Darth Masq, Sith Lord of Philosophy (![[info]](http://p-stat.livejournal.com/img/userinfo.gif){kind=small} masqthephlsphr) wrote in ![[info]](http://p-stat.livejournal.com/img/community.gif){kind=small} orlon_window,@ 2005-09-16 00:10:00 |
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| Current mood: |  scared |
Real, Part 1 (airdate Mar. 23, 2005)
| Real Part 1 (September 15, 2005) Written by: Masquerade |
| Teaser |
INT. A WELL-APPOINTED OFFICE - WOLFRAM AND HART - DAY (FLASHBACK)
SUPER LEGEND: May 2003
Lilah, in a lavender dress and matching scarf, is seated on the front edge of a desk that Angel is sitting behind. He is looking at a contract. A pen sits on the desk near Lilah's thigh.
O.K. To sum up, this contract puts one Connor Angel
in the custody of your approved parental surrogates
complete with altered memories and supporting reality
shifts as laid out in this contract, yada, yada,
excepting specified conditions in the Reilly contract,
which you have a copy of, and in return, the signee--
that's you--
(Angel gives her an unamused look)
agrees to take over as Chief Executive Officer of
the Los Angeles branch of Wolfram and Hart,
with rights and responsibilities as stated herein.
She leans towards him.
(in a taunting murmur)
In other words, as soon as you sign,
your son will have no memory of you. He'll think total
strangers are his parents, and that they always have been.
Nice, well-adjusted folk who can undo every mistake you
ever made with him.
And you'll be an employee of the Senior Partners.
ANGEL
That's what we agreed on.
Lilah sits up and crosses her arms.
(chuckling)
And you have no feelings about that.
ANGEL
I stopped having feelings weeks ago.
Lilah picks up the pen and hands it to him.
Then sign and we're done.
Angel doesn't take the pen.
I want one more thing stipulated first.
(he looks her in the eye)
No one associated with this firm, either past, present,
or future--not employees, not the Partners,
not consultants, no one--will have the ability
to reverse the stipulations pertaining to Connor under
any circumstances. Ever.
LILAH
Not even you?
ANGEL
If that's what it takes to protect him from this firm,
then yes. Not even me.
LILAH
You know that's totally irregular.
You're asking for a business term to survive
even if you're in breach of contract.
ANGEL
That's the deal.
Lilah scrutinizes him for a long moment. Then, coolly -
Understand this, Angel. This "deal" will give you
unprecedented resources and the power to use them
as you see fit. The Partners don't offer that
without expecting a return on their investment.
So a breach of contract is still a breach of contract.
And if you breach yours, there will be consequences.
Lilah picks up the contract, turns a few pages, and taps her finger on a paragraph.
The addendum is noted.
(she hands the contract back to him, pointing)
The relevant paragraph begins "No contracted employee,
owner of at least fifty percent or more shares,
or contracted associate of Wolfram and Hart, Incorporated,
irregardless of date of contract or ownership, shall,
with intent, blah, blah, blah...."
Read it through, and sign at the bottom.
Angel takes the pen.
CUT TO - INT. ASSOCIATE'S OFFICE - WOLFRAM AND HART - DAY
A twenty-something female ATTORNEY sits at a large desk. Surrounding her along the walls are shelves filled with law books.
Lilah enters and hands the contract to her.
Ah, so we have a new boss.
Congratulations.
That's quite a coup.
Lilah smiles a knowing little smile, but the rest of her demeanor is all-business.
Everyone has their price. Even him.
The attorney thumbs through the contract.
I want you to pour over ever millimeter of
the language looking for loopholes.
I already know of a few.
Let's see if our most up-and-coming associate
can find them.
ATTORNEY
Them, and a few you wouldn't even think of.
LILAH
You won't have to look hard, I suspect.
Angel is incredibly thick sometimes,
especially when it comes to his "loved ones."
Still, the Partners will want you to be thorough.
We don't want Angel's tenure sending the wrong message.
BLACK OUT.
 |  |  |
CONNOR REILLY walking to classes, killing a vampire
Vincent Kartheiser
FAITH THE VAMPIRE SLAYER, fighting in the SLAYER TRAINING ROOM with
Connor
and REPORTER AIDEN WALSH, pulling his CAMERA away from his face.
Sean Maher
Jim Abele
Adrienne Brett
Emma Hunton
Stephanie Romanov
Megalyn Echikunwoke
and
James Marsters
Juliet Landau
David Boreanaz
Julie Benz
EXT. APARTMENT BUILDING ROOFTOP - NIGHT
OVER-THE-SHOULDER SHOT - DARLA is standing in the foreground near the front ledge of the building. Angel saunters towards her. He chuckles wryly.
We keep...ending up together again.
No matter what we do, or what happens.
Why is that?
CUT TO Darla, dressed in a black long-sleeved dress, hands behind her back. She smiles.
Well, you know what they say.
No matter what split two people up,
they always end up having to deal with
each other again when they have children.
Angel stops about a foot away from her.
You didn't lure me up here to talk about them.
DARLA
(amused)
Oh, I lured you?
ANGEL
You didn't exactly make yourself hard to find.
Angel crosses his arms. His expression grows deadly serious.
I know what Drusilla is up to.
And I'm not going to let her do it.
DARLA
(breezily)
Yes, I know. I told her that.
But you know her. You can't stop her from hoping.
