
Me too.
Fred and Gun walk out of the lobby.
Cut to:
22 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Fred and Gunn walk down the stairs with blood for Angelus. Gunn's carrying a
crossbow.
ANGELUS
Othello and Desdemona. My favorite couple. Oh, wait, Desdemona wasn't in love
with the other guy. So much for stand by your man. (Gunn points the crossbow
at Angelus) Then again, you probably like her on her knees.
GUNN
Keep talking. I'll sweep out the cage when I'm done.
ANGELUS
Oh. Provocative. Get me all riled up. You think that's what your boss would
want?
GUNN
Don't have a boss.
ANGELUS
You might want to tell Wesley that. Ah, Fred. You look all fresh and sweet,
but I hear you at night in your room with Gunn. (Fred walks forward tentatively)
The things you say. I'm lying there, listening, hands under the covers... I
can't help myself. It's so... gripping.
GUNN
This coming from a guy who can't get any. Ever.
FRED
(pushing a cart upon which she's paced a glass of blood) You're a pig.
GUNN
(aims the crossbow at Angelus) Step back.
Angelus steps back, and Fred pushes the cart up to the bars. She stands there, holding the cart, waiting for Angelus to take the glass of blood. He picks up the glass, eyeing Fred who won't even look at him. When she finally meets his gaze, he kicks the cart forward, causing Fred to fall forward on it where he can reach her. He pulls her up, her back toward him, and puts his arm around her neck.
ANGELUS
Might get some now.
Fade to black.
ACT II:
23 INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS
Resume. Angelus has his arm wrapped around Fred's throat, holding her up to
the bars of his cage. Gunn's pointing the crossbow at Angelus.
ANGELUS
(Fred struggles against him) I like the way you move, Fred. Do it just a little
to the left.
FRED
(faintly) Charles...
GUNN
(drops the crossbow and charges toward them) Get off her!
ANGELUS
Come on, Charles, save her! Come on! Save, her Charles!—
Angelus is interrupted when he's hit in the arm with a tranquilizer dart shot by Wesley, who's standing on the stairs. Angelus's grip loosens and Fred steps away from the bars into Gunn's waiting arms. Wesley shoots Angelus again, in the chest this time. Angelus looks at the dart, then collapses backwards.
GUNN
Are you OK? Did he hurt you?
FRED
No. I'm sorry. That was so stupid, I—I should've—
WESLEY
(walks past Fred and Gunn to look at Angelus) It's not your fault. Angelus is
unpredictable. He'll take any opening, no matter how small. (to Gunn) It's understandable,
but you played right into his hands. Never drop your weapon. (walks back upstairs)
FRED
Thanks.
GUNN
So you're OK?
FRED
Yeah. I'm just glad you're here. (hugs Gunn)
Wesley looks back over his shoulder to see Fred and Gunn embrace.
Cut to:
24 INT. ROOM AT HOTEL / ANGEL
INVESTIGATIONS
Cordelia comes into the room where Connor has been washing up. She hands him
a black button-up shirt.
CORDELIA
Hope you, uh, like black.
CONNOR
Thanks. (puts on the shirt, looks at the fit) This is his.
CORDELIA
Well, if you don't like it, I could ask Lorne. (grins)
CONNOR
It's fine. (puts on his weapons)
CORDELIA
You're not going back out.
CONNOR
Somebody has to.
CORDELIA
Connor, you're exhausted. You said yourself there were too many—
CONNOR
I want to get out of here, OK? Everybody still looks at me like I'm the one
who's connected to the Beast.
CORDELIA
No. The looking earlier—that wasn't about the Beast. (Connor looks at her) It
was because of us. Angelus said some things about the night we—you know. The
weirdness is because everyone knows.
CONNOR
Good.
CORDELIA
Connor...
CONNOR
Angel doesn't care if everyone knows. Why should I?
CORDELIA
It's not Angel. Anyway, you should get some rest. (walks to the door)
CONNOR
You don't want to be with me—fine, you're not, but don't tell me what to do.
Cordelia walks out of the room.
Cut to:
25 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
Wesley's doing research in the office when Fred walks into the room.
FRED
Hey.
WESLEY
Hey. Angelus mentioned something about a sword in Angel's fantasy. I thought...
