Season III: Tomorrow
WESLEY
(voice-over)
Previously on Angel:
CONNOR
You murdered my father.
ANGEL
No. I didn't. I swear.
JUSTINE
He's lying.
ANGEL
I'm not lying. And she knows it.
ANGEL
Connor?! Connor, never forget that I'm
your father and that I love you.
ANGEL
Some day you'll learn the truth - and you'll
hate yourself. Don't. It's not your fault.
Connor and Justine slide the two rods that lock the casket lid in place into their channels, and Justine welds them into place.
They move to one end of the coffin and push it off the back of the boat.
Connor and Justine watch as the casket floats for a moment, then one end dips and the casket sinks straight down leaving behind a small trail of bubbles.
The metal casket drifts deeper into the ocean.
Season III: Tomorrow
CORDELIA glows as she floats up into the heavens.
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.
Season IV: Factions
CORDELIA, with shiny blue skin, talks desperately to the Oracle VAREN in the Oracle Chamber.
CORDELIA
I need to go back to earth... Angel needs me.
Season IV: Factions
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
FRED
You're Back!!
Season IV: Breach
ANGEL is brought back from the bottom of the ocean and appears in the middle of a circle of his friends.
Season IV: Confliction
WESLEY (CONT'D)
(to Gunn)
You've got something that belongs to Wolfram and
Hart. And they'll be coming to get it.
Season IV: Confliction
Everyone is standing around ANGEL, who is greedily drinking the blood out of CORDELIA'S wrist.
FRED
Please! Stop Cordelia!
The paramedics arrive and help CORDELIA onto a stretcher.
ANGEL
(whispering)
Cordy...
Season IV: Factions
LILAH confronts WESLEY
LILAH
You really should learn to play with others
Wes.
Season IV: Episode 3
WESLEY explains why he helped bring ANGEL back to LINWOOD and LILAH
Season IV: Factions
FRED sees the Wolfram and Hart logo on WESLEY'S computer. She shouts at him.
FRED
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…
TEASER
Scene: Hyperion Hotel, Lobby [Int.], Mid Afternoon
ANGEL is standing by the reception desk. It is covered in magazines, catalogues, and samples of wallpaper.
ANGEL looks through them, picks some up, hold them to the light, puts them down again, etc. He is slightly erratic in his mannerisms.
CORDELIA enters the lobby from the office. She hands ANGEL a mug of blood.
ANGEL
Thanks. What do you think of this one?
ANGEL shows her a wallpaper sample.
CORDELIA
It's-
ANGEL
[interrupting]
-You're right. Maybe something lighter. Or
maybe paper isn't the way to go at all here.
Do you think we should paint?
CORDELIA
What I think is that you should stop stressing
over this. It's not like we're facing a decorating
apocalypse.
ANGEL
I know. But I want to do this right. It's important
that he feels at home right away. He was a week
old when we decorated his room last time, I think
he might have out-grown the clown motif and Disney
mobile.
CORDELIA
Then why don't you ask Connor what he likes?
ANGEL
He's not up yet. Besides, I don't think he really
knows. Interior design hasn't really taken off in
hell yet.
CORDELIA
Are you sure? Because the TV shows about it
look like they were filmed there. Have you even
seen some of the things they do to people's sitting
rooms?
ANGEL
I don't really watch a lot of lifestyle television.
CORDELIA
You should. I guarantee it'll make the problems
of the seedy demon underworld seem like a
walk in the park- an indoor park, with no homemade
cushions or tasteless curtains.
ANGEL
[surprised]
Curtains can be tasteless? Since when? Why
didn't anyone tell me that? I always thought
curtains were just curtains. Sure, maybe that's
because I remember when all the average man
could afford was shutters, but still, I didn't know.
ANGEL looks up at CORDELIA suddenly. He is becoming slightly frantic, making a bigger deal of this than it is.
ANGEL
Am I behind the times? I mean, I know I'm not
like 'crazy other dimension where everyone's
all medieval and selling humans into slavery
and they haven't invented music yet' behind
the times, but…
CORDELIA
Angel-
ANGEL
[looking around, increasingly irrational]
-Do you think we should redecorate the lobby?
He's going to want to have friends around, they
might think it's, I don't know- creepy? Maybe if
we lightened it up a little?
CORDELIA
Does he have any friends?
ANGEL
[talking half to himself now]
Well no, not yet. At least, I don't think so. Well
there was one. But she died. -I should get him
a Playstation. Kids have Playstations, right? It's
what they do. It keeps them out of trouble, stops
them getting bored.
CORDELIA
The kid grew up in hell, I don't think he's going
to have any problem making his own fun. And
what colour the walls are isn't going to make that
much of a difference. Settling in to the look and
feel of this world is only part of it- he's had time
to do that already. Connor needs time to settle
into other stuff too.
Pause.
ANGEL
[realistically]
I know. It's just, after everything that's happened,
I want him to feels as though he fits in here, right
away.
CORDELIA
It might not work like that. You've both been through
a lot. Have you talked about what he did yet?
ANGEL
It's in the past.
CORDELIA
So you're just going to ignore it, put up with it,
so Connor can feel right at home? You can't
ignore everything he put you through. These
things have to have repercussions.
ANGEL
Repercussions are temporary. You get over
them. I spent hundreds of years in a hell
dimension, I came back, I recovered.
CORDELIA
But you didn't spend the Summer in hell. That
was something worse. You were trapped in a
coffin and betrayed by your own son.
ANGEL
[grimly]
I know.
CORDELIA
It's going to take time and effort to heal. But
in the mean time, if you ever want to talk about
it, promise me-
ANGEL
I promise.
Pause.
ANGEL picks up a catalogue.
ANGEL
What do you think about the blue?
CORDELIA smiles.
Scene: Wolfram & Hart, Linwood's Office [Int.], Mid Afternoon
LINWOOD is working in his office.
The phone beeps.
LINWOOD presses a button.
LINWOOD
Yes?
SECRETARY
[over intercom]
Mr. Wyndam-Pryce is here to see you, sir.
LINWOOD
Thank you. Send him in.
The door opens. WESLEY enters the office.
WESLEY
You wanted to see me?
LINWOOD
I always want to see you, Wesley. And
therein lies the problem: you haven't been
around to see lately.
Pause.
LINWOOD
(continued)
In fact, you've been gallivanting around town
helping a mortal enemy escape from a watery
and untimely fate. And all that sounds pretty
impressive on your CV, I know, but I'm not
impressed.
WESLEY
I did what I did for the firm.
