Benediction (March 21, 2002) Written & Directed by: Tim Minear Teaser INT. ANGEL'S HOTEL - NIGHT We can see FRED in the office, hanging up the phone, then moving out into the lobby. We're steadi-camin', giving a sense of the controlled emergency here. She joins the others in the lobby (COR, GUNN, GROO), as -- FRED Still no answer on his cell phone. CORDELIA That could mean something -- if he actually knew how to use it. GUNN Maybe we should head back out, start where we last saw him, see if we can pick up the trail. GROOSALUGG A wise plan. I will assist with the tracking. CORDELIA No. That was sudden and kind of odd. They look at her. FRED But... don't we need to warn him? I mean, if something did come out of the portal, and if it is looking for Connor, and if Angel did find him... CORDELIA He did... It's only now that they realize that Cordy's spotted -- -- ANGEL at the garden doors, dragging in, clearly hurt. Everyone rushes to his aid. GROOSALUGG Angel... FRED Ohmygod. GõUNN Bro, you're hurt -- ANGEL I'm okay. They have helped him over to the poof, eased him down. CORDELIA You found him. ANGEL Yeah. CORDELIA (then) And? ANGEL And... we talked. CORDELIA (gently touches Angel's bruises) Looks to me as if he likes to talk with his hands. ANGEL (winces, smiles) He didn't do this to me... well, not most of it, anyway. GUNN So it's a for-sure, then. That kid was really Connor? Angel takes a beat before he says -- ANGEL Steven. (beat) His name's Steven, now. That hangs there for a beat with all its implications. Then: CORDELIA Angel -- I'm sorry. ANGEL He's still my son. No one's going to argue with that. FRED So -- where is he? ANGEL (after a beat) I'm not sure. (then) But he knows where I am. He'll be fine. FRED Actually, he might not be. Angel looks at them. CORDELIA Something may have escaped from Quor- toth before we could close the portal. ANGEL What do you mean? CORDELIA Well... Groo and I were guarding it, we turned our backsô for just one second and -- bang. Lightning flash and we were down for the count. Angel digests that for a beat, seems calm about it. ANGEL So nobody actually saw anything else come out? FRED Well, not exactly. GUNN But Lorne's dimensional magic expert was pickin' up some seriously bad vibes. She said whatever came through was strong and really pissed off. ANGEL And if my son was the last thing that came through? A beat. GUNN Right. Guess he would kinda fit the description, wouldn't he? FRED But what if it's some vengeance-y else thing? ANGEL Then we should probably look into it. They all puzzle at his decidedly calm response. GROOSALUGG And your son? It is possible a hostile entity may have entered this dimension to pursue him. ANGEL He survived Quor-toth this long. He can take care of himself. Fred can't believe his passivity. FRED Okay, so he survived an unspeakable hell dimension -- I mean, who hasn't? But you can't just leave him all alone on the streets of Los Angeleñs! ANGEL I don't have a choice. He's got to come back on his own. And he will. (almost to himself) Just as soon as he realizes what he needs. GUNN What's that? ANGEL Same thing he needed in the other dimension. CORDELIA (getting it) A father. INT. SEEDY MOTEL - NIGHT CONNOR A room. A somewhat sloppy MOTEL CLERK looks up from his portable TV as CONNOR shoves a handful of cash forward. CONNOR (cont'd) I need a room. For me and my dad. Connor steadies a pale and sickly looking HOLTZ. Off father and son -- BLACK OUT. Act One EXT. SEEDY MOTEL - DAY TRAFFIC Blurs past, revealing the shabby bungalows of the motel. CONNOR exits the motel office with a newspaper. He looks at the world around him, still getting his bearings. We follow him as he moves through the motel bungalows. He sees a MOTEL GUEST at an alcove where stand candy machines. The guest pulls the knob on the machine and a candy bar drops into the metal tray. The Guest moves off and Connor steps up, curiously examòines the machine. He does what the last guy did -- pulls the knob. Nothing comes out. He tries again. Still nothing. As he starts to manhandle the machines a bit -- INT. SEEDY MOTEL ROOM - DAY Connor enters the motel room using his tee-shirt as a pouch for what looks like most of the contents of the candy machine. He's also got the newspaper. CONNOR There was food in a metal box outside. He pauses -- the place appears to be empty. No sign of Holtz. Connor starts to panic. CONNOR (cont'd) Dad..? (nothing) Dad! Holtz now appears, coming out of the bathroom, looking a bit recuperated from his trip through the Quor-toth. HOLTZ You go it. Good boy. He takes the newspaper from Connor, not noticing Connor's relief, or the fear that preceded it. Holtz moves to a small table with the newspaper. Connor crosses to the window, looks out. HOLTZ (cont'd) Now let's have a look at the date... CONNOR I hate this place. HOLTZ (unfolding newspaper) It's our world, Steven. Well... yours, at leastó. Holtz looks at the newspaper. Searches for the date. What he sees is no surprise, but he's somewhat astonished. HOLTZ (cont'd) Days... we've been gone only days. CONNOR (still looking outside) People everywhere. Not like home. HOLTZ Quor-toth was never our home, son. It was our prison. One I'd long given up hope of escaping. (then) I should have known one day you'd find a way out. CONNOR (shrugs) Didn't do anything. Cracks were there already... just made the sluks show me, that's all. HOLTZ Frightened rats forced to flee to daylight. My boy's smart. CONNOR You shouldn't have followed me here. HOLTZ How could I not? CONNOR I woulda come back to you. After I killed him. (then, ashamed) I'm sorry I couldn't. HOLTZ Of course you couldn't. It's not in you, son. CONNOR (a little offended) I killed lots. HOLTZ Only when you had to. Only to survive. (then) And that's not the real reason you worked so hard to get here. Connor looks at his father. Not sure how to respond. HOLTZ ô(cont'd) You wanted to see him. CONNOR No... HOLTZ It's alright, son. There's no shame in it. I knew this day would come. Which is why I've never lied to you. I've always told you the truth. About what your parents were. How you and I came to be together. CONNOR (by rote) God gave me to you. Holtz looks at him. Clearly this is an oral tradition they've shared over the years. HOLTZ That's right. God delivered you to me, that I might keep you safe -- and lavish upon you all the love I could never give to my first children. CONNOR (again, by rote) Because he took them from you. (then, dark) I wish