5X17 Underneath


Written By: Sarah Fain and Elizabeth Craft

PROLOGUE:

INT. CONFERENCE ROOM - DAY Angel is sitting at the head of the
conference table, tapping his fingers impatiently as he stares at the room
full of empty chairs. He rolls his head, shuffles and stacks papers, then
leans forward and stares at the speakerphone.
ANGEL (impatiently presses a button on the
speakerphone) Harmony!
HARMONY (O.S.) (over speakerphone) I know! I called
everyone. They're just...
ANGEL (irritated) Not here. I can see that. If they
were here, I wouldn't be alone. Why am I alone?
HARMONY (walks into the conference room) Well, you can
be super grouchy.
ANGEL (presses a button on the speakerphone, turning it
off, then looks up at Harmony) The meeting?
HARMONY (shrugs) Everyone's otherwise occupado, boss.
Wesley's stuck baby-sitting miss "I used to rule the world, bow down
before me, minion scum."(puts her hands on her hips and shakes
her head) Why aren't we killing her, again?
ANGEL Gunn.
HARMONY (sighs thoughtfully) Maybe...(leans on
the back of a conference table chair) ...if we had a really big
one.
ANGEL (impatiently) Where is Gunn?
HARMONY (stands) Oh. The hospital still. You know,
from when Wesley...(mimes stabbing) and Lorne's kinda M.I.A.
since...
ANGEL Fred.
HARMONY (nods sadly) Okey-dokey then.(shrugs with
false cheer and exits)
SPIKE (enters carrying a briefcase) Where's the rest
of the crew?
ANGEL Apparently not coming.
SPIKE But this is an important meeting.
ANGEL At least somebody-
SPIKE My first official parley as a very loosely
affiliated member of the... what are we?(puts his briefcase on
the conference table) Tell me we're not Scoobies.(unlatches
the briefcase)
ANGEL We don't have a...
SPIKE A name? Well, that's probably for the best. You'd
want to be "Angel's Avengers" or something.
ANGEL (frowns, mocking) "Angel's Avengers," that's...
 (stops himself as he ponders the sound of it)
SPIKE (sits) So what's on the agenda?(reaches
into his briefcase)
ANGEL (leans over his papers) Uh, I have assignments
for people- (looks up as the sound of a pop-top opening comes from
Spike)
SPIKE What?(Angel glares) I'm listening.
 (holds up a beer can) With beer.(drinks)
ANGEL (glares at Spike) Forget it. You know what? This
isn't a meeting. This is you being annoying.(stands, sighs
heavily, looks out the window)
SPIKE (grabs a paper from the stack where Angel was
sitting) Hey, bullet points. Classy.(pauses to read, then
holds up the paper to Angel with contempt) Why am I always
reconnaissance? I should get a decently flash gig like "save the girl"
or "steal the emerald with the girl."
ANGEL (stares at his feet) Handsome man, save me from
the monsters.(scoffs)
SPIKE Exactly! Or- What's that now?
ANGEL That's the first thing Fred said to me. In Pylea.
 (paces behind his chair) She was trapped, hiding, afraid.
Nearly crazy. Crazy. But brave. I should never have let her come here.
Bad things always happen here.
SPIKE Hate to break it to you, mate, but bad things
always happen everywhere. Besides, she wanted to be here. It was her
choice.
ANGEL Was it?
SPIKE Bugger.(stands) You're fixing to do
something stupid, aren't you?
ANGEL Done it. Came here. Spend every day lying to myself
about making the world a better place.
SPIKE Welcome to the planet. We all paint on our happy
faces every day, when all we really wanted is to pound the neighbor's
missis, steal his Ben Franklins, and while we're at it, not think
about the third of the world that's starving to death.(walks
toward the window, looks out)
ANGEL I'm not saying that I can fix everything. I
just-I... I have to do better. The senior partners have a plan.
SPIKE (scoffs) Yeah, the prophecy. That ever-lovin'
apocalypse you keep going on about.
ANGEL Yeah, which apocalypse- the one last year or the
year before that? No, the senior partners are up to something now, and
I'm not waiting for them to spring it on us. We're through operating
in the dark.
SPIKE OK, then. Might be easier if we knew anyone who had
a direct line to the big guys.
Angel looks at Spike as an idea pops into his
head.

Cut to: INT. EVE'S APARTMENT - NIGHT Standing side by side, Angel and
Spike stare at Eve with their arms crossed.
EVE No way. Even if my connection to the senior partners
wasn't completely severed, I'm done helping you.
ANGEL This isn't a negotiation, Eve.
EVE (mocking) Ooh, I'm intimidated. What could you
possibly do to me? I've been trapped in this house for weeks like a-

SPIKE Rat? Snake? Beady little rat snake?
ANGEL You're not trapped, Eve. You're hiding. You know
the second you step out that door, the second you don't have these
symbols keeping you invisible to the partners, they're gonna zero in.
 (walks closer to Eve) So don't bother playing the pity angle.
The only thing you care about is saving your own ass.
EVE The only thing I care about is gone. You gave him up
to the senior partners, let them suck him into-
ANGEL Could do the same to you. Tell 'em how to see
through your security system.
EVE You wouldn't-
ANGEL Not if you tell me what I want to know.

The house starts shaking as a deep rumbling sound is heard somewhere
outside the door.
EVE Oh, you bastard! You told them! You-
ANGEL Wasn't me.
EVE Oh, God. They're coming.(crash, glass
shattering) Please, don't let them take me. Angel, please, I'll
tell you. I'll tell you anything you want to know.

