TEASER
FADE IN:
INT. ANGEL'S HOTEL - LOBBY - NIGHT
CORDELIA and FRED are sitting on the couch, reading. Fred is
going over files and papers related to the business. Cordelia
is reading Variety.
CORDELIA
Can you believe they're planning
another Jurassic Park movie? If I
were them, I'd put the money where
it's needed and redo the last two
before I tried adding another one to
the list.
FRED
(confused)
What?
CORDELIA
Y'know. 'Cause they sucked.
FRED
They made more Jurassic Park movies?
CORDELIA
Oh. I guess you would have missed
out on those, huh? Don't worry, they
weren't really worth watching.
FRED
But the first one was so much fun.
(beat)
Or I guess it was until I found myself
in another dimension being chased
down by green, horned, creatures
with scales.
CORDELIA
You should have been at my high school
graduation.
FRED
Dinosaur clones?
CORDELIA
Yeah right. Cause that's likely to
happen.
(beat)
It was the town mayor turning into a
giant snake and eating half of the
student body.
FRED
Harsh.
------------------------------------------------------------------------------------------------------
2.
CORDELIA
Yeah.
They go back to reading. Fred flips through a few pages,
looking concerned.
FRED
This can't be right.
CORDELIA
What?
FRED
These files. They're showing that we
hardly have any money left.
CORDELIA
What? We just go a ton of it a few
months ago.
FRED
I know. But with all of the bills,
plus salaries, it's all almost gone.
CORDELIA
The benifits of owning a big-ass
hotel, I guess.
FRED
I guess. I need to talk to Angel
about this.
CORDELIA
Him and Gunn should be back soon.
The demon I saw in my vision didn't
look all that scary.
Cordelia reads something in her magazine that sets her off.
CORDELIA (CONT'D)
What?! Okay, now this is just not
right.
FRED
What is it?
CORDELIA
Aura, my old friend from high school.
She's been cast in a new series for
the WB.
FRED
Isn't that a good thing?
CORDELIA
No. I was auditioning for a year an
a half and I got nothing.
(MORE)
------------------------------------------------------------------------------------------------------
3.
CORDELIA (CONT'D)
This girl couldn't even remember any
of the cheers in school and they
cast her in a tv series?
FRED
Jealous?
Cordelia looks at Fred. Realizing that she might have been
reacting like someone who was jealous.
CORDELIA
Not at all. I gave up acting to pursue
a noble career as a vision demon.
It's not like I couldn't cut it.
FRED
Right.
CORDELIA
I just don't think it's right to
cast someone like her in a series
when there are other, more talented
actresses out there.
(beat)
Who aren't me.
FRED
It's good to see that you're not
jealous.
CORDELIA
I'm not.
ANGEL and GUNN walk into the hotel, each holding a weapon.
Gunn is covered in yellow demon blood.
GUNN
(sarcastic)
Well that was fun.
ANGEL
I told you to duck.
FRED
How'd it go?
ANGEL
Demon's dead.
GUNN
And there's proof all over me.
(beat)
What's goin' on here?
Fred's not sure how to answer.
------------------------------------------------------------------------------------------------------
4.
FRED
I kinda have some bad news.
ANGEL
What's wrong?
Fred looks down at her papers.
FRED
Unless there's some sort of system
to these files that I'm not catching
onto, it looks like we're almost out
of money.
(beat)
If we don't get a case soon, we might
be going out of business.
Angel and Gunn look at Fred with concern.
ANGEL
Then we'll just have to find a way
to get money.
And normally, that would be the last words before the opening
credits. Very powerful. But--
CORDELIA
And you know the worst part? If it
wasn't for me, Aura probably wouldn't
have even came to LA to begin with!
FADE TO BLACK:
END OF TEASER
------------------------------------------------------------------------------------------------------
5.
ACT ONE
FADE IN:
INT. LILAH'S OFFICE - DAY
Lilah is sitting at her desk, looking over some files. She
picks up her phone and hits a button.
LILAH
Danny, I need the Douglas files in
my office now or your ass is grass.
And don't think I can't actually
make that happen.
She hangs up. A moment later, her door opens and GAVIN walks
in. He's holding a file in his hand.
GAVIN
You're secretary said you needed
this file.
LILAH
I don't have time for our usual
banter. Give it up and get out.
GAVIN
Okay.
He drops the file on her desk and begins to walk out of the
room. She watches him. Wondering what's going on.
LILAH
Wait.
Gavin smiles and turns around.
GAVIN
Hmm?
LILAH
What are you doing?
GAVIN
You told me to get out.
LILAH
That never stopped you before.
GAVIN
I thought I might give manners a
shot.
LILAH
Nice try. We both know you're baiting
me, so get on with it.
------------------------------------------------------------------------------------------------------
6.
GAVIN
I'm not baiting you. I just thought
I'd tell you that it's a good thing
you're not looking for your Angel
file.
LILAH
And I'm biting.
(beat)
Why not?
GAVIN
Well, you know I'm not one for office
gossip...
LILAH
Cut the crap.
GAVIN
Fine. The file's been pulled.
LILAH
So?
GAVIN
Pulled by the Senior Partners.
Lilah's confused.
LILAH
Why would they want my file on Angel?
GAVIN
Rumor has it that the Angel situation
is up for review on the thirteenth
floor. And while they're at it, so
is your position here.
LILAH
Thirteenth floor? There is no
thirteenth floor, Gavin. Nice try.
GAVIN
That's what I thought too.
He winks at her and walks out of her office. She waits for
the punchline. But it doesn't come. She's just left in her
office alone.
INT. COFFEE SHOP - DAY
A small, busy little shop. CUSTOMERS are waiting at the
counter for the COFFEE GUY (dressed in a red and gold striped
uniform) to take their orders. At the front of the line is
Cordelia. Wearing big secret agent style sunglasses.
The coffee guy is sitting on a stool, reading a magazine.
------------------------------------------------------------------------------------------------------
7.
CORDELIA
(to coffee guy)
Excuse me.
He doesn't even look at her.
CORDELIA (CONT'D)
Excuse me!
He turns to her this time.
COFFE GUY
Sorry. I'm on my break.
CORDELIA
Well, is there someone else here who
can take my order?
COFFE GUY
I'm the only one working today.
She sighs and turns around. She walks through the line of
people waiting, and sits down at a table. A table that WESLEY
is already sitting at. She points to his coffee.
CORDELIA
Do you mind?
He shakes his head. She takes a sip of it.
CORDELIA (CONT'D)
The place has good coffe, but the
service sucks.
WESLEY
The trick is to get here early. Before
he goes on break.
CORDELIA
I'll make a note of it.
There's definite tension between them still.
CORDELIA (CONT'D)
So. How's the neck doing?
He rubs his neck.
WESLEY
It's healing.
CORDELIA
Good. Good.
(beat)
So, the stubble thing is a new look.
It works for you.
------------------------------------------------------------------------------------------------------
8.
WESLEY
Thanks. I thought I'd try for
something a little rougher around
the edges.
CORDELIA
Ah. So that explains the kidnapping
thing.
As soon as she says it, she knows it was a mistake.
CORDELIA (CONT'D)
Sorry. That just came out.
WESLEY
I had my reasons for that. I didn't
mean for things to turn out the way
they did.
CORDELIA
I know. Fred told me about the
prophecy you found.
(beat)
Wes, why didn't you tell anyone else?
He's uncomfortable talking about it still.
WESLEY
I couldn't tell Angel, obviously.
You went away on vacation with Groo.
And things with Fred and Gunn...
He just stops there.
CORDELIA
I get that you weren't happy with
them at the time. But this was
serious, Wesley.
WESLEY
Do you think I don't know that?
(beat)
I've been replaying the whole thing
in my head since it happened. And of
course there are things I'd have
changed. But I did what I had to do.
Conner was in danger, and I had to
get him out of there.
CORDELIA
You could have killed Lorne.
WESLEY
I didn't want to do that. But all of
the signs... I had to get Conner out
of there, and Lorne wouldn't have
let me just walk away with him.
------------------------------------------------------------------------------------------------------
9.
CORDELIA
So you decided to whack him over the
head, leave him for dead, and go
play friendly with Holtz?
WESLEY
No. I was going to take Conner and
run. I was stopped by Justine, and
that's when she took Conner. I didn't
plan on ever seeing those people
again.
(beat)
You have to trust me when I tell you
that I didn't mean for things to
turn out how the did. For Conner to
be taken.
CORDELIA
I know. I believe that Wesley. But
you made mistakes. Things that can't
be taken back. Angel won't forgive
you for this.
WESLEY
I don't expect that he will. But I
thought that Fred and Gunn would
have at least listened to my side.
