Birthday (November 13, 2001) Written by: Mere Smith Directed by: Michael Grossman Teaser INT. ANGEL'S HOTEL - LOBBY - DAY CLOSE ON CORDELIA -- Hair pulled back, her face SMUDGED, as she stare at something O.S., her eyes welling up with tears. CORDELIA I just ant to say... thank you. You believed in me when no one else would. Even in my darkest hours, you were there for me, and that means more than you'll ever know. I guess what I'm really trying to say is, I love you. POP WIDER TO REVEAL Cor, wearing YELLOW LATEX GLOVES, hoisting a SCRUB BRUSH like a trophy, beaming. CORDELIA To all my fans, this is for you! WIDEN FURTHER TO REVEAL Cor and FRED, on hands and knees by the scorched elevator shaft. They have MOPS and BUCKETS full of icky water, SCRUB BRUSHES and various CLEANING IMPLEMENTS. FRED (applauding wildly) Wow -- that was -- wow. 'Cause... and with the tears? I got chillbumps all up my arms. Cor drops the brush into the icky water. CORDELIA Yep, that's the famous speõech. Not that I'll ever use it, of course, unless they start handing out awards for Best Slime and Grime. (sighs) I swear, next time Angel decides to blow something up, he's cleaning his own scorchmarks. GUNN (O.S.) Less yammer. More scrub. REVEAL GUNN approaching them. He, too, wears THICK YELLOW LATEX GLOVES -- plus, BIG RUBBER FISHING BOOTS, a SURGICAL MASK (which he pulls down to talk), and a SHOWER CAP. CORDELIA My, Gunn, don't you look... sterile. GUNN Couple more hours sniffin' that industrial cleanser, I think I might be. Don't suppose you ladies wanna trade jobs? CORDELIA Hmm. Scraping up Wolfram and Hart entrails off the floor... Fred? FRED (to Gunn, politely) You're screwed. Cor goes back to scrubbing. Gunn turns to Fred, meaningfully: GUNN Wes back yet? Fred's about to respond, but Cor (not looking) answers first: CORDELIA Nope. Still at the store getting some more extra-strength ick remover. Fred and Gunn trade glances. There's something going on here. FRED He shoul÷d be back any minute. ANGEL (O.S.) Look who's up from his nap... CORDELIA Connor! The girls jump up and swarm over to ANGEL, who's coming downstairs carrying CONNOR wrapped up in a blanket. As they reach for the baby, Angel swings him out of their reach: ANGEL Whoa! Whoa! Whoa! (off their looks) Dirty people not touching the baby. CORDELIA But pig-drinking bloodsuckers are okay? (off his look) I meant that in a nice way. And when I get back, I got first dibs on the baby snuggles. Cor heads off to the bathroom. Angel calls out: ANGEL Make sure you get under your fingernails! (as the bathroom door closes, quietly) Cordy still doesn't know? Just then Wes bursts through the front doors, carrying SHOPPING BAGS, out of breath. We do a DRAMATIC PUSH-IN: WESLEY Where is she? INT. ANGEL'S HOTEL - BATHROOM - DAY Cor dries her hands, looks in the mirror. Suddenly she grimaces, touches her head. She takes a PILL BOTTLE out of her pocket, and downs a PILL. She looks in the mirror for a quiet bÂeat, then tucks the bottle back in her pocket. Braces herself, opens the door -- INT. ANGEL'S HOTEL - LOBBY - DAY -- to find Angel (Connor still in his arms), Wes, Gunn, and Fred holding a BIRTHDAY CAKE decorated like a GIRL SUPERHERO (brightly-colored cape, tights, hands on her hips, and okay, maybe some unobtrusive cleavage). Candles (ten, tops) illuminate their smiles, as they sing "Happy Birthday" to Cor. She melts. After the song -- CORDELIA You guys! I can't believe you did this... She wipes her eyes, doing that teary smiling thing. GUNN Don't just stand there, girl, blow out the candles. She does. Everyone claps. Wes sets the cake on the counter. FRED Didja make a wish? CORDELIA Sure did. (beat, looks around) But I'm guessing John Cusack's a little busy. WESLEY (mock sad) How disappointing for you. Well, then, I suppose you won't be wanting the presents we -- CORDELIA Wanting! Wanting presents! Fred, Wes, and Gunn grin, àrush into Wes's office. ANGEL You wanna hold him now? CORDELIA Ooh, gimme! She takes Connor, cooing at him as she moves to the lobby (ending up in front of the weapons cabinet). Angel follows, reaches into his pocket and produces a small, wrapped BOX. ANGEL I... got you a little something, too. CORDELIA Angel. You didn't have to do that. You've got enought to take care of as it is. ANGEL I'm a champion. We do important stuff. (beat) And hey, who's more important than-- Just then the gang re-enters with some gaily wrapped PRESENTS. WESLEY You'll have to forgive the wrapping -- (eyeing Gunn) -- some of us seem to have fostered a strange addiction to Scotch tape. CORDELIA Oh, of all the cruel dilemmas. Presents... or (she nuzzles Connor) sweet little baby face? (beat, she looks up) Take the baby. ANGEL You're choosing birthday gifts over my kid? CORDELIA (urgently) Take the babyTake the baby! Angel takes the baby just as Cor is WRACKED by a vision. She staggerês back a setp, holding her head: CORDELIA It's a teenager. A girl. She -- Suddenly Cordy is LAUNCHED BACK into the weapons cabinet, SHATTERING the glass as she falls to the floor. COR'S VISION CAM: We see flashes of a SUBURBAN HOUSE. A TEENAGED GIRL. A SLIMY MAW OF RAZOR-SHARP TEETH. And a creepy, indecipherable WHISPERING of a dozen voices. BACK IN THE LOBBY, the gang huddles around Cor lying on the floor, as we ARM UP above her writhing figure -- WESLEY Cordy! Cordy! FRED Is she all right? -- the gang's voices growing more HOLLOW and ECHO-Y... as we ARM UP up up... and then ROCKET DOWN to her face -- a short beat of BLACK -- -- then EXTREMELY TIGHT on Cor's face, still lying on the floor, as her eyes fly open and she gasps. We still hear the distant echo-y sounds of the gang calling her name -- CORDELIA I'm fine, you guys. I'll be okay. I'm just -- She sits up -- and we REVEAL that there are TWO CORDELIAS. One, still surrounded by the gang, motionless, her eyes open anõd staring. And the one we're looking at: ASTRAL CORDY, who lies about ten feet away. As Cor takes this in, in horror: CORDELIA (cont'd) -- dead. BLACK OUT. END OF TEASER Act One INT. ANGEL'S HOTEL - LOBBY - DAY Right where we left off. Astral Cordy (who we'll just be calling Cordelia) watches Catatonic Cordy, lying on the floor with a deadeye stare. (It should be noted that no one can see or hear Astral Cordy.) Angel hands Connor to Wes -- ANGEL Take him. Angel bends over Catatonic Cor (who has a few little SCRAPES on her face), pulling her upright. Cordy gets to her feet. CORDELIA Oh no. ANGEL Come on, Cordy. Wake up. It's all over. Cordy approaches the gang, the fear growing == CORDELIA Angel, I'm fine. Really. ANGEL Come back to us now. CORDELIA I haven't gone anywhere! ANGEL Please wake up. WESLEY Angel, is she --? ANGEL No! CORDELIA No! CORDELIA I'm not? ANGEL She's still breathing, heart's still beating. CORDELIA Yesss! But if I'm not dead, then -- ANGEL She'sõ just in some sorta trance or... or coma. CORDELIA Like hell I am. Cor steps forward, waves her hand in Angel's face. CORDELIA Hel-lo? Not in a coma. Coma free. ANGEL Wes, Gunn, grab one of the couches. Wes and Gunn drag over one of the RED COUCHES as Angel picks up Catatonic Cordy. He lays her on the couch, as Fred spots something (we don't see) on the floor. Under this: CORDELIA (lighthearted) Ohhhkay -- I get it now. This is some kinda bizarre birthday present you guys cooked up, isn't it? Gift certificate to the astral plan? Well, that's a corker, all right, joke's on me -- (deadly serious) -- now put me back in my body. ANGEL It was a vision, wasn't it? She started to say something a girl, then... CORDELIA (remembering) That's right! She's in a house on Oak Street, middle of Reseda -- feels like we got some time, but... (realizing) But you can't hear me at all, can you? HOST (O.S.) What's all the hubbub, bub? The Host is coming downstairs. Cor rushes over to him. CORDELIA Loôrne, thank God. You can hear me, right? 