Home Transcript
Written By: Tim Minear
Directed By: Tim Minear
This episode originally aired on May 7, 2003
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CONNOR (V.O.) Previously on Angel:
1 INT. HOTEL / ANGEL INVESTIGATIONS - NIGHT Angel laughs as he realizes his fate.
ANGEL I'm gonna have a son.
Cut to:
2 EXT. ALLEY IN LOS ANGELES - NIGHT It's raining and a very pregnant Darla is lying down in the street. Angel is with her.
DARLA (looks into Angel's eyes) This child is the one good thing we ever did together.
Darla stakes herself. Although she dusts, the baby inside her remains intact and lies squirming in the street. Angel stares at him in shock.
Cut to:
3 EXT. ALLEY IN LOS ANGELES - NIGHT Holtz is pointing a crossbow at Angel.
LILAH (V.O.) Daniel Holtz.
Cut to:
4 EXT. ALLEY IN LOS ANGELES - NIGHT Holtz carries Angel's baby boy through a portal into another dimension.
LORNE (V.O.) He's taken the baby away, for good.
Cut to:
5 INT. ELEVATOR AT WOLFRAM & HART - NIGHT Angel stands beside a lawyer for Wolfram & Hart.
LAWYER Wolfram & Hart. Our firm has always been here. We go on...no matter what.
Cut to:
6 INT. WESLEY'S APARTMENT - NIGHT Lilah and Wesley cuddle after making love, writhing in the ecstasy and satisfaction of the moment.
LILAH That didn't suck.
Cut to:
7 INT. CORRIDOR IN HOTEL/ANGEL INVESTIGATIONS Angelus is standing, holding Lilah's body in his arms, feeding from her neck wound. He drops Lilah's body. Wesley stares at Lilah's body and her bloody neck wound.
CONNOR We have to destroy her. She could have been turned.
Cut to:
8 INT. BASEMENT AT HOTEL / ANGEL INVESTIGATIONS Wesley stands staring at Lilah's corpse. Lilah's apparition stands behind him.
WESLEY (lifts the battle-axe) I'm sorry, Lilah.
Wesley swings the axe, cutting across her neck. When he pulls it back, it's got blood on its edge. He cries.
Cut to:
9 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT A young man drops into the lobby from a portal to another dimension. He points a weapon designed to shoot stakes at Angel, then smirks menacingly.
ANGEL Connor.
CONNOR Hi, Dad.
Cut to:
10 INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are standing next to each other, looking out the window at a shaft of fire that's shooting straight up into a red circular cloud in the sky right over downtown. The column of fire is sucked up into the cloud where it disappears and the clouds close. Still glowing, the clouds now rain tiny fireballs all over the city. They stare in disbelief.
CORDELIA (touching Connor's face tenderly) You never had a childhood, or a family, or anything that's real—I want you to have something that is.
Cut to:
11 INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are in bed together, making love. Lying on top of Cordelia, Connor kisses her tenderly amid gentle undulations under the sheets.
Cut to:
12 INT. BANQUET HALL AT HOTEL / ANGEL INVESTIGATIONS - DAY Connor walks into the banquet hall teeming with people in various stages of undress. He walks purposefully toward Jasmine who's talking to some of her followers.
JASMINE Cordelia.
CONNOR What did you do with her?
JASMINE She's exactly where I need her to be.
Cut to:
13 INT. CATHEDRAL - DAY Connor is standing beside the person laid out on the altar, talking softly to Cordelia who's laid out on the table, draped in see-through white tulle fabric.
CONNOR I know she's a lie. Jasmine. My whole life's been built on them. I guess I thought this one was better than the others.
Cut to:
14 EXT. BRIDGE - NIGHT Connor has come to the bridge where Angel and Jasmine were fighting. Jasmine stands beside Connor, touching his shoulder. Angel's panting, weakly, staring at them.
JASMINE You still love me?
CONNOR Yes. (punches Jasmine in the head so hard that his fist goes right through her skull)
Jasmine falls to the ground, dead. Connor looks at her body, saddened. Connor runs off.
Cut to:
15 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Weakly, Angel stumbles in through the front door. The rest of the gang is in the office. When they hear him come in, they all go out to the lobby.
ANGEL Jasmine's dead. (sits) Connor killed her. He's just...given up. I think he's gonna do something. You know, he might—
LILAH End world peace? (Angel looks over to see her standing in the office doorway) Well, you already took care of that. Congratulations.
Fade to black.
The Start Of Episode
Prologue:
16 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Resume. Lilah has shown herself to Angel and the others.
ANGEL (stands) Lilah.
LILAH Angel. What's the matter, ace? (walks into the lobby) Didn't think you were the only one that ever got to come back from hell around here, did ya? (clears throat) Speaking of which, could I possibly get some ice water?
ANGEL What are you doing here, Lilah?
WESLEY She's not here. It's not her. It can't be.
LILAH There's a signed dollar in your wallet that says different.
WESLEY (looks hurt, walks away) It's a lie.
LILAH Lah. It's a Lilah. (sighs, crosses arms; to Angel) You're the one with the preternatural senses. You tell him.
ANGEL It's true, Wes. It's her.
FRED But how? She was dead.
ANGEL She's still dead.
GUNN Vampire?
LILAH (cringes) Eww, please. Angelus drank from me, it's true, but like with most men, it was a one-way street. I was dead already. Besides, my Wesley made sure I'd be spared, (pulls down the scarf that covered her neck revealing a straight red scar across her neck) just in case. It's OK, lover. I never felt a thing.
WESLEY I'm sure that's true. (Lilah covers her wound again with her scarf)
GUNN I don't get this. If she ain't alive, and she ain't a vampire, what in the hell is she?
LILAH I'm just a messenger. That's all. They'll be sending me straight back to hell once I'm finished here.
GUNN Who's "they"?
ANGEL Wolfram & Hart. The contract she signed with them extends beyond her death.
LILAH Standard perpetuity clause, I'm afraid. Always read the fine print.
ANGEL What's your game, Lilah?
LILAH No game. (shrugs) In fact, game over. (sits) Guess what? You win, which is why I'm here. I have been authorized to make you kids an offer.
FRED (scoffs) You can't possibly think there's anything we'd want from you.
LILAH I don't think you'll want it, but you'll take it, because this is the offer of a lifetime. (beat) Just not, you know...mine.
Fade to black.
Opening credits.
ACT I:
17 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT As Lilah sits on the couch, the AI team stares at her. They all seem uncomfortable, each rearranging and shifting as they ponder whatever it is Lilah told them. They look at her, at each other, at no one. Finally, Gunn breaks the ice.
GUNN You want to run that by us one more time?
LILAH What was unclear?
FRED I think the part where you offered us Wolfram & Hart.
LILAH Just the L.A. Branch.
LORNE (chuckles) "Just the L.A. Branch." (stands, irritated) Hi, from another dimension, what the hell does that mean?
LILAH Means we give. You win. We're moving out. The senior partners are ceding this territory to you, and to prove it, they want to give you controlling interest in our L.A. Office. You get the building, assets, personnel, letterhead, paper clips, all of it. It's yours to do with as you see fit.
FRED But there is no Los Angeles office of Wolfram & Hart. The beast destroyed it.
LILAH Oh, it's back, restaffed and zombie-free. We're bigger, better, and shinier than ever, and we want to give it to you.
GUNN You want to give us your evil law firm? We ain't lawyers.
FRED Or evil. (beat) Currently.
LILAH (stands) What we're offering you is a turnkey, state-of-the-art, multi-tasking operation. What you do with it, well, (crosses her arms) that's up to you.
ANGEL Why?
LILAH Well, I thought that was obvious. You earned it. Think of it as a reward.
GUNN Reward for what?
LILAH Ending world peace.
FRED That's not what happened.
LILAH No?
WESLEY Jasmine was creating a slave state.
LILAH Right, where the slaves are full of giggly joy and love. Ugh, what a nightmare.
ANGEL She was eating people.
LILAH They knew what they were getting into.
LORNE Her stomach?
LILAH World peace comes at a price. Jasmine understood that. She consumed, what? Couple dozen souls a day? Now weigh that against ending the suffering of millions, (grins widely) but you fixed that.
FRED No, we didn't. I—I mean, we did, we—we fixed it, but not in the way that you're trying to make it sound.
LILAH Jeez, it's not like it was a criticism. Anyway, I'm dead and running late. (walks toward the door) Think about our proposal. If anyone's interested and wants the grand tour, there'll be a limo waiting outside just before dawn, (stops, turns toward the lobby) and hey... good job. (walks out the door)
FRED (annoyed) We ended a nefarious global domination scheme, not world peace... (looks at the others) right?
Cut to:
18 EXT. STREET IN LOS ANGELES - NIGHT Connor walks through the streets as sirens blare. It's chaotic tonight, unlike how things were before Jasmine's spell was broken. Connor stops and looks up to see a man pacing on the roof of a tall building beside him.
Cut to:
19 EXT. ROOFTOP OF BUILDING - NIGHT Connor approaches the man who's pacing near the edge of the roof. The man is muttering to himself. He's some kind of police or security officer.
CONNOR Hey. You OK?
COP (holding his gun like it was a teddy bear, pacing) I lost something. Something I need. I can't find it. (yells) I can't find it!
CONNOR I know. It's OK.
COP You can help me look.
CONNOR (sadly) I don't think I can. I think it's gone.
The man looks at his gun as he holds it in both hands, then he starts to point it at himself. Connor runs up to him and stops him.
CONNOR Hey. You don't want to do that. What you're feeling right now won't last. Let's just put this away, OK? That's right. (takes gun away from the man) There you go. Listen. You're gonna go home, and you're not gonna do anything stupid, OK?
COP Home?
CONNOR (pats the man on the back) Yeah, you got one, don't you?
COP Yeah, yeah, got one. (takes out his wallet, shows pictures) Look. That's Sarah, and that's Jill. That's my home right there, right there.
CONNOR That's your family. (irritated) That's your family, and you were just gonna leave them like that? How were they gonna feel if you didn't come back?
COP I don't know.
CONNOR You don't know? (yells) You have to know that!
COP I'm sorry. I wasn't thinking.
