Prologue
1 EXT. CITY BUILDING— ROOFTOP— NIGHT 1
The Los Angeles night sky is filled with flaming meteors as they plummet
to earth. ANGEL stands on the rooftop amidst the fiery spectacle and looks
down through the windows of the building next door, watching in
stunned silence as CORDELIA and CONNOR make love.
His rage silently builds and, after a moment, he turns away and walks to
the stairwell. With a cry of rage, a punches the door off its hinges and
walks in. Sounds of destruction emanate from within as he takes his anger
out on the building itself.
Opening credit sequence.
Act I
2 INT. HYPEIRON HOTEL— LOBBY— NIGHT 2
FRED sits at the counter listening to the radio reports of the supernatural
events occurring all over the city.
NEWS ANNOUNCER
A series of earthquakes and what authorities are now
calling “meteor showers” have ravaged the Southland
tonight, igniting fires and explosions throughout the L.A.
basin. As fire and rescue teams assess the ongoing threat,
government officials are asking people to stay in their
homes and off the street..ANGEL
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The telephone rings and she snatches up the receiver.
FRED
(into phone)
This is Fred. No, that’s right. Yes, ma’am. Angel Invest— I
know. It is scary but… if she’s only an hour late… I’m just
saying maybe it’s a bit early to panic. A little fire falling
from the sky doesn’t necessarily mean the end—
She looks up as WESLEY, LORNE and GUNN enter, bruised, bleeding and
battered.
FRED
Oh, my god…
She drops the phone and runs to Gunn, throwing herself into his arms.
FRED
I thought you were dead. I got back here and it was empty
and I panicked and the radio and the fires…
Wesley walks past and eyes Fred’s embrace of Gunn with a sour look.
GUNN
I know, baby, I know. Me, too. It was like the end of the
world out there and all I wanted was you.
FRED
You’re safe now. All of you.
WESLEY
(deadpan)
Yes. All safe.
FRED
What about Angel? Where’s Angel?
GUNN
We got separated. I’m sure he’ll be here soon. What about
you? You okay?
FRED
I’m fine. I just needed some air. I didn’t know I’d be gone
so long. (re: diagram on floor) Looks like there’s some other
things I didn’t know, either..ANGEL
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GUNN
Plenty of time for updates later. Right now we need to
regroup, think about getting back out there and mixing it
up with that demony thing.
WESLEY
That’s not what Angel would do.
GUNN
Thanks for your opinion and I don’t remember asking.
FRED
(confused)
What demony thing?
LORNE
Oh, I believe he’s referring to the big, bad and possibly
invincible demony thing that nearly killed us all before he
ringmastered tonight’s Cirque de Flambé.
FRED
Was that the pain and suffering and despair thing you saw
when you read Cordelia?
LORNE
’Fraid so, peanut. And if there was ever truth in
advertising…
FRED
Charles, if he’s really that big and bad, maybe we should
wait for Angel. I mean, if he couldn’t stop him….ANGEL
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GUNN
So we just wait because we don’t know what Angel would
or wouldn’t do?
Angel enters through the front door.
ANGEL
Would I do what?
FRED
Angel, you’re hurt!
ANGEL
I’ll be… let’s talk about it in the morning.
He heads for the stairs.
FRED
What about Cordelia and Connor? Has anyone checked in
on them? (the guys shake their heads) Angel?
Angel pauses on the stairs.
ANGEL
They’re fine.
LORNE
You saw them?
Angel doesn’t answer, just keeps walking.
LORNE
Man looks like he was hit by a tank..ANGEL
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GUNN
I don’t remember ever seeing him that down after a fight.
WESLEY
Can’t really blame him. No one likes to lose, whatever the
circumstance.
Wesley looks pointedly at Fred.
CUT TO:
3 INT. L.A. NATURAL HISTORY MUSEUM— ATTIC— DAY 3
Sun streams in the windows. Cordelia and Connor lie in bed, sound
asleep. Cordelia’s eyes open and go wide with shock when she sees
Connor sleeping next to her. She turns away from him, realizing the
implications of what they did the night before.
Connor wakes up a moment later and snuggles up next to her. He kisses
her shoulder and smiles.
CONNOR
Morning. Did the world end?
CORDELIA
Not exactly.
CONNOR
So that’s a good thing.
CORDELIA
Don’t do that..ANGEL
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CONNOR
Do what?
CORDELIA
That. The look. The happy puppy look. Makes it harder.
CONNOR
Makes what harder?
CORDELIA
You’re very special, Connor. Last night will always be
special. It’s something we both needed… but it happened
because of unusual circumstances. You understand what
I’m saying?
CONNOR
Yeah, that it was special.
CORDELIA
That it can’t happen again.
CONNOR
But… why?
Cordelia sighs and sits up, holding the sheets up to cover her nakedness.
CORDELIA
You’re Angel’s son. It rained fire last night— never a good
sign— and a giant demony beast crawled out from the
earth where you were born.
CONNOR
You think it’s my fault.
CORDELIA
No! I told you last night I didn’t. I said—
Connor gets out of bed, angry, and starts dressing.
CONNOR
Yeah, you said a lot of things last night. You said that it
didn’t matter anymore… that we were real.
CORDELIA
And I meant them.
