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the destroyer

In the Family, Part 1 (airdate April 06, 2005)

Posted by masqthephlsphr on 2005.10.31 at 23:29
Current Mood: determineddetermined
In the Family

Part 1

(October 31, 2005)

Written by: Masquerade

Teaser

EXT. WAREHOUSE DISTRICT - AFTERNOON

WIDE SHOT of a warehouse. A forklift truck crosses the asphalt lot. PAN RIGHT until we are in a LONG SHOT looking down the side of the building. Suddenly, around the far corner comes a MAN in a STUMBLING RUN. CLOSE-UP on the man as he STOPS abruptly and gasps - it's RALEIGH MATHERS. His face is unshaven. His naked head is marred with patchy, bristled hair and SCABBED-OVER WOUNDS. He is wearing a short-sleeved shirt, dirty jeans, and ratty Nikes. His rheumy eyes dart around in a panic. Then they widen, staring forward.

REVERSE ANGLE - the street. A BLACK LIMOUSINE creeps into view.

Mathers takes a step back and DUCKS BEHIND A DUMPSTER. His hand reaches up to steady his balance, then he slowly leans forward. On the underside of his arm, we can see more SCARS and NEEDLE MARKS.

His POV, around the dumpster - the limo drives on.

Mathers sags with relief and crumples to sitting against the warehouse wall.

BLACK OUT.


END OF TEASER

Opening Credits
The theme song plays as we see images of


CONNOR REILLY walking to classes, killing a vampire

starring

Vincent Kartheiser

FAITH THE VAMPIRE SLAYER, fighting in the SLAYER TRAINING ROOM with
Connor

Eliza Dushku

and REPORTER AIDEN WALSH, pulling his CAMERA away from his face.

and

Sean Maher

Act One

with special guest stars

Griff Rhys-Jones
Indigo
Elisabeth Rohm
Jim Abele
Adrienne Brett
Emma Hunton
David Boreanaz
Julie Benz
James Marsters


A gentle, somber piano melody plays as we FADE BETWEEN a series of shots -

INT. THE CLUTTERED BASEMENT ROOM - AFTERNOON

The room previously occupied by Spike, Dru, and Darla. Sitting in the threadbare armchair at the back, deep in thought, is ANGEL.

EXT. A GRAVEYARD - AFTERNOON

CONNOR walks down a row of graves, his book bag hanging from his shoulder. Behind him, we can see row upon row of tombstones.

INT. FAITH'S KITCHEN - AFTERNOON

FAITH leans over her kitchen counter as AIDEN, seated on a bar stool on the other side, pours over a map of Los Angeles dotted with TINY PEN MARKS of various colors.


INT. BASEMENT ROOM

CLOSE-UP on Angel's troubled face.

DISSOLVE TO -

INT. INTENSIVE CARE UNIT - HOSPITAL - DAY (FLASHBACK)

THROUGH GLASS - the young woman "Angelus" attacked in episode 18 lies sleeping in a hospital bed, a large bandage on her neck. The heart monitor beeps softly. A fiftyish woman sits at her bedside, reading a magazine. She LOOKS UP. PULL BACK TO the CORRIDOR. Standing on the near side of the glass is ANGEL, hands in his shabby coat pockets. The woman gives him a brief, polite smile. Angel turns away from the window.

LONG SHOT of him retreating down the corridor.

SPIKE (VOICE OVER)
I'm going out.

INT. BASEMENT ROOM (PRESENT DAY)

Angel, in the armchair, doesn't look up.

ANGEL
It's the middle of the afternoon.

WIDE SHOT of the cluttered basement looking towards the doorway that leads out to the hall. Spike paces there, agitated.

SPIKE
I'm restless, all right? I can't sleep, and I just...!

He throws out his fist and then STOPS IT within centimeters of the wall.

SPIKE
...Need to get out.

ANGEL
(soberly; still not looking at him)
Dru's gone.

SPIKE
You don't know that for certain.

Angel finally looks up.

ANGEL
I'm her sire, I know.

Spike strides towards him, circling around the vanity table. He stabs his chest with his fingertips.

SPIKE
And she's mine. I'm not going to just give up on 'er.

Angel's shoulders sag visibly. He looks away.

ANGEL
(quietly)
And if you find her? Then what?
The orb's dark. The amulet's dead.
And even if we had them, Spike, re-ensouling Dru--

SPIKE
(shaking his head)
Oh, no. Don't start in with another lecture
from Mr. "My Soul is a Yo-Yo."
(he stabs a finger at Angel)
You think you know everything there is to know about that.
Except you don't. You're not me.
And you're not her.

Spike turns around and stalks towards the door.

SPIKE
Anyway, I need to find Dru before your brat does.

ANGEL
(irritably)
Would you not call him that?
(Angel stands)
Spike!

Spike stops without turning around.

ANGEL
(quietly again)
If it were just me...I'd agree with you.
(beat)
You don't know this, but I had a chance to kill Dru
in the hotel suite after you and Darla were out of commission.
I didn't do it.
(beat)
She deserves a chance to get back what I took from her.

Spike turns.

SPIKE
Well. For once your tired guilt is actually
good for something.

ANGEL
But you're right. Connor wants her dead,
and I'm not going to stand in his way.

Spike scowls and turns on his toe. He exits the room.

SPIKE (O.S.)
Then don't get in mine.

Angel steps after him.

ANGEL
Spike, if it comes down to you and Connor--

SPIKE (O.S.)
(voice echoing down the hallway)
I'll find a way not to kill 'im.

Angel sets his hands on his hips. He gazes down, looking aggravated.


EXT. GRAVEYARD - AFTERNOON

LONG SHOT down a row of graves. Some are decorated with flowers. We can hear the faint drone of a lawn mower in the distance. Connor enters the frame and stops. His POV - ahead to his right is a GRAY-WHITE MARBLE HEADSTONE. It is surrounded by numerous flowers, candles, and wilted photographs. With a frown, Connor walks over to the grave and grabs up a bouquet of lavender orchids leaning against the stone. He tosses them away. He kneels.

CLOSE-UP of the stone beneath -

CORDELIA CHASE
Beloved daughter
Devoted friend
1981-2004

Connor stands tall. He shrugs off his book bag, drops it to the ground, then leans over again and starts SNATCHING UP the flowers, candles, and photographs and PITCHING them across the grass. When he is finished, he stands again and gazes down at the HEADSTONE with discomfort. QUICK-FLASH -
A wall of curving metal pipes. A young girl cowers on the floor beneath them. Standing nearby her is a VERY PREGNANT CORDELIA, her smug expression turning to suspicion.

