ATS
4.22
Home
Transcribed by:
CariCranberry
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CONNOR (V.O.)
Previously on Angel:
1 INT. HOTEL / ANGEL
INVESTIGATIONS - NIGHT
Angel laughs as he realizes his fate.
ANGEL
I'm gonna have a son.
Cut to:
2 EXT. ALLEY IN LOS
ANGELES - NIGHT
It's raining and a very pregnant Darla is lying down in the street. Angel is
with her.
DARLA
(looks into Angel's eyes) This child is the one good thing we ever did together.
Darla stakes herself. Although she dusts, the baby inside her remains intact and lies squirming in the street. Angel stares at him in shock.
Cut to:
3 EXT. ALLEY IN LOS
ANGELES - NIGHT
Holtz is pointing a crossbow at Angel.
LILAH (V.O.)
Daniel Holtz.
Cut to:
4 EXT. ALLEY IN LOS
ANGELES - NIGHT
Holtz carries Angel's baby boy through a portal into another dimension.
LORNE (V.O.)
He's taken the baby away, for good.
Cut to:
5 INT. ELEVATOR AT
WOLFRAM & HART - NIGHT
Angel stands beside a lawyer for Wolfram & Hart.
LAWYER
Wolfram & Hart. Our firm has always been here. We go on...no matter what.
Cut to:
6 INT. WESLEY'S
APARTMENT - NIGHT
Lilah and Wesley cuddle after making love, writhing in the ecstasy and
satisfaction of the moment.
LILAH
That didn't suck.
Cut to:
7 INT. CORRIDOR IN
HOTEL/ANGEL INVESTIGATIONS
Angelus is standing, holding Lilah's body in his arms, feeding from her neck
wound. He drops Lilah's body. Wesley stares at Lilah's body and her bloody neck
wound.
CONNOR
We have to destroy her. She could have been turned.
Cut to:
8 INT. BASEMENT AT
HOTEL / ANGEL INVESTIGATIONS
Wesley stands staring at Lilah's corpse. Lilah's apparition stands behind him.
WESLEY
(lifts the battle-axe) I'm sorry, Lilah.
Wesley swings the axe, cutting across her neck. When he pulls it back, it's got blood on its edge. He cries.
Cut to:
9 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
A young man drops into the lobby from a portal to another dimension. He points a
weapon designed to shoot stakes at Angel, then smirks menacingly.
ANGEL
Connor.
CONNOR
Hi, Dad.
Cut to:
10 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
(touching Connor's face tenderly) You never had a childhood, or a family, or
anything that's real—I want you to have something that is.
Cut to:
11 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:
12 INT. BANQUET HALL
AT HOTEL / ANGEL INVESTIGATIONS - DAY
Connor walks into the banquet hall teeming with people in various stages of
undress. He walks purposefully toward Jasmine who's talking to some of her
followers.
JASMINE
Cordelia.
CONNOR
What did you do with her?
JASMINE
She's exactly where I need her to be.
Cut to:
13 INT. CATHEDRAL -
DAY
Connor is standing beside the person laid out on the altar, talking softly to
Cordelia who's laid out on the table, draped in see-through white tulle fabric.
CONNOR
I know she's a lie. Jasmine. My whole life's been built on them. I guess I
thought this one was better than the others.
Cut to:
14 EXT. BRIDGE -
NIGHT
Connor has come to the bridge where Angel and Jasmine were fighting. Jasmine
stands beside Connor, touching his shoulder. Angel's panting, weakly, staring at
them.
JASMINE
You still love me?
CONNOR
Yes. (punches Jasmine in the head so hard that his fist goes right through her
skull)
Jasmine falls to the ground, dead. Connor looks at her body, saddened. Connor runs off.
Cut to:
15 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Weakly, Angel stumbles in through the front door. The rest of the gang is in the
office. When they hear him come in, they all go out to the lobby.
ANGEL
Jasmine's dead. (sits) Connor killed her. He's just...given up. I think he's
gonna do something. You know, he might—
LILAH
End world peace? (Angel looks over to see her standing in the office doorway)
Well, you already took care of that. Congratulations.
Fade to black.
16 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Resume. Lilah has shown herself to Angel and the others.
ANGEL
(stands) Lilah.
LILAH
Angel. What's the matter, ace? (walks into the lobby) Didn't think you were the
only one that ever got to come back from hell around here, did ya? (clears
throat) Speaking of which, could I possibly get some ice water?
ANGEL
What are you doing here, Lilah?
WESLEY
She's not here. It's not her. It can't be.
LILAH
There's a signed dollar in your wallet that says different.
WESLEY
(looks hurt, walks away) It's a lie.
LILAH
Lah. It's a Lilah. (sighs, crosses arms; to Angel) You're the one with the
preternatural senses. You tell him.
ANGEL
It's true, Wes. It's her.
FRED
But how? She was dead.
ANGEL
She's still dead.
GUNN
Vampire?
LILAH
(cringes) Eww, please. Angelus drank from me, it's true, but like with most men,
it was a one-way street. I was dead already. Besides, my Wesley made sure I'd be
spared, (pulls down the scarf that covered her neck revealing a straight red
scar across her neck) just in case. It's OK, lover. I never felt a thing.
WESLEY
I'm sure that's true. (Lilah covers her wound again with her scarf)
GUNN
I don't get this. If she ain't alive, and she ain't a vampire, what in the hell
is she?