CONNOR (starts to walk away, but stops and punches the man, knocking him down) You were gonna leave 'em, huh? (stands over him, punching the man again) Think about this! (punch) Think about this! (punch) Huh? (punch) Huh?
Cut to:
20 INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Wesley is sitting behind the desk leaning over it inspecting a map. Gunn walks into the room.
WESLEY Angel's battle with Jasmine took place here. She was moving east, probably towards Cordelia. If we find Connor, I suspect we'll find her as well.
GUNN (sits across from him leaning back in a chair) Kid needs a leash if you ask me.
WESLEY We work outward in an ever-expanding perimeter.
GUNN Ever-expanding perimeter? That won't take weeks.
WESLEY (puts down his pencil, looks up at Gunn) You've another idea, I'm ready to hear it.
GUNN Can't help thinking it might cut down on the work load some if we got a little help, a few extra employees, or a turnkey, state-of-the-art, multi-tasking operation.
WESLEY (leans back in his chair) You can't possibly think that's an option.
GUNN Well, now I know it's an option, 'cause I was standing there when the dead lady offered it to us. (leans forward) Come on, Wes, how long are you gonna be satisfied, sitting there sticking pins in maps and blowing dust off your books? (sighs, leans back) Sorry, man. I shouldn't have said it like that.
WESLEY (looks away) No, no, no. They are rather dusty.
GUNN That's not what I meant. Couldn't have been easy for you seeing Lilah again like that.
WESLEY Oh, yes. That was awkward, wasn't it? You decapitate a loved one, you don't expect them to come visiting. (picks up a pen and leans over his map again)
GUNN Loved one?
WESLEY Figure of speech.
Cut to:
21 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Angel looks up as Lorne walks in through the front door. Angel's changing his shirt, and Fred's also in the room. Wesley and Gunn walk into the lobby from the office.
ANGEL You're back. Anything?
LORNE Oh, plenty. (shrugs) Just not any on Connor or Cordelia. I'm not saying we ended world peace or anything, kids, but, uh, it's a mess out there, and considering the banner year we've had, that's up against some pretty stiff competition.
ANGEL (to Wesley) What do you got?
WESLEY Not much more than you left me with, I'm afraid. Truth is, if Connor doesn't want to be found—
ANGEL We'll find him. We won't stop until we find them both. We'll do whatever it takes.
GUNN Ok, well, don't you think maybe we should consider—
ANGEL (snaps at him) Consider what, Gunn? What should we consider?
GUNN (backs off) Working outward in an ever-expanding perimeter.
ANGEL You want to get into that limo when it gets here? That's up to you. (turns to grab his coat) It's not a decision I can make for you, for any of you, but know this: Before the ride's even over, before you even cross through their doors, you'll be corrupted. (walks toward the door)
WESLEY Where are you heading off to?
ANGEL I'm gonna go find my son, see if I can get lucky, pick up his trail. (walks out the door)
FRED I can't believe he thought you meant—
GUNN I'm going to bed. (walks away)
WESLEY Yes, I should be heading home myself. It's late. (looks around) Well... night all. (walks out)
LORNE Night.
FRED (watches Wesley leave) Good night.
Cut to:
22 INT. HOTEL / ANGEL INVESTIGATIONS - NIGHT Fred sneaks out of her room late at night. The halls are empty. She walks quietly down the front stairs into the empty lobby. She walks out the front door.
Cut to:
23 EXT. GARDEN AT HOTEL / ANGEL INVESTIGATIONS - PRE-DAWN Fred walks through the garden, rearranging her shoe on the way. She stops in her tracks when she sees the limousine. Wesley starts speaking, and Fred turns to see that he is standing beside her.
WESLEY I don't know how long it's been here. Since before I arrived.
FRED (guiltily) I thought I'd be the only one.
WESLEY I thought for sure I wouldn't be, although I wasn't expecting it to be you.
FRED I just figured...well, if they are up to something—
GUNN (walks up to them from the shadows) We should know what it is. I get that.
WESLEY Well, we three.
GUNN Looks like.
WESLEY What are the odds the humans would be the most corruptible?
FRED (walks toward the car, the others follow) Maybe we should just go back inside. What if Angel's right?
GUNN Yeah, but what if he's not? All we're gonna do is take the tour.
WESLEY Hmm. We go into this with our eyes open and our wits about us. There shouldn't be any—
ANGEL Surprises? (the others turn to see Angel was lurking by the wall just in front of the limo) What the hell. (goes to the car, opens the door for the others—but Lorne is already inside)
LORNE (listening to dance music, talking to the driver) So it's an evil limo. I get that, but does that mean we don't restock the cherries? (laughs, looks around, notices the others) Hi.
Cut to:
24 INT. LOBBY AT WOLFRAM & HART - DAWN The elevator bell rings. Angel, Fred, Lorne, Wesley and Gunn walk off the elevator into the lobby. They look around to see a bustling office. There's a big "W&H" sign in the lobby.
FEMALE LAWYER Mr. Angel, good morning.
MALE LAWYER Good morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Good morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
ANGEL (to the others) There's no way this is gonna go well. (looking around)
MALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Herr Angel, welcome.
MALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Mr. Angel, greetings.
MALE LAWYER Hello, Mr. Angel.
FEMALE LAWYER Mr. Angel, good morning.
MALE LAWYER Mr. Angel, sir, good to see you.
MALE LAWYER Good morning, sir.
Fade to black.
ACT II:
25 INT. LOBBY AT WOLFRAM & HART - DAY A team of five people, headed by Lilah, walks purposefully toward Angel and crew.
LILAH Well, you've all made it. What a shock. We've got a lot of ground to cover, so best we get started. Let me introduce you to your guides.
ANGEL Guides? Separate guides?
LILAH Of course. There are 5 of you, all with specific interests, unique areas of expertise. Seemed the most efficient way of doing this. Prioritize and personalize.
ANGEL (smirks) Divide and conquer, you mean.
LILAH Oh, you're so cynical. See? (smiles) This is gonna work out great.
ANGEL We don't split up. We came here together, we're gonna take the tour together. Right, guys?
GUNN (looks at one of the people Lilah brought with her) Do I get her?
LILAH Look, if we wanted to harm you, we'd have blown up the limo, right? (a man wheels in a car of guns) If you prefer to be armed during your stay here, we'd have no objections. Just because we've tried to kill or corrupt each and every one of you at one time or another doesn't mean we can't be trusted.
WESLEY She's right. We've made deals with them before. They are honorable in their way. I doubt we'll be in any danger.
LORNE She was right about the limo.
GUNN (still staring at the girl) Do I get her?
FRED (picks up a large automatic gun from the cart, cocks it) I think we'll be OK.
LILAH Lorne, Preston will show you around our entertainment division.
A short young man in a suit and a purple shirt walks up to Lorne, offering to shake hands.
PRESTON Hi, big fan. Huge. Love your work. (Lorne shakes his hand) I had this prepared. Confidential list. Peepers only. Thought you might want to take a gander at our roster. (opens the book) Just a rundown of some of the talent we represent here.
LORNE Uh, no, no, no, no. I don't think you have to tell me what you represent here, young man. I know. Evil. Pure evil in the— (Preston flips through the pages of the book, catching Lorne's attention) Huh. Which is also apparently everyone I've always wanted to meet. (laughs)
PRESTON Follow me. (Lorne and Preston walk out of the lobby)
LILAH Wesley Wyndam-Pryce, Rutherford Sirk. (Wesley and Sirk shake hands) I think you'll find you two have a lot in common.
Sirk is a tall, slender, middle-aged man dressed conservatively. He speaks with a British accent.
SIRK It's a pleasure. Shall we? (walks away)
Wesley stares at Lilah, but after a moment, follows Sirk out of the lobby.
LILAH Charles Gunn, Lacey Shepard. (presents the young woman Gunn has been staring at) I think you'll find you two have nothing in common. (Gunn takes her hand and smiles)
LACEY This way, Chuck.
GUNN You're not gonna try to corrupt me, are you?
LACEY Wouldn't dream of it.
GUNN We'll have to work on that. (they walk out of the lobby)
LILAH Knox, Fred Burkle.
Lilah presents a man wearing a white lab coat.
FRED (smiles cordially, tries to offer her hand to him, but the large gun she's holding makes it awkward; she giggles) Hi.
LILAH Knox is the star of our science division.
FRED Oh!
KNOX Oh. Uh.
FRED Oh, nice to meet you.
KNOX You, too, um. Well, this, um, should be...fun.
FRED Yeah. (holds her gun in front of her and follows Knox out of the lobby)
ANGEL Well...(chuckles) What do you know?
LILAH Yep, just you and me, boss. Come on, Charlie. Let me show you around the chocolate factory.
Cut to:
26 INT. HALLWAY AT WOLFRAM & HART - DAY Gunn looks around the building as he and Lacey walk across a bridge over the lobby.
GUNN Pretty slick.
LACEY What is?
GUNN You know, giving each of us our own little tour. It's a good way to isolate Angel.
LACEY Is that what we're doing? (they walk in front of a bunch of cubicle offices)
GUNN Well, it'd be a big coup bringing Angel over to the dark side. Vampire with a soul, champion. It's gonna look good on anyone's letterhead.
LACEY Why do you assume Angel is our priority?
GUNN You telling me he isn't?
LACEY A priority. Though you each possess gifts we feel would be useful.
GUNN Well, I see what the others got, Fred's big brain, Wes' training, Lorne's mind-reading thing. Guess I just don't know what you guys expect me to do around... (sees the office labeled "SECURITY") here. Though I think maybe I'm starting to figure it out. Yeah, bet I'd look real smart in one of them blazers.
LACEY (smiles) Oh, I'm sure you would, but we have much grander plans for you, Mr. Gunn.
GUNN (interested) You do? Grander?
LACEY Let's go upstairs.
Cut to:
27 INT. HALLWAY AT WOLFRAM & HART - DAY Fred and Knox talk as they walk down a less glitzy hallway that's more white with fewer windows than Gunn's tour.
FRED So are you a lawyer? Uh, you don't look like a lawyer.
