WESLEY
(v.o.)
Previously on Angel...

Season I, Episode XX: War Zone
GUNN and his gang attack ANGEL; ANGEL saves ALONNA's life

GUNN
It don't matter why you're here, or what you are. If you
ever show your face down here again, don't count on
any long good-byes.

Season III, Episode III: That Old Gang Of Mine
GUNN is being spurred on to stake ANGEL at Caritas.

ANGEL
Here, Charles -- let me make it simple for you.

He MORPHS to VAMPFACE.

ANGEL (cont'd)
Take a good look. This is what I am. Deal with it, or
don't.
(then)
But make a damn choice.

GUNN
It's not gonna happen.

Later, outside:

GUNN
No matter what else, I think I proved you could trust
me when I could've killed you -- and I didn't.

ANGEL
No. You'll prove I can trust you when the day comes
that you have to kill me -- and you do.

Season IV, Episode II: Breach
FRED and GUNN try to talk CONNOR down.

CONNOR
(to GUNN)
You're trusting a demon. You put your trust in the
words of demons.

GUNN
I understand having a problem with demons. I grew up
hatin' 'em…time was, you couldn't convince me that a
demon could be a good thing. And then I met this guy
who was fighting the same fight I was. I didn't like him
much, especially when I found out he was a demon
himself. I may not like the demon, but the man in him's
pretty decent. Somewhere along the way I had to admit
to myself that I was wrong. Not all demons are bad…

Season IV, Episode VI: Separation
NANCY drugs and flirts with GUNN; FRED gets upset; GUNN kills the harmless demon.

CORDELIA
Gunn! He was innocent. He was a good demon. You
know, the kind that don't need you to go all gung-ho on
them!

GUNN
No! You know the drill when demons go on a killing
spree! Think first and ask questions later... before
anyone else can get hurt.

FRED confronts GUNN

FRED
You were flirting with another woman. You wanted to be
with a complete stranger more than you wanted to be
with me.

GUNN
It wasn't like that! She was flirting with me... I...

FRED
You just let her.

GUNN
Okay, I messed up bad. But this can't get in the way
of what we've got.
(beat)
You're my life.

FRED
(crying)
I feel the same way.

GUNN
So this is gonna work out?

FRED
No.

Season IV, Episode IV: Where You Belong
LILAH introduces WESLEY to CONSTANTINE.

LILAH
Jason Constantine.

CONSTANTINE puts a book down on a table.

CONSTANTINE
The subject matter has already been verified.
It concerns certain Celtic spirits.

WESLEY
The Fromainian and…

CONSTANTINE
…and the Silde.

Season IV, Episode V: Legions
CONSTANTINE visits WESLEY unannounced.

CONSTANTINE
I wanted to find out the status of my… our
Celtic scrolls.

WESLEY
I've been assured that they're being retrieved as
we speak.

CONSTANTINE looks at his watch.

CONSTANTINE
Now if you excuse me, I have a charity dinner
to be at and I haven't found myself a date.
Have to keep up appearances, you know.

CONSTANTINE walks out of the office. WESLEY looks up for the first time.

WESLEY
Yes. We do, don't we.

WESLEY walks through the open door into the corridor. CONSTANTINE is talking to LILAH. LILAH glances over to WESLEY and smirks. She places her arm around CONSTANTINE's. WESLEY is left alone.

Season IV, Episode VI: Separation
MONTAGE of shots of FRED crying, ANGEL getting the injection and coming on to CORDELIA, ANGEL trying to drown CONNOR, CONNOR running away.

LILAH
(v.o.)
We're stepping up our little project. I think you realize
what your little task over the past few months has
been about.

WESLEY
(v.o.)
Yes, I have to split up the members of Angel
Investigations.

ANGEL confronts WESLEY

ANGEL
Don't talk to me or any of my friends ever again.

WESLEY
Last time I checked you didn't have any.

ANGEL jumps out of his chair and grabs WESLEY by the throat and pushes him against his door.

ANGEL
Looks like we're both in a very similar position.

TEASER

Scene: Celtic Museum of Antiquities [Ext.], Night
Establishing shot of the museum, which is set up in a fortress-like castle. We see that the moon is full.

Scene: Celtic Museum of Antiquities [int.], Night.
The camera focuses on a room that looks like a storeroom, very disorganized, with some suits of armor propped up near some old fireproof cabinets against the far wall.

There are pools of dim light and shadow that indicate high windows letting in the moonlight. Into the foreground a rope drops, and a man quickly descends, his face in shadow under the brim of his weathered fedora.

He looks up suddenly and we see it's CONSTANTINE.

He sees the cabinets in the back and starts toward them, as red glowing eyes appear in three suits of armor. The animated suits of armor move to intercept CONSTANTINE, who ducks under the blow of the first one to reach him, then kicks up and knocks the sword out of the knight's hand.

He parries blows from the other two suits of armor while spinning in a circle before dropping and rolling towards the first knight, knocking it down and causing the suit to fall apart.

CLOSEUP on CONSTANTINE. His eyes flash black.

CONSTANTINE
Move.

The parts of the broken suit fly across the ground, striking the other two animated suits and knocking them down, where they also collapse. CONSTANTINE grins in satisfaction.

CONSTANTINE
That'll teach you to test my mettle...God, that is
awful...

He removes a small tape recorder, talks into it.

CONSTANTINE
Noelle, I need to work on my witty asides. Ummm...
hire me a coach or something.

CONSTANTINE puts the recorder away and moves towards the cabinets. He reaches for the drawer handle, then pulls back knowingly.

CONSTANTINE
That's how you lose a finger...

He looks around and spots a crowbar lying against the wall nearby.

Standing a safe distance back, he hooks it through the drawer and, bracing himself (and with a dramatic musical crescendo), pulls the drawer open. Nothing happens.

CONSTANTINE
(nonplussed)
Huh.

CONSTANTINE stares for a beat before cautiously approaching the open drawer.

He pulls out three obviously ancient scrolls, held together in some unknown way, possibly magic. CONSTANTINE looks at then reverently.

CONSTANTINE
I've got them.
(looking up)
You see this? If you want something done right,
you've got to do it your...

CONSTANTINE slams the drawer shut and a loud alarm begins to sound.

CONSTANTINE
(weakly)
...self.

CONSTANTINE POV: Three security guards, guns drawn, are running towards the camera.

SWISH PAN in the other direction to see two large and quite slimy demons coming from the other side.

CLOSEUP on CONSTANTINE looking back and forth.

CONSTANTINE
Okay, guns or demons? Guns or demons?

GUARD
You there! Stop where you are!

A bullet whizzes past his ear. He ducks, then nods, tucking the scrolls into his jacket.

CONSTANTINE
Demons.

CONSTANTINE turns and runs towards the two demons, who move with surprising speed to intercept.

CONSTANTINE begins rubbing a bracelet on his wrist as he runs; the bracelet begins to glow.

Several more shots ring out, bouncing off the stone walls.

The demons stop and wait for him; there is no way he can pass them. CONSTANTINE is effectively trapped.

CONSTANTINE
(muttering)
This thing had better be worth the fortune I paid for it…

As CONSTANTINE approaches the demons he doesn't break stride at all.

Seconds before one of them is about to grab him, he becomes insubstantial as a ghost for just long enough to run through the demon blockade.

Moments later, solid again, he continues running at top speed up the corridor. We see a door up ahead - his escape is almost secure.

CONSTANTINE
(panting)
Almost...there...

His hand touches the knob. CONSTANTINE pulls the door open at the same moment a slimy claw grabs his shoulder . The demons have caught up with him.

He is yanked backwards out of the frame and we hear him scream...

CUT TO:

Scene: Constantine's Office [Int.], Day.
CONSTANTINE is sitting at his desk. He screams again seeing the hand on his arm until he realizes it's the well-manicured hand of Noelle, his stunning, efficient personal assistant.

NOELLE
(calmly)
Mr. Constantine?

CONSTANTINE
Oh! Oh, it's you, Noelle.
(a moment to calm his heart, then)
You needed something?

NOELLE
Just to tell you that Lilah Morgan called.

CONSTANTINE
(impatient)
And?

NOELLE
And the papers you've been waiting for are ready and
waiting.

CONSTANTINE
(standing eagerly)
Good. Very good. Excellent.
(a beat, then sitting)
On second thought, call Lilah Morgan and tell her to
expect me in the morning.
(conspiratorially)
Don't want to seem too eager, right? Gotta keep them
on their toes.

NOELLE
(smiling)
Yes, Mr. Constantine.

CONSTANTINE
That will be all for now.
(after she turns to leave)
Noelle?

NOELLE
Sir?

CONSTANTINE
Wake me up like that again and you'll be out on the
street in an hour, and I don't just mean out of a job.

NOELLE blinks, stunned and frightened; he can follow up on his threat and they both know it.

NOELLE
(swallowing hard)
It won't happen again, sir.

NOELLE walks away, and off of CONSTANTINE's smug smile we cut to:

Scene Los Angeles Alley [ Ext.], Night
There is a gray tabby cat running towards and then past the camera. From the same low angle we see a MAN walking nervously down the alley.

MAN
Oh come on!
(a sigh, then)
Kitty! Here, kitty kitty kitty!
(muttering)
Stupid cat...don't you know it's dangerous…

The MAN wanders a bit further into the alley. We get a shot of the cat sitting on a nearby garbage can, eyeing the MAN implacably.