Angel looks at Eve, then looks at the front door as the doorknob
rattles. A man wearing a fine, tailored gray pinstriped suit with a white
silk tie and a white shirt busts through the door. He looks around the
apartment, but Eve and the vampires are gone. There's an open window
creaking at the back of the apartment. The man stares at it,
frowning.
Fade to black.
Opening credits.

ACT I:

INT. CARITAS - NIGHT In a bar crowded with demons, a demon
bartender sings poorly. Zooming into the corner, the camera reveals Lorne is
sitting alone at the bar listening to the bartender's song.
BARTENDER (singing off-key)Lady your love's the only
love I need and beside me is where I want you to be(voice cracks)
 Your my lady-(talking) She's gonna say no, isn't she? I
should've gotten a bigger ring.
LORNE (blasé) A June wedding. There's rain, so get a
tent.
BARTENDER She's gonna say yes?
LORNE (monotonous) Ain't love grand?
BARTENDER (excited) I'm getting hitched?
LORNE Yeah.(holds up his cocktail glass as the
bartender refills it) More sea, less breeze, huh?
BARTENDER (pouring) From now on, your money's no good
here.
LORNE All right.
BARTENDER I was wondering, about the possibility of a
Carlos Junior? What do you think?(smiles widely)
LORNE What do I think? I think I'm tired. I think I'm
sick and tired of wearing bells on my toes and making like
everything's gonna be OK. I think it's pathetic that lately I'm too
scared and sad to tell people the truth so I just say what they wanna
hear instead. Most of all, I think the term "Happy Hour" should be
banned from the English language. There's nothing happy about this
hour or any other.
BARTENDER (shrugs) Oh.
LORNE What I know is I started drinking the moment that I
found out that a girl I loved was gonna die. Every time I get to the
bottom of the glass, I hope that that last drop is gonna take me the
distance.(sips)
BARTENDER (raises his eyebrows and nods while busying
himself with tidying the bar) OK.
LORNE A simple plan that failed utterly, which is why I'm
gonna heave my tuchis off this stool, strap the bells on, and with a
smile and a quip, go back into the belly of a very ugly beast and
pretend like I can help. Hmm. 'Cause that's what the green guy does.
 (pays the bartender and
exits)

Cut to: INT. LOBBY - NIGHT Angel steps off the elevator into the lobby
followed by Spike and Eve.
ANGEL Harmony!
HARMONY Yepper?
ANGEL Call security, put 'em on red alert. Nobody gets in
this building without clearance from me. I want a guard at every
entrance, every elevator, every stairwell. Cover the whole building.

HARMONY (shrugs) OK, but you know how that never
works-
ANGEL (irritated) Harmony!
HARMONY On it.(goes to her desk)
ANGEL All right, stay with Eve. Anything gets past
security, kill it.
SPIKE Where are you going?
Spike and Eve walk into Angel's office.
ANGEL To see my lawyer.

Cut to: INT. HOSPITAL ROOM - NIGHT Gunn is sitting in a hospital gown in
a hospital bed when Angel walks into the room.
ANGEL We have a problem. Senior partners found Eve. They
sent something to take her out. I need to know if I have jurisdiction
to protect her. What's protocol here?
GUNN (closes a magazine, hangs his head) I don't know.

ANGEL Right. Well, when you're through reading about
important things like, um...(picks up the magazine, reads the
headlines) "Trista and Ryan's big baby plans" maybe you can put
some thought into it.
GUNN (looks away) I'm just not sure-
ANGEL Gunn, you paid a high price for what's in that
brain, so use it.
GUNN (looks at Angel, sighs, looks down) There's a
proviso in your contract. Says that as CEO of a Wolfram & Hart
branch, you can invoke a rapio salvus order. Basically says you're
taking custody of a wayward employee. It's not usually used for
protection, but it should work.
ANGEL Great. How do I-
GUNN I'll make a call.
ANGEL Good.(starts to walk out, but stops at the
door) Listen, Gunn... I know you feel bad about your part in what
happened to Fred. And you should. For the rest of your life, it should
wake you up in the middle of the night. And it will...because you're a
good man. You signed a piece of paper, that's all.
GUNN But I knew. Not about Fred, but... when I signed, I
knew there would be consequences.
ANGEL You know, the thing about atonement is, you never
run out of chances... but you gotta take 'em. You can't hide in some
hospital room and pretend it's all gonna go away... 'cause it never
will.
Gunn stares thoughtfully.

Cut to: INT. FRED'S APARTMENT - NIGHT Wesley stares ahead when he hears
Fred's voice behind him.
FRED You have a visitor.
WESLEY (turns slightly) I thought I was in isolation.

FRED (kisses his neck from behind him) Whose fault is
that?(walks around to kneel in front of him) Tell me a joke.

WESLEY (softly) 2 men walk into a bar. The first man
orders a scotch and soda. The second man remembers something he'd
forgotten, and it doubles him over with pain. He falls to the floor
shaking.... and then through the floor and into the Earth. He looks
back up at the first man, but he doesn't call out to him.(looks
down at Fred) They're not that close.
FRED Yeah. You always know where you are.
WESLEY It's my particular skill.
FRED (crawls into his lap, looks into his eyes) This
is only the first layer. Don't you wanna see how deep I go?

