Tomorrow Written and Directed by: David Greenwalt Teaser EXT. ANGEL'S HOTEL - NIGHT Establish INT. ANGEL'S HOTEL - NIGHT CLOSE ON A TRAY. Two glass mugs of STEAMING muddy water, surrounded by grasses and plants, their small muddy roots plucked fresh from the earth. PAN UP TO GROOSALUGG walking toward us. Into CLOSE UP. Gazing at something lovely O.S. REVERSE - GROO'S POV - of CORDELIA in the little bathroom (or at her desk) brushing her new hair. She's lost in thought. GROO - Just watches her. His eyes start to fill. COR - doesn't even know he's there. GROO - Gets control of his emotions, moves forward. Hearing him, she turns. CORDELIA Hi. Watcha' got there? GROOSALUGG I know you have grave concern for Angel's welfare so I made some Mock- na. CORDELIA Oh. Mock-na. Which is...? GROOSALUGG A soothing brew to relieve tension. CORDELIA Kind of looks like muddy water. GROOSALUGG Yes. The mud gives it body and flavor. Of course there's no plock- weed in this dimension, I mañde do with creeping fig and sour grass from the garden. Though it is not true Mock-na, it is very close to the real thing. CORDELIA So it's mock Mock-na. Groo stares blankly, not getting it, then proffers tray: GROOSALUGG Please... Cordy hesitantly takes a cup, sips it: Good Lord in Heaven, it's vile. She manages to swallow and smile politely. CORDELIA Well that's... I mean I feel the tension draining already... (coughs) ... and a little sediment going down the wrong... gyak, mmm, tasty... GROOSALUGG Might I further relieve you by at first gently and then more rapidly rubbing your schlug-tee? Cor just stares. Then: CORDELIA Uhhh... I don't really, I mean maybe later, at home... (lowers her voice) I'm not that comfortable doing it in the office, Groo. GROOSALUGG Doing it? CORDELIA Sex. GROOSALUGG (loudly) Oh, you wish to have sex?! CORDELIA What? No. Shhhh. GROOSALUGG I was proposing a massage of your schlug-tee -- (indicates) -- your tense neck muscle, but it is always an honor to ÷make sex with you. (leans in) Later, at home, I understand perfectly. Cor just stares, mortified. CORDELIA Angel. GROOSALUGG (enough already:) Is not who I am, Princess. CORDELIA No, I know. He's... She indicates ANGEL who has entered in behind Groo's back. CORDELIA (cont'd) ... back. Cor moves past Groo to Angel. CORDELIA (cont'd) You didn't happen to hear... (gestures towards Groo) ANGEL Hear what? CORDELIA Good. So how'd it go? ANGEL I found Holtz. CORDELIA And...? ANGEL I didn't kill him. CORDELIA Well, maybe you're growing as a person. What did you do? ANGEL We talked. CORDELIA About Connor -- Steven. ANGEL Yeah. (looks around) Did he come home? CORDELIA He's still out with Fred and Gunn and -- (cautious excitement) -- you said home. ANGEL I know, I did. It's a long story, but, Holtz wants what's best for him. CORDELIA And what's best for him is living here with us? Angel nods. Cor throws her arms around him. CORDELIA (cont'd) That's great! I'm so happy for you. ANGLE - GRûOO - takes a sip of his own Mock-na tea. Watching them hug. GROOSALUGG Yes, it is a happy time. EXT. SEEDY MOTEL - ALLEY - NIGHT HIGH AND WIDE, CRANING DOWN FAST, shwoing the alley, dead Holtz, Justine and moving to a C.U. of CONNOR HOWLING -- a base, animal grief ripping through his being. CONNOR AHHHHHHHHH!!!!! Connor cradles his dead father's head in his arms. Justine lets him grieve, struggling with her own twisted feelings of rage and loss. Connor weeps, touches the two puncture wounds in Holtz's neck. CONNOR No... Daddy... After a beat: JUSTINE This didn't have to happen. Your father was going to leave, he just wanted to talk to Angelus... CONNOR (looks up at her) Leave? JUSTINE Angelus won, he could have just walked away. Instead he killed Daniel and dumped him out here like so much trash. CONNOR My fault... he'll pay... Connor fights the tears. JUSTINE Shhh, you'll get your chance, Steven, you'll have your revenge. Connor looks up, his grief hardening. JUSTINE (cont'd) I'll help yòou kill him. CONNOR No... JUSTINE You don't want to kill him? After what he did -- what do you want to do? PUSH IN on Connor's dark and deadly eyes, CONNOR Something worse. JUSTINE (half a beat) Oh. END OF TEASER Act One EXT. WOLFRAM AND HART - STOCK - NIGHT INT. WOLFRAM AND HART - HALL/CONFERENCE ROOM - SAME LILAH hurries down hall, late for a meeting and pissed off. HER POV - CONFERENCE ROOM DOORS Open. LINWOOD, GAVIN a few other high level MEN and WOMEN spill out. Ties loosened, slipping on jackets, a long strategy meeting has come to an end. LINWOOD You sure you can deliver on such short notice? GAVIN Absolutely. LILAH (arriving) Late meeting, special projects division, we wouldn't be discussing a certain vampire with a soul behind my back, would we? LINWOOD Yes. Beat. LILAH Oh. Isn't this embarrassing. GAVIN I'm not -- oh, for you. I'll say. LILAH (to Gavin) Don't you have a dog cooking somewhere? (to Linwood) Why am I out of the loop? LINWOOD Angel's infant son, suddenóly all grown up. That was weird. LILAH I'm working on it. LINWOOD Oh, you have the boy? You've taken a biopsy, you know what he is, what he means? LILAH No... sir. LINWOOD Do you even know his name? LILAH Connor. GAVIN Actually, he prefers Steven. LILAH To get the boy you have to get close to Angel and that doesn't always go so well. LINWOOD It certainly hasn't for you lately: you lost the baby, you weren't exactly ahead of the curve on his abrupt return as a young man. We'll take it from here. Okay? LILAH (fuck me) Okay. Linwood moves off. Gavin looks from Linwood's departing back to Lilah who gives him a dirty look, as: GAVIN Woof. EXT. ANGEL'S HOTEL - NIGHT - ESTABLISHING INT. ANGEL'S HOTEL - CONNOR'S ROOM - NIGHT The door is flung open and Angel bursts in. Cor behind him. It's an empty room in the hotel. ANGEL This one might work better. He'd have southern exposure. Not too close to my room, I don't want him to feel like I'm hovering -- but not too far, I want to keep an eye. Wùhat do you think? CORDELIA I think it's just as good as the last five we looked at. It's not about the room, it's about -- I can't get used to calling him Steven. ANGEL Neither can I but it's what Holtz -- it's what he wants to go by. CORDELIA Okay, Steven, Connor, whatever, it's about your son loving