"Deep Down" Written by: Steven S. DeKnight Directed by: Terrence O'Hara Episode #: 4ADHO1 SHOOTING DRAFT July 11, 2002 (WHITE) July 23, 2002 (BLUE) July 24, 2002 (PINK) Teaser INT. ANGEL'S HOTEL - LOBBY - NIGHT A large table loaded with a sumptuous feast has been set up in the lobby. The CAMERA TRACKS ACROSS mouth-watering dishes as HANDS pile huge portions on white china plates. VOICES laugh and joke OFF SCREEN. GUNN (O.S.) (laughing) You really gonna eat all that? FRED (O.S.) 'Til I'm fat and happy. CONNOR (O.S.) What are those? CORDELIA (O.S.) Sweet potatoes. LORNE (O.S.) Ouh, pass those over here, doll. CONNOR Are they good? The CAMERA ARMS UP, revealing CONNOR eyeing the sweet potatoes dubiously. Connor is well-groomed and wearing an Angel style shirt. The perfect son. CORDELIA Try 'em. LORNE You know back in Pylea they used to call me Sweet Potato. CONNOR Really? LORNE Well the exact translation was "Fragrant Tuber," but - The table LAUGHS. Cordy glances over at the seat next to her. CORDELIA You're not hungry? Reveal ANGEL sitting at the de facto head of the table, his plate empty. ANGEL No, I'm starving. I just... I want to freeze this moment. Angel takes in his friends with a warm, satisfied smile. Radiant Cordy, his son Connor, Gunn, Fred, Lorne - - and someone in the shadows on the opposite side of the table that we can't quite make out. ANGEL (cont'd) You. Connor. All of us. Safe and happy and together. Considering what we went through over the summer... Connor smiles awkwardly, a twinge of guilt darkening his eyes. WESLEY (O.S.) To family. Angel looks over as the unseen person leans into the light. It's WESLEY, clean shaven and bespectacled, no trace of a scar on his neck, his wine glass raised in a toast. Angel raises his own glass, returning the toast. They share a warm smile, close friends once again. ANGEL Family. LORNE As long as it's not mine. They all laugh and drink - except Angel, who realizes he just toasted with an empty glass. CORDELIA Can't toast with an empty glass. She fills it with water. Angel grins nervously at the faux pas. ANGEL Does that mean bad luck or -- CORDELIA Angel, relax. It's over. Things are back to the way they should be and nothing is ever going to break us apart again. If anything tries, I'll have to go all glowy and personally kick its ass. ANGEL I like it when you glow. CORDELIA Play your cards right... They lean towards each other, heading for a kiss. CONNOR Do I have to watch this part? Angel smiles, veering away from the kiss. ANGEL I could poke your eyes out. Angel ruffles Connor's hair. Connor laughs. CONNOR Dad, come on. It'll stick up like yours. ANGEL You should be so lucky. Let's eat. Plates are passed around, more food ladled out -- but the dishes keep passing Angel by. FRED Oh, this smells so good. GUNN (laughing to Fred) Get out of my plate. WESLEY More carrots, please. ANGEL Can, I, um... FRED Peas? Fred hands Gunn the peas. Cordy passes Connor a gravy boat. CORDELIA Try the gravy. LORNE It comes in a little boat. Angel eyes the food passing by him, his hunger growing. ANGEL Could I have the... Could -- Frustrated, he finally snags a meat-laden dish from Connor. He smiles, famished -- but the smile drops as he realizes the plate is now picked clean. Concern creases his face. ANGEL (cont'd) Cordy, what's -- He turns to Cordy, accidentally knocking his glass of water off the table. The glass tumbles down in SLOW MOTION, shattering against the floor. Cordy sighs. CORDELIA Now look what you've done, silly. The sound of WATER LAPPING. Angel looks down. His chair is sitting in knee-deep water. He looks up, confused and ravenous. ANGLE CONNOR: looking quietly menacing. CONNOR Freeze the moment, dad. It'll last forever. Angel's face is now gaunt and strained, his hair long, an unkempt beard adding to his wild appearance. The HAPPY VOICES around him FADE. The scene darkens, leaving only his starving, tortured face outlined in a dim square of light. PULL BACK to reveal -- INT. ANGEL'S BOX - UNDERWATER - NIGHT Angel's face peers hungrily out of the tiny window in his box. He's still at the bottom of the ocean -- and being driven mad from hunger. BLACKOUT. END OF TEASER Act One GUNN'S TRUCK - NIGHT Gunn and Fred quickly scamper into the truck, battered and out of breath. He carries his axe, she totes a crossbow. GUNN You okay? FRED (wincing) No. You? GUNN (grimacing) Nope. FRED Nice we still do things together. Gunn fires up the engine and stands on the gas. EXT. DOWNTOWN LOS ANGELES - STREET - CONTINUOUS Gunn's truck tears off down a deserted street in a rough section of downtown. Bass thumping MUSIC from a car stereo fades up as a convertible filled with four GANG BANGER VAMPS eases around the corner. The car rumbles to a stop, the DRIVER VAMP glaring at Gunn's truck as it speeds off in the distance. DRIVER VAMP Trejo. TREJO I got it. TREJO, the tattooed bruiser in the passenger's seat, leaps straight up and out of frame (wire gag). The CAMERA ARMS UP to reveal Trejo way up in the air in the distance and coming down fast (CGI). INT. GUNN'S TRUCK - MOVING - CONTINUOUS Gunn keeps the pedal to the metal. GUNN How we doing? Fred starts to glance through the back window. WHAM! Trejo lands on the hood of the truck. FRED 'Bout the same. Trejo punches through the windshield. Gunn turns the wheel hard and stands on the brakes, dumping the vamp off. EXT. DOWNTOWN LOS ANGELES - STREET - CONTINUOUS Gunn gets out of the truck, axe in hand, livid at the damage to his truck. Fred scrambles next to him with her crossbow. GUNN Oh your ass better be insured -- HEADLIGHTS flare to life, pinning them down. They blink against the glare as the vamp convertible slides up, music thumping The vamps pile out. These guys would make you wet your pants BEFORE they were turned into vampires. DRIVER VAMP Oughta be worried 'bout your own ass, vato. Couple of warm bloods rolling upon my street, hassling my hermanos. Uh uh. Ain't gonna fly. FRED We're just looking for the girl. GUNN Tell us where she is and we're gone. DRIVER VAMP Marissa? (laughs) Thought you guys were supposed to be detectives? Or was that before your little buddy Angel went bye-bye? GUNN We found you, didn't we? DRIVER VAMP Yeah. And look what it got you. Driver Vamp takes a step forward. Fred whips up her crossbow, aiming for his heart. FRED We just want to talk to her. That's all. Driver Vamp shrugs, smiles coolly. DRIVER VAMP Condemned building on Figueroa. Top floor. Tell her I want my Cds back. GUNN We'll pass it along. Fred and Gunn start for the truck. DRIVER VAMP You know, now that I'm thinking about it... maybe I'll tell her myself. A tense beat then WHAM! Fred spins around and fires her crossbow as the vamps