Cut to: INT. FRED'S APARTMENT - NIGHT Wesley gasps as he wakes from his
dream. He's sitting alone in a chair in the dark. Illyria speaks from
somewhere behind him.
ILLYRIA You've been sitting for a long time.
WESLEY Yeah. Dozed off.
ILLYRIA You drank a great deal of that poison.
 (Wesley holds his hand to his head, rubbing his eyes,
pained) You called me a lot of names meant to hurt feelings I no
longer have, and then you sat there for hours making noise with your
nose.
WESLEY I was dreaming, you twit.
ILLYRIA You said her name. Fred.
WESLEY It was a nightmare.(swigs from a highball
glass) I don't suppose you have nightmares... or sleep or any of
that human crap.
ILLYRIA In my time, nightmares walked among us, walked
and danced, skewering victims in plain sight, laying their fears and
worst desires out for everyone to see. This...to make us laugh.
WESLEY I'll bet you were jolly as frat boys.
ILLYRIA And now nightmares are trapped inside the heads
of humans... pitiful echoes of themselves. I wonder whom they angered
so to merit such a fate.
WESLEY (deadpan) This world must be a terrible
disappointment to you.
ILLYRIA Grievous.
WESLEY I'm not too impressed with it myself.(takes
another swig of whiskey)
ILLYRIA Why don't you leave?

Cut to: INT. ANGEL'S OFFICE - NIGHT Eve and Spike wait in Angel's
office.
EVE Brilliant. Really. They'll never look for me here.
 (Spike rolls his eyes) I'm gonna die.
SPIKE You make it hard for me to want to help you.
 (shakes his head)
ANGEL (walks into the office) We don't want to help
her. But...we will. You're under my protection.
EVE Thank the gods.(steps back as Angel
approaches)
ANGEL But, you know, I can take it away with one phone
call. Convince me not to, Eve.
EVE (sits in a chair between Angel and Spike as they
glare at her) How can I?
ANGEL Let's start with something easy, huh? You.
EVE Me?
ANGEL What are you? What do you do for the senior
partners?
EVE I'm a liaison. I liaise.(Angel and Spike cross
their arms disapprovingly) Look, what do you want me to say? I'm a
leprechaun. I'm from Brigadoon.
SPIKE (rolls his eyes) If I had a nickel for every
time I heard that one.
EVE (stands) There are layers upon layers at Wolfram
& Hart, Angel, things you'll never understand. What am I? I'm a
child of the senior partners, created to do their bidding.
ANGEL You're an immortal. Why are you here?
EVE To watch. Tell them what I see. Pass on messages to
you, if there are any.
SPIKE So you're, uh, middle management?
ANGEL What are the senior partners, huh? What do they-

EVE (shakes head) No idea.
ANGEL Eve.
EVE Do you honestly believe the senior partners would let
me have access to that information? Angel, for someone so old, you're
so young. I only know what they want me to know and only when they
want me to know it.
ANGEL You don't know anything?
EVE Maybe.(shrugs) Maybe I know a lot... but I
don't have access to it.(Angel and Spike pace, annoyed) It's
locked in my head somewhere, and I don't have the key.(Angel and
Spike sit down on opposite sides of the room, sighing) Ready for
the funny part?(to Angel) There was someone who could've told
you everything you want to know... and you let the senior partners
take him away.
ANGEL Lindsey.
EVE Lindsey's dedicated years of his life to the study of
the senior partners. No one knows more about them than he does- what
they've done, what they plan to do.
ANGEL (stands, frowns) I thought he was after me.
You're saying bringing Spike back, the fail-safe, that was all about
the senior partners?
EVE No. It's about you, too. He really doesn't like
you... but he may know more about you than... well, than you do.
ANGEL Which is why they snatched him up.
SPIKE Yeah. They couldn't risk him and you having a
sit-down.
EVE And now...what he's going through.
ANGEL They didn't kill him?
EVE They would want him to suffer horrors. Lindsey is in
some hideous...awful hell.

Cut to: INT. LINDSEY'S BEDROOM - DAY Cut to Lindsey lying in a bed of
luxurious red patterned sheets, kissing a blonde woman.
LINDSEY Good morning.
WIFE Mmm. So far.(Lindsey kisses her forehead and
cuddles close to her)
CHILD (jumps into bed in-between them) Stop it! That's
how I get sisters.(parents giggle)
LINDSEY Oh, really? (rubs the child's head
affectionately) Is that right?(looks at his wife,
smiles) So... what are we gonna do
today?
Fade to black.


ACT II:

EXT. SUBURBAN HOUSE - DAY Orchestral music plays over a scene of
Lindsey walking out of his front door smiling. The house is a nice suburban
house and it's a beautiful sunny day with clear blue skies. As Lindsey
collects the newspaper from the driveway, the view changes, showing that the
street is lined with identical houses, and a man from every house is going
to collect the paper at exactly the same time. Lindsey walks back to the
house and bends to pick up a skateboard from the sidewalk on his way. He
walks inside and closes the door.

Cut to: INT. ANGEL'S OFFICE - NIGHT Spike paces, ranting, while Lorne,
Eve, and Angel look on.
SPIKE There's thousands of different kinds of hells. You
got your fire hell, your ice hell... your...(pauses to
think) ice hell. Your upside-down hell.
ANGEL (rubs his head) I don't care if he's in "toy
poodles on parade" hell. He's got information that we need.
SPIKE According to the girl whose only reason for being
is to see her little pookie bear again.
EVE I'm not lying.(to Lorne) Well, tell him I'm not
lying.
LORNE No one can fake it through the piña colada song.
Not once the chorus kicks in.
ANGEL (stands) If Lindsey can tell me what the senior
partners have planned, I want him. You got a better idea how to do it,
I'm totally open.
SPIKE Didn't say that. Just pointed out that this one
sucks. We're looking for a hell dimension in a haystack. How are we
supposed to know-
GUNN (walks into the office) I know. And I can get us
in.
Gunn's wearing street clothes, not his usual business suit. His
head's shaven. He looks more like the pre-W&H Gunn of yore.
ANGEL Us?

