Previously on Angel:
1 INT. HOTEL / ANGEL INVESTIGATIONS - NIGHT
Cordelia, wearing a white robe, has a blank look on her face.
CORDELIA
Who am I?
FRED (V.O.)
I think you might have some kind of amnesia.
Cut to:
2 EXT. RANDOM STREET IN LOS ANGELES - NIGHT
Cordelia has just successfully fought off a vampire. Connor and Cordelia share a celebratory hug. He spins her around.
Cut to:
3 INT. ATTIC AT NATURAL HISTORY MUSEUM - NIGHT
Cordelia is folding her clothes and putting them away on an industrial shelving unit that's already there in the attic. Connor walks up behind her, puts his arms around her waist and his head on her shoulder where they're almost cheek to cheek.
Cut to:
4 INT. HOTEL/ANGEL INVESTIGATIONS - NIGHT
Lorne's lying in bed in a housecoat talking with Angel.
LORNE
Cordelia shacking up with your hell-spawn—no offense.
Cut to:
5 INT. ATTIC AT NATURAL HISTORY MUSEUM - NIGHT
Connor's standing beside the bed where Cordelia's sitting.
CONNOR
You're going back to him, aren't you?
Cut to:
6 INT. PROFESSOR SEIDEL'S OFFICE - DAY
Fred starts flipping through the book, and there's something wrong. The pages are filled with strange symbols unrelated to science. She flips further into the book and sees a drawing of the exact same multi-headed snake monster that att*cked her during her speech. Fred's face shows panic as she realizes the implications of her accidental discovery. Just then, she can hear the Professor heading back to the office. She hurriedly shoves the book back onto the shelf. When he enters the office again, Fred's face is one of sheer horror.
FRED
(V.O.) It was Professor Seidel. He's the son of a bitch that sent me to Pylea.
Cut to:
7 INT. HOTEL/ANGEL INVESTIGATIONS - DAY
Angel and Gunn are doing research on Professor Seidel when Fred shows up.
GUNN
He's gonna pay.
FRED
He's gonna die.
Cut to:
8 EXT. WESLEY'S CAR ON THE STREET - NIGHT
Fred is riding in the passenger seat, loading a crossbow. Wes is driving, watching her, concerned.
WESLEY
You can still back out if you think Gunn's right.
FRED
Charles doesn't have it in him. It's part of what I love about him.
Cut to:
9 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
Fred, no! If you k*ll 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.
ANGEL
(comes out of the office into the lab) What happened to the professor?
GUNN
It's taken care of.
Cut to:
10 EXT. GARDEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Cordelia and Angel sit on the edge of the little pond.
CORDELIA
Were we in love?
Fade to black.
END RECAP.
The Start Of Episode
PROLOGUE:
11 INT. NIGHT CLUB - NIGHT
Lorne's on stage sitting on a stool in front of a red curtain, singing into a handheld microphone. Beside him is an upright piano with a drink and a smoking ashtray sitting on top. Blue light shines on him.
LORNE
(singing) Memories. Like the corner of my mind. (audience claps) Misty water-colored memories of the way we were. (talking) Ah, youth. Is there anything more magical? A time of first loves, great discoveries—let's face it: youth is it. It's a national obsession, crazy cats. But somewhere, people all forget what a mess youth is. It's a time of magic, all right, and there's nothing more unreliable or annoying than magic. Lemme tell ya a little story. It starts with a kid—
Cut to:
12 EXT. RANDOM ALLEY IN LOS ANGELES - NIGHT
Connor's walking down the street, while angry metal music plays. He's flashing back to memories of him and Cordelia together: lying in bed together, his hand on her breast, hugging each other, kissing. Connor seems angry. The picture freeze frames.
LORNE (V.O.)
No, actually, it really starts here:
Cut to:
13 EXT. GARDEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel and Cordelia are talking while sitting on the edge of a pond.
CORDELIA
Were we in love?
ANGEL
Hmm.
CORDELIA
Were we?
ANGEL
What?
CORDELIA
In love?
ANGEL
With each other?
CORDELIA
Mister, if you start giving me the run-around—
ANGEL
I'm not. (stands) I'm not.
CORDELIA
Then tell me the truth!
ANGEL
I don't know.
CORDELIA
You don't know?
ANGEL
Well, I'm not sure.
CORDELIA
Now, I think that's the sort of thing I'd remember. Hey, maybe you wrote it down somewhere—a note on the fridge, maybe?
ANGEL
I had feelings for you, and thought that maybe you—but you never told me. You asked me to meet you...to talk, and... I never saw you again.
CORDELIA
And you think I wanted to meet you to tell you I was in love with you?
ANGEL
I really don't think you're ready to be dealing with—
CORDELIA
Or maybe I was gonna tell you to back off, buddy. (stands, walks toward him) Maybe you were coming on too strong—harassing me in the workplace. Maybe I had a red-hot restraining order in my mitts. (in his face) You ever think of that?
ANGEL
I was never—in the workplace, I— Well, there was that one time with the—the ballet and the stripping and the roundness, but that was a spell. And-and we were meeting in Malibu on the bluffs at night. That's a pretty romantic restraining order!
CORDELIA
Don't yell at me. You're yelling at me. (turns her back to him)
ANGEL
I'm not. See, this is why I don't want to answer questions I don't have the answers for. (Cordy rolls her eyes) All I know is that you are my dearest friend. And I hope that—I just— I want that back. That much, at least.