LILAH
I'm just a messenger. That's all. They'll be sending me straight back to hell
once I'm finished here.
GUNN
Who's "they"?
ANGEL
Wolfram & Hart. The contract she signed with them extends beyond her death.
LILAH
Standard perpetuity clause, I'm afraid. Always read the fine print.
ANGEL
What's your game, Lilah?
LILAH
No game. (shrugs) In fact, game over. (sits) Guess what? You win, which is why
I'm here. I have been authorized to make you kids an offer.
FRED
(scoffs) You can't possibly think there's anything we'd want from you.
LILAH
I don't think you'll want it, but you'll take it, because this is the offer of a
lifetime. (beat) Just not, you know...mine.
Fade to black.
Opening credits.
17 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
As Lilah sits on the couch, the AI team stares at her. They all seem
uncomfortable, each rearranging and shifting as they ponder whatever it is Lilah
told them. They look at her, at each other, at no one. Finally, Gunn breaks the
ice.
GUNN
You want to run that by us one more time?
LILAH
What was unclear?
FRED
I think the part where you offered us Wolfram & Hart.
LILAH
Just the L.A. Branch.
LORNE
(chuckles) "Just the L.A. Branch." (stands, irritated) Hi, from another
dimension, what the hell does that mean?
LILAH
Means we give. You win. We're moving out. The senior partners are ceding this
territory to you, and to prove it, they want to give you controlling interest in
our L.A. Office. You get the building, assets, personnel, letterhead, paper
clips, all of it. It's yours to do with as you see fit.
FRED
But there is no Los Angeles office of Wolfram & Hart. The beast destroyed it.
LILAH
Oh, it's back, restaffed and zombie-free. We're bigger, better, and shinier than
ever, and we want to give it to you.
GUNN
You want to give us your evil law firm? We ain't lawyers.
FRED
Or evil. (beat) Currently.
LILAH
(stands) What we're offering you is a turnkey, state-of-the-art, multi-tasking
operation. What you do with it, well, (crosses her arms) that's up to you.
ANGEL
Why?
LILAH
Well, I thought that was obvious. You earned it. Think of it as a reward.
GUNN
Reward for what?
LILAH
Ending world peace.
FRED
That's not what happened.
LILAH
No?
WESLEY
Jasmine was creating a slave state.
LILAH
Right, where the slaves are full of giggly joy and love. Ugh, what a nightmare.
ANGEL
She was eating people.
LILAH
They knew what they were getting into.
LORNE
Her stomach?
LILAH
World peace comes at a price. Jasmine understood that. She consumed, what?
Couple dozen souls a day? Now weigh that against ending the suffering of
millions, (grins widely) but you fixed that.
FRED
No, we didn't. I—I mean, we did, we—we fixed it, but not in the way that you're
trying to make it sound.
LILAH
Jeez, it's not like it was a criticism. Anyway, I'm dead and running late.
(walks toward the door) Think about our proposal. If anyone's interested and
wants the grand tour, there'll be a limo waiting outside just before dawn,
(stops, turns toward the lobby) and hey... good job. (walks out the door)
FRED
(annoyed) We ended a nefarious global domination scheme, not world peace...
(looks at the others) right?
Cut to:
18 EXT. STREET IN
LOS ANGELES - NIGHT
Connor walks through the streets as sirens blare. It's chaotic tonight, unlike
how things were before Jasmine's spell was broken. Connor stops and looks up to
see a man pacing on the roof of a tall building beside him.
Cut to:
19 EXT. ROOFTOP OF
BUILDING - NIGHT
Connor approaches the man who's pacing near the edge of the roof. The man is
muttering to himself. He's some kind of police or security officer.
CONNOR
Hey. You OK?
COP
(holding his gun like it was a teddy bear, pacing) I lost something. Something I
need. I can't find it. (yells) I can't find it!
CONNOR
I know. It's OK.
COP
You can help me look.
CONNOR
(sadly) I don't think I can. I think it's gone.
The man looks at his gun as he holds it in both hands, then he starts to point it at himself. Connor runs up to him and stops him.
CONNOR
Hey. You don't want to do that. What you're feeling right now won't last. Let's
just put this away, OK? That's right. (takes gun away from the man) There you
go. Listen. You're gonna go home, and you're not gonna do anything stupid, OK?
COP
Home?
CONNOR
(pats the man on the back) Yeah, you got one, don't you?
COP
Yeah, yeah, got one. (takes out his wallet, shows pictures) Look. That's Sarah,
and that's Jill. That's my home right there, right there.
CONNOR
That's your family. (irritated) That's your family, and you were just gonna
leave them like that? How were they gonna feel if you didn't come back?
COP
I don't know.
CONNOR
You don't know? (yells) You have to know that!
COP
I'm sorry. I wasn't thinking.
CONNOR
(starts to walk away, but stops and punches the man, knocking him down) You were
gonna leave 'em, huh? (stands over him, punching the man again) Think about
this! (punch) Think about this! (punch) Huh? (punch) Huh?
Cut to:
20 INT. OFFICE AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Wesley is sitting behind the desk leaning over it inspecting a map. Gunn walks
into the room.
WESLEY
Angel's battle with Jasmine took place here. She was moving east, probably
towards Cordelia. If we find Connor, I suspect we'll find her as well.