MAN
(cont'd)
Come on, kitty kitty kitty…ha! There you are!

He hurries to the garbage can and scoops the cat up, just as a shadow falls.

The man stiffens, the cat in his arms.

He turns, his eyes wide with fear, as we hear a door open a few yards back. An elderly WOMAN steps out.

WOMAN
Murray? What are you do-

We go to a CLOSEUP of the WOMAN's face, as her mouth opens in a silent scream.

CREDITS

ACT ONE

Scene Wolfram and Hart, Lilah's Office [Int.], Day
LILAH is smiling smugly at a case on her desk. She takes out a pocket mirror and checks herself over, smoothing her hair, then after a moments hesitation unbuttons one more button on her blouse.

She puts the mirror away seconds before CONSTANTINE enters without knocking.

CONSTANTINE
Lilah?

LILAH stands and moves to the other side of the desk to meet him.

LILAH
Jason...so good to see you.

CONSTANTINE
Likewise...
(admiring her cleavage)
It's always a pleasure to see more of you.

LILAH
I'm a bit surprised I didn't see you after I phoned
yesterday. I know how anxious you've been.

CONSTANTINE
I've been a lot of things, Miss Morgan, but anxious
has yet to be one of them.
(a beat, then)
But now that I'm here...

LILAH
Yes, of course.

LILAH opens the case and removes the scrolls gently. CONSTANTINE 's hands tremble as they reach for them, and LILAH smiles.

LILAH
Here. Allow me.

LILAH moves around the desk and carefully unrolls the first scroll on the desk for CONSTANTINE'S inspection. Both lean over facing each other, but while CONSTANTINE is eagerly reading, LILAH is watching him.

CONSTANTINE
They're incredible. Everything I hoped.

LILAH
I know what you mean.

CONSTANTINE runs his fingers lightly down the text, the looks up wonderingly.

CONSTANTINE
They practically hum with power. Can you feel it?

LILAH
Mmmm. Humming. Power.

CONSTANTINE
You don't sound impressed.

LILAH
I'll be impressed when I see them work. When we're
able to channel their power, to use it.

CONSTANTINE
(frowning)
I see.

LILAH
I'm sorry if I lack enthusiasm, Jason.
(seductively)
I'm just very results-oriented.

CONSTANTINE
It's a good quality.

He stands, moving away as she rerolls the scroll. She moves slowly, with exaggerated care, but very sexily. CONSTANTINE can't take his eyes off her.

LILAH
(smiling coyly)
I'm glad you approve.

CONSTANTINE
What's our timetable?

LILAH
The scrolls need to be translated, naturally. Wesley's
made amazing progress on your book. I wouldn't be
surprised to see him finish translating the scrolls in a
few days.

CONSTANTINE
(cautiously)
You think that's wise?

LILAH
I'm sorry?

CONSTANTINE
Letting one person translate both the scrolls and the
text that shows how to use them...

LILAH
(innocently)
You're not suggesting...you really think Wesley would
use the scrolls? Summon the spirits himself?

CONSTANTINE
You don't think he's capable?

LILAH
Oh, he's more than capable...I just don't think he
would.

LILAH smiles knowingly, and CONSTANTINE's face clouds over with jealousy.

CONSTANTINE
Why, because he loves you?

WESLEY
(o.s.)
You've got company, I see.

LILAH and CONSTANTINE turn as we angle on WESLEY standing in the doorway. We - and they - can't be sure how long he's been there.

LILAH
Wesley? We were just talking about you. Your ears
burning?

WESLEY
(smirking)
No, not my ears...darling, I do beg you to use the
ointment the doctor prescribed. The itching is driving
me batty...

LILAH reddens as CONSTANTINE seems amused.

LILAH
(through clenched teeth)
We'll talk later.

WESLEY
(cheerfully)
Righto. Just came to tell you that I've nearly finished
with your book, Mr. Constantine. It's really quite
fascinating...I'm uncertain what it all means, but I have
a good bit of it ready for study.

CONSTANTINE
(noncommittal)
Pleased to hear it. Your timing is...quite remarkable.

WESLEY
Oh, yes, indeed.
(to LILAH)
I'll expect you later than, shall I?

LILAH
(trying for businesslike)
We'll meet to follow up this discussion.

WESLEY
Certainly, if that's what you're calling it these days. Be
a doll and bring the schoolgirl outfit, would you? You
know how much better I 'follow up' when you where
that...
(to CONSTANTINE)
Not to worry. None of that will be billable time.

WESLEY leaves, a satisfied expression on his face, as CONSTANTINE laughs. LILAH knows her spell of seduction has been broken and she struggles to hide her anger.

LILAH
He didn't...really...

CONSTANTINE
Oh, but he did. And I stand corrected. That man really,
really hates you.

LILAH
(recovering)
That doesn't matter. He's the best.
(a beat, then)
And you came to Wolfram and Hart because we
could deliver the best.

CONSTANTINE considers her words for a moment, then nods grimly.

CONSTANTINE
I'm going to take your word on this, Miss Morgan.
Don't make me live to regret that, because if I do -

LILAH
(confidently)
I won't.

CONSTANTINE
(smiling unpleasantly)
Yes, exactly.

CUT TO:

Scene: Hyperion Hotel, Lobby [Int.], Day.
FRED is sitting behind the counter, pretending to read a book, while GUNN stands near the weapons cabinet with a clipboard, taking inventory.

They're both trying hard to pretend they're ignoring the presence of the other, but keep glancing over and at each other then way.

After meeting FRED's eyes twice, GUNN throws down the clipboard. She jumps at the sound.

GUNN
That's it. Fred-

FRED
(interrupting)
You're finished with the axes?

GUNN
No.

FRED
You're out of paper?

GUNN
No, I just-

FRED
(interrupting)
Need an eraser?

GUNN
Fred-

FRED
(interrupting)
Pencil sharpener?

GUNN
Dammit Fred, No. I just wanna talk.

FRED puts her book down on the table pointedly.

FRED
If it's about work, go right ahead. If it's about us...just...
don't. It's too soon. I need some time to sort things out.

GUNN
(bitterly)
The more you 'sort things out' the further you pull away
from me.

FRED
Charles...

GUNN
I mean, Wesley makes Angel go all psycho and you
forgive him right away. I get tricked by that bastard and
the sling for my ass is permanent?

FRED
That's not what this is about!

GUNN
Then what? Talk to me!

FRED
(almost shouting)
You weren't there for me!

GUNN
I...what?

FRED
In Pylea I knew slave owners with more loyalty to
their cows, I mean, they wouldn't just trade their cow
in the second a prettier cow came along...

GUNN
She was not a prettier cow than you. There is no
prettier cow than you.
(a beat, then off her look)
Not that you're a cow.

FRED
I'm sorry Charles. But I realized that you and I, we're
not really connected by anything other than working
for Angel...and what we feel. Or, what I thought you...

GUNN
Fred, I do...

FRED
(lost)
I'm just not sure what we have anymore.

GUNN looks sadly after her as she walks away.

CUT TO:

Scene: Hyperion Hotel, Angel's Office [Int.], Day
ANGEL is sitting behind his desk, with CORDELIA perched on the corner. They're feigning interest in their new client, the WOMAN from the teaser, who in this scene we learn is named MARTHA, but are preoccupied with their own discomfort being together in such close proximity.

CORDELIA
So...that was the last time you saw your husband?
Last night?

MARTHA
They took him away.

CORDELIA
(disgusted, reading from her notes)
They being the "big scaly demons with orange heads
that look like big toothpaste tubes with lots and lots of
teeth."

MARTHA
Three of them. Just like they said. The Minders said...
they said they would...eat my Murray!

ANGEL
Minders?

MARTHA
(on a roll)
I told him that we couldn't just miss a tribute and expect
we'd be okay, but my husband knew better..."Martha,
you're just a big worrywart, I know what I'm doing." You
see how he knows what he's doing?
(suddenly crumbling)
Oh, my poor Murray!

CORDELIA looks sympathetically at her.

CORDELIA
I'm sorry, Mrs. Hill, but you're paying money to these...?

MARTHA
(surprised they don't know)
To the Minders. For protection from the demons.
(sudden concern)
You know L.A. is full of demons, right?

CORDELIA
We know, Mrs.-

MARTHA
Well of course you do. We didn't. Not until the Minders
told us. We didn't believe them of course, thought it was
a Halloween prank or a practical joke or something, until
one of those demons chased one our very best
customers for two whole blocks. took a big bite out of her
arm...well, she's never been back, but as long as we paid
our tribute, the Minders made sure nothing happened to
any customer of ours, or to us. Like demon insurance.

ANGEL
The Minders are human?

WOMAN
Oh no. Humans couldn't possibly protect us. The
Minders are demons.

CORDELIA
Very enterprising ones, apparently.

ANGEL
So you didn't pay and they took your husband?

WOMAN
No, no. The Minders wouldn't do that. But they won't
protect us without the tribute. If only we'd paid...now
the demons will eat Murray!

ANGEL
Yes, well...that's...do you know how to contact these
Minders?

MARTHA
No, no. They always came to us.
(scribbling a phone number down)
I'm staying with my sister in Palos Verdes. I can't feel
safe here anymore.
(tearfully)
Murray is my life, Mr. Angel, Miss Chase. You're my
last hope.