'Cause if there's some weird otherworldly thing going on, you'd still be able to -- The Host walks right through her (CGI), crosses to the gang. CORDELIA (cont'd) That's not good. Just then an INDISTINCT SHAPE flits by the camera. Cor jumps, looks: nothing. She starts to feel a little uneasy. CORDELIA Did anybody else just see that? BACK ON THE GANG: The Host crouches down next to Angel. HOST Jumpin' Judas on a unicycle. What happened? ANGEL All we know is that she had a vision -- FRED But there's a lot we don't know. (off their looks) I think she dropped this. Fred holds up the PILL BOTTLE Cor had in the Teaser. CORDELIA Fred, no. Put that away. It's not important. FRED It's Seltrax. WESLEY Oh God. ANGEL What's Seltrax? CORDELIA It's nothing. It's just... it's aspirin, all right? WESLEY Seltrax is a highly powerful anti- migraine medication. FRED It's a triple-scrip. A controlled substance. GUNN Are you sayin' Cordy had a... prõoblem? CORDELIA Please. The only problem I have is a bunch of nosy friends. WESLEY Seltrax isn't addictive -- in fact, it's just the opposite. FRED The side effects are... well, scientifically speaking, pretty gnarly: nausea, vomiting, dizziness -- GUNN Maybe we should take her to a hospital. ANGEL So they can do what? Do what they did last time -- strap her to a bed and tell us there's no hope? WESLEY Angel's right. Seltrax is a potent drug, but it wouldn't cause catatonia. HOST I'm pickin' up some hardcore woo-woo vibes in the room. This ain't medical, kids -- it's mystical. CORDELIA Ding ding ding ding! Don Pardo, tell 'im what he's won! FRED That's what I was sayin' -- there's so much we don't know. If Cordelia was takin' a drug this powerful in secret, then the visions were probably doin' a lot more damage than she let on. GUNN This last one musta overloaded her-- ANGEL Don't say "last". She'll come out of this. She has to. CORDELIA And she will! For the last time, I'mâ fine. I may be having a little separation anxiety what with the leaving-my-body and all, but I'm not dying. (beat, desperate) I'm not! ANGEL All right. We know it's a mystical problem, so there's gotta be a mystical solution. CORDELIA There ya go! Great idea! Angel stands up, Cor in his arms. ANGEL Gunn -- you and Fred head over to Cordy's place -- CORDELIA No! Bad idea! Bad idea! ANGEL -- see if she's been... hiding anything else. Anything that might tell us how to help her. Wes -- WESLEY I'll hit the books. HOST (re: Connor) And I'll take the little peanut. Angel heads up the stairs with Catatonic Cordy (the Host behind him with Connor), as Gunn and Fred exit the front door. Wes goes into his office, leaving Cor agape. CORDELIA Does nobody care that there's a girl in Reseda about to be fed to a no- eyed three-mouthed monster? Just then, a whistle of WIND, and the indecipherable WHISPERS again. Cor starts, looks around: no on there but her. CORDELIA (cont'ðd) What? Hello? Nothing. Cor tries to figure this out, then it dawns on her: CORDELIA (cont'd) A message. I can leave 'em a message. She rushes over to the reception desk, grabs at a pen. Her hands passes through it (CGI). Grabs at it again. Grabs at it again. Finally, frustrated, she slams her hands on the reception desk -- and falls right through it (CGI). We ANGEL ON HER FEET, still protruding from this side of the desk, the rest of her disappering into it. A beat. CORDELIA (O.S.) Happy freakin' birthday. HARD CUT TO: INT. CORDELIA'S APARTMENT - DAY Gunn and Fred stand in the open doorway, covered in CONFETTI. (By the way, Gunn holds Cordy's KEY in his hand.) REVERSE TO REVEAL a PARTY HAT floating in front of them. A "Happy Birthday" sign occupies the living room. A beat. GUNN I think Phantom Dennis was expecting the birthday girl. He closes the door as Fred moves in, talking to the Hat. FRED Hi there. I know we haven't been formally introduced -- actually, I'm not sure howÍ to introduce myself to someone who's, you know, former -- but I'm Fred. She reaches up and shakes the tip of the Party Hat. FRED (cont'd) It's nice to meet you. Gunn can't help but grin. He gets a kick out of her. GUNN You are so cool. Fred looks at him, serious. FRED I think we should tell him. GUNN (to Dennis) I think you might wanna... (stops, to Fred) Do ghosts sit down? INT. ANGEL'S HOTEL - WESLEY'S OFFICE - DAY Cor sits down across from Wesley, who's involved in his books. CORDELIA Wes. (beat) Wesley. (beat) Wesley! WesWesWesWesWes okay and now I'm annoying myself. WESLEY (to himself, making a note) Interesting. CORDELIA No, annoying. A beat. Cor gets out of her chair, moves right up behind Wes. CORDELIA (yelling) WESSSSSSSSSLEYYYYY!!! (frustrated) You gotta hear me. The girl I saw is gonna die! Wes looks up, thinking hard. To himself: WESLEY But if she's in the astral plane, she could still be here, unable to communicate. Hæe looks around the room. Cor jumps up and down in front of him, does a little hula dance. CORDELIA Yes! I'm here! Look at me! Yoo hoo! WESLEY (beat, sadly) Just wish I could believe that. Cor slumps, looks down. Something in Wes's book catches her eye. She walks around the desk, reading over his shoulder. After a beat -- CORDELIA Wait, don't turn it yet! She leans forward, trying to read the underside of a page Wesley holds, interested. PRE-LAP: FRED (O.S.) This doesn't make any sense. INT. CORDELIA'S APARTMENT - BATHROOM - DAY Fred stares into Cordy's open medicine cabinet, perplexed. GUNN (O.S.) What doesn't? REVERSE to find the contents of the cabinet -- nothing out of the ordinary. Mostly lotions, toothpaste, perfumes, etc. FRED It's all... normal. Gunn ducks in, holding a SATIN BRA. Fred looks at him. GUNN And that's wrong? FRED No, what's wrong is you pickin' through Cordy's personal... (she gestures) ...support... things. GUNN What, this? You tellin' mëe you never hid anything in your underwear drawer? FRED I don't know. I mean, for five years there I didn't even have any -- can we not talk about my underwear, please? And put that down. Gunn drops the bra over the doorknob. FRED (cont'd) I just figured if Cordelia was takin' somethin' serious like Seltrax, she'da tried other stuff first. But look -- there's not even any aspirin in here. (a