Prologue
1 INT. HYPERION HOTEL— LOBBY— NIGHT 1
ANGEL, still hurting from his battle with Jasmine, stands with GUNN, FRED,
WESLEY and LORNE, watching as LILAH walks out of the office and smiles
playfully at them all.
ANGEL
Lilah…
LILAH
Angel. (off his look) What’s the matter, ace? Didn’t think you
were the only one who ever got to come back from hell
around here, did you? 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
It’s a lie.
LILAH
—lah. It’s a “Lilah.” (to Angel) You’re the one with the
preternatural senses. You tell him.
ANGEL
It’s true, Wes. It’s her.
Wesley says nothing, absorbing the implications.
ANGEL
Home
4
FRED
But… how? She was dead.
ANGEL
She’s still dead.
GUNN
Vampire?
LILAH
Eww. Please. Angelus drank from me, true. But, like with
most men, it was a one way street. I was dead already.
Besides, my Wesley made sure I’d be spared… just in
case.
She tugs at her collar, revealing the scar from her recent decapitation. Wesley
recoils from the sight. Lilah smiles at him with true tenderness.
LILAH
It’s okay, lover. I never felt a thing.
WESLEY
I’m sure that’s true.
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. In fact, game over. Guess what? You win. Which
is why I’m here. I have been authorized to make you kids an
offer.
FRED
You can’t possibly think there’s anything we’d want from you.
ANGEL
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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.
Opening credit sequence.
Act I
2 INT. HYPERION HOTEL— LOBBY— NIGHT 2
Lilah sits on the sofa, waiting, a look of expectation on her face. Everyone
else stares at her, more or less frozen in place. No one speaks for a very
long beat. Finally, Gunn breaks the silence.
GUNN
(to Lilah)
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
“Just the L.A. branch.” (to Lilah) Hi, from another dimension.
What the hell does that mean?
LILAH
It 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 interests in our L.A. office. You
get the building, assets, personnel, letterhead, paperclips, all
of it. It’s yours to do with as you see fit.
ANGEL
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FRED
But… there is no Los Angeles office of Wolfram & Hart. The
Beast destroyed it.
LILAH
Oh, it’s back. Re-staffed 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
What we’re offering you is a turn-key, state-of-the-art, multitasking
operation. What you do with it… well, that’s up to you.
ANGEL
Why?
LILAH
I thought that was obvious. You’ve earned it. Think of it as a
reward.
GUNN
Reward for what?
LILAH
Ending world peace. We were really on the precipice there. I
mean, a bona fide goddess incarnates, is inches from
eliminating all violence, hate and litigation from the planet, and
you five— with an assist from sonny boy— manage to undo
it all. Way to go.
FRED
That’s not what happened.
LILAH
No?
ANGEL
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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
(incredulous)
Her stomach?
LILAH
World peace comes at a price. Jasmine understood that. She
consumed, what? A couple dozen souls a day? Now weigh
that against ending the suffering of millions. But you fixed that.
FRED
No we didn’t! I mean we did, we fixed it, but not in the way
you’re trying to make it sound.
LILAH
Jeez, it’s not like it was a criticism.
She starts for the door.
LILAH
Anyway, I’m dead and running late. Think about our proposal.
If anyone’s interested and wants the grand tour, there’ll be a
limo waiting outside just before dawn. And hey… good job.
She flashes them a thumbs-up and leaves. A long beat of silence.
ANGEL
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FRED
We ended a nefarious global domination scheme, not world
peace. Right?
CUT TO:
3 EXT. LOS ANGELES STREETS— NIGHT 3
A squad car screams by, siren wailing. Vignettes of the city in the throes of a
collective breakdown.
A woman weeps. A couple fights. A trash can is thrown through a window
and looters take what they like.
CONNOR moves through it all. He seems lost in thought, not paying attention
to the violence around him. Then something catches his attention and he looks
up at a man pacing the edge of a rooftop high above.
CUT TO:
4 EXT. BUILDING ROOFTOP— NIGHT 4
The man pacing back and forth is a COP. Connor appears, emerging from the
shadows, and approaches with caution.
CONNOR
Hey…
The guy spins around, tears streaming down his face. He absently holds his
gun, cradling it in his hands. It takes a second for him to focus on Connor.
CONNOR
You okay?
COP
I lost something. The thing I need. I can’t find it. I can’t find it!
CONNOR
I know… it’s okay.
COP
You can help me look.
CONNOR
I don’t think I can. I think it’s gone.
COP
Oh. Oh, no…
The cop backs up sharply, teetering on the edge of the roof as he brings the
gun up to his head.
ANGEL
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CONNOR
Hey, you don’t want to do that. What you’re feeling right now
won’t last. Let’s just put this away, okay?
The cop slowly lowers his gun and Connor helps him holster it.
CONNOR
That’s right, there you go. Listen, you’re going to go home
and you’re not going to do anything stupid, okay?
COP
Home?