KNOX No, I'm strictly R & D. Although, occasionally, some D & D. D & D, Dungeons and...We actually have a dungeon. I can show it to you later if— um, I manage the science division.
FRED (smiles) Seem pretty young to be a head of a whole science division.
KNOX Oh, I—I'm not the head. I—I just manage it for the department head, which, I guess, you know, would be you.
FRED (her eyes widen) Wait. I, uh—
Knox leads Fred inside a locked room. It's a huge laboratory, fully staffed and fully equipped. People are doing chemical experiments, medical, animal and others as well. Fred gasps as she takes it all in.
FRED Wow.
KNOX I know. Everything modern technology has to offer, right at your fingertips. Everything's state of the art, cutting edge. (Fred picks up a handheld computer that was lying on the desk) That's one of my creations. (smiles)
FRED You might want to get out of the lab more. Personal organizers have been around for a while. I—I mean, (shrugs) not that it's not a nice Palm Pilot.
KNOX (opens the computer) Yeah, I'll bet your buddy Matthew Partney at 6200 Crestwood Boulevard in Lubbock, Texas, would agree. (shows Fred the display)
FRED Hey, how'd you know about Matt?
KNOX Hacks into any electronic device within 100 yards. I—I patched in to your cell phone's address book.
FRED You're like the— the MacGyver of Wolfram & Hart.
KNOX (chuckles) You're not wrong. I can make practically anything out of a— a fully equipped, multi-million dollar lab.
Cut to:
28 INT. READING ROOM AT WOLFRAM & HART - DAY Sirk leads Wesley into a wood-paneled room with a table in the center upon which 3 dozen or so leather-bound books are lined up, neatly arranged in a row.
SIRK Our ancient prophecies wing.
WESLEY (unimpressed) Looks as if your wing's been clipped.
SIRK Appearances can be deceiving. It's actually the most comprehensive collection of prophecy archives to be found anywhere. Choose something to read. Go on, anything at all. (leans on the books) Something rare.
WESLEY All right. The Devandire Sibylline Codex.
SIRK Translated or Sanskrit?
WESLEY Surprise me.
SIRK I'm sure I will. (picks up a large, heavy book and whispers to it) Devandire Codex, Sanskrit. (hands the book to Wesley; when he opens it, the blank pages magically fill themselves with text) The, uh, template you're holding provides access to anything stored in the firm's locked archives relating to prophecies, omens, revelations and so on.
WESLEY Impressive. And does the Watcher's Council know you stole the only known copy of the codex when you left?
SIRK There is no council.
WESLEY (flips through the book) Not anymore, no. So you opted to, what, uh, play for the other side? Cross the line?
SIRK These are complicated times. Lines become blurry. How did you know?
WESLEY Something about Watchers and—(punches Sirk, knocking him out) libraries.
Wesley looks around at the ceiling, then shoots a cable into the ceiling from a wrist jig he's wearing, triggering it to lift him up automatically.
Cut to:
29 INT. WOLFRAM & HART - DAY Lilah and Angel walk down the hall together toward a large office.
LILAH (in the hallway) Money, clothes, women. Did I mention we have a juice bar?
ANGEL (in the hallway) This is what you came back from the dead for? To play "Let's Make an Evil Deal"?
LILAH Show him what's behind door number one, Bob. (opens the doors to the office; Angel follows her in) I know it's not much, but the Taj Mahal was a bit of a commute.
ANGEL Hmm, what, am I supposed to swoon? It's an office.
LILAH (gestures like a spokesmodel) With your own private elevator. Care to take it for a spin?
ANGEL What's it gonna do, huh? Drop me in a vat of holy water?
LILAH I was pushing for that, but they went with the motor pool. Figured you'd like to stay mobile, what with all that rushing out to save the day you're so fond of.
ANGEL (smirks) Thanks, but I already have a car.
LILAH Now you have 12.
ANGEL What am I gonna do with 12 cars?
LILAH Anything you want. That's the point, or haven't you been listening?
ANGEL I have, and, uh, I'm done now.
LILAH Wait, I forgot to show you the best part. (presses a button)You're gonna love this. (the window shades slide open letting light pour into the room through a wall full of windows)
ANGEL (instinctively puts his hands to his face, then realizes...) I'm not bursting into flames.
LILAH Nope. (taps on the glass) Necro-tempered glass. The whole building's fitted with it. Helps keep those uplifting, wholesome rays from charbroilin' the boss, and 30% more energy efficient. (Angel basks in the light) Feels even better when you're naked. I could turn around.
ANGEL Close it.
LILAH Promise I won't peek. Well, maybe just a skosh.
ANGEL Close it, Lilah.
LILAH (sighs, picks up the remote, closes the shades) Good-bye, Mr. Sunshine. Hello, gloomy avenger.
ANGEL Make that good-bye. I'm not taking the job.
LILAH It's not a job. It's an opportunity.
ANGEL Ooh, an opportunity to be part of the problem.
LILAH If that's what you choose.
ANGEL Really don't.
LILAH Again, your choice. Think of what you can do with the resources of Wolfram & Hart at your fingertips, the difference that would make. Nothing in this world is the way it ought to be. It's harsh, and it's cruel, but that's why there's you, Angel. You live as if the world were as it should be. With all this, you can make it that way. People don't need an unyielding champion. They need a man who knows the value of compromise and how to beat the system from inside the belly of the beast.
ANGEL The beast's belly? Doesn't that usually mean you've been eaten?
LILAH (smiles) Maybe. While you've been namby-pambying around for the past 90 seconds, 6 innocent people have died. Oh, but don't worry. There's always 6,000 more just around the corner or up the coast. (hands Angel a file)
ANGEL (opens the file, reads) Sunnydale. (takes out an amulet from the file)
LILAH That nifty, little bauble comes with the file. Apparently, it's crucial for some kind of final battle. Guess they're in short supply up Sunnydale way. A bit gauche for my taste, but, hey, not a slayer.
ANGEL (puts the amulet back in the file; throws it on the table) Buffy can handle herself.
LILAH But isn't it more fun when you handle her?
ANGEL Keep the intel. Not interested. (walks toward the door)
LILAH Not in this case. So how about open homicide? Missing persons? (Angel stops walking) Mmm, I knew there had to be a reason you took the tour. Dead, not stupid.
ANGEL What do you know?
LILAH About where Cordelia and your son are? Not a thing, but you could find out in about 10 seconds. All you gotta do is pick up the phone, boss. (picks up the phone, hands it to Angel)
ANGEL (puts down the phone) I'm sorry what happened to you, Lilah. I really am. Me and my friends will be leaving now.
The telephone rings. Lilah answers it. Angel sighs.
LILAH (to phone) Yes? Of course. (hangs up) The senior partners would like you to test all the amenities before you make your decision. (presses a remote control button, revealing a television that's playing a news report)
ANGEL Cool! Is that high-def?
REPORTER evacuated and bomb units have been called to the scene where police say more than a dozen promenade shoppers are being held hostage at this hour. Police are trying to identify the suspect from these security camera pictures. (the footage shows Connor on the screen; Angel walks closer to the television for a better look) So far, no motive is known for the siege, and the suspect has refused to speak with law enforcement officials. We'll keep you updated as this intense drama unfolds.
LILAH Wow, really does have your eyes, doesn't he?
Fade to black.
ACT III:
30 INT. WOLFRAM & HART - DAY Resume. Angel sees Connor on the television news report. Angel grabs Lilah by the throat and pushes her up against the wall angrily.
LILAH Watch the head. It comes off kind of easy.
ANGEL (through gritted teeth) You set this whole thing up.
LILAH Been a little busy with the being dead.
ANGEL You, the senior partners, whoever. Get 'em on the phone and make it stop (low) now.
LILAH Love to, except for the part where we didn't have anything to do with—
ANGEL But you know who did.
LILAH Yeah, I'm looking at him. You're the one who raised him or didn't. (Angel lets her go; Lilah clears throat) Can't imagine how the kid turned out postal.
ANGEL You don't know a thing about Connor, huh. Let's keep it that way. (walks toward the door)
LILAH One time offer only, Angel. Walk out that door, deal's off. Stay, and it's all yours.
ANGEL People like you, this place, that's what's wrong with the world, Lilah. I will never be a part of this. (sighs, stares at the image of Connor on the screen) Not the way you're hoping. (walks up to Lilah) Now let me tell you what the deal's gonna be.
Cut to:
31 INT. ELEVATOR AT WOLFRAM & HART - DAY Gunn and Lacey are riding in the elevator with cheezy elevator music playing in the background.
GUNN (chuckles) This is the longest damn elevator ride I ever took. How big is this place?
LACEY (looks at her watch, then at Gunn) It's time.
GUNN Time for what?
The buttons for several floors are lit, but another button magically appears above them. Lacey presses the button.
GUNN Oh, no. Hey, we better not be going where I think we're going.
LACEY The answers you seek lie within the room.
GUNN Only thing I seek is the lobby. (presses the lobby button repeatedly) Already rubbed elbows with Little Miss Muffet once. Don't need a repeat with her replacement, and here I am thinking I'm getting seduced. Well, I'm getting screwed all...
Fade to white.
32 INT. WHITE ROOM - DAY Gunn finds himself in a large empty white room. He looks around, apprehensive.
GUNN Right. Come on, you got the wrong guy in here. This room's for the big— (turns toward a growling sound in the distance) Cats. (a black panther walks toward him) Think I preferred the little girl.
The black panther walks slowly toward Gunn, then stops and stands in front of him, looking up into his eyes. Gunn bends to look into the cat's eyes and sees his own reflection in them. Gunn smiles. The panther roars.
Cut to:
33 INT. JACKSON'S SPORTING GOODS - DAY The police have surrounded the sporting goods store with cars and helicopters. Inside, People are sitting on the floor, wired to a makeshift explosive device fashioned from propane canisters taped to each person's chest. One man is sitting with his arm around a little girl who's crying uncontrollably.
MAN (whispering to the girl) Shut up. Shut up. You've got to—
CONNOR (leaps down to yell at the man) Hey! I told you to be nice.
MAN (leans back, frightened) I'm sorry.
CONNOR You're not holding her right. Why don't you hold her right?
