Sanctuary (March 29, 2000) Written by: Tim Minear & Joss Whedon Teaser WE OPEN with a big fat "previously on 'Angel' and 'Buffy the Vampire Slayer'." Faith wakes from her coma, menaces Buffy. Detectives talk about how Faith's wanted for murder and "has a lot to answer for." Faith comes to Los Angeles, tortures Wesley in an attempt to get Angel to put her out of her misery -- and ends up reduced to a whimpering mess in Angel's arms. And off that last image we GO TO BLACKNESSÉ IN BLACKNESS: A GENTLE WHIRRING SOUND. WE FADE UP onÉ INT. ELEVATOR IN ANGEL'S BUILDING - NIGHT ANGEL'S FACE Stoic. Bruised and cut and still soaking wet from his big battle with Faith. CAMERA DRIFTS, finding Faith at Angel's side. She's conscious, but wiped out, wet hair in her face, eyes staring blankly. Neither speak. The elevator comes to a stop in -- INT. ANGEL'S APARTMENT - CONTINUOUS Angel steadies Faith as he pushes open the sliding elevator door. He's also got her battered bag that she was carrying when she got oõff the bus in episode 18. Faith doesn't register the stop. ANGEL Faith? (no response, then) Come on. He gently leads her into the apartment, maneuvers her over to his bed. Sits her on the edge of it. He grabs a towel, gently pats her dry. She lets him. It's all very tender and big brotherly. ANGEL It's okayÉ you're safe here. She says nothing. She yields to him as he helps her on to the bed. Her face a blank. ANGEL You rest, now. Just rest. She lets out a slight hollow gallows laugh. We can't be sure if it was in response to him, or some other voice only she can hear. She curls up a bit, doesn't go totally fetal, but it's not far from that, her head turned away from him. Angel puts her bag on a side table. ANGEL I'm putting your stuff here. She gives no indication that she even heard him. Angel regards her for a moment. A beat. ANGEL I'll be close. He starts to move off, but pauses now, as -- FAITH Angel -- ? He turns, looks at her. She's still turned away from him. He movùes closer. ANGEL Yes? A pregnant beat. Suddenly she spins around. A FLASH OF METAL! She's got a scary looking bowie knife. She plunges it into Angel's face, again and again and again. It is violent and shockingÉ and it never happened. We CUT BACK to the scene. She's still turned away from him. He still looks at her expectantly. That violent flash was all in Faith's tortured mind. Finally -- FAITH (flatly) Nothing. Off her unreadable expression -- BLACK OUT. END OF TEASER Act One INT. ANGEL'S OUTER OFFICE - DAY Cordy moves about the office, looking in drawers. Wesley appears at the door, battered from his torture session. Cordy turns to him -- and now WE SEE the huge shiner she's sporting from her own encounter with Faith. They move to each other, stare at their mutual damage. WESLEY (taking in her shiner) Bitch. (quick to add) Not you, obviously. (then) I can't tell you how sorry I am that I allowed this to happen. CORDELIA Uh, I believe it was Faith who allowed her elbow to collide withù my face. Not your fault. WESLEY (ashamed) At least you only got the elbowÉ CORDELIA Well, if it's any consolation, it really does look like you were tortured by a much larger woman. Wesley takes a quick look around, makes sure they're alone. WESLEY (under his breath) She's still here, I assume? CORDELIA (confidentially) He gave her his bed. Wesley is insulted by the very notion. Now Angel appears from his office door, is about to say something to Cordy, but stops short, surprised to seeÉ ANGEL Wesley. WESLEY Angel. ANGEL Didn't expect to see you in today. How are you feeling? WESLEY As well as can be expected. ANGEL Good. GoodÉ (to Cordy) UhÉ donuts? She indicates a pastry box at the coffee station. Angel moves to the box, opens it, looks inside. WESLEY (he knows better) Developed a sweet fang, have you? ANGEL Ha. (to Cordy) You get jelly? CORDELIA Whole selection. Angel notes Wesley hovering. Looks at him -- yes? WESLEY Won't she have trouble enjoying delicious jellyõ filled donuts if she is, one assumes, bound and gagged? ANGEL (a beat; sigh) Wesley, we went through all this last night -- WESLEY Yes. And you were right. The police would be ill equipped to hold a Slayer against her willÉ I understand why you chose not to turn her over to them. I do not, however, understand why the woman who brutally tortured me last night, this morningÉ gets pastries. ANGEL (awkwardly holds box) WellÉ IÉ don't really have anything else downstairs. Wesley hardens at that. ANGEL What do you want to do, Wesley? Let her starve? WESLEY Certainly not. (then) There are far more humane ways to deal with a rabid animal. Angel darkens, gets a little in Wesley's face. ANGEL She's not an animal. WESLEY No? ANGEL She's a person -- and in case you've forgotten, we're not in the business of giving up on people. WESLEY Don't you dare take the moral high ground with me, not after what she did. I believe in helping people. I don't believe in coddling murderers. Beat. óANGEL WesleyÉ wasn't too long ago, you were the one making the case for her rehabilitation. WESLEY It wasn't too long ago that I had full feeling in my right arm. A beat. Then, more calmly: ANGEL She wants to change. WESLEY There is evil in that girl, Angel. It doesn't matter what she wants, or says she wants. You set her free and she'll kill again. Sooner or later. A beat as he lets that sink in, then he turns and goes. Cordy finds what she's been looking for -- a bound corporate check book. Angel keeps his eyes on the door Wes left by. ANGEL He'll come around. CORDELIA Wesley? Sure. People are always a little funny right after they've been sadistically tortured. Well, you'd know that. I need you to sign these. She indicates where to sign, he does, absently, mind on Wes. ANGEL You understand why we have to help Faith, don't you? CORDELIA Oh, totally. And here. ANGEL I mean, we can't arbitrarily decide whose soul is worth saving and whose isn't. CORDELIA Oh, I know. And thíis one. (then) Thanks. She pockets the signed checks. Marks the check registry. ANGEL (realizing) Those were all made out to you -- CORDELIA Yeah. ANGEL (off registry) "Paid vacation?" CORDELIA Like I'm gonna stick around here while psycho case is roaming loose downstairs with three tons of medieval weaponry. Not. Angel just blinks as she slips on her coat, heads out. As she goes, pointing to a donut box he absently holds -- CORDELIA Oh, and I'm thinking sugar high? Maybe not such a great idea. And she's gone. Off AngelÉ EXT. ANGEL'S BUILDING - DAY (STOCK) Flashy flash cut to -- INT. ANGEL'S APARTMENT - MOMENTS LATER The elevator carrying Angel stops in the apartment. He's got the donut box. He pushes open the sliding door. Moves into the apartment. He glances over toward the bed -- no Faith. ANGEL Faith -- ? WE MOVE with him. She's nowhere to be seen. Schmuck the bait as he moves through the space, looking around corners. He slows, senses a presence, turns to see ë-- FAITH in the shadows. Lurking-ish. She's still a bit of a zombie girl. Feral. ANGEL Faith. She doesn't respond. ANGEL I, uhÉ (temptingly) I got donuts. Nothing from her. All rightyÉ Angel sets the box aside, slowly approaches her. ANGEL FaithÉ I understand what you're going through. And I want to help. But there are a few things you have to do. FirstÉ I need you to give me that knife -- Only now do we see she's got a butcher knife from Angel's kitchen dangling at her side. What's more, she seems to be noticing it for the first time, tooÉ regards it with curiosity. Angel puts his hand out, open palm up. A tense beat. She brings the knife upÉ then places it handle-first into his hand. A tiny bit of progress. ANGEL You should be resting. She shifts her eyes up at him. FAITH I been asleep for eight months. You rest. She turns and shuffles away. Off Angel, wishing he could -- EXT. WOLFRAM AND HART OFFICES - DAY (STOCK) Flashy cut to establish the offices of Wolfram Òand Hart. INT. WOLFRAM AND HART - LINDSEY'S OFFICE - DAY Lindsey's at his desk. We may or may not notice that he's looking at someone who is presently OFF CAMERA. His attention goes to the door, however, as LILAH enters. LILAH We found her. Lindsey raises. This is news he's been waiting for. LINDSEY Where? LILAH With him. LINDSEY Is he dead? LILAH He's a vampire. So technically -- yes, he's dead. But not by her hand. (as she sits) She's his house guest. LINDSEY What? LILAH That's right. The reason our little assassin hasn't made good on her contract is because she's now rooming with the mark. Lindsey shakes his head. Can't believe it. LINDSEY We hired her to kill him -- LILAH I believe I covered that with the "assassin" part. LINDSEY -- and he ends up inviting her to spend the night? LILAH I told you he wouldn't be easy. He can't be bought -- and apparently can't be killed, either. Even by a Vampire Slayer. (then) Rumor has it he used toØ actually date one. LINDSEY Please. Lindsey dismisses that. Doesn't have time for urban legend. He's thinking. LINDSEY Who else knows about this? LILAH No one outside this room. Not yet, anyway. LINDSEY When word gets back to the senior partners this won't go well. For any of us. We conspired with her, paid her half up front -- and now she makes us look like fools. (then) So, question is -- how do we fix this? Now both Lilah and Lindsey look across the room to -- REVERSE - LEE MERCER Sits on the couch across from Lindsey's desk. His face is bloated and swollen. He's wearing a neck brace. His jaw is wired shut. Another Faith fan. MERCER (through clenched, wired teeth) I say we kill her. INT. ENGLISH PUB - NIGHT WESLEY His face all focused control. He's sitting on a bar stool in this English pub, lobbing darts at - DART BOARD THWANG! Another goes in. From the state of the board, we can see he's pretty damn good at this. Nothing in the center of the çbull's eye, but high scoring nonetheless. WESLEY lobs the last of his darts. Reaches over to the bar, picks up his glass of beer, takes a healthy swig, replaces it as he rises. WE MOVE with him to the dart board as he collects his darts. As he's pulling the last of them out something WHIZZES past his ear. Very near his face. Now a DART is embedded right in the center of the bull's-eye. Wesley, pissed, turns back to see who did this. His face registers recognition and surprise when he seesÉ REVERSE Sitting on his barstool is WEATHERBY, who we'll recognize as one of the COUNCIL ASSASSINS from Buffy 16 and 17. He looks at Wesley, gives him a sinister lopsided smile. He's also polishing off Wesley's beer. Now WE SEE SMITH, the second assassin leaning on the bar. And stepping up to Weatherby's side is COLLINS. You guessed it -- Council assassin #1. COLLINS Hello, Wesley. Off Wesley, taking in a potentially dangerous situationÉ INT. ANGEL'S APARTMENT - NIGHT FAITH Sits on the òedge of Angel's bed, rocking slightly, zombie girl, hair in her eyes, those eyes vacant, her stare turned inward. As WE PUSH slowly in on her she jerks slightly, plagued byÉ FLASH! FAITH'S INTERNAL POV Disturbing images from her past. She stakes the Mayor's assistant. Touches the wound. Looks at the blood. Buffy's voice haunting herÉ BUFFY (V.O.) You killed a manÉ FAITH (V.O.) I don't care. But she does care and we can see how these memories, flooding back on her, disturb her. FAITH (tortured, weak) NoÉ She has to get away from them. Her breathing quickens. Through sheer force of will she throws off the feelings. Transforms, hardening. FAITH (then, hard) No. Her eyes flash determination. She rises. INSERT - FAITH'S BAG Being tossed on the bed, ready for packing. WIDER Faith is packing her bag. Muttering to herself. Doesn't take long. She grabs her shoes, puts them on the floor in front of her. Now WE SEE Angel has appeared in the threshold. ANGEL Faith -- She stands into óher shoes, grabs her bag. Moves past him. FAITH Leave me alone. He dogs her. ANGEL You're in no condition to leave here. She keeps her face away from him, doesn't want him to look at her. She's leaving. ANGEL You go out that door now, you'll be running for the rest of your life -- and my bet is it'll be a pretty short run. FAITH Doesn't matter. ANGEL It does matter. He catches up to her, grabs her by the arm. Tries to make her look at him. She won't. ANGEL It matters to me. She jerks her arm away from him, furious, ashamed that he ever saw her at her weakest. FAITH Why are you doing this? Why are you being nice to me? STOP IT! He keeps his hands off of her for the moment, but doesn't move. Looks at her. Finally she looks back at him, gets all tough and blustery. FAITH You gonna stand aside -- or do we throw down? I mean, am I your prisoner here, or what? He looks at her with something like pity. ANGEL No. You're not my prisoner. FAITH So I'm free? ANGEL Don't knowð about that. (as he steps aside) But the door's open. Good. She moves past him, toward the exit. ANGEL Where you gonna go? (then) Back into the darkness? She doesn't turn back, but that rattled her. She stutters in her step. ANGEL