That Vision Thing August 9, 2001 (Pink) Written by: Jeffrey Bell Teaser INT. ANGEL'S HOTEL - LOBBY - NIGHT GUNN and WES stand across from one another at the counter grazing from a variety of Chinese take-out containers. WESLEY I'm not saying that we act differently or anything, I just think we should be gentle in our inter-- CORDY steps out of the office. Wes and Gunn smile pleasantly. In a forced-sincere kind of way. WESLEY Evening, Cordy. GUNN Hey, Cordelia. Cordy looks askance at them, crosses the lobby. They watch her until she disappears into the hallway. GUNN How was that? WESLEY I felt quite genuine. FRED (O.S.) B-minus. C-plus. Wes turns around. Looks at FRED, hunkered under Angel's card table "desk". She's using her fingers to eat her food. FRED A girl can tell ... WESLEY Fred, since you're comfortable enough to grade our sincerity, how about joining us for the rest of the meal? -- Wasn't that the point of coming downstairs? Fred weighs the decision. F÷RED I guess that'd be okay. Fred scrambles out from under the table. She steps to the counter with her plate of food. Takes another bite with her fingers. GUNN I don't mean to rush you back into the 21st Century but, how about using chopsticks. (picks up a fork) Or maybe a fork? You remember forks don't you? He hands Fred the fork. FRED Sure, who could forget? Fork. Pitchfork, fork it over, fork in a road. -- One I'm not ready to take yet. She sets the fork down, goes back to using her fingers. Cordelia steps back into the lobby, angles toward the office. WESLEY Hi again. GUNN Nice day. Cordelia stops. Spins toward the guys. CORDELIA I know what you're doing. GUNN You do? 'FRED (quietly) Told you. CORDELIA You're being all fake nice and I hate it. Acting all Freddie Prinze Jr. super-sensitive, like, poor Cordelia, she's on edge because she hasn't had a vision in a while. Well, for your information, I look forward to my next vision. WESLEY You do? CORDELIA Why shoulîdn't I? The Powers-That-Be have seen fit to choose me and who am I to refuse? FRED Great. How about if you use your vision-thing to find out where Angel's at right now? CORDELIA Because I don't care? GUNN What Cordelia really means is she doesn't choose to have a vision. The Powers send 'em to her when they've got info to share. WESLEY Think of them as gifts. CORDELIA Yes, glorious-having-my-head-torn- open-and-hot-lava-poured-into-my- skull-gifts. YOUNG MAN (O.S.) Excuse me. ANGLE A YOUNG MAN Asian-American, twenty-something, in a thousand dollar suit. He must have entered while they were talking. Cordy, assuming he's a potential (and by his dress, affluent) client, is suddenly sunshine-y and smiling. CORDELIA Hi, welcome, sorry, didn't hear you sneak up on us. Must be those tastefully expensive Gucci loafers. -- Totally our fault. Wesley recognizes the Young Man and is not happy to see him. WESLEY He's not a client. -- He's Gavin Park, an attorney with Wolfram &õ Hart. Wesley moves around from behind the counter toward Gavin. Gavin leans past Wesley to Fred. Smiles. GAVIN PARK Pleased to meet you. New player? Wes squares off across from him, blocks his view of Fred. WESLEY Now that we've had this lovely reintroduction, I suggest you march right back out of here. ANGEL enters through the basement door. Senses the tension, sees Gavin. ANGEL (to Wesley) Is there a problem? WESLEY Problem? No problem. Mr. Park was just leaving. GAVIN PARK No, actually, I just arrived. Gavin reaches into his briefcase, pulls out a thick document, walks over and sets it on the counter. GAVIN PARK (cont'd) This is a list of 57 city code violations for your hotel including earthquake proofing, asbestos and termites. Be advised that I've filed a copy of this complaint with the City Planning Office. Angel doesn't even glance at the document. Stares at Gavin. ANGEL Gee, 57, huh? Is that a lot? Angel and Gavin hold one another's gaze for a beat before ù... GAVIN PARK I'll be in touch. Gavin turns, glances at Fred once again and strides out. CORDELIA (watching him leave) Okay, sure, minion of darkness, Satan's toadie, but hey, nice suit. BEHIND THE COUNTER - FRED Steals glances at Angel as he picks up the document. ANGEL Hi, Fred. Good to see you out and about. FRED (lights up) It is, isn't it? Out and about. I've been forking with Gunn- ANGEL Well, that's really, um... CORDELIA (O.S.) AAAAAARRRGGGGHHHHH! Fred dives back under the desk. ANGLE - CORDY Mid-vision, buckles to the floor in agonizing pain. VISION FLASHES: A SPINNING COIN, RAZOR SHARP CLAWS RIPPING FLESH, CHINESE CALLIGRAPHY. Angel, Wes and Gunn drop down next to her. ANGEL Talk to me. Are you alright? CORDELIA (after a beat) There's a coin... And, um... two clawed things. It's in Chinatown, I think. An herbalist shop. Wesley and Gunn spring into combat-prep mode, hurry into the office. Angel stays with Cordy. She sees his concern. CORDELIA (cont'd) I'm fine. òCaught me off guard is all. (forces a smile) Go. Just find that coin. It has a hole in it. Angel helps Cordelia to her feet. Watches with concern as she crosses to the lobby's bathroom. INT. ANGEL'S HOTEL - BATHROOM - CONTINUOUS Cordelia steps into the room. Drops her pretense. She's really hurting. Frightened. She runs some water and stares at herself in the mirror. There's a KNOCK on the door. CORDELIA (holding it together) Yes?! WESLEY - RIGHT OUTSIDE THE DOOR Flipping through an illustrated book of demons. WESLEY Cordelia, this beast you saw. Did it have four or five claws? BACK INSIDE THE BATHROOM Cordelia stares at herself in the mirror. CORDELIA Five. WESLEY (O.S.) You're certain? CAMERA TILTS DOWN To Cordelia's stomach as she lifts up her blouse to reveal: FIVE, RAW, HORRIBLE CLAW MARKS raking across her stomach. CORDELIA (flat) Pretty certain. Off Cordelia and this painful development: END OF TEASER Act One INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT - A BO÷OK Splayed open on the desk. Its ancient text in Chinese. A SECOND TOME ENTERS FRAME as Wesley cross-checks. WESLEY Anything of interest yet, Fred? Fred's flipping through the YELLOW PAGES. FRED Sure, lots, "H" is a fascinating letter -- helicopters, helium, helmets, hernias ... WESLEY (patient/firm) --And did you happen upon "herbs" in your wanderings? FRED I did. (realizing that was the point) Oh, right. There are, let's see, (counts the listings) Five herbalist shops in Chinatown. ANGLE ANGEL Steps into the office carrying a broadsword. ANGEL Got a name or a face for these things yet? WESLEY Circling ... Fred glances at Angel. Smiles nervously WESLEY (cont'd) (studying the books) I think we might be looking at either a