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congel noir

Saturday Night in the City of the Dead, Part 2

Posted by masqthephlsphr on 2007.12.31 at 21:46
Current Mood: satisfied'tude-y
Saturday Night in the City of the Dead

Part 2

(December 31, 2007)

Written by: Masquerade

Act Three

EXT. THE MISSION DISTRICT - EVENING

Ethnic restaurants, hole-in-the-wall bookstores, mom-and-pop groceries with fresh produce piled in bins on the sidewalks. A little more run-down than other neighborhoods, but full of life and spice and verve. A YELLOW CAB makes its way south.

CONNOR (VOICE-OVER)
There's nothing you want to see.

ANGEL (V.O.)
I've seen it.

CONNOR (V.O.)
What about Alcatraz?

ANGEL (V.O.)
Seen it.

CONNOR (V.O.)
A trolley? "Ding, ding."
Or Fisherman's Wharf?
(frustrated beat)
C'mon, don't you want to do anything fun
while we're here?

INT. CAB BACK SEAT

Angel broods out the side window.

ANGEL
I've never....
(beat)
I've never seen the Golden Gate Bridge in daylight.

Connor considers this.

CONNOR
Well, you wouldn't, would you?

EXT. VALENCIA STREET

The cab halts along a row of storefronts topped by apartments. Angel and Connor exit one by one. Angel heads to an ornate gate between shops. Connor is drawn to the open doorway of the store they stopped in front of. The windows are frosted but the interior is well-lit.

ANGEL
C'mon, the address is upstairs.

CONNOR
In a minute.

He enters the store.

INT. GOOD VIBRATIONS BOUTIQUE

An upscale adult retail outlet. PG-13 PAN - magazines with carefully hidden covers; body massage devices; boxed condoms; shelves of bottles and tubes; more shelves of books, DVDs, and VHS tapes; leather-strapped items whose purpose is obscured by their loosely dangling state. The other merchandise is a collection of out-of-focus blurs of the vaguely phallic kind.

Connor wanders over to the DVDs. He examines them for a moment, then plucks one out. INSERT, the cover - a sexy brunette in lingerie. As we watch, her face morphs into TRACY'S.

Connor grins.

INSERT - Then it becomes FAITH'S.

His expression grows wistful and longing.

INSERT - Then it becomes ALIX'S.

Furtively, Connor replaces the DVD where he found it and turns to find -

Angel crossing the length of store.

ANGEL
Connor, c'mon. You can shop....

A soft BUZZ draws Angel's attention to the table beside him. He frowns and picks something up. CLOSE-UP as he follows the object's circular motion with his head and eyes. Angel sets the object back down.

ANGEL
Huh.

CUT TO - EXT. VALENCIA STREET

Connor and Angel exit the store.

ANGEL
Okay.

CONNOR
Uh-huh.

ANGEL
Upstairs.

CONNOR
Right.

They abruptly exit the FRAME.

CUT TO - INT. APARTMENT HALLWAY

Old but non-descript. Angel stops at a door and knocks. Connor halts beside him. TIGHT SHOT of the DOOR - A VIEWING SLOT with an ornate grille SNAPS OPEN. Beady eyes peer out.

MAN
(abruptly)
Who is it?

ANGEL
(reaching inside his coat)
Father Pitts? My name's Angel.

He pulls out a slip of paper.

ANGEL (cont.)
I'm here because--

FATHER PITTS
Angel who?

ANGEL
(perplexed and a little chagrined)
I don't have a last name--

FATHER PITTS
Well, Angel No-Last-Name,
you're not invited in!

The slot in the door SLAMS SHUT. Angel peers at Connor.

ANGEL
He knows I'm a vampire.

Connor's lips part.

FATHER PITTS
(muffled through the door)
Actually, I thought you were a slick thug
knocking on my door in the dark of the night instead of
kicking it in, in thundering need of tan!
(beat)
Go away!

ANGEL
(undaunted)
I need you to translate an incantation.

A brief pause. The slot reopens. The eyes don't appear any less impatient.

FATHER PITTS
What do I look like, Glinda, good witch for hire?!

ANGEL
I can't actually see you, so--

The slot slams shut again. With a look of determination, Angel brings up the paper. He clears his throat.

ANGEL
Krv...drpglr...pwlz....

The tongue-twisting clash of consonants brings a puzzled frown to Connor's face.

ANGEL
...chkwrt...strplmt...

FATHER PITTS
(muffled behind the door)
Stop, stop!!

ANGEL
...dwghzn...prqlrzn...

*Snap* *Snap* *Metallic snap*

Angel pauses as the unlocking deadbolts finish cascading down the door.

FATHER PITTS
(still muffled)
Stop!

Then, slowly, the door opens a few inches, chained. The eyes peer out, now accompanied by a chin, nose, and forehead. And a cleric's collar. It is the PRIEST from the teaser.

FATHER PITTS
Are you trying to destroy all civilization
right here in my hallway?!

Connor points at the paper in Angel's hands.

CONNOR
(curiously)
Is that what this does?

The eyes dart to Connor.

FATHER PITTS
You're not invited in, either.

CONNOR
(insulted)
I'm not a vampire.

FATHER PITTS
Oh. That explains the breath.

CONNOR
Huh?

FATHER PITTS
The breath. The breath.
(impatient sigh)
You're breathing.
And you still can't come in.

ANGEL
(earnestly)
Father Pitts, we need your help.

The eyes above the door chain narrow.

FATHER PITTS
Wait a minute. I know you.
Angelus. Also known as "Angel."

Angel looks unnerved.

FATHER PITTS (cont.)
Also known as "Liam of Galway."
Ravaged half the world for
one hundred and fifty years with his sire, Darla,
until the Romany restored his human soul,
then spent the next hundred years at the sewer-rat buffet.
"Vampire with a face of an...."
(he frowns circumspectly)
What happened to your face, anyway?
Put on weight?

Connor is now peering at his father.

CONNOR
Your name is Liam?

ANGEL
(with a frown)
You knew my name was Liam.

CONNOR
I never knew your name was Liam.
Why don't you go by that?
"Vampires don't use their real names"?

ANGEL
...

FATHER PITTS
(to Angel)
I can't give you a translation,
because there isn't one.

ANGEL
Well, what language is it, Pylean?

CUT TO - INT. FRONT WINDOW of the apartment. Distant SHOUTS and HOOTS echo from the street below.