A wall of horizontal wood planks. DARLA, in a white dress and cream sweater, gazes with pained compassion at -

Connor, who stands between the two women, his face crumpling with pain.
Connor looks away. His eyes pan the cemetery. Finally, he exhales.

CONNOR
I've been thinking a lot...
about everything that happened, and....

He looks back down. BRIEF ANGLE ON the GRAVESTONE.

CONNOR
I think you weren't yourself.
Something happened to you.

His face tenses with anxiety.

CONNOR
I mean, Jasmine made me.
I wouldn't even exist if it wasn't for her.
So maybe...
...maybe I put her inside you, and that's what made you....

His lips compress. A long moment passes. We hear the twitter of birds. Finally, Connor inhales raggedly, leans over, and picks up his bag. He unzips it and pulls out a red ROSE wrapped in tissue paper. He kneels down and places it awkwardly on Cordelia's grave.

CONNOR
I know you didn't kill that girl.


INT. FAITH'S KITCHEN - AFTERNOON

PANNING CLOSE-UP down the length of the kitchen bar. Spread across it are reference books, photographs, newspaper clippings, photocopies, over-stuffed manila file folders, and accordion folders of even more materials. Faith watches as Aiden leafs through his reporter's notebook.

AIDEN
Manny's occult supply store, Temple Luna nightclub,
the Slayer Council offices....
(he looks up at her)
And it's pretty obvious they're the ones who
disenchanted the Amulet of Aurelius.

FAITH
So what happens once they take over, buy up, or blow up
everything with supernatural power?

Aiden shrugs matter-of-factly.

AIDEN
They own the city.
Then they're free to do whatever they want
and no one can stop them...
enchanted drug sales, interdimensional smuggling,
human trafficking....

Faith sighs and grips the edge of the bar.

FAITH
Gotcha.
(beat)
Okay.
We know that homeless kid Anthony's involved, maybe in charge.
Well, not him, of course--something he's possessed with
that makes his eyes go yellow.

AIDEN
I've been researching that tattoo his mom saw on his hand.

He flips the pages of his notebook again, then stops and rotates the notebook around. INSERT - a SYMBOL drawn on the lined page -

Image hosted by Photobucket.com

AIDEN (O.S.)
I tried cross-referencing it with possessing entities,
but so far I haven't found anything.

Faith shakes her head with frustration.

FAITH
So while we have shit on them, they've managed to
infiltrate us with a "mole" who used my blood to
break the protection spell on the office, and--

AIDEN
...And we can't figure out who that is without tipping
our hand that we know there's a spy.

Faith rubs her fingertips on her forehead, looking fatigued. Aiden reaches down to the floor and picks up the spread-open map of Los Angeles. He lays it across the other materials again. Faith's eyes sink to it.

AIDEN
We do have locations we believe they have operations.
Manny's place, a house on the West side, a bank....

Faith shakes her head and crosses her arms.

FAITH
We're not even near ready to take these guys on.
We need to find some kind of weakness.

AIDEN
And coordinate with the police.

FAITH
Well, that's Angel's job.
(she frowns)
I haven't seen much of him in the last week.
He's been dealing with--

AIDEN
(nodding)
Family business.

DISSOLVE TO - INT. CONNOR'S APARTMENT - AFTERNOON

The FRONT DOOR opens. Connor enters the apartment and shuts the door.

AIDEN (VOICE OVER)
(chuckling)
And I thought my family was dysfunctional.

Connor crosses the living room and tosses his book bag on the carpet at the foot of his armchair. Lying half-underneath it is a pile of notebooks and papers. CLOSE-UP of a term paper on the top of the pile. A bright red "D" is scrawled in pen in the corner. Connor sinks into the chair. His eyes take in the room.


INT. FAITH'S KITCHEN

Aiden starts shoving the notebooks and folders into his book bag.

FAITH
(frowning)
Why don't you just leave that stuff here?
My place is better guarded than yours is.

Aiden pauses, looking down at his accumulated materials on the Syndicate. He shrugs.

AIDEN
Compromise, okay?
I'll take just the stuff I'm working--

He is cut off by a KNOCK AT THE DOOR. Aiden peers over his shoulder.

AIDEN
Expecting someone?

FAITH
No.

Knocking again, louder and more urgent.

FAITH
All right, all right.

Faith circles around the bar, walks to the front door, and opens it. RALEIGH MATHERS SLUMPS against the doorframe, ragged and wild-eyed.

MATHERS
(hoarsely)
Help me.
You have to help me.

Startled, Faith steps back, her hand on the door.


INT. CONNOR'S APARTMENT

PANNING RIGHT TO LEFT from the POV of the armchair - a kitchen without a table, a desk without a computer. A picture frame on the bookshelf with nothing in it.

Connor rises from his chair. He walks over to his bookcase and picks up the empty frame. DISSOLVE TO -

EXT. BRUIN WALK - UCLA - LATE MORNING (FLASHBACK)

SUPER LEGEND:
The previous Sunday


CRANE SHOT looking west down the campus thoroughfare. Lawrence and Colleen Reilly, Connor, and Doreen enter the central PLAZA. There are scattered students around, enjoying the sun.

LAWRENCE (VOICE-OVER)
We had a son, Sean. He was...troubled.

CUT TO a MEDIUM SHOT of the four of them, passing the ten-foot high Bruin bear statue. Lawrence looks bewildered. Colleen gazes at him sadly, her arms crossed tight against her chest.

LAWRENCE
There was so much turmoil. For years.
Then, when he was fifteen, Sean...committed suicide.

Connor's eyes dip to the sidewalk. CLOSE-UP on his far-away gaze.

COLLEEN
We tried to find a reason for it...blamed ourselves.
The guilt and grief almost tore us apart.

Her eyes jump to her daughter, who is walking quietly beside them, hunched into herself. Colleen brushes the bangs out of Doreen's eyes.

COLLEEN
We were in family therapy, but....

Lawrence gazes at Connor soberly.

LAWRENCE
Then our therapist told us about something called
"mystical foster care." A family like ours takes in a...
(he eyes Connor awkwardly)
...child like Sean, and...the memories of both the family
and the child are altered so--so everyone involved
believes the child is theirs.