CONNOR
Yeah. You got one, don’t you?
The cop thinks for a moment.
COP
Yeah. Yeah, I got one.
He’s takes out his wallet and holds it open for Connor to see. Connor looks at
the man’s family photos. A beautiful woman and a 4-year-old little girl. Beatific
smiles.
COP
Look, that’s Sarah and that’s Jill. That’s my home right there.
CONNOR
That’s your family? That’s your family and you were just going
to leave them like that? How were they going to feel if you
didn’t come back?
COP
I don’t know…
CONNOR
(furious)
You don’t know? You have to know that!
ANGEL
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COP
I’m sorry. I wasn’t thinking.
Connor studies the man for a beat and manages to calm himself. He exhales
and nods. He starts to walk away, then suddenly spins on the man and decks
him, driving him to the ground, his fist coming down hard, over and over,
screaming.
CONNOR
You were gonna leave them, huh? Think about this! And this!
CUT TO:
5 INT. HYPERION HOTEL— OFFICE— NIGHT 5
Gunn paces in the office where Wesley sits surrounded by his books and
maps.
WESLEY
Angel’s battle with Jasmine took place… here. She was
moving east, probably toward Cordelia. If we find Connor, I
suspect we’ll find her as well.
GUNN
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
You’ve another idea, I’m ready to hear it.
GUNN
(shrugs)
Can’t help thinking it might cut down on the workload some if
we got a little help. A few extra employees. (beat) Or a turnkey,
state-of-the-art, multi-tasking operation.
WESLEY
You can’t possibly think that’s an option.
GUNN
Well now, I know it’s an option, ’cause I was standing there
when the dead lady offered it to us. (off his look) Come on,
Wes, how long do you think you’re going to be satisfied
sitting there sticking pins in maps and blowing dust off your
books?
Wesley looks down, slightly chagrined.
ANGEL
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GUNN
Sorry, man. I shouldn’t have said it like that.
WESLEY
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.
GUNN
Loved one?
WESLEY
Figure of speech.
CUT TO:
6 INT. HYPERION HOTEL— LOBBY— NIGHT 6
Angel’s shirt is open. Fred cleans the already-healing wounds and tapes
bandages over them. They look up as Lorne enters from the solarium.
Wesley and Gunn come out of the office to hear what he has to say.
ANGEL
You’re back. Anything?
LORNE
Oh, plenty, just not anything on Connor or Cordelia. I’m not
saying we ended world peace or anything, kids, but 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 have you got?
ANGEL
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WESLEY
Not much more than you left me with, I’m afraid. The truth is, if
Connor doesn’t want to be found…
ANGEL
We’ll find him. We won’t stop until we find them both. We’ll
do whatever it takes.
GUNN
Okay. Well, don’t you think maybe we should consider—
ANGEL
(sharp)
Consider what, Gunn? What should we consider?
Gunn sees the look in Angel’s eyes and backpedals.
GUNN
Working outward in an ever-expanding perimeter?
Angel glares at him, then grabs his coat and heads for the door.
ANGEL
You want to get in that limo when it gets here, that’s up to
you. It’s not a decision I can make for you. For any of you. But
know this: before the ride’s even over, before you even
cross through their doors, you’ll be corrupted.
WESLEY
Where are you heading off to?
ANGEL
I’m going to go find my son. See if I can get lucky, pick up his
trail.
He leaves.
FRED
(to Gunn)
I can’t believe he thought you meant—
GUNN
I’m going to bed.
He heads up the stairs.
WESLEY
Yes, I should be heading home myself. It’s late. Well, good
night, all.
LORNE
Night.
ANGEL
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FRED
Good night.
Wesley leaves as Lorne fixes himself a drink.
CUT TO:
7 INT. HYPERION HOTEL— CORRIDOR— NIGHT 7
The lights are out, the hotel cloaked in darkness. A door opens and Fred slips
out of her room carrying her shoes, padding silently down the hall
CUT TO:
8 INT. HYPERION HOTEL— LOBBY— NIGHT 8
Fred tiptoes down the stairs toward the front door, slips on her shoes and
ducks outside.
CUT TO:
9 EXT. HYPERION HOTEL— NIGHT 9
Fred finds a sleek black limousine waiting, idling at the curb. She takes a deep
breath.
WESLEY
(o.s.)
I don’t know how long it’s been here. Since before I arrived.
She turns as Wesley steps out of the darkness and joins her.
FRED
I thought I’d be the only one.
WESLEY
And I thought for sure I wouldn’t be. Although I wasn’t
expecting it to be you.
ANGEL
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FRED
I just figured… well, if they are up to something…
Gunn walks up behind them.
GUNN
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
Maybe we should just go back inside. What if Angel’s right?
GUNN
Yeah, and what if he’s not? All we’re going to do is take the
tour.
They walk out the front gate toward the car.
WESLEY
(nods)
Go into this with our eyes open and our wits about us, there
shouldn’t be any—
ANGEL
Surprises?