MAN I think you broke my arm.
CONNOR Do it right.
MAN (painfully puts his arm around the girl) Shh, shh. It's gonna be OK. It's gonna be OK.
Connor stands and walks over to a stash of car batteries and checks that the people's wires are attached. Then he pauses.
CONNOR You got in. (stands) I thought you might.
Pan out to show Angel is standing on the balcony of the upstairs section of the store. He leaps down to the main level where Connor and his hostages are.
Cut to:
34 INT. RECORDS ROOM AT WOLFRAM & HART - DAY Someone drops down from the ceiling—it's Wesley. He punches out a man standing in the records room. There's rows and rows of filing cabinets and document boxes. Wesley hurriedly moves down to the section he's interested in, inspecting the labels on the cabinets until finally he opens the drawer he wants.
LILAH (steps out from behind a row of cabinets) I was wondering how long it'd take you to get here.
WESLEY (looks over then stands straight) How'd I do?
LILAH A little slower than I would have thought... but then you always did like to take your time. So you finally made it. Got behind the facade, and here it is, every dirty, little scheme. (walks toward him) Every secret, all that evil, great and small. Just imagine what you could accomplish with that kind of information.
WESLEY You wanted me to see this. You knew I'd—
LILAH Die Hard your way up here? Come on, Wes. Who knows you better than me?
WESLEY (looks at her) Perhaps you don't know me as well as you think. (goes back to the files)
LILAH What are you doing, Wesley?
WESLEY (takes a piece of paper out of the files) Standard perpetuity clause. (holds up the paper for Lilah to see)
LILAH You broke in here for my contract?
WESLEY (takes out a lighter) I'm here to release you from it.
LILAH Wesley.
WESLEY You've suffered enough. (lights the paper) I want you to find some peace. (watches it burn)
LILAH Gallant to the end...but I knew what I signed up for.
WESLEY It's done.
LILAH Look in the drawer. (Wesley opens the drawer, takes out a paper from the same file) Flames wouldn't be eternal if they actually consumed anything. (Wesley looks heartbroken) But it means something that you tried.
Cut to:
35 INT. JACKSON'S SPORTING GOODS - DAY Angel walks cautiously through the apparel toward Connor.
ANGEL Connor? Son?
There's an explosion behind Angel. He jumps, startled. The hostages start crying and whimpering. Connor remains eerily calm and unaffected.
CONNOR You might not want to move. Everyone's rigged. Can't save 'em all, dad. Don't know who's gonna be first. Could be any one of 'em. (stands, revealing he's wired too) Could be me. (steps away, points to an unconscious Cordelia on the floor, also wired) Could be her.
Fade to black
ACT IV:
36 INT. JACKSON'S SPORTING GOODS - DAY Resume. Cordelia is wired to a makeshift explosive device fashioned by Cordelia. Angel stares shocked and frozen with fear for a moment.
ANGEL Son...you have to listen to me. This is about Jasmine.
CONNOR Jasmine's gone.
ANGEL I know. We all felt it, that perfect love, then when you had to give it up—
CONNOR (in a violent outburst, pushes items off a nearby table) I didn't feel anything! I can't feel anything. (scoffs) I guess I really am your son... 'cause I'm dead, too.
ANGEL (starts walking toward Connor) You're not dead. You're just starting your life and—
CONNOR No, you just weren't there before!
ANGEL (tears well up in his eyes) I know. I'm so—
CONNOR (yelling angrily) Do not say you're sorry! Doesn't fix anything.
ANGEL Ok, look, let me say this. I love you, son.
CONNOR It's a lie.
ANGEL It's not.
CONNOR (hangs his head) It's always a lie. (softly) My dead mother couldn't even love me.
ANGEL You're wrong. She did.
CONNOR No. (shakes her head) No. She knew she couldn't.
ANGEL She sacrificed herself because she loved you.
CONNOR You tried to love me. At least I think you did.
ANGEL I still do.
CONNOR But not enough to hang on, dad. (glares at Angel)You let him take me. You let him get me. You let him get me. (turns to face Cordelia) Cordy... you swore you loved me. Where are you now?
ANGEL (inches toward Connor; softly) Connor... you have to believe that there are people who love you.
CONNOR Jasmine believed you when you said you loved her, but it was all a lie.
ANGEL Jasmine was the lie.
CONNOR (yelling) No! She knew if you found out who she really was that you'd turn against her, and she was right. That's just what happened. People like you. People like this. None of you deserve what she could give you. (sighs) She wanted to give you everything.
ANGEL I know how that feels. 'Cause I want to give you everything. I want to take back the mistakes, help you start over.
CONNOR We can't start over.
ANGEL We can. I mean, we can change things.
CONNOR There's only one thing that ever changes anything... and that's death. (Angel starts to cry) Everything else is just a lie. (cries) You can't be saved by a lie. You can't be saved at all. (looks down at his explosive and starts to activate it)
Before Connor can harm himself or others, Angel punches him in the chin, sending his head back and pulls out the wire. Connor and Angel start to fight. Connor hits Angel in the head with a weight, then grabs a baseball bat—he swings at Angel and misses. Angel grabs a bowling ball and punches Connor in the face with it. Connor punches back, but Angel grabs him and throws him across the room into a wall. Connor falls to the floor. Angel helps the hostages undo their restraints and unwire themselves.
ANGEL Run. Hurry. All of you. Go.
The hostages leave. Connor stands up and goes to attack Angel again. They fight with fists and kicks. Connor throws Angel across the room, then starts walking toward Cordelia—the only remaining hostage. Angel sees this and smashes a display case containing hunting knives. He takes a knife and hurls it across the room, landing it in Connor's thigh before he reaches Cordelia. Connor falls to the ground, still trying to crawl to her. Angel pulls the knife out of Connor's leg, pulls Connor off of her, and pushes his back to the ground.
ANGEL (hovering over Connor, holding the knife) I really do love you, Connor.
CONNOR (low) So what are you gonna do about it?
ANGEL Prove it.
Angel sweeps down his knife hand and swipes the blade across Connor's throat.
Fade to white.
37 INT. LOBBY AT WOLFRAM & HART - DAY Fade in on the lobby of Wolfram & Hart. Lorne is singing and dancing with himself.
LORNE (singing) Could be...who knows? There's something due any day I will know right away soon as it shows (Fred walks into the lobby) It may come cannonballin' down from the sky gleaming inside... Welcome back, Fred (talking, hugs her) Hi. Hey. (starts dancing with her) Oh, well, let me tell you, when this cruise ship sets sail, I will be on the Lido deck. (chuckles) You know, I mean, it's unbelievable. Secrets of the universe, like Siegfried, evil; Roy, not so much. Oh, and balance? Very, very important. (spins Fred out, and she bumps into Wesley)
FRED Uh, heh—ooh! Uh... guess we're all straggling back, some more straggly-like than others. Are you—?
WESLEY Just, uh... a lot to take in.
The elevator bell rings, Gunn steps out.
FRED You look... did they make you taller?
GUNN I'm doing this. Hope it's not just me, but if it is, that's all right, too.
WESLEY As much as it pains me to admit it, there's probably a great deal we could accomplish with the resources available here.
FRED (looks at Wesley) I can't believe it. Are—are you saying we should take the deal?
ANGEL I already took it.
FRED Angel, what—what?
WESLEY You took the deal?
ANGEL Executive decision.
WESLEY I didn't think you'd—
LILAH Know a silver platter when he's handed one? I'm impressed with the lot of you. Team Angel, all growed up.
ANGEL (whispers) Is it taken care of?
LILAH Cordelia's safe and sound, probably getting a manicure and a blow dry as we speak.
FRED You found Cordy? And she's—
LILAH Still in a coma. But hey, it doesn't mean she can't look her best. (to Angel) She'll receive the finest care, medical and metaphysical. If there is a way to get her back, we'll find it.
ANGEL Good. (whispers) Just one more piece of business. I got to see him.
LILAH I'm sorry, Angel, but that wasn't part of the deal.
ANGEL Value of compromise. Remember, Lilah? I need to see him.
LILAH You're the boss. (hands Angel the file and amulet) There'll be a limo waiting outside. It'll take you to see Connor.
ANGEL (softly) Thank you. (walks out the door)
FRED (watches Angel leave) Who's Connor?
Cut to:
38 EXT. CALIFORNIA HIGHWAY - DAY A limousine drives down a highway through the mountains. It drives on until it's dark outside. The car pulls up outside a house, and Angel gets out. He walks up to a window and peers in at the family inside.
Cut to:
39 INT. FAMILY DINNER AT SOMEONE'S HOUSE - NIGHT In a warmly lit dining room, a family is sitting at dinner having a conversation.
CONNOR You just opened up a whole bottle for yourself, didn't you? (laughter)
DAD I'm just saying, you know, you've got your pick. Any college you want to.
CONNOR It's really not a big deal.
MOM Top tenth percentile is a big deal.
AUNT Are you and Tracy gonna try and go to the same college?
DAD Oh, bad idea.
CONNOR We haven't really talked about it.
DAD (shakes head) No, I love Tracy. I'm just saying it's a bad way to go.
SISTER Tracy's a vegan.
MOM So? At least she doesn't live on pop tarts.
CONNOR You know, maybe I'll go to school overseas, like Russia. Is there anything further away than Russia?
MOM Don't you even joke about it.
DAD I feel a toast coming on.
CONNOR Gee, big surprise.
MOM There he goes.
DAD To the top tenth percentile— (holds up his glass)
CONNOR (stands) OK, whoa, whoa. Enough. That's all I had to hear. Since it's my special day and I'm all brilliant and everything and I'm forced to spend at least a few more months with you freaks...
AUNT (gasps, feigning shock) How mean.
CONNOR Uh, heh heh, I get to make the toast, OK? (puts his hand on Dad's shoulder, looks at Dad) To family. (clinks glass with dad)
Angel watches from outside, smiles, then walks away.
SISTER I think I should get wine for the toast.
CONNOR No, really? Well, I wasn't talking about this family. I made that clear, right? (laughter from the family)
SISTER I'm not gonna tell you. (more laughter)
Cut to:
Closing credits.
