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Written by: Tim Minear

April 8, 2003 (PINK)

 

Teaser




Teaser
INT. ANGEL'S HOTEL - LOBBY - NIGHT

Where we left off. ANGEL, post-
Jasmine battle, faces his friends -- and the risen-from-the-dead LILAH.


ANGEL
Lilah...

LILAH
Angel.

Angel just stares at her for a beat, studying
her, taking her in with his senses.

LILAH (cont'd)
Whatsa matter, Ace? Didn't
think you
were the only one who ever gets to
come back from hell around here,

didja? Speaking of which --
(parched mouth smacks)
-- could I possibly get some
ice
water?

ANGEL
What are you doing here, Lilah?

WESLEY
She's not here.


Everyone looks at him.

WESLEY (cont'd)
It's not here. It can't be.

LILAH

There's a dollar bill in your wallet
says different.

WESLEY
It's a lie.

LILAH

--lah. "It's a Lilah."

Nothin'. Lilah sighs, turns to Angel --

LILAH (cont'd)

You're the one with the preternatural
senses. You tell him.

ANGEL
(after a
beat)
It's true, Wesley. It's her.

Wesley goes silent, feeling the full weight
of this.

LILAH
See? That old vampire honker never
misses.

FRED
But... how?
She was dead. You were
dead. We saw it.

ANGEL
She's still dead.

The others
react to that, what it might mean.

GUNN
Vampire?

LILAH
(insulted)
Ewww.
Please. Angelus drank from
me, 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 --
just in case.

She tugs at her collar -- revealing the scar from her recent
decapitation. Wesley recoils from that, nearly imperceptibly.

LILAH (cont'd)

(not without tenderness)
It's okay, Lover. I never felt a
thing.

WESLEY

(hoarsely)
I'm sure that's true.

Lilah and Wesley hold the look for a beat.


GUNN
I don't get this. If she ain't alive
and she ain't a vampire -- what in

the hell is she?

LORNE
More like what out of hell is she.

LILAH
(sad smile)

And out only for a short while, sad
to say. I'm just a messenger.
That's all.
They'll be sending me
back once I've finished here.

GUNN
Who's "they?"

ANGEL

Wolfram and Hart.
(off their looks)
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. In fact, game
over. And
guess what? You win. Which is why
I'm here. I've been authorized to

make you kids an offer.

FRED
You can't possibly think there's
anything we'd
want from you.

LILAH Oh, I don't think you'll want it...
but you'll take it.
Because this...
this is the offer...

And we're in to a big dramatic PUSH IN
up to Lilah

LILAH (cont'd)
...of a lifetime!

Music sting! Teaser out! Or so
you'd think. Beat. Then:

LILAH (cont'd)
Just not, you know, mine.

BLACKOUT


END OF TEASER

Act One



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

A moment has
passed. Everyone's standing more or less frozen, staring at Lilah. Our endless
opening credits over this. No one speaks. This is weird and un-TV like. But
it's covered. Wide shots, two shots, close ups. It goes on for a long time. All
the way up to the "directed by" credit. 'cause that would be funny. Just
a'cuttin' back and forth. Until finally, the last credit, then:

GUNN
(to
Lilah)
You wanna run that by us one more
time?

LILAH
What was unclear?


FRED
I think the part where you offered us
Wolfram and Hart.

LILAH
Just
the L.A. branch.

LORNE
(to himself)
"Just the L.A. branch..."
(then)
Hi. I'm
from another dimension.
What the hell does that mean?

LILAH
Means we give!
You win. We're
movin' out. The Senior Partners are
ceding this territory to
you -- and
to prove it, they wanna give you
controlling interests in our L.
A.
office. You get the building,
assets, personnel. Letterhead and

paperclips. All of it. Yours, to do
with as you see fit.

FRED
But... there
is no Los Angeles office
of Wolfram and Hart... The Beast
destroyed
everything.

LILAH
Oh, it's back. Re-staffed and zombie-
free. Well, mostly.
And it's bigger
and better and shinier than ever.
And we want to give it to
you.

GUNN
You wanna give us your evil law firm..?
(then)
We ain't lawyers!


FRED
Or evil.
(adding)
Currently.

LILAH
(laughs)
This isn't about evil. Or
good, for
that matter. It's about power. What
we're offering you is a turn-
key,
state-of-the-art multi-tasking
operation. What you do with it...
well
that's up to you.

ANGEL
Why?

LILAH
Why?

ANGEL
Yes, Lilah. Why?

LILAH
I
thought that was obvious. You've
earned it. Think of it as a reward.

GUNN

Reward for what?

LILAH
For ending world peace.

She lets that sit there for
a half a beat, then --

LILAH (cont'd)
We were really on the precipice
there.
I mean, a bona fide goddess
incarnates... is inches from
eliminatingall
violence, hate and
litigation from the planet -- and you
five, with an assist
from sonny
boy -- manage to undo it all.
(brightly, thumbs up)
Way to go!

A
moment as they absorb that. Whoops and denial.

FRED
That's not what
happened...

LILAH
No?

FRED
No. We didn't end world peace.

GUNN
We did
what we always do, we capped
a monster.

WESLEY
Jasmine was creating a slave
state.

LILAH
Right. A slave state where the
slaves are full of giggly joy
and all
love each other. What a nightmare.

WESLEY
We saw what she really
was.

LORNE
Not pretty in the face.

LILAH
You mean she was...
(faux gasp)
...
physically unattractive? Well
then she must've been evil! Face it,
you
destroyed utopia.

ANGEL
She was eating people.

LILAH
Small sacrifices.
They knew what
they were getting into.

LORNE
Her stomach?

LILAH
World
peace comes at a price.
Jasmine understood that. She
consumed, what? A few
dozen souls a
day? Now weigh that against ending
the suffering of millions.
And she
was about to. If you hadn't stopped
her when you did, she would have

spread her gift of love and bliss to
all mankind. But you fixed that.

FRED

No we didn't! I mean we did, we
fixed it, but not in the way you're
trying to
make it sound!

LILAH
Geez, okay. It's not like it was a
criticism.
(starts
for the door)
Anyway, I'm dead and running late.
You think about our proposal.
Anyone
who's interested and wants the grand
tour -- there'll be a limo
waiting
outside just before dawn.
(turns back)
And hey, again -- good job!


And she's gone. Silence and stillness for a beat.

LORNE
It's a trick, right?


WESLEY
Of course it's a trick.

GUNN
Never believed her when she was
alive.
Not gonna start now.

FRED
We ended a nefarious global
domination scheme, not
world peace.
Right?

Angel says nothing, just continues to stare as we GO TO -
-

EXT. LOS ANGELES - CITY STREETS - NIGHT

A POLICE CAR SCREAMS by, SIREN
WAILING. Vignettes of the city in the throes of a collective nervous breakdown.


A WOMAN weeps. A COUPLE fights. A TRASH CAN is thrown through a window and
LOOTERS take what they like.

And we PICK UP CONNOR, moving through all this.
(Be nice to have other loud and flashy emergency vehicles for drive-byes --
AMBULANCE, maybe even a FIRE TRUCK.)

Connor seems more-or-less lost in his
own thoughts, not paying a wicked lot of attention to the sadness around him.
Until... something catches his attention... he looks up to --

CONNOR'S POV -
of a FIGURE pacing the edge of a roof.