GUNN
(sits across from him leaning back in a chair) Kid needs a leash if you ask me.
WESLEY
We work outward in an ever-expanding perimeter.
GUNN
Ever-expanding perimeter? That won't take weeks.
WESLEY
(puts down his pencil, looks up at Gunn) You've another idea, I'm ready to hear
it.
GUNN
Can't help thinking it might cut down on the work load some if we got a little
help, a few extra employees, or a turnkey, state-of-the-art, multi-tasking
operation.
WESLEY
(leans back in his chair) You can't possibly think that's an option.
GUNN
Well, now I know it's an option, 'cause I was standing there when the dead lady
offered it to us. (leans forward) Come on, Wes, how long are you gonna be
satisfied, sitting there sticking pins in maps and blowing dust off your books?
(sighs, leans back) Sorry, man. I shouldn't have said it like that.
WESLEY
(looks away) No, no, no. They are rather dusty.
GUNN
That's not what I meant. Couldn't have been easy for you seeing Lilah again like
that.
WESLEY
Oh, yes. That was awkward, wasn't it? You decapitate a loved one, you don't
expect them to come visiting. (picks up a pen and leans over his map again)
GUNN
Loved one?
WESLEY
Figure of speech.
Cut to:
21 INT. LOBBY AT
HOTEL / ANGEL INVESTIGATIONS - NIGHT
Angel looks up as Lorne walks in through the front door. Angel's changing his
shirt, and Fred's also in the room. Wesley and Gunn walk into the lobby from the
office.
ANGEL
You're back. Anything?
LORNE
Oh, plenty. (shrugs) Just not any on Connor or Cordelia. I'm not saying we ended
world peace or anything, kids, but, uh, it's a mess out there, and considering
the banner year we've had, that's up against some pretty stiff competition.
ANGEL
(to Wesley) What do you got?
WESLEY
Not much more than you left me with, I'm afraid. Truth is, if Connor doesn't
want to be found—
ANGEL
We'll find him. We won't stop until we find them both. We'll do whatever it
takes.
GUNN
Ok, well, don't you think maybe we should consider—
ANGEL
(snaps at him) Consider what, Gunn? What should we consider?
GUNN
(backs off) Working outward in an ever-expanding perimeter.
ANGEL
You want to get into that limo when it gets here? That's up to you. (turns to
grab his coat) It's not a decision I can make for you, for any of you, but know
this: Before the ride's even over, before you even cross through their doors,
you'll be corrupted. (walks toward the door)
WESLEY
Where are you heading off to?
ANGEL
I'm gonna go find my son, see if I can get lucky, pick up his trail. (walks out
the door)
FRED
I can't believe he thought you meant—
GUNN
I'm going to bed. (walks away)
WESLEY
Yes, I should be heading home myself. It's late. (looks around) Well... night
all. (walks out)
LORNE
Night.
FRED
(watches Wesley leave) Good night.
Cut to:
22 INT. HOTEL /
ANGEL INVESTIGATIONS - NIGHT
Fred sneaks out of her room late at night. The halls are empty. She walks
quietly down the front stairs into the empty lobby. She walks out the front
door.
Cut to:
23 EXT. GARDEN AT
HOTEL / ANGEL INVESTIGATIONS - PRE-DAWN
Fred walks through the garden, rearranging her shoe on the way. She stops in her
tracks when she sees the limousine. Wesley starts speaking, and Fred turns to
see that he is standing beside her.
WESLEY
I don't know how long it's been here. Since before I arrived.
FRED
(guiltily) I thought I'd be the only one.
WESLEY
I thought for sure I wouldn't be, although I wasn't expecting it to be you.
FRED
I just figured...well, if they are up to something—
GUNN
(walks up to them from the shadows) We should know what it is. I get that.
WESLEY
Well, we three.
GUNN
Looks like.
WESLEY
What are the odds the humans would be the most corruptible?
FRED
(walks toward the car, the others follow) Maybe we should just go back inside.
What if Angel's right?
GUNN
Yeah, but what if he's not? All we're gonna do is take the tour.
WESLEY
Hmm. We go into this with our eyes open and our wits about us. There shouldn't
be any—
ANGEL
Surprises? (the others turn to see Angel was lurking by the wall just in front
of the limo) What the hell. (goes to the car, opens the door for the others—but
Lorne is already inside)
LORNE
(listening to dance music, talking to the driver) So it's an evil limo. I get
that, but does that mean we don't restock the cherries? (laughs, looks around,
notices the others) Hi.
Cut to:
24 INT. LOBBY AT
WOLFRAM & HART - DAWN
The elevator bell rings. Angel, Fred, Lorne, Wesley and Gunn walk off the
elevator into the lobby. They look around to see a bustling office. There's a
big "W&H" sign in the lobby.
FEMALE LAWYER
Mr. Angel, good morning.
MALE LAWYER
Good morning, Mr. Angel.
FEMALE LAWYER
Good morning, Mr. Angel.
MALE LAWYER
Good morning, Mr. Angel.
FEMALE LAWYER
Good morning, Mr. Angel.
ANGEL
(to the others) There's no way this is gonna go well. (looking around)
MALE LAWYER
Good morning, Mr. Angel.
MALE LAWYER
Morning, Mr. Angel.
FEMALE LAWYER
Good morning, Mr. Angel.
MALE LAWYER
Herr Angel, welcome.