Cut to: INT. SUBURBAN HOUSE - DAY Lindsey is helping his son study for a
test while the wife is tidying the kitchen.
LINDSEY OK, from the top. The earth's outer layer is
called...
CHILD The crust.
LINDSEY And what's underneath that?
CHILD Mmm...the mantle?
LINDSEY Yup. And under that? Come on. You know this one.

CHILD The outer core.
LINDSEY (snaps his fingers) And under that?
CHILD The inner core.
LINDSEY And under that?
CHILD Underneath that... nothing.
LINDSEY Just the soft, chewy center.
CHILD Ha ha!
WIFE Hey, hon.(Lindsey looks over at her) Oven
light just went out. I need a bulb from the cellar.
LINDSEY (looks away) There should be some in the hall
closet.
WIFE Just regular ones. Little ones are downstairs.
LINDSEY (acts nervous, looks at his child) Well, Zach,
uh, Zach was getting ready to fill me in on the lithosphere.
WIFE (walks over to Lindsey, puts her hand on his
shoulder insistently) I kinda need it now.
LINDSEY (hesitates, casts a nervous glance) All right.
I'll be right back.
Lindsey stands and walks toward the cellar door, focusing on the
doorknob. He puts his hand on the doorknob and hesitates, turning to look
at his wife again. She's watching him with a smile.
WIFE They're on that shelf, where we keep those thingies.

Lindsey opens the door and turns to look at her again. She walks up
beside the child and smiles, never taking her eyes off of Lindsey. Lindsey
gathers his courage and goes through the door. He descends the steps into
the dark cellar cautiously, holding onto the rail and peering around the
corner with every step he progresses downward.

Cut to: INT. WOLFRAM & HART CORPORATE GARAGE - NIGHT Gunn leads
Angel and Spike into the garage, chatting. Angel and Spike are flanking
him.
GUNN Started flipping through the brain files soon as
Harmony told me. Figured there had to be some kind of precedent.
ANGEL And?
GUNN Senior partners had trouble with a guy in the Tokyo
division way back. Lindsey probably got the tattoo idea from studying
up on him.
ANGEL And wherever they sent this guy, that's where
Lindsey is.
GUNN Yep.
SPIKE I hope it's toy poodle hell. I've had my fill of
fire.
GUNN It's not hell. It's a Wolfram & Hart holding
dimension.
ANGEL (chuckles) Meaning what-senior partners haven't
decided what to do with Lindsey?
GUNN Their version of a penalty box.
ANGEL Great. So... how we supposed to get there?
GUNN Ever taken the Camaro?(tosses the keys to
Angel)
They stop walking as they approach the classic Camaro painted shiny
cobalt blue.

Cut to: INT. CAMARO - NIGHT Angel's in the driver's seat, but he's not
steering. The car is driving itself. Gunn is riding shotgun, and Spike's
sitting behind Angel.
ANGEL This is weirding me out. Is this weirding you out?

SPIKE (sticks his head between the front seats) What,
you never heard of Knight Rider?(looks at Angel, at Gunn) The
Knight Industries 2000? K.I.T.T.?(shakes his head) Never mind.

GUNN Car's built to get us there. Once we have Lindsey,
it's on us to find the Wrath.
SPIKE The Wrath?! You know that's gonna be a giggle.
GUNN Whatever it is, we got to go through it to get out.

ANGEL I've never seen these streets before.
GUNN Where we going- not in the Thomas Guide.
SPIKE (sighs, resigned) There's gonna be fire.

The Camaro heads through the dark night into a tunnel carved into a
hillside.
Cut to: INT. CAMARO - DAY When the Camaro emerges from the other end of
the tunnel, it's a beautiful, sunny day with clear blue skies. The look out
the window to find themselves in Lindsey's suburban neighborhood.
SPIKE This isn't hell. It's the 'burbs. Close enough.

ANGEL This is Lindsey's punishment? For trying to kill
me? Hunh! Maybe it's a reward.

Cut to: INT. FRED'S APARTMENT - NIGHT Wesley and Illyria continue their
conversation in the dark room.
WESLEY (standing, excited) You could go anywhere, you
could leave.
ILLYRIA That's not possible.
WESLEY Of course it's possible. Are you telling me the
great Illyria, idol of millions, was limited to one small dimension?

ILLYRIA I traveled all of them as I pleased. I walked
worlds of smoke and half-truths, intangible.(turns
away) Worlds of torment and of unnamable beauty.(looks into
the mirror, Wesley's reflection over her shoulder) Opaline towers
as high as small moons. Glaciers that rippled with insensate lust. And
one world with nothing but shrimp. I tired of that one quickly.
WESLEY Then why stay in this world? Surely there's a
world more appealing, maybe not the shrimp one, but one where you'd be
welcome like you never will be here. Why don't you go? You can go. Why
don't you go?
Illyria snaps, grabbing Wesley by the throat and staring at him
angrily. She lets him go, tossing him aside as she starts gasping for
air.
ILLYRIA (breathing hard) It's too small. It's too
small. I can't breathe.(pacing, panicked, in a circle) I can't
live with these walls. I can't breathe. There's no room for anything
real.
WESLEY It's all right.
ILLYRIA (glares at Wesley) I should gut you where you
stand. You challenged me. There's not enough space to open my jaws. My
face is not my face. I don't know what it will say.(panting)
WESLEY Illyria... come with me.