I had killed him. HOLTZ If you had you wouldn't be the boy I raised. Nor the man I know you will be one day. There's more for you to learn, Steven. Much more. CONNOR I want to. HOLTZ Then you must go to him. Connor reacts to that, recoils. Wasn't expecting this. CONNOR What? HOLTZ Walk in his world. Learn all you can. Discover what of him may be in you -- that you may always fight agaiônst it. Connor looks into his father's eyes. Not one to disobey. He nods. He will do as he's instructed. HOLTZ (cont'd) But be on your guard. Remember what I've taught you. The devil will show you bright things. Many colours... Off Connor... INT. ANGEL'S HOTEL - LOBBY - DAY CLOSE - A bright and colorful CRYSTAL sparkles big in frame (with some magical augmentation from Ron Hubbard, is my guess.) WIDER At the counter. Fred has a Geiger counter opened up there, its innards before her. At the moment she's admiring the Cedrian Crystal. Gunn hovers at her shoulder. LORNE I would of been here sooner, but I had to stop and get it enchanted. Cedrian crystals don't actually come that way. GUNN (to Fred) Will it work? FRED Should. Cedrian crystals are said to contain millennia of stored mystical energy. And it's about the size of a D-Battery. Cordelia and Groo appear, entering. CORDELIA (approaching) That's gorgeous. FRED And priceless. LORNE Though is this instance "priceless" woulôd mean "without price." As in "free." Six-horned Lach-nie Hag owed me a favor. Don't ask. Cordy points to the Geiger counter. CORDELIA Actually, I meant that. FRED Oh. Standard issue army surplus Geiger counter. GUNN We picked it up at a yard sale. CORDELIA Shiny. GROOSALUGG What is its purpose? GUNN Gonna use it to figure out if scary monsters came out of the portal. FRED If my theory proves correct, then anything that came out of Quor-toth should have left behind a kind of para-plasmic radioactivity. Of course, I'm working off the principal that everything in nature seeks a relaxed or stable state -- LORNE I know I do. FRED -- and that's assuming trans- dimensional atomic materials all operate under the same laws and that trace particles of Quor-tothian matter will be emitting excess energy as they attempt to equalize. (then) It's a leap, I know. Fred goes back to making her modifications. As Cordelia sets down her bag, maybe hangs her coat: CORDELIA So how is he? GUNN Stóill bein' all mature. CORDELIA Really? Where is he? GUNN Upstairs. CORDELIA I better talk to him. She moves off. Off Groo, watching her go... INT. ANGEL'S HOTEL - ANGEL'S ROOM - DAY What used to be the nursery is now a make-shift gym. Angel is punching the bag. Being cool and keeping himself active. Cor enters. CORDELIA So you're up early. For a vampire, I mean. ANGEL Couldn't sleep. CORDELIA Right. You seem better, though. ANGEL Yeah. I think you got most of the buckshot out. Thanks. CORDELIA Sure. (then) So I guess Fred's working on a way to determine if anything else came out of the portal. ANGEL That's good. CORDELIA So maybe, if we're very very lucky, later today we'll be able to kill something. (trying) You'd like that, wouldn't you? ANGEL Sure. THOMP! Another punch lands. CORDELIA I really think it's great the way you're handling all this. ANGEL Thanks. Angel continues to work out. Cor's trying to be casual. CORDELIA You know, there was a time when you'd ójust go running off all action-y guy. This wait and see approach -- very mature. ANGEL I appreciate that. CORDELIA It's making you nuts, isn't it? ANGEL Little bit. CORDELIA You wanna talk about it? ANGEL Not really. CORDELIA You sure? ANGEL Yep. THOMP! Another punch lands. CORDELIA Okay. Good. Well. Just wanted to check in, let you know I was on the clock... and... tell you that... you're doing the right thing. ANGEL Thanks. She nods. Starts to move off. He stops her with: ANGEL Cordy? She turns, looks at him, he catches the bag, stops it -- ANGEL (cont'd) What if he doesn't come back? As they hold the look between them -- INT. ANGEL'S HOTEL - GARDEN - DAY Groo sits in the garden, thinking. Fingering plants. Lorne approaches. LORNE Something troubling you, bubby? GROOSALUGG Indeed. I am confused. LORNE I know. 'bout what? GROOSALUGG Angel. LORNE Ah. Right. GROOSALUGG His inaction puzzles me. LORNE How so? GROOSALUGG When Connor was taken from him, heò moved Heaven and Tarkna to try and win him back -- LORNE Yes, he sure did. Hence our weekly scrubbing of the lobby floor. GROOSALUGG But now that his son is here -- he does nothing. LORNE Well, sometimes nothing is the best something. If a thing's meant to be, sometimes it's best to just let it happen rather than trying to force it. GROOSALUGG But... if a thing is meant to be -- how can it be forced? LORNE (thinks for a beat) Hmmm. Guess it can't. GROOSALUGG And... if a thing is not meant to be? LORNE Well then it really can't. No amount of trying's gonna make it work if fate's against it. GROOSALUGG Even after one has come so far, endured so much? LORNE Just because somebody hops a dimension or two is no guarantee things'll work out. Lorne realizes what he just said, looks to Groo. They hold the look between them. Groo suddenly seems very wise. GROOSALUGG Yes. I sense that is true. LORNE Well aren't you just sneaky with the sub-text. Groo stands. Looks to the sky. GROðOSALUGG It is a beautiful day. If my princess asks, please tell her I went for a walk. (then) If she asks... Off Lorne watching Groo go -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - DAY Angel and Cor sitting together. ANGEL He feels further away from me now than when he was first taken. All that time, I don't think I ever really believed that I'd lost him. Not really. (beat) Then he showed up again -- and I knew I had. CORDELIA It's only temporary. ANGEL Yeah. Everything's temporary. (then) I missed everything. His whole childhood. I can't get that back. CORDELIA Neither can he. ANGEL There's so much I thought we'd be able to do together before he... CORDELIA Grew up? ANGEL Hated me. CORDELIA He doesn't hate you, Angel. He doesn't even know you. Ouch. ANGEL It's true. I really gotta stop making plans. CORDELIA He's gonna come back, Angel. ANGEL How do you know? CORDELIA Because -- he has to. Because he's family. INT. WESLEY'S APARTMENT - NIGHT CLOSE - A MICROWAVE OVENö The countdown finishes -- :03. :02. :01 then the words "Enjoy your meal" scroll by. WIDER Wesley pops open the oven door -- WESLEY (to the oven) Thank you, I will. He pulls out a single-serving meal. It's hot. He drops it onto a plate. He moves to his table, which has been set for one. He sits. Alone at the big table, but still observing the ritual of proper dining. Guy may not have any friends left, but he's got his dignity. He reacts to a BEEPING sound. Curious and a bit wary, he rises, moves to his computer -- ANGLE - COMPUTER SCREEN A message flashes there -- "782 W. Palm Terrace. 