Angel stands leaning against the wall outside the gate.
ANGEL
What the hell.
He walks over to the limo and opens the back door. Music blasts out from
inside where Lorne sits, drinking and munching on snacks.
LORNE
(to driver)
So it’s an evil limo. I get that. Does that mean we don’t restock
the cherries? (to others) Hi.
CUT TO:
ANGEL
Home
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10 INT. WOLFRAM & HART— LOBBY— DAY 10
The elevator opens with a muted ding to reveal Angel and his crew. They
move out into a vast open atrium, bustling with attorneys and admin
personnel, all cross-crossing in front of them as they go about their work. A
huge W & H dominates the lobby. The people closest to Angel all greet him
cheerily as they pass.
GREETERS
Mr. Angel, good morning.
Morning, Mr. Angel.
Good morning, Mr. Angel.
How are you this morning, Mr. Angel?
Mr. Angel.
ANGEL
There’s no way this is gonna go well.
FADE OUT
Act II
11 INT. WOLFRAM & HART— LOBBY— DAY 11
Lilah the crowd parts before Lilah as she strides purposefully across the
lobby toward Angel. Following her are four Wolfram & Hart employees:
LACEY SHEPARD, a beautiful super-model type; RUTHERFORD SIRK, an older
distinguished Englishman; KNOX, a science geek in a lab coat; and PRESTON,
a slick talent agent.
LILAH
Well, you all made it. What a shock. We’ve got a lot of
ground to cover, so we best get started. Let me introduce
you to your guides.
ANGEL
Guides? Separate guides?
ANGEL
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LILAH
Of course. There are five of you, all with specific interests,
unique areas of expertise. It seemed the most efficient way
of doing this. Prioritize and personalize.
ANGEL
Divide and conquer, you mean.
LILAH
Oh, you’re so cynical! See? This is going to work out great.
ANGEL
We don’t split up. We came here together, we take the tour
together. Right guys?
Gunn stares at Lacey Shepard with a glint in his eye.
GUNN
Do I get her?
LILAH
Look, if we’d wanted to harm you, we would’ve blown up the
limo, right?
On cue from Lilah, a security guard rolls in a cart filled with heavy assault
weapons.
LILAH
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. (off their looks) We’ve made deals with them
before. They are honorable in their way. I doubt we’ll be in
any danger.
LORNE
Well, she was right about the limo.
Gunn looks lustfully at Lacey again.
GUNN
Do I get her?
Fred walks to the cart, lifts off a full-auto H&K MP-5, slaps in a magazine and
chambers a round.
FRED
I think we’ll be okay.
ANGEL
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Lilah smiles smugly at Angel.
LILAH
Lorne, Preston will show you around our Entertainment
Division.
Preston pumps Lorne’s hand enthusiastically and hands him a portfolio.
PRESTON
Hi. Big fan. Huge. Love your work. I had this prepared.
Confidential list. Peepers only. Thought you might want to
take a gander at our roster. Just a rundown of some of the
talent we represent here.
LORNE
No, no, I don’t think you have to tell me what you represent
here, young man. I know. Evil. Pure evil and… (off portfolio)
which is also apparently everyone I’ve always wanted to
meet!
PRESTON
Follow me.
As Preston leads Lorne away, Lilah beckons to Sirk and he steps forward,
extending his hand to Wesley, very cultured and formal.
LILAH
Wesley Wyndam-Pryce, Rutherford Sirk. I think you’ll find
you two have a lot in common.
SIRK
Pleasure. Shall we?
Wesley glances at Lilah, then nods and follows him off.
LILAH
Charles Gunn, Lacey Shepard. I think you’ll find you two
have nothing in common.
ANGEL
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LACEY
(to Gunn)
This way, Chuck.
GUNN
You’re not going to try to corrupt me, are you?
LACEY
(suggestive)
Wouldn’t dream of it.
GUNN
We’ll have to work on that.
And then they are gone also.
LILAH
Knox, Fred Burkle.
Fred awkwardly juggles the submachine gun so she can shake Knox’s hand.
FRED
Hi.
LILAH
Knox is the star of our Science Division.
FRED
Oh. Nice to meet you.
KNOX
You, too. Well. this should be… fun.
FRED
Yeah.
They head off together and Angel looks to Lilah.
ANGEL
Well, what do you know.
ANGEL
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LILAH
Yep. Just you and me, boss. Come on, Charlie. Let me
show you around the Chocolate Factory.
CUT TO:
12 INT. CENTURY CITY MALL— FOOD COURT— DAY 12
Connor sits alone on a bench eating an ice cream cone. Dark circles surround
his eyes, his knee bounces nervously as he watches the customers walk
past. He focuses on the families, scenes of domestic bliss. But little by little
we see what he sees: a kid gets a slap upside the head; a happy couple
starts arguing. Connor sees through the illusion to the heart of the lie all around
him. Finally he rises and slams his hand down on the bench, cracking it.