CORDELIA moves to the WOMAN and puts a comforting arm around her shoulder. Mrs. Hill sobs into her shoulder briefly.

CORDELIA
Mrs. Hill. You came to the right place. Angel
Investigations has experience with these kinds of...
situations, and we promise you, we will get your
husband back, alive and well and very not eaten.

The WOMAN pulls away from her, confused.

WOMAN
But what about Murray?

CORDELIA
I'm sorry...

ANGEL
Murray's not your husband?

WOMAN
Of course not. Leonard's my husband, and they can
eat the damn fool for all I care. Murray is my cat.

ANGEL and CORDELIA take that in, uncertain how to respond.

CORDELIA
Oh.

ANGEL
How 'bout we save both of them?

WOMAN
(doubtfully)
Okay...will that cost more?

CUT TO:

Scene: Wolfram and Hart, Wesley's Office [Int.], Day
WESLEY is working on the book when LILAH comes angrily marching in, carrying the case holding the scrolls.

WESLEY
(feigned surprise)
Well hello! I didn't expect you so-

LILAH
Save it. You're skating on thin ice as it is. Don't dig
yourself in deeper.

WESLEY
Mixing your metaphors, Lilah? I must have struck quite
a nerve.

LILAH
You know what's struck a nerve? A certain young lady
originally from Texas who's still alive and kicking,
probably yelling 'Yeehaw' and other such quaint
sayings. I believe you were supposed to make sure
she wasn't quite so perky. What gives?

WESLEY
(shrugging)
I did as I was instructed. Something must have gone
wrong.

LILAH
And what could that something possibly have been?
Or should I say someone?

WESLEY raises an eyebrow, acting all innocent.

WESLEY
I'm sure I don't know what you're implying.

LILAH
The hell you don't. I can see you're all broken up about
your failure. Well, you may not care, but the senior
partners don't-

WESLEY
(exaggerated weariness)
Is this all you wanted to see me about? It might be
more efficient use of my time if you threatened me by
e-mail.

LILAH drops the case on the desk.

LILAH
New assignment. Pushes everything else to the back
burner.

WESLEY opens the case cautiously, then a look of understanding crosses his face.

WESLEY
Constantine's scrolls.

LILAH
Translate them. Clock's running. Anything goes wrong
with this assignment, Wes, and there'll be hell to pay.

She stalks out and Wesley looks troubled.

Scene: Hyperion Hotel, Lobby [Int.], Day.
ANGEL is standing in the middle of the lobby, looking around the room, clearly frustrated.

ANGEL
(loudly)
This is not gonna work.

We PULL BACK to see FRED, CORDELIA and GUNN, all standing far apart from each other. FRED near the stairs, GUNN near the counter, CORDELIA way in the back. All of them are looking warily at ANGEL

FRED
What? I think it's fine. We're meeting, getting the info.
Helping out.

ANGEL
I know, Fred, it's just I'm not feeling like we're really...
together...here...

GUNN
(pointedly)
We're here. We're together. What do you want from
us, man?

ANGEL
I...you...we...

The three stare at him, and ANGEL looks down guiltily.

ANGEL (cont'd)
Know what? I think we should split up.

Everyone seems relieved at that suggestion.

GUNN
Great. I'll go check the word on the street, get the 4-1-1
on these Minders and their operation.

ANGEL
Good idea...Cordelia, you-

CORDELIA
Should interview the shopkeepers near the Hills' store,
find out who else is been tributing.

ANGEL
That's a good-

FRED
I'll try to identify these demons in the database, and
look for anything on these Minders. Oh, and I'll check
the newspaper archives, too. And I'll be here in case
Con...in case anyone calls.

ANGEL
(truly grateful)
Thank you, Fred.

CLOSEUP on ANGEL. He's both impressed and feeling a bit passed over.

ANGEL
(cont'd)
I'm gonna hit the sewers, check the area around the
shop for clues. I guess that's...

CAMERA PULLS BACK to show the room is now empty.

ANGEL
(cont'd)
...everything.

ANGEL exits to head for the sewers, and FRED comes back down the stairs, almost bumping into GUNN, who's crossing to exit.

GUNN
(with more emotion than the situation calls for)
Sorry.

FRED only looks sad, hurrying oast with her shoulders hunched. GUNN watches her enter the office and shut the door. He doesn't see CORDELIA walk up behind him.

CORDELIA
That's so not gonna work.

GUNN jumps.

GUNN
I hate when you...what's not gonna work?

CORDELIA
The whole puppy dog eyes thing. Right now the last
thing you want to do is remind Fred that that's what
you are.
(a beat, then)
That was a pointed reference to your being a dog.

GUNN
Yeah, I got that.

CORDELIA
Why don't you just talk to her?

GUNN
I've tried. She thinks I wasn't there for her once, that I
won't be there for her when it counts...and I can't say
that's not what's gonna be.

CORDELIA
What?

GUNN
Maybe she's right. Maybe I don't have what Fred
needs. I love her so much, but I'm gonna keep letting
her down...I want her to be happy, C. That's the most
important thing...even if it means I have to walk away.

CORDELIA looks past GUNN out into the lobby.

POV of CORDELIA - we see she's having a vision of FRED standing in the lobby, smiling and gently rocking a baby.

Return to a CLOSEUP of CORDELIA, grinning.

CORDELIA
No, I think you guys will be okay, Gunn. You've just
gotta hang in there.

GUNN
But I don't-

CORDELIA
Trust me.

Scene: Wolfram and Hart, Wesley's Office [Int.], Day
WESLEY is looking over the scrolls, frowning in concentration. He scrawls some words on a steno pad then looks up.

WESLEY
It's all here. Every step in the ritual to bring the spirits
across...like baking a bloody cake.
(he reads further)
"Those who were possessed by Fromainian brought
great destructive power and the evil would not be
bound, the Silde could not bind them, and thus to
preserve all that is and was and should be, with
magicks dark and powerful we removed them from
existence, both the good and the evil...their return will
signal the end of that which thusly was preserved...
their power is absolute, no vessel of man can...
destruction...final..."
(setting down his notes)
Oh dear.

WESLEY looks down at the scrolls and his notes for a long moment. He slowly removes, polishes and replaces his glasses.

Then in a flurry of movement he tosses the scrolls and his notes into the case.

He picks up the case and moves to the door, only to have LILAH block his path.

LILAH
Going somewhere, lover?

WESLEY
Home. I have some materials there which I believe
will help me through the last few hard-to-decipher bits.

LILAH
And you can't bring those materials back here?

WESLEY
No.
(sighing)
I was given to understand there was some urgency
attached to this matter. If you'd like to continue to
hold me up, I'll be more than happy to explain to the
senior partners that you felt harrassing me was more
vital than me doing my work.

LILAH holds up her hands in surrender and steps aside. She watches him go for a second, then turns back to the camera with an evil smile.

FADE OUT

ACT II

Scene X: Int. Hyperion Lobby, Day.
FRED is huddled behind the computer at the front desk, frowning.

FRED
That seems wrong...

CONNOR
(o.s.)
What seems wrong?

FRED jumps, giving a little squeak, then realizing who it is, gives another squeak, this time of delight.

She runs around the desk and approaches the boy, who after tensing momentarily allows her to hug him.

FRED
You came back! I'm so glad.

CONNOR
I waited until he was gone.

FRED
Who? Angel? Oh, Connor, your father-

CONNOR
Don't call him that. He's Angelus.

FRED
No, no, that was a trick. Someone drugged your...
Angel...and it brought out some of his more...well it
made him...he was kinda mean.

CONNOR
(sarcastic)
Kinda.

FRED
But he's all better now. He's all Angel.

FRED sits on the stairwell, crossing her arms across her knees as she watches the young man pace, agitated.

CONNOR
But that...but Angelus is a part of who he is. He
doesn't deny that.

CONNOR sits on the stairs next to her, struggling to speak.

CONNOR
And I'm his son, so Angelus' is...is a part of...

FRED
Connor, no! You're not Angelus' son, you're Angel's.
There's nothing evil about you.

CONNOR
How can you be so sure?

FRED
(gently)
Because we're friends, right?

CONNOR nods

FRED
(cont)
I'm glad. I could really use a friend right now, too.
Especially one I know isn't gonna keep running away.

CONNOR ducks his head.

CONNOR
You don't understand...

FRED
How hard it is to adjust to being here when you've
been in a horrible place for so long you can't
remember anything else? And then, when you finally
let your guard down, begin to trust people again, they
stomp on your heart, and even if they didn't mean it, it
still reminds you that you can't count on anyone...

CONNOR
That wasn't about me, was it?

FRED
(sheepish)
Got my own issues...and that's my point. I'd love to
just take off, go back home to Texas and lick my
wounds...

CONNOR looks up fearfully.

CONNOR
But-

FRED
Sometimes. I'm not gonna though. This is where I'm
needed. I'm staying put.
(a beat, then)
Are you?

CONNOR looks a little aprehensive.

Scene: Wesley's Apartment, Living Room [Int.], Day
WESLEY is pacing around his apartment, still in disarray from his last go-round with ANGEL.

CLOSEUP of the case still holding the scrolls lying unopened on the table.

WIDER ANGLE as WESLEY he comes to a stop in front of the table, staring at the case, thinking very hard. WESLEY runs his hands through his hair, then comes to a decision.