He pauses.

LAWRENCE
A whole childhood's worth of healthy...
(he chuckles softly)
well...unchaotic memories.
The family is supposed to live like that for some
pre-arranged period of time,
and then their old memories are restored alongside
the new ones.

Connor scrutinizes Lawrence, his brow knit with uncertainty.

COLLEEN
The experience was supposed to be very therapeutic
for everyone involved.

LAWRENCE
(nodding)
At that point, the family, the child, and the therapist
discuss how they want to proceed--
together, apart, with or without the old memories.
(he glances at his wife)
We agreed to participate, and we were put on a waiting list.
And then, one day, two years ago,
the attorney representing the program called us
and told us a child was available.

He gestures at Connor.

LAWRENCE (cont.)
A man, really.

Colleen takes in Connor's pensive expression. He looks at both of them. He compresses his lips and nods towards - the nearby KERCKHOFF HALL.

CONNOR
It's right over here.

Lawrence, Colleen, and Doreen follow Connor up the walk and into the building.

TIME-DISSOLVE TO - INT. KERCKHOFF COFFEE HOUSE - MOMENTS LATER

CLOSE-UP ON the blueberry muffin Colleen is breaking into pieces. We can hear the WHOOSHING of the milk steamer. MEDIUM SHOT - Connor and the Reillys are seated at a corner table.

LAWRENCE
We were told the situation was urgent.
We didn't have a lot of time to decide.

Colleen smiles at Connor fondly.

COLLEEN
But we just...had a feeling about you.
(he returns the smile)
You and Sean are...
(she gazes down at her muffin)
...would have been...about the same age.

LAWRENCE
The next thing we knew, you were our son--
complete with eighteen years of memories
and the trappings that come with them,
and a college fund provided by your biological father.

Connor glances from Lawrence to Colleen, nodding. Lawrence sits back, reaches for his coffee cup, and takes a sip. He and Colleen share a significant look.

COLLEEN
They told us...that in these situations...
the families often come to have real love for the child.
(she inhales deeply)
Still...we didn't expect how much we would....

Lawrence stretches a hand out across the table to Connor.

LAWRENCE
(looking him in the eye)
We want you to know that, Connor, because...
well, things are complicated now.
(Connor nods)
We love you as if you were our own.

Connor gazes at the two of them uncertainly.

LAWRENCE
We were...scheduled to get our memories back after one year,
but the lawyer from the program never contacted our attorney.
The foster agency was private, and our attorney
only had contact with them through Wolfram and Hart.

Connor's brows knit.

COLLEEN
I guess...we just fell through the cracks
when the firm went under.

LAWRENCE
(nodding)
And our lawyer was afraid of what effect the truth might
have on us without the proper procedures.
So he didn't tell us.

COLLEEN
Except now, for some reason no one understands,
we got some of our memories back.
Not all of them....

CLOSE-UP on Connor's downcast, furtive expression.

DOREEN (O.S.)
And it was only us three.

Connor glances up at her. Doreen indicates herself and her parents.

DOREEN
No one else knows who Sean is. Still.

LAWRENCE
(nodding)
That provision in the contract went as planned, at least.

Colleen lets go of her crumbled muffin.

COLLEEN
Not just that.

She wipes her fingers on a napkin.

COLLEEN
I think it worked.
(she smiles at Connor again)
What tore our family apart was the belief that if
we'd just done something different,
(Lawrence nods)
treated Sean differently....

Colleen glances at her husband with a pained expression.

COLLEEN
The past two years have made us realize we really
are capable and loving.

Connor smiles. Then Colleen's expression turns to sympathy.

COLLEEN
(to Connor)
It was a little tougher for you, though, wasn't it?
We know you got your memories back before we did.

Connor looks down briefly and nods.

CONNOR
A year ago...at Wolfram and Hart.
I'm not sure exactly how it happened.

Colleen and Lawrence glance at each other again.

CONNOR
Afterwards, all I knew for sure was...
my biological father had set this up for me.
(he gestures at them)
And that you were my parents now and this was my life.
I--I didn't know about the foster thing.

COLLEEN
And all we knew was you were hurting,
but you wouldn't talk about it.

Connor shrugs, frowning.

CONNOR
It was mostly confusing...
having two lives jumbling around in my head.

Nods and wry chuckles around the table. Silence falls. Connor takes a sip of coffee and grimaces with distaste. He sets the cup down and looks up. His POV, PANNING - Lawrence, opposite him near the wall, and on either side of him, Doreen and Colleen. All poking at scones and muffins in uneasy silence. Then -

COLLEEN
Connor...has your father...been in touch with you at all?

Connor gazes down. He licks his lips anxiously.

CONNOR
Why don't you just say what you want to say.

The Reillys glance at each other.

CONNOR
I mean, it's obvious there's something you
want to talk about that you're not.
And I know what it is.
(he gestures at Lawrence)
Dad was attacked, and Doreen was kidnapped...
because of me.

Colleen looks down abruptly. Lawrence gazes from her to Connor with discomfort.

LAWRENCE
You're right, Connor. We just....

CLOSE-UP on Colleen. Her face is filled with turmoil.

COLLEEN
That woman. That...vampire.
She was part of your old life, wasn't she?

Connor shakes his head.

CONNOR
No.
She's someone from my father's past.

A beat; Connor's lips tremble. Then, murmuring -

CONNOR
He's a vampire, too.
That's why I can do the things I can do.

Connor slowly looks up. He takes in Lawrence and Colleen's confused, uneasy expressions.

CONNOR
(realizing)
They didn't tell you that, did they?
Drusilla came after you to hurt me.

LOW SHOT - suddenly, Connor shoves his chair back with his feet. It screeches against the linoleum. The few students in the coffee house glance up briefly. He rises to his feet.

CONNOR
I have to go.

LAWRENCE
(looking vexed)
Connor, this isn't what we--

CONNOR
(earnestly)
You know it's not safe!

Colleen and Lawrence throw an apprehensive glance at each other. Then Lawrence stands. Connor looks him in the eye.

CONNOR
I'm going to kill her for you. I promise.

And with that, he takes a step back, turns, and bolts out the door of the coffee house.

LAWRENCE
Connor, wait!

Lawrence dodges around the table and goes after him.

INT. KERCKHOFF HALL CORRIDOR

Lawrence runs down the hall.