here, getting to know his father. ANGEL I don't even own a T.V. He's gonna want to watch T.V. -- not too much, after homework and chores -- he's going to need clothes, weekly allowance, what's good nowadays, fifty cents, a dollar? CORDELIA Yeah, if you're Tom Sawyer paintin' a fence! ANGEL See? I'm so out of touch, he's going to hate me. CORDELIA No he's not -- he's going to love you. ANGEL How do you know? CORDELIA Because you're you. Beat. ANGEL Me. A vampire. CORDELIA You. A vampire. ANGEL Who drinks blood, keeps to the shadows, and is older than everyone he knows put together. CORDELIA You're all of those things, plus tight with a buck, but none of that matters. ANGEL Why not? CORDELIAù Because you've got the biggest and best heart of anyone I've ever known. He's a smart kid, he'll figure it out. It's gonna be all right. A moment between them. He looks at her lovingly: ANGEL You're really... CORDELIA Aren't I? (then:) Feelin' better or do you need to keep lookin' at rooms? ANGEL Both. LORNE (O.S.) He can have mine. They turn, see LORNE in doorway. Casual clothes. He enters. CORDELIA What do you mean? LORNE Leavin'. On the midnight train to Georgia -- actually it's the nine eighteen flight to Vegas tomorrow night, but where's the poetry in that? ANGEL Is this because of Connor? (Cor shoots him a look) -- Steven? LORNE Sweetkins, this is 'cause of me. Buddy a mine's got a club just off the strip, needs a singer and a seer, I could maybe do a little good. CORDELIA What about re-building your club here? LORNE Great idea pixie-cat, except every time I do you all seem to destroy it. CORDELIA It was only... three times... LORNE You know I got the big love here and I'm gratefulö for the hospitality but... time to move on. ANGEL But some of this is because of... LORNE The not-so-little nipper? I'm not gonna lie, kid's in the mix. Clearly not lovin' the demon kind... (indicates self) I know it's the way he was raised, but I loved that little baby and... why don't we just leave it at that. ANGEL (beat) All right. CORDELIA He'll learn. He'll have to. Angel and I are both part demon. LORNE True. And he's gonna look to you guys as mother and father now. I just wouldn't... CORDELIA What? LORNE Turn my back on him anytime soon. ANGEL You realize this is my son you're talking about. LORNE I know, that's why before when I said "why don't we just leave it at that", I wish I had. Off the three of them. EXT. A FIELD - NIGHT Both trees and an open meadow would be nice. An OLDER PICK-UP (60's? 70's?) roars onto the field. CRANE down to it as it pulls to a hard stop. CLOSER - JUSTINE AND CONNOR She gets out of the driver's side. He gets out of the passenger's. Looks around. ÷ CONNOR No white cliffs? JUSTINE Not in this neck of the woods. Sorry. But it still looks like where he came from. CONNOR Ang-land. She nodds. Connor keeps looking. CONNOR (cont'd) Maybe it's just like the ranch. JUSTINE The ranch? CONNOR Where I was supposed to grow up. In U-tah. JUSTINE He told you about that? She half smiles at the memory. JUSTINE (cont'd) That was our dream -- CONNOR He always told it. Before sleep. Him and me, where no one else could ever find us. That stings her a little. JUSTINE Yeah... we should, we need to bury him. CONNOR No. Connor moves to the back of the truck, pulls off a tarp tied over the pick up, lowers the tail gate. Inside an ax, shovel, tools, and something body-sized wrapped in another tarp. Connor pulls the body towards him, unwraps a bit of the tarp, revealing Holtz' dead face. Connor looks at his dead father for a long beat, Justine behind him, watching. JUSTINE I'll do it. She reaches for the shovel. CONNOR No. He was bitten by the beast, heú could rise again. Justine doesn't say anything. Connor leans down, close to Holtz' dead face. Fighting the tears. CONNOR (cont'd) I will do as you taught me... I will cling to the good and I will lay waste to the evil... Connor tenderly kisses Holtz' cheek. CONNOR (cont'd) Sleep now, Father... and forgive me. Connor gazes at his father for a beat then suddenly grabs the tarp and gives it a hard yank, flinging Holtz' body onto the ground where it tumbles to a halt face up. Connor grabs the ax. Brings it up high above his head. Justine takes a step back. Steady in his dark purpose, Connor brings the ax WHOOSHING down. INT. PUB - NIGHT Neighborhood joint. Pools of light for dart throwers and chipper patrons, also areas of dark shadow for lone drinkers. One of whom is WESLEY. At a table, staring off into space. WES' POV - Gorgeous pair of legs walking towards him. LILAH Mind if I join you? WESLEY On many levels and with great intensity... LILAH (sits) How's the throat, want a lozenge? Nothing úfrom Wes. Lilah starts to build a little pyramid out of the sugar and Equal packets. LILAH (cont'd) Life's something, huh? One day you're a pivotal figure in the big battle -- next thing you know you're out on your lonesome. No one even cares what you think anymore. Nothing from Wes LILAH (cont'd) Well, I care. WESLEY You care. LILAH As one human being to another -- just kidding -- I care that your great big brain is going to waste: correct me if I'm wrong, isn't Angel Junior a thing without precedent in human history? She waits. Despite her presence, this is a subject he's thought a lot about. WESLEY You're wrong. Lilah shrugs, adds a packet to the pyramid. WESLEY (cont'd) Mesopotamian, Hindi, Greek and Celtic myth, the bible, even Darwin all support the coming of something that wasn't possible before. LILAH Okay, the impossible is here, so what does it mean? Are we talkin' the herald of a new age, better things to come? Or the mass destruction of all we hold dear? WESLEY Yes. (beat) Every cúhild born carries into the world the possibility of salvation or slaughter. LILAH And one born to two vampires carries it in spades. Now my people will be rooting for slaughter. And your people -- sorry, your former people -- they won't know what to do if it goes sour. WESLEY (grim) No. LILAH So if the kid's the next Stalin, what do you do? Kill him? You can't, it's Angel's son. On the other hand, if you sit back and watch while he up and kills Angel or somebody else, that cute gal from Texas, say... you might feel responsible. Wes looks away, this is exactly his worry. LILAH (cont'd) Wow, times like this, I'm glad I don't have a conscience. She puts another packet on the pyramid which is getting pretty high now. LILAH (cont'd) Cheer up. Angel finds the kid with blood on his hands he might just prove you right about that prophecy: "the father will kill the son". OOO! maybe he'll slit his throat! Beat. WESLEY I think you should leave now. LILAH Oh come on, poetic justice. I'm on your side here.