Fathers, Part 2

Fathers

Part 2

(May 4, 2005)

Written by Masquerade

Act Three

INT. MONASTERY UPSTAIRS HALLWAY - DUSK

Angel appears at the top of the stairs, eyes alert, SWORD RAISED.

Then he lowers it.

REVERSE ANGLE - the library door. Standing there is FAITH. She gazes at him expressionlessly.

ANGEL
Faith.
You want to come downstairs?

FAITH
(coolly)
Not staying long.
CUT TO -

INT. BASEMENT HALLWAY - DUSK

Spike gazes down at Fred, who is still hunched over on the floor. She rises slowly, BRINGING UP HER SWORD. Her expression is icy. Spike steps back.

FRED
(with Illyria's voice)
You...stink of death. You're the worms beneath my feet.

SPIKE
(puzzled)
Blue?
Fred shakes her head rapidly, then gasps. Her eyes focus on Spike.

FRED
(Fred's voice, quivering angrily)
How....
How can you talk to that thing like it's a
friend of yours!?
(deep inhale)
It tried to kill me!
She stumbles forward, sword sagging. Spike steps up to catch her.

Fred CONVULSES, her hair turning from brown to blue to brown.

FRED
(looking up at Spike)
Spike...help me get this...thing out of me.
Spike gazes at her with pensive compassion.
SPIKE
I'm not sure it's that easy, luv.
Fred convulses again.

FRED
(gritting her teeth)
No. I am not...going to...let her--it--!
CUT TO -

INT. UPSTAIRS HALLWAY - DUSK

Faith stalks past Angel, then whirls around to face him.

FAITH
...I would like to know what the hell you thought you
were doing!
All the girls I left in L.A., all of them, except two,
are dead! And Brian!
(she grins miserably)
And Jacki...God, I hope she's dead, 'cause if she's not....
CLOSE-UP on Angel, who glances down for a second, then raises his chin, stiff-jawed and unflinching.

ANGEL
I'm sorry about the losses, Faith, but those Slayers
fought willingly. And when things went sour, they could
have left with Anne and the others. They didn't.
They chose to fight.

FAITH
"Chose to fight"?! They were kids!
What the hell did they know?!

ANGEL
(nodding)
I made the call, I chose the battle. But I had a lot of
people to coordinate. Brian was supposed to keep you
informed. If you had any objections--

FAITH
Oh, so now it's Brian's fault?
(lowering her voice)
You know, I once led Slayers into a set-up, the first time
I was ever in charge of a squad. I screwed it up royally,
and I learned my lesson.
You've been doing this a lot longer than I have.
You had people you knew and trusted telling you your
strategy was crap. But you went through with it anyway.

ANGEL
The plan was sound. If the Kir Ma'alesh hadn't--

FAITH
I don't care!
If I'd been there, I wouldn't have let you use my girls as
cannon...cannon--

ANGEL
(mumbling)
Cannon fodder.

FAITH
--Because those girls weren't just nameless, faceless
soldiers to me, Angel! They were my friends!
(beat)
What if it'd been B when she was just a kid?
Would you have just thrown her into something like that?
What if it'd been Connor?!
Angel stares at her, looking genuinely thrown.

ANGEL
What...did you say?

FAITH
Connor! You remember him, don't you?
Your stick-figure super-brat of a son?

ANGEL
Of course I do, but--

FAITH
Well, that's good, because I sure the hell didn't!
I'm standing there, talking to what's left of my squad,
when all of a sudden I get dizzy and I have that time
I came to L.A. to help bail your pathetic soul out of a
jar running through my head, and then all of sudden,
I'm thinking, "Connor."
Would you have thrown Connor into that mess?

ANGEL
Faith--

FAITH
(shaking her head)
Don't come to me the next time you need help.
I'll call you.
She turns and heads back through the library.

ANGEL
Faith--!
The front door slams. Angel gazes after her, stunned. Then his shock melts into determination. He heads back downstairs.

CUT TO -

INT. BASEMENT HALLWAY - DUSK

ANGLE ON - Fred, who is convulsing in Spike's arms.

SPIKE
(worried)
Fred?
She stops shaking and LOOKS UP. Her hair and eyes are ICY BLUE. She pulls away from him and stands tall.

ILLYRIA
(grimacing)
That name is but a grasping memory, vampire.
(she gazes around and starts pacing)
This place....reeks of the weakness of humanity.
I've been weak, letting those memories infect me
like a disease.
(she casts her eyes on Spike)
Monarchs do not live with half-breed scum. They conquer.

SPIKE
(brow knit)
Uh, right. Er--
Illyria advances on him, then stops in her tracks and convulses again. Her blue hair goes brown.

Fred hunches in on herself.

