Season II: Disharmony

FRED
(voice-over)
Previously on Angel:

CORDELIA
Imagine what could have happened if you'd
gone nuts and slept with Darla!

Season II: Reprise
ANGEL throws DARLA through the glass doors

ANGEL and DARLA on the bed kissing and ripping each other's clothes off

Season II: Disharmony

ANGEL
You know I would never do that

Season III: That Old Gang of Mine

SHAMAN
I cannot help you. No one can. This is not
meant to be known

DARLA
(Rubbing her pregnant belly)
Well, I guess there's only one thing left to do.
Time to go visit daddy

Season III: Offspring

DARLA
If you ask me, they're for knocking you up
and leaving you high and dry

ANGEL spins around to see a very pregnant DARLA standing on the top landing leading down into the lobby from outside.

DARLA
Hello, lover.

Season III: Quickening
Title card - England 1773

SAHJHAN
I'm not a man. - What I mean is...

HOLTZ
(Takes a closer look at him)
You're not human

HOLTZ
You'll get more than a fight if you don't
leave right now!

SAHJHAN
It'll be another two hundred years before
you get another chance to confront either
Angelus or Darla. I'll take you to them.
Two centuries into the future

Season III: Offspring
Suddenly the room begins to shake and blue lighting flashes. The eyes of the statue suddenly turn into two open, human looking eyes. The statue cracks then crumbles to the ground in a cloud of dust.

The demon puts out his cigarette and walks over to the figure huddled in the middle of what's left of the statue.

SAHJHAN
Welcome to the twenty first century.
(Crouches down and puts a hand on the back of the figure)
Angelus is here. You'll see him soon. - You
haven't used your muscles in a very long time.
It will be a while before you're strong enough to...

The figure suddenly straightens up. It's HOLTZ

HOLTZ
Just tell me where he is

Season III: Dad

DARLA
This Child, it's the one good thing we ever
did together. You make sure to tell him that

DARLA stakes herself and explodes into a cloud of dust, leaving a crying baby boy behind.

HOLTZ steps through the hole in the wall and aims his crossbow at ANGEL, who is holding his son

SAHJHAN
Now is your chance ... You can't just let him
walk away!

HOLTZ
I swore that I would show no mercy - And I won't.

ANGEL
What about my son?

WESLEY
He has a role to play - I've located commentaries
on the Nyazian text, the prophecies concerning
your son

Wes stares down at his notepad

WESLEY
The Father will kill The Son

Season III: Sleep Tight
JUSTINE pulls out a knife and slices it across the side of WESLEY'S neck. WESLEY falls to his knees, pressing one hand over the cut, as JUSTINE pulls the baby out of his grip.

Season III: Sleep Tight

SAHJHAN
(Raising his hands)
Lekko najine forkahdio!

There is a big explosion with bright sparks and a hole opens in the air. Past the burning edges we can see a turbulent, blood red sky.

SAHJHAN
What you are looking into is the Quor-toth,
the darkest of the dark worlds. So---I can
widen the portal and you can all be swallowed
up by a world. You cannot begin to imagine---

HOLTZ jumps into the roiling red air of the portal and disappears from view.

Season III: The Price

FRED
The Destroyer! I remember... The
Destroyer's coming...

A DIMENSIONAL TEAR opens up and a HUGE, FEROCIOUS MONSTER emerges from it.

GROO pushes CORDELIA back, and raises his axe. Everyone else instinctively steps back.

SOMETHING ELSE emerges from the tear, somersaulting once, twice -- At which time a glistening blade SWIPES at the MONSTER, cleaving its head and torso in two -- and a third time, and lands on its feet as

THE HUGE, FEROCIOUS MONSTER falls dead, out of frame.

ON THE FEET of this something else - We travel up to see it's a TEENAGE BOY, roughly 16, adorned with jewellery made from the teeth, bones and other trophies of the many unfortunate demons and creatures he's butchered. THE BOY raises up his weapon, aims it directly at Angel's hearT.

CONNOR
Hi. Dad.

Season III: A new World

ANGEL
You're not alone. - You know that, right?

CONNOR
Yeah. I know

With that CONNOR turns and runs off, leaving ANGEL standing by the van, looking after him. After a long beat ANGEL slowly, carefully moves off.

CONNOR is running down a narrow alleyway. He slows and straightens as he comes up to a dark opening. After a moment a figure steps out of the darkness.

HOLTZ
Hello, son

CONNOR
Hi, dad

Season III: Benediction

ANGEL
It could be kind of dangerous. There's a lot
of killing and violence. You wanna come?

CONNOR stops and looks back at ANGEL over his shoulder.

Season III: Benediction

WESLEY
What's going on here, Lillah?

LILLAH
Some source - can't imagine who - tipped
her off that tonight this place would be filthy
with vampires. Which, as it turns out, is true

WESLEY
And you thought I'd enjoy a box seat for
her slaughter

WESLEY stops, but doesn't turn or speak. WESLEY takes a step after her

WESLEY
A test Lillah?

LILLAH
I just needed to know whether or not I
was wasting my time

Season III: Benediction

JUSTINE slams HOLTZ up against the side wall of the motel

JUSTINE
Don't make me do it - I cant

HOLTZ has his hand wrapped around JUSTINE'S right hand and the awl she is holding up between them.

HOLTZ
We already know you can. You promised.