attack. Driver Vamp swats the bolt out of the air before it hits. Gunn lays into them with his axe. Fred dives out of the way, quickly cocking her crossbow and loading another bolt. She whips it up and WHAM! Driver Vamp grabs her by the throat and slams her against Gunn's truck. He wrenches the crossbow out of her hand, chuckles. DRIVER, VAMP (cont'd) Aww, ain't that cute. Angel left you a little toy. FRED (struggling for breath) More... than one. THWACK! A stake clicks out of her sleeve. She's wearing Angel's Taxi Driver device. WHAM! She slams the stake into Driver Vamp's heart. WHOOSH. Fred spots Gunn getting the shit kicked out of him by Trejo and Gang Vamps 3 and 4. They slam the axe out of his hand and close in. Fred snatches the crossbow up and fires. FRED (cont'd) Charles! Gunn spins out of the way as the crossbow bolt whizzes an inch past his face and slams into Gang Vamp 3'S heart. WHOOSH! The vamp explodes into DUST. Gunn snatches the crossbow bolt out of the dusty air and spins around, planting it in Gang Vamp 4's heart. WHOOSH! Trejo catches Gunn with a boot to the face, sending him sprawling. Fred quickly loads another crossbow bolt. Trejo snatches up Gunn's fallen axe and hurls it at Fred just as she raises the crossbow. WHAM! Connor dives in and snatches the axe out of the air an instant before it slams into Fred. He hurls the axe back at Trejo as he rolls into a crouch. Trejo's eyes go wide as the axe speeds towards his neck. ON GUNN as Trejo goes WHOOSH off screen. Vampire dust wafts down as he locks eyes with Connor. GUNN Connor. Connor stands, all heroic dark avenger -- until he breaks into a big boyish grin over what he just did. CONNOR You see that? With the thing? Was that cool? Gunn and Fred remember how to breathe. Cool is not how they'd describe the close call. INT. ANGEL'S HOTEL - LOBBY - NIGHT Gunn, Fred, and Connor have just entered. FRED You can't just run off when we're supposed to be working, honey. We've talked about that. CONNOR Rest of their gang was getting away. GUNN Then you let them. What you don't do is divide your strength. Connor mumbles, total teenager getting a lecture. CONNOR Sorry. FRED We know things were different in Quor- toth -- but you're in Los Angeles now. You're taking on a big responsibility. GUNN You have to start thinking about more than just yourself. CONNOR I know. A beat, then Connor breaks into another big boyish grin. CONNOR (cont'd) Thing with the axe was cool, huh? GUNN (laughs) Yeah, that was tight. He tosses Connor his axe. GUNN (cont'd) Now you get to clean it. CONNOR Vamps dust. Nothing to clean. Gunn ignores the complaint, heading into the office with Fred. GUNN Two coats of polish. Connor frowns sourly, heads over to the weapons cabinet. INT. ANGEL'S HOTEL - OFFICE - CONTINUOUS Fred hustles over to the desk, fires up the computer. Gunn half closes the door, eyeing Connor. GUNN We gonna tell him? FRED I don't want to get his hopes up again. GUNN What about yours? FRED We have to keep trying. GUNN I'm not saying we shouldn't. But we spent the last three months chasing one dead end after another trying to find Angel and Cordy and the only thing we're closing in on is an eviction. Gunn sits on the edge of the desk, picks up a stack of bills. GUNN (cont'd) Be a lot easier handling this crap with Lorne pitching in. Where's our future reading empath demon when we need him? FRED Mr. Big-Hit-In-Vegas is too busy Danke Schoning the tourists to care about us. GUNN You try him again? FRED Like, 60 times. He's lost the mission, bro. GUNN (re: bills) Well, we're about to lose this whole place and you know you can't say 'bro'. We need to start hustling up some paying clients. FRED We will. After we find Marissa. (eyeing computer) Can I say 'dog'? Oh! This looks good. Condemned tenement on Figueroa. Could be her. GUNN Evil Dead was probably just messing with us. Even if she's there, not much chance she knows anything. FRED Angel's car was found down by the bluffs. That used to be her feeding ground. She might be able to tell us what happened - - if we can find her. CONNOR (O.S.) Find who? Connor has appeared in the doorway. Gunn's half-polished axe is gripped tightly in his hand. EXT. BEACH BLUFF - NIGHT Angel is standing by the edge of the bluff, waiting for Cordy [NOTE: THIS SHOULD BE THE SAME FOOTAGE FROM s3 ep22 OR FILMED EXACTLY THE SAME WAY]. He's starting to get really worried now. He digs out his keys, heads for his car. SOMEONE moves in the shadows near the car. Angel pauses, tensing. Cordy steps into the moonlight, radiant and beautiful. Angel relaxes, a smile lighting up his face. ANGEL Cordy. I didn't think you were coming. CORDELIA You know me better than that. Better than anybody. Angel laughs awkwardly. ANGEL I don't know if that's true. CORDELIA (softly) Yes. You do. She drifts to the edge of the bluff, relishing the wind and the ocean as the moon caresses her skin. CORDELIA (cont'd.) It's so beautiful here. Angel drinks her in. ANGEL Just the way it should be. Angel's smile falters. ANGEL (cont'd) But it's not. This isn't how it happened. CORDELIA I know. I like this version better. ANGEL (mounting anger) Connor. It was Connor. He was here. He-- Angel winces in pain. We FLASH to Connor hitting him with the stun gun in season 3, ep. 22. Cordelia gently touches his face, snapping him out of it -- and easing his pain. CORDELIA I can't remember what it was like. Not knowing you. Not being close to you. She takes a deep breath, gearing up for the hard part. CORDELIA (cont'd) I guess what I'm trying to ramble up to here is... I'm in love with you, Angel. Deep, down, I think I have been for a long time. I needed you to know that. Angel stares at her, this perfect hallucination at odds with the painful memory of what really happened. CORDELIA (cont'd) Um, this is probably the part where you say something really supportive -- Angel sweeps her into the mother of all romantic kisses, giving in to the hallucination. CORDELIA (cont'd) Or you could do that... His kisses become increasingly passionate, hungry... ANGEL I need you so much, Cordy... I need you... Angel VAMPS, sinking his teeth into her neck. Cordy gasps in pain. Tears roll down Angel's anguished face as he feeds. ANGEL (cont'd) (feeding) I'm sorry... I'm sorry... INT. ANGEL'S BOX - UNDERWATER - NIGHT Angel jolts out of his hallucination, his eyes wild with starvation -- and self-loathing. His tormented face drifts back into a semi-conscious fog. He's so hungry... and so completely alone INT. ANGEL'S HOTEL - LOBBY - NIGHT Connor stands in the office, axe still in hand, eyeing Fred and Gunn gravely. CONNOR Why didn't you tell me? FRED We wanted to be sure. GUNN We still don't even know if