MALE LAWYER
Good morning, Mr. Angel.
MALE LAWYER
Mr. Angel, greetings.
MALE LAWYER
Hello, Mr. Angel.
FEMALE LAWYER
Mr. Angel, good morning.
MALE LAWYER
Mr. Angel, sir, good to see you.
MALE LAWYER
Good morning, sir.
Fade to black.
25 INT. LOBBY AT
WOLFRAM & HART - DAY
A team of five people, headed by Lilah, walks purposefully toward Angel and
crew.
LILAH
Well, you've all made it. What a shock. We've got a lot of ground to cover, so
best we get started. Let me introduce you to your guides.
ANGEL
Guides? Separate guides?
LILAH
Of course. There are 5 of you, all with specific interests, unique areas of
expertise. Seemed the most efficient way of doing this. Prioritize and
personalize.
ANGEL
(smirks) Divide and conquer, you mean.
LILAH
Oh, you're so cynical. See? (smiles) This is gonna work out great.
ANGEL
We don't split up. We came here together, we're gonna take the tour together.
Right, guys?
GUNN
(looks at one of the people Lilah brought with her) Do I get her?
LILAH
Look, if we wanted to harm you, we'd have blown up the limo, right? (a man
wheels in a car of guns) If you prefer to be armed during your stay here, we'd
have no objections. Just because we've tried to kill or corrupt each and every
one of you at one time or another doesn't mean we can't be trusted.
WESLEY
She's right. We've made deals with them before. They are honorable in their way.
I doubt we'll be in any danger.
LORNE
She was right about the limo.
GUNN
(still staring at the girl) Do I get her?
FRED
(picks up a large automatic gun from the cart, cocks it) I think we'll be OK.
LILAH
Lorne, Preston will show you around our entertainment division.
A short young man in a suit and a purple shirt walks up to Lorne, offering to shake hands.
PRESTON
Hi, big fan. Huge. Love your work. (Lorne shakes his hand) I had this prepared.
Confidential list. Peepers only. Thought you might want to take a gander at our
roster. (opens the book) Just a rundown of some of the talent we represent here.
LORNE
Uh, no, no, no, no. I don't think you have to tell me what you represent here,
young man. I know. Evil. Pure evil in the— (Preston flips through the pages of
the book, catching Lorne's attention) Huh. Which is also apparently everyone
I've always wanted to meet. (laughs)
PRESTON
Follow me. (Lorne and Preston walk out of the lobby)
LILAH
Wesley Wyndam-Pryce, Rutherford Sirk. (Wesley and Sirk shake hands) I think
you'll find you two have a lot in common.
Sirk is a tall, slender, middle-aged man dressed conservatively. He speaks with a British accent.
SIRK
It's a pleasure. Shall we? (walks away)
Wesley stares at Lilah, but after a moment, follows Sirk out of the lobby.
LILAH
Charles Gunn, Lacey Shepard. (presents the young woman Gunn has been staring at)
I think you'll find you two have nothing in common. (Gunn takes her hand and
smiles)
LACEY
This way, Chuck.
GUNN
You're not gonna try to corrupt me, are you?
LACEY
Wouldn't dream of it.
GUNN
We'll have to work on that. (they walk out of the lobby)
LILAH
Knox, Fred Burkle.
Lilah presents a man wearing a white lab coat.
FRED
(smiles cordially, tries to offer her hand to him, but the large gun she's
holding makes it awkward; she giggles) Hi.
LILAH
Knox is the star of our science division.
FRED
Oh!
KNOX
Oh. Uh.
FRED
Oh, nice to meet you.
KNOX
You, too, um. Well, this, um, should be...fun.
FRED
Yeah. (holds her gun in front of her and follows Knox out of the lobby)
ANGEL
Well...(chuckles) What do you know?
LILAH
Yep, just you and me, boss. Come on, Charlie. Let me show you around the
chocolate factory.
Cut to:
26 INT. HALLWAY AT
WOLFRAM & HART - DAY
Gunn looks around the building as he and Lacey walk across a bridge over the
lobby.
GUNN
Pretty slick.
LACEY
What is?
GUNN
You know, giving each of us our own little tour. It's a good way to isolate
Angel.
LACEY
Is that what we're doing? (they walk in front of a bunch of cubicle offices)
GUNN
Well, it'd be a big coup bringing Angel over to the dark side. Vampire with a
soul, champion. It's gonna look good on anyone's letterhead.
LACEY
Why do you assume Angel is our priority?
GUNN
You telling me he isn't?
LACEY
A priority. Though you each possess gifts we feel would be useful.
GUNN
Well, I see what the others got, Fred's big brain, Wes' training, Lorne's
mind-reading thing. Guess I just don't know what you guys expect me to do
around... (sees the office labeled "SECURITY") here. Though I think maybe I'm
starting to figure it out. Yeah, bet I'd look real smart in one of them blazers.
LACEY
(smiles) Oh, I'm sure you would, but we have much grander plans for you, Mr.
Gunn.
GUNN
(interested) You do? Grander?
LACEY
Let's go upstairs.
Cut to:
27 INT. HALLWAY AT
WOLFRAM & HART - DAY
Fred and Knox talk as they walk down a less glitzy hallway that's more white
with fewer windows than Gunn's tour.
FRED
So are you a lawyer? Uh, you don't look like a lawyer.