LINWOOD
The hell you did. You did it to alleviate your
own guilt. You did it because you wrestled
with your conscience and lost. You did it
to convince yourself that you still have a
shred of morality left. Anywhere else that might
be admirable. Here, it was stupid.
WESLEY
Angel is no use to us dead.
LINWOOD
He's no use to me at all. Now this department's
mandate is clear: we're not allowed to do anything
that might lead to Angel's death. But it does not
extend as far as preventing the horrible demise
someone else might have planned for him.
WESLEY
But company policy-
LINWOOD
The hell with company policy. Do you have any
idea how little fun being tied up and tortured with
sharp objects is?
WESLEY glares sharply at LINWOOD.
WESLEY
Yes.
LINWOOD
Good. You might be reintroduced to that memory
if you're not too careful. One thing this firm will
not stand is betrayal.
WESLEY
Because Associates here never betray the
company for personal reasons.
LINWOOD
That's not your concern. Besides, do you
know how many live to tell the tale? I can
count them on one hand.
WESLEY
Got any fingers left?
LINWOOD
You wouldn't be one of them. And you didn't
just betray this firm, Wesley, you betrayed
yourself- you broke into one of this company's
most closely guarded secrets and stole
something older and more powerful than you
can possibly imagine to save a vampire that
tried to kill you in your hospital bed. That
doesn't sound too rational to me.
Pause.
LINWOOD
(continued)
But more importantly… you betrayed me.
Very dangerous.
WESLEY looks down, uneasy.
LINWOOD
(continued)
I'm going to assume for now that that these
incidents are just 'teething problems'. Although
I do have to wonder if you're right for this firm.
Those who aren't don't leave of their accord.
Terminating an employee isn't pleasant. I 'd
hate to see you fired. And I use that word
literally.
WESLEY contemplates for a moment, then looks up at LINWOOD.
WESLEY
I chose this side. And I'm not in a position to
review that choice even if I wanted to. What
happened with Angel- I thought I was acting
in the firm's best interests. I won't make that
mistake again.
LINWOOD
That's good.
WES
Your concern is appreciated, but unnecessary.
I know who I play for.
LINWOOD
That's all I needed to know.
WESLEY turns and leaves the office, closing the door behind him.
He frowns, nervously.
CREDITS
Starring David Boreanaz [Angel], Charisma Carpenter [Cordelia], Alexis Denisof [Wesley], J August Richards [Gunn], Amy Acker [Fred] and Vincent Kartheiser [Connor] with Stephanie Romanov [Lilah], [Linwood] and Tom Cavanagh [Constantine].
ACT I
Scene: Hyperion Hotel, Lobby [Int.], Late Afternoon
CONNOR comes down the main stairs, and walks across the lobby.
ANGEL is coming out of the office as he does so.
ANGEL
Good Morning.
CONNOR
It's afternoon.
ANGEL
It's just an expression. You just got up?
CONNOR nods.
ANGEL
(continued)
That's weird.
CONNOR
Why?
ANGEL
Most people don't sleep through the
day, they sleep at night.
CONNOR
You sleep through the day.
ANGEL
Some of the time. But that's because
I'm a vampire. I can't go out through the
day, I'm really more of a night person.
But you're human.
CONNOR
I'm used to sleeping through the day. In
Quor-toth, night is when the most dangerous
creatures come out. The biggest, the fastest,
the strongest. You have to stay awake through
the night because that's when they hunt you.
So I sleep through the day.
ANGEL
Oh.
There is a silence. CONNOR and ANGEL are both uncomfortable. ANGEL is clearly trying, but CONNOR is reticent.
ANGEL
Have you thought any more about your room?
Because I picked up some more catalogues.
[correcting himself]
Or Cordelia did.
CONNOR
I don't know.
ANGEL
That's okay. You'll let me know when you
have an idea?
CONNOR nods.
There is an awkward silence.
ANGEL
[as though chipping in]
Do you know what you're going to do today?
[correcting himself again]
Or, tonight.
CONNOR shakes his head.
CONNOR
I'm hungry. I'm going to go make something
to eat.
CONNOR starts to move off.
ANGEL
Why don't you let me take you out to eat?
CONNOR
It's not a problem, I can just-
ANGEL
-Come on. I know a great burger bar.
You'll love it.
CONNOR
Okay.
ANGEL
Great. I'll just grab my wallet.
ANGEL heads for the office.
CONNOR
-Dad?
ANGEL stops and turns around.
CONNOR
What's a burger?
Scene: Wolfram & Hart, Wesley's Office [Int.], Late Afternoon
LILAH comes into WESLEY'S office.
WESLEY is at his desk looking through books.
LILAH
New project? Or are you just looking for
some new and inventive way to screw us
over to help out Angel?
WESLEY
Get out.
LILAH picks up a book and reads the title. Glances at others.
LILAH
Druidic Blood Rites… The Anthropology
of Polytheistic Demon Worship… harmless
enough. So did you just wake up this morning
in one of those 'raring-to-cross-reference'
frenzies? Because while I have no problem
accepting that you are just that dull, I really
hope this is something to do with work,
because fun though it's been having you here,
stabbing us in the evil back at every available
opportunity, if I thought you were wasting
valuable time for my department, I'd have to…
WESLEY
…bore me to death? If you must know, I'm
updating records for Demon Resources. They
haven't been amended since they were
compiled. A lot of the entries are now…
LILAH
…dead?
WESLEY
Yes. The last hundred years in particular has
seen a significant rise in demon mortality, oh,
and before I forget to mention it again… get
out.
LILAH ignores him. She sits on the edge of his desk.
LILAH
You know, your old buddy Angel and his wacky
pals are responsible for quite a few of those
dead demons. Between pushing our clients
out of windows, setting our affiliates on fire,
and stabbing our assassins through the heart,
he's caused us one or two problems. And
have I mentioned the life expectancy of one
of our SWAT units? You could stick red shirts
on them and send them in with Captain Kirk
and they'd probably live longer.
WESLEY
Is there a point to this, or did you just think
I'd appreciate hearing an afternoon diatribe?
LILAH pauses for a moment before answering.
LILAH
[candidly]
Angel may cause us problems, but in the long
run, we need him. The Senior Partners have
a vested interest in him living long enough to
play whatever role he has to play in the
Apocalypse. I'm not sure whether it's the
one we've got scheduled for next year or not,
I'll have to check the diary, but the point is:
he's important. You're not. You're useful,
nothing more, which means that if you keep
causing us problems like you have done,
the firm will have to seriously reconsider your
worth.