CUT TO:
13 INT. WOLFRAM & HART— CORRIDOR— DAY 13
Gunn follows Lacey down the hall past cubicles filled with admin staff.
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
(amused)
Is that what we’re doing?
GUNN
Be a big coup, bringing Angel over to the dark side. Vampire
with a soul… champion… that’s going to 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.
ANGEL
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GUNN
Well, I can see what the others got. Fred’s big brain, Wes’s
training, Lorne’s mind reading thing. Guess I just don’t know
what you guys expect me to do around here.
Gunn slows as they approach a door marked SECURITY.
GUNN
Though I think maybe I’m starting to figure it out. Yeah, bet I’d
look real smart in one of them blazers.
LACEY
Oh, I’m sure you would but we have much grander plans for
you, Mr. Gunn.
She takes him by the arm and leads him away.
GUNN
You do? Grander?
They arrive at the elevator and the doors open.
LACEY
Let’s go upstairs.
CUT TO:
14 INT. WOLFRAM & HART— CORRIDOR— DAY 14
Fred and Knox enter the science wing.
FRED
So are you a lawyer? You don’t look like a lawyer.
KNOX
No. I’m strictly R&D. Although occasionally some D&D. (off
her look) D&D? Dungeons and…? We actually have a
dungeon. I could show it to you later if… (beat) I manage the
Science Division.
FRED
You seem pretty young to be the head of a whole science
division.
KNOX
Oh, I’m not the head. I just manage it for the department
head, which I guess would be you.
He opens a door and walks inside leaving Fred string after him in shock.
CUT TO:
ANGEL
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15 INT. WOLFRAM & HART— SCIENCE WING— DAY 15
The lab is a wide open space with partitions segmenting off various different
experimental programs. The entire wing bustles with activity as lab
technicians scurry about, scribbling on pads, running trials, etc. Fred can’t help
but be blown away.
FRED
Wow.
KNOX
I know. Everything modern technology has to offer right at
your fingertips.
A scientist nearby stands on a ladder and focuses a laser onto the wall. The
beam punches a hole into another dimension
KNOX
Everything’s state-of-the-art, cutting edge.
Fred notices a PDA on a nearby workstation and picks it up.
KNOX
(proud)
That’s one of my creations.
FRED
You might want to get out of the lab more. Personal
organizers have been around for a while. I mean, not that it’s
not a nice Palm Pilot.
Knox takes it from Fred and types in a command.
KNOX
Yeah, I’ll bet your buddy Matthew Partney at 6200
Crestwood Boulevard in Lubbock, Texas would agree.
FRED
Hey, how’d you know about Matt?
ANGEL
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KNOX
It hacks into any electronic device within 100 yards. I patched
into your cell phone’s address book.
FRED
(impressed)
You’re like the MacGyver of Wolfram & Hart.
KNOX
You’re not wrong. I can make practically anything out of a…
fully-equipped multi-million dollar lab. Say, did you see what
they’re doing in there?
He directs her attention to an observation window. Behind it, two doctors in
surgical scrubs perform surgery on a PATIENT who is chatting on his cell
phone.
PATIENT
I don’t give a good goddamn what Hendrie says. We had a
deal! (to doctors) Guys, I won’t have to move my three
o’clock, will I?
KNOX
(to Fred)
Triple bypass surgery.
FRED
But how?
KNOX
Short version, we injected him with a small dosage of
vampiric enzymes that allow his body to function while we fix
his ticker.
FRED
And this doesn’t make him all fangy?
KNOX
Nope. The enzymes have been specifically modified to
break down after 24 hours. Does make him pretty gassy
though.
FRED
Well, this place is amazing but it doesn’t change the fact that
it’s all for the greater bad.
KNOX
What? No. All the morally ambiguous departments are
above the 9th floor. We’re science. We’re morally neutral.
FRED
Science may be but how it’s used… I mean, what if that guy
they’re saving in there is the next Hitler?
ANGEL
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KNOX
He’s a tax attorney.
FRED
Well, what if he’s helping the next Hitler cheat on his taxes?
Or this guy here…
She points to a guy in an apron pouring a jug of blue liquid into a pail, mixing
chemicals.
FRED
I mean, sure, he could be developing a cure for cancer or
making a potion that causes it. What is he doing, anyway?
The man grabs a squeegee pole, plunges it into his bucket and starts
cleaning.
KNOX
The windows.
CUT TO:
16 INT. WOLFRAM & HART— LIBRARY— DAY 16
A pair of large, ornate doors open and Sirk enters, followed by Wesley.
SIRK
Our ancient prophecies wing.
An intimate, wood-paneled room containing leather upholstered chairs
surrounding a standing, antique globe. A polished wood table containing
about three dozen large leather-bound volumes dominates the center of the
room.
WESLEY
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.
Wesley eyes him skeptically.
SIRK
Choose something to read. Go on. Anything at all.
Something rare.
