"A New World" Written by: Jeffrey Bell Directed by: Tim Minear SHOOTING DRAFT March 7, 2002 (WHITE) March 8, 2002 (BLUE) March 12, 2002 (FULL PINK) March 15, 2002 (YELLOW) April 11, 2002 (GREEN) April 15, 2002 (GOLDENROD) Teaser A "Previously, On Angel" that takes us right up to the end of Episode 19 where The SIXTEEN-YEAR-OLD KID triple-flips out of a dimensional rift in the hotel lobby, chops the head off the nasty Quor-toth beast, raises his otherworldly multi-stake shooter at ANGEL and utters the words, "Hi. Dad." INT. ANGEL'S HOTEL - LOBBY - DAY - ANGEL Stares incredulously at the TEENAGER who just called him Dad. GUNN and FRED stand by LORNE. CORDY'S close to GROO who's holding a battle-axe. Everyone's momentarily stunned by the sudden appearance of the feral-looking kid. A kid who is in fact, Angel's son, Connor. CONNOR - Pulls the trigger on his stake-shooter. Fires. EVERYTHING RAMPS TO SUPER SLO-MO Angel reacts as the FIRST STAKE flies toward him folçlowed closely by a SECOND and a THIRD. ACROSS THE LOBBY - GROO hurls his battle-axe at Connor. CLOSE - THE FIRST STAKE Spikes into Angel's chest. The Second pierces his hand, raised in defense. CORDELIA'S POV - ANGEL Flying backward as the Third Stake WHIZZES past, narrowly missing him. Cordy realizes this is the exact "vision-image" of Angel she foresaw in episode 19. CONNOR - Without looking, senses Groo's approaching axe, reaches back and deflects it. As Angel hits the ground... RAMP BACK TO REAL TIME. He rolls, gets to his feet, painfully pulls out the stakes, stares over at his son. Connor stares back: CONNOR Interesting. Off Angel: Act One INT. ANGEL'S HOTEL - LOBBY - DAY A downbeat. Angel and Connor, still squared off. Connor glances around the lobby -- takes in the others. A prolonged, intrigued beat on Cordelia and Fred. This is a guy who's never seen a female. ON ANGEL, as he watches Connor, his mind spinning -- ANGEL It's not possible... Angel s(tm)tares at Connor in wide-eyed wonder. ANGEL (cont'd) (to the others) It's my son. It's Connor. The others react to the preposterous thing Angel's saying. ANGEL (cont'd) Connor... This snaps the Kid's attention back to Angel. He raises his stake- shooter again. CONNOR'S POV - ANGEL Down the barrel as he fires three more stakes, FFFTT; FFFTT, FFFTT. This time Angel's ready, dives out of the way as the stakes WWHOOSH past. At the same time, Gunn and Groo race to the weapons cabinet, grab a BASEBALL BAT (Gunn) and a MACE (Groo). CORDY - Pulls Lorne's SWORD out of the floor, CORDELIA Angel -- Tosses it to him as he scrambles to his feet. Connor lunges at him again, Angel parries. Gunn and Groo attack from behind, weapons raised. Angel calls out to them -- ANGEL Don't! It's my son! Gunn and Groo pause, unsure, give Connor just enough time to do a BACK HANDSPRING, a foot NAILING each of them inÁ the face. They go sprawling. ANGEL (cont'd) (to Connor) Will you just stop for a--? Connor attacks again. He and Angel battle it out as Gunn and Groo get to their feet. CONNOR - On the offensive. Every move, every attack has the single intention of killing Angel. Angel's counters are more cautious, more defensive. ANGEL (cont'd) Can't we talk abou--? THWUNK! Connor SPIN KICKS Angel, sending him around and to the right, but Angel follows the flow and comes back around with a LOW SWEEPING KICK that knocks Connor on his ass. Connor, kip-ups to his feet -- a slight beat -- ANGEL (cont'd) Try not to hurt him. As Gunn gets nailed by Connor. HIGH AND WIDE - THE LOBBY - CONNOR SURROUNDED BY ANGEL, GUNN, AND GROO Then Connor goes -- spinning, kicking and fighting, keeping them at bay. He slashes Groo's arm. Cordy's picked up a weapon, steps over by Fred and Lorne. GUNN (mid-fighting) Angel, if this kid doesn't stop-- Connor leaps high Ûin the air, kicks Gunn in the head. Sends him sprawling. Chases after him, raises his blade, ready to finish Gunn when, ANGEL - SMASHES Connor with Gunn's dropped baseball bat. Knocks him to the ground. Angel dives on top of him. Connor tries to muscle his blade into Angel. CLOSE - ANGEL'S NECK As the blade draws blood. Angel struggles, grabs the sharp blade, twists it hard toward Connor. Snaps the laces that strap it to Connor's forearm. Angel elbows Connor in the face, presses the serrated blade to his throat. CLOSE - CONNOR Knows he's about to die. Then Angel remembers who he's fighting. Stops. Throws the weapon aside. Connor can't believe his life was just spared. Angel stands. The gang watches as Angel extends a hand to help Connor up. Connor stares back in disbelief. CONNOR - The moment's too much. He scrambles to his feet, bolts across the lobby and out the front doors. Angel dashes after his son. EXT. ANGEL'S HOTEL - DAY Connor hurries out of æthe hotel and toward the street. Angel chases him, Gunn and Groo on his heels. He runs out of the shade, starts to smoke in the daylight. Gunn and Groo grab his arms, start to drag him back -- ANGEL No! GUNN You're gonna fry out here! Gunn and Groo pull Angel into the shade of the building. ANGEL'S POV - CONNOR Running out of the gates and into the street. GUNN We'll go. Gunn and Groo take off after Connor as Angel has to watch helplessly from the shade. Cordy, Fred, and Lorne suddenly emerge from the front door, stand next to Angel, watching. EXT. STREET - DAY Handheld. Close. Connor runs into the busy street. A horn BLARES. Tires SQUEAL. Connor turns. CONNOR'S POV - A CAR Headed right at him. The driver slams on his brakes. Barely misses. Somebody yells, "get the hell outta the way." Another car swerves wide. Connor's overwhelmed. GUNN AND GROO - Get out to the street just as a CITY BUS drives by. Connor doesn't see them, he just -- GUNN'S POV - CONNOR -- éLEAPS impossibly up onto the top of the speeding bus as it passes, landing in a crouch. Gunn and Groo watch it drive away. INT. ANGEL'S HOTEL - LOBBY - DAY Everyone hurries back into the hotel. ANGEL (to Gunn) You get the number of the bus? GUNN (nods) Seventeen. I'll call, see where it ends up. FRED Lemme check online, it'll be faster. Fred ducks into the office. Cordelia steps over to Angel. CORDELIA That was it. ANGEL No, it isn't. I'm gonna find him. CORDELIA I mean the fight you just had. --It's the vision I warned you about yesterday. ANGEL (alarmed) You never mentioned Connor. CORDELIA 'Cause I only saw you... She reaches out, touches Angel where his chest was pierced. Groo sees this, looks away. GUNN Angel, hate to bring it up, but -- we sure this is Connor? Just 'cause he said, "Hi dad," -- ANGEL It was him. GUNN (trying to comprehend) He was wearin' diapers couple a weeks ago, now he's a teenager? CORDELIA Tell me we don't live in a soap Opera. è ANGEL I spent a century in a hell dimension. Was only a couple months on earth. (calling) Fred? FRED (O.S.) (from the office) Almost... CORDELIA Angel's right. It's Connor. I'd recognize that champion gene pool anywhere. LORNE Personally, I'm less worried about the "how he grew up" than the "why he came back." ANGEL He came back because he could. 