WESLEY
That's very interesting. Because I seem to
remember a certain Partner at this firm shooting
a very influential Congressman's nephew, and
ignoring company policy to help a time-shifting
demon settle a personal score with Angel.
Who was that again?
LILAH smiles, moves around behind WESLEY and leans in closer.
LILAH
He's only tried to kill you once. It's cute to
start with, but once it becomes a pattern,
it gets real dull, real fast. So, company
policy or not, nothing gave me greater
satisfaction than imagining all the fun
Angel was having trapped in that crate for
all those months. If I'd figured out what you
were going to do sooner, he'd still be there.
And I would have gotten away with it too, if
it hadn't been for those meddling kids. Which
brings me to another point… Angel may be
indispensable, but his little buddies aren't.
If you try to pull one over on us again, I'll
have them killed. Starting with the Texan.
WESLEY leaps out of his chair and pushes LILAH against the bookcase by the throat with his left arm, moving to punch her with his right. He stops himself just short.
WESLEY stares LILAH in the face for a moment and then releases her.
LILAH grimaces and rubs her neck, then smiles.
WESLEY turns around and leans on his desk, fraught. He stares down.
LILAH
(continued)
You see? There's our boy. All that anger.
All that rage. All that… hate. There's no
doubt about it, you're definitely on our side.
You're just not a team player. Yet. A word
of advice though- you might want to direct
that anger someplace where it'll be more
productively spent. Assaulting the boss? -
not going to put you next in line for promotion.
LILAH moves around to the front of WESLEY'S desk.
LILAH
(continued)
But I do have something that might.
WESLEY looks up.
ACT II
Scene: Wolfram & Hart, Conference Room [Int.], Late Afternoon
Camera opens on interior of conference room.
A MAN in his mid-twenties is lounging casually in a chair with his feet on the conference table, and his back to the door. He is wearing a white suit with a cream tie, and has a white fedora on the table. Next to it is a wide, flat folder. He is JASON CONSTANTINE.
The conference room door opens and LILAH and WESLEY enter.
CONSTANTINE
[turning around, sounding bored]
For future reference, I don't like to be kept…
[seeing Lilah, roused]
Hello.
LILAH
[playing it slightly coy]
Mr. Constantine, I'm Lilah Morgan.
LILAH extends an arm to shake hands. CONSTANTINE takes her hand and kisses it.
CONSTANTINE
Enchanté. And, please, call me Jason.
LILAH
Jason. I trust your flight was comfortable?
CONSTANTINE
[shrugging]
Comfortable. If boring.
LILAH
I understand you've been dealing with
some of my associates on this project. I'll
be taking over. This is my colleague,
Wesley Wyndham-Pryce. He has certain
expertise in this area that I'm sure we'll find
helpful.
[gesturing]
Wesley, Jason Constantine. He owns one
of the ten most lucrative software enterprises
in the country. I also believe he was recently
voted 'bachelor of the year'.
CONSTANTINE
[playing up]
Second place.
WESLEY
[thinking aloud]
Constantine?
Wes realises where he recognises the name from.
WESLEY
Yes, I believe I've read a profile on you
somewhere, Mr. Constantine.
CONSTANTINE
Time magazine?
WESLEY
Compendium of Modern Occultists. Your
family history is catalogued in some detail
in the Watchers' Council archives.
CONSTANTINE
[esoterically]
I can't imagine why, Mr. Pryce. I just run
a software company.
WESLEY
And what can Wolfram & Hart do for you
and your… software company?
CONSTANTINE places a book on the table. WESLEY eyes the book suspiciously.
Scene: Street [Ext.], Evening
FRED and GUNN are walking down a main street. FRED is eating an ice-cream.
GUNN
Good movie?
Fred nods enthusiastically
FRED
I liked the bit at the beginning the best.
GUNN
Let me guess, when he was doing all the
building?
FRED nods again.
FRED
I like to build things.
GUNN
I know.
FRED
Of course, the actual concept that he was
able to construct components geometrically
perfect enough that there were no extraneous
atoms to affect the warping of the graviton
particles was just ridiculous. I mean, theoretically
it was all very sound, but practically, I just
can't accept that the engineering was so
precise that there were no erroneous figures
in the calculations whatsoever.
GUNN
Fred, it was just a movie.
FRED
I know, but for a start, the moisture in the air
would cause a tiny amount of oxidation,
which isn't really that significant on a cosmic
scale, but would cause basic molecular
inconsistencies that he couldn't possibl-
GUNN kisses FRED to stop her talking. She happily obliges.
GUNN
Like I said, it was just a movie. You can't
really travel through time anyway.
FRED
Don't you wish you could? Don't you wish
you could have been there when the apple
fell on Newton's head? Or when Edison
first recorded sound? Wouldn't it be
wonderful to be able to go anywhere you
wanted in time, meet anyone you wanted?
GUNN
If I could go anywhere in time, do you know
where I'd be?
FRED
Where?
GUNN
Right here.
FRED and GUNN look into each other's eyes lovingly.
GUNN
(C'tnd)
I thought you said you liked that movie anyway?
FRED
I did. I just have a few issues with the underlying
molecular physics.
GUNN sticks his finger in FRED'S ice-cream and puts some on her nose.
FRED
Charles! That's cold!
GUNN
I'll take care of it.
GUNN licks it off.
FRED
Hey!
GUNN
What? I thought you liked ice-cream?
FRED
I do, but not on my nose!
GUNN
Sorry, couldn't resist.
FRED
I like all dairy. I think it kinda reminds me
of when I was little. There were a lot of cows
where I grew up. I like cows. Except when
I was one for five years. That was less fun.
GUNN
You want to go grab a coffee somewhere?
FRED
No, we should probably head back to the
hotel. Cordelia's on her own. Maybe we
should get a pizza on the way back.
GUNN
Where's Angel?
FRED
He and Connor went out to eat.
GUNN
Just the two of them?
FRED
Well they are father and son, it's not that
unusual. Well, unless you count the fact
that Angel's a vampire and Connor recently
returned from a parallel dimension- that's
pretty unusual. But otherwise, perfectly normal.
GUNN
Yeah, perfectly normal except that last
time they had a father-son heart-to-heart,
Angel ended up at the bottom of the ocean.
FRED
Charles-
GUNN stops walking as the conversation becomes more serious.
FRED walks on a step or two, then, realising GUNN has stopped, turns around.
GUNN
No, am I the only one that thinks we're
placing a little too much trust in this kid
too soon?
FRED
What he did- he was confused at the time,
and it was a long time ago now.
GUNN
Yeah, even longer if you spent it in a coffin.