CORDELIA
(sighs) You have no idea how much this is k*lling me. (sits by pond) I know my ABC's, my history, I know who's President, and that I sorta wish I didn't. I know the name of every shoe store in the Beverly Center, but I don't— (sighs, starts to cry) I don't even recognize the sound of my own name.
ANGEL
We'll get you back. No matter what. (sits beside her) I promise you, we will get you back.
LORNE
(walks into the garden) What's all this "we", pale face? I'm the one out there doing all the leg-work—well, it's really more lap-work—'cause guess what just fell into it.
Lorne's holding a opaque ceramic bottle with a cork in the top.
CORDELIA
What?
LORNE
A memory spell—provided by one of my clients—that is guaranteed to bring our Cordy back to the way she was.
ANGEL
Guaranteed?
LORNE
No pain, no side-effects. I'm telling you, swingers, there's no way this can fail.
Cut to:
14 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
So, I'm an idiot. What are you—perfect?
Fade to black.
Opening credits and title sequence.
ACT I:
15 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
Well, the fact is, I had every reason to believe that the spell would work. And it did—after a fashion. (sips drink) Well, what happened during it and what came after... Ooh, I'm gonna need a bigger drink. But, now the spell was legit. Straight up. (extreme close up of Lorne's face) I had it off this wraith—sweet girl—not overly tangible—
Camera rotates around his face and transitions to the garden scene.
Cut to:
16 EXT. GARDEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel and Cordelia are talking while sitting on the edge of the pond, with Lorne talking to them.
LORNE
—but she deals in memory spells professionally. Now she swears up and down that with the right mix, we can stop this talking and cut to the Cordelia Chase in two ticks of a... ticking thing.
ANGEL
I don't know. Spells... I don't trust them.
CORDELIA
And I don't care. (stands) I'm in.
ANGEL
(stands) Cordy, I just—
CORDELIA
I don't care. Pain, side effects, this thing turns me into a mousaka... I'm happy. As long as I can remember I'm a mousaka.
LORNE
Don't even worry about it, princess. I've got all the ingredients lined up. As soon as we gather the six, we'll be good to go.
Lorne and Cordelia go into the hotel.
ANGEL
The six what?
Cut to:
17 INT. WESLEY'S APARTMENT - NIGHT
There's open boxes of weapons and amm*nit*on on the floor. Wesley's practicing using a sophisticated new concealed w*apon on his forearm that sh**t stakes and has a collapsible sword-like blade. There's a man standing in his apartment, watching him.
WESLEY
Tell Emil if it tests right in the field...(telephone rings) he'll be hearing from me again. (hands the man a stack of cash)
DELIVERY GUY
Yeah. OK. He'll be thrilled. (leaves the apartment)
WESLEY
(picks up phone) Pryce here. Yes. Lorne, I said yes. I'll be there right away. If it works, it's worth doing. All right. Is everything— Uh, is everyone there? No. No. I was just wondering if everything was all right with Fred.
Cut to:
18 INT. FRED AND GUNN'S ROOM AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Fred and Gunn are lying in bed awake, staring at the ceiling in silence. There's a knock on their door, and Fred goes to answer it. It's Angel.
FRED
What do you want?
Cut to:
19 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Lorne's painted a symbol on the floor of the lobby. The symbol painted in thick white strokes in the form of a two-foot diameter circle with six evenly spaced three-foot spokes coming off of it. He's placing bundles of magical supplies and candles in each section. Gunn and Fred walk down the stairs into the lobby.
GUNN
Oh, good. Symbols on the floor. That's always good.
LORNE
Check your sarcasm at the door, pouty britches. This is for Cordy.
GUNN
I just don't want no portals opening up around here. I've had enough of that crap.
FRED
Sorry, Lorne. We really have had a lot of that crap.
LORNE
Yeah, well, my parade is rain-proofed, baby doll. My first reading since I got my head drilled, and I find the spell that's gonna bring our little Cordy right back to us. Lo-lath ch-owrng ne bruun.
FRED
Kaya-no-m'tek.
Wesley comes through the front doors confused at what he hears.
WESLEY
Did I miss the spell? Did English go away?
LORNE
No, it's Pylean, crumpet. I said, "I may be prepared to shout a joyful chant."
Fred stares at Wesley, her eyes wide, seeming shocked to see Wesley here.
FRED
And I said, "May your words please the gods."
WESLEY
Are you all right? Did you...?
FRED
(nervously) It's done.
As Fred and Wesley talk, Gunn watches from down the hall.
Cut to:
20 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
OK, first of all, she didn't say, "May your words please the gods," so much as "May you orally please the gods," which is a slight... inflection's very crucial in our—oh, God bless her, it's always nice to hear the mother tongue—as long as it's not from my mother. Is this on? (taps mic)
Cut to:
21 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
As Lorne narrates, show sh*ts of each character as he describes them.
LORNE (V.O.)
And secondly, I didn't know that a couple hours ago, Fred had tried to k*ll her evil Professor by opening a portal. Gunn didn't know that Wesley had helped her. And Wesley didn't know Gunn had k*lled the guy himself to save Fred from becoming a k*ller. And Fred didn't know that Gunn was right then figuring out that Wesley had helped her try.
Cut to:
22 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
So, you can see, I didn't have all the facts when I started this. It's my job to read people, but nobody in this clan was exactly singing. And me? Hey, I was thinking about Cordelia.
Cut to:
23 INT. CORDY'S ROOM AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel's come to talk to Cordelia, who is just getting out of the shower, wrapped in an oversized pink bath towel.