CORDELIA
They were hurt by you, Wes. You didn't
fill them in. You went behind their
backs. Behind all of our backs.
WESLEY
So why are you here?
Cordelia thinks about her answer.
CORDELIA
Because I know you. I know that you
would never do something like this
unless you honestly believed that
you had to. Because I think that
while Angel may have a right to be
upset with you, some of the others
might have been a little quick to
judge.
(beat)
I know what it's like to trust people
so completely and to have them turn
around and hurt you. I don't totally
forgive you, Wesley. I don't know
that I ever can. But I love you. And
that means something to me.
(beat)
In a friend kind of way. Let's not
relive any failed kissing attempts.
------------------------------------------------------------------------------------------------------
10.
WESLEY
It means something to me too. Thank
you.
INT. LILAH'S OFFICE - DAY
Lilah is sitting at her desk. Should be working, but isn't.
She's thinking about something else. The Angel file. And
it's making her nervious.
She tries to brush it off.
LILAH
He was obviously lying. There is no
thirteenth floor.
She tries to go back to work. But after a short moment, she
can't focus on it anymore. She picks up her phone. Hits a
button on it.
LILAH (CONT'D)
I need my file on Angel. Get it from
files and bring it in here.
She hangs up the phone and goes back to sitting. Waiting.
A moment later, the INTERCOM BEEPS. She looks at her phone.
Then she picks it up.
LILAH (CONT'D)
What?
(beat)
Pulled by who?
After getting her answer, she hangs up.
LILAH (CONT'D)
How many hidden floors are in this
damn place?
She thinks for a minute. Then she get up and walks out of
her office.
EXT. WOLFRAM AND HART BUILDING - DAY
Lilah walks out of the building, and gets a good distance
away from it before turning around. She takes in the sight
of the building.
Then she points to each level of windows and counts them.
Moving her lips as she does, of course. When she finishes
counting them, she walks back into the building.
INT. WOLFRAM AND HART BUILDING - LOBBY/ELEVATOR - CONTINUOUS -
DAY
Lilah walks through the lobby, set on her destination and
not willing to let anyone stop her.
------------------------------------------------------------------------------------------------------
11.
A MAN in a suit walks up to her.
MAN
Lilah. Hi. I wanted to talk to you
about the...
She ignores him and keeps walking.
MAN (CONT'D)
Okay. Fine.
He looks around to see if anyone is watching.
MAN (CONT'D)
I'll e-mail you, then!
Lilah walks to an elevator and pushes the "up" button. A
moment later - DING! - the doors open. Lilah gets in. When
she does, he immediatly looks at the numbers on the control
panel. Then she has her answer.
LILAH
Mystical.
This makes things a lot harder. As the doors close, she's
already plotting.
INT. ANGEL'S HOTEL - OFFICE - DAY
Angel is sitting at the desk, going over files. Fred walks
in.
FRED
I looked them over three times. I
came out with the same numbers all
three times.
(beat)
Actually, the second one was a few
hundred off, but then I realized
that I forgot to carry the two and
that's what threw that off.
ANGEL
I trust you.
FRED
You're just hoping that I was wrong?
ANGEL
Hoping that if I stare at the bills
long enough, something will come to
me.
She sits down.
FRED
Are you worried? About losing the
hotel, I mean?
------------------------------------------------------------------------------------------------------
12.
ANGEL
I think we'll find a way to keep it.
Cordy can have a vision.
FRED
She sat in the lobby for an hour
today, trying to force one out.
ANGEL
Any luck?
FRED
Not with a vision.
ANGEL
Things have a way of working out.
(beat)
To tell you the truth, the hotel
isn't even the thing I'm thinking
about the most.
FRED
Conner?
The mention of his son's name hits Angel in the heart.
ANGEL
Yeah.
FRED
I'm sure you'll find him. There aren't
many places that he could go.
(then)
Maybe he went back to that motel he
lived in with Holtz, or that other
place that he went to with the druggie
girl.
ANGEL
I checked. No sign of him in either
place.
FRED
Well, he wasn't with Holtz's
girlfriend, I can promise you that.
And if she knew where he was, she
was doing a better job of keeping
that secret than she was the one
about where you were.
ANGEL
He probably just took off. Not knowing
where he'd end up.
FRED
Maybe he'll come back.
------------------------------------------------------------------------------------------------------
13.
ANGEL
I'm not planning on it. He thinks
I'm out of the picture. There's no
reason for him to be here.
Fred thinks.
FRED
Then maybe we have to let him know
that you're back.
INT. ANGEL'S HOTEL - LOBBY - DAY
Gunn is just putting some weapons away in the weapons cabinet
when Cordelia walks in. She's on her cell phone.
CORDELIA
(into phone)
No. I've told you about thirty times
in the last five minutes. I don't do
that anymore. I have more important
things in my life right now.
(beat)
I'm sorry.
(beat)
Okay. Bye.
She hangs up.
GUNN
What was that all about?
CORDELIA
It's nothing. Just my agent trying
to get me to go to an audition.
GUNN
Why don't you?
CORDELIA
I've tried to have a balance between
demon fighting and acting. It didn't
work. I had to make a decision, and
a chose to save the world instead of
becoming rich and famous.
(beat)
It was a hard decision, yeah. But
you have to think that being rich
and famous wouldn't be all that much
fun if you let the world get taken
over by evil demons.
GUNN
Good point. And speaking of which,
what's the word on the whole vision
thing?
------------------------------------------------------------------------------------------------------
14.
CORDELIA
No luck yet. But I'm hoping to have
my mind invaded any minute now.
GUNN
Good. We need the money around here.
CORDELIA
Not that there's any pressure on me
or anything.
Just then, a BUSINESS MAN (mid-40's, dressed in a suit) walks
into the hotel. Cordelia turns when she hears the door.
CORDELIA (CONT'D)
Can we help you?
Gunn looks up at the door. He doesn't see anything.
BUSINESS MAN
Yeah. I'm not sure that I'm in the
right place.
CORDELIA
If you're looking for Angel
Investigations, you are. If you're
looking for the freaky massage parlor,
it's two doors to the left.
GUNN
Huh?
BUSINESS MAN
Good. This is the place then.
CORDELIA
Do you have a problem that needs
fixing?
BUSINESS MAN
Yes... Well, no. See, I'm going to
be attacked tonight.
CORDELIA
Really? And how do you know this?
BUSINESS MAN
Y'know. The usual ways that we know
these things.
(beat)
Anyway, it's going to be a demon
attack. Something that looks like
it's made out of human bones or
something.
GUNN
Cordy, you okay?
------------------------------------------------------------------------------------------------------
15.
BUSINESS MAN
It'll be on Sunset at around nine-
thirty. Well, near Sunset.
Cordelia looks at him for a moment. Confused.
CORDELIA
If you know when and where you're
gonna be attacked, how about you
just don't go there?
(beat)
Unless you're a vision I'm having.
You're a vision, aren't you?
The man nods. Cordelia looks at Gunn.
CORDELIA (CONT'D)
He's a vision.
GUNN
Yeah, I figured he might be. I'll go
get Angel and Fred.
CORDELIA
I'll get the info.
Gunn goes to the office. Cordelia turns back to the man.
CORDELIA (CONT'D)
Now, before you poof into thin air,
I just need a few questions answered.
Like, you're name. The exact location.
And is that suit as expensive as it
looks, cause we're in serious need
of money around here and it'd be
swell if you could pay.
INT. ANGEL'S HOTEL - OFFICE - CONTINUOUS - DAY
Angel and Fred are still talking. Gunn walks in.
GUNN
Heads up. Cordy's getting a vision.
FRED
Now?
GUNN
Yeah. And can I just say that these
things were a lot less freaky when
she was screaming in pain? She's got
a whole Sixth Sense thing going on
that's not even funny.
ANGEL
Let's go.
------------------------------------------------------------------------------------------------------
16.
They're about to walk out of the room, but Cordelia walks
in. She's holding a piece of paper.
ANGEL (CONT'D)
(to Cordelia)
What's up?
CORDELIA
Demon attack tonight. No rush. I
have the information here.
ANGEL
Good. So, what are we dealing with
here?
CORDELIA
Standard baddie. Strong. Claws. Teeth.
Oh, but this one's made of bones.
FRED
Eew.
CORDELIA
Yeah.
They soak in the image of the demon in all of it's grossness.
But Angel's not focused on that.
ANGEL
That's interesting. But I meant, did
the guy mention anything about paying?
FADE TO BLACK:
END OF ACT ONE
------------------------------------------------------------------------------------------------------
17.
ACT TWO
FADE IN:
INT. LINWOOD'S OFFICE - DAY
LINWOOD is sitting at his desk, going over some files. There's
a KNOCK on the door. He looks up.
