( RIPOSTE ][ A Watchergirls Archive )

__To Each Their Own__
By Eazy Does It

FADE IN:

INT. - BANQUETING HALL - NIGHT.

A demon, MOLEK, paces back and forth. He looks physically imposing and very dignified - for a demon. His clothing is much more elaborate than those of the other demons around him, designating him as leader. They are all of the same species and are standing in a large banqueting hall, which looks like a party has just finished.

MOLEK
What in the name of La'ka is taking them so long?

LESSER DEMON
Perhaps the charm is not working, Molek. If it keeps changing its face -

Molek SLIDES over to the LESSER DEMON.

MOLEK
Oh, believe me, it works. To think - I was ready to protect that little...
(growing frustration)
piece of...

He clenches his fist as he desperately looks for a word. The other demons stifle their smiles.
MOLEK
...SLIME!

This has taken a lot out of him. He takes a DEEP BREATH and tries to regain some dignity.

MOLEK (CONT'D)
For services rendered. That's right. It comes to me, it says 'I'm in trouble, won't you help me?' So I do. Because I'm that kind of guy.
(to the LESSER DEMON)
Aren't I? Hmm? Aren't I?

LESSER DEMON
Oh yes. Definitely. In fact I've been telling you some...thing would take advantage one day.

MOLEK
And I should have listened.

LESSER DEMON
(rubbing his hands together)
Now. What shall we do with it once it's within our grasp? Flay it alive? Cook it in oil? Personally, I think beheading, although never out of fashion, would be slightly lacking in style for such a creature.

MOLEK
(with a dangerous smile)
You're quite right. We deserve a little fun. I have my own plan. And fun it will be.

INT.- CORRIDOR - CONTINUING - NIGHT

DEMONS of the same species as Molek are running down a corridor. This corridor has paintings and draping hanging on walls and a few statues of various creatures along those as well, giving a medieval feel. The HEAD DEMON is holding a GLOWING MEDALLION. He suddenly stops at the end of the corridor. All the other demons pile into each other. The Head Demon turns around and starts holding the medallion in front of each statue. When he holds it in front of the THIRD ONE, the glow is VERY BRIGHT. He puts his hand on the statue's throat, and the statue suddenly LOSES ITS COLOR AND CONSISTENCY. The CREATURE starts to struggle with the hands on its neck. It CHANGES SHAPE into an androgynous (yet slightly masculine) and lithe creature, with wild black hair and narrow, elfin ears.

HEAD DEMON
Pretty.

CREATURE
(choking)
Thanks. You, too.

INT.- BANQUETING HALL - CONTINUING - NIGHT

Molek and others turn around at the sound of footsteps and protests coming from the end of the room.

ANGLE: MOLEK

As the Head Demon enters with the creature, hands still on its neck, his men behind him. He throws the Creature on the ground.

HEAD DEMON
Molek.
(He bows)
We are your servants.

CREATURE
(Rubbing its neck, its eyes glow with a golden light briefly)
Ergo my problems.

MOLEK
Get up.
(the CREATURE does)
Sit down.

The Creature returns to the floor. Molek can barely control himself. He points to a chair at the end of a long table.

MOLEK (CONT'D)
Over there! Sit down over there!

CREATURE
(does as ordered)
Now, you see, that's where the problem is. Your communication skills. It really isn't my fault -

MOLEK
Shut up!

He goes to the creature, grabs its lapel and holds it up against a wall.

MOLEK
You lied to the wrong Pa'lak, my dear.

CREATURE
I didn't lie -
(MOLEK growls)
I just thought you were shy. I only wanted you to be able to talk to her, that's all.

MOLEK
You told me she loved me, too! You told me to write poetry! And then to sing it to her!

The other demons are really struggling not to laugh now.

CREATURE
Yes, well, I thought - women like that. To see the more artistic side of a brutal man.

MOLEK
You know what truly hurts? You had no reason to do it. I didn't ask for anything from you. You went out of your way to humiliate me.

CREATURE
It wasn't my fault!
(hopefully)
It's in my nature. Like that 'ripping limbs from live beings' thing you have going. You don't see me lecturing you about that.

LESSER DEMON
(stepping forward)
Kill it now, Molek!

MOLEK
It would die without knowing pain.

LESSER DEMON
That can be arranged.

CREATURE
Oh, come one, Molek. It can't be that bad -

MOLEK
(softly)
Oh yes it is. You have no idea.
(He takes a deep breath)
You have a soul, don't you?

CREATURE
I don't like to brag.

MOLEK
I will spare your life -

LESSER DEMON
Molek!

MOLEK
- if you can make another soul love you.. You have one day.

CREATURE
There's a lot of souls out there. You can't expect me to -

MOLEK
I've chosen one for you. It's human.

CREATURE
Human? Does it have to be human? They smell funny -
(MOLEK glares at the CREATURE)
- but I like that. So many forms to chooose from.

MOLEK
(with a smile)
Oh I'm taking care of that, too.

FADE OUT ON A FLASH OF LIGHT.

FADE IN:

INT.- ANGEL'S BUILDING - EARLY EVENING

INSERT CLOSE-UP SHOT OF 'ANGEL INVESTIGATIONS' CARD. The hand holding it falls to reveal the door of ANGEL's office.

MOLEK (VOICE OVER)
They help the helpless. That's you. I want you to go there. The human's name is -

INT.- CONTINUING - ANGEL'S OFFICE - EARLY EVENING

WESLEY
- Wesley Wyndham-Price.
(he extends his hand)
My employer is not here right now, but I'm sure I can help.

ANGLE: WESLEY

A reasonably handsome young man, casually but well dressed, in his very early twenties, takes Wesley's hand. His eyes give a GOLDEN GLOW, revealing him as the Creature. He now has a name.

YOUNGMAN
(with a smile, charmingly)
I certainly hope so.

FADE OUT.

END OF TEASER.

OPENING CREDITS.

* * * * *

INT. - ANGEL'S OFFICE - CONTINUING - EARLY EVENING

WESLEY
And you are...?

YOUNGMAN
Youngman. Beau Youngman.

WESLEY
Would you like something to drink? Coffee, or -

YOUNGMAN
Whatever you're having is fine with me.

WESLEY
Right.
(turning to the coffee machine and pouring a cup)
I was wondering, Mr Youngman - did your eyes just glow, or was it my imagination?

YOUNGMAN
Depends. Did you like it?
(He takes a sip of the coffee and gives a small smile)

As Wesley turns to pour himself a cup, Youngman shows an obvious disgust at what he's just tasted, but the smile is back when Wesley looks at him again.

WESLEY
That depends on whether your looks can kill or not.

YOUNGMAN
Nah. It's quite harmless, although I'd like to think they have their charms.

WESLEY
I'll presume they don't charm everyone, or you wouldn't be here.

YOUNGMAN
Unfortunately true. And neither my wits nor
(knowingly)
my face have been useful so far.

INT.- ANGEL'S STUDY - CONTINUING - EARLY EVENING

ANGEL and CORDELIA are coming down the stairs, arguing LOUDLY.