beat, quietly) I think he's protectin' her. A beat, then Gunn turns and leaves. INT. CORDELIA'S APARTMENT - BEDROOM - CONTINUOUS GUNN Phantom Dennis? (nothing) Listen. We would never ask you to betray Cordelia. But we need to see whatever she's been hidin' from us, or... I mean, unless you're so hype on the ghostin' life that you want her to join you -- A long moment. Gunn looks at Fred: "I don't know what else to do." Then suddenly a BOX slides out from under the bed. A beat, as Fred looks at Gunn: FRED You went through her underwear drawer first, didn'tcha. Gunn looks away, slightly abéashed. Fred moves to the box, opens it. Looks inside. Gunn whistles, low. REVERSE to find: DOZENS OF PILL BOTTLES and MRI PRINTOUTS. Fred takes out a pill bottle, examines it. FRED (cont'd) The date on this prescription -- (looks up at him) It's from a year ago. Off the two of them, worried -- EXT. LOS ANGELES SKYLINE - NIGHT Flashy McFlash-Cut... INT. ANGEL'S HOTEL - ANGEL'S LIVING ROOM/BEDROOM - NIGHT Quiet. Pull back from the baby asleep in his nursery, to Angel's bed, Catatonic Cordy lying there, Angel next to her, holding her hand. ANGEL Cordy? (beat) I know you can't hear me, but... there's something I have to say. (beat) You really piss me off, you know that? I thought we trusted each other, but you've been lying -- MRI's, CAT scans; it's been going on for over a year. (beat) Why couldn't you let me in? I could've helped you. You make me so furious. CORDELIA (O.S.) You're furious? REVEAL Cor, sitting off to one side, watching him. CORDELIA I get bodyjacked on myñ birthday and you're the one that's furious? Just then the Host enters. Softly: HOST Knock, knock. How is she? CORDELIA Ready to punch this jerk in the nose. ANGEL The same. You ready? HOST As I'll ever be. CORDELIA For what? What's he gonna do? HOST Sorta wishin' I'd brought a helmet, though. Last time I tried this, I got blown across the room. The Host moves to Catatonic Cordy, puts his hands to her temples, closes his eyes. Cor darts forward, eager. CORDELIA Oh, please let this work. HOST (beat, concentrating) Cordelia? Are you there? CORDELIA Lorne, it's me. I'm here. HOST Cordelia? CORDELIA (relieved) Yes! You have to tell Angel -- 171 Oak Street. There's a girl inside the house, she's going to die if you don't get there in time. Please, Lorne, tell him: 171 Oak. Can you hear me? Lorne? The Host exhales, removes his hands. A pregnant moment. ANGEL What? HOST Cordelia's not in there. She's just... gone. CORDELIA (near tears) I'm standing right in front of you!Ý Suddenly the WHISPERS again, as Cor watches a SHADOW (cast by nothing we can see) RACE across the wall and disappear. CORDELIA (cont'd) (small voice) And I'm scared. ANGEL No. This isn't gonna happen. Angel looks at the Host, menacing. ANGEL I don't care how many favors you have to call in. I don't care how many gods you have to cross. You have a connection to the Powers That Be, and you're gonna find me a way to talk to them -- understand? HOST (slightly nervous) Angel, honey -- it's not that easy. Contacting the Powers is a muddy, not to mention dangerous, area. Now, I adore Cordy, you know that -- but this is a bit much to ask. ANGEL I'm not asking. Stalemate. A beat, then the Host nods, exits. Angel moves back to Catatonic Cordy's bedside, takes her hand again. Cor watches this, moves to him, reaches out to touch his shoulder, but realizes she can't. Pulls her hand back. Cor sits down on the floor next to him. A quiet moment. Off her -- we TIME DISSOLVE: Ò INT. ANGEL'S HOTEL - ANGEL'S LIVING ROOM/BEDROOM - NIGHT Angel sits at Catatonic Cordy's side. Cor still on the floor. CORDELIA --the last time I was this scared. I guess I was around eight or nine -- and I'm sure the clown just thought he was doing his job, but the way he twisted those balloon animals... For years I had nightmares that he'd come into my house and twist off my -- A light SNORE. Cor looks up, sees that Angel has nodded off. CORDELIA (cont'd) Finally. (she stands, braces herself) Okay, Wes. Let's hope your books know what they're talking about. Deep breath, then Cor SITS INTO ANGEL'S BODY (CGI). Angel's eyes open. He moves as though sleepwalking -- every motion fluid and measured. As he reaches for a SHARPIE on the nighstand, he knocks over a GLASS of water -- CORDELIA (O.S.) Oops. Need a little work on the motor skills. Angel grabs the sharpie, scrawls on the wall: "171 Oak S", when a gust of WIND blows through, the WHISPERS reappear, ælouder than before, and more SHADOWS grow on the wall. CORDELIA (cont'd; O.S.) Aaaaggghhh! Cor LEAPS backwards out of Angel's body, causing Angel to lurch forward and fall a few feet away from the wall, awake, but dazed. The spooky effects disappear as Cor, angry: CORDELIA (to the air) Listen up, whaterver you are -- you can't scare me! Wes swings open the door, scaring the crap out of her. WESLEY Angel, I just -- (stops) What are you doing on the floor? Angel gets to his feet, confused. ANGEL I don't know, I... had this dream that Cordy was here. She was trying to tell me something. Something important. CORDELIA Yes? And? ANGEL (he shrugs) Weird. (to Wes) Did you need something? Wes crosses in, under: CORDELIA How are you a champion? In what way are you a -- WESLEY Fred studied Cordy's latest CAT scans. The news is not good. The tests show widespread neuroelectrical deterioration. CORDELIA Aw, come on... that's just a fancy way of saying -- ANGEL She's dying.ï A beat, as that hangs in the air. Wes looks away, can't really bear to watch Angel take that in. Cor, stunned: CORDELIA I think I liked the fancy way better. Angel moves back to Catatonic Cor's bedside, looks at her. WESLEY I'm still working on the mystical aspect -- trance states, astral projection, spiritual possession, but so far I haven't been able to... Wesley trails off. Angel's not paying attention, he's focused on Catatonic Cor. WESLEY (cont'd) Why don't you take a break? I'll watch over her. (re: nursery) And Connor. A beat, Angel goes. Wes looks at Catatonic Cor for a beat, sits by her bed, book on his lap. Cor is still in shock. CORDELIA I'm not... I can't be dying. I'm not ready yet. Suddenly the WIND starts HOWLING, and the LIGHTING in the room changes, SHADOWS GROWING over every wall. The WHISPERS start up again, growing in volume and intensity. Cor shrinks back, terrified. What the hell is going on? CORDELIA (cont'd) Oh no... please no... Suddenly a BANG and öa WHITE FLASH OF LIGHT, and we see Cor staring at something O.S. She SCREAMS, as we REVERSE TO REVEAL: DEMON SKIP standing there. He waits for her to finish screaming, then nods cordially: SKIP Hey. (beat) How's it goin'? Off Cor -- BLACK OUT. END OF ACT ONE Act Two INT. ANGEL'S HOTEL - ANGEL'S LIVING ROOM/BEDROOM - NIGHT Right where we left 'em. Cor staring at Skip, terrified. CORDELIA You're... you're death, aren't you? You've come to take me... SKIP (evil, electronically- altered voice) ...down to the fiery pits of hell, where you'll roast for all eternity in neverending anguish and torturous