LINWOOD
(calling out)
What?
The door opens. Lilah walks in, closing the door behind her.
LILAH
I'm sorry to bother you, sir, but
your secretary wasn't at her desk.
LINWOOD
I know. I had her "fired" yesterday.
What do you want?
LILAH
Well, I was wondering if you might
know where my Angel file was. I went
to get it, and it seems to be missing.
LINWOOD
Yes, I know where it is.
She waits for him to tell her, but it's obviously not going
to happen.
LILAH
Would it be possible for me to see
it?
LINWOOD
No.
(beat)
This is why we urged you to use the
company database to store the
information. But you have to do
everything the old fashioned way.
LILAH
Yes, sir. And I regret that.
LINWOOD
The file will be put back in the
file room when we're through with
it. Until then, sit tight and try to
look pretty.
She forces a smile at him.
------------------------------------------------------------------------------------------------------
18.
LILAH
I'll try, sir.
She starts to walk out, but stops herself.
LILAH (CONT'D)
Oh, before I forget.
She walks back to his desk and reaches into her pocket.
LILAH (CONT'D)
This note was on your door.
She pulls her hand out of her pocket, but it's not a note
that she's holding. It's a handful of a pink powder. Before
he can notice, she leans over and blows it in his face. A
PINK CLOUD surrounds him. He doesn't move an inch. He can't.
The cloud has frozen him.
Lilah SNAPS her fingers in front of him a few times, just to
make sure. When she's satisfied that he's out of it, she
grins.
LILAH (CONT'D)
Who's looking pretty now?
She walks around the desk and starts looking through his
drawers... the ones on his desk, that is.
LILAH (CONT'D)
I hope you don't mind me going through
your things. I'm fully aware that I
can be a little nosey sometimes.
It's an issue that I'm working on.
She comes across a locked drawer. She stands back, trying to
figure out how to get into it. She knows what she must do,
but she doesn't like it.
LILAH (CONT'D)
Crap.
And so she starts going through his pockets. It disgusts
her.
LILAH (CONT'D)
I bet you're enjoying this, you
bastard.
Finally, she finds his keys. She searches for the right one
until she finds it. She uses it and unlocks the drawer. She
searches through it. But there's nothing in there except his
collection of family photos. Him at a barbeque. Him at
Christmas, with family and friends. Having a great time.
Stuff like that
Lilah throws the photos back into the drawer and closes it.
------------------------------------------------------------------------------------------------------
19.
LILAH (CONT'D)
Sick freak.
She slams the drawer shut and locks it. She is about to put
the keys back in his pocket, but she can't bring herself to
do it.
LILAH (CONT'D)
Don't you wish.
She tosses them on the floor, making it look like they slipped
out of his pocket.
She looks around the office. Annoyed that she can't find
anything. She sighs and walks out of the room, uttering one
word before the door closes.
LILAH (CONT'D)
Solvo.
A few seconds after the door closes, he PINK CLOUD vanishes.
Linwood looks around his office, and goes back to work.
Unaware that anything has happened.
INT. WOLFRAM AND HART - HALLWAY - DAY
Lilah walks down the hall, thinking. Plotting. She gets an
idea.
INT. WOLFRAM AND HART - SECURITY ROOM - DAY
The SECURITY GUARD in the room is keeping a careful eye on
the monitors.
In the back of the room, the SHAMAN sits, not moving. Not
doing anything.
The door opens. Lilah walks in holding a bag. The security
guard look back and sees her there. When he sees her, he is
as much scared as he is attracted to her.
SECURITY GUARD
Miss Morgan. What can I do for you?
LILAH
The question isn't what you can do
for me, but what I can do for you.
SECURITY GUARD
(gulp)
Hmm?
She walks toward him in an almost seductive manner.
LILAH
Y'know, I've always thought that the
security guards in this building
were under appreciated.
------------------------------------------------------------------------------------------------------
20.
SECURITY GUARD
We are?
LILAH
Yes.
She's close to him now. Making him more nervous.
LILAH (CONT'D)
And I want to do something about
that. I want to show you just how
appreciated you really are.
He can't bring himself to speak. He's not sure if he should
be turned on, or scared out of his mind.
LILAH (CONT'D)
So, what do you say? Do you like it
hot and spicy, or basic and sweet?
SECURITY GUARD
(confused)
I--I'm sorry?
She holds up the bag.
LILAH
Your lunch.
(beat)
Hot and spicy, or regular? The regular
comes with a brownie.
The security guard is relieved.
SECURITY GUARD
Oh. Um... I like it hot.
She smiles at him suggestively.
LILAH
Somehow, I thought you might.
(beat)
Are you the only one here?
She looks back at the Shaman.
LILAH (CONT'D)
I mean, besides the living statue
back there?
SECURITY GUARD
The others are on the ninth floor.
Someone set off the fire alarm.
She looks as genuinely upset as she can manage.
------------------------------------------------------------------------------------------------------
21.
LILAH
Who would do such a thing? In this
day and age, pulling such an awful
prank.
She pulls a sandwich out of the bag, dropping a ketchup packet
"by mistake".
LILAH (CONT'D)
I can be such a klutz.
(beat)
Would you mind? I'm in heels.
He smiles and bends down to pick it up. While he's down there,
she catches his attention with some fancy leg action.
While he's distracted, she looks around the room for
something. Keys. A big paper that says "Map to the 13th
floor". Anything. When he gets back up, she puts her attention
back on him.
LILAH (CONT'D)
I bet you know all of the secrets in
this building, don't you?
SECURITY GUARD
Um... Most of them, I guess.
LILAH
All those cameras. I bet you even
have tabs on all of the... y'know,
less public places.
SECURITY GUARD
Oh. Yeah. I keep my eye on all of
that.
(beat)
I caught a guy trying to sneak into
the white room once.
He stops himself. Did he say too much?
SECURITY GUARD (CONT'D)
I mean.
(beat)
You did know about the white room,
right?
LILAH
Yeah. I've been there.
(beat)
They did a hell of a job getting the
furniture to match the rug. Takes
talent to decorate like that.
He smiles at her joke. Then serously begins to hope it was a
joke that he was meant to smile at.
------------------------------------------------------------------------------------------------------
22.
LILAH (CONT'D)
I'm just glad that we have someone
in this building who knows what he's
doing. I don't even want to imagine
what would happen if someone were to
try to get into one of those secure
rooms.
(beat)
The vault. The white room.
(beat)
The thirteenth floor.
She pauses for a moment to see his reaction.
SECURITY GUARD
Thirteenth floor?
She wonders if she's said too much.
SECURITY GUARD (CONT'D)
You know about that?
She is relieved, but hides it.
LILAH
Yeah. I know all about it. I know a
lot of the secrets around here.
(beat)
I've never been there though.
SECURITY GUARD
(bragging)
I've been there.
LILAH
Really? What's it like?
SECURITY GUARD
It's not so different from the rest
of the building, really.
LILAH
Wow. I have to say, I'm impressed. I
wasn't even sure that you'd know how
to get in there. It's such a big
secret and all.
He unknowingly puts his hand on a set of keys that are
attached to his belt. She notes this subtle clue.
SECURITY GUARD
Like I said. I know most of the
secrets in this place.
He takes a big bite of his sandwhich. she looks at her watch.
------------------------------------------------------------------------------------------------------
23.
LILAH
Well, I shouldn't hold you up any
longer. I wouldn't want to keep you.
She starts to walk out of the room.
SECURITY GUARD
But, aren't you gonna eat too?
LILAH
I'm on a diet.
And with that, she's gone.
INT. WOLFRAM AND HART - HALLWAY OUTSIDE SECURITY OFFICE -
DAY
We see the door to the security office. It's closed. Nothing
special.
A few moments pass without anything happening. But then, the
door bursts open, and the security guard runs out.
He runs down the hall, into another door. The bathroom.
We once again see nothing special happening for the longest
time. But then, Lilah walks out of the bathroom. Smiling
because she got what she wants. But also, repulsed by what
she just witnessed.
INT. WOLFRAM AND HART - LOBBY - NIGHT
It's after normal working hours. The place is dark, but there
are still a few lights on.
Lilah walks into the building. The NIGHT WATCHMAN sitting
behind the desk stands when he sees her.
NIGHT WATCHMAN
Ms. Morgan. I wasn't expecting to
see you here tonight.
She keeps walking, not missing a beat.
LILAH
You know me and later hours.
NIGHT WATCHMAN
Yeah, it's always the story, ain't
it? What do they have you raising
tonight?
LILAH
The only think I'm raising tonight
is hell.
And by now she's out of conversation range. The night watchman
sits back down, bored. Taking her literally though.