8:30pm. Come alone." Off Wesley -- INT. ANGEL'S HOTEL - LOBBY - NIGHT CLICK-CLICK-CLICK. Angel, Lorne, Gunn and Cor follow Fred as she scans the lobby with her jerry-rigged Geiger Counter. FRED Getting a good strong reading here -- CLICK-CLICK-CLICK -- LORNE (aside to Cordelia) Should we be wearing lead? Because I actually have something. CORDELIA Good point -- Fred, how worried shouldû we be about contamination? FRED (waves it away) I wouldn't be. I mean, not now. Not after we've been sucking this stuff up all day long. GUNN Nice. The Geiger Counter beeps faster. FRED Okay. This is approximately where the portal was, so it makes sense that I'd be getting a reading here. Mark that. Gunn marks the floor with a big piece of blue chalk or some such. Fred sweeps the device around, the clicks slow, she sweeps it the other way. They pick up again. FRED (cont'd) Looks like something maybe came through here -- or here... wait a minute... She follows the clicking... her attention on the floor as she follows the clicks, growing more and more rapid, now. Suddenly the thing really starts going BONKERS. FRED (cont'd) Wow. Something here's pretty... FRED'S POV SHOES... Travelling up to see... Connor standing there. FRED (cont'd) ...hot. Angel et al, behind Fred and not having been staring at the floor, have already spotted him. They stand frozen for a moment. FRED (cont'd) Angeül's son... hi. I didn't mean to click at'cha. She switches off the Geiger counter. Angel moves forward a step, wants to grab the kid and pull him into the full on embrace, but manages not to. Awkwardness. ANGEL Hey. CONNOR Hey. (beat) I, uh, thought I'd come by. Like you said. ANGEL I'm glad you did. Just weirdness. He glances at the others who stare back. ANGEL (cont'd) (now moves to Connor) Everybody... this is... Steven. Various ad-libbed hellos and nods from the assembled. ANGEL (cont'd) Steven, this is Cordelia, Fred, Gunn -- and that's Lorne. A tense moment between Connor and Lorne. Tenser than usual. LORNE Hello, young man. Connor says nothing. Just stares. Demon. ANGEL (to Fred) So, uh... we about done in here? FRED Hmmm? Oh! Yes. I think we've covered everything. GUNN (a suggestion) Maybe we could move this outside? FRED Yes! Good idea. We should do a perimeter search, then re-calibrate for some wider areas. ANGEL Does sound like a good idea. FRED (to Connor) It was vôery good meeting you, Steven. Connor mumbles something. As Gunn, Fred and Lorne fade off, Cordelia moves to Angel. CORDELIA So I'll make sure to hold all your calls. You just... you guys take your time. ANGEL Thanks. Angel looks back to Connor. Cordelia starts moving away. ANGEL So, uh -- what do you feel like doin'? CONNOR I dunno. Nothin'. ANGEL Okay. We can do that. (then) You hungry? CONNOR Whaddya got? ANGEL (after a beat) We could go out. Cordelia has started to move away, turns back, looks confused, then, really LOUDLY: CORDELIA WHAT?! Connor and Angel look over at her... And here's how the vision will be: TWO VERSIONS. The scene plays out in our lobby with Angel moving to her and her speaking VERY LOUDLY as if trying to overcome sound noise, which she is, because... THE OTHER VERSION has Cordelia standing in what appears to be a NIGHTCLUB, loud INDUSTRIAL MUSIC, BODIES MOVING, LIGHTS FLASHING. Angel turns to Cordelia -- from her POV the NIGHTCLUB is beyond him... ù ANGEL Cordy? CORDELIA Angel?! Connor looks on -- what is with this broad? ANGEL She's having a vision... Connor reacts to that -- vision? Weird. ANGEL (cont'd) Cordy? Cordelia? She's trying to see past him, into the crowd. She gets GLIMPSES OF: VAMPIRE FACES through the UNDULATING CROWD. ATTACKING SOMEONE. CORDELIA VAMPIRES! A GANG OF THEM. Connor looks where she's looking -- chick's flipping out. ANGEL Where? CORDY'S POV - of Angel, asking "where?" Speaking to her -- she can't hear him over the MUSIC. BACK TO SCENE CORDELIA ANGEL! YOU HAVE TO HURRY! BANG. The NIGHCLUB around Angel is sucked out of frame, leaving just the lobby again. Cordelia looks at Angel. CORDELIA (cont'd) A woman, being jumped by a gang of vampires. ANGEL So much for holding those calls, huh? CORDELIA (glances over at Connor, then back to Angel) Yeah. I'm sorry. Bad timing. Angel manages a smile for her, then turns to Connor. Shit bad timing is what it is. ANGEL Listen... I, uh... I have to go out fo÷r awhile. CONNOR Okay. Whatever. ANGEL It's kinda my job. (then) Look, this shouldn't take too long. But it could be pretty dangerous. There's usually violence and killing, so... (then) Wanna come? Off that invitation -- BLACK OUT. END OF ACT ONE Act Two INT. CONVERTED THEATRE - NIGHT The place has been turned into a nightclub. It's packed, the lights are hypnotic, and the music is LOUD. Cool KLUB KIDS dance to the INDUSTRIAL NOISE. We'll probably instantly recognize this as the location of Cordelia's vision, which is why we might be surprised to see -- -- WESLEY here for his rendezvous. He carries a drink, moves into a balcony area overlooking the club. Checks his watch, scans the crowd for whomever may have invited him here. LILAH (O.S) See you got my invitation. WESLEY (turns and sees:) Lilah. Obviously. LILAH I thought the "come alone" part was a particularly ironic touch. I mean -- how else would you come? He starts to move past here, she steps in his way. LILAH (cont'd) Heîy. Don't rush off. I went to a lot of trouble to arrange this little show for you. WESLEY Couldn't be less interested. LILAH Just... take a look down there and tell me if you can still say that... He follows her gaze to the ground floor to see -- -- JUSTINE sitting alone at the bar, drinking, looking around. WESLEY You're right -- I could be less interested. Goodbye. He pushes past her, starts to walk away. LILAH Ooo-kay. But leave now, and you'll miss her big death scene. This makes him stop, he turns to her. LILAH (cont'd) Don't tell me you wouldn't like to see the bitch that slit your throat and left you to die get a little of her own back? WESLEY What's going on here, Lilah? LILAH Think it's commonly referred to as a "set up." Some source -- and I can't imagine who -- tipped her off that