ù She runs her finger over her own unscarred throat. LILAH (cont'd) What was that like...? (he looks up) ... when she cut you...? Wes' hand shoots out, grabs her by the neck. Sugar pyramid collapses. WESLEY Are you terribly anxious to find out? Off them EXT. A FIELD - NIGHT Holtz' headless (and obscured by fire) corpse burns atop a blazing pyre built from surrounding brush and wood. Justine and Connor watch. As the flames play off his face and cold eyes, INT. ANGEL'S HOTEL - LOBBY/HALLWAY - NIGHT Empty. Fred and Gunn enter. They look around, urgent. GUNN Nobody's here. FRED Good. GUNN Bad. We have to find Angel and tell him how we screwed up -- okay I see your point. FRED Where is everybody? Groo pops up from behind the counter, startles them. GROOSALUGG I am here. Angel and Cordelia are upstairs trying out bedrooms. Fred and Gunn exchange a look. GROOSALUGG (cont'd) For Angel's son. FRED Of course that's what you meant. Gunn looks upstairs, hearing Angel's approach: GUNN He's comin'ò. UPSTAIRS - Angel and Cor move down hall and head downstairs in mid-conversation: CORDELIA I'm not telling a sixteen year old boy that. ANGEL Well somebody's gotta make sure he knows the facts of life. And my track record with the whole man/woman thing, it's, you know, I don't want to use the words "tragic farce"... CORDELIA Why not? (then:) You're still telling him. ANGEL You could help fill in the blanks. He's gonna have questions. Like... what do you do with a woman's schlug- tee again? CORDELIA You and your vampire hearing! She hits him on the shoulder. He grins and she's only playfully upset. None of which is lost on Groo downstairs. CORDELIA (cont'd) Next time you eavesdrop, I'm gonna -- She grabs him by the ear, puts her lips close to it and whispers something inaudible, though we might HEAR the words "broom handle". ANGEL Easy there, Sailor, you use that kind of language at home? Angel and Cor arrive in lobby. Angel looks to Gunn and Fred. ANGEL (cont'd) Where is he? FRED Uïm... GUNN He ran away. He overheard us saying you were going to Holtz. ANGEL Then that's where he went. FRED We were just there. Didn't see either of them. ANGEL All he's going to find is an empty room... he won't know what's happened. GUNN What's happened? CORDELIA Holtz left, he wants Steven to live here with Angel. FRED That's good! (off Angel's look) As long as we can find him and tell him before... GROOSALUGG He is here. CORDELIA How can you tell him before he is -- oh. They follow Groo's gaze to the front door. Connor walking in. ANGEL Hey. You all right? Beat. CONNOR I went to see my... he wasn't there. ANGEL I know. I'm sorry. He's... he's left, Steven. He gave me a letter for you. Angel digs out the letter, hands it to Connor. Connor pulls letter out of the envelope, reads for a long silent beat. We PAN the gang, each one wondering: what next. Then: CONNOR He says my place is here now, with you. ANGEL He did this out of love. He only wants what's best for you. Connoõr says nothing. ANGEL (cont'd) It wouldn't have to be forever. Maybe just... give it a try for a while. Beat, then: CONNOR Okay. PUSH IN ON ANGEL - good news. PUSH IN ON CONNOR - masking his hatred of Angel. CONNOR (cont'd) We'll give it a try. END OF ACT ONE Act Two EXT L.A. - STOCK - NIGHT TO DAY INT. ANGEL'S HOTEL - CONNOR'S ROOM - DAY Same room we used in Act One. CLOSE ON THE LETTER FROM HOLTZ We PAN DOWN, catching various parts: "Dear Steven, This is a most difficult letter to write. You mean more to me than anything in this world or any other... but your best interests must come first... you will have a better life... Lovingly, Your Father." Morning sun illuminates the page. It's well wrinkled. Connor sits or maybe looms, frozen, like he's been in the same position all night, letter in hand. A KNOCK at the door. ANGEL (O.S.) It's me. Connor looks at the door. ANGEL (cont'd; O.S.) Can I come in? CONNOR Yes. Angel enters, lugging a book case, several books in it. ANGEL Morôning, I brought you a bookcase and some of my favorite books from when I was your age... As Angel sets the case down, picks up one of the books: old, encased in plastic. ANGEL (cont'd) This is a first edition Robinson Crusoe. Published in seventeen- nineteen. One of the few things that's been around longer than me. Angel laughs a little, trying to keep things light. ANGEL (cont'd) Cause I'm so old and all... Angel runs out of steam. Looks at the letter in Connor's hand. Puts the book back on the shelf. ANGEL (cont'd) So... how 'bout some breakfast, you hungry? CONNOR Not really... Connor neatly folds the letter and puts it back in its envelope. ANGEL We could go out. Connor shrugs. ANGEL (cont'd) (glances at sunny window) I'd have to wear a... burka or something... Hey, we'll stay in, hang out together. Tonight we'll do something special. Have you ever been to a movie? CONNOR No. ANGEL We'll go to an action movie, you'll love it. Connor finally puts the envelope aside. ANGEL (cont'dú) And anything else you wanna do or see, just say the word. Connor turns and looks at Angel. It's not a pleasant look. CONNOR One thing. ANGEL What...? Suddenly Connor leaps at Angel. Hard, fast and deadly. Angel instinctively blocks the assault. Holds Connor fast. CONNOR I want to know how you do that. ANGEL Fight? CONNOR Yes. ANGEL I think you got that down pretty good already. CONNOR I want to learn... to be like you. Angel can't help but be flattered. ANGEL Well, I might have a thing or two I could show you... INT. ANGEL'S HOTEL - LOBBY - DAY Connor comes flying over the reception desk -- the lobby has been set up as a training camp/obstacle course with couches and chairs and tables overturned. Big mess. Fred and Gunn, sweaty and worn out, are dressed in sweat/workout clothes. Connor does a flip roll, comes up in a fighting