Father Pitts glances towards the sound in a panic.

FATHER PITTS
They're coming.

ANGEL
Who?

He gives his visitors one last, fleeting glance.

FATHER PITTS
Gotta go.

SLAM. Snapping deadbolts cascade back up.

CUT TO - EXT. BACK ALLEY

IN FRAME - Father Pitts sneaks down a creaky wooden staircase with a packed bag slung over his shoulder. We hear continued shouts and hooting. He reaches the bottom of the stairs, then startles as -

Out of the shadows step Angel and Connor. Their all-business expressions are curiously similar.

ANGEL
Who's following you?

Father Pitts glances around with tensed caution.

FATHER PITTS
(stage whisper)
Mercenary goons from the Anunnaki.

CONNOR
The Anunnaki?

FATHER PITTS
Or possibly the I.R.S.
(he cringes)
They want to burrow into my brain,
peel it open like an onion, and find out everything I know!
(worried beat)
And God knows what those Anunnaki goons want.

He and Angel size each other up.

FATHER PITTS
(anxiously)
How'd you find me, anyway?

ANGEL
Juniper.

FATHER PITTS
She read you?

ANGEL
Yeah.

FATHER PITTS
(grudgingly)
Well, I guess that's okay, then.
(he hefts his bag higher onto his shoulder)
But I'm leaving town.

He steps around past Connor and Angel and starts down the alley at a cautious pace. It has become oddly quiet. Angel and Connor follow.

ANGEL
We can escort you, but I don't have my car.

FATHER PITTS
Car? It's safer underground.

Father Pitts comes to a frozen halt at the end of the alley.

FATHER PITTS
(with confusion)
They're not from the Anunnaki.

REVERSE ANGLE, his POV - standing there is a POSSE OF SIX VAMPIRES, all in game face.

ANGEL
(coolly)
Must be the I.R.S., then.

The vampire at point glares at Angel.

VAMPIRE
Angelus. Adrian warned you never to return.

ANGEL
Just taking care of some business.
I won't be staying long.

VAMPIRE
(angrily)
Now why don't I believe that?
This is the second time you've violated our borders this week!

ANGEL
(confused)
Second time?
What are you talking about?

The posse CLOSE IN ON THEM. Father Pitts skitters back.

VAMPIRE
We're here to escort you out of town.

CLOSE-UP on Connor.

CONNOR
(murmuring)
Now why don't I believe that?

He and Angel trade a glance.

ANGEL
Wanna have a little fun in San Francisco?

Connor's only response is a smile.

As Ultravox's twangy, punkish "Satday Night in the City of the Dead" breaks out, Father Pitts deftly ducks behind a trashcan. A bag of art supplies flops into his lap.

Father and son dive into the crowd of vampires, fists and feet flying. The lead vampire throws a punch. Angel blocks it, then--sock, pow!--returns two of his own, knocking the vampire back. Another vampire steps in. Angel ducks his punch, then stands tall and kicks the vamp. The vampire rolls away and starts to rise, only to meet Connor's foot, and then his fist as the vampire stands.

Meanwhile, Angel is jumped by three vampires in turn. He kicks one, throws himself backward to dodge another, and kicks the third away from the ground before flipping himself back up onto his feet, just in time to slug a vampire attacker with one fist and another with a second. Connor belts a vampire who doubles over, then clamps his fists together and brings them down on the vampire's back. The vampire falls. Connor immediately whirls around and kicks another vampire. Angel grabs that vampire up and THROWS HIM into the others, knocking them all down like bowling pins.

Father and son face off, geared up and grinning, enjoying themselves. In fact, Angel seems on the verge of a moment of perfect happiness when -

THUD! A fan kick comes at him. He ducks it and throws his fist at his attacker. The vampire slugs back.

Meanwhile, Connor trades blows with another vamp.

WIDE SHOT - Connor aims a kick at a vampire who steps away, sending Connor into a spin that lands him flat on his butt. Behind him, Angel goes fist-to-fist with his own opponent. Connor rises and kicks his attacker to the ground, then turns just in time to see -

a vampire pulling a STAKE on Angel.

CONNOR
Dad!

Connor blocks the attacker with a kick. The stake clatters to the ground. The vampire bares his fangs at Connor. Angel grabs up the stake and DUSTS the vampire with it.

WIDE SHOT - The remaining vampires are scattered on the ground, unmoving.

Angel immediately turns to find Father Pitts waiting for them at the edge of the alley. He grabs the priest by the arm and hustles him away. Connor takes up the rear, throwing a watchful glance over his shoulder.

FATHER PITTS
Thanks.

Angel shakes his head.

ANGEL
They weren't sent after you.
They were sent after me.



IN FRAME - a JUKEBOX.

Illyria takes it in, head tilted.

ILLYRIA
The Anunnaki are Old Ones.

INT. HOBO'S BAR - EVENING

ILLYRIA
One of the few things from the world I knew
that still holds influence here.

She gives the jukebox a dismissive glare and turns.

GUNN
But you want to destroy them.
That's what you said in Texas.
Aren't they the ones who killed you the first time?

ILLYRIA
I desire revenge.
But the Anunnaki do not exist on this plane.
If they did, I would sense them.

AIDEN
So, if I can ask...why were you enemies?

Illyria still isn't looking at him.

ILLYRIA
I ruled some lands, the Anunnaki ruled others.

Faith scoffs.

FAITH
That's all it was? Petty fighting over land?

The tone of Faith's voice causes the drunk beside her to stir. He sits up slowly as the thin, blue-haired leather queen stares down his bartender.

ILLYRIA
There was nothing "petty" about the wars we waged.
Mountains groaned and shattered in our wake.
Seas boiled with the heat of our rage.

She pivots and paces towards the front of the bar.

AIDEN
(unimpressed)
In other words,
you destroyed the very thing you were fighting over.

ILLYRIA
The Anunnaki would have destroyed it all,
if given the chance.
They had a weakness for the beasts which crawled
in the muck of the Earth and consumed its resources.
Vermin we could crush with a mere thought,
they protected.

CLOSE-UP of Gunn's pensive interest.

GUNN
You mean mortal animals.
Why would they protect them?

Unimpressed, the drunk lays his head back on the bar.

Illyria positions herself in front of some frames on the wall. INSERT, her POV - over-exposed photographs of the bar and its alcohol-soused patrons on busier nights.