LAWRENCE
Connor!

REVERSE ANGLE - Connor comes to a halt at the stairwell door but doesn't turn. Lawrence slows.

LAWRENCE
There's something you should know.

He closes in on Connor, then reaches out a hand and clasps his shoulder.

LAWRENCE
We had our lawyer check our records this morning.
(beat)
We still have your birth certificate.
Our names are still on it.

Connor turns his head. He inhales raggedly and nods. Then he opens the stairwell door and disappears.

DISSOLVE TO -

INT. CONNOR'S APARTMENT (PRESENT DAY)

Connor sets the empty photograph frame down on the bookshelf.

BLACK OUT.


END OF ACT ONE

Act Two

EXT. L.A. MUSEUM OF CULTURAL HISTORY - LATE AFTERNOON - STOCK - ESTABLISHING

The white stucco two-story building.

INT. SPECIAL COLLECTIONS OFFICE

WIDE SHOT - Angel stands in the doorway in his filthy trench coat and a sweatshirt with the hood pulled back. All the desks but one are empty of their previous clutter. A woman gathers an armful of books at a desk piled high with thick aging tomes and yellowed parchment manuscripts.

MUSEUM EMPLOYEE
She's out of town.

She turns towards a cardboard box sitting on a stool. Angel approaches her, stepping around a weak beam of sunlight pouring through the high windows.

ANGEL
I was supposed to meet her here today.

The woman starts placing the books in the box one by one.

MUSEUM EMPLOYEE
Yes, I know.
(a glance at him)
You're here about the Axis of Pythia, aren't you?
Friends you're trying to find.

ANGEL
We already used the Axis. We know where they are.
Mistress Meerna was going to find a way to get them out.

The woman turns to face Angel.

MUSEUM EMPLOYEE
And she apologizes for not being here, but....

She casts a furtive glance at the office door.

MUSEUM EMPLOYEE
(murmuring)
She had to leave town suddenly. It couldn't be helped.

Angel sets his hands on his hips and exhales.

ANGEL
Let me guess. The Syndicate.

The woman nods hurriedly and turns back to the desk. Angel gets out of her way, almost stepping into the sunshine. He skirts it with an irritable scowl.

ANGEL
Did she...leave any information about the spell
she was going to use?

The woman shakes her head as she gathers up more books.

MUSEUM EMPLOYEE
Anything she had of that nature, like the Axis,
is under tight security where the Syndicate can't get it.

The woman looks up as a beefy SECURITY GUARD appears in the doorway. She gestures him inside. She finishes packing the box, grabs up the lid, and closes it.

MUSEUM EMPLOYEE
(to the guard as he approaches the stool)
Thank you.
There'll be a few more after this one.

The guard nods. He picks up the box and exits the room. The woman turns back to Angel.

MUSEUM EMPLOYEE
I'm sorry. I wish there was some way I could help.
But Meerna's the dimensional magic expert.

Angel nods in frustration.


INT. FAITH'S KITCHEN - LATE AFTEROON

RALEIGH MATHERS sits on the floor eating cold pizza out of a delivery box. His head wounds have been cleaned up. In front of him is the kitchen bar, which has been cleared of the Syndicate research materials. To his right is the west wall with the door leading into the bathroom, and to the door's right, mounted on the wall, is a thick block of wood with a circular target painted on it. On the ceiling is a metal hook for a heavy punching bag that is propped up on the floor in the corner. Rona is sitting on it.

The clomp, clomp of heavy shoes draws Mathers' eyes up to Faith, who circles around him, arms crossed.

PAN OVER TO the other side of the room - Tushka is on the bed and Aiden is perched stiffly in the desk chair, his eyes on Faith, the floor, the window--anything but Raleigh Mathers.

FAITH
(disdainfully)
Yeah, I've heard of you.
You used to be a Watcher.

AIDEN (O.S.)
What's a Watcher?

Mathers' eyes jump across the room. He smirks with amusement, then tosses a pizza crust into the grease-soaked box with a sniff. He brushes the crumbs off his hands.

MATHERS
(pronouncing in his dry British accent)
A group of self-righteous pricks who used to train
and supervise Slayers.
(his eyes rise back to Faith)
They got what was coming to them, didn't they?

He raises two loose fists, then spreads his fingers out wide, eyes bugging comically.

MATHERS
"Boom."

Faith frowns, unimpressed.

FAITH
Too bad you weren't there.
(she glances at Rona, then back towards Tushka)
They kicked Mathers out. Giles and Wes never said why.

Mathers chuckles sardonically.

MATHERS
"Wes," is it?
(his eyes narrow on her)
Didn't you torture him just for fun?

Faith kneels down and looks at him with menace.

FAITH
Yeah. And I'm real good at it.
Now answer my question.

CLOSE-UP on Aiden, who eyes this with discomfort.

Mathers doesn't blink.

MATHERS
You'll protect me from the Syndicate because
I know things about them you need to know.

RONA
(skeptically)
How do we know you're not working for them?

Mathers glances over at her briefly.

MATHERS
Oh, you already have Syndicate operatives in your ranks.
They don't need me to do their dirty work.

Faith scoffs and stands.

FAITH
The Syndicate has been threatening us for months.
(she holds her arms out wide)
We're still here.

MATHERS
(dismissively)
You're still here because they believe you can be of use to them.

Faith turns her back on him and paces towards the bed.

FAITH
You're not telling me anything I don't already know.

MATHERS
How about this, then. They're branching out--
Mexico City, Cleveland, Toronto, New York.
And as soon as they get a foot-hold in this continent,
they'll move on to Europe.
(beat)
My guess is that along the way, they hope to
gain control of your little "Slayer Council,"
perhaps over the very phenomenon of the Slayer itself.
They're growing stronger. You need to find a weakness.

Faith's shoulders stiffen. She turns back around.

FAITH
And you just happen to know one.

Mathers gives her a broad, enigmatic smile.

MATHERS
Do we have a deal?

Faith marches over, kneels, and snatches away the pizza box. Mathers only chuckles.

MATHERS
I'm an information broker, young...
(he frowns)
...lady.
That means I always try to make a profit.
If you've contacted your "Slayer Council" already,
they've no doubt told you that the Watchers
wanted to put me on trial for "treason."
(he scoffs)
Did I mention that they were self-righteous pricks?
(beat)
I'll tell you what you want to know, but in exchange,
I get protection...and retain my freedom.