FRED
He wouldn't do that now.
GUNN
You sure? No-one thought he'd do it back
then, but he sure as hell fooled us.
FRED
You know, I don't think it's really our place to-
GUNN
[interrupting]
-to not get ourselves killed?! I don't like it
anymore than you do, but what's to stop
him pulling another Jules Verne next time
he has a teen mood swing?
FRED
He only did that because he thought that
Angel killed Holtz.
GUNN
So what happens if someone comes up
with another story to tell and he decides
to get all paybacked-up about that?
FRED
I don't think he will. He was just afraid and
angry then. He'd been through a lot. He didn't
understand things here. I know what that's like...
to be thrown into another world, where everything
is strange and harsh, and nothing makes sense.
It was driving me crazy until you all saved me.
GUNN
Yeah, but you didn't try and kill anyone.
FRED
No, I just lived in a cave for five years and
wrote physics equations on the walls. Angel
saved me. He can save Connor too. If Angel
can forgive him, why shouldn't we?
FRED and GUNN look into each other's eyes for a moment and then kiss.
Scene: Burger Joint [Int.], Evening
ANGEL and CONNOR are at a table next to the window. CONNOR has a ton of food in front of him- burger, large fries, soda, onion rings. ANGEL has clearly over-compensated with food. He himself isn't eating anything. He is watching CONNOR intently.
CONNOR
You don't eat?
ANGEL
No, I do. I mean, I can. It's just, it doesn't
really taste of anything. I mean, it does,
just not to me, because, vampire.
CONNOR looks at the food.
ANGEL
What's wrong? Did I miss something? Was
there something else you wanted?
[getting up to go back to the counter]
Because I can go and…
CONNOR
No. It's fine. It's just... Strange.
ANGEL sits back down
ANGEL
Oh. Okay. It's strange. But strange can
be good, right? Right?
CONNOR picks up his burger and looks at it suspiciously.
CONNOR
What… is it?
ANGEL
You know, it's probably better you don't
ask.
CONNOR
Why?
ANGEL
Because I'm not sure. No-one's really
sure.
CONNOR
But they eat them anyway?
ANGEL
Yeah, people are kind of funny like that.
Most of the time they're happy enough
not knowing what they put in their stomachs,
just so long as it tastes good. We don't
really do a lot of hunting and killing our own
food here.
CONNOR
So this could be anything?
ANGEL
Well technically… But It's just meat.
ANGEL considers this for a second.
ANGEL
(continued)
Allegedly.
CONNOR
[surprised]
Meat?!
CONNOR sniffs the burger.
CONNOR
This isn't meat. Meat smells. This doesn't
smell of anything. How long has it been
dead?
ANGEL
I'm not sure exactly. A while. I think they
sort of mash it up first and then mince it,
or mince it then mash it, or something. Why?
CONNOR
It doesn't smell like it's ever been alive. In
Quor-toth you never ate a beast that you
found dead. If it was already dead, that
meant that the other creatures had left it
there, because it was diseased. If you
ate it, you'd die too. You only ate what
you killed yourself, so you knew it was fresh.
ANGEL
How fresh?
CONNOR
In Quor-toth, everything can be eaten. But not
everything can be killed.
ANGEL
Oh. That fresh.
CONNOR sniffs the burger again and then bites into it, cautiously. He chews slowly, uncertain.
CONNOR
[finishing a mouthful]
You were right.
ANGEL
About what?
CONNOR
It doesn't taste of anything.
There is an awkward silence.
ANGEL
So, what did you, erm… do over the Summer?
CONNOR
I hunted.
ANGEL
Oh. That's, erm… great. What did you
hunt?
CONNOR
I hunted vampires, and demons… and
seagulls.
ANGEL
Seagulls?
CONNOR
[reflectively]
They proved less of a challenge.
ANGEL
Remind me not to take you to the zoo.
CONNOR
Justine didn't like it when I went out to
hunt, but it was what I was used to.
What I knew. Everything here is different.
ANGEL looks down when he hears JUSTINE's name. CONNOR notices.
CONNOR
You don't like hearing her name. You hate
her.
ANGEL
She was evil.
CONNOR
But she was a person. And my fa- Holtz
told me that people can't be evil. Just demons.
ANGEL
That's not true. Some demons are only a little
bit evil. Some aren't evil at all. And some people
are. Others just make mistakes. There are
good people who do bad things, because they're
confused, because they're angry. It's complicated.
CONNOR
It shouldn't be. It wasn't in Quor-toth. I killed,
because I had to survive. There weren't any
slightly evil demons and there weren't any
people at all. There wasn't time to make mistakes.
There was only the hunter and the prey.
ANGEL
I know. But things are different here. They're
difficult. They can't just be killed. They have
to be worked at, worked through. That's what
life's about. You decide what you want to do,
and then face the challenges as they come.
CONNOR
What challenges?
ANGEL
It depends.
CONNOR
On what?
ANGEL
On what you want to do with your life.
CONNOR
What do I want to do?
ANGEL
I don't know. That's up to you. Have you
thought about it?
CONNOR considers for a moment.
CONNOR
I want to help people.
ANGEL
That's good.
CONNOR
I want to help people who need it, because
they have nowhere else to go. People like
Sunny. People who shouldn't die. I want to
stop them from dying.
ANGEL
You can't always stop people from dying.
CONNOR
Why not?
ANGEL
Because it's one of those things you can't
control. You can do your best, but
sometimes you lose people. Sometimes they
don't even die, they just lose their way, and
you can't find them again. It's just one of those
things life throws at us.
Suddenly, a trash can comes smashing through the window where ANGEL and CONNOR are sat. Glass shatters everywhere, and the can knocks a group of people over.
ANGEL and CONNOR look out the smashed window.
There is a massive, red-skinned demon in the street. It is crazed, roaring, and smashes the front of a parked car with its fist.
CONNOR
Is that one of those things life throws at us?
ANGEL and CONNOR jump to their feet.
ACT III
Scene: Burger Joint [Ext.], Evening
ANGEL and CONNOR emerge from the burger bar into the street. The DEMON is enormous, just under 3 metres tall, and proportionately muscular. Its skin is red and scaly. It has small horns all over its body, and large tusks.
The DEMON roars, and effortlessly flips over a car as ANGEL and CONNOR approach.
CONNOR super-jumps several feet in the air over the car as it nearly hits him.
ANGEL grabs the DEMON'S left arm as it swings them about.
The DEMON lifts its arm up, picking ANGEL up with it. It throws him flying across the street, crashing through another of the burger bar's windows.
