Immortal Sins, Part 2
Immortal Sins
(Pt. 1)
Part 2
(August 25, 2009)
Written by: Masquerade
Act Three
EXT. TRACY'S APARTMENT BUILDING - LATE EVENING
The front entrance is back to looking like nothing odd happened there a few hours before.
DISSOLVE TO - INSERT - A PIECE OF PAPER entitled
Los Angeles Academy of Art
Summer Registration Form
INT. THE KITCHEN - TRACY'S APARTMENT
Connor sits at the bar stool, filling out the form. Angel paces in the kitchen beyond, taking in the food processors, jars of pasta and dried beans, and a set of keys sitting on a plate on the counter.
ANGEL
Faith's concerned about you.
I'm concerned about you.
Connor continues writing for a moment, then looks up wearily.
CONNOR
Dad, look around.
(he gestures back towards the apartment)
This is the life you wanted for me.
I've got the girl, I'm applying to art school....
He returns to his registration form with a chuckle.
CONNOR
I have to go out tomorrow and get a suit
for a job interview I have later this week.
INT. LIVING ROOM
A robed Tracy steps up to the doorway that leads to the kitchen. She pauses there, listening.
INT. KITCHEN
Angel turns towards his son, looking troubled.
ANGEL
Yeah, those are things I want for you.
And Tracy's nice, I like her.
(he glances around uneasily)
But there's something...not right about this.
Connor is back to ignoring him. Angel lets him work for a moment, then slips a small vial from his coat pocket, unscrews it, and tips a few clear drops on his palm. He strides over to Connor.
ANGEL
Like the fact that hell's on its way to town,
and you're not lifting a finger to help.
Angel grabs his son's bare arm, startling him. Connor jerks his arm away, shooting his father a glare. Then his attention is drawn to the BRIEF GREENISH-BLUE STAIN on his skin where Angel touched him. Angel stares at it grimly. It FADES. Connor continues to stare for a few beats.
CONNOR
...What'd you do that for?
ANGEL
(with devastation)
I had to know.
Connor turns his attention back to his registration form with a pensive expression. He resumes writing. But a beat later, his head is up again.
CONNOR
What were you doing when you were my age?
ANGEL
(still distracted)
What?
CONNOR
What were you doing?
Angel frowns, taken aback. He pauses to give it some thought.
ANGEL
Twenty-one?
(a grudging frown)
I was...knocking back a pint. Or three.
Picking fights.
Dancing on table-tops with loose wenches
and finding other colossally uncreative ways to avoid
an honest day's work.
CONNOR
And before that?
Angel pauses a beat. His eyes drift as he scours his memories.
ANGEL
Before that?
(his frustration rises)
I don't know.... School, I guess.
When I wasn't playing hooky. But Connor--
CONNOR
(bitterly)
Well, you know how I spent my childhood.
Connor returns to his form. Angel sets his hands on the counter, gazing at his son with desperate love.
ANGEL
Connor, I'm not saying you don't deserve this.
You got a raw deal, and a lot of that...
...was my fault.
But that doesn't change who you are, who I am.
Connor reaches for the newsprint college catalog and opens it. He flips the pages. Angel goes silent for a moment.
INT. THE LIVING ROOM
Tracy is still listening.
ANGEL (O.S.)
Faith told me what happened to you
while I was away.
How you got kicked out of school, and my old apartment;
how the cops came after you again.
I'm sorry I wasn't here to help you.
INT. KITCHEN
Connor browses a catalog page. Angel hovers over him, hands on the counter.
ANGEL
But you have to ask yourself, Connor--
Why isn't whoever did that to you here right now--
(he rips the catalog away)
...taking all this away from you like they took
everything else you built for yourself?
Connor looks up in protest.
ANGEL
Why aren't the police here,
arresting you for what happened in
the sporting goods store?
(he gestures in the direction of the street)
Why is there not one, but at least two
demons outside this building as we speak,
keeping an eye on it but not making a move?
Connor's expression pinches into hesitation, but after a vexed moment, he snatches the catalog and slaps it back down. Angel watches him find his place again. He sighs and shakes his head.
ANGEL
You're right, Connor.
This is the kind of life I want for you.
But this is not the way I wanted you to have it.
(he gives the apartment the uneasy once over)
Someone dished this up for you,
and you're just shoveling it down along
with your girlfriend's cooking.
Connor throws him scowl, and returns to his catalog. With frustration, Angel fishes the vial out of his pocket again and sets it down on the counter firmly.
ANGEL
Connor, you know you're under some kind of spell, don't you?
That--that demon cabal that's after you--the Anunnaki--
this is what they do.
CONNOR
I didn't agree to anything.
ANGEL
Maybe not consciously,
but you know and I know part of you wanted this Connor
and didn't fight it when it happened.
Connor throws Angel a challenging look.
CONNOR
Maybe. But I don't see how that's any different
than you selling me to Wolfram and Hart
so I could have the Reillys.
Angel's balks in pained exasperation.
ANGEL
Connor....
It wasn't you I sold to them.
(silent beat)
It was me.
And I still belong to them, so they can't touch you.
I won't sit by and see you sold to something else.
Connor signs the registration form with a flourish.
CONNOR
And what exactly can you do about it if I have?
CLOSE-UP on Angel as he stares at his son.
EXT. PROFESSOR ROTH'S HOUSE - LATE EVENING
INT. OFFICE
Professor Roth casts a withering glance at the large, LEATHER-BOUND EMTIS MIRROR BOOK propped up on her desk.
MELANIE
Don't worry, the spell is complete.
CLOSE-UP, the EMTIS MIRROR - On the right-hand page, a LIVE IMAGE of Willis swims in its reflective, liquid-like material.
Professor Roth glares grumpily back at her desktop monitor. TIGHT SHOT of the screen - The Nyazian Scroll notes she took from Aiden are still there.
MELANIE
He had his "cosmic struggle" and made the wrong choice,
just like we planned.
He's not coming back from it.
(sour beat)
Furthermore, he doesn't want to.
She shifts her attention and an index finger to a thick volume open on her desk. EMTIS MIRROR - Electricity crackles and sparks near where Willis is sitting, startling him briefly. He furtively resumes his business-like demeanor.
WILLIS
His friends have figured out something's wrong by now.
MELANIE
(still not looking at him)
Yes, but even if they had time to do anything about it,
it's already too late.
She glances over. EMTIS MIRROR - Another spark. Willis pretends not to have seen it.
WILLIS
(enigmatically)
Much too late.
Willis' image fades, leaving Professor Roth's brows knit with puzzlement.
INT. WILLIS' TRACKING ROOM - REALM OF THE ANUNNAKI
The VAST ROOM is an empty husk of crushed monitors and collapsed lighting fixtures. Gray rock litters the floor and the tables. Equipment sparks and burns. The ground SHUDDERS, sending Willis teetering as he turns into the long center aisle and bolts towards the exit. PAN UP to the ceiling of rock above him. A LARGE CRACK has split it open, bringing in a BLINDING BRIGHTNESS from beyond.
EXT. THREE-STORY BRICK BUILDING - DAY (FLASHBACK)
SUPER LEGEND:
Philadelphia, 1918
INT. DOCTOR'S OFFICE
Brick walls, a glass medicine cabinet, and simple early twentieth-century equipment. A white-capped nurse exits room. Ellen Roth sits on a low hospital bed, her face blackened and bruised and her arm in a sling. Melanie is perched on a stool, examining her.
MELANIE
He's in jail, right?
Because of what he did at the barber shop?
Ellen shakes her head.
MOTHER
No. They let him go.
They're saying the custodian did it.
Melanie gapes.
MELANIE
Samuel wouldn't hurt a flea, and you know it!
She looks away, anxious and pensive. After a moment -
MELANIE
I did this.
I...cured him.
TIGHT SHOT of her mother's downcast, resigned expression.
MOTHER
He's your father.
Why wouldn't you cure him if you could?
Melanie looks tormented and torn. Then, slowly, resolved. Without another word, she rises and bustles out of the examining room. Her mother gapes after her.
MOTHER
Where are you going, Melanie?
Stay away from him!
INT. STUDY - THE ROTH HOME - A SHORT WHILE LATER
A healthy Walter Roth enters, a newspaper tucked under his arm. He looks surprised for a beat, then continues to his desk.
FATHER
Melanie.
Melanie is standing on the far side of the desk, facing a large walnut bookcase filled with gilt-spined volumes. She turns. Her father throws his newspaper on the desk and sits down.
FATHER
It's been a while.
He picks up his tea cup and takes a sip.
MELANIE
(coolly)
I've been busy.
FATHER
Ah, yes, "curing" the sick and injured.
It's what you always wanted.
Another sip. Melanie scowls darkly.
MELANIE
It doesn't always turn out the way I want.
(she snatches up the newspaper, biting back anger)
Case in point.
Her father slams the newspaper back down, startling her. He sets down his cup. His other hand crumples the newspaper in his fist.
FATHER
Why are you here?
MELANIE
(redoubling her bravado)
To correct a mistake.
FATHER
(amused)
Just one?
He sets the paper aside and picks up his fountain pen. He starts writing. She fondles her amulet briefly.
MELANIE
A year ago, I cured my father of cancer.
(she chuckles)
It worked.
Not all of my...efforts do, even now.
Walter Roth sneers up at her.
FATHER
You did no such thing.
The doctor had a word for it--"remission."
He goes back to writing. She grimaces down at him with disdain.
MELANIE
I also saved an embezzler, a murderer...
...a wife-beater.
He throws her a dismissive glance. Then HIS HANDS BEGIN TO SHAKE.
MELANIE
...A man who pays his employees starvation wages,
then extends them credit they can't possibly pay back
to keep them indebted to....
Her father looks dumfounded. He lifts his quivering pen hand. Ink is smeared across the page. Then his eyes bulge. Foam starts to seep from his lips. He doubles over the desk, choking. Melanie's bravado tightens into an uncertain wince. She backs away from the desk. He manages a uncomprehending stare up at her.
FATHER
What...did you do, Mel...anie?
Her father's cheek sags onto one outstretched arm. His mouth gapes. Horrid, empty gasps fill the room. Melanie turns away, wide-eyed. Her hands grope the bookshelves to keep herself standing.
FATHER
(voice raspy)
The servants...
...saw you...come in here...!
She raises one quivering hand and stares down at it with incomprehension.
MELANIE
Nothing...will happen to me....
That hasn't already...happened.
She turns and bolts from the room.
INT. TRACY'S KITCHEN - AFTER MIDNIGHT
Connor slips his registration form between the pages of the art school catalog and slides off the stool. He heads into -
INT. THE LIVING ROOM
Angel follows. Tracy is gone.
ANGEL
Connor, this isn't you.
You wouldn't be doing this if you were thinking straight.
CONNOR
(earnestly)
I have my life back, Dad.
And all I have to do is live it.
ANGEL
Connor, you don't know--
His phone rings. With frustration, he pauses to fish it out. INSERT - The cell phone display. It's Faith. Angel looks briefly torn, but Connor heads into the back hallway. Angel takes the call.
ANGEL
What?
FAITH'S VOICE
(taken aback)
Angel?
(a brief pause. Then, gravely -)
Angel, the coven found her. They found B.
She's in the Valley, somewhere below ground.
Angel frowns with consternation.
ANGEL
Three guesses where.
