Scene opens with Doyle, Cordelia and Angel onboard a ship, in the middle of which a bright, eminating device hangs ominously. Camera focuses on Angel whose hand is on Doyle’s shoulder.
DOYLE
Fight the good fight, yeah? You never know until you’ve been tested. I get that now.
An emotional moment passes between the three of them, then the camera pans out as Angel grabs Doyle and throws him at the white light.
DOYLE
Angel!
CORDELIA
Angel how could you!?
ANGEL
How…could I?
CORDELIA
How could you kill Doyle?!
ANGEL
But…I didn’t. I –
CORDELIA
How can you live with yourself?! You murdered your best friend!
ANGEL
I – I didn’t mean to.
CORDELIA
It’s all your fault.
A shadowy creature with red eyes crawls across the scene.
Cut to: Angel suddenly wakes up, breathing heavily and sweating. He sits up and surveys the room, the center of which is lit by a sliver of moonlight from a window.
After a few moments, Angel relaxes, and falls back into the bed. He stares up at the ceiling as he catches his breath.
Cut to: It is morning, and Angel opens his bedroom door and staggers out into the hallway. He lazily walks into the lobby, where Gunn stands with keys in one hand and a coffee in the other.
GUNN
Hey. I was just setting up shop…and wow do you look like hell.
ANGEL
Yeah, uh….you’re walking?
GUNN
Aw, you noticed. Well yeah, doctor said I should take it lightly at first, but he’s not even a real doctor anyway.
ANGEL
Oh.
GUNN
But…(grabs his cane) I do get to tote this bad boy around. I like it. Reminds me of my hubcap axe (puts it down, then looks at Angel). Rough night?
ANGEL
Yeah, bad dream…
GUNN
What about?
ANGEL
It was…Doyle. When he died.
GUNN
Oh…
ANGEL
But it was different. Not how it happened…In this dream, I – I killed Doyle.
Gunn puts down his coffee, then begins organizing some files.
GUNN
That is a rough dream…but just remember, that’s all it is. A dream.
ANGEL
When has it ever been ‘just a dream?’
GUNN (thinks)
…Good point (he continues filing papers).
ANGEL
What’s that?
GUNN
These (he holds up the files) are our brand new, hot-off-the-press cases.
ANGEL
We have cases?
GUNN
Oz and I have been…kinda advertising. We’ve put our names and numbers out there, done some investigation, and we’ve managed to pull together a few cases to work on.
ANGEL
Uh…(Angel scratches his head).
GUNN
Something wrong?
ANGEL
Not that I don’t appreciate the effort, but we should be keeping a low profile…especially now that Wolfram & Hart is back.
GUNN
Don’t worry, it’s strictly confidential stuff. The big bad lawyers will never know.
The front door opens and Nina walks in, carrying assorted supplies.
NINA
Hey everyone – sign’s done!
ANGEL
Sign?
NINA
Yeah, it’s totally fab – Right next the to comic book shop sign, in bold, red letters (waves hand) “ANGEL INVESTIGATIONS.”
Angel looks coldly at Gunn, who pretends to keep filing papers.
ANGEL
What part of ‘low profile’ –
NINA
Jeez, sweetie, you look like hell.
GUNN
Thank you.
ANGEL
I do not! And I want that sign down, it’ll attract unwanted attention –
NINA
…or, just maybe, it’ll save people’s lives? Come on, get into the spirit!
ANGEL
I am in the spirit! That’s why we have Whistler, cause he gets visions.
NINA
Why not have both? C’mon it’ll be great – we’ll have our “Powers that Be” file, our “walk-ins” file…
GUNN
Really Angel – this is an opportunity to get us all back on track, doing what we do best. We’ve got a kick-ass office, a strong team, and we’re getting some cases. What could go wrong?
Spike suddenly bursts through the door, breathing heavily and red in the face.
SPIKE
Guys…I –
ANGEL
Spike? What is it?
SPIKE
It’s Oz. He’s – dead.
The entire room freezes. Camera focuses on each person: Nina puts her hand over her mouth, utterly shocked. Gunn looks grave, and Angel stares blankly at Spike.
Faint laughter comes from outside the front door. Spike suddenly starts smirking.
SPIKE (laughing hysterically)
Oh, hell – that was bloody brilliant!
Oz staggers into the lobby, laughing hard and red in the face.