pain. MWAAAAHAHAHAHAHA!!! (beat, normal voice) Kidding. I'm Skip. He extends a hand, but Cor just stares. He drops the hand. SKIP You're Cordelia Chase, right? Sorry it took me so long. I was supposed to get here right after you popped, but there was construction, and traffic -- it was a whole thing. CORDELIA After I... popped? SKIP Out of your body. (re: Catatonic Cor) This you? He stepõs toward the bed, and Cor jumps back. He looks down. SKIP (cont'd) Huh. He looks up at Cor, then back at Catatonic Cor. Perplexed. CORDELIA What? What huh? SKIP Nothing, really, it's just... mots people who go astral, their spiritual shapes tend to be idealized versions of themselves. You know. Straighten the nose, lose the gray -- kind of a self-esteem thing. (looks down, up) You're pretty confident, aren't you? CORDELIA What is this, the Cosmo personality quiz? Who are you? And what the hell is going on? SKIP You have questions. I get that. And I'll answer 'em, too, but first we gotta get outta here. Cor sidles up next to the oblivious Wesley. CORDELIA But... why? Here is good. I'm very comfortable here. I like here. SKIP (nods) Attachment to the material world. I understand the impulse, but see, there's a slight problem: you don't belong here anymore. Cor looks at him for a beat, the realization sickening her. CORDELIA Because I'm dead. SKIP Not yet. (Cor looks hopeful) But õyou will be very soon. Unless you come with me. Cor takes that in, beat. Then she has an idea, moves to Skip. CORDELIA I'll follow you, on one condition. You have to tell my friends about this vision I had. (re: Wes) Just use your little whispery things and tell this guy, he'll understand. SKIP Sorry, but no can do. I'm not a messenger; just a guide. Your guide. CORDELIA My guide to what? Skip doesn't answer -- just reaches out his hand. Cor looks at his hand, looks down at her catatonic body. A long beat. CORDELIA (cont'd) I don't wanna die. SKIP So don't. Another beat, as he keeps his hand out -- and finally, Cor takes it. Instantly the same BANG and WHITE FLASH OF LIGHT, and Skip and Cor disappear, leaving us with only Wes and Cor in a quiet room -- INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT A SWIRL OF COLOR fills the frame. We might think we're in some eerie mystical portal, until we start PULLING BACK, and we realize we're looking at a color printout of a brain scan. FRED÷ (O.S.) That's from eight months ago. WIDEN TO REVEAL Angel, Fred and Gunn in Wes's office. Cor's PILL BOTTLES are lined up on the desk, along with the MRI and CAT scan printouts. Fred lectures. FRED The red spots, or what they call "hot" areas, are what you'd expect from a healthy, functioning brain. (then) The one's dated last month. She puts another printout in front of Angel. INSERT: the same brain-shape, but a sickly GREEN has spread over it. GUNN Cordy's doctors couldn't explain it. FRED See, green is a "cold" color, usually signifyin' dead areas of the cerebrum. Normally you wouldn't see a scan like this -- GUNN -- unless the person was a cucumber. FRED So the doctors just figured Cordy was one of those electromagnetic phenomenon folks. You know, the ones who can't wear watches, 'cause they'll run backwards? The ones who can't use a compass 'cause north'll just go floppy on 'em? Or the ones -- GUNN The doctors weren't much help. Angel takes in the meds. Picks up a bottle. ANG÷EL How could we not know? GUNN Because Cordy's Cordy. She gets what she wants. And she didn't want us to know. HOST (O.S.) For the love of God somebody make me a Seabreeze. They look up to find the Host. His clothes are dirty, torn, his eye BLACKENED, and one of his HORNS is broken, the point swinging by a flap of (horn skin?). Fred rushes to him. FRED Lorne! What happened? HOST I can't really talk about it. GUNN Then how we s'posed to find 'em so we can kick their asses? HOST No, I mean I can't talk about it. They cast a spell. I went down to the-larrrarrrgarrlaarg. (sighs, shrugs) See? ANGEL Did you get the information? HOST (peeved) Why yes, Angel, my horn should grow back in a couple days. So kind of you to be concerned. Angel just looks at him. A beat. HOST (cont'd) Well, they never said I couldn't write. He pulls a scrap of PAPER out of his jacket, hands it to Angel, who looks at it, grabs his coat. The Host stops him. HOST (cont'd) Angel -- all kidding aside, this isn'tô something to be taken lightly. Only a Champion can deal with the Conduit, and even then, you have to- larrarrgarrlaarg. ANGEL (beat) I'll keep that in mind. Angel leaves. A WHITE FLASH OF LIGHT takes us to -- INT. MALL - NO TIME CLOSE ON SKIP AND COR. Cor's eyes are large, disbelieving. CORDELIA Is this...? POP WAAAAAAY WIDE (so that the two of them are tiny), to reveal them standing in a DARK, EMPTY MALL. Strange lighting (perhaps from the floor) makes them place a little eerie. CORDELIA (cont'd) This is a mall. BACK ON Skip and Cor. She looks at him -- CORDELIA (cont'd) You're my guide to the mall? SKIP Usually it's stone walls, mildew and torches -- but we just figured you'd be more comfortable here. CORDELIA Okay, back the horse up, Jack. What's with the pronoun game? "We"? You got a mouse in your pocket? SKIP Mo mouse. Just the Powers That Be. Cor starts walking, looking around. Skip follows. CORDELIA The Powers That Be popped me out of my body and sent me to the mallç. SKIP Actually, this is more a construct of a mall. Like in "The Matrix". CORDELIA (incredulous) You're seen "The Matrix"? SKIP I love that flick. When Trinity's all, "Dodge this" and the agent just crumples to the and I'm not really instilling any awe anymore, am I? CORDELIA Why did you bring me here? SKIP To give you a choice. But we'll get to that later. Right now there' something you should see. They stop next to an electronic mall directory on which we see DOYLE's face. Cor touches the monitor. CORDELIA Oh my god. Doyle. Suddenly it animates, showing a CLIP from season 1, episode 9: the part where Doyle and Cordy are on the platfrm, pre-his-death. We see the KISS, the small blue light passed between them. Then Doyle leaps, and the screen goes white. SKIP Yep. That's where it happened: the big cosmic "whoops". Doyle was never meant to give you those visions. CORDELIA Then why did The Powers let him? SKIP Well, usually they're pretty good at catching that sortaì thing, but... what They didn't count on were his feelings for you. CORDELIA You mean, Doyle gave me the visions because... he loved me? SKIP I can't answer that. What I can tell you is that it was a mistake. CORDELIA A mistake? But I thought The Powers knew everything. SKIP Life and death... that kind stuff They have a grip on. Who someone chooses to love... well, that's just good old free will. Suddenly the TV goes blank. They start walking again. SKIP (cont'd) Y'see, Cordelia, the visions are an ancient, powerful force. Demons are the only ones who can withstand them. CORDELIA I've had them for more than two years. Doesn't that mean I'm strong? SKIP Strong, yes. Demon, no. Just ask Tammy