KNOX
No, I'm strictly R & D. Although, occasionally, some D & D. D & D, Dungeons
and...We actually have a dungeon. I can show it to you later if— um, I manage
the science division.
FRED
(smiles) Seem pretty young to be a head of a whole science division.
KNOX
Oh, I—I'm not the head. I—I just manage it for the department head, which, I
guess, you know, would be you.
FRED
(her eyes widen) Wait. I, uh—
Knox leads Fred inside a locked room. It's a huge laboratory, fully staffed and fully equipped. People are doing chemical experiments, medical, animal and others as well. Fred gasps as she takes it all in.
FRED
Wow.
KNOX
I know. Everything modern technology has to offer, right at your fingertips.
Everything's state of the art, cutting edge. (Fred picks up a handheld computer
that was lying on the desk) That's one of my creations. (smiles)
FRED
You might want to get out of the lab more. Personal organizers have been around
for a while. I—I mean, (shrugs) not that it's not a nice Palm Pilot.
KNOX
(opens the computer) Yeah, I'll bet your buddy Matthew Partney at 6200 Crestwood
Boulevard in Lubbock, Texas, would agree. (shows Fred the display)
FRED
Hey, how'd you know about Matt?
KNOX
Hacks into any electronic device within 100 yards. I—I patched in to your cell
phone's address book.
FRED
You're like the— the MacGyver of Wolfram & Hart.
KNOX
(chuckles) You're not wrong. I can make practically anything out of a— a fully
equipped, multi-million dollar lab.
Cut to:
28 INT. READING ROOM
AT WOLFRAM & HART - DAY
Sirk leads Wesley into a wood-paneled room with a table in the center upon which
3 dozen or so leather-bound books are lined up, neatly arranged in a row.
SIRK
Our ancient prophecies wing.
WESLEY
(unimpressed) Looks as if your wing's been clipped.
SIRK
Appearances can be deceiving. It's actually the most comprehensive collection of
prophecy archives to be found anywhere. Choose something to read. Go on,
anything at all. (leans on the books) Something rare.
WESLEY
All right. The Devandire Sibylline Codex.
SIRK
Translated or Sanskrit?
WESLEY
Surprise me.
SIRK
I'm sure I will. (picks up a large, heavy book and whispers to it) Devandire
Codex, Sanskrit. (hands the book to Wesley; when he opens it, the blank pages
magically fill themselves with text) The, uh, template you're holding provides
access to anything stored in the firm's locked archives relating to prophecies,
omens, revelations and so on.
WESLEY
Impressive. And does the Watcher's Council know you stole the only known copy of
the codex when you left?
SIRK
There is no council.
WESLEY
(flips through the book) Not anymore, no. So you opted to, what, uh, play for
the other side? Cross the line?
SIRK
These are complicated times. Lines become blurry. How did you know?
WESLEY
Something about Watchers and—(punches Sirk, knocking him out) libraries.
Wesley looks around at the ceiling, then shoots a cable into the ceiling from a wrist jig he's wearing, triggering it to lift him up automatically.
Cut to:
29 INT. WOLFRAM &
HART - DAY
Lilah and Angel walk down the hall together toward a large office.
LILAH
(in the hallway) Money, clothes, women. Did I mention we have a juice bar?
ANGEL
(in the hallway) This is what you came back from the dead for? To play "Let's
Make an Evil Deal"?
LILAH
Show him what's behind door number one, Bob. (opens the doors to the office;
Angel follows her in) I know it's not much, but the Taj Mahal was a bit of a
commute.
ANGEL
Hmm, what, am I supposed to swoon? It's an office.
LILAH
(gestures like a spokesmodel) With your own private elevator. Care to take it
for a spin?
ANGEL
What's it gonna do, huh? Drop me in a vat of holy water?
LILAH
I was pushing for that, but they went with the motor pool. Figured you'd like to
stay mobile, what with all that rushing out to save the day you're so fond of.
ANGEL
(smirks) Thanks, but I already have a car.
LILAH
Now you have 12.
ANGEL
What am I gonna do with 12 cars?
LILAH
Anything you want. That's the point, or haven't you been listening?
ANGEL
I have, and, uh, I'm done now.
LILAH
Wait, I forgot to show you the best part. (presses a button)You're gonna love
this. (the window shades slide open letting light pour into the room through a
wall full of windows)
ANGEL
(instinctively puts his hands to his face, then realizes...) I'm not bursting
into flames.
LILAH
Nope. (taps on the glass) Necro-tempered glass. The whole building's fitted with
it. Helps keep those uplifting, wholesome rays from charbroilin' the boss, and
30% more energy efficient. (Angel basks in the light) Feels even better when
you're naked. I could turn around.
ANGEL
Close it.
LILAH
Promise I won't peek. Well, maybe just a skosh.
ANGEL
Close it, Lilah.
LILAH
(sighs, picks up the remote, closes the shades) Good-bye, Mr. Sunshine. Hello,
gloomy avenger.
ANGEL
Make that good-bye. I'm not taking the job.
LILAH
It's not a job. It's an opportunity.
ANGEL
Ooh, an opportunity to be part of the problem.
LILAH
If that's what you choose.
ANGEL
Really don't.