OZ
Dude (laughs) – that was – so damn good…
SPIKE
You should have seen his face! (laughs) Priceless, it was!
The two continue laughing as they head back towards the door.
SPIKE
Come on, I’ll buy you a beer.
OZ
Don’t think they sell beer at 8 a.m.
SPIKE
For Spike, anything’s possible.
The camera focuses on Angel, Gunn, and Nina for one last time, each of whom is bewildered. Angel, particularly, is furious.
NINA
That was low.
ANGEL
Since when have they been buddies?
CREDITS
David Boreanaz
James Marsters
J August Richards
Amy Acker
Max Perlich
Jenny Mollen
And Seth Green
GUEST STARRING
Alexis Denisof as Wesley Wyndham- Price
Mercedes McNab as Harmony
Michael Muhney as Hodges
Richard Rhiele as Reinhardt
And Kathy Bates as Henri
Cut to: A dark and dank sewer pipeline infested with rats and a green-gray tint to the water. A close-up of the water is shattered when Angel’s foot comes barreling by.
Whistler’s leading the pack, Angel and Illyria close behind. Oz and Spike bring up the rear, still content with their earlier prank.
WHISTLER
This way! I can see their shadows! (Camera focuses on several shadows of figures up ahead)
ANGEL
I thought we’ve been down that tunnel!
The camera shifts to Oz and Spike.
OZ (to Spike)
So, this is what Angel’s missions are like.
SPIKE
Yeah, it’s a merry-go-round of bore.
OZ
I dunno, I kinda like it. It’s exhilarating.
SPIKE
Slaughtering half of Europe, that was exhilarating. This is like going to second grade again.
Cut to: A large, circular vampire nest at the end of the pipeline. Whistler stumbles in first, and several vampires look up. Camera focuses on one vamp holding a puppy, as if to eat it.
WHISTLER
There it is!
Angel and Illyria stumble in, taking a look at the puppy.
ANGEL
A puppy?
WHISTLER
An innocent puppy!
ILLYRIA
A link on the imbecilic food chain.
ANGEL
We’re being paid to track down a kidnapped puppy!?
SPIKE
Think of it as a round of ass-kicking with a free poodle at the end. (Spike jumps in the middle of the nest and starts throwing punches).
Cut to: Oz carrying the rescued puppy in a park. He stops at an affluent woman sitting on a park bench.
WOMAN
Gordo! Oh my God, Gordo! You’re safe! Thank you so much, you don’t know how much he means to me! (A moment of sentiment passes) Oh, I almost forgot. The reward money! Do you take checks?
Cut to: The entire group celebrating their successfully paid mission in the office lobby. Angel, however, broods.
GUNN
….One thousand freshly printed bills! I don’t know about you, but my share’s going to the biggest McDonald’s meal I’ve ever had!
NINA
Oh, screw the money! Did you see how cute that little puppy was!? It was worth it just to hold the little guy at the end.
SPIKE
…Yeah, and how bout that money!
OZ
The lady was pretty stoked, too. Gordo was like family to her.
NINA (grabs Angel’s hand)
C’mon, sweetie. Where’s your puppy love?
ANGEL (stone-faced)
Oh…yeah. I love puppies.
WHISTLER
Hey man, who doesn’t?
SPIKE
I remember they were too cute even for me to eat….wait, no they weren’t. (Looks around) But they’re pretty damn cute!
ILLYRIA
Memory tells me these creatures are playful.
GUNN
Well no matter how you look at it, Angel Investigation’s first mission couldn’t have gone any better.
OZ
Agreed.
WHISTLER (getting up, pointing at Gunn)
…I’m gonna hold you to that McDonalds bet.
GUNN (walking towards door)
The Big Mac will learn to fear me! (They exit).
Once most of the group disperses, Nina sits next to Angel.
NINA
….I’m totally getting a non-celebrating vibe from you.
ANGEL
I’m fine.
NINA
No…if you’re fine, you’d be basking in the glory of our first mission.
ANGEL
No, it was good…
NINA
…but…
ANGEL
But….well, c’mon now. A puppy?
NINA (defensive)
The cutest darn puppy you ever did see!
ANGEL
I just don’t see what has everyone so worked up (he stands up). It was a successful mission, great job. I’m sure we’ll have another one soon.
NINA
….You’re possessed, aren’t you. Possessed by the broody demon, or something –
ANGEL
I’m…I’m just gonna take it easy. Lemme know if we get a case.