here. CORDELIA Tammy where? Cor turns: nobody. But when she turns back: WHAM. TAMMY, a 20-something redhead stands smack in front of Cor. Cor yipes. TAMMY (lower-class British) 'ello, miss. SKIP This is Tammy. She had the visions back in... what, 1630? TAMMY Aye. Had 'em nigh onï a year, and a hellish year it was, too. Town fathers called me a witch, wanted to burn me at the stake. CORDELIA They killed you because you had visions? TAMMY No, miss. They didn't have to. She turns around, her back to Cordy. We immediately cut to a shot of Tammy, face-front, shooting over her to Cor, who looks at the (unseen) back of Tammy's head with revulsion. TAMMY (cont'd) Last vision I had blew out the back of me skull. She turns back around (as we see a SMIDGE or the blown-out-head carnage), and we resume regular coverage. TAMMY (cont'd) We wasn't meant to have the visions, us humans. Y'want my advice, ye'll listen to our man Skip here. He won't steer ye wrong, this one. SKIP Aw, get outta here. (beat, deadpan) Really. Get out. I've got work. Tammy disappears. Cor looks drained, a little shaky. Beat. SKIP (cont'd) You okay? CORDELIA (beat, looks at him) They're realy gonna kill me, aren't they? A BIG FLASH OF WHITE LIGHT takes us to -- INT. BIG STONE ROOM - NIGHTö Hold wide on an empty, imposing stone chamber with a FIREPIT in the center. Strange WHISPERING VOICES which we can't quite understand. After a long beat, we hear in the distance Angel's voice "AAAaaaa...!" In the widest possible shot, Angel falls through the chamber, lands spread eagled on his face. When the VOICES speak, they are male and female, intermixed, overlapping, and sometimes repeating. VOICES It is come. The Champion is come. Angel gets to his knees. ANGEL (to himself) Lorne's gonna pay for this. VOICES Come for what? Answers not to be had. Death is certain. Death awaits. Angel gets to his feet. ANGEL I want to talk to the Conduit. VOICES We are the Conduit. We are the gateway, the all-times, the ever. It wishes to speak with us. Angel looks around -- nobody here but him. ANGEL Yes, it does. You gonna show yourselves? VOICES We are unseen. Formless. It speaks unknowing. Send it away. ANGEL I'm not leaving until you get my message to the Powers That Be. There's aô low murmur of sound, as if the Voices seem to be talking to themselves, although no words are discernable. ANGEL (cont'd) My friend Cordelia has visions given to her by the Powers. They're killing her, I want The Powers to take them back. To let her go. She's suffered enough! Suddenly Angel goes RATCHETING back into a wall (as high up as Mr. Massa can make it), and drops to the floor. VOICES Does it know suffering? Angel is RATCHETED into another wall, drops again. VOICES (cont'd) It believes itself valuable. It believes it can demand. Presumptuous. The Powers owe nothing. Send it away. As Angel gets to his feet, steely resolve: ANGEL I'm not finished. INT. MALL - NO TIME Skip and Cor walking the mall. A beat of silence. SKIP Have you ever had that vague sensation maybe you left the oven on? Or you were supposed to call someone, just forgot who it was? More to the point, you ever felt that way about your acting career? CORDELIA (beat) I don't have an acting career. SKIP Which øsort of brings us to my next point. Skip stops in front of an ELECTRONICS STORE, which sports a LARGE-SCREEN TV in the window. He points at it, and it clicks on, showing the party scene from ep 1, season 1. OMITTED CORDELIA Hey, I remember that night. SKIP You'd be in L.A. a few months, things were kinda lean, and who should you run into... Angel crosses the frame on the monitor. CORDELIA --Angel. SKIP Your entire life changed that night, in ways you couldn't imagine -- indescribably painful ways, I think you'll agree. But what if the play ran a little differently? He starts drawing figures in the air, which appear on the monitor as little X's and O's, like on a football telestrator. SKIP (cont'd) You're on the sidelines over here, talking to a couple of wannabe moguls. (Cordy get's X'd on the telestrator) Angel's downfield here. (Angel gets circled) Now, instead of cutting to the middle and meeting Angel, (draws arrow) what if you'd been forced to counter? What if this man -- (circleÌs man) who happens to be a very powerful talent agent -- flanked you, and drew you offsides? (draws a second arrow from Cordy to agent) What would happen then? CORDELIA I'd... score a touchdown? SKIP Metaphorically speaking? Heck, yeah. (off her look) Inside every living thing, there's a connection to the Powers That Be. Call it intuition, instinct -- deep down, we all know our purpose in this world. CORDELIA You're saying I was meant to be an actress? SKIP No. I'm saying you were meant to be an incredibly famous and wealthy actress. And The Powers can make that happen. CORDELIA They can do that? Turn back time SKIP They don't go in for that. Much. Think of this as... writing over history. From this moment on, you could live the life you've always wanted. No monsters, no visions, no dying. Not for a long time, anyway. OMITTED CORDELIA But no Angel. That's the catch, isn't it? And no Wes, no Gunn or Fred? Sorry, Monty. No deal. SKIP Cordeliaå -- I want you to listen very closely. You go back into your body, you won't wake up. You will lie there, unable to move, unable to speak, until the next vision hits, and then you will die. That is how that life is destined to end. CORDELIA (angry) But that's not fair. How's Angel gonna save that girl if I don't tell him where she is? He needs me! SKIP (beat) Let's go in here. Skip takes her hand, enters the shop, which turns into -- INT. BIG STONE ROOM - NIGHT Skip and Cor see Angel talkiong to the Voices. He's pissed. ANGEL The visions are too much -- she's not strong enough to handle them. We start PUSHING IN on Cor, her disbelief. VOICES Obstinate. It speaks and does not listen. ANGEL No, you're not listening! Cordelia's not a champion! She's a rich girl from Sunnydale playing superhero. Don't The Powers get that? She's weak! CORDELIA Get me out. Skip, get me out, now. They DISAPPEAR, thought we stay in the scene for a moment. ANGEL You're killing her. She'sê unconscious and alone and who knows if she's in pain... VOICES It is angry. (a beat) It is afraid. Angel stops, suddenly realizing the truth of that. ANGEL I'm more afraid of her dying than she is? What is that? VOICES (beat, then simply) Love. Off Angel -- INT. MALL - NOT TIME Cor looks defiant. SKIP Cordelia, are you sure? CORDELIA You gave me a choice. I'm choosing. SKIP Okay, kid. Here goes. I'm gonna make you a star. Cor closes her eyes as we PUSH INTO a very TIGHT CLOSE UP -- and instantly we're PULLING RIGHT BACK OUT again to REVEAL -- INT. SOUNDSTAGE - NIGHT Cor standing on a dimly lit sitcom soundstage (different dress). ANNOUNCER And now, ladies and gentlemen -- the two-time Emmy-winning star of our show, the gal with the million dollar smile: Cordelia Chase! A SPOTLIGHT hits Cordy as she's engulfed in a TIDAL WAVE of APPLAUSE. Off Cor, center stage: BLACK