CONNOR
Yeah, then. Today it’s all my fault. The fire, demon… all of
it!.ANGEL
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CORDELIA
Don’t be… look, all I said was—
CONNOR
That I can’t be with you.
He stares at her for a beat, then grabs his shirt and leaves.
CORDELIA
Connor…
The door slams shut.
CUT TO:
4 INT. WESLEY’S APARTMENT— DAY 4
Wesley sits on the couch, researching the material from Wolfram & Hart.
A knock at the door. He gets up to answer it to find LILAH waiting for
him. When she sees him, she sighs and smiles.
LILAH
Okay, I was just checking.
WESLEY
I’m alive.
LILAH
Not by much from the looks of it.
She walks in and hugs him.
LILAH
I left you a couple hundred messages last night. Don’t feel
obligated to return any of them.
WESLEY
And you’re all right?
LILAH
I’m fine. Slept at Wolfram & Hart. FYI— safest place to be
in case of an apocalypse. You, on the other hand… bet I
can make you feel better.
She leans in to kiss him but he turns his head aside and moves away from
her..ANGEL
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LILAH
You know, it’s weird. Rain of fire, whole city burning…
why do I feel a chill?
WESLEY
I can’t do this anymore.
LILAH
(smiles)
Yeah, yeah. I heard it a million times, cowboy. We both
know how this song ends. You. Me. Broken furniture.
WESLEY
It’s over, Lilah.
She looks at him a beat and sees something in his eyes that hasn’t been
there before.
LILAH
You’re serious.
WESLEY
After what I saw last night, I believe a day of reckoning
has arrived.
LILAH
And you just reckon you’ll toss in with the good guys?
WESLEY
I’m choosing a side.
LILAH
And the girl of your dreams just happens to be on it. What
are the odds?.ANGEL
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WESLEY
This isn’t about Fred. Or anyone else, for that matter. It’s
about right and wrong.
LILAH
And you have such a clear grip on those concepts.
WESLEY
I’ve made mistakes.
LILAH
You’re making a big one now.
She thinks for a beat, then walks up to him and puts her arms around him
seductively.
LILAH
I could wear the glasses again.
WESLEY
Don’t embarrass yourself.
She finally realizes he means it and steps back.
WESLEY
There is a line, Lilah. Black and white, good and evil.
LILAH
(nods)
Funny thing about black and white… you mix it together
and you get gray. And it doesn’t matter how much white
you try and put back in. You’re never going to get
anything but gray. And I don’t see your Texas gal-pal
wearing that color. Come to think of it, she prefers black.
Lilah turns and walks out.
CUT TO:
5 INT. HYPERION HOTEL— LOBBY— DAY 5
Fred works on the laptop while Gunn watches.
FRED
I don’t get it. I’ve run its stats through every possible
database, cross-checked against prophecies, and still come
up with squat. How can a creature with that much
firepower not leave behind some kind of parchment trail?.ANGEL
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GUNN
There is a trail. Problem is the trail guide was drawn by a
crackhead.
He hands her one of the runic pieces of paper as Cordelia enters the hotel.
GUNN
Hey, Cordelia. You guys survive the night all right?
CORDELIA
Yeah, you know, it was…
FRED
Scary, nasty and nervous-making?
CORDELIA
The sky should not be made of fire. Angel around?
Fred looks at the office.
FRED
Hibernating in his cave.
Cordelia nods and walks over to the door, knocks and goes inside.
6 INT. HYPERION HOTEL— OFFICE— DAY 6
She finds Angel working at his desk.
CORDELIA
You have a minute?
He glances at her but doesn’t say anything.
CORDELIA
I was hoping we could… talk. About… well, about Connor.
ANGEL
I already know.
He gets up and heads out into the lobby. Cordelia follows, surprised.
CORDELIA
You do? Really? Well, then you’re handling it a lot better
than me.
When Angel sees Gunn and Fred at the counter, he turns and goes back
into the office..ANGEL
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ANGEL
Can we not do this right now?
CORDELIA
Listen up, daddy dearest, the fact that this hell-beast you’re
all looking for crawled up out of the ground in the exact
spot where your son was born seems precisely what we
should be talking about right now.
That gets Angel’s attention.
ANGEL
Same spot? Really?
CORDELIA
You said you already knew.
ANGEL
(covers)
Of course I knew. Doesn’t mean anything. It could just be
a, you know…
CORDELIA
Coincidence?
ANGEL
Strange things happen.
CORDELIA
Like a vampire giving birth? Oh, wait! That happened in
the exact same spot, too..ANGEL
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ANGEL
What are you… you think Connor’s connected to this evil
thing?
CORDELIA
Me? God no. He’s a sweetie pie.
ANGEL
Then why are you telling me?
CORDELIA
Because your son stormed out this morning and he really
does believe it.
CUT TO:
7 INT. WOLFRAM & HART— LILAH’S OFFICE— NIGHT 7
GAVIN PARK sets a cup of coffee down on Lilah’s desk for her while she
talks on the phone.
LILAH
(into phone)
Listen, Frank, I don’t care if you have to Lojack the damn
thing—
PARK
(sotto)
Sugar?
Lilah glares at him..ANGEL
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LILAH
(into phone)
—find that beast or I swear to god I will…
PARK
(sotto)
Boil you alive
LILAH
(sotto)
Shut up! (louder; into phone) …boil you alive.