ILLYRIA
Fascination, I suppose.
Human children will spend hours observing an
insect crawling across a sidewalk, or spinning a web.

Aiden slips from his seat and skulks over to Faith.

ILLYRIA
Adults turn the keeping of animals into an enterprise--
championship shows, pedigrees.

He leans in towards her.

ILLYRIA
(with a bitter scowl)
The Anunnaki defeated me, and witness the result.
Mortals, everywhere.
Blackening the Earth with their filth.

AIDEN
(in a low murmur)
Aren't you glad we invited her?
"Let's get Illyria to tell us about demon cults!"

FAITH
Zip it.

Gunn is paying no attention to them.

GUNN
Are you saying the Anunnaki wanted this?
Wanted mortal dominance?

CLOSE-UP on Illyria.

ILLYRIA
No. They were just fools.


INT. UNDERGROUND

TUNNEL SHOT - A subway car races by at extreme close range.

INT. SUBWAY CAR - Father Pitts, Connor, and Angel cling to overhead straps, squeezed between shoppers, partiers, and weekend commuters.

CUT TO - EXT. CALTRAIN STATION - A SHORT WHILE LATER

An OPEN-AIR DEPOT with several commuter tracks and a large storage lot. A long silver train pulls out. The three men approach the station across a wide plaza. Father Pitts glances around anxiously.

FATHER PITTS
It's not Pylean. Or any language.
It's physics...technically.
A trionic speechcraft formulation which
alters the dynamic reality sphere.

ANGEL
I'm familiar with the concept.

FATHER PITTS
(blinking; taken aback)
You are?

CONNOR
You are?

ANGEL
It's how I got trapped in Pylea.

FATHER PITTS
Well, this won't take you to Pylea.
It transforms dimensional barriers on a psychic level,
opening communication channels between dimensions.
(an uneasy glance at Angel)
And trust me--if the Senior Partners are involved,
that's not something you want to see happen.

Angel nods. Father Pitts halts and turns towards him with an intent, personal look.

FATHER PITTS
And there's one more thing.

Angel nods at Connor.

ANGEL
Go take a look around.

Connor opens his mouth in protest, then sulks and heads off. Angel faces Father Pitts. Father Pitts' voice is low and earnest.

FATHER PITTS
The reason I'm telling you this is
because you're not Angelus anymore.
Juniper says you can be trusted.
(then, hesitantly)
The one you're searching for,
the person who will respond to that speechcraft,
is someone I care about.
She's left the city. You have to find her.
You have to protect her from the Senior Partners.

ANGEL
I will.

FATHER PITTS
And there's something else.
She's being followed.


DISSOLVE TO - EXT. FOURTH STREET - SOUTH OF MARKET AREA - EVENING

Connor and Angel cross an intersection. Downtown looms large before them.

ANGEL
Connor, if we stick around, we'll just run into the Family again.

Connor glowers.

CONNOR
Well, why'd you invite me if all you were going to do
was track this guy down?

ANGEL
I wanted to spend some time with you.

Connor looks as if he has something to say to that, then just frowns.

CONNOR
Can I at least get something to eat before we go?

ANGEL
Uh, yeah, sure.
Like what?

CUT TO - INT. MEXICAN TAQUERÍA

IN FRAME - Connor chomps down on a mega-sized burrito. Angel watches, his mouth chewing vicariously. Connor eats for a moment, then glances up, swallowing. He reaches for a napkin.

CONNOR
What? I like Mexican food.

ANGEL
(eyes on Connor's burrito)
I've never had Mexican food.
(a beat; he frowns)
Unless you count actual Mexicans.

Connor's eyes dip back to his meal. He says nothing for a moment. Then -

CONNOR
So who's Adrian?

Angel looks confused for a beat, then annoyed.

ANGEL
He's the local vampire....
Jack ass.

CONNOR
So why are you avoiding him? Is he tough?

Angel actually chuckles.

ANGEL
He's probably the most depressed vampire ever.


INT. TURN-OF-THE-CENTURY THEATER

Adrian stands with his back to the vampire posse, hands clasped behind him, brooding contemptuously.

ADRIAN
Your brothers and sisters ask only one thing of you,
for which, in return, you are given the best spoils of the city.

The vampires squirm under Adrian's rebuke. Then one gathers his courage.

VAMPIRE
Angelus wasn't alone.
There was a kid with him.
He had super-human strength,
but he was no vamp.

This stops Adrian short. He turns, brows knit.

ADRIAN
A young man?

VAMPIRE
(nodding vigorously)
Yeah.
He and Angelus were protecting some priest.

Adrian takes this in pensively.

ADRIAN
There may be another way to defeat Angelus,
and find out what we want to know.


INT. TAQUERÍA

IN FRAME - scattered burrito leavings on a square of foil.

Connor wipes his mouth.

ANGEL
If you're done, let's find a cab.

Connor nods and gathers the foil up into a ball, then glances casually out the window. His POV, through glass and across a small outdoor patio - It is the PETITE BLOND WOMAN from the Haight. She stares directly at Connor, then pivots and disappears beyond the high wood fence that surrounds the taquería. Angel looks startled as Connor SCRAMBLES TO HIS FEET and BOLTS out the door of the restaurant. He stands.

ANGEL
Connor!

Through the window, we see Connor jump a railing and race across the patio. Angel shoves a chair out of his way and follows.

EXT. FOURTH STREET - EVENING

LONG SHOT - Connor sprints down the sidewalk. We see the woman ahead of him. She glances back as if to make sure he's following, then turns into the doorway of a brick loft office building and DISAPPEARS.

Connor comes to a bewildered halt in front of the building. He looks around, then steps up to the door and reaches for the handle. Angel catches up.

ANGEL
Connor, what are you doing?

CONNOR
I saw....

He stares up at the building, perplexed.

CONNOR
I thought I saw....

ANGEL
Who were you following?

CONNOR
No one. I guess I'm just seeing...
(a bewildered pause)
...a ghost.

Angel scrutinizes him for a beat with concern, then turns away from the door.

ANGEL
Let's get out of this town.

Connor nods his agreement.


EXT. THIRD STREET AND MISSION - EVENING

A taxi crosses Mission and JERKS TO A HALT at a row of METAL BARRIERS blocking the far side of the intersection. Pedestrians stream past holding picket signs. A police officer shoos the taxi back with wide sweeps of his arms.

POLICE OFFICER
You can't go this way! We've blocked off on this
side of Market all the way to the Embarcadero!

The back window slides down. Angel pokes his head out.

ANGEL
(indicating up the street)
Our hotel's that way!

POLICE OFFICER
You'll have to go around!

INT. TAXI

Angel reaches for the door handle.

ANGEL
(to Connor)
Guess we'll walk.

The taxi driver cranks his wheel hard to the left. Connor nods, then is THROWN BACK as -

WIDE EXT. SHOT - The taxi speeds off down Mission.

CUT TO - EXT. MARKET AND FOURTH STREETS

More metal barriers, crossing Market. Beyond them, a HUGE THRONG fills the street as far as the eye can see. TIGHT PAN - They are singing and holding candles and placards -

U.S. out of Iraq!

Support our troops--bring them home alive now!

Cars are backed up on Market. The taxi reappears, squealing to a halt at a barrier.

INT. TAXI

Connor hops out and starts across Market. Angel looks after him as he pays the driver.

ANGEL
Connor! You're going the wrong....

EXT. MARKET STREET

But Connor is already on the sidewalk headed towards Union Square. Angel starts after him. The taxi peals out.

CUT TO - He catches up with Connor a moment later just as Connor steps down into another street. Suddenly, Connor does an abrupt about-face in the middle of the crosswalk.

CONNOR
What the....

Staggering past him is a man COVERED IN BLOOD. His clothing is torn and his stare is vacant. Behind him is another man in no better shape. Then a woman, moaning feebly.

CONNOR
(anxiously)
Dad...?

Angel takes this in with puzzled astonishment. By now, the intersection is FILLED with SHUFFLING ZOMBIES, veering towards an Apple Store and fumbling out for Connor and other pedestrians. With a determined scowl, Connor GRABS THE ARM of the zombie closest to him and SWINGS him around. Angel starts to do the same, then frowns as he sees -

One of the zombies talking on a CELL PHONE.

Angel whirls back towards Connor.

ANGEL
Connor, no!

The zombie FLIES INTO THE GUTTER and hits the curb HARD. This time his moans are genuine.

Connor pivots around to see - His POV - Theatrical make-up, a fake ax "embedded" in a woman's skull, and the un-zombie-like looks of surprise on the other undead faces. Slowly, the first zombie sits up, cradling the back of his head.

ZOMBIE
Ow, man, that really hurt!

Connor walks over to help the man up.

CONNOR
Sorry.

The other "zombies" continue across the street, shuffling and moaning.

ZOMBIES
Neeeeed brraaaaaainssss.....

Connor steps up on the curb, where Angel is scowling beside some newspaper dispensers.

CONNOR
This town is nuts.

But Angel's attention is on - A LIMOUSINE double-parked up the street.

INT. LIMOUSINE

Jason Guelph relaxes in the darkness of the backseat. The rap on the window barely makes him flinch.

ANGEL'S VOICE
(muffled)
Open up Guelph, I know it's you.

He reaches out and rolls down the glass. Angel glares in.

GUELPH
(calm and friendly)
Did you figure out what the incantation is?
(QUICK-CUT TO Angel's poker face)
That is what you've been trying to do.

ANGEL
Did you expect otherwise?

Guelph's face darkens with uncharacteristic menace.

GUELPH
I "expect" you have a lot of enemies.
You don't need the Partners to be among them again.
All they require is that you find the person who
responds to the incantation.
(the window rolls up)
Now go to your son.


EXT. STREET

Irritably, Angel turns away from the limousine back towards where he left Connor. LONG SHOT - Except Connor isn't there. Angel looks around. PANNING - People and activity, passing cars, but no Connor. He heads back to the newspaper dispensers.

ANGEL
Connor?!

The limousine pulls out into traffic and glides away.

ANGEL
Guelph!

Angel is about to give chase when something beside him catches his attention - Atop the newspaper dispenser - a COLORFUL FLYER sitting under a stone. Angel's brow knits as he tugs it out. INSERT - An old playbill for the JINGJU OPERA THEATER.

BLACK OUT.


END OF ACT THREE

Act Four

SWIRLING DISSOLVE TO Connor, lying unconscious on concrete. His eyes flutter open. Slowly, he sits upright.

INT. BACK STAGE - JINGJU OPERA THEATER

He is on the floor of a GIANT CAGE. He stares around, then scowls.

CONNOR
(peevishly)
Where am I?

MAN (O.S.)
(Spanish accent)
Manners. You're in our home.

CONNOR
Adrian.

THROUGH METAL BARS - Racks of elaborate costumes, makeup vanities, and other trappings of the theater's earlier days. Adrian stands beside some crates with his back to Connor. The room is lit by dim electric "oil lamp" sconces high on the walls.

ADRIAN
I see Angel has apprised you of things.

CONNOR
(sneering)
Oh, yeah, he's full of fun facts.
I think he said you were a..."jack ass."

Connor waits, but there is no response from Adrian.

CONNOR
Why am I here?

ADRIAN
I require an explanation.

CONNOR
For what?

Adrian finally turns, his boots scuffing the concrete.

ADRIAN
This is my city. My children's city.
I'll not abide Angel violating that.
Or her.

CONNOR
"Her"?
(then, uncertainly)
Angel violated someone?

Adrian glares impatiently. He strides towards Connor.

ADRIAN
Why are you in San Francisco?!

Connor rises to his feet and approaches the bars of the cage.

CONNOR
Don't worry.
We were just about to leave.

Adrian's gaze bores back.

ADRIAN
That doesn't answer my question.

Connor shrugs.

CONNOR
I don't know, exactly.
Angel needed to talk to someone. A priest.

ADRIAN
Which priest? About what?

Connor's hands rise to the bars.

CONNOR
I don't know.

Adrian's gaze is melancholy. Scrutinizing.

ADRIAN
You killed Diego Ortel.

CONNOR
What of it?

With a sudden, angry snarl, Adrian whirls and stalks away. He stops in the middle of the room and paces, restless and anxious.

ADRIAN
And Angel fought beside the Slayer who crushed
the Master of the Order of Aurelius.
Spike brought Sunnydale crumbling in on itself.
(he whirls on Connor suddenly)
I won't have your fouled bloodline destroying my city!

Connor looks on, bewildered.

Adrian walks over to an unblinded window. His fingers press to the glass. Over his shoulder, we can see something of what he sees--the eaves of a nearby rooftop, glowing high-rises beyond.

ADRIAN
(mooningly)
I love its dark shadows. Its broken streets.
The blood of its people flows with irony and...complication.

Connor tests the bars' strength, muscles tensing, then sighs.

CONNOR
Look. As far as I know, Angel has no intention of doing
anything to "your city." Or you.


EXT. CHINATOWN ALLEY

Angel lopes down the narrow passage, face intent, passing heaping trashcans and the open back door of a restaurant. We hear chatter in Cantonese and see cooks busy in their preparations.

ADRIAN (V.O.)
He already has.
Destruction is all he knows.
As Angelus, he and his sire left desolation in their wake
wherever they went.

Angel slows as he approaches a doorway.

JINGJU OPERA THEATER
STAGE DOOR

He glances around, then leaps atop a dumpster and clambers up a drainpipe.

ADRIAN (V.O.)
As Angel, he does the same.
Only the paths he traverses have changed.

CUT TO a SENTRY at the far end of the building. It is the long-haired LUC. He catches sight of - LONG SHOT - Angel disappearing over the roof. DIAGONAL LONG SHOT - Angel dashes across it to - TIGHT SHOT - an unused heating vent. He kneels beside it and PRIES IT OPEN.


INT. BACK STAGE - JINGJU OPERA THEATER

Adrian brings down his hand from the window and turns, facing Connor.

ADRIAN
Their blood churns in your urge to destroy.

CONNOR
(taken aback)
How do you know....

A soft squeak and the scuffle of footsteps announces Luc, who enters through a stage-side door.

LUC
Adrian. A word.

Adrian turns and crosses the room. Connor stares after him. Then a familiar FEMALE VOICE knits his brow -

WOMAN (O.S.)
Oh, blow this guy off.
Ten minutes of him and I'm ready to stake myself.
Again.

Slowly, Connor turns. Standing inexplicably behind him in the cage is DARLA, garbed in a simple, contemporary dress. She regards Connor intently.

DARLA
This cage can't hold you.
It was meant to trap humans.

Connor backs away, then briefly turns to see if Adrian can see her.

But Adrian is across the room, conferring with Luc. We hear their soft murmurs.

DARLA
And while you're at it, put Adrian out of my misery.
(she nods to indicate something behind Connor)
Those crates over there should do the trick.
(then gives him the intimate once-over)
You remember how.

Connor gazes down and away, clearly disturbed.

CONNOR
You're not real. You're--

DARLA
Dead?

CONNOR
You're just another walking nightmare sent after me.
Like Sahjhan.

Darla steps towards him, hands clasped behind her back. She tilts her head.

DARLA
Darling boy, if I wanted you dead,
I'd have snapped your neck when I still had a body,
and the strength.
(she lifts a hand to his face)
In any case, I can't now.

Connor raises his eyes just in time to see his mother's fingers PASS THROUGH HIS JAW. He steps back again, startled, then turns his back on her.

DARLA
Come, now.
It's not the first time your dead mother's
appeared to offer her advice.

Connor looks overwhelmed at the memory. With a determined grimace, he tries his strength against the cage door again. It shifts slightly. Connor sags against the bars.

CONNOR
I killed you.

DARLA
Only because I asked you to.

TIGHT SHOT of Connor.

CONNOR
(anguished)
I didn't--I didn't want....

Compressing his lips, he turns to face her. But Darla is gone.


INT. SERVICE HALLWAY

IN FRAME - A door labeled BOILER ROOM. It opens. Angel peers out, then slips into the hallway.


INT. BACK STAGE

ADRIAN
(murmuring)
Let him come.

Luc nods and exits out the door he came in. THROUGH THE OPEN DOORWAY - Luc passes two family members waiting there, a male and female, and takes a short flight of stairs to the STAGE DOOR. Adrian beckons the vampires, then turns abruptly and strides back towards the cage. The vampires follow.

LONG SHOT - The cage door RATTLES under Connor's grip. With guarded amusement, the vampires park themselves on the other side of it. Connor ignores them, steps back, and KICKS the door. It SHAKES. Adrian faces the cage as well, lost in agitated thought.

INT. PERFORMANCE HALL

TIGHT SHOT of the doorway leading out to the lobby. The shadows behind the vampire stationed there SHIFT AND SPLIT. Angel appears. He grabs the vampire's head and SNAPS IT CLEAN OFF. A vampire-shaped cloud of dust settles to the red carpet. REVERSE ANGLE LONG SHOT - Angel descends into the vast room.

INT. BACK STAGE

CLOSE-UP on Connor's look of determination as - BANG! he kicks at the door again. And AGAIN. It SHAKES.

Adrian's eyes dart towards the cage irritably.

INT. PERFORMANCE HALL

Angel leaps up onto the stage, headed for the wings, when suddenly - THREE FAMILY MEMBERS confront him, holding STAKES. He pivots. THREE MORE are behind him. They encircle him.

INT. BACK STAGE - A MOMENT LATER

Adrian turns around as the vampires enter the room, surrounding Angel.

Connor stops kicking the cage door and QUICK-CUT - exchanges a glance with his father, who comes to a halt several meters from Adrian.

ANGEL
All right Adrian, you got my attention.
What do you want?

Adrian maintains the distance between them.

ADRIAN
I want to know why you're in San Francisco.

Connor's hands tighten around the cross-bar of the cage.

CONNOR
Don't tell him, Dad. He's just gonna kill us.

ANGEL
I know.

Adrian regards Angel curiously.

ADRIAN
And yet you burst in here anyway.
(beat)
The part of you that is still Angelus must be prickling.

ANGEL
(wincing thoughtfully)
I wouldn't say "burst."
It was a little more stealthy than that.

He crosses his arms and levels a serious gaze at Adrian.

ANGEL
What I'm doing in San Francisco is none of your business.
So button down the paranoia, and let my son and I leave.

SLOW PAN - Adrian has the attention of everyone in the room as he lapses into brief consideration of this. Then he shakes his head.

ADRIAN
No. A statement must be made.

And with that, he turns and strides towards the stairwell door. The vampires CLOSE IN ON ANGEL. Angel whirls in place, staring around at them.

Connor's eyes widen.

CONNOR
Dad!

One of the vampires LEAPS AT ANGEL. Angel's coat FLIES as he kicks out at the vamp, sending it FLYING BACK into some others, who stumble. Angel immediately whirls in the opposite direction to face another vampire who is diving at him with a RAISED STAKE. He BLOCKS the stake. They struggle for it.

ANGEL
Connor! You've gonna have to--

The two GUARD VAMPIRES close in on the cage door. As they do, Connor's worried expression turns to a wan smile. He steps back and KICKS AT IT one more time. IT BURSTS OPEN, knocking the vampires back into the crates. CLOSE-UP - The crates CRACK under the impact. Connor catches the door as it returns, dodges around it, and goes after them.

Angel wrestles the stake from his opponent and gives it back with a quick thrust to the chest, then turns just in time to dodge another stake coming at him from behind.

Connor slams his fist into one of the broken crate slats, splintering it. He yanks out a make-shift stake. Whirling, he JAMS IT into one of the guards, dusting him. The female vampire GRABS HIS NECK FROM BEHIND WITH BOTH HANDS.

CUT TO Angel, who dusts another of his opponents, then engages another.

The female vampire squeezes Connor's throat, lips close to his ear. He struggles, then drops his stake and digs at her fingers with his own.

VAMPIRE
(hissing)
You may fight like a vampire, but you're not one.

She grips his shoulder with one hand, bends her head in, and SINKS HER TEETH INTO HIS NECK. Connor gapes, but before he can cry out, the vampire's other hand fumbles up and CLAMPS OVER HIS MOUTH. Connor continues to struggle as everything slips into SILENT SLO-MO -

SLO-MO of Angel, who is busily fighting off four demons across the room.

Then Connor, head sagging to one side. With an irritable backwards glare, he grips his attacker's sloppily-placed hand and returns the favor, BITING DOWN ON IT. At the same time, LOW SHOT - he stomps down on her foot with his own. Her grip falters.

NORMAL SPEED - Connor JABS AN ELBOW INTO HER RIBS, drops to his knees, retrieves his stake and twists around, still kneeling. He JAMS THE STAKE UP INTO THE VAMPIRE'S HEART. She EXPLODES.

Then he rises, teeth gritted, neck smeared with blood, and turns on the vampires attacking his father. He STAKES ONE in the BACK. Angel gives him a quick, acknowledging nod, then is stopped short at the sight of Connor's neck wound.

ANGEL
Connor--

Luc, who Angel has tossed off to his left, is COMING BACK AT HIM. Connor DIVES between them, grabs Luc by his lapels, and FLINGS HIM HIGH, sending the vampire careening over the tops of the crates and into one of the sconces, breaking the glass and crushing the electric bulb. CLOSE-UP - the ancient wiring crackles and BURSTS INTO FLAME. Luc cries out and squirms as his clothes, and then his body, are SET ALIGHT. Seconds later, the crates themselves are ABLAZE. The remaining vampires stop and stare. The flames eat hungrily at the old draperies and furniture, spreading quickly across the room.

Connor dives for his bag of art supplies sitting on a chair. Angel grabs his son's wrist--

ANGEL
C'mon!

--and yanks him towards the stairwell door. Adrian rushes into the room, staring in anguish at the dying Luc. A beam from the ceiling falls, crushing another vampire beneath it.

CUT TO - EXT. GRANT STREET - MOMENTS LATER

A narrow Chinatown boulevard crammed with restaurants, souvenir shops, the butcher's, the baker's, and the herbalist's. At this late hour, the only people in sight are locals, gawking out upstairs windows at -

LONG SHOT - The Jingju Opera Theater, in FLAMES. Wailing sirens cut out as fire trucks arrive.

Two lone figures stand in the shadows of Grant Street.

ANGEL
The fire's contained. Let's go.


EXT. SLAYER COUNCIL BUILDING - SILVER LAKE - MIDNIGHT

INT. LIBRARY

Aiden sits at the table, books spread open, researching intently.


EXT. BUSY THOROUGHFARE - SAN FRANCISCO - NIGHT

Restaurants and nightclubs. Traffic criss-crosses in multiple directions. Angel and Connor emerge from an alleyway, Angel picking at his coat, which is smudged and torn.

ANGEL
Damn it.
I didn't pack another one.

Connor shakes his head.

CONNOR
Twinkie.
Vampires don't need coats.

They pass under a street light. Angel brings Connor to a halt and lifts his chin to examine his neck.

ANGEL
We need to get you to a hospital.

Connor's fingertips dab at the wound.

CONNOR
It's stopped bleeding.
Besides, I heal fast.

ANGEL
(with concern)
It's twice in one month, Connor.

CONNOR
What can I say. I drive the vampire girls wild.

ANGEL
Let's at least get back to the hotel and clean it up.
(he looks around)
Where are we?

His POV - A street sign on the corner. COLUMBUS AVENUE.

Angel's face lights up with recognition.

ANGEL
North Beach.
(off Connor's blank reaction)
The Italian neighborhood.

WIDE SHOT - The two head up the sidewalk, passing a bookstore with banners of famous authors hanging from its second-story roof. Angel pauses beside the large window display. THROUGH GLASS - Books, including Howl and Other Poems, by Allen Ginsberg.

Angel taps the glass.

ANGEL
I met him once in New York.

CONNOR
Yeah? What was he like?

ANGEL
I don't remember.
There was a lot of second-hand hashish smoke
in the room.

Angel starts up the street again. Connor grins as he falls into step.

CONNOR
How far's the hotel?

They step down into an intersection.

ANGEL
A ways. We should find a cab.
Then, assuming there's no protesters or zombies....

Angel's eyes fall on - A quaint, turn-of-century building on the corner of the next block. O'MALLEY'S PUB. He points it out.

ANGEL
I bet they have a restroom we could use.

Connor's regard is skeptical.

CONNOR
An Irish pub? That's not very Italian.

Angel grins.

ANGEL
It's half-Irish, half-Italian.


DISSOLVE TO - INT. O'MALLEY'S PUB - HOURS LATER

Connor and Angel sit opposite each other at a small round table, a collection of empty glasses between them. Both have the languid look of the slightly inebriated.

ANGEL
They're not always blondes.
Cordelia wasn't a blonde.

Connor raises his glass, burping discretely.

CONNOR
'Cept for...when she was a blonde.

He takes a swig. Angel shakes his head.

ANGEL
That's just...when she was p'ssessed by Jasmine.

Connor shakes his head even more adamantly. His glass CLOMPS on the table.

CONNOR
No, no.
She was blond when I first got back...from Quortoth.
And, gee, I wonder what "possessed" her to do that.

Angel frowns grudgingly.

ANGEL
Drisilla wasn't a blonde.

CONNOR
(grimacing skeptically)
You actually wanna count her?

A long, sober look comes to Angel's face. Well, as sober as you can look after four and a half ales.

ANGEL
She counts. After everything I did....
She counts.

CONNOR
Well, that's sorta what I mean.
It's not like you were t'gether...together.
(a dubious cringe)
...Were you?

Angel stares into space.

ANGEL
No.
When you're a vampire, you can have anything you want.
But nothing is yours.

CONNOR
(tentatively)
So there's no love? No real conn...ection?
(beat)
Not even with my mother?

Angel's eyes rise to meet his son's.

ANGEL
My relashunship with Darla was...complicated.

A slow, pensive sip from his glass.

ANGEL
Th'point is, I'm not going to just dismiss Dru
the way everyone else--else....
I'm r'sponsible for the way she is.
And it haunts me.
I see Drusilla in the face of every one I try to save.
And even if I save them--

CONNOR
Dad?

The word, as usual, halts Angel in his tracks.

CONNOR
I just spent...two hours with
the most...depressed vampire ever.
Don't make me set you on fire, too.

Angel stares at him for a beat. Then he catches -

The twinkle in his son's eye. HOLD ON THEM, eye to eye. Finally, Connor sets his glass down with a thunk.

CONNOR
So back to th'blond thing.
There was Mom...that Slayer, Buffy...werewolf-girl....
(a sly grin)
Say, have you seen her since you got back...?


EXT. COLUMBUS AVENUE

Connor and Angel totter unsteadily up the sidewalk. Wind whips Connor's hair. He looks around, confused, as Angel veers off, distracted by another large store window display. In it, two MANNEQUINS stand on green turf in polo shirts, Dockers, and plaid newsboy caps.

CONNOR
Dad?

Angel looks back at his son.

ANGEL
Let's play golf.

The funky horns and drums of "The Streets of San Francisco" theme starts up as we CUT FROM Connor's puzzled frown to -

EXT. THE ARGENT HOTEL - THE WEE HOURS OF THE MORNING

Angel's convertible pulls out into the street, Angel and Connor inside. POV shot, ZOOMING up and down hilly streets - Store fronts, apartment buildings, and green parks smear by until, with a jerk, we find ourselves HALTING at a red light. Angel makes a right turn and heads up a hill towards -

CUT TO - EXT. PRESIDIO GOLF COURSE - A SHORT WHILE LATER

Dark and empty save for two lone figures teeing off at the first hole. Don't ask where they got the clubs and balls. Just...don't ask.

DISSOLVE BETWEEN a MONTAGE of scenes -

EXT. LOMBARD STREET

The crookedest street in the world. Angel's convertible twists its way around the snake-like hairpin turns, then -

EXT. FISHERMAN'S WARF

Waits patiently on the docks while father and son peer through the bayside binoculars at -

VIEW THROUGH THE INTERSECTING DOUBLE LENS - the dark lump of ALCATRAZ PENITENTIARY sitting on an island in the foggy bay, then -

EXT. ALAMO SQUARE

Coasts slowly past picturesque and colorful (in daylight, anyway) Victorian houses, then -

EXT. COIT TOWER

Sits at the base of the closed-for-the-night tower, while - PANNING UP - Connor and Angel complete their climb and hop down onto the upper balcony. AERIAL SHOT - a SPECTACULAR NIGHT VIEW of a vast, hilly CITY OF LIGHTS. HOLD ON THAT, then DISSOLVE TO -

EXT. PRESIDIO VISTA POINT - DAWN

Looking northwest through the ENCLOSED FRONT SEAT of ANGEL'S PLYMOUTH - The GOLDEN GATE BRIDGE stretches from Fort Point to the Marin headlands, glimmering in the morning light.

Angel gazes out from inside the car.

EXT. SHOT - Connor relaxes on the other side of the open door.

TRANSITIONAL SHOT - EXT. SAN FRANCISCO - MORNING

A cable car crosses a California Street intersection, passing waiting morning traffic. Ching, ching.

EXT. NEIMAN-MARCUS - UNION SQUARE

CRANE SHOT - Spiral escalators behind four stories of glass. SLOW DOLLY IN through the window and into -

INT. THE MEN'S DEPARTMENT

Angel is trying on a plaid wool newsboy cap. Connor admires his own cap and a leather jacket in a mirror.


EXT. FAITH'S APARTMENT BUILDING - MORNING - ESTABLISHING

INT. FAITH'S APARTMENT

Faith is an unmoving lump under comforter and pillows. The phone rings.

And rings.

And rings.

With a groan, Faith grabs a pillow and PITCHES IT across the room. CUT TO - It KNOCKS the receiver off its cradle. The receiver CLATTERS to the floor.

CLOSE-UP -

AIDEN'S VOICE
Hello? Faith?
Hello!

CUT BACK TO the LUMP that is Faith. She startles and grunts as THE CELL PHONE RINGS beside her. Her hand fumbles on the end table. She brings the phone up to her ear.

FAITH
Uh.

INT. SLAYER COUNCIL OFFICE

Aiden is perched on the desk. He looks tired and caffeine-spun, but focused.

AIDEN
The Anunnaki's acolytes are not
the apocalyptic cult we're after.

INT. FAITH'S APARTMENT

FAITH
(half-asleep)
Say that five times fast.

AIDEN'S VOICE
They have nothing to do with the warehouse or
that mansion temple!

Faith rolls over on her back.

FAITH
What?

As the conversation continues, we CUT BETWEEN Faith's apartment and the Slayer Council office.

AIDEN
They'd rather use human beings than wipe us off
the face of the planet!
And the humans that deal with them?
Aren't "worshippers."
Their motives are much more self-serving!

Faith rubs her eyes.

FAITH
What about that crap about treating people like "pets"?
Or "breeding" them or something?

Aiden reaches around and scoops up a book off the desk behind him. He sets it on his lap.

AIDEN
Well, it's a legend, really.
The Anunnaki tweaked ancient humans somehow,
transformed us to the way we are now,
then "taught us fire and magicks."

Faith hefts herself up to sitting.

FAITH
Sounds kinda crack-pot.
Sure you aren't reading the Weekly Enquirer?