INT. FAITH'S IMPALA
Dimly-lit storefronts pass beyond the passenger-side window.
FAITH
Spike's already on his way.
(her lips compress briefly)
Look, Angel, she's alive.
Which means they took her for a reason.
ANGEL'S VOICE
And we can guess that reason isn't good.
It's most likely something intended
to bring the Gathering more power--
probably over the Slayers.
Faith scowls with frustration.
FAITH
Damn it.
Angel, I'm on my way to pick up Gunn at the airport.
We're going after Illyria!
ANGEL'S VOICE
They found her?
A scoff.
FAITH
You could say that.
She brings her car to a halt at a light.
FAITH
Listen, a team of my girls is at that mansion right now,
but it's strictly recon--
I don't want those demons seeing even a few slayers....
We can't risk it until we're ready to attack in force.
INT. LIVING ROOM
ANGEL
(pacing)
I'll be joining Spike.
We'll get Buffy out of there.
FAITH'S VOICE
What about Connor?
Angel's eyes dart to the hallway where Connor disappeared.
ANGEL
I'm handling that. I'll call you back.
He disconnects and drifts towards the hallway entrance, then backs up as Connor reemerges to the sound of a flushing toilet.
CONNOR
(seeing Angel)
Thanks for visiting. Really.
The keys--
ANGEL
Connor, you don't know that they're
just going to let you "live your life."
Connor gives him a scowl, then turns towards Tracy's closed bedroom door.
CONNOR
(matter-of-factly)
That was always the deal.
I just have to lay down my ax. For good.
He reaches for the doorknob. Angel gapes at him, flabbergasted.
ANGEL
The deal? What "deal"?
Would that be the deal "you never agreed to"?
CONNOR
Just forget it.
It's too late.
He opens the door, then pauses. The look he gives his father is direct and cool, eyebrows raised in defiance like an echo from the past -
CONNOR
Too late.
ANGEL
Damn it, Connor, listen to me!
He grabs Connor by the arm and whirls him around, yanking him close. Connor tries to jerk his arm away. Angel tightens his grip.
ANGEL
There's a part of you that gives a damn.
I know there is.
That isn't going to just sit by and watch the innocent
get hurt when you have the power to stop it!
(Connor only stares back)
I've seen that side of you, Connor.
Angel morphs into GAME FACE.
ANGEL
That's the side of you that hated me.
Connor reaches back and shuts the bedroom door, eyes never leaving his father.
CONNOR
(quietly but firmly)
I don't hate you, Dad.
He shakes Angel's hand off, and Angel lets him. Angel's face returns to human. His expression is crestfallen.
ANGEL
No, but I've lost you again, haven't I?
Connor reaches for the doorknob.
CONNOR
The keys to the Plymouth are on a dish in the kitchen.
Just leave me something to drive.
Angel turns away, takes a step or two, then halts in the center of the living room.
ANGEL
I've lost you too many times.
I'm not going to lose you again.
Connor pauses, door open, then heads inside. The door shuts with a soft click. Angel turns and stares at it, distraught.
ANGEL
I'm not giving up on you.
I want you to know that.
EXT. SLAYER COUNCIL BUILDING - A SHORT WHILE LATER
Angel brings the Plymouth to a halt at the curb. He has the phone to his ear.
INT. PLYMOUTH
ANGEL
I'll be on my way shortly.
(then -)
Listen, Faith, I need a favor.
Can you spare a slayer? It's important.
(a pause as he listens)
Well, where are they?
(pause)
Can one meet me at Caritas?
(he nods)
Okay, Caritas, then. Half an hour--no more.
INT. LIBRARY - A MOMENT LATER
CLOSE-UP - Aiden's head is cradled on an open book. His eyes are at listless half-mast.
Angel strides in.
ANGEL
The Amulet of Bel'Iqi. Where is it?
Aiden blinks and sits up slowly, wiping drool from his chin. Then, wide-eyed -
AIDEN
Angel. Hang on, I'll....
Flustered, his hands fumble over his scattered books and papers. He peers up uncertainly.
AIDEN
What...are you...looking for again?
ANGEL
The Amulet of Bel'Iqi.
AIDEN
Oh. Sure.
Aiden gingerly wheels over to the bookcase where the wall safe is. Angel looks on, concerned, as Aiden struggles with the combination.
ANGEL
You know...it's none of my business,
but you look worse than you did two hours ago.
AIDEN
I know, I'm...sick.
But Faith...needs me.
ANGEL
You need sleep.
Aiden chuckles wearily.
AIDEN
I wish...I could sleep.
He finally gets the combination right and opens the safe. He fishes inside.
ANGEL
(approaching)
Faith says you've been researching the Amulet.
What do you know?
AIDEN
The information...in the Council...database
makes it sound...like a bad thing,
putting you...completely out of touch with...reality.
Aiden retrieves a palm-sized black jewelry box. He hands it to Angel. Angel opens it, brows knit.
ANGEL
Now see, that's the thing.
Buffy said it made Connor revert back to how he
was before he came back. How he was in Quortoth.
CLOSE-UP - A MEDALLION OF OBSIDIAN AND GOLD on a chain, nestled in black velvet. It is etched with hieroglyphic symbols.
ANGEL
(studying it)
But she also said she was told to give it to him in a dream.
AIDEN
(nodding)
Slayer...dreams.
The girls...talk about them...sometimes.
Not all of them...get them.
ANGEL
(a glance at Aiden)
Buffy does. And I've learned to trust them.
That dream didn't come from an evil source.
Aiden frowns grudgingly and nods.
AIDEN
Even so...
(he shuts and relocks the safe)
if that thing...starts calling out to you?
...Ditch it, fast.
Aiden wheels himself back to his computers. Angel follows.
AIDEN
What it does...is bring out a side of you...
that you've...repressed--good or bad.
(he parks himself around in front of his monitor)
The Priests of Cam--Camazotz believed...
that a person's..."shadow" side, channeled properly,
...gave them strength and...resources
which wouldn't...ord--ordinarily be available...to them....
ANGEL
Sounds like Jung.
AIDEN
Well it is...a little like...getting shrunk,
ancient Mayan...style.
(then, hesitantly -)
What are you...going to do with it?
Angel holds up the amulet by its chain and gives it his patented narrow-eyed scrutiny.
ANGEL
I'm going to make my son hate me.
EXT. CARITAS - NIGHT - ESTABLISHING
INT. CARITAS
Angel sits hunched at a table, fingers drumming anxiously.
ANGEL
Where is she?
She was supposed to be here ten minutes ago.
Lorne gives him a worried look over his Seabreeze.
LORNE
Angel, are you sure you want someone else to do this?
You're not going to have any control over how it plays out.
And frankly, it's asking a lot of whoever does it.
The same torn expression Angel had at Tracy's returns to his face.
ANGEL
Lorne, I've got two people I love in trouble.
But only one is on the verge of being killed, or worse,
and bringing the apocalypse with her.
I've got to get to that mansion.
His distracted attention is drawn up by Alix, who passes the table. He stares after her. She throws him a glance, then a double-take, and continues on. Lorne glances back reflexively, then pins Angel with a no-nonsense look.
LORNE
And, even if this...insane plan works?
This is Connor we're talking about.
It's like throwing a--a firecracker into a...bomb factory!
ANGEL
(troubled)
I know.
But if what I've heard about the Nyazian Scroll is true,
then Connor has to be at that mansion, too.
...He's just not exactly in a cooperative mood at the moment.
(a determined frown)
And there's only one way I can think of to get him to cooperate.
(his face grows pensive)
I just hope they find that dagger.
His eyes dart up towards -
LONG SHOT - The clock above the bar reads just after 1 am. DOWN-PAN to Alix, now seated there, a stem glass of her usual red in hand.
ANGEL
(nodding towards her)
Who's she? The one who just walked by?
Lorne finishes a sip of his Seabreeze.
LORNE
Just another vampire girl in the big city.
ANGEL
(disturbed gaze still on her)
Who just happens to be sleeping with my son.
(he looks at Lorne)
When did that start?
Lorne scoffs.
LORNE
You think he'd tell me?
ANGEL
(coolly)
Was it before or after she tried to suck him dry?
Lorne compresses his lips wearily. Then, matter-of-factly -
LORNE
Connor's been going through a lot lately.
A remorseful expression pinches Angel's brow.
ANGEL
I know I haven't been here.
It wasn't anything I could help.
LORNE
He understands that.
But it makes it that much more important
that you be here for him now.
Angel stabs the table with his index finger.
ANGEL
I am "being here for him."
He shoves back his chair and rises.
ANGEL
If the slayer who was supposed to come here ever does,
this is what I need from her....
TIGHT SHOT OF Alix, sipping her drink. Her shoulders tense. A beat later, Angel slides onto the next stool.
ANGEL
My weapons. Where are they?
Lorne says you know.
Alix throws him a disinterested glance.
ALIX
Wow, rude much?
(she raises her glass)
You know, six months ago, I would have said
it was 'cause you're, like, a vampire celebrity.
Now I'm guessing it's just genetic.
She takes a casual sip.
ANGEL
My weapons?
Alix sets down her glass and levels her gaze at him.
ALIX
I know the guys that took them, that's all.
(then, with a frown)
And I saw that teacher.
ANGEL
"Teacher"?
ALIX
The one who took that knife with all the jewels--
Professor...Ross or something.
She was a friend of Connor's at UCLA,
until I told him about it.
ANGEL
Do you know where these vampires are?
ALIX
They've been hanging in a warehouse
a couple blocks from here.
(she gestures towards the exit)
I could show you.
(a cynical head tilt)
I doubt you'll find your weapons....
ANGEL
Just write down the location and give it to Lorne.
He extends a ballpoint pen to her.
ALIX
Write it down?
(off Angel's determined stare)
Okay.
She takes the pen and reaches for her cocktail napkin.
ANGEL
Do you have a car?
ALIX
(writing)
Yeah, why?
ANGEL
Is it here?
She gapes at him, puzzled.
ALIX
It's parked in that big lot a couple blocks away.
Angel slides off his stool.
ANGEL
Come with me.
ALIX
Where? To my car?
She slides off hers as well, cocktail napkin in hand.
ANGEL
(pointing)
Give that to Lorne.
Alix throws him an irritable frown and does as he says. She returns with a sullen glare, arms crossed.
ANGEL
Lorne says you have actual feelings for my son,
and right now, I need you to prove it.
BLACK OUT.
END OF ACT THREE
Act Four
EXT. STREET - CHINA TOWN
Alix scrambles to keep up as Angel strides up the sidewalk.
ALIX
(petulantly)
Okay, sure I have feelings for him.
Not that it matters.
I'm just "the face," you know?
(she points at herself and VAMPS OUT)
He treats me like crap.
ANGEL
He's trying to make you break.
(off her uncertain look)
Go "vampire" on him--behave like a soulless monster.
Prove everything he believes about that.
Alix's face returns to human.
ALIX
I am a soulless monster.
Doesn't mean I don't care.
(she frowns)
But like I said, what's it matter?
He's all cozy with hippie-chick now.
(sullen beat)
Don't know where she came from.
Angel narrows his eyes at her.
ANGEL
You're in love with him.
Her furtive look speaks volumes.
ANGEL
Love's not really a vampire thing.
ALIX
Says the guy who was with the same woman
for a hundred and fifty years.