She hangs up and stares at Park.
LILAH
How hard can it be to find a giant horned thing? (drinks
coffee) Or a decent cup of coffee? (dumps it in trash) Why are
you still here?
PARK
Intel confirms that it was the creature that triggered the
pyrotechnics last night. They’re just not sure why he did it.
LILAH
I’ll tell you why. Because it can. It’s the 800-pound gorilla. It
can do whatever the hell it wants. I get that. But other than
char-broiling everything in sight, I don’t think it has an
agenda and that makes our job tricky.
PARK
What job?
LILAH
The senior partners want us to try and cut a deal with it.
PARK
You can’t be serious.
LILAH
Well, it wants the same things we do. An apocalypse, an
end to the world, yadda, yadda, yadda. The partners feel it
might speed things along and save a few bucks.
PARK
But what if it’s not interested?
LILAH
I’ll change its mind. I’m not losing this one..ANGEL
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16
Park nods and heads for the door. He leaves, then immediately backs
inside the office again, followed by Connor. Connor pushes him aside and
strides over to Lilah.
CONNOR
I have questions.
LILAH
(smiles)
Connor. As if the last few hours haven’t brought enough
surprises.
She stands up and sits on the edge of her desk.
LILAH
You nearly threw us for a loop here, kiddo. Sneaking in
the building,… you really are like your old man, aren’t
you?
CONNOR
It’s time to find out.
LILAH
Are you saying what I think you’re saying?
CONNOR
I want to know why I’m here. What I am.
LILAH
Timeless question. And one we’re more than happy to
help answer.
She surreptitiously pushes a button on the underside of her desk..ANGEL
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LILAH
We have an in-house lab. We’ll do a few easy workups—
psychological, physiological, neurological— and focus on
exactly who or what you are.
Two security guards enter behind Connor.
LILAH
Then we’ll slice you open and start poking around.
Connor whirls and drops both guards with one punch, then seizes Lilah
by the throat and slams her up against the wall.
CONNOR
I’ve got a different idea.
LILAH
I’m open to any suggestions.
CONNOR
That demon you’re seeking— I think I’m connected to it. I
want to find out how.
LILAH
Sure. No problem. Gavin, why don’t you get our young
friend a copy of your report, then we’ll sit down and have
a nice non-violent conversation.
The lights suddenly go out and the building trembles on its foundation.
CONNOR
It’s here..ANGEL
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FADE OUT
Act II
8 INT. WOLFRAM & HART— LILAH’S OFFICE— NIGHT 8
Resume. Lilah grabs the phone and dials security.
LILAH
(to Connor)
It’s probably just an aftershock. They sometimes make the
power go out.
The phone is dead and she looks over at Park.
LILAH
Try a walkie.
He takes a radio from one of the unconscious guards
PARK
(into radio)
This is Gavin Park to the front desk, over. Come in, front
desk.
SECURITY
(over radio)
This is the front desk, Mr. Park. We’ve got some kind of…
oh, no! Oh, my god!
LILAH
Tell him to stop whining and make a report.
SECURITY
(over radio)
Send backup! Somebody, please…
His words cut off as the guard screams in agony.
CONNOR
I told you.
He heads for the wall and takes a short sword from a display case..ANGEL
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LILAH
(to Park)
Go downstairs and check it out. (off his look) Gavin, ask
yourself this question: what are you more afraid of? A
giant murderous demon… or me?
She stares icily at him and he heads for the door.
PARK
I’ll be right back.
LILAH
(to Connor)
You have any idea what this thing wants?
CONNOR
Everybody dead.
Connor takes the sword and walks out, leaving Lilah alone. After a
moment, she reaches into her desk drawer and removes a semi-automatic
pistol. She slaps in a magazine and chambers a round.
CUT TO:
9 INT. WOLFRAM & HART— CORRIDOR— NIGHT 9
A lawyer flies through the air with a scream, slams into the wall and
collapses to the floor. All around him are the bloody and mangled corpses
of other Wolfram & Hart employees. The law firm has been turned into a
slaughterhouse.
Screams and moans echo through the hallways as, one by one, the firm’s
personnel are executed.
Pan up to reveal THE BEAST holding a decapitated lawyer’s head in its
hand. It surveys the carnage, then turns and heads deeper into the
building.
CUT TO:
10 INT. WOLFRAM & HART— ELEVATOR LOBBY— NIGHT 10
A pretty young blonde lawyer punches the call button desperately. She
glances back over her shoulder as screams of terror come from the
darkness. All around her, people flee for their lives through the shadowy
corridors. She finally gives up and heads for the stairs with the others as
Lilah strides out into the chaos with Connor..ANGEL
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20
LILAH
What exactly is this thing?
CONNOR
I don’t know but I think it’s been following me around.
LILAH
And you’re just going to kill it?
CONNOR
Gonna try.
Lilah stops but Connor keeps walking.
LILAH
And we’re heading towards it right now? (waves) Best of
luck.
She heads off in the opposite direction.
CUT TO:
11 INT. WOLFRAM & HART— STAIRWELL— NIGHT 11
The pretty blonde lawyer merges with the flow of people making a mass
exodus from the building. As she passes one of the landings, the door
slams open and terrified people push past her. One man barely makes it
through the doorway before he’s yanked violently backward by the
Beast. The creature quickly kills him and moves on, dealing death at every
turn.