FRED
(straining)
This is...my...body!
She lets out a shuddering breath, then stumbles against the wall. She stands quivering for a moment, then gazes at Spike.

FRED
She knows. She knows I'm real.
That I'm...really here.
She wants me out.
We hear the heavy thud of shoes on the staircase.

INT. BASEMENT WORKSHOP/SITTING ROOM - DUSK

Angel grabs his coat from the back of the armchair.

Spike appears.

SPIKE
Where are you going?

ANGEL
Michael's.
CUT TO -

INT. BASEMENT HALLWAY - DUSK

Spike takes Fred's arm gently.

SPIKE
C'mon, we'll take you to Michael.
Angel! Wait!
But all that's left of Angel is rapidly receding footsteps across the ceiling.

EXT. MONASTERY - DUSK

Angel climbs into a dented and scratched blue Chevy Cavalier and takes off.

CUT TO - Across the street. Five Madowk watch from the shadows of an abandoned bank.

INT. MICHAEL'S OFFICE - EARLY EVENING

The room is clear of any sign of Michael's spells, except for the sapphire pendant, a jar of white sand, and an empty bowl, which are sitting on the desk. Michael stands beside the desk, gazing down at these items. Angel paces the floor.

MICHAEL
...I did sense that someone was trying to interfere
with your son's protection spell. I don't know who or how.

ANGEL
I do.
Michael looks up, startled.

ANGEL (cont.)
It was the Senior Partners.
(he stops pacing)
You remember me telling you what happened to Connor.
How I arranged that spell to give him a new life.
(Michael nods)
The Senior Partners put that in place. And now--
Michael's lips purse.

ANGEL
(defensively)
You had a son, Michael. Wouldn't you have done anything
to protect him? Even deal with the devil?

MICHAEL
(quietly)
I suppose I might have.

ANGEL
It's how I ended up at Wolfram and Hart to begin with.
(he starts pacing again)
And now...it seems as if someone's messing with the
memory block. It's not the first time that's happened.
Last year, there was this demon sorcerer, Cyvus Vail--
he had this...this gold box that showed the past, and--
and it broke and Wesley and Connor got their memories
back. Illyria got Fred's memories, too, not that she cared.
(beat)
But that only happened because they were near the box
when it broke. My other friends never remembered. And
then, today....
(he stops)
Michael, Vail was a member of the Circle of the Black
Thorn. Which means whoever did this is likely an agent
of the Senior Partners, too. Who else would even know
my son exists?

MICHAEL
(eyes downcast)
What happened today with your friend Faith--that was...
I imagine that was a side effect of someone trying to
mess with the protection spell.
(he glances up furtively)
But the spell's still in place.

ANGEL
That's what you said about the protection spell on the
monastery. And then a slobbering Cu Sith smashed a hole
through the front door.

MICHAEL
That was an oversight. The spell was designed to
prevent uninvited demons and humans from entering
the building. Technically, a Cu Sith is an enchanted animal.
But I took care of that.

ANGEL
Well, I don't want any oversights this time. This is my son.

MICHAEL
(nodding)
I was especially careful in the planning and
application of his protection spell.
But...if it will make you feel better...I could do a,
uh...reinforcement charm on it. Bolster it up a little.

ANGEL
All right. Good.
Michael opens the desk drawer and pulls out a knife.

MICHAEL
I'll need some of your blood, again.
Angel takes the knife. He walks over to the bowl Michael indicates and slices into his palm. He kneads a few reluctant droplets into the bowl.

ANGEL
I want to find out who did this, and what they hope to
accomplish by hurting Connor.

MICHAEL
(nodding)
Of course.
Michael picks up the blue sapphire pendant. He smears Angel's blood on the stone.

MICHAEL
If you could...I'd appreciate a guard on this place
while I do the reinforcement charm. I'm not sure if
it will do any good, but it'll allow me to concentrate.

ANGEL
Yeah, sure. I'll be right outside.
Angel exits.

Michael exhales a deep nervous breath.

INT. REILLY DINING ROOM - EARLY EVENING

A rustic, wood-paneled room. A fire is crackling in the fireplace. Colleen Reilly is seated at the table, a coffee mug in her hand. Her thirteen-year old daughter Kerri is staring at an untouched mug of hot chocolate.

Lawrence enters from the kitchen and sits down at the table across from his wife.

LAWRENCE
I've filed a report with the police, but they don't consider
a car stolen by a member of one's family a "priority."
What was I supposed to say? "The kid that stole it is my son,
but he's also a complete stranger"?

COLLEEN
(eyes staring forward thoughtfully)
They'd just think you were nuts.

LAWRENCE
Exactly.
He looks down pensively. A moment of silence passes between them. Finally -

COLLEEN
I'm worried about him.
Down in Los Angeles by himself.
Lawrence rubs his chin. He nods.