Directed By: Tim Minear
This episode originally aired on May 7, 2003
-------------------------
CONNOR (V.O.) Previously on Angel:
1 INT. HOTEL / ANGEL INVESTIGATIONS - NIGHT Angel laughs as he realizes his fate.
ANGEL I'm gonna have a son.
Cut to:
2 EXT. ALLEY IN LOS ANGELES - NIGHT It's raining and a very pregnant Darla is lying down in the street. Angel is with her.
DARLA (looks into Angel's eyes) This child is the one good thing we ever did together.
Darla stakes herself. Although she dusts, the baby inside her remains intact and lies squirming in the street. Angel stares at him in shock.
Cut to:
3 EXT. ALLEY IN LOS ANGELES - NIGHT Holtz is pointing a crossbow at Angel.
LILAH (V.O.) Daniel Holtz.
Cut to:
4 EXT. ALLEY IN LOS ANGELES - NIGHT Holtz carries Angel's baby boy through a portal into another dimension.
LORNE (V.O.) He's taken the baby away, for good.
Cut to:
5 INT. ELEVATOR AT WOLFRAM & HART - NIGHT Angel stands beside a lawyer for Wolfram & Hart.
LAWYER Wolfram & Hart. Our firm has always been here. We go on...no matter what.
Cut to:
6 INT. WESLEY'S APARTMENT - NIGHT Lilah and Wesley cuddle after making love, writhing in the ecstasy and satisfaction of the moment.
LILAH That didn't suck.
Cut to:
7 INT. CORRIDOR IN HOTEL/ANGEL INVESTIGATIONS Angelus is standing, holding Lilah's body in his arms, feeding from her neck wound. He drops Lilah's body. Wesley stares at Lilah's body and her bloody neck wound.
CONNOR We have to destroy her. She could have been turned.
Cut to:
8 INT. BASEMENT AT HOTEL / ANGEL INVESTIGATIONS Wesley stands staring at Lilah's corpse. Lilah's apparition stands behind him.
WESLEY (lifts the battle-axe) I'm sorry, Lilah.
Wesley swings the axe, cutting across her neck. When he pulls it back, it's got blood on its edge. He cries.
Cut to:
9 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT A young man drops into the lobby from a portal to another dimension. He points a weapon designed to shoot stakes at Angel, then smirks menacingly.
ANGEL Connor.
CONNOR Hi, Dad.
Cut to:
10 INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are standing next to each other, looking out the window at a shaft of fire that's shooting straight up into a red circular cloud in the sky right over downtown. The column of fire is sucked up into the cloud where it disappears and the clouds close. Still glowing, the clouds now rain tiny fireballs all over the city. They stare in disbelief.
CORDELIA (touching Connor's face tenderly) You never had a childhood, or a family, or anything that's real—I want you to have something that is.
Cut to:
11 INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are in bed together, making love. Lying on top of Cordelia, Connor kisses her tenderly amid gentle undulations under the sheets.
Cut to:
12 INT. BANQUET HALL AT HOTEL / ANGEL INVESTIGATIONS - DAY Connor walks into the banquet hall teeming with people in various stages of undress. He walks purposefully toward Jasmine who's talking to some of her followers.
JASMINE Cordelia.
CONNOR What did you do with her?
JASMINE She's exactly where I need her to be.
Cut to:
13 INT. CATHEDRAL - DAY Connor is standing beside the person laid out on the altar, talking softly to Cordelia who's laid out on the table, draped in see-through white tulle fabric.
CONNOR I know she's a lie. Jasmine. My whole life's been built on them. I guess I thought this one was better than the others.
Cut to:
14 EXT. BRIDGE - NIGHT Connor has come to the bridge where Angel and Jasmine were fighting. Jasmine stands beside Connor, touching his shoulder. Angel's panting, weakly, staring at them.
JASMINE You still love me?
CONNOR Yes. (punches Jasmine in the head so hard that his fist goes right through her skull)
Jasmine falls to the ground, dead. Connor looks at her body, saddened. Connor runs off.
Cut to:
15 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Weakly, Angel stumbles in through the front door. The rest of the gang is in the office. When they hear him come in, they all go out to the lobby.
ANGEL Jasmine's dead. (sits) Connor killed her. He's just...given up. I think he's gonna do something. You know, he might—
LILAH End world peace? (Angel looks over to see her standing in the office doorway) Well, you already took care of that. Congratulations.
Fade to black.
The Start Of Episode
Prologue:
16 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Resume. Lilah has shown herself to Angel and the others.
ANGEL (stands) Lilah.
LILAH Angel. What's the matter, ace? (walks into the lobby) Didn't think you were the only one that ever got to come back from hell around here, did ya? (clears throat) Speaking of which, could I possibly get some ice water?
ANGEL What are you doing here, Lilah?
WESLEY She's not here. It's not her. It can't be.
LILAH There's a signed dollar in your wallet that says different.
WESLEY (looks hurt, walks away) It's a lie.
LILAH Lah. It's a Lilah. (sighs, crosses arms; to Angel) You're the one with the preternatural senses. You tell him.
ANGEL It's true, Wes. It's her.
FRED But how? She was dead.
ANGEL She's still dead.
GUNN Vampire?
LILAH (cringes) Eww, please. Angelus drank from me, it's true, but like with most men, it was a one-way street. I was dead already. Besides, my Wesley made sure I'd be spared, (pulls down the scarf that covered her neck revealing a straight red scar across her neck) just in case. It's OK, lover. I never felt a thing.
WESLEY I'm sure that's true. (Lilah covers her wound again with her scarf)
GUNN I don't get this. If she ain't alive, and she ain't a vampire, what in the hell is she?
LILAH I'm just a messenger. That's all. They'll be sending me straight back to hell once I'm finished here.
GUNN Who's "they"?
ANGEL Wolfram & Hart. The contract she signed with them extends beyond her death.
LILAH Standard perpetuity clause, I'm afraid. Always read the fine print.
ANGEL What's your game, Lilah?
LILAH No game. (shrugs) In fact, game over. (sits) Guess what? You win, which is why I'm here. I have been authorized to make you kids an offer.
FRED (scoffs) You can't possibly think there's anything we'd want from you.
LILAH I don't think you'll want it, but you'll take it, because this is the offer of a lifetime. (beat) Just not, you know...mine.
Fade to black.
Opening credits.
ACT I:
17 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT As Lilah sits on the couch, the AI team stares at her. They all seem uncomfortable, each rearranging and shifting as they ponder whatever it is Lilah told them. They look at her, at each other, at no one. Finally, Gunn breaks the ice.
GUNN You want to run that by us one more time?
LILAH What was unclear?
FRED I think the part where you offered us Wolfram & Hart.
LILAH Just the L.A. Branch.
LORNE (chuckles) "Just the L.A. Branch." (stands, irritated) Hi, from another dimension, what the hell does that mean?
LILAH Means we give. You win. We're moving out. The senior partners are ceding this territory to you, and to prove it, they want to give you controlling interest in our L.A. Office. You get the building, assets, personnel, letterhead, paper clips, all of it. It's yours to do with as you see fit.
FRED But there is no Los Angeles office of Wolfram & Hart. The beast destroyed it.
LILAH Oh, it's back, restaffed and zombie-free. We're bigger, better, and shinier than ever, and we want to give it to you.
GUNN You want to give us your evil law firm? We ain't lawyers.
FRED Or evil. (beat) Currently.
LILAH (stands) What we're offering you is a turnkey, state-of-the-art, multi-tasking operation. What you do with it, well, (crosses her arms) that's up to you.
ANGEL Why?
LILAH Well, I thought that was obvious. You earned it. Think of it as a reward.
GUNN Reward for what?
LILAH Ending world peace.
FRED That's not what happened.
LILAH No?
WESLEY Jasmine was creating a slave state.
LILAH Right, where the slaves are full of giggly joy and love. Ugh, what a nightmare.
ANGEL She was eating people.
LILAH They knew what they were getting into.
LORNE Her stomach?
LILAH World peace comes at a price. Jasmine understood that. She consumed, what? Couple dozen souls a day? Now weigh that against ending the suffering of millions, (grins widely) but you fixed that.
FRED No, we didn't. I—I mean, we did, we—we fixed it, but not in the way that you're trying to make it sound.
LILAH Jeez, it's not like it was a criticism. Anyway, I'm dead and running late. (walks toward the door) Think about our proposal. If anyone's interested and wants the grand tour, there'll be a limo waiting outside just before dawn, (stops, turns toward the lobby) and hey... good job. (walks out the door)
FRED (annoyed) We ended a nefarious global domination scheme, not world peace... (looks at the others) right?
Cut to:
18 EXT. STREET IN LOS ANGELES - NIGHT Connor walks through the streets as sirens blare. It's chaotic tonight, unlike how things were before Jasmine's spell was broken. Connor stops and looks up to see a man pacing on the roof of a tall building beside him.
Cut to:
19 EXT. ROOFTOP OF BUILDING - NIGHT Connor approaches the man who's pacing near the edge of the roof. The man is muttering to himself. He's some kind of police or security officer.
CONNOR Hey. You OK?
COP (holding his gun like it was a teddy bear, pacing) I lost something. Something I need. I can't find it. (yells) I can't find it!
CONNOR I know. It's OK.
COP You can help me look.
CONNOR (sadly) I don't think I can. I think it's gone.
The man looks at his gun as he holds it in both hands, then he starts to point it at himself. Connor runs up to him and stops him.
CONNOR Hey. You don't want to do that. What you're feeling right now won't last. Let's just put this away, OK? That's right. (takes gun away from the man) There you go. Listen. You're gonna go home, and you're not gonna do anything stupid, OK?
COP Home?
CONNOR (pats the man on the back) Yeah, you got one, don't you?
COP Yeah, yeah, got one. (takes out his wallet, shows pictures) Look. That's Sarah, and that's Jill. That's my home right there, right there.
CONNOR That's your family. (irritated) That's your family, and you were just gonna leave them like that? How were they gonna feel if you didn't come back?
COP I don't know.
CONNOR You don't know? (yells) You have to know that!
COP I'm sorry. I wasn't thinking.