------------------------------------------------------------------------------------------------------
24.
NIGHT WATCHMAN
Oh. Just the same old stuff.
INT. WOLFRAM AND HART - ELEVATOR - NIGHT
Lilah gets into the elevator and the doors close. She looks
at the control panel as she pulls an oddly shaped key out of
her pocket. A copy of one that the security guard had. She's
looking for a place to stick the key, but she can't seem to
find anywhere that it would fit. There are, of course, other
key holes. For normal elevator functions, but no oddly shaped
holes.
After a minute of thinking, an idea hits her. It's so stupid
that she has to roll her eyes though.
LILAH
Oh, please.
Now she sticks her thumb out, looking around for something.
Then she gets an idea. She sticks her thumb behind her ear
and presses it into the back of her earring, breaking the
skin. The pain doesn't bother her at all.
She looks at her thumb to make sure that it's bleeding. And
seeing that it is, she smears the blood over a large, empty
area of the control panel.
A KEY HOLE APPEARS in the control panel.
LILAH (CONT'D)
Could they get more obvious with
these things?
She sticks her key into the hole and gives it a twist. He
whole CONTROL PANEL BEGINS TO GLOW. And the elevator begins
to move.
She looks up at the numbers above the door as it counts off
the floors that it passes.
2...3...4...5...6...7...8...9...10...11..12...DING!
It doesn't go past twelve, because right after 12 is, of
course 14 on the floor counter (since office buldings skip
number 13).
A moment later, the doors open. We don't see the floor itself,
but a RED GLOW shines on Lilah. She's intrigued.
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Angel and Gunn are grabbing weapons out of the cabinet. Cordy
and Fred are standing near them, watching the men get ready
for battle.
CORDELIA
And you're sure I can't come?
------------------------------------------------------------------------------------------------------
25.
ANGEL
It won't take that long.
GUNN
What he means is, we don't need you
slowing us down.
CORDELIA
Hey! I can fight with the best of
them.
FRED
Plus, she has the glow.
CORDELIA
The glow. That's right. So really,
I'd be handier to have around than
you.
ANGEL
I think what Gunn meant was that you
could kill the demon in about three
seconds and we'd be left standing
there, looking weak and pathetic.
CORDELIA
I figured.
(beat)
I'd be pressing the issue more if I
wasn't just being polite by asking
if I could go. I really like the
system we have of me having visions
and you two going off to kill the
demons while I get to watch Dark
Angel reruns on Fox.
FRED
(breaking bad news)
The show was canceled, y'know?
CORDELIA
What? I hate those stupid networks!
They always cancel a show just as I
start to like it.
FRED
There's a campaign going on to...
GUNN
Um, ladies?
FRED
Hmm?
GUNN
We're heading out, so could you put
off the tv chat and give me some
love before I march off to my death?
------------------------------------------------------------------------------------------------------
26.
ANGEL
I think you're being a little dramatic
there.
Gunn goes to Fred and puts an arm around her.
GUNN
Just trying to set the mood.
He kisses her. Cordelia looks back at Angel, awkwardly.
GUNN (CONT'D)
Okay, let's go!
Him and Angel walk out of the hotel. Ready for battle. Angel
with a sword. Gunn with an ax. Cordelia turns to Fred,
concerned.
CORDELIA
I'm worried.
FRED
I'm sure it'll turn out okay.
CORDELIA
No, I was talking about Dark Angel.
FRED
Yeah, me too.
(beat)
There has to be a network somewhere
that'll take it.
CORDELIA
I can only imagine what they'll
replace it with.
INT. WOLFRAM AND HART - THIRTEENTH FLOOR - NIGHT
Lilah walks out of the elevator. The lights overhead have
all been replaced with red bulbs. Otherwise, it looks like
the rest of the building.
LILAH
I have to say, I'm a little
disappointed. I was expecting torches,
and cave walls. This is just... the
thirteenth floor.
VOICES can be heard from up ahead. Lilah looks for a place
to hide. She ducks into one of the offices. After she's gone
and the door has closed behind her, TWO HOODED FIGURES walk
toward the elevator.
HOODED FIGURE
I just couldn't believe it, y'know?
It was like my entire life suddenly
made no sense.
------------------------------------------------------------------------------------------------------
27.
INT. WOLFRAM AND HART - THIRTEENTH FLOOR - OFFICE - NIGHT
Lilah has her ear to the door, listening. When she's sure
nobody's coming, she turns around and looks at the office.
It's a pretty nice one. Decorated in old furniture, which
gives it a strange feel. It's even got a view of LA. She
doesn't even want to think about how that happened.
She walks to the desk and flips through some papers that are
laying on it. Nothing interesting there.
She turns around. There's an old file cabinet behind her.
She goes to it, and tries to open the drawer marked "A - J",
but it's locked. She SIGHS.
LILAH
Why do they even bother?
She takes out her Wolfram and Hart ID badge and slides it
into the cabinet, trying to get the drawer open. It's old,
so it's easy to get into.
She opens the drawer and flips through the files. She pulls
out her file on Angel and looks at it. Nothing out place in
it at all.
She looks back into the drawer and sees another file marked,
"DUCO PROJECT". But it's not under "D" where it should be.
It's right next to where the Angel file was. She pulls it
out.
She brings it back to the desk and opens it. Inside, all of
the papers have strange writing on them. No english, just
weird symbols. Another language.
She can't make heads or tails of anything on the papers
themselves, but as she flips through them, she finds a post-
it stuck in there. The one word that she can manage to make
out in the whole file is written on that little piece of
sticky paper:
"CONNER"
Lilah is officially interested in these papers.
EXT. ALLEY - NIGHT
It's very dark. Only hints of light manage to sneak into the
area from the street ahead.
The business man from Cordelia's vision walks down the alley.
Dressed exactly like before. Carrying a briefcase. He's not
thrilled with the idea of being in the alley, so he tries to
get to the other side as fast as possible.
There's a NOISE behind him. The sound of discarded paper
being stepped on.
------------------------------------------------------------------------------------------------------
28.
The man stops walking and turns around. Looks to see if
something is there. But he sees nothing. He continues walking.
Another NOISE. This time, from above. A fire escape being
walked on by something big.
The man looks up. Sees nothing. But he's no fool. He starts
to walk faster. The street is getting closer. He just needs
a few more seconds to make it out of there.
Another NOISE from behind him. Footsteps.
He swallows hard. Stops walking, and turns around slowly.
REVEAL Angel and Gunn standing behind the man.
ANGEL
Hi.
The man isn't exactly put at ease by the two men carrying
big weapons.
BUSINESS MAN
Wh--What do you want?
ANGEL
We're here to help you.
GUNN
Just a couple of friendly neighborhood
fighter-men.
Gunn smiles at his line, but the other two seem to be out of
the loop.
GUNN (CONT'D)
Would it kill you to watch a movie
every once in a while?
BUSINESS MAN
What do you mean, "help"?
As he says that, a BONE DEMON drops from above right behind
the man. It's huge, and made up of what looks like human
bones. The business man jumps.
GUNN
Does that clear up your question?
The demon hits the man, sending him flying into one of the
walls. Angel and Gunn jump into action. Angel swings at the
demon, but the demon avoids him. It hits Angel hard, sending
him to the ground.
Gunn tries to pick up the slack. He goes after the demon
himself, swinging his ax. When he hits the demon, the ax
gets stuck, but does little damage. Gunn backs off, trying
to think of a better approach.
------------------------------------------------------------------------------------------------------
29.
Angel gets up off the ground and grabs his sword. He goes
back after the demon. The demon takes a few swings at him,
but Angel manages to avoid them.
Gunn rushes back in, and grabs the handle of his ax. He pulls
hard, and finally frees it.
The business man gets up as soon as he finds a chance. When
the path is clear of all fighters, the man runs off down the
alley.
The demon smacks Angel down again. Gunn once again takes a
swing. The demon avoids him, and then takes a swing of it's
own. It hits Gunn hard. Gunn flying backwards and hitting
the ground hard.
As Angel tries to get to his feet, he looks back to see if
Gunn is okay. But he's not. Gunn isn't moving at all, and
there is blood on the ground under his head.
ANGEL
Gunn?
Angel's concerned, but he can't go to Gunn yet. He turns
around to attack the demon. But when he does, the demon is
gone.
Angel goes to Gunn and feels for a pulse. He has one. Angel
looks in the direction that the man ran off in. He should
follow the demon to make sure the man is safe. But he doesn't
want to leave Gunn.
Finally, he decides. He grabs Gunn's ax, stands up and starts
walking down the alley. He pulls his cell phone out of his
pocket and dials three numbers. He puts the phone to his
ear.