Illyria starts to calm down and her panting
slows.

Cut to: EXT. SUBURBAN HOUSE - DAY Exactly the same as the previous day,
orchestral music plays over a scene of Lindsey walking out of his front door
smiling. The house is a nice suburban house and it's a beautiful sunny day
with clear blue skies. As Lindsey collects the newspaper from the driveway,
the view changes, showing that the street is lined with identical houses,
and a man from every house is going to collect the paper at exactly the same
time. Lindsey walks back to the house and bends to pick up a skateboard from
the sidewalk on his way. He walks inside and closes the door.

The music changes to a more ominous tone as the blue Camaro drives
down the street, stopping in front of Lindsey's house.
SPIKE (looks out the car window at the sunny front lawn
between the car and Lindsey's front door) Oh, so we just open with
being on fire. That's great.
ANGEL Yeah. We can put our coats over our heads and make
a run for it.
Gunn opens the car door, and the vampires react instantly, recoiling
with fright, putting their hands to their faces trying to shield
themselves from the sunlight pouring in through Gunn's open car
door.
ANGEL & SPIKE (simultaneously) Aah!

The vampires realize they aren't on fire after all, and Gunn gives
them a matter-of-fact look.
GUNN Alternate dimension, remember? Sun's the non-frying
variety.
SPIKE I figured that.
ANGEL Oh, right.
GUNN Can we go?
ANGEL Yeah.(gets out of the car; they all 3 walk to
the front door) Grab Lindsey and we get out.
GUNN Kill everything in our way.
SPIKE What's going to be in our way, the family mutt?

GUNN This is Wolfram & Hart.(Spike presses the
doorbell, which chimes) Odds are there's something ugly behind that
door.
WIFE (opens the door, smiles) Can I help you?
ANGEL (straightens up, surprised, looks at Spike, then
back at the woman, stammering) Uh, is Lindsey home?
WIFE (nods, smiles) Sure. Come on in.

Cut to: INT. SUBURBAN HOUSE - DAY Angel, Spike and Gunn follow the wife
into the house.
WIFE Honey? There's coffee.
ANGEL No. We're fine. Thanks.
Gunn closes the door behind them.
LINDSEY (coming down the steps) Zach's hockey stick's
gone missing. Oh. I didn't realize we had company.
WIFE I'll do search and rescue.(walks away)
LINDSEY OK.(to the gang) How can I help you guys?

SPIKE Cut the act, Ward. June's gone.
LINDSEY 'scuse me?
ANGEL You don't know who we are?
LINDSEY (shakes his head) No. Do you play in the
league?
ANGEL No, um...I'm Angel. This is Spike and Gunn.
GUNN You might want to have a seat.
LINDSEY (smiles) OK.(gestures to seats for the
gang) Please. Is this about the free vacation I entered to win?
 (claps his hands once gleefully, sits on the couch)
GUNN Does the name Wolfram & Hart mean anything to
you? It's a law firm. You used to work there.
LINDSEY All right, Gunn, is it? Yeah. Now, the only
lawyer I know is the one who fixes my speeding tickets.
 (chuckles)
ANGEL Well, that guy, he's not real. (sits) None of
this is. You're under some spell.
LINDSEY What?
SPIKE Nuts and bolts, you're in hell. We've come to break
you out.
LINDSEY All right. Who put you up to this? Was it Fisher?

GUNN There's no joke. You're in a mystical holding cell,
an alternate reality.
LINDSEY So Trish is not my wife and Zach's not my son?

SPIKE Now he's gettin' it. Ever heard of something called
the Wrath?
LINDSEY (sits back, smiling) Seriously, is Fisher
outside?(stands, looks out the window laughing)
ANGEL Lindsey, this whole life is a lie.
LINDSEY (turns to face Angel, no longer laughing) All
right. This is starting to get a little less funny. I think you guys
should leave.

Cut to: INT. ANGEL'S OFFICE - NIGHT Eve is agitated and pacing while
Lorne and Harmony keep her company in Angel's office.
EVE What is taking so long? They should be back by now.

HARMONY It's really hard to get a firm E.T.A. on
alternate dimension travel. I've tried.
EVE I just want him back, and I don't want to die.
LORNE Oh, calm down, chicken little. Nobody can lay a
finger on you without Angel's permission.
HARMONY Yeah. I got strict instructions. No torture.
You're totally safe.
EVE You don't get it. So stupid legal order isn't going
to matter. The senior partners-
LORNE Nobody can darken our bullet-proof doors, not
without our fearless leader's say-so. This place is a fortress.
 (the security alarm starts ringing)
HARMONY Uh-oh.
LORNE (nervously, to Eve) This thing coming after you,
how bad on a scale of, say, one to Terminator?(the alarm
continues ringing)
The same man who busted into Eve's apartment walks off the elevator
into the lobby area. He's looking around, walking forward with
determination.
EVE (starting to cry) Oh, god. He's here.
HARMONY (with arms crossed, smirks) That's the guy?
He's just a suit.
GUARD (rushes toward the man, pulling out his
gun) Hey, you, stop! Put your hands up!
The security guard makes a final grunt as the man punches him so
hard through the stomach that the man's hand comes out of the guard's
back, covered in blood. The guard falls to the ground. Eve, Lorne, and
Harmony scream in terror as they watch through the window in Angel's
office.