OUT. END OF ACT TWO Act Three WE OPEN WITH: The OPENING CREDITS for "CORDY!" -- Cordy's TV ôshow. They include C.U. SHOT of Cordy, pulling back to reveal her twirling in a fabulous dress in her loft/apt/workplace (over which her card, STARRING CORDELIA CHASE appears.) Other shots include Cordy kissing a handsome young man (BOBBY), Cordy draping dresses over mannequins, Cordy tripping and spilling a tray of hors d'oeuvres on seated party guests in her apt; Cordy laughing; Cordy's big eyes filling with tears as she crumbles in the arms of her female roommate, LAUREN; Cordy punching an OLDER LOTHARIO as he tries to kiss her, slamming her apt. door on him; Lauren and Cordy jumping up and down with fistfuls of money, hurling it in the air. CAMERA PUSHIING IN and freezing frame on her million dollar smile. Under all this we hear: THE THEME SONG Small town girl/In the big time world Kuh-Kuh-Kuh Cordy/Kuh-Kuh-Kuh Cor dy Designin' fashion is her life's passion Kuh-Kuh-Kuh Cordy/Kuh-Kuh- Kuh Cordy Forget Gucci, Prada and Versace She works with what she's got, she's Kuh-Kuh-Kuh Cordy/ COR- DEEß!! Over Cor's freeze fram smile, the CARD: Created by Phlegmont and Mendoza. INT. "CORDY!" T.V. SET - NIGHT The set's completely dark. We HEAR: CORDY (O.S.) O.K., turn on the lights. The light's come on, showing us CORDELIA herself, in a hot and stylin' dress. The studio audience bursts into applause. (Cordy's T.V. set is a loft/apt./work space, mannequins, draped with stylish clothes in various stages of design.) CORDY What do you think? Cordy's roommate and co-worker LAUREN (who turned on the lights) checks out Cor and the dress. LAUREN (eh:) Well, I guess it's all right if you go for that whole... (WOW!) IT'S GORGEOUS/FANTASTIC/OUR SHIP HAS FINALLY COME IN KIND OF THING! You. in this dress, at the Buyer's Ball tonight, it's gonna put your label on the map. You name's gonne be in lights! CORDY I don't want my name in lights. I want it sewn into that little tag that makes the back of your neck itch. LAUREN Oh it's happy dance time. We're doing' the happy dancÚe. Lauren does the happy dance -- Cor joins in half-heartedly, and starts crying. LAUREN (cont'd) Yes we're doin' the -- sweetie, you can't cry during the happy dance, it's against the law. CORDY I just... I miss Bobby. I wish he were taking me to the stupid buyer's thing tonight. LAUREN He'll come around. It was just a little misunderstanding. CORDY He found me in a hot tub -- LAUREN You tripped. It could happen to anyone -- CORDY With six male models -- LARUEN It could almost happen to anyone -- CORDY Everybody was naked. LAUREN Well that could only happen to you. LAUGHTER from the studio audience. The doorbell RINGS. CORDY Oh God, he's here. LAUREN It'll be fine. At least you won't have to make conversation. CORDY Hey, Jack Richmond may not be a genius, but he can make conversation. (beat) If you give him a topic. (beat) And an opinion. (beat) And you stick your hand up his butt and work him like a puppet. LAUREN You're not going with Jacké, you're going with Helmut, the German designer. CORDY What? You said he said "nein". LAUREN He did. CORDY Well, that's German for no. LAUREN Also American for nine o'clock which is when he said he'll pick you up! More RINGING doorbell. Lauren moves to door, looks through peephole, looks back at Cor, aghast. CORDY Tell me there aren't two men out there. LAUREN No -- CORDY Okay, that buys us a little time. Whichever one showed, tell him I've come down with something... deadly yet exotic... consumption. I'll cough delicately in the background. Cor heads fast for o.s. bedroom. LAUREN Cordy, there's not two. There's three! Bobby just showed up, with roses! CORDY Oh God, what am I gonna do? (then, pleased) Bobby brought roses? LAUREN We're only seven floors up, you could jump. CORDY No. I've got to do the right thing. I'll just face them all and... do the right thing. LAUREN I don't like this "right thing" plan. CORDY Open the door. Lauren slowly opens the dooòr revealing: three men. HELMUT and JACK (both in tuxes), handsome and older than BOBBY, who's more Cor's age, in casual clothes, a bunch of roses in hand. Long beat as everyone looks at everyone else. Then Cordy takes a deep breath... opens her mouth to speak... and starts coughing pathetically. STUDIO AUDIENCE APPLAUDS. INT. SOUNDSTAGE - NIGHT - LATER Cor, somewhat distracted, walks offstage. Lots of crew folks coming and coing, we HEAR b.g. "great show, Cordy", "Nice work", etc. CORDY Thanks. You, too... NEVIN, her personal assistant, palm pilot in hand, falls into step with her. NEVIN Okay, there are stars -- (makes small gesture) And there are stars -- (makes big gesture) And then there's you. CORDY Thanks Nev, you're sweet. Am I paying you enough? NEVIN Well as a matter of fact -- CORDY Good, what's cooking? NEVIN (taps palm pilot) You have a costume fitting; the producers want to run some ideas by you for next week's show... Cordy moves to sign autographs for a large õgroup of fans standing behind a low metal barricade by the bleachers. CORDY (to fans) Hi, how are you?! What's your name? She signs various autographs as: NEVIN ...we need to record that breast cancer P.S.A. Tomorrow's pretty booked, maybe next week -- CORDY Make time tomorrow, I want to get it on the air. Nev, you ever get a nagging feeling you're supposed to be somewhere doing something bu you can't remember what? NEVIN No, I'm highly organized. Which is why you pay me pretty well, although with the holidays and all -- CORDY (suddenly) I hate to go. (to fans) Sorry, I have to go. Cor moves off, Nev follows. CORDY (cont'd) I want something... Hypo something... NEVIN (into his Nextel) Josh, let's get a large tub of ice water to Ms. Chase's dressing room pronto. CORDY No, that's not it. NEVIN (Nextel) Canceling ice water. CORDY Hyper... hyperbaric. NEVIN Josh, let's make that an oxygen tent. CORDY (stops) That's not right. NEVIN (Nextel) Canceling tent. CORDY Hyperion.ø That's it. NEVIN The hotel? CORDY I want to go there. NEVIN Terrific. When would you like to -- She's off again. NEVIN (cont'd) Oh, now. Now would be good? Without Security or an entourage of me? She just keeps walking. NEVIN (cont'd) Right. I'll call them. (into Nextel) Josh. Car. Side door. Now. EXT. ANGEL'S HOTEL - NIGHT (STOCK) To establish... INT. ANGEL'S HOTEL - LOBBY - NIGHT ANGEL ON THE FRONT DOOR as Cor enters to find: the hotel is TRANSFORMED. Refurbished, trendy palm trees. Cor stands at the door, taking it all in, something nagging at her. She moves to the reception desk to find the dignified CLERK (a pen between his fingers). CORDELIA Excuse me. CLERK Yes? How can we --? (the pen goes flying) Oh! Ms. Chase! Can you help me? Can I help we? I mean, can we help you? CORDELIA I think my assistant called for a reservation? The Clerk looks down at his book. CLERK Yes, of course. The luxury suite. I'll take you right up to right up to my room -- (mortified laugh) --òyour. Room. I meant. Yes. Well. Welcome to the Hyperion. If you'll just follow me -- He leads