this Marissa girl saw anything. CONNOR But she might have. FRED Maybe. We're going, to go talk to her and find out. CONNOR I'm coming with you. GUNN It's just one vamp. We can handle it. CONNOR He's my father. If she knows what happened to him... Fred mistakes the true intent of Connor's concern. FRED Okay. Go get your weapons. Connor exits. Gunn's less than pleased. GUNN Think that's a good idea? FRED I'll keep an eye on him. GUNN Getting information's a finesse job. He's a blunt instrument. FRED You want to go tell him no? You saw how much he's hurting. GUNN How do you think he's gonna feel if all Vampirella saw was sand and seaweed? This is it, Fred. No Angel, no Cordy, we can't find Holtz, his psycho girlfriend's gone -- we got nothing. FRED There's still Wolfram and Hart. GUNN Right. We'll just stroll into their heavily guarded law office and ask Lilah the Evil Bitch Queen for help finding out what happened to their arch enemy. But we're kinda broke, so it'll have to be pro bono. FRED Didn't say it'd be easy. GUNN How's impossible? They're too big. Without Angel around, we can't afford to be pissing 'em off. FRED I know. (a beat) Maybe we should think about asking -- GUNN No. FRED Well I'm glad we talked it over. GUNN We already asked him for help. Twice. FRED Then we'll ask him again. GUNN Wesley doesn't give a damn about us, Fred. FRED Have we given him a reason to? Gunn chews on that, but his feelings of betrayal win over. GUNN He made his choice. Now he has to live with it. INT. WESLEY'S APARTMENT - BEDROOM - NIGHT TIGHT ON LILAH'S HAND clawing WESLEY'S CHEST in ecstasy. She exhales the breath she's been holding as she collapses onto his chest. Exhausted. Spent. And very satisfied. LILAH That didn't suck. (devilishly) Well, maybe just a bit. FULL ON Lilah nestled on top of Wesley, the sheet covering just enough to keep the Bible Belt from protesting. Wesley's beautiful, silky-smooth, freshly-waxed body glistens with beads of alluring sweat. WESLEY Perhaps that's something we can expand on next time. LILAH What makes you think there's going to be one? WESLEY Because you can't resist me. She pulls his head back by his hair and runs her tongue over his neck scar, savoring the taste. Wesley shudders, totally turned on by it. LILAH I think you got that backwards. She hits him with a sultry smile -- and slips out of bed. WESLEY Where do you think you're going? He reaches for her, but she artfully avoids him and starts getting dressed. LILAH Snack break's over. Gotta get back to work. Wesley sighs, lays back down. WESLEY And Wolfram and Hart does their best after dark. LILAH Sun's bad for the complexion. Ask Angel. Oh. Right. I guess you can't 'cause of the whole wanting to smother you with a pillow. WESLEY Wouldn't think kidnapping his son would have such a negative affect on our friendship. LILAH You thought you were doing the right thing. I hear that can be confusing. (a beat, softening) Have you tried talking to him again? Maybe when he gets back you could -- Wesley laughs, getting where she's been trying to maneuver him. LILAH (cont'd) What? He stares at her, a knowing smile bending his lips. Lilah drops the pretense. WESLEY I have no idea where Angel is, Lilah. Or what happened to him. And I really couldn't care. LILAH Wow. That was cold. I think we're finally making progress. But come on. Doesn't it bother you just a little? Not knowing? Wesley considers the question, his face darkening. WESLEY That part of my life is dead. It doesn't concern me now. Lilah pauses for a moment, then leans down and kisses him gently. LILAH No. It doesn't. She turns and slips out of the room. A moment later the front DOOR CLOSES O.S. Wes lays there, his face impenetrable. He takes a breath, lets it out, rises. He pulls on a pair of jeans, crosses to the closet, unlocks it with a key. He opens the door, which has been padded with soundproofing material. He looks down into the closet, his face still impenetrable. WESLEY It's time. Reveal a CAGE constructed inside the closet. Justine is hunched down inside, a ball gag in her mouth and a metal collar around her neck secured to a chain. The only thing else in the cage is a metal bucket. She looks up at Wes with detached resignation. WESLEY (cont'd) Let's go for a boat ride. BLACKOUT. END OF ACT ONE Act Two EXT. OCEAN NIGHT A dilapidated fishing boat chugs through the moon-lit waves. INT. BOAT - HELM - NIGHT Jerry-rigged equipment litters the helm. Wesley checks a GPS reading, then moves to a sonar screen. He's searching the bottom of the ocean for Angel. Justine stands across the room, less than thrilled. JUSTINE So what's it gonna be tonight, Cap'n? Bicycle? Old tire? Or maybe we'll get real lucky and catch us a nice shopping cart. Hey, here's a whacky thought. Why don't you swim down there yourself? Wesley eyes the sonar screen, ignoring her. WESLEY No contact. We'll move on to the next grid. He crosses to a table with a nautical map held down by various objects. Red grids mark areas that he's already searched. He repositions a heavy wrench holding down a corner, marks off another grid. JUSTINE You really think finding Angel'll change anything? WESLEY Everything changes. JUSTINE How long are you going to keep this up? With the currents, he could be in Antarctica by now. WESLEY Then we better pack you some longjohns. JUSTINE Well, I guess anything's better than sitting around in my cage all day with nothing to do but fill my bucket. WESLEY Perhaps you should have considered that before slitting my throat. He turns back to the helm, adjusting their course. Justine laughs at him, trying to get under his skin. JUSTINE The great Wesley Wyndam-Pryce, shining beacon of all that's good and pure. Oh, wait, no -- that was before he started banging the enemy and keeping a slave girl in his closet. Wes doesn't turn, never raises his voice. WESLEY You've always been a slave, Justine. You just couldn't see the chains. JUSTINE Thanks, swami. I'll meditate on that. WESLEY You think she'd be disappointed? JUSTINE Who? WESLEY Your sister. Justine stiffens, her hate for Wesley growing exponentially. WESLEY (cont'd) That's where it began, isn't it? Sister murdered by a vampire. Consumed by the need for revenge. JUSTINE For justice. WESLEY That what you call it? Turning a son against his father? JUSTINE Angel got what he deserved. WESLEY We all get what we deserve. Justine's eyes flick to the wrench holding down the map. JUSTINE Yeah. We do. WESLEY You and Holtz deserved each other. You two had so much in common. Pain. Loss. Deep seated lack of anything approaching humor. Justine carefully picks up the wrench. JUSTINE I dunno. We had a few laughs. Getting you to steal Angel's baby was a