Soulless

RECAP:

CONNOR (V.O.) Previously on Angel: 1     INT. LAB OUTSIDE PROFESSOR SEIDEL'S OFFICE - NIGHT Fred still has a crossbow pointed at Professor Seidel, who's now standing against one of the lab desks. A portal has opened in the floor in front of the Professor, and it's sucking him in. He's clinging to the lab desk as Charles Gunn bursts into the lab.

GUNN If you kill him, I'm gonna lose you.

Gunn breaks the Professor's neck, and pushes him into the portal. It closes behind the Professor. Fred and Gunn stare at each other, trying to absorb what just happened.

Cut to:

2     EXT. HOTEL / ANGEL INVESTIGATIONS - DAY Fred and Gunn come in through the garden on their way back from the client's house. They go up the stairs, Fred first, to the front door.

GUNN We haven't even touched each other since—

FRED (they both look down, avoid eye contact) Since we murdered Professor Seidel.

Cut to:

3     INT. WESLEY'S APARTMENT - DAY Wesley is walking into the living room.

FRED You've been keeping track of me?

WESLEY Yes.

Cut to:

4     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS - NIGHT Gunn and Wesley are having a confrontation.

GUNN You move on Fred, and I'm gonna put you down hard.

Cut to:

5     EXT. SKY TEMPLE CLUB ON KIMBALL BUILDING ROOF - NIGHT The beast kneels on one knee, punching the floor at the center of his human square, sending a trail of fire out along the floor in the shape of the Eye of Fire symbol. A shock wave emanates from the area, knocking everyone back a few feet. The fire is tall now, taller than the beast. The Beast leaps straight up into the sky, riding the fire that he created.

Cut to:

6     INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are standing next to each other, looking out the window at a shaft of fire that's shooting straight up into a red circular cloud in the sky right over downtown. The column of fire is sucked up into the cloud where it disappears and the clouds close. Still glowing, the clouds now rain tiny fireballs all over the city. They stare in disbelief.

CORDELIA It's coming, and no one can stop it. Connor, you never had a childhood, or anything that's real, and if this is the end, I want you to have something that is.

Cut to:

7     INT. CONNOR'S PLACE - NIGHT Connor and Cordelia are in bed together, making love. Lying on top of Cordelia, Connor kisses her tenderly amid gentle undulations under the sheets.

Cut to:

8     EXT. CONNOR'S PLACE - NIGHT Zoom outside through the window. Fire rain is falling down all around, and Angel's there, on the roof of a nearby building, looking into the attic, where he can see Connor and Cordelia in bed together making love.

Cut to:

9     INT. CONNOR'S PLACE - DAY Standing, holding the assembled artifact in front of him, the Beast breathes out black smoke into the orb which rests on two metal wings.

WESLEY (V.O.) The Beast is planning to block out the sun permanently.

Cut to:

10     EXT. STREET BEHIND CONNOR'S PLACE - DAY The sun becomes blocked out by blackness.

Cut to:

11     INT. CONNOR'S PLACE - DAY The Beast walks up to Angel.

BEAST Angelus.

Cut to:

12     EXT. STREET BEHIND CONNOR'S PLACE - DAY Cordelia and Connor are waiting anxiously by the car. Angel and crew come out of the building, and Cordelia runs to them.

ANGEL The Beast knows me.

CORDELIA No, it doesn't. It knows Angelus.

ANGEL I'm telling ya, I don't know this beast.

WESLEY We need Angelus.

Cut to:

13     INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS The gang is sitting around in the lobby of the hotel.

FRED I'd much prefer we had a plan.

WESLEY (walks in the front door with a man dressed in purple robes) Wo-Pang. He can deliver Angelus to us.

Cut to:

14     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Wesley and Gunn are strapping Angel to a table inside the cage. The shaman places a jar on a table, and Cordelia is curious about it.

CORDELIA What is that?

WO-PANG It's the receptacle that will house his soul.

The shaman goes inside the cage with Angel, shutting the door behind him. Angel is lying on the table in the cage. Connor, Cordy, Gunn and Wesley look on. The shaman puts his hand on Angel's head, closes his eyes, and when the shaman's eyes open again, they're red.

WO-PANG It is done.

Angelus turns his head to look at Angel's gang as they watch him.

CORDELIA Angelus.

Fade to black.

The Start Of Episode

Prologue:

TRANSCRIBER'S NOTE: Since the sun is blotted out in metro Los Angeles, I will not describe the setting in terms of day or night as it's irrelevant until the plot point is resolved. Scenes that take place outside the affected area will be described appropriately.

15     EXT. STREET IN LOS ANGELES A stack of newspapers, bundled for delivery reads "Crime Wave Shuts Down City." Connor grabs the bundle and swings it at a vampire's head. Connor's fighting several vampires at once. They're jumping out from every direction, each time he knocks one down, another shows up to take its place.

One of the vampires pushes Connor into a metal canister. Connor twists the wheel at the top, releasing gasses from within. The vampires shriek, disoriented. Connor manages to knock a couple of them down now, but two more vampires grab him by each arm, holding him for a third vampire.

CONNOR Lemme guess. Out-of-towners?