Crying, JUSTINE, her hand still covered by HOLTZ', stabs him in the side of the neck with the awl.

JUSTINE slowly raises her head to look at CONNOR who stares at the two puncture wounds on HOLTZ' neck.

CONNOR
Angelus

Season III: Tomorrow

JUSTINE
You don't wanna kill him? After what he
did? - What do you wanna do?

ANGEL wakes to the sound of a screw-gun. He is lying on his back inside a metal casket. CONNOR is tightening the screws on it. Thick steel cables are wrapped over ANGEL'S ankles, thighs, abdomen and chest, confining his arms at his sides and holding him motionless.

CONNOR
Killing is too good for you. You don't get
to die. You get to live - forever

Season III: Tomorrow

SKIP
You're a great warrior, Cordelia. The battle
that we're all a part of is fought on many
different planes and dimensions. You've
outgrown this one. You've become - a higher
being.

CORDELIA rises up inside a cone of light.

The metal casket drifting deeper into the ocean. We get a dim glimpse of Angel's face through the window as the casket passes in front of the camera during its descent.

CORDELIA disappears with a small flash of light.

The top of the casket disappear into darkness

FRED
(voice-over)
Where did everybody go?

TEASER

Scene: Hyperion Hotel, Lobby [Int.], Night
Camera moves across the street, into the hotel and stops in front of the reception desk - FRED is reading a book when the phone rings - She is visibly excited as she answers it

FRED
Angel Investigations, we help the helpless!

Her smile fades as she listens

FRED
(continued)
No were perfectly happy with our long distance
carrier, thank you… bye.

She looks up to see GUNN standing in front of the desk

GUNN
That bad huh?

FRED
Three calls, no clients. We did get a wrong
number for Jimmy's Pizza so if you think
you can whip something up we could take
the next delivery and actually get some money
coming in.

GUNN
It's not that bad, we'll get a client any day
now.

A loud buzz is heard as all the lights go off.

GUNN
Please tell me that's the sound of a hell portal
that's about to open and not….

FRED
The sound of the electricity company cutting
us off?

GUNN
They can't do that. We didn't get a red letter.

FRED
We did. It just wasn't red.

GUNN
Oh!?

FRED
I'll Phone the Power Company in the morning,
see if I can sort it out - we can't very well run
a business in the dark .

GUNN
Fred, honey we don't have a business to run.

FRED
Sure we do. It's just been slow the last few…

GUNN
Months, it's been slow for a few months.

FRED smiles hopefully.

FRED
It's gonna pick up any day now.

GUNN
Honey, we're Angel Investigations without
the Angel, without a link to the powers and
without a resident demonologist.

FRED
It's kind of ironic, if Cordy were here she
could get us a case and light the hotel.

GUNN
The only way we can get Cordy back is to
find Angel, and the only way we can do that
is to….

FRED
Find Connor… I know.

GUNN puts his hand onto FRED'S.

GUNN
And we will, well find him and get everything
back to normal.

FRED
(Reacting to the dark hotel)
Do ya think when we find him - he'll put us
up until it is.

GUNN
(Pulling FRED into a hug)
Shh baby, we'll be fine…. we'll be fine

Scene: Oracle Chamber
CLOSE UP - CORDELIA'S EYES

She blinks a few times then turns around - the camera pans out to reveal a room with similar architecture to the oracle chamber

A low chime is heard before the section of the wall glows white and a man walks through

MALE ORACLE
Madam Seer, are you ready to begin
today's tasks?

CORDELIA
In a minute.

MALE ORACLE
Very well madam, I will await your arrival
outside.

CORDELIA walks over to a mirror and closes her eyes - her skin changes from normal pigment to the golden blue pigment of the other oracles.

She looks at the image of ANGEL with CONNOR as a baby -she puts it back on its ledge and it disappears - she leaves the room by the same method the male oracle entered

FADE TO BLACK

SCENE: EXT. BEACHSIDE, SUNSET
The camera pans down into the ocean, deeper and deeper until it moves towards a large box covered in alge - the camera moves around to window on the top to show…

CLOSE UP - ANGEL'S FACE, ITS PALE, THIN AND CRACKED

SCENE: EXT. FIELD, DAY (DREAM SEQUENCE)
ANGEL walks towards CONNOR

CLOSE UP - ANGEL'S FACE AS SUN SETS
He morphs into vamp face in time with the sun setting, grabs CONNOR and begins to feed off him

FADE TO BLACK

ACT TWO
SCENE: INT. HYPERION HOTEL, LOBBY, MORNING
A MAN enters the hotel lobby; he carefully looks around the lobby before hurrying back the way he came.

GUNN
(Stepping out from the office)
Not thinking of running off on me are
you Frankie?

FRANKIE turns around slowly.

FRANKIE
No way G, I just…thought you were out
is all.

GUNN
Well I'm not - what do you have?

FRANKIE
There is something going through the city...
taking out anything that isn't human - but
I don't know what it is.

FRED comes rushing down the stairs.

FRED
What's the M.O.?

FRANKIE
Hard to say - not all of them left bodies,
those that did were done quick - efficient
like.

GUNN
What about vamps?

FRANKIE
You know the nest on 4th?

GUNN
Yeah

FRANKIE
Its gone - my guys take a regular pass every
couple of days. Tuesday it was there yesterday
it was empty.