COLLEEN (cont.)
I mean, whoever he is, whatever is going on....
It doesn't change the fact that I remember him.
Her hand dips to her abdomen. Her eyebrows rise.

COLLEEN (cont.)
I remember the Caesarean. Lawrence...
(he looks up)
...I still have the scar.
I remember changing his diapers.
And holding him when he cried.
He still...feels like....

LAWRENCE
(nodding)
Our son.
Lawrence looks over at his daughter.

LAWRENCE
Hey, how're you doing there?
(she shrugs)
Kerri, can you run upstairs and get my car keys?
They're on top of my dresser.
As his daughter rises, Colleen throws her husband a sharp look. She waits for Kerri to leave the room.

COLLEEN
You're not going down there, are you?

LAWRENCE
I can't just sit here.
Connor might be able to protect himself against a
few stray demons, but I've heard stories about the
military, how they're handling things.
What if they think he's a demon?

COLLEEN
(troubled)
How do we know he's not?

They lapse into silence for a beat, then -

LAWRENCE
Colleen, we both agree that Connor means something to us.
Whatever else he is, wherever he came from, he needs to
know that.
Colleen sets her hand on the table and leans towards him.

COLLEEN
I'm going with you.

LAWRENCE
And what, are we going to bring Kerri, too?
(shaking his head)
It's dangerous enough as it is down there.
It should only be one of us.

Lawrence pushes his chair back and STANDS UP.

LAWRENCE
I've got the cell phone. And the Jetta's got that
anti-theft tracking system.

She nods and sits back.

COLLEEN
I keep...thinking about how this happened.
Who could have possibly done it. And why.

LAWRENCE
Wolfram and Hart.

COLLEEN
What?

LAWRENCE
I was just thinking, maybe that's where Connor's gone.
Looking for answers.

COLLEEN
Unless he already has the answers.
(off Lawrence's puzzled look)
Well, you know how he's talked lately.
It didn't make any sense before, but....
Kerri comes back into the room. She hands the car keys to her father. Lawrence takes them.

COLLEEN
He knew, Lawrence. I mean, before today. He knew he
wasn't our son.

LAWRENCE
I'll call you when I find him.

EXT. UNIQUE ANTIQUES - EARLY EVENING

Angel wanders down an alley between the antique store and the abandoned herbalist shop next door, sword in hand.

SPIKE (o.s.)
Oi! Angel!
He turns to see -

Spike, standing at the end of the alley, Fred beside him. She's trembling and mumbling low to herself.

SPIKE
I thought you were going to talk to Michael!
What are you doing out here just standing about?

ANGEL
(walking over to them)
He's doing a favor for me. What are you doing here?
Spike glances down at Fred with concern.

SPIKE
Angel...she's cracking up. And I mean seriously.
First she's Blue, then she's Fred.
And I don't like the way Blue's talking.
Michael needs to look at her. Help me get her inside.
Angel frowns, one hand on his hip. Then his attention is drawn to the back end of the alley.

ANGEL
I think we have other problems to take care of first.
He points. Spike looks.

REVERSE ANGLE - Five MADOWK are advancing on them, CURVED BLADES in hand.

SPIKE
Bloody hell.
The Madowk come to a halt midway down the alley. One of them raises his blade and shakes it at them.

MADOWK
We took those humans prisoner in accordance with our
customs. You had no right to interfere!
Angel steps towards the demons.

ANGEL
Not really interested in your "customs."
Another demon steps forward, her eyes flashing.

FEMALE MADOWK
You should be. By seizing our prisoners, you have sided
with our enemies. And that makes you our enemies as well.

SPIKE
(mumbling)
Great, just what we need. More enemies.

MALE MADOWK
If you disavow your alliance with the humans that dwell
above us, we will not claim the Right of Protection.

SPIKE
(puzzled, worried)
The Right of--? What's that, now?

ANGEL
(to Spike)
Irrelevant.
(raising his voice to the Madowk)
Sorry, but we don't just abandon people who've asked
for our help.

FEMALE MADOWK
Then you give us no choice.
She nods at the others.

The Madowk CHARGE THEM.

INT. MICHAEL'S OFFICE - EARLY EVENING

Michael draws another circle on the floor with white sand. There is a KNOCK at the back door. He finishes the circle, sets the jar of sand on the desk, and exits his office.

INT. BACK HALLWAY - UNIQUE ANTIQUES - EARLY EVENING

ANGLE ON - the back door of the store. Michael puts his hand on the knob.

MICHAEL
Who is it?

VOICE
(muffled through the door)
It's Paul.
Michael opens the door.

EXT. THE ALLEY BEHIND UNIQUE ANTIQUES - EARLY EVENING

Paul Soutar is standing there, his head dipped down and his hands deep in his black trench coat pockets. His hair is once again black with gray at the temples.