VAMPIRE Yeah, Tucson.

The vampire comes toward Connor, but Connor kicks him in the chin, knocking him down. Then he gets free of the two vampires that were holding him and engages them in a fist fight. Connor triggers the release of a concealed stake from a device attached to his wrist. He dusts one of the vampires, dodges another who was coming at him, sending him through a window, then stakes him. He punches the last vampire, throwing him into a billboard. When he falls to the ground, Connor picks up a stake from the ground.

CONNOR Welcome to L.A. (hurls the stake at the vampire, dusting him) Tourists.

When he looks around, Connor sees a dozen or more vampires walking toward him from either end of the alley.

Cut to:

16     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS Close-up of a drawing depicting the aerial view of of a park. Wesley walks up to the picture and opens it like a door, revealing a safe behind it. He twists the dial on the safe door to the right combination. Cordelia's standing behind him, holding the receptacle that's contains Angel's soul. Fred, Gunn, and Lorne are also in the room.

FRED Seeing Angel's soul all floaty like that kinda makes me crazy.

LORNE Yeah, it's not forever, sugar plum. We're just borrowing it.

WESLEY (opens the safe door, holds his hands out to Cordelia) Cordelia. (she hands him the receptacle)

FRED Don't drop it.

Wesley puts the receptacle in the safe, closes the safe door, then closes the picture over it, concealing the safe.

WESLEY (turns to face everyone) Angel is gone.

CORDELIA I can't believe...it's done.

GUNN Taking out Angel's soul. Putting it in a jar. I hope we know what we're doing.

WESLEY If Angelus knows how to destroy the Beast, it's all we've got.

LORNE Yeah, otherwise, permanent midnight.

CORDELIA He's dangerous. I know. I've seen it. But we're doing the right thing.

WESLEY As long as we're very careful. Before Angelus was ensouled, his viciousness was mythic. You all know his history.

FRED Killing, maiming, torture...

LORNE Puppies nailed to walls. Thank you, Cordelia, for that lovely image. But, uh, I think that brings us up to speed.

WESLEY There's only one thing Angelus will be focused on: getting free so that he can slaughter us.

CORDELIA We're Angel's only link to humanity. Angelus will hate us for that. He'll want to make us suffer.

WESLEY Watch the monitor when I go down. Pay attention to everything he does, everything he says. He'll try to confuse you, to play on your emotions so you drop your guard. If he succeeds—even for an instant—we're all dead. (stands, paces) I spent my life training for this, and I'm still not ready. (pan out, viewing them from outside the room) He's smarter than I am, and a great deal more focused. (pan over to the front desk where there's a monitor showing Angelus in the cage) He'll exploit everything Angel knows about me and go for the jugular.

Cut to:

17     INT. BASEMENT AT HOTEL / ANGEL INVESTIGATIONS Enter the dark and creepy basement where the cell that holds Angelus is cloaked mostly in shadow.

WESLEY (O.S.) Whatever he's got, I'm not gonna see it coming.

Zoom in on the darkest back corner of the cell. Angelus is sitting on the floor, singing "Teddy Bear Picnic" to himself.

ANGELUS (singing) If you go into the woods tonight, you won't believe your eyes. If you go into the woods tonight, you're in for a big surprise...

Fade to black.

Opening credits.

ACT I:

18     INT. BASEMENT AT HOTEL / ANGEL INVESTIGATIONS Wesley walks downstairs into the basement and stands a few feet away from the cage. Angelus is lurking in the shadows.

WESLEY Angelus.

ANGELUS Wes. Why the long face? Aren't you happy to see me?

WESLEY Should I be?

ANGELUS Well, if it wasn't for you and your shaman friend, I wouldn't be here. I'm feeling the love.

WESLEY The choice was Angel's.

ANGELUS Angel, schmangel. You're the man with the brain.

WESLEY You're comfortable?

ANGELUS Nice acoustics. Wouldn't hate a chair.

WESLEY (rearranges the gun he's holding, paces) You'll have to forgive the accommodations. The last time you were free, you terrorized Sunnydale.

ANGELUS That slayer—she's a pistol.

WESLEY I've imagined this moment many times. Years of study, research... I've read everything ever written about you...

ANGELUS Stop, I'm blushing.

WESLEY To be one-on-one with the legendary Angelus. (sits in a chair a few feet away from the cage) As a former watcher, it's a high point.

ANGELUS (walks toward Wes) Buttering me up. Getting me all relaxed, hm? Not the most innovative interrogation technique, but... OK, I'll play.

WESLEY Is it a game?

ANGELUS Hey, open book. Anything you want to know. How sweet that virgin gypsy tasted. The special smell of a newborn's neck. My first nun—now that's a great story.

WESLEY We could start there.

ANGELUS (shakes his head) Don't be coy, Wes. You're just dying to know about the big Beastie. Fire away.

WESLEY All right. Did you know the beast?

ANGELUS (staring at Wesley) Well, now that's a question. Not a great question. Not even an insightful question. Not a Wyndham-Pryce-worthy question—

WESLEY If you knew the Beast, why wouldn't Angel remember?