FRED
I wanted to thank you. If you hadn't've come in when you did...
WESLEY
(looks into the lobby, then to Fred) He's not there.
FRED
(awkwardly) It's— Charles heard what Angelus said. The stuff about—
WESLEY
Me.
FRED
Yeah, and—
WESLEY
How I feel about you.
FRED
(smiles nervously) Yes, which is very sweet. There's nothing wrong with i—
WESLEY
Yes there is.
Walks up to Fred, puts his hand on her neck and kisses her passionately. She puts her hand on his neck, but then slides it down to his chest and pushes away.
GUNN
Hey, (Wes and Fred turn away from each other as Gunn walks into the room) who's
watching the monitor? (looks suspiciously at Wes, then at Fred) What's going
on?
FRED
Nothing.
GUNN
Did he just—?
FRED
Of course not. (tries to push him out of the room) Charles, you're right—the
monitor.
GUNN
(to Fred) You better tell me what the hell I just walked in on.
FRED
We were just— (looks at Wes)
GUNN
What? (look at Wes) Researching?
WESLEY
You want to do this, deal with me. Leave Fred out of it.
GUNN
(walks up to Wes) You ought to be leaving Fred out of it!
FRED
(from behind Gunn) Hello, I'm here.
GUNN
You think I don't see the way you look at her?
FRED
Charles, please.
GUNN
(turns to Fred) And you, running off to him every time you need help, like I'm
not good enough.
FRED
No, that's not— This isn't the time.
GUNN
(to Wes) I'm telling you—stay away from her.
Cut to:
26 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Angelus starts to wake up from the tranquilizer darts and hears the squabbling
upstairs. He smiles and laces his hands behind his head, grinning.
ANGELUS
That was fast. (chuckles)
Cut to:
27 INT. LOBBY AT HOTEL / ANGEL
INVESTIGATIONS
Connor sneaks through the lobby while Gunn and Wes are still arguing in the
office.
GUNN
—long time since you were out for anyone but yourself.
WESLEY
I owe you nothing. Not anymore.
GUNN
You just take what you want, huh—
FRED
(pushes Gunn out of the office into the lobby) Come on.
GUNN
—no matter who it belongs to.
WESLEY
I didn't realize Fred came with a deed.
FRED
Stop it! What's wrong with you?
GUNN
You don't realize a lot of things, like the fact that nobody wants you here.
WESLEY
'Cause you do such a bang-up job without me.
Lorne and Cordelia come into the lobby.
LORNE
Hey, hey, come on, guys. Let's not say anything that—
GUNN
Shut up, Lorne! (to Wes) Great idea, Wes, stealing Angel's kid. Oh, was losing
him a part of your plan, too?
WESLEY
Go ahead. Throw some more blame around. It's what you're best at.
GUNN
(steps closer to Wes, yelling) You want to say that again?
FRED
Oh, God.
WESLEY
(steps up to Gunn, softly) Face it, Gunn, you can't give her what she needs.
Gunn punches Wesley in the face. He stumbles back, but stays standing.
FRED
Charles!
Wesley punches Gunn twice in the torso.
FRED
Stop it!
Gunn grabs Wesley and pushes him against the front desk.
FRED
(to Charles) This is insane! You're doing exactly what Angelus wants.
Gunn ignores her as he and Wes continue to fight.
LORNE
Oh, for the love of Mike Tyson—
Gunn hits Fred in the face with his elbow inadvertently as he rears back for another punch at Wesley. Fred screams and falls to the floor, covering her busted lip.
GUNN
(looks at Fred and realizes what he's done) Fred...
Cordelia goes to Fred's aid and looks up at Gunn, then notices the monitor on the desk behind him. Connor's in the basement talking to Angelus.
Cut to:
28 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Connor walks up to the cage where Angelus is sitting on the floor in a dark
corner. Connor just glares at Angelus.
CONNOR
Everyone's afraid of you.
ANGELUS
Is that my shirt?
CONNOR
Not anymore. (paces in front of the bars)
ANGELUS
Looks good on you, son.
CONNOR
(smirks) So did Cordy.
ANGELUS
She looks good on everybody.
CONNOR
Angel warned me about you. Said I should remember you're not my real father.
ANGELUS
Yeah, (stands) that was a nice speech. Touching. I think it ended with you promising
to kill me.
