Sleep Tight

(January 30, 2002)

Written by: David Greenwalt

 

Teaser




Teaser
PREVIOUSLY - Lorne can see into peoples' souls when they sing; Angel had a son; everyone wants a piece of the kid; Angel sent Cor and Groo away on vacation; W and H stole Connor's blood; Sahjhan can't move things in our dimension; Sahjhan has a plan for that blood; Sahjhan and Lilah in cahoots; Holtz meets Lilah in ep 9; Holtz dismisses Sahjhan; Justine would take an icepick for Holtz; Wes uncovers the prophecy that the father will kill the child; Wes talks to Holtz about bloodbaths and righteousness; Wes talks to Jollyburger: three signs will usher in the killing of Connor by Angel: earth, fire and blood; all three events come to pass; Wes watches in horror as Angel grinning, blood on his face, jokes about eating his kid...

EXT. L.A. - STOCK SHOTS - DAY

Establish the CITY and the HOTEL.

INT. ANGEL'S HOTEL - WESLEY'S OFFICE - DAY

Somewhere in the b.g. a WOMAN plays a GUITAR and sings a sad song. (N ýOTE: we will see minor earthquake damage in the hotel.)

CLOSE ON WES'S NOTES: "The father will take the life of the son." A HAND (Wes's) closes the notebook (and hides it away) as we RACK to CONNOR in his bassinet. WE MOVE WITH Wes (or his shadow) towards Connor.

REVERSE - WESLEY

Moving towards the innocent child. It's ominous, what with Wes's troubled look and lack of sleep-face.

CONNOR - starts to cry.

WES - contemplating the hard choices, just looks down at him. Suddenly:

ANGEL
Jeez, Wes, don't you know what you're
supposed to do?

ANGEL - stands in the doorway, a morning glass of blood in hand. He's in a great, upbeat mood. He gulps a big swig o' blood, sets down glass, picks up Connor.

ANGEL (cont'd)
You pick 'em up when they cry.
(to Connor, sweet:)
It's all right, Daddy's here.

Connor quiets.

WESLEY
Sorry. I don't know what I was... I
didn't sleep very well.

ANGEL
Yeah, you look like hell -- and not
the fun hell where they burn you with
hot pokers for all eternity, the hard
core o üne, with Nixon and Britney
Spears.

WESLEY
You're awfully... chipper today.

ANGEL
Weird, huh? Maybe it was the
earthquake, I barely slept but I have
all this energy. God, I could drink
a horse.

Angel drinks some more blood.

WESLEY
Speaking of the earthquake...
(re: big jagged crack
in wall)
...you realize we have no insurance.

ANGEL
(chipper)
Yeah, bummer!

WESLEY
And your room is --

ANGEL
The wreck of the Hesperus, I know!
Wes, don't be such a worry wort, nice
thing about owning a hotel, it's full
a rooms. I'll move into another one
till we get it fixed -- who's singing?

WESLEY
Lorne's seeing a client in the garden.

ANGEL
(listens:)
She's good.
(to Connor)
Wanna hear the lady sing?

Angel carries Connor towards the garden doors. WE MOVE PAST them, CUTTING INTO:

INT. ANGEL'S HOTEL - GARDEN - DAY

A YOUNG WOMAN (KIM) sits with LORNE, strumming a guitar and singing:

KIM
(sings:)
"Out of the blue/And deep into you/I
fell/So far/A light went on in my
heart/You're gone/Now I'm/Left alone
in á the dark/My soul is aching for
you/My heart is breaking in two --"

She suddenly stops playing, scared.

KIM (cont'd)
Did you see anything?

LORNE
I see you're plenty scared... It's
all right, keeping going.

Kim takes a breath, goes back into the song:

KIM
(sings:)
"No love/No light left/No you..."

INT. ANGEL'S HOTEL - LOBBY - DAY

Baby Connor starts to fuss.

ANGEL
Hey now, no fussin'. Wanta see
somethin' cool? Sure you do...

Angel walks him to the weapons cabinet, opens it.

ANGEL (cont'd)
They're sharp and shiny... you like
that broadsword?
Yeah, it's your old man's favorite --
(suddenly, to Wes)
He's gonna be crawlin' in no time, we
gotta start baby-proofin' this place.
Take him for a sec, will ya'?

He plops Connor in Wes's arms. Wes holds him a little stiffly.

ANGEL (cont'd)
(to Connor)
It's all right, it's your Uncle Wes,
he loves you bunches...

Angel chuckles good-naturedly, turns to weapons cabinet doors, opening and closing them.

ANGEL (cont'd)
He's jus ét... English.

FRED (O.S.)
Are you crazy?

FRED - is heading downstairs from above, talking on her cell phone. Wes holds baby and watches Fred as:

FRED
It's the best state in the Union.
What's wrong with Texas?
(listens)
Texas doesn't hate the black man,
Texas loves the black man -- well,
most of Texas, anyone with a brain --
what's so great about California?

GUNN - enters front door, also on his cell phone. They move across the long lobby towards each other, but still talkin' on the phones as:

GUNN
Everything. It's got the climate, the
ocean --

FRED
It's got the earth that opens up and
swallows you whole --

GUNN
It's got the Lakers, the music --

FRED
-- the traffic, the smog --

GUNN
It's got you.

FRED
(half a beat)
Okay you win.

They hang up phones. Glad to see each other.

FRED (cont'd)
(sweet)
Mornin'.

GUNN
Hi.

WESLEY
Glad to see we're using the company
phones for such important calls.

Fred (sheepish) and Gunn (defiant) glance at Wes.

GUNN
Did you want me to ßpay for it?

ANGEL
Chain 'em up.

FRED
(thinking he means
her and Gunn)
What?

ANGEL
I say we put a chain and combination
lock on the weapons, better safe than
sorry.
(tickles Connor in
Wes's arms)
Isn't that right, buddy?
(to Wes)
He likes you, I can tell.

WESLEY
I like him, too. As a matter of fact,
I've been thinking I should take
him... to the park or the beach, just
the two of us.
(looks away)
Maybe there'll be some time in the
next day or two...

ANGEL
Sounds great, count on it.

Lorne suddenly appears at the top of the stairs to the garden.

LORNE
Um, guys? I think there's something
you should... can you come here for
a sec...?

He moves back into the garden. They gather on the balcony above it. (Angel, of course, clearly nowhere near any sunlight.)

LORNE (cont'd)
Everybody, this is my friend, Kim.
(to Kim)
It's all right, they're
professionals, just take it from the
chorus.

KIM
(sings:)
"My soul is aching for you/My heart
is breaking in two/No love/No light
ïleft/No you..."

Suddenly her face (C.G.I) CONTORTS, we see a HIDEOUS DEMON FORM just below the surface. Her VOICE turns DEMONIC, TERRIFYING. Green foam at her mouth as she ROARS:

KIM (AS DEMON)
"I'LL HACK OUT YOUR EYEBALLS AND RIP
YOUR CHILDREN IN TWO!!"

DEMONY KIM staggers back, Lorne supports her as she SHIVERS back into nice and normal Kim, wiping foam from her mouth.

ANGEL AND THE GANG - react.

PUSH IN ON LORNE:

LORNE
Catchy finish, huh?

BLACK OUT:

END OF TEASER

Act One



Act One
INT. ANGEL'S HOTEL - LOBBY - DAY

PULLING BACK from Kim's frightened face, we see she has been made comfy on the poof or couch, maybe with a cup of tea; Lorne and Gunn nearby. Connor's in a bassinet.