ANGELUS I don't know. Maybe he doesn't remember the good times. Maybe he won't let himself. (rolls his eyes) So like him. (looks at Wes) Here's one for you: what's he deal with Angel and the Raiders of the Lost Ark?

WESLEY The movie?

ANGELUS The "perfect day" fantasy he came up with. Caves, booby traps, the requisite phallic sword.

WESLEY He fought the Beast in the fantasy?

ANGELUS Real candy-ass.

WESLEY The Beast?

ANGELUS Angel. Not enough to be the hero—couldn't be happy unless the whole gang's pitching in.

WESLEY So, he killed the Beast in this fantasy.

ANGELUS Had to. To get what he wanted. We all want something, Wes. It's the way of the world. Everybody's got an agenda.

WESLEY (leans back in his chair) And you want to tell me mine.

ANGELUS You want to come down here, get your vital stats on lava boy, play the big hero—

WESLEY I want to know how to kill the Beast. It has nothing to do with being a hero.

ANGELUS Sure it does, but why now? Can't be because there's an apocalypse coming—always one of those around the corner.

WESLEY Enlighten me.

ANGELUS (walks up to the cage bars) "Foul rag-and-bone shop of the heart." That's where you live.

WESLEY Meaning?

ANGELUS You want to impress the girl. Move in, get her to love you, and after a couple days of flowers and chocolate covered cherries, (bangs his hands on the bars) you'll bend her over the kitchen counter—

WESLEY That supposed to rattle me?

ANGELUS Kinda bony for my taste, but different strokes...

WESLEY The Beast called you an adversary.

ANGELUS (leaning against the bars, fondling them with his hands) Bet he loves to rub that shiny bald head against her soft, milky skin. Mmmm...good...

Cut to:

19     INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS Lorne, Gunn, Fred, and Cordelia are watching Wesley and Angelus on the monitor set up on the front desk.

ANGELUS (through the monitor) Come on, Wes. Not like your schoolgirl crush is a secret.

FRED Charles, remember, we can't believe anything Angelus says.

GUNN (his arms crossed) How 'bout the stuff that's true? (looks at Fred) Can we believe that?

CORDELIA He distorts everything. He lies with the truth. It's part of what makes him so dangerous.

LORNE Yeah, don't let him get to you, kiwi.

GUNN He's not the only one that's gettin'.

FRED Charles...

GUNN I know. I know.

FRED It's just words.

WESLEY (through the monitor) You've found a vulnerability, exploited it. Well done.

Cut to:

20     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Wesley is still interviewing Angelus.

WESLEY Can we move on now?

ANGELUS I'm just getting started. Tell you this— (lets go of the bars) all that digging you've been doing on the horny giant—wrong place. (paces)

WESLEY (stands) And the right place?

ANGELUS I could tell you. (smirks) Wouldn't be sporting.

WESLEY (paces) But you were adversaries—you and the Beast.

ANGELUS Guy like me... friends, enemies...hard to keep track.

WESLEY (stops, looks at Angelus) If he was an enemy, I'd be doing you a favor in destroying him.

ANGELUS You know, you're not fooling anyone. Get some new clothes, cool haircut, hit the gym—you're still the same loser none of the other kids wanted to sit with at lunch.

WESLEY Yet you're locked in that cage, and I'm out here.

ANGELUS So? (walks up to the bars) You've got no leverage. What are you going to do? Kill me?

WESLEY If I have to.

ANGELUS (chuckles) Wait 'til they drop, Wes, then try that line again.

WESLEY I'll put your soul back. You won't talk, no problem—we'll bring Angel back and be no worse off than we were.

ANGELUS Making you a failure again.

WESLEY You want to waste my time, you can rot down here. (walks away)

ANGELUS Nice stamina, Wes. No wonder Fred's not interested. (Wes stops)

WESLEY Whatever your connection to the Beast, clearly you don't know anything that can help us. (starts walking upstairs)

ANGELUS Is this the part where I'm supposed to get defensive, start talking to prove you wrong? What else you got? (walks to the back wall, leans against it)

WESLEY (stops) You must hate it—that Angel fights evil.

ANGELUS Eats you up inside, doesn't it. Seeing all those idiots flock around him, calling him a champion. Anyone ever call you a champion?

WESLEY (turns to face Angelus) I do my part.

ANGELUS Right. Like letting Lilah suck Lorne's brain. Or, here's an oldie but a goodie: Faith. Good job being her watcher. She turned out to be a peach.

WESLEY (walks up to Angelus) And you managed to get your soul back, not once, but twice, saving the world several times in the process. Nobody's perfect.

ANGELUS Then there's kidnapping the fruit of my loins. Smooth.

WESLEY He survived.

ANGELUS I guess you just can't understand that special bond between dad and son, given that your own father's ashamed of you—

WESLEY And Connor's ashamed of you. The universe's way of maintaining order, I guess.

ANGELUS (chuckles) Twerp really gives me the creeps. You?

WESLEY In Cordelia's vision, you and the Beast were standing on a field—

ANGELUS Oh, God, yeah. (walks up to the bars) Let's talk about Cordy, shall we? Now, there's a rack to write home about. Too bad about the personality, though. (bobbing his head) "Yap, yap, yap, yap, yap!" (mocking Cordelia) "Oh, God. Oh, Angel. Angel, we can't. I love you, but you were so bad. You ate babies." (scoffs) Chicks.