CUT TO:
12 INT. WOLFRAM & HART— CORRIDOR— NIGHT 12
The Beast strides down the corridor, looking for victims. It pauses at the
door to a janitor’s closet when it hears muffled sounds coming from
within. It pushes the door open to find Gavin Park frantically searching
the shelves of the supply closet. He looks up, terrified.
PARK
Uh… hi.
The Beast reaches out and seizes him by throat, lifts him up off the floor,
and snaps his neck. It drops Park’s corpse in the hall and moves on.
CUT TO:.ANGEL
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21
A different corridor. Connor moves silently and cautiously among the
dozens of dead Wolfram & Hart employees, looking for the Beast. He
pauses and surveys the carnage: eviscerated people lying where they
were killed, draped across furniture and countertops; great swaths of
blood dripping from the walls.
Suddenly he hears gunshots coming from close by and heads in that
direction.
CUT TO:
13 INT. WOLFRAM & HART— CONFERENCE ROOM— NIGHT 13
Lilah backs into her office, away from the approaching Beast, firing her
gun as she goes. The rounds strike the creature point-blank but it doesn’t
even flinch. She empties the magazine into the creature which strides
forward, lifts her up slams her down on the conference table, and wraps
its massive hand around her neck. She looks up at the thing and for the
first time in a long time she feels real fear.
LILAH
I can help you… anything you need.
It ignores her and sinks one of its claws deep into her abdomen. She gasps
and chokes in pain as the Beast’s talon works its way deep into her gut.
Suddenly it stops and pulls the claw out of her. It hurls her off the table
and onto the floor and turns to face a terrified lawyer who stands up from
his hiding place nearby. At the same moment, Connor enters the room,
sword held high, and attacks. He brings the sword down on the Beast’s
back but the blade snaps in two.
The Beast turns to him, smiling..ANGEL
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BEAST
Connor…
It punches Connor with one massive blow to the chest and sends him
rocketing across the room where he impacts one of the building’s cement
central support columns. He hits with such force that the column shatters
and buries Connor under chunks of concrete and steel re-bar.
CUT TO:
14 INT. WOLFRAM & HART— CORRIDOR/OFFICE— NIGHT 14
Moaning in pain and holding her bleeding belly, Lilah staggers down the
shadowy corridor. She looks back as the Beast turns the corner behind her
and strides purposefully after her. She tries to go faster but her strength is
failing.
As she passes one of the shattered offices, hands reach out and yank her
inside. She gasps as Wesley sets her down and goes back to close the
door.
LILAH
I don’t understand…
She starts to fall over and he catches her.
LILAH
Why are you here?
WESLEY
I have a man on the inside.
He looks up as heavy rhythmic thumps resonate throughout the building.
WESLEY
What’s that?
LILAH
(ironic smile)
That’s the fat lady singing.
She starts to swoon again.
WESLEY
Lilah!.ANGEL
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LILAH
The building automatically shuts down under full-scale
attack.
WESLEY
When you say “shuts down”…?
Suddenly a massive steel shutter slams down over the window in the
office behind them.
LILAH
All windows, doors, air vents… nobody gets in—
The office door slams off its hinges and the Beast stands silhouetted in the
entrance, snarling. Wesley picks Lilah up and runs out the side door and
into the corridor.
15 INT. WOLFRAM & HART— CORRIDOR— NIGHT 15
Wesley runs down the corridor with Lilah in his arms.
WESLEY
Stay with me! Come on, Lilah, there must be a way out for
someone like you. Think! A back door, something.
The Beast strides out into the corridor behind them as an unconscious
lawyer starts to come to and stand up.
LILAH
Around the corner, supply closet.
The Beast seizes the hapless man and starts ripping him to pieces. Wesley
ducks around the corner and sets Lilah down, then reaches into his supply
bag.
LILAH
What are you stopping for?
Wesley holds up a fragmentation grenade.
LILAH
You’ve gotta be kidding me.
He pulls the pin and tosses the grenade at the feet of the approaching
Beast. The creature looks down at it curiously as the grenade detonates
with a tremendous blast. Wesley drapes Lilah’s arm around his shoulders
and they stagger off down the corridor..ANGEL
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LILAH
Will it kill him?
WESLEY
No, but it might distract him for a moment.
They come to supply closet and Lilah looks down at Park’s body.
LILAH
Gavin. Poor bastard.
WESLEY
Lilah?
LILAH
It’s in here.
He drags her inside the small room and shuts the door as the Beast strides
out of the wreckage further down the corridor.
CUT TO:
16 INT. WOLFRAM & HART— SUPPLY CLOSET— NIGHT 16
Lilah frantically pulls paper, pens and rolls of toilet tissue off the shelves,
searching for something.
LILAH
Come on, where is it?
WESLEY
You sure this is the right closet?.ANGEL
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LILAH
Yeah, third floor and lobby.
Wesley joins in, yanking everything off the shelves.
CUT TO:
17 INT. WOLFRAM & HART— CORRIDOR— NIGHT 17
The Beast strides slowly but purposefully down the corridor toward the
supply closet.
CUT TO:
18 INT. WOLFRAM & HART— CORRIDOR— NIGHT 18
Lilah finds what she’s looking for: a steel handle set into the wall.
LILAH
Okay, here it is.