Wan-shang Dhole ... (flips pages) Or possibly a Cantonese Fook-beast. Gunn steps up behind Angel in the doorway, battle axe in hand, a duffel bag of weapons slung over his shoulder. GUNN I say we figure out what these things are after we find that coin. Weô're burnin' moonlight. Angel looks to Wes. WESLEY Sounds like a plan. He closes the books. Follows after Angel and Gunn. Angel stops, turns back to Fred. ANGEL Fred, I need you to do something for me. Off Fred, thrilled to be needed by Angel. INT. ANGEL'S HOTEL - BATHROOM - NIGHT CLOSE - THE MEDICINE CHEST As an Aspirin bottle is returned. The MIRRORED DOOR swings shut to reveal Cordy, who's removed her blouse. She pops the aspirin into her mouth, chases them with water. Cordy turns so she can see her back reflected in the mirror. CORDY'S POV - MORE CLAW MARKS Rake across her shoulder, under her bra and down her spine. She glances at her upper arm. More fierce, claw marks. A KNOCK ON THE DOOR Causes her to jump. CORDELIA I told you, it's about finding the coin. ANGEL (O.S.) It's me. She takes a deep breath. CORDELIA I'm fine. ANGEL (O.S.) I'm not leaving until you open the door. ANGEL - RIGHT OUTSIDE THE DOOR ANGEL I mean it, Cordelia. Open up. After a beat, ÁAngel hears the lock turn. Cordelia opens the door a few inches, presses her face into the opening. CORDELIA (forced cheery) See? Fine. ANGEL They're getting worse aren't they? CORDELIA I'm feeling better. I think once I get some protein in me, I'll be good as new. (sees his doubt) Honest. Go de-claw those things. Angel holds her gaze. ANGEL I've asked Fred to take you home. CORDELIA I don't need to go home. ANGEL There's nothing else to do here. Just get some rest, okay? Cordy wants to protest, doesn't have the energy. Agrees. EXT. LOS ANGELES - NIGHT Flashy Cuts: Lights, Streak-y traffic, Neon. Swish pan out of all that lovely, cuttiness to: EXT. CHINATOWN - STREET - NIGHT Swish pan onto Angel's convertible, cruising slowly. Gunn's at the wheel scanning buildings as they pass. Wesley's riding shotgun. Angel's in the back, lost in thought. GUNN Five herb shops in Chinatown. We've been to four. -- How come whatever we're seÎarching for is always in the last place we look? WESLEY I suppose it's one of the unwritten laws of being a dick. Gunn shoots Wes a "what did you just call me?" look. WESLEY (cont'd) You know, sleuth, gumshoe, sherlock. GUNN All I know is, you use the word "dick" again and we're gonna have a problem. Gunn glances out the window. GUNN (cont'd) What's the name of this last place? WESLEY "Van Hoa Dong." It should be up here on the left. They ride along for a beat. Wesley turns to Angel. WESLEY (cont'd) How was Cordelia when you talked to her? ANGEL She said she was fine. WESLEY (reading him) You don't believe her? Before Angel can answer, Gunn stops the car. GUNN Here we go. -- And next time, we're hitting the last place first. GUNN'S POV - "VAN HOA DONG" HERBALIST SHOP "Van Hoa Dong" stenciled in gold on the large glass window. Venetian blinds prevent Gunn from seeing inside. INT. "VAN HOA DONG" HERBALIST SHOP - NIGHT Moody. DimÔly lit. CAMERA GLIDES along a wall of large, glass jars filled with herbs and roots. A PAIR OF OLD HANDS reach up into frame and grab a jar. CAMERA ADJUSTS to REVEAL, AN OLD CHINESE MAN, tiny, bald and frail, as he shuffles behind the counter and sets the jar down on a work table. CLOSE - OLD CHINESE MAN The O.S. jingle of bells causes him to straighten up. CAMERA ADJUSTS as he turns to see, WIDE - ANGEL, WES AND GUNN Enter the shop, closing the door behind them. AN OLD CHINESE WOMAN Emerges from a curtain at the back of the shop. She steps next to her husband. Holds out a gnarled finger. Points. OLD CHINESE WOMAN Your kind not welcome here. CLOSE - GUNN Offended. GUNN Since when can't a brother buy some ginseng tea? OLD CHINESE MAN Not you. Him. The Old Chinese Man jabs his finger toward Angel. OLD CHINESE MAN (cont'd) Vampire not welcome. Wesley steps forward. WESLEY (to the couple) We're looking for an ancient coin. The old Man and Womaån simultaneously let out SHRIEKING WAILS, leap supernaturally into the air, somersault forward over the counter and land in perfect fighter's stances. CLOSER - THE COUPLE Their eyes now solid black. Gunn swaggers forward a couple of steps. GUNN (to the couple) What? You think some fancy jumping and a little hollering can intimidate guys like us? CLOSE - THE OLD MAN'S HAND As his nails morph into 5" long curved claws (VFX). WIDER - THE COUPLE All their nails now long, dangerous talons. GUNN Okay, that creeps me out. ANGEL (to Gunn and Wes) You two take Grandma. I'll take the old man. They draw their weapons as THE OLD MAN Suddenly charges. He's a whirling dervish: punching, kicking and slashing at Angel. Angel counters his moves with his sword, but the Old Man's ferocious, forcing Angel back. GUNN AND WES Attack the Old Woman from either side. She leaps straight up, kicks out into splits, tags both Wes and Gunn in the face with her flying feet. ANGEL Backed agaiänst a wall. Can't believe this Old Man's so tough. The Old Man jabs hard with his left, Angel twists, CLOSE - THE OLD MAN'S CLAWS Just miss. Splinter the wood behind Angel. Angel counters. The Old Man slices. Angel leans back. Too late. RRRRRRPPPPP! CLOSE - ANGEL'S SHIRT Slashed to ribbons. Angel spins, swings, resumes the fight. GUNN AND WES Parry with the Old Woman. Gunn manages to catch her in the gut with the flat of his battle axe. The Old Woman doubles over. Wesley hammers down hard on the back of her head. She collapses unconscious. ANGEL Trades more blows with the Old Man. Notes the length of cloth wrapped around the Old Man's waist as a belt. More fighty-fight, then Angel sees an opening, reaches in, CLOSE - THE OLD MAN'S CLOTH BELT As Angel grabs its end. Then with supernatural strength, Angel YANKS hard -unraveling the long cloth, FLINGING the Old Man like a top, sending him flying up and across the room into a wall of glass jars. THE JARS SHATTER The Old MÖan crashes and lands unconscious under the collapsing shelves and shattered jars. ANGLE - ANGEL, GUNN, WES Sweaty, clothes ripped, catching their breath, hands on knees. GUNN Damn. Grandma and Grandpa got game. WESLEY (nods) Now if we can find the coin before they come to. Wesley moves off toward the counter. Angel glances over at the unconscious Old Man. Sees something. Steps over, bends down, ANGEL Guys. Over here ... CLOSE - THE OLD MAN A long, leather cord partially exposed around his neck. Angel reaches into the Old Man's collar, grabs at the cord, yanks it off. CLOSE - ANGEL'S HAND Threaded on the