ANGEL
Are you going to hurt her? The girl he's with?
Alix frowns as if she's been considering it, then scowls grudgingly off Angel's dark look.
ALIX
No. Connor would hunt me down and kill me.
ANGEL
You're right, he would.
(calculated beat)
Even in the state he's in now.
This gets the curious stare he was going for.
ALIX
What do you mean? What "state"?
ANGEL
You're not the only one with your eye on my son.
Alix's brow knits with puzzlement.
ALIX
Yeah, what's with the demons lurking around
that girl's place?
They are walking along a chain-length fence now.
ANGEL
Connor's under a spell. A powerful one.
I'm betting they're there so no one'll interfere with it.
ALIX
What "spell"?
(her eyes widen)
Is that why he's shacked up with granola-girl?
Angel pivots to a halt and reaches in his inside coat pocket. Alix skitters to a stop.
ANGEL
There's one thing that might break the spell--
snap him out of it.
The pulls out the black jewelry case and opens it.
ANGEL
Put this on him.
ALIX
(reaching out a finger)
What is it?
Angel snaps it shut.
ANGEL
A Mayan amulet.
(his eyes narrow intently on her)
It's said to bring out a person's "shadow" side.
Put this on him, and...
(a shrug)
Actually, he'll pass out for a while.
But when he comes to....
ALIX
(with a titillated smile)
What?
ANGEL
(sinister beat)
I've seen that side of my son from forty feet
below the surface of the Pacific
after he dumped me there.
Another time with home-made bombs strung to
a dozen innocent people...and himself.
Put this on him, and find out.
Alix looks undecided.
ANGEL
Whatever you do,
don't open the case again until you're with him.
And once he's under, offer to bring him to me--"Angel."
And say the name.
That's how you'll stay alive.
ALIX
(scoffing)
That, and lot of ropes and chains.
(she takes the case from him)
Where will you be?
DISSOLVE TO - EXT. HOLLYWOOD FREEWAY - A SHORT WHILE LATER
LONG SHOT - Angel's Plymouth passes under a sign that says VALLEY CITIES.
EXT. LOS ANGELES AIRPORT - NIGHT - ESTABLISHING
EXT. ARRIVALS CORRIDOR
Faith's Impala idles at the curb while Gunn tosses his suitcase in the back seat. He shuts the door and ducks in front beside her. She pulls away.
DISSOLVE TO - INT. FAITH'S IMPALA - A MOMENT LATER
Headlight beams and freeway lights streak by.
FAITH
So Aiden's Syndicate notes had it wrong.
GUNN
(throwing her a pointed look)
Wrong...or they were planted.
That Syndicate translation did suddenly reappear
on his hard drive five months after it disappeared.
FAITH
(grumpily)
Which explains why we didn't find anything else we lost
related to the scroll.
Gunn scratches idly at a small bruised scar on his forehead.
GUNN
Most of Syndicate version was right-on with
our translation of the real scroll--the Tro-clon,
Sahjhan, all that...
but there were key differences that made me wonder.
FAITH
Like what?
GUNN
Well, for one, the Syndicate translation
that reappeared on Aiden's hard drive
never mentions that Connor will play a crucial role
in some "final battle to rid the Earthly plane
of all demon life."
FAITH
Right, Aiden told me the real scroll says that.
GUNN
(nodding)
It's actually a prophecy that occurs in other places
in reference to the Slayer.
She leads an army that drives the demons off the Earth--
FAITH
(mumbling)
The "Slayer" being B, of course.
GUNN
--Only in the Nyazian version, the "Son"
helps her out with the Dagger.
Faith guffaws.
FAITH
By doing what?
Locking the gate to hell with it?
GUNN
(nodding emphatically)
Right. That's what it's for.
Faith takes this in pensively. Before she can reply, her phone rings. She leans forward and digs into her back pocket.
FAITH
Hang on.
(she brings the phone up and clicks it on)
Hi, what's up?
EXT. DRAINAGE TUNNEL - GRANADA HILLS
Spike stands just inside the mouth of a large, lattice-covered corrugated metal pipe that empties out into a concrete channel.
SPIKE
(into a phone)
They got'er, all right.
About a half mile below ground, I reckon.
She's under some sort of force-field, unconscious.
A furtive glance back into the depths of the pipe.
SPIKE
They don't seem to be doing anything with'er
at the moment,
but there's a convention full of demons between
her and where I was.
FAITH'S VOICE
But the "gate" thing's closed?
SPIKE
For now. But it's not gonna stay that way.
It's still growing.
(another glance)
I got to get back down there,
Rona and the girls are getting the lay of the place.
I'm gonna see if there's some way to spring Buffy.
INT. FAITH'S IMPALA
FAITH
Be careful.
She hangs up.
FAITH
(to Gunn)
That was Spike. Coven was right.
B's alive, and the Gathering have her.
(she looks at him)
Spike and Angel are gonna try to get her out of there.
Gunn nods.
GUNN
I'll tell Giles.
So...you were saying, about the Dagger?
FAITH
Oh.
(a frown)
Aiden thinks we should have Connor
and his magic knife close the Gathering gate-thing.
(she scowls)
Which I might agree with...
if Connor actually gave a damn about doing it,
or anyone knew where the hell it was.
GUNN
(brow knit)
Wait. If Connor uses it now, then this could be it--
the end of all demon life on Earth.
Another scoff from Faith.
FAITH
G, trust me when I say Connor
doesn't give two shits about helping us.
GUNN
(stunned)
At all?
Faith rolls her eyes, squeezing the steering wheel.
FAITH
Long story.
Gunn considers this with a frown.
GUNN
Well, I'm the first person to argue for free will,
but this time, I'm kind of hoping the prophecy's true.
(CLOSE-UP on his thoughtful stare)
According to the scroll, Connor wouldn't even
exist if the Powers hadn't intervened.
(he stabs a finger emphatically)
He's their one, actual attempt to get off their
high-and-mighty asses and do something.
Hell, if the scroll is to be believed,
even growing up in Quortoth and getting
mind-wiped with new memories was fortold.
FAITH
None of that was in the Syndicate version we read.
GUNN
Some of it was.
But they left off the part where that "maelstrom" thing?
isn't his enemies trying to kill him.
It's his enemies trying to tempt him away from his destiny.
FAITH
(now looking very uncertain)
Tempt him? ....With what?
GUNN
Donno. Whatever would tempt Connor.
(this puts Faith deep in thought)
According to the scroll, the "battle with his foes"
would happen here...
(he taps his temple)
...and here...
(then his heart)
and would be proceeded by three "signs"--
FAITH
(realizing)
Earthquake, fire, and blood.
(she throws him a look)
G, that actually happened.
GUNN
(nodding)
Aiden told us about it.
FAITH
So this "temptation" shit should be happening now.
Faith digs for her phone again.
GUNN
I guess. Who are you calling?
FAITH
(phone to her ear)
Angel. I need to tell him this
before he gets below that mansion.
Gunn peers out the windshield.
GUNN
Faith...where are we going?
FAITH
Angel's old hotel.
GUNN
(uncertain)
We're going there now?
FAITH
Kinda have to. Illyria's there.
GUNN
At the hotel? Why?
INT. THE SANDS OF THE PRIMORDIUM - DAY
The desert landscape is littered with the charcoal shards of Fred's home-made bomb. Her face pinches with anxiety.
FRED
None of this is real.
(a ragged breath)
And if it's not real, nothing here can really hurt It.
It. The PREHISTORIC NIGHTMARE that still towers nearby. Her eyes rise.
ILLYRIA
Your death will be but the first
as I exterminate the vermin from the Earth.
Fred glares at her.
FRED
You know, I always thought your phraseology
was a little overblown.
(a defiant beat)
I know Wesley thought so.
ILLYRIA
I care nothing for the Watcher.
FRED
Really.
Suddenly, Wesley is standing there on the sand between Fred and Illyria. His unwavering gaze is on the demon. Illyria steps back.
WESLEY
Leave. Your place is with the rest of your people--
dead and turned to ash.
With whipping anger, Illyria SWIPES WESLEY AWAY with a flick of a tentacle.
ILLYRIA
My "people" are about to rise
and lay waste to the human world!
Fred throws up her hands casually.
FRED
There you go, underestimating humans again.
(she crosses her arms)
Including the human you're inside.
ILLYRIA
You are already dead, Winifred Burkle.
Illyria lunges at her. Fred dodges out of the way.
FRED
Not as dead...as you want!
She continues dodging just out of tentacle reach, zigging and zagging.
FRED
Even if you erase the memory of me...you're still tainted.
(zig)
...And you know it, or you wouldn't be here,
wasting...your time with me!
(zag)
You'd be back overseeing your "minions"
...and your big, fancy Armageddon!
CRANE TWO-SHOT - Fred BOLTS for a distance, then whirls around, walking backwards.
FRED
But you can't stand the way they look at you.
The way they'll continue not to trust you,
(she sneers, gesturing with two wide arms)
even when you go back to looking...like a big, ugly hell-roach.
Illyria lunges again. Fred skitters back.
FRED
Because you feel.
You feel human emotions!
(her chin trembles)
I loved Wesley.
But the love you felt for him was your own.
ILLYRIA
(furious)
I feel nothing!
The ground SHAKES. Fred stumbles.
FRED
Well, that was convincing.
She raises her arms and does some dramatic sweeping of her own.
FRED
How about this one?
FLASH-DISSOLVE TO -
EXT. AN ALLEYWAY - NIGHT
It is pouring ran. Fred is kneeling, using a coat to shield the infant Connor as Angel hovers over the ashes where Darla died.
FRED
(gazing down at the child)
Remember?
ILLYRIA (O.S.)
The memories of the shell were returned to it.
Such as this--
FLASH-DISSOLVE TO - INT. A BEDROOM - DAY
Teenaged Connor sits at the foot of the bed eating a sandwich. Blue!Illyria in her Fred-shell runs a hand over his hair, eliciting a sweet smile from him.
FREDLYRIA
I know you're still hurting, Connor, but I promise...
(a bitter anger rises)
...it's not nearly as much as you're gonna hurt
for what you did to your father!
Connor stops chewing and peers up at her. She stabs a taser against his chest. Connor arcs back in pain.
CONNOR
Agh!
Fred looks on from across his bed, shivering angrily. Somewhere distant, we can hear a pounding noise.
INT. ILLYRIA'S HOTEL ROOM
Illyria is no longer seated before her caldron. She is standing, seething, at the end of the tattered bed mattress. The room is in disarray--the curtains ripped down, the furniture toppled over. The contents of the caldron are soaking the carpet. The POUNDING at the door continues. The knob rattles, a key scratches, but a desk chair has been shoved up under the knob. The door SHAKES on its hinges.
MAN
Ms. Burkle? Ms. Burkle?
Open this door!
EXT. SLAYER COUNCIL BUILDING - NIGHT
INT. LIBRARY
Aiden sits with his cheek slumped wearily against one hand as he reads off the computer screen. His POV - Scanned diagrams, timelines, and etchings of demons. And a long block of text. A shrill beep! breaks him out of his stupor.
AIDEN
(irritably)
Now...what?
ON SCREEN - A pop-up window.
New mail:
Requested Search Results -
ParanormalWebCrawler.org
Aiden brings up an email browser window, then opens the email. CLOSE-UP - His eyes scan the screen, and as they do, a grin breaks.