She twists the handle and a metal panel slides back, revealing an escape
chute.
CUT TO:
19 INT. WOLFRAM & HART— CORRIDOR— NIGHT 19
The Beast rips the door from its frame only to find the closet empty. It
looks around for a beat, then moves on with a menacing snarl.
CUT TO:.ANGEL
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20 INT. LOS ANGELES STORM SEWERS— NIGHT 20
Wesley and Lilah tumble into the storm sewer from an overhead duct.
They land in a crumpled heap, moaning and gasping pain, then slowly get
to their feet.
LILAH
Now what?
WESLEY
Now you disappear. You get patched up and leave town.
LILAH
Turn tail and run?
WESLEY
That thing won’t quit until everyone at Wolfram & Hart is
dead. Go underground. Change your name. Don’t make
its job easy.
He starts to walk away.
LILAH
Wesley!
He stops and turns. She looks meaningfully at him for a moment but he
just stares back, his face a blank mask.
LILAH
Connor is trapped up inside.
WESLEY
(shocked)
What?.ANGEL
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LILAH
I don’t know if he’s alive. He’s in the third floor conference
room. Not that there’s a way back in… I just thought you
should know.
She smiles at him and nods. He hesitantly does the same and then heads
off into the night. After a moment, she turns and limps away in the
opposite direction.
CUT TO:
21 INT. HYPERION HOTEL— LOBBY— NIGHT 21
Angel, Cordelia and Lorne pour over the books, researching. Fred works
on her computer while Gunn sits nearby reading and nervously tapping a
pencil on his book.
FRED
Can you not do that?
GUNN
Oh! Sorry, it helps me think.
FRED
Didn’t mean to snap.
CORDELIA
I’m ready to crackle pop myself. The last 24 haven’t exactly
been normal. We’re all tired.
ANGEL
(pointed)
Wonder why?
He kicks Lorne, who starts awake and sits up on the settee, disoriented.
LORNE
Just… just meditating on the problem. Yeah, asking the
inner Lorne for a little backup.
GUNN
We’re assuming it’s a big connect-the-dot that Connor and
the devilly guy have this alley in common but isn’t this
alley right behind Caritas— or at least what’s left of it?
LORNE
Yeah, that whole block is a big fat interdimensional
happenin’ hot spot..ANGEL
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CORDELIA
Except this thing didn’t emerge from a portal so much as a
pothole.
The door opens and Wesley enters.
GUNN
Oh, good. More bad news.
FRED
Can you just try to get along? He was your friend.
GUNN
Heavy on the “was”.
Wesley walks down the stairs and into the lobby.
ANGEL
You know where it is. The Beast.
WESLEY
Inside Wolfram & Hart. And so is—
GUNN
That answers a lot of questions. They’re probably having a
big sit-down, breaking bread.
WESLEY
It’s killing everything that moves in there.
GUNN
I’ve heard worse news.
WESLEY
(to Angel)
Your son is trapped inside.
ANGEL
What?
CORDELIA
Oh, my god! Connor? Why would he be in there? I don’t
understand.
ANGEL
There’s lots of things I don’t understand. We’re going in
after him..ANGEL
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29
WESLEY
Won’t be easy. The building’s locked tight. There’s no way
out.
ANGEL
But I bet there’s a way in.
CUT TO:
22 INT. WOLFRAM & HART— CORRIDOR— NIGHT 22
The building is eerily silent. All the screaming has stopped. Everyone is
dead. Connor makes his way down the dark corridor and past Gavin
Park’s corpse.
As he steps past the body, its eyes suddenly snap open.
FADE OUT
Act III
23 INT. HYPERION HOTEL— LOBBY— NIGHT 23
Angel descends the stairs, axe in hand, as the others gear up for their trip
to Wolfram & Hart.
FRED
(to Wesley)
I mean, I know you run your own shop, but an inside guy
at Wolfram & Hart? Pretty amazing..ANGEL
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WESLEY
Yes, well… part of the job.
Lorne hands Fred a dagger.
FRED
Thank you.
CORDELIA
(to Angel)
He’s gonna be fine, you know. Connor’s a champion, like
you. He’s special.
ANGEL
Right. Like me. Special.
He turns away.
ANGEL
Somebody should stay here and mind the store.
LORNE
Oh, me, me, me! Sergeant Stay-at-Home, volunteering for
duty, sir.
ANGEL
Gunn, let’s go.
GUNN
Angel, assuming we can even get inside the evil empire,
the same big beastie’s in there who spanked our asses six
ways to Sunday. What’s gonna be different this time?
ANGEL
What’s different is we’re not going for the monster. We’re
going for Connor.
GUNN
So you phoned ahead so the big bad understands that?
ANGEL
Look! I don’t know the answers. Don’t even know most of
the questions. But what I do know is that I have to go into
Wolfram & Hart and find my son. Now as far as us versus
the big bad is concerned… there’s only one smart way to
play it. We see it, we run like hell.
He turns to leave. Cordelia picks up a short sword and moves to follow
him..ANGEL
Habeas Corpses
31
CORDELIA
Works for me.
Angel takes the sword from her and sets it back down.
CORDELIA
Excuse me?
ANGEL
Stay here with Lorne.
She reaches to pick it back up again.
CORDELIA
No. Connor’s in danger and I—
Angel slams his hand down on the sword.