'Cause he found a way to escape that place. LORNE That's a possibility. Here's another: You sure he said "hi Dad" and not "you're dead?" CORDELIA You think he's here for revenge? GROOSALUGG He did attempt to kill us all a number of times. ANGEL We don't know that. Lorne holds Angel's look. Angel glances at the rest of the Group, sees doubt in their faces -- ANGEL (cont'd) He's angry, and afraid. And as soon as I can talk to him-- (calls out again) Fred...?! Fred hurries out of the office. FRED Number seventeen goes all the way downtown. Ends up at Union Station. Angel moves toward the basement. Calls back to the othersñ. ANGEL I'm going underground. -- If someone could follow surface streets... GUNN You got it, man. GROOSALUGG (chiming in) We will not fail, man... Angel leaves. Cordy's a bit embarrassed by Groo's awkward attempt to be one of the guys; turns to the gang. CORDELIA Let's split up. Two cars. (to Gunn and Fred) You guys start at the end of the line and move backw-- There's a loud CRACKLE above them as an electrical impulse visibly sparks (CGI). Everyone jumps. Looks up. HIGH AND WIDE - LOOKING DOWN AT Everybody staring up. Groo raises his weapon, but nothing emerges. After a beat. CORDELIA Okay, this can't be good. FRED I'm guessing the dimensional rift from Quor-toth must still be open. LORNE So what say we close it before something else skitters, slithers or slides out? GUNN Amen to that. GROOSALUGG Princess, perhaps your newfound powers can seal it shut. Everyone looks to Cordy expectantly. She's unsure. CORDELIA Can't hurt to try. HIGH ANGLE - LOOKING DOWN AT Cord÷y as she steps under the rift, raises her hand into lens. CORDELIA (dramatic) I command you, close. A long beat. Nothing. No white light. No mojo power. CORDELIA (cont'd) Okay, I got nuthin'. Fred's considering other options. Uncomfortably: FRED Actually, we do know someone who might be able to-- GUNN (cuts her off) No. Fred looks at Gunn, puzzled. GUNN (cont'd) Already went to Wes's. Can't do that again. Fred looks off, tries to figure this out. LORNE (hesitant) Well, I know a guy who might know a guy. Groo picks up on his reticence. GROOSALUGG Is it dangerous? For Gunn and I can protect you. LORNE No. It's not dangerous, just awkward. -- This guy... he's all hands. (then) I mean all hands. Like fifty of 'em. (adds) Anyone fluent in Sign Language? CORDELIA (looking up) Y'know, we can't all walk outta here when there's a cosmic crack hanging over us. Groo raises his weapon into a defensive posture. GROOSALUGG Then I will stay and guard the hotel. Cordy looks from Groo to Guönn and Fred. Makes a decision. Grabs Angel's SWORD from the floor. CORDELIA I'm with him. (to Gunn and Fred) You two hit the street. Lorne-- LORNE Already gone. He moves to exit through the garden doors, as Fred and Gunn head for the front. FRED AND GUNN - MOVING TO THE DOORS FRED You went to Wesley's for me. Nothing from Gunn. She looks at him, getting it. FRED (cont'd) He's the one who told you how to save me. Gunn doesn't deny it. GUNN Yeah, and he made it clear -- that's a door none of us is gonna be knockin' on again. Off Fred, surprised at the revelation: PRELAP A KNOCK: INT. WESLEY'S APARTMENT - DAY - WIDE There's another KNOCK on the front door. Wesley crosses through frame. Opens the door. Surprised to see, WESLEY'S POV - LILAH In the hallway. A beat, as they take each other's measure. LILAH I would have called, but I figured you'd just tell me to go to hell. So I decided to take a shot and drop by. (beat) Aren'tcha gonna ask me in? WESLEY No. LILAH Okay. Lilôah steps past Wesley into the apartment. He grimaces, closes the door behind her. Lilah moves through the space, surveying the room. LILAH (cont'd) Huh. Not what I expected. Lilah turns to him. LILAH (cont'd) Y'know, big bunch of flowers, some get-well cards, maybe a coupla those balloons with happy faces on 'em. Wes just eyes her. LILAH (cont'd) Wow. Guess when she slit your throat, she nicked your sense of humor. WESLEY Not at all. I find your being here extremely funny. LILAH How's that? WESLEY Because you're going to offer me a job. A beat. Lilah smiles, then turns. Starts wandering again, fingering items, replacing them. LILAH Shame, really, what happened. You dedicate your life to a cause, then the very people you try to help turn their backs on you. WESLEY Yes. Tragic. Now get the hell out. She ignores him, keeps moving. LILAH Guy with your talents -- a scholar, man of intellect. WESLEY Deep inside knowledge of Angel Investigations. LILAH They took you for granted,ñ Wesley. Wes doesn't respond. Lilah senses she hit a nerve, turns. LILAH (cont'd) Did I mention that Wolfram & Hart has the finest library of mystical, occult and supernatural reference material in the world? WESLEY Not interested. LILAH Full medical, dental, 401K package? WESLEY Great. And since you're in touch, you will let me know when hell freezes over, won't you? LILAH (beat, smiles at him) Hey, worth a shot. She reaches into her bag, pulls out a gift wrapped book. LILAH (cont'd) Anyway. Something to help you pass time in the unemployment line. Wesley, not sure what to make of the gift, pulls the wrapping off, reveals an ANCIENT BOOK. WESLEY (translating the cover) Dante's Divine Comedy. LILAH Actually, just Part One. "The Inferno." CLOSE - THE BOOK. Wesley gently flips through its brittle pages. LILAH It's not a first edition, more like the 1500's, but it's in the original Tuscan. Wesley can't help but be pleased. It's a beautiful book. LILAH (cont'd) You read iôt? WESLEY Several times. LILAH Then you know it's a guided tour of the underworld. The nine levels of hell. Wesley closes the book. WESLEY Yes. Descending concentric rings based on the severity of the sin. LILAH Y'know, I always forget -- at the very bottom of hell, in the ninth circle, the devil is frozen in ice, right? And he has three heads and three mouths, and those mouths are reserved for the worst sinners. Lilah approaches him slowly. LILAH (cont'd) Now, I can't remember... who's in the center mouth? What's his name? The one person in all of human history deemed the greatest sinner... Who is it? The look on Wes' face tells us he knows. Quietly: WESLEY Judas Iscariot. LILAH (now I remember) Riiiight. (then adds) Not killers. Not thieves. The worst spot in hell is reserved for those who betray. She