WESLEY
All right. The Devandiré Sibylline Codex.
Sirk walks over to the table and selects a book.
ANGEL
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SIRK
Translated or Sanskrit?
WESLEY
Surprise me.
SIRK
I’m sure I will. (to book) Devandiré Codex. Sanskrit.
He opens the book and hands it to Wesley. The pages are blank. As
Wesley flips through it, wondering what he’s supposed to be seeing, the
pages suddenly fill with ancient writing, the letters appearing out of nowhere.
Wesley is impressed in spite of himself.
SIRK
The template you’re holding provides access to anything
stored in the firm’s locked archives relating to prophesies,
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
Not anymore, no. So you opted to what? Play for the other
side… cross the line?
SIRK
These are complicated times. Lines become blurry. How did
you know?
WESLEY
Something about Watchers and…
Wesley drops the book and punches Sirk in the head, dropping him.
ANGEL
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WESLEY
…libraries.
Wesley quickly moves beneath a compartment in the ceiling and extends his
arm. A telescoping grappling hook snaps out of his sleeve and shoots
upward. The hook latches on and a monofilament cable begins to retract,
pulling him up toward the ceiling.
CUT TO:
17 INT. WOLFRAM & HART— HALLWAY— DAY 17
Lilah leads Angel down a hallway that resonates with wealth and power.
LILAH
Money. Clothes. Women. Did I mention we have a juice
bar?
ANGEL
This is what you came back from the dead for? To play Let’s
Make an Evil Deal?
LILAH
(smirks)
Show him what’s behind door number one, Bob.
CUT TO:
18 INT. WOLFRAM & HART— OFFICE SUITE— DAY 18
Lilah opens the door and steps in with Angel. Every possible amenity.
There’s even a private elevator.
LILAH
I know it’s not much but the Taj Mahal was a bit of a commute.
ANGEL
What, I’m supposed to swoon? It’s an office.
LILAH
With your own private elevator. Care to take it for a spin?
ANGEL
What’s it going to do, huh? Drop me in a vat of holy water?
LILAH
You know, I was pushing for it 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
Thanks, but I already have a car.
ANGEL
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LILAH
Now you have twelve.
ANGEL
What am I going to do with twelve cars?
LILAH
Anything you want. That’s the point or haven’t you been
listening?
ANGEL
I have and… I’m done now.
LILAH
Wait. I forgot to show you the best part. You’re going to love
this.
She picks up a remote from the desk and pushes a button. The drapes
covering a set of bay windows slide open and bathe Angel in blazing
sunlight. He throws his arms up reflexively and cries out in shock… but
nothing happens.
ANGEL
I’m not bursting into flames.
LILAH
Nope.
She raps on the glass.
LILAH
Necro-tempered glass. The whole building’s fitted with it.
Helps keep those uplifting wholesome rays from charbroiling
the boss. And 30% more energy efficient.
Angel closes his eyes, enjoying the feel of the sun on his skin.
LILAH
Feels even better when you’re naked. I could turn around…
ANGEL
Close it.
ANGEL
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27
LILAH
I promise I won’t peek. Well, maybe just a skosh.
ANGEL
(hard)
Close it, Lilah.
She hits the remote and the room descends into darkness again.
LILAH
Goodbye, Mr. Sunshine. Hello, gloomy avenger.
ANGEL
Make that goodbye. I’m not taking the job.
LILAH
It’s not a job. It’s an opportunity.
ANGEL
Oh, an opportunity to be part of the problem?
LILAH
If that’s what you choose.
ANGEL
Really don’t.
LILAH
Again, your choice. But think of what you could do with the
resources of Wolfram & Hart at your finger tips. 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
Maybe. But while you’ve been namby-pambying around for
the last 90 seconds, six innocent people have died. Oh,
don’t worry. There’s always 6,000 more just around the
corner. Or up the coast.
She takes a file out of the desk drawer and hands it to Angel. He glances at
the label, then looks up sharply at Lilah.
ANGEL
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28
ANGEL
Sunnydale.
He takes an ornate amulet out of the folder and examines it.
LILAH
That nifty little bauble comes with the file. Apparently it’s
crucial for some kind of “final battle.” Guess they’re in short
supply up Sunnydale way. Bit gauche for my taste but
hey— not a Slayer.
Angel hesitates, then tosses the folder on the conference table.
ANGEL
Buffy can handle herself.
LILAH
But isn’t it more fun when you handle her?
ANGEL
Keep the intel. Not interested.
LILAH
Not in this case. So how about open homicides? Missing
persons? (off his look) 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 can find out in about 10 seconds. All you gotta do is pick
up the phone. Boss.
ANGEL
I’m sorry for what happened to you, Lilah. I really am. Me and
my friends will be leaving now.
He starts to go but the phone rings and he stops while Lilah answers it.
LILAH
(into phone)
Yes? Of course.
She hangs up.
LILAH
The Senior Partners would like you to test all the amenities
before you make your decision.