stance. ANGEL Stake! Angel hurls him a stake. As Connor catches it, Gunn comes up behind him, holding a cushion (from couch or chair). ANGEL (cont'd) Vampire! õConnor turns and stakes the cushion with deadly accuracy. Gunn goes staggering back. ANGEL (cont'd) On your right! Connor spins, about to strike -- it's Fred. ANGEL (cont'd) Civilian! Connor stops himself from hitting fred (also holding up a protective cushion) in mid-strike. ANGEL (cont'd) Protect her! Angel charges, Connor steps in front of Fred. Angel and Connor exchange parries and blocks -- wicked fast ones -- Connor matching him blow for blow -- ANGEL (cont'd) Good, good... where's your balance, where's your balance -- Angel "traps" Connor in an arm-lock. ANGEL (cont'd) -- it's all about balance. You lose it, you lose. Angel holds Connor for a sec -- ANGEL (cont'd) Don't worry, I gotcha'. Angel lets go of him. ANGEL (cont'd) You're doin' good, son, you got heart. FRED I wanna be the vampire. GUNN I wanna be in a hot tub. Cor, picking up her purse for the day, maybe slipping on a jacket, leans in from office or reception: CORDELIA I wanna know who's cleaning all this up. Angeõl, Gunn, Fred all point at each other, then: ANGEL It has been a long day. (to Connor) Had enough? Gunn nods "yes". CONNOR No. I want to learn. ANGEL (proudly, to others) Is he a chip off the old block or what? Cor smiles. CORDELIA He's chippy. ANGEL Cor, we're goin' to the movies tonight, wanna come? CORDELIA Yeah!... I mean, I'd like to but... (torn) I can't. Groo and I are... supposed to have some one on one time... ANGEL Oh. Right. You should do that. CORDELIA Yeah. Angel turns and points at Fred. ANGEL Okay. Vampire... FRED (hands up, big) GRRRR! ANGEL You're a vampire, you're not in "Cats". FRED (hands down, tiny) Grrrr. ANGEL (points to Gunn) Innocent bystander. GUNN Bysitter. (plops on couch) ANGEL (to Connor) Close your eyes. Connor does. Angel shifts some of the turned-over furniture around under: ANGEL (cont'd) You're hunting a Shayana demon in its pitch black lair. Can't see, have to use your other senses... Connor moves through the "obstacle course", eyes shut. ANúGEL (cont'd) There may or may not be a vampire here as well... He motions Fred towards a corner of the obstacle course. ANGEL (cont'd) Where's the attack gonna come from... feel it. Angel circles Connor. Cor heads for the front door, stops to watch them. Angel doubles back around behind Connor and... attacks. Connor counter blocks perectly. They exchange blows, Connor matching Angel move for move. ANGEL (cont'd) Kid knows all my tricks! With his eyes closed! Suddenly Fred scream/growls and comes charging across the room. She leaps on a chair and goes flying -- GUNN Grizzabella, three o'clock! Fred hits Angel and Connor and all three go tumbling to the ground with much bashing of furniture and breaking of lamps. CORDELIA (sweetly) Have fun, kids. And she goes. EXT. L.A. - STOCK - DAY TO NIGHT Ending on Cor's apartment. INT. CORDELIA'S APARTMENT - NIGHT Cordelia enters, carrying purse and grocery bag. As she sheds purse and jacket: CORDELIA Honey, it's me. I got your favorites, tuna and icùe cream... and how 'bout tonight you try eating them not mixed together. Moving through the dining room she sees Groo in the open door to her BEDROOM. He wears a jacket. His (2) bags packed at his feet. CORDELIA (cont'd) There you are. You look nice... what's with the bags, goin' somewhere? (beat) Groo? GROOSALUGG Princess... CORDELIA What's wrong? GROOSALUGG I am. Wrong. For you. CORDELIA What? GROOSALUGG I am not the one you love. He is. CORDELIA He? Who he? INTERCUT: INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT Angel, drying his hair and putting on fresh clothes, hears a KNOCK at the door. ANGEL Yo! Lorne opens the door. ANGEL (cont'd) Hey, Lorne. Come on in. LORNE We're in a good mood. ANGEL Takin' the kid to the movies. He's never been. LORNE No sub-titles or dreary leitmotiv, lots of bloody action? ANGEL You bet. LORNE He'll love you for it. Well, I just wanted to say arrivederci, Angel-hair. ANGEL You're really goin'? LORNE I'm really goin'. ANGEL I'm sorry. LORNE Don't be. Høere, I got you a little somethin' to remember me by. Lorne hands Angel a C.D. On the cover, Lorne, dressed to the nines, in front of a shiny curtain or some such, poses, drink in one hand, microphone in the other. "SONGS FOR THE LOVE" and underneath, autograph-written, "LORNE". Angel takes the C.D. Stares at it. Then: ANGEL "Songs for the Love... Lorne -- oh I get it, Love-Lorn, 'cause your name's... Lorne. LORNE My publicist's idea: her name's mud now. But the tune's are good -- and that's not my real gift, this is: it's mutual. ANGEL Heh? LORNE The way you feel about Cordelia -- that's pretty much exactly how she feels about you. INT. COR'S - BEDROOM - NIGHT Cor faces Groo, the bed between them. CORDELIA I love Angel? What are you talking about, I love... She gestures at Groo but can't bring herself to say "you". CORDELIA (cont'd) ... you know, us. INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT LORNE You two are so obviously connected... INT. COR'S - NIGHT GROOSALUGG You finish each other'ðs -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT LORNE -- sentences. You laugh at the same -- INT. COR'S - NIGHT GROOSALUGG -- jests. When he grieves, when he is hurting -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT LORNE -- her heart breaks for you. INT. COR'S - NIGHT GROOSALUGG He is a great champion. It is only natural that you would -- INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT LORNE -- love her. That girl's a full blown champion now. Like you. INT. COR'S - NIGHT CORDELIA But.. you're a champion. GROOSALUGG Perhaps. But I am not him. Beat. GROOSALUGG (cont'd) Princess, in my heart I have known the truth for some time... I have just been struggling for the courage to do what's right. CORDELIA I don't know what to say, Groo. GROOSALUGG You could say that I am wrong... (beat) ... that I should stay... Nothing from Cor. GROOSALUGG (cont'd) That you love only me. CORDELIA I... I... am really confused... GROOSALUGG I have often been confused in your world, but how you feel aboutë him is something a blind man could see. CORDELIA Really? A blind man? 