locks eyes with him. LILAH (cont'd) So don't pretend you're too good to work for us. Off Wes, stung -- EXT. LOS ANGELES - DAY Flashy cuts: buildings, traffic, take us to: ÇEXT. DOWNTOWN STREET - DAY - WIDE Cars and trucks rattle down the busy street. CAMERA PANS with A CITY BUS that rolls past -- a Young Man crouched down on top. MORPH ZOOM TO: CLOSE - CONNOR On top of the moving bus. Staring out at the sights and sounds of the big city. We're in his POV as he takes in the skyscrapers, traffic and crowds. A siren WAILS. Horns BLARE. It's overwhelming. Without waiting for the bus to stop, Connor leaps off. He lands on the sidewalk, which bustles as L.A. sidewalks tend to do. The number of people, the noise, the smells -- it's too overwhelming for Connor. He takes off. INT. SEWER TUNNEL - DAY Angel rounds a corner into frame, strides purposefully forward as STEADICAM leads. His cell phone rings. He pulls it out, steps into a CU. ANGEL You find him? INTERCUT WITH: EXT. GUNN'S TRUCK - DAY Gunn sits behind the wheel, phone to ear. GUNN No. Looks like we just missed him, though. He's leaving a trail. ANGÜEL What? He didn't... Did he hurt somebody? GUNN No, nuthin' like that. I mean gawkers. Folks not used to seein' a kid in animal skins ridin' up top a bus. Not south of Santa Monica Blvd, anyway. Fred opens the passenger door, climbs in. Gunn glances over at her. She points forward. FRED Two more Robin Hood reports. Gunn starts the truck. GUNN (into phone) Y'hear that? -- He's still headed downtown. Angel walks forward in the tunnel, steps up to a shaft of light that slants down from an overhead storm drain. ANGEL Where are you? Gunn glances outside of the truck. GUNN Just east of Union. ANGEL He won't go all the way into town. GUNN You don't think? ANGEL Too many people. He'll jump off, head for someplace less populated. GUNN You want us to turn around? Come and get you? ANGEL No. Still a few more hours until sunset. You should keep following the trail -- the minute it goes cold, let me know. That's how we'll find him. I'll be right behind you. GUèNN And if the trail doesn't go cold? I mean... if we find him first? ANGEL He's my son. He's my son and he's alive. He's going to stay alive. GUNN Right. Anything else we can do for you? Angel looks up into the beam of light, frustrated at his circumstance. ANGEL Yeah. Make the sun go down. He pockets his phone and steps through the sunbeam, a faint SIZZLE audible as he leaves. CUT TO: EXT. L.A. RIVER ACCESS ROAD - DAY Quieter. Seemingly deserted. Connor walks across a small overpass. Stares out at the skim of water, concrete and detritus that passes for the L.A. River. As he gets to the center of the bridge he hears, GIRL (O.S.) You're such a jerk! From underneath the bridge. Connor stops. Listens. GIRL (O.S.) (CONT'D) C'mon... Connor leaps off the bridge. WIDE - THE BRIDGE Connor drops the twenty feet to the asphalt access road below. Turns. Looks for the girl. UNDER THE BRIDGE Graffiti-covered concrete and pillars cloaked in deep shadow. At the far side ofÜ the underpass, where the access road leads into the river, Connor sees a GUY and a GIRL silhouetted, next to an old, abandoned wreck of a car that's close to the river. He moves toward them, taking care to stay in the shadows. CONNOR'S POV - THE GIRL Cute, a bit raw-boned. Not much older than him. This is SUNNY. To us she looks like a runaway or junkie. But (other than his quick glance at Cordelia and Fred) this is the first female Connor's seen and he's mesmerized. Sunny's talking with TYKE. He's late-20's, predatory. Wears a cool jacket. He's leaning back against the car, flipping through three or four CD cases. SUNNY Brand new. Never been opened. Gotta be worth half a gram. He hands them back to her. TYKE They suck. SUNNY They rock. It's like every hit from the Eighties. You'll love 'em. (points out a girl on a cover) Plus, she's hot, see...? She tries to give them back to Tyke. He won't take them. TYKE Get outta here, Sunny, you're embarrassing yourse×lf. SUNNY It's worth at least a quarter. -- Please...? Tyke grabs the CD's out of her hand, throws them in the river. TYKE Bye. Sunny stares in disbelief for a beat then throws herself at him in clawing, hitting frustration. She scratches his face. Tyke easily overpowers her, grabs her by the hair. TYKE (cont'd) (suddenly fierce) You know what, that you get to work off. He starts to drag her toward the backseat of the car. Connor sees the struggle, steps out of the shadows. Tyke spies him. TYKE (cont'd) (calls over) Walk away... Connor moves closer. Sunny keeps swinging. SUNNY (struggling) Let... go... Tyke's distracted enough by Connor's presence that Sunny jerks free. She runs around behind the car for safety. Tyke squares off across from Connor. TYKE'S POV - CONNOR Strangely dressed in animal skins. Completely out of place. TYKE An entire suit made of shammies. That's different. (aside to himself) What're you wearin' to the Oscars -- My shammiæe suit! CLOSER - CONNOR'S NECKLACE Adorned with bones, teeth and what looks like dried fruit. TYKE And what's all that? CONNOR Stuff I killed. Tyke finds that funny. TYKE Ooh. Aren't you all scary? Shammies and teeth. (sobers up) Wanna know what else is scary? CLOSE - SUNNY Can't watch. Puts her hand over her mouth. CLOSE - CONNOR As a CROWBAR smashes down on his skull from behind. TYKE Me. As Connor crumples, REVEAL THREE OTHER BAD GUYS behind him. They're rough trade, possible junkies, but the killing kind. Off Connor knocked out and surrounded: END OF ACT ONE Act Two EXT. L.A. RIVER ACCESS ROAD - DAY - HIGH AND WIDE Looking down at Connor, sprawled on the ground, Tyke and his Gang surrounding him. CAMERA SPIRALS DOWN until it's CLOSE ON CONNOR. TYKE'S FOOT steps into frame. Rolls Connor face up. He's groggy. Barely conscious. TILT UP, TYKE - stares down at Connor, YANKS his necklace off. Turns to his guys: TYKE Just get rid of him. The Guys crowd Ëaround Connor as Tyke walks toward the car carrying Connor's necklace. He grabs Sunny and TOSSES her in the back of the car. CROWBAR GUY - stands over Connor. Raises the crowbar. Swings it down at Connor, who, lightning fast, catches it. CONNOR'S EYES SNAP OPEN He SMASHES THE CROWBAR across Crowbar Guy's shin. The Guy SCREAMS in pain. Tyke turns back. Sees Connor spring to his feet. Face the two remaining gang guys. THE FIRST is unarmed. THE SECOND packs a LARGE HUNTING KNIFE. FIRST GUY attacks, but a couple punches in, Connor dispatches him with ease, an AXE KICK drops the guy to the ground. SECOND GUY lunges with the knife. A few feints, then Connor deftly parries, forces Second Guy's arm back, disarms him, the knife drops. Next Connor KICKS