Cut to:

21     INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS Lorne, Gunn, Fred, and Cordelia are watching Wesley and Angelus on the monitor set up on the front desk.

LORNE Sticks and stones, sweet potato.

GUNN We don't have to l—

CORDELIA No, I'm OK.

FRED Like you said—just little bitty bits of truth twisted all up into lies.

ANGELUS (through the monitor) Which do you think is worse, Wes? Stealing my kid like you did, or banging him, like Cordelia. (Fred looks at Cordelia then at Gunn, Lorne shakes his head, Cordelia just stares at the monitor deadpan) All that bumping and grinding. Fire raining in the sky. Quite a picture. Well, more of a snapshot, 'cause Connor— (chuckles)

FRED Now, that's just ridiculous. Connor's Angel's son. It'd be like sleeping with your own— (Lorne gestures that she stop) Oh.

ANGELUS (through the monitor) At least you thought you were doing the right thing. Hey, who's a guy gotta kill to get a drink around here?

Connor walks through the front door, beaten and exhausted.

CORDELIA Connor, what happened? Are you all right?

CONNOR They're coming from all over. Too many to fight. (realizes everyone's staring at him) What?

WESLEY (enters the lobby) He wants blood.

FRED I'll get it.

GUNN Me too.

Fred and Gun walk out of the lobby.

Cut to:

22     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Fred and Gunn walk down the stairs with blood for Angelus. Gunn's carrying a crossbow.

ANGELUS Othello and Desdemona. My favorite couple. Oh, wait, Desdemona wasn't in love with the other guy. So much for stand by your man. (Gunn points the crossbow at Angelus) Then again, you probably like her on her knees.

GUNN Keep talking. I'll sweep out the cage when I'm done.

ANGELUS Oh. Provocative. Get me all riled up. You think that's what your boss would want?

GUNN Don't have a boss.

ANGELUS You might want to tell Wesley that. Ah, Fred. You look all fresh and sweet, but I hear you at night in your room with Gunn. (Fred walks forward tentatively) The things you say. I'm lying there, listening, hands under the covers... I can't help myself. It's so... gripping.

GUNN This coming from a guy who can't get any. Ever.

FRED (pushing a cart upon which she's paced a glass of blood) You're a pig.

GUNN (aims the crossbow at Angelus) Step back.

Angelus steps back, and Fred pushes the cart up to the bars. She stands there, holding the cart, waiting for Angelus to take the glass of blood. He picks up the glass, eyeing Fred who won't even look at him. When she finally meets his gaze, he kicks the cart forward, causing Fred to fall forward on it where he can reach her. He pulls her up, her back toward him, and puts his arm around her neck.

ANGELUS Might get some now.

Fade to black.

ACT II:

23     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Resume. Angelus has his arm wrapped around Fred's throat, holding her up to the bars of his cage. Gunn's pointing the crossbow at Angelus.

ANGELUS (Fred struggles against him) I like the way you move, Fred. Do it just a little to the left.

FRED (faintly) Charles...

GUNN (drops the crossbow and charges toward them) Get off her!

ANGELUS Come on, Charles, save her! Come on! Save, her Charles!—

Angelus is interrupted when he's hit in the arm with a tranquilizer dart shot by Wesley, who's standing on the stairs. Angelus's grip loosens and Fred steps away from the bars into Gunn's waiting arms. Wesley shoots Angelus again, in the chest this time. Angelus looks at the dart, then collapses backwards.

GUNN Are you OK? Did he hurt you?

FRED No. I'm sorry. That was so stupid, I—I should've—

WESLEY (walks past Fred and Gunn to look at Angelus) It's not your fault. Angelus is unpredictable. He'll take any opening, no matter how small. (to Gunn) It's understandable, but you played right into his hands. Never drop your weapon. (walks back upstairs)

FRED Thanks.

GUNN So you're OK?

FRED Yeah. I'm just glad you're here. (hugs Gunn)

Wesley looks back over his shoulder to see Fred and Gunn embrace.

Cut to:

24     INT. ROOM AT HOTEL / ANGEL INVESTIGATIONS Cordelia comes into the room where Connor has been washing up. She hands him a black button-up shirt.

CORDELIA Hope you, uh, like black.

CONNOR Thanks. (puts on the shirt, looks at the fit) This is his.

CORDELIA Well, if you don't like it, I could ask Lorne. (grins)

CONNOR It's fine. (puts on his weapons)

CORDELIA You're not going back out.

CONNOR Somebody has to.

CORDELIA Connor, you're exhausted. You said yourself there were too many—

CONNOR I want to get out of here, OK? Everybody still looks at me like I'm the one who's connected to the Beast.

CORDELIA No. The looking earlier—that wasn't about the Beast. (Connor looks at her) It was because of us. Angelus said some things about the night we—you know. The weirdness is because everyone knows.

CONNOR Good.

CORDELIA Connor...

CONNOR Angel doesn't care if everyone knows. Why should I?