I once told you you didn't have to go into that darkness. Remember? That it was your choice. Well, you chose. We're moving up behind her, taunting her. ANGEL You thought you could just touch it. That you'd be okay. Five-by- five, right, Faith? But it swallowed you whole -- She's frozen to the spot. He's right up behind her now. ANGEL So tell me -- how'd you like it? A beat. Then she whirls around again. This time leading with her fist. She connects, cracking him hard against the jaw. His head snaps back, but his expression doesn't change as he looks back to her. Hers does, however. Deep sadness. FAITH Help me. He looks back at her. ANGEL Yeah. And as we hold on this silent moment of connectionÉ EXT. DOWNTOWN LOFT APARTMENT - NIGHT Flashy÷ cut to -- INT. DOWNTOWN LOFT APARTMENT - NIGHT The scene of Faith's last crime. Wesley's torture chamber. CAMERA TRACKS through the rubble. The COPS are here now, FORENSICS TEAM, etc. We find DETECTIVE KENDRICK giving some orders to a couple of uniforms. Now he spots something, reacts with surprise, then moves to join -- KATE LOCKLEY Who is doing her own examination of the scene. KENDRICK Kate -- what are you doing here? KATE I'm a detective, Kendrick. With tweezers, she picks up pieces of the rope that bound Wesley. Notes some blood in the surrounding area. KATE See? I'm detecting. As she does this, she absently hands him a fax of Faith's surveillance photo and arrest warrant. KATE Heard we have a fugitive. He takes it, gives it a cursory glance. KENDRICK Yeah. Felony arrest warrant from a place up north called Sunnydale. I've seen it. KATE So do we think she was the one who threw the party here? KENDRICK Guy who lives here identified her as the woman who mugged him, put hiçm in the hospital. Stole his keys, wallet. We're lifting prints now. My bet is we get a match. She's absorbing that even while she's continuing to put her focus into her crime scene examination. KATE Anything else? KENDRICK That's about it -- so you mind telling me why you're here examining a crime scene on a case that wasn't assigned to you? KATE It looked interesting -- KENDRICK Right. He takes her by the arm, pulls her to a private-ish corner. KENDRICK You heard the rumors, didn't you? KATE What rumors? KENDRICK You know what I'm talking about -- how this girl supposedly has some kind of supernatural powers. KATE Really? KENDRICK Come on, Kate. Everyone knows you've gone all Scully. Anytime one of these weird cases crosses anyone's desk, you're always there. (then) We used to be friends -- what's going on with you? She stares at him for a beat. Doesn't look away from his gaze, her expression unreadable. Finally -- KATE Scully's the skeptic. KENDRICK Hunhî? KATE Mulder's the believer. Scully's the skeptic. KENDRICK Scully's the chick, right? KATE Yeeesss. But she's not the one who "wants to believe." KENDRICK And you wanna believe? KATE Oh. I already believe. (then) That's the problem. And she moves away from him, back to her detecting. Off Kendrick, watching her, concernedÉ BLACK OUT. END OF ACT ONE Act Two INT. ENGLISH PUB - NIGHT Wesley, looking uncomfortable, sits surrounded by the Council men. Collins is open faced, friendly even. Which makes him all the more ominous. Weatherby makes no attempt to disguise his contempt for the ex-Watcher. Smith drinks a lot. COLLINS So -- Los Angeles. WESLEY California. COLLINS Who would have predicted this is where you'd end up? WESLEY Well, it seemed as good a spot as any to re-evaluate my situation after being asked to resign my position with The Council. (dead air) And the weather. I find it. Dry. WEATHERBY Wouldn't cough up the dosh for the air fare home, would they? WESLEôY No. They wouldn't. SMITH Three alchemists on the Board of Directors and still they make us fly coach. (takes a drink, muttering) Miserly bastards. Collins glares at his slightly drunken colleague. Continues, segueing withÉ COLLINS A frugal lot, to be sure. But not stupid. And, I think you'll find, willing to acknowledge when they've made a mistakeÉ Wesley looks at him. WESLEY What do you mean, mistake? COLLINS How would you like to come home, Wesley? Back to England with us. WESLEY Home? COLLINS The Council is prepared to reinstate you, return you to your rightful position as Watcher. Wesley reacts, wide-eyed, unbelieving. COLLINS That was nasty business back in Sunnydale, Wesley. But nobody blames you. WESLEY Really? Because I rather got the impression they did -- when they sacked me. COLLINS As I saidÉ a mistake. Collins produces a DOSSIER. COLLINS One that can now be corrected. He hands the dossier to Wesley, who opens it -- COLLINS With your helpÉ -- a fileø on Faith. The first thing that strikes us is an 8x10 of FAITH. COLLINS We know where she isÉ and we know you have access. Wesley closes the dossier, tries to push it back into Collins' hands. WESLEY No, I couldn't possiblyÉ WEATHERBY (snapping) Loyalty to a vampire, now is it? Wesley shoots Weatherby a look. Collins intervenes, puts a calming hand on Wesley's arm. COLLINS It's alright. That's not why we're here. (then) A Rogue Slayer, Wesley. Far more dangerous than any single vampire. Surely you understand that. Wesley's hand goes absently to one of his wounds. WESLEY All too well. COLLINS Then you'll help us. WESLEY Why come to me? You know where she is. Why not simply take her yourselves? You three are the best, the Council's elite, theÉ They exchange uncomfortable looks. WESLEY (realizing) She cleaned your clocks, didn't she? COLLINS (avoiding the direct answer) She's betrayed her calling, the Council -- you. She has power and the willingness to use that power for evil.ó She must be stopped. Off Wesley, hardly able to disagree with thatÉ INT. ANGEL'S APARTMENT - NIGHT Angel sits at his kitchen table. He's quietly regarding Faith who has her back to him, both hands on the kitchen counter, her head bowed. There's no telling how long they've been in this posture. Finally, she speaks. FAITH So how does this work? Angel considers the enormity of that question. ANGEL There's really no simple answer to that. I won't lie to you and say it'll be easy. It won't be. Just because you've decided to change doesn't mean the world will be ready for you to. And the truth is, no matter how much you suffer, no matter how many good deeds you do to try and make up for the past -- you may never balance out the cosmic scale. The only thing I can promise youÉ is that you'll probably be haunted. And maybe for the rest of your life. She turns to him. Seems to be weighing that. Finally, pointing to a small microwave oven on the kitchen counter: FAITH So how does this work?  