his KNEES, as Second Guy drops to the ground, howling. Meanwhile, First Guy crawls over, picks up the crowbar, stands and WHAM! Nails Connor in the kidneys with a batter's swing. Connor drops. CONNOR'Så POV - LOOKING UP As First Guy tries to RAM the crowbar into his head. He misses as Connor spins out of the way and SWEEPS the Guy's legs from under him. The Guy falls to the ground. BY THE CAR - TYKE Takes off his jacket, lays it across the car's hood. Sets Connor's necklace on top of it. ADJUST TO Sunny as she pokes her head out the open window, watches Tyke REACH INTO THE BACK OF HIS WAISTBAND. FIRST GUY - On his feet, attacks again, swings the crowbar down at Connor like an axe. Misses. Connor pins the crowbar to the ground with his foot, then steps up the crowbar, up the Guy's chest and kicks him hard in the face. The GUY goes flying backward, lands unconscious in a puddle at Tyke's feet. TILT UP - TYKE As he pulls out a GUN, aims at Connor. SUNNY No...! Sunny KICKS the car door open and into Tyke, knocks Tyke's arm off-target. His shot goes wild, HITS the original Crowbar Guy as he tries to stand. The shot strikes him in the chest, ratchets him back into theì dirt. Tyke turns to Sunny, enraged -- He raises the gun to shoot her, but Connor is RIGHT THERE, a FRONT KICK disarms Tyke, the gun flies to the ground a few feet from Second Guy. Tyke and Connor trade punches. SUNNY - Watches from inside as Tyke THUMPS Connor back against the car. Tyke gets in several punches before Connor goes on the offensive. CONNOR - Throws a flurry of furious punches. Dazes Tyke. Grabs Tyke by the hair and seat of his pants. WIDE - THE CAR Connor SLAMS Tyke onto its sagging roof. INSIDE THE CAR - Sunny ducks. Fears the top will collapse. She scrambles out of the car. She spots: SUNNY'S POV: SECOND GUY - badly injured, but inching his way towards the GUN. SUNNY (warning) Hey! Without even looking, Connor reaches down to his boot, pulls out a JAGGED, SERRATED KNIFE, and side-arms it toward Second Guy. It NAILS the Guy in the hand, pinning him to the ground. SUNNY (cont'd) (amazed) Whoa. Tyke starts to lift his head, but Connor deals a punishiëng RIGHT CROSS to his head, knocking him out. Connor stalks over to Second Guy, YANKS his knife out of Second Guy's hand, and KICKS Second Guy in the head, knocking him out. He moves back to Tyke -- ANGLE - OVER TYKE Unconscious on the roof as Connor raises the knife to kill him, when, SUNNY Don't...! He stops. Sunny puts her hand on Connor's arm. SUNNY (cont'd) You want the cops after us? He holds her gaze as he lowers the knife. In the distance a SIREN approaches. SUNNY (cont'd) We gotta go... Connor glances over at Tyke. CLOSE - TYKE'S EAR Connor takes the knife, slices it off. CONNOR So he won't forget. Sunny stares at Connor with a mix of awe and disgust. Connor grabs his necklace off the hood of the car. Sunny quickly digs through the pockets of Tyke's jacket. CLOSE - THE POCKET A thick roll of bills and several little baggies of powder. Sunny grabs the jacket SUNNY Let's go... WIDE - THE BRIDGE A Patrol Car, siren BLURPING, pulls on to it and stops.ð SUNNY You got a name? CONNOR Yes. She waits for him to say it. He doesn't. After a beat. SUNNY I'm Sunny. She starts running away down the river. Connor lopes along after her. INT. ANGEL'S HOTEL - LOBBY - DAY - LOW ANGLE The Groosalugg stands guard, battle-axe at the ready, eyes riveted into the air, should anything else pop out of the occasionally CRACKLING (CGI) dimensional rift. Cordy sits nearby on the pouf, a smallish sword at hand. CORDELIA Isn't your neck stiff? You've been standing exactly like that all day. Groo holds the entire conversation without moving, like a guard at Buckingham Palace. GROOSALUGG Pylean warriors are trained for such endurance. I once happened upon a herd of Burrbeasts, and as you know, an engorged Burrbeast will couple with anything that moves. I was forced to stand perfectly still for eleven days and nights. CORDELIA So you were never... GROOSALUGG No Princess, that honor was yours. Cordelia stands up. Practices a move with her sword. ó CORDELIA I dunno. Angel does all that ninja- statue-don't-move-a-muscle-or-you're- dead stuff, too. Me? I wouldn't last ten minutes. (glances at her shoes) 'Course, heels not helpin'. GROOSALUGG (slight edge) Yes. I'm sure Angel has regaled you with his many exploits. CORDELIA Oh, he tried, all right, but I get so bored with all that "days of yore" crap. EXTREMELY CLOSE - GROO'S EYES glance toward Cordelia. Cordy realizes what she just implied, tries to clarify... CORDELIA (cont'd) I mean, it's nothing like your thrilling tales of adventure. He's not buying it. She crosses to him. CORDELIA (cont'd) (kindly) Groo, honey..., you don't have to impress me. I'm impressed by you just being you. She runs her hand along his arm -- CORDELIA (cont'd) Taut, muscle-y, stamina-for-miles you. GROOSALUGG But the way you constantly speak of Angel-- CORDELIA (interrupting) --Is because these last weeks have been so hard for him. He needs me. (then she realizes) And you do too. She pushes hâis battle-axe out of the way. GROOSALUGG (trying to stay alert) Princess, I should be watching for creatures from the other dimension. She kisses him. CORDELIA You're the only creature from another dimension I'm interested in. She kisses him again. This time Groo responds. Wraps his arms around her. GROOSALUGG I was worried your affection for the Groosalugg had waned. CLOSE - CORDY In his arms. Eyes open, trying to force her feelings. Realizing they feel kinda..., forced. The air above them suddenly HISSES AND POPS. They glance up as LIGHTNING BOLTS shoot out of the RIFT (CGI) and KNOCK them both across the room and unconscious. EXT. L.A. RIVER ACCESS ROAD - DAY SOMEONE'S POV - Gunn talking to a COP by the abandoned car. YELLOW TAPE abounds, though the crime scene's been pretty much cleared. Only two or three POLICE CARS are left. Gunn looks toward CAMERA. REVERSE - REVEAL ANGEL Anxiously watching from the shadows under the bridge. He's frustrated; staying ouèt of the sun. Fred approaches him from behind. FRED A couple homeless guys saw Connor jump off the bus right up the road from here. Angel nods, takes in the info. Beat. ANGEL He was here. I can smell him. Gunn crosses under the police tape, joins them. GUNN Cops say it was a drug thing gone wrong. -- Some guy got killed. (off Angel's worried look) It wasn't our boy. We can see the relief on Angel's face. GUNN (cont'd) They caught one of the baddies. I.D.ed a local as the shooter. FRED So Connor was here, but not part of... She gestures toward the cops and the crime scene. GUNN Oh, he was part of it. (off her look) Lotta