AIDEN
Ha-ha.
(then, thoughtfully)
Although, come to think of it,
We did publish a few articles about "ancient astronauts"....
(he shakes off the reverie)
Anyway, the Anunnaki are still around,
only nowadays, they're in the business of granting wishes.

Faith's feet drop to the floor off the side of the bed. She is in a tank top and underwear.

FAITH
In exchange for what?

AIDEN
I'm not sure, but their acolytes are
"condemned to live in hell for all eternity,"
and only allowed back on Earth to do their bidding.

FAITH
So Illyria took us off track.

AIDEN
Maybe. Or maybe she just doesn't care about
the cult we're after as much as getting revenge
on these "Anunnaki."

FAITH
Well, I'm not gonna stop her.

Knock, knock, knock. Faith glances up, then stands, unlocks the door, and opens it.

EXT. HALLWAY

GUNN
Hi. So...are we talking to each other?

FAITH
Sure, why wouldn't we be?

She steps out of the way to let him inside.


EXT. NONDESCRIPT APARTMENT BUILDING - LOS ANGELES - EVENING

LONG CRANE SHOT - Connor and Tracy exit hand in hand and pause to share a kiss on the sidewalk.

CUT TO - EXT. ROOFTOP ACROSS THE STREET

Alix watches intently, pacing.

ALIX
You know him, don't you?

CUT BACK TO Connor and Tracy, pulling away into an intimate huddle.

Then to Alix, watching.

WOMAN (O.S.)
(English accent)
Oh, yeah.

Out of the shadows steps the source of the voice.

DRUSILLA
That's baby brother.

BLACK OUT.

THE END


Executive Producer   Joss Whedon


Connor       Vincent Kartheiser
Faith       Eliza Dushku
Aiden       Sean Maher
Gunn       J. August Richards
Angel       David Boreanaz
Alix       Rachel Leigh Cooke
Guelph       Alan Tudyk
Illyria       Amy Acker
Rona       Indigo
Tracy       Sarah Jannett Parish
Darla       Julie Benz
Drusilla       Juliette Landau



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Comments:


Adjovi
adjovi at 2008-01-02 04:26 (UTC) (Link)
What happened to your face, anyway?
Put on weight?


Aw...come on, now. I wstill ouldn't kick him out of bed for eating crackers. :)

Loved this. I absolutely love your Connor and Angel voices--their banter is just so spot on and believeable. A lot happened in this chapter, I'll have to go back and re-read, but wow...just totally blown away. Great job--so glad to see the return of one of my favorite series!
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-02 12:57 (UTC) (Link)
I wanted to do something different, and was challenged to do a comedy episode. And well, you know, Angel is so eminently mockable! It was a fun episode to write. Thanks for reading!
mixedberrys at 2008-01-02 04:46 (UTC) (Link)
I just finished reading the last few eps and they were excellent :) The story just keeps getting more and more intriguing. Can't wait for teh next update and to see what Drusilla is up to lol
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-02 13:30 (UTC) (Link)
Hopefully, the updates will be more frequent now that I've gotten myself settled in my new state/new job/new home. Last year was quite busy for me! Thanks for reading!
(Anonymous) at 2008-01-07 23:46 (UTC) (Link)

?

Great and weird chapter!

With Alix and Dru in cahoots i guess bad things will soon happen soon.
What was up with the hallucinations?
When will events foreshadowed earlier happen: "blood on your hands, won't be able to stop himself", etc.
Also when Alix and Drusilla revealed themselves was anyone else sick and twisted enough to imagine a threesome?
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-08 00:08 (UTC) (Link)

Re: ?

All will be revealed! Stay tuned!
midnightsjane
midnightsjane at 2008-01-11 06:30 (UTC) (Link)
Finally, I got enough time to myself to really read and appreciate this! I loved the Connor and Angel in SF bonding time; the bantering back and forth was fun! The image of the two of them playing golf cracked me up.
The "most depressed vampire ever" "Don't make me set you on fire too" I lol'd.
You did a great job of introducing some comedic content, along with lots of kick ass fighting and stuff.
Really liked this episode...and Dru's back!
*cue menacing music*

Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-11 14:13 (UTC) (Link)
Thanks for reading, Jane, I appreciate your patronage!

I am working on a summary of season 2 up to this point, since I've heard from more than one person that it's hard to pick up a new episode months later and remember what's going on. Hopefully, it will be of help to people!
starryniteshade
starryniteshade at 2008-01-11 17:43 (UTC) (Link)
Agree with MJ. Great fun to read....and *cue menacing music* for the fade to black! Love'd how Connor can just yank Angel's repeatedly. Takes a long time for that thick head to catch on, eh?

That's a great idea to have a summary. I was reading along until the bit about Angel supposedly attacking Buffy...and thought what? Yup, it was there in the last ep...in the "B" plot line, heh!
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-11 18:17 (UTC) (Link)
It was an illusion, but since it was really a "C" storyline that we only got to hear about second-hand, I think it confused people. So yeah, a (very short) summary might be in order. This season is turning out to be quite complicated, character- and plot-wise.

Hmm...maybe a wiki might be a better idea!
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-11 18:19 (UTC) (Link)
So it *was* funny? It wasn't weird and a bit disorienting? It's hard for me to do comedy, so I know I did a lot of melodrama to create the funny, and that makes characters act OOC and weird things happen.
starryniteshade
starryniteshade at 2008-01-11 18:39 (UTC) (Link)
If it wsa disorienting it was because of the complicated character-plot stuff for this season - and it being some time since I've read preious eps.

There was no OOC for me. This ep's Angel *was* Angel. True Connor is unlike the Connor of Ats S3-4, but he is the Connor of TD S2 - and that is the point of the series, innit?

And who says weird is not funny and vice versa?
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-11 18:44 (UTC) (Link)
Well, if folks are disoriented by the complicated seasonal plot, the disorientation of outright silliness could be amplified.
starryniteshade
starryniteshade at 2008-01-11 19:02 (UTC) (Link)
Well, I can only speak for myself, but....there was no amplified diorientation of outright silliness. It's just lots of minor characters to keep track of, lots of "B" and "C" subplots, and a long time since the last ep combined with my poor memory.

I'll let other people get disoriented as they wish.
Darth Masq, Sith Lord of Philosophy
masqthephlsphr at 2008-01-11 19:04 (UTC) (Link)
Yes, definitely, a wiki.
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