LILAH
Again, your choice. Think of what you can do with the resources of Wolfram &
Hart at your fingertips, the difference that would make. Nothing in this world
is the way it ought to be. It's harsh, and it's cruel, but that's why there's
you, Angel. You live as if the world were as it should be. With all this, you
can make it that way. People don't need an unyielding champion. They need a man
who knows the value of compromise and how to beat the system from inside the
belly of the beast.
ANGEL
The beast's belly? Doesn't that usually mean you've been eaten?
LILAH
(smiles) Maybe. While you've been namby-pambying around for the past 90 seconds,
6 innocent people have died. Oh, but don't worry. There's always 6,000 more just
around the corner or up the coast. (hands Angel a file)
ANGEL
(opens the file, reads) Sunnydale. (takes out an amulet from the file)
LILAH
That nifty, little bauble comes with the file. Apparently, it's crucial for some
kind of final battle. Guess they're in short supply up Sunnydale way. A bit
gauche for my taste, but, hey, not a slayer.
ANGEL
(puts the amulet back in the file; throws it on the table) Buffy can handle
herself.
LILAH
But isn't it more fun when you handle her?
ANGEL
Keep the intel. Not interested. (walks toward the door)
LILAH
Not in this case. So how about open homicide? Missing persons? (Angel stops
walking) Mmm, I knew there had to be a reason you took the tour. Dead, not
stupid.
ANGEL
What do you know?
LILAH
About where Cordelia and your son are? Not a thing, but you could find out in
about 10 seconds. All you gotta do is pick up the phone, boss. (picks up the
phone, hands it to Angel)
ANGEL
(puts down the phone) I'm sorry what happened to you, Lilah. I really am. Me and
my friends will be leaving now.
The telephone rings. Lilah answers it. Angel sighs.
LILAH
(to phone) Yes? Of course. (hangs up) The senior partners would like you to test
all the amenities before you make your decision. (presses a remote control
button, revealing a television that's playing a news report)
ANGEL
Cool! Is that high-def?
REPORTER
evacuated and bomb units have been called to the scene where police say more
than a dozen promenade shoppers are being held hostage at this hour. Police are
trying to identify the suspect from these security camera pictures. (the footage
shows Connor on the screen; Angel walks closer to the television for a better
look) So far, no motive is known for the siege, and the suspect has refused to
speak with law enforcement officials. We'll keep you updated as this intense
drama unfolds.
LILAH
Wow, really does have your eyes, doesn't he?
Fade to black.
30 INT. WOLFRAM &
HART - DAY
Resume. Angel sees Connor on the television news report. Angel grabs Lilah by
the throat and pushes her up against the wall angrily.
LILAH
Watch the head. It comes off kind of easy.
ANGEL
(through gritted teeth) You set this whole thing up.
LILAH
Been a little busy with the being dead.
ANGEL
You, the senior partners, whoever. Get 'em on the phone and make it stop (low)
now.
LILAH
Love to, except for the part where we didn't have anything to do with—
ANGEL
But you know who did.
LILAH
Yeah, I'm looking at him. You're the one who raised him or didn't. (Angel lets
her go; Lilah clears throat) Can't imagine how the kid turned out postal.
ANGEL
You don't know a thing about Connor, huh. Let's keep it that way. (walks toward
the door)
LILAH
One time offer only, Angel. Walk out that door, deal's off. Stay, and it's all
yours.
ANGEL
People like you, this place, that's what's wrong with the world, Lilah. I will
never be a part of this. (sighs, stares at the image of Connor on the screen)
Not the way you're hoping. (walks up to Lilah) Now let me tell you what the
deal's gonna be.
Cut to:
31 INT. ELEVATOR AT
WOLFRAM & HART - DAY
Gunn and Lacey are riding in the elevator with cheezy elevator music playing in
the background.
GUNN
(chuckles) This is the longest damn elevator ride I ever took. How big is this
place?
LACEY
(looks at her watch, then at Gunn) It's time.
GUNN
Time for what?
The buttons for several floors are lit, but another button magically appears above them. Lacey presses the button.
GUNN
Oh, no. Hey, we better not be going where I think we're going.
LACEY
The answers you seek lie within the room.
GUNN
Only thing I seek is the lobby. (presses the lobby button repeatedly) Already
rubbed elbows with Little Miss Muffet once. Don't need a repeat with her
replacement, and here I am thinking I'm getting seduced. Well, I'm getting
screwed all...
Fade to white.
32 INT. WHITE ROOM -
DAY
Gunn finds himself in a large empty white room. He looks around, apprehensive.
GUNN
Right. Come on, you got the wrong guy in here. This room's for the big— (turns
toward a growling sound in the distance) Cats. (a black panther walks toward
him) Think I preferred the little girl.
The black panther walks slowly toward Gunn, then stops and stands in front of him, looking up into his eyes. Gunn bends to look into the cat's eyes and sees his own reflection in them. Gunn smiles. The panther roars.
Cut to:
33 INT. JACKSON'S
SPORTING GOODS - DAY
The police have surrounded the sporting goods store with cars and helicopters.
Inside, People are sitting on the floor, wired to a makeshift explosive device
fashioned from propane canisters taped to each person's chest. One man is
sitting with his arm around a little girl who's crying uncontrollably.
MAN
(whispering to the girl) Shut up. Shut up. You've got to—
CONNOR
(leaps down to yell at the man) Hey! I told you to be nice.
MAN
(leans back, frightened) I'm sorry.