FAITH
And whatever "information" you can squeeze
out of us while you're at it.

Mathers only smirks. Faith SHOVES the pizza box at him, HARD. Mathers grapples for it as it SMASHES up against his chest. Greasy pizza crusts and crumbs tumble out of its bent sides and down Mathers' shirt. He spends a moment brushing them to the floor. Then he peers up at Faith.

Faith rises. She walks around the bar into the kitchen proper and opens a cabinet below the counter. She pulls out a pair of thick ropes. She returns to Mathers, ropes in hand.

FAITH
This is just for insurance.
I'll untie you in a minute.

She glances at Rona and Tushka.

They stand. Both Slayers step closer to Mathers but don't make another move as Faith kneels down in front of him and binds his ankles and wrists together with the ropes. He smirks at her lasciviously. Faith rises and nods at the Slayers, then glances over at Aiden. He stands. The women walk out into the basement hallway. Aiden follows, throwing Mathers a glance as he passes. Mathers smirks again. Then his eyes take in Faith's tiny apartment.

INT. BASEMENT HALLWAY

Faith's door is open. She turns to the three of them, hands on her hips.

FAITH
(murmuring)
Okay, I'm gonna keep this guy around for a while,
see if he knows anything.
But I have to go to work in an hour.
(her eyes shift from Rona to Tushka)
I need volunteers to baby-sit him--keep him out of my shit,
protect him if you have to, and make sure he doesn't bolt.
You guys down for that?

The Slayers nod, and Faith nods in acknowledgement. Then she lowers her voice to a whisper. The others close in to hear.

FAITH
So here's the deal. This guy is gonna try to get
you to talk to him. Tell him things.
You might think that some piece of information you have
is no big deal, but rule of thumb? Just...don't.
Don't engage. You got that?
(they nod)
Good.
(to Rona, normal voice)
You want to take the first shift?

RONA
As long as it's only a couple of hours.
This guy's a serious creep.

Faith glances at Tushka. Tushka nods.

TUSKHA
I can be back from class by eight. Maybe a little sooner.

FAITH
Okay, cool.
(then to Aiden, murmuring again -)
And I need you to sift through his bull and see
if there's anything in it we can actually use.

Aiden grins. Faith's eyes dart across all three of them.

FAITH
Don't tell a soul about this, okay?
No one.

They all nod.


FADE TO - INT. CONNOR'S APARTMENT - LATE AFTEROON

Connor stands in his kitchen, his shirt sleeve rolled up, strapping a RETRACTABLE STAKE to his wrist. His expression is sullen.

FAITH (O.S.)
I need a favor.

CONNOR
Depends on what it is.

Faith strolls towards him holding a CROSSBOW down at her side. In her other hand is an open-faced QUIVER. Six feathered wooden bolts are tucked into it side by side.

FAITH
There's this guy. An informant, I hope.
He says he's hiding out from the Syndicate.

CONNOR
Human?

FAITH
(chuckling)
Debatable, but yeah.
He's at my place right now because I don't have any
better place to stash him.
I need someone to guard him between six and eight.
I'd take one of the girls off patrol,
but there's only a few of them I can actually trust with this,
'cause of that whole "Syndicate infiltrator" thing.

Connor yanks his sleeve down.

CONNOR
I can do it.

FAITH
Thanks.

Connor holds out his hand. Faith hands him the crossbow and quiver. Connor crosses to the living room couch and sets them down. Faith gazes at him with concern.

FAITH
So.... How are you doing?

Connor grabs his limp book bag off the floor.

CONNOR
I dropped statistics.

He unzips the bag and tries shoving the crossbow inside.

CONNOR
(babbling)
I told my advisor I wanted to take Remedial Algebra.
Of course he said, "you took Algebra in high school."

The crossbow is too wide. Frowning at his lack of success, Connor tosses the crossbow and the book bag onto the couch. He turns to Faith, holding his arms out wide.

CONNOR
And what am I supposed to say to that?
"I never went to high school, and if you check,
you'll probably see that all my phony transcripts are missing."

Faith says nothing, just gazes at him with a knit brow. Connor turns back to the couch. He reaches down and picks up the quiver. With his other hand, he starts unbuckling his belt buckle.

CONNOR
Art is okay. It's about the only class that is.
History...a lot stuff that used to make sense doesn't
make sense anymore.

Connor jerks the quiver onto his belt, his voice rising with frustration.

CONNOR
I shouldn't even be in university anymore!
But the community college wants to see my high school records.

Faith shakes her head. She strolls over to him and clasps a hand on his shoulder.

FAITH
No, I meant how are you doing?

Connor glances at her. He relatches his belt buckle, his eyes dipping shyly.

CONNOR
I finally went to the graveyard.

He leans over and picks up the crossbow. Faith steps back awkwardly.

FAITH
How'd that go?

CONNOR
Weird.
(he turns, gazing at the crossbow)
I thought I'd know how to feel when I saw her grave,
but I didn't.

FAITH
Have you gone back to talk to Angel about it?

Connor shakes his head.

CONNOR
No. I've been busy.

Faith gives him a brief skeptical look.

FAITH
Yeah. Uh....
(she reaches for the crossbow)
Here.

She takes the crossbow out of his hand.

FAITH
This thing's loading mechanism is different.
You should take it out and practice with it first.

With a zrrrrpt, she unlatches the black Velcro strap wrapped around the center shaft. As she continues to speak, she unwinds the strap and pulls one end of it out wide, keeping the center of the strap looped around the shaft.

FAITH
(casually)
Angel's the one who knows what happened to Cordelia.
And he's also got this weird psychic thing when it
comes to tracking down Drusilla.

CONNOR
Has he found her?

FAITH
Not since Tuesday. That's when I saw him last.
Turn around.

After a brief flicker of puzzlement, Connor turns his back to her again. Gripping both ends of the strap, Faith brings the crossbow up against his back, then draws one end of the strap over his shoulder and the other around his waist.

CUT TO a TIGHT FRONTAL SHOT of Connor with Faith behind. As her arms reach around him, a tiny smile flickers on his lips. Slowly, he takes the straps out of her hands and brings them together, securing the Velcro connection. His expression grows solemn again.

CONNOR
(quietly)
Darla's out there, too.

FAITH
(wrinkled brow)
You know that she's sick...or something.