CONNOR
I remember.
ANGELUS
(walks toward Connor) Kind of unnecessary, don't you think? I mean, with your
track-record, I'll be staking myself by the end of the day.
CONNOR
It's fine by me. (walks away)
ANGELUS
(leans on the bars) Darla felt the same way. It made her sick, you squirming
inside her. So, she jammed a stake in her own heart, just so she wouldn't have
to hear your first whiny breath.
CONNOR
(scoffs) You don't know anything.
ANGELUS
Then there was Holtz. It disappointed him so much that he stabbed himself in
the neck.
CONNOR
(angry) My fa— (catches himself) Holtz was a good man. All he ever wanted was
for you to get the punishment you deserve. And you will.
ANGELUS
And now my boy's in love. All hearts and flowers. (shakes his head) But, doesn't
it freak you out that she used to change your diapers? I mean, when you think
about it, the first woman you boned is the closest thing you've ever had to
a mother. Doing your mom and trying to kill your dad. Hm. There should be a
play.
CONNOR
(paces) You think I care what you say? Angel told me how you'd try to hurt me,
how you aren't my real dad, just some animal in a cage. Angel's my dad.
ANGELUS
(flutters his eyelashes) I'm gonna cry.
CONNOR
That's what he told me. And he thought I believed him. (turns away) The truth
is, Angel's just something that you're forced to wear. (looks at Angelus) You're
my real father.
ANGELUS
(glares at Connor) I'm right here. All you have to do is come and get me.
CONNOR
You'd like that.
ANGELUS
(shrugs) You couldn't take me anyway. (walks away)
CONNOR
We'll see.
ANGELUS
Promises, promises. Don't make 'em, if you can't keep 'em.
CONNOR
I wouldn't think of it. (walks closer to the cage)
ANGELUS
It might be your best chance. (turns to Connor) Don't disappoint daddy.
Cordelia comes down the stairs.
CORDELIA
Connor. Go upstairs.
CONNOR
(glaring at Angelus) No.
CORDELIA
Please, go upstairs.
CONNOR
(turns, walks away) It's your lucky day.
ANGELUS
Yeah. Go to your room, mama's boy. (Connor goes upstairs) Cordy. Cordy, Cordy.
Just couldn't stay away.
CORDELIA
(walks toward the cage) It's been a long day, and I think you've done enough
damage.
ANGELUS
So, no hug?
CORDELIA
You and I are gonna make a deal.
ANGELUS
Tough. Did you practice that in front of the mirror a few times? Lemme guess.
You want to know about the Beast.
CORDELIA
Everything you know.
ANGELUS
(nods) Oh. And in return, I get what? (paces) Wouldn't mind a car. I hear the
new Mustang is nice.
CORDELIA
(paces) Something better.
ANGELUS
What's a better ride than a Mustang?
CORDELIA
(looks at Angelus) Me.
Fade to black.
ACT III:
29 INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS
Resume. Cordelia's making a deal with Angelus.
ANGELUS
You?
CORDELIA
That's the offer. No more stalling, no more games. You tell us what you know,
you get me.
ANGELUS
Must be some confusion. You took out the soul. Still have the brain.
CORDELIA
Then use it. The Beast, the darkness—the world is falling apart. We're out of
time, we're out of ideas. You're the end of the line.
ANGELUS
(smirks) Wes was better at buttering me up. (walks away)
CORDELIA
You know what it means to be a champion.
ANGELUS
I'm trying so hard to forget.
CORDELIA
Sometimes a sacrifice needs to be made.
ANGELUS
(faces her) And you're the little lamb. Not that there aren't a few things I
wouldn't mind doing to that body—other than the obvious. (walks forward)
CORDELIA
Tell us about the Beast, and you can do whatever you want.
ANGELUS
You're lying.
CORDELIA
Look in my eyes. Angel knows me. You know me. Better than anyone. So, when you
look at me, you know I'm not lying.
Cut to:
30 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
Wes, Lorne, Fred, Gunn and Connor are all staring at Cordelia. Connor's seated
behind the desk, Lorne in front of it. Wes is leaning on one side of the desk
and Fred and Gunn are on the opposite end of the desk.
FRED
I don't understand.
GUNN
Why is Sid Vicious suddenly Mr. Show-and-Tell?