Angel walks towards his bedroom and close the door behind him.
SPIKE
…What the hell has his knickers in a knot?
Cut to: Night has fallen, and Angel’s in bed, tossing and turning.
Cut to: Angel and Cordelia in his Wolfram & Hart office. The two have an emotional moment in which they kiss. The phone rings.
CORDELIA (teary-eyed)
You should probably answer that.
ANGEL (also teary)
I – I don’t want to.
CORDELIA
No, I really think you should.
Angel suddenly stabs Cordelia in the stomach. Her eyes widen from the shock, and Angel looks horrified.
CORDELIA
Angel…?
ANGEL
I’m sorry Cordy, I –
CORDELIA
Why? We could have been happy together?
ANGEL
We still can be!
The shadowy, red-eyed creature crawls on the wall in the background.
CORDELIA
No…not after what you’ve done. Not after you killed me (she falls to the ground). Why did you…let me die…let us all die…
ANGEL (waking up)
I’m sorry!
Angel sits up in his bed, breathing vehemently and sweating. A sliver of moonlight lights up the center of the room, but the corners remain dark. After a long moment of gathering himself, Angel relaxes again.
WESLEY
Did you enjoy it?
Angel sits upright again, this time with fear in his eyes.
ANGEL
Who’s there?
Wesley’s shadowy caricature steps forward from a corner. His face is still well-hidden in the shadows.
WESLEY
Sending us to our deaths, one by one. Did you enjoy it?
ANGEL
You’re – you’re not real.
WESLEY
Oh, is that how we’re going to deal with our problems – pretend they’re not real? Pretend you never let us die?
ANGEL
No –
WESLEY
Or better yet, pretend we never existed? That’d make things much easier on yourself, wouldn’t it.
ANGEL
Get out – this isn’t real…it’s a dream.
WESLEY
Or maybe that you’ll ever be able to live with yourself after the things you’ve done – that’s the dream.
ANGEL
You’re not Wesley –
Wesley walks forward into the light. Though his face is still hard to see, the light shines perfectly on the stab wound in his stomach he got when he died.
WESLEY
These things tend to hurt more when you’re actually alive.
Angel looks at the wound, confused and panic-stricken.
WESLEY
But it tends to hurt so much more when it’s in the back.
Camera goes back to Angel, who’s suddenly holding a bloodied knife. The blood has also made its way to his hand.
Cut to: It’s morning, and Angel hastily wakes up and surveys the room. He checks his hands, which have no blood on them.
Cut to: Angel opens his bedroom door and staggers out into the hallway. He lazily walks into the lobby, looking even worse than the previous morning. Gunn and Whistler sit in the lobby, doing oddjobs.
GUNN
More dreams?
ANGEL
What? Oh…yeah. A few.
WHISTLER
Wow – You – look like my Grandmother on her deathbed. Except she wasn’t quite as flush.
Angel glares.
GUNN
More of the same?
ANGEL
Yeah…except they’re getting a little more serious.
GUNN
Maybe it’s time you look into this? After all, last time you had reoccurring dreams, it turned out to be Wolfram & Hart trying to give you a happy.
ANGEL
Right, I’ll just go to Oz’s hack psychic friend. I’m sure she’ll know exactly what’s wrong.
GUNN
Hey, I’m just saying –
ANGEL
Really, it’s not important. We should just get some cases underway. Preferably non-dog related.
WHISTLER
Oh, now he’s gone and dissed the puppies.
As the conversation carries out, Oz quietly slips in through the front door.
ANGEL
All I’m saying is that we should prioritize a little better. You know, put life-threatening cases in front, man’s best friend towards the rear –
GUNN
Hey now – we’re just working the bugs out. Things’ll be running smoothly in no time. Trust us.
Still unnoticed, Oz turns on the TV. The conversation fades out as they tune in.
ANCHORWOMAN
“Another person has mysteriously fallen into a coma overnight, making the total 54 in the past two weeks. Authorities have no official word on this unexplained burst of comatose in LA residents, but doctors have stated that the victim profiles are ‘random at best.’”
The TV screen cuts to an interview with a doctor.
DOCTOR
“The only consistency in these patients is that prior to their comas, friends report that they’ve had violent dreams, which can even escalate to hallucinations. Other symptoms include unusually long sleeping patterns and short tempers. After a while they just….fade out of consciousness.”