good one. WESLEY Better than tricking Connor into sinking his father to the bottom of the ocean? JUSTINE That was worth a couple of yuks, too. Justine creeps towards Wesley. WESLEY Not really much of a plan though, was it? Easy to figure out which door to kick in when Angel went missing. And not much harder to "persuade" you to betray everything Holtz gave his life for. Not that it was worth very much. You should know. You're the one that ended it. Justine raises the wrench to crush Wesley's skull. WESLEY (cont'd) (softly, not turning) I'll take away your bucket... She freezes, calculating her odds. She tosses the wrench back on the table. It slams down with a BANG. OMITTED OMITTED INT. CONDEMNED BUILDING - ROOM - NIGHT BOOM! A door explodes off its hinges. Connor strides in with Angel's sword clutched white-knuckled in his hand. Gunn and Fred hustle up behind him with flashlights and weapons at the ready. GUNN Or we could do it the loud way. Fred plays her flashlight over the room. The beam barely penetrates the dust- filled gloom. FRED Doesn't matter. Looks like she's out. Crack house chic, minus the chic. High, crumbling ceiling. Filthy picture windows lining the far wall. Stained mattress on the floor. CDs scattered everywhere. Dirty clothes and garbage practically steaming with vile odors. GUNN (wrinkling nose) That's just nasty. How do people live like this? Connor cocks his head, listening to something only he hears. His eyes fall on a ratty blanket half covering the mattress across the room. FRED Helps to be dead. GUNN One more reason to stay pink and rosy. FRED Word. Gunn eyes her. Word? Um... no. FRED (cont'd) (shifting gears) So what do you think? From the smell I'm guessing she still lives here. Do we wait for her to come back or -- CONNOR No. He hunches down next to the mattress and pulls the blanket Back, revealing a Discman. He picks up the small headphones attached to it. Tinny, barely audible music squeaks out of the earpieces -- this is what Connor heard across the room. CONNOR (cont'd) We don't have to. Connor turns. MARISSA (in VAMP FACE) is wedged against the ceiling high above the door -- right over Gunn and Fred. They whip their eyes up just as she drops down on them. WHAM! She smashes Fred and Gunn to the floor. Marissa turns on Connor, exchanging lightning fast blows which he deflects with ease. He kicks her hard, sending her down. She starts to scramble up, but Connor's sword to her throat stops her. FRED Marissa, stop. We just want to talk. MARISSA I don't know anything. GUNN You psychic? MARISSA No. GUNN Then shut up and let us ask a question first. FRED You know the bluffs down by the beach? MARISSA No. GUNN You used to feed there. MARISSA Oh. Those bluffs. GUNN Three months ago a friend of ours went missing down there. MARISSA Tall? Good looking? Weird hair? FRED You saw him? MARISSA I see a lot of things. She locks eyes with Connor. Connor tenses. MARISSA (cont'd) What do you care? CONNOR He's my father. If you know what happened to him -- Connor lowers his sword just enough to give Marissa an opening. WHAM! She kicks him hard in the stomach, sending him crashing back and the sword flying out of his hand. Fred and Gunn rush her but she dives for the window, smashing through the glass and disappearing six stories down. GUNN (to Connor) You don't let your guard down! How many time do I have to -- Connor dashes to the smashed window -- and leaps out. FRED Connor! She scrambles to the window, peering down into the dark alley far below. Gunn grabs her, hustling for the door. GUNN If he ain't dead, I'm gonna kill him. OMITTED EXT. ALLEY - NIGHT Marissa runs for all she's worth -- right into a dead end. There's a fire escape, but she doesn't bother with it. She hits the wall full tilt and scrambles up it like a cockroach. EXT. ALLEY ROOFTOP - NIGHT Marissa scrambles up onto the rooftop and freezes. Connor is standing in front of her. He eyes her coldly. CONNOR What did you see? MARISSA I -- I didn't see nothing, I swear. You know how dark it is down by the bluffs? And hey, my eyes were never that good. Sure the creature of the night thing helps, but... Connor stares at her coldly. She shifts gears, sensing the danger. MARISSA (cont'd) Look, whatever I saw, whatever I didn't see -- it doesn't matter, okay? Come on, handsome... She. DE- VAMPS, revealing just how beautiful she is. She smiles sexily, moving closer. MARISSA (cont'd) It'll be our little secret. She stiffens, her eyes going wide as she DUSTS. Connor stands there motionless, a stake now in his hand. GUNN (O.S.) Connor?! Connor takes the stake and gashes himself across the arm. Fred and Gunn scramble up onto the roof via the fire escape. Fred rushes over to Connor. FRED Are you all right? GUNN Where is she? CONNOR She attacked me. I didn't have a choice. Fred and Gunn realize Connor dusted their only lead. Gunn's frustration boils over. GUNN Maybe you would have if you weren't always running off playing hero. You know what you just did? Connor glares at Gunn, conflicting emotions roiling. He throws his stake down and strides off across the rooftop. FRED Connor -- He breaks into a run and leaps onto the neighboring rooftop, disappearing into the darkness. GUNN Three months of this. And he dusts our only lead. FRED You know how much he wants to find Angel. How do you think he feels? GUNN How should I know? Not like he talks to me. FRED After everything he's gone through -- you need to be a little more patient, Charles. He's just a boy. GUNN You sure about that? Offspring of two vampires. Last time I checked that's not supposed to happen. And jumping out a six-story without busting your coconut kinda sways me to the side of "not just a boy". I mean come on, his nickname back in Quor-toth was The Destroyer, and unless you put "Conan" in front of that I'm guessing it's not a good sign. FRED He's Angel's son. That's all that matters. She heads for the fire escape. Gunn sighs. Yep. That went well. EXT. ROOFTOP - NIGHT Connor lands on the rooftop, dashes across it and leaps up onto the ledge, perching all Dark Knight. He surveys the city below him, his face a swirl of conflicting emotions. ANGEL (O.S.) Beautiful, isn't it. CONNOR (softly) The way it should be. Connor turns. Angel is standing behind him, all dark and menacing (in human face). ANGEL What? No hug? CONNOR Just get it over with. ANGEL What's the rush? I'm not going anywhere. VAMP #1 (O.S.) No. You're not. Five VAMPS emerge from the darkness. Angel and Connor are surrounded. Angel looks at them -- and laughs. Connor can't help but join in. VAMP #1 What're you laughin' at? ANGEL Tell you later. WHAM! Angel and Connor attack, fighting side by side, father and son. Vamps are