LORNE
Well, honey buns here must have a secret stash of higher-power dust.
CORDELIA
Something like that. He's ready, Wes, whenever—
CONNOR
Why don't you want to tell us what you did?
CORDELIA
I did what I had to.
GUNN
Which means what?
FRED
Cordelia...
WESLEY
Connor's right. We're all painfully aware of Angelus's ability to manipulate—
CORDELIA
I'm not being manipulated.
WESLEY
It would be better if I knew.
CORDELIA
It's better if you don't.
Wes sighs.
Cut to:
31 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Wesley is interviewing Angelus, who's standing beside the bars inside his cage.
WESLEY
All right. Shall we start from the beginning?
ANGELUS
Why not?
WESLEY
The year.
ANGELUS
1789.
WESLEY
So, you were in Prussia.
ANGELUS
(raises his eyebrows) You have been doing your homework. (smiles) Hmm... those
Prussian girls. Must be the pastries. Worth the trip—all that sweetness gets
into their blood.
Connor, Lorne, Cordelia, Fred and Gunn are watching from the monitor in the lobby.
WESLEY
Very interesting. At some point, the Beast would appear?
ANGELUS
Patience, Wes. I was taking a shortcut on my way to Vienna. Started feeling
like someone was watching me. There were troops around.
Cut to:
31a EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: A long-haired Angelus walks around through a field littered with
bloody bodies.
ANGELUS (V.O.)
I'd run into them now and then. Not as sweet as the girls, by the way. But,
the little massacre I ran into—seriously lacking in military precision. Bodies,
bodies everywhere, and not a drop to drink.
Cut to:
ANGELUS
So, I followed the trail, and there was your friend. The one you so cleverly
call "The Beast."
Cut to:
31b EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: The Beast is killing people in the field. Angelus rips the arm off
of a dead girl. The Beast stares at Angelus.
ANGELUS (V.O.)
We had a lot in common, but he already knew that.
Cut to:
ANGELUS
He'd been watching me. He staged the carnage to impress me.
WESLEY
So, he sought you out. Why?
ANGELUS
Girl trouble. Thought I might be able to help him with a situation.
WESLEY
How?
ANGELUS
You've heard of the Svea Priestesses? Very powerful, big into banishing.
Cut to:
31c INT. LOBBY AT HOTEL / ANGEL
INVESTIGATIONS
While watching the Wes/Angelus interview over the monitor, Lorne mumbles in
confusion to Fred.
LORNE
Vanishing?
FRED
(leans to Lorne, whispers) Banishing.
Cut to:
ANGELUS
The Beast was next on their list. He couldn't touch them—some kind of mojo—but
a vampire could.
WESLEY
So, he wanted you to kill them?
ANGELUS
We had it all worked out. I'd scratch his priestesses, and he'd scratch my back
somewhere down the line. A limited partnership.
Cut to:
31d EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: The Beast is talking to Angelus.
BEAST
You need not be my enemy. Join with me, Angelus.
Cut to:
WESLEY
And?
ANGELUS
I declined.
Cut to:
31e EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: The Beast punches Angelus in the face.
Cut to:
ANGELUS
And he didn't ask twice. I probably could have been more diplomatic with my
refusal, but I'm not big with teamwork.
Cut to:
31f EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: While the Beast bends down to Angelus who is lying on the ground,
a group of Svea priestesses surrounds them. The priestesses are wearing long,
blue, hooded robes and carrying staves.
ANGELUS (V.O.)
I thought that was going to be the end of me. But, like I said—girl trouble—
Cut to:
ANGELUS
So, they just started up the whammy, and there you have it.
WESLEY
The Beast was banished. How?
ANGELUS
Don't know.
Cut to:
31g EXT. FIELD IN PRUSSIA - NIGHT
FLASHBACK: Angelus passes out on the ground.
ANGELUS (V.O.)
I was busy with the passing out.
Cut to:
32 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
While sitting in front of the desk, Cordelia's looking through a book. Connor's
sitting behind the desk. Wesley's looking through a book while pacing. Fred
is looking through another book across the room. Gunn and Lorne are also in
the room.
CORDELIA
Slarf demons, spell mantras, Srail'gong technique, but nothing on—
FRED
(reading from her book) The Svea priestesses. Also known as the Svear, a mystical
order all descendents of a powerful Nordic priestess, Svea.