CONNOR (starts to walk away, but stops and punches the man, knocking him down) You were gonna leave 'em, huh? (stands over him, punching the man again) Think about this! (punch) Think about this! (punch) Huh? (punch) Huh?
Cut to:
20 INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Wesley is sitting behind the desk leaning over it inspecting a map. Gunn walks into the room.
WESLEY Angel's battle with Jasmine took place here. She was moving east, probably towards Cordelia. If we find Connor, I suspect we'll find her as well.
GUNN (sits across from him leaning back in a chair) Kid needs a leash if you ask me.
WESLEY We work outward in an ever-expanding perimeter.
GUNN Ever-expanding perimeter? That won't take weeks.
WESLEY (puts down his pencil, looks up at Gunn) You've another idea, I'm ready to hear it.
GUNN Can't help thinking it might cut down on the work load some if we got a little help, a few extra employees, or a turnkey, state-of-the-art, multi-tasking operation.
WESLEY (leans back in his chair) You can't possibly think that's an option.
GUNN Well, now I know it's an option, 'cause I was standing there when the dead lady offered it to us. (leans forward) Come on, Wes, how long are you gonna be satisfied, sitting there sticking pins in maps and blowing dust off your books? (sighs, leans back) Sorry, man. I shouldn't have said it like that.
WESLEY (looks away) No, no, no. They are rather dusty.
GUNN That's not what I meant. Couldn't have been easy for you seeing Lilah again like that.
WESLEY Oh, yes. That was awkward, wasn't it? You decapitate a loved one, you don't expect them to come visiting. (picks up a pen and leans over his map again)
GUNN Loved one?
WESLEY Figure of speech.
Cut to:
21 INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Angel looks up as Lorne walks in through the front door. Angel's changing his shirt, and Fred's also in the room. Wesley and Gunn walk into the lobby from the office.
ANGEL You're back. Anything?
LORNE Oh, plenty. (shrugs) Just not any on Connor or Cordelia. I'm not saying we ended world peace or anything, kids, but, uh, it's a mess out there, and considering the banner year we've had, that's up against some pretty stiff competition.
ANGEL (to Wesley) What do you got?
WESLEY Not much more than you left me with, I'm afraid. Truth is, if Connor doesn't want to be found—
ANGEL We'll find him. We won't stop until we find them both. We'll do whatever it takes.
GUNN Ok, well, don't you think maybe we should consider—
ANGEL (snaps at him) Consider what, Gunn? What should we consider?
GUNN (backs off) Working outward in an ever-expanding perimeter.
ANGEL You want to get into that limo when it gets here? That's up to you. (turns to grab his coat) It's not a decision I can make for you, for any of you, but know this: Before the ride's even over, before you even cross through their doors, you'll be corrupted. (walks toward the door)
WESLEY Where are you heading off to?
ANGEL I'm gonna go find my son, see if I can get lucky, pick up his trail. (walks out the door)
FRED I can't believe he thought you meant—
GUNN I'm going to bed. (walks away)
WESLEY Yes, I should be heading home myself. It's late. (looks around) Well... night all. (walks out)
LORNE Night.
FRED (watches Wesley leave) Good night.
Cut to:
22 INT. HOTEL / ANGEL INVESTIGATIONS - NIGHT Fred sneaks out of her room late at night. The halls are empty. She walks quietly down the front stairs into the empty lobby. She walks out the front door.
Cut to:
23 EXT. GARDEN AT HOTEL / ANGEL INVESTIGATIONS - PRE-DAWN Fred walks through the garden, rearranging her shoe on the way. She stops in her tracks when she sees the limousine. Wesley starts speaking, and Fred turns to see that he is standing beside her.
WESLEY I don't know how long it's been here. Since before I arrived.
FRED (guiltily) I thought I'd be the only one.
WESLEY I thought for sure I wouldn't be, although I wasn't expecting it to be you.
FRED I just figured...well, if they are up to something—
GUNN (walks up to them from the shadows) We should know what it is. I get that.
WESLEY Well, we three.
GUNN Looks like.
WESLEY What are the odds the humans would be the most corruptible?
FRED (walks toward the car, the others follow) Maybe we should just go back inside. What if Angel's right?
GUNN Yeah, but what if he's not? All we're gonna do is take the tour.
WESLEY Hmm. We go into this with our eyes open and our wits about us. There shouldn't be any—
ANGEL Surprises? (the others turn to see Angel was lurking by the wall just in front of the limo) What the hell. (goes to the car, opens the door for the others—but Lorne is already inside)
LORNE (listening to dance music, talking to the driver) So it's an evil limo. I get that, but does that mean we don't restock the cherries? (laughs, looks around, notices the others) Hi.
Cut to:
24 INT. LOBBY AT WOLFRAM & HART - DAWN The elevator bell rings. Angel, Fred, Lorne, Wesley and Gunn walk off the elevator into the lobby. They look around to see a bustling office. There's a big "W&H" sign in the lobby.
FEMALE LAWYER Mr. Angel, good morning.
MALE LAWYER Good morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Good morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
ANGEL (to the others) There's no way this is gonna go well. (looking around)
MALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Morning, Mr. Angel.
FEMALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Herr Angel, welcome.
MALE LAWYER Good morning, Mr. Angel.
MALE LAWYER Mr. Angel, greetings.
MALE LAWYER Hello, Mr. Angel.
FEMALE LAWYER Mr. Angel, good morning.
MALE LAWYER Mr. Angel, sir, good to see you.
MALE LAWYER Good morning, sir.
Fade to black.
ACT II:
25 INT. LOBBY AT WOLFRAM & HART - DAY A team of five people, headed by Lilah, walks purposefully toward Angel and crew.
LILAH Well, you've all made it. What a shock. We've got a lot of ground to cover, so best we get started. Let me introduce you to your guides.
ANGEL Guides? Separate guides?
LILAH Of course. There are 5 of you, all with specific interests, unique areas of expertise. Seemed the most efficient way of doing this. Prioritize and personalize.
ANGEL (smirks) Divide and conquer, you mean.
LILAH Oh, you're so cynical. See? (smiles) This is gonna work out great.
ANGEL We don't split up. We came here together, we're gonna take the tour together. Right, guys?
GUNN (looks at one of the people Lilah brought with her) Do I get her?
LILAH Look, if we wanted to harm you, we'd have blown up the limo, right? (a man wheels in a car of guns) If you prefer to be armed during your stay here, we'd have no objections. Just because we've tried to kill or corrupt each and every one of you at one time or another doesn't mean we can't be trusted.
WESLEY She's right. We've made deals with them before. They are honorable in their way. I doubt we'll be in any danger.
LORNE She was right about the limo.
GUNN (still staring at the girl) Do I get her?
FRED (picks up a large automatic gun from the cart, cocks it) I think we'll be OK.
LILAH Lorne, Preston will show you around our entertainment division.
A short young man in a suit and a purple shirt walks up to Lorne, offering to shake hands.
PRESTON Hi, big fan. Huge. Love your work. (Lorne shakes his hand) I had this prepared. Confidential list. Peepers only. Thought you might want to take a gander at our roster. (opens the book) Just a rundown of some of the talent we represent here.
LORNE Uh, no, no, no, no. I don't think you have to tell me what you represent here, young man. I know. Evil. Pure evil in the— (Preston flips through the pages of the book, catching Lorne's attention) Huh. Which is also apparently everyone I've always wanted to meet. (laughs)
PRESTON Follow me. (Lorne and Preston walk out of the lobby)
LILAH Wesley Wyndam-Pryce, Rutherford Sirk. (Wesley and Sirk shake hands) I think you'll find you two have a lot in common.
Sirk is a tall, slender, middle-aged man dressed conservatively. He speaks with a British accent.
SIRK It's a pleasure. Shall we? (walks away)
Wesley stares at Lilah, but after a moment, follows Sirk out of the lobby.
LILAH Charles Gunn, Lacey Shepard. (presents the young woman Gunn has been staring at) I think you'll find you two have nothing in common. (Gunn takes her hand and smiles)
LACEY This way, Chuck.
GUNN You're not gonna try to corrupt me, are you?
LACEY Wouldn't dream of it.
GUNN We'll have to work on that. (they walk out of the lobby)
LILAH Knox, Fred Burkle.
Lilah presents a man wearing a white lab coat.
FRED (smiles cordially, tries to offer her hand to him, but the large gun she's holding makes it awkward; she giggles) Hi.
LILAH Knox is the star of our science division.
FRED Oh!
KNOX Oh. Uh.
FRED Oh, nice to meet you.
KNOX You, too, um. Well, this, um, should be...fun.
FRED Yeah. (holds her gun in front of her and follows Knox out of the lobby)
ANGEL Well...(chuckles) What do you know?
LILAH Yep, just you and me, boss. Come on, Charlie. Let me show you around the chocolate factory.
Cut to:
26 INT. HALLWAY AT WOLFRAM & HART - DAY Gunn looks around the building as he and Lacey walk across a bridge over the lobby.
GUNN Pretty slick.
LACEY What is?
GUNN You know, giving each of us our own little tour. It's a good way to isolate Angel.
LACEY Is that what we're doing? (they walk in front of a bunch of cubicle offices)
GUNN Well, it'd be a big coup bringing Angel over to the dark side. Vampire with a soul, champion. It's gonna look good on anyone's letterhead.
LACEY Why do you assume Angel is our priority?
GUNN You telling me he isn't?
LACEY A priority. Though you each possess gifts we feel would be useful.
GUNN Well, I see what the others got, Fred's big brain, Wes' training, Lorne's mind-reading thing. Guess I just don't know what you guys expect me to do around... (sees the office labeled "SECURITY") here. Though I think maybe I'm starting to figure it out. Yeah, bet I'd look real smart in one of them blazers.
LACEY (smiles) Oh, I'm sure you would, but we have much grander plans for you, Mr. Gunn.
GUNN (interested) You do? Grander?
LACEY Let's go upstairs.
Cut to:
27 INT. HALLWAY AT WOLFRAM & HART - DAY Fred and Knox talk as they walk down a less glitzy hallway that's more white with fewer windows than Gunn's tour.
FRED So are you a lawyer? Uh, you don't look like a lawyer.