ANGEL
She's done a whole lot more than "hoped."
She's brought you back.
Spike's soul is gone.
And then there's what she's doing to Connor.
Darla tilts her head down and smiles softly.
Yes. Stripping away that sweet
Norman Rockwell life you gave him....
...Turning him back into the boy he was.
(she looks up at him, her eyes mischievous)
I'll bet he's a handful right about now.
ANGEL
Yeah. But I found a good baby-sitter.
Darla takes the final step that closes the gap between them. She lays a hand on his chest and tilts her lips up towards his.
Giving you time to...what? Find some way to stop it?
ANGEL
(looking down into her eyes)
That's what I said, isn't it?
DARLA
Or maybe you just wanted to find me.
So you can kiss me...or kill me....
Which will it be this time?
ANGEL
Either would be a re-run.
CUT TO a REAR VIEW of Darla. She is holding the FAINTLY GLOWING ORB OF ÃTMA in one hand behind her back.
CLOSE-UP, LOW SIDE VIEW. With her other hand, Darla clasps Angel's fingers gently.
CLOSE-UP on their faces, hers tilted up, his tilted down. Lips not quite touching.
CUT TO LOW VIEW again, other side - Darla brings the orb around and sets the back of her hand into Angel's other hand. Then she turns the orb around.
FULL TWO-SHOT - Angel's eyes BULGE OUT. He staggers back, staring at Darla, the orb clutched in his hand. Darla steps back as he DOUBLES OVER and falls to his knees on the roof top. He grunts and CRIES OUT.
The breeze licks Darla's hair.
There's nothing wrong with re-runs...
if it's been a while.
And it's been a long time.
HOLD on Darla as we continue to hear Angel grunting, gasping, and crying out.
EXT. WEST SUNSET BLVD - NIGHT
A residential boulevard curving along the Hollywood Hills. Faith's Impala halts at a red light.
INT. FAITH'S CAR
Faith gazes around at the porch-lit houses with agitation. It's eleven p.m.--do you know where the vampire spawn you're supposed to be keeping an eye on is? She THUMPS the steering wheel with the heel of her hand.
Fuck!
Suddenly there is a LOUD RAP on the driver's side window. Faith startles. She looks.
Her POV - through the glass - CONNOR.
CUT TO - OVER-CONNOR'S-SHOULDER SHOT - FAITH through the glass, fuming.
(voice muffled)
Jesus, you scared the shit out of me!
She rolls down her window.
I need your car.
FAITH
(unimpressed)
Get real.
Connor grabs at the door handle.
I need to find that ax!
FAITH
Connor, Angel is taking care of that!
We hear a HORN HONK.
QUICK-CUT TO - a MERCEDES sitting behind Faith's car.
Get in!
(Connor eyes her uncertainly)
Get in.
WIDE SHOT - Connor jogs around the front of Faith's car, opens the passenger side door, and hops inside. As he shuts the door, Faith pulls over to the side of the road. The car behind her drives on.
INT. FAITH'S CAR
Faith starts cranking the steering wheel around.
I'm taking you to Aiden's.
Connor grabs at the steering wheel and YANKS it back.
EXT. WIDE SHOT - the car JOLTS forward, then JERKS to a halt.
INT. FAITH'S CAR
Faith PUSHES CONNOR BACK against the driver's side door and sets her hands on the steering wheel.
What the fuck are you--
CONNOR
(rearing up)
I can't just sit here waiting while Angel runs around
"playing vampire!"
He thinks Drusilla'll tell him where the ax is
if she thinks he's Angelus.
Well what if that doesn't work?
Or what if he really gets turned?
You can't expect me not to do something!
He can't expect me to!
Faith gazes down, exhaling slowly.
All right. How would you go about looking for the ax?
Connor stares at her uncertainly for a moment, then -
(quietly)
When Drusilla kidnapped me, the place where she had me--
that warehouse...it wasn't random.
It was a place I'd been before, where something...
(his eyes dip)
something bad happened.
She knew about it somehow.
(beat)
I think...that's how she thinks.
Wherever that ax is, it's probably some place...
like that.
Faith sits back in her seat and sighs.
I promised Angel I'd keep you out of this.
CONNOR
(sneering)
That's because he doesn't want me seeing him
act like Angelus.
Faith gapes at him dubiously.
Well, you don't have the best track record
with Angelus, do you?
Connor's gaze drops.
QUICK-FLASH -
The Hyperion basement. Faith KICKS CONNOR ACROSS THE FLOOR. He lands against the bars of the cage.
You're remembering.
FAITH
Yeah.
It's still a little confusing,
but I remember you being there that time
I came to L.A. to help Angel get his soul back.
(she looks puzzled)
Although in some of it, you're there and
you're not there at the same time. It's weird.
CONNOR
The memories are reversing themselves.
Connor turns his gaze outside the car. He is quiet for a moment.
So do you hate me again?
FAITH
(stunned)
What?
Connor's eyes dart towards her briefly.
You didn't like me much before.
FAITH
(chuckling defensively)
I didn't know you. I didn't have time to know you.
All I saw was a punk trying to kill his own father.
CLOSE-UP ON Connor's long stare.
I was pretty messed up.
He licks his lips and looks down at -
His POV - his entangled, fidgeting fingers.
(quietly)
I never wanted to lie to you about who my father was.
I knew he was your friend.