ANGEL jumps back to his feet. He is wearing vamp face.
ANGEL
[snarling]
Okay, that hurt.
ANGEL runs back into the street. He sees CONNOR fighting the demon.
CONNOR dodges and ducks a number of wide punches that the demon throws at him, getting his own jabs and kicks in when he can.
ANGEL stops for a moment and watches. He half smiles for a moment, looking proud, then catches himself and runs back into the fight.
ANGEL and CONNOR assault the demon together. Their attack is uncoordinated. They get in each other's way.
As they fight, the demon smashes a fire hydrant. Water gushes out, and pours down over them as the fight continues.
ANGEL
[To Connor, whilst fighting]
You're punching too high, you're leaving
yourself open!
CONNOR
[Also fighting]
Well one of us has to try and overpower it-
you're hardly even attacking!
ANGEL
It's too strong to overpower, we have to out-
manoeuvre-
ANGEL is hit in the face and knocked to the ground.
ANGEL
…it.
ANGEL gets back on his feet and moves in to fight again.
ANGEL
[punching]
You're still going in too high.
CONNOR
I can take it!
CONNOR pushes ANGEL out of the way, and pulls out a knife. He lunges at the demon.
The demon knocks the knife from CONNOR'S hand, and grabs him by the throat.
CONNOR gasps for breath as the demon lifts him off the ground.
ANGEL snatches up the knife from the ground. He thrusts it straight at the demon's chest.
The demon vanishes into thin air a second before the knife hits.
ANGEL stumbles through the space where the demon was.
CONNOR falls to the ground, panting and holding his throat.
ANGEL looks around frantically.
ANGEL
Where'd it go?
Scene: Hyperion Hotel, Lobby [Int.], Evening
ANGEL, CORDELIA, GUNN and FRED are present. Books are open and piled on the reception desk. FRED and GUNN are looking through some of them. CORDELIA is working at a computer behind the desk.
GUNN shows a book to ANGEL.
GUNN
This it?
ANGEL
No. That's a Movak demon, they're shape-
shifters. This thing wasn't a shape-shifter,
it was just there one minute, and then it
was gone.
GUNN
Kinda like a ghost?
ANGEL
No, this thing was real. I could see it, touch
it. It nearly knocked my jaw off. It might have
some sort of teleportation powers or…
CORDELIA
[interrupting]
-or invisibility powers. Maybe it's been feeling
a little neglected recently. Although come to
think of it, this big old rampage probably wasn't
because no-one wrote anything nice in its
yearbook.
FRED and GUNN look at her blankly.
CORDELIA
Sorry- Sunnydale reference. You had to be
there.
ANGEL
[To Cordy]
Anything?
CORDELIA
I've finished checking the week's news reports.
There was one instance of a disturbance caused
by a, quote "unidentified wild animal", this morning
downtown. That's all I've been able to find though.
Looks like this thing's new in town.
CONNOR comes downstairs holding an ice-pack on his face.
He walks over and puts in on the reception desk. His cheek is slightly bruised.
ANGEL
Are you okay?
CONNOR
[defensive]
I'm fine.
ANGEL
You shouldn't have tried to take on a demon
that strong by yourself.
CONNOR
I've killed a hundred demons stronger than
that! I was doing fine until you got in the way.
ANGEL
You call that fine? You choked. Literally.
You're too impulsive.
CONNOR
[defiant]
And you hold back! You'd never have survived
in Quor-toth.
ANGEL
We're not in Quor-toth. And as long as we're
here, we're going to do things-
CORDELIA
[interrupting, calmly]
-Angel.
ANGEL stops and looks at her.
CORDELIA shakes her head. She gestures towards the office and heads toward it.
ANGEL follows her in.
CORDELIA shuts the office door behind them.
CORDELIA
Don't push him too hard.
ANGEL
[slightly aggressive]
Why not?
CORDELIA
Because he might snap. He does that real
well, remember?
ANGEL
[frustrated]
He has to learn. He nearly got himself killed
today! He's too impulsive. When he's fighting,
he's just so angry!
CORDELIA
He's angry? …Or you are?
ANGEL
What does that mean?
CORDELIA
Three months in a box at the bottom of the
ocean is a long time and a bad place to
hold a grudge.
ANGEL
Yeah, well I got over it.
CORDELIA
Did you? Are you angry at him because he
nearly killed himself today? Or because he
nearly killed you?
ANGEL
Neither. Both. I don't know.
ANGEL pauses for thought.
ANGEL
(continued)
I want to forgive him. He's my son, I have to.
I can't forgive myself if I can't forgive him.
CORDELIA
Angel, what happened last year- when Holtz
took Connor- it wasn't your fault.
ANGEL
But it is the reason he did what he did. He
was brought up to hate me. His entire
childhood, Holtz spent training him for the
day he'd kill me. He doesn't know what a burger is
or how to ride a bike, but by his sixth birthday, he
knew all the different ways to kill a vampire.
You can't just erase that kind of conditioning
overnight.
CORDELIA
Which is exactly why you can't push him
too hard. He was made to believe that what
he did to you was right and just. It's going
to take time for him to be able to come to
terms with the fact that what he did was
wrong. We don't even know he's sorry.
ANGEL
He is. I know he is. He just doesn't know
how to deal with it. There probably weren't
a lot of opportunities to send flowers and
heart-felt apology cards in hell. He may not
even know what an apology is. He needs
time to understand how things work here.
CORDELIA
Maybe. But I don't want you to be hurt
waiting for something you might never get.
And the harder you push him, the angrier
he'll get. He can't be sorry if he's angry with you.
ANGEL
I know. But things keep coming too fast.
Whenever I feel like we're really connecting,
something gets in the way- he's whisked
away to another dimension, or made to think
I killed someone he loved, or a demon throws
a trash can at us. I need some time to bond
with him without interru-
The office door opens. FRED enters.
FRED
I think I have something.
Camera opens on Hyperion lobby again.
FRED, ANGEL and CORDELIA emerge from the office and walk around to the front of the reception desk.
FRED
[picking up an open book]
It took me a while to find it, but I think-
ANGEL
[looking at the book]
-That's it.
CORDELIA
So what is it already?
FRED
It's Us.
GUNN
Say what now?
FRED
Well not us us, obviously. It's an Us
demon.
GUNN
Okay, did its mother give it a really
confusing name on purpose?
FRED
I don't think Us has a mother. It's not
from this reality.
ANGEL
Then what's Us- it- doing here?
FRED
I think it got trapped here. Or half here. It
was pulled out of its own world.