Angel, his upbeat mood just a bit manic now, paces nearby, sipping another glass of blood.

LORNE
Kim's good people. She came to see me
a couple a years ago.

KIM
He put me on my true path.

LORNE
She was throwing her life away in
medical school when she shoulda been
a singer.

GUNN
Yeah, who needs more doc ætors in the
world when you can have singin'
demons.

KIM
Well the demon part's new...

Angel laughs too loud.

ANGEL
Hah, singin' demons, flyin' nuns,
good one, "G".

Gunn gives Angel a curious look.

LORNE
She hooked up with this band a couple
of weeks ago...
(looks to Kim)

KIM
They were mellow organic-types, never
touched drugs or played a diminished
chord; I guess they were too normal --

ANGEL
I like nuns. How did the Flying Nun
fly, anyway? Was it God or magic?
(off their looks)
You think about these things
sometimes, please continue.

KIM
Um... well, they started changing.
Stevie the lead guitar grew like a
seventh finger overnight.

GUNN
Seventh?

KIM
He already had six, I just thought --
I don't know what I thought. And Raw,
the drummer, he suddenly sprouted
this... spiny thing on his back and
they started playing this beyond-
industrial-trash-noise-funk day and
night and then it happened to me, you
saw it -- am I going to turn into
that?

WESLEY (O.S.)
No.

Wesley ê(with research book) and Fred (with microscope slide) head over from reception and office.

WESLEY
You're human, they're not. What's
happening to you isn't permanent.
Just an infection.

FRED
Which you can get rid of by taking
twenty milligrams of cylenthiam
powder twice a day for a month.

Kim looks to Lorne.

LORNE
Mystical antibiotic, I'll get you
some.

FRED
I thought your saliva was suspect --
what with being green and all, no
offense, Lorne -- under the
microscope I found traces of penloxia.

LORNE
(getting it)
They're Wraith-ers.

KIM
Wraith-ers?

WESLEY
(re: drawing in book)
Demons that can make themselves look
human for a while -- ten days, two
weeks -- but then they revert to what
they really are.

GUNN
I wonder why they wanted to look like
musicians.

ANGEL
For the chicks!
(off their looks)
Musicians get the chicks, what,
they're gonna appear as dentists?
Let's take 'em out, where are they?

KIM
In our rehearsal space, it's an old
loading dock behind the Shop n' go Ýin
Echo Park.

ANGEL
Wes?

WESLEY
(nods)
You'll have to kill them, it's the
only thing you can do with Wraith-
ers. You, Gunn and Fred can go. Lorne
can stay here with the baby. I've got
some business I have to take care of.

FRED
Um, guys? Shouldn't we be calling
Cordelia and the Groosalugg back into
action? I mean if one of us gets
hurt, oh say killing Wraith-ers for
example, we're gonna need a little
back-up around here.

ANGEL
No. I don't want to disturb her. It's
the only break she's had in years.
Besides, it's just a couple of Wraith-
ers.

KIM
Three, actually.

ANGEL
Piece a cake. I'm up for a little
kick-ass.
(throws a couple of
shadow punches)
Who's with me?

INT. HOLTZ'S LOFT - DAY - ESTABLISH

INT. HOLTZ'S LOFT - DAY

A vampire, VAMP #1 (CLOSE, so we can actually see it's a vampire) takes a punch in the fangs.

WIDER - A HOLTZIAN WARRIOR smashes the Vamp again. JUSTINE stands nearby. (We will see various signs of the earthquake damage in the loft.)

JUST 1/4INE
Good.

Holtzian Warrior looks over at her, proud -- and promptly gets kicked in the nuts by the Vamp. Warrior goes down, Vamp leaps for him -- is yanked to a stop in mid-leap by the chain yoked around his waist and shoulders.

Justine holds the other end of the chain. Three or four other HOLTZIANS watch the lesson as:

JUSTINE (cont'd)
(to warrior)
He'd be sucking the life out of you
about now, Rick. Never take your eyes
off a vampire. You have to feel where
your fellow soldiers are -- you have
to trust each other with your lives --

She whirls Vamp #1 around on his chain (never taking her eyes off Vamp) and WHAM! smashes him so hard in the head.

JUSTINE (cont'd)
-- never ever trust a blood-sucker.

She wraps chain around Vamp #1's neck, yanks him off balance, then, in one swift move, unloops the chain from his neck and runs it through a thick metal eyelet on the floor, locking him in place. (The vamps have a few feet of movement, lik Æe chained dogs, but can punch and kick.)

JUSTINE (cont'd)
Keep practicing.

Justine moves off as the Holtzians trade blows with chained-to-the-floor Vamps #1 and #2.

HOLTZ sips tea from a styrofoam cup in another part of the loft as Justine approaches the practice fights visible behind her.

HOLTZ
I don't like it.

JUSTINE
They'll learn. Or they'll die.

HOLTZ
Not that, they're coming right along.
I don't like tea in these cotton cups.

JUSTINE
It's called styrofoam and I'll get
you some China ones.

HOLTZ
Thank you, Justine. Are you ready?

JUSTINE
(half-beat)
Yes.

HOLTZ
(no she's not)
What is it you're not sure of? Is it
me?

JUSTINE
No. It's... these people that work
for Angel. We may end up killing...
a lot of them.

HOLTZ
We may end up killing all of them.

JUSTINE
I'd follow you to the gates of hell
to kill vampires, Daniel. You know
that.

HOLTZ
But people -- even evil people who
help vampires -- are another kettle
of fish?

As J Ïustine wrestles with this moral quandary:

A SHARP KNIFE slides out of Holtz's cuff and into his hand behind his back. (By the way, this is visible from wherever Wes will appear.)

JUSTINE
They chose Angel. That makes them
enemy soldiers.

WESLEY (O.S.)
So I guess that makes it all right.

They turn. Wes stands in the room. Two Holtzian warriors holding him on either side.

HOLTZ
Mr. Wyndam-Price, how nice to see you
again.

Holtz nods to warriors, they move OUT of the room (where they are presumably standing guard.)

Holtz moves towards Wes who notes the knife in Holtz's hand.

JUSTINE
(to Wes, hostile)
What the hell do you want?

Holtz uses knife to slice apple, under:

HOLTZ
Don't be rude, Justine, he's our
guest.
(looks at Wes)
In the throes of a very difficult
decision, I imagine.
(offers a slice of
apple to Wes)
Would you like some apple?

Off Wes,

INT. FUNKY GARAGE-TYPE SPACE - DAY

A couple of skanky but hot and scantily-clad groupies (pale, d Òrugged-out looking, and did I mention hot?) groove to the deafening, discordant, industrial noise funk (in fact, a head-splitting version of the "BACK IN THE BLUE" song Kim sang) being played by three guys on a little make-shift stage: LEAD GUITAR, DRUMMER, BASS. (In conjunction with the wildly talented Rob Hall, we will come up with specifics but: perhaps the drummer has a demon/stegasaurus spine growing out of his back through his torn shirt; the bassist has green foam coming out of his mouth, lenses, and something else; the lead guitar sports a tail -- we'll do the SEVEN FINGER lead he's playing in INSERT -- and other demony stuff.)

The Lead Guitar howl-sings to (roughly) the chorus of "My soul is aching for you/My heart is breaking in two":

LEAD GUITAR
(howl-sings)
"I hate your zit-face smile that
why's I cut you in two/Scoop out your
blood your brain your bowels and when
I'm done with you/I'll throg your
mother brother sister Uncle and your
little dog, to åo!"