tonight this place would be filthy with vampires. Which, as it happens, is true. WESLEY Right. Because that same "source" probably tipped off the vampires that she was going to be heïre... LILAH (smiles) Turns out she's been pissing off a lot of undead-Americans lately. WESLEY And you thought I'd enjoy a box seat for her slaughter? LILAH Well -- yeah. WESLEY You really don't know the first thing about me, do you? LILAH Probably not. Again he turns, again he starts to go. LILAH (cont'd) So... will he go straight to his car, or will he stop to warn her first? Wesley stops in his tracks. She takes that in. Smiles. LILAH (cont'd) Has to think about it. That's good. (then) Okay. That's all I really needed to know. You can go. Wesley looks back at her, angry and conflicted. WESLEY A test, Lilah? She just smiles. Sips her drink, maybe. WESLEY (cont'd) And did I pass? LILAH Let's just say you got an incomplete. Which is what I was hoping for. Show's I'm not wasting my time. WESLEY But you are. LILAH Oh, don't look so grim. Look -- to prove we're still friends, I'll have her pulled out of there before anything really lethal happens. That way you won't höave to torture yourself over whether or not you did the right thing. But Wes isn't paying attention to her anymore, he's noticed something beyond her, on the ground floor -- WESLEY I don't think that'll be necessary. Lilah turns and follows his gaze to -- -- a HAIRCUT moving through the crowd... it can only be ANGEL... DOWN ON THE GROUND FLOOR Angel and Connor moving through the crowd. ANGEL Well... you wanted to kill a vampire. Now might be your chance. Here. He discretely passes Connor a stake. ANGEL (cont'd) Just be sure when you use this, you go right for -- CONNOR The heart. My father taught me. ANGEL Yeah. I'll bet he did. Look, there's a lot of innocent people in here, so just... don't start nailing anybody until they show their game face, okay? CONNOR Will it look like yours did? ANGEL (a bit uncomfortable) Basically. Yeah. CONNOR So why do you do it? Why kill them if they're like you? ANGEL They're not like me, Connor. CONNOR I'm not "Connor." Angel reacts. Shiót. Didn't mean to do that. Now he reacts to something else as he sees, through the undulating crowd... Justine over at the bar. ANGEL Stay here. Angel starts moving toward her, as... She now sees him. Reacts. Justine downs her drink, slams the glass onto the bar, ready for a fight. BARTENDER appears. BARTENDER Ready for another? JUSTINE No. I'm done. Bartender's hand pins her wrist to the bar. BARTENDER You're not wrong. He MORPHS to VAMPFACE. ANGEL pushes through the crowd. He sees the Vampire behind the bar, then his view is blocked again... The PATRON on the stool next to Justine spins toward her -- also VAMPFACED. Yet another VAMPIRE steps up in front of her. PATRON VAMP She thinks she's a Slayer. VAMP #3 She's about to learn different. Justine struggles, rears back and gives the latest Vamp a kick in the chest -- it staggers back into -- ANGEL, who is there now. He spins the Vamp toward himself, brings up his right hand -- with a stake ready and DUSTS it. Another VampÓ comes at him from the side, grabbing his stake-hand. It grins at him. And -- PHFFT -- out comes a wrist stake ratchet on his left hand. He DUSTS that one, too. Angel turns to Justine, but just then the Bartender Vamp yanks her over the bar and throws her into a shelf of glasses. Before Angel can do anything about it, he's set upon by TWO MORE VAMPS. (There should be about 6, maybe 7 Vamps in all this big brouhaha.) ON THE FLOOR BEHIND THE BAR Justine, cut up and on the floor behind the bar, tries to scramble through broken glass to get away from the Bartender Vamp, but he's on her right quick, as ANGEL now battles THREE VAMPS. They've got him cornered as -- CONNOR -- IN A BIG ASS HERO SHOT sails over the crowd and into the gray, seemingly to Angel's aid -- ANGEL Nice! You take the one on the... -- and leaps yet again, this time going past Angel and right over the bar and landing on the Bartender Vamp who's going after Justine. ANGEL (cont'd) That ½one. Yeah. No. That makes the most sense... BAM! Angel gets a fist in the jaw. Pounds back as -- Connor engages the Bartender Vamp in battle, as -- WESLEY AND LILAH Watching from their perch above. LILAH Who's the Boy Wonder? Wesley is riveted... Angel and Connor both jump high (wire-y high) do a similar kick... LILAH (cont'd) Moves just like... PUSHING to Wes... WESLEY (quietly realizing) His father... THE FIGHT Connor DUSTS the Bartender Vamp, pulls Justine to her feet. She stares at him. A beat. Another VAMP leaps over the bar coming at them. BAM! Angel knocks it clear as he appears, pulls Connor from Justine. More VAMPS converging... ANGEL (to Justine) Get out of here -- Connor assumes a defensive stance at converging Vamps. Justine can't take her eyes off him. Angel shoves Justine aside -- ANGEL (cont'd) Go! -- and he joins his son shoulder-to-shoulder. The VAMPS attack. Angel and Connor battle them back, as... JÛustine stumbles out of the place looking over her shoulder at Connor as she goes. Lilah is agape, watching from above... LILAH So now tell me you aren't... But Wesley's not there. She sees him slipping out past the other onlookers. He's had enough. LILAH (cont'd) ...interested -- ? She reacts, curious at his departure, then looks back to -- THE FIGHT -- and this may well be the money shot, folks. Sweeping up to our guys, shoulder-to-shoulder, working in concert, battling off Vamps. It's a big, operatic moment. Angel and Connor make eye contact. Angel can't help but smile. Connor starts to as well, then notices -- -- A VAMP slipping out the side door. Connor finishes off a Vamp, then bounds up and over toward the door. Angel is still battling a couple of VAMPS as he watches Connor go -- EXT. CONVERTED THEATRE - ALLEY - NIGHT Connor comes out the side door, sweeps the alley with a glance. No sign of anything. He takes a few steps and -- Shmuck bait. Lots ofê ominous hand-held POVs. The more there seems to be nothing here, the more we know that's wrong. Connor's in predator mode. His eyes darting, sensing something. He pinpoints it, whirls, raising his stake and -- -- there's Angel, right behind him. Angel's hand goes up, catching Connor's forearm. A moment of tension. Angel bends the kid's arm backward, twists his entire body around and too the side and -- -- DUSTS the VAMP that was ready to ambush our boy. Connor reacts to that as Angel releases him. ANGEL