AIDEN
(giddy)
This is it.
It's how they're...opening...the gate.
ON SCREEN - Research results. A bolded title reads The Key of Pandemonium.
Aiden shoves around his books and papers and snatches up his phone. As his thumb settles on a button, he pauses, wincing and gritting his teeth. The INDISTINCT WHISPERING starts up again. With an agonized expression, he drops the phone and brings his hands to his ears.
AIDEN
Stop! Just stop!
The whispering fades. He fumbles for the joystick of his wheelchair. The chair jerks back. Then forward. Before he is barely around the table, he seizes up and wretches, VOMITING ONTO HIMSELF. Another shuddering wretch comes over him, and he tumbles forward with it onto the invisible floor of the library pocket dimension.
HOLD ON him, lying still, mouth sagging, cheeks smashed against his own vomit.
EXT. REAR PARKING LOT - HYPERION HOTEL - NIGHT
The couple from the room next to Illyria's stride down the circular driveway with their suitcases, expressions disgruntled.
INT. FAITH'S IMPALA
Faith shakes her head and chuckles, staring out at the hotel.
FAITH
Stealing the Box of Gavrok
from someone hell-bent on becoming a pure demon.
This is just fucking...whatever-the-hell's-the-word.
Gunn looks at her solemnly.
GUNN
I heard about what happened in Sunnydale.
I think the word you're looking for is "ironic."
FAITH
I never did get my knife back from B.
I liked that knife.
Gunn turns his brooding expression forward again.
GUNN
So Illyria wants to go back to being king of all she surveys.
Still doesn't explain why she's here.
Faith opens the car door.
FAITH
Guess we can ask her.
TIGHT SHOT - Gunn's hand shoots out and clasps her elbow.
GUNN
Wait.
Faith looks at him. Gunn's expression is deadly serious.
GUNN
I'm gonna to do this alone.
Faith balks.
GUNN
She'll think twice about killing me!
(he gestures at her)
You, she'll go after without a thought!
FAITH
Or she'll kill you on the spot,
'cause you remind her of feelings she
doesn't want reminding of!
GUNN
Faith, you need to be leading your soldiers.
I know that's what you want to be doing.
Faith's eyes dip briefly with acknowledgement. Then she returns Gunn's pointed look.
FAITH
If you have to kill her, can you?
Gunn doesn't look happy at the thought, but he nods.
GUNN
If I have to kill her,
it'll be because there's nothing of Fred left.
Just the thing that killed her.
FAITH
Tough talk.
GUNN
It's what got me through when I had to stake my sister.
(his eyes return to the hotel)
Won't lie, though.
I'm hoping there's part of her that can be saved.
Faith reaches for the handle of the ajar driver's side door and pulls it shut. Gunn takes in her pensive expression.
GUNN
Hey.
With a hesitant hand, he reaches up and pushes a lock of hair from her face.
GUNN
(sincerely)
This isn't about me getting my old girlfriend back.
It's about me accepting the consequences of a mistake
that made me lose a friend.
Faith's expression is blasé.
FAITH
Sure, whatever.
Tentatively, Gunn leans in and plants a kiss on her lips. Faith lets him continue for a few beats, then returns it with heated passion that stops as quickly as it starts. Gunn offers her an encouraging look.
GUNN
Now go raise hell.
Before the Gathering does.
DISSOLVE TO - INT. SECOND-FLOOR CORRIDOR - HYPERION HOTEL - MOMENTS LATER
The night manager leads Gunn down the hall.
GUNN
I assume you got inside.
NIGHT MANAGER
(uneasy nod)
For about two seconds.
But what I saw in there....
He shudders. They come to a halt at the door, which is now loose on its hinges.
NIGHT MANAGER
If you can figure out what's going on,
more power to ya.
Gunn enters.
EXT. TRACY'S APARTMENT BUILDING - NIGHT
The muscular vampire guard loiters in front of the recently-replaced door, eyes on the street.
CUT TO - EXT. SIDE WALL - Alix crouches on a high fire escape landing, purse slung over her shoulders. She slips inside the corridor window.
INT. APARTMENT CORRIDOR
Her POV, walking - Apartment doors; the top of the interior staircase. The CAMERA POV switches to a STAIRCASE VANTAGE POINT as Alix continues to a door. She POUNDS ON IT.
INT. TRACY'S BEDROOM
Tracy sits up, wincing sleepily.
TRACY
Is that the door?
She shifts her legs over the side of the bed. Connor rolls over, eyes at half-mast. More pounding.
TRACY
It is!
A hand gently clasps her forearm. She looks back. Connor hauls himself out of bed.
CONNOR
I'll get it.
TRACY
Are you sure? It's my apartment. I can--
CONNOR
(firmly)
I'll get it.
TRACY
(annoyed)
Fine.
INT. APARTMENT CORRIDOR
Alix raises her fist again just as the door swings open. Connor's surprised look melts quickly into a jaundiced scowl.
CONNOR
What are you doing here?
Alix cranes her head to see around him. Connor brings the door closer.
ALIX
I was just coming home from Caritas,
thought I'd swing by....
CONNOR
Look.
I'm not going back there.
Or anywhere else you're likely to run into me.
(he steps back)
Goodbye, Alix.
Alix dives for the closing door -
ALIX
Wait, just--!
- and bounces off its vampire protections just before it SLAMS SHUT IN HER FACE. She scowls for a few beats, then leans in close. Without raising her voice -
ALIX
You're going to have to try harder than that, Connor.
(then, more calculated -)
...I can pound on this door all night.
INT. TRACY'S FRONT HALLWAY
Connor stands at the door, fuming silently. Tracy stares at him, arms crossed, at the end of the hallway. He shakes his head at her, then opens the door and exits out into the hall.
LONG SHOT - INT. CORRIDOR
STAIRCASE VANTAGE POINT - A SCOWLING Connor marches Alix down the hall, hand gripped on her arm.
ALIX
(stumbling along)
Your father said...you were under the influence of something.
(she glares)
You seem the same to me.
CONNOR
When did you talk to my father?
Our VANTAGE POINT sinks down a little, taking the corridor out of view. Someone is lurking.
ALIX (O.S.)
Tonight. At Caritas.
HALLWAY TWO-SHOT - Alix fumbles in her purse. Connor eyes this guardedly.
ALIX
He gave me something.
She twists out of his grip and opens the BLACK JEWELRY BOX. Her gaze is intent and inquisitive.
ALIX
He said it might...break you out of it.
Connor draws his head back at the sight of the AMULET. Then he gapes at her.
CONNOR
Do you know what that does?
ALIX
He didn't say...exactly.
Connor's eyes drift to the amulet again. He reaches out reflexively until his fingertips brush the box. Alix watches his face a few beats before continuing.
ALIX
But from what I got?
It's supposed to remind you who you are.
Connor peers up at her, then backs away. He shakes his head.
CONNOR
(pointing at it)
That's not me. Not anymore.
Abruptly, he turns and starts back up the hall. Alix scoffs.
ALIX
Are you sure?
'Cause I don't think you know who you are right now!
Connor pivots back and glares back at her with a feral sneer.
CONNOR
If I put that on, I will kill you.
A door squeaks open. Alix's answering grin is defensive and aroused.
ALIX
(saucily)
Could be worth it.
TRACY (O.S.)
Connor? Who is that?
Connor turns. Tracy is standing there, blinking in her robe.
CONNOR
(snapping at her)
Get back inside.
Tracy balks. Alix starts towards them.
ALIX
Is this what you want, Connor?
Demons pulling your strings?
Free will as long as you play their little game?!
Connor whirls to face her. Tracy steps out into the hall.
ALIX
(pointing)
And what about her?
Her gaze settles on Tracy.
ALIX
(sneering)
You know you're just a pawn, don't you, honey?
A cute little cellmate they enchanted to keep
a smile on his face?
TRACY
(aghast)
Who is this, Connor?
CONNOR
(scowling)
No one.
(he nudges her back over the threshold)
Just let me get rid of her.
Tracy doesn't back up far.
TRACY
Is it true?!
I mean, the things your father was saying earlier....
(her expression contorts with anxiety)
...It's happening again, isn't it?
Someone messing with our memories or whatever?
CONNOR
Just...let me take care of it.
Then I'll explain everything.
Tracy doesn't look happy, but she backs up inside. Connor shuts the door. Alix smirks, keeping a distance between them.
ALIX
Not as dumb as she looks, is she?
(Connor's expression is pained)
So is this what you want for her, Connor?
Being a puppet for demons?
Connor's eyes sink with resignation. Alix takes this in.
ALIX
...I guess you don't have a choice.
With a determined expression, she reaches for the amulet and draws it out of its box.
ALIX
Unless you make one.
(she takes the chain in both hands; the box falls)
Just tell me...you want it.
She raises the amulet up before him.
CONNOR
(quietly)
I can't.
His eyes sink to one side in troubled realization.
CONNOR
I can't....
Alix's eyes drift to the dangling amulet. Connor throws her a stunned, desperate stare. Then his brows knit with concern as he sees Alix bring the amulet closer to herself.
CONNOR
Alix?
CLOSE-UP on her eyes, then the Amulet. Connor continues to speak, but his voice is rapidly drowned out by a WHITE NOISE that is DEAFENING.
Connor charges over and SNATCHES THE AMULET out of her hands. Alix shakes off a dazed look and gapes up at him. He PUSHES HER BACK. She stumbles, then with a determined glare, surges forward and KNEES HIM IN THE GROIN. Connor doubles over, eyes bulging. Alix slips the amulet over his head.
CONNOR
Aaagh!
Connor stiffens. He grasps at the chain of the medallion, but then slumps forward, collapsing in a heap at Alix's feet.
ALIX
Great. Guess Dad was right about the fainting part.
CUT TO - EXT. ALLEY BESIDE THE APARTMENT BUILDING - A MOMENT LATER
Alix dumps the unconscious Connor into the front passenger seat of a boxy early-eighties model Mustang. TIGHT SHOT - His hands are bound together with rope, as are his feet. She winds another rope around his chest and the bucket seat. Suddenly, she gapes up at -
The HULKING VAMPIRE GUARD LOOMS, a STAKE in his fist. Alix stumbles against the open car door. The vampire grapples for her, scowling, then - twang! - seizes up, a crossbow bolt protruding through his chest. Alix gapes at it, flabbergasted. He EXPLODES in a cloud of dust. Standing behind his is MARY THE VAMPIRE SLAYER. She approaches.
MARY
Angel sent me to make sure you got where you were going.
ALIX
(stunned)
Uh...thanks.
DISSOLVE TO A MOMENT LATER - Mary looks on with discomfort as Alix's Mustang drives off.
MARY
I can't believe I just did that.
(a defensive chuckle)
"Mary, the Vampire Saver."
She shoulders her crossbow and heads off.
MARY
Bigger picture, chica. Bigger picture.
BLACK OUT.
TO BE CONTINUED
Executive Producer Joss Whedon Connor Vincent Kartheiser Faith Eliza Dushku Aiden Sean Maher Gunn J. August Richards Angel David Boreanaz Rona Indigo Lilah Stephanie Romanov Alix Rachel Leigh Cook Guelph Alan Tudyk Illyria Amy Acker Lorne Andy Hallet Spike James Marsters Tracy Sarah Jannett Parish Buffy Sarah-Michelle Gellar "Wesley" Alexis Denisof
(Pt. 1)
Part 2
(August 25, 2009)
Written by: Masquerade
Act Three
EXT. TRACY'S APARTMENT BUILDING - LATE EVENING
The front entrance is back to looking like nothing odd happened there a few hours before.