ANGEL
Hey!
CORDELIA
Oh!
ANGEL
Oh! Sorry.
CORDELIA
I... wanted to clean up. Connor and I are not exactly staying at the Mondrian.
ANGEL
How is he?
CORDELIA
He's eighteen. He's a mess. (goes to her closet) There's a lot of pain in him. I think it helps, having me there.
ANGEL
Good. That's good. We're almost ready. I'll be downstairs. (starts to leave)
CORDELIA
So... (Angel stops at the door) you're perfectly OK with just wandering into my room any old time? That fits the "we were in love" theory and the harassment theory pretty much equally.
ANGEL
Well... Hopefully that'll all be answered soon. (shuts her door)
Cut to:
24 INT. OFFICE AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
While Fred and Lorne are in the lobby preparing for the spell, Wesley walks into the office to look at the bottle Lorne got for the spell. Although Wesley didn't see him sitting there in the shadows, Gunn is waiting for him in the office.
GUNN
So, I guess I'm the muscle, huh?
WESLEY
Sorry?
GUNN
Angel's the man on the card. It's his world. I'm not a leader no more. Don't got that champion's heart like Cordy. And the brains—that was you. So that leaves muscle.
WESLEY
What about Fred?
GUNN
Well, that's the question, isn't it? She's pretty brainy too. Maybe you two are kindred souls. Maybe that's why she went to you for help getting revenge on that Professor. k*lling takes brains.
WESLEY
I did what you weren't prepared to do.
GUNN
(stands) You have no idea what I've—What I would do for her.
WESLEY
Is there some reason I should need to know?
GUNN
You think I don't smell this a mile off? You think I don't know why you keep coming back here?
WESLEY
Because you keep needing my help.
GUNN
(in his face) I'm gonna say this once: you move on Fred, and I'm gonna put you down hard.
WESLEY
I'm glad to see you have such faith in your relationship.
GUNN
Keep pushing, English.
WESLEY
Do you think you could get out of my way? (puts up his right hand to push Gunn away)
GUNN
(grabs Wes's hand) I don't know what—
WESLEY
(a blade springs out of his forearm contraption) Not all of us have muscle to fall back on. (retracts blade and walks away)
GUNN
What happened to you, man?
WESLEY
(stops, turns) I had my throat cut and all my friends abandoned me. (leaves room)
Cut to:
25 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
As Lorne conducts the spell, all six people are sitting on the floor, arranged around the symbol Lorne painted earlier. They're all holding hands, with candles lit in front of them. Clockwise from Lorne, it's Angel, Cordy, Gunn, Fred, and Wesley.
LORNE
OK, eyes on the bottle. We come in supplication and hope. Bring her back.
The bottle starts to move, to dance around the center of the circle. Suddenly, magical amber light streams out of the bottle, and a stream heads for each person there. When the light stops, the bottle falls over and spins in the center of the circle.
CORDELIA
What's going on?
LORNE
I feel a little... (crawls away)
Everyone seems a little confused or entranced or buzzed. They break the circle. Lorne crawls behind the counter and passes out.
GUNN
What's happening to us?
Angel goes outside. Inside, Fred's inspecting a houseplant.
FRED
This is important. It's so beautiful... (pukes into the plant)
Gunn practices martial arts moves. Wes is still sitting where he was when they started.
WESLEY
We'll just wait to see if there are any side effects. (giggles)
CORDELIA
(paranoid, stands) What's happening? We can't just... we have to... No!
Codelia smashes the bottle with her foot. This seems to make the buzz go away for everyone.
CORDELIA
OK. What the hell is goin' on here?
WESLEY
What's your name?
CORDELIA
I'm Cordelia Chase, dumbass. And if this is some sort of sophomore hazing prank where I get doped up and left with a bunch of proto-losers, then my parents are gonna be suing the entire population of Sunnydale. Comprendez?
GUNN
What the hell are you talking about?
CORDELIA
It's called kidnapping a minor, hair club for men. And if you think for a second I'm gonna be putting up with this, well, you don't know Cordelia— (Angel walks in the room) Cordelia... Hello, salty goodness.
Fade to black.
ACT II:
26 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Resume. Cordy, Wes, Gunn, Fred, and now Angel are in the room talking, trying to figure out what happened.
WESLEY
All right. Hang on. You're Cordelia Chase, you're a high school student, you live in Sunnydale?
CORDELIA
Right.
WESLEY
(to Gunn) So who are you?
GUNN
I'm the guy that's gonna be kicking a whole mess of ass if somebody don't tell me what's going on.
CORDELIA
What do they call you for short?
WESLEY
Does anyone here recognize anyone?
Angel stays back near the door, not coming down the steps into the lobby. He crouches down, balancing on his tiptoes, hugging his chest.
FRED
Um, I'm Fred Burkle. (to Cordelia) I'm also in school in San Anton.
CORDELIA
Oh, we're both in school. Oh, gosh, let's be best friends so I can lose all my cool ones.
WESLEY
There's no need to be snippety, Miss.
CORDELIA
This is a clarion call for snippety, Princess Charles.
WESLEY
It's Wesley, thank you. Wyndham-Pryce. (grabs his lapels, puffs up with pride) I am from the Watcher's Academy in southern Hampshire. In fact, I happen to be head boy.
CORDELIA
Gee, I wonder how you earned that nickname.
WESLEY
A lot of effort, I don't mind saying.
GUNN
Gunn.
WESLEY
(panics) Where?
GUNN
Me. That's my name. The short version.