He blanches, moves to help her with it. ANGEL (pushing buttons) Power level, time, start. The MICROWAVE WHIRS. ANGEL You sure that popcorn's going to be enough for you? FAITH Yeah. I can live off the stuff. Tell Cordelia I'll pay her back. ANGEL Actually, I think it belonged to Wesley. FAITH Ahhh. Maybe we just don't mention it, then. ANGEL Or maybe we do. The OVEN BEEPS. Her attention stays on Angel. FAITH What are you saying? I gotta apologize? ANGEL (a challenge) Think you can? She looks at him. Seriously considers the question. FAITH I dunno. How do you say, "gee, really sorry I tortured you nearly to death." ANGEL Well, first off, I'd leave out the "gee." And secondly, I think you have to ask yourself -- are you? FAITH What? ANGEL Sorry. She shuts her eyes for a moment -- FLASH! FAITH'S INTERNAL POV We FLASH back to her staking of the mayor's assistant. FLASH! His eyes shocked at the moment of death. FLASH!Ù Faith looking at the blood on her hands. FLASH! BACK TO SCENE Faith recoils. Has to sit down. FAITH What if I can't say it? I mean, there're some things you can't take back, no matter how sorry you are, right? He looks at her, instinctively understands what that means. ANGEL YeahÉ there are. I've got some experience in that areaÉ That just hangs there for a moment. FAITH Right. And you been doin' this for a hundred years. I'm not gonna make it through the next ten minutes -- She rises, moves away unsteadily. He rises, follows her. ANGEL So make it through the next five. The next minute. FAITH I don't think I can -- ANGEL Yes. You can. FAITH It hurts. God, I hate that it hurts like this! ANGEL Oh, well. He grabs her, turns her to face him. ANGEL It's supposed to hurt. All the pain, all the suffering that you've caused is coming back on you. Feel it. Deal with it. Then maybe you've got a shot at being free. A beat. She laughs. FAITH I gotta ×be the first Slayer in history to be sponsored by a vampire. ANGEL (wryly) Well, I've got some experience in that area, too. FAITH (a little panic) Oh, God -- B. How am I ever going to make things right with her? ANGEL This isn't about Buffy, Faith. FAITH All my life, there was only one person who tried to be my friend. Who went out of their way. When I had no right or reason to expect her toÉ and I screwed her. Not to mention her boyfriend. (off handed) Only him, literally. Angel's wondering if she's confusing her coma with reality. ANGEL Faith -- you and I never actuallyÉ FAITH (quickly) Oh, not you. The new one. Angel reacts to that. It takes a second, but Faith realizes she's just dropped a bomb. FAITH Oh, god. Angel -- I'm sorry. ANGEL (trying to be cheerful) There. See? You can say it. That was good. Good. Angel moves away this time. Off Faith -- INT. WOLFRAM AND HART CONFERENCE ROOM - NIGHT Lindsey and Mercer (still in his neck brace, bræuised and jaw-wired-ness) sit at the conference table, their attention on someone stitting across from them who we DON'T YET SEE. LINDSEY We want to thank you for coming down here on such short notice. Lilah is beyond Lindsey and Mercer, at a coffee station/side table preparing a tray. She pours four cups, loads the tray up while she addresses the OFF SCREEN PERSON. LILAH We trust we can rely on your professionalism. MERCER We've had some trouble with freelances in the past. Lindsey smiles to the offscreen party at his colleague's possibly offensive attitude. Lilah breaks the moment with: LILAH Do you take cream? (a beat, shakes her head, mirroring the unseen person) No? Alright. Lilah continues to prepare the tray. Lindsey opens a file, revealing a photo of Faith. He slides it across the table. LINDSEY Here's the target. MERCER Don't let the picture fool you. She's tougher than she looks. LINDSEY We don't want anything elaborate. No slow, painful death. MERCER (ïto Lindsey) Well, some pain would be good -- LINDSEY The point is, we want her dead. MERCER Yes, dead. A lot. Lilah crosses with the tray toward the table. LILAH And just so we're clear -- we won't be putting any of this down on paper. This is strictly a handshake dealÉ The CAMERA has been pulling back slowlyÉ LINDSEY Not that it's necessary for you to actually have hands in order for us to do business. Énow we're LOOKING OVER THE BACK OF THE CREATURE -- an insecty looking demon. LILAH (setting out tray) Yes, that was species-ist of me. I apologize if IÉ Insecty demon lunges forward, insect-like, frankly, "beak" going right into the sugar bowlÉ much slurping and head bobbing as it laps it up. The three lawyers react to this with thinly veiled distate. LILAH (grossed out) Éoffended youÉ REVERSE -- INSECT DEMON as her head comes up INTO FRAME, beak covered in drippy thick sugary spittle. A beat, then it dives back for the sugar. LINDSEY, LILAH AND MERCER As they watch, óbasically disgusted. And as we hold on them and hear the off screen SLURPINGÉ INT. ENGLISH PUB - NIGHT CLOSE - A SYRINGE A high-tech version as it's laid out on the table, unwrapped from a handkerchief. WIDER The men sitting around the table are no longer old friends catching up -- they've moved on to being conspirators. Wesley picks up the syringe. COLLINS Careful. The sedative contained in that syringe is powerful enough to bring down a man twice your sizeÉ or a Slayer. WESLEY How does it work? WEATHERBY How do you think? You jab her with it, don'tcha? COLLINS This is the delivery end. Just a little pressure to the flesh, and in moments she'll feel the effects. WESLEY So you intend to take her alive, then? COLLINS Of course. Wesley may or may not notice the very brief look that flickers between the men. Smith studies his drink. COLLINS She'll be out long enough for us to secure her for transport back to England -- and there she will begin rehabilitation. WESLEY And does tÞhe Council really believe she can be rehabilitated? COLLINS We have every confidence. (then) You'll signal us when it's done. Then we'll come in and take care of the rest. Wesley weighs that, nods. Now: WESLEY I have some conditions of my own. The others exchange looks. WESLEY Just one actually. No harm must come to the vampire. WEATHERBY Oh, don't be a ponce! Wesley sets aside the syringe. WESLEY That's it. Unless you agree to that, you'll get no help from me. COLLINS Wesley, we've no quarrel with the vampire -- WEATHERBY Unless you count the fact that he