ANGEL (CONT'D)
(beat)
I need an ambulance. There's a man
in an alley. I think he was mugged
or something.
As he walks, he tosses the ax into a dumpster.
EXT. STREET - NIGHT
There aren't any people around. It's late. Angel walks down
the street. Angry. Determined.
He stops and takes a look around. Smells the air. He's onto
something.
He walks down the street a little and walks around a car.
There, he finds the business man on the ground, dead. Blood
everywhere.
------------------------------------------------------------------------------------------------------
30.
He looks around for the demon. On the street in front of
him, there is a bloody demon footprint. Angel's pissed now.
He VAMPS out and walks coolly down the street in a Michael
Myers kind of way. The way that says that he knows he will
find his target and kill them good, but they don't need to
rush it.
ANGLE: THE BUSINESS MAN
Laying on the ground still. His briefcase is next to him.
PUSH IN on the briefcase. We can't see much of what is inside.
But what we can see is a Wolfram and Hart ID card with this
guy's picture on it.
FADE TO BLACK:
END OF ACT TWO
------------------------------------------------------------------------------------------------------
31.
ACT THREE
FADE IN:
INT. WOLFRAM AND HART - THIRTEENTH FLOOR - NIGHT
She walks down the hall, to the elevator. She gets into it.
INT. WOLFRAM AND HART - ELEVATOR - CONTINUOUS - NIGHT
She hits the button for the floor that her office is on.
We'll say, 18.
The elevator begins to move.
INT. WOLFRAM AND HART - HALLWAY - DAY
The elevator doors open, and Lilah gets out. She starts to
walk down the hall, but stops. She looks around. Her face
drops.
REVEAL that the entire floor is empty. Not just of people,
but of desks, file cabinets, chairs... everything that makes
it an office. It is totally empty.
INT. WOLFRAM AND HART - LOBBY - NIGHT
Lilah runs through the lobby, which is also empty. All
"Wolfram And Hart" signs are gone. There is no night watchman.
There is nothing.
She runs outside.
EXT. WOLFRAM AND HART BUILDING - DAY
She rushes to the front of the building and looks around.
There is no sign for Wolfram And Hart. There are no lights
on inside. There is no sign that Wolfram And Hart ever
existed.
LILAH
Oh, God.
INT. EMERGENCY ROOM - NIGHT
Cordelia and Fred rush to the desk where a CLERK is on the
phone. Fred is too panicked to do the talking.
CORDELIA
(to clerk)
Excuse me.
The clerk holds up a finger, telling them to wait.
CLERK
(into phone)
We need him down here, now.
------------------------------------------------------------------------------------------------------
32.
CORDELIA
We're looking for...
But she's cut off with another finger. The clerk turns away
from her.
Cordelia looks at Fred, angry. She looks around and sees a
MALE DOCTOR walking by. They go to him.
CORDELIA (CONT'D)
Doctor?
He turns and sees them.
DOCTOR
Do you need help?
CORDELIA
We're looking for a friend of ours
who was brought in here.
FRED
Charles Gunn.
DOCTOR
Hold on a sec.
The doctor walks behind the counter, to a marker board that
has all of the doctor/patient information on it. If you watch
ER, you know what I mean. He scans the board and finds Gunn's
name.
DOCTOR (CONT'D)
Here it is. Head trauma.
(beat)
Follow me.
The doctor leads them down the hall, and into a room.
INT. EMERGENCY ROOM - ROOM - CONTINUOUS - NIGHT
The doctor leads them in. They find Gunn, asleep, on a bed.
An i.v. in his arm. A bandage on his head. The sight hits
Fred hard. Cordelia puts an arm around her.
CORDELIA
(to doctor)
How is he?
The doctor finds a chart on the table next to Gunn and looks
it over.
DOCTOR
He has a concussion, and had some
stitches put in, but he should be
okay. We'll admit him for the night,
just to be safe, but he should be
set to go home tomorrow.
------------------------------------------------------------------------------------------------------
33.
CORDELIA
Thank you.
The doctor nods and walks out of the room. Fred walks to
Gunn's side. She takes his hand. Cordelia stands there,
looking at both of them. Not liking it at all.
EXT. PARKING LOT - NIGHT
Angel walks through the parking lot. In human face. Determined
to find the demon. The lot is full of cars, but no people.
He stops. Looks around. Smells the air.
Then, out of nowhere, the demon silently soars through the
air (not flying, more like a powerful jump) from behind, and
is about to land on Angel, but Angel is ready. Without even
turning around to see the demon, Angel reaches over his head,
grabs the demon, and slams it to the ground.
The demon jumps back to it's feet. Angel prepares to fight.
They stare each other down. Then the demon speaks with a
deep, threatening voice.
DEMON
That was a nice move.
ANGEL
You made me angry.
DEMON
And soon, I'll make you dust.
ANGEL
Is that what you think?
DEMON
I think you've betrayed your kind,
and deserve to die for that.
ANGEL
I never was much of a follower.
There's a long pause as they continue to stare at each other.
ANGEL (CONT'D)
So, do we fight now, or are we just
gonna look at each other all night?
The demon lunges at Angel. Angel grabs him, and throws him
across the parking lot. The demon lands on a car, smashing
it.
The demon is back on it's feet quickly, and is charging at
Angel.
------------------------------------------------------------------------------------------------------
34.
INT. EMERGENCY ROOM - ROOM - NIGHT
Fred is still sitting at Gunn's side. Holding his hand.
Watching him sleep.
Cordelia walks through the door, holding two cups of coffee.
She hands one to Fred.
CORDELIA
Here.
Fred sips it. Not taking her eyes off of Gunn.
FRED
Thanks.
CORDELIA
How are you holding up?
Fred shrugs her shoulders.
CORDELIA (CONT'D)
It has to be hard. It's hard for me,
and I'm just a friend.
FRED
I keep looking at him like this, and
no matter how long I look, I can't
adjust to the sight. It's like it's
not really happening.
CORDELIA
I've been in a few situations like
that.
FRED
It hurts.
CORDELIA
Yeah.
FRED
It's too much, I think.
(beat)
I keep watching him go out to fight
demons. Or watch him fight when I'm
there. And the whole time, it's like
I'm holding my breath.
Fred looks at Cordelia. Away from Gunn.
FRED (CONT'D)
We've been pretty lucky, I think. I
mean, all of this fighting. Putting
our lives on the line, and all of us
are still here.
------------------------------------------------------------------------------------------------------
35.
Cordelia looks down. She wants to tell Fred that all of them
aren't there, but she doesn't want to interrupt her.
FRED (CONT'D)
But one of these days, that could
change. In one minute, we can go
from a happy group, to crying. And
what can we do about it? What can we
do to stop it?
CORDELIA
We can keep fighting. That's all we
really can do. Because if we don't,
then we don't stand a chance anyway.
FRED
I know that. But it's hard. Seeing
the person you love laying in a
hospital room with bandages and
strange liquids dripping into his
arm.
(beat)
I know that the fight is worth it.
But how do we stop feeling so
vulnerable?
CORDELIA
I can't answer that.
FRED
It feels wrong to feel this way. To
feel bad because we have to keep
fighting to save people. I feel like
I should be feeling better because
we're doing good.
CORDELIA
Being a good guy never meant that we
had to like it.
FRED
You seem to.
CORDELIA
I enjoy helping people. Fighting for
something good in the world. But
sometimes, I do wish that I could
just go back to being a normal person.
Go back in time five years, and be a
cheerleader in high school who didn't
have to worry about anything but
boys and makeup.
FRED
Really? Five years? You seem so much
older than that.
(MORE)
------------------------------------------------------------------------------------------------------
36.
FRED (CONT'D)
(beat)
I mean, in a wise way. Not in an old
looking kind of way.
CORDELIA
I had to grow up fast.
FRED
So, if you had it to do all over
again?
CORDELIA
I guess...
(thinks)
If I had to do it all over again, I
would. It's been hard, but knowing
that I've actually helped the world
is worth it.
Gunn's hand moves. Fred looks at him just in time to see his
eyes open. He's still groggy, but he sees her and smiles.
GUNN
Hey.
FRED
(smiles)
Hi.
GUNN
So, I'm guessing I lost this fight?
Fred looks at Cordelia, then back to Gunn.
FRED
You'll win the next one.
GUNN
Is Angel okay?
FRED
Yeah. I think so.
GUNN
What does that mean?
CORDELIA
Angel went after the demon by himself.
GUNN
Alone?
Gunn tries to sit up, but he becomes dizzy and has to lay
back down.
------------------------------------------------------------------------------------------------------
37.
GUNN (CONT'D)
This thing was too big for one guy
to handle.