cord, THE COIN Cordy saw in her vision. EXT. WOLFRAM & HART - NIGHT To establish. INT. WOLFRAM & HART - OUTSIDE LILAH'S OFFICE - NIGHT LILAH steps out of her office and over to a PRINTER on her assistant's desk as the machine revs up and spits out a page. Lilah grabs the document, turns back toward her office, peruses the paper, stops. LILAH (rèeading) ... asbestos disposal? She spins back to the printer confused as Gavin Park exits from his office across the hall. GAVIN PARK I think that's mine. Gavin reaches out, takes the paper from her. GAVIN PARK (cont'd) My printer's down so I had the I.T. guy network me into yours. LILAH Thanks for asking. Gavin starts back toward his office. Stops. Turns to Lilah. GAVIN PARK It hasn't been announced yet, but I've been moved into Special Projects. LILAH (news to her) From real estate? GAVIN PARK (nods) With so much karmic-ly damaged property in L.A., not to mention the demon infestation, the Senior Partners felt I might be more useful here. (re: his paper) I'm working on a little something aimed at Angel Investigations. -- If you're interested, I'd love to have you on my team. LILAH Your team? The door to Lilah's office opens. A twenty-something, nerdy looking EGYPTIAN DUDE wearing a FEZ pokes his head out. LILAH (cont'd) (to the Egyptian dude) I'll be righãt in. Fez-head ducks back inside. Lilah steps closer to Gavin. LILAH (cont'd) Let me tell you something about your team. You don't have one. Now Gavin steps closer. GAVIN PARK Look, just because you were given Lindsey's old office doesn't mean you're-- LILAH (interrupts) --I have this office because I earned it. As did Lindsey. (more) He sacrificed his flesh and blood for this company. Literally had his hand cut off fighting against Angel. What are you doing? (she flicks his paper) Building code violations. Gavin holds her gaze. GAVIN PARK I'm fighting Angel in my own way. Lilah releases the hint of a smile. LILAH Yeah. I bet he's really terrified. Off Gavin, wanting to wipe that smirk off Lilah's face: INT. CORDELIA'S APARTMENT - NIGHT Cordelia steps out of her bedroom wearing pajamas. CORDELIA Okay, ready for bed. Face washed, teeth brushed. (fakes a big yawn) Tired, tired. -- You can go now. (looks around) Fred? CAMERA LEADS CORDY as she does a briefñ search, before she finds Fred sitting on the floor of her breakfast room. Fred's happily eating peanut butter out of the jar with her finger. CORDELIA (cont'd) Okay, Fred, you can go now. Fred startles. Snaps out of her peanut reverie. Scrambles to her feet. Maybe her mouth's gummed up with peanut butter. FRED (re: the peanut butter) Sorry. It's been so long-- CORDELIA Not a problem... Cordy gently guides Fred across the dining room. CORDELIA (cont'd) (saccharine sweet) ... Take it with you. Enjoy that peanut-y goodness in the comfort of your own home. Fred slowly realizes she's being shown the door. FRED Hey, wait, Angel said-- Cordy cuts her off, having already heard Fred quote the Brooding One a couple zillion times. CORDELIA --I know, he said you should wait until he calls, but as you can see, I'm fine. In fact, I'm better than fine. I'm right as rain. Fred stops walking. Turns. FRED I never understood that saying right as rain. How is rain right? Or wrong for thïat matter? Okay, maybe during a flood it would be wrong, and speaking of flood, or just being overwhelmed, what's it like to have a vision? CORDELIA Wow. Y'know, next to you, I'm down right linear. FRED (plowing ahead) I mean do you see things or smell them or do you just know -- in your stomach know - like when I saw Grayson Wells in fifth grade and knew we'd go steady and even though we never did, looking back, it feels like we did. Is it like that? Cordy stares at her a long beat. CORDELIA (cheery) Okay, time to go. Cordelia grabs Fred's arm and leads her toward the door. Fred stops again. Turns to Cordelia. FRED Has anybody ever told you you're exactly like Lassie? Cordy's not sure she heard correctly. Afraid she did. FRED (cont'd) You're like Angel's Lassie. -- Sure, he does most of the saving. But it's your visions that tell him that Timmy's trapped in a well or that the robbers are hiding in the barn. -- He really needs and depends on you. CORDELIA Well, töhanks, I'd be flattered except for the Lassie being a dog part. -Dennis, a little help here. The door to the apartment swings open. CORDELIA (cont'd) See, I'm not alone, I have a ghost. Bye, we'll have to-- CAMERA BARRELS INTO A CLOSE UP Cordy spins, falls to the ground. VISION FLASHES: A BOIL-COVERED DEMON, AN ANCIENT KEY, SWORD PLAY. Cordy's on the floor. Her back to Fred. Fred drops to her knees, calls out, FRED Are you alright... ? She reaches over and pulls Cordy's shoulder. Cordy lolls onto her back, unconscious. Fred, reacts in horror, as she sees SCALY, BUBBLING BOILS cover Cordelia's neck and slowly spread up her cheek (VFX). Off Fred, barely holding it together: END OF ACT ONE Act Two INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT - CORDELIA Sits stiffly on her bed. The scaly boils have stopped spreading, but cover her neck and most of one cheek. CORDELIA It's a demon. Some icky, boilcovered demon. A store front... downtown. Corner of Fifth and something... And there was öa key. I should probably draw you a picture of the key... She tries to stand, but Angel, sitting next to her, gently keeps her from leaving. ANGEL Cordy, we should talk about this. You can't just ignore what's happening. CORDELIA I don't want to talk. And what's to say except -- gross and yuck and unclean. Cordelia looks at Wes, Gunn and Fred by the doorway. CORDELIA (cont'd) Like you're not thinking it. They all look away, busted. ANGEL Has this ever happened before? CORDELIA (nods/reluctant) Earlier tonight. She pulls up her short sleeve and displays the claw marks on her arm. Wesley's the first to make the connection. WESLEY Are you saying your vision had a physical manifestation. (off her nod) And did this new one have anything to do with... Cordy points at her face. CORDELIA The yuck-monster? Yeah- She catches her reflection in a corner mirror. CORDY'S POV - INTO THE MIRROR Staring at the scaly stuff. Trying to be brave. She turns, looks to Angel. CORDELIA This muñst be a mistake, right? The Powers wouldn't do this to me on purpose. I mean, I'm part of their team. (a beat) Why would anyone do this on purpose? Angel doesn't have an answer, wishes he did. Cordy stands up, exits into her bathroom. INT. CORDELIA'S APARTMENT - LIVING ROOM - CONTINUOUS Angel trails the others out of Cordy's bedroom and into the living room. ANGEL We have to figure this out