DISSOLVE TO - INSERT - A PIECE OF PAPER entitled
Los Angeles Academy of Art
Summer Registration Form
INT. THE KITCHEN - TRACY'S APARTMENT
Connor sits at the bar stool, filling out the form. Angel paces in the kitchen beyond, taking in the food processors, jars of pasta and dried beans, and a set of keys sitting on a plate on the counter.
ANGEL
Faith's concerned about you.
I'm concerned about you.
Connor continues writing for a moment, then looks up wearily.
CONNOR
Dad, look around.
(he gestures back towards the apartment)
This is the life you wanted for me.
I've got the girl, I'm applying to art school....
He returns to his registration form with a chuckle.
CONNOR
I have to go out tomorrow and get a suit
for a job interview I have later this week.
INT. LIVING ROOM
A robed Tracy steps up to the doorway that leads to the kitchen. She pauses there, listening.
INT. KITCHEN
Angel turns towards his son, looking troubled.
ANGEL
Yeah, those are things I want for you.
And Tracy's nice, I like her.
(he glances around uneasily)
But there's something...not right about this.
Connor is back to ignoring him. Angel lets him work for a moment, then slips a small vial from his coat pocket, unscrews it, and tips a few clear drops on his palm. He strides over to Connor.
ANGEL
Like the fact that hell's on its way to town,
and you're not lifting a finger to help.
Angel grabs his son's bare arm, startling him. Connor jerks his arm away, shooting his father a glare. Then his attention is drawn to the BRIEF GREENISH-BLUE STAIN on his skin where Angel touched him. Angel stares at it grimly. It FADES. Connor continues to stare for a few beats.
CONNOR
...What'd you do that for?
ANGEL
(with devastation)
I had to know.
Connor turns his attention back to his registration form with a pensive expression. He resumes writing. But a beat later, his head is up again.
CONNOR
What were you doing when you were my age?
ANGEL
(still distracted)
What?
CONNOR
What were you doing?
Angel frowns, taken aback. He pauses to give it some thought.
ANGEL
Twenty-one?
(a grudging frown)
I was...knocking back a pint. Or three.
Picking fights.
Dancing on table-tops with loose wenches
and finding other colossally uncreative ways to avoid
an honest day's work.
CONNOR
And before that?
Angel pauses a beat. His eyes drift as he scours his memories.
ANGEL
Before that?
(his frustration rises)
I don't know.... School, I guess.
When I wasn't playing hooky. But Connor--
CONNOR
(bitterly)
Well, you know how I spent my childhood.
Connor returns to his form. Angel sets his hands on the counter, gazing at his son with desperate love.
ANGEL
Connor, I'm not saying you don't deserve this.
You got a raw deal, and a lot of that...
...was my fault.
But that doesn't change who you are, who I am.
Connor reaches for the newsprint college catalog and opens it. He flips the pages. Angel goes silent for a moment.
INT. THE LIVING ROOM
Tracy is still listening.
ANGEL (O.S.)
Faith told me what happened to you
while I was away.
How you got kicked out of school, and my old apartment;
how the cops came after you again.
I'm sorry I wasn't here to help you.
INT. KITCHEN
Connor browses a catalog page. Angel hovers over him, hands on the counter.
ANGEL
But you have to ask yourself, Connor--
Why isn't whoever did that to you here right now--
(he rips the catalog away)
...taking all this away from you like they took
everything else you built for yourself?
Connor looks up in protest.
ANGEL
Why aren't the police here,
arresting you for what happened in
the sporting goods store?
(he gestures in the direction of the street)
Why is there not one, but at least two
demons outside this building as we speak,
keeping an eye on it but not making a move?
Connor's expression pinches into hesitation, but after a vexed moment, he snatches the catalog and slaps it back down. Angel watches him find his place again. He sighs and shakes his head.
ANGEL
You're right, Connor.
This is the kind of life I want for you.
But this is not the way I wanted you to have it.
(he gives the apartment the uneasy once over)
Someone dished this up for you,
and you're just shoveling it down along
with your girlfriend's cooking.
Connor throws him scowl, and returns to his catalog. With frustration, Angel fishes the vial out of his pocket again and sets it down on the counter firmly.
ANGEL
Connor, you know you're under some kind of spell, don't you?
That--that demon cabal that's after you--the Anunnaki--
this is what they do.
CONNOR
I didn't agree to anything.
ANGEL
Maybe not consciously,
but you know and I know part of you wanted this Connor
and didn't fight it when it happened.
Connor throws Angel a challenging look.
CONNOR
Maybe. But I don't see how that's any different
than you selling me to Wolfram and Hart
so I could have the Reillys.
Angel's balks in pained exasperation.
ANGEL
Connor....
It wasn't you I sold to them.
(silent beat)
It was me.
And I still belong to them, so they can't touch you.
I won't sit by and see you sold to something else.
Connor signs the registration form with a flourish.
CONNOR
And what exactly can you do about it if I have?
CLOSE-UP on Angel as he stares at his son.
EXT. PROFESSOR ROTH'S HOUSE - LATE EVENING
INT. OFFICE
Professor Roth casts a withering glance at the large, LEATHER-BOUND EMTIS MIRROR BOOK propped up on her desk.
MELANIE
Don't worry, the spell is complete.
CLOSE-UP, the EMTIS MIRROR - On the right-hand page, a LIVE IMAGE of Willis swims in its reflective, liquid-like material.
Professor Roth glares grumpily back at her desktop monitor. TIGHT SHOT of the screen - The Nyazian Scroll notes she took from Aiden are still there.
MELANIE
He had his "cosmic struggle" and made the wrong choice,
just like we planned.
He's not coming back from it.
(sour beat)
Furthermore, he doesn't want to.
She shifts her attention and an index finger to a thick volume open on her desk. EMTIS MIRROR - Electricity crackles and sparks near where Willis is sitting, startling him briefly. He furtively resumes his business-like demeanor.
WILLIS
His friends have figured out something's wrong by now.
MELANIE
(still not looking at him)
Yes, but even if they had time to do anything about it,
it's already too late.
She glances over. EMTIS MIRROR - Another spark. Willis pretends not to have seen it.
WILLIS
(enigmatically)
Much too late.
Willis' image fades, leaving Professor Roth's brows knit with puzzlement.
INT. WILLIS' TRACKING ROOM - REALM OF THE ANUNNAKI
The VAST ROOM is an empty husk of crushed monitors and collapsed lighting fixtures. Gray rock litters the floor and the tables. Equipment sparks and burns. The ground SHUDDERS, sending Willis teetering as he turns into the long center aisle and bolts towards the exit. PAN UP to the ceiling of rock above him. A LARGE CRACK has split it open, bringing in a BLINDING BRIGHTNESS from beyond.
EXT. THREE-STORY BRICK BUILDING - DAY (FLASHBACK)
SUPER LEGEND:
Philadelphia, 1918
INT. DOCTOR'S OFFICE
Brick walls, a glass medicine cabinet, and simple early twentieth-century equipment. A white-capped nurse exits room. Ellen Roth sits on a low hospital bed, her face blackened and bruised and her arm in a sling. Melanie is perched on a stool, examining her.
MELANIE
He's in jail, right?
Because of what he did at the barber shop?
Ellen shakes her head.
MOTHER
No. They let him go.
They're saying the custodian did it.
Melanie gapes.
MELANIE
Samuel wouldn't hurt a flea, and you know it!
She looks away, anxious and pensive. After a moment -
MELANIE
I did this.
I...cured him.
TIGHT SHOT of her mother's downcast, resigned expression.
MOTHER
He's your father.
Why wouldn't you cure him if you could?
Melanie looks tormented and torn. Then, slowly, resolved. Without another word, she rises and bustles out of the examining room. Her mother gapes after her.
MOTHER
Where are you going, Melanie?
Stay away from him!
INT. STUDY - THE ROTH HOME - A SHORT WHILE LATER
A healthy Walter Roth enters, a newspaper tucked under his arm. He looks surprised for a beat, then continues to his desk.
FATHER
Melanie.
Melanie is standing on the far side of the desk, facing a large walnut bookcase filled with gilt-spined volumes. She turns. Her father throws his newspaper on the desk and sits down.
FATHER
It's been a while.
He picks up his tea cup and takes a sip.
MELANIE
(coolly)
I've been busy.
FATHER
Ah, yes, "curing" the sick and injured.
It's what you always wanted.
Another sip. Melanie scowls darkly.
MELANIE
It doesn't always turn out the way I want.
(she snatches up the newspaper, biting back anger)
Case in point.
Her father slams the newspaper back down, startling her. He sets down his cup. His other hand crumples the newspaper in his fist.
FATHER
Why are you here?
MELANIE
(redoubling her bravado)
To correct a mistake.
FATHER
(amused)
Just one?
He sets the paper aside and picks up his fountain pen. He starts writing. She fondles her amulet briefly.
MELANIE
A year ago, I cured my father of cancer.
(she chuckles)
It worked.
Not all of my...efforts do, even now.
Walter Roth sneers up at her.
FATHER
You did no such thing.
The doctor had a word for it--"remission."
He goes back to writing. She grimaces down at him with disdain.
MELANIE
I also saved an embezzler, a murderer...
...a wife-beater.
He throws her a dismissive glance. Then HIS HANDS BEGIN TO SHAKE.
MELANIE
...A man who pays his employees starvation wages,
then extends them credit they can't possibly pay back
to keep them indebted to....
Her father looks dumfounded. He lifts his quivering pen hand. Ink is smeared across the page. Then his eyes bulge. Foam starts to seep from his lips. He doubles over the desk, choking. Melanie's bravado tightens into an uncertain wince. She backs away from the desk. He manages a uncomprehending stare up at her.
FATHER
What...did you do, Mel...anie?
Her father's cheek sags onto one outstretched arm. His mouth gapes. Horrid, empty gasps fill the room. Melanie turns away, wide-eyed. Her hands grope the bookshelves to keep herself standing.
FATHER
(voice raspy)
The servants...
...saw you...come in here...!
She raises one quivering hand and stares down at it with incomprehension.
MELANIE
Nothing...will happen to me....
That hasn't already...happened.
She turns and bolts from the room.
INT. TRACY'S KITCHEN - AFTER MIDNIGHT
Connor slips his registration form between the pages of the art school catalog and slides off the stool. He heads into -
INT. THE LIVING ROOM
Angel follows. Tracy is gone.
ANGEL
Connor, this isn't you.
You wouldn't be doing this if you were thinking straight.
CONNOR
(earnestly)
I have my life back, Dad.
And all I have to do is live it.
ANGEL
Connor, you don't know--
His phone rings. With frustration, he pauses to fish it out. INSERT - The cell phone display. It's Faith. Angel looks briefly torn, but Connor heads into the back hallway. Angel takes the call.
ANGEL
What?
FAITH'S VOICE
(taken aback)
Angel?
(a brief pause. Then, gravely -)
Angel, the coven found her. They found B.
She's in the Valley, somewhere below ground.
Angel frowns with consternation.
ANGEL
Three guesses where.