mayhem... including a guy's ear sliced off as a trophy. Fred can't help but grimace. ANGEL (off Fred's reaction) He was raised in a hell dimension, okay? Fred and Gunn both look away. Angel's denial weighing on them. Beat. GUNN So how you wanna play this. Angel edges toward the daylight. Glances up at the sky. ANGEL It'll be dark soon. -- You ëtwo go back to the hotel. FRED Shouldn't we all keep looking? ANGEL I'll have a better chance finding him by myself. I don't want to scare him. He's all alone in a strange world. Off Angel, worried for his son: EXT. LOS ANGELES - DAY TO NIGHT To establish (in a flashy Angel kinda way). EXT. ABANDONED APARTMENTS - NIGHT - WIDE Quintessential L.A. motel-style apartments gone to seed. Three stories that wrap around a derelict courtyard or empty pool. Maybe there's a chain link fence around the whole thing. Sunny leads Connor up a flight of stairs to the THIRD floor. She's wearing Tyke's jacket. He's carrying groceries. He has his necklace back on, including the recent addition. STEADICAM LEADS them along the walkway. Sunny checks doors as they walk, turns the knobs to see if they're locked. SUNNY So where'd you learn to fight all bad ass like that? CONNOR Quor-toth. SUNNY Quor-toth? -- Mexico, right? She tries a knob. Opens the door. CONNOR'S POV - A DRUGGIE Huddléed amid the room's debris, LIGHTER FLARED, firing up a crack pipe. SUNNY Sorry... Closes the door. SUNNY (cont'd) Lotta folks squat here. Most are cool. (except...) But if a fat guy wearin' furry slippers asks you to play "Teddy Bear in the Hole," tell him to get lost. Connor makes a mental note as they move on down the hall. SUNNY (cont'd) So, what'd you do for kicks in Quor- toth? CONNOR Kicks...? SUNNY Y'know, fun. It's pretty obvious Connor's never heard the word FUN before. SUNNY (cont'd) Parties, movies, the mall? -- How'd you spend your time? CONNOR Hunted. She glances at his animal skin clothes. SUNNY Big surprise. She tries another knob. It turns. INT. ABANDONED APARTMENT - NIGHT Connor and Sunny silhouetted in the doorway as they enter. CONNOR'S POV - THE ROOM Dark and moody. Scavenged furniture, ratty shag carpeting, scattered trash and graffiti-tagged walls. SUNNY Home sweet home. CONNOR (taking it in) This is... home? SUNNY Tonight it is. ô Sunny dumps the groceries on a coffee table. We might notice drug paraphernalia scattered across the table: lighter, bent spoons, wadded-up plastic. TYKE'S JACKET - Sunny pulls out the money and drugs, leaves the roll of bills, stuffs the drugs into her pants pocket. Tosses the jacket on the sofa. SUNNY (cont'd) You're welcome to crash here too -- I mean, if you need a place. CONNOR - Nods that he does. Sunny's glad. She crosses the room, yanks open a curtain. Lets light in through the dirty window. Connor sees a BRA draped over a floor lamp. Picks it up. Has no idea what it is. Sunny sees it, smiles. SUNNY (cont'd) Don't think it's your size. There're other CLOTHES scattered about. Sunny picks up a ratty T-SHIRT, an old pair of JEANS. SUNNY (cont'd) People squat, leave stuff... (re: his clothes) How you feel 'bout losin' the whole dead animal thing? She tosses the clothes to Connor. SUNNY (cont'd) Not that I'm against eatin' a cheeseburger or two. --God, I'm starvin'. -- You? Coúnnor nods, starts to undress as Sunny kneels next to the table, pulls the groceries out of the bag, lays them out. ALMOST ALL JUNK FOOD: soda, apple sauce, Susie Q's, Slim Jims, chips, candy. SUNNY (cont'd) We got all the food groups: meat, apple sauce, salt, chocolate... She looks from the food to Connor. HER POV - Connor's taken all of his Quor-toth skins off. He's naked except for his necklace; completely unconscious of what he's doing. Sunny's charmed by his strange innocence. He starts to put on the clothes she gave him. SUNNY (cont'd) You were really gonna kill Tyke? CONNOR He was hurting you. SUNNY It's good you didn't. CONNOR Why? SUNNY 'Cause it's wrong. (takes a bite of a Susie Q) I mean, Tyke's a bastard, but the cops are worse. (savoring the taste) God, I love these... Connor finishes getting dressed. Sunny holds up her half eaten snack cake. SUNNY (cont'd) Ever had one? He shakes his head no. SUNNY (cont'd) Then get on down here, cowboy. Connor plops down next to her. óShe raises the snack cake to his mouth. He takes a bite. Watches as his eyes widen in pleasure at its taste. SUNNY (cont'd) Isn't that the best? Connor nods. He opens the apple sauce jar, picks up a bent spoon. Sunny stops him. Puts her hand over his. SUNNY (cont'd) That isn't for food. It's for... this. She pulls a tiny bag of powder out of her pocket. Shows it to Connor. Connor stares at the tiny packet. Sunny realizes he doesn't understand drugs. SUNNY (cont'd) It's... medicine. CONNOR You're sick? SUNNY It's not that kinda medicine. It just helps me sometimes when I'm sad. She leans in close to him. SUNNY (cont'd) But with you here. The way you saved me today... I don't feel sad at all. -- I feel... She takes another bite of Susie Q. SUNNY (cont'd) ... Yummy. Connor leans over, takes another bite from her hand. Off him: EXT. ANGEL'S HOTEL - GARDEN - NIGHT Gunn and Fred have entered from the street. Are heading toward the lobby. FRED ... does make a certain kind of sen÷se, though. Connor's new to this world, he's alone, and probably scared -- GUNN Yeah, he looked real scared when he was kicking my ass. They head up the steps. FRED You're right. We should have gone with Angel. Gunn opens the door, follows Fred inside. GUNN Especially now that we know what Connor's capable... of. Gunn and Fred stop in their tracks. THEIR POV - CORDY AND GROO: Sprawled unconscious on the lobby floor. Off Fred and Gunn racing to them: INT. ABANDONED APARTMENT - NIGHT EMPTY CANDY WRAPPERS - Scattered across the coffee table with remnants of other junk food. Connor grabs an OREO. Twists it apart. Pops half of it in his mouth. He's on the floor, leaning back against the sofa. SUNNY See, isn't that better? Sunny's stretched out behind him on the sofa. Eating her own halved Oreo. Three or four CANDLES provide most of the light. SUNNY (cont'd) It's like two for one. Plus, it's fun. She takes a bite, savors it. SUNNY (cont'd) Ummm. Food, cash, place to crash. (takes aønother bite) I've had worse days. --How 'bout you? Connor shrugs. Sunny slides closer to him. SUNNY (cont'd) So what's your deal? He doesn't understand. SUNNY (cont'd) Why'd you come to L.A.? CONNOR To find my father. SUNNY (ick) Really? I came to get away from mine. The thought of her dad clearly depresses her. SUNNY (cont'd) And your mom? CONNOR Dead. SUNNY You're so lucky. Connor's not so sure about that. Sunny sits up. SUNNY (cont'd) Parents