and now. Anybody? Gunn? GUNN I had an Auntie who used to get this nasty, crusty stuff on her back every summer. -- Turned out she was allergic to shellfish. ANGEL That was helpful. Wesley deep in thought. Walks past Fred, wonders aloud, WESLEY Why would the Powers choose to communicate with Cordy in this way? Fred overhears. Has a thought. FRED Maybe we could ask them. Blank stares from everyone. Something she's beginning to get used to. FRED (cont'd) (to Wesley) You used the word communicate. Which got me thinking. Everything's made of energy, right? More blank stares. FREDò (cont'd) Light waves, radio waves, x-rays even brain waves are all electric energy. If Cordelia's receiving visions from the Powers-That-Be, they're being communicated somehow. Maybe we can figure out the frequency and trace the calls. Wesley understands. Is suddenly inspired. WESLEY Yes. Of course. Well done, Fred. Fred smiles at the compliment. Angel and Gunn exchange a, "did you follow that, I didn't follow that" look. Wes immediately forms a plan. WESLEY (cont'd) (to Gunn) Would you and Fred go back to the hotel and get some books for me? I'll make a list. We need to research the Chinese coin. (turns to Angel) You need to find that demon and get the key. ANGEL I'm not going anywhere. Wes steps next to Angel. Speaks quietly. WESLEY Cordelia's had two visions in the same night. You see what it's doing to her. -- If the Powers-That-Be are taking this extreme measure, we should assume the coin and the key are of great significance. ANGEL And so is Cordelia. If I go ofðf to find that key, how can I help her? WESLEY By trusting me. I think I know what to do. Off Angel, reluctant to leave: EXT. LOS ANGELES - NIGHT Flashy Cuts: Cars, Cordy's afflicted face, freeway lights take us to: EXT. STOREFRONT - NIGHT ANGEL'S CAR SKIDS to a stop in front of a small, unmarked storefront. STEADICAM with Angel as he hops out of the convertible, grabs a sword, strides up to the shop's door. Kicks it in. INT. SHOP - CONTINUOUS - ANGEL On a mission, raises his sword in the dark store. ANGEL I want the key and I want it now. ANGEL'S POV - AN INNOCUOUS MAN Across the room. He's hunched over a machine. Lit by a small, work light. Muzak squeaks out of an old radio. The Man glances up at Angel through coke bottle glasses. INNOCUOUS MAN And which key might that be? Soft lights click on. CLOSE - ANGEL Suddenly troubled. ANGEL Oh, man... ANGEL'S POV - KEYS Thousands of them. On pegboards. On kiosks. Glinting in the dim light. Shit, this is a key shop. INNO÷CUOUS MAN Did you lose the original? Angel's flummoxed. He fishes in his pocket. Pulls out a crumpled piece of paper. Smooths it out and holds up Cordy's sketch of an elaborate, ancient key. ANGEL It looks like this. The Innocuous Man squints at the drawing through his glasses. INNOCUOUS MAN Yes, of course. He presses what looks like a buzzer or doorbell. INNOCUOUS MAN (cont'd) This should only take a moment. Suddenly Angel's tackled from behind. He and a BOIL-COVERED DEMON tumble to the ground. ANGLE - THE INNOCUOUS MAN Quietly slips out a back door. Muzak continues as Angel and the Boil-covered Demon spring to their feet and draw weapons. The Boil-covered Demon roars. Charges at Angel. And as their swords clash: INT. ANGEL'S HOTEL - GARDEN - NIGHT Gunn and Fred enter the garden through the gates and head toward the hotel's rear entrance. FRED I know you're probably disappointed that you couldn't go fight that thing with Angel. GUNN Right. 'Cause why would I want to walk witòh a cute, young woman on a beautiful night when I could be out hacking and slaying an ugly, boilcovered demon monster and maybe getting killed. FRED (sincere) I can't apologize enough. Clearly to us (though not to Fred), Gunn's kinda digging his chaperone duty. But outwardly... GUNN Hey, I just follow orders, no matter how tough the job. They climb up the back steps. Gunn reaches for the door. FRED It's just that I'm still so jumpy, and I hate being jumpy, but, I guess that's why you're here because you don't-- Gunn opens the door. JUMPS. A GUY IN A SMALL VENTILATOR MASK stands in front of him. A SMALL PUFF of fumigator smoke dissipating out into the night air. Gunn quickly recovers. Fred hides behind him. GUNN Who the hell are you? MASKED GUY Surekill Exterminators. You can't come in. We're fumigating. Gunn sees the Guy's wearing a "Surekill" jumpsuit. A SECOND GUY crosses the lobby carrying an exterminator's can. GUNN In the middle of the night? I don't think so. Gåunn turns around to Fred. GUNN (cont'd) I need you to get those books out of Wes's office, okay? -- You'll be safe. I've got to talk to this nice man. Fred nods nervously, hurries off through the smoke. GUNN (cont'd) (back to Masked Guy) Now I'll give you 30 seconds to show me your work order before I do some exterminating myself. Off Gunn, staring the Masked Man down: OMITTED INT. CORDELIA'S APARTMENT - NIGHT - ANGEL Enters the apartment, disheveled, but none too worse for wear. Sees Wesley, ANGEL How is she? WESLEY We're finding out right now. Did you get the-- Angel slaps the KEY in Wes's hand, strides past him. WESLEY (cont'd) Right. He turns and follows. INT. CORDELIA'S APARTMENT - BEDROOM - CONTINUOUS Angel steps into the room. Is surprised to find THE HOST sitting on the bed next to Cordy. She's curled up underneath an afghan. The Host sees Angel. HOST His royal Badness. Just in time. (stands) Will you talk to this young lady. -- She's resisting the Ýprocess. ANGEL Process? Angel looks to Wes, WESLEY My idea. The Host reads people's auras to set them on their path. That connects him to the Powers-That-Be in some shape or form. I'm thinking that... ANGEL (finishing the thought) ... Sure, he might be able to reverse the process. That he might be able to use Cordelia to "trace the calls" back to the Powers. Wesley nods. HOST Way outside my area of expertise I should caution, but hey... who knew William Shatner could sing? (a beat) Okay, bad example. Angel steps past the Host, sits next to Cordy. She turns to him. CORDELIA Was it there? 