ANGEL
(hard)
Cordelia. I don’t want you there. It’s too dangerous. Way
too dangerous. I can’t risk it.
He turns to leave.
ANGEL
Fred, get a move on.
LORNE
(waves)
Happy hunting! We’ll stay here and keep the home fires
burning. Bake some nice healing muffins..ANGEL
Habeas Corpses
32
Fred and the others follow him out, leaving Cordelia and Lorne alone in
the lobby. Cordelia stares after them, unsure what to think.
CUT TO:
24 INT. LOS ANGELES STORM SEWERS— NIGHT 24
Wesley leads the group to the exit vent he and Lilah used earlier.
WESLEY
This is it. I believe there’s a door about 30 meters up.
GUNN
You believe or you know? ’Cause every time you show up
believin’ something, seems somebody gets their head
drilled or falls into a portal.
FRED
Charles…
GUNN
I’m just saying—
WESLEY
Yes, well I’m doing.
ANGEL
Will you guys shut up! I don’t give a rat’s ass about
whatever’s going on between you. Put it away! We’re here
for Connor.
Wesley and Gunn glare at each other but say nothing.
GUNN
I still don’t see how you plan on getting us up there.
Angel drops his bag, unzips it and grabs a coil of rope, then leaps straight
up and scales the sides of the air duct, quickly disappearing into the
darkness above.
GUNN
Show off.
After a moment, the rope drops down in front of them.
CUT TO:.ANGEL
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33
25 INT. WOLFRAM & HART— CORRIDOR/STAIRWELL— NIGHT 25
Angel, Gunn, Wesley and Fred emerge from the stairwell to find the
hallway strewn with the dead.
FRED
Oh, my god… I know they all worked for an evil company
but this is…
Gunn whips his light around and shines it behind them.
FRED
What?
GUNN
Heard something.
ANGEL
Power’s down. We’ll have to take the stairs.
They step over the bodies and head for the stairwell at the opposite end of
the corridor.
GUNN
Just so I’m clear on the plan…
ANGEL
Third floor. Get Connor. Get out.
Fred starts and spins around but there’s nothing there.
FRED
Sorry, feeling a little goosy.
WESLEY
For good reason.
Angel mounts the stairs, taking them two at a time.
ANGEL
Be quick, be quiet. As far as we know, that thing’s still
around.
As they step over the corpse of the pretty blonde lawyer from earlier, her
eyes open and her head turns to follow their progress.
CUT TO:.ANGEL
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34
26 INT. WOLFRAM & HART— THIRD FLOOR CORRIDOR— NIGHT 26
The group emerges from the stairwell onto the third floor.
GUNN
I don’t get it. Wolfram & Hart is evil, the big bad is evil…
why go all Terminator on your own team?
ANGEL
Maybe all it wants is to eliminate the competition.
FRED
Doesn’t give us much to look forward to, does it?
As they pass by the supply closet with the escape chute, Wesley stops,
confused. He looks down at the floor. Gavin Park’s body is gone.
WESLEY
Wasn’t Gavin…
He turns and looks behind them into the darkness.
ANGEL
Over here.
Angel goes into the conference room and the others follow.
CUT TO:
27 INT. WOLFRAM & HART— CONFERENCE ROOM— NIGHT 27
The four of them dig through the shattered remains of the concrete
support column..ANGEL
Habeas Corpses
35
FRED
He’s not in here.
WESLEY
Let’s be certain.
ANGEL
No, she’s right. He’s not. That’s good. Means he’s still alive.
GUNN
Or that Sherlock got his facts wrong again.
ANGEL
No, I can smell him. Connor was here. You three take one
stairwell. Sweep each floor, we’ll meet up top.
CUT TO:
28 INT. WOLFRAM & HART— CORRIDOR— NIGHT 28
Angel emerges from the stairwell on a different floor and moves
cautiously along the corridor, searching.
A shadow ducks across the corridor behind him and he spins, sword at
the ready. But whatever it was, it’s gone. He holds for a moment, then
continues onward.
Suddenly his sword is knocked out of his hand as someone leaps out of
the shadows and attacks. Angel grabs him and slams him against the wall,
then realizes it’s Connor.
ANGEL
Connor! Jesus, thank god you’re alive.
He pulls Connor into a relieved hug.
CONNOR
How’d you know where to find me?
ANGEL
It’s a long story. We’ve gotta get you out of here first.
CONNOR
Wait. First I have to kill that thing. This is my fault.
ANGEL
We can’t kill it and no, it’s not. We’ve thrown everything
we can at it. It’s not enough. We need to go..ANGEL
Habeas Corpses
36
He turns to leave only to find Gavin Park reaching out for him, obviously
still dead but walking nevertheless. Angel decks him, then throws him
headfirst into the wall. Park lies still for a moment, then starts getting
slowly back to his feet again.
ANGEL
Gavin… how did…?
CONNOR
He looks dead.
ANGEL
He is dead. Technically undead. A zombie.
CONNOR
What’s a zombie?
Angel picks Park up and throws him down the hall again.
ANGEL
It’s an undead thing.
CONNOR
Like you?
ANGEL
No! Zombies are slow-moving dim-witted things that
crave human flesh.
CONNOR
(smiles)
Like you.
ANGEL
No! It’s different. Trust me.