CONNOR
You're not holding her right. Why don't you hold her right?
MAN
I think you broke my arm.
CONNOR
Do it right.
MAN
(painfully puts his arm around the girl) Shh, shh. It's gonna be OK. It's gonna
be OK.
Connor stands and walks over to a stash of car batteries and checks that the people's wires are attached. Then he pauses.
CONNOR
You got in. (stands) I thought you might.
Pan out to show Angel is standing on the balcony of the upstairs section of the store. He leaps down to the main level where Connor and his hostages are.
Cut to:
34 INT. RECORDS ROOM
AT WOLFRAM & HART - DAY
Someone drops down from the ceiling—it's Wesley. He punches out a man standing
in the records room. There's rows and rows of filing cabinets and document
boxes. Wesley hurriedly moves down to the section he's interested in, inspecting
the labels on the cabinets until finally he opens the drawer he wants.
LILAH
(steps out from behind a row of cabinets) I was wondering how long it'd take you
to get here.
WESLEY
(looks over then stands straight) How'd I do?
LILAH
A little slower than I would have thought... but then you always did like to
take your time. So you finally made it. Got behind the facade, and here it is,
every dirty, little scheme. (walks toward him) Every secret, all that evil,
great and small. Just imagine what you could accomplish with that kind of
information.
WESLEY
You wanted me to see this. You knew I'd—
LILAH
Die Hard your way up here? Come on, Wes. Who knows you better than me?
WESLEY
(looks at her) Perhaps you don't know me as well as you think. (goes back to the
files)
LILAH
What are you doing, Wesley?
WESLEY
(takes a piece of paper out of the files) Standard perpetuity clause. (holds up
the paper for Lilah to see)
LILAH
You broke in here for my contract?
WESLEY
(takes out a lighter) I'm here to release you from it.
LILAH
Wesley.
WESLEY
You've suffered enough. (lights the paper) I want you to find some peace.
(watches it burn)
LILAH
Gallant to the end...but I knew what I signed up for.
WESLEY
It's done.
LILAH
Look in the drawer. (Wesley opens the drawer, takes out a paper from the same
file) Flames wouldn't be eternal if they actually consumed anything. (Wesley
looks heartbroken) But it means something that you tried.
Cut to:
35 INT. JACKSON'S
SPORTING GOODS - DAY
Angel walks cautiously through the apparel toward Connor.
ANGEL
Connor? Son?
There's an explosion behind Angel. He jumps, startled. The hostages start crying and whimpering. Connor remains eerily calm and unaffected.
CONNOR
You might not want to move. Everyone's rigged. Can't save 'em all, dad. Don't
know who's gonna be first. Could be any one of 'em. (stands, revealing he's
wired too) Could be me. (steps away, points to an unconscious Cordelia on the
floor, also wired) Could be her.
Fade to black
36 INT. JACKSON'S
SPORTING GOODS - DAY
Resume. Cordelia is wired to a makeshift explosive device fashioned by Cordelia.
Angel stares shocked and frozen with fear for a moment.
ANGEL
Son...you have to listen to me. This is about Jasmine.
CONNOR
Jasmine's gone.
ANGEL
I know. We all felt it, that perfect love, then when you had to give it up—
CONNOR
(in a violent outburst, pushes items off a nearby table) I didn't feel anything!
I can't feel anything. (scoffs) I guess I really am your son... 'cause I'm dead,
too.
ANGEL
(starts walking toward Connor) You're not dead. You're just starting your life
and—
CONNOR
No, you just weren't there before!
ANGEL
(tears well up in his eyes) I know. I'm so—
CONNOR
(yelling angrily) Do not say you're sorry! Doesn't fix anything.
ANGEL
Ok, look, let me say this. I love you, son.
CONNOR
It's a lie.
ANGEL
It's not.
CONNOR
(hangs his head) It's always a lie. (softly) My dead mother couldn't even love
me.
ANGEL
You're wrong. She did.
CONNOR
No. (shakes her head) No. She knew she couldn't.
ANGEL
She sacrificed herself because she loved you.
CONNOR
You tried to love me. At least I think you did.
ANGEL
I still do.
CONNOR
But not enough to hang on, dad. (glares at Angel)You let him take me. You let
him get me. You let him get me. (turns to face Cordelia) Cordy... you swore you
loved me. Where are you now?
ANGEL
(inches toward Connor; softly) Connor... you have to believe that there are
people who love you.
CONNOR
Jasmine believed you when you said you loved her, but it was all a lie.
ANGEL
Jasmine was the lie.
CONNOR
(yelling) No! She knew if you found out who she really was that you'd turn
against her, and she was right. That's just what happened. People like you.
People like this. None of you deserve what she could give you. (sighs) She
wanted to give you everything.
ANGEL
I know how that feels. 'Cause I want to give you everything. I want to take back
the mistakes, help you start over.
CONNOR
We can't start over.
ANGEL
We can. I mean, we can change things.
CONNOR
There's only one thing that ever changes anything... and that's death. (Angel
starts to cry) Everything else is just a lie. (cries) You can't be saved by a
lie. You can't be saved at all. (looks down at his explosive and starts to
activate it)
Before Connor can harm himself or others, Angel punches him in the chin, sending his head back and pulls out the wire. Connor and Angel start to fight. Connor hits Angel in the head with a weight, then grabs a baseball bat—he swings at Angel and misses. Angel grabs a bowling ball and punches Connor in the face with it. Connor punches back, but Angel grabs him and throws him across the room into a wall. Connor falls to the floor. Angel helps the hostages undo their restraints and unwire themselves.