CONNOR
(eyes downcast)
Yeah, I know. Angel told me.

CLOSE-UP - Faith sets a hand on his shoulder. Connor's muscles twitch beneath her fingers.

FAITH
Look, Connor....
(she sighs)
I pretty much suck at the topic of parents.

Connor turns around, giving her a puzzled look.

FAITH
I mean, my dad was just some guy my mom screwed,
and my mom lived in a bottle of Seven Crown.
(beat)
But I know this. Angel's a good guy.

Connor tugs on the strap crossing his chest, testing its taughtness.

FAITH
Sure, he's got that Angelus side to him.
We've all got something, deep down.
(she chuckles)
Or not so deep down. Remember?

Connor gazes at her expressionlessly.

CONNOR
I know.

He turns and walks past Faith to the door.

CONNOR
I need to go hunt while it's still daylight.

Faith circles around and trails after him with a frown.

FAITH
Fine, whatever.
Just be at my place at six.


EXT. AIDEN'S HOUSE - LATE AFTEROON

A LINCOLN TOWN CAR is parked in Aiden's usual spot along the curb. His Honda Civic is behind his roommate's car in the driveway.

INT. AIDEN'S HOUSE

Aiden passes through the dimly-lit front hallway into the living room.

AIDEN
Some asshole parked in my spot.

MALE VOICE
That would be me.

Aiden stops and gapes.

AIDEN
Dad?
What are you doing here?

ARTHUR WALSH sits in the far corner of the couch facing inward, one arm slung over the back. He is a fiftyish man in a dress shirt, tie, and slacks with graying brown hair and a slight pudge around the middle.

ARTHUR
I'm doing a piece on the President's meeting with
your governor.
I sent you an e-mail about it days ago.

Aiden shuffles over to the couch.

AIDEN
You sent it to my Daily Bruin address, didn't you?

He pulls his book bag off his shoulder and sits down stiffly.

AIDEN
(puzzled)
Isn't that meeting in Sacrament--

ARTHUR
Let me get to the point, Aiden.
I've talked to the managing editor of the Times.

CLOSE-UP on Aiden. He exhales slowly.

ARTHUR
I know you said you didn't want me helping you,
but how do you think you get a job?
It's not just about what you can do.
It's about who you know.

Aiden stares off across the floor.

ARTHUR
It would be an internship, of course.
And you'd need to submit samples of your work
and letters of recommendation,
but I've already arranged the initial interview for you.

Aiden's eyes rise. We see a flicker of interest there. Arthur Walsh sits up, drawing his son's attention back to him. Aiden's interest fades into renewed exasperation.

AIDEN
(quietly)
I didn't ask you to.

Arthur leans forward, jabbing a finger at him. His voice has a frustrated bite to it.

ARTHUR
Aiden, by God, I'm doing you a favor here,
and you are going to thank me for it in five years.

Aiden exhales and stands up.

AIDEN
(eyebrows raised)
Do you know what I was doing before I got home?
I was in a meeting with a man who is probably the single
biggest source of information on the demon underground in L.A.--

Arthur throws him a look of disgust.

ARTHUR
Oh, don't start with that nonsense again--

AIDEN
(throwing his arms out)
It's not nonsense! It is probably....
No, it is--the biggest story of our time!

Arthur jumps to his feet.

AIDEN (cont.)
There are creatures out there who--

ARTHUR
I know why you're doing this. This...acting out.

Arthur crosses his arms. His eyes bore into his son's. Aiden's eyes sink away.

ARTHUR
You're trying to humiliate me.

Aiden gapes at him, dumbfounded.

AIDEN
Dad, this isn't about you.
This is about--

Arthur jabs a finger at him again.

ARTHUR
You're trying to humiliate me
because you think I haven't given you something
I should have given you--

AIDEN
--This is about life and death.
This is about the truth!

ARTHUR
--When I have given you
(jab)
everything!
(jab)
Everything!

Aiden's posture stiffens with frustration.

AIDEN
This is about the exact things
an investigative journalist is supposed to care about!

Arthur shakes his head sadly.

ARTHUR
(murmuring)
You're too talented for this nonsense, Aiden.

He glances at his watch.

AIDEN
It's not--

ARTHUR
I'll see you at Sushi Roku in Santa Monica at eight.
Be there.
And for God's sake, be a professional.
(again with the jabbing finger)
Not a nut-job out chasing monsters and throwing
his life away because he has no self-control and
no notion of the consequences of his actions!

CLOSE-UP of Aiden's tight-jawed expression of humiliation. A moment passes by. Finally, Aiden nods. Arthur clasps him on the shoulder firmly as if the last minute never happened.

ARTHUR
Eight o'clock.

He steps around Aiden. We hear his shoes clomp out through the foyer. After a beat, the front door opens and shuts. Aiden yanks up his book bag and heads down the back hall to his bedroom.

FADE TO - INT. WALSH HOME - DAY (FLASHBACK)

SUPER LEGEND:
Winnetka, Illinois, 1993


A bedroom belonging to a younger boy. Ten-year-old Aiden, awkwardly dressed in a black suit and tie, sits on the edge of his bed, staring forward in an almost catatonic way.

WOMAN'S VOICE
The guests are starting to arrive.

Young Aiden doesn't look up. CUT TO the BEDROOM DOOR. A woman in her late thirties stands there, gazing at him uncomfortably.

MOTHER
You should be downstairs.

AIDEN
Is he down there?

MOTHER
Your father? Of course he is.

AIDEN
Then I'm not going down.

His mother sighs. Aiden's lips purse and tremble.

AIDEN
He won't...talk to me.
He won't look at me.

His mother's expression flickers briefly with sympathy.

MOTHER
It's for your brother.

Aiden's shoulders sag. His face crumples. QUICK-FLASH -
EXT. A SLOPING HILL IN THE WOODS - DAY

The slope levels off into a STEEP DROP. A large BOULDER sits ten feet out from the side of the cliff-edge. Young Aiden stands on the boulder, smirking. Eight-year-old DYLAN runs down the slope towards the boulder. He reaches the cliff edge and LEAPS OUT INTO THE AIR.
DISSOLVE TO - INT. AIDEN'S BEDROOM (PRESENT DAY)

Manila envelopes, an accordion folder, pens, and a notebook cascade onto Aiden's bed. Adult Aiden sits down beside them and stares forward.