INT. FAITH'S IMPALA
Dimly-lit storefronts pass beyond the passenger-side window.
FAITH
Spike's already on his way.
(her lips compress briefly)
Look, Angel, she's alive.
Which means they took her for a reason.
ANGEL'S VOICE
And we can guess that reason isn't good.
It's most likely something intended
to bring the Gathering more power--
probably over the Slayers.
Faith scowls with frustration.
FAITH
Damn it.
Angel, I'm on my way to pick up Gunn at the airport.
We're going after Illyria!
ANGEL'S VOICE
They found her?
A scoff.
FAITH
You could say that.
She brings her car to a halt at a light.
FAITH
Listen, a team of my girls is at that mansion right now,
but it's strictly recon--
I don't want those demons seeing even a few slayers....
We can't risk it until we're ready to attack in force.
INT. LIVING ROOM
ANGEL
(pacing)
I'll be joining Spike.
We'll get Buffy out of there.
FAITH'S VOICE
What about Connor?
Angel's eyes dart to the hallway where Connor disappeared.
ANGEL
I'm handling that. I'll call you back.
He disconnects and drifts towards the hallway entrance, then backs up as Connor reemerges to the sound of a flushing toilet.
CONNOR
(seeing Angel)
Thanks for visiting. Really.
The keys--
ANGEL
Connor, you don't know that they're
just going to let you "live your life."
Connor gives him a scowl, then turns towards Tracy's closed bedroom door.
CONNOR
(matter-of-factly)
That was always the deal.
I just have to lay down my ax. For good.
He reaches for the doorknob. Angel gapes at him, flabbergasted.
ANGEL
The deal? What "deal"?
Would that be the deal "you never agreed to"?
CONNOR
Just forget it.
It's too late.
He opens the door, then pauses. The look he gives his father is direct and cool, eyebrows raised in defiance like an echo from the past -
CONNOR
Too late.
ANGEL
Damn it, Connor, listen to me!
He grabs Connor by the arm and whirls him around, yanking him close. Connor tries to jerk his arm away. Angel tightens his grip.
ANGEL
There's a part of you that gives a damn.
I know there is.
That isn't going to just sit by and watch the innocent
get hurt when you have the power to stop it!
(Connor only stares back)
I've seen that side of you, Connor.
Angel morphs into GAME FACE.
ANGEL
That's the side of you that hated me.
Connor reaches back and shuts the bedroom door, eyes never leaving his father.
CONNOR
(quietly but firmly)
I don't hate you, Dad.
He shakes Angel's hand off, and Angel lets him. Angel's face returns to human. His expression is crestfallen.
ANGEL
No, but I've lost you again, haven't I?
Connor reaches for the doorknob.
CONNOR
The keys to the Plymouth are on a dish in the kitchen.
Just leave me something to drive.
Angel turns away, takes a step or two, then halts in the center of the living room.
ANGEL
I've lost you too many times.
I'm not going to lose you again.
Connor pauses, door open, then heads inside. The door shuts with a soft click. Angel turns and stares at it, distraught.
ANGEL
I'm not giving up on you.
I want you to know that.
EXT. SLAYER COUNCIL BUILDING - A SHORT WHILE LATER
Angel brings the Plymouth to a halt at the curb. He has the phone to his ear.
INT. PLYMOUTH
ANGEL
I'll be on my way shortly.
(then -)
Listen, Faith, I need a favor.
Can you spare a slayer? It's important.
(a pause as he listens)
Well, where are they?
(pause)
Can one meet me at Caritas?
(he nods)
Okay, Caritas, then. Half an hour--no more.
INT. LIBRARY - A MOMENT LATER
CLOSE-UP - Aiden's head is cradled on an open book. His eyes are at listless half-mast.
Angel strides in.
ANGEL
The Amulet of Bel'Iqi. Where is it?
Aiden blinks and sits up slowly, wiping drool from his chin. Then, wide-eyed -
AIDEN
Angel. Hang on, I'll....
Flustered, his hands fumble over his scattered books and papers. He peers up uncertainly.
AIDEN
What...are you...looking for again?
ANGEL
The Amulet of Bel'Iqi.
AIDEN
Oh. Sure.
Aiden gingerly wheels over to the bookcase where the wall safe is. Angel looks on, concerned, as Aiden struggles with the combination.
ANGEL
You know...it's none of my business,
but you look worse than you did two hours ago.
AIDEN
I know, I'm...sick.
But Faith...needs me.
ANGEL
You need sleep.
Aiden chuckles wearily.
AIDEN
I wish...I could sleep.
He finally gets the combination right and opens the safe. He fishes inside.
ANGEL
(approaching)
Faith says you've been researching the Amulet.
What do you know?
AIDEN
The information...in the Council...database
makes it sound...like a bad thing,
putting you...completely out of touch with...reality.
Aiden retrieves a palm-sized black jewelry box. He hands it to Angel. Angel opens it, brows knit.
ANGEL
Now see, that's the thing.
Buffy said it made Connor revert back to how he
was before he came back. How he was in Quortoth.
CLOSE-UP - A MEDALLION OF OBSIDIAN AND GOLD on a chain, nestled in black velvet. It is etched with hieroglyphic symbols.
ANGEL
(studying it)
But she also said she was told to give it to him in a dream.
AIDEN
(nodding)
Slayer...dreams.
The girls...talk about them...sometimes.
Not all of them...get them.
ANGEL
(a glance at Aiden)
Buffy does. And I've learned to trust them.
That dream didn't come from an evil source.
Aiden frowns grudgingly and nods.
AIDEN
Even so...
(he shuts and relocks the safe)
if that thing...starts calling out to you?
...Ditch it, fast.
Aiden wheels himself back to his computers. Angel follows.
AIDEN
What it does...is bring out a side of you...
that you've...repressed--good or bad.
(he parks himself around in front of his monitor)
The Priests of Cam--Camazotz believed...
that a person's..."shadow" side, channeled properly,
...gave them strength and...resources
which wouldn't...ord--ordinarily be available...to them....
ANGEL
Sounds like Jung.
AIDEN
Well it is...a little like...getting shrunk,
ancient Mayan...style.
(then, hesitantly -)
What are you...going to do with it?
Angel holds up the amulet by its chain and gives it his patented narrow-eyed scrutiny.
ANGEL
I'm going to make my son hate me.
EXT. CARITAS - NIGHT - ESTABLISHING
INT. CARITAS
Angel sits hunched at a table, fingers drumming anxiously.
ANGEL
Where is she?
She was supposed to be here ten minutes ago.
Lorne gives him a worried look over his Seabreeze.
LORNE
Angel, are you sure you want someone else to do this?
You're not going to have any control over how it plays out.
And frankly, it's asking a lot of whoever does it.
The same torn expression Angel had at Tracy's returns to his face.
ANGEL
Lorne, I've got two people I love in trouble.
But only one is on the verge of being killed, or worse,
and bringing the apocalypse with her.
I've got to get to that mansion.
His distracted attention is drawn up by Alix, who passes the table. He stares after her. She throws him a glance, then a double-take, and continues on. Lorne glances back reflexively, then pins Angel with a no-nonsense look.
LORNE
And, even if this...insane plan works?
This is Connor we're talking about.
It's like throwing a--a firecracker into a...bomb factory!
ANGEL
(troubled)
I know.
But if what I've heard about the Nyazian Scroll is true,
then Connor has to be at that mansion, too.
...He's just not exactly in a cooperative mood at the moment.
(a determined frown)
And there's only one way I can think of to get him to cooperate.
(his face grows pensive)
I just hope they find that dagger.
His eyes dart up towards -
LONG SHOT - The clock above the bar reads just after 1 am. DOWN-PAN to Alix, now seated there, a stem glass of her usual red in hand.
ANGEL
(nodding towards her)
Who's she? The one who just walked by?
Lorne finishes a sip of his Seabreeze.
LORNE
Just another vampire girl in the big city.
ANGEL
(disturbed gaze still on her)
Who just happens to be sleeping with my son.
(he looks at Lorne)
When did that start?
Lorne scoffs.
LORNE
You think he'd tell me?
ANGEL
(coolly)
Was it before or after she tried to suck him dry?
Lorne compresses his lips wearily. Then, matter-of-factly -
LORNE
Connor's been going through a lot lately.
A remorseful expression pinches Angel's brow.
ANGEL
I know I haven't been here.
It wasn't anything I could help.
LORNE
He understands that.
But it makes it that much more important
that you be here for him now.
Angel stabs the table with his index finger.
ANGEL
I am "being here for him."
He shoves back his chair and rises.
ANGEL
If the slayer who was supposed to come here ever does,
this is what I need from her....
TIGHT SHOT OF Alix, sipping her drink. Her shoulders tense. A beat later, Angel slides onto the next stool.
ANGEL
My weapons. Where are they?
Lorne says you know.
Alix throws him a disinterested glance.
ALIX
Wow, rude much?
(she raises her glass)
You know, six months ago, I would have said
it was 'cause you're, like, a vampire celebrity.
Now I'm guessing it's just genetic.
She takes a casual sip.
ANGEL
My weapons?
Alix sets down her glass and levels her gaze at him.
ALIX
I know the guys that took them, that's all.
(then, with a frown)
And I saw that teacher.
ANGEL
"Teacher"?
ALIX
The one who took that knife with all the jewels--
Professor...Ross or something.
She was a friend of Connor's at UCLA,
until I told him about it.
ANGEL
Do you know where these vampires are?
ALIX
They've been hanging in a warehouse
a couple blocks from here.
(she gestures towards the exit)
I could show you.
(a cynical head tilt)
I doubt you'll find your weapons....
ANGEL
Just write down the location and give it to Lorne.
He extends a ballpoint pen to her.
ALIX
Write it down?
(off Angel's determined stare)
Okay.
She takes the pen and reaches for her cocktail napkin.
ANGEL
Do you have a car?
ALIX
(writing)
Yeah, why?
ANGEL
Is it here?
She gapes at him, puzzled.
ALIX
It's parked in that big lot a couple blocks away.
Angel slides off his stool.
ANGEL
Come with me.
ALIX
Where? To my car?
She slides off hers as well, cocktail napkin in hand.
ANGEL
(pointing)
Give that to Lorne.
Alix throws him an irritable frown and does as he says. She returns with a sullen glare, arms crossed.
ANGEL
Lorne says you have actual feelings for my son,
and right now, I need you to prove it.
BLACK OUT.
END OF ACT THREE
Act Four
EXT. STREET - CHINA TOWN
Alix scrambles to keep up as Angel strides up the sidewalk.
ALIX
(petulantly)
Okay, sure I have feelings for him.
Not that it matters.
I'm just "the face," you know?
(she points at herself and VAMPS OUT)
He treats me like crap.
ANGEL
He's trying to make you break.
(off her uncertain look)
Go "vampire" on him--behave like a soulless monster.
Prove everything he believes about that.
Alix's face returns to human.
ALIX
I am a soulless monster.
Doesn't mean I don't care.
(she frowns)
But like I said, what's it matter?
He's all cozy with hippie-chick now.
(sullen beat)
Don't know where she came from.
Angel narrows his eyes at her.
ANGEL
You're in love with him.
Her furtive look speaks volumes.
ANGEL
Love's not really a vampire thing.
ALIX
Says the guy who was with the same woman
for a hundred and fifty years.
ANGEL
Are you going to hurt her? The girl he's with?