is a vampire! WESLEY He's a special case. He's reformed. He has a soul. Weatherby flat out scoffs. The others look politely dubious. WESLEY In point of fact, I've slain more demons, confronted more evil, in short -- done more good -- working with Angel than I ever did when I was in the Council's employ. COLLINS We'll make every effort. WESLEY (cutting him off) No. Not "every effort." No harm. Iâ must have your word. Boy does Weatherby hate this. Wesley is resolute. Finally Collins nods -- COLLINS Done. INT. ANGEL'S APARTMENT - NIGHT Faith is perched on a chair in Angel's study, the blue glow of the TV reflecting on her face. She's a bit spaced out, too wired to sleep, too exhausted to do anything else except stare. Well, that and absently munch popcorn. She has a glass of soda perched on the arm of the chair. We can HEAR the SHOWER in the b.g. Faith absently clicks over the channels. And as she does we SCHMUCKY THE BAIT INTERCUTTING Faith zapping the channels withÉ UNKNOWN INTRUDER POV SOMETHING gaining entrance into the apartment area, watching herÉ creepingÉ FAITH We're looking up at her as she ZAPS the channels. In the deep b.g., OUT OF FOCUS and on the for-god's-sake-ceilingÉ A SHADOW MOVES. WE HEAR the SHOWER turn off. Faith registers that. Still clicking at the channels. ANGEL'S BEDROOM Angel emerges from the shower in a towel. Out of view of FaitÏh. He listens for her, calls in to her: ANGEL Everything okay in there? ANGEL'S STUDY FAITH (calling back) It was touch-and-go for those four minutes you left me alone, but somehow I got through it. ANGEL'S BEDROOM Angel starts to get dressed, asÉ ANGEL'S STUDY Faith still absently flipping the channels. She stops flipping. Reacts to something on the TV. She's glued to whatever it isÉ it has made her go very still. Her hand absently reaches out for her glassÉ and she overshoots it, knocking it off the arm of the chair. It CRASHES to the floor. She doesn't seem to even notice, but -- ANGEL'S BEDROOM As Angel reacts to the sound, still only half dressed. ANGEL Faith? Faith? Angel, sans shirt, heads out toward -- ANGEL'S STUDY Faith has pressed herself back in the chair, eyes wide at what she sees on the tube -- Angel comes around the corner, onto the scene. Moves to Faith's side. ANGEL What is it? He follows her gaze to see -- THE TV SET ç It's a photo of FAITH. We recognize it as the same SURVEILLENCE PHOTO Kate gave Kendrick in Act One. KATE (V.O.) Éconsidered extremely dangerousÉ BACK TO SCENE Angel tries to calm her. ANGEL Faith, it's okay. We knew about this. Nothing's changed -- alright? Nothing'sÉ But now something else captures Angel's attentionÉ ON TV SET KATE at a bouquet of microphones. She's giving a press conference. FLASH BULBS explode, etc. KATE Anyone with any information regarding the whereabouts of this suspect should get in touch with law enforcement immediately. Do not approach her. She's violent and unpredictable -- ANGEL Aims the channel changer at Kate's face, ZAPS it. Kate's face is sucked into BLACKNESS. He looks to Faith who is still staring at the screen, like she's seeing the afterburn. ANGEL Listen to me, FaithÉ He makes her look at him -- ANGEL You're safe here. Do you hear me? You're safe. She looks at him, forces herself to believe it. Nods. And it's just at this ñmoment of calm -- THE DEMON ATTACKS The thing from the ceiling, we'll call it BUG DEMON, knocks Angel over, it's snappy, lightning fast insecty attack thingies (oh, not those again) leaving a trail of blood on his naked shoulder or chest. Then it goes for Faith. She's too freaked to fight back at first as it comes at her. Angel quickly gets back into the fray. Fighty McFight. The hatefully quick Bug Demon snapping its razor feelers out at him as he lays into it. Fight moves across the living area. The thing's getting the better of Angel, asÉ Faith is coming out of her stasisÉ her Slayer instincts coming to the fore. She's been backed up to the kitchen. She finds the butcher knife we saw her with earlier. Grabs it, joins the party. Faith slashes at the Bug Demon, slicing off one of the Razor Feelers. It flops around on the floor. Angel continues to battle as well, but it's Faith who delivers the killing blow. When it's all over, and the thing convulses in a death rattle, Angel is on one òside of the room on his ass, Faith on the other, sinking to her knees, the knife still in her grasp. Angel moves to her. She's staring at the blood on her hands. Demon blood, but blood none the less. FAITH'S INTERNAL POV FLASH! Again with the staking of the mayor's assistant. FLASH! Blood on her handsÉ FAITH Begins to shudder, her eyes wide, looking at her bloody hands as if they were something apart from her. Or as if she were that broad from The Scottish Play. Now she's rubbing at her hands, clawing at them. Angel is at her side, puts his hands over hers. ANGEL Hey, hey, hey -- He gets her to stop. Gathers her in his arms. She's breathing hard. More from the blood freak out than from the fight. She's crying softly now. He holds her. Rocks her. ANGEL It's okay. It's going to be okay. And it is in this intimate posture that (the still half naked, and now very sweaty) Angel catches something out of the corner of his eyeÉ He's holding Faith close as he glances up to see -- BUFFYÉ Standing in the doorway, looking at them both, stunned, betrayed, and maybe just a little pissed off. Off the connection between Angel and Buffy -- BLACK OUT. END OF ACT TWO Act Three INT. ANGEL'S APARTMENT - NIGHT Angel stands. Faith doesn't even look up at Buffy -- she's still in her own world of hurt. ANGEL BuffyÉ Buffy starts to form a word, but it doesn't pan out. She looks from Angel to Faith and back as he starts hesitantly toward her. ANGEL I didn't know you-- BUFFY Wh-- What-- How is-- What are you doing? ANGEL She'sÉ (indicates demon) We were attacked. BUFFY "We". You andÉ ANGEL ÉFaith. BUFFY You and Faith. ANGEL It's not what you think. BUFFY You actually think I can form a thought right now? Angel moves around Buffy, subtly drawing her attention away from Faith as Buffy continues. BUFFY GilesÉ heard that Faith wasÉ that she tried to kill you. ANGEL That's true. BUFFY So you decided to punish her with a severeã cuddling. ANGEL Is that why you're here? To punish her? BUFFY I was worried about you. Faith comes out of it, sees Buffy for the first time. Blankly: FAITH BuffyÉ Buffy whips around to look at Faith, who realizes only now who she's looking at. Faith draws back in quiet horror, remembering past sins. FAITH Oh, GodÉ BUFFY (stonily) You didn't think I was gonna find you? ANGEL Buffy, let's talk. BUFFY I don't think talk is in order right now. ANGEL She needs help. BUFFY Help? Do you have any idea what she's done to me? ANGEL Yes. BUFFY (small voice) Do you care? A beat before Angel comes back with: ANGEL She wants to change. She has a chance to-- BUFFY No! No chance. Jail. Faith begins standing slowly. ANGEL You think that'll help? FAITH Buffy. Buffy turns back to Faith. FAITH I'm sor-- BUFFY (cold, calm) If you apologize to me I will beat you to death. A moment, as Faith regains a bit of her fatalistic composure. FAITH Go ahead. Buçffy actually makes a move -- but Angel steps in her way. ANGEL This is not gonna happen. BUFFY You gonna stop me? 