It's just...if I'd told you the truth,
you would have wanted to know the rest of it.
And I just wanted the past to stay in the past.
Faith shakes her head and chuckles softly.
Yeah, I'm getting that now.
She reaches out a hand towards his shoulder, then sets it on the back of his seat.
But listen. We're cool.
(Connor finally looks up at her and smiles)
If you want the past to stay in the past,
then that's where it stays.
Connor grins for a moment, then looks down again with an anxious expression.
Except...I'm losing it, Faith.
I'm slipping. Back.
Faith frowns.
O.K., this is the part where I get lost.
You're talking about what Drusilla is doing to you?
(Connor nods)
Which is what, exactly?
CONNOR
If I explain it to you,
will you drive me to Angel's old hotel?
FAITH
You think the ax is there?
Connor looks up at her.
It's a place to start.
Faith's hands squeeze the steering wheel. She nods.
All right.
EXT. WEST SUNSET BOULEVARD - NIGHT
Faith's car pulls out onto the street.
EXT. INTERSTATE 15 - NIGHT - ESTABLISHING
A four-door Chevy truck barrels down the desert highway.
INT. TRUCK
Colleen and Lawrence Reilly are in the back seat. Teenaged Doreen is awake in the front passenger seat, her head resting against the glass. A family friend, FRANK, is driving.
TIGHT SHOT - Lawrence and Colleen, both staring off into space pensively.
The first thing I'm going to do when we get home
is call Joe Stern.
This gets Colleen's attention. She frowns.
Lawrence, I don't think a lawyer is our f--
CUT TO Frank, who glances back over his shoulder.
Do you really think you should go home?
I mean, it might not have been a gas leak,
but the three of you getting sick like that--
BACK TO LAWRENCE and COLLEEN TWO-SHOT -
Thanks, Frank, but the problem isn't the house.
We'd just like to get home and rest.
COLLEEN
(to her husband, in a murmur)
Besides, Connor might call again.
(beat)
I'm worried about him.
She exhales raggedly, her face a mask of exhaustion and pain.
I know he's not our son, but he still feels like....
Lawrence puts an arm around her shoulders.
That doesn't make the memory of Sean any less.
Colleen presses her lips together.
I know.
(Lawrence squeezes her gently)
I just want to tell Connor our side of it.
LAWRENCE
(with frustration)
We don't even know the full story of "our side of it".
...Yet.
Colleen tips her head towards his.
(whispering, urgently)
We know enough. We know that it wasn't
supposed to go like this.
(she throws out a hand)
Wolfram and Hart isn't even there anymore!
LAWRENCE
That's why I'm calling Joe Stern.
Colleen sighs skeptically.
Are you sure he'll even have a clue
what we're talking about? I mean...
(her voice dips to a whisper)
...Frank doesn't seem to know anything about this.
He knew Sean.
Shouldn't he be remembering him, too?
My sister was the same way. Not a clue.
LAWRENCE
I hope to God Joe does remember,
because it's more than just the timing that's off.
We're losing our memories of Connor, too,
and that definitely wasn't supposed to happen.
The memories...that was the whole point.
He frowns pensively for a moment.
And if Connor's losing his memories of us...
I can only imagine what that's doing to him.
(a glance at her)
I mean, if you're right and he did get
his old memories back last year like you think--
COLLEEN
And that's another thing.
Why would Wolfram and Hart give him back his
old memories but not give us ours?
(she frowns)
It doesn't make sense.
LAWRENCE
Let's get home and see if we can get it to make sense.
CLOSE-UP on their HANDS, which clasp tightly together.
EXT. THE FOUR SEASONS HOTEL - BEVERLY HILLS - NIGHT - ESTABLISHING
A casual-modern high-rise hotel studded with balconied windows.
INT. MASTER BEDROOM - DARLA'S SUITE
Also modern, but elegant. Light gold walls, dark gold curtains, and a canopied bed. A MAN lies on the beige satin bedspread wearing a navy blue silk charmeuse robe. CLOSE-UP on his face. His EYES FLUTTER OPEN. They dart around, unfocused and disoriented.
CUT TO Darla, who sits primly in a straight-back armchair in a black leather pants and a low-cut black sweater. She regards her guest coolly for a moment, waiting. Then -
Angelus?
CUT BACK TO the man on the bed. A slow, broad smile spreads across his face. He laughs. He continues to lay there, staring upward.
You just...keep...getting it wrong.
(he laughs again)
You want Angelus, you get Angel.
Then Angel gets turned...and you're never there.
Darla raises her chin guardedly.
(voice tinged with disappointment)
Angel?
ANGELUS (O.S.)
Not this time.
CUT TO a FULL SHOT of the bed. Angelus sits up, weaving slightly, and sets his weight on one hand. His eyes narrow as he takes in the sight of his oldest, best girl. He grins.
Darla rises and walks over to him, her face etched with hope.
Angelus?
She sits down on the edge of the bed and brushes hesitant fingertips across his jaw. He regards her with heavy-lidded eyes.
You need to feed.
I would have had something waiting for you,
but this is the Four Seasons.
You can't just dine and leave your leftovers
on a tray in the hallway when you're finished.
She GASPS as Angelus GRASPS HER, rolls her over, and pins her to the bed.
(looking down at her)
Or...we could stay here. And do this.
He kisses her passionately. Darla clasps his face with her fingers and laughs against his lips. She kisses him back.