He opens the case, carefully laying the scrolls and his notes out on the table, then grabbing some books and laying them out on the table as well.

One gets the feeling he's setting a scene, a feeling that's confirmed a moment later when he begins to throw things around the apartment, breaking china and generally adding to the disarray.

He has no anger while he does this, only determination.

Finally he leaves the room for a moment, returning with a gas can. He gives one last look around, slightly wistful.

WESLEY
Desperate times, eh?

WESLEY begins splashing gasoline liberally around, particularly over the table with the scrolls and books.

He tosses aside the empty can, and takes out a book of matches. He lights one, watching the flame for a moment before tossing it onto the table.

As the papers blaze, WESLEY grabs his jacket and takes off running out the door.

Scene: Corridor Outside Wesley's Apartment, [Int.] Day
WESLEY begins banging on doors, running around the courtyard as we hear the fire alarm sound.

WESLEY
Fire! Fire in the building! Get out! Fire! Quickly,
everyone, get out!

People begin coming out, alarmed, and WESLEY ushers them out to safety as the courtyard begins filling with smoke.

Scene: Apartment Block, [Ext.] Day
Coughing, WESLEY steps out to the street and looks back at the flames engulfing his apartment, then crosses the street, taking out his cell phone and hitting speed dial. He slows and turns facing the building before his call is answered.

WESLEY
(into phone)
Lilah...listen, something awful has happened. I'm
afraid there's been a fire...my apartment...actually, no,
I don't believe it was an accident, it spread far too
quickly...yes, I'm fine, but I'm afraid I only just escaped,
nothing but the clothes on my...

Scene XIII: Int. Lilah's Office, Day
LILAH is sitting at her desk, talking to WESLEY while her eyes are focused on her computer screen.

LILAH
The scrolls. Wesley, where...I see...of course I'm upset.
I never should have let you...no, I suggest you get back
to the office, soon as possible. We're going to need to
strategize how we're going to break this unhappy news
to our client...yes, that's a fair assumption. Suffice to
say this will not go down well with the senior partners.

LILAH hangs up the phone and the CAMERA slowly pans around until we're behind her.

On her computer screen is running a film that looks like it was taken by an overhead security camera - in WESLEY's apartment. We can clearly see Wes starting the fire.

LILAH watches until the fire starts, then turns the monitor off, popping the DVD-ROM out of her computer. She holds it by the edges, smiling down at her reflection in its surface.

LILAH
Gotcha.

Scene XIV: Ext. Alley, Dusk
CORDELIA has just been unceremoniously shown the door of a small dry cleaning shop. The African-American owner, ARCHIE HAMILTON, is glowering at her through the bars of the closed security door.

CORDELIA
Look, I just want to know if these Minders have
contacted you, offered you any services.

ARCHIE
I'm only going to say this one more time. I don't know
what you're talking about. I don't know about any
Minders. I don't pay any tribute-

CORDELIA
I never said anything about tribute, Mr. Hamilton.

ARCHIE glowers at her for a long moment before shaking his head.

ARCHIE
Look, lady, I think you probably mean well, but you
gotta let this drop. We take care of our own here, that's
all you need to know. Just...move along. Go try to help
someone else, we don't need it.

CORDELIA
But...

ARCHIE slams the main door, cutting her off.

CORDELIA
(cont, frustrated and loud)
It's not you I'm trying to save, exactly. There's a man
who's gonna be eaten-

HOLLI
He's afraid.

CORDELIA turns and sees an attractive African-American girl in her late teens standing back in the alley. She is HOLLI HAMILTON, ARCHIE's daughter.

CORDELIA
I saw you inside...

HOLLI
Yeah, I snuck out the front. I wanted to talk to you.

CORDELIA
(sighing)
Really? You're the first one today.

HOLLI
I heard you talking to my dad. I knew he wouldn't talk
to you about what's happening, but you have to
understand...we're all afraid. But I'm sick of it. Watching
my parents working themselves half to death to keep us
all safe...it's no kind of life at all.

CORDELIA
Look...

HOLLI
Holli.

CORDELIA
Holli, I take it your parents are paying the Minders for
protection.

HOLLI
(still in disbelief)
From demons. It doesn't sound less crazy each time I
say it, but I know it's true. Demons are real.

CORDELIA
I know. I work for - with - one. A good one. Or a not
bad one. The point is, we have experience helping
people in situations like yours. Well, not exactly like
yours, but, you know, trouble with evil things.

HOLLI eyes CORDELIA up a little suspiciously.

HOLLI
And how much will your protection cost us?

CORDELIA
A little cooperation. There's a woman, Martha Hill-

HOLLI
I know the Hills! Their shops about a block from here.
Did something happen to her?

CORDELIA
These weird orange demons took her husband and
her cat.

HOLLI
Murray? Man, she must be freaking! Why didn't the
Minders-

CORDELIA
Apparently the Hills missed a payment. The very next
day, the demons conveniently show up and take
Murray and his daddy away.

HOLLI
You think the Minders set that up?
(thoughtfully)
When the Minders first showed up, my dad said hell
no, I don't care if the devil himself comes to the shop,
I'm not paying some freaky blue protection racket...but
then my brother Ty didn't come home from baseball
practice, and then we got a call from the hospital...

CORDELIA
(horrified)
Oh God. Was he...?

HOLLI
Got bit pretty bad. He almost lost his scholarship to
Arizona State, he had to miss so many games. Mom
says a blessing every night that he's there and safe.

CORDELIA
Did he know what attacked him?

OLLI
Those things you were talking about...he called them
shark-monsters. just like the Minders said.

CORDELIA
And your dad started paying.

HOLLI
My parents got no hope left, but I wanna believe
there's some way...I know I'm in trouble for even
talking-

A sudden rattling of garbage cans down the alley startles both women. CORDELIA instinctively puts herself in between the source of the sound and HOLLI, holding up her hand for her to be quiet and turning to face the source of the noise.

SWITCH ANGLE to CORDELIA's POV - Nothing but ominous shadows. Night has almost fallen.

SWITCH ANGLE back to CORDELIA, protectively shielding HOLLI from the unknown threat.

CORDELIA
We know you're there. And we're fully prepared to
defend-

ANGEL
(o.s.)
Cordy?

The sound of ANGEL's voice coming from the shadows relaxes CORDELIA. She turns back to HOLLI.

CORDELIA
It's okay. He's with me, that's-

Three TUBEI DEMONS suddenly burst from the shadows. HOLLI screams.

CORDELIA
(screaming)
Angel!!

TUBEI DEMON #1 tries to grab CORDELIA, but she ducks under his arms, only to get grabbed by the arm by TUBE- HEAD DEMON #2.

As CORDELIA struggles with that demon as it tries to bite her, TUBEI DEMON #3 lumbers towards HOLLI. We look over his shoulder at her terrified face…and then his shoulder is gone, kicked to the ground by ANGEL, who quickly grabs the strange head and twists till there is a wet sounding crunch, the demon falling lifeless.

HOLLI looks at ANGEL in vamp face and screams again.

ANGEL
(to HOLLI)
Quick, get inside!

HOLLI stares blankly for a moment then runs.

CORDELIA has twisted out of TUBEI DEMON #2's grip and is now facing off with #1 again.

ANGEL takes on TUBEI DEMON #2, knocking him down and out, just as CORDELIA kicks #1 viciously away into a pile of garbage cans. It also appears to be out.

HOLLI
(o.s.)
Help!

SWITCH ANGLE to HOLLI about to be bit by TUBEI DEMON #3.

SWITCH ANGLE back to CORDELIA and ANGEL , looking confused.

CORDELIA
(panting)
Thought you killed that one.

ANGEL
I thought so too.

CORDELIA
I hate the ones that do that. No offense

The two run to HOLLI's defense. ANGEL punches the demon several times in the head and neck and he drops HOLLI, engaging ANGEL in a fight. CORDELIA grabs HOLLI's hand.

CORDELIA
(to HOLLI)
Come on!

The two women run for the back door of the HAMILTON's dry cleaning shop. The door is locked and CORDELIA bangs on it while HOLLI fumbles for her keys.

HOLLI
Daddy! Daddy, open the door!

ANGEL manages to choke the demon into submission, but the other two are starting to stir. He runs for the door.

HOLLI
(cont)
Daddy! Hurry!

ARCHIE
(o.s.)
Holli? Baby, what are you-

The door opens and HOLLI and CORDELIA dash inside.

Scene: Hamilton's Kitchen [Int.], Night
ANGEL tries to follow but can't, much to his surprise.

ANGEL
I don't get it, this is a business...

HOLLI
We live in the back.

ANGEL
Swell, you wanna-

ARCHIE notes ANGEL's game face for the first time and does a double take.

ARCHIE
What the-

ANGEL realizes and returns to his human visage. He looks back over his shoulder and all three demons have almost fully recovered.

CORDELIA
Invite him in! Quick, before they get here!

ARCHIE sees the approaching demons and pulls HOLLI to him. He goes to slam the door but CORDELIA gets in the way. ARCHIE glowers at her.

ARCHIE
I'm not gonna do any such-

HOLLI
(to ANGEL)
Come in!

ANGEL enters and immediately slams the door. We hear the demons pounding on it from the other side.

ARCHIE
(to HOLLI)
Go to your mother! Now!

HOLLI runs obediently from the room.

