The One and Only Angel Season 5 Thread

[Tawren 0]

Season 4 of Angel = BEST THING EVER. My GOD. Every episode is so freaking great. The end of "Home" is so well done. Damn.

[Guest Brian]

If you were to give somebody a comp with ten (or twelve) episodes from Angel to introduce them to the series, what eps would you choose? Keep in mind you not only have to take episodes that are good, but will reflect some characters and their individual arcs as well as some of the major parts of the series. Can it be done?

[Guest Brian]

It's a little longer, I hope it's good.

 

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Scene 1:

 

<Angel, Illyria, Spike, and Gunn are shown from behind as an army of monsters face them. The camera pulls back to the street in front of the Hyperion, revealing Connor racing to the second story window as the cries from the monsters grow louder. A second camera shows Connor from behind, calling for his dad as the four warriors leave his sight.>

 

Connor: Dad!

 

<Connor turns and runs to the stairs. He hits the bottom step and gets stopped just before the door. A hand pulls him back against the wall.>

 

Kent: You’re not ready for this yet.

 

<Connor pushes his arms away>

 

Connor: My dad is out there. I have to help.

 

Kent: This is his fight, not yours.

 

<The camera pans back, showing a legion of monsters running wild through the streets. Two of them head through the doors. Connor recognizes the monsters, as he is hit with a flash back of Quor’toth.>

 

<The scenery is rocky, with no foliage in sight. Holtz arises from a fallen monster, facing Connor in his animal skin garb.>

 

Holtz: You must show no mercy with these beasts. You must not hesitate for one moment. You cannot think, you can only act.

 

<In the hotel, one of the monsters, goes at Kent and takes him to the side. The other goes after Connor, tossing him into the weapons chest. The camera cuts to Connor arises, now in the flashback.>

 

Holtz: Right. Left. Block.

 

<Connor follows Holtz’s directions, as he fights against a monster that is exactly the same as the one he’s fighting. The camera switches to the demon, who has fallen to its knees, back in the hotel. The camera switches back to Connor in Quor’toth.>

 

Holtz: Finish him.

 

<The camera is back in the hotel, as Connor reaches out to the monsters head and snaps it. He grabs a piece of glass from the broken cabinet and throws it at the second monster, which was straddling Kent. The camera shows Kent’s vantage point, as the monster falls off to the side with a piece of glass lodged in its head. Connor pulls the monsters off and pulls Kent up. They head to the door.>

 

Connor: Want to tell me what I’m not ready for.

 

<Connor opens the door. The streets are in flames, blood is running down the side of the street with the rain. Opening credits roll.>

 

Scene 2:

 

<Kent pulls Connor back inside.>

 

Kent: They told me you would be a work in progress.

 

<Connor pushes Kent’s arms aside.>

 

Connor: Did my father tell you that?

 

<Kent is looking through the weapons chest, searching for a weapon.>

 

Kent: No. The Powers That Be told me that.

 

Connor: What Powers? I have to get outside, I have to help.

 

Kent: It’s over now. They’re too strong. There’s too many right now.

 

Connor: It’s not over. I can help them.

 

<Kent finds the entrance to the sewers. He motions to Connor.>

 

Kent: They’re gone. We have to leave.

 

<Connor takes another look outside, then heads to Kent. They enter the sewers. Connor pulls Kent aside>

 

Connor: What is happening?

 

Kent: The apocalypse.

 

Connor: THE Apocalypse?

 

Kent: Okay, an apocalypse. But this one’s is different. This is evil inc. They’ve been operating here for years, under the radar of many. They’ve been building for this, waiting for the chance. And your father, he made a choice, a series of choices, his choices. What he chose, he had to deal with…we had to deal with.

 

Connor: What do “we” have to deal with? Who else? What are these powers?

 

Kent: You, me, were here, on the ground. The Powers That Be, they’re up there, and they said that you still have a role to play. Your father, Spike, Illyria, and Gunn; I don’t know where they are, I haven’t been told. The Powers tell me that you’re important, that you’re valuable to them. You didn’t think killing one demon would be the only thing they had planned for the son of a mystic birth.

 

<A group of people, four strong, emerge from the dark, looking around as they move. They’re all scared from the events unfolding above ground. The leader spots Connor and Kent, signaling to the others.>

 

Vampire #1: At least there something warm around here.