Finally, she pulls away and smiles lasciviously, her ample bosom heaving as she speaks.
No. Not after all this time.
I finally get to take my boy hunting.
(off his chagrined smile)
But don't worry. The taste of warm human blood...
is the best aphrodisiac there is.
They kiss again.
FADE TO A BLACK SCREEN.
So Angel did it.
INT. FAITH'S CAR - NIGHT
Faith stares ahead.
HILLSIDE VIEW - the lights of the city stretch out below them.
(chuckling softly)
He's the one that did the damned spell that
screwed with me and Willow's memories.
(a glance at Connor)
They were our memories of you.
Connor nods.
He didn't do it to hurt you.
He was just trying to--
FAITH
Give you a fresh start. I get it.
(she shakes her head)
Damn. And I thought prison rehab was intense.
She looks at him, briefly meeting his eyes.
I do know something about being fucked up, Connor.
(Connor's eyes dip)
And I didn't grow up in a hell dimension.
CONNOR
(brow knitting)
How did you...?
FAITH
Wesley told me. Before I met you.
Connor nods again.
It was actually a demon who did the spell.
A demon from Wolfram and Hart.
Faith drives for a moment, looking thoughtful. Finally -
So you obviously got the memory of
your real life back.
CONNOR
A year ago. It was an accident, I think.
But I kept the new ones at the same time.
FAITH
(frowning)
Must have been hella confusing.
CONNOR
Not at first. The old memories just seemed
like something I'd dreamed. And the new ones...
well, I knew they weren't real, but...
that life was so much better than...what I'd had.
I pushed the old memories out of my head.
His brow knits pensively.
But in the back of my mind, it bothered me.
That I'd never done the things I remembered doing.
And I wondered, like...if my parents knew the truth--
that I wasn't really their son--would they still love me?
(he chuckles)
Things like that.
He gazes down.
It screws with your head.
Makes you wonder what's really real.
(a glance at Faith)
That's why I started coming by your office last Fall.
Because I remembered you from before.
Faith grins. He grins back softly.
I liked you...back then. You weren't afraid of me.
And you were the first human I'd ever met
who was like me.
I know I'm not a Slayer, but...
hanging around with you made it easier
to get on with my mixed-up life.
FAITH
And now Drusilla's taking that life away.
Connor nods. He crosses his arms tight.
(voice biting)
Pretty soon, I'm not going to have any of it.
And already, every time I think of something
from my old life....
(he winces slightly)
I can't get it out of my head like I used to.
Faith throws him a concerned look.
Are you going to be O.K. going to Angel's hotel?
Connor sits up, inhaling deep. His expression is determined.
I have to find that ax.
I have to stop this.
Faith nods and steps on the accelerator.
INT. KITCHEN - REILLY HOME - NIGHT
Lawrence enters just as Colleen is hanging up the phone. She looks up at him, frustrated.
He's still not home.
He's been trying to get a hold of us, though.
I left another message.
INT. STAIRCASE
Doreen walks downstairs in her nightgown. Her head turns as we hear a KNOCK on the front door.
INT. FRONT FOYER
She enters the foyer, regarding the door uneasily. With a glance towards the back of the house, she walks up to the door.
Who is it?
MUFFLED MALE VOICE
It's Frank.
Doreen unlocks and opens the door.
Her POV - Frank. His eyes are open, but his expression is slack. He weaves and then COLLAPSES on the front porch.
Frank!
Doreen steps out onto the porch and kneels down beside his slumped, still form.
(panicked)
Mom! Dad!
INT. KITCHEN
Colleen and Lawrence look at each other with alarm, then head quickly out the kitchen door.
INT. FOYER - LONG POV SHOT down the hall. The front door hangs open. Through the doorway, we can see Frank still lying on the porch.
Colleen and Lawrence rush towards him.
EXT. REILLY HOME - NIGHT
They gather around the slumped form of their friend.
CLOSE-UP on his neck. There's a blood-stained BITE there.
Lawrence grimaces down at, then turns his face away. Colleen looks up and around to see -
PAN THE FRONT YARD - there is no sign of Doreen.
Doreen?
BLACK OUT.
EXT. TEMPLE LUNA GOTH CLUB - HOLLYWOOD - MIDNIGHT
A dark one-story brick building. A sign on the front door says CLOSED.
INT. BACK HALLWAY - TEMPLE LUNA
A GOTH GIRL with dark hair and a black leather jumpsuit stands at the open back door. AIDEN enters. The girl shuts the door and locks it.
Why's the club closed on a Saturday night?
GIRL
The Syndicate's run us out of business.
They know damned well we front for a coven.
But I'm not letting them get my club.
Together, they walk towards -
INT. TEMPLE LUNA MANAGER'S OFFICE
and enter.
At the far end of the small room is a couch where VAUGHNE and her fellow witch JULIAN sit, books on their laps and piled around them on the cushions. There are more books on shelves along the walls.
(to the manager)
I don't know how much longer the coven's
protection spell will last against their sorcerers.
Vaughne gestures at a metal desk chair. Aiden sits.
With a shake of her head, the manager turns and leaves them to their work.
Aiden regards Vaughne and Julian uneasily.
Faith thinks I can help you guys.
But you know this stuff better than me.
VAUGHNE
Let me get you up to speed.
(she hands Aiden a book)
That's got the information on spell-locks.