A LARGE TRASH CAN is HURLED through a LARGE WINDOW. Gunn (armed), Fred and Angel (under a blanket 'cause of the sun) barge in.

The band's jam slowly grinds to a halt as they look at the intruders.

LEAD GUITAR (cont'd)
Dude, you're payin' for that window.

GUNN
No I'm not.

DRUMMER
Wait, are you the A and R guys? This
isn't even the whole band, we got a
killer-chick who sings.
(to Fred)
Hey baby.
(to Gunn)
Don't worry about the window, Homes.

ANGEL
We're not the A 'n R guys, we're here
to kill you.

DRUMMER
Oh.
(to Lead Guitar)
Dude, they're not the A 'n R guys,
they want to kill us.

LEAD GUITAR
Okay... but they're still payin' for
the window.

Drummer leaps off his stool, charges. Lead and bass guitar right behind him.

DRUMMER
I get first ride on the hottie!

He tries to grab Fred -- Gunn's fist hits him so damn hard, he goes flying back into the bass and lead guitar.

GUNN
(to Fred, re:
groupies)
Get 'em out of here.

FRED
(to Gunn)
Be careful.

Fred runs to gr éoupies, ushering them to safety. Gunn raises big crossbow as band guys get to their feet, faces off with him. They suddenly look scared, backing up.

GUNN
Oh come on, take it like a demon.

But Gunn isn't what they're scared of -- he hears a TERRIFIC ROAR behind him. Barely has time to glance as:

ANGEL - in full-on VAMPFACE (again, let's get one shot CLOSE enough to SEE the VAMPFACE) roars and runs.

WIDER - Angel leaps through the air, flying over or past Gunn and tackling all three guys. Much mayhem ensues as Angel beats the shit out of these guys.

DURING THE FIGHT - Gunn mostly watches Angel go insane; he should hit or kick one guy and eventually get a shot off, taking out one of the demons with an arrow through the neck (hey, you're in a hurry? lose the shot through the neck;) Fred gets the girls outside, comes back in, watching in shock as Angel tears these guys apart (quite literally, at one point, pulling one of the guys' arms off.)

The fight will include belting someone òon the back with a guitar, etc. We've never seen Angel fight with this much pure animal carnage (all right, not since he was a beast at the end of last year, anyway; who am I, Shakespeare?)

When it's over there's three dead demons on the ground, Gunn and Fred gazing at Angel, more than a little shocked by the level of his violence and Angel himself standing there, the band guy's ripped-off arm in his hand.

PUSH IN ON ANGEL - unperturbed.

ANGEL
That was fun.

INT. HOLTZ'S LOFT - DAY

WESLEY
I don't want to see anyone get hurt.

Holtz and Wesley, Justine nearby. In b.g. the Holtzians watch (as opposed to beating up vamps), but they're out of ear shot.

WESLEY (cont'd)
Your soldiers...
(for Justine)
or mine.

HOLTZ
I share your hatred of violence, Mr.
Wyndam-Price. And I've meted out a
good deal less of it in my lifetime
than Angelus has in his.

WESLEY
(correcting him)
Angel.

HOLTZ
Whatever you wish to call him, I will
never agree that he has somehow been
absolved of his past by the
pr ôesence of a soul.

JUSTINE
He's a vampire, end of discussion.

She picks up the knife Holtz left next to the apple. Casually (but clearly with an edge of threat) pointing it at Wes:

JUSTINE (cont'd)
(to Holtz)
And I'll bet you a dollar this one's
here to stab us in the back.

Wes studies Justine for a moment.

WESLEY
Who did you lose?

JUSTINE
What?

WESLEY
You're here in Holtz's army, ready to
kill others and die for the cause,
you must have lost someone very
important to you.

JUSTINE
That's none of your business.

HOLTZ
Her twin sister Julia was murdered by
vampires.

WESLEY
You lost family. I'm sorry.

Then, calmly:

WESLEY (cont'd)
Angel and the people I work with are
my family. And when I say I don't
want to see anyone hurt --

He grabs her so fast, spinning her off balance, knocking the knife out of her hand, getting her in a neck lock, her back pressed firmly against his front.

WESLEY (cont'd)
-- I mostly mean them.
(beat)
But I don't stab people in the back.

Warriors perk up îat this. Holtz puts up a hand to keep them from attacking. Wes lets her go. She looks at him murderously. Holtz puts his hand on her wrist to calm her.

HOLTZ
You're an honest man, I trust you.
And you can trust me.

WESLEY
It's funny, I don't.

HOLTZ
Well your problem isn't me right now.
Your problem is your friend who's
going to kill his own child. You know
you have to do something about it --
and you know if you don't, I will.

WESLEY
(beat)
Speaking of killing, you've had
opportunities since you've been
"back", why haven't you killed Angel?

HOLTZ
Because I don't want revenge, I want
justice.

WESLEY
What is your idea of justice?

HOLTZ
I'm a traditionalist, eye for an eye.
He took my wife and children, I want
him to suffer the same loss...

WESLEY
You want to take his son.

HOLTZ
I want his son taken from him. Who
does the actual taking is up to you.
Don't misunderstand me, I won't stand
by while an innocent child is
murdered. But I won't attack and
endanger other innocent live ôs, unless
I'm forced to.

WESLEY
How long do I have?

HOLTZ
I'll give you one day. You may not
trust me, but I trust you to do
what's right. One day. After that,
everyone will get hurt.

Wes holds Holtz's gaze, then turns and leaves.

INT. ANGEL'S HOTEL - LOBBY - LATER THAT DAY

Lorne, with a plethora of small stuffed animals, is playing with the baby.

Lorne moves the stuffed animals (each a character in the story he's telling Connor) around.

LORNE
So Sammy's at the Flamingo and Frank,
Dino, Peter, Joey and Shirley are all
front row center. Sammy starts
singin' "I Did It My Way" and then he
suddenly stops and says, "I can't
sing this in front of you, Frank."
And the crowd loves it, they're
laughin'.

Lorne imitates the crowd laughing.

LORNE (cont'd)
So Frank calls out, "You're short and
you're one-eyed and I heard somewhere
you're Jewish, don't be intimidated."
And the crowd laughs even harder.

Lorne imitates the crowd laughing harder.

LORNE (cont'd)
So Sammy has 'em put the spotlight å on
Frank and he kinda squints his one
good eye and says, "Oh, it's you. I
thought it was Frankie Avalon. I can
sing it in front of you any day. Pay
attention, you might learn a thing or
two." And the crowd goes wild.

Lorne imitates the crowd going wild.

LORNE (cont'd)
That was in the good old days, before
Vegas got all Disna-fied. WHOAH!

Lorne has just spotted Angel (clothes mussed, couple of bruises), Gunn and Fred returning from the Wraith-er kill.

LORNE (cont'd)
So, how'd it go?

Angel makes a beeline for the fridge and more blood. He's startin' to give off the vibes of an alky.

GUNN
The Wraith-ers are no more.

ANGEL
Tore 'em apart.

FRED
(yikes)
Literally.

Connor starts fussing.

LORNE
Ohhh, he's been good the whole time
his Daddy was gone.
(to Connor)
Do you miss your Daddy? He's right
here.

Angel ignores them, taking a healthy swig of blood.

LORNE (cont'd)
Angel? I think Connor needs some
Poppa-love.