should have to take a test or something before they can have kids. And if they're drunks or idiots or evil they should be sterilized. CONNOR If they're evil they should be killed. Sunny thinks about that for a beat. SUNNY You don't say much, but I like what you say. She leans over, kisses Connor sweetly. He pulls away. Stares at her for a beat, then kisses again. It starts small and grows more passionate. Connor's wide-eyed. After a moment, Sunny ends the kiss. Connor wants more. She pops half an Oreo into his mouth. SUNNY (cont'd) ÀI gotta pee. -- Don't eat all my cookies. Connor watches her leave the room, thinking about the kiss: TIME CUT TO: INT. ABANDONED APARTMENT - NIGHT CLOSE - TWO SHORT COLUMNS OF OREOS. RACK PAST THEM to Connor now asleep on the sofa; curled up, arms folded across his chest. It's the first time we've seen him where he doesn't look wild. He just looks like a normal kid... Until a passing SIREN, JOLTS HIM AWAKE. -- Lightning fast his arms unfold, shoot out, A KNIFE brandished in each hand. So much for normal. He quickly gets his bearings. Realizes he's alone. Sits up, glances over at the uneaten Oreos. CONNOR Sunny... No response. Still holding the knives, Connor stands. CAMERA FOLLOWS him as he searches the apartment. He slinks toward the back rooms, peeks into a trashed bedroom. Empty. Steps in front of the closed bathroom door. Tries the knob. It's locked. CONNOR (cont'd) Sunny... He takes a step back, and with a knife poised iÔn each hand, KICKS IN the door. CONNOR'S POV - SUNNY DEAD. Sprawled against the tub on the filthy tile floor. He puts away the knives. Bends down to her. Sees a needle, the bent spoon and lighter on the floor. Sees a couple of the teeny DRUG baggies and realizes what and who is responsible for her death. CAMERA'S TIGHT in an over as he gets to his feet. He turns to leave and is, SURPRISED BY ANGEL standing in the doorway. Angel looks from Sunny's dead body to his son. Off Angel's concern: BLACK OUT. END OF ACT TWO Act Three INT. ABANDONED APARTMENT - NIGHT Angel looks from the dead girl to the distraught Connor, who backs away from him. He takes a step toward Connor. Connor's a cornered cat. Jerks away. ANGEL Connor -- Connor just stares. No real response. Angel's struck with a new worry. He can't help it -- he grabs Connor's wrist, checks his arm for needle tracks. ANGEL (cont'd) She didn't put any of this crap in you, did she? Connor yanksæ his arm away. Knocks Angel's arm up with a sweep of his. Angel backs off. ANGEL (cont'd) Okay. I'm sorry. I'm just... look, we'll take care of this, okay? Together. Or not. Connor pushes his way past Angel -- CONNOR Too late. Too late. ANGEL Connor! Each time Angel says that name, Connor scowls. Angel follows Connor down the hall, back to the LIVING ROOM Connor scans the room, Angel dogs him. ANGEL (cont'd) I'm sorry about... was she your friend? Connor? Talk to me. But he doesn't. Connor spots what he's looking for -- Tyke's jacket. He moves to it, picks it up -- ANGEL (cont'd) You know, I have to figure you're feeling like you've traded one hell dimension for another right about now, but if you let me... What are you doing? What he's doing is putting the jacket up to his face like a tracker finding a scent -- which, in fact, he is. ANGEL (cont'd) What is that? Angel grabs the jacket from him. CONNOR Give it back. ANGEL Why? Who're you tracking? Connor lunòges at him, tries to get the jacket back, Angel keeps it away from him as he digs in the pockets, finds more bags of drugs, tosses them aside. ANGEL (cont'd) Right. I get it. You're going after the guy who gave her the junk. CONNOR His medicine killed her. ANGEL And you're gonna do what about it? CONNOR Punish. ANGEL You mean kill -- He lunges for the jacket again. ANGEL (cont'd) Just slow down, okay? Connor does a double move, a slam and bang, attacks Angel. Angel drops the jacket, sails at the kid -- WHAM, they go up against a wall, Angel pinning him there. ANGEL (cont'd) Listen to me -- Connor seethes, glares, pushes back and, WHAM! They both slam up against another wall, this time Angel's back is to it. CONNOR No. Connor tears himself away, turns around for the jacket. Angel is on him. WHAM! Into a wall. ANGEL You will listen. Connor starts to push them back to the other wall, Angel swings him around and pins him again. Plaster's falling. ANGEL (cont'd) I'm not letti÷ng you walk out of here and get into anymore trouble. Connor throws Angel off, starts for the door. Angel reaches out, grabs him, swings him around -- and decks him. Connor goes down hard this time, on his hands and knees, face turned away from Angel who already feels like a shit for doing that. ANGEL (cont'd) I'm sorry, son. But you don't understand how this world works. CONNOR I understand. Sunny was nice. Now she's dead. ANGEL Connor... CONNOR (still turned away, exploding:) STOP CALLING ME THAT! Angel reacts to that with surprise. Connor slowly turns and looks back/up at him, hate etched on his face. CONNOR (cont'd) My name's Steven. Off Angel -- EXT. LOS ANGELES - NIGHT Flash cuts take us across the city to Angel's hotel. INT. ANGEL'S HOTEL - LOBBY - NIGHT Cordy and Groo sit next to each other on the pouf. They are woozy, but fine. Gunn stands across from them. GUNN And then what? CORDELIA And then what nothing! Standing. Talking. Boom. Knocked on our butts. Gunn looks åup at where we know the rift to be. GUNN You think something else came outta there? CORDELIA Hello? Face-down and knocked out? Fred strides out of the office carrying one of the DEMON ENCYCLOPEDIAS. FRED I found a picture of that beast Connor killed. She hands the book to Cordy. CLOSE - THE BOOK - An engraving of the BIG BAD CREATURE that emerged at the end of episode 19. FRED (cont'd) And... it says these things usually have a mate. The rift CRACKLES again (CGI). Everyone turns, Groo stands with his weapon, but nothing emerges. CORDELIA Where's Lorne? He should have been back with his expert hours ago. GUNN He said it was complicated. Fred tentatively offers a suggestion. FRED There is that other expert... CORDELIA You know somebody else who can...? (realizing) Oh. -- I don't think Angel's gonna go For that. GROOSALUGG Yes, we must always consider Angel. (off Cordy's look) Angel is our leader. We must obey his wishes. Cordy can't tell if Groo's being sarcasëtic or not. FRED So we're supposed to just sit here with a fissure from a hell dimension in the middle of the lobby when we know someone who could help us? -- I don't think so. Fred makes a decision. FRED (cont'd) I'm calling him. She heads toward the counter. Gunn calls after her. GUNN No you're not. CORDELIA Lorne... Cordy stands. Everyone