They're pretty much what they sound like--
an enchanted object used to hold the effects
of a spell in place indefinitely.
The effects will only reverse if you destroy the object.
Usually, by breaking it.
JULIAN
It's extremely powerful magic.
It means that only the one who controls
the lock can break the spell.
AIDEN
(puzzled)
Isn't that dangerous?
What if the "lock" falls into the wrong hands?
I mean, Connor's had that ax since I've known him.
He uses it when he--
(Aiden raises an imaginary ax over his head)
What if he'd broken it over some demon's head?
VAUGHNE
That's probably what whoever gave it to him wanted
him to do. Most likely because they couldn't do it themselves.
JULIAN
(with a glance at Vaughne)
That, or they liked the irony of Connor doing
it to himself.
AIDEN
(pensively)
Whatever that spell-reversal's doing to him...
I guess it's taking a while.
VAUGHNE
Right.
(she reaches for an open book on the cushion)
Which implies Drusilla didn't just snap the ax
in half. That'd reverse the whole spell at once.
She's destroying the ax gradually for some reason.
JULIAN
Which means there's time to stop it.
Maybe even reverse it somehow.
VAUGHNE
And that's what we're working on now.
Aiden opens the book in his hands.
EXT. RODEO DRIVE - BEVERLY HILLS - LATE NIGHT
A SERIES OF QUICK SHOTS - Armani. Gucci. Tiffany's. Yves Saint Laurent. All closed for the evening.
Angelus and Darla stroll past them arm-in-arm. Angelus is dressed in a dark plum button-down shirt, black slacks, and black shoes. Darla comes to a halt and sets a hand on his chest.
(looking ahead)
Now there's something palatable.
LONG SHOT ACROSS THE STREET - a fashionable bar and restaurant. The patio is lit softly with strings of lights. Couples and groups are seated at outdoor tables, talking, laughing, and drinking. A twenty-something woman walks out onto the sidewalk, waving goodbye to her friends.
CUT TO - EXT. CROSS STREET
She heads around the corner and down a cross street towards a PARKED BMW about a quarter of the way down the block. We hear the beep, beep of the alarm as she approaches it. She stops beside the driver's side door.
Then she looks back with a GASP.
TWO-SHOT - Angelus, in vamp-face, is STANDING DIRECTLY BEHIND HER. Lightening-quick, he grips her arm and CLAMPS a hand over her mouth. The woman struggles. Angelus YANKS her head back and JERKS her up close. He SINKS HIS TEETH INTO HER NECK. She groans. We hear the sound of his slurping.
REVERSE ANGLE - on the sidewalk across the street is Darla. She inhales a deep, aroused breath, then steps into the street, approaching them.
Her POV - Angelus, feeding.
ANGLE ON the PAVEMENT at his feet. The woman SLUMPS face up to the ground and lies still, eyes closed, her NECK STAINED RED WITH BLOOD.
EXT. CITY BOULEVARD SIDEWALK - LATE NIGHT
Faith and Connor approach the Hyperion on foot.
Now, the place is a hotel again,
so there's gonna be a lot of people there.
But no one should bug us if we look like
we know where we're going.
CONNOR
The ax won't be anywhere public.
But I know a few out-of-the-way places.
Connor looks up and SLOWS.
His POV - the WINDOWS of the Hyperion Hotel. A few of them glow softly.
CLOSE-UP on Connor's wary expression.
QUICK-FLASH -
A very pregnant Cordelia coolly faces down a longer-haired Connor in her Hyperion bedroom. As she speaks, Connor's expression grows more and more troubled.
You O.K.?
Connor nods. Together, they approach the front courtyard entrance. Despite the hour, we can hear conversation coming from it. The wrought iron gates hang open.
EXT. HYPERION FRONT COURTYARD
The wide garden courtyard is filled with people milling around the fountain and on the stone pathways that lead up the front doors. They are holding candles and large placards with photographs on them. On the ground are more placards with flowers and candles set around them.
(eyebrows knit)
Damn, what's going on here?
One of those candlelight vigil things?
INT. HYPERION HOTEL LOBBY
The manager of the Hyperion is having a bad night. He stalks past the front desk in his robe and slippers, his suit-and-tied night clerk grimacing nervously beside him.
There are more people with candles and placards in the lobby.
This is a hotel!
A middle-aged woman walks up to him with a placid smile on her face.
It's the temple of Jasmine.
WIDE SHOT - the woman looks up and around the lobby. The others turn and follow suit. As they do, we finally see what's on the placards they're holding--photographs of Jasmine, Cordelia, and CONNOR.
The manager crosses his arms.
Well, she's not here.
And I've called the police!
The woman turns to him.
We believe she's returning.
We've had visions of her father.
PLACARD-HOLDING JASMINITE MAN
It's a sign! A revelation!
EXT. CROSS STREET - BEVERLY HILLS - LATE NIGHT
Once again in human face, Angelus wipes blood off his lip with a thumb and sucks on the tip. Darla appears beside him. Together, they gaze down at the woman. Angelus smiles. Then he turns and PULLS DARLA CLOSE, kissing her hard on the mouth. They embrace, kissing passionately.
Finally, Darla pulls away. She grins up at him.
(breathily)
You're back.
Then her expression darkens.
You don't know how it was for me,
watching you moping in the gutter for a hundred years.