'Cause you're gonna have to. Big ass tension -- she is ready for a fight. FAITH Don't do this. ANGEL Faith, go upstairs. Go on. BUFFY There's no way I'm letting her-- ANGEL Buffy, just back off! BUFFY I'm not letting her out of my sight! ANGEL Faith. Go. Faith starts to move to the stairs. BUFFY Don't you move a-- Buffy breaks for her -- Angel grabs her roughly, spins her around. Buffy throws a punch at Angel, which he blocks. Another punch, this one connecting. She is following a third when Angel hauls up and clocks her, fist to face, whipping her head back. She takes a moment, feeling her lip. Shocked beyond the telling of it. Faith can't deal -- she runs upstairs. Buffy watches her go, still amazed. Turns slowly back to Angel. ANGEL I'm sorry. She can't speak. INT. WOLFRAM AND HART CONFERENCE ROOM - NIGHT Lilah enters the conference roomð. Lindsey and Mercer (still neck braced, etc.) are already here, waiting, pacing or sitting on the edge of the table. They rise, come to attention upon Lilah's entrance. MERCER Well? LILAH (shakes head) Strike two. Mercer would shake his head were it not for the neck brace, he can't believe it, pissed. MERCER This is getting ridiculous. The first assassin kills the second assassin sent to kill the first assassin who didn't assassinate anyone until we hired the second assassin to assassinate her! Both Lindsey and Lilah do a tack, look at Mercer. LINDSEY Alright. This obviously isn't working. LILAH Ya think? LINDSEY We've gone about this all wrong. MERCER Meaning? LINDSEY We're lawyers. It was a mistake for us to ever try and work outside the law. Mercer and Lilah look at him, deadpan. LILAH (aside to Mercer) He's being ironic. LINDSEY Not at all. It's time we moved to this fight to our own turf. (then) Let me handle this. I know what to do. Lilah and Mercer eye him, ÷unsure. LILAH Are you sure? LINDSEY I can make all our problems go away -- I promise. MERCER I don't know -- LINDSEY Look, would you just trust me? LILAH There's that irony thing again. LINDSEY (pleasantly) I'll handle it. Lindsey has moved them to the door. Ushered them into the hall. He flashes a winning smile. Lindsey shuts the door, leans up against it. Suddenly looks stricken. He's fucked and he knows it. Finally he lets out a big breath. Shuts his eyesÉ and when he opens them again he's wearing his game face. He pulls open the door, exits. INT. ANGEL'S OFFICE - NIGHT Faith enters, listens a moment at the top of the stairs, then shuts the door. Turns and bumps into-- ANGLE: WESLEY Looking at her stonily. WESLEY Faith. She looks at him with sullen guilt. WESLEY Going somewhere? FAITH No. Just, wanted to be alone. WESLEY Of course. (looks about him, briefly) Angel's downstairs? FAITH Yeah. WESLEY All right, then. INT. POLICE PRECINCT - NIGHT We're CLOSE ON KATE ásitting at her desk, speaking to someone who is at the moment OFF SCREEN. KATE And why should I listen to anything you have to say? I despise you. YouÉ and everything you representÉ and when I say "represent," and "thing," -- I do mean your clients. WE COME AROUND to see Lindsey sitting across from her, unfazed by her litany. LINDSEY Be that as it may, I believe the information I have will be of interest to you. Because while it's true we differ on a great many issuesÉ we do have one thing in common. KATE UhÉ our bodies are both eighty per cent water? LINDSEY An enemyÉ Lindsey takes a photo of Angel out of his briefcase and sets it before Kate. Kate is poker faced. KATE I don't know what you're talking about. LINDSEY No. Of course you don't. And we can't be completely clear because the law isn't clear on these matters, is it? Take, for example, the creatures who murdered your father. She stiffens at thatÉ LINDSEY They could never have been brought to any kind ìof traditional justice -- even if they had survived. He leans in, gets a little friendly. LINDSEY Personally, I feel you were totally justified in taking whateverÉ extra-legal measuresÉ you found necessary. (beat) In fact I admire it. KATE What do you want? LINDSEY There are beings, Detective. Beings who are not governed by the laws and strictures we as humans have devised. They do not fall under our lawsÉ and so they feel they are above them. Lindsey's finger goes down to the photograph of AngelÉ LINDSEY this man is such a being. He feels he is above the law. Which is why he gives aid and comfort to a known murderer. (then) The woman you're looking for? She's with him. Off KateÉ INT. ANGEL'S APARTMENT - NIGHT Angel and Buffy are still staring at each other, wary as cats. ANGEL She's not gonna run, Buffy. BUFFY Well, why would she when she's got her brave knight to protect her? What got you? Did she cry? Pouty lips, heaving bosomÉ I thought you needed help. ANGEL You ôthink I wanted this to happen? BUFFY You hit me. ANGEL Not to go all schoolyard on you, but you hit me first. And in case you've forgotten, you're a little bit stronger than I am. BUFFY (it's almost disgusting) You did it for her. ANGEL You were about three seconds from making her run, you know that? She's at a crucial stage. BUFFY She's playing you! Angel, she tried to kill you! ANGEL That was justÉ That was a cry for help. BUFFY A cry for help is when you say "help" in a loud voice. ANGEL I know Faith did some bad things to you-- BUFFY You can't possibly know. ANGEL And you can't possibly know what she's going through. BUFFY But of course you do. I'm sorry I can't be in the club, but I've never murdered anybody. He stares at her, truly pissed. Looks over to see: ANGLE: FAITH Is back on the stairs. Clearly, she heard this last bit. ANGEL Faith, I told you to-- But now Wesley appears behind her, nudges her forward. WESLEY Slight