'Cause I... I mean I never consciously... you're saying I've been hurting you all this time? GROOSALUGG Not you, Moira. CORDELIA Moira. The check out girl at the market? I thought that little tart had her eye on you -- GROOSALUGG Moira is fate. CORDELIA Oh, that Moira. GROOSALUGG And your fate lies with another. I wish it were not so, but... some things are not meant to be. CORDELIA (beat) I don't know what to do... I want you to be happy, Groo. GROOSALUGG I know that, Princess. And it is all I wish for you. He moves to her, puts his hands on her shoulders. GROOSALUGG That is why I must say goodbye. Beat. She wells up. CORDELIA I... I wanted things to work out for us. Off the two of them, sad, INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT ANGEL It could never work out for us. Even if she does feel some of the things you say, she's with Groo now. LORNE You don't have to be psychic to see where that's headed.õ Bubeleh, all I'm saying is stay open. Connor's back, your whole life is coming together, sometimes things do work out. (beat) I gotta skiddoo. ANGEL Lorne... take really good care of yourself. And keep in touch. LORNE I'll drop you a line, let you know where to send the gift basket. ANGEL (smiles) I'm really gonna -- INT. COR'S - NIGHT CORDELIA -- miss you. She is hugging Groo. Hold them for a LONG BEAT. DISSOLVE TO: GROO PICKS UP HIS BAGS DISSOLVE TO: GROO WALKS TO THE DOOR. DISSOLVE TO: THE DOOR CLOSES ON GROO. PUSH in on COR. Looking really shook. CUT TO: EXT. DRIVE-IN MOVIE - NIGHT HELICOPTERS ROAR at us on the big screen. CRANING down to Angel's car. Angel behind the wheel, Connor next to him. Gunn and Fred (she's happily devouring pop corn) in back seat. Popcorn and sodas all around. Casually, we will note a DARK VAN parked several spaces away. Connor watches the action on the screen, rapt. ANGEL Pretty cool, huh? CONNOR Uh huh. INT. CORDELIA'S APARTMENT - NIGHT Cor, in ÷dining room, looks in at the empty bedroom. She just stands there in a kind of shock. Then her gaze falls on some PHOTOS. Her and Groo, her and the gang, her and Angel. She just stares. CAMERA PUSHES in on the one of her and Angel. EXT. DRIVE-IN MOVIE - NIGHT Gunn reaches into giant tub of popcorn in backseat. Comes up empty. GUNN You emptied the jumbo tub? FRED (chewing) Free refill! GUNN I love this woman. ANGEL Shhhh! Gunn grabs empty tub, hops out back of car. FRED Don't skimp on the butter. ON SCREEN a helicopter charges CAMERA or a gun shoots FIRE at CAMERA. CONNOR - flinches. ANGEL It's all right, it's just make believe. Suddenly a REAL HELICOPTER comes roaring right over screen, dropping and flying RIGHT AT CAMERA. Connor is impressed. CONNOR How do they do that? THE HELICOPTER - heads right for Angel's car. Angel reacts - this can't be good. Fred watches, frozen. Gunn stops in his tracks twenty feet behind the car. Other people in other cars react. THE COPTER - HOVERS ABOVE Aðngel's car, lights it up with a GREAT BIG SPOTLIGHT. Rope/cables sling down from the copter. Men in black rappel down. ANGEL'S CAR - these men in black -- I don't want to say Ninjas, but I'm thinkin' it, eight or so? -- drop from the sky. Angel yells to Fred: ANGEL Get down! (grabs Connor) Out! Fred disappears in back seat. Angel pulls Connor out of the car. It's blinding, what with the spotlight and all. We'll play the fight in the blinding light. ANGEL (cont'd) (to Connor) Stay behind me! Angel and killers fight, Angel trying to protect Connor. Gunn comes charging, runs right up the back of the car -- leaps on some killers. CAMERA PUSHES THROUGH melee to that dark van. INT. VAN - NIGHT In back, three vid screens, showing three angles of the fight. Linwood and Gavin (and TECHIE) watch. THIRD VID SCREEN - zooms in on Angel fighting. LINWOOD (to Angel's image) Tie me up, threaten me with sharp objects, but don't let me go, chowder- head. GAVIN (re: another screen) Kid's pretty good. ö LINWOOD Can't wait to get my hands on him; cut him open, see what makes him tick. EXT. DRIVE-IN MOVIE - NIGHT The fight's getting nasty. Angel taking a beating, trying to keep Connor out of harm's way. ANGEL Get back! CONNOR No! Connor tries to shove past Angel. Causing them each to take a nasty hit. Gunn is hurled back. A killer dives for him from the other side of the car. As he sails over, A FOOT kicks up from the back seat and nails him in the groin. He tumbles to the ground. GUNN Thanks. FRED (O.S. FROM CAR FLOOR) Welcome! INT. VAN - NIGHT Linwood and Gavin watch the three screens. LINWOOD He wants to protect his son. GAVIN (with some concern) We were counting on that -- LINWOOD What weren't you counting on? GAVIN The kid wanting to protect him so badly. EXT. DRIVE-IN MOVIE - NIGHT CONNOR Let go! He shoves his protective father aside -- Angel takes a nasty hit, Connor lays into that killer with a vengeance. And the two of them go to town on, say, four of the killers. INT. VANû - NIGHT On the screens -- Angel and Connor decimate the killers. GAVIN Um... EXT. DRIVE-IN MOVIE - NIGHT Angel sends the last man standing flying -- looks up at helicopter, then over at dark van. Helicopter flies off. INT. VAN - NIGHT Screen shows Angel walking hard and fast towards them. LINWOOD Drive, drive! Techie leaps into driver's seat, fumbles with starting of car. Before he can throw it in gear the DOOR is practically ripped off its hinges. One pissed off Angel grabs Linwood, yanks him out. Behind Angel, Connor and Gunn, Fred peaking up from the back seat of the car. LINWOOD (cont'd) Okay, okay, easy, easy. Now we're even. ANGEL Now you're dead. LINWOOD You gonna kill a human in front of your son, set an example? GUNN (rubbing a wound) I vote yes. ANGEL You're not human. But the moment's passed and they both know it. Angel releases Linwood. The SOUND of approaching SIRENS fills the air. The COPTER roars off. LINWOOD We should probably both get out of -- Suddenly Connor grabs Linûwood. And says in a very cool tone: CONNOR Stay away from my father. Connor hits him HARD. Linwood flies back into the van in a heap. Angel can't help but be a little pleased by that. LINWOOD I'm not your enemy. We can help you, Steven -- CONNOR My name is Connor. Angel can't help but be very pleased by that. Gunn and Fred exchange a look, it's