Cor through the lobby, as Cor looks around at all the changes. As she passes the palm trees by the landing -- CORDELIA Is this --? Are these... new? CLERK They've been here ever since we reopened the hotel two years ago. Of course, if you don't like them, we can -- CORDELIA No, it's... fine. You can leave 'em. CLERK Thank you. Right this way, please. They go up the stairs -- INT. ANGEL'S HOTEL - HALLWAY - NIGHT The Clerk leads Cor down the hall to a door. CLERK Here we are, Ms. Chase. The luxury suite. He opens the door, but Cor's not really paying attention. She moves down the hall, to Angel's bedroom door. CORDELIA Nnnno. This one. I want this one. CLERK But that's...that's only a standard, Ms. Chase. Hardly fitting, given your-- CORDELIA Open it. CLERK (immediately) Okay. He moves to the door, slides a KEY CARD, opens it -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - CONTINUOUS Â Cor enters, the Clerk hovering behind. She wanders the room, almost dreamlike, touching things. As she gets to the spot where Angel wrote the address on the wall, she stops. CORDELIA This wallpaper... She starts picking at it, peeling it. CLERK Designed by reknowned artist Jacques Latour. Part of the remodeling we -- Cor starts clawing at the wallpaper, ripping it to shreds. CLERK Yes, I hate that wallpaper. It's bad... bad wallpaper. Cor reveals the scrawl underneath: "171 Oak S". She touches it, as if she should know the answer to this: CORDELIA 171 Oak. Where is that? HARD CUT TO: OMITTED EXT. SUBURBAN HOUSE - NIGHT Cor climbs out of a LIMO, talking on a cell phone. CORDELIA Reseda. Yes, Nevin, Reseda. Because I have a... thing. An errand. I don't know. (beat) I don't know, all right? I'll call you when I get back over the hill. She clicks the phone closed as she reaches the front door. She goes for the doorbell, but pausesß. Stands there. CORDELIA Why am I here? The area code alone gives me hives. A beat, then she sighs, rings the doorbell. The front door swings open, revealing CYNTHIA YORK, a teenaged girl. CORDELIA (cont'd) Hi, I'm really sorry to bother you -- CYNTHIA Oh my god. You're Cordelia Chase. You're Cordy. CORDELIA Yeah. Hi. Listen, I know you don't know me, but would you mind if I -- CYNTHIA Oh, please, come in. INT. SUBURBAN HOUSE - CONTINUOUS --Cynthia ushers Cor in. CYNTHIA I'm Cynthia. Cynthia York and I love you show. Like, love love. You are just... you are my idol, Cordy. I want to be just like you and have my own design firm and -- wait a second. Why are you in Reseda? CORDELIA Ha. Yeah. Good question. Okay, Cynthia. This is gonna sound a little bizarre, I'm sure, but -- is everything okay here? Nothing... bad's happened, has it? A beat. Cynthia looks away. CYNTHIA I don't know. My dad left us a couple months ago. CORDELIA Oh, honey, I'm sorry. Is youÙr mom here? CYNTHIA She's up in Ojai, visiting friends. CORDELIA Oh. Well. That's... Okay, then... Cynthia can tell Cordy's on the verge of leaving. CYNTHIA Hey -- you wanna see something cool? CORDELIA Sure. Cynthia grins, leads Cor further into the living room -- where a PENTAGRAM is chalked, candles burning. Cor is shocked. CYNTHIA It's a retrieval spell -- I'm gonna make my dad come back and live with us again. I'm pretty sure I got it right -- even though I spilled some Diet Coke on the book I was using, and I had to improvise a little. Cool pentagram, huh? Cor looks around, suddenly feeling an immense dread. CORDELIA Cynthia, I think we should get outta here before -- Suddenly, a BIG FLASH OF BLUE LIGHT, and sitting in the middle of the pentagram is a MONSTER with THREE MOUTHS full of razor-sharp TEETH. It ROARS. CORDELIA (cont'd) -- that happens. Off the two girls, terrified -- BLACK OUT. END OF ACT THREE Act Four INT. SUBURBAN HOUSE - NIGHTì As before. Cor shoves Cynthia out of the way, grabbing a LAMP. The Monster lunges at them, and Cor SMASHES the lamo over its head. That distracts it long enough for them to make a break for it -- CORDELIA Go! Go! --but the monster grabs Cor's leg and drags her down. Cor reaches for the nearest thing handy -- Cynthia's CONJURING BOOK on the coffee table. As the Monster lunches for her face, she JAMS the book in one of its jaws, struggling. CORDELIA (cont'd) Cynthia, get out! Get outta here! Suddenly the front door SLAMS open -- Cynthia SCREAMS -- Cor looks over, stunned -- CORDELIA (cont'd) I know you. BIG DRAMATIC PUSH-IN: It's Wesley. Only... he's missing an arm. And he's with Gunn, who has a LONG SCAR down half his face. Wes is surprised, but it all business: WESLEY Get the girl. Gunn grabs Cynthia, leads her outside, as Wes rushes the Monster and RUNS IT THROUGH with his sword. It roars again (dropping the book), rears back, allowing Cor to accept Wes's hand and scramble õupright. CORDELIA Wesley, what are you doing here? And where's your other arm? He pushes her aside as Gunn re-enters the fray. He and Wes FIGHT the Monster, Cor watching: ending with our guys alive and Monster dead. A beat, as the boys recover. Cor, to Wes: CORDELIA (cont'd) So you kill things now? 'Cause last time I saw you, you just sorta... fainted in front of 'em. WESLEY Cordelia. Why on earth are you here? CORDELIA I know, I know. Reseda. It's practically the ninth circle of h-- WESLEY Not in Reseda. Here. In this house. Is that girl a friend of yours? Cor looks at Gunn, then moves to Wes, confidential. CORDELIA Look, I know we haven't seen each other in a while, Wesley -- and actually, I'm kinda fine with that -- but there's something weird going on with me. Like... Sunnydale weird. CYNTHIA (O.S.) Oh my God. Cynthia has crept back in , takes in the damage. CYNTHIA My mom is gonna freak. EXT. SUBURBAN HOUSE - NIGHT We see the tail-end of Gunn THUMPING the body of the Monøster in the back of his trick, wrapped in a tarp. Wes and Cor stand nearby, talking. CORDELIA ...and underneath the wallpaper was an address. This address. So for absolutely no sane-person reason I can think of, I come out here, and whammo: screamy monster fun time. What's up with that? WESLEY I'm not sure. I suppose I'd have to consult my books. CORDELIA Some things never change. Just then, Gunn clears his throat. WESLEY Oh, I'm sorry. This is my partner, Charles Gunn. Gunn, this -- GUNN (sings) "Forget Gucci, Prada and Versace, she works with what she's got she's... Ka- Ka-Ka=Cordy... CORDEE!!" Cor smiles at him like he's a crazy stalker fanboy. CORDELIA That's me. GUNN Man, Wes told me he knew you, but I didn't believe him. CORDELIA Yeah, we go way back -- back to when he had two arms, which, by the way --? WESLEY Kungai demon. Couple years ago. I don't like to talk about it. GUNN (innuendo) So is it true you and Wes were... you know? That you had a little...? CORDELIA ...høumiliating kiss where he drooled all over my chin? Yeah. Thought I've worked really hard to repress it. Wes moves to leave. WESLEY Right. As much as I'm enjoying this forced death march down Memory Lan -- GUNN Yo, what is it with you Sunnydale folks and repression? You three are just about the denyin'-est