They don't need to breathe or make any sound -- you gotta be careful. Connor nods, embarrassed that he needed rescuing or tips. ANGEL (cont'd) Hey, you were great in there. I mean, normally I'd take you to a museum or a ballgame or something... but it's good to know you can handle yourself in a fight. Angel good-naturedly mimes a couple of moves. Connor can't help it -- he smiles. ANGEL (cont'd) Good to know you can do that, too. We suddenly pop to a SUBJECTIVE POINT OF VIEWï. Someone watching this bonding moment between Angel and Connor from a discrete distance -- REVEAL Holtz in the shadows (maybe atop a fire escape or some such). He watches, expressionless. Off that -- EXT. LOS ANGELES - NIGHT Flashy cuts take us to -- EXT. CITY STREETS - NIGHT GUNN'S TRUCK rolls INTO FRAME. Gunn driving, Fred is in the passenger seat, a large map of Los Angeles unfolded on the dash, several areas marked off. FRED Okay... except for the hotel, the strongest readings are coming from somewhere in this vicinity. She raises up her Geiger counter -- click-click-click. GUNN Now what? We go door to door and ask if anyone's seen any interdimensional boogies? FRED Not sure. I don't even know if we should be looking above ground or not. GUNN Hey -- check it out... Gunn directs her attention toward -- THEIR POV - through the windshield of a FIGURE moving fast in this direction. It's Connor, returning home. He enters the bungalow. A light goes on inside. FRED Looñks like we've been following Angel's son's emissions the whole time! GUNN Now there's a sentence I don't ever need to hear again. FRED But this is good, right? It means there was no big scary that came out of the portal... But Gunn has spotted something else -- GUNN How 'bout a short scary? Fred follows his look to see -- HOLTZ Emerging from a taxi and heading over to the bungalow. INT. SEEDY MOTEL ROOM - NIGHT Holtz, still rather expressionless, enters the bungalow. Slams the door shut behind himself. Connor appears, busily eating a sandwich. Excited. Wanting to please -- CONNOR Father. He was everything you said. He tried to trick me. Thought he could deceive me by saving people. But it didn't work. I've seen his true face. HOLTZ (grim) And I've seen yours. Off Connor -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT Angel and Cordy together. She's got her chin in her hand, beaming as she listens to him recount his evening to her. He's so relaxed he's practically liquid. é ANGEL The kid was born for it... The way he anticipated. I'm telling you -- it's in his blood. CORDELIA You don't say? ANGEL There we were, and it was like we'd never been apart. He felt it too. I know he did. You should have seen us together. CORDELIA I did. He looks at her. A small laugh. ANGEL What do you mean? CORDELIA After you left... I went back into my vision. ANGEL You what? CORDELIA Don't ask me how. I don't know if it's part of my new semi-demon-ness or if, you know, they just let me... go back in. But I was there, Angel. I saw the whole thing. You and your son. It was beautiful. They share this moment utterly as they hold a look. INT. SEEDY MOTEL ROOM - NIGHT Connor's stunned and grief stricken by the things Holtz is saying to him. Holtz is trying to comfort him. HOLTZ When I saw you with him tonight, I think I saw you for the first time. In that instant, I realized what it is you're meant to be. CONNOR I don't understand... HOLTZ No. But you will.ñ (then) Go back to him, Steven. CONNOR No. I don't want to. I don't want to go. HOLTZ You already have, son. It's what brought you here. It's where you belong. CONNOR No... HOLTZ Yes. Don't you see? It was your need for him which drove you across the dimensions. CONNOR I don't need him. Holtz smiles a little sadly. More than a little. HOLTZ I wish that were true. I wish you could be my boy forever. CONNOR I can. HOLTZ No. Connor stares, stunned, flayed, cut open. CONNOR Why are you doing this? Why? Don't you love me? HOLTZ My darling boy. It is because I love you that I do this. CONNOR God gave me to you... HOLTZ Yes. It was God's plan for us to be together. Nothing will ever persuade me otherwise. (then) But if I try to keep you apart now, you would only end up hating me. And that I will not have. CONNOR He's a demon. HOLTZ And you're the bastard son of two demons. CONNOR Then I'm a demon. HOLTZ You're not. God help me I don't know what you are -- except the fïinest young man I have ever known. CONNOR How can I come from them and not be one of them? HOLTZ There is a reason. There are answers. Go and find them out. CONNOR No. You told me not to be deceived, but you've let yourself be deceived! So I do hate you! I do. If you make me go back there I'll only ever hate you! HOLTZ (in great pain) If I could stop it, I would, son. You have to believe that. But we were brought here by forces beyond our control. CONNOR You're wrong. You're wrong. Connor sets his jaw. Furious now. He backs away, then bolts to the door and is gone. EXT. SEEDY MOTEL - NIGHT Connor on a tear as he runs away. Leaps over a bannister, then hops up -- over an eight foot wall and is gone. GUNN AND FRED watching from Gunn's truck as -- FRED Should we follow him? GUNN Oh, yeah -- let me just activate the rockets. (then) I think we best get back, let Angel know what's the what. Fred nods. Gunn starts the truck, pulls away, and WE REVEAL... ...a FIGURE deep in thâe shadows, also watching the motel. Justine. JUSTINE'S POVE Of Holt's silhouette framed in the motel door. He fades into the shadows, closing the door. Off Justine... INT. ANGEL'S HOTEL - LOBBY - NIGHT Lorne appears, coming from the door where we might imagine the kitchen to be. He's in his pjs and a robe, carrying, what else, a drink. He starts at a figure standing there -- Connor. Standing like a statue. He looks a little twitchy, but Lorne doesn't notice. LORNE Hey, kiddo. Didn't see ya there. Lookin' for yer dad? Come on, he's upstairs, I'll show you the room -- Lorne starts toward the stairs. Connor doesn't follow. LORNE (cont'd) This way. Lorne starts to go. Behind his back: CONNOR I'm not going anywhere with you, demon. Lorne stops. Can't help but react. Little shithead. LORNE (tries to keep it light) Tell ya what, since you were raised in a hell dimension by a psychopath, and since that's a topic I happen to know a little something about -- we'll ju¼st let that slide. I'll fetch your pop for ya. He starts to go again... but again: CONNOR (a rumble) Filthy demon. Cordy appears, coming down the