ANGEL
(slow build:)
He needs a lot of things. All day,
eve òry day.

Lorne exchanges a look with Gunn and Fred.

LORNE
Well yeah, that's kinda how kids --

ANGEL
Connor needs a bath, Connor needs a
bottle... What Connor needs is to
grow up...
(takes another drink)

LORNE
Is... something wrong?

ANGEL
(mean:)
Gosh no, Lorne, everything's great.
I got a kid that cries and pees and
moans and never gives me a moment to
myself...

As if on cue, Connor starts crying.

LORNE
(to Connor, gently)
Shhh, shhhh, it's all right...

ANGEL
It's really not.
(at Connor)
CONNOR, SHUT UP!

FRED
Don't yell at him, he's just a baby.

Fred, upset, goes and picks up Connor.

ANGEL
HE KEEPS THAT UP, HE'S NOT GONNA BE
A BABY FOR LONG!

Angel hurls his glass against the wall. Blood runs down it. Gunn, pissed, steps up, crossbow in hand half-raised.

GUNN
You better get a grip right now.

Angel, looks from his friends to his crying son to the blood on the wall. He's suddenly as shocked and scared as they are.

ANGEL
Oh God, Connor...

PUSH IN on Angel and gang, all wonde ÷ring the same thing:

ANGEL (cont'd)
What's wrong with me?

BLACK OUT:

END OF ACT ONE

Act Two



Act Two
INT. ANGEL'S HOTEL - LOBBY - DAY

As before. Baby crying, Fred trying to comfort him. Lorne and Gunn staring at Angel. Blood on the wall.

ANGEL
Something's not right...

GUNN
You could say that.

LORNE
Um, I couldn't help but notice, when
did you start drinking so much blood?

ANGEL
I dunno. Few days ago.

FRED
Where'd you get it?

ANGEL
Same butcher as always, it's pig's
blood. This last batch just suddenly
seemed so much more...

GUNN
What?

ANGEL
(low)
Tasty.

GUNN
(piecing it together)
You were all hyped this morning, then
you went all Tyson on those demons,
then you kinda crashed, had another
drink and started throwin' things.

FRED
Uh huh. Just like my Aunt Viola and
her Southern Comfort.

ANGEL
Hey --
(points to self)
-- vampire. I have to drink something
red. It doesn't make a... blood-
aholic.

LORNE
Not unless someone's spiking your
drink.

They all look to the blood on the wall. F ôred hands Connor to Gunn, moves to the blood, picking up a small glass test tube en route. As she scrapes some blood from the wall into tube:

FRED
Let's find out.

EXT. FLASH CUTS: DAY TO NIGHT IN THE BIG CITY

EXT. STREETS - NIGHT

Wes walks the neighborhood streets, deep in thought about his dilemma. He glances at a SMALL HOME he's passing. Inside, through the living room window, he sees a FAMILY. MOTHER and FATHER. The father is holding a small child. Maybe throwing him up in the air. Smiling. Playing.

The image passes as Wes moves on. We now get the sense of someone following him (hand held POV's, etc.) Play that for a few beats, then:

WESLEY
Oh for Godsakes, I know you're better
at following people than this.

He stops, turns. REVEAL: Justine, a lone figure stepping out of the shadows on the street behind him.

WESLEY (cont'd)
So what's the play?

JUSTINE
I just... need to talk to you.

She moves up. Wes scans the street behind her.

JUSTINE (cont'd)
I'm alone, he doesn't know I'm. Î.. I
want to talk to you about him.

WESLEY
Holtz? Great guy, not overly tall. Is
this the part where you offer to help
me behind his back?

JUSTINE
Do you believe in anything? Or is it
all just a big scam to you?

WESLEY
You're a soldier, fight to the death
kind, I respect that. You work for a
man you think is noble and good. I
respect that. Problem is, he's not.

JUSTINE
You work with a vampire!

WESLEY
Who in fact is noble and good.
Quirky, but there it is. Holtz talks
about justice and it's stirring, but
what he wants is revenge. He's driven
by it, he's blinded by it and if you,
me or anyone else gets in his way,
he'll kill for it.

JUSTINE
You're wrong. You don't know him.
What he's done for me, for all of
us...

WESLEY
It sounds like a nice cult. So you're
here to tell me he's a good guy.

JUSTINE
I'm here to tell you you can trust
him. He gave you his word, he'll keep
it. You're the one who's blind.

WESLEY
How so?

JUSTINE
What you're about t äo do to your
friend... I imagine it's easier to
hate Holtz than yourself.

WESLEY
(beat)
There's enough to go around for both
him and me.

Beat. He touches her arm, gently.

WESLEY (cont'd)
Look, I'm sorry --

JUSTINE
You don't have to --

WESLEY
I'm sorry for your loss and I'm sorry
it's blinded you to what he is. Be
careful.

He turns and walks away. Leaving her there watching. He disappears around a corner. Justine turns back, a little startled to see:

HOLTZ - stepping out of the shadows.

HOLTZ
You are being careful.

INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT

CLOSE - A CENTRIFUGE - (a small machine that spins blood) spins.

WIDER - Fred stops the machine (which separates blood and plasma), removes a tube with a small amount of blood in it, pours the red part onto a glass slide.

LORNE
So when did you guys get your own
centrifuge?

GUNN
Couple of weeks ago, the amount of
blood work we do, it'll pay for
itself in no time.

Gunn (still holding Connor), Lorne and Ang òel watch as Fred puts a slide under microscope.

INSERT - RED BLOOD CELLS as seen through microscope.

BACK TO SCENE

Angel looks at Connor in Gunn's arms.

GUNN (cont'd)
(to Angel, re: baby)
Do you want to hold him?

Angel does, with all his heart.

ANGEL
Maybe it's not such a good idea right
now.

FRED
So, there's more to pig's blood than
meets the eye.
(looks up from
microscope)
There's just a trace of --

ANGEL
-- human blood in it.

FRED
Um, yeah...

ANGEL
I can feel it.

FRED
I wonder...

GUNN
What?

FRED
Nothing, just... whose blood it is.

ANGEL
It's his. It's Connor's.

Beat all around.

GUNN
How do you know that?

ANGEL
(ashamed and grim)
For the last couple of days he's...
smelled like food.

LORNE
They've been feeding you your own
son's blood so you'll get the taste
of it and... want more.

Angel, his eyes locked on his son in Gunn's arms, takes a step away from Connor.

FRED
Who's "they"?

PUSH IN ON ANGEL

ANGEL
Who do you think?

INT. BAR - NIGHT

Not very crowd ßed at this hour. Lilah trades an empty scotch for a full one (in an absent-minded way that tell us it's a ritual) with a BARTENDER. Behind the bar, a mirror, Lilah visible in it (with the 40's hair? I liked it last time.) She picks up the fresh drink, hesitates. Makes a funny face, holds up her hands, imitating cat paws:

LILAH
"Like a cat". Can't hear you, but I'm
starting to be able to feel you when
you're near.

She slowly swivels on her stool. WE MOVE WITH her, revealing Angel right behind her (unseen in mirror.)

LILAH (cont'd)
Isn't that nice 'n creepy. How'd you
find me?

ANGEL
Your assistant.

LILAH
I'll have his arms broken.

ANGEL
Already taken care of.

Beat.

LILAH
And I'm next?