GUNN
They've been busy.
CONNOR
Anything about the Beast?
FRED
Nothing definitive, but this one looks like it could match up. (hands the book
to Wesley)
Gunn walks away.
WESLEY
Same region, approximately the same time period.
FRED
I'm shaky on Freyan runes, but kinda seems like it's only a general I.D. of
who or what got banished.
WESLEY
Translation, something like, uh, big...hard thing.
CORDELIA
Sounds like our guy.
LORNE
Fantastico! So where do we find these banishing babes, and, uh, how fast can
they get to L.A.?
GUNN
(throws an open phone book on the desk) 'Bout 25 minutes, depending on traffic.
They're in Pacoima.
Cut to:
33 EXT. SVEAR HOUSE
Wesley, Cordelia and Connor walk up to the house. The small sign near the door
reads as follows:
SVEAR
--------------------------------------------------------------------------------
MON. - FRI.
10 A.M. - 4 P.M.
Wesley rings the doorbell.
CONNOR
Looks like no one's home.
Wesley bangs loudly on the door.
Cut to:
34 INT. SVEAR HOUSE
Wesley opens the door, and walks into the house. Cordelia and Connor follow.
WESLEY
(walking around) It's open. Hello? Anyone home? Hello?
CORDELIA
(walking around) Hello? Nordic priestesses?
CONNOR
(looking at pictures in the foyer) So, the mom's a priestess?
CORDELIA
I think all the women in the family are. (smells something) What is that?
Cordelia looks up to see several bloody, dead bodies on the floor.
Fade to black.
ACT IV:
35 INT. SVEAR HOUSE
Everyone in the household has been slaughtered in the kitchen.
WESLEY
We're too late. Again. (walks in to the kitchen to look around at the bodies)
CORDELIA
How does the Beast know exactly what we're gonna do? It's like he's psychic.
WESLEY
Maybe he is.
CONNOR
Or he's been watching us at the hotel.
CORDELIA
Angelus could have sent him a message, some kind of demon Morse code.
WESLEY
(checking the bodies) No, these people have been dead for a few days. Angelus
had nothing to do with this.
CORDELIA
Which means, by the time the shaman was going all chanty on Angel, it was already
too late.
CONNOR
(sees the bloody children, with their bloody toys) You mean, they've been here
like this...for days?
WESLEY
With the chaos outside, probably no one even noticed they were gone.
CORDELIA
We should have seen this coming.
WESLEY
(stands) Of course the Beast would go after the priestesses. Let's have a look
around. Then we should call the police. (finds a paper on the desk) Banishment
incantation. At least, I think it is.
CORDELIA
Then they were trying to get rid of the Beast.
WESLEY
Seems so.
Connor sees a calendar on the refrigerator door. One of the days is marked "Daddy's Birthday" and circled with a red heart. He runs out of the house. Cordelia calls after him.
CORDELIA
Connor!
Cut to:
36 EXT. SVEAR HOUSE
Connor runs out to vomit in the front yard. Cordelia follows him. Connor sits
down on the front sidewalk. Cordelia goes to sit beside him.
CORDELIA
Connor... (sighs) The sun should be up. It's different, isn't it? (looks at
Connor) Dead demons are just a big blob of oozing mess. Vampires turn into dust
like they were never anything at all. But humans— (sighs) it's different.
CONNOR
It's not—
CORDELIA
What?
CONNOR
Family.
A vampire jumps out of the bushes behind them. Connor punches him, but another vampire comes out and attacks Cordelia, pushing her to the ground. Connor grabs a stake from his side and dusts one vampire. Then the other one comes at him. They fight, and Connor throws him across the street into some garbage cans. Wesley pulls up in the jeep; Cordelia and Connor climb in. A vampire is holding on to the bottom of the door, preventing Connor from closing it. A group of vampires are headed down the street toward them.
CORDELIA
Come on!
CONNOR
(kicks the vampire out of the door) Let's go. (closes the car door)
Wes speeds away.
Cut to:
37 INT. LOBBY AT HOTEL / ANGEL
INVESTIGATIONS
Lorne, Fred and Gunn are sitting in the lobby, watching Angelus on the monitor.