WESLEY
Ah. What school do you attend?
Gunn rolls his eyes, and Cordelia scoffs.
CORDELIA
(walks up to Angel) So, we've heard from the socially handi-capable. What's your story?
ANGEL
Mad. (stands) You're all mad. These clothes. Your speech. This place. What land is this?
GUNN
What land is it supposed to be?
WESLEY
Yes, where do you hail from, friend?
ANGEL
I'm not your friend, you English pig. We never wanted you in Ireland. We don't want you now.
GUNN
You Irish?
CORDELIA
You don't sound Irish?
ANGEL
For most certain, I sound exactly— (holds hand to throat) Something wrong with my voice.
WESLEY
Well, what's your name?
ANGEL
Liam. (concerned, holds his throat again)
CORDELIA
Great. We've all got names. (walks toward the door) Bye, now.
WESLEY
I wouldn't be so quick, Miss Chase, to leave. Clearly, we're all victims of some nefarious scheme.
ANGEL
(sitting on the stairs, muttering to himself) Liiiiiaaamm...
WESLEY
(points to door) I'll lay odds that that door is bolted shut. And who knows what peril lies outside it.
ANGEL
(sitting on the stairs, muttering to himself) English pig. English pig?
WESLEY
Before we do anything, I suggest we gather as much information as we can.
ANGEL
(sitting on the stairs) Liiiiiaaamm...
CORDELIA
And I suggest we gather some cops.
GUNN
Yo... I don't want no heat near me.
FRED
I don't think we should call the police anyhow. I mean, they're probably involved.
GUNN
In what?
FRED
Don't y'all think this is some kind of government conspiracy? 'Cause my friend, Levon, says the government's always taking kids and experimentin' on 'em. Did anybody else have to take a personality disorder test recently? They ask you about politics and your bowel movements and if you want to be a florist—
CORDELIA
OK. We've heard from Scarlet O'PleaseShutMeUp. Does anyone sane have a theory?
FRED
There's conspiracies and stuff. Y'all don't even know...
GUNN
I got no problem with the idea that the man is messing with us.
WESLEY
The important thing is to start with the facts. We're all from different cities, we're all of an age... (rubs chin thoughtfully) Judging from the amount of facial hair I've grown, we've all been unconscious for at least a month.
CORDELIA
(touches her short hairstyle) Oh, God. Oh, God. My hair. My hair. (crying) The government gave me bad hair.
FRED
(goes to Cordelia) No, no, it's nice.
WESLEY
(goes to Cordelia) Yes, it's, uh, just the thing.
CORDELIA
Are you sure?
WESLEY
It's...eh...very attractive. But a clue, nonetheless. Perhaps the whole point of this experiment is hair. (touches his chin stubble)
GUNN
I vote he's not in charge.
ANGEL
It's the devil. It's the devil.
CORDELIA
(crying) My hair?
ANGEL
My father said I was a sinner, that I'd come to a bad end. Now I've come to hell.
GUNN
Well, hell's a lot nicer than my place.
WESLEY
It appears to be some sort of hotel.
FRED
Well, maybe it's Motel Hell. (giggles and snorts)
WESLEY
Well, let's get the lay of the place.
GUNN
Don't be giving me orders. I run my own crew.
WESLEY
I'm sure your seafaring adventures are very interesting, but I have experience of things you couldn't imagine. I'm not head boy for nothing.
GUNN
(in his face) You 'bout to be headless boy, you don't get out my face.
WESLEY
Intimidation. Ha. Ha. Points for effort. Perhaps a little kar-ate technique will put you in your place.
Wesley does a pretty bad demonstration of karate martial arts. When he bends down his wrist, a dagger sh**t out of his forearm. Wesley gasps and jumps back.
CORDELIA
What the hell was that?
WESLEY
A clue?
GUNN
Was that a wooden stake you got?
WESLEY
Apparently, yes. Which changes the scenario quite a bit.
FRED
(tries karate moves of her own, inspects her hands) I didn't get one.
GUNN
Nobody got one except English, here. Why's that?
WESLEY
I don't know. I suggest we look about for weapons of some kind.
GUNN
Yeah, that part works.
Fred and Gunn walk around to the back of the front counter. Fred screams. Wesley's concealed w*apon starts going haywire: the sword comes out, but it's to unwieldy for him.
FRED
Aah!
WESLEY
Aah! (finally getting his w*apon under control) All right. Nobody scream. Or touch my arms.
FRED
Well, I think I found another clue.
GUNN
She's not wrong.
CORDELIA
OK, this is even less funny. What the hell is that?
They have found Lorne, who's passed out on the floor.
ANGEL
I knew it. It's the devil.
FRED
Why is the devil sleepy?
27 EXT. RANDOM ALLEY IN LOS ANGELES - NIGHT
There's a fight going on in the alley. Hard rock music plays in the background. Connor's fighting two vampires, throwing them around, against the walls and ground.
VAMPIRE
This ain't your business, kid.
CONNOR
No... (b*ating the vampire up) this is my bad mood.
Connor jumps into the air and kicks both vampires in the face at once. One runs away, but the other can't escape. There's a woman standing nearby, watching the fight.
CONNOR
This is my business. (stakes him) (to woman) Are you hurt?
WOMAN
They were gonna k*ll me. Bastards.
CONNOR
Well, you're safe now. (starts to walk away)
WOMAN
Whoa. Whoa. Hey. (coming on to him) Baby, you saved my life. (touches his chest) Don't you want your reward. (leans in face to face) I can give you a nice reward.