Angel's beyond rage -- he keeps his voice low and steady:

ANGEL
You know, Lilah, there's so many
things I could do to you... the slow
elimination of accessories: fingers,
eyes, erogenous zones... with
transfusions I could keep you alive
indefinitely, I do have some
expertise in thi îs area...

He holds her gaze for a long moment, then:

ANGEL (cont'd)
My own son, how could you?

LILAH
It's my job.

ANGEL
(beat)
Don't you ever get tired of the whole
femme fatale act?

Suddenly tired himself, Angel folds onto a stool next to her. Bartender looks his way. Angel signals to him:

ANGEL (cont'd)
Vodka, lots of it.
(to Lilah)
How 'bout just this once, you talk to me
like a person.

LILAH
Will it help me keep my accessories?
(off his look)
Look, I've been doing this a long
damn time. I've had to be better and
smarter and quicker than every man at
Wolfram and Hart.

ANGEL
So it's a feminist thing.

As he gets his drink, to Bartender, re: Lilah:

ANGEL (cont'd)
It's on her.

LILAH
It's a survival thing. I made a lot
of devil's bargains and I stuck to
them. As a result I live somewhat
dangerously and quite comfortably.
And my mother, who no longer
recognizes me, has the best room in
the clinic. I get up every morning,
put on my game face and do what I
have to.

ANGEL
Th æing about a game face, Lilah, you
wear it long enough it stops being
something you can put on and take
off.

She studies him for a beat, then:

LILAH
Wow.
(off his look)
We've spent so much time and money on
you, you're so pivotal to the coming
cataclysms, I sometimes forget how
dense you can be: the game face, the
thing I worked so hard to get, I
became that years ago. Just like
you've become simpering and good from
yours.
(angry)
If you're the new poster boy for
human, thank you very much, I don't
want it.

ANGEL
Speaking as one non-human to another,
I'm sorry if I hit a nerve.

LILAH
You think you can awaken some buried
spark of decency in me? Is this how
you "help your helpless"? I'm not
helpless. And I'm glad you showed up,
'cause I was sittin' here feeling a
little "what's it all about" and now
I know. It's all about making the
rest of your eternal life miserable.

She gives him a big warm smile, holds up her glass.

LILAH (cont'd)
Shall we drink to that?

Beat. Then a stra ìnge C.G.I. commotion and Sahjhan APPEARS out of the ether. The Bartender drops a bottle, scuttles away. A couple of extras might, as well. Nobody else really saw it. He's pretty upset, directing his fury at Lilah.

SAHJHAN
You back-stabbing traitorous bitch!
I have a lot of work to do, I can't
be in every time/space at once, and
here I find you drinking with my
sworn enemy!

ANGEL
Sworn enemy, really? I'm sorry, have
we met? I don't remember swearing.
That's a thing you remember.

LILAH
Sahjhan --
(re: Angel)
he found me.

ANGEL
The back-stabbing traitorous bitch is
actually telling the truth.
(re: Sahjhan and
Lilah)
So you all are in cahoots...
(putting it together)
..ethereal time traveling demon --
are you the screwball that brought
Holtz back? How's that workin' out,
he's not real fond of demons, is he.

SAHJHAN
You will learn nothing from me.

LILAH
Other than you're his sworn enemy who
brought Holtz back and when that
didn't work you came to me. Idiot.

SAHJHAN
Hey, you think ñmy life is easy? I'm
jumpin' from one dimension to
another, I don't always have sound,
sometimes it's just a visual and I
saw you two in here all chummy...

ANGEL
(still casual)
So why do you want to kill me?

Nothing from Sahjhan.

LILAH
(aside to Angel)
He wouldn't tell me, either. I mean
I don't really need a reason, but I'm
curious...
(to Sahjhan)
Did he boink your demon-bride, eat
your mother?
(to Angel, re:
Sahjhan)
You really don't know who he is?

Sahjhan glares at Angel:

SAHJHAN
You will pay.

ANGEL
For what?

And he's gone in a C.G.I. instant.

LILAH
Well, whatever his grudge, I think
you just made him madder.
(off Angel's cold
look:)
Hey, the blood of your own son thing was
his idea, I just went along. You can
torture me any time, shouldn't you be
figuring out why that guy wants to
harm you and yours first?

Angel leans in -- she tries not to flinch -- he reaches across her chest, into her purse on the bar, pulls out a big bill, drops it on the bar.

ANGEL
Leave a big tip.

He ò goes. She takes a breath, then cranks up the cell phone.

LILAH
(into cell phone)
It's me. Things are heatin' up... no,
I want the C-2's out front on this...
I know they're expensive, they're
also the best at sudden violence.

She hangs up.

EXT. ANGEL'S HOTEL - ESTABLISH - NIGHT

INT. ANGEL'S HOTEL - LOBBY - NIGHT

Empty. Dimly lit. Connor lies in his bassinet. Wesley enters, moves to bassinet, looks down at the baby, grim. After a beat, he starts packing up baby things (diapers, blanket, toys, wipes, etc.) in cute little BABY CARRYING BAG.

LORNE (O.S.)
What are you doing?

Lorne approaches from around any corner, fresh bottle for the baby in hand.

WESLEY
Hi. I'm taking Connor.

LORNE
Where?

WESLEY
To my place. For the night. We're
going to the park in the morning. I
talked to Angel before, he knows all
about it. Are Fred and Gunn...?

LORNE
Out. Gettin' food. Boy that girl can
put away the chow.

Lorne hands Wes new bottle.

LORNE (cont'd)
Here, I just heated up a bottle.
Angel d õidn't say anything about... he
probably forgot, he went off in kind
of a hurry...

WESLEY
What happened?

Half listening, Wes tries to pick Connor up. He starts fussing... and crying.

LORNE
Well, as you can see...
(re: blood on the wall)
we had a little blood spill... he was
acting kinda weird this morning, I'm
sure you noticed. Then, we he came
back from killing the Wraith-ers...

WESLEY
(to baby)
It's all right, it's your Uncle Wes.
You like your Uncle Wes. We're gonna
have a great time...

Baby cries. To calm him, Wesley hums:

WESLEY (cont'd)
(to tune of "Lullaby")
"Doo doo doo, doo doo doo..."

Wes suddenly stops humming, looks over at:

LORNE - PUSH IN, Lorne reading Wes's true intentions.

MATCHING PUSH on Wes, realizing he's busted.

Wes charges, Lorne runs (into Wes's office heading for the far door).

Wes leaps, tackles Lorne, hits him, hard. Lorne fights back. Wes hits him again. It's not pretty. Wes grabs something weighty off the desk and clonks Lorne. He goes down and out.

÷Wes gets up, stands there breathing hard for a beat, he can't believe what he just did -- there's a nasty cut on Lorne's unconscious head -- but there's no turning back now. He drags Lorne out of sight behind his desk, returns to lobby and Connor.

Wesley picks up baby and baby bag, turns, and there's Angel.

WESLEY (cont'd)
Angel.

ANGEL
Where is everybody?

WESLEY
Fred and Gunn went for food and Lorne
had to go out. I'm watching the baby.

Angel looks at the packed baby bag.

WESLEY (cont'd)
In fact I packed up some overnight
things, we talked about me taking him
to the park and the one across the
street from my place is... it's
always full of kids. I thought he
could spend the night with me.

Beat. Then, still concerned about what he might do to his son:

ANGEL
That's probably a really good idea.

WESLEY
You want to say... goodbye?

Wes hands Connor to Angel. A moment as Angel hugs and kisses his child. Wes just watching.