KNOX No, I'm strictly R & D. Although, occasionally, some D & D. D & D, Dungeons and...We actually have a dungeon. I can show it to you later if— um, I manage the science division.
FRED (smiles) Seem pretty young to be a head of a whole science division.
KNOX Oh, I—I'm not the head. I—I just manage it for the department head, which, I guess, you know, would be you.
FRED (her eyes widen) Wait. I, uh—
Knox leads Fred inside a locked room. It's a huge laboratory, fully staffed and fully equipped. People are doing chemical experiments, medical, animal and others as well. Fred gasps as she takes it all in.
FRED Wow.
KNOX I know. Everything modern technology has to offer, right at your fingertips. Everything's state of the art, cutting edge. (Fred picks up a handheld computer that was lying on the desk) That's one of my creations. (smiles)
FRED You might want to get out of the lab more. Personal organizers have been around for a while. I—I mean, (shrugs) not that it's not a nice Palm Pilot.
KNOX (opens the computer) Yeah, I'll bet your buddy Matthew Partney at 6200 Crestwood Boulevard in Lubbock, Texas, would agree. (shows Fred the display)
FRED Hey, how'd you know about Matt?
KNOX Hacks into any electronic device within 100 yards. I—I patched in to your cell phone's address book.
FRED You're like the— the MacGyver of Wolfram & Hart.
KNOX (chuckles) You're not wrong. I can make practically anything out of a— a fully equipped, multi-million dollar lab.
Cut to:
28 INT. READING ROOM AT WOLFRAM & HART - DAY Sirk leads Wesley into a wood-paneled room with a table in the center upon which 3 dozen or so leather-bound books are lined up, neatly arranged in a row.
SIRK Our ancient prophecies wing.
WESLEY (unimpressed) Looks as if your wing's been clipped.
SIRK Appearances can be deceiving. It's actually the most comprehensive collection of prophecy archives to be found anywhere. Choose something to read. Go on, anything at all. (leans on the books) Something rare.
WESLEY All right. The Devandire Sibylline Codex.
SIRK Translated or Sanskrit?
WESLEY Surprise me.
SIRK I'm sure I will. (picks up a large, heavy book and whispers to it) Devandire Codex, Sanskrit. (hands the book to Wesley; when he opens it, the blank pages magically fill themselves with text) The, uh, template you're holding provides access to anything stored in the firm's locked archives relating to prophecies, omens, revelations and so on.
WESLEY Impressive. And does the Watcher's Council know you stole the only known copy of the codex when you left?
SIRK There is no council.
WESLEY (flips through the book) Not anymore, no. So you opted to, what, uh, play for the other side? Cross the line?
SIRK These are complicated times. Lines become blurry. How did you know?
WESLEY Something about Watchers and—(punches Sirk, knocking him out) libraries.
Wesley looks around at the ceiling, then shoots a cable into the ceiling from a wrist jig he's wearing, triggering it to lift him up automatically.
Cut to:
29 INT. WOLFRAM & HART - DAY Lilah and Angel walk down the hall together toward a large office.
LILAH (in the hallway) Money, clothes, women. Did I mention we have a juice bar?
ANGEL (in the hallway) This is what you came back from the dead for? To play "Let's Make an Evil Deal"?
LILAH Show him what's behind door number one, Bob. (opens the doors to the office; Angel follows her in) I know it's not much, but the Taj Mahal was a bit of a commute.
ANGEL Hmm, what, am I supposed to swoon? It's an office.
LILAH (gestures like a spokesmodel) With your own private elevator. Care to take it for a spin?
ANGEL What's it gonna do, huh? Drop me in a vat of holy water?
LILAH I was pushing for that, but they went with the motor pool. Figured you'd like to stay mobile, what with all that rushing out to save the day you're so fond of.
ANGEL (smirks) Thanks, but I already have a car.
LILAH Now you have 12.
ANGEL What am I gonna do with 12 cars?
LILAH Anything you want. That's the point, or haven't you been listening?
ANGEL I have, and, uh, I'm done now.
LILAH Wait, I forgot to show you the best part. (presses a button)You're gonna love this. (the window shades slide open letting light pour into the room through a wall full of windows)
ANGEL (instinctively puts his hands to his face, then realizes...) I'm not bursting into flames.
LILAH Nope. (taps on the glass) Necro-tempered glass. The whole building's fitted with it. Helps keep those uplifting, wholesome rays from charbroilin' the boss, and 30% more energy efficient. (Angel basks in the light) Feels even better when you're naked. I could turn around.
ANGEL Close it.
LILAH Promise I won't peek. Well, maybe just a skosh.
ANGEL Close it, Lilah.
LILAH (sighs, picks up the remote, closes the shades) Good-bye, Mr. Sunshine. Hello, gloomy avenger.
ANGEL Make that good-bye. I'm not taking the job.
LILAH It's not a job. It's an opportunity.
ANGEL Ooh, an opportunity to be part of the problem.
LILAH If that's what you choose.
ANGEL Really don't.
LILAH Again, your choice. Think of what you can do with the resources of Wolfram & Hart at your fingertips, the difference that would make. Nothing in this world is the way it ought to be. It's harsh, and it's cruel, but that's why there's you, Angel. You live as if the world were as it should be. With all this, you can make it that way. People don't need an unyielding champion. They need a man who knows the value of compromise and how to beat the system from inside the belly of the beast.
ANGEL The beast's belly? Doesn't that usually mean you've been eaten?
LILAH (smiles) Maybe. While you've been namby-pambying around for the past 90 seconds, 6 innocent people have died. Oh, but don't worry. There's always 6,000 more just around the corner or up the coast. (hands Angel a file)
ANGEL (opens the file, reads) Sunnydale. (takes out an amulet from the file)
LILAH That nifty, little bauble comes with the file. Apparently, it's crucial for some kind of final battle. Guess they're in short supply up Sunnydale way. A bit gauche for my taste, but, hey, not a slayer.
ANGEL (puts the amulet back in the file; throws it on the table) Buffy can handle herself.
LILAH But isn't it more fun when you handle her?
ANGEL Keep the intel. Not interested. (walks toward the door)
LILAH Not in this case. So how about open homicide? Missing persons? (Angel stops walking) Mmm, I knew there had to be a reason you took the tour. Dead, not stupid.
ANGEL What do you know?
LILAH About where Cordelia and your son are? Not a thing, but you could find out in about 10 seconds. All you gotta do is pick up the phone, boss. (picks up the phone, hands it to Angel)
ANGEL (puts down the phone) I'm sorry what happened to you, Lilah. I really am. Me and my friends will be leaving now.
The telephone rings. Lilah answers it. Angel sighs.
LILAH (to phone) Yes? Of course. (hangs up) The senior partners would like you to test all the amenities before you make your decision. (presses a remote control button, revealing a television that's playing a news report)
ANGEL Cool! Is that high-def?
REPORTER evacuated and bomb units have been called to the scene where police say more than a dozen promenade shoppers are being held hostage at this hour. Police are trying to identify the suspect from these security camera pictures. (the footage shows Connor on the screen; Angel walks closer to the television for a better look) So far, no motive is known for the siege, and the suspect has refused to speak with law enforcement officials. We'll keep you updated as this intense drama unfolds.
LILAH Wow, really does have your eyes, doesn't he?
Fade to black.
ACT III:
30 INT. WOLFRAM & HART - DAY Resume. Angel sees Connor on the television news report. Angel grabs Lilah by the throat and pushes her up against the wall angrily.
LILAH Watch the head. It comes off kind of easy.
ANGEL (through gritted teeth) You set this whole thing up.
LILAH Been a little busy with the being dead.
ANGEL You, the senior partners, whoever. Get 'em on the phone and make it stop (low) now.
LILAH Love to, except for the part where we didn't have anything to do with—
ANGEL But you know who did.
LILAH Yeah, I'm looking at him. You're the one who raised him or didn't. (Angel lets her go; Lilah clears throat) Can't imagine how the kid turned out postal.
ANGEL You don't know a thing about Connor, huh. Let's keep it that way. (walks toward the door)
LILAH One time offer only, Angel. Walk out that door, deal's off. Stay, and it's all yours.
ANGEL People like you, this place, that's what's wrong with the world, Lilah. I will never be a part of this. (sighs, stares at the image of Connor on the screen) Not the way you're hoping. (walks up to Lilah) Now let me tell you what the deal's gonna be.
Cut to:
31 INT. ELEVATOR AT WOLFRAM & HART - DAY Gunn and Lacey are riding in the elevator with cheezy elevator music playing in the background.
GUNN (chuckles) This is the longest damn elevator ride I ever took. How big is this place?
LACEY (looks at her watch, then at Gunn) It's time.
GUNN Time for what?
The buttons for several floors are lit, but another button magically appears above them. Lacey presses the button.
GUNN Oh, no. Hey, we better not be going where I think we're going.
LACEY The answers you seek lie within the room.
GUNN Only thing I seek is the lobby. (presses the lobby button repeatedly) Already rubbed elbows with Little Miss Muffet once. Don't need a repeat with her replacement, and here I am thinking I'm getting seduced. Well, I'm getting screwed all...
Fade to white.
32 INT. WHITE ROOM - DAY Gunn finds himself in a large empty white room. He looks around, apprehensive.
GUNN Right. Come on, you got the wrong guy in here. This room's for the big— (turns toward a growling sound in the distance) Cats. (a black panther walks toward him) Think I preferred the little girl.
The black panther walks slowly toward Gunn, then stops and stands in front of him, looking up into his eyes. Gunn bends to look into the cat's eyes and sees his own reflection in them. Gunn smiles. The panther roars.
Cut to:
33 INT. JACKSON'S SPORTING GOODS - DAY The police have surrounded the sporting goods store with cars and helicopters. Inside, People are sitting on the floor, wired to a makeshift explosive device fashioned from propane canisters taped to each person's chest. One man is sitting with his arm around a little girl who's crying uncontrollably.
MAN (whispering to the girl) Shut up. Shut up. You've got to—
CONNOR (leaps down to yell at the man) Hey! I told you to be nice.
MAN (leans back, frightened) I'm sorry.
CONNOR You're not holding her right. Why don't you hold her right?