Oz looks over to Angel, Gunn, and Whistler.
OZ
Is that big enough for you?
ANGEL
I, uh…
WHISTLER
Damn right it’s big enough! Big enough for Angel Investigations to stick its crossbows in, anyway.
OZ
I’ll call the others.
GUNN
Angel….
ANGEL
Yeah…I know.
GUNN
Your dreams….they can’t just be coincidence…
WHISTLER
You’ve been having dreams?
ANGEL
(Puts his coat on) I’ll check this out, see if I can find the source.
GUNN
I don’t think that’s good idea –
ANGEL
These aren’t random people being put in a coma, which means whoever’s behind this wants me out of the way.
GUNN
…And going to the source is exactly what they want you to do! Angel, you know what happens when you go it alone.
WHISTLER
At least wait until everyone’s here.
ANGEL (walking towards door)
I don’t have time to wait! I’m going. Alone. End of discussion.
GUNN
C’mon man, think about this!
ANGEL
It’s about time one of us saves something other than a dog (he leaves).
WHISTLER
We’ve got to do something! He’s walking into a trap –
GUNN
Get the others here, now. We need to find out what this is about before he does.
Cut to: Wolfram & Hart Office Building. Hodges is walking down a hallway, coffee in one hand a briefcase in the other when Reinhardt approaches him.
HODGES (rolls his eyes)
I swear, Jules, I didn’t take your parking spot today…
REINHARDT
It’s survival of the fittest out there, Kane, and I accept that.
HODGES
The ’67 Chevy just doesn’t cut it anymore?
REINHARDT
Moore’s Law is a powerful entity.
Hodges sips his coffee. The two begin walking.
REINHARDT
So how’s the weather in Echolls-land?
HODGES (smirks)
Not a moment goes by when you’re not thinking about my cases.
REINHARDT
Our clients’ affairs were intertwined…well, before you killed mine.
HODGES
You’ll never live that down. Hey – aren’t you supposed to be pissed off at me for that?
REINHARDT
I take it the boss hasn’t…addressed that matter with you yet?
HODGES
(He smirks) Well I don’t know what Wallace has in mind, but I’m sure the old man will work out his priorities soon enough. After all, the Senior Partners are sponsoring a number of ventures is the upcoming days.
REINHARDT
Well when that day comes, you can be sure to write it down on your brand new glitter board (he taps a board on the wall).
Hodges’ smile fades when he looks up at a schedule board drawn in pink glitter, decorated with hearts, stars, and little unicorns. All appointments are written in bubbly-handwriting with flamboyant curls.
HODGES (angrily)
Harmony!
Harmony looks up from her desk.
HARMONY
Yeah boss?
HODGES
What the hell is this?
HARMONY
Well you asked me to organize all your little meetings. This way it not only keeps you up to date, but it adds flare to the office!
HODGES (walking over to her)
This (he points) is embarrassing! How am I going to persuade the Ang’Garos demon cult into pursuing stock option bonds with wall full of unicorns!?
HARMONY
…But it took me like an hour to make it!
HODGES
Ang’Garos eat unicorns!
HARMONY
Well….see, they like them!
HODGES
Take it down. Now.
HARMONY (cutely frowning)
Angel let me make cute organizers.
HODGES (threateningly)
What have I told you about saying his name? Unless you have him incapacitated, bound, and gagged in my office, I don’t want to hear that name come out of your mouth. You’re not working for him and you never will again, got that?
HARMONY
God…yeah, fine. Whatever.
HODGES (walking away)
Hold my calls. Unless it’s McNeil.
Harmony cringes once Hodges turns his back.
Cut to: Angel’s Office, in which Gunn, Whistler, Oz, Spike, Nina, and Illyria congregate.
SPIKE
What a stupid bloke.
NINA
Well we need to find him. He could get himself killed!
GUNN
I know, I know. But that doesn’t mean we run into the situation blindly. We’ll need to split into different groups - Oz?
OZ
I’ll visit my “hack” psychic.
GUNN
Spike, you and Illyria wait for confirmation from Oz. You two are gonna be doin the dirty work, i.e., some ass-kicking.
SPIKE
Does anyone even know if this thing has an ass? Cause The First didn’t, and it bloody well killed its fair share.
NINA
What should I do? I prefer something that concerns my baby –
OZ
Uh…you know what time of the month it is…
NINA
That’s none of your business!
OZ
It’s wolf night.