ANGEL
Have you got anything to bar this door?

ANGEL grabs the small kitchen table and flips it, shoving it against the door. He follows ARCHIE and CORDELIA from the kitchen...

Scene: Hamilton's Living Room [Int.], Night
...into the tiny living room, shabby but clean and very homey. DEIRDRE HAMILTON, HOLLI's mother, is standing with her arms wrapped around her daughter and looks confused and frightened. HOLLI looks frightened, guilty and defiant all at once.

ARCHIE
Vampires in my house! Deirdre, you wanna tell me
how it is that your daughter is inviting vampires into my
house?

DEIRDRE
Archie, what's happening?

ARCHIE
Demons are trying to break into my house, that's
what's happening!

DEIRDRE
But we paid! We paid every penny of the tribute.

ARCHIE
Guess that the Minders don't like your daughters new
friends Miss Busy-Body and Mr. Vampire!

CORDELIA
Busy what?

Scene: Hamilton's Kitchen [Int.], Night
We see the back door start to splinter and nearly give way.

CUT TO:

Scene: Hamilton's Living Room [Int.], Night
The sound of the splintering door has thrown everything more into chaos. HOLLI reaches out to her father.

HOLLI
Daddy I-

ARCHIE
Don't wanna hear a word!

ANGEL
Folks let's just calm down-

ANGEL backs away as DEIRDRE suddenly holds up her necklace - a gold cross.

DEIRDRE
(fiercely)
You stay away from my baby girl! This is a Christian
house, we don't abide vampires.

HOLLI
Mom, stop! He saved my life!

ARCHIE
He's gonna get us all killed. Any second now those...
things...will be in here Holli. And who's gonna save us
girl? Him?

CORDELIA
He will! And I will! You can't just...

CORDELIA trails off as they realize that the pounding on the doors has stopped. Everyone stands frozen in the sudden silence.

They jump when a booming voice is heard still outside. It's ZEPH, one of the Minders' mouthpieces.

ZEPH
(o.s.)
We're very disappointed Mr. Hamilton.

DEIRDRE
Oh my dear Lord.

HOLLI
(to CORDELIA)
It's the Minders. That's Mr. Zeph.

Scene: Alley, [Ext.] Night.
Standing next to the back door, its metal bent but still intact, ZEPH is a very human-looking demon, only his oversized ears and bright blue fur/hair marking him as a demon. He's dressed in a sharp and expensive suit.

His two HENCHMEN are the same kind of demon, their suits a little shabbier and their expressions more slack.

The three TUBEI DEMONS are standing by, shuffling nervously and making low mewling growls.

ZEPH
(to the TUBEI DEMONS)
You three, very mediocre work.
(at their protesting growls)
I don't wanna hear it. Now scram.

ARCHIE
(o.s.)
Disappointed? M-Mr. Zeph, I-I don't...

ZEPH
Please don't make this worse by pretending you don't
know what I mean, Mr. Hamilton. You know that part
of our arrangement is your silence. And yet your own
daughter is talking openly about us on the streets to
detectives. We really can't let that go, I'm sure you
can see that. Now come let us in so we can discuss
what needs to be done.

Scene: Hamilton's Living Room [Int.], Night
ARCHIE goes to obey, but is stopped by ANGEL's hand on his arm.

ANGEL
Don't.

ARCHIE
You stay out of this, mister.

ANGEL
I'm already in it. Let me help.

He glances at CORDELIA and she looks away; ANGEL looks pained.

HOLLI
Daddy, please.

ARCHIE locks eyes with his daughter then nods, defeated.

ANGEL
(loudly)
I've got a better idea. Why don't I explain to you why
it's a really good idea to move this little operation out
of my town.

As ANGEL speaks, ARCHIE moves back to his wife and the two begin whispering in each others ears worriedly in the background. HOLLI and CORDELIA move closer to ANGEL, listening in concern.

Scene: Alley, [Ext.] Night.
ZEPH stands, arms crossed, shouting towards the house.

ZEPH
Wait...is this the 'this town ain't big enough for the
two of us' speech? That would be cool, if it was any of
your business. Stay out of what doesn't concern you,
Angelus.

Scene: Hamilton's Living Room [Int.], Night
ANGEL and CORDELIA exchange startled glances.

CORDELIA
(worried)
Angel...

ANGEL
You know who I am?

ZEPH
(o.s.)
What can I tell you? My boss is a fan. Especially of
your early work.

ANGEL
Well, I hope he told you that I'm...

ARCHIE comes up behind ANGEL and shatters a chair over the back of this head. ANGEL falls, unconscious.

ARCHIE
(triumphant)
Got him!

FADE OUT

ACT THREE
Scene: Hamilton's Living Room [Int.], Night
PAN from ANGEL lying face down on the floor to ARCHIE triumphantly tossing aside the broken chair.

CORDELIA
Angel!

HOLLI
Daddy!

ARCHIE
I got the vampire, Mr. Zeph!

CORDELIA moves quickly to kneel next to ANGEL's prone form and turns him over. HOLLI stares at her father in shock.

HOLLI
What are you doing?

DEIRDRE
What he has to do, Holli. Just be quiet now.

HOLLI
I don't understand-

ARCHIE
That's right, girl. You don't understand, so just keep
your mouth shut.
(loudly, to ZEPH)
We can make a deal here, right? My daughter knows
she made a mistake here. And we don't want to have
trouble. We've been good with the tribute, right, never
late with a payment?

ZEPH
(o.s.)
True. What are you suggesting, Mr. Hamilton?

ARCHIE
You take the girl detective and the vampire, and we
just forget this ever happened.

HOLLI
Daddy no!

ARCHIE
Holli, so help me...

DEIRDRE
Come here, Holli. Now we have to do this. It's us or
them, understand? We won't let you get hurt like your
brother. We've got to stick together as a family.
(locking eyes with CORDELIA)
I'm sorry, but we owe them nothing.

ZEPH
(o.s.)
It's an intriguing offer. Let me in and we'll see.

ARCHIE goes to let ZEPH and his two HENCHMEN in. HOLLI looks helplessly at CORDELIA.

HOLLI
I'm sorry.

CORDELIA
(glaring at DEIRDRE)
Not your fault.

Scene: Hamilton's Kitchen [Int.], Night
ARCHIE opens the door for the three DEMONS. ZEPH looks down at him disdainfully.

ARCHIE
(desperately)
They're in the living room. I knocked the vampire out.
(a beat, then)
So we're all good, right Mr. Zeph?

Scene: Hamilton's Living Room [Int.], Night
CORDELIA is bent over ANGEL who shows no sign of coming to.

CORDELIA
Come on, Angel. No more naptime, wakey-wakey!

CORDELIA slaps ANGEL lightly on the face once, twice, and the third time there's a little demon mojo in it. ANGEL's eyes pop open, glowing for a moment. He grabs her hand, looking up at CORDELIA with mock annoyance.

Scene: Hamilton's Kitchen [Int.], Night
ZEPH is pawing through a bowl of fruit on the table walking slowly around the table while ARCHIE sollows him, begging.

ARCHIE
My girl won't cause more trouble. I swear it.

ZEPH takes an apple from the bowl and polishes it on his jacket, considering.

ZEPH
I'm willing to let this unpleasantness go, Mr.
Hamilton...

ARCHIE
Thank-

ZEPH
...but I'm afraid the amount of tribute we'll be expecting
from you just doubled.

He bites into the apple. Off ARCHIE's scocked dismay we CUT TO:

Scene: Hamilton's Living Room [Int.], Night
CORDELIA helps ANGEL to his feet. DEIRDRE takes a breath to call out a warning and HOLLI puts her hand over her mouth.

HOLLI
I can't let you do that, Mom.

ANGEL nods at HOLLI then raises an eyebrow at CORDELIA

ANGEL
You hit me!

CORDELIA
Yup.

ANGEL
You've been wanting to do that for a while, haven't
you?

CORDELIA
Yup.

ANGEL
Got it out of your system?

CORDELIA looks at him and shrugs.

Scene: Hamilton's Kitchen [Int.], Night
ARCHIE looks nervous, his eyes pleading to ZEPH who clearly isn't going to be changing his mind.

ARCHIE
Doubled? Mr. Zeph, please, I can't-

ZEPH
Complaints? Complaints, Mr. Hamilton? Surely my
ears are deceiving me.

HENCHMAN #1
He don't appreciate us, Mr. Zeph.

ARCHIE
I do! I'll pay! We'll find a way-

Scene: Hamilton's Living Room [Int.], Night
ANGEL attacks HENCHMAN #1 as ZEPH and his HENCHMEN enter. ZEPH sighs and looks back at ARCHIE.

ZEPH
(long-suffering)
Let me guess. You didn't tie them up.

HENCHMAN #2 grabs CORDELIA who struggles in his grasp.

ZEPH
Stop now or he'll pull her arms off.

ANGEL immediately holds up his hands in surrender. HENCHMAN #1 sneers at him then returns to his boss' side.

ANGEL
I'm giving you one more chance to leave these people
alone.

ZEPH
(admiringly)
Well, now that's chutzpah.
(coldly)
I don't really like chutzpah.
(to HENCHMAN #2)
Bring her here.
(to ANGEL)
Beyond the fact that we've got you outnumbered,
you're not too quick on the uptake. These people don't
want me to leave them alone.