ANGEL
Run. Hurry. All of you. Go.
The hostages leave. Connor stands up and goes to attack Angel again. They fight with fists and kicks. Connor throws Angel across the room, then starts walking toward Cordelia—the only remaining hostage. Angel sees this and smashes a display case containing hunting knives. He takes a knife and hurls it across the room, landing it in Connor's thigh before he reaches Cordelia. Connor falls to the ground, still trying to crawl to her. Angel pulls the knife out of Connor's leg, pulls Connor off of her, and pushes his back to the ground.
ANGEL
(hovering over Connor, holding the knife) I really do love you, Connor.
CONNOR
(low) So what are you gonna do about it?
ANGEL
Prove it.
Angel sweeps down his knife hand and swipes the blade across Connor's throat.
Fade to white.
37 INT. LOBBY AT
WOLFRAM & HART - DAY
Fade in on the lobby of Wolfram & Hart. Lorne is singing and dancing with
himself.
LORNE
(singing) Could be...who knows? There's something due any day I will know right
away soon as it shows (Fred walks into the lobby) It may come cannonballin' down
from the sky gleaming inside... Welcome back, Fred (talking, hugs her) Hi. Hey.
(starts dancing with her) Oh, well, let me tell you, when this cruise ship sets
sail, I will be on the Lido deck. (chuckles) You know, I mean, it's
unbelievable. Secrets of the universe, like Siegfried, evil; Roy, not so much.
Oh, and balance? Very, very important. (spins Fred out, and she bumps into
Wesley)
FRED
Uh, heh—ooh! Uh... guess we're all straggling back, some more straggly-like than
others. Are you—?
WESLEY
Just, uh... a lot to take in.
The elevator bell rings, Gunn steps out.
FRED
You look... did they make you taller?
GUNN
I'm doing this. Hope it's not just me, but if it is, that's all right, too.
WESLEY
As much as it pains me to admit it, there's probably a great deal we could
accomplish with the resources available here.
FRED
(looks at Wesley) I can't believe it. Are—are you saying we should take the
deal?
ANGEL
I already took it.
FRED
Angel, what—what?
WESLEY
You took the deal?
ANGEL
Executive decision.
WESLEY
I didn't think you'd—
LILAH
Know a silver platter when he's handed one? I'm impressed with the lot of you.
Team Angel, all growed up.
ANGEL
(whispers) Is it taken care of?
LILAH
Cordelia's safe and sound, probably getting a manicure and a blow dry as we
speak.
FRED
You found Cordy? And she's—
LILAH
Still in a coma. But hey, it doesn't mean she can't look her best. (to Angel)
She'll receive the finest care, medical and metaphysical. If there is a way to
get her back, we'll find it.
ANGEL
Good. (whispers) Just one more piece of business. I got to see him.
LILAH
I'm sorry, Angel, but that wasn't part of the deal.
ANGEL
Value of compromise. Remember, Lilah? I need to see him.
LILAH
You're the boss. (hands Angel the file and amulet) There'll be a limo waiting
outside. It'll take you to see Connor.
ANGEL
(softly) Thank you. (walks out the door)
FRED
(watches Angel leave) Who's Connor?
Cut to:
38 EXT. CALIFORNIA
HIGHWAY - DAY
A limousine drives down a highway through the mountains. It drives on until it's
dark outside. The car pulls up outside a house, and Angel gets out. He walks up
to a window and peers in at the family inside.
Cut to:
39 INT. FAMILY
DINNER AT SOMEONE'S HOUSE - NIGHT
In a warmly lit dining room, a family is sitting at dinner having a
conversation.
CONNOR
You just opened up a whole bottle for yourself, didn't you? (laughter)
DAD
I'm just saying, you know, you've got your pick. Any college you want to.
CONNOR
It's really not a big deal.
MOM
Top tenth percentile is a big deal.
AUNT
Are you and Tracy gonna try and go to the same college?
DAD
Oh, bad idea.
CONNOR
We haven't really talked about it.
DAD
(shakes head) No, I love Tracy. I'm just saying it's a bad way to go.
SISTER
Tracy's a vegan.
MOM
So? At least she doesn't live on pop tarts.
CONNOR
You know, maybe I'll go to school overseas, like Russia. Is there anything
further away than Russia?
MOM
Don't you even joke about it.
DAD
I feel a toast coming on.
CONNOR
Gee, big surprise.
MOM
There he goes.
DAD
To the top tenth percentile— (holds up his glass)
CONNOR
(stands) OK, whoa, whoa. Enough. That's all I had to hear. Since it's my special
day and I'm all brilliant and everything and I'm forced to spend at least a few
more months with you freaks...
AUNT
(gasps, feigning shock) How mean.
CONNOR
Uh, heh heh, I get to make the toast, OK? (puts his hand on Dad's shoulder,
looks at Dad) To family. (clinks glass with dad)
Angel watches from outside, smiles, then walks away.
SISTER
I think I should get wine for the toast.
CONNOR
No, really? Well, I wasn't talking about this family. I made that clear, right?
(laughter from the family)
SISTER
I'm not gonna tell you. (more laughter)
Cut to:
Closing credits.