MAN I think you broke my arm.
CONNOR Do it right.
MAN (painfully puts his arm around the girl) Shh, shh. It's gonna be OK. It's gonna be OK.
Connor stands and walks over to a stash of car batteries and checks that the people's wires are attached. Then he pauses.
CONNOR You got in. (stands) I thought you might.
Pan out to show Angel is standing on the balcony of the upstairs section of the store. He leaps down to the main level where Connor and his hostages are.
Cut to:
34 INT. RECORDS ROOM AT WOLFRAM & HART - DAY Someone drops down from the ceiling—it's Wesley. He punches out a man standing in the records room. There's rows and rows of filing cabinets and document boxes. Wesley hurriedly moves down to the section he's interested in, inspecting the labels on the cabinets until finally he opens the drawer he wants.
LILAH (steps out from behind a row of cabinets) I was wondering how long it'd take you to get here.
WESLEY (looks over then stands straight) How'd I do?
LILAH A little slower than I would have thought... but then you always did like to take your time. So you finally made it. Got behind the facade, and here it is, every dirty, little scheme. (walks toward him) Every secret, all that evil, great and small. Just imagine what you could accomplish with that kind of information.
WESLEY You wanted me to see this. You knew I'd—
LILAH Die Hard your way up here? Come on, Wes. Who knows you better than me?
WESLEY (looks at her) Perhaps you don't know me as well as you think. (goes back to the files)
LILAH What are you doing, Wesley?
WESLEY (takes a piece of paper out of the files) Standard perpetuity clause. (holds up the paper for Lilah to see)
LILAH You broke in here for my contract?
WESLEY (takes out a lighter) I'm here to release you from it.
LILAH Wesley.
WESLEY You've suffered enough. (lights the paper) I want you to find some peace. (watches it burn)
LILAH Gallant to the end...but I knew what I signed up for.
WESLEY It's done.
LILAH Look in the drawer. (Wesley opens the drawer, takes out a paper from the same file) Flames wouldn't be eternal if they actually consumed anything. (Wesley looks heartbroken) But it means something that you tried.
Cut to:
35 INT. JACKSON'S SPORTING GOODS - DAY Angel walks cautiously through the apparel toward Connor.
ANGEL Connor? Son?
There's an explosion behind Angel. He jumps, startled. The hostages start crying and whimpering. Connor remains eerily calm and unaffected.
CONNOR You might not want to move. Everyone's rigged. Can't save 'em all, dad. Don't know who's gonna be first. Could be any one of 'em. (stands, revealing he's wired too) Could be me. (steps away, points to an unconscious Cordelia on the floor, also wired) Could be her.
Fade to black
ACT IV:
36 INT. JACKSON'S SPORTING GOODS - DAY Resume. Cordelia is wired to a makeshift explosive device fashioned by Cordelia. Angel stares shocked and frozen with fear for a moment.
ANGEL Son...you have to listen to me. This is about Jasmine.
CONNOR Jasmine's gone.
ANGEL I know. We all felt it, that perfect love, then when you had to give it up—
CONNOR (in a violent outburst, pushes items off a nearby table) I didn't feel anything! I can't feel anything. (scoffs) I guess I really am your son... 'cause I'm dead, too.
ANGEL (starts walking toward Connor) You're not dead. You're just starting your life and—
CONNOR No, you just weren't there before!
ANGEL (tears well up in his eyes) I know. I'm so—
CONNOR (yelling angrily) Do not say you're sorry! Doesn't fix anything.
ANGEL Ok, look, let me say this. I love you, son.
CONNOR It's a lie.
ANGEL It's not.
CONNOR (hangs his head) It's always a lie. (softly) My dead mother couldn't even love me.
ANGEL You're wrong. She did.
CONNOR No. (shakes her head) No. She knew she couldn't.
ANGEL She sacrificed herself because she loved you.
CONNOR You tried to love me. At least I think you did.
ANGEL I still do.
CONNOR But not enough to hang on, dad. (glares at Angel)You let him take me. You let him get me. You let him get me. (turns to face Cordelia) Cordy... you swore you loved me. Where are you now?
ANGEL (inches toward Connor; softly) Connor... you have to believe that there are people who love you.
CONNOR Jasmine believed you when you said you loved her, but it was all a lie.
ANGEL Jasmine was the lie.
CONNOR (yelling) No! She knew if you found out who she really was that you'd turn against her, and she was right. That's just what happened. People like you. People like this. None of you deserve what she could give you. (sighs) She wanted to give you everything.
ANGEL I know how that feels. 'Cause I want to give you everything. I want to take back the mistakes, help you start over.
CONNOR We can't start over.
ANGEL We can. I mean, we can change things.
CONNOR There's only one thing that ever changes anything... and that's death. (Angel starts to cry) Everything else is just a lie. (cries) You can't be saved by a lie. You can't be saved at all. (looks down at his explosive and starts to activate it)
Before Connor can harm himself or others, Angel punches him in the chin, sending his head back and pulls out the wire. Connor and Angel start to fight. Connor hits Angel in the head with a weight, then grabs a baseball bat—he swings at Angel and misses. Angel grabs a bowling ball and punches Connor in the face with it. Connor punches back, but Angel grabs him and throws him across the room into a wall. Connor falls to the floor. Angel helps the hostages undo their restraints and unwire themselves.
ANGEL Run. Hurry. All of you. Go.
The hostages leave. Connor stands up and goes to attack Angel again. They fight with fists and kicks. Connor throws Angel across the room, then starts walking toward Cordelia—the only remaining hostage. Angel sees this and smashes a display case containing hunting knives. He takes a knife and hurls it across the room, landing it in Connor's thigh before he reaches Cordelia. Connor falls to the ground, still trying to crawl to her. Angel pulls the knife out of Connor's leg, pulls Connor off of her, and pushes his back to the ground.
ANGEL (hovering over Connor, holding the knife) I really do love you, Connor.
CONNOR (low) So what are you gonna do about it?
ANGEL Prove it.
Angel sweeps down his knife hand and swipes the blade across Connor's throat.
Fade to white.
37 INT. LOBBY AT WOLFRAM & HART - DAY Fade in on the lobby of Wolfram & Hart. Lorne is singing and dancing with himself.
LORNE (singing) Could be...who knows? There's something due any day I will know right away soon as it shows (Fred walks into the lobby) It may come cannonballin' down from the sky gleaming inside... Welcome back, Fred (talking, hugs her) Hi. Hey. (starts dancing with her) Oh, well, let me tell you, when this cruise ship sets sail, I will be on the Lido deck. (chuckles) You know, I mean, it's unbelievable. Secrets of the universe, like Siegfried, evil; Roy, not so much. Oh, and balance? Very, very important. (spins Fred out, and she bumps into Wesley)
FRED Uh, heh—ooh! Uh... guess we're all straggling back, some more straggly-like than others. Are you—?
WESLEY Just, uh... a lot to take in.
The elevator bell rings, Gunn steps out.
FRED You look... did they make you taller?
GUNN I'm doing this. Hope it's not just me, but if it is, that's all right, too.
WESLEY As much as it pains me to admit it, there's probably a great deal we could accomplish with the resources available here.
FRED (looks at Wesley) I can't believe it. Are—are you saying we should take the deal?
ANGEL I already took it.
FRED Angel, what—what?
WESLEY You took the deal?
ANGEL Executive decision.
WESLEY I didn't think you'd—
LILAH Know a silver platter when he's handed one? I'm impressed with the lot of you. Team Angel, all growed up.
ANGEL (whispers) Is it taken care of?
LILAH Cordelia's safe and sound, probably getting a manicure and a blow dry as we speak.
FRED You found Cordy? And she's—
LILAH Still in a coma. But hey, it doesn't mean she can't look her best. (to Angel) She'll receive the finest care, medical and metaphysical. If there is a way to get her back, we'll find it.
ANGEL Good. (whispers) Just one more piece of business. I got to see him.
LILAH I'm sorry, Angel, but that wasn't part of the deal.
ANGEL Value of compromise. Remember, Lilah? I need to see him.
LILAH You're the boss. (hands Angel the file and amulet) There'll be a limo waiting outside. It'll take you to see Connor.
ANGEL (softly) Thank you. (walks out the door)
FRED (watches Angel leave) Who's Connor?
Cut to:
38 EXT. CALIFORNIA HIGHWAY - DAY A limousine drives down a highway through the mountains. It drives on until it's dark outside. The car pulls up outside a house, and Angel gets out. He walks up to a window and peers in at the family inside.
Cut to:
39 INT. FAMILY DINNER AT SOMEONE'S HOUSE - NIGHT In a warmly lit dining room, a family is sitting at dinner having a conversation.
CONNOR You just opened up a whole bottle for yourself, didn't you? (laughter)
DAD I'm just saying, you know, you've got your pick. Any college you want to.
CONNOR It's really not a big deal.
MOM Top tenth percentile is a big deal.
AUNT Are you and Tracy gonna try and go to the same college?
DAD Oh, bad idea.
CONNOR We haven't really talked about it.
DAD (shakes head) No, I love Tracy. I'm just saying it's a bad way to go.
SISTER Tracy's a vegan.
MOM So? At least she doesn't live on pop tarts.
CONNOR You know, maybe I'll go to school overseas, like Russia. Is there anything further away than Russia?
MOM Don't you even joke about it.
DAD I feel a toast coming on.
CONNOR Gee, big surprise.
MOM There he goes.
DAD To the top tenth percentile— (holds up his glass)
CONNOR (stands) OK, whoa, whoa. Enough. That's all I had to hear. Since it's my special day and I'm all brilliant and everything and I'm forced to spend at least a few more months with you freaks...
AUNT (gasps, feigning shock) How mean.
CONNOR Uh, heh heh, I get to make the toast, OK? (puts his hand on Dad's shoulder, looks at Dad) To family. (clinks glass with dad)
Angel watches from outside, smiles, then walks away.
SISTER I think I should get wine for the toast.
CONNOR No, really? Well, I wasn't talking about this family. I made that clear, right? (laughter from the family)
SISTER I'm not gonna tell you. (more laughter)
Cut to:
Closing credits.