ANGEL
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29
She picks up the TV remote and presses the power button. A large flatscreen
plasma TV springs to life. Angel’s eyes light up with excitement
before he can catch himself.
ANGEL
Cool! Is that high def—
A breaking news report of a hostage situation at a shopping mall fills the
screen.
NEWSCASTER
…evacuated and bomb units have been called to the scene
where more than a dozen shoppers are being held hostage
at this hour. Police are trying to identify the suspect from these
security camera pictures.
The image freezes on Connor, eyes filled with cold rage.
NEWSCASTER
So far, no motive is known for the siege and the suspect has
refused to speak with law enforcement officials.
LILAH
Wow. He really does have your eyes, doesn’t he?
FADE OUT
Act III
19 INT. WOLFRAM & HART— OFFICE SUITE— DAY 19
Angel slams Lilah against the wall, pinning her by the neck, while the
newscast of Connor’s hostage situation plays in the background.
LILAH
Watch the head. It comes off kind of easy.
ANGEL
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30
ANGEL
(furious)
You set this whole thing up.
LILAH
Been a little busy with the being dead.
ANGEL
You, the Senior Partners, whoever. Get them on the phone.
Make it stop. Now.
LILAH
Love to except for the part where we didn’t have anything to
do with it.
ANGEL
But you know who did.
LILAH
Yeah. I’m looking at him. You’re the one who raised him. Or
didn’t.
Angel releases Lilah and she rubs her neck.
LILAH
Can’t imagine how the kid turned out postal.
ANGEL
You don’t know anything about Connor! Let’s keep it that
way.
He heads for the door.
LILAH
One-time offer only, Angel. Walk out that door, deal’s off.
Stay and it’s all yours.
He turns back to her, hate in his eyes.
ANGEL
People like you— this place— that’s what’s wrong with the
world, Lilah. I will never be a part of this. (beat) Not the way
you’re hoping. Now let me tell you what the deal’s going to
be…
CUT TO:
21 INT. WOLFRAM & HART— ELEVATOR— DAY 21
Muzak plays while the elevator rises. Gunn glances at Lacey appreciatively.
ANGEL
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GUNN
Longest damn elevator ride I ever took. How big is this
place?
Lacey glances at her watch, then leans toward him, smiling.
LACEY
It’s time.
GUNN
Time for what?
A larger button suddenly morphs into place above the others on the control
panel and Lacey presses it.
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 punches the lobby button desperately.
GUNN
The only thing I seek is the lobby. I already rubbed elbows
with Little Miss Muffet once. I don’t need a repeat with her
replacement. Here I am, thinking I’m getting seduced. I’m
getting screwed all—
Then everything around him begins to fade.
DISSOLVE TO:
22 INT. WOLFRAM & HART— WHITE ROOM— DAY 22
Lacey is gone. Gunn finds himself alone in the White Room.
ANGEL
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GUNN
—right. Come on, you got the wrong guy in here. This room
is for the big…
Gunn stops as an enormous jet-black jaguar materializes and slinks toward
him.
GUNN
…cats. I think I preferred the little girl.
The great cat prowls around Gunn, who stands frozen in fear. It pauses in front
of him, then lifts its head and looks directly into Gunn’s eyes. Gunn’s fear
transforms into intrigue as his reflection is mirrored in the jaguar’s eyes.
After a beat, Gunn nods and the beast roars, it’s cry echoing off the stark
white walls.
CUT TO:
23 INT. CENTURY CITY MALL— SPORTING GOODS STORE— DAY 23
About a dozen people sit huddled in small groups among the sporting
equipment and camping gear. They are terrified and some whimper quietly.
All of them have explosives wired and taped to their bodies.
A FATHER awkwardly cradles his young daughter. The child moans, scared,
and the nervous father gets mad at her.
FATHER
(sotto)
Shut up! You’ve got to—
Suddenly the man’s head is wrenched backward from behind. Connor looms
over him.
CONNOR
Hey! I told you to be nice.
FATHER
I’m sorry.
ANGEL
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CONNOR
You’re not holding her right. Why don’t you hold her right?
FATHER
I think you broke my arm.
CONNOR
(cold)
Do it right.
The father winces and tries to embrace the girl tighter.
FATHER
(sotto)
Shh. It’s going to be okay.
Connor kneels down and starts wrapping wires around the connector posts of
half a dozen car batteries. He pauses and smiles but doesn’t look around.
CONNOR
You got in. Thought you might.
Reveal Angel standing on a balcony behind Connor. He drops gracefully to
the floor.
CUT TO:
24 INT. WOLFRAM & HART— FILES & RECORDS— DAY 24
A security guard takes a hard punch to the face from Wesley and drops to the
floor unconscious.
Wesley stands back and surveys the room for a moment. File cabinets and
shelves march off into the distance, an almost impossibly vast storehouse of
information.