change of plan. He follows Faith têo the bottom of the stairs. Nudges Faith to Angel's bedroom. WESLEY Get your coat. Faith obeys, Buffy watching her all the way to the bedroom. ANGEL Wesley, what's going on? WESLEY In about 20 minutes the council's operations team is coming in here. They'll expect to find you gone and her drugged. ANGEL How many? WESLEY Three. Hello Buffy. Afraid you've come at a bad time. Buffy looks back at him. BUFFY I'm feeling that. ANGEL Why'd you bring them here? WESLEY Couldn't shake them, had to pretend I was helping them. ANGEL Why aren't you? Wesley looks at Angel, considers his answer. But Buffy doesn't wait. BUFFY I know these guys. They're killers. WESLEY They've surrounded the building. ANGEL I'll check the sewers. If they're clear, we'll all go out. Faith. There is no answer. Buffy looks to the bedroomÉ BUFFY NoÉ Éthen furiously whips her head back at Angel. WESLEY She must have slipped out. ANGEL She'd head for the roof-- Buffy is off like a shotŒ. ANGEL They may have it covered! WESLEY We need a plan. Buffy can protect Faith. ANGEL I'm not sure that's her agenda. WESLEY Sewers are still the best route. ANGEL If they don't know about our access. Angel moves to the trap door. Wes follows. WESLEY It wasn't for her. ANGEL I know. WESLEY It's because I trust you. Angel opens the trap door, goes down. WESLEY More than three gun-toting maniacs, at any rate. EXT. ANGEL'S BUILDING - ROOFTOP - NIGHT Faith looks over the edge, seeking an escape, or an adversary. When Buffy appears, she is clear across the way. BUFFY You're not running away from this. Faith turns. She's had enough. FAITH What do you wanna do? You gonna throw me off the roofÉ again? FAITH There's nothing I can do for you, B. I can't ever make it right. BUFFY So you're gonna take off. Leave us to clean up yet another one of your messes. FAITH It'd§ make things easier for you. BUFFY 'Til you get bored with the whole guilt deal and come back to shake things up again. FAITH That's not gonna happen. BUFFY You're right. It's not. FAITH Angel said there was no way you were gonna give me a chance. BUFFY (closing on her) I gave you every chance! I tried so hard to help you and you spat on me! My life was just something for you to play with. Angel, RileyÉ Anything you could take from me you took. I've lost battles but nobody else ever made me a victim. FAITH And you can't stand that. You're all about control. You got no idea what it's like on the other side, where nothing is in control, nothing makes sense. There's just pain, and hate, and nothing you do means anythingÉ and you can'tÉ evenÉ She's breaking down crying again. Buffy hates that she is responding to this: she weakly protests: BUFFY Shut up. FAITH (tearing up) Tell me how to make it better. BUÒFFY Shut up! And Buffy lunges at her, taking her down -- but that's because: MACHINE-GUN FIRE strafes the area where they were just standing -- COLLINS Is at the rooftop entrance, machine-gun in hand, cursing, looking for his prey, asÉ BUFFY AND FAITH Have rolled to temporary safety behind a chimney or some such rooftop shield. Faith looks at Buffy, realizing she just saved her life. BUFFY It was instinct -- INT. ANGEL'S APARTMENT - CONTINUOUS Angel and Wesley come up out of the trap door/pit. They react to the OFF SCREEN sound of MACHINE GUN FIRE. ANGEL It's coming from the roof -- They make to move in that direction but -- RAT-A-TAT-TAT! Bullets are now flying down here, too. WEATHERBY Is coming off the elevator, pinning the two men down with gunfire. WESLEY I didn't give you the signal. WEATHERBY Shut up! Weatherby and Angel meet eyes. Angel glances down to the machine gun. He could take it. Weatherby's eyes narrow. WEATHERBY VampireéÉ Weatherby holds the machine gun steady with one hand. With the other he reaches over his shoulder, behind his back, coming up with a SHORT CROSSBOW with WOODEN STAKE, ready to fly. He draws it down on Angel. Wesley reacts with horror, knowing this man won't be reasoned with. EXT. ANGEL'S BUILDING - ROOFTOP - NIGHT Collins stalks across the rooftop, searching for the two Slayers, letting off ROUNDS every now and then, asÉ BUFFY AND FAITH Pinned down. Looking for a way out. BUFFY I think we can make it to that other building. FAITH Go. BUFFY NOW! And they spring up -- COLLINS Sees them across the roof, lets loose with another round, takes off after them, calling into a walkie talkie, asÉ BUFFY AND FAITH Literally outrunning bullet hits that chew up the tar roof. They're tearing ass across the rooftop, racing to the edge, ready to make the big leap, when a THUNDERING SOUND BUILDS and nowÉ A HELICOPTER RISES up from just below the edge of the rooftop, a BLINDING SEARC3/4HLIGHT SWEEPING into lens. As the big bird shifts sideways, WE SEE another GUNNER hanging out of the side of the craft. BUFFY AND FAITH Caught up in the wind and light of the chopper -- and now diving out of range of the BULLETS that rain down on them from all sides as we -- BLACK OUT. END OF ACT THREE Act Four EXT. ANGEL'S BUILDING - ROOFTOP - NIGHT The CHOPPER soars over the roof top, SEARCH LIGHT sweeping the roof, GUN FIRE FLASHES from the craft, as -- BUFFY AND FAITH Duck for cover. Look for a way out. The CHOPPER circles around them, looking for the kill shot. The women search for an exit, and all they see is -- COLLINS Striding across the rooftop, moving toward them -- INT. ANGEL'S APARTMENT - NIGHT Angel and Wesley pinned down by Weatherby. The machine gun on Wesley, the crossbow and most of Weatherby's attention and interest on Angel. WESLEY Weatherby, listen to reason. WEATHERBY (eyes on Angel) Reason? A Watcher working Øfor a vampire! It's perversion! Do the sacred oaths you swore to uphold as Watcher mean nothing to you now? Wesley darkens. Who does this asshole think he is? WESLEY As a matter of fact, they do. I swore to protect the innocent. (quickly to Angel) Get to the roof, help them. ANGEL What? WESLEY Now! And even as he commands that, Wesley's diving into the room, behind some furniture, drawing Weatherby's fire. WEATHERBY turns back toward Angel -- who is gone. WEATHERBY Bastard! Furious, he shucks the crossbow aside, takes the machine gun in both hands with renewed purpose, turns back toward -- WESLEY Weatherby? -- Wesley has popped up behind the fallen furniture, has the sedative syringe between thumb and forefinger, like a dart, lets it fly, expertly catching Weatherby in the neck. WESLEY (quietly, to himself) One hundred eighty! Weatherby