all she can do not to cry. Angel so wants to take that boy in his arms. Instead he wraps an arm around Connor's shoulder. ANGEL Let's go home. As they walk towards the car, filling frame, INT. CORDELIA'S APARTMENT - NIGHT Lots of photos of Angel, Angel and Cor, Angel and gang, laid out on the dining room table.. Many in a box. Somewhere not too central, one of Wes in happier times sans beard and scar. Cor leafs through them, trying to put her emotional life in order. CORDELIA Angel... and me? I don't feel... I mean even if I did, it's impossible. Beat. Then, O.S., she HEARS: CORDELIA (O.S.) It's ridiculous. CORDELIA That's right, it's -- WHAH! She älooks over: AND SEES HERSELF. IN A VISION. TALKING TO SOMEONE UNSEEN. CORDELIA (IN VISION) Maybe on some level I've always known it's true. COR IN THE ROOM CORDELIA I have? COR IN VISION CORDELIA (IN VISION) I'm in love. COR IN THE ROOM CORDELIA I am? I am. With Angel, right? COR IN VISION CORDELIA (IN VISION) With Angel. COR IN ROOM CORDELIA Just checking. COR IN VISION CORDELIA (IN VISION) I'm scared but... I know it's right, I know somehow it's all gonna be all right... COR IN ROOM CORDELIA It is? Really? And COR VISION VANISHES. Leaving Cordelia flushed with a realization. CORDELIA (cont'd) Thanks for the tip. She looks: way over in the living room is the phone. CAMERA MOVES WITH HER in a big dolly reminiscent of a Minelli Musical as MUSIC SWELLS and we get the full motion of her run to the phone. As she picks up and dials number, INT. ANGEL'S HOTEL - LOBBY - NIGHT The PHONE is ringing as Angel (in great mood, actually whistling), Connor, Gunn and Fred retuïrn through garden doors. ANGEL (re: phone) Got it! GUNN He's whistling. I've never seen him whistle. FRED He's happy. ANGEL (into phone, jolly) Angel Investigations, we can help you, I know we can. INTERCUT: INT. CORDELIA'S APARTMENT - NIGHT Cor's on the phone. CORDELIA Um, hi. It's me. ANGEL Hi Cor. How are you? CORDELIA I'm good. You...? ANGEL (glances at Connor) Pretty good. CORDELIA Um, Angel... I sort of need to... talk to you. In person. And not at the hotel because we work there and it's... like I say, personal. ANGEL Is it something... bad? CORDELIA No. It's something good. I think. I mean it sort of depends on how you feel... ANGEL About what? CORDELIA Well.... about me. ANGEL Oh. PUSH IN ON ANGEL -- this could be the moment Lorne was talking about. CORDELIA Could you meet me tonight? ANGEL Tonight... sure, okay. Where? CORDELIA Well, I've always loved Point Dume. There's a viewpoint, first turn north of Kanan, really pretty spot... Connor watches as Angel writeís down: ANGEL (writing it down) Poing Dume, viewpoint, first turn north of Kanan. We'll meet there. About an hour? CORDELIA Yes. ANGEL Okay. CORDELIA Okay. ANGEL Yes. CORDELIA Good. Okay then. We'll do that. She hangs up. CORDELIA (cont'd) Oh god oh god oh god... COR OUT. Angel slowly puts the phone down. Let's out a long slow breath. Wow. ANGEL (to Connor) I've got to go out for a while, son. CONNOR With Cordelia. ANGEL Yeah. Will you be all right? CONNOR (nods) She's beautiful. And she cares about you. I like her. ANGEL (pleased) I'm glad. CONNOR It's good to see you happy. Dad. Angel smiles, tears off the directions to Point Dume. Something happy bubbling up inside him. He absentmindedly hums a NONDESCRIPT tune. GUNN Now he's humming. FRED He's really happy. Fred grabs a handy stake, gives Angel a good sharp poke. FRED (cont'd) But not perfectly happy, right? ANGEL No, ow! No. FRED Just checking. END OF ACT TWO Act Three INT. CORDELIA'S APARTMENT - BEDROOM - NIGHïT Cor, in bra and panties, pulls sexy see-through blouse or hot red dress from nearly empty closet, holds it in front of her in the mirror, nervouse about her pending encounter with Angel. CORDELIA Angel, I just wanted you to know... I have breasts. She tosses it, grabs a drab olive/army coat, holds it up. CORDELIA (cont'd) We will live together in chastity for the rest of our lives. She tosses it. It lands on the bed (where we see an enormous pile of former clothing rejects) as do the following items: CORDELIA (O.S.) Which leaves us raincoat, muumuu and, ahhh, the macrame'd culottes... that settles it, I'm goin' naked. INT. WESLEY'S APARTMENT - BEDROOM - NIGHT CLOSE ON WES. Breathing just a little hard. But low key: WESLEY Hmmm. (beat) ... you know that sinking feeling you sometimes get the morning after...? He moves off someone and lies down. Revealing he's naked. In bed. Having just boinked the living daylights out of Lilah. She's breathing a good deal harder. Rosy cheeks. WESLE÷Y (cont'd) ... it arrived early. LILAH It's like a little death... several in fact... WESLEY Get out. LILAH So no sweet kiss, when can I see you again? He gives her a dirty look. LILAH (cont'd) I'll give you this. You know how to channel your rage, frustration and hate. Always a bigger turn on than love. WESLEY You still here? She laughs. LILAH I'm startin' to like you, Wes. But don't go makin' more of this than it is. I'm not one of the doey-eyed "girls of Angel Investigations", don't be thinkin' about me when I'm gone. WESLEY I wasn't thinking about you when you were here. For just a beat, this actually stings her. Which she quickly covers. LILAH So the former boss has a soul and you're losin' yours. Why you're just new all over, aren't you. She goes. PUSH IN on Wes. Far cry from the man he was. INT. HOLTZ' MOTEL ROOM - NIGHT Justine is living here now. Sitting on his bed. Something in her hand. She's wiping it (dully and repetitively) with a cloth. It's the ICE PICK. She glances atø the empty room, the window next to the door. Back to rubbing the ice pick. Then she looks up again and is STARTLED to see Connor at the window. She drops (a little furtively) the ice pick, opens the door. JUSTINE Everything's ready. Connor enters. She closes door. She hands him a taser gun. JUSTINE (cont'd) Let me show you how it works. She presses the taser something. JUSTINE (cont'd) You just pull the trigger... She pulls the trigger. Blue electricity flies. JUSTINE (cont'd) It's the sport model, water-proof. She hands it to Connor who gets the heft of it in his hand. JUSTINE (cont'd) You good to go? CONNOR Yes. She looks into his murderous eyes for a