EXT. UP ON THE ROOF - NIGHT

The man
has his back to us. He's wearing dark clothing and muttering to himself. A
little too close to the edge for comfort. Connor appears, emerging from the
shadows, approaching with caution.

CONNOR
Hey...

The guy whirls around. Now
WE SEE that he's a police officer. And he's been crying, maybe still is. He's
got his gun unholstered and is absently holding it (not pointing it, not even
gripping it, just cradling it in his hands.) It takes a second for him to focus
on Connor.

CONNOR
Easy... You okay?

The Officer squints at Connor. He's a
very confused guy.

OFFICER
I lost something. The thing I
needed. I don't
know where it is...
(some panic)
I CAN'T FIND IT!

CONNOR
I know.
(calming)
I
know... It's okay...

OFFICER
It is?

CONNOR
Yeah.

OFFICER
Will you help
me find it?

CONNOR
I don't think I can. I think it's gone.

OFFICER
Oh. Oh
no...

The Officer backs up sharply, teetering at the edge as he brings the gun
up in front of his face (in a WB acceptable way.)

CONNOR
Hey, don't do
that... You don't
wanna do that.

OFFICER
I don't?

CONNOR
No. What you're
feeling... it's not just you.
It's everybody... Listen.
There're people down
there who need
you. To help keep the peace.

OFFICER
Peace? Can't keep the
peace...

CONNOR
I'm pretty sure what you're feeling
won't last...

OFFICER

How do you know?

CONNOR
Nothing ever does. Now just put that
away. Go ahead.
Put it away.

Beat. The Officer slowly lowers his gun. Holsters it. He sways
precariously backward. Suddenly Connor lunges out, grabs him by the shirt,
spins him around, well away from the edge. Looks at him hard.

CONNOR
Listen
to me. You're gonna go home.
You're not gonna do anything stupid,
okay?


OFFICER
Home?

CONNOR
Yeah. You got one, right?

The Officer thinks, reaches
into his mind, finds the image.

OFFICER
Yeah. Yeah, I have that.

Now he's
pulling out his wallet, opening it, looking for confirmation of this.


OFFICER
I have that. There. I do.

Connor looks at what he's showing him.
Family photos. A gorgeous WOMAN and four-year-old DAUGHTER. Beatific smiles.


OFFICER
(some relief)
Sarah and Jill. That's home.

CONNOR
That's your family
--
OFFICER
Yeah.

CONNOR
That's your family... and you were
just going to
leave them like that?

OFFICER
Huh?

CONNOR
How were they gonna feel if you

didn't come home?

OFFICER
I don't know...

CONNOR
Well you have to know! You
have to
know that!

OFFICER
I'm sorry. I wasn't thinking right.
I didn't
mean... Or maybe I did...
You helped me. I feel better.

Connor studies the
man for a beat, manages to calm himself, now. He exhales. Nods. Fine.

Connor
starts to turn away, but suddenly and violently spins on the man and just
starts PUMMELING, driving him to the ground, his fist coming down hard, over
and over, screaming:

CONNOR
HOW DO YOU FEEL NOW?! HOW DO YOU
FEEL NOW?! HOW
DO YOU FEEL NOW?!


INT. ANGEL'S HOTEL - LOBBY - NIGHT

Angel and Fred can be
seen through the office window. She's giving him some long-needed medical
attention. We're in Gunn's POV. He's pacing, Wesley is nearby, researching,
he's got maps spread out.

WESLEY
Angel's battle with Jasmine took
place...
here. She was moving East.
Probably to wherever Cordelia's being
held... We
find Connor, I suspect
we'll find her, as well.

GUNN
Kid needs a leash if you
ask me.
Does it seem like we spend half our time
looking for him?

WESLEY

Call this ground zero. If we work
outward in an ever-expanding perimeter...


GUNN
"Ever-expanding perimeter." Right.
That won't take weeks.

WESLEY

You've another idea, I'm ready to hear it.

GUNN
(shrugs)
Just can't help
thinkin' it might cut
down on the leg work some if we had
a little help. Few
extra employees.
(then)
Or a turn-key, state-of-the-art
multi-tasking
operation.

WESLEY
You can't possibly think that's an option.

GUNN
Well
now, I know it's an option,
'cause I was standing right there
when the dead
lady offered it to us.

Wesley goes a bit stiff and silent.

GUNN
Come on,
Wesley, how long you think
you're gonna be satisfied, sitting
there sticking
pins in maps and
blowing the dust off your books?

Wesley looks away. Gunn
feels some remorse.

GUNN
Sorry, man. Shouldn'ta said it like
that.

WESLEY

No, no, they are rather dusty.

GUNN
Not what I meant. Can'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.

Wesley looks back at his maps; Gunn looks at Wesley. Beat.

GUNN

"Loved one?"

WESLEY
Figure of speech.

GUNN
Not sure I buy that.

WESLEY

(matter of fact)
Not sure I do, either.

Off that --

INT. ANGEL'S HOTEL -
ANGEL'S OFFICE - CONTINUOUS

Angel's shirt is off or open. He's got evidence
of the several battles over the last few (non-stop) episodes. Fred's giving him
some medical attention.

ANGEL
I shouldn't have let him go.

FRED
Angel.
You'd been through like five
major battles, in two dimensions
without a
single night's sleep! What
you need to do is rest.

ANGEL
Can't rest. Not
yet. Too much has
gone wrong.

FRED
Angel, if we really did end world
peace,
you might as well nap.

ANGEL
That priest, in the other world, he
said...
things. Fred -- he knew I'd
lost Cordy.

FRED
Angel --

ANGEL
I was hoping
once Jasmine was
destroyed, Cordy would wake up. But
she'd have contacted us
by now.

FRED
Cordelia's going to be okay. Connor
won't let anything happen
to her.

ANGEL
The priest also said... he told me
I would lose my son. That
I'd lose
Connor.

FRED
Angel. Demony alternate dimension
priests'll say just
about anything.
Believe me, I know. You can't pay
attention to that stuff.
You know
you could never lose Connor.
(off Angel's look)
Okay. Except for
maybe that one time.

ANGEL
You mean that "one time" when he was
kidnapped as
an infant and taken into
a demon domain for his entire childhood
and raised
by my mortal enemy?

Beat.

FRED
Yeah, that one.
(then)
But you got him back!


ANGEL
No. I never did. Not really. You
didn't see the look in his eyes,
Fred.
(beat)
I think maybe Jasmine was the first
time he ever felt like he
belonged to
something.

FRED
It couldn't have been easy. What he
had to do.
But he killed her to save
us. That should tell you something.

ANGEL
I'm not
sure that's why he did it.

She reacts to that. But before he can explain that
remark, he sees something through the door/window. He's pulling on a fresh
shirt now, rising. He moves out to --

INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS


Lorne is entering from the garden area.

ANGEL
Anything?

LORNE
Plenty. Just
not about Connor or
Cordelia. I'm not saying we ended
world peace or
anything, but it's a
mess out there, kids. More so than
usual. And
considering the banner
year we've had, that's up against
some pretty stiff
competition.

ANGEL
(looks to Wesley)
What've you got?

WESLEY
Not much more
than you left me with,
I'm afraid. The 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're
going to do
whatever it takes.

GUNN
Okay. Well -- don't you think maybe

then we should consider...

ANGEL
(sharply)
Consider what, Gunn? What should
we
consider?

Angel glares at Gunn, daring him to say it.