He grabs his sword back from Connor and heads off down the corridor,
pausing long enough to kick Park in the head as he once again tries to rise
from the floor.
ANGEL
Come on!
Park starts to rise again with a deathly moan and this time the dozens of
other corpses in the hall start to rise with him.
CONNOR
Why are the doing this? Why are they zombies?.ANGEL
Habeas Corpses
37
ANGEL
I don’t know but we need to find the others.
CUT TO:
28 INT. WOLFRAM & HART— CORRIDOR— NIGHT 28
Wesley, Fred and Gunn explore the carnage on a different floor, still
looking for Connor.
Wesley steps over the body of a man and enters one of the offices lining
the corridor. A moment later, he comes back out and shines the light at
the floor. The man’s body is gone.
WESLEY
That’s odd.
FRED
What is?
GUNN
Shouldn’t Angel be swooping in any minute now?
Fred turns to Gunn and her eyes go wide with shock.
FRED
Charles!
He turns just as an undead woman attacks him from behind. She bites
down on his arm and he slams the hilt of his sword into her face. She
drops to the floor, lifeless once again. Suddenly, all the corpses in the hall
rise to their feet and attack. Gunn, Fred and Wesley fight furiously against
them but there are too many.
Gunn pushes Fred into one of the offices.
GUNN
Wesley, come on!
Wesley fights his way through the moaning mob of zombies and follows
Gunn inside. They slam the door, trapped, as dozens of undead creatures
pound on the door outside.
FADE OUT.ANGEL
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38
Act IV
29 INT. WOLFRAM & HART— OFFICE— NIGHT 29
Resume. Gunn, Fred and Wesley lean against the office door to hold it
shut.
GUNN
What the hell was that?
WESLEY
Zombies.
GUNN
Yeah, thanks for the newsflash, Captain Obvious.
He checks the side door to the office, then comes back to help them hold
the main door closed.
GUNN
It’s locked.
FRED
Charles, you’re bleeding.
GUNN
Zombie broad tried to snack on me.
WESLEY
She bit you?.ANGEL
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39
GUNN
You worried I’m gonna turn into one of those mindless
meatbags?
WESLEY
No, I don’t think it works that way here.
GUNN
Good to know, but if it is, don’t let me be one for long.
WESLEY
(nods)
You’ll do the same for me?
GUNN
Oh, yeah.
The door shatters and a zombie arm snakes through and grabs Fred by
the hair. Gunn brings the axe down and slices the zombie’s arm off at the
elbow. Fred runs to the opposite door and tries the handle but can’t get it
to turn.
FRED
Damn it!
She starts hammering on the lock with her sword while Wesley and Gunn
keep the zombie horde at bay.
FRED
Got it! Come on!
Wesley slices and stabs his way through the wave of zombies and makes
it over to Fred.
WESLEY
Gunn!
Gunn is cut off. He can’t get to them.
GUNN
Get her out of here!
FRED
Charles!
GUNN
Go!
The door slams closed as dozens of zombies overwhelm Gunn..ANGEL
Habeas Corpses
40
CUT TO:
30 INT. WOLFRAM & HART— CORRIDOR— NIGHT 30
Angel and Connor take refuge in a small alcove off the main corridor.
ANGEL
The only way to kill a zombie is to stop its brain activity.
Cut off its head, smash in its skull… luckily they’re slow
and stupid so we have a decent chance of beating them.
He takes a look out into the corridor to find a teeming throng of zombies
shuffling toward them.
ANGEL
Unless, of course, there’s hundreds of them.
CUT TO:
31 INT. WOLFRAM & HART— OFFICE— NIGHT 31
Fred tries to open the door again but Wesley pulls her away.
FRED
We gotta go back for Charles!
WESLEY
Not an option. I need to get you to safety.
He upends a desk and slams it up against the door as it trembles under
the zombie onslaught from the other side. He runs over to the main door
to this office and opens it only to find more zombies lurching toward him.
He slams the door, locks it, then picks up his sword.
FRED
Now what?
WESLEY
We wait, then we fight.
FRED
Why are they doing this?
WESLEY
I don’t know. Perhaps it’s some building lockdown
protocol or some security voodoo..ANGEL
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41
FRED
You don’t think it’s something the big beast can do, do
you? Reanimate the dead?
WESLEY
Anything’s possible. All I know for sure is that they want
us dead.
Suddenly the door behind them slams open and Fred screams. She relaxes
as Gunn emerges from behind the overturned desk.
GUNN
Fred?
FRED
Charles!
GUNN
Zombies my ass.
The opposite door slams open as well and Angel and Connor rush in.
FRED
Connor!
ANGEL
We got what we came for. Let’s go. Wes?
WESLEY
Only two exits I know of. Third floor and lobby.
FRED
That’s too far.
CONNOR
We can make it.
ANGEL
Not all of us. Too many dead men walking. All right, look.
There is one other way. The White Room. It’s an
interdimensional space here at Wolfram & Hart.
GUNN
Sounds kinda portally.
ANGEL
Not exactly. More like a gateway. And there’s a little girl
there… or something old and evil that likes to pretend
she’s a little girl..ANGEL
Habeas Corpses
42
CONNOR
You’ve seen her?
ANGEL
I met her once when I was trying to find you. She might be
able to help us.