EXT. CENTRAL COMMUNITY POLICE STATION - DOWNTOWN LOS ANGELES - LATE AFTERNOON

INT. L.A.P.D. ORGANIZED CRIME TASK FORCE OFFICE

Kate Lockley pulls a file from a file cabinet and SLAMS the drawer closed. She turns and starts across the room. Phones ring. Plain-clothed cops sit at desks talking and writing reports. Kate exits into a hallway.

INT. CORRIDOR

The left side of the hallway has two open doorways. Along the right wall are vending machines. A homeless man in a ratty trench coat and hooded sweatshirt is poking the buttons on the candy machine. Kate walks her file folder down towards the large open booking area. As she passes the candy machine, the man speaks.

MAN
Bad day, Kate?

Kate stops. The man turns slightly, just enough for Kate to get a good look at his face.

KATE
(stunned)
Oh, my god. I thought you were dead.
I mean, dead dead.

ANGEL
No, just out of commission for a while.
And trying not to announce my presence in town too loudly.

A uniformed cop passes by. Angel tucks his head down again.

KATE
(crossing her arms)
Makes sense, seeing as you were apparently responsible
for bringing down a corrupt and powerful multi-million-dollar
law firm.

ANGEL
I need to talk to you.

Kate scrutinizes him for a moment, then nods across the hallway.

KATE
C'mon, we can use one of the interrogation rooms.

INT. INTERROGATION ROOM

Small and claustrophobic, but without the problematic two-way mirror. Kate sits down on the edge of the table with her file folder in her lap. Angel remains standing.

KATE
Have to admit, I didn't think you could do it.
Actually, I didn't think you had any plans to.

ANGEL
I didn't at first. I tried to run Wolfram and Hart
to do some good.
(Kate frowns skeptically)
Until I figured out that we were buying it with
twice as much bad.

KATE
Well, congratulations. You beat the bad guys.

ANGEL
Yeah. And now some new bad guys have stepped
right into their place.

KATE
Way of the world. It's why I'm back.

Angel smiles briefly.

ANGEL
I'm glad you got your job back.
This city can use a cop like you.

Kate eyes him cautiously.

KATE
Why do I get the feeling you're talking about more
than just my skill and integrity?

ANGEL
Because I am.
(beat)
The Syndicate. I'm here to help you bring them down.

Kate chuckles and shakes her head.

KATE
You say that like it's easy.

ANGEL
I know it's not.
But you have demon problems, and that's my area of expertise.
Not to mention that of a good three dozen of my friends.

Kate sets her file folder down beside her and crosses her arms, shifting into cop-mode.

KATE
Vigilante justice isn't going to cut it this time, Angel.
This is a police matter--LAPD, FBI.

Angel grins skeptically.

ANGEL
The government doesn't have a clue how to
deal with these guys.
Even the military forces that think they do.
We're the ones with the knowledge and power
that's actually going to defeat them.

KATE
Angel, you've proved your credibility with me.
But I have to play by the book this time or I'm out.
(she lowers her voice)
All of this--all of this--has to be done in a way
that isn't going to spread the supernatural across
the six o'clock news.

ANGEL
(firmly)
Which is why you need us.

Kate pauses, looking thoughtful again. Finally, she exhales.

KATE
Okay. You can start by telling me who exactly "us" is.
And I want to know everything, Angel.
Because if you're working with me,
everything you do has to go through me.
It needs to have an official stamp on it.
(she sighs again heavily and shakes her head)
God, I'm going to regret this.


EXT. LOS ANGELES SKYLINE - EARLY EVENING

It's still light outside, but the sun is hanging heavily in the West.

INT. SEWER TUNNEL

A crossbow-wearing Connor stands poised in the tunnel.

CONNOR
Jeez. Were you born this stupid,
or did it come with the fangs?

A female vampire with long brown hair charges at him, snarling. He LUNGES to one side and KICKS at her, HURLING her HARD against the CONCRETE WALL.

CONNOR
Come to think of it, don't answer that.

She heaves herself up again. Connor rips at the strap on his chest, then reaches over his shoulder, BRINGING HIS CROSSBOW UP AND AROUND.

CONNOR
Just stand there and look ugly.

The vampire's eyes widen. She turns. Connor grabs a bolt from his hip quiver and starts to load the crossbow. His hands fumble. With a mocking laugh, the vampire takes off in a run. Connor struggles with the bolt as the vampire's footfalls echo down the length of the tunnel.

CONNOR
Damn it!

He quickly drops the crossbow and bolt into a pitch-dark corner and races after the vampire.

CUT TO - ELSEWHERE IN THE SEWER TUNNEL - A MOMENT LATER

The vampire slows as she approaches a T-bend intersection. With a quick glance behind herself, she takes the right-hand fork and skulks forward. Suddenly, a DIFFUSE SHAFT OF LIGHT CUTS THROUGH the dimness of the tunnel from above. The vampire leaps back with a gasp. The shaft of light is SHOT THROUGH with a shadow as a figure leaps down. Before the vampire can react, she EXPLODES INTO DUST.

IN THE LIGHT - Connor brings back his hand, his wrist-stake protruding from under his sleeve. He exhales. He retracts his stake, then hops up the ladder and replaces the manhole cover. CUT TO a MEDIUM SHOT of the T-bend. Connor disappears around the corner.

EXT. CITY STREET - A MOMENT LATER

LOW SHOT across the asphalt. A car rumbles by, its tires bouncing slightly over a manhole cover. After a beat, the metal disk SHIFTS to one side. Connor climbs out, his crossbow once again strapped to his back. Crouching, he replaces the disk, then rises and heads over to the sidewalk. He pauses there, head raised, eyes wandering as he breathes in the air. His eyes settle forward.

REVERSE ANGLE - a run-down MOTEL painted an unattractive mint green. The marquee overhead reads "THE ROYAL VIKING MOTEL".

Connor enters the parking lot, the trail he is following leading him towards a MOTEL ROOM DOOR, room 21. The window blinds are shut tight. Connor jiggles the door knob, then quickly cuts down the alleyway leading to the back of the building.

CUT TO - INT. MOTEL ROOM BATHROOM

ANGLE ON the WINDOW. Connor is crouched on the window sill. He leaps down inside. He turns one armed wrist upward and creeps to the open bathroom door. His POV - a dim-lit MOTEL ROOM, shabbily furnished. A full-sized bed is crammed into the far corner. A WOMAN is lying there, her back to him. Her shoulders stiffen as she senses his presence. Her weak voice is distinctly, familiarly, feminine -

DARLA
Who's there?