CONNOR
Through a tear in reality? Like I used to
get back from Quor-toth?
FRED
No, not exactly. Us didn't-
GUNN
[interrupting]
-Would you stop doing that?
FRED
Sorry. It didn't come through a rip in
reality or a dimensional portal. It's kind
of like Schrodinger's cat- y'all know about
Schrodinger's cat, right?
ANGEL, CONNOR, GUNN and CORDELIA stare blankly.
FRED
Schrodinger theorised that while the cat
was trapped in a sealed lead box with a
radioactive element, it was simultaneously
both dead and alive to the outside observer,
only in this case, here and not here, which
is all quite fascinating really, because I always
thought-
GUNN
[interrupting, again]
-Fred?
FRED
Oh, right. Sorry.
ANGEL
So why is it here?
FRED
It got magically tethered to something in this
reality, but it doesn't belong here. Half the
time it's not even manifested in our dimension.
ANGEL
Which explains the disappearing act.
CORDELIA
It also explains why it's so kranky. The
trashman wakes me up after fewer than
eight hours, and I feel like tearing the place
up until I've had a double mocha. This
thing keeps being woken up from literal
oblivion- I say it's little wonder he's testy.
[to Angel]
I mean, come on, we've all seen you after
you've just woken up.
ANGEL
[confused, slightly indignant]
What's wrong with when I've just woken up?
GUNN
So what keeps dragging it back into our
dimension?
FRED
According to my research, demon tag-alongs
are usually the result of extremely potent dark
rituals, magic at its blackest and most powerful.
This thing is in a state of flux, partially anchored
here by the magic that dragged it from its own
dimension. It's probably connected to whoever,
or whatever, cast the spell in the first place.
ANGEL
Which begs the question, who's powerful
enough to pull a demon that strong out of its
own reality? And what are they doing in my
city?
Scene: Wolfram & Hart, Conference Room [Int.], Evening
Camera opens on CONSTANTINE. WESLEY and LILAH are also present.
CONSTANTINE
This is the principal volume. Most of the
relevant text is recorded here. There are
some other documents I've yet to look at,
supposedly offering a key to the transcription,
others giving historical grounding.
WESLEY
Supposedly?
CONSTANTINE
No-one has ever been able to translate more
than specific words and phrases.
WESLEY picks up the book and begins to leaf through it.
CONSTANTINE
It's part of a private collection. I found it in my
fathe-
[stops himself short]
...in MY library. I was studying ancient Celtic myth
when I came across It.
WESLEY
Celtic? But this book isn't written in any of the
Celtic languages of tradition. At least, not
exclusively. There are elements of a Gaulish
or possibly Leptonic dialect, some Goidelic and
Brythonic, but this isn't a Celtic text. From what I
can tell, it's written in at least a dozen different
languages. Some of them went out of common
human usage thousands of years ago; some of
them were never used by humans. It employs an
archaic lexicon in each case, shifts tense
erratically, and appears to have a syntax
independent of all of its constituent languages.
Are you certain this is the correct text.
CONSTANTINE
Quite. Its origin may not be Celtic, but it's the
content I'm interested in, not the philology. The
subject matter has already been verified. It
concerns certain Celtic spirits.
WESLEY
[reading from the book]
The Fromainian and…
CONSTANTINE
[surprised]
…and the Silde. You can read it?
WESLEY
Read? No. Recognise? Yes. There are the
proto-Gaelic dialects I've mentioned, some words
in Babylonian…Medieval French… Vhad'uan.
LILAH
Jason is employing our services in assisting with the
translation of the text.
WESLEY
Our services? You mean you want me to do it.
LILAH
Well, gosh Wes, since you offered…
WESLEY
How does the firm stand to benefit from this
arrangement?
LILAH
The Constantine family are valuable clients. Any
services Wolfram & Hart can offer are always on
offer.
[to Constantine]
Any services.
Constantine smiles.
LILAH
Well, I'll leave you boys to it.
LILAH moves to leave the room, stopping next to WESLEY before she does so.
LILAH
[whispering]
Play nice.
LILAH leaves the room.
CONSTANTINE
She's something, isn't she?
WESLEY
[sardonically]
Yes, she's something alright.
CONSTANTINE eyes WESLEY, sensing the animosity.
CONSTANTINE
Problems on the home team?
WESLEY
No.
CONSTANTINE turns around.
CONSTANTINE
You're a poor liar, Mr. Pryce. Still, it's almost
a shame. A man of your talents could be
quite an asset to my company. There might
be an opening, if you were interested.
WESLEY
That's a very generous offer, Mr. Constantine,
but I'm not sure what function I could serve…
in a software company.
CONSTANTINE laughs.
CONSTANTINE
[trying to entice Wes]
The scrolls are just a sample of the ancient
resources my family has access to. These
were sent over from England to my father
when his brother died. There's still a wealth
of texts at the family estate in Staffordshire;
libraries and archives full of volumes that
haven't been read for hundreds of years.
You could be the first to translate them, the
first to read some of them.
WESLEY
And the first to provide the Constantine
legacy with dark magics that have remained
dormant for centuries. I'm aware of your
family history. Your estate in Staffordshire,
your enterprise in America, your international
business assets- they're all the products of
hundreds of years of chaos worship and
occultism. The texts that you would have me
translate would simply give you access to even
more magic, to curse and plague the weak,
dispose of your rivals, and line your pockets, as
generations of Constantines before you have
done.
CONSTANTINE
My family history isn't your concern. Besides, I
suggest you check Wolfram & Hart's company
charter, Mr. Pryce. The people you work for aren't
exactly charitable defenders of truth and justice.
I don't think you're in a position to take the
moral high ground. At least you'd be appreciated
at my firm.
WESLEY
Thank you, Mr. Constantine, but if it's all the
same with you, I know where my loyalties lie.
CONSTANTINE leans in to WESLEY.
CONSTANTINE
[quietly]
Now I know you're lying.
WESLEY shifts uncomfortably, avoiding CONSTANTINE'S eyes.
CONSTANTINE stands up and leaves the room. WESLEY looks at the book with a worried expression.
Scene: Back Street [Int.], Night
ANGEL and CORDELIA are moving down a back alley. ANGEL is carrying a sword, and CORDELIA an axe.
CORDELIA
Have I mentioned that this is a really
stupid idea?
ANGEL
I think that makes seven times.
CORDELIA
Well I'm sorry, but combing the streets
of a city of millions for one demon is just,
well, hopeless.
ANGEL
We're not 'combing the streets' of the
whole city, we're just searching the area
where Connor and I saw it last time.