CORDELIA It's not Angel. Anyway, you should get some rest. (walks to the door)

CONNOR You don't want to be with me—fine, you're not, but don't tell me what to do.

Cordelia walks out of the room.

Cut to:

25     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS Wesley's doing research in the office when Fred walks into the room.

FRED Hey.

WESLEY Hey. Angelus mentioned something about a sword in Angel's fantasy. I thought...

FRED I wanted to thank you. If you hadn't've come in when you did...

WESLEY (looks into the lobby, then to Fred) He's not there.

FRED (awkwardly) It's— Charles heard what Angelus said. The stuff about—

WESLEY Me.

FRED Yeah, and—

WESLEY How I feel about you.

FRED (smiles nervously) Yes, which is very sweet. There's nothing wrong with i—

WESLEY Yes there is.

Walks up to Fred, puts his hand on her neck and kisses her passionately. She puts her hand on his neck, but then slides it down to his chest and pushes away.

GUNN Hey, (Wes and Fred turn away from each other as Gunn walks into the room) who's watching the monitor? (looks suspiciously at Wes, then at Fred) What's going on?

FRED Nothing.

GUNN Did he just—?

FRED Of course not. (tries to push him out of the room) Charles, you're right—the monitor.

GUNN (to Fred) You better tell me what the hell I just walked in on.

FRED We were just— (looks at Wes)

GUNN What? (look at Wes) Researching?

WESLEY You want to do this, deal with me. Leave Fred out of it.

GUNN (walks up to Wes) You ought to be leaving Fred out of it!

FRED (from behind Gunn) Hello, I'm here.

GUNN You think I don't see the way you look at her?

FRED Charles, please.

GUNN (turns to Fred) And you, running off to him every time you need help, like I'm not good enough.

FRED No, that's not— This isn't the time.

GUNN (to Wes) I'm telling you—stay away from her.

Cut to:

26     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Angelus starts to wake up from the tranquilizer darts and hears the squabbling upstairs. He smiles and laces his hands behind his head, grinning.

ANGELUS That was fast. (chuckles)

Cut to:

27     INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS Connor sneaks through the lobby while Gunn and Wes are still arguing in the office.

GUNN —long time since you were out for anyone but yourself.

WESLEY I owe you nothing. Not anymore.

GUNN You just take what you want, huh—

FRED (pushes Gunn out of the office into the lobby) Come on.

GUNN —no matter who it belongs to.

WESLEY I didn't realize Fred came with a deed.

FRED Stop it! What's wrong with you?

GUNN You don't realize a lot of things, like the fact that nobody wants you here.

WESLEY 'Cause you do such a bang-up job without me.

Lorne and Cordelia come into the lobby.

LORNE Hey, hey, come on, guys. Let's not say anything that—

GUNN Shut up, Lorne! (to Wes) Great idea, Wes, stealing Angel's kid. Oh, was losing him a part of your plan, too?

WESLEY Go ahead. Throw some more blame around. It's what you're best at.

GUNN (steps closer to Wes, yelling) You want to say that again?

FRED Oh, God.

WESLEY (steps up to Gunn, softly) Face it, Gunn, you can't give her what she needs.

Gunn punches Wesley in the face. He stumbles back, but stays standing.

FRED Charles!

Wesley punches Gunn twice in the torso.

FRED Stop it!

Gunn grabs Wesley and pushes him against the front desk.

FRED (to Charles) This is insane! You're doing exactly what Angelus wants.

Gunn ignores her as he and Wes continue to fight.

LORNE Oh, for the love of Mike Tyson—

Gunn hits Fred in the face with his elbow inadvertently as he rears back for another punch at Wesley. Fred screams and falls to the floor, covering her busted lip.

GUNN (looks at Fred and realizes what he's done) Fred...

Cordelia goes to Fred's aid and looks up at Gunn, then notices the monitor on the desk behind him. Connor's in the basement talking to Angelus.

Cut to:

28     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Connor walks up to the cage where Angelus is sitting on the floor in a dark corner. Connor just glares at Angelus.

CONNOR Everyone's afraid of you.

ANGELUS Is that my shirt?

CONNOR Not anymore. (paces in front of the bars)

ANGELUS Looks good on you, son.

CONNOR (smirks) So did Cordy.

ANGELUS She looks good on everybody.

CONNOR Angel warned me about you. Said I should remember you're not my real father.

ANGELUS Yeah, (stands) that was a nice speech. Touching. I think it ended with you promising to kill me.

CONNOR I remember.

ANGELUS (walks toward Connor) Kind of unnecessary, don't you think? I mean, with your track-record, I'll be staking myself by the end of the day.

CONNOR It's fine by me. (walks away)

ANGELUS (leans on the bars) Darla felt the same way. It made her sick, you squirming inside her. So, she jammed a stake in her own heart, just so she wouldn't have to hear your first whiny breath.

CONNOR (scoffs) You don't know anything.

ANGELUS Then there was Holtz. It disappointed him so much that he stabbed himself in the neck.

CONNOR (angry) My fa— (catches himself) Holtz was a good man. All he ever wanted was for you to get the punishment you deserve. And you will.