knocked unconscious left and right (no dustings, 'cause hey -- budget). Angel slams a vamp. He doesn't see the last vamp pick up a broken wood slat and raise it to impale him. CONNOR Dad! Connor tears into the vamp, finishing him off with a kick that sends him flying off the roof. Angel laughs in relief, clasping Connor by the neck in camaraderie. ANGEL Thanks. SNAP! Angel suddenly breaks Connor's neck, killing him instantly. INT. ANGEL'S BOX - UNDERWATER - NIGHT Angel jerks out of his hallucination, his eyes wild. He thrashes against the cables binding him, throwing every ounce of remaining strength into bursting free. HIGH ANGLE: Looking down into the box from the top as Angel arches his head back and screams in rage and anguish. PRE-LAP: Rousing Vegas SHOWGIRL MUSIC smashes, up FULL, drowning him out. OMITTED OMITTED OMITTED OMITTED INT. THE VELVET ROOM - BACKSTAGE - NIGHT Lorne stands in the wings dressed like Liberace, a Martini in hand. An old LADY touches up his makeup with a powder puff. The SHOWGIRL MUSIC wafts in from the on stage production number (which we don't see 'cause of the strategic black curtain saving us a zillion bucks). LORNE Go easy, Maybel. They're paying to see the green. A BODYGUARD in a suit hands Lorne a telephone receiver. BRUISER Two minutes. LORNE Thanks, sweetie. Lorne takes the phone, his bodyguard sticking close. INTERCUT WITH: INT. ANGEL'S HOTEL - LOBBY - NIGHT Fred is on the phone. She waves excitedly to Gunn, who's returning the sword Connor left behind to the weapons cabinet. FRED Lorne?! Lorne, it's Fred! I've been trying to get a hold of you. LORNE Sorry, hon. I've been booked out the wah and past the zoo. If I get any hotter they'll have to stamp me out. FRED Lorne, I know you're busy, but we really need your help. We had a lead but it, uh, kinda died. Did you talk to your connections? Have they heard anything about Angel or Cordy? INT. THE VELVET ROOM - BACKSTAGE - CONTINUOUS A couple of SHOWGIRLS file past Lorne, their number finished. LORNE Not a peep. But if I miracle ear anything I'll send up a smoke signal. BIG BAND INTRO MUSIC blasts from onstage. The Bruiser taps his watch at Lorne. LORNE (cont'd) Uhp! That's my cue. Take care of yourself -- and make sure Fluffy's getting enough love. INT. ANGEL' S HOTEL LOBBY - CONTINUOUS FRED Lorne -- CLICK! Lorne's gone. Fred hangs up the phone. GUNN Did he have anything? FRED No. And who's Fluffy? Are you Fluffy? GUNN He called me Fluffy? FRED He said "make sure-" Wait -- you don't think he was referring to anything of mine that's fluffy, do you? Cause that's just inappropriate. GUNN Like deserting us? Gunn takes in the big empty lobby, his heart sinking. GUNN (cont'd) No leads. No clients. Pretty soon no roof over my smooth delicate head. FRED I could make you a paper hat. The cheering up doesn't stick. Fred twines her fingers in his. FRED (cont'd) It's gonna be okay. Angel and Cordy are out there somewhere. And no matter what the Powers-That-Screw-You throw at us, we're gonna find them. INT. WOLFRAM AND HART - HALLWAY - NIGHT Lilah and GAVIN follow LINWOOD down the hall. LILAH You found Angel? LINWOOD Young Gavin had a breakthrough with the psychics. LILAH Brain boys finally earning their keep. So where is he? GAVIN They haven't pinpointed his exact location yet, but they have ascertained that he's safe -- and immobilized. LILAH Really? Maybe you could lead them in a rousing chant and get them to muster up a little more vague. LINWOOD He's contained and out of play. Which suits our purposes just fine. LILAH Sure -- if our purpose is to get caught with our prophecies down. Angel's supposed to be a major player in the apocalypse. You know, that little pet project the senior partners have been toying with since, oh, the beginning of time? GAVIN The situation's under control. LILAH More like spinning out of. Three months and all you've been able to ferret out is gee, let me see -- nothing. That'll look swell in the mid-year review. LINWOOD Gavin's work with the psychics has uncovered invaluable intel, Lilah... Linwood stops in front of his office door. LINWOOD (cont'd) ...in a variety of unexpected areas. Linwood hits Lilah with the cold stare. Lilah tenses -- he knows about her relationship with Wesley. LINWOOD (cont'd) Care to enlighten us? For the mid- year review? LILAH What I do with my personal time is none of Gavin's business. LINWOOD But everything's my business. What have you extracted from Wyndam-Pryce? LILAH I'm not sleeping with him for information. LINWOOD Please don't tell me it's the chiseled jaw. If you have his confidence, we can play it to our advantage. LILAH He doesn't know anything. There's nothing to take advantage of. LINWOOD Except you. That hits Lilah like a kick in the gut. They have her now, and she knows it. Linwood checks his watch. LINWOOD (cont'd) Staff meeting in an hour. Don't be late. Gavin. A word? Linwood disappears into his office. Gavin slides in behind him, all smiles. GAVIN Duty calls. He closes the door behind him, shutting her out. Worry creeps across Lilah's once confident face. Firmly behind the eight ball, and it's rolling fast. INT. BOAT - HELM - NIGHT The sonar screen PINGS, picking up a contact. WESLEY Solid contact. Definitely metallic. JUSTINE Probably more junk. Could be anything down there. WESLEY Better have a look then. He tosses her a scuba mask. Justine frowns at it. Great. INT. ANGEL'S BOX - UNDERWATER - NIGHT Angel is trapped in another hallucination. Light slowly illuminates his tortured face. His eyes flutter open. A glowing ORB floats through the inky waters, increasing in intensity as it draws close. Angel blinks against the now blinding light -- and laughs weakly at the latest trick his failing mind is perpetrating on him. ANGEL'S POV Looking directly into the blinding light. It flares as it shifts, revealing JUSTINE in a scuba mask -- and shining a halogen light into the box. A chain is attached to a collar around her neck, disappearing up to the surface. EXT. BOAT - NIGHT A WINCH attached to a boom arm strains as it raises Angel's box from the bottom of the ocean. Justine, her hair wet and a blanket wrapped around her for warmth, stares at it coldly. SERIES OF CUTS as Wesley blowtorches open the box. Justine watches with contempt as Wesley removes the lid. Angel is unconscious inside. Wesley stares down at Angel for a beat, his face unreadable. He picks up a pair of bolt cutters and goes to work on the cables holding Angel down. JUSTINE Congratulations. You're the big hero. Maybe your friends'll throw you a party. Hey, what do you think the cake'll -- Angel's hand suddenly thrusts up from the box and clamps around Wesley's throat. BLACKOUT. END OF ACT TWO Act