looks over at, ANGLE - LORNE In some kind of "street disguise." He's entered through the front door with a BEAUTIFUL HUMANOID WOMAN. She has silver eyes. A scarf or hooded cloak covers her hair. LORNE Sorry it took so long, kids, but Mistress Myrna is a very difficult woman to find. He gestures to her for introductions, but she's no longer next to him. He looks around. WIDE - THE LOBBY Myrna is now magically at the top of the stairs. LORNE See what I mean. It's been like this all day. -- One of the nasty side- effects of specializing in dimensional magic. He heads up the stairs after her. LORNE (cont'd) What I wouldn't give ôfor a lasso and some crazy glue. INT. ABANDONED APARTMENT - NIGHT Angel and Connor facing off. Connor wary, but Angel also wary. ANGEL Steven... okay. (trying it out) Steven. (unconvincingly) That's... that's a good name. Not Irish, but... (then) Look, I know we haven't had a great start here. I think if we could just, you know, take a minute... that'd be good. (then) Please, just -- just don't run away. I lost you once already... Connor just looks at him, suspicious as always. ANGEL (cont'd) There's just so much I wanna know. So much I need to know. Connor stares. Angel stares. Doesn't quite know where to start. ANGEL (cont'd) (trying) You been okay? More staring from Connor. ANGEL (cont'd) I mean... what was it like there? Do you have any friends? Angel's really trying here, but he hears how stupid this shit sounds even as it's coming out of his mouth. ANGEL (cont'd) Okay, not friends -- You weren't at summer camp, were you? You were lost in a... (hates to say it) hell dimensioón. The horror of it strikes Angel. He looks at his feral son with incredible sadness. ANGEL (cont'd) Oh, Connor. I'm so sorry. I tried to get you back. I did... I tried to come after you. I would have done anything. I just... I couldn't find a way in. CONNOR (flat) I found a way out. ANGEL Yeah. You did. Sure did. (to himself) I should've tried harder -- shouldn't have quit. Connor just stares at Angel. Angel re-focuses. ANGEL (cont'd) But you're back. That's what's important. You found a way back to me. (then) I want to know everything, son... Everything about you. What your life's been like... And you... You must have a million questions. CONNOR No. That hangs there for a beat. Angel's a bit taken aback by the definitive sound of that. ANGEL No? Connor shakes his head -- no questions. None. CONNOR My father told me everything. Angel darkens at that. ANGEL Your father... (a beat) Holtz isn't your father. He's the man who-- Connor slugs Angel so fucking hard. CONNOR You doùn't get to say his name. You don't even get to think it. Connor glares. Angel says nothing. Powder keg here. CONNOR (cont'd) (then) I know everything. He told me all about you... Angel's jaw tightens... the thought of that fuck telling his life story to his kid... CONNOR (cont'd) You're a thing that kills and drinks blood, you're a vampire. ANGEL What do you know about vampires? CONNOR Decapitation, stake in the heart, daylight, fire. I forget anything? You have a second face -- a face for killing. Connor steps right up to Angel. Then: CONNOR (cont'd) Show it to me. A beat -- Angel says nothing. CONNOR (cont'd) I want to see it. Angel stares evenly at Connor. Connor's agitated. Shoves Angel. CONNOR (cont'd) Show me the face you used to kill my father's family. Connor shoves him again. CONNOR (cont'd) Show me! Another shove. CONNOR (cont'd) I'll tear this one off if I have to. Connor tries to SLUG Angel again. This time, Angel CATCHES the punch. While clasping Connor's haænd, ANGEL GOES VAMP ANGEL It looks like this, son. CLOSE - CONNOR Reacts to the transformation. Jerks his hand free. Backs away in spite of himself. Fascinated and repulsed. CONNOR That's what you are... ANGEL It's part of what I am... CLOSE - ANGEL DE-VAMPS ANGEL A part I hope you'll be able to accept one day. CONNOR You'd have to kill me first. TYKE (O.S.) That's a plan. CONNOR'S POV - TYKE With his ear bandaged up, a PISTOL IN HAND and TWO of his bad asses standing menacingly in the doorway. TYKE But I got a different one. Off Angel: END OF ACT THREE Act Four INT. ABANDONED APARTMENT - NIGHT - ANGEL Slowly faces Tyke and his Gang. Holds his hands open so Tyke can see he's unarmed. Tyke sees Connor's wearing his coat. TYKE (to Connor) Shammie man. Connor, already wired from his clash with Angel, starts toward Tyke. Angel grabs his arm. ANGEL Don't. Tyke steps into the apartment. Levels his gun at Connor. TYKE Where's Sunny? Connor glares at TykÝe. ANGEL Would that be the dead girl in the bathroom? Tyke nods to Guy #1 who goes off to search the place. Guy #2 closes the door, stands guard as. TYKE (to Angel) Who're you? Angel steps between Connor and Tyke's gun. ANGEL His father. CONNOR (moves next to him) No you're not. ANGEL (to Connor) Let me handle this. Angel glances from Connor on one side of him to Tyke on the other. He's determined to set an example for his son. ANGEL (cont'd) (to Tyke) Let's find a way to work this out. Talk it out... (to Connor) as we do here. (to Tyke) No need for violence. Tyke strides up to Angel, pistol in hand. SLUGS Angel with it. Angel recoils. Doesn't strike back. TYKE Did you say "no need for violence?" (glaring at Connor) I don't hear so good anymore... ANGLE - TYKE'S GUY Returns from the back hallway. GUY #1 Sunny's dead in the can. O.d. ANGEL - Sees Connor's ready to explode. TYKE (raising gun at Connor) One down, one to go. ANGEL (to Tyke) We make thÚis right. TYKE You can give me a new ear? ANGEL (beat) Well... maybe you could wear a hat. TYKE (to Connor) I want my coat. ANGEL Give him the coat, son. CONNOR - Locked in on Tyke. CONNOR You killed her. Angel sees this is a stalemate that's going to end badly. ANGLE - THE FRONT DOOR Bursts open as a THIRD GUY rushes in, yells, GUY #3 Tyke. -- Cops. Looking for you. Tyke keeps his pistol trained on Connor, but his mind's racing. He looks around the room. Needs a plan. Angel steps closer. ANGEL Dead body in the river. -- Another one in the bathroom. (to Connor) See what I'm talking about? Violence always ends... He suddenly SPIN KICKS the pistol out of Tyke's hand. It sails across the room. ANGEL (cont'd) ...badly. ANGEL - Attacks Tyke. GUY #1 - Kidney PUNCHES Connor from behind. Connor turns, counters, STRIKES back. GUY #2 - Grabs a discarded table lamp. SMASHES it over Angel's head. CONNOR - Throws Guy #1 across the room. Turns to Tyke. à (to Tyke) Hey... Tyke turns. Connor SLUGS him right on his BANDAGED EAR. Tyke HOWLS in pain. Connor SLUGS it a second time. INTERCUT WITH: EXT. DOWN IN THE COURTYARD COPS in LAPD gear, systematically move from room to room. INT. IN