beat, grabs her jacket. They exit. EXT. BEACH BLUFF - NIGHT PAN FROM OCEAN to Angel's car. It pulls to a stop. He gets out, look around. Gorgeous night. Gorgeous view. Checks his watch. Waits. A little nervous. Holds his hand up to mouth, huffs on it, checking his breath. MATCHING CUT: INT. COR'S CAR - TRAVELING - NIGHT She's huffing Éher breath, too. She's wearing something lovely and flowing (which will look cool when she ascends, Chic.) She nervously punches radio stations. We hear SHORT BURSTS of talk and MUSIC. She clicks it off. CORDELIA I'm late, I'm late... and it's not a date... we're going to talk like two grown up adults. We work together... just want to clear the air... I have some feelings, he may have some feelings, he may not even know I'm insane until he hears my feelings... EXT. BEACH BLUFF - NIGHT Angel still waits. Checks watch. Feels his hair. Checks watch. Digs out cell phone. Tries to punch in number. Drops cell phone. It careens off a rock and falls over the bluff to the beach far below. ANGEL Hate those things. INT. COR'S CAR - TRAVELING - NIGHT MOTORCYCLE GUY passes Cordy. CORDELIA I'm not saying I love you, Angel, I'm saying.... I mean I know you have feelings too, I'm not blind... it's not a pressure thing, we just have to... uh, what do we have to dÂo...? She checks clock on dash. CORDELIA (cont'd) Oh god, I'm late... She lays on the horn. CORDELIA (cont'd) (yells) Woman in love here, slo-poke! Suddenly that glowy (C.G.I.) thing starts to happen again. CORDELIA (cont'd) Oh no... no, no, no. Not now. And the white glow fills the car. She grabs the wheel, gives it a sharp turn to the right. EXT. FREEWAY BRIDGE - NIGHT Cor's car, bright white light inside, moves with the rest of the cars -- all of which are starting to SLOW. INT. COR'S CAR - NIGHT Cor reacts to this. CORDELIA Yike... EXT. FREEWAY BRIDGE - NIGHT Cor's car pulls to the side as the entire world comes to a magical stop. CAMERA PUSHES PAST all the frozen cars to Cordy herself behind the wheel. She looks right -- HER POV - FROZEN GUY BEHIND THE WHEEL of a nearby car. He's flicking a cig out the window. Frozen sparks fill the air. She looks left -- ANOTHER POV - Motorcycle Guy frozen, coat flapping behind him, leaningÝ at a steep angle, straddling two lanes. ANGLE - CORDY CORDELIA Oh boy. EXT. BEACH BLUFF - NIGHT Angel is starting to get really worried now. He digs out his car keys, heads for his car. Hesitates, did he HEAR SOMETHING in the shadows? He looks. Nothing. Then movement. Then Connor walks out of the shadows. Heading towards him. SHOOTING FROM BEHIND we see the taser clipped on Connor's belt. (And a small flashlight.) ANGEL Connor? CONNOR Dad. ANGEL What are you doing here? CONNOR We're family. I wanted to show you how I feel about that. Connor leaps on Angel, hitting him hard with the taser. Electricity flies, they go tumbling backwards and fall off the bluff, crashing to the beach far below. END OF ACT THREE Act Four EXT. BEACH - NIGHT Angel and Connor have just hit the sand. Angel rolls to his feet. Connor hits him. HARD. They fight; and tumble. Angel's trying to get a word in. ANGEL Connor -- Connor! But Connor just keeps swinging. ANGEL (cont'd) Hold on --è what happened --?! Angel doesn't want to hurt Connor, he tries to block Connor's blows without inflicting damage. Connor traps Angel in an arm lock (as Angel did to Connor in the Hotel Lobby.) CONNOR It's all about balance. You lose it... Connor hurls Angel. CONNOR (cont'd) You lose. Angel goes flying. Lands near the surf. Connor picks up taser, comes running. Angel leaps to his feet, tries to grab Connor and hold him. ANGEL Talk to me, what happened?! Connor wriggles free, rears back to swing, Angel blocks, grabs him again. Or grabs Connor's fist in mid-swing: ANGEL (cont'd) Talk to me. CONNOR Okay... ANGEL Okay? CONNOR Okay... Angel lets him go -- and gets a face full of taser -- sparks fly, Angel is hurled back into the SURF. And now for the WET PART of the fight. Connor leaps on Angel, hitting him over and over. Angel is badly weakened by the face taser -- and Connor just keeps beating on him. Angel finally gets pissed, gathers enough strength to buck or kick Connoró off. Maybe a nasty elbow in Connor's face. Angel ends up on top, his hands around Connor's neck. Connor's face in the water (if we can pull that off.) For a moment, it looks as though Angel might just kill Connor. Then he relents. Stands. Lifts Connor (coughing and sputtering) up by the collar. Face to face. ANGEL I don't know what the hell's wrong with you, but you are going to talk to -- uh! Angel stops speaking. Probably because of the large knife Connor just stuck in Angel's side. And here comes that taser again. LONG SHOT - As Angel goes down and Connor tases him a bunch more times. CLOSER - Angel loses consciousness. Connor stands, breathing hard, primal. Looks out to sea. FISHING TRAWLER some distance out, speeding towards shore. CONNOR pulls flashlight off his belt. (One of those powerful little mag lights). Connor flashes the light three times. FROM THE FISHING TRAWLER a matching three flashes is seen. ON THE FISHING TRAWLER - We see Justine at the helm. Off Connor, EXT. FRíEEWAY BRIDGE - NIGHT WIDE to remind us of the frozen world, as the light fades from Cor's car. CLOSER - Cor's car, as the door opens, she gets out (no longer glowing) looks around, freaked. Maybe sees a frozen bird or birds in the air. SKIP (O.S.) Don't be -- CORDELIA Bahh! She jumps, turns, there's Skip right next to her. SKIP -- frightened. CORDELIA Little late for that! Skip's his usual low key self. SKIP Sorry. You remember me, I'm -- CORDELIA Yeah, Skip. You tend to remember your demon guides. What's going on? SKIP I think you know. She looks around. CORDELIA I'm dying. SKIP No, no, you're not dying. CORDELIA Not dying. SKIP No. She whacks him. CORDELIA Say that part first! SKIP Sorry. It's not the end, it's the beginning. You're a great warrior, Cordelia. The battle we're all a part of is fought on many different planes and dimensions. And you've outgrown this one. You've become a higher being. CORDELIA (beat) Me? SKIP You. You took on the visions and even when yoöu could have traded them for a happy normal life, even when they were kiling you you