ANGELUS And now my boy's in love. All hearts and flowers. (shakes his head) But, doesn't it freak you out that she used to change your diapers? I mean, when you think about it, the first woman you boned is the closest thing you've ever had to a mother. Doing your mom and trying to kill your dad. Hm. There should be a play.

CONNOR (paces) You think I care what you say? Angel told me how you'd try to hurt me, how you aren't my real dad, just some animal in a cage. Angel's my dad.

ANGELUS (flutters his eyelashes) I'm gonna cry.

CONNOR That's what he told me. And he thought I believed him. (turns away) The truth is, Angel's just something that you're forced to wear. (looks at Angelus) You're my real father.

ANGELUS (glares at Connor) I'm right here. All you have to do is come and get me.

CONNOR You'd like that.

ANGELUS (shrugs) You couldn't take me anyway. (walks away)

CONNOR We'll see.

ANGELUS Promises, promises. Don't make 'em, if you can't keep 'em.

CONNOR I wouldn't think of it. (walks closer to the cage)

ANGELUS It might be your best chance. (turns to Connor) Don't disappoint daddy.

Cordelia comes down the stairs.

CORDELIA Connor. Go upstairs.

CONNOR (glaring at Angelus) No.

CORDELIA Please, go upstairs.

CONNOR (turns, walks away) It's your lucky day.

ANGELUS Yeah. Go to your room, mama's boy. (Connor goes upstairs) Cordy. Cordy, Cordy. Just couldn't stay away.

CORDELIA (walks toward the cage) It's been a long day, and I think you've done enough damage.

ANGELUS So, no hug?

CORDELIA You and I are gonna make a deal.

ANGELUS Tough. Did you practice that in front of the mirror a few times? Lemme guess. You want to know about the Beast.

CORDELIA Everything you know.

ANGELUS (nods) Oh. And in return, I get what? (paces) Wouldn't mind a car. I hear the new Mustang is nice.

CORDELIA (paces) Something better.

ANGELUS What's a better ride than a Mustang?

CORDELIA (looks at Angelus) Me.

Fade to black.

ACT III:

29     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Resume. Cordelia's making a deal with Angelus.

ANGELUS You?

CORDELIA That's the offer. No more stalling, no more games. You tell us what you know, you get me.

ANGELUS Must be some confusion. You took out the soul. Still have the brain.

CORDELIA Then use it. The Beast, the darkness—the world is falling apart. We're out of time, we're out of ideas. You're the end of the line.

ANGELUS (smirks) Wes was better at buttering me up. (walks away)

CORDELIA You know what it means to be a champion.

ANGELUS I'm trying so hard to forget.

CORDELIA Sometimes a sacrifice needs to be made.

ANGELUS (faces her) And you're the little lamb. Not that there aren't a few things I wouldn't mind doing to that body—other than the obvious. (walks forward)

CORDELIA Tell us about the Beast, and you can do whatever you want.

ANGELUS You're lying.

CORDELIA Look in my eyes. Angel knows me. You know me. Better than anyone. So, when you look at me, you know I'm not lying.

Cut to:

30     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS Wes, Lorne, Fred, Gunn and Connor are all staring at Cordelia. Connor's seated behind the desk, Lorne in front of it. Wes is leaning on one side of the desk and Fred and Gunn are on the opposite end of the desk.

FRED I don't understand.

GUNN Why is Sid Vicious suddenly Mr. Show-and-Tell?

LORNE Well, honey buns here must have a secret stash of higher-power dust.

CORDELIA Something like that. He's ready, Wes, whenever—

CONNOR Why don't you want to tell us what you did?

CORDELIA I did what I had to.

GUNN Which means what?

FRED Cordelia...

WESLEY Connor's right. We're all painfully aware of Angelus's ability to manipulate—

CORDELIA I'm not being manipulated.

WESLEY It would be better if I knew.

CORDELIA It's better if you don't.

Wes sighs.

Cut to:

31     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Wesley is interviewing Angelus, who's standing beside the bars inside his cage.

WESLEY All right. Shall we start from the beginning?

ANGELUS Why not?

WESLEY The year.

ANGELUS 1789.

WESLEY So, you were in Prussia.

ANGELUS (raises his eyebrows) You have been doing your homework. (smiles) Hmm... those Prussian girls. Must be the pastries. Worth the trip—all that sweetness gets into their blood.

Connor, Lorne, Cordelia, Fred and Gunn are watching from the monitor in the lobby.

WESLEY Very interesting. At some point, the Beast would appear?

ANGELUS Patience, Wes. I was taking a shortcut on my way to Vienna. Started feeling like someone was watching me. There were troops around.

Cut to:

31a     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: A long-haired Angelus walks around through a field littered with bloody bodies.

ANGELUS (V.O.) I'd run into them now and then. Not as sweet as the girls, by the way. But, the little massacre I ran into—seriously lacking in military precision. Bodies, bodies everywhere, and not a drop to drink.

Cut to:

ANGELUS So, I followed the trail, and there was your friend. The one you so cleverly call "The Beast."

Cut to:

31b     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: The Beast is killing people in the field. Angelus rips the arm off of a dead girl. The Beast stares at Angelus.

ANGELUS (V.O.) We had a lot in common, but he already knew that.