NINA (totally bummed)
Oh….damn. Mark me down for ‘cage’ then.
WHISTLER
If we get lucky, the PTB will shine me a fresh vision. (He looks up at the ceiling).
GUNN
Well incase that happens, it’s best you stick with me.
WHISTLER
Fair enough. Where we going?
GUNN
The first place Angel would look.
Cut to: a hospital ward. Angel approaches the nurse behind the floor’s reception desk.
NURSE
May I help you?
ANGEL
Yeah I’m…is that a Monet? (he points to a painting behind her).
As the nurse turns her head, Angel quickly looks at a list of names in front of her.
NURSE
That? (She turns back to Angel) That’s just some crappy knock off. Like they’d ever spend a dime on real artwork…
ANGEL
Man, I’m telling ya – just a little decoration here and there will drastically change the hospital image.
NURSE (smiles)
So did you need something?
ANGEL
Oh, right…I have a…friend in this ward. He’s one of the comatose patients.
NURSE
Oh, I’m so sorry to hear that. What’s his name?
ANGEL
Uh, Lewis Fullerton.
The nurse looks down at the same sheet Angel scanned.
NURSE
Right, of course. Room 13b.
ANGEL
Thank you.
NURSE
That’s a pretty good friend to have, if you don’t mind me saying.
ANGEL
Why’s that?
NURSE
I mean, chief of police? Who wouldn’t want that kind connection?
Angel reflects on her last statement.
ANGEL
Yeah…(he turns) thanks again.
Angel enters room 13b to find two men lying in a coma. He checks the name of the first patient on the stat sheet, which confirms it is “Lewis Fullerton; Checked in two days ago.” Angel wanders over to the second patient, whose stat sheet reads “Walter Kennard; checked in two days ago.” At the bottom of the sheet, there is an asterisk which reads: “Patient has received proper shots during firefighter training.”
ANGEL
A policeman and a fireman…
Angel walks over to the first patient, Lewis Fullerton, and inspects the body. The overhead flickers as if a shadow just eclipsed it. On the back of the patient’s head, just between the hairline and the neck, there’s a symbol carved into his skin.
WESLEY
Do you know (Angel swings around, surprised) what a policeman and fireman have in common?
Angel remains silent.
WESLEY
They protect people. Fend off danger so that civilians may lead peaceful lives. Doesn’t that mission statement sound familiar?
ANGEL
Go away.
WESLEY
Yet unlike you, they fulfill their civic duties out of compassion for humanity. You, on the other hand, fight evil to try to convince yourself your life isn’t pathetic…and meaningless.
ANGEL
Get out of my head.
WESLEY
Oh, how lovely that would be….to be free from your consciousness. But I can’t pass on to the other side until you forgive yourself – which, as tendency shows, won’t be anything this century.
ANGEL
You’re not Wesley – I feel like I’m talking to myself when I say that.
WESLEY
And you’re not the heroic protector you pride yourself for being. (Takes a step forward) …So intent on saving lives. But you didn’t have the heart to save your best friend.
ANGEL
Shut up.
WESLEY
I wasn’t the first, either. Doyle. Cordelia. Fred. If we were your family, Angel, than why the hell were we so easy to cast aside!?
ANGEL (furiously)
Shut up! (He charges at Wesley, when the camera shifts positions, he is gone).
Cut to: Henri’s office. Oz enters her business room, in which she and a customer are conferencing.
HENRI
Oz? I have a client!
OZ
This is urgent. It’s Angel.
Henri hesitates for a second, then stands up.
HENRI (to customer)
We’ll continue this tomorrow (the customer leaves). This better be important.
OZ
What do you know about the recent comas?
HENRI
Only what Connie Chung tells me.
OZ
Damnit Henri Angel doesn’t have much time! If you’re at all the psychic you’re cracked up to be, then you’ll tell me what kind of supernatural forces are at work here.
HENRI
Alright…Alright. I don’t know much, I really don’t…but I have sensed volumes.
OZ
Sensed?
HENRI
Tallot cards, crystal balls – that’s a hoax. But that doesn’t mean I’m not psychically connected. I’ve felt the dreams of the victims. They take control of them, fill their minds with guilt, anger, or sorrow – anything that will get them to submit their consciousness.
OZ
And Angel?
HENRI
His…well, I’ve never felt such violent dreams.
OZ
What’s causing it?