GUNN
(backpedals)

Working outward in an ever-expanding perimeter?

Angel holds the look for a
beat, then, as he moves and grabs his coat, putting it on.

ANGEL
You wanna
get in that limo when it
gets here? That's up to you. 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 ever walk through their door,
you'll be corrupted.

WESLEY
Where
are you off to?

ANGEL
See if I can find my son. Maybe I
can still pick up
the trail. I could
get lucky.

And he's gone. The others just stand there for
a moment, silent.

FRED
(finally, to Gunn)
I can't believe he thought you
meant...

Gunn doesn't look at her on his way to the stairs.

GUNN
I'm going
to bed.

WESLEY
Yes. I should be getting home myself.
It's late. Well. Good
night, all.

LORNE
'night.

FRED
Good night.

And Wesley is gone. Lorne
finishes making his night cap.

LORNE
Don't you worry about a thing,
Kitten.
Our boys have way too much
good sense to take a bite outta that
apple.
(as
he goes with his drink)
Good night, sweetie.

FRED
'night...

Off Fred, alone.


DISSOLVE TO:

EXT. ANGEL'S HOTEL - NIGHT

As lights go out in a couple of the
upper stories.

INT. ANGEL'S HOTEL - UPPER CORRIDOR - NIGHT

It's dark. A door
to one of the rooms opens, Fred, in a fresh change of clothes, slips out of her
room, carrying her shoes, padding silently down the hall

INT. ANGEL'S HOTEL -
LOBBY - NIGHT

Fred comes down the stairs, tiptoes toward the front door,
slips on her shoes and slides out the door.

EXT. ANGEL'S HOTEL - NIGHT

Fred
comes outside. A SLEEK BLACK LIMO idles there, headlights on. She takes a
breath. Will she move to it?

WESLEY
(O.S.)
I don't know how long it's been

here...
(steps out of shadows)
Since before I arrived.

FRED
I thought I'd be
the only one.

WESLEY
And I thought for sure I wouldn't be.
Though I didn't
expect it'd be you.

FRED
I just figured... well, if they are
up to
something...

GUNN (O.S.)
We should know what it is.
(appearing)
I get that.


WESLEY
Well. We three.

GUNN
Looks like.

WESLEY
What were the odds the
humans would
be the most corruptible?

FRED
Maybe we should just go back
inside.
What if Angel's right?

GUNN
Yeah, and what if he's not? Look,
all
we're gonna do is take the tour.
See what's the what. Don't mean we
gotta
commit to anything.

WESLEY
He's right. We go into this with our
eyes open
and our wits about us,
there won't be any --

Angel steps up from behind
them.

ANGEL
-- surprises?

They look at him. He is stoic. They hold their
collective breaths. Then:

ANGEL
Eh, what the hell.

He moves right past them
to the back door of the limo. He looks to them as he pulls it open. MUSIC
BLASTS out from inside. Everyone looks to see --

LORNE, already in the back
seat, mixing drinks, munching on snacks. He shakes an empty maraschino cherry
jar toward the unseen driver:

LORNE
So it's an evil limo. I get that.
Does
that mean we don't re-stock the
cherries? Also, a little air back
here wouldn't
be a terrible thing.
(sees others)
Hi.

Fred, Wesley and Gunn pass Angel as
they climb into the back of the limo with Lorne. Angel takes a breath, then, as
he climbs in, pulls the limo door shut behind himself. SLAM!

HARD CUT TO:


INT. WOLFRAM AND HART - LOBBY - DAY

DING! (Can this be a oner? Don't answer
yet.) An elevator indicator light lights up. TILT DOWN to Angel in close up,
he's looking into a large space that WE DON'T YET SEE.

He starts out of the
elevator, the gang following. CAMERA STEADICAMS back with him for a few steps,
then swings around BECOMING HIS POV... moving into a BUSTLING GLEAMING LOBBY.
MANY MANY bright and attractive lawyers and worker bees bustle past with:


VARIOUS WORKERS
Morning, Mister Angel.
Morning, Mister Angel.
Mister Angel,
Good Morning.
How are you this morning, Mister Angel?
Mister Angel.

Oh, the
friendly and congenial smiles and nods. STEADICAM swings back around on our
folks, though mostly close on Angel. They're more or less in the middle of the
big, impressive space as LAWYERS buzz around them.

ANGEL
No way this is gonna
go well.

Now we're pulling back because our STEADICAM OPERATOR just stepped
back onto a crane and we're RISING UP, our little group caught in the middle of
all this energy. Up and up. And up? Okay, maybe just two ups, but at any rate
we go off a tableau, and if the "Wolfram And Hart" logo appeared somewhere in
this shot that wouldn't be a terrible thing. As the morning greetings continue -
-

BLACKOUT

END OF ACT ONE

Act Two



Act Two
INT. WOLFRAM AND HART - DAY

Lilah moves
to the gang through teaming extras, er, lawyers.

LILAH
Well. You all made
it. What a
shock. We've got a lot of ground to
cover, so we best get started.


They follow her. Up ahead, a group of four folks: A BEAUTIFUL SUPER-MODEL
looking WOMAN, an older SEAN CONNERY-ESQUE ENGLISHMAN, a CUTE SCIENCE GEEK GUY
and a SLICK TALENT AGENT FELLA.

LILAH
Let me introduce you to your guides.


ANGEL
(stops dead)
Guides? Separate guides?

LILAH
Of course. There are five
of you.
All with specific interests, unique
areas of expertise. It seemed
the
most efficient way of doing this.
Prioritize and personalize.

ANGEL

Divide and conquer, you mean.

LILAH
Oh, you're so cynical! See? This is

gonna work out great.

ANGEL
We don't split up. We came here
together, we
take the tour together.
Right guys?

GUNN
(off Super Model)
Do I get her?


LILAH
(motions to someone o.s.)
Look, if we'd wanted to harm you, we
would've
blown up the limo, right?

A SECURITY GUARD rolls a cart forward. It resembles
a cheese or desert cart -- but is loaded with HEAVY WEAPONS. Lilah gives a game
show hostess wave to the weapons.

LILAH (cont'd)
If you prefer to be armed
during your
time here, we'd have no objection.
(more staring)
Look, 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.

Well, there is perhaps some
eyebrow raising there.

WESLEY
She's right.
(off their looks)
We've made deals
with them in the
past. Shady as they are -- they
always come through. They
are
honorable in their way. I doubt
we'll be in any danger.

Angel studies
Wesley. Angel, looks back to Lilah, looks to the others --

LORNE
Well, she
was right about the limo.

GUNN
(off super model)
Do I get her?

Fred is
fumbling with a clip and a bigass gun. She slams it in. SNAP! Locked and
loaded.

FRED
I think we'll be okay.

Angel sighs, looks back to Lilah -- she
wins this one.

LILAH
(smiles)
Preston?

The Slick Agent guy steps forward.


LILAH (cont'd)
Lorne, Preston'll show you around the
entertainment division.


PRESTON
(pumps Lorne's hand)
Hi. Big fan. Huge. Love your work.
(hands Lorne
folder)
I had this prepared. Confidential
list. Peepers only. Thought you

might wanna take a gander at our
roster. Just a rundown of some of
the talent
we represent here.