Connor says nothing. He gazes at her.

DARLA
Angel?

Connor stares a moment longer, then backs into the bathroom again.

BLACK OUT.


END OF ACT TWO

Part 2 (click here)



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Comments:


cornerofmadness
cornerofmadness at 2005-12-01 12:23 (UTC) (Link)
I wasn't really expecting all the revelations of Lawrence and Colleen so that was neat.

Kate's back. Bounces.

Somehow I've been expecting the Aiden/Arthur conflict. I'm waiting for Arthur to get eaten.

Were you born this stupid,
or did it come with the fangs?


hee great line
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-01 12:50 (UTC) (Link)
I spent a long time figuring out the back story of the "Home" spell, since I was disintegrating it. I think most fic wanks it that Lawrence and Colleen were the involuntary "victims" of Cyvus Vail's spell, chosen because they were Irish-American and well-adjusted and lived somewhere in the vicinity of L.A., but otherwise clueless. But I had the thought, "What if they chose to be part of this themselves? How would that work?"

I also wanted something in the "Home" spell to explain why Connor was so blase' at the end of "Origin" about the return of his new memories. It's a huge problem for me, the way the return of his old memories caused him no stress or trauma at all, at least, none that he was showing. Then I pinged on Wesley's statement in Origin about the new memories, "that's what they were designed for--to help you cope." I came around to this idea that when Angel asked Lilah to give Connor a new life and new memories, she was able to give it to him so quickly because Wolfram and Hart had been dealing in that kind of thing for years, and she told him about "mystical fostering". All Angel had to do was pick from among the candidate foster parents.

In my wank, Angel has it specified in his contract that the fostering is to go on indefinitely--that Connor and the Reillys are not to be given back their memories after a year, despite what the Reilly contract says. Luckily for him, W&H goes under before the year's up, so everyone can blame the fact that their memories weren't returned on that. And that's why Angel panicks in "Origin" over the existence of the Orlon Window.

In Connor's case, the mystical fostering isn't quite as successful as advertised, because even though it gives him emotional strength he lacked before, he still has things he has to cope with, like aiding and abetting the murder of an innocent girl and his own demon heritage.


As for Aiden and Arthur, I've been adding in little daddy issues to Aiden in previous episodes, and now's the time for the pay-off. This is a big Aiden pay-off episode in general, kind of letting loose the stuff I've hinted at and built up with his character all season.
cornerofmadness
cornerofmadness at 2005-12-01 13:36 (UTC) (Link)
But I had the thought, "What if they chose to be part of this themselves? How would that work?"

I've gone with the other wank most of the time but earlier TD's got me thinking along this line too and it is a curious line of thought and as you said later on, how the heck did Lilah and W&H get it done so fast

And I'm so with you on how unlikely it was that Connor could be so blase about regaining his memories. It should have had some kind of impact even if it is "i'm learning to cope'
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-01 13:51 (UTC) (Link)
I went with the other wank in the ATPo Season 6 as well. It creates problems, though, if the Reillys get their memories back and realize they've had this kid thrust on them against their will. Either they have to reject Connor (which could make for some good angsty story telling, if that's where you want to go), or they have to "just luv him so much" they are willing to keep him on as their son despite the fact that they never asked to be put in this position.

Even with the voluntariness of my TD way of doing it, I have them both accept and reject Connor at the same time. They realize they chose this, and they have warm fuzzy feelings towards Connor, but they also realize they weren't fully informed about what they were getting into. And Connor scares them a little.
cornerofmadness
cornerofmadness at 2005-12-08 10:55 (UTC) (Link)
Well I like your way of wanking it. I've gone with them rejecting connor or NOT getting their memories back period,or sometimes they just didn't get out of LA in time...
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 12:32 (UTC) (Link)
Just don't get out of L.A. in time for what??

; )
cornerofmadness
cornerofmadness at 2005-12-08 12:45 (UTC) (Link)
time to die. I figure that battle takes out plenty of LA. If I can't figure out what to do with the reillys I just kill them all
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 13:35 (UTC) (Link)
Has anyone ever told you you're macabre and blood-thirsty?
cornerofmadness
cornerofmadness at 2005-12-08 17:49 (UTC) (Link)
my parents, ever since I was 6 (I think it was me pretending I was Bloody Mary decapitating my dolls that did it or the fact I only used a black crayon out of the BIG box...seriously they should have invested in therapy)
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 19:04 (UTC) (Link)
Well, it *is* hard to know what to do with the Reillys, it's true. Like many Congel 'shippers, I hated them on sight in "Home". Like, "Who the f*** are these people?! They're not his parents!"

They seemed kinda all right in "Origin", although I still would have had Connor blow them off to spend time with Angel (after getting his memories back) if I'd written it.

My whole reason for writing TD was to have Connor rediscover his heritage and his past, and in order to do that, I had to start with his canonical loyalty/connection to the Reillys and gradually move him away from it. Doing that, I actually started to develop some affection for them. Now I'm not sure what to do with them.
cornerofmadness
cornerofmadness at 2005-12-08 19:14 (UTC) (Link)
yeah that can be a problem. Again demon hordes do solve a problem. In a soon to come out story, I kill mom and dad leaving Connor to raise sis
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 19:18 (UTC) (Link)
Oh, so you don't kill *all* the Reillys, just the parents?
cornerofmadness
cornerofmadness at 2005-12-08 19:32 (UTC) (Link)
well sometimes I kill them all. But I thought what if Connor's stuck with a teenager to raise
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 19:38 (UTC) (Link)
A whiney little brat sister teenager. Mwah ha ha.

Maybe he'll come to sympathize with his biological father.

; )
cornerofmadness
cornerofmadness at 2005-12-08 19:52 (UTC) (Link)
that is the general plan...though Angel is there helping. And they're moving to NYC
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 19:56 (UTC) (Link)
Angel, Connor, and Daughter Reilly, living together in NYC? Is this the plot to a wacky sit-com?
cornerofmadness
cornerofmadness at 2005-12-08 20:13 (UTC) (Link)
actually no. To a series, not much on the wacky but Angel needed a change of pace...
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2005-12-08 20:17 (UTC) (Link)
And you're more familiar with NYC than L.A.....
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