HENCHMAN #2 hands CORDELIA to ZEPH, then moves around to stand between ZEPH and ANGEL.

ANGEL
Because you've scared them so much they think they
need you.

ZEPH
They do need us. We protect them. They're in good
hands and they know it.

ZEPH squeezes CORDELIA's shoulder roughly and she winces.

ANGEL
Don't do that. I'm warning you!

ZEPH laughs. CORDELIA's eyes flash, and ZEPH is blasted back as if shocked by an electrical current, He lands on his back and looks up, amazed.

ANGEL
Warned you.

HENCHMAN #2 attacks ANGEL while HENCHMAN #1 helps ZEPH to his feet. ANGEL lands some quick blows and it's clear that HENCHMAN #2 is losing the fight. ZEPH brushes himself off and goes to leave.

ARCHIE
You're leaving?

ZEPH
(to ARCHIE)
Our deal is off.

ARCHIE
No!

ZEPH
Good day, Mr. Hamilton. I don't expect I'll be seeing
you again. It's been real.

He and HENCHMAN #1 leave the room as ANGEL grabs HENCHMAN #2 and twists his head, breaking his neck. The demon's body falls, and ANGEL watches it for a long moment. He looks up grinning.

ANGEL
Ha! This one's dead, I'm positive.
(off everyone's somber looks)
What?

CUT TO:

Scene: Alley [Ext.] Night.
ZEPH and HENCHMAN #1 walk quickly down the alley. ZEPH pulls out a cell phone and hits speed dial.

ZEPH
(into phone)
Boss? It's Zeph...yeah, someone brought in Angelus...
the Hamiltons...yeah...
(looking at his watch)
Yeah, he killed Deke a minute ago. Me and Frog just
made it out. What do you want me to do?

CUT TO:

Scene: Minders Lair Main Office [Int.], Night
A figure, the head of the MINDERS, sits behind the desk, but its too dark and shadowy to make out. He speaks in a low cultured voice.

BOSS
Don't worry about Angelus, Zeph, I know exactly how
to handle him.

Scene: Wolfram and Hart, Lilah's Office [Int.], Night
LILAH is finishing up some paperwork when CONSTANTINE busts in.

LILAH
Jason? What-

CONSTANTINE leans over the desk, getting into her face. He's beyond furious.

CONSTANTINE
Do <b>not</b> Jason me! Did you think I wouldn't find
out? I'm on to you, lady!

The faintest amount of nervousness flicks in LILAH's eyes so briefly it might never have been there.

LILAH
Find out? I'm sorry, I'm not following.

CONSTANTINE raises his hand as if to strike her, but she doesn't flinch, eyeing him calmly.

CONSTANTINE
(through gritted teeth)
My scrolls. I heard they've been destroyed.

LILAH
Ah.

LILAH stands and moves to her credenza. CONSTANTINE eyes her with consternation.

LILAH
(cont, her back to the camera)
I'm sorry about that, Jason. I'm afraid these things
happen sometimes.

SWITCH ANGLE to a smirking LILAH pulling something out of a drawer as CONSTANTINE moves behind her his hands raised as if to strangle her.

LILAH
(cont)
I'm afraid Wesley has proven himself not to be
Wolfram and Hart material after all. Such talent going
to waste. Sad...

She turns, holding the scrolls, still intact.

LILAH
(cont)
...but not unanticipated.

CONSTANTINE smiles in admiration and relief.

CUT TO:

Scene: Hyperion Hotel, Lobby [Int.], Night.
FRED and CONNOR are still sitting side by side on the stairs in dim light.

CONNOR
So they took the lady's cat?

FRED
Wrong. I mean you're right, but it's wrong. Tubei
Demons...they're like big orange landsharks, only not
funny and a lot stupider...and I'm sorry, you have no
idea what I'm talking about, do you? It's not important...
according to what I've read, they rarely stray out of their
dimension, which isn't this one.

CONNOR
Someone brought them here.

FRED
Maybe. They're easy to control, as long as they get fed.
I think someone told them to take that cat, I mean, it's
just not the kind of thing they normally eat. They like
large animals so they can keep their prey alive as long
as possible and feed slowly, which is really gross but
good news for Mr. Hill. Not so good for Murray.

CONNOR
Maybe they just wanted a pet.

FRED suddenly starts.

FRED
Oh my goodness, it's late. I didn't realize...

CONNOR abruptly stands.

CONNOR
I should go. Everyone'll be back soon.

FRED
All the more reason you shouldn't go. You should
work this out with Angel.

GUNN comes in from the underground entrance. He can't see FRED and CONNOR clearly in the dim light and they don't see him at all.

FRED pulls CONNOR's head close to hers to look into his eyes.

FRED
(cont, whispering)
I know you want to, I can see it in your eyes.

CONNOR
(teasing whisper)
You can't see my eyes.

GUNN flips on the lights and aims his crossbow at CONNOR unknowingly.

GUNN
Get your damn hands off my girl!

CONNOR and FRED stare at him in shock. CONNOR drops his hands, then raises them.

FRED
Charles!

GUNN
(confused)
Connor?

CONNOR glares at him for a moment, then turns and runs.

FRED
(calling after him)
Connor! Wait!
(to GUNN)
How could you?

GUNN
I didn't know it was him. I thought it was...that maybe
some...

FRED
You think I'd let somebody...that I'd just...oh...
(devastated)
oh...Charles...how could you think that?

GUNN
Fred, listen.

FRED
I've heard enough. I've seen enough. I...I've hurt
enough, Charles. Just...just go away.
(after a beat, screaming)
I said get away from me!

GUNN jumps. She runs from the lobby and he stands there for a moment, clearly overcome, before turning and walking out the front door.

DISSOLVE TO:

Scene: Hamilton's Living Room [Int.], Night
HOLLI is sitting on the sofa with her arms crossed, glaring at her father, who's pacing. DEIRDRE is kneeling near the spot that the HENCHMAN's body had fallen - it's gone. CORDELIA is sitting in an arm chair facing HOLLI, also watching ARCHIE suspiciously.

DEIRDRE
(in shock)
I can't believe this is happening. Someone was
murdered in my living room. There was a body...here...

ARCHIE
(bitterly)
Well, brace yourself Deirdre, cause thanks to your
daughter there's gonna be three more bodies before
too long. Ours.

DEIRDRE
Archie!

HOLLI
No, Mom. Let him talk.
(to ARCHIE)
I'm not sorry for trying to get help, Daddy.

ARCHIE
We didn't need any help.

HOLLI
Yes. We did. I've got eyes, Daddy. I could see how
hard you were working, how you struggled every month
to make that tribute. It was killing you both. And if you
want to hate me for not wanting that to happen...

ANGEL
(o.s.)
Listen to your daughter, Mr. Hamilton.

CORDELIA stands and approaches ANGEL as he enters the room.

CORDELIA
You took care of our dead friend?
(off his nod)
Any sign of the tubular Tang gang?

ANGEL
Not yet.
(to ARCHIE)
We've got to get going, It's not safe for you here now.

ARCHIE
(sarcastically)
Tell me something I don't already know.

ANGEL
(with feeling)
Okay, how about this? The only reason the Minders
have been able to get their hooks into you so deep is
your fear that something's gonna hurt your family, and
now something is. And you think that it's us, but it's you.
Your fear. You're destroying everything you've been
trying to save. Look at your family. They love you so
much. You need to stand up together and fight for each
other. You do that and nothing can break you apart.

ANGEL and CORDELIA exchange a meaningful look as ARCHIE looks at HOLLI with tears in his eyes.

ARCHIE
Holli, I...

HOLLI
I love you Daddy.

ARCHIE
I love you too baby.

They embrace, and DEIRDRE joins them.

ANGEL
Take them back to the hotel.

ANGEL walks out of the room. CORDELIA follows...

Scene: Hamilton's Kitchen [Int.], Night
She grabs his arm at the back door just after he's opened it.

CORDELIA
Where are you going? And why are you going alone?

ANGEL
Trust me. I can deal. Just take care of them.

Scene: Alley [Ext.], Night
TRACKING SHOT of ANGEL leaving CORDELIA and walking down the alley. ANGEL steps out of frame and HENCHMAN #1 steps into it, grinning.

HENCHMAN #1
Sure thing, buddy. You'll deal alright.

DISSOLVE TO:

Scene: Hyperion Hotel, Lobby [Int.], Night.
FRED is sitting on the lobby sofa, crying. A nearly empty box of tissues is on her lap; a large pile of wadded up used issues surrounds her. She's holding a framed picture.

CLOSEUP of the picture shows it's a smiling happy FRED and GUNN with their arms wrapped around each other.

FRED golds the picture up and begins talking to it.

FRED
I bet y-you think I'm crying about you. I'm n-not,
Charles. That's not why I'm crying at all. I'm crying
because...because Connor left just when I thought he
would stay and Angel's gonna be so disappointed and
I almost died not so long ago and there's a hole in
the ozone layer and yesterday when I was doing
laundry I wound up with not a single pair of matching
socks so I think there's a sock-eating demon in the
dryer and I have no one to tell that to who'll make that
crinkly nose face you always make when I'm being
silly but you find it cute and I m-miss you so much...

FRED starts sobbing in earnest, then leaps up when she hears the front door open, sending tissue wads cascading onto the floor.

FRED
Charles?