Three EXT. BOAT - NIGHT Angel's hand is clamped around Wesley's throat. Wesley reaches up and gently removes it. Angel has no strength. INT. BOAT - BELOW DECK - NIGHT Wesley and Justine lay Angel out on a galley table. Angel's in bad shape, totally out of it. Wesley quickly examines him. WESLEY We need to stabilize him. My bag... Wesley indicates a leather case in the corner. Justine just stands there, watching Angel. WESLEY (cont'd) (sharply) Justine. She snaps out of it, retrieves the bag. Wesley rips it open and removes several mason jars filled with a thick red fluid. JUSTINE Blood? WESLEY Animal. JUSTINE That's appropriate. He quickly unscrews a jar lid. JUSTINE (cont'd) What's the rush? Not like he's going anywhere. Wesley supports Angel's head as he raises the blood jar to his lips, trying to get him to drink. WESLEY A vampire can exist indefinitely without feeding - - but the damage to higher brain function from prolonged starvation can be catastrophic. JUSTINE Boo hoo. Angel coughs, sputtering blood down his face. WESLEY Slowly... that's it... Angel drinks, still barely conscious. JUSTINE All this effort. All the energy you've wasted to save that thing. For what? A happy ending? Just everything like it was? He hates you. They all do. And they're never going to take you back. Wesley tries to ignore her, but her words cut deep. INT. ANGEL'S HOTEL - LOBBY - NIGHT Connor enters through the lobby doors, head down, face lost in thought. He stops, his eyes flicking up. CONNOR This gonna be the yelling thing again? Fred and Gunn are sitting on the poof, waiting for Connor. FRED No. No yelling. CONNOR (re: Gunn) Looks like he's gonna yell. GUNN I do not. CONNOR Always looks like he's gonna yell. GUNN (almost yelling) I'm not gonna yell. FRED Where've you been? CONNOR (shrugs) Out. Gunn tries awkwardly for some kind of reconciliation. GUNN We were worried. That hits Connor hard. Sullen gives way to remorse and guilt over betraying these people that care about him. CONNOR (sincerely) I'm sorry. Fred nods, accepting the apology. Connor smiles awkwardly, feeling his place with Fred and Gunn is still secure. CONNOR (cont'd) Shouldn't run off alone. Think I'd know that by now. GUNN It's that big thick melon. Gunn smacks Connor playfully in the back of the head. Connor laughs. GUNN (cont'd) Your dad's got one just like it. Angel's always flying off, getting himself into trouble -- Connor's face darkens. Gunn doesn't notice the shift. CONNOR I'm not like him. GUNN You're not as strong yet, but -- CONNOR Like I care what you think. Gunn eyes him in surprise, not sure he heard right. GUNN What'd you say? Fred puts a hand on Gunn's arm, diffusing the situation. FRED It's been a long night. (to Connor) Why don't you go wash up. CONNOR (mumbling) Fine. He stalks up the stairs, heading for his room. GUNN I try to be nice and you see what he does? He just keeps pushing. Like he wants me to lose it. FRED He's testing you. With Angel gone, you're the alpha male. GUNN Damn straight. She snuggles up to him, soothing his jangled nerves. FRED Don't let it go to your head. GUNN That's not the direction it's flowing. He pulls her into a kiss. Fred laughs. The kissing becomes playfully passionate. Despite the turmoil, the love is still strong. The phone rings. GUNN (cont'd) (kissing) Let it ring. FRED (kissing) What if it's a client? Gunn pauses. Good point. GUNN Then the big dog better close the deal. He snatches the phone up with a smooth grin. GUNN (cont'd) (brightly, into phone) Angel Investigations. INT. BOAT - BELOW DECK - NIGHT Angel is still on the galley table, exhausted and weak. ANGEL Why is it like this? LORNE (O.S.) That's the age old, bubby. Reveal Lorne in one of his snazzy suits, a drink in his hand. LORNE I'll fire you off a postcard if I noodle an answer. ANGEL It shouldn't be like this. LORNE How should it be? ANGEL Beautiful. Life should be beautiful and bright, but... No matter how hard I try, everything I touch turns to ashes. LORNE There goes that encouraging hug I was planning. Snap to, buckaroo! Only one turning to ashes is gonna be that patricidal pup of yours. Just wish I could see Connor's face when daddy comes sloshing home. Hell, I'd take him out myself if I wasn't just a crappy hallucination. Wesley enters. He pauses, eyeing Angel with concern. WESLEY How is he? LORNE How do you think? JUSTINE (O.S.) He won't shut up. Reveal Justine seated in the far corner, handcuffed to a metal railing. From her and Wesley's POV, Angel is just mumbling incoherently to himself. ANGEL I have to stop him... LORNE (re: Justine) You wanna bitch slap sourpuss over there for practice, I'm your cheering section. WESLEY Angel -- ANGEL I have to do it... Angel tries to get up, delirious. Wesley eases him back down. WESLEY Shhh. You need to rest now. LORNE (singing softly) Hush little baby don't say a word momma's gonna buy you a mocking bird. And if that mocking bird don't sing... Lorne continues his lullaby as Angel's eyes swim, on the edge of unconsciousness. Angel tries to focus on Wesley for the first time. ANGEL'S POV He's hallucinating Connor standing over him -- not Wesley. ON ANGEL ANGEL I should've killed you. His eyes flutter shut. Wesley stares at Angel for a long beat. Justine laughs. JUSTINE And me without my camera. Wesley checks Angel's progress. Not good. WESLEY He's been down there too long. Pig's blood isn't enough. He needs more substantial nourishment. JUSTINE Like what -- Her face tenses as she gets it. Wesley eyes her coldly as he clicks open a switchblade. JUSTINE (cont'd) Screw you. I'm not feeding that thing. WESLEY No, your blood's too thin. He draws the knife across his wrist, opening a vein. Wesley holds his wrist to Angel's lips. Lorne smiles, gently continuing the lullaby. Angel drinks, gaining strength from Wesley's all too human blood. Justine turns her face away in disgust. Lorne's lullaby softly fades out. HIGH WIDE SHOT of Angel feeding from Wesley's wrist. Lorne is gone. Silence, save for the creaking of the boat and the lapping of the waves. INT. WOLFRAM AND HART - CONFERENCE ROOM - NIGHT A WELL-MANICURED HAND drifts across the headrest of an expensive leather office chair. REVEAL Lilah in the empty conference room, standing behind Linwood's chair at the head of the table. She eyes the room, her face strained with worry. Linwood bustles in with Gavin and a phalanx of nondescript MEN IN SUITS. LINWOOD All right, we've got a lot of ground to cover. Let's get to it. Everyone finds their seats. Lilah fiddles nervously with the stylus pen to her Palm Pilot. LINWOOD (cont'd) What's first on the agenda? Gavin consults a folder. GAVIN The Bollinger case goes to trial in two days. LINWOOD