GUNN
So fight seven floors of evil lawyer zombies or sweet talk a
nasty little girl. You know where my heart’s at.
FRED
Yeah, but I gotta disagree. I vote for the White Room.
How do we get there?
ANGEL
Gonna need your help.
CUT TO:
32 INT. WOLFRAM & HART— ELEVATOR LOBBY— NIGHT 32
Dozens of zombies lurch through the lobby as Angel and his crew enter at
a run. The men punch, slice and stab a clear path to the elevator for Fred.
Angel gets there first and pries open the doors for her.
ANGEL
Do what you can.
He leaves her to work on the elevator control panel and goes back out to
join the fray. Hundreds of zombies stagger toward them as Gunn,
Wesley, Connor and Angel fight furiously to keep them at bay.
ANGEL
Fred!
FRED
Working on it! (to herself) Come on, Fred, think. Bypass
switch for a shutdown command…
ANGEL
Come on, Fred!
She makes a decision and attaches two wires. The elevator hums to life.
FRED
Angel!.ANGEL
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43
ANGEL
Guys, let’s go!
Angel and the others break off and pile into the elevator with her. Angel
looks at the call button panel and tries to remember the code.
WESLEY
Do you remember the code?
ANGEL
Hello? Photographic memory.
He punches 18, 23, 20, 28 and 27. Nothing happens.
ANGEL
What?
CONNOR
Maybe you forgot.
ANGEL
I didn’t forget. Let me try again.
Gunn spots Gavin Park lurching toward the elevator, his head cocked at
an unnatural angle.
GUNN
That’s Gavin. I know that guy.
He steps out of the elevator and decapitates Park with his axe, then runs
back inside.
GUNN
I hate seeing someone I know like that. Even someone I
know I hate.
The zombies are mere feet from the elevator now.
WESLEY
No time like the present, Angel.
Angel pushes a final button and the doors slide shut just as the first of the
creatures reaches out for them.
33 INT. WOLFRAM & HART— ELEVATOR— NIGHT 33
A new button swirls into existence above all the others on the panel and
Angel presses it..ANGEL
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44
ANGEL
Here’s hoping she’s in a good mood.
WIPE TO:
34 INT. WOLFRAM & HART— WHITE ROOM— NIGHT 34
The elevator fades away around them and the group finds themselves
standing a vast room, the walls, floor and ceiling a glaring white.
FRED
Oh, no!
They all follow here gaze to find the Beast crouched over a small GIRL
who lies motionless on the floor. Its clawed hand hovers over the girl’s
chest, a dense black cloud streaming up from her body into it.
GUNN
It was waiting for us all along.
ANGEL
No, I don’t think so. It wanted this. The girl. Whatever she
is, it came for her.
WESLEY
Is there a way out of here?
Across the room, the girl stirs and looks over at them. She raises her hand
and points.
GIRL
The answer is among you..ANGEL
Habeas Corpses
45
The black stream pouring out of the girl comes to an end and she visibly
weakens. The Beast stands up and faces Angel and his crew. It steps over
the girl and strides toward them, one lumbering step at a time. Angel and
Connor raise their swords, ready to fight.
With her final breath, the little girl mutters an incantation and gestures
with her hand.
WIPE TO:
35 INT. HYPERION HOTEL— LOBBY— NIGHT 35
Angel and the others look around to find themselves standing in the hotel
lobby. Lorne looks up from his magazine to see them all suddenly
standing before him and looks suspiciously at his Seabreeze.
ANGEL
(smiles)
Home… she sent us.
He sees Cordelia sitting at the counter and his smile vanishes.
ANGEL
Oh…
CONNOR
Dad?
Cordelia looks up, stunned at their sudden arrival right in front of her.
Angel sets his sword down and heads for the office as Cordelia goes over
to Connor and hugs him.
CORDELIA
You’re safe..ANGEL
Habeas Corpses
46
He watches them, then goes inside and shuts the door. Across the room,
Fred checks Gunn’s wounded arm.
FRED
Does it still hurt?
GUNN
It’s okay.
LORNE
Well, hail the conquering heroes and how the hell did you
just do that?
FRED
That was awful what it did to that little girl.
LORNE
(dismayed)
Oh, it killed a girl?
WESLEY
Not really a girl. Something ancient and evil dressed like a
girl.
GUNN
So what’s it say about the Big Bad Wolf if he can just stride
right in and suck the energy out of Evil Red Riding Hood?
WESLEY
I don’t know. Other than it’s going to take a force far
smarter and stronger than us to defeat it.
LORNE
Oh, like there’s a lot of that just lying around.
CUT TO:.ANGEL
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47
36 INT. HYPERION HOTEL— OFFICE— NIGHT 36
Angel flips through files and papers on his desk. Cordelia enters but he
doesn’t look up.
CORDELIA
Hey. I was… really worried.
ANGEL
I’ll bet.
CORDELIA
The folks out there are feeling pretty discouraged.
ANGEL
Yep.
CORDELIA
I’m just glad that everyone’s safe and together again.
ANGEL
(smiles)
Me, too.
Cordelia smiles back.
ANGEL
Now… take your new boyfriend and get the hell out of
here.
He stares at her for a beat, then walks out. Cordelia’s eyes go wide with
shock and realization.
CORDELIA
Oh, god….ANGEL
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48
FADE TO BLACK
END