CORDELIA
Don't worry. Angel's doing that thing
he does where he gets pissed and
goes all Batman-y.
(looks at Fred)
He'll be fine. Trust me. He's like
the animated one, not the crappy
movie version.
Fred smiles at Cordelia's attempt at comfort.
EXT. PARKING LOT - NIGHT
Angel flies through the air, and crashes into a car. He hits
the ground, bloody. He's been beaten to a pulp, but he's not
giving up.
All around the lot, cars are smashed. And car parts are
scattered all around. Including a hub cap on the ground near
Angel.
The demon walks toward Angel.
DEMON
Give up. Accept your defeat.
ANGEL
There are a lot of things in this
world that I will accept. Credit
cards. The fact that the Backstreet
Boys are popular, which took some
time for me, but I got there.
(beat)
I don't accept defeat so easily.
DEMON
Then you will die in denial.
Angel grabs the hub cap and throws it frisbee style at the
demon. It hits the demon in the head, slowing the demon down
long enough for Angel to get to his feet.
Angel throws a punch at the demon. It doesn't have much
impact. The demon throws one of his own, but Angel catches
his arm and twists it. The demon is thrown to the ground.
Angel uses all of his strength to then BREAK the demon's
arm.
The demon flips back, kicking Angel out of the way, and
getting to his feet. It's angry now.
It walks to one of the smaller cars and PICKS IT UP.
Angel's eyes widen when he sees this.
------------------------------------------------------------------------------------------------------
38.
ANGEL
Oh.
(beat)
Crap.
EXT. STREET - NIGHT
Lilah is walking down the street. Confused. Still holding
the files in her hands. She has no idea what is going on.
She stops. Tries to gather herself. To think. There must be
some way to explain what's happened. She looks at the files.
There must be answers in them. But, of course, she can't
read them. She closes the files and starts walking again.
She's going to figure out what happened.
INT. WESLEY'S APARTMENT - NIGHT
Wesley is sitting on the couch, reading a book. For the first
time in a long time, he is clean shaven, and wearing clean
clothes. His world doesn't look so bad anymore.
There's a KNOCK on the door. He looks up. Looks at his watch.
ANOTHER KNOCK.
He gets up, puts the book down and goes to the door. He opens
it and sees Lilah there. It's not who he was hoping for.
WESLEY
What do you want?
She looks at his appearance.
LILAH
Look at you. Cleaned up and
everything.
WESLEY
I decided that the trashy look didn't
fit me as well as it does you.
LILAH
Ouch. Now, that hurt.
She begins to walk in, but he stops her.
WESLEY
I didn't invite you in.
LILAH
I'm not a vampire. I don't need to
be invited.
She pushes past him, and takes a seat on the couch. Looks at
his book.
------------------------------------------------------------------------------------------------------
39.
LILAH (CONT'D)
I see you're in the mood for some
late-night reading.
WESLEY
Yes. Feel free to leave and let me
get back to my book.
She sets the files down on the table.
LILAH
I thought I might give you something
more interesting to read.
WESLEY
I'm not doing anything for you. You'll
have to find another person for the
job.
LILAH
I really think you might want to
take a look at this.
She opens the file that is written in the strange language.
Wesley sees the writing, and can't hide the fact that it
interests him.
LILAH (CONT'D)
See? I knew you'd be interested.
WESLEY
Where did you get that?
LILAH
Where do you think I got it?
Wesley walks closer to the table, and looks at the file,
still trying to stay back.
WESLEY
Wolfram and Hart?
LILAH
Wow, you really are smart. Do you
know what it is?
Wesley walk out of the room, to his bedroom. Lilah waits.
A few seconds later, Wesley comes back, carrying a very old
book. On the cover is written "TEHOSH BIRU".
LILAH (CONT'D)
What's that?
Wesley ignores her and sits down in a chair, looking through
the book, and at the file at the same time. Trying to
translate. Lilah looks at the cover of the book.
------------------------------------------------------------------------------------------------------
40.
LILAH (CONT'D)
Tehosh Biru?
WESLEY
Please shut up.
Wesley keeps reading. After a few moments, he stops. He
doesn't like what he just read.
WESLEY (CONT'D)
Oh, dear God.
FADE TO BLACK:
END OF ACT THREE
------------------------------------------------------------------------------------------------------
41.
ACT FOUR
FADE IN:
EXT. PARKING LOT - NIGHT
There are cars strewn about now. On their sides. Upside down.
Some on fire. The demon is standing next to an old station
wagon, with a surf board on top of it.
It easily flips the car over, in Angel's direction. Angel
manages to avoid the bulk of the car, but the surf board on
top splinters when it hits the ground, and a piece of it
pierces Angel through the chest. He looks down at it.
ANGEL
I guess I should be grateful that
those aren't made of wood anymore.
He pulls it out, and gets back to his feet. He's bloody and
weak now. It's obvious that he doesn't have much fight left
in him.
The demon, on the other hand, is going strong. It walks toward
Angel, pushing another car out of his way.
DEMON
Now you die.
ANGEL
Yeah. You keep saying that.
Angel looks around for something to use as a weapon as the
demon gets closer and closer. Next to him, a fallen sign
rests on the ground. A metal post, with a "One Way" sign
attached.
The demon picks up a motorcycle and is raises it over his
head. Angel sees his chance.
He grabs the sign and throws it like a spear at the gas tank
of the motorcycle. It pierces it, pouring gas all over the
demon and the ground around him. The demon looks up at the
pouring gas. Then back to Angel.
DEMON
You're aim's a little off.
Angel grins.
ANGEL
I don't know. I'm pretty pleased
with how it turned out.
(beat)
G'night.
Angel turns and starts to walk away calmly. The demon GROWLS
and prepares to throw the motorcycle at him.
------------------------------------------------------------------------------------------------------
42.
But there's not time.
The gas on the ground hits one of the fires from the burning
cars and lights on fire. The fire leads back to the demon,
swallowing him. It moves up the stream of gas, to the
motorcycle, and EXPLODES. No more demon.
CAR ALARMS all over the parking lot go off. Angel never turns
back.
INT. WESLEY'S APARTMENT - NIGHT
Wesley is still reading through his book and flipping through
the files. Lilah is waiting impatiently in her chair.
LILAH
Are you planning on filling me in?
WESLEY
Not unless I have to.
LILAH
Great.
She stands up and walks to one of the other tables where
there is a bottle of whiskey and a couple of glasses. She
pours herself one.
WESLEY
(to himself)
This can't be.
LILAH
What?
WESLEY
The Biru.
LILAH
(sarcastic)
Oh. The Biru. In that case, I totally
agree.
Wesley looks up at her. He doesn't really want to fill her
in, but it's better than listening to her sarcasm when he's
trying to do something serious.
WESLEY
These papers you brought me. They're
written in a language that is
thousands of years old. Nobody, human
or demon, has spoken in in over six
thousand years.
LILAH
What, so is it a collectable or
something?
------------------------------------------------------------------------------------------------------
43.
WESLEY
You don't understand, do you? This
language died off because the demons
who spoke it, the Biru, were no longer
supposed to exist.
LILAH
Wolfram and Hart is... was full of
old papers. What makes this so
special?
WESLEY
The Biru were not very friendly
demons.
LILAH
Okay. So what do the papers say about
them?
Wesley looks down at the papers and his open book.
WESLEY
I'm not sure.
(beat)
The book I have has only a few samples
of the language. Only enough for me
to confirm that it is the language
of the Biru, really.
LILAH
So you don't even know what it says?
Can you translate it?
WESLEY
To translate all of these papers
would take a while. I'd have to use
some of my old connections to gain
access to the books I'd need.
LILAH
So, do it. If you can get to them,
then why not do it?
Wesley lays some of the demon papers out on his table. The
first ten pages or so. He studies them. Thinks.
WESLEY
There might be a way to do this
faster.
Wesley goes to one of his bookcases and pulls a book from
it. It's old. He hands it to Lilah.
WESLEY (CONT'D)
Take this. In it, you'll find a
translation spell that goes back
almost as long as the language we're
trying to translate. It's... powerful.
------------------------------------------------------------------------------------------------------
44.
LILAH
What do you want me to do with it?
WESLEY
Take it. You'll need four people for
the spell.
(beat)
I assume that you've done spells
before.
Lilah smiles back.
LILAH
I don't like to brag.
Wesley collects the papers he spread out on the table and
hands them to her.
WESLEY
Take these. Use the spell to translate
them.
LILAH
Where am I supposed to find three
other people?
Wesley looks back at the rest of the demon papers. The pile
that remains now begins with the page that has the "Conner"
post-it on it.