A moment passes. Henri takes out a pen and piece of paper. She draws out the very same symbol Angel saw on the back of the patient’s neck.
HENRI
This…everywhere it goes, ever corner of their mind they hide, it follows.
OZ
That sign… I’ve seen it before.
HENRI
As well you should. The Wolfsbane back in Nepal teaches us to fear this symbol. It is the mark of the shadow demon….and apparently it’s itchin’ for chaos. If your friend is targeted….then he hasn’t much time.
OZ
Can you help him?
HENRI
There’s always hope.
Cut to: the ground floor of the hospital. Gunn and Whistler rush in.
WHISTLER
You sure this is where he went?
GUNN
I’ve worked with the man for years now. This is the first place he’d go in a case like this.
WHISTLER
Checking out the victims first hand...but what if he’s already found his breakthrough clue? He’d be long gone.
GUNN
Then we stop asking questions and follow his trail (he rushes up to the front desk) Excuse me, where are the coma patients?
LADY
3rd floor, Right Wing.
GUNN
Thanks.
The two of them head towards the elevator.
Cut to: Spike and Illyria sitting in Angel’s car.
SPIKE
….If he croaks, I call the Viper.
ILLYRIA
You pride yourself on such trivial metal constructs. You’ve grown sentimental, like a human.
SPIKE
It’s…a…Viper…you stupid bint. Even a she-devil like yourself should know the difference between a sports car and Pedro the Gardener’s covered wagon.
A cell phone rings, and Spike struggles to get it out of his pocket.
SPIKE
Yeah, what’s the word? (He listens)….On it. (He hangs up). Right then, we’ve got our address. How do you feel about hitting things over and over again?
ILLYRIA
Gleeful.
SPIKE
Fair enough (he starts the engine). Let’s get dirty.
Cut to: downtown, nighttime. As Angel is walking down an alley, he looks at the piece of paper grasped tightly in his hand. It is a drawing of the symbol he saw on the back of the patient’s neck.
Another shot shows Angel slipping into a warehouse once the coast is clear. The interior of the building is dim, but there are obvious indications that something has been inhabiting it.
WESLEY
I’ve got to hand it to you, Angel. Most people are curled up into a ball by now, willing their problems out of their mind. But we all know you can’t erase the things you’ve done…
Angel stops, but doesn’t bother to look for the voice. Camera focuses a close-up of Wesley, whose face is hidden. The angle of the shot doesn’t reveal his location in relation to Angel.
WESLEY
But come – on Angel, when has going solo ever bore fruitful results? Remember that time you sought after Darla by yourself? I recall you rather shut us out completely…and things swelled out of control from there.
A moment passes as Angel closes his eyes.
WESLEY
You hit rock bottom so fast you couldn’t even lose your soul if you tried….a prime example of your renowned self-pitying tactics….and then there was the birth of your son. Your poor, confused, bastard son -
Angel growls as he heaves an axe to his right, which hits only a pipe.
Cut to: 3rd floor hospital ward. Gunn and Whistler casually walk by two cops.
COP 1
…it’s bad out there. Nearly half the force is gone, let alone Old Fullerton. Crime rate’s increased tenfold since the comas.
COP 2
Think it’s terrorists? You know, like biological warfare and crap? Excuse, more like sleepy-warfare…
GUNN (to Whistler)
Ask them about the comas and who’s been hit.
WHISTLER
Why me? You do it.
GUNN
I can’t…I’m…black.
WHISTLER
Oh. (He approaches the cops) ‘ey fellas. Crazy week, huh?
COP 1
I’ll say. The force is wearing thin these days.
Cut to: warehouse. Angel breathes heavily, obviously quite angry.
WESLEY
Hear, hear. I wouldn’t give into rash decisions, Angel. Not after the things you’ve done. The things you can never atone for.
Wesley begins walking.
WESLEY
Let me ask you a question. A question that I asked you over five years ago, before the Shanshu ever became such a beacon of good merit. (Pause) What is it you’re fighting for? What is it that prevents you from digressing back to your rat-feeding sewer-dwelling days as a thing neither accepted by humans nor demons? You chose to distance yourself from the only thing you’ve ever loved, you signed your humanity away in a reckless attempt at saving the world, and you’ve let die your only connections to the world outside.
ANGEL
Yeah? If that were true, the real Wesley would have done something about it.
Cut to: the hospital hallway.