Lorne takes the folder, just south of delighted. As they
move off, Lorne makes a show of moral outrage for the gang:

LORNE
You don't
have to tell me what you
represent, young man! I know! Evil!
Unambiguous,
unrepentant...
(off folder, impressed)
...evil. Which is apparently
everyone
I've ever wanted to meet!

And with a Charles Nelson Reilly-like laugh, Lorne
is gone with Preston. Lilah beckons the Older Englishman forward.

LILAH

Wesley Wyndam-Pryce, Rutherford Sirk.
I think you'll find you two have a
lot
in common.

SIRK
(shakes Wesley's hand)
Pleasure. Shall we?

Wes glances to
Lilah, then nods to his host. They exit. Lilah intros Gunn to the Super Model.


LILAH
Charles Gunn, Lacey Shepherd. I
think you'll find you two have
nothing
in common.

LACEY
(to Gunn)
This way, Chuck.

GUNN
(as they go)
You're not
gonna try to corrupt me,
are you?

LACEY
Wouldn't dream of it.

GUNN
We'll
have to work on that.

Lilah directs the Cute Science Nerd to --

LILAH
Knox,
this is Fred Burkle.

Fred shifts the cumbersome firearm so she can shake
Knox's hand.

FRED
Hi.

LILAH
Knox is the star of our science
division.


FRED
Oh. Good to meet you.

KNOX
You too. Well.
(off the big gun)
This
should be... fun.

FRED
(cheery gal/big gun)
Yeah.

They head off together.
Angel looks to Lilah.

ANGEL
Well. Whaddya know.

LILAH
Yep. Just you and me,
boss. Come
on, Charlie. Let me show you the
Chocolate Factory.

INT. MALL -
DAY

CLOSE on CHOCOLATE ICE CREAM being scooped onto a cone.

WIDER - the ice
cream vendor is in the mall. Connor sits alone on a bench. Dark circles under
his eyes, knee jiggling. Watching.

CONNOR'S POV - of the comings and goings of
shoppers. Heavily featured are FAMILIES and COUPLES of varying types. Domestic
bliss. We're cutting between these things and going closer and closer on
Connor.

What he's seeing.... Little things start to crop up in our POV
cutaways... a kid gets a slap up the backside of the head. That happy couple
seems to be angry at each other. Connor, seeing through to the heart of the lie
all around him. Building, building, until he rises, slamming his hand down on
the bench, where we see A FISSURE --

INT. WOLFRAM AND HART - CORRIDOR - DAY


Fred and Knox amble down the hallway.

KNOX
So Ms. Morgan speaks very highly
of
you.

Fred whirls toward him, big gun waving randomly.

FRED
(blurting)

You know she's dead?

KNOX
(re: gun)
Yeah, um, I'd like not to be.

Fred notes
the gun. Is a bit more careful.

FRED
Oh. Sorry. So, are you a lawyer?
You
don't look like a lawyer.

KNOX
No, no. I'm strictly R&D. Though
occasionally
D&D.
(Waits for the laugh.
Nothing.)
D&D. Dungeons and...? We actually
have
a dungeon. I'll show it to you
later if... There's a... We also...
there's a
gym. I manage the science
division.

FRED
Seem pretty young to head up a
whole
science division.

KNOX
Oh, I don't head it up. I manage it
for the
department head, which, I
guess, you know, would be you.

He moves past to a
door. Fred does a take, follows him into:

INT. WOLFRAM AND HART - SCIENCE WING
- DAY

This place is more like a warehouse than a room, has an ultra-modern
NASA feel to it. The entire wing bustles with activity as lab technicians
scurry about, scribbling on pads, pouring liquid out of beakers, typical
science stuff. Fred can't hide her reaction. She's blown away.

FRED
Wow.


KNOX
I know. Everything modern technology
has to offer, right here at your
fingertips.

They pass a scientist on a ladder who's beaming a laser onto a
wall where a TRON-like schematic of the wall's wiring, plumbing, etc. is
illuminated.

KNOX (cont'd)
We've got all the branches
of science covered.
Even
created a few new ones.
Everything's cutting edge.
State-of-the-art.


Fred's starting to dig all this. Looking around she eyes a Palm pilot-like
device on a nearby workstation. Goes to it.

KNOX
(proudly)
That's my little
creation.

FRED
You might want to get
out of the lab more.
Personal
organizers have
been around for a while. I
mean, not that it's not a nice

palm pilot.

Knox grabs the organizer from Fred.

KNOX
(punches buttons)
Bet
your buddy Matt
Partney at 6200 Crestwood
Boulevard, Lubbock, Texas
would
think so.

FRED
Hey-- how'd you know
about Matt?

KNOX
Hacks into any
electrical
device within 100 yards.
Patched into your cell
phone's address
book.

FRED
(impressed)
You're like the MacGuyver
of Wolfram and Hart!


KNOX
You're not wrong! I can
make practically anything
out of... a...
fully... equipped...
multi-million dollar lab. Say, didja
see what they're
doing in there?

He directs her attention to an observation window. Behind it,
two DOCTORS in ER scrubs operating on a PATIENT. The Patient is on his cell
phone.

PATIENT
I don't give a good
god damn what Hendrie
says, we had a
deal!
(to Doctors)
Guys, I won't have to move
my three o'clock, will I?


Doctors look at each other, shake their heads "no." Knox watches Fred watching
this. Sees her amazement.

KNOX
Triple bypass surgery --

FRED
But how?


KNOX
Short version-- we injected
him with a small dosage of
vampiric enzymes
that allow
his body to function
while we fix his ticker.

FRED
And this
doesn't make
him all fangy?

KNOX
Nope. The enzymes have
been specifically
modified to
break down after twenty-four hours.
(conspiratorially)
Does make
him pretty gassy though.

FRED
Well. This place is amazing,
but it doesn't
change the fact
that it's all for the greater bad.

KNOX
What? No. All the
morally
ambiguous departments
are above the ninth floor.
We're science.
We're
morally neutral.

FRED
Science may be...
but how it's used...
I mean,
what if that
guy they're saving in
there is the next Hitler?

KNOX
He's a
tax attorney.

FRED
Well! What if he's
helping the next Hitler
cheat on his
taxes?
Or this guy here --

Fred points to A GUY IN AN APRON pouring a jug of
blue liquid into a pail, mixing chemicals.

FRED (cont'd)
-- I mean, sure, he

could be developing a cure
for cancer -- or making a
potion that causes it!

(tilts her head, looking)
What is he doing, anyway?

The aproned man grabs a
squeegee pole, plunges it into his bucket of chemicals and starts a-swabbin'.


KNOX
The windows.


INT. WOLFRAM AND HART - CORRIDOR - DAY

Gunn follows
Lacey, takes in the place as they move through. They pass cubicles of BUSY
STAFF.

GUNN
So... pretty slick.

She looks back over her shoulder
questioningly.

LACEY
What is?

GUNN
You know, givin' each
of us our own
little "tour."
Good way to isolate Angel.

LACEY
(amused)
Is that what we're
doing?

GUNN
Be a big coup, bringin'
Angel over to the dark side.
Vampire
with a soul...
Champion... that's gonna
look good on anyone's
letterhead.


LACEY
Why do you assume
Angel is our priority?

GUNN
You tellin' me he
isn't?

LACEY
A priority. Though each
of you possess gifts we
feel would be
useful.

GUNN
(musing)
Guess I can see what
the others got; Fred's big

brain... Wes's training...
Lorne's mind readin' thing...
just not sure what

you expect...