CONNOR
Uh...yeah, OK.
WOMAN
You got 50 bucks?
CONNOR
What for?
WOMAN
You got nothing. (walks away)
CONNOR
Wait. (grabs her arm) Hey, I saved you.
WOMAN
You still don't ride free, junior. Why don't you run home to mama. Maybe she'll give you a special treat for being such a good boy.
Cut to:
28 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
Classy girl. And poor Connor: engine revving and stuck in park. Yeah, well, enough about him. In the meanwhile, guess what I'm doing for fun.
Cut to:
29 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Wesley is duct-taping Lorne to the lobby bench while Gunn and Cordelia look on.
GUNN
I say we cut his head off.
WESLEY
He may have information we need. When he wakes up—
GUNN
When he wakes up, we don't even know if this tape is gonna hold him. I say we cut his damn head off.
WESLEY
Thank you very much, Marie Antionette.
GUNN
What'd you call me?
CORDELIA
Hey. Hey, you two want to stop the h*m*-erotic buddy cop session long enough to explain this. Wooden stakes. A guy with horns. And neither of you seems that surprised when things just keep getting weirder.
Meanwhile, Fred and Angel have found the weapons cabinet. They open it and look inside.
FRED
They really are. Have you got any weed?
WESLEY
(overly dramatic) All right. I'm going to let you all in on something you may have trouble comprehending. I assure you that however—
GUNN
Vampires are real.
WESLEY
I was telling!
GUNN
Vampires are all over L.A. I've been fighting 'em my whole life.
ANGEL
That creature's a vampire?
GUNN
No, I ain't never seen nothin' like that.
WESLEY
I have. (raises hand) Oh. It's... a demon. Probably of the Karathmama...nyuhg family. You see? Some of us have slightly broader experience—
GUNN
How do you k*ll it?
WESLEY
Well, I know this breed is nocturnal and feeds on roots or possibly human effluvia, and, uh, it's a horned race—
Fred goes to look at Lorne up close.
GUNN
So you know jack?
WESLEY
They're nocturnal.
GUNN
I'm gonna get me one of them axes.
WESLEY
Hold on.
GUNN
Hey! Don't matter what it is. It looks wrong, it dies. (walks away)
WESLEY
(grabs Gunn's arm to stop him) Not 'til we find out— (Gunn grabs Wes's neck from behind) Oh, quit it! (Wes grabs Gunn's ear)
GUNN
Oh, get off my—
WESLEY
Watch the arm. Watch the arm!
CORDELIA
Aren't you gonna get in there and stop them?
ANGEL
It's about time the English got what's comin' to 'em. I'm rootin' for the sl*ve.
Lorne's still unconscious, his head hanging limply down, and Fred's still inspecting him. She touches his horns. Then Lorne lifts his head and looks into the camera at the audience.
LORNE
Ugh. I know I'm still unconscious during this part of the story, but... (gestures to the fight) can you believe these mooks? (hangs head limply again)
Cordelia breaks up the fight.
CORDELIA
Enough, OK. If head cheese here has a theory, then let's hear it.
WESLEY
There are stories at the Watcher's Academy of a test. A secret gauntlet which only the most cunning can survive. You're locked in a house with a vicious, deadly vampire, and you have to k*ll him before he kills you. It's been done in the past with slayers.
FRED
Slayer? The band?
WESLEY
No, it— The point is... this could be a test—the weapons, the maze-like locale, the innocent civilians, and the mysterious Karathmama...nyuhg demon. This is a test!
GUNN
I ain't a civilian. I've been k*lling vamps since I was twelve.
WESLEY
Which only supports my theory. You must be here in an advisory capacity.
GUNN
I think I'm here in a "chop that green bitch's head off" capacity, and I don't give a damn about no test!
FRED
(to Gunn) Are you always this grouchy?
GUNN
Only when I wake up with a bunch of insane white folks trying to tell me what to do. The day I take orders from guys like you is the— day I—not even gonna happen.
CORDELIA
Keep explaining why we're not walking out that door?
ANGEL
Because they did something to us. They changed us.
CORDELIA
You mean, this is about my hair?
FRED
I sorta see his point. Not one of y'all looks exactly seventeen. It's like time's been pushed forward, like we missed a bunch of years.
Everyone's inspecting their bodies. Wes feels his bicep. Cordelia feels her breasts.
CORDELIA
I kinda have filled out even more.
FRED
And— (looks at her own chest) I apparently ain't gonna.
ANGEL
I feel cold... inside.
CORDELIA
This is so unfair! I'm a craggy 20-something? What about prom?!
GUNN
Could be that demon put a whammy on us.
FRED
So, you think, if we k*ll this vampire, they take off the spell whammy and we can go back to being ourselves?
CORDELIA
And never see each other again?
WESLEY
I believe we can all just go about our business.
CORDELIA
And never see each other again?
GUNN
Great. So we go vamp hunting. (goes to weapons cabinet to select an axe) This place looks pretty big. I say two groups.
CORDELIA
Great. I'll go with tall, dark, and slightly less pathetic than you two here. We'll try the rooms.
Cordelia grabs a stake for herself and a sword for Angel from the weapons cabinet.
WESLEY
We'll look downstairs, but remember, if you find the vampire, it is a vicious animal. Just try to draw it in toward us. Don't worry. We'll win this day, I assure you.
FRED
I'm ready. I'm OK. Be cooler if we could score some weed, though.