Cut to: INT. SUBURBAN HOUSE - DAY Angel, Spike and Gunn resume their
conversation with Lindsey in his living room.
ANGEL (sighs, stands) I can't believe I'm saying this,
but we're here to help.
LINDSEY (points, agitated) OK. Get out. Now.
ANGEL (grabs Lindsey by the collar) Look, we're
telling you the truth. You don't want to believe it, that's your
choice. Either way, you're coming with us.
LINDSEY Get off of me!
ANGEL (glances at Lindsey's necklace between Angel's
fistfulls of Lindsey's shirt collar) Maybe this will help you make
up your mind.(rips the necklace off of
Lindsey)
Lindsey collapses to the floor in a heap. He comes to and tries to
sit up when he notices Angel standing there, wearing a dagger on his
belt.
LINDSEY (nervously) Angel. Make it quick.
ANGEL If I was gonna kill you, it wouldn't be quick.
 (rolls his eyes, pulls Lindsey to his feet by his
collar)
Gunn glances at the discarded necklace on the floor, when Lindsey's
"wife" walks into the kitchen, smiling.
SPIKE Oh! Hi. Your hubby was just showing us a
thing...
The wife lifts up her arms to reveal she's carrying a machine gun.
She points it at the gang and starts shooting.
Fade to black.

ACT III:

INT. SUBURBAN HOUSE - DAY Resume. The wife is shooting at Angel,
Spike, Gunn, and Lindsey with a machine gun, sending a rapid and continuous
stream of bullets their way. Spike and Gunn duck behind the couch, while
Angel has to pull Lindsey to safety because he was just standing there mired
in confusion.
SPIKE (yelling over the gunfire to Lindsey) Seems your
wife's a little moody.
ANGEL (to Spike) Get Lindsey to the car! Go! Now!

Angel rushes the wife, serving as a shield for the others behind him
as they try to escape. Gunn grabs Lindsey up and together with Spike,
carries him out through the front door. The wife continues shooting, but
Angel gets close enough to rush her. He nearly knocks the gun from her
hand, but she punches him, knocking him down, then starts beating Angel in
the head with the butt of the gun.

Cut to: EXT. SUBURBAN HOUSE - DAY As he and Gunn escort Lindsey out of
the house, Spike stops in his tracks when he notices that the Camaro is no
longer parked on the street in front of the house.
SPIKE Didn't we have a car?
As they stand there stupefied, an ice cream truck pulls up in front
of the house, and the driver starts shooting a machine gun at them from
the street. Spike shields Lindsey and Gunn, taking the bullets in his back
as he pushes them into the house. The mail carrier also joins in the
firefight, shooting at the gang with a handgun in each hand.

Cut to: INT. SUBURBAN HOUSE - DAY Lindsey trips and falls to the ground
as Gunn and Spike shove him out of the firefight outside back into the
house. Angel is still fighting the wife, but appears to have the upper hand
now, as he is punching her repeatedly in the face, ultimately knocking her
down.
SPIKE (to Angel) Hey, our bloody ride's gone.
GUNN (sees the boy Zach creeping down the stairs holding
a machine gun) Get down!(the boy starts shooting and the gang
hides behind the couch again) We've got to find the Wrath. Where's
the Wrath?
SPIKE Where's not the Wrath? The Wrath's all over!
ANGEL Lindsey, think. Do you know where it is?
LINDSEY I don't know. I don't know!
GUNN There's a door by the kitchen. Might be a way out,
through the cellar.
LINDSEY No! We can't go down there, not the cellar!
SPIKE Cellar it is, then.
GUNN Guessin' we found the Wrath.
LINDSEY No! Please, don't!
Angel and Spike turn over the couch and push it forward into the
boy, giving them a reprieve from the gunfire as they head for the cellar
door. The gang goes through the door and down the steps into the
cellar.
LINDSEY (hesitates on the steps, afraid) We're all
gonna die.
ANGEL Not today.
LINDSEY Every day.
They continue their descent.

Cut to: INT. ANGEL'S OFFICE - NIGHT The man in the suit pursuing Eve
enters Angel's office through the double-doors and looks around. Eve and
Lorne are standing together.
EVE (to Lorne while backing away from the man) Don't
let me die.
Harmony jumps out from behind the door, grabbing the man around his
throat. She groans as she tries to break his neck, but isn't strong
enough. The man seems more annoyed than hurt by her attack.
HARMONY Run already!(Eve and Lorne head to the
private elevator)
The man frowns and grabs Harmony's arm, flinging her across the room
where she crashes into Angel's desk and falls to the floor. The man starts
walking toward Eve and Lorne in the elevator.
EVE Close the door!
LORNE (rapidly pressing the button over and over) I'm
not doin' the polka, beanpole. What do you think I'm-

The elevator doors close just as the man gets
close.