ANGEL
Sleep tight, big guy, Daddy'll see
you real soon...
(to Wes)
÷...just keep an eye, I check on him
a lot in the night. You have his
pediatrician's number, his formula --

WESLEY
I've got all that.

Wes waits to get Connor back. Angel keeps holding him.

ANGEL
Have you ever heard of a time
traveling demon named Sahjhan?

WESLEY
No.

ANGEL
Guy that brought Holtz here. He
thinks I'm his sworn enemy. I don't
know him from Adam. Can you hit the
books before you go?

Gunn and Fred enter from garden, big to-go food bags in hand.

GUNN
Hey. Where's Lorne? He doesn't show
his green face pronto, Fred'll wolf
down his hoagie.

FRED
(playfully hits Gunn)
I will not, I already had two.
(looks around)
Unless he's really not here.

ANGEL
He had to go out.

GUNN
Where?

Angel turns to Wes.

ANGEL
Where'd you say he went?

All eyes turn to Wes. Beat.

WESLEY
I don't know, he didn't say...

Perhaps we hear one VERY FAINT MOAN from the direction of Wes's office.

WESLEY (cont'd)
...exactly. I think he had to see a
client.
(to Angel)
You know I've got better reference
ma øterials for your demon at home. And
Connor's getting pretty sleepy, why
don't I look into it there.

Wes reaches for the baby in Angel's arms. Beat.

ANGEL
Okay. Call me if you find something.

Angel gives his son to Wesley.

WESLEY
I guess I'll see everyone tomorrow.

Wesley takes the child and heads for the hall that goes past the basement access.

ANGEL
What's the closest emergency room to
your place?

WESLEY
Drew Medical. One minute away. They
have a top infant care center. Don't
worry.

And he's disappeared down that hall (not into basement access).

EXT. STREET OR ALLEY NEAR HOTEL - NIGHT

Wesley hurries with the baby to his car (Bobby?). Wesley puts the baby in the back seat, securing him in a child-care seat. Then he gets behind the wheel and the car roars away.

INT. ANGEL'S HOTEL - LOBBY - NIGHT

Angel puts a couple of Connor's toys or stuffed animals in his bassinet.

ANGEL
Well, my first whole night without
the kid. This'll be good for both of
us, he can bond with his Uncle Wes
a ønd I can get some rest...

GUNN
We'll stay up with you.

ANGEL
Really? Thank you. He's just a little
guy... I'm sure he'll be...

There's another MOAN from the direction of the office.

FRED
Is there someone in Wes's office?

As they all look toward Wes's office -- the front door is kicked open, revealing Holtz and THREE of his ARMED WARRIORS. Simultaneously, we HEAR GLASS BREAKING upstairs as a FOURTH WARRIOR bounds down stairs and TWO MORE charge in from the garden (or around the corner where the basement access door is.)

Off Angel, Fred and Gunn, surrounded by enemies.

BLACK OUT.

END OF ACT TWO

Act Three



Act Three

INT. ANGEL'S HOTEL - LOBBY - NIGHT

As before. Everyone tense. Holtz and Angel, across the room from each other, study one another.

ANGEL
Won't you come in.

HOLTZ
How's fatherhood treating you?

ANGEL
I like it.

Holtz nods to one of his men who moves to the bassinet.

ANGEL (cont'd)
You know I met a friend of yours
tonight, demon named Sahjhan.

HOLTZ
What did he have to say?

An øgel, near the weapons cabinet, edges toward it. His hands reach back, touch the door handles and the NEW CHAIN AND COMBINATION LOCK that now keep them closed. (He could also simply glance at chain and lock.)

GUNN - glances at chain and lock as well. Uh oh.

ANGEL
He was cryptic. Actually he was long-
winded, but I never quite got what
his deal was. Hates me, you know why?

Holtz looks to his man at the bassinet; guy shakes his head: no baby.

HOLTZ
I don't really care why.

ANGEL
Is anyone feeling my pain?

HOLTZ
So where is the little nipper?

ANGEL
He had to go out. Sorry, I know he'd
love to meet you.

HOLTZ
I'm sure he'll turn up.

Angel, Gunn and Fred exchange subtle looks, anticipating an attack. Holtz moves deeper into the room. Maybe picks something up off a table or chair.

HOLTZ (cont'd)
Looks like you've made a nice life
for yourself here.

Angel looks at him curiously -- why is he stalling?

ANGEL
Did you come here to fight? Or should
I make tea.

HOLTZ
(to his men, politely)
I ûwant to keep Angelus alive. But not
well.

They take this as a command (it is) and attack!

Gunn shoves Fred back out of the way, clocks a Holtzian.

Angel kicks or smashes a Holtzian, then uses him to smash open the weapon's cabinet glass. Angel reaches in, grabs weapons, hurls one to Gunn. Grabs a big sword for himself -- it's promptly cracked out of his hand by a Holtzian swinging a big club.

Angel ducks or counters a separate attack from the side -- Holtzian with club swings it at Angel, knocking him back.

Holtz watches. Gunn is kicking warrior ass and getting pummeled.

ANGEL - takes a couple of hard hits, goes down. One of the warriors rises over him, about to smash him in the skull with the big club. He takes an arrow in his back. From Angel's POV on the ground, he falls, revealing Fred, cross bow in hand, several yards away.

Angel looks at Fred, grateful, rolls as another warrior comes at him. Fred barely has time to recover from shooting a human with an arrow as --

HOLTZ (cont'd)
Watc ûh the girl!

-- another warrior comes at her. She's struggling to load an arrow. Warrior leaps. She brings up cross bow and fires.

Warrior takes arrow in gut but his momentum carries him on top of her as they both topple to the floor.

Two Holtzians battle Gunn back into:

WES'S OFFICE

Where, two to one, they get the better of him. They're beating the crap out of him when Lorne (big cut on his head) rises up from behind the desk, hits one of his famed HIGH NOTES.

The two Holtzians grab their ears and fall to their knees. Unfortunately, so does Gunn.

LORNE
(to Gunn)
Sorry about that, Charles.

Lorne kicks one of the Holtzians in the teeth, rocking him back out of frame.

ANGLE - HOLTZ - The fight is turning in favor of Angel and his gang now. Holtz quietly slips out of frame.

INT. BAR - NIGHT

Lilah's cell rings. She picks up.

LILAH
(into phone)
Yeah... they attacked? When?...
Where's the baby... I don't care
about Angel, where's the baby... what
do you mean you don't know? What
about Holt çz?... you damn well better
find out now.

She clicks off, gets up and moves out.

INT. ANGEL'S HOTEL - LOBBY - NIGHT

The fight is over. Two dead Holtzians, a couple of wounded and MOANING ones (and two escaped.) No Holtz.

Angel pulls the guy who took Fred's arrow in the gut off her. He's alive, arrow still in him. Angel isn't gentle with him. Angel helps Fred up. She's pretty upset.

ANGEL
Are you hurt?

FRED
I don't think so... the baby...

ANGEL
Get a hold of Wes.

Fred moves to phone. Battered but still standing, Gunn and Lorne (holding handkerchief to big cut on his head) move in.

ANGEL (cont'd)
Jeez, Lorne, they got you good. You
better sit down.

Lorne just looks at him, horrified.

ANGEL (cont'd)
What?

LORNE
(re: head wound)
They didn't do this to me. Wesley
did.

ANGEL
Wesley...? What are you talking about?