CORDELIA walks in with ARCHIE, DEIRDRE and HOLLI. FRED tries unsuccessfully to hide her disappointment and smiles tearfully.

CORDELIA
Fred?

FRED
(breath hitching)
Cordy, h-hi.

CORDELIA
These are the Hamiltons. They're gonna be staying
with us for a little while - it's a long story and are you
alright?

FRED
I'm f-fine.
(to the Hamiltons with a crumbling smile)
H-hello, I'm Fred. Would you like some coffee, or...
or...I don't know what else we have.

FRED starts sobbing again. CORDY looks apologetically at the Hamiltons.

CORDELIA
Could you excuse us for just a moment? Just...make
yourselves at home.

The Hamiltons nod and look around curiously at the lobby, especially the weapons case, as CORDELIA pulls FRED aside.

CORDELIA
(kindly)
Fred, what happened?

FRED
He's gone, and it's all my fault.

CORDELIA
He? He who?

FRED
Charles...he came back and he misunderstood and I
just blew up. I told him to go away...and he did.

CORDELIA
Misunderstood?

CLOSEUP on FRED and CORDELIA.

FRED
He thought I was with another man, but I wouldn't do
that. I love Charles!

CORDELIA
I know you do, but why did Gunn think-

FRED
Because I <b>was</b> with another man. But I wasn't <b>with</b>
another man. I was talking to Connor.

CORDELIA
Connor's back?

FRED
He was...he left when Charles screamed at him. I've
messed up everything, Cordy. I don't think they're
coming back.

CORDELIA pulls FRED into a hug.

CORDELIA
No, no, sweetie. It'll be okay. Trust me. That man loves
you so much.

FRED
You didn't see his face. I've never seen him like that.
(starting to sob again)
It was like he had no hope left.

CORDELIA
Oh, Fred-

The oh so familiar sound of HOLLI screaming causes them both to look up in surprise. The CAMERA pulls back to show them surrounded by eight TUBE-HEAD demons, two MINDERS and ZEPH, who's smiling at them.

ZEPH
Sorry, are we interrupting something, or is everyone
here ready to die?

FADE OUT

ACT IV

Scene: Hyperion Hotel, Lobby [Int.], Night.
POV shot with the frame partially obscured of the Hamiltons, FRED and CORDELIA all being herded together into the lobby's center.

ZEPH
Actually, I was kidding before.

FRED
You're not gonna kill us?

ZEPH
No, no, we're definitely gonna kill you. It's part of our
arrangement with the Tubies here.

TUBEI DEMONS give appropriately hungry growls. CAMERA shifts to a slightly better view.

ZEPH
(to DEMONS)
Sorry, Tubei. Yeesh, chill out, losers.

ARCHIE
(shaking with rage)
You weren't protecting us all this time...you sent
these things to hurt my boy, to frighten my family, and
then you took my money like...like...

ZEPH
Try evil demons.
(to FRED)
The thing is, you haven't outlived your usefulness. My
boss needs a little leverage in an upcoming
negotiation, and you're it.

SWITCH ANGLE to see CONNOR hidden near the exit, watching all of this with concern.

CORDELIA
(o.s.)
If you're talking about Angel, it won't work.

ZEPH
(o.s.)
The boss thinks it will...

CONNOR slips into the shadows. SWITCH ANGLE to CLOSEUP of ZEPH.

ZEPH
(cont)
...forgive me for taking his word over yours, doll.
Uh-uh-uh!

ZEPH grabs the arm of HENCHMAN #3.

ZEPH
(cont)
Don't get to close to that one. She zaps.

HOLLI
(whispering, to CORDELIA)
You're bluffing, right? Angel will rescue us.

CORDELIA and FRED exchange looks and we CUT TO:

Scene: Minders Lair Foyer [Int.], Night
Two MINDER HENCHMEN are kind of lackadaisically guarding an ornate door - the BOSS's office.

HENCHMAN #5
Whatcha doin with your cut?

HENCHMAN #6
I'm making investments, Lenny. You gotta think about
the future.

HENCHMAN #5
Yeah. The future. I wanna do that, but Glin, she likes
shiny things, you know? I gotta keep her happy so she
keeps me happy, know what I'm sayin?

HENCHMAN #6
I warned you about women. She's gonna suck you dry,
buddy.

HENCHMAN #5
(grinning happily)
Yeah, I hope so. She's got a rotating-

ANGEL suddenly enters the shot and twists HENCHMAN # 5's neck, letting the body drop to the floor.

HENCHMAN #6
You killed Lenny, you...

HENCHMAN #6 raises his gun but ANGEL twists it out his hand. He grabs HENCHMAN #6 by the collar, lifting him off the floor.

ANGEL
I need to see your boss. He in?

HENCHMAN #6 nods, terrified, and ANGEL pushes him against the door, forcing it open.

Scene: Minders Lair Main Office [Int.], Night
The large chair behind the impressive desk is turned away from them.

HENCHMAN #6
(squeak of terror)
I'm sorry boss! He killed Lenny!

The BOSS turns his chair around to face them, smiling smugly. He looks much the same as ZEPH, only shorter and more squatty, and he has little blue horns. He's wearing a blue smoking jacket and an impressive but gaudy array of jewelry.

BOSS
Angelus! You've been expected. Please, come, sit
down. We have so much to talk about.

ANGEL
I won't be staying.

BOSS
Au contraire! I hope you'll be with us for quite some
time.
(a beat, then gesturing at HENCHMAN)
You think you might let him go? His trembling's
distracting.

ANGEL looks at HENCHMAN #6 speculatively then twists his neck. He drops the body and glares at the BOSS.

ANGEL
Better?

BOSS
(smiling coldly)
Much. You see, I was right about you. You're efficient,
deadly, a man of action. Just the kind of man I need
in my organization.

BOSS gestures toward a plush chair then pushes a button, opening up a wet bar on the desk.

BOSS
(cont)
Can I get you anything? Brandy? Soda?
(holding up a decanter of blood)
Blood from Mary?

ANGEL just stares at him. BOSS sighs.

BOSS
Fine. We'll skip the pleasantries for now. Let me
explain. I'm familiar with your work, both past and
current, let's say, and I think you've got great
potential.

ANGEL
Not interested.

BOSS
Don't be hasty. I know you like helping people, Angel.
So do I. That's what we do here. We keep people safe.
And for that valuable service we accept a modest fee,
just as you do for the help you provide.

ANGEL
There's a difference. I'm not the one they need
protection from.

BOSS
Neither are we! Our clients know there's a whole world
of demons that are out to hurt them. Well, actually, just
the Tubei that we brought over and trained from another
dimension, but why quibble? The point is, most of our
customers are beyond grateful. They'd pay two, three
times what we're asking.

ANGEL
You provide the threat. You remove the threat.

BOSS
Sweet, isn't it? And no one gets hurt. Well, almost no
one. Our collections department is rather aggressive.

BOSS pushes another button on his desk, and a wall opens up. Behind it ANGEL sees a set of cages, many of which contain human beings. One near the front contains a dejected LEONARD Hill, a small cage near him holding the Hills' cat.

BOSS
Some of our deadbeat clients. It's unfortunate but a
necessary part of doing business. We have to set
examples for the others, you see. And the Tubei need
a little something to gnaw on.

ANGEL
I see about twenty more reasons I'm gonna shut
you down.

BOSS
Playing the hero, Angel? Why, because you feel
loyalty to these people? To your so-called friends?
And do they feel the same for you, or do all of them,
even the ones with whom you're oh-so-close, see you
as a monster just waiting to strike?
(triumphantly, off ANGEL's pained expression)
From what I've seen, you owe them nothing.

ANGEL
Then you haven't seen anything.

ANGEL reaches across the desk and grabs the BOSS' lapels. CLOSE-UP on the two of them.

BOSS
(not worried)
Try anything and your friends die. Along with the lovely
family you've gone to such lengths to protect.

ANGEL
Nice bluff. But kind of pointless, since I've got...

Someone unseen lays a sword against ANGEL's neck. The BOSS grins.

ANGEL
(cont)
...you.

HENCHMAN #1
(o.s.)
You okay, Boss?

BOSS
I'm just fine.
(to ANGEL)
I suggest you let me go.

The CAMERA pulls out to show HENCHMAN #1 plus two TUBEI DEMONS. ANGEL slowly releases the BOSS, who smoothes out his lapels.

BOSS
(cont)
Now...where were we?

CONNOR suddenly appears and tosses a hatchet that imbeds in the chest of the closest TUBEI. It falls, dissolving into orange goo.

ANGEL punches HENCHMAN #1 in the face, stunning him enough to allow ANGEL to wrest the sword from his grasp. He kicks the demon in the kneecap, disabling him as CONNOR fights the remaining TUBEI DEMON.

ANGEL leaps over and runs through that demon with the sword. It, too, dissolves. ANGEL looks at CONNOR, then away.

ANGEL
(awkwardly)
Good timing.

CONNOR
Good kill.

ANGEL
You too. Connor, I-

CONNOR
Save it.
(off ANGEL's look)
No. I mean really. Apologize later. I came to find you
because Fred and Cordelia are in trouble. Demons at
the hotel.

ANGEL
How many?

CONNOR
(pointing at the goo)
Eight of these...
(pointing at the BOSS, trying to sneak out)
and three of those.

ANGEL grabs hold of the BOSS by the shoulders.