CORDELIA
Correct me if I'm wrong, but after which,
didn't it pop back into a cosy oblivion? We
don't even know it's in this dimension right
now, it's probably all limbo-y and not even
here. And from what Fred said, it could be
virtually anywhere in the city even if it is here.
ANGEL
No, Fred said that its connected to the thing
that conjured it, it can only appear within a
certain radius of that thing. Connor and I
saw the demon just a few hours ago-
whatever it's attached to couldn't have moved
too far away, assuming it's moved at all.
CORDELIA
Sure, not too far… unless it's on a plane to
Luxembourg!
ANGEL
It's not. Okay?
CORDELIA
I don't see why you're so bothered about finding
this thing anyway. It's just one little demon- there's
plenty of others to go kill if you just want a fight.
ANGEL
Yeah, well this one almost killed my son, so I have
a few issues with it.
CORDELIA
Point taken. But speaking of which, do you think it
was such a great idea bringing him along?
ANGEL
He insisted. I'm sure he'll be fine with Gunn and
Fred, and we'll meet up with them once they've
swept the North streets. I think maybe it's better
that he's not searching with us; he can take care
of himself normally, but it's like he thinks he has
something to prove when I'm around.
CORDELIA
He probably just wants you to be proud of him.
Other kids work hard in school to do that, yours
tries to slay extra-dimensional demons.
CORDELIA thinks about this for a moment.
CORDELIA
(continued)
Our lives are messed up.
ANGEL
Our lives will always be messed up. But it's
a happy messed up. You know, except when
we're fighting for our lives and coming face
to face with certain death. Which actually
happens kind of a lot. But otherwise, happy.
CORDELIA moves in front of Angel and puts a hand on his shoulder to stop him walking.
CORDELIA
I'm always happy when I'm with you. It doesn't
matter what terrible plots people have in store for
us or what's out to kill us this week. I love you.
ANGEL and CORDELIA stare into one another's eyes for a moment, then he moves in. The two kiss.
ANGEL
[softly]
You nearly died for me, when you brought me
back.
CORDELIA
[also softly]
I'd do it again in a heart-beat. The world needs
you. I need you. When I'd ascended, and I
knew you were in danger, nothing else mattered.
Not the Powers, not the struggle against evil,
none of it.
Pause.
CORDELIA
(continued)
We need to figure out how this is going to work.
ANGEL
I know. But we should probably talk about
it later.
CORDELIA
Why?
ANGEL
Because there's a demon behind you.
Cordelia whirls around as the huge, red US DEMON lunges at her.
ACT IV
Scene: Back Street [Ext.], Night
ANGEL punches the DEMON in the face as it lunges for CORDELIA, knocking it back.
The DEMON roars, and punches ANGEL. He is sent backward, knocking CORDELIA down as he goes.
ANGEL jumps to his feet and goes for the DEMON. Whilst they fight, CORDELIA frantically gets her cell-phone from her bag and starts to call someone.
ANGEL and the DEMON continue fighting, with ANGEL mostly on the defensive as the DEMON madly attacks.
ANGEL is knocked down, landing next to the sword he dropped earlier. He picks it up and flips himself back onto his feet, and starts to fight the DEMON again.
ANGEL is just holding his own, but is making little impression on the DEMON.
GUNN, FRED and CONNOR come running down the alley. GUNN and CONNOR, both armed, join in the attack.
The DEMON backhands GUNN in the face and he is sent flying into a wall.
FRED
Charles!
FRED runs over to where GUNN has landed.
CONNOR is knocked down by the DEMON.
ANGEL kicks it in the chest, sending it backwards.
CONNOR is about to push himself to his feet when a hand is extended to help him. It's ANGEL.
ANGEL
I can't take it on my own. Help me?
CONNOR looks at him for a moment and then takes his hand, pulling himself up.
ANGEL
(continued)
Can you distract it?
CONNOR smiles.
CONNOR
Oh yeah.
CONNOR grabs his axe from the ground and goes for the DEMON.
As the DEMON tries to avoid CONNOR's swings, ANGEL runs up the wall and ends up behind the DEMON.
CONNOR and ANGEL attack the DEMON from either side.
ANGEL drives his sword into the DEMON's back.
The DEMON whirls around, knocking the sword out of ANGEL's hand, roaring in pain and anger. It moves to attack ANGEL.
Instead, ANGEL watches as an axe is buried in the back of its head.
The DEMON slumps to the ground. CONNOR is standing behind it.
The dead DEMON vanishes.
CONNOR goes over and offers ANGEL a hand up.
CONNOR
My turn to save you?
CONNOR helps ANGEL up.
CORDELIA, GUNN and FRED join them. GUNN is rubbing is head.
ANGEL
[to GUNN]
You going to be alright?
GUNN
This? It's nothing- just concussion.
ANGEL
[To CORDELIA]
You were wrong.
CORDELIA
About what?
ANGEL
We found it.
CORDELIA
Pure chance. Anyway, it found us, remember?
FRED
The demon found itself? Why would it need
to- oh, you mean it found you, not that Us
found Us, as in it found itself, but-
GUNN
[interrupting]
Honey? Can you stop with the pronouns
already? My head hurts enough as it is.
CORDELIA
I'm just glad it's dead. Now I can go home and
take a bath. I've got better things to do than
work all night.
Scene: Wes' Apartment [Int.], Morning
WESLEY is sitting at his desk with the Celtic text in front of him. He is wearing the same clothes as the previous day; his top shirt button is undone, and his tie is loose.
WESLEY
[to himself, whilst cross-checking different resources]
Fourth character in the Van Hestenmeier
sequence, but the third in the Phoenician
texts. But if these characters were numbers,
there's no zero in Phoenician, which would
make this "third".
WESLEY writes this down. He glances over the page he has just written on and shuffles it into a large pile of papers which make up the translated text.
The phone rings.
WESLEY answers it.
WESLEY
Hello?
OWEN
[over phone]
Hello son.
WESLEY
Father?
OWEN
Of course.
WESLEY
[awkwardly]
How are you?
OWEN
[brusquely]
What? Fine. Listen carefully, the charge
to America is not cheap, you know. Of
course you still insist on living out there,
even though you're jobless a great deal
of the time.
WESLEY
I actual-
OWEN
[cutting him off]
I said listen, Wesley! I don't intend to
spend all day on this conversation. Now
there's going to be a family get-together
at your uncle Charles' in a fortnight. Whole
family. Charles has been planning it for
some time. I'm calling to give you notice
to come home in time.
WESLEY
That's impossible.