 

<The lead vampire’s face transforms. Camera is back on Connor and Kent, as Kent pulls a stake out of his coat.>

 

Kent: Now let’s see why I should invest myself in you.

 

<Kent tosses the stake to Connor, then fades back into a pipe. The vampires charge. Connor blocks the first two, then stakes the Vampire #3. Vampire #4 lands a punch, and the leader tries to pounce on Connor. Connor kicks him away, then leg sweeps Vampire #4. Vampire #2 tries to hit Connor but gets staked. Vampire #4 kips up as the leader looks on. Vampire #4 and Connor trade punches. Vampire #4 tries to hit Connor with a spin kick but Connor grabs him and throws him into the wall behind him, staking him like an ice pick. The leader emerges, kicking the stake out Connor’s hand. The leader throws Connor into the side of the tunnel, crashing into pipe. The leader comes charging, but Connor quickly spins, breaking off the pipe and bending it into the vampire’s chest. He crumbles into ashes. Kent emerges from the shadows.>

 

Kent: So I see that you’re more than just a face. I just don’t know what exactly.

 

Connor: And neither do I. And I don’t care. I have to get back to my father.

 

<Connor heads to an opening in the sewer. He looks outside through the bars. Kent picks up the stake.>

 

Kent: You’re not going out there. Not yet.

 

Connor: Who are you to say?

 

Kent: The Powers That Be. They sent me here to help you. I’m Kent.

 

Connor: And I’m heading out. I have to get to work.

 

<Connor turns as he witnesses a pack of monsters tearing a woman to pieces. He turns back to Kent.>

 

Connor: I need more. I need weapons.

 

Kent: You need to step back. There’s something else at work, that we have to let play out. You need to get ready. The city…by morning there will be little, if anything left. By daybreak, you’ll be able to fight them.

 

Connor: I won’t fight them. I’ll kill them.

 

<Connor grabs the grates, ready to leave, but turns away.>

 

Scene 3:

 

<Connor is in Quor’toth. He’s squatting, in a cave. Holtz is looking around. Both are breathing hard. Holtz turns to Connor.>

 

Holtz: These beasts will not stop until they’ve finished. They know nothing but the hunt and the taste of blood. They will kill and continue to kill without discretion. You’re smarter than them, and you must use that. You must always be aware of their instincts, Steven.

 

Connor: They live to feed.

 

Holtz: It’s never that simple, and you must be aware of everything. They’ve have their urges, and instincts. But they are not that primitive, nothing is ever that simple. If they have control, you give up that predictability. You must always have control.

 

<Cuts back to the sewer. Connor is squatting, Kent is standing upright. He takes a cigarette, puts it in his mouth, than rethinks lighting it and puts it away.>

 

Kent: You can’t give these monsters something to chase. We have to be in control.

 

Connor: Why are you here?

 

Kent: Consider me your guide, your guru. The Powers That Be are much like those at Wolfram and Hart, the Senior Partners. They’re been around since the beginning, in some form, since the beginning. They’ve been relegated to guiding, helping humans. The Senior Partners have been measuring, waiting for an opportunity to advance. They’ve taken it. And we have to restore a balance.

 

Connor: And why me?

 

Kent: You’re all that is left. You’re strong. And you have a destiny.

 

Connor: Who says? I am in control of my life.

 

Kent: We all have a role to play, some greater than others.

 

Connor: So they control things then. Me, my dad, the others, we’re all just pawns. Those people out there are just sacrificial lambs.

 

<Connor grabs Kent by the neck of his coat, pushing him against the wall>

 

Connor: So you come out here, because things are a little out of sync. People are dying, and you keep me in here so I can fulfill you’re wishes. I’m going to keep things going for you, make sure that you two are playing on an even field.

 

<Connor releases Kent, who straightens his coat and feels his neck>

 

Kent: We’re here to save people too. But you don’t always have an opportunity, and sometimes you have to fall back. You can’t save everyone, and you can’t fight everything alone.

 

Connor: These beasts are running wild, and I’m in here doing nothing.

 

<Cut back to Connor and Holtz in the cave in Quor’toth.>

 

Connor: But they’re in control now. I have to get out there.