BOSS
Angelus, listen. You can't kill me. I'm the only one who
can call off my men. And if I don't contact them, they've
got a standing order to kill them all. So see, you still
need me alive. We can still negotiate.

ANGEL considers that for a moment.

ANGEL
(to CONNOR)
Think he's telling the truth?

CONNOR
(shrugging)
They seemed to be waiting for something.

ANGEL
(to BOSS)
How much time?

CLOSE-UP on the BOSS' relieved but still smug smile.

BOSS
Fifteen minutes, give or take. I knew you'd see reason,
I...I...

ANGEL
See your point.

The BOSS looks down and sees the sword protruding from his chest. ANGEL lets go and he falls.

CONNOR
What now?

ANGEL feels through a couple of desk drawers till he finds a ring of keys. He tosses it to CONNOR.

ANGEL
Free these people. Hurry, we've got less than fifteen
minutes.
(a beat, after CONNOR's moved to the cages, loudly)
And bring the cat.
(another beat, even louder)
And where the hell is Gunn?

Scene: Street Corner [Ext.], Night
GUNN is standing, looking around edgily. His expression is hard, angry possibly, but more than that resigned. He turns suddenly and a young Hispanic man, very shady looking, is standing behind him.

GUNN
Don't ever sneak up on me, Lorenzo, man.

LORENZO
Nah, G. I can't sneak up on you. You got eyes on the
back of your head, bro.

GUNN
Yeah. You got what I need?

LORENZO
You got the money?

GUNN reaches into his pocket and pulls out a large bankroll. LORENZO grins and pulls a small package out of his own pocket.

LORENZO
Then I got the goods. Primo, too. Trust me, this is pure-

GUNN
Save the spiel. Long as it's what we discussed, we
don't need to talk about it.

GUNN places the money LORENZO'S hand; a moment later LORENZO places the package in his. GUNN clutches it almost desperately as LORENZO shakes his head.

LORENZO
Man, I ain't never thought I'd see this day. You sure you
wanna do this, man? It's just...you don't seem the type,
G, dig?

GUNN
(shrugs)
Got no other choice. I need this, man. It's my-

GUNN's cell phone rings. He stuffs the package in his pocket and fumbles for the phone as LORENZO shuffles off.

LORENZO
Later, G.

GUNN
Yeah, thanks man.
(into the phone, hopeful)
Fred?
(a few beats later, frightened whisper)
oh no...Fred...

CUT TO:

Scene: Hyperion Hotel, Lobby [Int., Night.
ARCHIE has one arms around his wife, the other around HOLLI. FRED and CORDELIA are eyeing the demons nervously. ZEPH and his HENCHMEN seem to be getting antsy.

HENCHMAN #3
Shouldn't the boss have called by now?

ZEPH
(tersely)
He'll call.

HENCHMAN #3
You think Angelus maybe got the better of him?

ZEPH
I said he'll call!

HENCHMAN #4
(wistfully, looking at the Hamiltons)
I hope we get to kill them. That's the only thing I don't
like about this racket, Zeph. We hardly ever get to kill
anymore. We're all...high-class or somethin'.

ZEPH
(looking at CORDELIA)
Not to worry. Once the Boss gets what he wants,
we'll get what we want.

ZEPH makes a shooting gun motion at CORDELIA. FRED tugs at her arm.

FRED
What are we gonna do?

CORDELIA
Great, I'm in charge now?

FRED
Well, you're the strongest...I mean, if this were a
mathematical calculation or an obscure translation, I'd
be all over it...but saving an innocent family, not to
mention ourselves, from a bunch of demons that
seriously have the munchies, that's more champion
territory, right? Ergo, you.

CORDELIA
Right. I'm a champion. I can do this.
(a beat, then)
Any ideas?

FRED
Well...you've got powers. Any tricks that might help
us?

CORDELIA
You know what? I just might.

The gray tabby cat drops to the first floor near ZEPH seemingly from nowhere. Nonplussed, everyone in the room watches it run away up the stairs. A quick pan across the second floor landing shows no one there.

ZEPH
What the...?

FRED gives CORDELIA an enthusiastic punch on the arm.

FRED
Wow, Cordy! You made a kitty cat...that's amazing...I
don't get it. How does that help?

Before she can answer, ANGEL comes bursting in through the front, GUNN through the rear, and CONNOR comes dropping down from the second floor much like the cat.

As the three of them each take on a demon, CORDELIA and FRED usher the Hamilton family to the weapons cabinet.

DEIRDRE
What are you doing? Why aren't we trying to get out
of here?

CORDELIA opens the cabinet. We hear the sounds of battle behind them, unseen.

CORDELIA
Time to fight back, folks. Or defend yourselves at
least. You think you can handle this?

CORDELIA hands ARCHIE a large, deadly looking axe. He grins as he takes it from her.

ARCHIE
Damn right.

HOLLI
Come on, Mom. This will be like family therapy.

She grabs a smaller axe, and Deirdre tentatively grabs a short sword. FRED and CORDELIA both grab swords.

GUNN
(o.s.)
What the hell?

ANGEL
(o.s.)
I said not the head!

FRED
Oh! I forgot, the best way to kill a Tubei is by stabbing
them through the heart. They kind of liquify. But
whatever you do, don't chop off their heads, cause that'll
just make two of them.

CORDELIA
Hear that, people? Stab the orange guys and they turn
to duck sauce. No head chopping.

HOLLI
Can I just say eww?

CORDELIA
No time. Everyone ready?

DEIRDRE nods tentatively. ARCHIE and HOLLI both grin affectionately at each other.

ARCHIE
Been ready. Just didn't know it.

CORDELIA
Okay! Let's do this!

As one, brandishing their weapons and looking fierce they turn...only to find a lot of orange goo in puddles throughout the lobby, GUNN dragging out the last of the three MINDERS (either unconscious or dead) and CONNOR and ANGEL grinning in satisfaction. ARCHIE's face falls.

ARCHIE
Aww damn.

Scene: Hyperion Hotel, Lobby [Int.], A Short Time Later
ARCHIE, DEIRDRE and HOLLI are standing near the exit.

DEIRDRE
I'm so ashamed of what we did.

CORDELIA
Don't sweat it. You think you're the first clients that
tried to kill us? Err...

ARCHIE
I'm sorry seems so...well, not enough.

HOLLI
How about we just say thank you.

She hugs CORDELIA as we PAN TO CONNOR and ANGEL standing awkwardly together, looking at and then quickly away from each other.

CONNOR
So...

ANGEL
So. You...have a place to stay? Need money?
Anything. Not trying to hone in, just want to make sure
you're alright.

CONNOR
Well...I thought...I might stick around here for awhile.
If that's okay.

ANGEL
(thrilled)
Of course it's okay! This is your home, son. Always.

CONNOR
Okay.
(a beat, then)
Is that it? We're done?

ANGEL
(puzzled)
Yeah. Why?

CONNOR
(grinning)
Cause I bet Fred five bucks you wouldn't apologize.
Thanks, Dad.

CONNOR walks happily away from a chagrined ANGEL.

PAN to FRED watching the Hamiltons talk to CORDELIA. GUNN comes up beside her.

GUNN
Whatcha looking at?

FRED
(sighing)
A happy family. I'm glad we were able to help them.
Especially Holli, she's so nice...and so pretty...

GUNN
(looking admiringly at FRED)
I didn't notice.

FRED blushes at his attention.

GUNN
Fred...

FRED
Charles...

GUNN
I've been thinking a lot about what you said before,
and you were right. We've got nothing holding us
together right now. Not really.

FRED looks stricken. GUNN reaches into his pocket as he continues, pulling out the package and fumbling with it as he speaks.

GUNN
(cont)
I'm glad you said that, it made me think about what I
want. I mean, what we've had has been great, but it
hasn't been enough. For either of us. I get that now.

FRED
But...

GUNN
Please, I gotta finish this. I want you to have what you
deserve. I want you to be sure...

FRED
I am...I do...

EXTREME CLOSEUP of GUNN's hand, holding up a simple diamond engagement ring.

GUNN
I hope so, baby. Cause I'm asking. Will you-

FRED
Yes!

GUNN
...marry me?

FRED
Ooops. Jumped the gun.

GUNN
Nah, that's later.

They kiss, then we DISSOLVE TO:

Scene: Wolfram & Hart, Linwood's Office [Int.], Morning
LINWOOD looks up in surprise as LILAH enters, holding a DVD-ROM.

LILAH
Linwood, I'm sorry. I need a moment. Progress report
on the scrolls.

LINWOOD
Ah. How's that going?

LILAH
Nearly finished, according to the new translator.

LINWOOD
(carefully neutral)
It's good you only gave Wesley copies of the scrolls to
work from, you saved the project, Lilah, no doubt. But I
don't understand why you took the work away from
him. If one didn't know better, one might think you were
engaged in some sort of vendetta. You know, woman
scorned, all that.

LILAH
(burying her anger)
My only concern has been for the firm, as always. You
don't think what happened was the least bit suspicious?

LINWOOD
(shrugging)
Accidents do happen. I've read Wesley's account of the
incident at his apartment. The man lost everything. You
really think-
(she hands him the DVD)
And what is this?

LILAH
A little movie I thought you might enjoy. I know I can
just watch it over and over. So fascinating when things
go up in flames.

LILAH smiles as LINWOOD eyes the disc oddly.

FADE OUT