FRED
Maybe they left.
(Off looks from GUNN and FRANKIE)
Or not…

FRANKIE shakes his head.

FRANKIE
Those vamps have been held up in that building
for the best part of 8 years - besides something
went down there…

GUNN
War-ground?

FRANKIE
More like world war III ground, stakes, crossbows...
lots of dust

FRED
Its Connor - It's got to be...

GUNN nods towards FRANKIE.

GUNN
You can leave Frankie

FRANKIE
Yup, just waiting for my money

GUNN
Money?

FRANKIE
My guy's wont work for free - gotta fill up
the pay packets some how

GUNN
I'll owe you!

FRANKIE
If it were anyone but you G - Later

FRANKIE leaves and GUNN turns to FRED

GUNN
It can't be Connor sweetie, I mean that nest
was huge and Connor - he's only one man

SCENE: EXT. FIELD, DAY
The field is full of long grass with a single oak tree standing in the centre. STEVEN crouches by the tree as JUSTINE approaches from across the field

STEVEN
Another nest?

JUSTINE
Yeah but there's no rush - its 5 hours before
sunrise.

STEVEN
There's always a rush - they could do a lot of
killing in 5 hours.

JUSTINE
(Standing close to STEVEN)
So can we.

STEVEN
We should go. Where's the nest?

JUSTINE
An old factory building on the corner of Lessing.
my trucks over there

STEVEN
Meet me there.

STEVEN runs off at speed across the field as JUSTINE watches

OVERSHOT - LA NIGHT TIME/ FLASH TO

SCENE: INT. WOLFRAM and HART, WESLEY'S OFFICE, NIGHT
WESLEY sits in a dimly lit office. Books and papers spread over the desk. His phone buzzes

WESLEY
(Pushing the intercom button)
Yes?

INTERCOM (V.O.)
Ms Morgan to see you Mr Wyndam-Price

WESLEY
Send her in.

LILLAH walks over, pushes a book onto the floor and sits in the now empty space

LILLAH
Well?

WESLEY
Well what?

LILLAH
The meeting with Linwood is at 11.

WESLEY
And?

LILLAH
Its 10:45

WESLEY
Again I find myself saying, and?

LILLAH
Don't you think you should bring me up
to speed before we go in there?

WESLEY doesn't even look up a LILLAH.

WESLEY
No.

LILLAH
You really should learn to play with others
Wes.

WESLEY
Its my project and my meeting Lillah

LILLAH
I'm your department head. You should fill
me in before the meeting

WESLEY
Your right, of course.

WESLEY picks up a stack of papers and leaves the office; LILLAH follows him into the corridor

LILLAH
Well!?

WESLEY
(Looking at his watch)
I am sorry I don't have time now - I have
a meeting.

CLOSE UP - LILLAH looking pissed yet with a slight tinge of happy in her eyes. She's got him.

SCENE: INT. ORACLE CHAMBER, NO TIME
CORDELIA walks in and stands by another MALE ORACLE

CORDELIA
Sorry I'm late Varen have you been waiting
long?

VAREN
Your attachment to time still amuses me.
You are not late nor are you early. Neither
has meaning here.

CORDELIA
Don't I know it - haven't had a lunch break
since I got here.
(Off VAREN'S look)
It was a joke.

VAREN
Very well, we shall proceed with….

CORDELIA
Let me get one thing straight - you ignore
time even though it does pass here?

VAREN
Yes.

CORDELIA
Why? If time passes it makes no sense
not to use it

VAREN
For everything there is a reason. Your focus
should be on our reason for being in this
chamber

CORDELIA composes herself.

VAREN
Remember your focus should remain on the
events not the individual.

CORDELIA nods as an archway in the chamber glows a blinding white and a MAN is thrown through - He looks like a human but his skin has a purplish pigment

CORDELIA
What is it - Lower Being?

MAN
Savage beasts attack my homeland - they
walk like men, but fight like animals - We
fight them but we are unsuccessful

CORDELIA
What do you seek from us?

MAN
My father told me of this place - if ever our
home were in danger, you would help us

VAREN nods to CORDELIA, she closes her eyes and enters a controlled vision she sees what the MAN has seen - the beasts attack towns and cities, killing men and women

CORDELIA
The beasts are the mingatu - they seek the
relics of your ancestors to restore their maste
to power

MAN
How can they be killed?

CORDELIA
A weapon of your purest silver driven through
their chests - an attack must be led on them
before they lead another attack on you

MAN
Who should lead this attack?

CORDELIA
You should. You are the champion of your
world

MAN
Champion? - I don't understand

CORDELIA raises her hand and the MAN is flung back through the archway. CORDELIA looks on for a few seconds then turns to face VAREN.

CORDELIA
How did I do?

VAREN
A most impressive encounter, with an equally
impressive solution - however…

CORDELIA
However? There's a however now?

VAREN
You neglected to request a gift!

CORDELIA looks bummed and confused.

SCENE: INT. WOLFRAM and HART, CONFERENCE ROOM, DAY
LINWOOD and LILLAH sit at opposite ends of the desk. WESLEY enters and sits at a chair in the middle.

LINWOOD
Go ahead Wesley

WESLEY pulls out a few papers and flicks through them randomly.

WESLEY
It took a while but I translated and verified
the texts you gave me to review. However
I was unable to find any corresponding
patterns in the early messetainian lunar
cycles.

LINWOOD
Which means?