Cut to:

ANGELUS He'd been watching me. He staged the carnage to impress me.

WESLEY So, he sought you out. Why?

ANGELUS Girl trouble. Thought I might be able to help him with a situation.

WESLEY How?

ANGELUS You've heard of the Svea Priestesses? Very powerful, big into banishing.

Cut to:

31c     INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS While watching the Wes/Angelus interview over the monitor, Lorne mumbles in confusion to Fred.

LORNE Vanishing?

FRED (leans to Lorne, whispers) Banishing.

Cut to:

ANGELUS The Beast was next on their list. He couldn't touch them—some kind of mojo—but a vampire could.

WESLEY So, he wanted you to kill them?

ANGELUS We had it all worked out. I'd scratch his priestesses, and he'd scratch my back somewhere down the line. A limited partnership.

Cut to:

31d     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: The Beast is talking to Angelus.

BEAST You need not be my enemy. Join with me, Angelus.

Cut to:

WESLEY And?

ANGELUS I declined.

Cut to:

31e     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: The Beast punches Angelus in the face.

Cut to:

ANGELUS And he didn't ask twice. I probably could have been more diplomatic with my refusal, but I'm not big with teamwork.

Cut to:

31f     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: While the Beast bends down to Angelus who is lying on the ground, a group of Svea priestesses surrounds them. The priestesses are wearing long, blue, hooded robes and carrying staves.

ANGELUS (V.O.) I thought that was going to be the end of me. But, like I said—girl trouble—

Cut to:

ANGELUS So, they just started up the whammy, and there you have it.

WESLEY The Beast was banished. How?

ANGELUS Don't know.

Cut to:

31g     EXT. FIELD IN PRUSSIA - NIGHT FLASHBACK: Angelus passes out on the ground.

ANGELUS (V.O.) I was busy with the passing out.

Cut to:

32     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS While sitting in front of the desk, Cordelia's looking through a book. Connor's sitting behind the desk. Wesley's looking through a book while pacing. Fred is looking through another book across the room. Gunn and Lorne are also in the room.

CORDELIA Slarf demons, spell mantras, Srail'gong technique, but nothing on—

FRED (reading from her book) The Svea priestesses. Also known as the Svear, a mystical order all descendents of a powerful Nordic priestess, Svea.

GUNN They've been busy.

CONNOR Anything about the Beast?

FRED Nothing definitive, but this one looks like it could match up. (hands the book to Wesley)

Gunn walks away.

WESLEY Same region, approximately the same time period.

FRED I'm shaky on Freyan runes, but kinda seems like it's only a general I.D. of who or what got banished.

WESLEY Translation, something like, uh, big...hard thing.

CORDELIA Sounds like our guy.

LORNE Fantastico! So where do we find these banishing babes, and, uh, how fast can they get to L.A.?

GUNN (throws an open phone book on the desk) 'Bout 25 minutes, depending on traffic. They're in Pacoima.

Cut to:

33     EXT. SVEAR HOUSE Wesley, Cordelia and Connor walk up to the house. The small sign near the door reads as follows:

SVEAR MON. - FRI. 10 A.M. - 4 P.M. Wesley rings the doorbell.

CONNOR Looks like no one's home.

Wesley bangs loudly on the door.

Cut to:

34     INT. SVEAR HOUSE Wesley opens the door, and walks into the house. Cordelia and Connor follow.

WESLEY (walking around) It's open. Hello? Anyone home? Hello?

CORDELIA (walking around) Hello? Nordic priestesses?

CONNOR (looking at pictures in the foyer) So, the mom's a priestess?

CORDELIA I think all the women in the family are. (smells something) What is that?

Cordelia looks up to see several bloody, dead bodies on the floor.

Fade to black.

ACT IV:

35     INT. SVEAR HOUSE Everyone in the household has been slaughtered in the kitchen.

WESLEY We're too late. Again. (walks in to the kitchen to look around at the bodies)

CORDELIA How does the Beast know exactly what we're gonna do? It's like he's psychic.

WESLEY Maybe he is.

CONNOR Or he's been watching us at the hotel.

CORDELIA Angelus could have sent him a message, some kind of demon Morse code.

WESLEY (checking the bodies) No, these people have been dead for a few days. Angelus had nothing to do with this.

CORDELIA Which means, by the time the shaman was going all chanty on Angel, it was already too late.

CONNOR (sees the bloody children, with their bloody toys) You mean, they've been here like this...for days?

WESLEY With the chaos outside, probably no one even noticed they were gone.

CORDELIA We should have seen this coming.

WESLEY (stands) Of course the Beast would go after the priestesses. Let's have a look around. Then we should call the police. (finds a paper on the desk) Banishment incantation. At least, I think it is.

CORDELIA Then they were trying to get rid of the Beast.

WESLEY Seems so.

Connor sees a calendar on the refrigerator door. One of the days is marked "Daddy's Birthday" and circled with a red heart. He runs out of the house. Cordelia calls after him.

CORDELIA Connor!

Cut to:

36     EXT. SVEAR HOUSE Connor runs out to vomit in the front yard. Cordelia follows him. Connor sits down on the front sidewalk. Cordelia goes to sit beside him.