Feeding on rats. Defiling yourself with that Slayer.
Angelus chuckles.
Well, imagine how it was for me.
(he runs a finger down the side of her face.)
Oh...you don't have to. My girl knows now.
DARLA
(disdainfully)
Yes, I know.
Angelus steps back, his hand on her wrist. He swings Darla around and throws his arm over her shoulders.
Let's go have some fun.
Together, they walk back up to Rodeo Drive.
CUT TO - EXT. RODEO DRIVE
They pass the same restaurant. A man out smoking a cigarette gives them a long look.
Angelus stops in his tracks. He releases Darla.
(confrontatively, to the man)
What are you looking at?
DARLA
(reprimanding)
Angelus.
Angelus ignores her. He walks over to the man menacingly, shoves him, then GRABS HIM up by the collar. The man gapes at him wide-eyed.
Keep your eyes to yourself.
CUT BACK TO Darla, who watches, mildly annoyed.
Her POV - Angelus pushes the man away, giggling, then strolls over to Darla. He loops his arm in hers.
What was that about?
ANGELUS
Nothing.
I just felt like hurting someone.
Let's get out of here.
They wander off into the night.
EXT. CROSS STREET
ANGELUS' VICTIM still lies on the street where she fell, unmoving. We hear running footsteps approaching.
There she is!
WOMAN'S VOICE
Oh my god, what happened?
Into the frame come the man Angelus threatened outside the restaurant and another woman. They kneel beside the body.
I don't know. That freak who grabbed me
told me I'd find her here.
The man presses hesitant fingertips to the undamaged side of the fallen woman's neck.
(exhaling with relief)
She has a pulse.
Call 9-1-1.
EXT. HYPERION FRONT COURTYARD - LATE NIGHT
Faith and Connor stand just inside the entranceway, eyeing the candlelight vigil. Faith tilts her head to study a large placard photograph of a woman lying on a bed. She points.
Connor...isn't that Cordelia?
CUT TO another placard--Connor in a heavy gray button-down shirt, gazing up, hands clasped like a saint in prayer.
(astounded)
And that's you.
(she gapes at him)
What the fuck's going on?
Connor says nothing. His lips are parted in stunned disbelief.
Connor?
Two Jasminites seated nearby, a man and a woman, glance back casually, then spring to their feet.
It's him!
It's Jasmine's father!
The other Jasminites turn and look, some rising from the ground, others creeping towards Connor. Voices call out all over the courtyard.
Jasmine's father!
It's Connor!
He's come!
Connor's eyes widen. He backs up to the entrance. Faith looks at him and then at the Jasminites with uncertain bewilderment. Connor turns and CHARGES out of the courtyard. Faith and Jasminites follow.
LONG SHOT - Connor walks quickly up the sidewalk, Faith at his heels. The Jasminites pursue.
You are him! You're him!
A TEENAGED MALE JASMINITE elbows his way through the crowd. He has on a T-shirt and jeans and light brown hair. He reaches Connor's side and GRASPS HIS SHIRT COLLAR, bringing Connor to a startled halt.
(voice giddy, nervous)
Jasmine's father.
We'd forgotten you. But now we remember.
You protected her, so she could save us all.
Murmurs of agreement from the crowd, who stand watching.
(hostilely)
I don't know what you're talking about.
YOUNG MAN
(eyes pleading)
All my life...so empty until she came!
I was nothing! When is she returning?!
Connor GRABS the man's hands and SHOVES him away roughly. The man stumbles back, wincing and clutching his wrist.
(warningly)
Connor....
Connor's lips curl into a snarl.
(low and menacing)
She's never coming back. I killed her.
The young man's eyes widen. The crowd breaks out into chaotic shouting and discussion.
Connor scowls at them.
It was all a lie. Everything she said was a lie!
He steps away from them, his eyes back on the young man, his face filled with disgust.
Just...get a life.
And with that, Connor turns and BREAKS INTO A RUN.
A few of the Jasminites start forward. Faith leaps into their path and throws out her hands.
Hey, back off.
(then low, grumbling)
Fucking fruitcakes.
But the crowd comes to a halt on their own suddenly, circling around bewildered as they realize -
REVERSE ANGLE - Connor has disappeared.
Connor! Don't leave us!
You can't just come and then leave!
Faith gazes at them for a moment, then turns and starts up the street.
David Bowie's "Putting Out the Fire" starts playing as we FADE INTO -
INT. MASTER BEDROOM - DARLA'S HOTEL SUITE - LATE NIGHT
MONTAGE - Angelus and Darla writhe together under the canopy, making love.
TIME FADE INTO -
Angelus, sitting on the bed, bare-chested, propped up on pillows. Darla, her bare back to the camera, is straddling his thighs, the sheet pulled up around her hips. She leans down and kisses him, then pulls away and searches his eyes eagerly.
Now what?
He looks up at her.
Now...we go find Spike and Dru.
Darla frowns and sits up.
Oh, right. Drusilla's "big finish."
OVER-THE-SHOULDER SHOT of her as rolls off him and crawls off the bed. She walks over to an armchair. A red silk kimono robe is lying across it. She picks it up.
I've got to give her credit, I'm amazed she got this far.
She slips the robe over her shoulders.
But this is where it stops.
(she yanks her robe closed and fumbles with the tie)
She wants to turn that...thing that came out of me
into one of us.
CLOSE-UP ON her disgruntled frown.