LILLAH
The texts are as useful as they were 4
weeks ago.

LINWOOD
Oh.

LILLAH
I guess it really wasn't worth all the 'extra
lengths' I went to, bringing you in - huh Wes?

WESLEY glares at her. He pulls out a few papers and hands them to LINWOOD and LILLAH.

WESLEY
I didn't finish - the reason I couldn't find the
corresponding links was because they weren't
there - if it had been the real ritual texts I had
been reviewing I would have found it... but the
texts I was given were faked…badly!

LINWOOD
How so?

WESLEY
The Grammar and syntax were off by about
two centuries making it impossible to make
the links between the texts and the lunar
cycle.

LINWOOD
Two whole centuries?

WESLEY
Yes - had it just been one century I could
have made the links with a ninety percent
chance of accuracy - but between the 16th
and 17th centuries there was a revolution in the
Messetainian civilisation - there dialect mutated
dramatically over the century, making it
impossible to make the links to a high percent
of accuracy.

LINWOOD
I'll take your word for it. Ms Morgan?

LILLAH
Yes sir?

LINWOOD
A whole two centuries out? What are we
paying you for?

LILLAH
Sorry sir - ancient language has never been
my strong point

LINWOOD looks at WESLEY and smiles. WESLEY smiles back.

SCENE: EXT. OLD FACTORY BUILDING, NIGHT
FRANKIE AND a group of men are chasing a DEMON down an alleyway- the demon gets to a dead end and stops - the group corner it

The DEMON runs at them but is hit by three arrows - it slumps against the wall then falls to the ground dead

FRANKIE
I think that's enough for tonight. Pack it
up guys I'll catch y'all tomorrow.

GROUP MEMBER #1
Later Frankie.

FRANKIE sets the DEMON on fire then walks out of the alleyway lighting a cigarette - he is half way down the street when he sees a man running at speed towards a factory building - then a truck following him down the road

FRANKIE watches as a red headed woman gets out of the truck and stands by the man - the boy does a flying kick on the door and it flies off its hinges - FRANKIE reacts to this as he watches the two run into the factory

FRANKIE moves in a little closer and looks through a partially boarded up window - he watches the man and woman as they fight off five vampires

FRANKIE moves over to the truck and starts scribbling the licence plate number onto a scrap of paper

FRANKIE
Gunn is sure gonna want to know about this.

SCENE: EXT. FIELD, DAY (DREAM SEQUENCE)
ANGEL and CORDELIA sit under on a blanket under the shade of a tree

ANGEL
Really?

CORDELIA
Yup - to anybody who would listen

ANGEL
And I have to talk to him?

CORDELIA
I'm not doing it. I did it last time.

ANGEL takes CORDELIA'S hands in his own.

ANGEL
Your better at it than me.

CORDELIA
How stupid do you think I am? You're
doing it.

ANGEL
Fine.

ANGEL Stands up and walks out from under the tree into the sun - he is unaffected.

ANGEL
Hey Buddy. Come here.

A YOUNG BOY about 6 or 7 years of age runs over to stand by ANGEL - ANGEL kneels down and the boy perches on his knee.

ANGEL
How was school today, Doyle?

DOYLE
(shrugs)
Okay.

ANGEL
Anything you wanna tell me about?

DOYLE
Nope.

ANGEL
You sure?

DOYLE
Yup.

ANGEL
Now that's funny - because Mrs. Peterson
told your mother that you were talking to
Jay Gordon about….

ANGEL stops talking as it gets dark - he looks up to see that the sun has gone in - he turns to look at CORDELIA.

CORDELIA
Angel! You have to hold on. Try and remember,
this isn't real. None of it is. Whatever happens
you have to remember that.

ANGEL reacts to a noise behind him he turns to see….

CONNOR
Hi dad…

ACT THREE

SCENE: INT. WOLFRAM and HART, CONFERENCE ROOM, DAY
LILLAH, LINWOOD and WESLEY stand by the window

LINWOOD
You've proved yourself Wesley. I must admit
I wasn't sure that you would. The Watchers
Council then Angel Investigations. Wolfram
and Hart didn't seem like the most likely next
step... but over the last four months we've
put you through a few tests. Hell we've put you
through hell of a lot of tests - and you've
passed them all.

WESLEY
So the tests are over?

LILLAH
In a manner of speaking. There is the, well,
I'd like to call it the final exam.

WESLEY
Which is?

LILLAH
A project - a real one this time.

LINWOOD
Your 'life' with the firm depends on the
outcome of the project

WESLEY looks carefully at LINWOOD.

WESLEY
What's the project?

LINWOOD
Despite our extensive backgrounds on all
the employees of Angel investigations,
none of what we have can hold a torch to
the personal knowledge you have on each
of them. In essence you're our resident expert
on Angel Investigations, more importantly on
Angel. The senior partners like that.

LILLAH
We want you to run a sub-division of special
projects... Focusing specifically on Angel
Investigations.

LINWOOD
We have a number of experts, physiologists
and demonologists, legal and tactical specialists
to help you with whatever you may need. First
though we need you to create a phyc profile on
each of them.

WESLEY
What should these profiles focus on exactly?

LINWOOD
Physical and mental strengths and weaknesses.
You know, any exploitable relationships they
may have with each other.

WESLEY
Of course whatever information I collect will
be four months out of date.