CORDELIA Connor... (sighs) The sun should be up. It's different, isn't it? (looks at Connor) Dead demons are just a big blob of oozing mess. Vampires turn into dust like they were never anything at all. But humans— (sighs) it's different.

CONNOR It's not—

CORDELIA What?

CONNOR Family.

A vampire jumps out of the bushes behind them. Connor punches him, but another vampire comes out and attacks Cordelia, pushing her to the ground. Connor grabs a stake from his side and dusts one vampire. Then the other one comes at him. They fight, and Connor throws him across the street into some garbage cans. Wesley pulls up in the jeep; Cordelia and Connor climb in. A vampire is holding on to the bottom of the door, preventing Connor from closing it. A group of vampires are headed down the street toward them.

CORDELIA Come on!

CONNOR (kicks the vampire out of the door) Let's go. (closes the car door)

Wes speeds away.

Cut to:

37     INT. LOBBY AT HOTEL / ANGEL INVESTIGATIONS Lorne, Fred and Gunn are sitting in the lobby, watching Angelus on the monitor.

ANGELUS (through the monitor, singing) If you go into the woods tonight, you won't believe your eyes...

FRED He's so relaxed.

GUNN It's like, he's not even in a cage.

LORNE In his mind, he's not. (stands, goes to turn off the monitor)

GUNN You get anything off him?

LORNE Let me put it this way, moon pie, you don't want to know.

FRED I don't. I definitely don't.

Wesley, Connor and Cordelia come through the front door. Gunn, Fred, and Lorne turn to them anxiously.

GUNN What happened?

CONNOR Vamps.

FRED You didn't get the Svear.

WESLEY No, the Beast did. Slaughtered the entire family.

FRED Guess he found a way to kill them after all.

GUNN So much for our big priestess rescue.

FRED Are we sure Angelus doesn't know anything more? I mean, maybe we should talk to—

WESLEY No. I think he's told us everything he's going to.

GUNN Which means our last-ditch plan, turning Angel into a soulless monster, it's a bust. If Angelus can't help us—

CORDELIA It's time to bring back Angel.

Connor frowns and walks out of the lobby.

LORNE Oh, and he's usually so chatty.

CORDELIA (looks at Connor, then back at Lorne) Rough night.

WESLEY We'll need the shaman.

Cut to:

38     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Cordelia walks down into the basement to talk to Angelus, who is sitting in the dark corner again.

ANGELUS Here I thought you'd be halfway to Georgia by now.

CORDELIA I told you I'd be back. I'm back.

ANGELUS How'd the little field trip turn out? Priestesses still feisty?

CORDELIA We found a little boy, his sister, mom, dad, grandma—all dead.

ANGELUS (sighs) Oh, God. I'm always missing the fun stuff.

CORDELIA The Beast butchered them.

ANGELUS So? Did you bring me back a souvenir? Maybe a stray baby toe? (chuckles, stands) Come on, Cordy. Where's your sense of humor?

CORDELIA Guess I lost it.

ANGELUS (walks up to Cordy) Well, don't blame me for our little debacle. I told you everything I know.

CORDELIA Too late.

ANGELUS And who's fault is that? Doesn't matter. I showed you mine. Now it's time to show me yours.

CORDELIA The deal was: you give us information, we save the world, you get me. Well, world not saved.

Cut to:

39     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS Wesley opens the picture that conceals the safe, and turns the dial on the safe door to the right combination as Lorne, Fred, and Gunn look on nervously. Wes presses the lever to open the safe door.

Cut to:

40     INT. BASEMENT AT HOTEL/ANGEL INVESTIGATIONS Cordelia and Angelus are talking.

ANGELUS You're not thinking I'm just gonna let this go.

CORDELIA Not seeing a whole lot of other options. With the big steel cage and all.

ANGELUS Won't be in here forever.

CORDELIA (looks at her watch) 'Bout another hour. Forgot to tell you the best part. We're putting your soul back. (grins)

ANGELUS (chuckles) Not gonna happen.

CORDELIA Oh, but it is. Just in time for the primo apocalypse that's coming. Too bad. I know how you love those.

ANGELUS Been looking forward to it all day. Still am.

CORDELIA Thing is, you're never coming back. Angel's going to make sure of that.

ANGELUS (whispers) We'll see.

CORDELIA What you don't get, Angelus, is that you're nobody. Just a disease. And Angel can't wait to be rid of you.

ANGELUS (walks up to the bars, leers at Cordy) I think I'll start with the twins. I just love a woman with nice ripe thighs. (suddenly reaches out to grab Cordy, but misses her by less than an inch)

CORDELIA (smirks, walks away) Not even close.

ANGELUS The more you piss me off, the longer I'll keep you alive. Oh, something tells me she's a screamer.

Cordelia walks back upstairs.

Cut to:

41     INT. OFFICE AT HOTEL / ANGEL INVESTIGATIONS Cordelia walks into the office where Lorne, Fred, and Gunn are staring at the safe.

CORDELIA OK, let's— (notices the look of shock on everyone's face) What?

FRED Angel's soul. It's gone.

Pan over to show the empty safe.

Cut to:

Closing credits.