WHISTLER
Hey, since we’re on the subject…if you don’t mind me asking, just how many of the 54 hit by the coma bug have been police officers?
COP 2
54? Where the hell have you been?
COP 1
There’s at least…I dunno, Jim, about 150? 200?
WHISTLER
Jesus….all in one day?
COP 1
Yeah, the hospital’s just loaded with them – most of them officers.
COP 2
And if they’re not officers, they’re firemen, National Guard, military personnel…I swear, this here’s the work of terrorists.
Gunn elbows Whistler.
WHISTLER
Alright, alright – You men seen a tall guy, long black coat come by here?
COP 1
Well, it depends…he come here on a stretcher?
GUNN
They don’t know…let’s go. (he heads off).
WHISTLER
Nice chattin with you! (He catches up with Gunn). Hear that? Sounds like whatever’s causing this is after people with guns, or fire hoses…or Angel.
Cut to: the warehouse.
ANGEL
God, this is a new kind of torment. Trash talking. And I thought I’d seen hell.
WESLEY
Remember what Angelus said two years ago? He’s obviously your smarter half – he said (assumes Angel’s voice) “Look at you. Heroes. You’re so tangled up in your own crap, you can’t even find the world to save it.” (Back to Wesley’s voice) I think those words describe your situation quite well, given your inaction.
Cut to: hospital hallway. Gunn, who’s several paces behind Whistler, puts his phone away.
GUNN
Just got the call from Oz. This whole thing is the work of a demon –
WHISTLER
No surprise there.
GUNN
It’s trying to leave streets vulnerable so it can feed.
WHISTLER
Taking out all the cops – that should get the first part done.
GUNN
Yeah, well Spike’s gonna put an end to that. Frankly, all I care about is finding Angel. The way he’s looking, he’s as vulnerable as the rest of them. (He notices Whistler has stopped) What’s up?
Cut to: warehouse.
WESLEY
Ironic, those words. Here you are, trying desperately to put an end to your own suffering in one, lonewolf heroic sweep, when there’s an entire city out there primed for mayhem.
Angel looks confused at first, but he slowly starts to realize what’s going on.
Cut to: hospital. Gunn catches up to Whistler, who’s starting into a hospital room.
Cut to: warehouse.
WESLEY
Brilliant how your internal demons can keep you so occupied.
Cut to: hospital. Gunn stands next to Whistler, and the camera swings around to reveal Angel lying on the floor, in a coma.
WESLEY (v.o.)
And here you actually thought you were the center of your own drama.
*
Cut to: A grocery store. Spike and Illyria enter, Spike looking dumbfounded and Illyria intrigued.
SPIKE
(Muttering) Is this the bloody right address (looks to a sign out the window)….yeah. Bloody joke, this is….
ILLYRIA
These lights….make them less obtrusive.
SPIKE (spinning around, waving his arms)
Anyone here seen a demon? About yea big, a bit fat ‘round the underbelly (gestures), gnarly?
The shoppers ignore him.
SPIKE
No? Yep, well…don’t come sobbing to me when the damn thing tears your heard off. (He starts walking down an isle) Come on then, we’ll see what you’re smuggling in the back….other than sodden immigrants.
Spike grabs a Slim Jim as he and Illyria make their way to the back of the store. They enter double swinging doors with a sign saying “EMPLOYEES ONLY – DO NOT ENTER.”
As they enter the loading bay of the grocery store, Spike stops dead in his tracks. Camera swings around to reveal a slim, muscular shadow demon with a jet black face which makes its features indistinguishable. Its eyes glow a blood red, and its teath gnash at the sight of intruders.
SPIKE
Hey – you’re not fat. But all the same, then. Bend over and Spike’ll make it quick.
The shadow demon suddenly violently twitches, then splits into two identical copies. Those two further divide into a total of four.
SPIKE
…Balls.
One shadow charges at Illyria, who grabs its arm and flips the demon onto its back.
ILLYRIA
They fall all the same (she jerks her head up).
Spike and Illyria commence their battle with each of the shadows. After a few moments, Spike manages to stick one’s head in the loading bay door, then slam the rafter down on its neck. Spike holds the head up high, which has yellow eyes, as it reassembles itself and kicks Spike in the face.
SPIKE
You’re joking! … Hey, find the red-eyed one, it’s the original!
Illyria tears through a shadow, then begins scanning for the red-eyed shadow.