Cut to: INT. SUBURBAN HOUSE - DAY The gang has descended the stairs into
the cellar, and everyone's having a look around. It looks like a torture
dungeon, and it lit by candles.
SPIKE Holy!
GUNN Nothing holy here.
SPIKE (walks up to a pile of a hundred or so bloody
organs on the floor, picks one up) A heart? Whose are these?
LINDSEY Mine.
SPIKE (quickly drops the heart back into the pile) Oh.
 (backs away)
ANGEL Try to find the door, some way out.
SPIKE With pleasure. The faster we get out of here, the
better.
Angel heads right, Spike left. Gunn stares at the pile of hearts on
the floor.
SPIKE (pausing to look at chains and manacles on a
post) Somebody has fun with these.
ANGEL (opens a creaking door) Spike.(reveals a
huge flaming furnace behind the door)
SPIKE The Wrath?(walks toward Angel)
ANGEL Could be.(stands to the left of the fire)
SPIKE (looking at the fire) What did I tell you?
 (stands to the right of the fire)
GUNN The lock's mystical.
ANGEL Well, how do we-
LINDSEY He's coming.
SPIKE Who?
LINDSEY He knows. He always knows.
SPIKE Who?
ANGEL (notices a demon approaching, his chains
rattling) Him. Gunn, guard Lindsey!
Gunn takes Lindsey out of the way, while Angel and Spike face off
with the demon. A fight ensues with Spike swinging a pipe at the demon,
Angel using his dagger. Eventually, after much punching and kicking each
other across the room, the vamped-out vampires overpower the demon by
using his own torture devices.
ANGEL (gesturing to the fire) Come on.(Gunn puts
Lindsey's necklace on) Gunn, no! What the hell are you doing?
GUNN What needs to be done.
ANGEL I'm not leaving you here.
GUNN You don't make the rules here. Wolfram & Hart
does. If one leaves, one has to stay. A void is impossible.

The gate in front of the fire opens.
ANGEL You knew.
GUNN That thing about atonement.
ANGEL Gunn...(to the others) Let's go.
SPIKKE You are not bloody serious!
GUNN When I forget, the door closes. Go. You have to.

Angel and Spike lead Lindsey into the fire.
GUNN This is where...I was... I...(the gate in front
of the fire closes) I belong. I was- What was I doing? Why am I
down here?
WIFE / TRISH (O.S.) Honey, what are you doing down there?

GUNN (at the bottom of the stairs) I don't know. Must
be losing my mind.

Cut to: INT. WOLFRAM & HART CORPORATE GARAGE - NIGHT Frantic, Lorne
and Eve rush off the elevator into Angel's private garage.
LORNE We'll head up the coast to Canada.
EVE Keys.
LORNE (looks through the wall-mounted key storage
box) Uh...
EVE Come on.
LORNE (randomly picks a set of keys) Um...um...
 (presses the remote keyless entry, a car alarm chirps) Oh...
 (alarm chirps repeatedly as Lorne and Eve search for which car the
keys belong to) Holy motor pool!(chirp, chirp, chirp)
EVE (sees the lights of one car flash as Lorne presses
the button) There! Hurry!(runs toward the car)
LORNE (runs after her) What do you call this?
 (they both get in the car) You'll like Canada. Lots of
deserters.
EVE Go!
As Lorne puts the car in gear and starts driving out, a bright light
appears above them as a portal opens up, dropping Lindsey, Spike and Angel
onto the car. Lorne screeches to a halt.
LORNE What the daisy?!(gets out of the car)
SPIKE (getting to his feet in a panic) I'm on
fire! (realizes he's not on fire) Oh, never mind.
EVE (jumps out of the car) Lindsey!(hugs
him) What did they do to you?
ANGEL He'll be fine.
SPIKE Whereas we got shot and almost killed by a
juiced-up S&M demon. Thanks or asking.
ANGEL Let's get upstairs.
Angel and Spike flank Lindsey, each supporting one of his shoulders
as they carry him toward the elevator.
EVE Be careful. He's hurt.
LORNE (following after them, urgently) Uh, Angel, you
should know there's a very tall, well-dressed, uh-(looks around,
panicked) Where's Gunn? Angel?
ANGEL He, uh- he stayed behind.
LORNE Stayed behind? But you never leave a-(Angel
and Spike won't look him in the eyes) (tries to shake it
off) or...I guess we do. That's what we do now.

There's a thumping on the stairwell door.
EVE Oh, god!
LORNE Like I was saying.
The man pursuing Eve punches the door off its hinges, sending it
flying into the garage. When the dust settles, the man walks out into the
garage and approaches Angel and crew.
ANGEL (staring at the man) Damn... he is
well-dressed.
Fade to black.

ACT IV:

INT. WOLFRAM & HART CORPORATE GARAGE - NIGHT Resume. The
well-dressed man is approaching Angel and gang in the garage.
EVE (backing away) Please, don't do this.
ANGEL (walks toward the man, inadvertently letting go of
Lindsey, who falls to the ground) Eve's under my protection. You
can't touch her.
The man stands his ground, and reaches into his vest pocket to pull
out a pen.
SPIKE Whoa. Didn't see that coming.
WELL-DRESSED MAN You know how it works, Eve.
EVE You could talk to the senior partners. Tell them it's
a mistake.
WELL-DRESSED MAN That's impossible.(reaches into his
other vest pocket)
ANGEL I said back off.
EVE (the man pulls out a contract from his vest pocket,
and unfolds it for Eve) Don't bother, Angel. It's over.
WELL-DRESSED MAN (hands her the pen, points to the
contract) Sign here.(she signs) Good girl.
ANGEL (looks around) What the hell's going on?
WELL-DRESSED MAN Oh, sorry for the intrusion. I'm Marcus
Hamilton, your new liaison to the senior partners.(to Eve) And
here.(points to the contract)
ANGEL You're what?
WELL-DRESSED MAN / HAMILTON Along with her immortality
and certain other privileges, Eve has signed over her duties to
me. (flips to the back page) Oh, and initial there.(points
to the contract, Eve signs)
ANGEL This is about a contract? I thought you said you
were gonna die.
EVE And now one day I will.
HAMILTON The senior partners felt it was time for a
change. Eve was too easily distracted. Lost sight of the big picture.