LILLAH and LINWOOD look at each other

LINWOOD
We always keep close tabs on Angel and
friends. Nothing much has changed since
you left.

LILLAH
(Jumping in)
Except of course for the re-emergence of
Steven.

LINWOOD
Except for that of course. However your
project shouldn't focus on him... the rest
of Special projects will be looking into the
young man carefully. Should you need
any information on him to complete your
own project you can speak to Lillah or Gavin.

WESLEY nods slowly.

WESLEY
What's my next step - once the profiles
are complete?

LINWOOD
Ways to use the information against Angel's
people. I trust that wont be a problem for you

WESLEY
Why should it be?

LINWOOD smiles.

LINWOOD
Just checking. Remember Wesley, the
senior partners are keeping close tabs on
you.

LINWOOD and WESLEY hold eye contact for a few moments before WESLEY leaves the room.

LILLAH
My enemies, enemy huh?

LINWOOD
Excuse me?

LILLAH
The reason we aren't telling him that
Angel and Cordelia are gone... and that
the boy is leading a crusade against the
demon world with the woman who slit his
throat?

LINWOOD
I'm sure that given enough time, he wouldn't
care what was happening to Angel and his
band of misfits. Right now however there's
no saying how this news would affect his
feelings toward them.

LILLAH
So what he doesn't know won't hurt him?

LINWOOD
Lillah, stop spouting platitudes at me. You
can talk to me about leopards and spots until
the next apocalypse once we have Angel's
son in a cage

LILLAH
Yes sir.

SCENE: INT. WESLEYS APPARTMENT, DAY
WESLEY is sitting at his desk working on his laptop. He is typing up notes while looking over Wolfram and Hart's files on FRED. He stares at the picture of her attached to the file, types a few lines then deletes them. He takes his glasses off and rubs his eyes as there's a knock at the door.

WELSEY walks to the door and opens it to see FRED - they stare at each other for a moment then FRED enters the apartment.

WESLEY
(sarcastically)
Do come in.

FRED
How have you been?

WESLEY
Do you even care?

FRED
Of course I care.

WESLEY
Telling me to leave and never come back
then staying away from me for six months...
You're right, of course you care!

FRED
This isn't the time to get into this, right now
there's other things, more important things
going on. A lot of stuff happened over the last
six months that shouldn't have happened.
But they did. And if were gonna have any
chance of changing them we have to work
together, fight the evil together... like we used
to before Angel and Cordy…

WESLEY
Before Angel and Cordy what? Turned their
backs on me, Tried to kill me. I don't know
what the evil is and I don't really care. Angel
and Cordelia didn't need me then they can
handle it on their own now!

FRED
That's the thing - they cant. There…

FRED stops talking as she notices the picture of herself showing on WESLEY'S laptop - she walks over and sees the Wolfram and hart logo on the files, and realises what's going on

FRED
Oh my god!

WESLEY
Fred... Its not how it looks…

FRED slaps WESLEY hard across the face

WESLEY
I think you should leave.

FRED
I think so too.

FRED walks to the door - before she leaves she turns back to face WESLEY

FRED
I thought you would help. I never said it
but I've thought God knows how many
times over the last five months that if
we went to Wesley he would sort this
mess out. Now I realise you were to busy
being evil to fight evil…

WESLEY
Fred!

WESLEY goes after FRED but once he gets into the corridor she has already gone

SCENE: INT. HYPERION HOTEL, LOBBY, DAY
GUNN runs into the lobby - He looks around for FRED while shouting her name

GUNN
Fred! Baby, you here?

FRED walks in the door behind him - deep in thought, she sees him and tries to hide her concern

GUNN
Fred!?

FRED
Yeah.

GUNN jumps around - startled by her

GUNN
Hey honey. Where ya been?

FRED
Just out for a little fresh air. Were
you looking for me?

GUNN
Yeah. I got some news... about Connor

FRED instantly perks up

FRED
What Is it. Did you find him?

GUNN
Frankie and his guys were over by a
vamp nest on the south side last night.
They saw two humans going in to the
nest... armed to the teeth... a kid and
a red headed woman...

FRED
Justine!

GUNN
Seems to make sense - but why is he
with Justine?

FRED
Holtz! Connor comes back, then Holtz
comes back... Holtz disappears... then
Angel and Cordy disappear... Now Connor
is working with Justine. It doesn't make
sense.

GUNN
Or it makes perfect sense. We were just
too stupid to see it

FRED
What do you mean?

GUNN
It's gotta be a set up. The only way Connor
could know about Justine would be from
Holtz... and he disappears a day before Angel
does.

FRED is suddenly even more worried than ever.

FRED
Charles... what if Angel didn't disappear?
What if they killed him? What if Connor killed
him and Cordy?

GUNN
It doesn't make sense. You saw how protective
Connor was of Angel when the Wolfram and Hart
goons got the drop on us at the movies. And
what reason would he have to kill Cordy?

FRED
I guess. But how would we know Angel and
Cordy could be dead?

GUNN
We'll if they had killed Cordy we would
know... a body

FRED
Oh... That doesn't make me feel a whole lot
better. Maybe we should check with Lorne
again. See if he's heard from them

GUNN
He would have gotten in touch. Right now
I think our best lead is Connor.

FRED
So we need to find him. Where was this
nest. Maybe they're staying near by?