Alix frowns as if she's been considering it, then scowls grudgingly off Angel's dark look.
ALIX
No. Connor would hunt me down and kill me.
ANGEL
You're right, he would.
(calculated beat)
Even in the state he's in now.
This gets the curious stare he was going for.
ALIX
What do you mean? What "state"?
ANGEL
You're not the only one with your eye on my son.
Alix's brow knits with puzzlement.
ALIX
Yeah, what's with the demons lurking around
that girl's place?
They are walking along a chain-length fence now.
ANGEL
Connor's under a spell. A powerful one.
I'm betting they're there so no one'll interfere with it.
ALIX
What "spell"?
(her eyes widen)
Is that why he's shacked up with granola-girl?
Angel pivots to a halt and reaches in his inside coat pocket. Alix skitters to a stop.
ANGEL
There's one thing that might break the spell--
snap him out of it.
The pulls out the black jewelry case and opens it.
ANGEL
Put this on him.
ALIX
(reaching out a finger)
What is it?
Angel snaps it shut.
ANGEL
A Mayan amulet.
(his eyes narrow intently on her)
It's said to bring out a person's "shadow" side.
Put this on him, and...
(a shrug)
Actually, he'll pass out for a while.
But when he comes to....
ALIX
(with a titillated smile)
What?
ANGEL
(sinister beat)
I've seen that side of my son from forty feet
below the surface of the Pacific
after he dumped me there.
Another time with home-made bombs strung to
a dozen innocent people...and himself.
Put this on him, and find out.
Alix looks undecided.
ANGEL
Whatever you do,
don't open the case again until you're with him.
And once he's under, offer to bring him to me--"Angel."
And say the name.
That's how you'll stay alive.
ALIX
(scoffing)
That, and lot of ropes and chains.
(she takes the case from him)
Where will you be?
DISSOLVE TO - EXT. HOLLYWOOD FREEWAY - A SHORT WHILE LATER
LONG SHOT - Angel's Plymouth passes under a sign that says VALLEY CITIES.
EXT. LOS ANGELES AIRPORT - NIGHT - ESTABLISHING
EXT. ARRIVALS CORRIDOR
Faith's Impala idles at the curb while Gunn tosses his suitcase in the back seat. He shuts the door and ducks in front beside her. She pulls away.
DISSOLVE TO - INT. FAITH'S IMPALA - A MOMENT LATER
Headlight beams and freeway lights streak by.
FAITH
So Aiden's Syndicate notes had it wrong.
GUNN
(throwing her a pointed look)
Wrong...or they were planted.
That Syndicate translation did suddenly reappear
on his hard drive five months after it disappeared.
FAITH
(grumpily)
Which explains why we didn't find anything else we lost
related to the scroll.
Gunn scratches idly at a small bruised scar on his forehead.
GUNN
Most of Syndicate version was right-on with
our translation of the real scroll--the Tro-clon,
Sahjhan, all that...
but there were key differences that made me wonder.
FAITH
Like what?
GUNN
Well, for one, the Syndicate translation
that reappeared on Aiden's hard drive
never mentions that Connor will play a crucial role
in some "final battle to rid the Earthly plane
of all demon life."
FAITH
Right, Aiden told me the real scroll says that.
GUNN
(nodding)
It's actually a prophecy that occurs in other places
in reference to the Slayer.
She leads an army that drives the demons off the Earth--
FAITH
(mumbling)
The "Slayer" being B, of course.
GUNN
--Only in the Nyazian version, the "Son"
helps her out with the Dagger.
Faith guffaws.
FAITH
By doing what?
Locking the gate to hell with it?
GUNN
(nodding emphatically)
Right. That's what it's for.
Faith takes this in pensively. Before she can reply, her phone rings. She leans forward and digs into her back pocket.
FAITH
Hang on.
(she brings the phone up and clicks it on)
Hi, what's up?
EXT. DRAINAGE TUNNEL - GRANADA HILLS
Spike stands just inside the mouth of a large, lattice-covered corrugated metal pipe that empties out into a concrete channel.
SPIKE
(into a phone)
They got'er, all right.
About a half mile below ground, I reckon.
She's under some sort of force-field, unconscious.
A furtive glance back into the depths of the pipe.
SPIKE
They don't seem to be doing anything with'er
at the moment,
but there's a convention full of demons between
her and where I was.
FAITH'S VOICE
But the "gate" thing's closed?
SPIKE
For now. But it's not gonna stay that way.
It's still growing.
(another glance)
I got to get back down there,
Rona and the girls are getting the lay of the place.
I'm gonna see if there's some way to spring Buffy.
INT. FAITH'S IMPALA
FAITH
Be careful.
She hangs up.
FAITH
(to Gunn)
That was Spike. Coven was right.
B's alive, and the Gathering have her.
(she looks at him)
Spike and Angel are gonna try to get her out of there.
Gunn nods.
GUNN
I'll tell Giles.
So...you were saying, about the Dagger?
FAITH
Oh.
(a frown)
Aiden thinks we should have Connor
and his magic knife close the Gathering gate-thing.
(she scowls)
Which I might agree with...
if Connor actually gave a damn about doing it,
or anyone knew where the hell it was.
GUNN
(brow knit)
Wait. If Connor uses it now, then this could be it--
the end of all demon life on Earth.
Another scoff from Faith.
FAITH
G, trust me when I say Connor
doesn't give two shits about helping us.
GUNN
(stunned)
At all?
Faith rolls her eyes, squeezing the steering wheel.
FAITH
Long story.
Gunn considers this with a frown.
GUNN
Well, I'm the first person to argue for free will,
but this time, I'm kind of hoping the prophecy's true.
(CLOSE-UP on his thoughtful stare)
According to the scroll, Connor wouldn't even
exist if the Powers hadn't intervened.
(he stabs a finger emphatically)
He's their one, actual attempt to get off their
high-and-mighty asses and do something.
Hell, if the scroll is to be believed,
even growing up in Quortoth and getting
mind-wiped with new memories was fortold.
FAITH
None of that was in the Syndicate version we read.
GUNN
Some of it was.
But they left off the part where that "maelstrom" thing?
isn't his enemies trying to kill him.
It's his enemies trying to tempt him away from his destiny.
FAITH
(now looking very uncertain)
Tempt him? ....With what?
GUNN
Donno. Whatever would tempt Connor.
(this puts Faith deep in thought)
According to the scroll, the "battle with his foes"
would happen here...
(he taps his temple)
...and here...
(then his heart)
and would be proceeded by three "signs"--
FAITH
(realizing)
Earthquake, fire, and blood.
(she throws him a look)
G, that actually happened.
GUNN
(nodding)
Aiden told us about it.
FAITH
So this "temptation" shit should be happening now.
Faith digs for her phone again.
GUNN
I guess. Who are you calling?
FAITH
(phone to her ear)
Angel. I need to tell him this
before he gets below that mansion.
Gunn peers out the windshield.
GUNN
Faith...where are we going?
FAITH
Angel's old hotel.
GUNN
(uncertain)
We're going there now?
FAITH
Kinda have to. Illyria's there.
GUNN
At the hotel? Why?
INT. THE SANDS OF THE PRIMORDIUM - DAY
The desert landscape is littered with the charcoal shards of Fred's home-made bomb. Her face pinches with anxiety.
FRED
None of this is real.
(a ragged breath)
And if it's not real, nothing here can really hurt It.
It. The PREHISTORIC NIGHTMARE that still towers nearby. Her eyes rise.
ILLYRIA
Your death will be but the first
as I exterminate the vermin from the Earth.
Fred glares at her.
FRED
You know, I always thought your phraseology
was a little overblown.
(a defiant beat)
I know Wesley thought so.
ILLYRIA
I care nothing for the Watcher.
FRED
Really.
Suddenly, Wesley is standing there on the sand between Fred and Illyria. His unwavering gaze is on the demon. Illyria steps back.
WESLEY
Leave. Your place is with the rest of your people--
dead and turned to ash.
With whipping anger, Illyria SWIPES WESLEY AWAY with a flick of a tentacle.
ILLYRIA
My "people" are about to rise
and lay waste to the human world!
Fred throws up her hands casually.
FRED
There you go, underestimating humans again.
(she crosses her arms)
Including the human you're inside.
ILLYRIA
You are already dead, Winifred Burkle.
Illyria lunges at her. Fred dodges out of the way.
FRED
Not as dead...as you want!
She continues dodging just out of tentacle reach, zigging and zagging.
FRED
Even if you erase the memory of me...you're still tainted.
(zig)
...And you know it, or you wouldn't be here,
wasting...your time with me!
(zag)
You'd be back overseeing your "minions"
...and your big, fancy Armageddon!
CRANE TWO-SHOT - Fred BOLTS for a distance, then whirls around, walking backwards.
FRED
But you can't stand the way they look at you.
The way they'll continue not to trust you,
(she sneers, gesturing with two wide arms)
even when you go back to looking...like a big, ugly hell-roach.
Illyria lunges again. Fred skitters back.
FRED
Because you feel.
You feel human emotions!
(her chin trembles)
I loved Wesley.
But the love you felt for him was your own.
ILLYRIA
(furious)
I feel nothing!
The ground SHAKES. Fred stumbles.
FRED
Well, that was convincing.
She raises her arms and does some dramatic sweeping of her own.
FRED
How about this one?
FLASH-DISSOLVE TO -
EXT. AN ALLEYWAY - NIGHT
It is pouring ran. Fred is kneeling, using a coat to shield the infant Connor as Angel hovers over the ashes where Darla died.
FRED
(gazing down at the child)
Remember?
ILLYRIA (O.S.)
The memories of the shell were returned to it.
Such as this--
FLASH-DISSOLVE TO - INT. A BEDROOM - DAY
Teenaged Connor sits at the foot of the bed eating a sandwich. Blue!Illyria in her Fred-shell runs a hand over his hair, eliciting a sweet smile from him.
FREDLYRIA
I know you're still hurting, Connor, but I promise...
(a bitter anger rises)
...it's not nearly as much as you're gonna hurt
for what you did to your father!
Connor stops chewing and peers up at her. She stabs a taser against his chest. Connor arcs back in pain.
CONNOR
Agh!
Fred looks on from across his bed, shivering angrily. Somewhere distant, we can hear a pounding noise.
INT. ILLYRIA'S HOTEL ROOM
Illyria is no longer seated before her caldron. She is standing, seething, at the end of the tattered bed mattress. The room is in disarray--the curtains ripped down, the furniture toppled over. The contents of the caldron are soaking the carpet. The POUNDING at the door continues. The knob rattles, a key scratches, but a desk chair has been shoved up under the knob. The door SHAKES on its hinges.
MAN
Ms. Burkle? Ms. Burkle?
Open this door!
EXT. SLAYER COUNCIL BUILDING - NIGHT
INT. LIBRARY
Aiden sits with his cheek slumped wearily against one hand as he reads off the computer screen. His POV - Scanned diagrams, timelines, and etchings of demons. And a long block of text. A shrill beep! breaks him out of his stupor.
AIDEN
(irritably)
Now...what?
ON SCREEN - A pop-up window.
New mail:
Requested Search Results -
ParanormalWebCrawler.org
Aiden brings up an email browser window, then opens the email. CLOSE-UP - His eyes scan the screen, and as they do, a grin breaks.
AIDEN
(giddy)
This is it.