Gunn slows as they near something. He comes to a stop.

GUNN
(cont'd)
...me to do around here.
Though I think maybe I'm
startin' to figure
it out --

Right up ahead, a SECURITY STATION. SECURITY GUARDS can be seen
within the glass-walled station.

GUNN
Bet I'd look real
smart in one of them
blazers.

LACEY
Oh, I'm sure you would.
(moves to him, takes his arm,
ushers
him)
But we have much
grander plans for you,
Mister Gunn.

GUNN
You do?
Grander?

They arrive at the elevator. DINGS! The doors open.

LACEY
Shall we
go upstairs?

Off Gunn, intrigued:

INT. WOLFRAM AND HART - LIBRARY AND
RESEARCH ROOM - DAY

CLOSE ON LARGE, ORNATE DOORS as they open, admitting
SIRK, followed by WESLEY.

SIRK
Our ancient prophecies wing...

ON WESLEY, as
he eyes



HIS POV - A fairly intimate, rosewood-paneled room. Inside, a long
polished wood table with leather upholstered chairs surrounding it and a
standing, antique globe. Above and encircling the circumference of the room is
a railed landing of the floor above, like an observation deck. On the shelves
of a nearby single bookcase rests roughly thirty, large and new-looking tomes.
And that's all.



WESLEY
Looks like your wing's
been clipped.

SIRK

Appearances can be
deceiving. It's actually the
most comprehensive

collection of prophecy archives
to be found anywhere.

Wesley eyes him
skeptically.

SIRK (cont'd)
Choose something to read.
Anything at all.
Something rare.

WESLEY
(playing along)
All right. The DevandirŽ
Sibylline
Codex.

Sirk picks up a large book.

SIRK
Translated or Sanskrit?

WESLEY

Surprise me.

SIRK
I'm sure I will.
(whispers to book)
DevandirŽCodex.
Sanskrit.

He opens the book and hands it to Wes, who looks down to see:
PRINTED WRITING fade up (CGI) on the blank pages. Sanskrit.

ON WESLEY,
flipping through the book, impressed. All the pages are filled with the same
writing.

SIRK
The template you're holding
provides access to anything

stored in the firm's locked
archives relating to prophesies,
omens,
Revelations--

WESLEY
Impressive.
(not looking up)
And did the Watcher's
Council
know you stole the only known
copy of the Codex when you left?

SIRK

There is no Council.

WESLEY
Not anymore, no. So you
opted to, what, 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 --


WHAM!, Wesley gives him a sudden and sharp elbow to the throat, dropping him.


WESLEY (cont'd)
-- libraries.

Wesley tosses the book aside. Extends his arm
with a snap. What initially looks like his CGI telescoping sword shoots out of
his sleeve, then the end of it flowers out into a grappling hook.

He swings
it high up and we see a strong monofilament cable attached. The hook latches on
to the railing above. The cable begins to retract sending him WHOOSHING UP to
the floor above. As he leaves frame...

INT. WOLFRAM AND HART - HALLWAY - DAY




Lilah leads Angel down a hallway. Even the walls resonate with wealth and
power.

LILAH
...your every whim catered
to, your every desire a
concierge
away. Money.
Clothes. Women. Did I
mention we have a juice bar?

ANGEL
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...


INT. WOLFRAM AND HART -
LUXURY OFFICE - DAY



Lilah opens the door and steps in with Angel. This is
the kind of office that would make CEOs and Heads of States shed tears of envy.
Even has its own personal elevator.

LILAH
I know it's not much, but the
Taj
Mahal was a bit of
a commute.

ANGEL
What, I'm supposed
to swoon? It's an
office.

LILAH
With your own private
elevator. Wanna take it
for a spin?


ANGEL
What's it gonna do?
Drop me in a vat
of holy water?

LILAH
I was
pushing for it,
but they went with a motor
pool. Figured you'd want
to stay
mobile, what with
all that rushing out to save
the day you're so fond of.


ANGEL
Thanks. Got a car.

LILAH
Now you got twelve of 'em.

ANGEL
What am I
gonna do
with twelve cars?

LILAH
Whatever you want.
That's the point, or
haven't
you been listening?

ANGEL
Yeah, I have. Done now.

LILAH
Wait! I
forgot to show
you the best part. You're
gonna love this...

She picks up a
remote from the desk and punches it. Drapes concealing a huge picture window
whoosh open -- and BLAZING SUNLIGHT catches Angel full on. He grunts in
surprise and throws his arms up as he -- doesn't burst into flames.

ANGEL
I'm
not bursting into flames.

LILAH
Nope.
(raps the glass)
Necro-Tempered glass.

Whole building's fitted with it.
Helps keep those wholesome,
uplifting rays
from charbroilin'
the boss. And thirty percent
more energy efficient.

Angel
closes his eyes, soaking in sun against his skin.

LILAH
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
(tightly)
Close it, Lilah.


LILAH
(hitting remote)
Bye-bye Mister Sunshine.

The drapes close, the shadows
washing across Angel.



LILAH (cont'd)
Hello gloomy avenger.

ANGEL
Make that
good-bye.

LILAH
But you haven't seen
your penthouse.

ANGEL
I'm not taking
the job, Lilah.

LILAH
It's not a job. It's an opportunity.

ANGEL
To be part
of the problem?

LILAH
If that's what you choose.

ANGEL
Really don't.


LILAH
Again, your choice.
But think about what you
could do with the
resources of
Wolfram and Hart at your
finger tips. The difference that
would
make. Nothing in the
world is the way you think it
oughta be. It's harsh and
cruel --
but that's why there's you, Angel.
You live as though the world
were
as it should be. With all of 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 the inside.

ANGEL
Being on
the inside...
doesn't that usually mean
you've been eaten?

LILAH
Maybe. But
while you've
been namby pamby-ing for
the last ninety seconds, six
innocent
people have died.
(off his glare)
Oh, don't worry. There's
always six thousand
more just
around the corner. Or up the coast.

She pulls a file out of a
drawer, tosses it to Angel. He glances at the tag across the top.

ANGEL

(tensing)
Sunnydale.

There's something else in the folder. Angel pulls out an
AMULET.

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.
Bit gauche for my
taste, but hey -- not a Slayer.

Angel locks
eyes with her -- then sets the folder down.

ANGEL
Buffy can handle herself.


LILAH
But isn't it more fun
when you handle her?

ANGEL
Keep your intel. Not
interested.

LILAH
Not in this, maybe. How 'bout
one on open homicides?

Ectoplasmic malfeasance?
Missing persons...?
(off Angel's reaction)
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
can
find out in about ten seconds.
All you gotta do is pick
up the phone.
Boss.

ANGEL
I'm sorry what
happened to you, Lilah.
I really am. My friends

and I'll be leaving now.

He starts to move. The phone on the desk rings.


LILAH
(into phone)
Yes? Of course.
She hangs up.

LILAH
The Senior Partners

would like to make sure
you've sampled all the
amenities before you
make a
decision...

She presses the remote. A LARGE FLAT SCREEN comes down from the
ceiling.

ANGEL
Cool. Is that high def --

The screen flares to life, showing
a NEWS REPORT of a hostage situation at a shopping mall. Complete chaos.


NEWSCASTER (V.O.)
...video taken by a tourist
just a half hour ago, where
an
unknown assailant --

The image FREEZES on CONNOR, eyes filled with cold rage.