'Cause I'm going to be really ticked off if I'm all Phantom of the Opera and there wasn't a key. ANGEL It was right where you said. Angel gently shifts the topic of conversation. ANGEL (cont'd) So why don't you want Lorne to try and trace the visions? CORDELIA It's not like I'm morally against letting a demon into my sub-conscious for a quick look-ee-loo. Hàey, might be fun. But with the Powers-That-Be doing this whole Book of Job thing, the last thing I want is more noise in my head. ANGEL Maybe he can make the noise stop. Cordelia thinks about that. CORDELIA Yeah... She turns away. ANGEL Isn't that what you want? CORDELIA Yes. No. Well, no. -- Sure I hate looking and feeling like this, but if I lose the visions, I wouldn't be able to help you anymore. -- You wouldn't need me. ANGEL That's not why I need you. You're what's important. (beat) The visions are just after-market extras, like a Hurst shifter or Krager wheels. CORDELIA Did you just compare me to a car? You did, didn't you? ANGEL (half beat) A very nice car. CORDELIA (to herself) I guess it's better than a dog. ANGEL Cordelia. Let us try and help, okay? Cordy reluctantly nods. Angel stands, moves aside. The Host sits back down next to Cordy. HOST Alright Princess, like I said to you earlier, you shouldn't even feel a thing. -- Ready? Câordy nods. She closes her eyes as the Host lays his hands on her temples and concentrates. HOST (cont'd) I want you to relax : To picture yourself outdoors, in a field or on a mountain. CORDELIA I like the mountains ... Angel and Wes watch from the side. HOST Beautiful. You're on a mountaintop and it's warm and the sky is blue and full of big, fluffy clouds and... (more) You're Julie Andrews in, "The Sound of Music" and you're relaxed and spinning and the camera is swirling and -- YEOW! CLOSE - THE HOST'S HANDS Fly off of Cordelia as if he got shocked. His eyes snap open. HOST Careful, honey, you've got some power of your own. CORDELIA Sorry. All that swirling and spinning was freaking me out. HOST My fault, my fault ... (to Wes and Angel) I just love that movie so much. (back to Cordy) Okay. You ready to try again? Cordy, nods, closes her eyes again. HOST (cont'd) Now let's go looking for The-Powers That-Be. See if we can reach out and touch someone. Ý The Host puts his hands back on her temples. Off Cordy, trying to relax: INT. WOLFRAM & HART - LILAHIS OFFICE - NIGHT - LILAH Paces the room. She checks her watch, looks over at Fezhead, sitting on her desk, filling out paperwork. LILAH How many times did I tell you? If we don't have a 1099 on file, payroll can't cut you a check. FEZ-HEAD (filling out a form) I know, I know. (glances up at her) Hey, you have a good tax guy? LILAH Let's finish the job, then we can discuss taxes. FEZ-HEAD You're the boss ... (signs with a flourish) ... John Hancock... and, done. He sets the paperwork down. Lilah dims the lights. LILAH You remember what we talked about? FEZ-HEAD All that fire? How could I forget? Fez-head slides to the center of Lilah's desk, crosses his legs and assumes a lotus position. He closes his eyes. WIDE - FEZ-HEAD As he slowly LEVITATES a couple feet up off the desk. Lilah walks around him as he floats. Eyes still closed, he slowly reaches up,ã Takes off his Fez to reveal that the top of his head and skull are gone. JUST A DOME OF BARE, BLUE-ISH BRAINS. The brains begin to pulsate. INTERCUT WITH: INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT The Host still has his hands on Cordy's temple. Angel and Wes watch apprehensively. Suddenly, Cordelia convulses with a vision. BACK TO: INT. WOLFRAM AND HART - LILAH'S OFFICE - FEZ-HEAD Eyes dancing violently beneath closed lids. BACK TO: INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT As the Host is launched violently across the bedroom. Crashes into a wall, shatters her mirror. CLOSE - CORDELIA CORDY'S VISION: TERRIFYNG FLASHES OF A MAN ON FIRE AND THE FACE OF A FIERCE DEMON. Angel and Wes rush to Cordy's side. Try to help her. ANGEL Cordy... ! But as the convulsions stop, she slumps over, unconscious. ANGEL'S POV - CORDELIA Her hands and arms now badly scarred as if by fire. Tiny wafts of smoke slowly dissipate. BACK TO: INT. WOLFRAM & HART - LILAH'S OFFICE - NIGðHT Fez-head, still afloat, revealed as some kind of psychic hacker. Finished sending the visions, he floats back down to the desk and puts his Fez on. Opens his eyes. Smiles. LILAH Well ... ? FEZ-HEAD I think she got the message. He slides off the desk, stands and stretches. FEZ-HEAD (cont'd) Now about that tax guy... ? Off Lilah, very pleased: END OF ACT TWO Act Three OMITTED INT. CORDELIA'S APARTMENT - BEDROOM - CONTINUOUS CAMERA DRIFTS across the broken mirror and ADJUSTS to find Angel sitting on the bed next to Cordy. They're alone. CORDELIA Is Lorne going to be okay? ANGEL He's fine. Unconscious, but fine. You're the one I'm worried about. Cordelia stares down at her burn scarred arms. CORDELIA Am I bad person? -- Am I just a horrible person? I know I can be snippy sometimes and-- ANGEL (interrupts) --Cordy, this isn't happening because you're bad. If anything, it's because you're strong. Maybe stronger than you realize. She locks eyes with Angel. CORDõELIA I'm not -- I know what I said earlier, but I don't want to have visions anymore. I tried to be brave, I did, but I'm just scared. I'm scared all the time now -- I mean, look at me ... She stares at Angel, truly lost, her eyes filling with tears. CORDELIA (cont'd) (imploring) What could be so important that The Powers would do this to me? I don't understand... And she starts to cry. ANGEL I don't either. He reaches out to touch her cheek, but a gentle RAP on the door interrupts. ANGLE - THE BEDROOM DOOR Wes opens it a crack. Peeks in. Motions for Angel to step outside. Angel shakes his head no. WESLEY Angel, I really think you should hear this. Off Angel, not happy about leaving Cordelia: INT. CORDELIA'S APARTMENT - LIVING ROOM - CONTINUOUS Wes, waiting anxiously as Angel steps out of the bedroom. ANGEL This better be important. Wes indicates to the sofa where the Host, though woozy, is sitting up. Angel steps over. Fred and Gunn are nearby. ANGEL (cont'd) What? Diød you make contact? ANGLE - FRED Unable to keep quiet. FRED The visions aren't from the Powers. Angel turns to the Host for confirmation. HOST (snide to Fred) Sure sweetheart steal my thunder. Next time you can be the one who gets thrown across the-- ANGEL (interrupts) --Who's sending the visions? The Host looks up at the worried faces in the room. HOST (a beat) I don't know. But it's local. Earthbound. And pretty authentic. I can see how a layperson might mistake it for the real deal. Earthbound? That's not what they were expecting to hear. GUNN Are you saying somebody's hacked into Cordelia's head? HOST (nods) Transmitting false data through the celestial pipeline. He turns to Angel. HOST (cont'd) I know it's probably a mile-long list, but I'd start looking at enemies. (ticks off determinates) Who wants to get to you, who has the sizeable resources and who would be willing to mess up a pretty face like Cordelia's? CLOSE - ANGEL Suspecting where he might look