Cut to:
30 INT. HALLWAY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Cordelia is walking behind Angel down the hallway. She's got a stake in hand. They hear music coming from a radio in one of the rooms.
CORDELIA
God, there's like a million rooms.
ANGEL
(hears the radio, and goes in the room to investigate) Minstrels.
Angel pokes at the radio with his sword, looking at the box with interest. Cordelia presses the power button.
ANGEL
How did—? You stopped the tiny men from singing.
CORDELIA
You really are far from home, aren't you?
ANGEL
(sits on bed) I tell ya, I get through this, I'm gonna have a great cup of ale—I don't care what father says it does to you.
CORDELIA
(sits beside him) Maybe we should just sit tight and let the vampire experts deal with this thing. (rubs his back)
ANGEL
Sorry for acting so... womanish.
CORDELIA
Oh, you're no—(feels his bicep) really not womanish.
ANGEL
You're very sweet.
CORDELIA
You don't know the half of it. What is it about danger that makes—makes your blood just—
While Cordelia's talking about blood, Angel stares at her neck longingly. He vamps out momentarily, but returns to normal before Cordelia can see him.
CORDELIA
What's wrong?
ANGEL
Nothing. Excuse me.
Angel stands, and goes to the bathroom. He looks in the mirror and sees no reflection. He comes back into the bedroom, panicked.
ANGEL
I'm invisible.
CORDELIA
No, you're not.
ANGEL
Oh. Excuse me.
Angel goes back into the bathroom and closes the door. He looks into the mirror again, but there's no reflection. He's worried. He vamps out and feels his bumpy forehead and fangs. Then he goes back to normal face again. Panicked, he starts exercising his vamping ability by going back and forth between vamp and normal face several times rapidly, rhythmically, going faster and faster like it's building up to something. Angel's making small grunting sounds and breathing hard.
CORDELIA
(standing at the bathroom door) What's going on?
ANGEL
(to Cordelia) Uh, I'm almost finished. (to himself) I'm a vampire. They're gonna k*ll me.
Fade to black.
ACT III:
31 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's spotlighted in blue light, standing on a stage near the piano in front of red curtains. Various background sounds come from the audience.
LORNE
Well, those were some exciting products. Am I right? (smokes cigarette, audience claps) Mmm. Let's all think about buying some of those. But if I can bring it down a moment. (takes off jacket, spotlight changes from blue to red) Is there anything worse than feeling like you're all alone?
While Lorne narrates, show Angel coming out of the bathroom. He and Cordelia leave the bedroom together.
LORNE (V.O.)
Like you're the only person in the world who thinks the way you do, and if anyone else found out, they'd drive a pointy wooden thing through your heart? And as for our fearless vampire K*llers...
Cut to:
32 INT. KITCHEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Gunn, Fred and Wesley are walking around the kitchen. Fred's holding a wooden stake that's three feet long, made from a baseball bat whose heavy end has been cut to a point. She's got it hoisted over her shoulder like she's at-bat. Gunn's ahead of Fred and Wesley, who are closer together.
FRED
I just don't think we should be rulin' out the idea of aliens. I mean, he is a greenish sorta fella. And his bein' asleep all that time. I mean, think about it a minute. (stops walking, turns to Wesley) They could have been doin' Heaven knows what. I can just see myself lying on a table—no clothes, no will—while they probed and explored and did whatever they wanted to my naked, helpless body. (Wes's dagger accidentally sh**t out of his forearm) It's horrible.
WESLEY
Horrible. Yes. But I assure you, this is demonic work. And they're not nearly so exploratory as— (pats her hand awkwardly) Don't be afraid.
GUNN
Ain't nuttin here. 'S gettin' old.
WESLEY
Well, let's not give up probe. (b*at) Hope. Give up hope. We're not—
Gunn and Fred walk away.
Cut to:
33 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Wesley's back in the lobby. He's inspecting Lorne, who's still passed out, more closely. Angel and Cordelia walk down the stairs into the lobby.
WESLEY
Any luck?
ANGEL
We saw no vampires of any kind anywhere.
WESLEY
Did you check every room?
CORDELIA
Only the ones that wanted turn-down service. There's five floors. My feet hurt. You finish.
GUNN
It's a waste of time.
ANGEL
(backs toward door) I agree. There's nothing here. This place is evil, and I think that I should leave now 'cause of evil.
WESLEY
(runs after Angel) Don't be a fool!
ANGEL
Good luck, all. (leaves through front door)
GUNN
(polishing his axe) So, we're all locked in, huh?
CORDELIA
Excuse me? Did I just get the brush off? Did a guy just bail on me? There really is some sort of horrible spell.
FRED
Do you think Liam's OK out there?
GUNN
If something's eating him, at least ain't as bored as me.
WESLEY
Joke all you like. Liam, right now, may be facing horrors he's never even imagined.
Cut to:
34 EXT. HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel runs out to the street through the garden. He sees lots of traffic on the street, and is frightened by the loud noises of honking and the bright headlights and the speedy cars and trucks. He runs back toward the hotel through the garden.
Cut to:
35 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Panicked, Angel comes in through the front doors and shuts them behind him.
FRED
Liam!
ANGEL
Demons?!
WESLEY
Really? (to Gunn) Told you. (Gunn stands, axe ready) How many?
ANGEL
Hundreds. Screaming.
FRED
(hiding behind a column) Will they try to get in?
ANGEL
Don't think they saw me.
FRED
I guess you really better solve this puzzle and all.
WESLEY
What type of demons, would you say?