NEWSCASTER (cont'd; V.O.)
-- has taken hostages at the
Century City Mall. It
is not
clear what demands have
been made or what possible
motive may have
triggered...

LILAH
(over)
Wow. Really has your eyes, doesn't he?

OFF ANGEL,
his world crumbling...

BLACKOUT.

END OF ACT TWO

Act Three



Act Three
INT. WOLFRAM AND
HART - LUXURY OFFICE - DAY

WHAM! Lilah is slammed against the wall, the
newscast of Connor's hostile takeover playing in the background.

LILAH
Watch
the head.
Comes off kinda easy.

Angel grabs her by the throat, his anger
boiling over.

ANGEL
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. Make it stop. Now.

LILAH
Really love to -- 'cept
for the part
where we
didn't have anything to do with it.

ANGEL
But you know who did.


LILAH
Yeah. I'm looking at him.
(a beat)
You're the one who
raised him. Or
didn't.

Angel takes that one to the gut, releases Lilah. She rubs her neck.


LILAH
Can't imagine how the
kid turned out postal.

ANGEL
You don't know
anything
about Connor. Let's keep
it that way.

He starts to exit.

LILAH

One-time offer, Angel.
Walk out that door, the
deal's off. Stay, and it's all
yours.

She holds the Sunnydale file out. He moves in, face murderously cold.


ANGEL
People like you, this place...
that's what's wrong with the
world,
Lilah. It turns my stomach
just being here. I will never be
a part of this.

(a beat)
Not the way you're hoping, at least.
(leans in menacingly)
Now let me
tell you what
the deal's gonna be...

And if a dead woman can look scared, she
does.

INT. WOLFRAM AND HART - CORRIDOR - DAY

A couple of OFFICE WORKERS pass
through frame. They enter an elevator (or go around a corner.) Hold for a beat
on the empty corridor -- then WESLEY appears, moving quietly, quickly. He moves
to a door marked "Maintenance." Enters into --

INT. WOLFRAM AND HART -
MAINTENANCE ROOM - DAY

A small maintenance room. Wesley moves to a grate
which covers a ventilation shaft. Another Bondian flick of his wrist and --


INSERT - an electric screwdriver WHIRS at his sleeve (or, you know, not)--


ANGLE FROM INSIDE ventilation SHAFT

Looking at Wes through the grate as he
works at detaching the grate. He pops it off. Camera PULLS BACK fast into the
snaking ventilation ducts, being enveloped by BLACKNESS... MUZAK COMES UP and
WE ARE:

INT. WOLFRAM AND HART - ELEVATOR - DAY

The MUZAK PLAYS. Gunn stands
with Lacey. Is that bristling sexual tension? Finally:

GUNN
Longest damn
elevator ride
I ever took. How big is
this place?

As Lacey glances at her
watch, then leans toward him, smiling. She reaches out...

LACEY
It's time.


... and past him, to press a sequence of buttons on the elevator control panel.
A (CGI) BUTTON appears at the top of the control panel. She presses it.

GUNN

Time for what?
Hey, we better not
be goin' where
I think we're goin'.


LACEY
The answers you
seek lie within The Room.

GUNN
(pounding lobby
button)
Only thing I seek is the lobby.
Already rubbed elbows with
Little
Miss Muffet, don't need
a repeat with her replacement.
(shakes his head)
Here
I am, thinkin' I'm gettin'
seduced. Well, I'm gettin' screwed all--

As
everything around him begins to fade...

INT. WOLFRAM AND HART - WHITE ROOM -
CONTINUOUS

Gunn looks up, to find himself alone in The White Room. No Lacey,
no nothin'. Just white.

GUNN
--right.
(calls)
C'mon, you got the wrong
guy
in here. This room is
for the big cats--

Gunn trails off as an enormous
JAGUAR materializes (think 40 FPS) from the whiteness, slinking toward him.


GUNN
Think I preferred
the little girl.

The Jaguar prowls around Gunn, who
stands frozen.

The jaguar pauses in front of Gunn, paces there. Then it lifts
its head, looks right into Gunn's eyes.

CLOSE ON GUNN, as his fear transforms
into something else, perhaps intrigue...

CLOSE ON GUNN'S REFLECTION, mirrored
in the big cat's eyes.

WIDE AGAIN, as Gunn stands fearlessly. The cat paces in
front of him. Some kind of connection is happening here, as they look into each
other's eyes... Gunn nods slowly, as if he has understood something... Off
Gunn, totally calm, as the cat ROARS... it echoes, post-lapping on --

INT.
WOLFRAM AND HART - RECORDS ARCHIVE - DAY

POW! CLOSE as a SECURITY GUARD takes
a hard punch from WESLEY - a fight in progress, near the entrance of the room.


WIDEN A BIT as the Guard struggles to raise his gun. Wesley manages to twist
the Guard's wrist, slamming his hand against a WALL of FILE DRAWERS, knocking
the weapon out of his hands. Wesley elbows him in the face. The Guard goes
down, out cold.

Wesley recovers and turns to look into the room. WIDEN OVER
HIM to see A VAST LABYRINTH of enormous file cabinets, stretching on what seems
like forever in, yes, CGI magic.

ON WESLEY as he makes his way through the
maze, quickly scanning the LABELED DRAWERS, searching. MOVING ACROSS rows of
cabinets as he disappears and reappears again, until he stops and backtracks a
step, seeing something.

He pulls open a large drawer and begins rifling
through it for a few moments until he hears:

LILAH (O.S.)
I was wondering how

long it would take you
to get here.

Wesley freezes and turns to see LILAH,
emerging from behind a bank of cabinets.

WESLEY
(dryly)
How'd I do?

LILAH

Little slower than I
would've bet.
(wistfully)
But then you always
did like
to take your time.
(off the archive)
So you finally made it.
Got behind the
facade. And here
it all is. Every dirty little scheme.
Every secret. All that
evil,
great and small. Cross
referenced. Alphabetized.
Right there in black
and white.
Just think of what you
can accomplish with
that kind of
information.

WESLEY
(understanding)
You wanted me to
see this. You knew I'd-
-

LILAH
"Die Hard" your way
up here? C'mon, Wes,
didn't need a Ouija board

to prognosticate that little maneuver.
(not unwarmly)
Who knows you better than
me?

WESLEY
Perhaps you don't
know me as well as
you thought.
She looks at
him, unsure now.



WESLEY
You think I broke in here to
learn their secrets?
I'm not
interested in any of that.
That's not why I'm here.

Lilah hesitates,
a little surprised.

LILAH
Then why?

Off that unanswered question --

INT.
MALL - SPORTING GOODS STORE - DAY

Like a "Big 5" or some such. Lots of
sporting equipment, camping gear. Like that.

CAMERA TRACKS over some very
FRIGHTENED PEOPLE. We may recognize many of them as some of the folks Connor
was eyeballing earlier. They are arranged about the store in groups and
pairings. They almost look posed. Oh, and they all have home-made
wire/explosives attached to their bodies.

A FATHER awkwardly holds his young
DAUGHTER. The child whimpers, scared. The father, sweating, gets mad.

FATHER

(harsh, under his breath)
Shut up shut up shut up.

Suddenly the man's head is
yanked back hard from behind. Connor looms over him.

CONNOR
Hey! I told you
to be nice.

FATHER
I'm sorry.

CONNOR
You're not holding her right.
Why
don't you hold her right?