Wesley makes his way through the maze, quickly scanning the labeled
drawers, searching. He finally finds what he’s looking for and stops before
one of the thousands of identical cabinets, opening the drawer and thumbing
through the files inside.
LILAH
(o.s.)
I was wondering how long it would take you to get here.
He freezes and turns to find Lilah melting out of the shadows.
WESLEY
How’d I do?
ANGEL
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LILAH
A little slower than I would’ve thought. (wistful) But then you
always did like to take your time. (re: archive) So you finally
made it— got behind the façade— and here it is. Every dirty
little scheme. Every secret. All that evil, great and small. Just
imagine what you could accomplish with that kind of
information.
WESLEY
(realizes)
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
Perhaps you don’t know me as well as you think.
Wesley continues searching through the file cabinet.
LILAH
What are you doing, Wesley?
He pulls out a thick sheaf of papers filled with tiny print. The heading reads
Morgan, Lilah.
WESLEY
Standard perpetuity clause.
LILAH
You broke in here for my contract?
WESLEY
I’m here to release you from it.
He holds up a cigarette lighter and flicks the flame to life. Lilah watches with
genuine affection.
LILAH
Wesley…
He touches the flame to the contract and the paper ignites.
WESLEY
You’ve suffered enough. I want you to find some peace.
Lilah smiles at Wesley sadly.
LILAH
Gallant to the end. But I knew what I signed up for.
ANGEL
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WESLEY
It’s done.
LILAH
Look in the drawer.
Confused, he turns back to the file cabinet and reaches in, drawing out another
copy of her contract. Pristine, untouched.
LILAH
Flames wouldn’t be eternal… if they actually consumed
anything. But it means something that you tried.
CUT TO:
25 INT. CENTURY CITY MALL— SPORTING GOODS STORE— DAY 25
Angel cautiously approaches Connor who stands with his back to him.
ANGEL
Connor… son?
A tremendous explosion suddenly rocks the rear of the store. The hostages
scream and cower.
CONNOR
You might not want to move. The people are rigged, too.
Angel looks around at the frightened faces peering back at him and freezes in
place.
CONNOR
Can’t save ’em all, dad. You don’t know who’s going to be
first. Could be any one of them.
He stands and turns toward Angel, his face a mask of pain and sadness. He
has explosives strapped to his chest as well.
CONNOR
Could be me.
ANGEL
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36
Then he steps to the side, revealing CORDELIA lying on the floor sleeping
peacefully, her body laced with dynamite.
CONNOR
Could be her.
FADE OUT
Act IV
26 INT. CENTURY CITY MALL— SPORTING GOODS STORE— DAY 26
Resume. The stand-off continues. Angel looks from Cordelia to Connor, to
the frightened hostages.
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… and then when we
had to give it up…
CONNOR
(rage)
I didn’t feel anything! (quieter) I can’t feel anything. I guess I
really am your son because I’m dead, too.
ANGEL
You’re not dead, Connor. You’re just starting your life.
CONNOR
No! You just weren’t there before.
ANGEL
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ANGEL
I know. And I’m so—
CONNOR
Do not say you’re sorry! It doesn’t fix anything.
ANGEL
Then let me say this. I love you, son.
CONNOR
It’s a lie.
ANGEL
It’s not.
CONNOR
It’s always a lie. My dead mother couldn’t even love me.
ANGEL
You’re wrong. She did.
CONNOR
No. She knew she couldn’t.
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. You let him take me away.
You let him get me. You let him get me… (looks down)
Cordy, you swore you loved me. Where are you now?
ANGEL
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.
ANGEL
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38
CONNOR
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… (re: hostages) people like this.
None of you deserved what she could give you. She
wanted to give you everything.
ANGEL
I know how that feels because I want to give you everything.
I want to take back the mistakes, help you start over.
CONNOR
You 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. Everything else is just a lie. You can’t be saved by a
lie… you can’t be saved at all.
He reaches down for the wires to complete the circuit and in that split second,
Angel makes his move. He leaps across the room and tackles Connor. The
fight is on, no holds barred. An epic battle.
Angel hurls Connor across the room, then starts ripping the explosives and
wires off the hostages. After a moment, the hostages get the hint and start
freeing themselves, then run out the front door to the police waiting outside.
ANGEL
Run. Hurry up, all of you. Go!
Connor knocks Angel away and crawls toward the batteries. Angel snatches a
Bowie knife from a display and whips it across the room where it slams into
Connor’s thigh. Angel pounces, yanks out the knife and straddles Connor,
pinning him to the floor. He looks down on his son with a world of regret in his
eyes.
ANGEL
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39
ANGEL
I really do love you, Connor.
CONNOR
So what are you going to do about it?
He raises the knife for a killing blow.
ANGEL
Prove it.
The knife descends.
FLASH TO WHITE
27 INT. WOLFRAM & HART— LOBBY— DAY 27
Lorne’s voice, singing Something’s Coming from West Side Story. Lorne is
thrilled, ecstatic and reveling in the lobby’s acoustics.