ILLYRIA
I shall miss this battle when it’s over.
SPIKE
Well keep tearing up the wrong bloody one and it won’t!
Cut to: The front door of Angel’s office is kicked open as Gunn and Whistler carrying the comatose Angel in. Oz and Henri are already there, with Henri sitting in the middle of a meticulously laid-out mystic circle.
GUNN
The magic ready?
HENRI
It’s not magic, mister. That hogwash is for witches. I prefer the practice of psychic willpower.
WHISTLER
Lady – I don’t care if you crap out a sailboat made of solid gold as long as it snaps Angel and the rest of the gun-toting world out of dreamland!
Henri lets out a pretentious “hrmph!” before focusing again. Oz helps Gunn and Whistler put Angel on the couch.
HENRI
Mind….body…aura
Mind….body….aura
Cut to: Spike and Illyria in the loading bay, fighting while scanning the eyes of the increasing shadow demons.
HENRI (v.o.)
No mind shall be imprisoned, no conscience be fooled…. (Several crystals surrounding her illuminate in a variety of colors)…Those who slumber physically…will henceforth be removed…
The crystals shatter as light eminates from them. The lights gather into one at the center of the room, then mushroom outwards in a shockwave.
Cut to: a series of shots showing policemen and firemen in the hospital stirring out of a coma. Other shots show the minds of the coma patients, in which images of dead friends and family members lifted as they awake.
Cut to: a now glowing warehouse.
WESLEY
Nothing’s changed, Angel! What you’ve done and what you’ve ignored are still as prevalent as ever and they’ll eat away at you until there’s nothing but a shadow of yourself.
Angel picks up his axe.
Cut to: loading bay. All the shadows suddenly and violently twitch as they are forced back into the original, red-eyed demon, which stands right in front of Spike. It gnashes its teeth right as Spike breaks its neck over his knee.
ANGEL
For the last time…(he swings his axe at Wesley’s neck, which removes the image of Wesley’s face and reveals the jet black visage of the shadow demon.)…You’re not Wes.
The entire warehouse is engulfed in white light.
*
Cut to: Angel’s office, morning. He awakens on the couch to find the entire ensemble sitting around the lobby.
NINA
How you feeling, baby?
ANGEL (smiles)
Man, I just had the weirdest dream…
NINA
Yeah, well tell me about over a cup of coffee. And don’t gimme that ‘I only drink blood’ excuse. After what you pulled, I’m never gonna let you get sleepy again.
ANGEL
If you think you can.
Cut to: a subtle lapse of time within the office. Angel sits upright on the couch as he talks to the group.
ANGEL ( to Gunn)
…So let me get this straight. You and Whistler followed my trail to the hospital…while Oz went to Henri’s to find out about what’s causing the comas….while Spike took Illyria to go kill the thing –
SPIKE
No, you bleeding idiot! We had to wait for Oz’s signal.
OZ
Signal was key.
ANGEL
You had signals? I never even use signals.
WHISTLER
Yeah, it’s hard to get the timing right when you’re the only one in on it.
ANGEL
Oh, right…hey, that wasn’t me. You heard the symptoms. Short tempers? Not my fault.
SPIKE
Especially since you’re such a chivalrous lad on any other day.
ANGEL
You guys did well. You pulled it together in my absence you probably did a better job than I could have done.
OZ
It’s a step up from puppy-saving.
GUNN
We didn’t even get paid for this one…
NINA
Still, see what happens when we work as a team? Sure beats Angel going off to fantasy land by himself.
ANGEL
No…not just as a team. We’re a….family.
SPIKE
Oh, for Chrissakes. That’s about the last bit of puppy-dog sentiment I can take (Spike gets up and leaves).
NINA
So…what are you gonna do? Wanna check out some cases?
ANGEL
I think I’ll just…rest for now.
The group goes silent.
*
Cut to: cemetery, nighttime. Angel walks solemnly towards the center, stopping at Wesley’s grave. He bends down. After a quiet moment, he speaks to the tombstone.
ANGEL (v.o.)
Right about now you’d be telling me to let it go…to stop beating myself up over it. Who knows – it might be good advice, but I promised myself I wouldn’t let you go. And there’s no reason I should. You’re a part of this family, whether in person or in spirit – and I wouldn’t change that for the world. (He stands up) Not for any world.
Camera pans out for one last shot of Angel standing over Wesley’s grave.
Fade to: Black
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