ANGLE ON - Michael, standing in the doorway. He pokes his head out and glances down the alley.

His POV - The alley is littered with broken glass and a fallen telephone pole. A dumpster has its doors hanging open. There is only one operating security light. We hear voices shouting somewhere nearby.

Michael's overwhelmed eyes return to Paul.

MICHAEL
Am I glad you're here.
He steps aside and lets Paul in. After he shuts and locks the door, they head back down the hallway to the office.

INT. MICHAEL'S OFFICE - EARLY EVENING

MICHAEL
I tried the Nexus spell. It didn't work.
Somebody or something interfered with it.
Michael crosses the room to the desk. Paul glances around, and sees -

The WHITE CIRCLE on the floor.

PAUL
(looking up)
I sensed a powerful influx of mystic energy about an
hour ago. Since I figure you're the only sorcerer left
in town that I have that kind of connection to, I
thought I'd come over and see what happened.
Michael picks up the dragon's stone off the desk and slips it into his pocket. He turns.

MICHAEL
Angel's pretty paranoid about the Wolfram and Hart
Senior Partners, but I'm starting to think he's right.
Someone or something very powerful doesn't want this
Nexus spell to happen.

PAUL
So what are you doing now?

MICHAEL
After the Nexus spell failed, Angel came over.
I think the disrupted spell somehow restored the
original memories of the people it enchanted,
without wiping out the new memories.
I only know of one case so far, but I'm betting
it affected others as well.
(thoughtfully)
...I'm going to have to do something about that.

PAUL
(pointing at the sand)
But that's not what this is.

MICHAEL
(glancing at the circle)
No.
He looks up at his friend.

MICHAEL
I can't go through with the Nexus spell, Paul.
I'm reinstating the protection spell on Connor Reilly.
Paul's brow wrinkles.

MICHAEL (cont.)
There has to be some other way to deal with the chaos
than killing a young man.
Paul reaches out and grasps Michael's wrist.

PAUL
Thousands of people have already died, Michael!
There isn't another nexus. You're just going to let the
destruction continue when you have a way to stop it?
How is that ethical?

MICHAEL
(yanking back his hand)
It's not just the boy! Doing the Nexus spell will mean
bringing back the Circle of the Black Thorn!
And I realized I'm not willing to do that.
(beat)
I still believe there's a role for magic in ending the
chaos. But I'm going to find another approach.
Michael turns and walks over to the desk. He picks up the bowl with Angel's blood.

Behind him, Paul juts out his foot and KICKS AT THE SAND, breaking the circle.

Michael turns.

MICHAEL
(perplexed)
What are you--
Paul LUNGES AT HIM, knocking the bowl from his hand. It FALLS TO THE FLOOR. Michael scrambles for the dragon's stone in his pocket, gaping at him.

Paul steps back and raises a hand towards Michael.

PAUL
Morere!
A BLUE BOLT OF MYSTICAL ENERGY leaps from his fingers and KNOCKS MICHAEL TO THE FLOOR. Paul steps over him quickly and grabs the sapphire pendant off the desk. His hair is STREAKED GRAY again, and the wrinkles on his face have DEEPENED.

EXT. UNIQUE ANTIQUES - EARLY EVENING

A BATTLE is in full swing, five Madowk against Angel, Spike, and Fred. Two of the Madowk charge Fred, each grabbing one of her arms, while the other three keep Spike and Angel at bay. Fred twists, yanking her arms out of their grip. Then she backhands one of her opponents, SENDING HIM FLYING. The other demon gapes and stumbles back. Fred glares at him.

Then she sways. Her hand rises to her forehead.

FRED
No....no....
She MORPHS INTO ILLYRIA. Illyria blinks. Then she sees -

Her two Madowk opponents, staring at her, eyes wide.

ILLYRIA
(grimacing)
Cowards! You would dare try to take me?
She leaps on the closer of the two and WHACKS HIM DOWN, HARD.

We hear the sound of car brakes squealing out on the street.

Meanwhile, Angel's sword CLASHES against the curved bronze blade of another Madowk. The sword SEVERS THE BLADE IN HALF. A weaponless Spike head-butts one of the two demons attacking him, then knocks the other back with an elbow.

His first opponent, the female, stumbles, disoriented. She recovers her equilibrium and sees Angel. Her eyes widen. She sinks down to a crouch, grabs up a piece of BROKEN WOOD, and rises.

BLACK OUT.

END OF ACT THREE

Act Four

EXT. UNIQUE ANTIQUES - EARLY EVENING

Angel advances on his now-weaponless opponent. Neither he nor Spike, who is busy dodging his opponent's blade, sees the female Madowk inching up behind Angel with her MAKE-SHIFT STAKE.

QUICK-CUT TO - Illyria, stalking towards her own opponents.

ILLYRIA
Your emotions betray you.
Are there no demons left in this world who don't
stink of the vilest traits of humanity!?

Angel raises his sword. The female Madowk rushes him.

Then she STIFFENS UP STRAIGHT, eyes bulging, and TOPPLES OVER TO THE GROUND, a jagged shard of metal in her back.

The Madowk fighting Angel inexplicably lowers what's left of his blade, eyes wide.

MADOWK
T'chli!
He turns towards the source of the projectile. Angel, confused, turns as well -

A BLUR OF MOTION barrels into Angel's opponent, punching and kicking him.

Angel doesn't pause to marvel at his good fortune; he turns immediately on the Madowk pummeling Spike, grabs him, and heaves him away.

CUT TO - Illyria, who has her two opponents standing tensed against a wall. Suddenly, Spike's opponent FLIES OVER ILLYRIA'S HEAD, howling, and lands with a thud near the back of the alley.

A beat later, ANGEL'S OPPONENT FLIES AFTER HIM.

The other two Madowk inch away from Illyria, then turn and run over to their companions.

The newcomer, a human dressed in ordinary street clothes, BARRELS INTO THE FRAME chasing after the demons. The two on the ground rise quickly, and together the four BOLT OUT OF THE ALLEY. The human stops and lets them go. He turns back around, breathing heavily, eyes on Angel.

CONNOR
Looked like you could use a little help.
CUT TO - Angel, who takes in the sight of his son.

INT. MICHAEL'S OFFICE - EARLY EVENING

WIDE SHOT - Michael is sprawled on his back near the desk, eyes closed. Paul grabs a large bronze bust of Paracelsus off a bookshelf and returns to the desk. PAN DOWN TO A CLOSE-UP on Michael. His hand is still inside his pants pocket. Through the fabric, we see a RED GLOW.

Michael blinks. His eyes flutter open. He looks up.

His POV - Paul, standing over him, holding the bust high in one hand.

CUT TO - a MEDIUM SHOT of Paul and Michael. Paul is gazing down at the sapphire pendant on the desk. His expression is grim and determined.

Michael's eyes narrow. As Paul brings the bust down, Michael HEAVES HIMSELF UP, GRABS PAUL'S LEG, and YANKS HIM BACK. The bust falls to the floor with a thud. Michael lets go and crab-shuffles away.

Paul whirls at him, his eyes wild. He jabs a finger at Michael.

PAUL
Morere!
Mystical energy shoots from his fingers. Michael raises his crooked arm over his face.

MICHAEL
(shouting, panicked)
Protegar!
The bolt BOUNCES OFF HIM and dissipates.

Paul steps back, stunned. Michael blinks and exhales. He gapes up at Paul.

MICHAEL
What are you do--
Then Paul GRINS.

PAUL
Well, Mikey. Your magic has improved.
That was supposed to kill you.

Michael staggers up to his feet, his eyes never leaving Paul. Paul chuckles with delight.

PAUL
I think you could have actually pulled off
the Nexus spell!

MICHAEL
(stunned)
It was you.... You were the one that....
But why on Earth would you stop it?
Paul says nothing. He reaches for the sapphire pendant on the desk.

Michael's eyes shoot to it. He throws out a hand.

MICHAEL
Eludas!
The pendant wobbles and shifts, then SHOOTS OFF THE DESK.

Michael gazes around the room.

ANGLE ON THE CARPET - The white sand is scattered. The bowl with Angel's blood lies upside down.

MICHAEL
(realizing)
The Nexus spell was never the point was it?
You just wanted me to....
(whispering, shocked)
Rescind the protection spell on Angel's son.

EXT. THE ALLEY BESIDE UNIQUE ANTIQUES - EARLY EVENING

Spike walks over to Angel and Connor. Illyria lingers several meters away. Connor gives her a sullen glance. She approaches him.

ANGEL
(glancing around)
I think we'd better get inside.
(seeing Illyria)
Connor, you remember Spike and Illyria.

CONNOR
(with a small wave at Spike)
Hey.
Spike nods. Connor gazes at Illyria warily. She stops in front of him.

ILLYRIA
(matter-of-factly)
You no longer lust after me.
The sight of me horrifies you.

CONNOR
(dismayed)
Well, you.... You're Fred.

ILLYRIA
(with disdain)
The human that occupied this shell is--
Illyria starts quivering. Connor steps back, eyes wide.

ILLYRIA
I don't.... Auuugh!
Illyria doubles over and shakes. Then she TRANSFORMS INTO FRED.

FRED
... Auuh!
Fred trembles, clutching her arms with her hands.

Spike walks over to her.

SPIKE
Fred? Are you--
(he turns)
You see what I'm saying, Angel?
She can't control it!
Fred peers at Connor.

FRED
Connor?

ANGEL
All right. We'll get her some help.
But that has to wait.

SPIKE
(taken aback)
What? Why?

INT. MICHAEL'S OFFICE - EARLY EVENING

Michael and Paul face off, Paul by the desk, Michael near the door. Paul still looks older than when he arrived, and weary.

MICHAEL
Why would you...Why would you want me to take the
protection spell off Angel's son, un--unless you wanted
to hurt him somehow, or threaten his father?
(he shakes his head)
Paul, I know that Angel bears some responsibility for
what's going on out there, but why would you put his
son in danger over it?
And--and why would you try to kill me? We've been
friends for--
Paul smiles, snake-like. But there is a look of wariness in his eye.

PAUL
Twenty-five years, Mikey.
And you've always been....
He chuckles disdainfully. He starts slowly across the room, in an arc around Michael.

PAUL (cont.)
Well, more sound than fury.
Your mommy thought you had the potential for more...
(he shrugs)
but then, she was a mother.

MICHAEL
(stunned; hurt)
P--Paul....

PAUL
(taunting)
You know what I think? I don't think your magic has
improved all that much. You were never that good, and
you were never going to be.
(still creeping)
So I don't think it's you who are doing this now.
I think it's borrowed power.
(he tilts his head)
Did Mama's Little Champion finally sell himself out
to the "dark side"?
A guarded but self-possessed look slowly comes over Michael's face.

MICHAEL
And what would you know about that, Paul?

PAUL
(chuckling anxiously)
Enough to know we've got ourselves a little
stand-off here. Cute.
(he raises a hand)
Gela!
A BOLT OF BLUE ENERGY leaps out at Michael, FREEZING HIM IN PLACE. Paul bolts out of the room, coattails flying.

EXT. THE ALLEY BEHIND UNIQUE ANTIQUES - EARLY EVENING

Angel, Connor, Spike, and Fred round the corner into the back alley. Angel throws out his free hand to stop Connor in his tracks.

CONNOR
What?
Angel backs up.

SPIKE
Angel?

ANGEL
Sshhh.
He peers around the corner again.

Angel's POV - PAUL SOUTAR, leaving Michael's shop. He pauses and glances over in the direction of the side alley.

CLOSE-UP on Angel, ducking back. His brows knit with bewilderment.

QUICK FLASHBACK -

A wooden table in an oil-lamp-lit room. We see a man who looks exactly like PAUL SOUTAR, dressed in eighteenth-century garb, sit down at the table with two other men similarly attired. One of them is recognizable from "The Prodigal" as LIAM'S FATHER.

CUT TO - THE BACK ALLEY. Paul frowns and heads off into the night.

CLOSE-UP on Angel's puzzled expression.

CUT TO -

INT. UNIQUE ANTIQUES - EARLY EVENING

Angel and Connor follow a shaky and preoccupied Michael down the back hallway. Trailing after them are Spike and Fred.

CONNOR
(to Angel)
My parents really freaked out. I didn't know what else
to do. Didn't know if you'd still be around. But I managed
to pick up a trail.

SPIKE
(frowning)
A "trail"?

CONNOR
(glancing back)
I can track just about any demon there is.
(he eyes Angel)
It's even easier when you know the scent you're after.

SPIKE
(grinning, glancing at Angel)
Has a stink, does 'e?
Angel throws Spike an annoyed glance.

INT. RETAIL AREA - EARLY EVENING

Michael enters and switches on a lamp. Fred drifts into the room, gazing around. Connor slows near the doorway, eyeing her. Angel sets his sword down against the wall. Spike follows after him.

SPIKE
(lowered voice)
So what's so important that helping Fred has to wait?

ANGEL
I need you to take her back to the monastery.
Something else has come up.

SPIKE
(sputtering)
Oh, no. I am not going to let you--
Michael steps up close to them.

MICHAEL
(voice low)
Spike, someone is trying to hurt Connor. Give us time
to get to the bottom of it. I promise you, as soon as
it's over, I'll do whatever I can to help Fred.
ANGLE on Connor, whose eyes shoot over to Michael, Angel, and Spike.

SPIKE
(scoffing, voice low)
So, what...you're saying some kid who showed up on
the sidewalk is more important than Fred?

ANGEL
(impatiently)
Spike, just do it.

SPIKE
(shaking his head)
Someone's always trying to hurt someone, Angel,
it's the bloody apocalypse out there. But Fred--Blue,
she's part of your team!

MICHAEL
Spike, you don't understand--

SPIKE
(giving Connor the once-over and shrugging)
What's there to understand? Angel always was a bit of
a poof.

ANGEL
(really annoyed now)
He's my son, Spike.
(he exhales)
Connor's my son.

SPIKE
(with a scoff)
Uh, Angel, in case you haven't noticed, you're a
vampire. The closest thing you have to a son is....
Can we forget I started that sentence?

ANGEL
Gladly.
(pause)
Look, don't ask me to explain right now. But Connor
is my biological son.

SPIKE
(guardedly, bordering on defensive)
Yeah? Who's his mother?

ANGEL
Darla.
(off Spike's you're-completely-cracked look)
It's a long story, I'll explain it some other time.
Spike throws Connor a puzzled glance.

SPIKE
(resigned)
All right. I'll take Fred home. But if she cracks
like an egg--or cracks me like an egg, it'll be on
your head.
Spike walks over to Fred, giving Connor a glance as he passes him. He sets his hands on Fred's shoulders. They speak for a moment, then the two of them walk towards the back hallway. Fred waves at Connor as they exit.

Connor shoves his hands in his pockets, looking overwhelmed.

CUT TO - Michael and Angel, gazing over at Connor. Michael's expression is distant and pained.

MICHAEL
(voice still low)
So that's your son.

ANGEL
(with a hint of pride)
That's my son.

MICHAEL
(somewhat sadly)
You're a lucky man, you know. Despite everything.
He's alive, and he's well. And when push comes to shove,
he still comes looking for you.
Angel gazes at Michael sympathetically. Then he lowers his eyes for a beat.

ANGEL
Michael, there was a guy here just now.
Leaving your shop.

MICHAEL
(uncomfortable)
Er...yeah. He's a colleague I was consulting with.

ANGEL
Is his name Nicholas Trent?
Michael stares at Angel.

MICHAEL
No. It's Paul Soutar.
(stunned)
Why on Earth would you say that?

FADE TO -

EXT. A COBBLE-STONE STREET - NIGHT - ESTABLISHING (FLASHBACK)

ANGLE ON - HORSES' HOOVES, clip-clopping across the stones. Following them into the frame is the front left wheel of a carriage, and then the back wheel. PULL BACK to a MEDIUM SHOT of the carriage, passing down the street. Continue PULLING BACK until it passes, revealing behind it a modest but comfortable IRISH COTTAGE.

SUPER LEGEND: Galway, Ireland, 1749

INT. A BEDROOM IN THE HOME OF FERGUS OF GALWAY - NIGHT

A mortal Liam, long hair hanging loose, is standing beside an old pine desk, a sheet of rag-fiber paper in his hand. On the paper is a SKETCH DRAWN IN CHARCOAL. On the desk we can see a pair of drawing charcoals and a few more sheets of paper.

Liam has a guarded expression on his face as he looks up at -

His NEATLY RUFFLED AND PONY-TAILED FATHER, standing in the doorway. Fergus steps into the room and SNATCHES the drawing out of his son's hands.

FERGUS
(stony-faced)
I won't have you wasting my money on this rubbish.
I forbid it.

LIAM
(voice low, hurt)
You'll want to give that back.
Fergus raises the paper, crumpling the edge with a tightening hand.

FERGUS
(almost sorrowfully)
I'm doing this for you own good, lad!
There's no future in this!
Liam grabs for the paper. Fergus yanks it away. His worried look turns to anger.

FERGUS
Are ya good for nothing, Liam?
(with disdain)
Well, I reckon you are.
(he shakes the paper at him)
A good-for-nothing lay about.
(his eyes bore into Liam's)
You'll remove every last bit of this from my house
and accompany me to the shop like a man,
or by God, you'll no longer be a member of this family!
Liam gives him a sour look, then STEPS BACK QUICKLY as Fergus grabs the charcoals and the paper off the desk. With one last stony stare, Fergus twists around and stalks down the hall.

CLOSE-UP ON - Liam. His lips tremble as he tries not to betray any emotion.

CUT TO -

EXT. The COBBLE-STONE STREET - NIGHT

Liam stumbles down the street past more modest plaster-and-wood cottages, his head down, his expression angry and troubled. He doesn't have any apparent direction; he's just walking, hands in his pockets. A man and a woman in period garb pass him in the foreground, heading in the opposite direction.

CUT TO - A LONG SHOT looking down the street. At the far end of the shot, Liam passes under a STONE ARCH into the village square.

EXT. VILLAGE SQUARE - NIGHT

REAR MEDIUM SHOT - He continues forward.

PAN THE SQUARE. The perimeter is made up of buildings of plaster, wood, and stone. Warm lamp- and firelight flicker in their windows. At the far end of the square from Liam's position, several men stand outside a building that, by the wooden shingle hanging over the door, is recognizable as the LOCAL TAVERN. They each have fashionable curled-and-pony-tailed hair and ruffled collars, although their clothes indicate varying degrees of wealth.

TIGHT SHOT ON - A less wealthy pair, who are both about Liam's age. They spy Liam walking. One of them raises his hand in greeting.

FRIEND
(calling)
Liam!
CUT TO - Liam, who is just passing a stone fountain. He sees the young men, slows, and HESITATES.

CLOSE-UP on his face, which still has its brooding expression. Then we see the look of anger flicker over it again before his face melts into a FRIENDLY GRIN for his friends.

He lopes forward.

CUT TO - Liam approaching the front of the tavern. There are three older, well-dressed men standing there in a tight group, chatting. As Liam walks up to his friends, the group breaks up and one of the men turns. Liam stumbles into him, shoulder hitting shoulder. Liam pauses.

LIAM
Sorry.
He continues forward to his friends, who greet him cheerfully. The older man continues on in the opposite direction.

CUT TO a FRONT ANGLE on the man, walking. He is clearly recognizable as PAUL SOUTAR (AKA NICHOLAS TRENT). He looks as if he is in his mid-fifties. After a moment, he pauses, turns, and LOOKS BACK.

His POV - The three younger men, standing in front of the TAVERN. Liam makes a brief, furtive glance around the square, then follows his friends inside.

ANGLE ON SOUTAR, who gazes after Liam with INTENSE SCRUTINY.

FADE TO -

INT. UNIQUE ANTIQUES - MICHAEL'S OFFICE - EARLY EVENING (PRESENT DAY)

LONG SHOT out the office door into the RETAIL AREA. Connor is wandering down the center aisle, hands in his pockets. We are looking at him over the shoulder of a BLURRED FIGURE in the foreground.

REFOCUS - bringing the figure into SHARP RELIEF. It's ANGEL, gazing over at the now blurred Connor.

MICHAEL (o.s.)
I only met him very recently.
I know almost nothing about him.
Angel turns to Michael, who is standing beside his desk. He sets down the bowl that had Angel's blood in it.

MICHAEL
I thought Paul was just a sorcerer who wanted to help
fight the chaos. But tonight, he attacked me when I was
doing the reinforcement charm.
(off Angel's worried look)
Don't worry, the protection spell...is still in place.

ANGEL
Then Soutar's the one. The one trying to....

MICHAEL
(nodding)
Yes, I think so.

ANGEL
Well, can you tell me anything about him?

MICHAEL
(with concern)
Angel, if what you're saying is right, if this guy is
Nicholas Trent....
(he shakes his head, eyes wide, staring)
I had...no idea....

ANGEL
Then you've heard of Trent.

MICHAEL
Of course I've heard of him.
(a scowl passes over his face)
...He's the bastard who murdered my son.
QUICK FLASHBACK -

A bedroom in a suburban home. Thirty-something Michael enters.

His POV - five-year-old Danny, lying still on one side on the bed, facing the wall.

Michael walks over to him, reaches out, and rolls him over. The child's skin is UTTERLY DESICCATED.

FADE TO -

A CLOSE-UP ON present-day Michael's face, still twisted with anger and sadness. Finally, he looks up at Angel.

MICHAEL
Trent's a sorcerer. Very powerful. And damned clever.
(his eyes dip away from Angel's)
There was a rumor that he was a client of
Wolfram and Hart. He'd be just the sort.
Of course, the offices of Wolfram and Hart are in shambles....

ANGEL
We're going to find this guy, Michael.
Michael gazes up at him, lips parted.

MICHAEL
Angel, you're not a sorcerer.
This is really more my territory.
CUT TO - Angel, who walks to the door of Michael's office and pivots around. His expression betrays no doubt.

ANGEL
Maybe. But now it's my son.
He turns and leaves.

ANGLE ON Michael, who raises his chin. Then he turns. His eyes gaze over the room -

PAN THE ROOM - The desk, the shelves. The PAN ends on the WOODEN CHEST ON THE FLOOR.

Michael stares at it, his scowl now replaced with unflinching determination.

BLACK OUT.

TO BE CONTINUED

Comments?

Written by	Masquerade
Executive Producer/Director	Masquerade
Senior Script Editor	Anom
Main Credits photo credit	LittleBit

Angel	David Boreanaz
Gunn	J. August Richards
Illyria	Amy Acker
Spike	James Marsters

Connor	Vincent Kartheiser
Lawrence	Jim Abele
Colleen	Adrienne Brett
Faith	Eliza Dushku
Fergus	J. Kenneth Campbell

Disclaimers:

"Angel the Series" is the property of
Joss Whedon and Mutant Enemy.
No copyright infringement intended.

The image of Dan Castellaneta as Michael Barber is used here solely
to enhance the visual imagery of the episode for the readers,
but with the belief that he could fill the role admirably.
No disrespect toward Mr. Castellaneta is intended, nor any
relationship between him and this project implied.