FATHER
I think you broke my arm.

CONNOR
Do it
right.

The Father winces, tries to embrace the child more tightly. Whispers
comfort, as best he can.

FATHER
Shhhhhh. It's okay.

All this, of course,
only has the opposite effect on the child. But Connor seems placated by this
show of faux parental concern. Connor moves away from these two.


CONNOR


kneels down into frame. He's working on something in the foreground that we
can't quite see. Though we might notice several car batteries with wires
attached. They run various places in the room. Connor looks up, sensing the
presence behind him. He doesn't turn as --

CONNOR
You got in. Thought you
might.

CAMERA ADJUSTS to see Angel standing on a store balcony behind Connor.


ANGEL
Connor...

Angel drops gracefully from the balcony. Connor still doesn't
turn.



ANGEL
What are you doing?

Connor doesn't respond.

ANGEL
Son -- ?


Angel takes a step forward. KA-BOOM! AN EXPLOSION goes off nearby Angel. The
hostages whimper.

CONNOR
Might not wanna move.
Everyone's rigged.

Angel
looks to the frightened faces peering back at him. He dare not move.

CONNOR

Can't save 'em all, dad.
You don't know who'll be first.

Connor looks to all
the wires and various batteries arrayed before him.

CONNOR
Hell, I can't even

remember who's attached
to what. Could be any
one of them...

Connor turns to
Angel -- he's got the same kind of jerry-rigged explosives strapped to himself.
Connor's face holds no anger. Just pain and sadness. Maybe a tear rolls down
his cheek.

CONNOR (cont'd)
Could be me...

Connor steps a bit to his side, now
revealing, behind him, looking peaceful in sleep, and rigged with a bunch of
explosives...

CONNOR (cont'd)
...could be her.

...CORDELIA.

Off Angel's
horror...

BLACKOUT.

END OF ACT THREE

Act Four

Act Four
INT. MALL - SPORTING GOODS
STORE - DAY

The stand off continues. Angel looks from coma-coma-coma-coma-
coma Cordel-ia to Connor, to the frightened hostages.

ANGEL
Son... You have
to listen
to me. What you're going
through right now, this is
about Jasmine.


CONNOR
Jasmine's gone.

ANGEL
I know. We all felt what
it was like, that
perfect love...
and then when we
had to give it up --

CONNOR
I DIDN'T FEEL
ANYTHING!
(exhausted)
I can't feel anything.
Not anymore. The only
thing I
feel -- is nothing.
I guess I really am your
son -- 'cause I'm dead, too.


ANGEL
No. You're not dead,
Connor. You're life's
just started.

CONNOR
No!
You just weren't there before!

ANGEL
I know. And I'm so --

CONNOR
(cuts
him off)
DO NOT say you're
sorry! It doesn't fix anything.

ANGEL
Then let me
say this...
I love you, Son. I love
you more than anything
in this world --


CONNOR
It's a lie.

ANGEL
It's not.

CONNOR
It's always a lie. My
dead
mother couldn't
even love me --

ANGEL
You're wrong. She did.

CONNOR
No.
She knew she
couldn't, and so she
killed herself.

ANGEL
She sacrificed
herself
because she loved
you, Connor.

CONNOR
You tried to love me...
at
least I think you did...

ANGEL
I still do.

CONNOR
...but not enough to

hang on... you let him
take me away, dad.
You let him get me.
You let him
get me...

ANGEL
(a whisper)
I'm sorry...

CONNOR
He said he loved me...
I
think maybe he even did.
But never more than he hated you.
(re: Cordy)

Cordy... you swore you loved me --
where are you now?

ANGEL
Connor. There
are
people who love you.
You have to believe that.

CONNOR
Jasmine believed
it. When you
said you loved her. But it was
all a lie. Even though she
made
you happy, you still
couldn't love her.

ANGEL
It was Jasmine that was the
lie.

CONNOR
NO! No. She knew that if
she showed you who
she really was,
you'd turn
on her. And she was right!
That's just what you
did! People like
you --
(re: hostages)
-- people like THIS!
None of you deserved
what she
could give you --
and she wanted to
give you everything.

ANGEL
I know how
that feels...
because I want to give
you everything. I want
to take back the
mistakes.
I want to help you start over.

CONNOR
Can't start over --

ANGEL

We can. We can change things.

CONNOR
Jasmine wanted to
change things. But
she couldn't.
So I helped her. There's only
one thing that ever changes
anything.
And that's death. And it's the
one thing I'm good at...
the rest
is just a lie...

He glances down at the batteries.



CONNOR
Can't be saved
by a lie...

Takes a wire...

CONNOR
Can't be saved at all...

...goes to
touch it to a charge -- and in that split second, Angel makes his move,
springing, tackling him --

And the fight is on. As they trade blows --

INT.
WOLFRAM AND HART - RECORDS ARCHIVE - DAY

Wesley is back digging in a filing
cabinet.

LILAH
What are you doing?
Wesley?

ANGLE - looking into the filing
cabinet as Wesley finds what he is looking for, a leather bound contract. He
removes it, leaving the empty file pouch.

Wesley holds it up -- it's marked
"Morgan, Lilah."

WESLEY
Standard perpetuity clause.

LILAH
You broke in
here
for my contract?

WESLEY
I'm here to release
you from it.

He holds up
a cigarette lighter. It sparks to life. RACK to see LILAH looking on with
genuine affection.

LILAH
Wesley...

ON WESLEY holding the contract in his
hands up to the flame. She moves to stay his arm. He pulls away.

LILAH

Wesley.

WESLEY
You've suffered enough.
I... I just want you to find
some
peace.

He torches the document, turning it to feed the fire, then lets it drop
to the floor.

Wesley looks back to Lilah, smiling at him, sadly.

LILAH
Aww,
Wesley. Gallant to
the end. But I knew what
I signed on for.

ON CONTRACT,
burning, turning to ashes. Gone.

Wesley looks at it.

WESLEY
It's done.

He
looks back to her. She smiles sadly. Poor Wesley.

LILAH
Look in the drawer.


He looks at her, confused. Then he looks to --

ANGLE - the filing cabinet.
The file is back in the file pouch -- unburned. Wesley's hand slides it up to
see her name, "Morgan, Lilah" there again.

Wesley looks back to her.

LILAH

Flames wouldn't be eternal...
if they actually consumed anything.

He looks at
her, powerless to change her fate.

LILAH
But it means something that you
tried.

Off the two of them, holding each other's gaze --

INT. MALL -
SPORTING GOODS STORE - DAY

Battle royale between Angel and Connor. Suffice it
to say, big, epic, cool.

They use various items in the sporting goods store as
they fight.

Smashing, crashing, punching, clawing. You know, the usual. Why,
there might even be some SLO-MO. Who's to say?

At some point, Angel throws
Connor across the room, and starts ripping the explosives and wires off the
hostages. The Father gets the hint, as do the others, and they start ripping
them off themselves.

Angel keeps Connor at bay as the people flee.

Connor
gets the advantage, knocks Angel away, and crawls toward the batteries...


Angel grabs a BOWIE-KNIFE from a display, throws it --

Connor takes it in the
back of the thigh. Angel pounces, pulls the knife and gets Connor on his back.
Angel's got the knife in his hand. Connor knows he's lost. Angel looks down on
his son with a world of regret in his eyes.

ANGEL
I really do love you,
Connor.

CONNOR
So what are you
gonna do about it?

He raises the bowie-
knife, is in the position for a killing blow.

ANGEL
Prove it.

And with that,
Angel brings the knife down surely and swiftly in a killing blow. And on impact
we --

FADE TO WHITE.

IN THE WHITENESS:

A VOICE. SINGING. Coming up from
silence. It's Lorne's voice. He sings the beginning of "Something's Coming"
from "West Side Story." (Or, could be something else that starts a little
hauntingly and then picks up.)

LORNE (V.O.)
(singing)
Could be... Who knows...


FADE UP FROM WHITE:

INT. WOLFRAM AND HART - LOBBY - DAY

CLOSE ON LORNE,
belting his heart out, as the tempo picks up:

LORNE
(sings)
There's something
due any day...

As Lorne sings, PULL BACK to find that he is back in the W&H
lobby, revelling in... well, everything, but particularly the acoustics.


LORNE
(sings)
I will know, right away...
(still singing)
Welcome back, Fred...


REVEAL Fred, entering the lobby. She smiles, as Lorne takes her hand and
dances with her.

LORNE
When this cruise ship sails,
I'll be on the Lido
deck.
I mean, this place?
Secrets of the universe!
Like: Siegfried, evil.

Roy, not so much.
Balance, very important.

Lorne spins a bemused Fred,
releasing her right into:

WESLEY, who's just walking in. He looks troubled.


FRED
Oh! Guess we're all
stragglin' back.
(re: Wes)
Some more straggly-like

than others. Are you...?

WESLEY
Just... a lot to take in.

Before Fred can
question Wesley further, the elevator doors slide open. Gunn steps out, strides
toward his friends. There's a subtle difference in him. A quiet confidence,
maybe. And he's a little colder.

FRED
You look... Did they
make you taller?


Gunn gets to the group, stops.

GUNN
I'm doin' this. Hope it's
not just me,
but if it is...
that's all right too.

Fred reacts, glances to Wesley. He
doesn't seem so surprised by Gunn's statement.

WESLEY
As much as it pains me

to admit it... there probably
is a great deal we could
accomplish with the

resources available here.

FRED
I don't believe it...
are you saying we
should
take the deal?

ANGEL (O.S.)
I already took it.

REVEAL ANGEL, battered
and bloody, standing inside the front doors of the building. As he walks toward
the group, Fred rushes to his side.

FRED
Angel, what--
(then, re: the deal)

What?

LORNE
Well, if you think it's best.

Wesley takes in Angel's appearance-
- including the sadness in his eyes.

WESLEY
(searching)
You took the deal.
Without
talking to the rest of us.

ANGEL
Executive decision.
You have a
problem with that?

WESLEY
No. I just didn't think...

LILAH (O.S.)
He'd have
the sense to
know a silver platter when
he's handed one?

The group turns to
FIND LILAH walking toward them, folder and amulet in hand. She and Wesley meet
eyes. She can't quite take it, looks away, covering with:

LILAH
Gotta say,
I'm impressed by
the lot of you. Team Angel,
all growed up.

ANGEL
(to
Lilah)
Is it taken care of?

LILAH
(nods)
Cordelia's safe and sound.
(glances
at her watch)
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,
doesn't mean
she can't
look her best. She'll receive
the best of care -- medical
and
mystical. If there is a
way to bring her back,
we'll find it.

ANGEL
Good.
Just one more
piece of business.
(then)
I wanna see him.

LILAH
Sorry, Angel.
Not
possible. That wasn't part
of the deal.

ANGEL
Value of compromise,
Lilah.
Remember?
(then)
I need to see him.

A beat as Lilah thinks. Finally,
she smiles, hands him the Sunnydale folder and the amulet.

LILAH
You're the
boss.

As Angel takes that in, not hating the idea:

LILAH
There's a limo
waiting outside.
It'll take you to see Connor.

ANGEL
(meaning it)
Thank you.


Angel turns, strides toward the front door. Then:

FRED
(to the gang)
Who's
Connor?

Off the gang, none of them knowing the answer:

EXT. MOUNTAIN ROAD -
MAGIC HOUR

Camera sweeping along, following a narrow mountain road as it
winds through freshly fallen snow. The black limo gains into frame below.

EXT.
FAMILY HOME - MAGIC HOUR



The limo creeps up, under snow-burdened trees, and
stops a discrete distance from a comfortably rustic HOUSE nestled in a small
clearing --

The limo's engine turns off. Hold for a quiet, expectant beat.


TIME LAPSE - of the Sun dipping down behind the mountain, shadows crawling over
the snow with intervelometer quickness as night falls.

The limo door opens and
Angel emerges. He walks toward the house, toward a large picture window that
glows with hearthside warmth. He stands outside the light it casts onto the
snow, careful to remain undiscovered.

Angel looks in. PRELAP:

O.S. FAMILY

[laughter: easy, genuine]


INT. FAMILY HOME - SAME

The family is gathered
about. They talk casually, constantly overlapping:

DAD
I'm just saying,
you've got
your pick. Any college in the --

CONNOR
It's really not a big
deal.

MOM
Top tenth percentile is
a big deal.

CONNOR
All right, I'm
Einstein.
New subject.

AUNT
Are you and Tracy going
to try to go to the
same college?

DAD
Bad idea...

CONNOR
We haven't talked about it --

DAD
I
love Tracy, I'm just saying,
bad way to go.

LITTLE SISTER
(disgusted)

Tracy's a vegan.

MOM
At least she doesn't live on
Pop tarts.

AUNT
Oh god,
I'm booked up
tomorrow and I can't --

MOM
You can't make the game?

DAD

It's not a date with the
martial arts nut, is it?

AUNT
I'm so sorry --


CONNOR
I got it. When's the game.

MOM
You can pick her up at six.

CONNOR

When does it start? This is
the semi finals, I gotta check it out.

LITTLE
SISTER
You can't come! He's gonna
cheer and stuff!

CONNOR
I'll root for the
other team.
I'll hurl things at you.

LITTLE SISTER
You can't come! I suck.


MOM
No you don't!

DAD
(same time)
You suck? Why wasn't I told?

AUNT
(to
Connor)
You're saving my life.

LITTLE SISTER
(same time)
You have to be
silent and invisible.

CONNOR
I'm thinking maybe college overseas.
In Russia.
Is there a place farther
away than Russia?

MOM
Don't even joke...

DAD
I
feel a toast coming on...

LITTLE SISTER
Oh, god...

MOM
(same time)
Here he
goes...

DAD
To the top tenth --

CONNOR
Enough. You don't even get
to --
it's my night, since I'm
all brilliant and stuff... and I'm
forced to deal
with you freaks
for at least a few more months...
so it's my toast.
(raises
his glass)
To family.

Not a word. They all raise glasses and drink. As Angel
walks away they continue, all overlapping:

LITTLE SISTER
I think I should get
wine
for a toast.

MOM
That was beautiful...

DAD
So I wanna hear more

about this hot date...

AUNT
It's not...

CONNOR
I didn't actually mean this
family, I
made that clear, right?


EXT. FAMILY HOME - NIGHT

THROUGH WINDOW
TO CONNOR - who looks out for a beat, then turns back to the family, laughter
resuming. CAMERA PULLS BACK, away from the house, further into the ice blue
mountain night, just catching the limo as it backs away, leaving. Forever.


BLACKOUT

END OF SEASON