The last thing I want is him following me
around for eternity.
Angelus crosses his arms behind his head and relaxes into the pillows.
Well, I don't know...our little boy, born again.
You missed it last time, what with the dying.
Don't you want to see it this time?
Darla throws him a irritable scowl. She rests a hand on her stomach.
Actually, what I'd really like is to see him in pain
and agony and helpless to do anything about it.
ANGELUS
Well, you're in luck, then.
That's probably what he's feeling right now.
(he smiles wistfully)
Our Dru...she does have a knack for torment, doesn't she?
Darla saunters over to the bed and sets one knee on the mattress. She crawls across the bed and kneels at his side.
Let's leave Dru to her little schemes and go somewhere,
just the two of us.
Angelus reaches up and tangles his fingers in her hair.
I know that would make Spike happy.
Darla grabs Angelus' hand and pulls him up to sitting.
C'mon.
Angelus reaches for the edge of the sheet.
Darla slides off the bed again and walks over to the open closet door. As she reaches for her Gucci suitcase, a SUDDEN WAVE OF DIZZINESS overtakes her. She STUMBLES forward, eyes wide. She stands slowly and throws a furtive glance back at Angelus. Then she grips the suitcase, her hand quivering, and brings it over to the bed.
We can go to Casa Blanca. Or Madrid.
Knock, knock, knock
Darla glares at the sound.
That better be the Mourvèdre.
INT. LIVING AREA - DARLA'S SUITE
Darla crosses the wide, luxuriously furnished living area and stops at the front door. She unlocks and opens it. And frowns.
Her POV - Drusilla and Spike, standing in the hallway.
(with a sniff)
Right, then. Where's Angelus?
EXT. STRIP MALL - LATE NIGHT
Faith strides along the sidewalk past some metered parallel parking. Most of the spots are filled with overnight parkers. She almost misses Connor, who is seated at the curb in an empty parking space, arms resting on his knees.
She stops behind him.
It's about time.
What the hell was that about?
CONNOR
(irritably)
Nothing.
FAITH
(shaking her head)
Uh-uh. Not this time.
She sits down beside him.
I get why you kept things from me before,
but don't you think it's a little pointless now?
CLOSE-UP on Connor. His lips tremble. He doesn't say anything for a moment. A car whooshes by them on the boulevard.
Finally -
Jasmine.
Then he grimaces, as if struggling to go on.
She was...
(he inhales)
...a big thing in L.A....after you left.
(he glances at her)
You never heard of...?
FAITH
(frowning thoughtfully)
I guess I saw something on T.V. about her,
but I was kind of busy at the time helping
stop an apocalypse. It just seemed like another
one of those loony L.A. cult...things.
(she gazes at him with discomfort)
You were part of that?
CONNOR
(eyes forward)
It's a long story.
FAITH
Connor--
Connor leaps to his feet.
Faith looks up, startled, then slowly stands herself.
Connor is pacing the sidewalk, agitated, hands on his hips.
Everything's going back....everything!
He walks over to a parking meter and KICKS IT. It shifts in the concrete. He kicks it again. It TILTS. He kicks it again and again, teeth gritted. The meter gets stuck at an angle and starts BENDING IN HALF.
Faith watches, arms crossed.
Finally Connor stops and starts pacing again. The meter is TWISTED AND BENT.
We'll find the ax, Connor. You, me, or Angel.
Connor spins on her.
And what if we don't?! What then?!
FAITH
(knit brow)
Connor...hey. Chill.
I know you're freaking out and everything, but--
CONNOR
You don't know!
You didn't know me then!
He crosses his arms tight and turns away from her.
(sneering)
I--he--he was nothing.
Didn't have a thought in his head that
wasn't put there by somebody else.
(he looks down, eyes wide)
They...pretend to love you...
just to get you to do what they want.
He KICKS the much-abused parking meter again. Then he stops and stares at it, his face etched with pain.
And the worst part is...he--
I...thought I was doing the right thing.
Demons have to die.
(his voice drops to a murmur)
That....girl had to die.
Connor KICKS the parking meter one last time, then slowly crumples down to the curb, covering his face with one hand. His shoulders start to shake.
Faith sits down beside him and puts a hesitant hand on his shoulder. Connor sobs.
(voice heavy)
I was nothing more than a killer.
That's all I ever was.
PULL OUT to a WIDE SHOT of the two of them sitting on the curb.
INT. LIVING AREA - DARLA'S SUITE - LATE NIGHT
TIGHT SHOT of DRUSILLA standing in front of the closed front door. She is dressed in a red slit-skirt dress and black lace fingerless gloves. She holds her interlocked hands tight against her chest and takes in the sight of -
Angelus, crossing the room towards her clad only in black pants; Spike, gazing around the expanse of the Grand Premier Suite; and Darla, frowning in her silk robe.
Drusilla unclasps her fingers and spreads her arms wide.
(to Angelus; voice heavy with pride)
Daddy, look what I did.
Angelus gives her a slow, lazy grin.
Yes, you did.
ANGLE ON Spike, still gazing around.
CUT TO his POV - the room, PANNING - elegant mahogany wood; earth-toned fabrics. On the wall opposite the front door is a walk-out balcony with a glittering view of downtown Los Angeles. Along the wall to its right is a long cabinet with a wet bar. Atop a bowl of fruit sitting there we see the darkened ORB of ÃTMA. A flat-screen plasma TV hangs above the cabinet.