involuntarily drops the machine gun, his hand going to his pierced neck. The drug is fast acting. He's teeterièng already. Wesley approaches, takes him down with a well placed punch. WESLEY Ponce. Off Wesley, standing triumphantly over the fallen Weatherby -- EXT. ANGEL'S BUILDING - ROOFTOP - CONTINUOUS The onslaught on the roof continues. Collins closing in on the women. BUFFY I'm going to have to take this guy out. No doubt the gunner up there'll come for me when I go for his buddy. (then) When he does, you should be able to make it across to the next building. FAITH Okay. Buffy springs into action, a clear target now. She does the martial arts moves, knocking the gun from Collins' hands. They fight as above them -- THE CHOPPER Swings around, SEARCH LIGHT flashing, getting her into rangeÉ COLLINS AND BUFFY Fighting. They take it across the rooftop. Rolling, punching, bashing. All in the THUNDER and WIND of the CHOPPER as the gunner tries to get Buffy in his sites. Buffy finally takes Collins down for good, but before she can leap to safety -- THE CHOPPER Appears, zooming uêp over the edge of the building. She can see the whites of the GUNNER'S eyesÉ she's toast and she knows it. She looks back to -- FAITH Who doesn't run. Who looks back to her, knowing she's the cause of this, but powerless to helpÉ BUFFY In that suspended moment, lit up by the searchlight, but nowÉ ANGEL Appears. He sprints at the Chopper, makes a flying leap and grabs onto the craft's runner. INT./EXT. CHOPPER - NIGHT The craft wobbles in the air. Angel pulls himself up, reaches up, grabs the Gunner and drags him out of the craft, sending him sprawling hard onto the roof below. Down for the count. Angel finishes climbing aboardÉ The dazed PILOT looks over to the VAMP FACED Angel. ANGEL Down. EXT. ANGEL'S BUILDING - ROOFTOP - CONTINUED Buffy watches as the helicopter wheels around, reversing course and disappearing. She breathes that needed sigh of relief, looks over toÉ ÉFaith. Who isn't there anymore. WIDER Buffy, alone on the rooftop. EXT. PARKING LOT - NIGHT (or someðplace city-like but open where a chopper can land.) The chopper lands, rotors slowing. Angel gets out -- and suddenly -- one GIANT WHEEEERP!, and -- COP CARS Are everywhere, surrounding the thing, GUMBALL LIGHTS flashing. Out of one of the marked cars alightsÉ Kate. She marches over to Angel. She flashes the Faith photo/warrant. KATE Where is she? He just looks at her, doesn't offer any answers. KATE You've got one shot here, Angel. Where is she? He just looks at her, close mouthed. A beat. Finally she looks to her UNIFORMS. KATE Arrest him. (as she walks away) Start with aiding and abetting a wanted felon. The UNIs slap on the cuffs, start the pantomiming of the Miranda rights -- EXT. POLICE PRECINCT - NIGHT (STOCK) Flashy cut to establishÉ INT. POLICE PRECINCT - NIGHT Kate leads the way as she hustles Angel, in cuffs, into the precinct house. It's a lot of chaos as Buffy appears, pushing through cops etc., Wesley bringing up the rear. KATE I think you're gonna like the ceöll we have for you, Angel. Faces east. Give you a great view of the sunrise in aboutÉ Four hours. BUFFY What? ANGEL It's okay. BUFFY (to Kate) You know what he is? KATE Who are you? ANGEL She's nobody. Buffy registers that, doesn't like it. Keeps pushing. BUFFY This is murder -- ANGEL Buffy, it's alright. Kate mouths the name "Buffy?" BUFFY It's not alright! KATE (to Unis) Get her out of here. BUFFY (struggling) You're not going to take the fall for her, Angel! KATE Out! BUFFY It's not going to happen! ANGEL Buffy. Angel has spotted something off screen. Silence begins to fall as one by one, all follow Angel's gaze to seeÉ LONG WIDE SHOT Of FAITH sitting at Kate's desk in the bullpen. Quietly waiting. A UNIFORMED OFFICER standing over her. Buffy, Kate, Wesley, etc. react to the sight. The Uni with Faith sees Kate, prompts her to stand. She does. Kate approaches her. WE MOVE between Kate and Faith, approaching each other. Meeting up. Face to face. FAITH I'd likeÿ to make a confession. Off each in turn, reacting to this moment. And as Faith and Angel meet eyes for a beat, silently making a final connectionÉ DISSOLVE TO: INT. POLICE PRECINCT - LATER Buffy heads for the exit, Angel with her. They are in a different part of the precinct, separate from where Faith turned herself in. A beat. They both have something on their minds. BUFFY You should have told me what was going on. ANGEL I didn't thinkÉ I didn't think it was your business. BUFFY Not my business? ANGEL I needed more time with Faith. I'm not sure -- BUFFY You needed-- Do you have any idea what it felt like to see you with her? That you would, behind my back-- ANGEL Buffy, this wasn't about you! This was about saving someone's soul. That's whrat I do here and you're not a part of it. That was your idea, remember. We stay away from each other. BUFFY I came because you were in danger. ANGEL I'm in danger every day. You came because of Faith. You were looking for vengeance. BUFFY I got a right to it. ANGEL Not in my city. She stares at him a moment. BUFFY You know, I have someone in my life now. That I love. It's not what we had, it's very new. You know what makes it new? I trust him. I know him. ANGEL That's great. That's nice. You've moved on. I can't. You've found someone new. I'm not allowed to. Remember? I see you again it cuts me up inside and the person I share that with is me. You don't know me anymore so don't come down here with your great new life and expect me to do things your way. (beat) Go home. She starts to leave, looks back with wry regret. BUFFY See? Faith wins again. ANGErL Go. She exits (maybe down those stairs). A moment, then Angel punches his a wall. Wesley walks up. WESLEY Are you alright? ANGEL For a taciturn, shadowy guy, I got a big mouth. WESLEY Do you want to go after her? ANGEL (not moving) Yes. WESLEY Well, I don't know how much my opinion counts for, but I think you did the right thing. ANGEL Yelling at Buffy? WESLEY No, the other thing. ANGEL I didn't do it. Faith did. WESLEY I just hope she's strong enough to make it. Peace is not an easy thing to find. Angel takes that in, thinking of himself. Then. ANGEL She has a chance. He looks over at the door Buffy left through, then starts downstairs. INT. JAIL CELL - DAY Faith sits in her cell, looking out the little window. Sunlight dazzles her face. There is more peace on it than we have ever seen. We hold on her for a bit. BLACK OUT. THE END