It's how they're...opening...the gate.
ON SCREEN - Research results. A bolded title reads The Key of Pandemonium.
Aiden shoves around his books and papers and snatches up his phone. As his thumb settles on a button, he pauses, wincing and gritting his teeth. The INDISTINCT WHISPERING starts up again. With an agonized expression, he drops the phone and brings his hands to his ears.
AIDEN
Stop! Just stop!
The whispering fades. He fumbles for the joystick of his wheelchair. The chair jerks back. Then forward. Before he is barely around the table, he seizes up and wretches, VOMITING ONTO HIMSELF. Another shuddering wretch comes over him, and he tumbles forward with it onto the invisible floor of the library pocket dimension.
HOLD ON him, lying still, mouth sagging, cheeks smashed against his own vomit.
EXT. REAR PARKING LOT - HYPERION HOTEL - NIGHT
The couple from the room next to Illyria's stride down the circular driveway with their suitcases, expressions disgruntled.
INT. FAITH'S IMPALA
Faith shakes her head and chuckles, staring out at the hotel.
FAITH
Stealing the Box of Gavrok
from someone hell-bent on becoming a pure demon.
This is just fucking...whatever-the-hell's-the-word.
Gunn looks at her solemnly.
GUNN
I heard about what happened in Sunnydale.
I think the word you're looking for is "ironic."
FAITH
I never did get my knife back from B.
I liked that knife.
Gunn turns his brooding expression forward again.
GUNN
So Illyria wants to go back to being king of all she surveys.
Still doesn't explain why she's here.
Faith opens the car door.
FAITH
Guess we can ask her.
TIGHT SHOT - Gunn's hand shoots out and clasps her elbow.
GUNN
Wait.
Faith looks at him. Gunn's expression is deadly serious.
GUNN
I'm gonna to do this alone.
Faith balks.
GUNN
She'll think twice about killing me!
(he gestures at her)
You, she'll go after without a thought!
FAITH
Or she'll kill you on the spot,
'cause you remind her of feelings she
doesn't want reminding of!
GUNN
Faith, you need to be leading your soldiers.
I know that's what you want to be doing.
Faith's eyes dip briefly with acknowledgement. Then she returns Gunn's pointed look.
FAITH
If you have to kill her, can you?
Gunn doesn't look happy at the thought, but he nods.
GUNN
If I have to kill her,
it'll be because there's nothing of Fred left.
Just the thing that killed her.
FAITH
Tough talk.
GUNN
It's what got me through when I had to stake my sister.
(his eyes return to the hotel)
Won't lie, though.
I'm hoping there's part of her that can be saved.
Faith reaches for the handle of the ajar driver's side door and pulls it shut. Gunn takes in her pensive expression.
GUNN
Hey.
With a hesitant hand, he reaches up and pushes a lock of hair from her face.
GUNN
(sincerely)
This isn't about me getting my old girlfriend back.
It's about me accepting the consequences of a mistake
that made me lose a friend.
Faith's expression is blasé.
FAITH
Sure, whatever.
Tentatively, Gunn leans in and plants a kiss on her lips. Faith lets him continue for a few beats, then returns it with heated passion that stops as quickly as it starts. Gunn offers her an encouraging look.
GUNN
Now go raise hell.
Before the Gathering does.
DISSOLVE TO - INT. SECOND-FLOOR CORRIDOR - HYPERION HOTEL - MOMENTS LATER
The night manager leads Gunn down the hall.
GUNN
I assume you got inside.
NIGHT MANAGER
(uneasy nod)
For about two seconds.
But what I saw in there....
He shudders. They come to a halt at the door, which is now loose on its hinges.
NIGHT MANAGER
If you can figure out what's going on,
more power to ya.
Gunn enters.
EXT. TRACY'S APARTMENT BUILDING - NIGHT
The muscular vampire guard loiters in front of the recently-replaced door, eyes on the street.
CUT TO - EXT. SIDE WALL - Alix crouches on a high fire escape landing, purse slung over her shoulders. She slips inside the corridor window.
INT. APARTMENT CORRIDOR
Her POV, walking - Apartment doors; the top of the interior staircase. The CAMERA POV switches to a STAIRCASE VANTAGE POINT as Alix continues to a door. She POUNDS ON IT.
INT. TRACY'S BEDROOM
Tracy sits up, wincing sleepily.
TRACY
Is that the door?
She shifts her legs over the side of the bed. Connor rolls over, eyes at half-mast. More pounding.
TRACY
It is!
A hand gently clasps her forearm. She looks back. Connor hauls himself out of bed.
CONNOR
I'll get it.
TRACY
Are you sure? It's my apartment. I can--
CONNOR
(firmly)
I'll get it.
TRACY
(annoyed)
Fine.
INT. APARTMENT CORRIDOR
Alix raises her fist again just as the door swings open. Connor's surprised look melts quickly into a jaundiced scowl.
CONNOR
What are you doing here?
Alix cranes her head to see around him. Connor brings the door closer.
ALIX
I was just coming home from Caritas,
thought I'd swing by....
CONNOR
Look.
I'm not going back there.
Or anywhere else you're likely to run into me.
(he steps back)
Goodbye, Alix.
Alix dives for the closing door -
ALIX
Wait, just--!
- and bounces off its vampire protections just before it SLAMS SHUT IN HER FACE. She scowls for a few beats, then leans in close. Without raising her voice -
ALIX
You're going to have to try harder than that, Connor.
(then, more calculated -)
...I can pound on this door all night.
INT. TRACY'S FRONT HALLWAY
Connor stands at the door, fuming silently. Tracy stares at him, arms crossed, at the end of the hallway. He shakes his head at her, then opens the door and exits out into the hall.
LONG SHOT - INT. CORRIDOR
STAIRCASE VANTAGE POINT - A SCOWLING Connor marches Alix down the hall, hand gripped on her arm.
ALIX
(stumbling along)
Your father said...you were under the influence of something.
(she glares)
You seem the same to me.
CONNOR
When did you talk to my father?
Our VANTAGE POINT sinks down a little, taking the corridor out of view. Someone is lurking.
ALIX (O.S.)
Tonight. At Caritas.
HALLWAY TWO-SHOT - Alix fumbles in her purse. Connor eyes this guardedly.
ALIX
He gave me something.
She twists out of his grip and opens the BLACK JEWELRY BOX. Her gaze is intent and inquisitive.
ALIX
He said it might...break you out of it.
Connor draws his head back at the sight of the AMULET. Then he gapes at her.
CONNOR
Do you know what that does?
ALIX
He didn't say...exactly.
Connor's eyes drift to the amulet again. He reaches out reflexively until his fingertips brush the box. Alix watches his face a few beats before continuing.
ALIX
But from what I got?
It's supposed to remind you who you are.
Connor peers up at her, then backs away. He shakes his head.
CONNOR
(pointing at it)
That's not me. Not anymore.
Abruptly, he turns and starts back up the hall. Alix scoffs.
ALIX
Are you sure?
'Cause I don't think you know who you are right now!
Connor pivots back and glares back at her with a feral sneer.
CONNOR
If I put that on, I will kill you.
A door squeaks open. Alix's answering grin is defensive and aroused.
ALIX
(saucily)
Could be worth it.
TRACY (O.S.)
Connor? Who is that?
Connor turns. Tracy is standing there, blinking in her robe.
CONNOR
(snapping at her)
Get back inside.
Tracy balks. Alix starts towards them.
ALIX
Is this what you want, Connor?
Demons pulling your strings?
Free will as long as you play their little game?!
Connor whirls to face her. Tracy steps out into the hall.
ALIX
(pointing)
And what about her?
Her gaze settles on Tracy.
ALIX
(sneering)
You know you're just a pawn, don't you, honey?
A cute little cellmate they enchanted to keep
a smile on his face?
TRACY
(aghast)
Who is this, Connor?
CONNOR
(scowling)
No one.
(he nudges her back over the threshold)
Just let me get rid of her.
Tracy doesn't back up far.
TRACY
Is it true?!
I mean, the things your father was saying earlier....
(her expression contorts with anxiety)
...It's happening again, isn't it?
Someone messing with our memories or whatever?
CONNOR
Just...let me take care of it.
Then I'll explain everything.
Tracy doesn't look happy, but she backs up inside. Connor shuts the door. Alix smirks, keeping a distance between them.
ALIX
Not as dumb as she looks, is she?
(Connor's expression is pained)
So is this what you want for her, Connor?
Being a puppet for demons?
Connor's eyes sink with resignation. Alix takes this in.
ALIX
...I guess you don't have a choice.
With a determined expression, she reaches for the amulet and draws it out of its box.
ALIX
Unless you make one.
(she takes the chain in both hands; the box falls)
Just tell me...you want it.
She raises the amulet up before him.
CONNOR
(quietly)
I can't.
His eyes sink to one side in troubled realization.
CONNOR
I can't....
Alix's eyes drift to the dangling amulet. Connor throws her a stunned, desperate stare. Then his brows knit with concern as he sees Alix bring the amulet closer to herself.
CONNOR
Alix?
CLOSE-UP on her eyes, then the Amulet. Connor continues to speak, but his voice is rapidly drowned out by a WHITE NOISE that is DEAFENING.
Connor charges over and SNATCHES THE AMULET out of her hands. Alix shakes off a dazed look and gapes up at him. He PUSHES HER BACK. She stumbles, then with a determined glare, surges forward and KNEES HIM IN THE GROIN. Connor doubles over, eyes bulging. Alix slips the amulet over his head.
CONNOR
Aaagh!
Connor stiffens. He grasps at the chain of the medallion, but then slumps forward, collapsing in a heap at Alix's feet.
ALIX
Great. Guess Dad was right about the fainting part.
CUT TO - EXT. ALLEY BESIDE THE APARTMENT BUILDING - A MOMENT LATER
Alix dumps the unconscious Connor into the front passenger seat of a boxy early-eighties model Mustang. TIGHT SHOT - His hands are bound together with rope, as are his feet. She winds another rope around his chest and the bucket seat. Suddenly, she gapes up at -
The HULKING VAMPIRE GUARD LOOMS, a STAKE in his fist. Alix stumbles against the open car door. The vampire grapples for her, scowling, then - twang! - seizes up, a crossbow bolt protruding through his chest. Alix gapes at it, flabbergasted. He EXPLODES in a cloud of dust. Standing behind his is MARY THE VAMPIRE SLAYER. She approaches.
MARY
Angel sent me to make sure you got where you were going.
ALIX
(stunned)
Uh...thanks.
DISSOLVE TO A MOMENT LATER - Mary looks on with discomfort as Alix's Mustang drives off.
MARY
I can't believe I just did that.
(a defensive chuckle)
"Mary, the Vampire Saver."
She shoulders her crossbow and heads off.
MARY
Bigger picture, chica. Bigger picture.
BLACK OUT.
TO BE CONTINUED
Executive Producer Joss Whedon Connor Vincent Kartheiser Faith Eliza Dushku Aiden Sean Maher Gunn J. August Richards Angel David Boreanaz Rona Indigo Lilah Stephanie Romanov Alix Rachel Leigh Cook Guelph Alan Tudyk Illyria Amy Acker Lorne Andy Hallet Spike James Marsters Tracy Sarah Jannett Parish Buffy Sarah-Michelle Gellar "Wesley" Alexis Denisof