stairs. LORNE Actually, that's Uncle Filthy Demon to you. Wasn't that long ago -- like a week -- that I was changing your diapers, you little -- CORDELIA Hey, hey. What's the problem? She positions herself between a pissed off Lorne and a volatile Connor. Connor just stares at Lorne. CORDELIA Steven... I know you haven't been in this world very long, and I imagine things were pretty Wild West-y out where you're from... but Lorne's a good guy. Honestly. CONNOR It's a demon. CORDELIA Right. True. He is. But "demon" doesn't always mean "evil" in this dimension. I mean, look at me -- Whoops -- that got his attention. He does in fact look at her. CORDELIA (cont'd) Well, I'm part demon. Yeah. By choice. I did it so I could help people. (more) And so that the back of my head wouldn't explÙode. I know it's gonna take a little getting used to, but -- And whip-fast he grabs her by the throat, twists her around. A FLASH of metal as he brings up his BLADE, and as it slashes down at her -- BLACK OUT. END OF ACT TWO Act Three INT. ANGEL'S HOTEL - LOBBY - NIGHT The knife slices down... Cordy's hand comes up... and catches Connor's wrist. Cordelia and Connor hold eye contact. He's clearly shaken by her sudden speed and strength. Her grip is absolute iron. And now her eyes start to GLOW WHITE. The LIGHT spreads, goes up her arm and into his arm. To his hand. Wraps around the metal blade and turns it to jelly or mercury. But things don't stop there. The LIGHT GROWS. Spreading into Connor. Cordelia's and Connor's eyes locked together. Lorne watches, amazed as Cordelia's WHITE LIGTH infuses the boy. But the thing that passes between them isn't just some CGI effect. There is communication in the locked look between them. She seems to be connecting with himé on some raw, complete level. He looks so sad. And so does she, feeling everything that he's feeling, knowing just exactly what she's flushing out of him as this happens. CORDELIA Let it go, honey. You don't need that. You don't need any of that. That's right. Just let it go, baby. He seems to relax or give in or give up. Finally the WHITE LIGHT seems to center in Connor, then SNAP!, it leaves him like a spirit. He shivers and shakes, looks to Cordelia in wonder and confusion... then collapses utterly in her arms, weeping like a baby. She holds him close. Comforts him. CORDELIA (cont'd) Shhh. It's okay, sweetie. That's right. I know. It's okay. The kid's in shock. Sweating and shivering. Cordelia rocks him gently. She looks over his shoulder to see -- ANGEL standing on the stairs. It's unclear just how much of this he's witnessed, but enough. SHORT TIME CUT TO: INT. ANGEL'S HOTEL - OFFICE - SHORT TIME LATER Outside in the Lobby, we can see Connor sitting on the poof, stòill pretty much wrecked, but nursing a hot cup of tea. Lorne places a blanket over his shoulders. Connor lets him. ANGEL AND CORDELIA Are in the office. She looks almost as shaken as Connor does. Angel is full of concern for the both of them. ANGEL How do you feel? CORDELIA Okay. A little drained, but okay. Lorne enters, looks at Cordelia. LORNE Well, you have got some serious mojo goin' on, girl. Whatever deal you struck with The Powers -- looks to me like they gave you the full package, all the extras. That boy was tox-ic when he walked in here tonight. Heavy on the "ick." ANGEL (to both of them) What happened out there? LORNE In my professional opinion -- ? Miss demony-britches here gave that child some kind of soul colonic. Flushed him out but good. ANGEL Flushed what out? CORDELIA It was that place. Quor-toth. It'd crept into every part of him. He was sick with it. ANGEL (realizing) When Fred was taking her readings... LORNE He nearly broke the needle. My guess? She wðouldn't get so much as a click off him now. ANGEL So he's going to be okay? LORNE Well, he's young. So -- no. Angel looks to Connor sitting silently nursing his tea, then to Cordelia. He kneels down in front of her, puts his hand on hers. ANGEL Thank you. Thank you for doing this for him. She gives a wan, sad smile. He returns it, starts to rise, she holds him back for a beat as it occurs to her: CORDELIA Angel... (he looks at her) I know what it was like for him there. So much pain, so much confusion. He thought it was where he belonged, that it was home. He's drifting. Angel looks from her to Connor sitting out there alone. INT. ANGEL'S HOTEL - LOBBY - NIGHT Connor stares at the floor, even as Angel approaches, sits next to him. ANGEL Hey, pal. How you doin'? CONNOR (unsure) I think... maybe I tried to kill your friend. ANGEL Yeah, well... she's used to it. CONNOR I... I think I need to go. ANGEL Where? Where do you think you need to go? Connor shrugs. Who knows? òANGEL (cont'd) Look, why don't you just stay here? I know it doesn't feel like it yet... but this can be home for you. CONNOR Don't have a home. Never did. ANGEL That's not true. You did. And it was here. You just don't remember, that's all. You're supposed to be here, son. CONNOR (small smile) You talk like you're my father. Angel smiles. The kid finally noticed. ANGEL Well... CONNOR Said the same thing. Said we came back for a reason. A long, simmering beat as Angel absorbs that. ANGEL Did he? A CLEARING OF THE THROAT from just off camera -- GUNN (O.S.) Uh... Angel? Angel looks up to see Gunn and Fred standing there. Off Angel and Gunn making eye contact -- INT. SEEDY MOTEL ROOM - NIGHT A KNOCKING at the door. Holtz moves to it. Opens it. Justine stands there. She stares, can barely believe it. JUSTINE My god... Daniel. It's true. Holtz looks at her without a trace of recognition at first. She clearly doesn't notice this because she moves to him, throws her arms aroundø him. JUSTINE (cont'd) I thought you were lost -- HOLTZ I was... (then) I'm sorry... did we know one another? She recoils. Sees the disconnect in his eyes. A beat of pain. JUSTINE You... don't remember? HOLTZ I'm sorry... She backs away. He watches her go. She's nearly out the door. He digs deep for it, finally: HOLTZ (cont'd) (a dim memory) Justine. She stops. Turns. Looks at him. HOLTZ (cont'd) It's been a long time. She half laughs. Scrutinizes him. Off that -- INT. ANGEL'S HOTEL - OFFICE - NIGHT We're back in that gawdawful office again. Gunn, Fred and Cordy together, watching as Angel finishes speaking to Connor out in the lobby. Lorne out there with them. Connor nods. Angel moves away, enters the office and joins the others. ANGEL (to Gunn and Fred) I told him you two were gonna take him out. Spend