Excellent. Let's talk about Lilah. Linwood opens a leather bound folder and turns his attention to Lilah. She tenses. Here it comes. LINWOOD (cont'd) Has everyone had a chance to review her file? The suits nod and crack open their own leather bound folders. Lilah's eyes flick around nervously. LINWOOD (cont'd) Good. Recommendations? LILAH If I could just take a few minutes to explain -- GAVIN I think your record speaks for itself. LINWOOD Volumes. Your failures at Wolfram and Hart outstrip your successes by an uncomfortable margin. Perhaps you'd fare better in a less central office. GAVIN One of the third-world dimensions maybe? LILAH (softly) I'm sorry. LINWOOD What was that? LILAH (louder) I said I'm sorry. I know my performance hasn't been... I've made mistakes. I know that. (a beat) But fear was never one of them. The tension in the room thickens dangerously. Linwood stares at Lilah, a slight smile never leaving his lips. LINWOOD You have something you'd like to share? LILAH Why haven't we contained the vampire offspring for study? LINWOOD We're assessing the situation. LILAH The same way you're assessing Angel? She rises, Palm Pilot in hand. LILAH (cont'd) If Gavin's psychics have a scalp tingle, why aren't we trying to pinpoint Angel's location? LINWOOD This is my corner of the sky, Lilah. I decide when the sun rises and when it sets. As for the Angel situation -- well, lack of long term vision has always been one of your shortcomings. LILAH And lack of courage is yours. You're afraid of Angel and his son. That's the reason for your daring strategy of "wait and see," isn't it? You're afraid. And fear breeds weakness. Linwood is unfazed -- and slightly amused. LINWOOD I'm hurt. Is that what you really think of me? LILAH Yes. And Mr. Suvarta agrees with me. For the first time Linwood's confidence falters. The suits around the room glance uncomfortably at each other. V LINWOOD You spoke to a senior partner? LILAH He was really very helpful. Had some great tips on office furniture. LINWOOD This is outrageous. Are you actually telling me you went over my head? Lilah taps a button on her Palm Pilot with her stylus. THWACK! A razor sharp blade apparatus whips around From inside Linwood's headrest and decapitates him. LILAH Just under it. Actually. Linwood's head rolls to a stop on the table. Gavin and the rest of the suits stare at it in horror. LILAH (cont'd) Mr. Suvarta didn't think Linwood's corner of the sky was sunny enough. You're all reporting to me now. Get out. Everyone hastily rises and makes for the exit. LILAH (cont'd) Gavin? Gavin freezes. Uh oh. Here it comes. LILAH (cont'd) (re: Linwood's head) Please remove that. Gavin eyes Linwood's head with controlled revulsion. He takes a handkerchief out and gingerly begins his new assignment as garbage man. OMITTED INT. ANGEL'S HOTEL - CONNOR'S ROOM - NIGHT Connor sits on his bed, playing a Game Boy. A soft KNOCK at the door. CONNOR What? Fred enters with the tray. FRED Brought you a snack. CONNOR Not hungry. FRED (laughs) You're always hungry. She sets the tray down on the nightstand. Connor glances at it out of the corner of his eye. CONNOR What is it? FRED Baloney. CONNOR No tomatoes? FRED No tomatoes. Connor puts his Game Boy down and picks up half the sandwich. FRED (cont'd) What do you say? CONNOR (mouth full) Thank you. FRED You're welcome. Fred strokes his hair affectionately. CONNOR He still mad? FRED What do you think? CONNOR (softly) Sorry. Fred takes in this damaged young boy munching a baloney sandwich, her heart near the breaking point. FRED I can't imagine what you've been. through, Connor. Being taken away by Holtz. Raised in that place. It must have been horrible. Connor stares at the floor, the painful memories etched deep. FRED (cont'd) I know you're still hurting, but I promise you... It's not nearly as much as you're going to hurt for what you did to your father. Connor jerks his head up in surprise. Fred glares down at him -- and she's got a STUN GUN in her hand. Before Connor can react, she lets loose, ARCING him up. Off her rigid face - BLACKOUT. END OF ACT THREE Act Four INT. ANGEL'S HOTEL - OFFICE - NIGHT Connor's eyes flutter open. He grimaces in pain. FRED (O.S.) You think that's what Angel felt? He blinks his eyes into focus. Fred is standing over him with the stun gun. Gunn is nearby, his axe gripped firmly in hand. Connor is tied to a chair in the middle of the room. FRED When you did it to him? CONNOR Fred... FRED Did he scream like you? Fred's dangerously close to losing it. CONNOR Why are you doing this? GUNN Uh uh. Don't even try it. Connor eyes them cautiously, gauging the situation. FRED We got a call from an old friend tonight. GUNN Been playing a little Ahab. He's out there right now, puttering around on his boat. FRED With Angel. Connor tenses, all pretense at innocence dropping. GUNN That's right, Sparky. Daddy's coming home. And I'm thinking there's gonna be a spanking. FRED He's been down there, all alone, for three months. And you knew. GUNN That what you did to Cordy? Stuff her in a box somewhere? FRED How could you do that to us? We took you into our home. We cared for you. And all this time... How could you do that? How could you do that -- Fred completely loses it, hitting Connor with the stun gun again. Connor screams as electricity arcs across his body. GUNN Fred. Fred! Gunn pulls her off. Fred's rage subsides into despair. Connor's betrayal has deeply wounded her. Gunn pulls her into a gentle embrace as the tears finally break loose. Connor glares at them, seething. EXT. DOCKS - NIGHT TIGHT ON Angel sitting unconscious in the front of a Jeep. Wesley, a blood-stained bandage binding his wrist, pulls a blanket around him for warmth. Angel's eyes flutter open. The two men lock eyes. Angel's still kitteny weak, but there's a lucid calmness to him now. JUSTINE (O.S.) He'll turn on you. Wesley closes the door and moves around to the driver's side. Justine is at the edge of the dock, handcuffed to a railing. JUSTINE He won't be able to help it. That's what he is. Sooner or later, he'll turn on you and all your friends. Wesley gets in the car. JUSTINE (cont'd) You just gonna leave me here? Wesley tosses a handcuff key out his window. It clatters on the pavement, landing at Justine's feet. WESLEY I'd say you're free now. But that might be overstating the case. Wesley fires up the engine. Justine glares, her eyes brimming with hate. Wesley returns it with something approaching compassion -- and sympathy. WESLEY (cont'd) You can continue being a slave, Justine. Or you can live your life. Your choice. He drives off. Justine watches him go, small and alone. INT. ANGEL'S HOTEL - LOBBY - NIGHT Gunn is softly consoling