ANGELUS
(through the monitor, singing) If you go into the woods tonight, you won't believe
your eyes...
FRED
He's so relaxed.
GUNN
It's like, he's not even in a cage.
LORNE
In his mind, he's not. (stands, goes to turn off the monitor)
GUNN
You get anything off him?
LORNE
Let me put it this way, moon pie, you don't want to know.
FRED
I don't. I definitely don't.
Wesley, Connor and Cordelia come through the front door. Gunn, Fred, and Lorne turn to them anxiously.
GUNN
What happened?
CONNOR
Vamps.
FRED
You didn't get the Svear.
WESLEY
No, the Beast did. Slaughtered the entire family.
FRED
Guess he found a way to kill them after all.
GUNN
So much for our big priestess rescue.
FRED
Are we sure Angelus doesn't know anything more? I mean, maybe we should talk
to—
WESLEY
No. I think he's told us everything he's going to.
GUNN
Which means our last-ditch plan, turning Angel into a soulless monster, it's
a bust. If Angelus can't help us—
CORDELIA
It's time to bring back Angel.
Connor frowns and walks out of the lobby.
LORNE
Oh, and he's usually so chatty.
CORDELIA
(looks at Connor, then back at Lorne) Rough night.
WESLEY
We'll need the shaman.
Cut to:
38 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Cordelia walks down into the basement to talk to Angelus, who is sitting in
the dark corner again.
ANGELUS
Here I thought you'd be halfway to Georgia by now.
CORDELIA
I told you I'd be back. I'm back.
ANGELUS
How'd the little field trip turn out? Priestesses still feisty?
CORDELIA
We found a little boy, his sister, mom, dad, grandma—all dead.
ANGELUS
(sighs) Oh, God. I'm always missing the fun stuff.
CORDELIA
The Beast butchered them.
ANGELUS
So? Did you bring me back a souvenir? Maybe a stray baby toe? (chuckles, stands)
Come on, Cordy. Where's your sense of humor?
CORDELIA
Guess I lost it.
ANGELUS
(walks up to Cordy) Well, don't blame me for our little debacle. I told you
everything I know.
CORDELIA
Too late.
ANGELUS
And who's fault is that? Doesn't matter. I showed you mine. Now it's time to
show me yours.
CORDELIA
The deal was: you give us information, we save the world, you get me. Well,
world not saved.
Cut to:
39 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
Wesley opens the picture that conceals the safe, and turns the dial on the safe
door to the right combination as Lorne, Fred, and Gunn look on nervously. Wes
presses the lever to open the safe door.
Cut to:
40 INT. BASEMENT AT HOTEL/ANGEL
INVESTIGATIONS
Cordelia and Angelus are talking.
ANGELUS
You're not thinking I'm just gonna let this go.
CORDELIA
Not seeing a whole lot of other options. With the big steel cage and all.
ANGELUS
Won't be in here forever.
CORDELIA
(looks at her watch) 'Bout another hour. Forgot to tell you the best part. We're
putting your soul back. (grins)
ANGELUS
(chuckles) Not gonna happen.
CORDELIA
Oh, but it is. Just in time for the primo apocalypse that's coming. Too bad.
I know how you love those.
ANGELUS
Been looking forward to it all day. Still am.
CORDELIA
Thing is, you're never coming back. Angel's going to make sure of that.
ANGELUS
(whispers) We'll see.
CORDELIA
What you don't get, Angelus, is that you're nobody. Just a disease. And Angel
can't wait to be rid of you.
ANGELUS
(walks up to the bars, leers at Cordy) I think I'll start with the twins. I
just love a woman with nice ripe thighs. (suddenly reaches out to grab Cordy,
but misses her by less than an inch)
CORDELIA
(smirks, walks away) Not even close.
ANGELUS
The more you piss me off, the longer I'll keep you alive. Oh, something tells
me she's a screamer.
Cordelia walks back upstairs.
Cut to:
41 INT. OFFICE AT HOTEL / ANGEL
INVESTIGATIONS
Cordelia walks into the office where Lorne, Fred, and Gunn are staring at the
safe.
CORDELIA
OK, let's— (notices the look of shock on everyone's face) What?
FRED
Angel's soul. It's gone.
Pan over to show the empty safe.
Cut to:
Closing credits.