EVE I fell in love.
HAMILTON Yes. Congratulations.(Eve walks
away) Wonderful escape, by the way. Very clever. We'll be in touch.
Oh, I have some excellent ideas I can't wait to share.
ANGEL (gets up in Hamilton's face) This is my house.
The only ideas that matter are mine.
HAMILTON (smiling, chipper) Absolutely. That's the
policy. The senior partners are behind you 100%.
ANGEL I doubt that.
HAMILTON I'm looking forward to working myself into the
mix. Angel, Spike...(opens his arms in a welcoming
gesture) Welcome to the team.(walks away)
LORNE (nervous chuckle) Well, he's not so bad.

Cut to: EXT. ROOFTOP - NIGHT Illyria and Wesley are standing on the
rooftop. She's got her head leaned all the way back, staring
skyward.
WESLEY Are you all right?
ILLYRIA I breathe easier.
WESLEY The walls don't press in as hard when you can't
see them.
ILLYRIA But they're still here.
WESLEY Yes.
ILLYRIA All I am is what I am. I lived 7 lives at once. I
was power and the ecstasy of death. I was god to a god.(looks
down) Now... I-I'm trapped... on a roof. Just one roof... in this
time and this place, with an unstable human who drinks too much
whiskey and called me a Smurf.(Wesley chuckles) You don't
worship me at all, do you?
WESLEY And you really can't leave.
ILLYRIA I... don't know.(looks up) And I fear in
any other dimension in this form I'd be but prey to those I knew.
 (hangs her head) I reek of humanity.
WESLEY Don't flatter yourself.
ILLYRIA (looking over the skyline) Your world is so
small. And yet you box yourselves in rooms even smaller. You shut
yourselves inside... in rooms, in routines.
WESLEY There are things worse than walls. Terrible... and
beautiful. If we look at them for too long they will burn right
through us. Truths we couldn't bear. Not every day.
ILLYRIA (sighs) We are so weak.
WESLEY Yes. Yes, we are.

Cut to: INT. ANGEL'S PENTHOUSE - NIGHT Lorne is using some hefty
tweezers to pull bullets out of Spike's back. He drops one into a bowl
nearby and proceeds to dig out another.
SPIKE Ouch! Take it easy, green jeans!
LORNE Yes. 'Fraid I don't have Fredikin's gentle touch.

SPIKE Just get on with it.
Lindsey and Eve are sitting side-by-side on the couch; Lindsey's
leaning on Eve's shoulder. He looks up when Angel walks in after changing
clothes.
LINDSEY Oh, look. It's the hero of the hour.
ANGEL I'm not your hero. I'm your warden.
LINDSEY It's all how you look at the glass.
ANGEL I thought a few months of torture at the hands of
the senior partners would have dug a little deeper.
LINDSEY Just scratched the surface. Turns out they can
only undo you as far as you think you deserve to be undone. I wonder
how Gunn's gonna make out.
ANGEL The senior partners want to know everything you
know about them. About the apocalypse, about their plans for me.
SPIKE (standing, dressing) And for me. The guy with
the pen said, "welcome to the team." Must've meant something.
LINDSEY You know what I know. Look around. The world's a
cesspool... full of selfish and greedy beasts. We live, we die. Even
you, babe.
EVE (hurt) Lindsey, don't.
LINDSEY You still happy to see me?
ANGEL Yeah, hell's on earth. Holland manners tried to
sell me that line 3 years ago.
LINDSEY Did you ever prove him wrong?
ANGEL All how you look at the glass. You know, Lindsey,
we can philosophize all night. Hell... (chuckles) We could do it
forever, huh? I don't need to eat, sleep, drink.(sits) How
about you?
LINDSEY (grins) That's what I like to see... the Angel
of yore. Takes no prisoners, suffers no fools. How 'bout this? It's
here. It's been here all along. Underneath. You're just too damn
stupid to see it.
ANGEL (leans forward) See what?
LINDSEY The apocalypse, man. You're soaking in it.
SPIKE I've seen an apocalypse or two in my time. I'd know
I one was under my nose.
LINDSEY Not an apocalypse. The apocalypse. What'd you
think, a gong was gonna sound? Time to jump on your horses and fight
the big fight? Starting pistol went off a long time ago, boys. You're
playing for the bad guys. Every day you sit behind your desk and you
learn a little more how to accept the world the way it is. Well,
here's the rub... heroes don't do that. Heroes don't accept the world
the way it is. They fight it.
ANGEL (sits back) You're saying everything we do...
it's a distraction... to keep us busy from looking under the surface.

LINDSEY (snaps fingers) Ding! We have a winner! The
world keeps sliding towards entropy and degradation, and what do you
do? You sit in your big chair, and you sign your checks, just like the
senior partners planned. The war's here, Angel. And you're already 2
soldiers down.

Cut to: INT. SUBURBAN HOUSE - DAY Gunn is helping the boy study for a
test while the wife is tidying the kitchen.
GUNN Come on, you know this one.
CHILD / ZACH The outer core.
GUNN And under that?
ZACH The inner core.
GUNN Under that?
ZACH Underneath that... nothing.
GUNN Just the soft, chewy center.
ZACH Ha ha.
TRISH Hey, hon?(Gunn looks over at her) Oven
light just went out. I need a bulb from the cellar.
GUNN (looks away) Uh, there should be some in the hall
closet.
TRISH Just regular ones. Little ones are downstairs.
GUNN (acts nervous, looks at the child) Zach's about
to fill me in on the lithosphere.
TRISH (walks over to Gunn, puts her hand on his shoulder
insistently) I kinda need it now.(Gunn hesitates, casts a
nervous glance)
Fade to black.