Spike turns his attention to Angelus.
So Angel took a bite of the apple, did he?
Figured he'd be smarter than that.
(his eyes narrow)
Or maybe you are Angel...just having us on.
Angelus gives Spike a smirk.
Well, I guess you'll have to wonder.
(he holds out his hands)
Is it live? Or is it Memorex?
Darla gazes at Angelus with delight.
We've been out feeding. You should have seen him.
It was magnificent.
Angelus sets his hands on his hips and frowns.
Actually...
Miss BMW was a little too salty for my taste.
DRUSILLA
(pouting)
Spike didn't care for his wake-up treat, either.
He was cross with me because she looked
like the Slayer.
ANGELUS
(turning back to Drusilla)
He was cross with you because she wasn't a Slayer.
(in a reprimanding tone)
A town full of them, Dru...
you could have found a real one.
This deepens Drusilla's pout.
Angelus chuckles and saunters over to her. He picks up her laced hand.
So tell me how you did all this.
Tell us how it ends.
Drusilla's eyes light up.
I have a magic amulet.
SPIKE
(frowning)
Had.
Thanks to Angel and that other Slayer,
we had to leave it at the church.
DRUSILLA
It no longer hums.
ANGELUS
(smiling at her)
But you don't need it with Connor, do you?
You're much too clever.
DRUSILLA
(dark eyes on him)
I am.
She turns away from Angelus and strolls across the room.
The monster's already there, inside.
Mixed in with torment and bound.
Unbind the torment. Unleash the monster.
She pivots and looks at Angelus.
"I saw the angel in the marble and carved
until I set him free."
She is rewarded with Angelus' broad smile of recognition.
You were my masterpiece, Dru.
Now creating a masterpiece of your own.
Spike rolls his eyes and picks up a complicated, many-buttoned REMOTE CONTROL from the end table by the over-stuffed couch.
Darla crosses her arms tight.
I don't find this amusing, Angelus.
Angelus doesn't break his gaze from Drusilla.
I know you don't.
But I'm starting to like Dru's little plan.
(Drusilla smiles darkly)
After everything Holtz tried to do...
after everything Angel hoped for...
SPIKE
(studying the remote with a furrowed brow)
Great, you turn 'im, then.
DRUSILLA
And after he's born into darkness,
I have the perfect wake-up treat.
(whispering)
Sssspt, sssspt...just like the one you gave me.
Darla pivots away from the two of them, her expression livid.
Here we go, Angelus. One hundred and fifty years
I had to put up with you and your need for
artless, fawning protégés.
James and Penn and Drusilla and Spike and--
SPIKE (O.S.)
I was never "fawning."
Angelus shifts his attention to Darla.
Yes, love, but you have to admit...
this time, this one, will be...special.
Our own flesh and blood.
Spike looks up quickly, his attention turning from Angelus to Darla.
Right. Almost forgot. That's why we're here.
Dru needs a new place for Junior's coming out party.
Darla blinks at Spike, aghast.
(stabbing a her finger at the floor)
She wants to have it here?
SPIKE
(shrugging)
No, she wanted to have it at the church,
but the Syndicate took that, didn't they?
He puts his attention back on the remote.
Darla turns on Drusilla, swaggering with outrage.
Let me get this straight.
Because you want Connor to be "born again,"
(she taps her chest)
I have to be the one inconvenienced
because I'm his mother?
(she shakes her head)
Been there, done that.
Spike points the remote at the television and stabs a button.
Well, we could just kill'im and be done with it.
The screen jumps to life fluidly. Spike grins.
Drusilla's eyes jump briefly to Spike.
Bite your tongue.
Spike frowns again as a hotel guest menu appears on the screen.
Reckon it would taste better than he would.
Angelus turns, taking in the room.
Darla's right.
Darla's eyes jump to him with surprise.
Angelus frowns and shakes his head.
This place...is all wrong.
(he looks at Drusilla)
Surely you can come up with a location
where the womb symbolism isn't quite so...
heart-warming.
DRUSILLA
There is a place...but it's too late.
He'll be on his way here soon.
Angelus blinks.
Darla gives them both a look of disgust and throws up her hands. She stalks back towards the suite bedrooms.
Angelus gives Spike a mocking "I'm in trouble now" frown and hurries after her.
INT. MASTER BEDROOM
Darla stands by the bed, her hands on her closed suitcase. She has the armoire open. Inside, we can see slinky dresses, pants, and blouses hanging from the rod and an array of shoes on the upper shelf.
(not looking at him)
Two hundred and fifty years, and you haven't changed.
Angelus leans against the doorframe, a hand on one hip.
Did you expect me to?
Darla looks at him, eyebrows raised.
After a century in the gutter?
No, I should have known better.
You're worse than before.
ANGELUS
(crossing his arms and smirking)
C'mon. What have you really,
honestly got against this?
Darla's eyes jump away furtively.
I'd just like to be the two of us for once.
ANGELUS
(skeptically)
Is that what it is.
Or maybe it's the memory of him inside you.
(Darla doesn't meet his eyes)
Heavy and piercing, like swallowing knives.
Darla trembles with anger and uprights her suitcase.
(eyes flashing)
You know what? I don't care.
Do whatever the hell you want.
BLACK OUT.
Part 2 (click here)