INT. ANGEL'S HOTEL - LOBBY - DAY
Angel is sitting alone. Drinking a cup of what looks like
coffee. He's waiting. Impatient. He checks his watch.
finally, the doors to the hotel open. Cordelia, Fred walk
in, their arms around Gunn to support him.
Angel stands up to greet them.
CORDELIA
Here we are. Home at last.
GUNN
You guys do know that I have my own
apartment, right?
FRED
Well... my home, at last.
Angel goes to help Gunn in. The girls let him take over the
job of supporting Gunn.
ANGEL
Are you okay?
------------------------------------------------------------------------------------------------------
45.
GUNN
I'm fine. Kinda dizzy, but it's okay.
Kinda like a rollercoaster without
the lines.
(beat)
Probably shouldn't have stopped off
for tacos on the way here though.
FRED
(guilty)
Sorry.
Angel puts Gunn down on the couch.
ANGEL
Do you need anything? Water?
GUNN
What's with the nurse act?
CORDELIA
He feels bad for abandoning you to
go chase down that bone demon.
GUNN
Don't worry about it, man. We're
fighting a war here.
ANGEL
I know, but still. I could have at
least left my jacket for you to put
your head on.
GUNN
That's true. Bald heads and asphalt
do not mix.
(beat)
So how did the demon hunt go?
Angel tries to look innocent.
ANGEL
There was a little damage done to a
few cars. But in the end, I won.
CORDELIA
A little damage? On the news, it
looked like a volcano errupted in
that parking lot.
ANGEL
But the point is, the demon's dead.
Good guys won again, right?
FRED
Right.
------------------------------------------------------------------------------------------------------
46.
GUNN
As long as I don't have to face that
thing ever again, I'm happy.
CORDELIA
Right. So all is well in the world,
and my goodness, could I have jinxed
us any more than I did right there?
FRED
I don't believe in all that jinx
stuff anyway. Then again, if you'd
asked my seven years ago if I believed
in hell dimensions, karaoke singing
demons, and psychic ex-cheerleaders,
I'd have probably said that I didn't
believe in them either.
ANGEL
What about vampires?
FRED
Oh, I believed in those.
(beat)
There was a phase in high school.
Cordelia smiles.
CORDELIA
Okay, so all we have to worry about
is going broke and tracking down
Angel's long lost, then found, then
lost again son.
(beat)
Who wants to play Scrabble?
LILAH (O.S.)
Count me in.
They all turn to see Lilah standing at the door holding the
files and the book that Wes gave her. She walks into the
room.
LILAH (CONT'D)
I don't actually wanna play. I was
just using that for my cool entrance.
ANGEL
What are you doing here?
LILAH
I thought I'd bring you a gift.
CORDELIA
Well, it doesn't look like you're
dead, so I don't see us being very
interested in what you have to give
us.
------------------------------------------------------------------------------------------------------
47.
LILAH
Trust me, you'll wanna see this.
She tosses Angel the file with the Biru papers in it. Angel
looks at the papers. Shrugs.
ANGEL
Is this supposed to mean something
to me?
LILAH
I don't suppose you've ever heard of
the Biru?
Angel's face drops.
ANGEL
This is Biru?
LILAH
Yup. Got it from the thirteenth floor
of Wolfram and Hart just before the
building went up for lease.
FRED
What?
LILAH
It's empty. Every desk, every file.
Gone without a trace.
CORDELIA
You expect us to believe this?
LILAH
I honestly don't care if you believe
me or not.
ANGEL
What's the book?
Lilah looks down at the book in her hands.
LILAH
It's a spell book. It can help
translate the papers.
GUNN
Why did you bring this all here?
LILAH
Because the spell requires four people
and I don't really know that many
people in this town anymore.
Angel grabs the book from Lilah.
------------------------------------------------------------------------------------------------------
48.
ANGEL
Thanks. Now, get out.
LILAH
Right. I'm gonna just abandon this?
ANGEL
You don't have a choice. We don't
need you. We have four people right
here.
LILAH
I'm not leaving.
CORDELIA
You say that as though it's an option.
LILAH
Look, I need to know what's on those
papers as much as you do. So let's
just translate them together and go
our separate ways.
ANGEL
Leave.
LILAH
If I leave, you'll never know what
the rest of the papers say.
ANGEL
Rest?
LILAH
I have more papers in a safe place.
If I don't find out what these say,
you don't find out what they say.
Angel doesn't like this. He looks at Cordelia. She shakes
her head. She doesn't want Angel to agree. But Angel doesn't
see a choice in the matter.
ANGEL
Fine. But when we know what these
papers say, you leave. And if I ever
see you again...
LILAH
I know. I know. We've been through
this a dozen times.
(beat)
Let's get chanting, shall we?
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Angel is still looking over the papers, not understanding
any of them. Cordelia is sitting in a chair, watching Lilah
like a hawk. Gunn is sitting on the sofa.
------------------------------------------------------------------------------------------------------
49.
Fred walks into the room, reading the spell book, and holding
some objects in her hand. Sage. A container of pig blood
from the refrigerator. Some candles.
FRED
(checking off items)
Twice blessed sage. Blood of the
innocent. Candles with names I can't
pronounce. And for some reason, I
don't even think it's strange that
we have all of this stuff.
She sets it all down on the counter.
FRED (CONT'D)
I think we have everything we need.
Cordy, can you help me set up?
CORDELIA
Sure.
Cordelia gets up, giving Lilah a look that could freeze a
fire as she walks to help Fred.
CORDELIA (CONT'D)
(to Fred)
What do we need to do?
Fred hands her the candles.
FRED
Put these in a circle and light them.
CORDELIA
'Kay.
Cordy takes them and goes to a clear area of the floor. Puts
them down in a circle. Pats her pockets, looking for a match.
CORDELIA (CONT'D)
Anyone got a light?
She looks at the others, but nobody has one. She sighs.
CORDELIA (CONT'D)
Fine.
She looks down at the candles. Her EYES BEGIN TO GLOW. And
POOF, the candles all light at the same time. Her EYES STOP
GLOWING.
GUNN
Now that's just handy.
Fred grabs the sage and the blood and walks to the circle of
candles. She puts the container down in the center of the
circle.
------------------------------------------------------------------------------------------------------
50.
She uses one of the candles to light the sage on fire, and
then puts that into the container of blood and mixes it a
little.
She checks the book again.
FRED
Okay, we're ready. Everyone who's
doing the spell, get in the circle.
Lilah, Cordy and Angel sit down. Angel is still holding onto
the papers.
FRED (CONT'D)
(reading from book)
Okay, Angel, put the papers next to
the blood, in the center.
Angel puts it down.
CORDELIA
(to Lilah)
If we don't get anything out of this,
we're not gonna be happy.
LILAH
I can't make any promises. I have no
clue what's in these papers.
(beat)
Now, the others... Well, let's just
say that those are more closely
related to Angel.
ANGEL
What does that mean?
LILAH
Think it over.
ANGEL
Conner?
Lilah smirks at him.
ANGEL (CONT'D)
Where are they?
LILAH
They're someplace safe. And if you're
a good little vampire, you'll get
the information they have when this
is over.
Angel won't have any of it. He grabs Lilah and pulls her
close to him.
ANGEL
Where are they?
------------------------------------------------------------------------------------------------------
51.
Lilah won't budge on the issue. Angel is pissed. He stands
up and starts to walk out.
ANGEL (CONT'D)
There aren't many places in this
city that you could put them. Cordy,
take over here. Do the spell.
(beat)
I'm going to find the other papers.
Angel walks out the doors. Cordelia looks around. Then to
Lilah.
CORDELIA
He's going to find them, y'know.
Lilah shrugs.
LILAH
Doesn't matter to me. I wasn't the
one who thought of leaving them there.
FRED
We need a forth person.
Gunn gets up.
GUNN
Right here.
FRED
Are you okay for this?
GUNN
It's sitting and chanting, right? I
think I can do that.
He sits down, with the others, completing the circle.
CORDELIA
Fred, let me do the spell. These
things can get risky and I've got
the demon thing going for me.
Fred hands her the book.
FRED
I was hoping you'd say that.
Cordy reads a little, then looks back up at the others.
CORDELIA
Are we ready?
They don't speak, but they are. Cordelia looks at Lilah.
CORDELIA (CONT'D)
Mess this up and I'll hurt you myself.
------------------------------------------------------------------------------------------------------
52.
INT. ANGEL'S HOTEL - LOBBY - MOMENTS LATER
They all sit in the circle. Cordelia looks at the book, and
reads from it.
CORDELIA
Everyone focus on the papers. And
keep saying this line.
(beat)
Masters of air. Keepers of sea. Make
these texts revealed to me.
They all focus.
GUNN/FRED/LILAH
(chanting)
Masters of air. Keepers of sea. Make
these texts revealed to me.