GUNN
I don't have an address. I do have the licence
number of the truck they drove off in, though
I doubt it's registered to either of them.

FRED
Maybe it doesn't need to be.

FRED runs over to the office and opens up her laptop. She brings up the LAPD Traffic control database.

GUNN
How did you get onto that?

FRED
The encryption sequence was only a fifty six
digit randomised code. Wasn't too hard to
break. What's the licence number?

GUNN
I love your brain.

FRED
I hope you love the rest of me too!

They kiss - then FRED goes back to the computer screen

SCENE: INT. HIGHER PLANE, CORDELIA'S CHAMBERS, NO TIME
CORDELIA kneels on the floor, her eyes are closed and there is a weak luminance to her skin - she appears to be in a trance.

CONNOR (V.O.)
Hey Dad.

ANGEL (V.O.)
No! NO!

CORDELIA'S skin stops glowing - her eyes open and she looks up

CORDELIA
Angel!?

SCENE: INT. HYPERION HOTEL, OFFICE, DAY
FRED is still sitting at the computer, while GUNN paces in front of the desk

GUNN
Anything?

FRED
I'm compiling the results now. I have
to stop every time the system is
accessed or they'll pick up my connection

GUNN
How often do they access it? I mean there
can't be that many cars stolen in…

FRED frowns at him.

GUNN
(C'tnd)
Never mind.

FRED looks back to the computer when it bleeps

FRED
I got something! The truck isn't stolen and
is registered to an address in Ohio... so no
luck there. But there are…seventeen
parking tickets dating back from four
months ago.

GUNN
Any corresponding….

FRED
Already on it.

GUNN looks at FRED and smiles.

FRED
Yes! Ten of the seventeen tickets are in
the same block. Guess we have a place
to start looking.

GUNN
I'll go fetch my truck.

SCENE: EXT. FIELD, DAY (DREAM SEQUENCE)
ANGEL stands facing CONNOR, CORDELIA'S lips can be seen moving but no sound is coming out

CONNOR
Hi Dad.

ANGEL
Doyle?

CONNOR
No. It's your other son. The one that lives
in the real world... You know the one that
hates you.

ANGEL
Connor…

CONNOR
I prefer Steven actually

ANGEL
Steven?

CONNOR
I don't have time for this.

CONNOR raises a crossbow and fires

Fade to black

ACT FOUR

SCENE: INT. HIGHER PLANE, CORDELIA'S CHAMBERS, NO TIME
CORDELIA sits on the floor again, her eyes closed and her skin glowing we here her talking telepathically

CORDELIA (O.S)
Angel, ANGEL!

Faint sounds can be heard - they get louder and louder until…

CLOSE UP - CORDELIA'S EYES snap open as her skin stops glowing

The camera pans out to show the horrified look on her face

SCENE: INT. WOLFRAM and HART, WESLEY'S OFFICE, DAY
WESLEY is working on LORNE'S Phyc profile when LILLAH enters

LILLAH
I hear you had a lady friend at your
apartment yesterday. Should I be
jealous or concerned?

WESLEY
Are you ever anything else?

LILLAH
Ouch Wes. You're getting a little to good
at that. What I meant to say is... what could
little Whiney-fred have been doing in your
apartment?

WESLEY
You're still keeping tabs on me Lillah? If I
had known you were the clingy type I never
would have slept with you.

LILLAH
Which time… first, third, ninth?

WESLEY scowls in her general direction.

WESLEY
All of them.

LILLAH
I think were getting off track here. Your old
friend... What did she want?

WESLEY
To ask for my help. Sufficed to say, once
she saw the large amount of Wolfram and
Hart files I was working on she didn't want
it anymore.

LILLAH seems a little apprehensive asking her next question.

LILLAH
Did she…tell you anything else?

WESLEY
Such as?

LILLAH
Just wondering how it took her five minutes to
ask you for help. I'm my experience that only
takes one or two minutes.

LILLAH gives an evil, suggestive grin.

LILLAH
(C'tnd)
You didn't have sex with her did you?

WESLEY grimaces. He nods towards the door.

WESLEY
Go away Lillah.

LILLAH walks round the desk to stand behind WESLEY and reacts to seeing LORNE'S picture on the computer screen.

LILLAH
You're doing a profile on the anagogic
demon?

WESLEY
I'm profiling them all and Lorne does live
in the hotel... has most of there contacts
now I've left

LILLAH
Yes of course he is

WESLEY
Perhaps if you spent less time monitoring
me and more time monitoring Angel Investigations
then you would have known that!

LILLAH
Don't tell me my job Wes!

LILLAH leaves the office and WESLEY goes back to his profile - he works for a few moments then looks up towards the door - he then pushed the intercom button on his phone

INTERCOM
Yes Mr. Wyndam Price

WESLEY
I'd like the latest surveillance files on Angel
Investigations please

INTERCOM
Umm - sir your not cleared for those files.
Can I get you anything else?

WESLEY
No… that's fine. nothing else thank you.

INTERCOM
Very good sir

The INTERCOM hangs up and WESLEY stands up and looks out of the window - he has a confused, pensive look on his face

SCENE: INT. GUNN'S TRUCK (MOVING), DAY
GUNN and FRED are driving around looking out for JUSTINE'S truck

GUNN
Any luck?

FRED
Not yet. If they're off in the truck somewhere
then they could be anywhere in the city

GUNN
They wont be out - if they're focusing on vamps
then they wont hit a nest in daylight

FRED
Why not?