CORDELIA
Why should it be my fault? You're the one who told me to get the cheap model. I warned you never to compromise with quality -

ANGEL
When I asked you to buy me a cheap fridge, I didn't mean cheap in a non-working order sort of way.

CORDELIA
I don't get you. Why would you want your blood chilled? Did you use to only suck on Eskimos?
(thinks)
Hey, is that what vampires have for ice-cream?

ANGEL
Warm is one thing, Cordelia. Congealed is another.

CORDELIA
Think of it as jelly.

ANGEL
I don't like jelly -

Angel and Cordelia freeze. Wesley and Youngman are staring at them.

CORDELIA
(too earnestly)
Angel - thanks for helping me to rehearse that scene, that's a real load off my mind.

YOUNGMAN
No need to be embarrassed on my account. I haven't met a lot of vampires myself, not being from this dimension and all, but I have nothing but respect for the soulless among us.

CORDELIA
No, I guess you really haven't met a lot of them.

WESLEY
Vampires prey on human beings. We don't really like it.

YOUNGMAN
Oh.

CORDELIA
And Angel does have a soul, thank you very much.

ANGEL
(shakes YOUNGMAN's hand)
How can we help you, Mr...?

YOUNGMAN
Beau Youngman. Well, as I was telling your wonderful associate here -

Both Cordelia and Wesley, who had picked up pads to take notes, break their pencils' tips in surprise.

YOUNGMAN
(continued)
- my particular skill allows me to carryy out effective negotiations between various factions. Territorial claims, marriage agreements - you name it, I can settle it.

ANGEL
What skill is that?

YOUNGMAN
I can tell what people want the most, and then I try and get it for them.

CORDELIA
That must be really useful for dating.

WESLEY
Cordelia -

YOUNGMAN
I'd like to think so, yes.

ANGEL
So, what's the problem?

YOUNGMAN
I've come to find myself unable to negotiate a particular truce between two tribes of slime demons, due to the complete dishonesty of one party. Now they claim I should return my fee, and as I don't have it in my possession anymore, they want me dead.

ANGEL
How do you expect us to help you?

YOUNGMAN
I was hoping you might make it too much of a problem for them to bother.

We TIGHTEN ON Cordelia, busy taking notes, as she begins to hear NOISES that DROWN OUT the others' conversation, and which the others can't hear.

TIGHTER as the noises grow LOUDER, until a SHRIEK throws her off her chair.

INSERT Cordelia's vision

Wesley and Youngman are fighting demons resembling HELL HOUNDS, but they also have horns and bone plates on their back. One hell hound lunges at Cordelia (CAMERA).

BACK TO ANGEL'S OFFICE

Cordelia SCREAMS as Angel helps to steady her.

ANGEL
Steady, Cordelia, steady.

He helps her to sit up against the wall. She's crying, and he gently tucks her hair away from her face.

ANGEL
That's my girl. Come on, it's all right.

Wesley hands him a glass of water and pain killers. Angel feeds them to her.

YOUNGMAN
You must be the seer I've heard of so much!

CORDELIA
(gasping in pain,)
Can you guess what I want right now, Mr Wish-Fairy?

WESLEY
Do you need more pain killers?

CORDELIA
YES! Are you guys feeding me mints? Oh God -
(fighting off tears but not quite succeeding)
That was really strong, Angel. Really strong.

ANGEL
Do you feel up to telling us what it was?

Wesley notices Youngman looking at his watch as though he's in a hurry for something. He's intrigued by that, but for now his attention is on Cordelia.

CORDELIA
Sure. It - it was like those hell hounds that loser had trained to ruin tuxedoes back in Sunnydale. And - Wesley and Outer Limits Boy were fighting them. And then one - I don't know, it felt like it went straight for me. And bit my head off.
(wincing)
Yeah. Definitely bit my head off.

YOUNGMAN
(quickly)
Sounds like I might be forced to leave a less than beautiful corpse after all.

WESLEY
What do you mean?

YOUNGMAN
Well, I had to run from - a bunch of exactly what you described. It seems I may not have completely lost them.

ANGEL
Don't worry, we have a habit of not making dreams come true. How do we make contact with your problem?

YOUNGMAN
They have a rendezvous point a little out of town. I'll write it down for you.

As Youngman writes down the information, he keeps looking up to glance at Wesley from time to time.

ANGEL
(to WESLEY)
Wesley - you take Mr Youngman here -

YOUNGMAN
(strangely cheerful)
Call me Beau, please.

ANGEL
- you take Beau back to your place. I'll take the both of you through the sewers for a couple of blocks, just in case he was followed.
(to CORDELIA)
Cordelia, you call a cab to pick them up, then go home and get some rest. I'll go as soon as the sun sets.

CORDELIA
(feeling only slightly better)
Gladly!

As Wesley and Youngman head out, they bump into each other at the door. Both gesticulate and mumble 'you first', and then end up bumping into each other again. Angel and Cordelia share a curious look.

YOUNGMAN
Sorry. I guess I'm a little nervous.

WESLEY
Don't worry, you'll be safe with us.

YOUNGMAN
(as they disappear)
I'm just so glad I've got the help of such professionals.

CORDELIA
(to ANGEL)
This may sound strange, but don't you think that was weird?

ANGEL
(putting his coat on)
More than the usual?

CORDELIA
Now that you mention it, maybe not.

Angel slips some money in Cordelia's hand as he goes to the door.

ANGEL
Dinner's on me. I'll see you tomorrow.

CORDELIA
(affectionately, as the door closes behind ANGEL)
Thanks, Mom.

INSERT SPECIAL FX: THE SUN SETS OVER L.A., SHOTS OF TRAFFIC REALLY SPEEDING PAST ETC.

INT. - CORDELIA'S APARTMENT - NIGHT

Cordelia is now dressed more casually, in jeans and baggy sweater, finishing a Chinese take-away and watching television.

CORDELIA
You know, Dennis, there are real advantages to being a girl in today's world. You can always find a guy -

A napkin floats to her and she uses it to wipe her mouth.

CORDELIA
- to be nice to you. You know, the Wesleeys and vampires with a soul and phantom Dennises of this world. But you can also tell the annoying, nagging ones to get lost. Okay, sometimes they're both things at once, Wesley being a case in point, but even then -

The SOUND of BREAKING GLASS interrupts her.

CORDELIA
Oh Dennis, what have you done now?

As she's about to get up, a chopstick RAISES ITSELF in front of her and makes a WIPING GESTURE.

CORDELIA
Not you?

Cordelia's front door opens and the chopstick vigorously points at it.

CORDELIA
(getting worried)
Yeah, I'm thinking a walk would be nice, too.

We FOLLOW her as she quickly gets up and reaches for her shoes. As she's putting them on, the SOUND of the DOOR SLAMMING makes her look up.

CORDELIA
Dennis!

She runs towards the door. As she's about to reach it, a HELL HOUND, like the one in her vision, blocks her way and she crashes into it. She scrambles away from it but finds herself against a wall. She is soon surrounded by three Hell Hounds. As they get closer and closer...

FADE OUT:

* * * * *

FADE IN:

INT. - CORDELIA'S APARTMENT - CONTINUING - NIGHT

The Hell Hounds are getting ready to pounce on Cordelia.

CORDELIA
Down, boy! Down!

The Hell Hounds roar and are just about to attack - but there is the SOUND of something FLYING through the air and then a THUD. The Hounds fall dead at Cordelia's feet.

Cordelia stands very still.

PAN DOWN

to the hounds and the collection of forks and kitchen knives EMBEDDED in their backs.

CORDELIA
Dennis, THANK YOU!

The door opens again.

CORDELIA
Good idea.

ANGLE: FROM THE FLOOR, BY ONE OF THE BODIES.

As Cordelia runs out of the apartment, SLAMMING the door behind her.

EXT.- A NICE LOOKING DINER BY THE SIDE OF A DUSTY ROAD - NIGHT

Angel drives his car into what serves as a parking lot. Surprised by how NORMAL the place looks, he checks the details on his piece of paper, and then walks in. A FEW TRUCK DRIVERS are having coffee, while a COUPLE OF TEENAGERS are sharing a milkshake. Angel heads to the counter, where a WAITER, his back turned to him, is cleaning around the till. As Angel isn't reflected in the mirror lining the wall facing him, the Waiter can't see him.

ANGEL
Excuse me.

The Waiter looks up to the mirror, then turns around a little confused. He gives a little jump when he finds Angel standing there.

WAITER
Oh, I'm sorry. I didn't see you.

ANGEL
It happens. Maybe you can still help me out with something -

WAITER
It's just that I'm new here. But I think you'll want the back room. No mirrors there, or sunlight.

ANGEL
The back room?

WAITER
That way.

The Waiter is pointing at a door at the end of the restaurant marked PRIVATE. Angel nods his 'thank you' and walks through the door. He finds himself in TOTAL DARKNESS until another door SLIDES open in front of him, bathing him in a REDDISH light.

INT. - BAR - CONTINUING - NIGHT

The new room he walks into is more like the sort of bar he expected, DARK, SMOKY, FILLED WITH A VARIETY OF VAMPIRES AND DEMONS, but the JAZZ playing is a new thing, even if it's still a VERY NOISY place. Angel goes to the counter and sits down. The BARTENDER is well-dressed and a vampire.

BARTENDER
What would you like?

ANGEL
Any beer would be fine, thanks.
(as the BARTENDER pours him his drink)
I'm looking for a slime demon called Klo'tek -

Angel is pushing some dollar bills to the Bartender as bribe, but finds himself taking them back when the Bartender shouts over the music.

BARTENDER
Hey, Klo'tek! Somebody here to see you!

ANGEL
(bemused)
Thanks.

KLO'TEK arrives. He's an affable slime demon, dressed a little strangely but dressed. He's missing an eye and doesn't speak a very good English.

KLO'TEK
You want see me?

ANGEL
Name's Angel. I'm running a little errand for a friend. Apparently you people have been at war recently.

KLO'TEK
Always at war. It's hard, but you must do what you must do.

ANGEL
I also heard there was a truce.

KLO'TEK
(growing angry)
Those Nak'tak -no good bastards. Should kill and dismember and eat all of them -

ANGEL
They broke the truce?

KLO'TEK
(he throws his glass to the other side of the room)
Ambushed us. All because of that no good bastard! Will kill him and dismember and eat him!

ANGEL
Why don't we talk to your chief about that?

KLO'TEK
You know the no good bastard?

ANGEL
Well, I -

Klo'tek reaches behind him for a crude knife made out of a giant tooth and takes a swipe at Angel, who pushes off his stool and falls on his back. He then rolls away to avoid a bottle of beer aimed at his head. When he jumps back on his feet, he has his vamp face on. He quickly overpowers Klo'tek, pushing him back against the counter and pressing the demon's own knife against his throat.

ANGEL
Stop taking everything so personally. Now let's talk -

The SCREAM of a YOUNG WOMAN distracts Angel enough for Klo'tek to reach for another bottle and knock him to the ground. Angel is a little stunned but gets up again quickly to see Klo'tek run out of the bar. He's about to pursue him when he hears the YOUNG WOMAN SCREAM again. No one else in the bar seems the least disturbed by it. Angel spots yet another doorway, covered by curtains. A sign above it reads: CASINO - PRIVATE MEMBERS ONLY. He runs towards it.

INT. - BRIGHTLY LIT CASINO - NIGHT

Through those curtains Angel finds a variety of GAMBLING MACHINES, POKER and DICE TABLES. At the center, though, there is a giant wheel of fortune, to which is strapped the Young Woman Angel has just heard - she's very frightened and crying. Her dress has been torn in many places.

CLOSE ON the wheel

Its dial, instead of reading various amounts of money, reads such things as BEHEADING, EATEN ALIVE, SUCKED DRY or SLAVERY.

There's quite a crowd around it, SHOUTING for the various options.

A CASINO EMPLOYEE, another vampire, approaches Angel.

CASINO EMPLOYEE
Sir? Are you a member, or interested in membership?

Angel reaches for his wallet, which he opens and shuts quickly to the crowd as he speaks.

ANGEL
This the Bureau of Alcohol, Tobacco and Firearms! This establishment operates an illegal gambling operation! You're all busted!

Silence falls as they all turn to stare at him, even the Young Woman on the wheel.

ANGEL
That'll do.

Angel punches the casino employee.

ANGLE: FROM HIS BACK, LEVEL WITH HIS HANDS

As he slides two blades out of his jacket's sleeves and dusts two vampires in the crowd.

We WIDEN as he then retrieves two knives from his back and begins to slice his way through the throng attacking him. It immediately disintegrates into a general fight, as some of them use that opportunity to grab money from the tables and each other. Angel is knocked about a bit, getting kicked and stabbed in the ribs, but he finally makes his way to the Young Woman and frees her. Hustling her away from the fight, he takes off his coat and puts it on her shoulders.

YOUNG WOMAN
Oh My God! Thank you, thank you so much! I was driving home, and they hijacked my car -

ANGEL
(wincing in pain from the stab wound)
Is your car here?

YOUNG WOMAN
Yes -

ANGEL
Then take it and go home. NOW.

The Young Woman nods and runs out, Angel's coat still on her back. Angel also leaves, limping a little.

INT.- WESLEY'S APARTMENT - NIGHT

Wesley and Youngman walk into the kitchen with empty plates and glasses.

WESLEY
- and we break down the door, all ready for the kill, but it turns out that Cordelia has given us the wrong address -

YOUNGMAN
(laughing)
No!

WESLEY
- oh yes.
(they put their load in the sink)
And I'm threatening this old couple with my ax, promising them a horrible death if they don't tell me where the eggs are.

YOUNGMAN
So what happened?

WESLEY
We excused ourselves and went next door just in time to stop them from hatching.

They head back to the living room. Youngman gives a clock a quick look - it's approaching midnight.

INT. - WESLEY'S APARTMENT - CONTINUING - NIGHT

YOUNGMAN
(continued)
And what about -

He catches his reflection in a mirror and stops to investigate. Wesley politely says nothing as Youngman begins to make faces, smiling, frowning, and sticking his tongue out. He turns to Wesley, who's started to check his weapons.

YOUNGMAN
Do you think I'm attractive?

(as Wesley merely stares at him)
Well?

WESLEY
I-erm- I wouldn't know, really. I mean, I don't think -

YOUNGMAN
You're a man, aren't you? So you must know if a man's attractive.

WESLEY
I see your logic.

YOUNGMAN
So?

WESLEY
(quickly, in the hope to end this conversation)
You look fine.

Satisfied and with a big smile, Youngman sits down. He doesn't stop looking at Wesley as he gingerly sits opposite him. His smile fades a little.

YOUNGMAN
You work very hard, don't you?

WESLEY
We all do.

YOUNGMAN
No. You work harder than the others.

At Wesley's surprised look, he indicates the apartment.

YOUNGMAN
(continued)
You don't really live here. You live at the office, for Angel and Cordelia.

WESLEY
My work matters to me. It's what I was raised to do. It's what I am.

YOUNGMAN
No being with a soul is ever just one thing. So what else do you want to be?

Wesley is surprised by Youngman's frankness and a little unnerved, but is taken in by his warmth. Youngman picks up a DECK OF CARDS and begins to shuffle them face down, almost absent-mindedly.

WESLEY
I -
(beat)
I don't really know. I haven't really thought about such things for a while.

Without looking at them, Youngman begins to pick random cards out of the pack, and to make them into a pile, face up, according to their suit.

YOUNGMAN
What about love, Wesley? Isn't that what everybody wants?

WESLEY
I can't speak for everybody.

YOUNGMAN
You don't want love? To love and be loved?

WESLEY
Yes, of course. Someday, perhaps, if I'm lucky enough -

YOUNGMAN
You'll meet your soulmate?

WESLEY
I don't know if there's such a thing.

YOUNGMAN
Such a thing at all, or such a thing for you?

Wesley is getting really unnerved now, but there's something hypnotic about the way Youngman deals his card, and Wesley sits very still, very tense. He watches Youngman deal the Queen of Spades.

WESLEY Love isn't the same thing to all people. Perhaps if you were human you'd understand. YOUNGMAN Oh I understand. Or rather, I know. It's what I am, you might say. Want is want. It's perfectly natural. WESLEY We can't always have what we want. YOUNGMAN Does it matter? There is a pause, as Youngman deals the Ace of Hearts. Wesley looks up at him and finds himself relaxing, perhaps in surrender. There's still here something he doesn't understand, though, and it keeps him a little wary. YOUNGMAN You don't often ask for what you want, do you? WESLEY No, I guess not. YOUNGMAN That's the best thing about me, you see. You don't have to hide, and you don't have to be embarrassed. If you let me in, you won't even have to say it. You can stop chasing all the doubts and the darkness of your mind. You can be free. There is another pause. Wesley, who had returned to watching him deal his cards, looks at him again with a new, quiet confidence, as though he had just realized something. WESLEY And tell me - what is it that you want? This makes Youngman hesitate over a card. But he nevertheless picks it out. CLOSE ON the pile of card The Queen of Diamonds is on the top, but the card he adds is not the King, it's the Joker. OFF SCREEN: someone is RUNNING VERY LOUDLY down the corridor leading to Wesley's apartment. WIDER

as Wesley gets up, reaches for his crossbow and pushes Youngman behind him as he aims at the door and whatever might come through it.

INT. - WESLEY'S APARTMENT - HALL - NIGHT

CLOSER in on the door from inside Wesley's apartment

as the steps grow LOUDER. When the sound reaches its peak, there is a LOUD THUD. After a short pause, an EQUALLY LOUD POUNDING NOISE begins.

CORDELIA (O.S.)
Wesley, open up, it's me!

INT. - WESLEY'S APARTMENT - NIGHT

Wesley goes to open the door and Cordelia stumbles in.

CORDELIA
(catching her breath)
'Go home', he says! 'Get some rest! he says! Well I nearly got an eternal kind of rest!

WESLEY
What happened?

CORDELIA
Hell hounds happened. Three of them.

WESLEY
But how -

YOUNGMAN
Maybe we should ask questions later. She was obviously followed home, she may have been followed here.

CORDELIA
He's right.

WESLEY (to CORDELIA)
I'm calling Gunn - you can stay with him for the night.

CORDELIA
I really don't think you should be on your own for this.

YOUNGMAN
(trying to get rid of CORDELIA)
We really don't have time to argue-

CORDELIA
(to WESLEY)
Oh no, mister - Angel is one macho too many around the office, and don't even get me started on Gunn. And how many crossbows can you fire at once? There could be ten of them next time!

WESLEY
I seriously doubt it -

CORDELIA
(taking WESLEY aside)
And I seriously don't like this, Wes. I have a really bad feeling about this, and I'm not talking residual headache.

They share a long look.

WESLEY
Then let's see how much we can all carry.

CORDELIA
I'm getting Angel back here.

As Wesley and Youngman go to gather weapons together, Cordelia picks up the phone and dials Angel's number.

INT. - YOUNG WOMAN'S CAR - NIGHT

The Young Woman Angel has rescued is driving her car very nervously, wiping tears and dirt away as she does so. She is very confused by the sudden RINGING TONE, and finally works out it must come from the coat. She fumbles around in the big pockets until she finds Angel's mobile. She answers.

YOUNG WOMAN
H - Hello? Uh... I'm sorry, but Angel's not here.
(beat)
No, I don't know where he -
(beat)
He, uh, he gave me his coat after he -
(growing upset)
saved my life from - from - vam - vam -
(beat)
Hello? Hello??

INT. - ANGEL'S APARTMENT - NIGHT

CLOSE ON Angel's answering machine

as it picks up a call.

CORDELIA (O.S.)
I don't care how dead you are, Angel, I'm going to kill you for this!

EXT. - ISOLATED DUSTY ROAD - NIGHT

Angel's car is THUNDERING down the road. Angel is tense and still sore from his wound. He looks at his watch - it's fifteen minutes after midnight. A TERRIBLE NOISE suddenly comes out of the engine, followed by SMOKE. The car slows down.

ANGEL
(stearing the car off the road)
Damnit!

The car has stopped and Angel gets out, with a FLASHLIGHT. He opens the hood of the car to find a HUGE CLOUD OF SMOKE coming out. Angel stumbles back COUGHING and returns to his seat. After a few minutes looking for it, he obviously realizes that he left his mobile in his coat, which he left on the Young Woman.

ANGEL
DAMNIT!

He steps out of the car again, straightens, and starts walking.

PAN DOWN to his feet

as he shuts the door of the car and walks away.

DISSOLVE TO: his feet following the asphalt.

But there's a lot more LIGHT, indicating that DAWN is approaching.

PAN UP to Angel's face

as he turns around, still walking, to look East. He then looks around to find that there is very little cover indeed.

ANGEL
I'm never taking a short cut again.

He quickens his pace as the SUN begins to RISE above the hills, then breaks into a run.

WIDER

as Angel runs as fast as he can as the SUNLIGHT is catching up with him on the road. He suddenly trips and falls flat on his face. The SUNLIGHT is getting dangerously close as he tries to shake off the pain and get up...

FADE OUT

* * * * *

EXT.- DUSTY ROAD - MORNING (DAWN)

Angel, still on the ground, turns to look at the APPROACHING SUNLIGHT. As he stumbles back to his feet, he spots a manhole not five feet away. He scrambles to it.

INT.- SEWERS - MORNING (DAWN)

A SHAFT OF LIGHT breaks through the DARKNESS as the manhole is opened. Angel falls through unceremoniously, already SMOKING, and thrashes away from the light in the dirty water.

He finally finds some cover and stands up, DRIPPING wet from the filth. After catching his breath, he begins to walk again.

ANGEL
This really stinks.

INSERT SPECIAL FX: SUN RISING OVER L.A., ABANDONED PIERS AND ONE PARTICULAR WAREHOUSE

INT. - SMALL ABANDONED WAREHOUSE - MORNING (DAWN)

CLOSE ON Youngman's watch

it's nearing 5.30am.

Youngman returns his hand to his pocket as he watches Gunn wake Wesley up. There are about five of Gunn's friends also standing watch.

WESLEY
Anything?

GUNN
Nothing. And I kinda hope you didn't wake me up in the middle of the night for nothin'.

WESLEY
Take your complaint to Cordelia.

GUNN
I'll stick to the hell hounds. Especially in the mood she's in.

Wesley looks where Cordelia is standing, by a window, armed with a crossbow and a big knife at her waist.

WESLEY
Has she got any sleep?

GUNN
Nope. Never thought I'd say this about Cordelia, y'know, but she looks really freaked.

WESLEY
(getting up)
I noticed that, too.

GUNN
(giving his ax to Wesley)
Wake me up at the first sign of breakfast.

Wesley starts to walk towards Cordelia but is intercepted by Youngman. As they begin to talk, one of Gunn's people strikes a conversation with Cordelia. With a little regret Wesley turns his full attention to Youngman.

YOUNGMAN
Did you sleep well?

WESLEY
As well as can be on a smelly twenty year-old mattress. Have you managed to get some rest?

YOUNGMAN
I don't do sleep.

WESLEY
If you don't mind my asking - what exactly are you?

YOUNGMAN
Whatever you want me to be.
(at Wesley's slightly irritated look)
No, really. There isn't a name for my - type. We're shapeshifters. I think we never took the time to be just one thing.

WESLEY
I see.

Wesley heads to his observation post, which is up a ladder on a small platform, by some large windows. The LIGHT coming through as the SUN RISES suddenly BLINDS him and, as he looks at his watch for confirmation, he realizes how late it is for Angel. Youngman has followed him and comes to the same realization.

YOUNGMAN
Sunlight's probably not what you need to worry about.

WESLEY
That doesn't narrow it down all that much.

YOUNGMAN
At least you can rule out accidents.

Wesley says nothing but is clearly not amused. He turns his back to Youngman to begin his watch.

YOUNGMAN
(not put off in the least)
Why are you angry with me, Wesley?

WESLEY
(not moving)
I'm not angry with you. I'm just a little tired, and worried about Angel.

YOUNGMAN
You're angry with me. I said - or did - something to anger you. I wish you'd tell me.

WESLEY
I thought you could tell such things.

YOUNGMAN
You're angry because of our conversation last night. Because for a brief moment I knew you better than you knew yourself.

WESLEY
(finally facing him)
That would be an exaggeration -

YOUNGMAN
But I'm not far off. Right?

WESLEY
No, not really.

The conviction in Wesley's voice does throw Youngman off balance this time.

YOUNGMAN
It's always refreshing to be wrong.

WESLEY
Believe me, I know better than most people that there are things you can't help wanting but that you know you'll never get. But it... it means nothing to you. At best my happiness is a bargaining chip. At worst - I'd rather not think about it. I'm sorry, but it makes me uncomfortable.

YOUNGMAN
Why?

WESLEY
Why? I've just told you why!

YOUNGMAN
I don't understand.

WESLEY
You see, right there - you don't understand. That's why I'm uncomfortable.

The tone of the conversation becomes adverserial and childish as they tell each other uncomfortable truths.

YOUNGMAN
Maybe you're the one who doesn't understand.

WESLEY
Really?

YOUNGMAN
You may have your friends fooled, but you can't lie to me.
(taps on Wesley's chest lightly)
There's a thousand feelings in there, but you don't want them to see. You don't really want them to know who you are. You're afraid of who you are.

Youngman is stepping closer to Wesley as he speaks, and getting heated. Wesley is also getting angry.

WESLEY
Oh no. This isn't about me, this is about you. You never answered my question. What do you get out of all this? Why is it that you have no one but us to turn to when you need help?

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Cordelia catches a glimpse of Youngman and Wesley arguing. Intrigued, she heads in their direction to find out what's wrong.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

WESLEY
(continued)
You live by trading your insight. It can't be much of a life, having to pander to people's expectations and desires.

They step closer to each other still. There's a hint of nervousness behind Youngman's haughtiness.

YOUNGMAN
Let me tell you one thing - I've traveled across five dimensions and there's more than one definition of life out there. It's not my fault if yours is so lame that it won't even make it on a novelty mug.

WESLEY
And 'truth hurts' is such a revolutionary concept that I think my brain is melting out of my ears as we speak.

YOUNGMAN
You have a brain?
WESLEY
One more than you.

Youngman opens his mouth to say something, but can't think of anything to retort. The look of smug triumph on Wesley's face pushes him over the edge. He takes one step forward and, grabbing his arms, kisses Wesley for all he's worth. There's the SOUND O.S. of Wesley dropping his ax.

CLOSE ON Wesley

As he registers what's happening, his eyes grow wide in complete and total shock.

WIDER

As Wesley tries to articulate disapproval and to push Youngman away. They only end up falling over backwards, with Youngman on top. They're temporarily separated.

WESLEY
What the hell do you think you're -

Youngman cuts him off when he kisses Wesley again.

ANGLE: Just above Youngman's back

As Cordelia reaches the top of the ladder and catches the two of them. It takes her a couple seconds to register what she's seeing.

CORDELIA
OH MY GOD!

Youngman is distracted by her arrival long enough to allow Wesley to knee him in the groin. Youngman promptly rolls off him with an indignant and surprised moan of pain.

WESLEY
Cordelia! It's not what you think!

He has to run after her down the ladder.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

WESLEY (CONT'D)
Cordelia, wait -

CORDELIA
(turning around)
You were kissing - yes or no?

WESLEY
Well, yes, but -

CORDELIA
Then it's exactly what I think.

WESLEY
He was kissing me, and his attentions were com - completely, thoroughly - and without a doubt unwanted.
(a little desperate from embarrassment)
And frankly, there's no need to act as though you had looked into the depth of ever-lasting hell. I didn't expect you to be so prejudiced -

CORDELIA
(with a smile)
So why the stuttering, Wes?

He stares at her somewhat dumbstruck, until he realizes she's been teasing him.

WESLEY
I'd smack you one if you weren't such a pretty girl.

CORDELIA
No need to overcompensate, big boy.
(beat)
Are you all right?

WESLEY
I think that only my virtue suffered.

CORDELIA
Men can be such creeps.
(looks to the sunlight streaming through the windows)
Speaking of men who creep - where do you think Angel is?

The look on Wesley's face reflect both their fears.

INT. - SEWERS - EARLY MORNING

There is some INDIRECT LIGHT coming in, allowing Angel to make his way through the maze of the sewers. Arriving at a crossing of tunnels, he fumbles for his FLASHLIGHT in order to read the signs. The flashlight slides out of his hands when he tries to put it back in his pocket, and FALLS into the water. Angel takes a moment to consider his options, before looking down at his clothes.

ANGEL
Since when do I worry about dry cleaning?

He reluctantly steps into the water, which is about knee deep. He begins to feel for the flashlight.

CLOSE ON his arms moving across the water

As quite a powerful ripple reaches him, that can't possibly come from his movements.

Angel stands up straight. Looking down at his legs, he watches as another ripple comes. He quickly climbs back onto the walkway, still looking at the water.

WIDE ON the water and the intersection of tunnels.

A scaly white shape appears at the surface.

ANGLE: ANGEL

A loud splashing noise echoing through the tunnels indicates, as does Angel's alarmed gaze, that the creature has slipped onto the walkway.

Angel begins to back away.

ANGEL
I can't believe it. They really flush them down the toilets.

He trips in his haste, and goes down swearing.

SOUNDS OF SLIPPERY LEGS AND GROWLING O.S. follow, quickly drowned by the THRASHING in the water (which is flying everywhere) as the fight is taken there.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Wesley is climbing back onto the observation platform and immediately reaches for the ax he left behind, ready to protect himself this time. Youngman is sitting against the wall and holding his head in his hands. He lets out a groan of frustration before noticing that Wesley has returned.

YOUNGMAN
I'm not going anatomically correct ever again. And look at this -
(wipes some tears away and shows his fingers)
- tears! From my eyes! I thought I was bbleeding. This is the stupidest body I've ever had -

WESLEY
I think we should -

YOUNGMAN
And genitals on the outside is just plain carelessness.

He gets up and calmly dusts his pants.

WESLEY
What's the matter with you? We're spending all this time and energy on your safety - and Cordelia almost dies - but you don't even seem to care!

YOUNGMAN
I care, don't you worry. And this really isn't going well at all. In fact, at this rate, I predict total death.

WESLEY
Is there something I should know?

Youngman looks into Wesley's eyes for a moment, as his own briefly FLARE UP. He then shyly looks away.

YOUNGMAN
I think you know what I need you to know.

Wesley is a little mollified by Youngman's embarrassment.

WESLEY
I'm sorry. It's not personal, really. It's just - I couldn't possibly be attracted to you.

YOUNGMAN
There's a rather large part of 'it's not personal but I don't like you' that I don't understand.

WESLEY
Well, you're... you're a man. I mean, you're male.

YOUNGMAN
Right. And so are you.

WESLEY
But I'm a heterosexual male.

YOUNGMAN
Meaning?

WESLEY
I'm not attracted to males. I'm attracted to females.

YOUNGMAN
Is that normal?

Beat.

WESLEY
For the sake of this conversation: yes. That's how we reproduce - male and female come together.

YOUNGMAN
(realizes something)
Cordelia! Cordelia is female!

WESLEY
(completely bemused)
Can't you tell the difference?

YOUNGMAN
(panicking)
I've only been in this dimension once before! You all look alike to me!

WESLEY
But - you know what male is. You know you're male. So you must know what female is.

YOUNGMAN
I just thought they were variations. You know - two different subspecies.

WESLEY
Aren't your kind... gendered?

YOUNGMAN
Gender is a crass, primitive and limiting base of reproduction.

WESLEY
There's no need to be rude.

YOUNGMAN
What does it have to do with love anyway?

WESLEY
Everything, and nothing.

Youngman approaches him with a hopeful look on his face. Wesley points his ax at him.

WESLEY
(continued)
In this case, everything.

GUNN (O.S.)
Wes! Get down here!

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Gunn is by Cordelia's side as she's having a vision, and it seems to be a rather bad one. She's in a lot of pain. Wesley and Youngman rush to them.

GUNN
C'mon, Cordy, it's all right...

CORDELIA
(through clenched teeth)
They're coming, they're coming!

GUNN
Where from?

A SOUND of WINDOWS BREAKING makes everyone spun around.

WIDE

On the other side of the warehouse, about seventy feet away, where six hell hounds similar to those from Cordelia's apartment GROWL and prepare to attack.

CORDELIA
(feebly)
From there.

WESLEY
(gives Cordelia's crossbow to Youngman)
Gunn, you get Cordelia out of here.

(to Youngman)
Come on, let's go.

He joins Gunn's friends, who have lined up to fire on the hounds.

YOUNGMAN
That's not the direction I'd pick.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

The hounds set off.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

WESLEY
Fire at will!

They fire, including Youngman.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Two of the hounds are killed and one injured.

WESLEY
Reload!

They do as ordered, take aim again, and fire.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Just as they fire, the hounds split up to run around them.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

WESLEY
They're coming around!

The hounds don't attack them as they pass and instead run on.

WESLEY
What on -
(understands)
Oh my God. Gunn!
Cordelia!

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

Gunn and Cordelia turn around.

GUNN
(to Cordelia)
GO!

She starts running.

Gunn readies himself with his ax and heads towards the hounds. As he is about to attack the one in the middle, one from the left flank pounces on him. Gunn manages to plant his ax in the hound's head with a TRIUMPHANT CRY, but is knocked out by his fall on the floor.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

At the SOUND of Gunn's VOICE, Cordelia stops and whirls around.

CORDELIA
Gunn!

Another hound is felled by an arrow, but the last hell hound almost has Cordelia within her grasp. With a determined look on her face, she takes the knife from her waist.

The hound pounces on her - but falls dead at her feet with a whimper, Wesley's ax stuck in its back.

CORDELIA
Why do they keep doing that?

She runs to Wesley, and they meet over Gunn's body.

CORDELIA
God, is Gunn okay?

WESLEY
(checking for injuries)
He's just unconscious. I think he's broken his wrist.

CORDELIA
We've got to get him to a hospital. He could have a concussion -

GUNN'S FRIEND
We'll take care of it. You got bigger fish to worry about.

WESLEY
He has a point. Are you all right?

CORDELIA
(watching Gunn being taken away)
Apart from the deja-vu? Fine, thanks to you and the wild bunch. One of these days I'm going to save my own life, just you wait.

Youngman approaches Wesley.

YOUNGMAN
That was close.

Wesley and Cordelia look at each other, then at Youngman.

WESLEY
This is the second time the hell hounds attack -

CORDELIA

- and this is the second time they attacck me -

WESLEY
- in fact they very deliberately targeteed Cordelia and not you, which can only mean that -

CORDELIA
- you're a lying little weasel!

YOUNGMAN
I don't know what you mean -

Cordelia grabs his shirt and points her knife to his throat.

CORDELIA
Spill it, or I'm gonna spell 'hell hound' on your face.

YOUNGMAN
Wesley!

WESLEY
(takes the ax out of the hound's back)
Speak now or you'll forever hold your peace, I promise you.

Off Youngman's look...

FADE OUT

* * * * *

FADE IN

INT. - SEWERS - EARLY MORNING

WIDE

On the intersection of tunnels and the water, which has become flat and calm again.

Angel suddenly EMERGES OUT of the water, with his vamp face on, out of breath and bleeding from various small wounds. His clothes are torn.

He clumsily climbs out of the water and goes to sit against the wall, absolutely exhausted, as his face returns to normal. A BURP escapes him.

ANGEL
Terrible aftertaste.

With much effort, he stands up again and resumes his walk home.

INT. - SMALL ABANDONED WAREHOUSE - EARLY MORNING

YOUNGMAN
- and I pretended those visions concerneed me because I - didn't want you to be distracted by another case, or to think I didn't need your help. I didn't want to arouse your suspicions.

CORDELIA
Understandable. You wanted to arouse something else entirely.

WESLEY
This doesn't change the fact that you should have told us the truth after Cordelia was attacked the first time.

YOUNGMAN
It doesn't matter what you think, and it doesn't matter that I may be sorry. I was set up from the beginning, and I didn't stand a chance. I'm going to die before this day ends.

CORDELIA
Good! So can we worry about me now?

Wesley goes to lean over one of the hell hounds' body, and inspects the horns and bone plates.

WESLEY
(worried)
I don't think I've ever seen those before.

CORDELIA
Can't you save being stumped for the one million dollar question?

Youngman comes over and takes a look.

YOUNGMAN
I didn't know they could travel to this dimension.

WESLEY
You know what they are?

YOUNGMAN
Sure I do. They've only been around a couple of centuries. Engineered with the blackest magic, and the deepest evil.

CORDELIA
I'm fascinated. Why don't you tell us something useful?

YOUNGMAN
They're soul hunters. I wonder...

He rolls the body over.

CLOSE ON

the chest of the hell hound, where a RED STONE is branded on the skin, near the neck.

WESLEY
Is that a soul stone?

YOUNGMAN
(to Cordelia)
What do you know? Look who's going to die today after all.

CORDELIA
Wesley??

WESLEY
Soul stones are used to...well, to track souls.

Youngman takes a pendant out of his shirt, which has a red stone set in it.

YOUNGMAN
The only reason I'm still here is because there's no point in going elsewhere.

WESLEY
But Cordelia isn't wearing one, so how can they track her?

YOUNGMAN
These stones are far more than just carried by these creatures. Whoever has sent them - and it's probably some very powerful demon - has locked the 'scent' of Cordelia's soul in them, something of its essence. That's how they've been finding her.

CORDELIA
And the moral of the story is 'never do any good', 'cause you'll get head-splitting visions and everyone and everything will want you dead.

WESLEY
What if we traced the hounds to their owner?

YOUNGMAN
That wouldn't help. Once they have the scent, they don't let go. Or at least until you're dead, and I'll assume that's not what we want.

The three of them are silent for a moment.

WESLEY
Death - of course!
(to Cordelia)
You just have to die.

CORDELIA
Are you trying to be funny? Because I like you better when you don't.

WESLEY
If your soul is the 'scent' they're following, then that's what they have to lose a sense of. Remember that when Buffy drowned, the very brief time she spent as dead was enough for her soul to leave her body, and to make room for a new slayer. All we have to do is... control your death, and then bring you back to life.

CORDELIA
I think I've seen that movie.

WESLEY
'Frankenstein'?

YOUNGMAN
What's a movie?

CORDELIA
And suddenly I realize I have nothing to lose.

INT.- ANGEL'S APARTMENT - DAY

Angel stumbles in, and walks straight past the answer phone into the bathroom.

INT.- ANGEL'S BATHROOM - DAY

The shower is turned off and Angel gingerly steps out. He suddenly realizes something as he is drying off.

ANGEL
Messages!

He runs out of the bathroom, towel around his waist.

INT.- OLD DISUSED APARTMENT - DAY

This is an old apartment, with doors hanging off hinges or missing altogether, where the floor is punctured with holes. Graffitis fill the walls and garbage is all over the place.

An old and decrepit green sofa has been pushed against the main entrance as barricade.

CLOSE ON Cordelia

As she lies on the floor and nervously tries to relax.

Wesley is finishing the drawing of a large protective circle around her with a white powder. When done, he quickly puts his hands together and mumbles an inaudible prayer. The circle of powder briefly lights up in flames and then burns out.

YOUNGMAN
It won't hold them very long.

WESLEY
(giving him a dirty look)
It'll do just fine.

CORDELIA
They're almost here, I can feel it. Or smell it, I'm not sure which.

WESLEY
Right.

He kneels next to Cordelia, a small, dark bottle in his hand.

WESLEY
(continued)
This is going to make you go to sleep. Once you're asleep, it'll make your heart stop for a few minutes, then will let it start again.

CORDELIA
(tries to be light)
None of that ER crap for me.

WESLEY
(gently)
This is better than ER. It's magic.

CORDELIA
Is it going to taste horrible?

WESLEY
I don't know.

CORDELIA
It's not too fattening, is it?

WESLEY
I did ask for 'Diet', but they were out of those.

She smiles and sits up, then takes the bottle from Wesley's hands. After a moment's hesitation, she swallows its content.

WESLEY
So what does it taste like?

CORDELIA
Like chicken.
(blinks)
Wow. This thing really works.

She lies back down.

WESLEY
Are you feeling sleepy?

CORDELIA
(struggling to keep her eyes open)
Yeah.
(she tenses up)
They're - here, Wes. I can't - I can't leave you - to fight all alone -

WESLEY
(soothing)
You said it yourself, I'm a big boy. I'll be fine.

CORDELIA
(her eyes fluttering)
Should I... confess something...I mean, that's...what you do...at death's door...

He puts a finger to her lips.

WESLEY
Ssshhh...

Her eyes finally shut and she falls asleep.

YOUNGMAN
Do you remember asking me what it was that I wanted?
(Wesley nods)
I don't know the answer, but I'm ticking this right off my list.

Wesley smiles tiredly. They both look to the door as we begin to hear a SHUFFLING of legs O.S.

WESLEY
I'd say six or seven, maybe more.

Youngman picks up two crossbows.

YOUNGMAN
That's two for me, and one for you. What do we do next?

WESLEY
We get in the circle, reload and wait.

YOUNGMAN
Maybe next time we could have a less comprehensive protective circle, so that we can actually shoot out of it.

WESLEY
(sarcastic)
Oh, I do apologise - feel free to die a heroic death.

INT.- OLD DISUSED APARTMENT - DAY

A hound BURSTS through the door and over the sofa. Wesley shoots it dead. Another two scramble over and are shot by Youngman.

Wesley and Youngman step back into the circle, as another five run into the room. The hounds can sense the circle and stand back, GROWLING, as the both of them carefully reload their crossbows.

Wesley feels Cordelia's pulse.

WESLEY
She's almost there.

YOUNGMAN
So are they.

Two hell hounds throw themselves forward, but are SLAMMED BACK by the invisible defense of the circle.

Suddenly one of them turns around and begins to GROWL at the DARKNESS of the corridor. It falls dead when a KNIFE hits it in the head.

WESLEY
Angel!

All the hounds save one are turning around as Angel appears in the doorway. He swiftly plants another knife in a second hell hound, and has the time to stab a third one, before another jumps on top of him. The two of them GO THROUGH THE FLOOR and disappear.

The last hound is bidding its time, circling them, trying to penetrate the circle.

Wesley is keeping an eye on the hound and the other on Cordelia. He feels her pulse again.

CLOSE on Cordelia

as she gasps and arches up.

Wesley swallows hard.

WESLEY
Oh dear God.

The hound stops in its tracks, and begins to SNIFF the air. The stone in its chest, visible as it raises its head, GLOWS brighter then FADES completely.

YOUNGMAN
There's a good boy... Come on, pup, give it up...

The hound takes one last SNIFF, then placidly walks away.

Wesley drops his crossbow and reaches for another bottle. After pouring some of its content on his fingers, he traces a cross on Cordelia's forehead before running his thumb over her lips.

WESLEY
Come on, Cordelia. Come on!

He waits a moment before feeling her pulse again.

YOUNGMAN
Anything?

As an answer, Wesley leans over her body and begins mouth to mouth resuscitation.

He stops after three breaths and watches her intently.

WESLEY
(to Cordelia)
Why do you always have to be so difficult?

Cordelia suddenly opens her mouth, then her eyes, and begins to breathe in gulps.

Teary-eyed, Wesley gently puts her in the recovery position.

WESLEY
So glad you could make it, Miss Chase.

INT.- ANGEL'S APARTMENT - DAY (LATE AFTERNOON)

Wesley comes out of Angel's bedroom just as Cordelia is sitting down with a hot drink.

CORDELIA
How is he?

WESLEY
He'll live, so to speak. His fall must have been worse than we thought - he's still unconscious, and he's covered in bruises and cuts.

CORDELIA
Maybe he slipped as he took the time to have a shower.

WESLEY
I'm sure there must be an explanation for what happened to him.

CORDELIA
Whatever it was, he came out of it smelling of soap. How bad can it be?

A WIND begins to BLOW through the apartment.

CORDELIA
What now?

YOUNGMAN
(as he walks in)
Now I die.

WESLEY
What's going on?

YOUNGMAN
Molek is coming to kill me, true as his word.

There is a BLINDING FLASH OF LIGHT, and Molek, along with his 'right-hand man', the Lesser Demon, appears in front of Wesley, Cordelia, and Youngman.

MOLEK
(in his demon dialect)
Nice dimension.

Youngman throws himself at Molek's feet.

YOUNGMAN
(in the same language, pleadingly)
Molek, Great One, I beg of you to spare my life! I will do anything you ask! I can be of great use to you - my powers could greatly benefit you and your clan!

Cordelia and Wesley are watching the exchange.

CORDELIA
(to Wesley)
The language of begging is universal.

MOLEK
(to Youngman)
What could you possibly do?

YOUNGMAN
Anything! Anything at all! I - uh - I could assume a more pleasing shape. If you know what I mean.

MOLEK
(getting angry)
Are you saying that this is what I have to resort to for comfort?

YOUNGMAN

No, no, of course not! I meant that, uh - that is -

The Lesser Demon begins to laugh.

YOUNGMAN
(to Lesser Demon, with a snide)
You wouldn't laugh if I told your little secret, now, would you?

The Lesser Demon stops laughing.

LESSER DEMON
You little toad -

MOLEK
Enough!

He takes his large sword out of his sheath.

WESLEY
(taking a step forward)
He really is going to kill him!

CORDELIA
(holding on to him)
Better him than you.

Molek has his sword on Youngman's neck.

YOUNGMAN
(his eyes shut, in English)
What I wouldn't give for those hell hounds right now.

WESLEY
(to Molek)
Can't we talk about this?

CORDELIA
Wesley, don't be stupid, PLEASE.

Molek glances at Wesley, clearly amused. He then proceeds to lift the soul stone necklace with his blade and to cut it loose.

MOLEK
You're free to go. You little toad.

YOUNGMAN
(opens his eyes)
Excuse me?

MOLEK
You're free to go.

(bends down to Youngman)
You see, just after you left, she came to visit. To tell me she would consider me as mate! She said she was touched by my willingness to humiliate myself.

YOUNGMAN
You've known all this time and you left me languishing here??

MOLEK
What can I say? It was a dull day.

WIND begins to BLOW again through the apartment. Molek and the Lesser Demon disappear in another FLASH OF LIGHT.

CORDELIA
That's it? No beheading?

Youngman slowly gets up.

WESLEY
What happened?

He grabs Wesley in a quick bear hug.

YOUNGMAN
It worked. The advice I gave him - it worked!

CORDELIA
You know, in this dimension it's rude to overstay one's welcome. And we have a little something called 'sexual harassment.'

WESLEY
(extracting himself from Youngman's arms)
So what now?

YOUNGMAN
I don't really know. I hadn't anything planned beyond six o'clock.
(puts his hands in his pockets)
I guess I'll look for a portal out of here.

CORDELIA
(pointing in the door's direction)
We have a portal out of here. It's that way.

YOUNGMAN
(to Wesley)
Is she always such a flirt?
(extending his hand)
It's been nice trying to seduce you, Wesley. Maybe I could... get changed one of these days. We could start over. What do you say?

WESLEY
You shouldn't have to be anyone but yourself.

YOUNGMAN
(a little saddened)
I see. Well, I can take a hint, when I want to.

With a last smile and a bow to Cordelia, Youngman leaves them.

CORDELIA
I think I'm going to take tomorrow off.

WESLEY
(rubbing his eyes)
I think I'm going to sleep tomorrow off.

CORDELIA
So what did you think of Mr. Youngman?

WESLEY
I don't really know. He was quite... perceptive, I suppose.

CORDELIA
No, no - I mean - what did you think of him? He was kind of good looking, wasn't he?

WESLEY
I wouldn't know.

CORDELIA
(playfully)
And a bit of a charmer, too. He had you around his little finger when he first stepped into this office.

WESLEY
This is really childish. I'm going to get something to eat - you can come with me if you start acting your age.

CORDELIA
So you weren't interested at all? Not even a little curious?

WESLEY
No, I'm boring that way.

They head out.

CORDELIA
But you dress really well, and you have this huge collection of opera CDs -

WESLEY
(putting on his jacket)
Will you please stop it?

CORDELIA
Do you ever miss your single-sex boarding school days?

They walk out.

INT.- ANGEL'S APARTMENT - DAY (LATE AFTERNOON)

Angel, still unsteady on his feet, walks out of his bedroom and into the living room.

ANGEL
Wesley? Cordelia?

As he gets no answer, he takes a glass of blood out of the refrigerator and sits on the sofa to turn on the stereo. The SOUND of PUCCINI'S 'MADAME BUTTERFLY' fills the air.

ANGEL
I hear your pain.

He leans back with a SIGH.

FADE OUT

* * *