first: ú INT. WOLFRAM & HART - LILAH'S OFFICE - NIGHT CAMERA ADJUSTS OFF the back of a computer monitor to reveal Lilah, alone, staring intently at her computer screen. LILAH Concentrate ... CAMERA CIRCLES AROUND as she continues to gaze at her screen until we REVEAL she's playing a COMPUTER GOLF GAME. She taps some keys and the ON-SCREEN GOLFER chips badly, as the ball bounces into a sand trap. LILAH (cont'd) Dammit! ANGEL (O.S.) I hate traps. Don't you? WIDE ANGEL Right behind Lilah. Startles her. ANGEL I was going to knock, but you seemed so focused. I hated to interrupt. Angel circles around her desk. LILAH (nervous) How'd you get in here? Angel sits down in the chair facing her desk. ANGEL You mean why didn't the vampire alarms go off? (off her nod) Your colleague, Gavin, helped me out. Well, colleague, mortal enemy, however you guys play it around here. -- Can we get down to business? Angel reaches into his pocket, sets something on Lilah's desk. CLOSE - THE KEY AND COIN Angeúl slides them toward Lilah. ANGEL I think you're looking for these. What do you think? Lilah picks up the ancient coin, rolls it in her fingers. LILAH I think you might be right. ANGEL Good. Then we're done here. He stands. ANGEL (cont'd) You got what you wanted. It's over. He turns to leave. LILAH Actually, it's not over. She slides the Key and the Coin back toward Angel. LILAH (cont'd) And you'll be needing these to complete your mission. Mission? ANGEL There's no mission. You and me, we're through. LILAH That's where you're wrong. Lilah stands up, growing confident.. Walks around her desk toward Angel. LILAH (cont'd) We're just getting started. -There's a young man who's been unfairly imprisoned. You're going to save him. Isn't that what you do? Save people? -- You'll need those items to succeed. ANGEL (reads between the lines) I see. I do this for you and you stop sending Cordelia the killer visions. Lilah steps up to Angel. Eyeball to eyeball. LILAH (steel) Núo, you'll do this because I tell you to. Lilah slowly circles Angel. Close. It's a power dance. She runs her fingers across his back as she circles. LILAH (cont'd) (softer) I know what you're thinking. Yes, you could kill me now, but then you'd never be able to stop the visions. She smiles, quite pleased with herself. LILAH (cont'd) And for the record, those little skin problems on what's-her-name weren't intended. -- They're just an unfortunate little side-effect. Bruce Lee-fast, Angel wraps his hand around her throat. it takes all of his will power not to snap it like a twig. Lilah senses the danger. ANGEL (in Lilah's ear) Her name's Cordelia and you will help her. He lets Lilah go. Turns away. After a long beat. ANGEL (cont'd) So where's this jail? Lilah steps up behind him. Starts to lay a hand on his shoulder, thinks better of it. LILAH This is exactly why I chose you for the mission, Angel. I needed a man of character. A champion of good, a warrior ... (as if it were an aøfterthought) And I needed someone who can travel in and out of a fortressed, demon dimension. Off Angel, turning to face Lilah, none too happy about that "fortressed, demon dimension" part: OMITTED CUT TO: CLOSE - THE CHINESE COIN Under a magnifying glass. Its EDGE now revealed to be covered in tiny, ancient runes. We are: INT. ANGEL'S HOTEL - WESLEY'S OFFICE - DAY Wesley sits at his desk, staring at the coin through the magnifying glass and glancing into a thick book. He looks up on the sound of, WESLEY'S POV - ANGEL Entering through the basement door. Angel crosses to him. WESLEY Howls Cordelia? Angel shakes his head. ANGEL Gunn and Fred are looking after her. (indicating the coin) You figure it out? WESLEY I think so. -- Something you probably won't like to hear is that both artifacts are considered objects of good. Which makes Angel realize ... ANGEL So the Chinese couple and boil-guy? WESLEY Also aligned with the forces of good. ANGEL Damn. It's so hard to tell theseë days -- We should get lapel pins or something. Wesley reaches over and picks up the key. WESLEY Perhaps more importantly, the inscriptions on the coin and the key match. They actually work together to transport you in and out of the other dimension. ANGEL Don't suppose we have any idea what that other dimension's like? I mean beyond fortress-y and demon-y. WESLEY Based on the burn scars Cordy received from the last vision, I'd imagine fire's not out of the question. Angel's not too thrilled about that. ANGEL Fire. Right. WESLEY And if the Young Man is imprisoned, I'd imagine there might be guards. Guards triggers a thought. Angel turns and heads toward the weapons cabinet. Wesley stands and follows. WESLEY (cont'd) I don't need to explain to you that if Wolfram & Hart are behind this mission, it can't be good. Angel strides to the weapons cabinet and opens it. WESLEY (cont'd) Or that just because Lilah tells you this Young Man is wrongly imprisoned, doesnÙ't make it so. Angel pulls out a mace. ANGEL You're right. WESLEY Nor do I need to explain to you that helping them violates everything you stand for. Angel grabs a dagger. Tucks it into his belt. ANGEL Right again. Wesley pulls a sword out of the cabinet. WESLEY And finally, I don't need to convince you to let me go with you. ANGEL Righ-- Angel catches himself. ANGEL (cont'd) Thanks, Wes, but I need you here in case anything goes wrong. He takes the sword from Wesley. Tests its heft. ANGEL (cont'd) (re: the coin) Now show me how it works. Wes holds the coin in one hand. The key in the other. WESLEY I believe it's fairly simple. CLOSE - THE COIN Wes slides the key through the center of the coin. He then twists the key and the two pieces lock together, forming a single object that resembles a top. He crosses to the center of the lobby. WESLEY Ready? Angel nods. Wes tosses the Coin/Key combo onto the floor with a flick of his wrist. CLéOSE - ON THE FLOOR - THE COIN/KEY COMBO Spins like a top. It begins to emit an ethereal, polyphonic hum. Quietly at first, then growing louder. WESLEY This should take you there and bring you back. Blue sparks begin to fly out of the Coin/Key Top. The sparks lengthen, causing a shimmering, turquoise portal the size of a manhole cover to radiate out from the Top. WESLEY (cont'd) Are you sure I can't come? ANGEL Take care of Cordy. WIDE - THE LOBBY Angel, armed for bear, steps onto the shimmering portal. There's a FLASHING COLUMN OF BLUE LIGHT (in a totally un-Star Trek-like way) and Angel's gone, AND THEN All the weapons he was carrying CLATTER noisily to the floor. Off Wesley, realizing something's once again gone wrong: END OF ACT THREE Act Four INT. DEMON DIMENSION - ANTECHAMBER - TWILIGHT A FLASH OF LIGHT and Angel arrives. He notes his utter and complete lack of weaponry. ANGEL Sure. 