LORNE
(sings)
Could be… who knows…
There’s something due any day.
I will know, right away,
Soon as it shows.
It may come cannon-ballin’ down from the sky,
Gleaming inside.
Welcome back, Fred…
Reveal Fred as she walks across the lobby toward him, a huge smile on her
face as well. Lorne takes her hand and dances with her.
LORNE
Hi! Let me tell you, when this cruise ship sets sail, I will be on
the lido deck. I mean, it’s unbelievable. Secrets of the
universe. Like Siegfried, evil. Roy, not so much. Oh, and
balance? Very, very important.
ANGEL
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40
Lorne spins a bemused Fred, releasing her right into Wesley who looks
troubled.
FRED
Oh! I guess we’re all straggling back. (off his look) Some
more straggly-like than others. Are you…?
WESLEY
Just a lot to take in.
Before Fred can say anything else, the elevator doors slide open and Gunn
steps out, striding purposefully toward his friends. There’s a subtle difference
in him. A quiet confidence. And he’s a little colder.
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.
Fred glances at Wesley who doesn’t seem so surprised by Gunn’s
revelation.
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
I can’t believe it. Are you saying we should take the deal?
ANGEL
(o.s.)
I already took it.
Angel, battered and bloody again, stands inside the front doors of the
building.
FRED
Angel… what?
Wesley takes in Angel’s appearance, including the sadness in his eyes.
WESLEY
You took the deal.
ANGEL
Executive decision.
WESLEY
I didn’t think you’d—
ANGEL
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41
LILAH
Know a silver platter when he’s handed one?
Lilah appears with the Sunnydale folder and amulet in hand. She and Wesley
lock eyes. She can’t quite take it and looks away.
LILAH
I’m impressed by the lot of you. Team Angel, all growed up.
ANGEL
(to Lilah)
Is it taken care of?
LILAH
(nods)
Cordelia’s safe and sound. Probably getting a manicure and a
blow-dry as we speak.
FRED
(shocked)
You found Cordy? And she’s—
LILAH
Still in a coma. But, hey, doesn’t mean she can’t look her best.
She’ll receive the finest care— medical and metaphysical. If
there is a way to get her back, we’ll find it.
ANGEL
Good. Just one more piece of business. (beat) I want 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.
A beat as Lilah considers. Finally, she smiles and hands him the folder and
amulet.
ANGEL
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42
LILAH
You’re the boss. There’ll be a limo waiting outside. It’ll take
you to see Connor.
ANGEL
(sincere)
Thank you.
As Angel heads for the door, Fred looks at the others, confused.
FRED
Who is Connor?
None of them seem to know the answer.
CUT TO:
28 EXT. SAN RAFAEL MOUNTAINS— TWILIGHT 28
Aerial shot, following the sleek black Wolfram & Hart limo as it curves along a
winding mountain road.
CUT TO:
29 EXT. SAN RAFAEL MOUNTAINS— RUSTIC CABIN— NIGHT 29
The limo creeps under low-hanging trees and stops a discrete distance from a
cozy log cabin home nestled in a small clearing.
The door opens and Angel emerges. He walks toward the house and peers
in a large picture window that glows with hearthside warmth. He stands
beyond the light it casts outside, careful to stay out of sight.
The sound of laughter drifts out from within.
CUT TO:
30 INT. RUSTIC CABIN— NIGHT 30
The family sits around the dinner table, animated, talking casually, constantly
overlapping.
CONNOR
You just opened up a whole bottle for yourself, didn’t you?
FATHER
I’m just saying, you’ve got your pick. Any college you want
to.
CONNOR
It’s really not a big deal.
ANGEL
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43
MOTHER
Top ten percentile is a big deal.
AUNT
Are you and Tracy going to try to go to the same college?
FATHER
Oh, bad idea…
CONNOR
We haven’t talked about it.
FATHER
I love Tracy. I’m just saying, it’s a bad way to go.
SISTER
(disgusted)
Tracy’s a vegan.
MOTHER
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 farther away than Russia?
MOTHER
Don’t you even joke about it.
FATHER
I feel a toast coming on.
SISTER
Oh, god.
MOTHER
Here he goes.
FATHER
To the top ten percentile…
He raises his glass but Connor stands up and cuts him off.
CONNOR
Okay, 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 weeks with you freaks…
I get to make the toast, okay?
He raises his glass.
CONNOR
To family.
ANGEL
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44
Not a word. They all raise their glasses and drink as Angel watches outside.
SISTER
I think I should get wine for the toast.
CONNOR
Oh, really? I wasn’t talking about this family. I made that clear,
right?
CUT TO:
31 EXT. SAN RAFAEL MOUNTAINS— RUSTIC CABIN— TWILIGHT 31
As they all break out into another round of laughter, Angel watches the happy
family scene, then turns away and walks off into the night, leaving his son
behind.
Forever.
FADE TO BLACK
END