LORNE
Earlier, when he came to take the
baby... Connor started crying, Wes
hummed a little lullaby, I read him...
(near tears)
I don't know why he did it... ì

ANGEL
Did what?

LORNE
He's been to see Holtz behind your
back. Twice. And he's not taking the
baby overnight. He's taking him away.
For good.

Off them all, trying to absorb this.

EXT. STREET OR ALLEY NEAR WES'S APARTMENT - NIGHT

Wes hurries from the direction of his apartment towards his car, carrying the baby in one arm and a big suitcase in the other. He opens the car, throws suitcase in, is about to put baby in when he hears someone moaning and stumbling in his direction. He spins, pulling a gun.

WES'S POV - DOWN A NEARBY ALLEY or in A VACANT LOT

A woman stumbles towards him.

WESLEY
That's close enough.

The woman moves closer, into a little light. She's badly beaten about the face. Something very wrong with her right arm (hanging at an unnatural angle.) It's Justine. She's a little incoherent. Half laugh, half cry sort of thing, not too big. She stumbles, falls, gets up again.

WESLEY (cont'd)
Justine?

Wesley, with baby, moves towards her.

JUSTINE
He was... everythi òng you said, it's
true...

WESLEY
What happened?

JUSTINE
...well, he didn't keep his word.
(small laugh, then:)
He took everybody, went after the
baby. When I questioned him, he...
(fights the tears)
...bastard!

Some blood runs down her mouth.

JUSTINE (cont'd)
I'll kill him for this.

But there isn't much kill left in Justine.

JUSTINE (cont'd)
You have to get out of here.

She tries to take a step. Nearly falls. Wes pockets gun, reaches out, steadies her with his free arm. Brushes her broken one. She howls in pain.

WESLEY
You need to get to a hospital.

JUSTINE
No. I just need to...

She leans on him for a moment -- quite suddenly, her right arm is fine and she's around behind him and there's a knife in her right hand and she's drawing it across the front of his throat. (Not a straight vertical, but rather from the top of the neck near the jaw on one side, to the bottom of the neck on the other side of his throat.)

JUSTINE (cont'd)
...do that.

The tiniest line of red appears along ôthe cut as Wes's eyes go wide and he topples. Justine taking the baby right out of his arms as he goes down.

Wes hits the ground, blood coming from his wound. (Hi censors, how you been?) Justine leans down, takes the car keys out of his hand, moves off fast.

Wes lies there helpless, dying.

WES'S POV - From the ground: Justine taking the baby away.

Justine gets in HIS car.

Wes can do nothing about it.

Justine drives away.

HIGH AND WIDE - Wes all alone.

END OF ACT THREE

Act Four



Act Four

INT. ANGEL'S HOTEL - LOBBY - NIGHT

Fred on phone in b.g. Angel trying to make sense of things in f.g. with Gunn and Lorne. (Plus dead and wounded Holtzians.)

GUNN
It doesn't make sense. Why would Wes
do a thing like that? You musta read
him wrong.

LORNE
I read him right. And I've got the
gash on my noggin to prove it.

FRED
He's not answering cell, pager or
home.

ANGEL
(to himself)
Where is he...

LORNE
(re: Holtzians)
Shouldn't we be getting these guys to
a hospital or morgue?

ANGEL
No.
(beat)
öHoltz knew Connor wasn't here when he
walked in the door. He would have
torn this place apart top to bottom,
he was stalling.

LORNE
Buying Wesley time to get away.

ANGEL
(nods)
Holtz is the key. I want Holtz. And
if I find Wesley with him...

GUNN
Angel, we don't know the whole story
here. I don't think you should get
too pumped until we...

Angel fixes him with an icy glare.

ANGEL
I'm not interested in what you think.

LORNE
Hey, easy guys.

ANGEL
He took my son.

GUNN
I know this is life and death, I'm
just sayin': let's get all the facts
before we--

Angel grabs Gunn.

ANGEL
He took my son!

GUNN
You better get your damn hands off
me --

They're just about to really go at it when:

FRED
Stop it!

She comes running at them. Trying to pull them apart, hitting them a couple of times herself.

FRED (cont'd)
STOP IT! Both of you, this isn't
helping. Damnit! Back off!

She manages to pull Gunn back.

FRED (cont'd)
There's only one thing that matters
right now and that's where is Connor.
Ù
Angel and Gunn hold a glare for a beat, then Angel bends down, picks up a wounded Holtzian by the neck. Some blood by the guy's mouth.

ANGEL
Where's Holtz.

WARRIOR #1
You think I'd tell --

Angel heaves this guy across the room with a clean fury. Guy really goes flying. Fred screams. Guy hits the wall. Hard.

He's out. Probably for good. Angel moves to the guy with the arrow in his gut. What happened to the first guy is not lost on this guy.

Angel stands arrow guy up against a wall or something. Angel grabs the arrow in the guy -- and pulls it out. Guy screams. Angel holds bloody arrow up to guy's face.

ANGEL
I'm going to count to three and then
I'm going to bury this in your face.

WARRIOR #2
Twenty-two thirty-nine Santa Elena,
big Victorian in Silver Lake,
quickest way, take the one oh one,
get off at Vermont.

Angel drops arrow and guy, grabs a sword off the floor and goes without a word to the others.

FRED
We gotta find Wes before he does.

GUNN
We shou ƒld start at his place.

LORNE
I'll stay here in case he comes back.

Lorne picks a club off the floor.

LORNE (cont'd)
And this time I'll be ready.
(re: Holtzians)
I better get these guys some medical
attention.

EXT. HOLTZ'S LOFT - THE BIG VICTORIAN - NIGHT

A big blacked out SUBURBAN drives past the Victorian, turns down a side street, stops. Lilah gets out. Moves to:

SEVERAL W AND H COMMANDO TYPES near a couple of Humvees. She moves to the leader. He wears an earwig, wire running to walkie-talkie on his belt.

LILAH
What do we know?

COMMANDO #1
No Holtz. No baby. Two stragglers
from the attack at Angel's hotel.
They don't know where Holtz went.

She looks over. Two beat-up Holtzians from the hotel are in Commando custody.

LILAH
Get 'em off the street.

Commando nods at his man holding the Holtzians. They move off with the Holtzians.

LILAH (cont'd)
So we're in the right p šlace.

COMMANDO #1
Yeah --

LILAH
Excuse me?

COMMANDO #1
(correcting himself)
Yes ma'am. But Holtz didn't come back
after the hotel.

LILAH
So where did he go?

COMMANDO #1
We had him and we lost him.

She takes a step towards Commando.

COMMANDO #1 (cont'd)
And we're picking him up again, just
give me a moment, please...

Commando cups his hand to the earwig, listens.

COMMANDO #1 (cont'd)
Spring street.

LILAH
Downtown?

COMMANDO #1
Yes ma'am, near the sixth street
bridge.

LILAH
Let's go.

Commandoes move towards their Humvees, get in. Lilah gets in the lead one with Commando #1.

As the first two pull out, the last two commandoes run for their Humvee. The driver gets in his side. On the passenger side the other guy gets yanked off his feet by Angel who slams his head against a (phone pole, light pole, side of the Humvee?) and drops him.

INSIDE THE HUMVEE

The COMMANDO DRIVER is starting the Ì car as Angel reaches in and pulls him out.

OUTSIDE THE HUMVEE

Guy goes flying. Angel takes off in the Humvee.