'Cause it'd be too easy if I could actually defend myself. We are (or rather ðhe is): A ghosty, gray place with a barely audible, rumbling ambience. Angel appears to be in a small antechamber. He inadvertently kicks something. CLOSE - THE COIN/KEY TOP At rest by his feet. Angel bends, picks it up. Notices a flight of stairs. CAMERA THEN LEADS ANGEL Down the steep flight of steps. The warm flicker of an unseen fire draws him forward. Angel peeks out through an arched doorway at the bottom. ANGEL'S POV - A LARGE, CAVERNOUS ROOM With walls and square pillars of gray stone blocks. But he doesn't notice the walls, because in the distance he sees, A MAN TRAPPED IN A CUBE OF FIRE (VFX). The cube is maybe six feet in each dimension. The Man inside flails in apparent agony. Angel hears the sizzle and crackle of the fire, though the Man is strangely silent despite his perpetual burning. REVERSE - ANGEL Steps through the doorway and heads toward the cube of fire. CAMERA ADJUSTS as Angel exits frame to REVEAL, A POWERFUL DEMON - STANDING GUARD Unseen against a wall, jÒust inside the room. He's the same drab gray as the walls. He wears human skulls as epaulets. His nose-less gray face is more sinew and bone than flesh. His fierce eyes burn red. After a beat, he follows Angel. ANGEL Stands close to the cube of fire puzzling how to rescue the Man inside. Suddenly, he senses he's not alone. Slowly looks over his shoulder. Sees the Powerful Demon standing right behind him. Angel forces a warm smile. ANGEL Hi. POWERFUL DEMON (not unfriendly) Hi. -- You know you're not supposed to be in here, right. ANGEL Yeah. -- What about him? Angel jerks his thumb toward the Man in the cube of fire. The Demon steps up next to Angel. Stares in at the Man. POWERFUL DEMON Him? He's supposed to be here. --You have any idea how monstrous a guy has to be before he's sent to us? -We're a very high-end institution. ANGEL And it's your job to keep him here? POWERFUL DEMON Yeah. (offers Angel his hand to shake) I'm Skip. Angel shakes thÉe Demon's hand. ANGEL Angel. (glances around) So, you live in here, Skip? POWERFUL DEMON (SKIP) No, I commute. -- Not too bad, takes about twenty minutes. Angel nods, slowly walks around the cube of fire, trying to understand it. Skip walks with him. ANGEL What keeps him in the fire? POWERFUL DEMON (SKIP) My will. ANGEL'S POV - THE MAN INSIDE (VFX) Flailing, human, blackened, on fire. ANGEL How come he's not screaming in pain? POWERFUL DEMON (SKIP) Oh, he is, but my will prevents it from being heard. I mean, how many "oh-my-god the pain, please, make it stops" can you listen to before it starts to bug the crap out of you? ANGEL I see your point. CLOSE - SKIP Sniffs the air toward Angel. POWERFUL DEMON (SKIP) You're a vampire, right? Angel nods that he is. POWERFUL DEMON (cont'd; SKIP) How come it smells like you work for the Powers-That-Be? ANGEL 'Cause I do. POWERFUL DEMON (SKIP) (not understanding) And you're here to åtry and free this guy? (off Angel's nod) But we're on the same side. You should be helping me keep him in here. ANGEL I know. -- Long story... Involves a girl. I don't like it any better than you. POWERFUL DEMON (SKIP) So there's no way I can talk you out of it? CLOSE - ANGEL Turns to Skip. Two champions sharing a moment ANGEL Sorry. Wish I could. I guess we'll just have to agree to-- SMACK!!! Skip's massive, GAUNTLETED FIST sends Angel flying. ANGLE - A STONE PILLAR As Angel crashes into it, falls to the ground. ANGEL ... disagree. Skip strides over as Angel scrambles to his feet. Angel hits Skip hard in the chest -- it's like punching steel. Skip doesn't flinch. He grabs Angel, throws him twenty feet. Angel gets up. Vamp-faced. He and Demon Skip trade hammering blows. Two gladiators duking it out. Skip's punches force Angel backwards, step by step, closer to the cube of fire. Angel feels the heat. He and Skip circle. When Demon Skip has his back to the fire,ò Angel attacks. A jump kick to Skip's chest. A Roundhouse to the gut. Skip stumbles back a step. His back right against the fire. SUDDENLY TWO BLACKENED HANDS Spring out of the fire. Wrap themselves around Skip's throat and squeeze with all their might. CLOSE - SKIP Choked from behind. Struggling for breath. Angel DE-MORPHS. Watches in disbelief as Skip weakens. CLOSE - ANGEL Making a decision. He hurries over to Skip, reaches up and violently pries the blackened hands off Skip's throat. The arms disappear back into the fire. Angel yanks Skip away from the fire as the mighty Demon collapses to his knees. Angel hovers over him, concerned. ANGEL Skip, you okay? Skip, struggling for breath, nods that he's fine. ANGEL (cont'd) Good. (a beat) Sorry about this ... And Angel CLOBBERS Demon Skip with a haymaker. WIDE - THE ROOM Skip topples to the floor, unconscious and THE CUBE OF FIRE WINKS OUT behind him. ANGEL'S POV - THE MAN Free. Angel can't tell much about him because he's faøcing away and his naked body is sooty and black. CLOSE - THE MAN As he slowly turns toward Angel. COLD, PIERCING EYES stare out of his soot-covered face. Off Angel, wondering what he's just released: DISSOLVE TO: EXT. L.A. RIVER AQUADUCT - NIGHT An urban excuse for a river. More concrete than water. City lights glow in the distance. TWO BLACK LIMOS Parked in the F.G. Lilah paces agitated. Checks her watch for the umpteenth time when, HEADLIGHTS RAKE ACROSS HER. She turns. LILAH'S POV - ANGEL'S CONVERTIBLE (TOP CLOSED) Approaches up the concrete waterway. Stops a safe distance away. Angel's at the wheel. Wesley's next to him. Gunn's in the back with a Young Man whose piercing gaze reveals him to be the Man Angel rescued. His hands are bound together with rope. ANGEL (to his guys) You know what to do. Anything turns hinky-- Gunn aims his cocked thumb and forefinger at the Young Man. GUNN --Pop goes the weasel. Angel steps out of the car. EXT. L.A. RIVER AQUADUCT - CONTINUOUS STEADIóCAM TRACKS with Angel as he walks toward Lilah. FOUR TOUGH GUYS Step out of the limos. Muscle hired to watch Lilah's back. Angel stops about twenty feet from Lilah. High noon at midnight. LILAH To be honest, no one at the firm thought you could do it. Except me. (pleased) You're a remarkable man, Angel. ANGEL (flat) Yeah, and you're an evil bitch. -- Let's finish this. Take care of Cordy and you get your guy. Lilah steps over to the second limo. Its side window rolls down and reveals, ANGEL'S POV - FEZ-HEAD Sitting all comfy, warm in the backseat. Lilah whispers