some time with him. GUNN And he's good with that? ANGEL Yeah. Seems to be. FRED Where do you want us to take him? ANGEL Someplace... where there's light and color. Show hòim this world isn't as ugly as he thinks. GUNN How long do you need? ANGEL Couple hours should do it. GUNN What if he asks where you're at? ANGEL Don't tell him. Gunn nods, he and Fred move off. Angel pulls on his coat. Cordy's been here, listening disapprovingly. CORDELIA Wait, Angel -- before you go we have to do that thing. ANGEL What thing? CORDELIA The thing we do. You know, that thing where I say 'are you sure you know what you're doing' and 'Angel, please think about this' and then you ignore me and rush head-long into trouble? ANGEL Right. That thing. (after a beat) 'kay. We done? CORDELIA Angel -- please think about this. In fact, don't go there at all. ANGEL I have to. CORDELIA I know. But don't. Angel watches as Connor leaves with Fred and Gunn. Maybe Connor and Angel meet eyes for a beat as they go. ANGEL I'm not going to kill him, Cordelia. Even though he deserves it. CORDELIA Oh, I don't care if you kill him. He stole Connor's childhood. So kill him. Butç don't lie to your son. He's been back like a day. Way to build the trust. ANGEL I'm not lying to him. CORDELIA No. You're just sending him off to be distracted while you go confront the man he thinks of as his father. ANGEL (stony) I'm his father. A beat as he looks at her. Then, without another word, he turns and goes. Off Cordelia's concern... INT. SEEDY MOTEL ROOM - NIGHT Holtz and Justine together. JUSTINE Before you there was nothing. They'd taken my sister, they'd taken a part of me. I was dead. But you changed all that. You gave me a reason again. I would have followed you into that place if I could have. HOLTZ Thank god you didn't. JUSTINE How did you survive it? HOLTZ My hate kept us alive. Justine nods, understands that all too well. JUSTINE Hate gets a bad rap. It can keep you going sometimes when nothing else will. HOLTZ Yes. I knew I had to stay alive -- that I might pass on my legacy of hate. (beat) But something happened in that place, Justine. òSomething changed. Amidst the most unspeakable ugliness, the hate turned into love. Love for a son. I'd forgotten what that was like. That hangs there for a beat. HOLTZ (cont'd) Hate's not enough, Justine. I have found that love is far more powerful. It took me this long, but I've finally learned that much. I just hope it's not a lesson learned too late... Off that -- EXT. SANTA MONICA PIER - NIGHT A series of shots establish the light and color of the amusement park part of the pier. GUNN, FRED AND CONNOR approach. Connor takes in the brightness, the commotion. He's looking a little fragile, this kid. FRED Isn't it great? My favorite is the shootie-squirtie water pistol game. Charles likes Skee-Ball. Suddenly Connor whips out the KNIFE from his boot. Wary: CONNOR There are skeebils in this world? Where? GUNN No, hey, whoa. It's just a game, not a... thing. You can stash the hardware. Connor looks at him, unsure. Fred touches Connor's arm. FRED Don't worry. You're safe with÷ us. A beat, then Connor stows the knife. They start walking, Gunn and Fred trading a look: this kid is a powderkeg. Connor glances around the pier, at all the people having fun. He spies a FAMILY eating ice cream at a bench, specifically a YOUNG BOY, 4 or 5, chocolate all over his smiling face. He sees Connor looking, and unselfconsciously waves. Connor awkwardly waves back. FRED (cont'd) (to Gunn) So what should we do first? The games, the rides -- Connor becomes suddenly alert as he senses something. CONNOR What's that smell? FRED The food! Of course! Boy after my own heart. CONNOR A beast. I hear it rumble. Fred and Gunn listen hard: nothing. GUNN I dunno, man. Might just be the fried dough you're smellin'. The machine they use to make it's pretty loud-- But suddenly Connor darts off. Fred and Gunn exchange a look, take off after him. EXT. BEACH - NIGHT CLOSE ON CONNOR, MOONLIGHT playing on his face. He starts at something o.s., rapt. CONNOR'S POV: the vast, empty expanse ofê undulating ocean, a CGI MOON bouncing off the surface. Suddenly we become aware of the sound of WAVES crashing on the beach. REVEAL Connor standing on the edge of a bluff, a small figure in the midst of a massive seascape. CLOSE ON CONNOR, as he takes a deep breath of the salt air. Beat, then, not turning around: CONNOR What it is? REVEAL Gunn and Fred approaching from behind. GUNN The ocean. Pacific. Connor smiles a little. CONNOR Ocean. My father taught me about oceans. (then) Never said it was so... FRED Big? CONNOR Empty. FRED It's not. It's just all under the surface. A whole 'nother world, actually. CONNOR Everything's so different here. FRED I know how you feel. (Connor looks at her) I got lost once, like you. When I came back... it seemed nothin' was real. Like I was seein' it all from the bottom of the ocean. Connor looks at her. CONNOR I don't remember being lost. Connor looks back to the water. Is drawn to it, climbs down toward it. GUNN Uh, yo, Sïteven, man -- Gunn takes a step after him. Fred stops him. FRED Maybe we should just give him a minute. Gunn nods, his eyes on the kid. WITH CONNOR As he moves toward the water's edge. Looking at the white foam rolling in. Gazing to the glistening, moonlit horizon. GUNN AND FRED Back on the bluff, watching the lonely boy in the distance. Well out of earshot now. FRED (cont'd) I wish Angel were here. GUNN Yeah. His kid seeing the ocean for the first time. Too bad he hadda miss it. FRED That's not what I meant. I just feel sort of creepy, keeping him busy and distracted like this while Angel... GUNN Confronts the kidnapper? FRED Well, if you're gonna put it like that. (then, nervous) What do you think he'll do? GUNN Dunno. Know what I'd do. But Angel'll deal with Holtz in his own way. ANGLE - THEIR POV Connor turning his head and looking right at them. It is absolutely chilling -- the look on his face says he heard all of that. FRED Ah, oh... Connor stares. GUNNö No way. And stares... GUNN (cont'd) He couldn't hear us -- And stares... FRED He did. And as Connor continues to stare -- BLACK OUT. END OF ACT THREE Act Four EXT. BEACH - NIGHT Right where we were. Connor, impossibly far away, staring back at Fred and Gunn. Fred starts to move forward -- FRED Connor! GUNN (aside, correcting) Steven. FRED Right. Shoot. (then, calling) Steven! Connor takes a step back as Fred takes a step forward. FRED (cont'd) Steven, let's talk about this, please! GUNN He ain't talking. FRED No, he's running -- She's right. Connor turns and bolts into the night. INT. ANGEL'S HOTEL - LOBBY - NIGHT Cordy is getting ready to go home. Puts on her coat, grabs her bag. Turns off some lights. She turns to go but stops as an ANGEL SHAPED figure appears coming out of the shadows. She's visibly relieved, drops her bag, lights up (not in a CGI way). CORDELIA Angel! Ohmygod! Do you know how happy this makes me? I asked you not to go and you didn't! She rushesû to him, is about to throw her arms around him... CORDELIA (cont'd) I am so glad to... ...and stops short as she sees it's GROO. CORDELIA (cont'd) ...see you. (then) Hi. Groo may be dumb, but he's not stupid. He knows what just happened. GROOSALUGG I am not Angel. But I see you know that. Off the awkwardness of that -- INT. SEEDY MOTEL ROOM - NIGHT Holtz sits quietly, writing a letter on motel stationary. He senses a presence. Raises his head. Doesn't turn as he says -- HOLTZ I can't recall... would you require an invitation for a place like this? ANGEL Stands in the open doorway. ANGEL Public accommodation. (stepping inside) No. Holtz folds up the letter, slips it into an envelope as -- HOLTZ No. You'd think I'd remember something like that. It would have seemed important once. Details begin to escape me. Angel flies at him, suddenly his hand is around Holtz's throat, he pins him against a wall. ANGEL You stole my son. HOLTZ I kept your son alive. You murdered mine. Big ass ýcheckmate. Angel releases him, backs away. Can scarcely say: ANGEL I was different then. HOLTZ Yes. So was I. Angel knows it's feeble. He's really got nothing to say to any of this. He lowers his face. Holtz reaches out. Puts his hand on Angel's head. HOLTZ (cont'd) You feel remorse. You feel remorse, yet you can't express it. ANGEL It doesn't mean anything. HOLTZ It means a little. Not very much. But it is something. ANGEL Then I'm sorry. For whatever little it might mean -- it's all I have. HOLTZ Not all. You had a son. Gut punch to Angel. Yes he's incapacitated by all of it. The pain and frustration flashes across his face. HOLTZ (cont'd) So there it is. I thought depriving you of that son would allow me some measure of justice. (then) I was wrong. After a lifetime dedicated to that pursuit -- I find there is no such thing. ANGEL Taking Connor from me was never justice. It was vengeance. HOLTZ Maybe. Or maybe vengeance is what I do now -- (a beat) -- give back what I took. Angel rÀeacts to that, unsure, wary... ANGEL I don't understand. HOLTZ I'm an old man now. I have nothing to offer the boy. You can give him everything. And I believe that you will. But everytime you look on his face, everytime he calls you "father," you will be reminded of what you took and can never give back. (then, turning away) If that is vengeance, I find I've no taste for it. Angel looks at Holtz. There's not a bit of fight in the guy. Holtz finds the envelope. Picks it up, holds it out to Angel. HOLTZ (cont'd) All I ask is that you give him this. Angel just looks at the envelope. Doesn't take it. HOLTZ (cont'd) He can read. He has some trouble with spelling, though he's improving. Angel still doesn't take it. HOLTZ (cont'd) It's not sealed. I expect you'll examine it. You should. Holtz continues to hold it out. Finally Angel takes it. ANGEL Why? Why are you doing this? HOLTZ I thought I made that plain? (then) I love my son. AÙnd it's the only way I know to ensure that he go on loving me. He holds Angel's gaze for a beat, then turns away -- HOLTZ (cont'd) You can give him what I can't -- his purpose. Whatever that may be. I've done what I can to explain this to him there. He won't accept it at first. He'll try to find me. (then) He never will. Ominous, that hangs there. Angel decides not to pursue it. A moment. Then Angel takes the letter. And leaves. We hold on Holtz, his back still to us, as... EXT. SEEDY MOTEL - NIGHT Angel exits the place. We're watching from a distant point of view... JUSTINE Her face creased with worry, eyes him as he goes, then her gaze goes back to the motel room... EXT. COAST ROAD - NIGHT Angel's car pulls over on a bluff (okay, maybe not a bluff overlooking our CGI enhanced ocean -- but how cool would it be?) He shuts off his engine. Takes out Holtz's letter to Connor. Opens it. Begins to read. INT. SEEDY MOTEL ROOM - NIGHT Holtz looks up as Justine appears in the doorway. They look at each other. Grim work ahead. EXT. CITY STREETS - NIGHT Connor runs like a maniac through the streets. Running into traffic, disoriented, lost, confused. EXT. SEEDY MOTEL - ALLEY - NIGHT Holtz comes up against a wall. HOLTZ Do it. JUSTINE Daniel... I can't. HOLTZ We already know you can. Please. He brings up her right hand -- and in it is an ICE PICK. He holds it to his own throat. She winces. Fighting the tears as she gasps and plunges it into his neck. HOLTZ (cont'd) (a croak) Thank you... Blood starts running down her hand, her arm. He spasms. EXT. CITY STREETS - NIGHT Connor tearing through the streets. A car comes at him and -- -- it hits him. Sort of. He runs right up the hood while it's still¹ moving, over the top, and leaps back onto the street, never slowing as -- EXT. COAST ROAD - NIGHT Angel reading the letter. EXT. SEEDY MOTEL - ALLEY - NIGHT Justine tries to steady Holtz there against the wall. It's no good. Holtz slides/topples. She tries to ease him down. He looks up at her. Tears streaming down her face now as she raises the bloody ice pick -- and plunges it in again -- EXT. CITY STREETS - NIGHT Connor running. Running. Running. EXT. COAST ROAD - NIGHT Angel reading... EXT. SEEDY MOTEL - ALLEY - NIGHT Holtz lying there, his glassy eyes looking up at Justine. As they fix, as he dies... HOLTZ (a whisper) Steven... EXT. COAST ROAD - NIGHT Angel f¸inishes reading. Looks up, a kind of hope there. ANGEL (a whisper) Connor. INT. SEEDY MOTEL ROOM - NIGHT The door bursts open -- CONNOR Dad? Silence. CONNOR (cont'd) DAD! Connor enters, finds nothing. He cocks is head as he hears... WEEPING nearby. EXT. SEEDY MOTEL - NIGHT Connor, gripped with dread at what he will find, moves around the side of the building, following the SOBS. CONNOR'S POV - MOVING INTO THE ALLEY Coming around the corner. A bizarre Pieta... Justine, weeping, cradling Holtz's body. Connor's face twisted in pain. His breathing coming fast. He cocks his head as his gaze falls to -- -- two PUNCTURE MARKS on his father's neck. BLACK OUT. THE END