Fred by the lobby desk. Fred is drained from the emotional freefall. FRED I would have done anything for him. GUNN I know. FRED (hating herself) Now all I want to do is hurt him. CONNOR (O.S.) Go ahead. Connor glares at them from inside the office. CONNOR Hurt me some more, Fred. FRED Shut up. She grips the stun gun, so wanting to grant his request. Connor laughs. CONNOR Think I care? You get used to it. Fred and Gunn step into -- INT. ANGEL'S HOTEL - OFFICE - CONTINUOUS FRED You don't feel anything, do you? There's nothing inside. CONNOR Why don't you open me up and find out? FRED How could you do that to your father? CONNOR That thing isn't my father. GUNN Yes, he is. CONNOR He got what he deserved. FRED How soon before we deserved it? The front door to the lobby bangs shut. Everyone tenses. INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS Fred and Gunn step out of the office. Wesley is standing in the middle of the lobby, supporting a semi-unconscious Angel. WESLEY I believe you've been looking for this. FRED Angel. They rush over. FRED (cont'd) Oh my god. GUNN Is he gonna be all right? Gunn helps Wesley sit Angel down on the poof facing away from the office. Angel's totally out of it. WESLEY In time. Maybe. Fred and Gunn's full attention is on Angel. FRED We need to get him into something clean. GUNN He's out of it. FRED Oh god. GUNN It's okay. FRED Look at him. GUNN He's gonna be okay. FRED What do we do? Wesley -- They turn back to Wesley -- who's heading for the door. FRED (cont'd) Where are you going? WESLEY I'm done here. A beat. Fred and Gunn realize he's not just talking about returning Angel to the fold. GUNN Why did you wait so long to tell us about Connor? FRED You knew what he could do to us. WESLEY You're human. He wouldn't have hurt you. I thought you were safer not knowing. FRED (laughs) We were safer? You really don't care anymore. Do you? Wesley eyes them for a long moment, his face unreadable. WESLEY (re: Angel) He'll need more blood. I'm fresh out. He turns and quietly exits. Fred stares after him, wanting to stop him but not able to find the words. Angel groans softly, still out of it. Fred strokes his hair, trying to soothe him. FRED It's okay. You're home. (to Gunn, trying not to lose it) God, he's freezing. GUNN I'll grab some more blankets. A faint THUMP from inside Angel's office stops Gunn. FRED Connor. They rush to the office. INT. ANGEL'S HOTEL - OFFICE - CONTINUOUS Fred and Gunn bolt into the office -- and freeze. Connor's chair is empty, the ropes binding him ripped asunder. GUNN Oh sh -- Connor is suddenly right next to Gunn. WHAM! He shoves Gunn hard, sending him flying. Fred instantly has her stun gun out. She jabs it at Connor but lightning fast he catches her wrist and turns the weapon back on her. She arcs up, the blow knocking her back. CONNOR Hurts, doesn't it? Connor turns to exit -- and freezes. Angel is standing in the doorway. And he ain't happy. ANGEL Sit. Down. A moment, Connor takes a step back. CONNOR You're too weak to take me... ANGEL Do you think that? He is deadly calm. A moment, and Connor sits. Slowly but without betraying weakness, Angel pulls up a chair and sits opposite him. Everybody waits. ANGEL (cont'd) So, how was your summer? He smiles blandly. Connor's a little shocked. ANGEL (cont'd) Mine was fun. Saw some fish... went mad with hunger, hallucinated a whole bunch. Good time. CONNOR You deserve worse. ANGEL 'Cause I killed Holtz. Except I didn't. I tried to tell you that while you were busy off shore dumping me, but I didn't know the whole score. Holtz killed himself. Actually he had your buddy Justine do it, with an icepick. Just to make you hate me. Wes filled me in on that. CONNOR Even if... you deserved it anyway. ANGEL What I deserve is open to debate. But understand there's a difference between wishing vengeance on someone and taking it. Once you take it, you're part of that cycle of violence. So now the question becomes, what do you deserve? Connor bolts, tries to get past Angel to the door. Hardly moving, Angel spins and grabs him and swings him round and flying - SMASH - against the wall. Dents the damn thing. Connor looks up to see Angel standing over him. ANGEL (cont'd) Daddy's not finished talking. Connor sits up as Angel kneels down, in his face. ANGEL (cont'd) Wesley told me everything that's been going on, so as far as I'm concerned what you deserve rests on one answer. (nose to nose) Did you do something to Cordelia? CONNOR No. FRED He's lying. CONNOR I'm not! GUNN No way she just happened to disappear on the same night that - CONNOR I'm telling the truth! ANGEL I know. He stands, moves away a bit. ANGEL (cont'd) I can tell. You've done enough lying for me to know the difference. The truth has a better sound to it, you know, less nasal. Get up. What you did to me was unbelievable, Connor. But then, I got stuck in a hell dimension by my girlfriend for a hundred years one time so, few months under the ocean, it actually gave me perspective. Kind of an M.C. Escher perspective, but I did get to think. About us, about the world... Nothing in the world is the way it oughta be. It's harsh, and cruel - and that bay is even more polluted than you're thinking, wow, I'll tell you; but that's why there's us. Champions. Doesn't matter where we come from, what we've done or suffered, or even if we ever make a difference. We live as though the world were as it should be, to show it what it can be. (a beat) You're not a part of that yet. I hope you will be. (steps toward him) I love you, Connor. (beat) Now get out of my house. Another moment, and Connor goes, expression hard but conflicted. Angel watches him and the moment Connor's gone, the energy drains out of Angel, he sinks to the poof, exhausted and overcome. The others rush to him. FRED Angel! ANGEL Hoah... all that talking really takes it out of you... FRED You need rest. ANGEL I need Cordy. We have to find her, Now. Wherever she is, whatever she's - going through. EXT. NETHER SPACE Moving through roiling, multicolored layers of undulating mist. A shimmering form begins to coalesce in the distance, folding out from the very fabric of the swirling colors surrounding it. The form begins to take on a vaguely human shape. It continues to solidify as we move in closer through the layers of mist. CHORAL MUSIC fades up as we move into a CLOSE UP of the form's "face" as it blooms into a cohesive image -- of CORDELIA. Cordelia's radiance is beyond angelic beauty. Gentle streams of light and color flow across her serene face, bleeding out into the swirling Aurora Borealis of mist. The choral music swells to a crescendo. Cordelia's eyes pop open. CORDELIA God, I am so bored. BLACKOUT. THE END