EXT. STREET NEAR THE SIXTH STREET BRIDGE - NIGHT

Traveling shot, inside a car. A lone man stands on the corner (or whatever). As we get closer we recognize Holtz. As car pulls to a stop he turns to face us.

REVERSE - It's Justine, behind the wheel of Wes's car. Holtz opens the passenger door, gets in.

INT. WES'S CAR - NIGHT

HOLTZ
It went well?

JUSTINE
Very well. You're payin' for my
dental work.

He turns looks in back.

ANGLE - CONNOR, strapped in his car seat, all innocence.

HOLTZ
Hello son. I'm your father. That
strong lady with the black eye is
your mother. Your name is John
Franklin Thomas and you're going to
grow up with me on a little ranch in
the middle of nowhere.
(to Justine)
What's it like in Utah?

JUSTINE
It's pretty.

HOLTZ
Let's go.

She hits the gas.

EXT. STREET NEAR THE SIXTH STREET BRIDGE - NIGHT

Wesley's c Ùar takes off. We move with it (or cut to final location, Kelly). After a few beats one of the Humvees comes roaring up and pulls alongside it. The Humvee knocks into the driver's side of Wes's car, not hard enough to knock it over, but hard enough to run it off the road and towards something (wall, pillar?) that forces it to come screeching to a halt.

ANGEL - leaps out of the Humvee.

HOLTZ is out of Wes's car, opening the back door, reaching in for the baby. Justine running to his side.

TWO OTHER HUMVEES are roaring up now. Commandoes and Lilah spilling out.

ANGEL - runs for Holtz. Out of nowhere Justine leaps on Angel's back fighting and clawing at him, slowing him down, maybe getting her fingers in his eyes.

Angel hurls her off viciously, she goes flying -- maybe bouncing -- off Wes's car, giving Holtz the time he needs to get Connor in his arms.

Holtz faces Angel.

HOLTZ
Come any closer, I will snap his
neck.

Angel stops where he is. Commandoes moving in ã, weapons pointed. As the scene unfolds, Angel keeps an eye on the Commandoes, looking for opportunity.

HOLTZ (cont'd)
(re: Commandoes)
Who are they?

Lilah steps forward.

LILAH
They work for me.

Holtz recognizes her from episode 9.

HOLTZ
The attorney.

LILAH
Yes.

Justine, pretty battered, gets to her feet near Holtz under:

LILAH (cont'd)
You're going to give us that child,
Captain Holtz.

ANGEL
(to Holtz, re: Lilah)
Don't.

LILAH
That's cute, you'd rather see the
fanatic with the baby than us.
(to Holtz)
Those are automatic weapons pointed
at you. They didn't have them in your
time, they fire sixteen bullets per
second.

ANGEL
And if they were going to use them,
they would have already. They want
the baby alive.

HOLTZ
Something we all have in common.

Holtz looks to Angel. Back at Lilah. Big moment all around.

JUSTINE
I think this is what they call a
Mexican stand-off.

Sudden C.G.I. commotion and there's Sahjhan.

SAHJHAN
(to Lilah)
You do not want the child a àlive, you
want the child dead. That was our
arrangement.

LILAH
Yeah. I'm a lawyer, have you met me?
We have a new arrangement. I'm
keeping the baby.

SAHJHAN
You can't do that.

LILAH
(to her men, re:
Sahjhan)
Ignore the loudmouth with the bad
skin: he's impotent in this dimension.

HOLTZ
(to Justine)
We're leaving.

Justine takes a step towards the car.

LILAH
(to Commandoes)
No one's going anywhere.

Commandoes move in, block Justine's path.

HOLTZ
(to Commandoes)
You let a woman command you? This is
a backwards age.

ANGEL
A backwards age, but with advanced
weapons --

Angel suddenly commandeers one of the automatic weapons -- by hitting its owner in the face with it -- points it at Lilah as Commandoes draw down on him.

LILAH
(to Commandoes)
Don't shoot!

ANGEL
Yeah, you really don't want to. Your
bullets won't kill me, but mine'll
kill you. And her.
(looks at Lilah)
First.

Angel turns to Holtz.

HOLTZ
(re: Connor)
He'll be dead before I hit the ground.

ANGEL
"I know.

HOLTZ
So I'm going to leave now. Right?
With me, he gets to live. Anyone
tries to take him, he dies.

This is the hardest thing Angel has ever done.

ANGEL
Take him.

SAHJHAN
Whoah, no, what is wrong with you
people?!

HOLTZ
Shut up.
LILAH
Shut up.

HOLTZ
(to Angel)
I will take good care of him. As
though he were my own son. He'll
never even know you existed. But come
after him...

Holtz let's the threat hang in the air.

HOLTZ (cont'd)
You will though, won't you. Maybe I
should just...

Holtz's hand goes to Connor's throat.

ANGEL
No! Please... take him...

Holtz, his point made, turns towards the car. Sahjhan raises his arms:

SAHJHAN
Lekko Najine Forkahdio!

Wind, shake, lightning strikes and Sahjhan has opened a large (C.G.I.) portal in front of them. It is a wild and terrifying place, dark, with strange BOLTS Of ENERGY in it. Occasionally a bolt shoots out (strange color in that world, fire color in this) setting fire to little patches of our world.

SAHJHAN (cont'd)
What you're looking into is the Quor-
toth: the darkest of the dark worlds.
(to Lilah)
So. I can widen the portal and you
can all be swallowed up by a world
you can not begin to imagine. Or you
can keep your word and kill that
child. Now.

A beat all around.

SAHJHAN (cont'd)
Don't say I didn't warn you.

He raises his arms. Lilah shouts:

LILAH
Kill it!

Commandoes raise guns.

ANGEL
No!

Holtz roughly shoves Justine between himself and the commandoes -- she falls to the ground.

Holtz with the baby in his arms runs for the portal. Angel charges trying to stop him.

Holtz with baby leaps through portal.

ANGEL (cont'd)
Noooooooo!!

There's a terrible otherworldly racket -- screaming and energy crackles. H Ëoltz and baby are gone.

As Angel hits the portal, one of those holts of energy crackles out, knocking him back and to the ground, setting more stuff on fire.

SAHJHAN
(pleased)
Wow, I didn't count on that. Kinda
takes care of my problem. Forkahdio
Najine Lekko!

Just as quickly as it opened, the portal snaps shut and is gone.

SAHJHAN (cont'd)
All right then, have a nice summer.
See you around.

Sahjhan (C.G.I.) disappears.

Angel, badly stunned from the energy bolt and beyond grief-stricken at losing his son, tries to get to his knees.

LILAH
Well I'm lookin' at a mountain of
paperwork.

She turns, heads for one of the Humvees. Commandoes follow suit.

JUSTINE - full of fury and heartbreak, limps t Ëo Wes's car. She gets in, drives away.

LILAH AND COMMANDOES AT HUMVEE --

COMMANDO #1
Should we do something about...?

He indicates Angel on his knees.

LILAH
Yes we should. We should let him
suffer.

They get in their cars and go.

ANGEL - battered, perhaps singed, crawls between a couple of the little fires the energy bolts set, towards the place that swallowed his child.

He looks blankly around him. Beyond hurt, beyond pain. He utters one quiet word:

ANGEL
Connor...

WIDE - ANGEL is alone now. The little fires burn. The sixth street bridge rises into the night. Maybe we HEAR him crying, maybe we HEAR another "Connor..."

WIDER STILL

AND WIDER STILL

OMITTED

OMITTED

OMITTED

THE END