OWEN
Good, go- what do you mean it's
impossible?!
WESLEY
I'm afraid I have far too much work covering
the next few weeks. Besides, my current
employers are less than generous in their
holiday allowance.
OWEN
I don't give a damn how much work you
have, Wesley! That shouldn't be your concern!
Have someone else do it! I'm telling you
there's a family get-together and you're expected
to be there!
WESLEY
And I'm telling you I can't.
OWEN
Can't?! Won't more likely! Won't come home
and face your family. Won't come home and
face your failure! I know what this is about, and
it isn't work. You never cared about work.
You've never worked hard enough to succeed
at anything! You're bone-idle Wesley, and
you'll never amount to anything! And now you're
too much of a coward to come home and face up
to your disgrace! You don't even have that
conviction. Too much work to do?! The hell you
have- you're a nobody!
WESLEY becomes increasingly angry.
OWEN
(C'tnd)
This is your last chance, Wesley. Your last chance
to come home, where you belong, and face up to
your failure. If you don't do this now, you needn't
bother coming back. Ever.
WESLEY swallows.
OWEN
(C'tnd)
Well, what's it to be?
There is a pause. WESLEY contemplates and finally answers.
WESLEY
Goodbye father.
WESLEY hangs up.
Pause.
WESLEY considers for a moment and then picks up the papers on his desk and pushes them into his briefcase along with the book. He leaves the flat.
Scene: Hyperion Lobby [Int.], Morning
The phone at the desk rings. ANGEL rushes out from the back to pick it up.
ANGEL
Angel Investigations.
No reply.
ANGEL
[continued]
-Hello?
No reply.
ANGEL
[continued]
Guess they hung up.
CONNOR comes downstairs as ANGEL replaces the handset.
ANGEL
Good Morning- really this time. You're up early.
I thought you slept through the day.
CONNOR
I'm getting used to things.
ANGEL
Good. But I'm surprised you're not more
tired after last night. That was quite a fight.
CONNOR
I couldn't sleep much. I've been thinking.
ANGEL
Do you want to talk about it?
CONNOR nods.
He sits down on the steps. ANGEL sits next to him.
Pause.
CONNOR
What me and Justi- …What I did to you. I wish
I hadn't.
ANGEL
Connor-
CONNOR
[interrupting]
-No, let me finish. You were right. I do hate
myself. And I'm angry with myself for letting
Justine make me believe her.
CORDELIA enters the Lobby from the office. Seeing ANGEL and CONNOR, she stops and watches.
CONNOR
(continued)
And I feel so bad, but I didn't know how to
tell you. And that just made me angrier with
myself, and with everyone else.
ANGEL
You don't have to feel bad anymore. And you
don't have to be angry with yourself. I told you
not to hate yourself, and I meant it. No matter
what, we're family. And I will always love you.
CONNOR
I'm so sorry.
ANGEL and CONNOR hug.
CONNOR
[whispering]
I'm so sorry.
ANGEL
I know you are, son. I knew you were from the
moment I was free. When they brought me back,
and I saw you there, I knew.
ANGEL and CONNOR continue to hug.
CORDELIA looks on and smiles.
Scene: Wolfram & Hart, Lilah's Office [Int.], Morning
LILAH is working at her desk.
There is a knock at the door. WESLEY walks in, holding some papers.
LILAH
[feigning]
Bad night? You look a little rough.
WESLEY
No, my last bad night was spent on top of you.
This was a bad morning.
LILAH
Hmm. My last one of those was waking up next
to you. Gee, isn't that weird? Maybe we're
soul-mates.
WESLEY
You don't have a soul.
LILAH
True. Anyway, did you just come in here to
discuss sex and morality, or do you have
something I might actually care about?
WESLEY places the papers on LILAH's desk.
LILAH picks them up and glances at them.
LILAH
Haven't we been a busy little beaver? Now that's
the kind of dedicated work ethic we're looking for.
Also explains why you look so bad.
WESLEY
What's in the scrolls?
LILAH
Scrolls?
WESLEY
The text makes constant references to them. As
far as I can tell, the book itself is just a 'user
manual' of sorts for the scrolls it refers to.
LILAH
You'll find out soon enough. They're being extracted
as we speak. Or they will be soon.
WESLEY
Extracted? From where?
LILAH
Some cultural philosophy museum in Ireland.
The curators have no idea of their actual
significance, but we do. We've dispatched a team
to retrieve them.
WESLEY
And what is their actual significance?
LILAH
That's not your concern.
WESLEY
I've been hearing that a lot lately.
LILAH
[conceding]
The spirits that Jason's been looking into
raising are just as beneficial to Wolfram & Hart
as they are him. Maybe more so. You were right
about the text, it explains the power of the scrolls,
and how we use them to summon and control
the spirits. That book was the last bargaining
chip Jason Constantine had left. Fortunately
for him, it's a very good one.
WESLEY
And a very dangerous one. Whoever wrote that
volume went to great pains to make sure that
no-one else could read it. They created a
hybrid language from components of a dozen
ancient and archaic tongues, practically
randomised the syntax, and wrote the text almost
entirely in idiom. This was no mean feat of
linguistic sleight of hand- it was clearly never
meant to be read. There has to be a good reason
for that. The powers contained in those scrolls
must be dark and forbidden.
LILAH
We wouldn't be half so interested in them if
it weren't, would we?
WESLEY frowns.
LILAH
[continued]
Bottom line: the Senior Partners want those scrolls
and the power that goes with them.
WESLEY
I don't trust Constantine.
LILAH
He said the same about you. But for the record, I
don't trust him either. I didn't before and now I
definitely don't. After all, if anyone can smell a
traitor it should be you. But hey, at least he's
charming.
WESLEY
Another word would be manipulative.
LILAH
Wake up, Wes. We're manipulative. That's what
we get paid for. You don't still have a problem with
that, do you?
LILAH stands up and walks around her desk, circling behind WESLEY.
WESLEY
I don't care what you do with the text or the scrolls
or the spirits, Lilah, I just don't like being kept in the
dark.
LILAH
You don't care what consequences may come from
your works. You're willing to push morality to one side
for a pay-cheque…
LILAH leans in close to WESLEY and whispers in his ear.
LILAH
(continued)
…looks like I'm not the only one without a soul.
WESLEY shifts uncomfortably and starts to leave the room.
LILAH sits on her desk.
LILAH
At least now you know.
WESLEY turns around as he's about to leave the room.
WESLEY
Know what?
LILAH
Where you belong.
WESLEY waits in the doorway and stares into the camera with a blank expression.
ENDING CREDITS