wouldn't let them go. The big test came when The Powers made you part demon. They bet the farm on you -- power corrupts, and they gave you a lot of power. CORDELIA The glowy thing. SKIP (nods) Which you've used well, to fight evil and heal Connor... CORDELIA And only that one time as a night light. Bad dream. (looks around) I don't understand. SKIP I think you do. CORDELIA (beat) It's ridiculous. I'm just a... somewhat normal girl who has visions... and glows... and occasionally blows things up with her crazy new power... (realizes:) I'm a higher being. SKIP Yes. CORDELIA (beat) And when you say I've outgrown this level... it sort of implies... SKIP You're moving on to a new one. CORDELIA Now I'm really scared. SKIP I know. I also know you're ready. CORDELIA Oh no I'm not. SKIP (re: frozen world) The universe begs to differ. And deep down inside, I think you -- CORDELIA Yes, all right! Stop saying I knoúw. (beat) Maybe I do know. And maybe, given enough time, I might even get used to the idea. (looks at Skip) I don't have enough time, do I. SKIP No. CORDELIA No, of course not. Why would The Powers give me time to have the most important conversation of my life -- I'm on my way to -- I'm in love. With Angel. SKIP What you're being called to do transcends love. She wells up, starts to cry. CORDELIA How is that fair? I can't leave without telling him, I won't... he has to know how I feel. Skip just watches her. CORDELIA (cont'd) Why does it have to be now? SKIP There's work to be done in the higher realms. Beat. CORDELIA Can you at least tell Angel for me? SKIP Sorry, not allowed. CORDELIA Then I'm not goin'! SKIP You can say no. They only want you of your own free will. CORDELIA How can they possibly do this to me now? Don't they know what it means...? Cordy struggles with her emotions, realizing: CORDELIA (cont'd) This is the last test, isn't it. Skip nods. EXT. OCEAN - NIGHT Way out øthere we see the fishing trawler. MUCH CLOSER - on deck, in fact. CLOSE ON ANGEL - as he comes to. PULLING BACK, revealing: he lies in a metal box. Across his chest and legs are metal cables, unbreakable. Pulled taught. Attached to lock bolts on the side of the coffin-like box. Connor is tightening the last couple. ANGEL Connor... why are you doing this? CONNOR You murdered my father. ANGEL No... I didn't. I swear. Another figure appears behind Connor. JUSTINE He's lying. Angel takes in her presence, surmises the plot she hatched with Holtz. ANGEL I'm not lying. And she knows it. CONNOR You are the prince of lies. Connor tightens the last bolt, Justine fires up a welding torch. CONNOR (cont'd) And killing is too good for you. EXT. FREEWAY BRIDGE - NIGHT Cor, Skip, frozen world. He watches her wrestle with her decision for a beat, then: SKIP Cordelia...? He taps his wrist, time is running out. CORDELIA (beat) I ever come face to face with those Powers that Be, we're gonna have a talk.ù (holds up her fist) A big talk. SKIP You're doing the right thing. CORDELIA I'm scared but... I know it's right, I know somehow it's all gonna be all right... (beat) Do you go with me? Skip smiles. SKIP I couldn't even get close to where you're going. You're beyond all of us now. CORDELIA What do I do? SKIP Just say yes. CORDELIA I already have. And Cor waits, not quite knowing what to expect. HER FEET - lift off the ground. COR - is floating. And she starts to rise up. Skip watches her, proud. EXT OCEAN - NIGHT On the fishing trawler, as before. ANGEL That's why you wouldn't let them kill me at the drive-in. So you could. CONNOR You don't get to die. You get to live. Forever. JUSTINE Justice at last. Beat, then: ANGEL Some day you'll learn the truth. And you'll hate yourself for this. Don't it's not your fault. (looks at Justine, back at Connor) I don't blame you. CONNOR LIAR! Connor grabs metal top, which is hinged to the side of the metal box. ANGEL LISTEN TO ME!! I love you, never forget that, never forget that I'm your father and that I lo-- Connor slams the top in place. Angel's face is visible through a round glass port-hole window. THE SIDES OF THE BOX are clamped shut by Connor as Justine starts to weld it shut for all eternity. EXT. FREEWAY BRIDGE - NIGHT Cor rises, ten or fifteen feet in the air now. EXT. OCEAN - NIGHT Connor and Justine finish the box. Connor looks down on his father one last time. Angel looks up at the boy, holds his gaze, willing his forgiveness. Connor holds his gaze. Lifts his foot. Clomps it down on a LEVER on the deck. Pulleys give, cables slide. ANGEL'S FACE in the glass porthole suddenly SLIDES OUT OF FRAME. The METAL COFFIN goes roaring off the boat and into the ocean. It bobs for a beat and then slowly si&nks beneath the surface. INT. ANGEL'S HOTEL - LOBBY - NIGHT Fred gathers up here purse and sweater. Gunn comes down stairs. Cell phone in hand. FRED Connor didn't wanna come with us for a midnight snack? That's okay. I'll scrounge something up here. GUNN He's not in his room. Did you see him? FRED No. He's gone? Again? Did you ask Lorne if -- no, because Lorne doesn't live here anymore, not used to that one yet. (beat) I'm sure Connor'll... I'm sure it's nothing but we better get hold of Cordelia or Angel. GUNN Been trying. (holds up cell) Neither one answering. Fred moves to Gunn, suddenly feeling very small and all alone. FRED I don't like the sound of that. HIGH AND WIDE, the two small figures in the BIG EMPTY FRAME. FRED (cont'd) Where'd everybody go? INT. WESLEY'S APARTMENT - BED&ROOM - NIGHT The rumpled bed. PULLING BACK. Wes sits in a chair staring at the empty bed and his empty life. HIGH AND WIDE. EXT. OCEAN - NIGHT Close CONNOR - looking at something. HIS POV - The big dark empty ocean. Connor turns to Justine. She gets that he's done now. She cranks up the engine. THE CABIN CRUISER roars away. EXT. FREEWAY BRIDGE - NIGHT Cor ascends to the heavens. INT. TANK - NIGHT The coffin sinks to the depths. Close on ANGEL behind the glass. Sadder than a man's ever been. He slowly sinks out of sight. EXT. FREEWAY BRIDGE - NIGHT Cor ascends, growing smaller and smaller in the sky until she disappears altogether. (White light? Let's talk.) INT. TANK - NIGHT (C.G.I.) The metal coffin bears Angel deeper and deeper into the fathomless depths. END OF SEASON THREE