ANGEL
Shiny. (Wes, hiding behind column with Fred, looks confused)
CORDELIA
(Angel sits by her) Yep, I still got it.
GUNN
So, that means we gotta check the rest of the rooms? 'Cause I'm bored just saying it.
FRED
Wouldn't the vampire be comin' after us anyhow? Aren't we vittles?
WESLEY
And he should be starving, by rule. But I also happen to think that further searching would be pointless. I think the Council has been far cleverer than I imagined.
FRED
Ooh. How?
GUNN
Yes, speech, speech.
WESLEY
Five people, each unknown to each other, far from home, trapped together at night— (Angel eyes Cordelia's neck as she listens intently to Wes) I submit that the blood-sucking fiend may be closer than we dared suspect. That it may be—
ANGEL
(stands suddenly) I'll search the rooms.
WESLEY
I was getting to the good part!
ANGEL
But we can't just wait for the vampire to appear. I'll just flush him out—
WESLEY
(jumping up and down) ...that it may be one of us.
CORDELIA
Uh... you're kidding.
WESLEY
Would that I were, Miss Chase, but the simple fact is... the fiend has been under our noses the entire time, waiting for the moment to... (takes cross out of his breast pocket, and puts it in Gunn's face) strike!
Gunn punches Wesley in the face, and Wes falls to the ground.
ANGEL
See? (giggles) The English is stupid. Let's have a different theory.
WESLEY
I'm not quite finished. I think it's only fair that everybody have a turn. The cross obviously doesn't affect me or our friend, (points to Gunn) the pugilist.
GUNN
Oh, your ass better pray I don't look that word up.
Cordelia takes the cross and waves it around in front of her. She scoffs and tosses the cross to Fred. Fred scans her body with the cross like a security guard would with a metal detector/scanner at the airport. She hands the cross to Angel, who takes it in his hand. He holds onto the cross despite the fact it's starting to burn him; his hand smokes and he puts it by his side where it's difficult for the others to see.
ANGEL
See. No vampire here. I'm just like the rest of you.
FRED
Does anyone else here—?
ANGEL
Look, the devil's awake.
Everyone goes to investigate Lorne. Angel tosses the cross over his shoulder.
WESLEY
Don't get too close.
LORNE
Ooh...Oh...Guys, hey, that was quite a whammy. A little trip through the transitive nightfall of diamonds, if you know what I mean. I certainly don't, but—
ANGEL
He speaks madness.
LORNE
Hey, here's a funny sidebar. (wriggles against restraints) I'm tied to a chair—again! What the hell's going on?
WESLEY
We were hoping you would enlighten us, spawn of evil.
LORNE
Oh, dear. I'm starting to suspect my surefire hit spell closed out of town. (whimpers) Did anything go right? Anything? Did Cordy at least get her memory back?
WESLEY
(pointing at Lorne) Just tell us where the vampire is, fiend. (Angel stiffens up)
LORNE
What are you talking about? There aren't any vampires here. (Angel relaxes) Well, I mean, except for our boy here.
ANGEL
Uh, lying devil man.
LORNE
Oh, like my spell made you not a vampire anymore. My magic isn't that—
ANGEL
(punches Lorne hard in the head) Shut your mouth.
Freeze frame.
Cut to:
36 INT. NIGHT CLUB - NIGHT
Resume narration. Lorne's talking into a microphone, spotlighted in blue light, sitting on a stage in front of red curtains. Various background sounds come from the audience.
LORNE
Ow!
Cut to:
37 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Resume. Unfreeze the frame. Lorne was punched so hard, it sent him and the chair he's tied to sliding across the floor. Gunn, wielding the battle-axe, pushes Fred behind him and out of the way. She wanders over to where Wesley and Cordelia are.
ANGEL
It's not— He just—
WESLEY
Well, our mystery solved.
GUNN
Explains the lame-ass cover story about being Irish, too.
CORDELIA
(to Wesley) Is this a convenient time to point out that you left me alone with him, genius?
ANGEL
(between Wesley and Gunn now) Well, I-I never touched her.
CORDELIA
So, clearly, deviant.
ANGEL
I'm not.
WESLEY
(trying to activate his forearm w*apon) Vampires are all the same, my friend. There's nothing human about them. (a stake comes out, poised)
GUNN
(holds axe menacingly) That's right. You ain't a person. Just dust waitin' to happen.
ANGEL
I don't wanna hurt anyone.
FRED
What do we do?
WESLEY
Don't fear. It's under control.
FRED
(grabs Wes's arm) Are you sure?
WESLEY
(stake sh**t out from his forearm) Sorry. I mean, ha!
The stake landed in Angel's side, but didn't dust him. Angel vamps out and starts fighting with Gunn. He wrestles the axe away from Gunn and throws him across the room. Angel turns toward Wes, Fred and Cordelia in vamp face. Cordelia goes to hide behind the chair Lorne's tied to. Fred cowers behind Wesley.
ANGEL
You want a vampire, then? I guess I'm your man. I guess I'll start feeding on your corpses. Startin' with the girls. So, who's gonna be the first course? Hard to choose between you two girls—
CORDELIA
(stands up from behind the chair) What do you mean, it's hard? (eyes widen) I mean, she's the tasty one. (points to Fred) Look at her. Half of her is neck. (Fred shrugs to hide her neck)
WESLEY
(activates the sword part of his forearm w*apon) Miss Chase, Miss Burkle, run.