something in his ear. Fez-head glances at Angel, smirks, and the window glides back up. LILAH (to Angel) This should only take a moment. Angel looks toward his car and nods. INSIDE THE CAR - WESLEY Punches numbers into a cell phone. INTERCUT WITH: INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT Cordy asleep in bed. The O.S. phone rings. CAMERA ADJUSTS as Fred answers it. FRED Hello ... INT. LIMO - NIGHT CLOSE - FEZ-÷HEAD Eyes closed. Fez off. Bare brains pulsing. INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT Fred, still on the phone watches as, CLOSE - CORDY The scales and boils on her face suddenly dissolve away (VFX). Then the scars on her arm and hand do the same (VFX). She's instantly healed. Cordy's eyes flutter open. FRED (into phone) Wesley, it worked. She's okay. EXT. L.A. RIVER AQUADUCT - NIGHT Wes steps out of the car, nods to Angel. Angel nods back. Gunn climbs out, followed by the bound Young Man. Wes and Gunn watch as the Young Man starts toward the limos. ANGEL'S POV - THE YOUNG MAN Walking toward and past him. The Young Man never makes eye contact. Lilah steps forward, shepherds him toward a limo. One of the Muscles opens the back door to the First Limo. Just before the Young Man climbs in he stops, turns. CLOSE - THE YOUNG MAN Stares back at Angel for a beat, holds his gaze, then steps into the limo. The door is closed behind him. Lilah steps closer to Angel. LILAH This was just ßbusiness. ANGEL Right. Just business. Lilah turns away, starts toward her limo. Angel watches her. Glances down, ON THE GROUND - A FOOT LONG PIECE OF BENT REBAR Discarded in the water and weeds. Angel picks it up. ROCKETS the rebar like a dagger. Lilah senses. Glances back over her shoulder as it WIZZZZZES past her ear. THE TINTED SIDE WINDOW OF THE SECOND LIMO EXPLODES into a thousand pieces. LILAH'S POV - FEZ-HEAD Dead. The rebar IMPALED through his forehead, into the seat. Lilah pivots back to look at Angel. Jumps. He's inches from her face. ANGEL Don't you come at me through Cordelia ever again. -- You play that card a second time and I'll kill you. CLOSE - LILAH Knows he means it. Off Angel as he climbs into the convertible with Wes and Gunn. The car turns around and drives away. INT. ANGELIS HOTEL - LOBBY - DAY Angel stands at the counter. A nice place setting in front of him, and a second intended for Cordy. She's standing by the coffeemaker, pouriºng a cup. ANGEL Cordy, I'm glad you're feeling better, but I'm, y'know... CORDELIA (finishing his thought) ... you're not really a foodie. I know. But I saw that great big, industrial kitchen we have and never use and I thought, KA-THUNK! Two Eggos POP up out of the toaster. CORDELIA (cont'd) ... one of these days, we should get somebody in here who can cook. She grabs the hot Eggos, hurries them over, drops them on their plates. Smiles. Picks up her fork. After a beat. CORDELIA (cont'd) Well, here we are. ANGEL Here we are... Another beat. Cordy sets down her fork. Decides to bring up what's bugging her. She looks into Angel's eyes. CORDELIA Angel, what you did for me was unbelievably selfless and brave and amazing. And it's so great to think that my next vision will just be blindingly painful and not turn me back into the Elephant Man or anything. ANGEL I hear a big but coming. CORDELIA (nods) What if that guy ¹you freed is someone or something that's truly terrible? -- Wolfram & Hart won this time. And it's all my fault. ANGEL It's not about winning, Cordelia. It's about what's at stake. And in this particular scenario, you were way more important than winning. Angel picks up his fork. ANGEL (cont'd) I can't worry about that guy I set free. I did what I had to do. (shrugs) I'll deal with the consequences when they happen. Cordy smiles. Angel tries to smile back. THUNDER RUMBLES in the distance. FADE TO BLACK: INT. SHAMAN'S HUT - NIGHT (RAIN) CLOSE - A WEATHERED, PLANK TABLE As a handful of small bones are tossed into frame. TILT UP to REVEAL, A SHAMAN, reading the patterns in the bones. He has the black eyes and dark skin of a mestizo. WIDE - THE HUT Simple furnishings authentic to the mountains of Honduras. The table is strewn with artifacts of the mystical arts. Two or three small gourd bowls catch drips of rain that leak õthrough the roof. SUPER: Yoro Mountains, Honduras. The Shaman throws the bones a second time, sees something in their pattern, suddenly looks up, concern on his face. He turns to the door just before it swings open. DARLA soaked to the skin, a worn jean jacket pulled around her pregnant body, steps into the hut. Closes the door behind her. She sweeps wet hair off her face. DARLA You're a difficult man to find, Seflor. (a beat) You know why I'm here? The Shaman nods. Darla steps forward, weary, but determined. DARLA (cont'd) You, are my last hope. I'm told you are very powerful. Very wise. I've tried everything and I can't get rid of it. So I ask you... (she steps closer) What is this thing growing in me and how is it possible? SHAMAN (:stands) The father is also a... He can't bring himself to say the word. DARLA ÉVampire? Yes, though, not a very good one. SHAMAN I will need some blood. Darla steps very close. Can't ignore the irony. DARLA I'll show you mine, if you show me yours. The Shaman holds her gaze. Not sure if he was just threatened. He crosses the small hut and picks up a knife. Crosses back to Darla. She holds out her hand for him to cut. The Shaman raises the knife. Ancient, but sharp. Brings the blade close to Darla's hand. CLOSE - THE BLADE Wavers. The Shaman is nervous. Darla snatches the knife out of his hand. DARLA (cont'd) Men are such babies. She makes a quick, confident cut across her palm. Bright red blood dribbles out. The Shaman catches it in a mortar bowl. He turns to his table, opens a small, carved bo:x with several smaller containers within. Grabs what looks like crumpled leaves, a pinch of yellow powder, adds them to the-blood, mixes all the elements with a pestle. SHAMAN This has never failed me. He pours the blood mixture into his palm, wipes his hands together and then places his bloody hands on her belly. The Shaman's face slowly contorts into a mask of pain. He's either seeing or feeling something terrible. Then suddenly, he's hurled across the hut by an unseen force. He turns to Darla, stares at her in terror. SHAMAN (cont'd) I cannot help you. No man can. This is not meant to be known. Darla shakes her head. DARLA Yeah, yeah. Like I haven't heard that before. -- I guess there's only one thing left to do. (puts her hands on her swollen belly) Time to go visit Daddy. CUT TO BLACK: THE END