GUNN
There's no fun hunting a thing that can't
run anywhere.

FRED looks at him.

FRED
Oh. That's the kind of thing only a
demon hunter would know

GUNN
Just like breaking into LAPD traffic files
is something only you would know

They smile at each other - until FRED looks back over her shoulder

FRED
There it is! - Justine's truck is back there

GUNN
Are you sure?

FRED
As sure as I can be. We better circle round
and check.

GUNN
With this traffic, they could be gone by the
time we get back round. I've got a better idea.

GUNN locks the steering wheel to the left and does a U-turn in the middle of the road. Numerous car horns go off

FRED
Remember we found Justine's truck so
easily because she had A LOT of parking
tickets on this street.

GUNN pulls in behind the truck, he pulls a scrap of paper out of his pocket and checks the licence plate in front against the one written on the paper

GUNN
Yeah. It's the truck all right. Now all we
need to do is find them.

FRED
Oh I don't think that will be too hard.

GUNN
Why?

FRED
Cause there they are walking up the street.

GUNN and FRED both duck down so not to be seen

FRED
Why are we hiding? We wanted to find them!

GUNN
Maybe we should find out a little about what
their doing first

FRED
I guess - as long as we don't lose them.

GUNN
(Looking up over the steering wheel)
We won't. They're pulling off now. We'll tail
them to wherever their going then corner them
there.

FLASH TO -
SCENE: INT. GUNN'S TRUCK (MOVING), LATER
FRED and GUNN in GUNN'S TRUCK - they're driving down another street looking out for the truck

FRED
You said we wouldn't loose them

GUNN
I didn't think we would. It's no wonder she has
so many tickets on that truck.

FRED
Wait! - There they are

GUNN pulls in on the opposite side of the road

GUNN
There's the truck - but where are they?

FRED
I'm gonna say over there.

GUNN follows FRED'S stare to see a man being turfed out of a nearby bar. He bursts into flames as he hits the pavement and turns to dust. People start screaming and running in all directions

GUNN
Grab a stake! This party's over

FRED
I thought you said they wouldn't hit
a nest in daylight?

GUNN reaches for a weapon. He shrugs.

GUNN
Must have gotten bored.

SCENE: INT. HIGHER PLANE, VAREN'S CHAMBER, NO TIME
VAREN looks up to see CORDELIA coming through the archway

VAREN
Cordelia, what can I do for you?

CORDELIA
I need to go back to earth

VAREN
Ahh - another joke, most humorous. I think
I'm getting the hang of them now

CORDELIA
I'm not joking Varen - I need to go back
as soon as possible

VAREN is suddenly concerned.

VAREN
Why? what has happened?

CORDELIA
Angel needs me.

VAREN
How do you know this?

CORDELIA
I've been communicating with him.

VAREN
Cordelia you know this is forbidden. It
goes against everything you have…

CORDELIA
I know Varen! Scold me later. Right now
Angel is in trouble

VAREN
How could you know this? You've been doing
more then communicate with him haven't you?

CORDELIA turns away. She's angry, frustrated.

CORDELIA
He's going insane Varen! - I can feel it.

VAREN
Cordelia... what exactly have you done?

CORDELIA
I reached into his mind... created a life for him
to live - a life to occupy his mind

VAREN nods. He's a little impressed at her abilities but he's still wary.

VAREN
What kind of trouble is he in?

CORDELIA
I don't know, and I don't care! Danger is
danger! Wherever he is, whatever he needs
I have to go and do it.

VAREN
This is deeply concerning. You have vowed
to follow our ways and that includes only
necessary contact with the lower beings. To
enter his mind and alter his perceptions... it
goes against everything we have trained you
to do... everything I have trained you to do.

CORDELIA
Varen, please! Let me go help him

VAREN
I could not possibly condone you travelling
to your former plane. You have done enough
damage there already. I told you there is a
reason for everything. Things on the mortal
worlds must be allowed to play out on their
own without active interference from us.

CORDELIA
Varen…

VAREN is inceredibly insistent.

VAREN
Cordelia no! Return to your chambers. You
will be called upon soon to discuss the
extent of the damage you may have caused.

CORDELIA
But Angel…

VAREN
Angel and the events on earth no longer
concern you. Return to your chambers

CORDELIA turns away from VAREN - with a look of resolve on her face

SCENE: INT. JOEY'S BAR, DAY
FRED and GUNN cautiously enter the bar - then dive back to avoid a vampire that is flung across the room - GUNN stakes it

Three Vamps run at FRED and GUNN - GUNN knocks them to the ground as FRED stakes them - they move towards the bar and see CONNOR and JUSTINE over the other side of the pool table

GUNN
Need a hand?

CONNOR looks up and is caught off guard by the vampire he was fighting - JUSTINE finishes the vampire she was fighting and goes to help him

JUSTINE
Not from you... not from anybody!

The vampires encircle CONNOR and JUSTINE - and some more pile in from a downstairs room

FRED
Sure about that?

FRED and GUNN attack the vampires closest to them and CONNOR and JUSTINE get the jump on some of the others while they are caught off guard.

FRED is knocked flying over a table by a vampire as another comes to stand over her.

CONNOR jumps up onto the bar and jumps over to behind this vampire, staking it through the back and watching with glee as it turns to dust.

JUSTINE notices this, but does not notice GUNN flying towards her after being thrown by a vampire.

VAMPIRE #1
Take the men! The women are mine...
especially the pretty one

CLOSE UP - Gunn's Face - as a look of rage spreads across it

GUNN charges VAMPIRE #1, punching him repeatedly in the face. He slams his face into the bar, then stakes him as he falls to the ground.

JUSTINE is punched hard in the face. She is knocked across the room and falls to the ground unconscious.

CONNOR takes a pool cue off the rack and uses it like a quarterstaff, knocking vampires down then staking them.

A vampire walks over to FRED and she kicks the table into him - then stakes it.

GUNN, FRED, CONNOR and JUSTINE stand in a line looking towards the remaining 6 vampires

FLASH TO - - -

SCENEINT. HIGHER PLANE, CORDELIA'S CHAMBERS, NO TIME
CORDELIA enters and starts to pace around her chambers - she looks over to a mirror and stares at the reflection of herself

CORDELIA
I have to go.

CORDELIA'S REFLECTION
I'm his link to the powers

CORDELIA
Your right! - But Varen?

CORDELIA'S REFLECTION
The only feelings I care about are Angel's

CORDELIA stares at her reflection - then hurries away - we hear and see the glow and sound her exiting the chamber while still fixed on her reflection

CORDELIA'S REFLECTION
Bye

SCENE: INT. ORACLE CHAMBERS, NO TIME
CORDELIA enters the chamber and checks that nobody is there. She walks over to the archway and touches the stone with her hand she begins to glow as an image fills the wall inside the archway.

It is an image of the hotel lobby, she moves her hand and the image changes to Angel's bedroom... then to Fred's bedroom...

CORDELIA then begins to glow stronger and the images rapidly flash to random shots of LA.

CORDELIA
Come on Angel - Where are you?

VAREN
I had a feeling you would go

CORDELIA turns to VAREN

CORDELIA
I have to - he needs me

VAREN
We need you... you know you are the only
hope we have.

CORDELIA
No! I'm just the stand in! I'll send her back
to you

VAREN
First you have to get there

VAREN glows and waves his hand in front of him.

CORDELIA looks into the archway and sees GUNN, FRED, CONNOR and JUSTINE fighting vampires in a bar.

CORDELIA'S glow flows through her arm and into the archway which then begins to glow a blinding white. She is about to walk through

VAREN
I cannot send you straight to Angel. This
is the most I am willing to do

CORDELIA
Thank you Varen.

CORDELIA runs through the portal. It glows brighter then goes dark. The image returns to that of the wall

VAREN
Everything happens for a reason…

SCENE: INT. JOEY'S BAR, DAY
CONNOR and JUSTINE are finishing off the last vampire as FRED helps GUNN to his feet the other side of the bar

FRED
You okay?

GUNN
(Rubbing his head)
Nothing some major surgery won't fix!

GUNN and FRED look over as JUSTINE is knocked off her feet and CONNOR gets the vampire in a headlock, grabs its chin and tears its head off - pushing it away as it turns to dust

JUSTINE gets up and stands by CONNOR as they face off against GUNN and FRED

FRED
Connor! Where's Angel?

CONNOR
My name is Steven!

FRED
Okay... Steven... Where is Angel?

CONNOR
What do I care?

GUNN
Last time we saw you, you were saving
him from a Wolfram and Hart crack commando
team so we figured you cared!

CONNOR
I only did that so I could make him suffer
myself!

GUNN
Why?

FRED
(Shocked)
You...killed him!!

CONNOR shakes his head. There's a self satisfied smile on his face.

CONNOR
That would be to good for him.

JUSTINE
Come on Steven. We're leaving

FRED steps in front of JUSTINE.

FRED
You're not going anywhere.

JUSTINE
And your going to stop me I suppose?

GUNN
(To CONNOR)
What did Angel do to you?

CONNOR
He killed my father

JUSTINE and FRED look at him.

FRED
No he didn't! He told you what happened!
He gave you the letter

CONNOR
Lies! it was all lies!

FRED
He would never lie to you. You know how
much he loves you

CONNOR turns away from her in disgust. Mainly at the idea of Angel caring for him.

CONNOR
Don't say that!

JUSTINE grabs CONNOR by the arm

JUSTINE
Steven - We're leaving!

GUNN grabs JUSTINE.

GUNN
No, you're not.

JUSTINE punches GUNN hard in the face, knocking him back.

She and CONNOR head for the door just as FRED hits JUSTINE in the stomach with a bar stool

FRED
Nobody is going anywhere until you tell us
what happened to Angel!!!

JUSTINE
Bitch!

JUSTINE lunges at FRED but GUNN jumps up and gets between them, then CONNOR runs over and grabs hold of GUNN.

CONNOR
Get out of our way!

GUNN
No!!

CONNOR shoves GUNN, which knocks FRED and JUSTINE over then GUNN shoves CONNOR back. As they are about to fight there is a bright flash of light over the other side of the bar they all look to see.

CORDELIA floating about 3 feet above the air - her skin is still gold and blue and she is still wearing oracle robes.

She slowly lands on the ground. Her clothes change back into the ones she was wearing in TOMORROW

GUNN
Cordy!

FRED
You're Back!!

CORDELIA'S transformation completes. She looks over the group.

JUSTINE
What the…

TO BE CONTINUED………