Cordy and Fred run away, while Wesley charges toward Angel with his sword. Wes swings at Angel, but Angel just punches Wesley in the nose. He falls to the ground.
Cut to:
38 INT. STORAGE ROOM AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Cordelia's running away from Angel, trying to hide in a storage room behind some boxes.
ANGEL
It baffles me. You liked me so much before, and now I can't even get a little kiss. I can see you.
Cordelia tries to make a run for it, but Angel catches her. He holds her in front of him by her upper arms.
ANGEL
I seem to be strong, too, and fast. It's not so bad, this vampire thing.
CORDELIA
Well, I've got a super power of my own, hot sh*t.
ANGEL
What's that now?
She screams really loud. Angel back off a little, putting his hands up defensively.
ANGEL
That really is inhuman. But what good do you really think that—
Connor comes into the room and knocks Angel across the room. Wesley follows Connor down the stairs into the storage room, but trips on the stairs and falls to the floor.
WESLEY
Yes, that one— k*ll that one, please!
Angel lunges at Connor, who throws him out the window. Angel lands a floor below, in the kitchen.
CORDELIA
Thank you. Thank you. Thank you.
CONNOR
Why did he att*ck you?
CORDELIA
Well, who wouldn't? (rubs his shoulder, eyes him sexily) Look, you're a wee bit chess club for my usual b*at, but you k*ll that freak and you're getting a big reward.
CONNOR
You mean it?
CORDELIA
Hoo doggy!
Fade to black.
ACT IV:
39 INT. KITCHEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Connor goes to the hotel's kitchen to find where Angel landed. Angel swings at Connor and they start to fight.
ANGEL
Think I'm a bit tired of being bullied.
Cut to:
40 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Fred was hiding behind a curtain near the front desk of the lobby. When she thinks it's all clear, she tiptoes over to Gunn's side; he's passed out on the floor behind the front desk.
LORNE
Um, sweetie?
FRED
Huh?
LORNE
Uh, can I take a minute of your time? We have a huge problem, but I can solve it.
FRED
Why should I trust you?
LORNE
'Cause we're buddies, Freddikins. We did a spell—it went wrong, but we can make it right. Is the bottle still there, on the floor, in the circle?
FRED
(crawls out from behind the counter to look) You mean those bitty bits of broken glass?
LORNE
Oh, balls...Well, we can still do it. Maybe one at a time. You just gotta untie me first.
FRED
I don't know.
LORNE
Oh, Fred. Look into your heart. Am I evil?
Cut to:
41 INT. KITCHEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel and Connor are still fighting.
ANGEL
You're stronger than the rest. Are you not a vampire yourself, then?
CONNOR
You don't remember?
ANGEL
I remember waking up here in this madhouse with that fine lot of hypocrites.
CONNOR
Hypocrites.
ANGEL
I'm supposed to be evil, but they att*ck me without cause. They g*ng up on me because I'm different. They're as bad as my father.
CONNOR
Fathers. Don't they suck?
ANGEL
Say one thing, then... "Be good. Fear God. Do as you're told." And the whole while I know good and well, he's had his share of sinning.
CONNOR
Sounds kinda like my father.
ANGEL
Is he a self-righteous bastard?
CONNOR
You'd be amazed.
Connor goes for Angel, but Angel evades him.
CONNOR
You're afraid to fight me?
ANGEL
Truth to tell, I'm not much for fighting. I'd rather be satisfying my sinful urges with the Chase girl.
CONNOR
You keep the hell away from her.
ANGEL
Oh, the girl's yours, then?
CONNOR
That's right.
ANGEL
She never did mention you when we were alone togeth—
Connor grabs a cast iron skillet and throws it at Angel, hitting him in the head. They continue to fight.
Cut to:
42 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Lorne's mixing up some potion in the lobby. Fred's there, eyes clinched shut, sticking out her tongue.
FRED
(mumbled because her tongue's sticking out) Hurry up. I'm nervous.
LORNE
OK. OK. (puts a drop of the potion on Fred's tongue with his finger)
FRED
(makes a face) Oh, Lord.
LORNE
Well, did it work?
Gunn's conscious now, coming at Lorne with a w*apon.
FRED
Wait!
Cut to:
43 INT. KITCHEN AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Angel and Connor continue to fight. Angel finally gets the upper hand when he flips Connor onto the floor, hurting his back momentarily.
CONNOR
You happy now?
ANGEL
I didn't ask for this. I didn't ask to be att*cked. I didn't ask to be a freak. Hell, I didn't even ask to be born.
Angel walks away. Connor gets up off the floor and calls after him.
CONNOR
Wait.
ANGEL
What do you want? Another b*ating.
CONNOR
Oh, I so almost had you.
ANGEL
Ha. Not in a dream.
FRED
(sticks her head through the broken window Angel fell through earlier) Hold it. Nobody k*ll anybody. Please?
Cut to:
44 INT. LOBBY AT HOTEL/ANGEL INVESTIGATIONS - NIGHT
Wes walks through the lobby, sullenly. g*n and Fred clean up, but no one speaks.
LORNE
(split screen while lobby action is shown beside) (playing piano) So, all's well that ends well. Right, kiddies?
In the hotel lobby, Lorne is giving Cordelia her drop of potion while Angel and Connor look on. She makes a face and then runs out of the lobby.
LORNE
(show Lorne at the piano) But since nothing ended all that well, I guess I gotta say that well, nothing was well. See, none of us knew it then, but the sequence of events was a little di
04x06 - Spin the Bottle
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The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption.
The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption.