Sons, Part 2

Sons

Part 2

(May 11, 2005)

Written by Masquerade

Act Three

EXT. AN ABANDONED FABRIC STORE IN A COMMERCIAL NEIGHBORHOOD - EVENING

INT. THE FABRIC STORE RETAIL AREA - EVENING

PAN ACROSS the shop. The few display tables still there are broken; empty cardboard bolt cores are strewn across the floor. The PAN ends at a door in the back, through which we see an enclosed stairwell with the stairs leading down.

INT. FABRIC STORE BASEMENT - EVENING

Gunn circles around three tables that have been arranged in a triangle. A few drab-colored bolts of fabric lean against the walls. Three humans--two men and a woman--stand against the back wall, just outside the stairwell door, looking nervous.

FIRST MAN
We do not negotiate with demons.

GUNN
Well, it's time you started.

FIRST MAN
(shaking his head)
This is insane.
He turns to the woman beside him.

FIRST MAN (cont.)
Get out that tricorder thingie.

WOMAN
(eyes shifting to Gunn)
But he looks--

FIRST MAN
Do it anyway.
The woman opens a gym bag slung over her shoulder and pulls out an army-issue PDA. She presses a few buttons and points it at Gunn, then gazes at the output.

WOMAN
He's human.
Gunn stops and looks at them.

GUNN
Yes, I am. But the three who helped free your people
from the Madowk? They were demons. Helping you.
The three humans look at each other, startled.

Gunn shakes his head, grinning.

GUNN
You didn't even think to check, did you?
Since they looked human and offered to help you?
(he walks towards them)
Things aren't black and white out there.
There are good demons and bad ones.
Good and bad humans, too. And the only way we're
gonna get life back to something resembling normal
is if the good work together to push the bad back.

SECOND MAN
(narrow-eyed)
How can you tell which is which?

GUNN
Ain't no easy way.
Gunn holds out his arm to indicate the tables. The humans inch forward. Then one of the men glances back and YELPS. All three humans move quickly into the room.

Standing at the bottom of the stairwell are THREE MADOWK, accompanied by Lorne. One of the Madowk is the white-robed LAW-SPEAKER.

Gunn nods at her, but he looks puzzled.

GUNN
Law-speaker K'adkala.
Where are your warriors?

LAW-SPEAKER
They are attending to matters of honor.
Now Gunn looks concerned.

Gunn
What matters of honor?
The humans look alternately at the Madowk and Gunn.

FIRST MAN
If that means--

WOMAN
You tricked us!
The law-speaker raises her hand. The humans fall nervously silent.

LAW-SPEAKER
This does not concern the humans that dwell above us.
This is a matter between us and the vampires they
enlisted to free the prisoners.

SECOND MAN
Vampires!?
Gunn shakes his head slowly.

GUNN
Damn. What happened?

LAW-SPEAKER
A young one of their clan killed one of our warriors
during our attempt to rectify our grievances. We shall
hear his explanation. If it does not satisfy us, we
will claim Right of Loss in accordance with our law.

GUNN
A young one...?
Is he a skinny kid? Big mouth?
The law-speaker nods.

Gunn sags. Then he looks up, a guarded expression on his face.

GUNN
Whoa. Wait a minute. "Right of Loss"...as in killing?

LAW-SPEAKER
That is for our Council to decide.
(beat; carefully)
These vampires are your friends.

GUNN
They're not all vampires, but they're
ex-colleagues, as I explained.

LAW-SPEAKER
Then you cannot negotiate between us and them.
But we will allow you to negotiate a truce with these
humans, as planned.

GUNN
(unlatching his cell phone)
At least let me warn Angel...their leader, about what
your warriors are up to. We don't want any more
misunderstandings.
I'm betting--I'm hoping, anyway--the kid's a hot-head,
but he was probably just trying to defend the others.
The law-speaker nods. Gunn heads towards the stairwell door.

GUNN
(to Lorne)
I gotta take this upstairs. I can't get a signal down here.

LORNE
(startled)
What do you want me to do?

GUNN
(gesturing)
Get them seated.
Gunn heads into the stairwell. Lorne tracks Gunn with his eyes, chagrined, and finds himself facing the Madowk and the humans. He grins weakly.

INT. FABRIC STORE RETAIL AREA - EVENING

Gunn walks over to the front window, tapping at his cell phone. He brings it up to his ear.

GUNN
(after a pause)
Yeah, Spike. Something going down.
CUT TO -

INT. FABRIC STORE BASEMENT - EVENING

Lorne looks from the humans to the Madowk, who are eyeing each other suspiciously.

LORNE
So, um...sitting is...good.
CUT TO -

INT. FABRIC STORE RETAIL AREA - EVENING

GUNN
I don't know, try Michael's.
That's likely where the Madowk are headed.

CUT TO - a moment later.

INT. FABRIC STORE BASEMENT - EVENING

Gunn walks back into the basement.

No one has moved from where they are standing.

Gunn walks over towards the tables. The Madowk law-speaker follows him.

GUNN
(clasping his hands together)
All right. Let's get started. I'm Charles Gunn.
And this is my colleague, Krevlornswath of the
Deathwok Clan.
Gunn comes to a halt at one of the tables. He gazes from the Madowk to the humans, gesturing at the other tables.

GUNN
Lorne and I come here together, human and demon, to
show you we are not taking sides in your conflict.
Our only interest is mediating between you to preserve
the safety and lives of both your peoples.

EXT. MONASTERY - EVENING - ESTABLISHING

INT. MONASTERY BASEMENT HALLWAY - EVENING

Spike walks slowly down the hall, approaching a SLIGHTLY AJAR DOOR. HOBBES is lingering on the other side of the doorway, looking worried. We can hear FEVERED YELLING AND MUMBLING beyond the door. Spike pauses in front of it.

SPIKE
Not doing so well, is she?
(Hobbes shakes his head)
I know you want to help, mate, but I think it's
probably safer if you don't.
Hobbes nods.

Spike raises his hand to the door, fingertips outstretched.

SPIKE
Fred?
More mumbling. Spike pushes the door open with his fingers.

His POV - Fred is sitting on the edge of the bed, clutching the mattress, trembling. The tendons in her neck and arms tighten visibly as she strains against transformation.

FRED
(hoarsely)
She wants out.
CUT TO - Fred's POV - Spike enters the room, eyes filled with patience and concern.

ANGLE ON Fred.

FRED
(voice shuddering, panicked)
She wants to--!
Fred THROWS HER HEAD BACK.

FRED
Uahhhh!
With one huge, heaving convulsion, she MORPHS INTO ILLYRIA. Illyria immediately rises to her feet and BACKHANDS SPIKE ACROSS THE ROOM.

He SMASHES against the opposite wall and grunts. Illyria stalks towards him.

ILLYRIA
What trick is this!?
Spike gazes up at her from the floor, dazed.

ILLYRIA (cont.)
You did this. All of you, with the aid of that sorcerer.
He found a way to bring the human back.
To infect me with her putrefied essence.
(she paces, clutching her arms)
I can feel her humanity in me like a cold chill in my chest.
I will find out how you did this.
I will--
With a LOUD CRY, she doubles over and falls to her knees. Her hair turns brown. She's Fred again, shaking and sobbing.

Spike struggles up to his knees and crawls over to her. He reaches out a hesitant hand.

SPIKE
Stay with me, Fred. Stay with me.
Suddenly, a LOUD POUNDING echoes through the basement. Spike stands up, listening. Then he looks at Fred. His hand falls on her shoulder.

SPIKE
Sit tight.
CUT TO -

INT. BASEMENT HALLWAY - EVENING

Spike heads down the hallway. Hobbes is still standing there, his attention now on the door to the cold cellar. Spike passes him and enters.

INT. COLD CELLAR - EVENING

The sewer access trap door is SHAKING AND RATTLING.

Spike stares down at it. Sniffs the air. Then he smiles.

SPIKE
Just try to get in here.
Wankers.
The PHONE RINGS.

Spike startles.

SPIKE
Oh! Great. They finally get that bloody system
functioning and it has to ring now?
He turns and lumbers back into the hallway. The camera remains in the cold cellar.

CUT TO - A moment later.

Spike reappears. He walks over to the trap door, unlocks it, and OPENS IT.

His POV - THREE MADOWK, peering up at him from the sewer.

SPIKE
Got a proposal for you boys.
Heard you like that sort of thing.

INT. MICHAEL'S OFFICE - EVENING

Connor peers at the shelves and the open wooden chest.

ANGEL (o.s.)
Michael's car's gone.
Connor turns.

Angel stands in the doorway, sword in hand.

CONNOR
Yeah, and he took some things with him. Magic things.

ANGEL
(shaking his head)
He went after Trent himself.
Which means he found out where he is.
Or....
Damn it! He already knew and didn't tell me.
Angel pivots and heads back out of the office.

INT. BACK HALLWAY - EVENING

Connor follows him.

CONNOR
Where are you going?

ANGEL
To Trent's house.

CONNOR
What, you think the bad guy's just going to invite
you in?
Angel pauses at the back door. He opens it.

ANGEL
He's trying to kill you, Connor.

CONNOR
(lips parting briefly)
...And he will kill you!
Magic powers and everything?
Angel starts out the door.

CONNOR
Dad.
That gets Angel's attention. He stops, but doesn't turn.

CONNOR
You don't stand a chance against this guy.
Why won't you just let Michael handle it?
Angel finally turns around. He gives Connor a no-nonsense, firm-jawed gaze.

ANGEL
Because you're my son.
Connor shakes his head slowly.

CONNOR
No.
(he raises his chin)
It's more than that. You've got that look in your eye.
Like you've made up your mind to do something,
and you're going to do it, and you don't care
about the consequences.

ANGEL
Some things just need to be done, Connor.

CONNOR
What'd this guy do to you, anyway?
I mean, besides go after me?
Angel sets a hand on the doorframe. His shoulders relax just a little.

ANGEL
I knew him. Back in the day.
He was...an acquaintance of my father's.

CONNOR
(puzzled brow)
Weird, thinking of you having a father.

ANGEL
(firmly)
Men like Trent...take advantage of people's
weakness. Feed off their disadvantages.
My father once made some choices...he thought he
had to make to protect his family, and Trent was
right there to make damned sure he acted on them.
Connor's eyes dip thoughtfully. Angel turns and exits the building. Connor steps after him.

CONNOR
Dad--
But the name-trick doesn't work twice. Angel throws Connor a brief glance as he strolls away.

ANGEL
Go back inside, Connor.
I'll come find you when it's over.
Connor stands watching Angel retreat, arms crossed, his expression cool.

CONNOR
Yeah. If you're not a pile of dust.
He stands there another moment, then shuts the door and takes off down the alley in the other direction.

FADE TO -

INT. THE HOME OF FERGUS OF GALWAY - SECOND FLOOR HALLWAY - AFTERNOON (FLASHBACK)

SUPER LEGEND: Galway, Ireland, 1751

The mortal LIAM approaches the top of a wooden staircase and starts down the steps.

WOMAN'S VOICE (o.s.)
Oh, Fergus, no! I'll keep them hidden in the cupboard!
Liam looks startled.

FERGUS' VOICE
That won't do anymore. We can't have them in the house!
CUT TO - The first floor, ANGLE ON the bottom of the staircase.

Liam appears, quickly descending.

His POV - looking down a hallway into the KITCHEN. His MOTHER is standing by the dry sink, clutching her ROSARY BEADS. She looks distraught. Liam's FATHER appears beside her and YANKS THEM out of her hand.

LIAM
(rounding the stairs)
Father!
Fergus glares up, then jabs a finger at him.

FERGUS
You stay out of this, Liam. A son who won't even
accompany his family to church has no right to say
how the prayin' goes on in my house!
INT. KITCHEN - AFTERNOON

Liam stalks in.

WIDE SHOT - Cupboard, dry sink, and a large pantry filled with burlap sacks, jars, and canisters. Daylight pours through the window, but there is a fire burning in the hearth, casting flickering light on a wooden table and chairs.

LIAM
Your house! This isn't your house! You stole it from
grandfather before he was even in the grave!
And how do you think he'd feel, you invitin' those
English dogs to sit down at his table?
Now Fergus has all but forgotten his wife. His face is livid with anger. He jabs a finger at Liam.

FERGUS
(voice low)
I won't have you speak to me that way.
All I do for you, and how do you repay me?
(he sneers)
Worthless is what you are.
You...drink...an' steal money out of my pockets
instead of earnin' an honest day's wage.
Consort with--

LIAM
(voice cracking)
You call what you're doin' honest?

FERGUS
What I do, I do to protect this family, and you'd know that
if you saw what I had to deal with out there every day!
But y'can't be bothered to find out, can ya?

LIAM
(eyebrows raised)
I know how you're gettin' these investors to visit.
There is a beat of silence between them as Liam eyes his father sullenly. Then he glances quickly at his mother.

LIAM
(to his father)
But tell me how tormenting Mother is "protecting" her.
(he taps his chest)
Or taking away the only thing that keeps me sane?

FERGUS
You'd better not have any more of those charcoals
in my house, lad, or there'll be hell to pay.

LIAM
(with a sour smile)
You'd know all about payin' hell, wouldn't you?
You don't believe in the Protestant creed any more
than Mother does.
Fergus's stiff demeanor melts. He looks at his son with sadness.

FERGUS
I'm not doin' this to hurt you, boy.
(a glance at his wife)
Any of you.
You'll understand when you have a family of your own.
You do what you have to to protect them.
He straightens his shoulders and in an instant is back to his unruffled demeanor.

FERGUS
Now, the investors are going to be here soon.
(eyes on Liam)
If you can't be bothered joining us like a man,
then don't show your face in this house tonight, Liam.
I won't have you embarrassing me.

LIAM
Don't worry. I'll not stay here and watch you sell the
men you called "friends" for thirty pieces of silver.
Liam turns and leaves. We follow him as he stalks back upstairs.

FADE TO - Later that night.

INT. FRONT FOYER - EVENING

Through the glass in the door we can see that it's dark outside.

Liam stands near the bottom of the staircase.

His POV - The front door, which is just off the staircase. It opens. Fergus and two ENGLISH BUSINESSMEN enter the house. One of the men is clearly recognizable as NICHOLAS TRENT (AKA PAUL SOUTAR). He looks as if he is in his mid-fifties and has the curled-and-pony-tailed hair and ruffled collar of an eighteenth-century man. The men head back towards the kitchen. Trent gives Liam a lingering glance as he passes, then continues forward behind the other two men.

INT. KITCHEN - EVENING

The men sit down around the table. There are an ink bottle and a quill there, several pieces of paper, and a ledger.

TRENT
So that's your son.

FERGUS
(gruffly)
That's him.

SECOND BUSINESSMAN
And why haven't we seen him at your shop?

FERGUS
(reaching for his ledger)
He's going through a bit of a spell at the moment.
Y--you know how it is with young men.

TRENT
(sitting up)
Well, I wouldn't worry. He'll come around.
Sometimes boys just need to get a taste of life
before they settle down.
I dare say there's more to young Liam than
meets the eye.
Fergus looks doubtful.

SECOND BUSINESSMAN
Not quite a boy, is he? Nearly twenty-five, you said.
And not married.
Trent glances at Fergus, who looks miserably humiliated in a stiff-upper-lip sort of way. Trent turns his attention to his colleague.

TRENT
Shall we, Hemsley?
The second businessman sits forward.

HEMSLEY
Right. Fergus, as I understand it, you want to expand
your business into exports. That could be quite lucrative.
But as you know, there are all sorts of regulations governing
business enterprises that must be attended to.
Now, I know you're a pious Anglican, as is...your family.
But there are some men in this county who only pretend to the
faith to gain advantage. As a long-time local merchant, I imagine
you might be...aware of such men amongst your neighbors.

FERGUS
(tight-jawed)
I am.
The volume of the conversation fades as we PAN OVER to the hallway. Standing there is Liam, listening and scowling.

TRENT (o.s.)
Then, of course, you'll do your duty as a law-abiding
subject of the king.
Liam lurches around and walks away.

FADE TO -

INT. GALWAY PUB - EVENING

A dim-lit tavern in the flickering glow of a flaming hearth and oil lamps set on the walls. Working men are seated at tables, drinking, talking, and laughing. A pair of tavern maids circulate with pitchers of ale, pausing to freshen the patrons' drinks and flirt.

ANGLE ON a table in the corner. Liam sits there, a full mug of ale in front of him, his expression sour. He picks up the mug and drinks deeply from it.

CUT TO - The front door. Two young men enter and start over towards him.

FRIEND
(to barmaid)
Eileen. Two pints, eh?
The barmaid nods and walks away to fetch mugs.

The young men sit down on the benches at Liam's table. Liam sits up, forcing a friendly grin.

EXT. UNIQUE ANTIQUES SIDE ALLEY - EVENING

Connor hurries to his car, digging in his pocket for his keys. He looks up as he reaches the sidewalk. And stops.

An ELDERLY MAN IN A LONG COAT stands beside Connor's black Jetta.

MAN
Connor Reilly.
CUT TO - Connor. He takes a step back.

The man steps into the light of a street lamp. We can see the deeply aged face of NICHOLAS TRENT.

TRENT
(voice rasping)
I've been wanting to...meet you for a while.
But business obligations...and a little spell
of your father's kept me away.
Connor continues to step back, a wary look on his face.

Trent raises a hand.

TRENT
Gela!
A BLUE BOLT of mystical energy shoots out, STOPPING CONNOR IN HIS TRACKS and binding him in place. He wriggles.

Trent shuffles towards him, pulling the JEWELED DAGGER from his coat. He circles around Connor and brings an arm around his neck.

ANGLE ON - the blade, close to Connor's jaw.

Connor squirms. Then the sound of SLOWLY APPROACHING FOOTSTEPS make Trent PAUSE.

ANGEL (o.s.)
Nicholas Trent.
Trent whirls around, dragging Connor with him. Connor grunts and sways. Trent holds the blade to Connor's throat.

Angel strolls towards them, sword at his side.

ANGEL
You're not looking so well these days.

TRENT
Liam...isn't it?

ANGEL
The name's Angel.

TRENT
Yes. The vampire...with a soul.
(he glances down)
And his...miracle child son.

ANGEL
(hand tightening on his sword)
You leave him alone.

TRENT
(amused)
Yeah...'cause that'll work.
(he eyes Angel)
You know...I once had you in my sights.
Then a certain...vampiress came along and made
certain you would...never be of any use to me, ever.
He tugs Connor closer. His dagger hand trembles.

TRENT
She's...about to make it up to me.
With a quivering hand, Trent NICKS CONNOR'S JAW, then pushes him to the pavement. Connor grunts and topples forward like the proverbial sack of potatoes.

Angel drops his sword and rushes forward to catch him. Then he looks up.

Trent is GONE.

Connor moans and stirs. Angel slowly helps him around and gets him seated on the pavement. Connor sags a little.

ANGEL
You O.K.?

CONNOR
(gazing down)
He's...going to...kill me, isn't he?
Angel rises, helping a staggering Connor to his feet.

ANGEL
I won't let him hurt you, Connor.
Connor chuckles softly and fingers his bleeding jaw.

CONNOR
Dude, give it up.
I know you're just saying that to make me--
and yourself...
(he pauses)
feel...better....
Connor gazes at the alley warily.

Angel turns to see what he is looking at.

REVERSE ANGLE - THREE MORE MADOWK, recognizable from the alley brawl in Episode 11, standing at the mouth of the alley.

BLACK OUT.

END OF ACT THREE

Act Four

EXT. UNIQUE ANTIQUES - EVENING - CONTINUOUS FROM ACT THREE

Angel and Connor stand on the sidewalk, facing off with the three Madowk.

CRANE-SHOT - PAN UP from the alley to a position overlooking the street, then across the store-tops until we are at a side street a block away. Parked at the curb is a LONE CAR.

INT. THE CAR - EVENING

Sitting in the driver's seat, wheezing slowly, is NICHOLAS TRENT. His hand clutches the steering wheel, quivering. Then he glances down at the CRYSTAL BALL on the passenger seat.

CLOSE-UP - We see Connor in it, facing down the Madowk.

Trent leans his head against the head rest.

TRENT
Oh, hell....

INT. LOS ANGELES 23RD PRECINCT LOCK-UP - EVENING

A long row of cells for temporarily holding suspects. Most of them have the unkempt look of drug dealers and looters. Lawrence Reilly sits on a bench in his button-down shirt and slacks, trying to appear inconspicuous.

WOMAN'S VOICE
Lawrence Reilly!
Lawrence looks up. He stands and walks to the bars.

REVERSE ANGLE - The police sergeant approaches the cell. Behind her is a no-nonsense-looking middle-aged woman in a suit carrying a brief case.

LAWRENCE
Martha.

MARTHA
You made bail.
The sergeant unlocks the cell and lets Lawrence out.

SERGEANT
(shutting the cell door)
Look. Sir. A lot of petty crimes get overlooked these
days for obvious reasons. But attempted breaking and
entering of a police vehicle isn't one of them.

LAWRENCE
I understand.

SEREANT
So do I.
Because you're right, I wouldn't just let my
child run loose in this town the way it is now.
I'd have probably done the same thing you did.
So I talked to a couple patrol officers.

MARTHA
They've agreed to let you do a ride-along for
an hour or two.

SERGEANT
But if they get called elsewhere, which is more than
likely, you'll be asked to stay in the vehicle and wait
until someone can bring you back to the station.
You understand?

LAWRENCE
I do. Thank you.
I mean it. Thank you.
CUT TO -

EXT. POLICE STATION - EVENING

Lawrence and his lawyer exit the building.

MARTHA
Colleen told me part of what happened. The police
filled me in on the rest. You should have called
me before you tried to break into a police car.

LAWRENCE
(grinning briefly with embarrassment)
Well, pardon me for asking, Martha, but what could
a lawyer do to help in this situation?
Before now, I mean.
As his lawyer escorts Lawrence to the waiting police car, music FADES UP - Elvis Costello singing "What's So Funny 'Bout Peace, Love, and Understanding?"

FADE TO - THE FABRIC STORE BASEMENT - EVENING

WIDE SHOT, MUSIC AUDIO ONLY - Gunn has the humans and Madowk seated now, and he's speaking, looking from one group to the other; both are listening attentively.

CUT TO -

EXT. A CITY STREET - EVENING

A BEAT-UP BUICK careens down the street at breakneck speed. Spike is at the wheel.

INT. SPIKE'S BUICK - EVENING

FULL AUDIO - The cassette deck is blasting Costello. Hobbes is in the passenger seat. Spike glances back.

SPIKE
Don't worry. We'll get you there in one piece.
CUT TO - the three Madowk from the monastery sewers, seated in the back, clutching whatever is available and looking nervous.

CUT TO -

INT. MICHAEL'S CAR - EVENING

Michael drives, eyes intent on the road.

MICHAEL
God, don't let me be too late.
CUT TO -

INT. ILLYRIA'S BEDROOM - EVENING

Illyria/Fred sits on the bed, changing form rapidly now and arguing vociferously with herselves.

EXT. UNIQUE ANTIQUES - EVENING

The music FADES as the Madowk whose blade was severed by Angel steps forward, his eyes on Connor.

MADOWK ONE
You killed my mate.
Connor steps back, his expression watchful but contrite.

CONNOR
I know.
Another male Madowk steps forward, raising his bronze blade.

Angel kneels down and snatches up his sword from the sidewalk. He raises it.

MADOWK TWO
Explain yourself, or we claim Right of Loss.

CONNOR
(to Angel)
What does that mean?

ANGEL
I'm not sure. I think they want to know why you
killed that Madowk.

CONNOR
(exasperated)
I figured out that much--
Angel steps forward until he is between Connor and the Madowk.

ANGEL
Listen to me. I'm his father. Your people attacked us.
Connor came in in the middle. He didn't understand what
was going on. He saw me in danger, and he reacted.
Connor steps around Angel.

The second Madowk turns to the first.

MADOWK TWO
Do you accept the claim of kin-defense?
The first Madowk scowls.

MADOWK ONE
(resentfully)
My mate is still dead.

MADOWK TWO
We do not kill unless it is necessary!

MADOWK ONE
(turning on him)
Are you law-speaker now?!
The third Madowk finally chimes in.

MADOWK THREE
The young one did spare our people hiding below the
human Gunn's dwelling when he had opportunity
to do otherwise.
Connor gazes at all of them. He steps forward, drawing Angel's attention to him.

CONNOR
Listen to me. I....
The APPROACHING SHUFFLE OF LIMPING FEET catches his attention.

REVERSE ANGLE - Nicholas Trent lurches down the sidewalk towards them, his bony hand raised at the Madowk.

Connor's eyes widen. He looks quickly in the direction Trent is looking, then turns and SCRAMBLES TOWARDS THE MADOWK.

TRENT
Morere!
Connor THROWS HIMSELF AT MADOWK ONE, knocking him to the ground and scattering the other two demons as the BOLT OF MYSTIC ENERGY from Trent's fingers shoots through the space where they stood.

Trent raises his hand again. Angel CHARGES HIM from out of frame. He tackles Trent to the ground and pins him there.

Connor staggers to his feet, holding a hand down to Madowk One. He points with his other hand.

CONNOR
C'mon, over there!
ANGLE ON - the end of the alley.

The first Madowk rises to his feet, bewildered.

CONNOR
Look, I don't want to kill you, but he does. C'mon!
Connor starts towards the end of the alley. The Madowk hesitate for a second, then follow. Connor leads the Madowk back behind the building, then glances back into the alley.

His POV - Angel has a squirming Trent pinned to the sidewalk.

CUT TO - TIGHT SHOT OF ANGEL AND TRENT. Trent's head is turned sideways. He is mumbling an unintelligible incantation. Angel grabs Trent's head by the hair.

ANGEL
(gritting his teeth)
You tried to kill my--son! Just to extend your--
(he slams Trent's head into the concrete)
--worthless life!
Trent's mumbling grows louder.

TRENT
...and fortify me with thy strength!
Trent heaves himself up, knocking Angel off of him. He stumbles up to his feet and turns, swaying, disoriented.

Angel is on his feet now as well.

We hear the squeal of TIRES.

Trent doubles over briefly, gasping.

ANGEL
What's the matter?
Three centuries catching up with you?
CUT TO - the end of the alley. Connor watches Angel and Trent face off.

CUT BACK TO - Angel and Trent. Trent raises a shaking hand. Angel lunges at him. Trent twists away.

TRENT
Asul...noktee...trey....
Connor races down the alley towards Trent.

CONNOR
Dad!
Trent spins around in mid-incantation and aims his finger at Connor.

MICHAEL (o.s.)
Consiste!
CGI - Trent's BLUE BOLT OF MYSTICAL ENERGY IS CUT OFF IN MID-FLIGHT BY A RED BOLT.

Trent stumbles around.

ANGLE ON - Michael, standing on the sidewalk. He has his hand out, palm upwards. A SWIRLING MASS OF RED ENERGY roughly the size of a tennis ball hovers above it.

Trent manages a weak malevolent smile.

TRENT
(gasping)
And here...comes the hero...to save the lamb
from slaughter....
Or are you...the wolf, Mikey?
The one...who put the lamb in danger...
to begin with?
(he looks over at Angel)
Ask him. Ask him why--

MICHAEL
Suffoca!
Trent's hand flies to his throat. His mouth gapes open.

Michael stalks towards him, his face twisted with hatred.

MICHAEL
May every breath once erased by you now increase
the tightness 'round your throat.
Trent's eyes bulge in obvious distress.

CUT TO - Connor and Angel, looking on with discomfort but not moving.

MICHAEL
Your victims scream out for justice, and justice
they'll receive.
Michael draws back his hand and HURLS THE FIREBALL at Trent.

MICHAEL
Let the hell that spawned you take you!
As the fireball hits him, Trent draws in a loud, rasping breath. The MASS OF RED ENERGY quickly envelops him. He writhes in agony. His wrinkles deepen, his hair thins and disappears, and he doubles over, his back bent like a man of extreme age. In one last, desperate move, Trent THROWS HIS ARMS OUT, his body shaking. The red energy around him DISSIPATES.

He slumps to the ground.

Michael stares down at him, his expression solemn.

Trent draws in a wheezing, ragged breath. Rheumy eyes blink up at Michael.

TRENT
You...wonder why I never...tried to kill you...
years ago....
Not...a Champion.
Never...will be.
He falls slack.

Michael continues to stare down at him.

Trent's body slowly DESICCATES and finally CRUMBLES TO DUST.

After a moment, Michael glances over at Angel and Connor.

ANGLE ON - the two them, looking back at him with discomfort.

Michael lowers his eyes and steps back.

MICHAEL
(clearing his throat)
He killed my son.
And my mother.
Angel nods. He puts a hand on Connor's shoulder.

REVERSE ANGLE - The Madowk approach from the end of the alley.

The first Madowk stares down at the PILE OF GRAY DUST that was Nicholas Trent. Then he gazes up at Connor. Connor steps towards him.

CONNOR
I killed your mate, and I'm sorry.
I thought she was going to kill my father.

MADOWK ONE
She was.

MADOWK TWO
(to Madowk One)
This young one saved our lives.
The group turns at the sound of SCREECHING BRAKES.

ANGLE ON - the street. SPIKE'S BUICK idles there. Spike cuts the engine and gets out.

SPIKE
Angel. Got word from Gunn. He's sitting down with
the Madowk and the humans that live above them.
Peace talks.

MADOWK TWO
(solemnly)
It would be best if the killing ceased all around.
Madowk One nods heavily.

ANGEL
(to Madowk One)
We'll leave your clan alone. I can promise you that.
Spike walks over to them.

SPIKE
I'm headed over there to drop these blokes off.
He nods at his Madowk passengers, then steps up close to Angel and Michael.

SPIKE
Then I got to get back to Fred.
(to Michael)
She needs to see you, soon.
Michael nods. He stares down at what is left of Trent. CLOSE-UP on his grim expression. HOLD, then -

FADE TO - Spike's Buick peels out into the street again.

Angel, Connor, and Michael are alone on the sidewalk in front of Unique Antiques. Angel walks over to Michael's side.

ANGEL
Trent was wrong, you know. A Champion is someone who
fights for good, and I'd say you qualify. You wiped
that bastard off the face of the Earth, and that's no
mean feat.
Michael smiles a thin smile.

ANGEL (cont.)
But you did it by keeping things from me.
Michael gazes up at him expressionlessly.

ANGEL (cont.)
I know why. You wanted to kill Trent yourself.
Michael looks over at Connor.

MICHAEL
He would have murdered your son, and then killed
you for having the gall to try to prevent that.
(Angel nods)
And there was nothing I could say to you that would
have stopped you from going after him.

ANGEL
Yeah.
At that, Michael walks away, heading back towards his car.

Angel's attention turns back to Connor. He is staring into space pensively. Angel walks over to him.

ANGEL
We can talk to Michael about the memory spell now,
if you want.
Connor frowns, lips pursed. He shakes his head.

CONNOR
I don't.... I'm just starting to think that....
(he glances briefly at Angel)
...reinstating the spell might not be the best idea.
CLOSE-UP on Angel. He gazes at Connor with cautious uncertainty.

CONNOR
(staring ahead)
I don't think it's right to play with my parents'
heads. Their memories.

ANGEL
You were fine with them not knowing the truth before
all this happened.
Connor looks at him, eyes steady.

CONNOR
Because that's just the way things were, you know?
And everything was fine. But now that they know....
(he purses his lips again)
Maybe...they might accept the truth. And wouldn't that
be better than them thinking something that isn't true?
I wouldn't have to lie anymore.
Angel glances down for a second, his expression all business.

ANGEL
I just think it would be better for you, not to mention
safer, if the spell was back in place.
Connor shakes his head.

CONNOR
I don't.

ANGEL
Well, what if they....

CONNOR
Don't accept it? I'm twenty years old.
And I can take care of myself. You know that.

ANGEL
(awkwardly)
I don't suppose...you've given any more thought
to...staying here.
Connor says nothing for a moment, then he finally raises his chin and looks Angel in the eye.

CONNOR
With you?
Angel's eyes dip nervously.

ANGEL
It's just--things are different for both of us now.
(he looks up at Connor)
I--I think.
You wouldn't have to stay if you didn't like it.
ANGLE ON - the window of the antique store. HEADLIGHT BEAMS cut across it.

Connor and Angel turn.

A POLICE CAR pulls up on the other side of the street and stops. Its LIGHTS FLASH ONCE, BLUE-RED, and its SIREN gives out a SINGLE WAIL. The back door opens. Lawrence Reilly gets out.

CONNOR
(wrinkled brow)
Dad?
Connor takes a hesitant step down into the street, then another, then another, then picks up his pace.

REVERSE ANGLE - Angel stands where Connor left him, slowly receding as Connor makes his way over to the police car.

Angel's POV - Connor comes to a halt a few feet from Lawrence.

CUT TO - CLOSE TWO-SHOT - Connor digs in his pants pocket and holds out a set of CAR KEYS. His expression is remote and contrite.

CONNOR
I guess you came for the car.
Lawrence stares down at the keys and then up at Connor.

LAWRENCE
No, Connor, I've been searching for you.
(he glances back at the police car)
The police've been...helping.
(beat)
Connor, I want you to come home.
Connor's brows rise. Then he gazes down.

LAWRENCE (cont.)
Whoever else you may be, whatever's going on here,
we need to talk about it.
Your mother and I...we--we agree on this.
As far as we're concerned, you're still our son.
Connor purses his lips. Then he glances over at -

His POV - Angel standing on the sidewalk across the street, watching.

LAWRENCE
I'm sorry for the way we reacted.
Things were...confusing. We were frightened.

CONNOR
(gazing down, shrugging)
Yeah, I know how that feels.

LAWRENCE
Look, Connor. I'm not saying things won't remain...
"confusing." But we'll work it out. Somehow.
If you want.
Connor casts another long look at Angel. Then he looks at Lawrence and nods.

Lawrence smiles. He glances over at Angel.

LAWRENCE
(puzzled)
That's...that's the old CEO of Wolfram and Hart,
isn't it? How on Earth did you find him?
I went by the Wolfram and Hart building, and it
was in shambles.

CONNOR
It's a long story.

LAWRENCE
Well...you can tell it to me after we get the
cars home.

CONNOR
(uncomfortable, nodding)
O.K. Uh...I want--I need to go say goodbye to him.
Connor turns and heads across the street again.

ANGLE ON - Angel from Connor's POV as he approaches him. He stands stiffly, one hand in his pants pocket, his other hand on the grip of his sword, which is tucked up discreetly against his leg.

Connor comes to a halt in front of him, his expression guarded.

Angel looks down.

CONNOR
I'm, um...going back.
(he gestures towards Lawrence)
Home.
Angel nods.

ANGEL
Good. No. You should go.
Connor gazes at him, brow wrinkled.

CONNOR
Dad....

ANGEL
That's where you should be.
Connor exhales raggedly and gazes down.

CONNOR
You know where I live.
(glancing up)
You do, right?
There's a slightly sardonic smile on the edge of his lips.

Angel smiles back reflexively.

ANGEL
And you know where I am.
Angel sets his free hand up on his hip and gazes at his son.

Connor slips his hands into his pants pockets.

CONNOR
O.K. Well, bye.

ANGEL
I--
I love you, Connor.
Connor smiles. Then he turns and walks across the street to Lawrence.

PAN UP FROM THAT SHOT into the slightly cloudy, moonlit night sky above Los Angeles. Then FADE TO -

INT. MICHAEL'S OFFICE - NIGHT

In nighttime shadows. Light pours in the back window from the alley outside.

ANGLE ON - the doorway. Michael steps into the room. The light cuts across his face. He comes into full view as THE OFFICE LIGHT CLICKS ON. His hand falls away from the switch. His other hand is gripping a paper bag that is nestled in his arm. He walks over to his desk, sets the bag down, and pulls a glass jar of white sand from it. Then he reaches in again and brings up his hand. Dangling from his fingers is a BAGGIE containing Trent's JEWELED DAGGER. He sets that down on the desk as well.

He opens the jar and walks over to the center of the carpet. Then, slowly, circling his way around the floor, he draws a CIRCLE OF SAND. When he finishes, he reaches up and unlocks one of the barrister bookshelves. He sets the jar of sand inside and pulls out the SAPPHIRE PENDANT. He walks over to the desk, opens the baggie, and wipes the slightly congealed blood from the dagger onto the sapphire. He replaces the dagger.

Then he turns, walks over to the circle, and steps inside it, facing his desk. He raises the bloodied sapphire pendant in one hand, then reaches inside his pocket with the other. He brings his hand out, raises it, and UNCURLS HIS FINGERS.

Sitting in his palm is the GLOWING RED DRAGON'S STONE.

He gazes down at it for a long moment.

Finally he raises his chin.

MICHAEL
Guardians of the Watchtowers of the South,
who defend against all evil....
Obstruct all magicks that would do this young man harm....

BLACK OUT.

THE END

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

"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.