They keep repeating that line. Cordelia reads from the book.
CORDELIA
Spiritus. Mare. We summon you. Come
to us and let these pages be revealed.
Come to us. Reveal to us the secrets
that these pages hold. We summon
you. Come to us! Come to us!
There's a SLIGHT RUMBLING. The others keep chanting.
SMALL CRACKS APPEAR ALL OVER the hotel. In the walls. On the
floor. On the pillars. Everywhere. Cordelia watches this
happen. The others are still focused on the pages.
The WRITING ON THE PAGES BEGINS TO GLOW.
CORDELIA (CONT'D)
It's working.
From the small cracks all over the room, BLOOD DRIPS OUT.
The drops eventually FORM WORDS. In English. The words cover
the entire hotel.
They stop chanting. Look around. Gunn frowns.
GUNN
Please don't tell me that we're gonna
have to read all of this.
Then there's A BIG RUMBLE. The container of blood EXPLODES.
The BLOOD FORMS A VORTEX IN THE AIR.
ENERGY CRACKLES from it. The vortex surrounds them. Swallows
them. They are caught in it's WINDY PULL.
GUNN (CONT'D)
(yelling over wind)
Oh, sh...
------------------------------------------------------------------------------------------------------
53.
Before he can finish his word, the RUMBLE GROWS LOUDER,
DROWNING HIM OUT.
The writing all around them FLIES OFF OF THE WALLS, FLOORS,
AND PILLARS. The words fly through the air, turning into
BLUE ENERGY. It strikes them all from all directions.
They're struck. Caught in the wind. The loud ROAR it brings
with it. And now hit by this energy. Their heads are thrown
back by the force.
ANGLE: CORDELIA
Her EYES TURN BLUE with energy. Her hair, caught in the wind,
BEGINS TO GROW. In a flash, it passes shoulder length. The
ends, blond. The rest, her natural brown color. She SCREAMS.
And then she calmly holds her head up again. And OVER THE
WIND, we hear her voice as she speaks. Softly. Evenly. Not
herself.
CORDELIA
Over ten thousand years ago, a race
of powerful demons spread their chaos
across the planet.
FLASH TO:
EXT. DESERT - DAY
The heat ripples off the sand. The sun is blinding.
THREE DEMONS (big, red, powerful, scary looking things) walk
across the desert. Their EYES CRACKLE WITH ENERGY.
CORDELIA (V.O.)
They were called the Biru. The most
powerful demons to ever walk the
planet, their energy was so great
that they could destroy the entire
universe with a thought, and though
they delighted in ruling this realm,
they almost completed the task of
destroying it on several occasions.
Had it not been for the combined
power of other demons and sorcerers,
they would have succeeded.
EXT. DESERT CAMP - NIGHT
Fires burn all around. The Biru demons calmly walk through
the camp, causing FIRES TO ERRUPT from the ground with the
wave of their hands.
DEMONS and HUMANS of all shapes and sizes run in terror. The
Biru strike them all dead with BOLTS OF LIGHTNING from above.
THE GROUND OPENS BENEATH THE CAMP. It swallows it whole.
------------------------------------------------------------------------------------------------------
54.
CORDELIA (V.O.)
Time and again, their plots were
thwarted, by chance and twist of
fate. But their power remained, and
their anger built.
EXT. ATLANTIS - NIGHT
The buildings are impressive for their time, but not too
Disney. Shades of ancient Egypt.
GUNN (V.O.)
(also not himself)
The final attempt by the Biru to
destroy the universe was in the city
of Atlantis. The city was the hub of
supernatural energy at the time. The
most powerful of the five gateways
to hell.
The Biru stand in the center of the city. RED ENERGY SHOOTING
INTO THE AIR from their bodies. In the air, A VORTEX FORMS.
The VORTEX BEGINS TO CAUSE AMAZING WIND. Buildings CRUMBLE
and ARE PULLED INTO IT. PEOPLE scream in terror as they too
are pulled in.
LAVA SPEWS from the ground through firey cracks.
GUNN (V.O.) (CONT'D)
As they attempted to use their
energies this final time, the demons
of this land, so frightened by years
of Biru terror across the world,
pulled their own energies in an effort
to finally put an end to the Biru.
INT. ATLANTIAN CHAMBER - NIGHT
DEMONS make a circle around a fire. Chanting, but we CANNOT
HEAR THEM. THEIR BLUE ENERGIES SHOOT INTO THE FIRE.
EXT. ATLANTIS - NIGHT
The Biru continue the attempt to destroy the universe
continues. BUILDINGS ARE SUCKED INTO THE VORTEX.
BLUE ENERGY FORMS around the Biru. Not their own, but that
of the other demons.
GUNN (V.O.)
Though evil themselves, the demons
were scared of the power that the
Biru wielded. The will of the Biru
was what existed in the world.
(MORE)
------------------------------------------------------------------------------------------------------
55.
GUNN (V.O.) (CONT'D)
Though the thought of demons ruling
this realm had always been the goal,
the demons of the world did not expect
the outcome of the Biru rule. And
so, on this night, the demons decided
to do away with the Biru to the best
of their abilities.
The BIRU VANISH. Their VORTEX DESTABLIZES. The land beneath
it SHATTERS.
GUNN (V.O.) (CONT'D)
With the destruction of Atlantis,
the rule of the Biru ended. Though
not dead, the Biru had been cast out
of their bodies. Forced to exist
without the ability to fully channel
their powers.
EXT. COLONIAL AMERICAN STREET - 1789 - NIGHT
A WOMAN walks down the street. Alone. Tired. Dirty.
FRED (V.O.)
Without the ability to fully use
their own powers, they were forced
to use the power that they could
still access, and began to prey on
the vulnerable.
The woman grabs her head in pain, and falls to the ground,
screaming, though WE DO NOT HEAR IT.
INT. AUDITION ROOM - DAY
From the episode, "Parting Gifts". Cordelia is auditioning.
She throws her head back in pain.
FRED (V.O.)
Posing as the forces of good, and
calling themselves The Powers That
Be, they used those in search of
meaningful lives as a tool to get
their work done. Sending warriors
to kill the fighters of evil in the
world, in preparation of the day
when the Biru would reclaim their
flesh and complete their task. Final
revenge for the thousands of years
they have been forced to suffer.
INT. TUNNELS - NIGHT
From "Judgement". The woman cries over the body of her dead
demon protector. Killed by Angel.
------------------------------------------------------------------------------------------------------
56.
INT. SHOP - NIGHT
From "That Vision Thing". Angel battles the demon in an effort
to get the key.
EXT. WOLFRAM AND HART - DAY
An exterior, establishing shot of the building.
LILAH (V.O.)
Also known as Wolfram and Hart, the
Biru use this name as a distraction
from their true plans. Giving those
who believed they were fighting evil
an enemy to face, ensuring that they
would never question the Powers That
Be, and the orders that they were
given. They used this name as they
learned that they could now expand
their limited abilities, into other
demonic dimensions. To build a
sanctuary for themselves when their
plans have been executed, and the
human realm has been destroyed.
INT. CASTLE - RELICS ROOM - DAY
From "Through The Looking Glass". We see the WOLF, RAM and
HART books.
LILAH (V.O.)
When the end times come, they will
no longer need a distraction. For,
in the end, they would have used the
innocent in search of meaningful
lives as their tool to destroy the
army of good that could stop them
from accomplishing their ultimate
task. From using their vessel. That
which is known as...
FLASH TO:
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Back in the hotel as they do the spell.
ANGLE: LILAH
The spell breaks. The ENERGY VANISHES. The WIND ENDS. All is
normal again. Lilah's hair is all messed up. She can't believe
it ended there.
LILAH
Known as what?!
ANGLE: CORDELIA
------------------------------------------------------------------------------------------------------
57.
Normal eyes. But with the long hair still. In shock. Not
wanting to believe what was revealed.
CORDELIA
No.
(beat)
It's a lie. It has to be.
ANGLE: FRED
Looking at Cordelia. Fred's hair is also messed up like
Lilah's. She doesn't know what to say.
FRED
You're hair is long.
GUNN (O.S.)
I like it.
Fred looks at Gunn, gives him a questioning look.
ANGLE: CORDELIA
Also looks at Gunn. Still not able to speak, but looking at
Gunn oddly.
GUNN (O.S.) (CONT'D)
What?
ANGLE: GUNN
Sitting there with a huge 'fro.
GUNN (CONT'D)
What's wrong?
EXT. PARK - NIGHT
On a bench, CONNOR sleeps. All is silent. Calm.
And then it hits. He throws his head back in pain. A vision
is upon him.
FADE TO BLACK:
END OF SHOW