THE APARTMENT Angel and Connor battle Tyke and his Guys. EXT. DOWN IN THE COURTYARD A COP - Hurries up the stairs. ANOTHER COP - Talks to a CRACK HEAD. The Crack Head points up at the room. INT. BACK IN THE APARTMENT Angel throws the Third Guy into a wall. Calls out, ANGEL Connor, we've gotta get out of-- A LOUD CLICK. Angel turns, sees, TYKE Holding Connor hostage; standing behind him, arm around his shoulders, PISTOL jammed into Connor's neck. TYKE I gotta get out of here. ANGEL Don't... use me. I'm bigger, I'll make a better shield. Connor realizes what Angel's saying. Tyke considers when, THWAMMM! The door's RAMMED from outside. But rather than bust it open, the RAM SMASHES a HOLE in the door. TYKE TURNS,æ FIRES at the door. The Cops outside lunge out of the way. Connor spins free. ANGEL (to Connor) Get down! Angel and Connor behind the sofa as the full force of Cops outside return fire. It's a Sam Peckinpah party as BULLETS RIDDLE EVERYTHING. Dust and furniture tufts fill the air. ANGEL AND CONNOR - Crouched behind the sofa. Connor's never been in a gun battle, not sure what to do. TYKE - SHOOTS repeatedly towards the front door. EXT. ABANDONED APARTMENTS COURTYARD - CONTINUOUS All SIX COPS fire on the room. INT. ABANDONED APARTMENTS - CONTINUOUS Light streams in as BULLET HOLES STRAFE across the room and SHATTER a hanging picture. GUY #1 - Tries to cross to a better hiding spot. A BULLET HITS him in the shoulder. He tumbles to the carpet. TYKE - Behind a chair. Firing away. ANGEL - Glances around. Sees the broken windows up across the back of the apartment (opposite the front door). Grabs Connor by the arm, drags him closer to the back. ANGEL (points) Out thÒat window. Connor's overwhelmed by the action. Bullets flying. TYKE - SHOVES A NEW CLIP into his pistol. RAMP TO SUPER SLO-MO ANGEL - Pushes CONNOR toward the back window. THE FRONT DOOR - Kicked in by a COP. THE COP - Sees Connor leap up onto the windowsill. Lifts up his SHOT GUN. ANGEL - Sees the Cop raise his weapon. Races toward Connor. CONNOR - On the windowsill, glances back as, CLOSE - THE SHOT GUN BLASTS ANGEL - DIVES in front of Connor, catches the BLAST square in his back. BACK TO REAL TIME ANGEL - Collapses to the floor. TYKE - Returns fire on the Cop, drives him back outside. CONNOR - Looks down at Angel from the windowsill. Doesn't know if he's alive. Ready to hop down when -- Angel lurches and he springs to his feet. ANGEL Go... Angel launches himself at Connor, taking the boy and himself out the window as bullets fly all around them. EXT. LOS ANGELES - NIGHT Flashy, cutty, flickety, fast. INT. ANGEL'S HOTEL - LOBBäY - NIGHT Mistress Myrna's removed her scarf and we see she has long, blue hair. She's grinding some stuff in a mortar and pestle -- notices the remnants of the pentagram on the floor. MISTRESS MYRNA (displeased) I hope this wasn't some dark attempt to close the fissure. GUNN No, that was a dark attempt to open one. (off her look) Different one. Long story. Fred steps over to Mistress Myrna. FRED So you think you can close it, then? MISTRESS MYRNA Oh, sure. That's not the worry. FRED You have worry? MISTRESS MYRNA How did it open in the first place. There are no portals to Quor-toth, and for good reason. It's not a place anyone should ever go. FRED If it's not a portal, what is it? MISTRESS MYRNA (almost afraid) A tear in reality: big cosmic no-no. (then) Something punched its way out. Something I really don't want to meet. CORDY AND GROO Listen to Mistress Myrna from across the lobby. Then, MISTRESS MYRNA (O.S.) Excuse me... REVEAL - MISTRESS MYRNA StandÕing right behind them now. CORDELIA Bah! Myrna slips between them, heads back to where she'd been. MISTRESS MYRNA Sorry... LORNE - enters with a big kitchen bowl. It's filled with several different dry ingredients. He hands it to Myrna. LORNE Just the way you asked. She takes the bowl, dumps the contents of her pestle in it, reaches into her robe's pocket and pulls out a pair of safety glasses. LORNE (cont'd) Should we leave or get behind something? MISTRESS MYRNA Naw. This is pretty routine. (puts on the glasses) Just sometimes I get a little schmutz in my eye. She cradles the bowl in the crook of one arm. Dips her other hand into it. Swirls the dry contents with her fingers. MISTRESS MYRNA (cont'd) Foris occuludo intemporaliter. And she tosses a handful of the mixture into the air where it continues to RISE and SHIMMER and start to SPIRAL. The Gang watches as the swirling mass rises up to the rift. CLOSE - THE RIFT Now visible through the swirling mass. It CRACKLES and SPARKS and the swirling stuff begins to SPIRAL in on itself until it and the rift disappear with a POP. GROOSALUGG So the tear is now closed? MISTRESS MYRNA Yeah, it's closed. CORDELIA Can you tell if anything else came out? Myrna hurries out from behind the counter. MISTRESS MYRNA Not sure, and not sticking 'round to find out. -- Bye. Off the Gang, concerned. EXT. N.D. STREET - NIGHT Angel and Connor hurrying together. Angel's in pain. There's a siren in the distance. CONNOR You need to stop? ANGEL No, I'm okay. ANGEL'S POV - A POLICE CAR Rounds a corner up ahead, lights on, siren WAILING. Peels toward them. ANGEL Behind here. He quickly steers Connor behind a PARKED VAN as the Police Car SCREAMS past. After it's gone, Angel sÄteps back into the street. Looks in both directions. Winces in pain. ANGEL (cont'd) Maybe I do need a second. He takes a deep breath. Connor looks to Angel. Doesn't know how to say thanks. CONNOR That was a real -- What you did... Angel saves him the trouble. ANGEL You hurt? Connor shakes his head no. Connor then cranes his neck and looks around. As if sensing something. ANGEL (cont'd) (casual) Y'know, if you want, you can come back to the hotel. CLOSE - CONNOR - Skittish at the suggestion. ANGEL (cont'd) No pressure or anything. (then adds) But if you need a place... Connor nods; then: CONNOR I have to go... Starts to back pedal away. Angel takes a couple of steps toward him. ANÃGEL You're not alone... You know that, right? CONNOR (a beat) Yeah. I know. And he turns and runs off into the night. CLOSE - ANGEL AS CAMERA CRANES UP, leaving him alone. EXT. ALLEY - NIGHT - HIGH AND WIDE CRANE DOWN as Connor enters. He's darting in and out of the light, on the trail of something. CLOSE - CONNOR Searching. He rounds a corner, hurries along, passes a recessed doorway. Stops. Backs up. Addresses the darkness. CONNOR Hi, Dad. CONNOR'S POV - A MAN Steps out of the doorway. He's easily seventy-years-old and the years have not been kind. Half of his aged-face bears the ravaging scars of a terrible burn. It's Holtz, reunited with his son: FADE TO BLACK. THE END