people I have ever met. CORDELIA Three? Who else is here in L.A.? Off Wes, grimacing -- EXT. LOS ANGELES SKYLINE - NIGHT Flashy flashy sis boom bah... INT. WESLEY'S APARTMENT - NIGHT Wes, Cor, and Gunn enter, move towrads the bedroom. WESLEY Cordelia, I want you to think about this. Angel's not hte same person you once knew. He came to Los Angeles in pain, vulnerable -- and when Doyle, his only friend, died -- he just... retreated into himself. GUNN Him gettin' the visions didn't help, either. CORDELIA So let me get this straight: Angel has visions about people who're gonna die. He tells you, you go out and slay, and this is how you make a living? That's gotta be the suckiest ûjob in the world. GUNN Pays the bills. Occasionally. They step outside Wes's bedroom door. WESLEY I just don't want you to be shocked by his... condition. The visions have taken a toll -- and the isolation... (almost ashamed) Sometimes he sends us out to save people he killed two hundred years ago. (then) Why don't we just tell him you stopped by and said hi? CORDELIA Wesley? (she can't explain it) I have to see him. Wes looks at Cor, realizes he can't dissuade her. A beat, then he UNLOCKS and opens the door -- INT. WESLEY'S APARTMENT - BEDROOM - NIGHT Dark. The door creaks open, spilling light inside. We see a FIGURE scuttle to get out of the light, as Cordy peers in, Wes and Gunn behind her. Nearby hang some RESTRAINT STRAPS. WESLEY (re: the straps) Restraints. Sometimes the visions can make him violent. REVERSE TO SEE: Angel, pacing in circles, mad as a hatter, but in that sweetly nuts kind of way. ANGEL One-seven-one Oak One-seven-one -- do you hear me? I feel better now. One- sevüen-one. I could be alone here. I won't run away. CORDELIA Oh my God. WESLEY This is one of his good days. ANGEL But first you have to get the -- no I don't mean that. Bu tonly if it's dead. It was me. My fault. I'm okay now. Cor moves to enter, Wes holds her back -- WESLEY You don't want to get too close. Cordy shakes him off, enters. CORDELIA Angel, do you remember me? It's Cordelia. Angel sees her, darts into a corner, crouches down. ANGEL I'm afraid I'm afraid I'm afraid. CORDELIA Shhh. Don't be afraid. I won't hurt you. Slowly she moves to him, crouches down. He flinches. Cor looks confused, like too many thoughts are going through her head. Like she's trying to remember if she left the oven on. Tentatively, she reaches out, touches his face, her heart breaking -- ANGEL I'm fine. One-seven-one. You'll see. My head doesn't hurt. I think I'm better now. CORDELIA You don't remember me, do you? ANGEL ...and I tried, and it was there and I wanted to die. And I was afraid to die and.â..One-seven-one there was nothing... My fault. I couldn't do anything. CORDELIA Angel, shhh. It's okay. (slowly) Everything's gonna be okay. And without thinking, Cor leans in -- and KISSES him on the mouth. It's a nice kiss. Then a THIN BLUE LIGHT passes between them. Cor gasps, pulls back -- to find the room FROZEN. Angel in his crouch, Wes and Gunn in the doorway. Only she can move. CORDELIA (cont'd) I remember everything. She turns and talks to someone we don't see. CORDELIA (cont'd) They're mine. The visions are mine. And now we see it's: SKIP We made a deal. You gave up the visions -- not to mention the certain death that goes with 'em -- and you get to live out your dreams. Call me crazy, I thought it was a pretty fair trade. CORDELIA Sure, it was fair, but it wasn't me. (off his look) Think about it. I had everything I ever dreamed about, and all it did was lead me back here. Back to Angel and the guys. -- How do you explain that? She takes a step toward Sëkip. CORDELIA (cont'd) This is the life I'm supposed to live. SKIP We've been over this. I respect what you're trying to do here. It's noble, and heroic, and all that other Russell-Crow-"Gladiator" grap -- CORDELIA You've seen --? SKIP Didn't love it. -- The fact remains that humans are not strong enough to harbor the visions. Period. Even the Powers That Be can't change that. CORDELIA Then find a loophole, Skip. Because I know my purpose in this world and it includes the visions. And if The Powers aren't complete dumbasses, They know it, too. She stares at Skip, defiant. A long beat, as Skip seems to listen to something unheard. Then -- SKIP There may be a tiny loophole. CORDELIA (immediately) I'll take it. Skip moves to her, looks at her intensely. SKIP You might wanna think about that. The only way you can keep the visions... is by becoming part-demon. Cor takes that in, suddenly scared again. SKIP The process isn't easy -- it'll make your vision-pain feel like a þstroll through CandyLand. And even after the agony subsides, the effects of the transformation would be numerous and unpredictable. You may never be able to lead a human life again. Cor takes a long moment. She looks at Frozen Angel. Frozen Wes and Gunn. Then back at Skip, as she takes a deep breath: CORDELIA So demonize me already. A beat, then Skip nods, solemn. He raises his hand -- SKIP I was an honor being your guide, Cordelia Chase. CORDELIA Wait! I'm not... I won't have horns or scales or anything, will I? Skip smiles. SKIP Probably shouldn'ta called 'em dumbasses. He drops his hand, and Cordy is ENGULFED in CGI LIGHT. She throws her head back, SCREAMS, in so much pain, as we FLASH TO WHITE -- INT. ANGEL'S HOTEL - ANGEL'S LIVING ROOM/BVEDROOM - NIGHT -- coming in CLOSE ON Cordy's face as she SCREAMS in agony. WIDEN TO REVEAL Angel standing there as the gang (including Lorne) runs in, surrounding her bedside. Fred, scared: FRED What's happening to her? Suddenly Cor stops screaming, sits up abruptly, her eyes roving the room, wild. The gang is paralyzed. A moment. ANGEL (tentative) Cordy? She turns her eyes on him, recognition returning. Beat. CORDELIA Angel... He sits on the edge of the bed, pulls her into a hug. ANGEL Thought I'd lost you. She smiles, then abruptly pulls out of the hug, feels her head. CORDELIA No horns. She looks down the back of her pants. CORDELIA (cont'd) No tail. She sighs, relieved. CORDELIA (cont'd) Whew. Just checking. Cordy gets to her feet, stretches. CORDELIA Ahh. Feels so good to be solid again. The gang exchanges glancUes: Uh... what? Wesley steps over. WESLEY Cordelia, what's the last thing you remember? CORDELIA When? I've been so... (realizing) Oh. Downstairs. The vision. I had a vision but it's taken care of -- there was this actress and a one- armed guy... long story. I've got so much to tell you guys -- but right now we gotta solve my vision. More glances. She's off the deep end, isn't she? HOST The one you just said was taken care of? CORDELIA No, the one I'm having right now. As we PUSH IN on Cor, who recites calmly. CORDELIA (cont'd) It's a young man, he's in a park in Glendale -- somewhere near a pond. There's a demon waiting for him: red, with four... make that five horns. ANGEL Uh... Cordy? We POP WIDE, reveal Cor is FLOATING six inches off the ground. As she looks at Angel, oblivious -- CORDELIA What? BLACK OUT. THE END