 

Holtz: You’re smarter than these beasts. They think they have it, but they can never beat you. You stay one step ahead, and when they slip, you’ll be there to take care of them.

 

Scene 4:

 

<Kent and Connor are in the sewer. Kent peers out through the sewer drains.>

 

Kent: The vampires have been driven underground. These things are too powerful.

 

Connor: I don’t worry about the vampires.

 

Kent: You should. This may be are only cover, and its infested as it is. We need to find a place to stay.

 

Connor: We need to get out there and fight.

 

Kent: I don’t even know if you can survive out there. You got through this once, by luck. But you’re not conditioned to survive in this place, especially now.

 

Connor: You shouldn’t worry about me. I can take care of myself.

 

Kent: No, you can’t. This isn’t LA anymore.

 

Connor: It isn’t, but I’ve seen it before.

 

Kent: And you have to play things smart. We’re not here to get our heads cut off. We hunt during the day, lay low during the night. Nothing could make it out there with what’s going on outside right now.

 

 

Scene 5:

 

<Outside, a panorama as night transforms to day and the smoke emanating from the city. Many of the buildings are in ruin. Connor and Kent are still in the sewer. Connor peers outside.>

 

Connor: The sun has hit. These beasts are in retreat. I should be out there. I still have people to protect…

 

<Connor kicks down the grate and rushes through. He runs straight through the park. Kent is left behind. Kent rushes out after him but stops.>

 

Kent, to himself: You give me absolutely nothing to work with. I can’t control this brat.

 

<Connor comes running down the middle of the street in a suburban community. In one house, a group of monsters is raging, throwing furniture out the house. Connor reaches a house that looks unaffected from the outside. Connor makes it to the driveway, and is a few steps up. Suddenly the door is kicked down, as then a monster comes through the entrance, talking with others in a jovial manner. He’s large, with fangs and a huge forehead, and a wrinkled face. As he comes through the door two other demons follow, both carrying hostages. They are the parents that were given to Connor through the false memories.>

 

Lead Monster: So, the Destroyer is here.

 

Connor: Let them go!

 

Lead Monster: You’re not in a position to command me right now. We’re in a new world now. In this place, you can’t win, you can only lose. Too many innocents, too many victims. This is a brave new world for us. This is our playground. And now, you’re going to see what happens when we take control. <Turns to the other monsters> Kill them. <Pauses> No, let them watch. I want them to see him die.

 

Connor: No!

 

<Connor races up to the first monster. They trade punches to the face. Connor tries another swing but gets blocked. He headbutts Connor, who falls away.>

 

Lead Monster: I remember you being stronger. And more armed.

 

<A long blade emerges from the back of the lead monsters forearm. Connor comes back with a series of kicks. The fourth is blocked, and Connor is struck across the chest with the blade. Connor staggers, his shirt ripped and body scratched. >

 

Lead Monster: Ehh, there’s not much to watch now. Kill them.

 

<An arrow brushes by, just missing the leader. The camera moves to Kent on his motorcycle, clutching a crossbow. The lead monster dusts himself off. In the background, one of the monsters falls, freeing the woman. She begins to crawl away, crying.>

 

Lead Monster: Damn humans. <Turns to his living accomplice> What are you waiting for.

 

Husband: Run…

 

<The monster holding the husband snaps his neck Connor rushes to the lead monster. He lands two punches and a kick. The monster hits Connor with a forearm, but he doesn’t fall back. The lead monster takes a swipe with his blade, but Connor catches his arm. He breaks the blade cleanly off his arm with the palm of his hand. He twists the arm around and the monster drops to his knee. Connor snaps his neck and shoulder. Kent is down on the ground, after trying to stop the other monster. It has already killed Connor’s mother. Connor runs over, ducks a punch, and delivers a clubbing-blow to the back of the head. Connor pulls him up by the head and delivers a clothesline to the back of the neck, still holding. He drops the monster and races to his mother. He drops to his knees, clutches her in his arms. He begins to cry.>

 

Connor: Don’t die on me! Mom!

 

<Kent limps over, crossbow in hand>

 

Kent: I’m sorry…I tried to save her.

 

Connor: You kept me in there while these monsters were running wild. And look at what it cost me. I have nothing left.

 

Kent: I kept you alive in there. I kept you under control. I made sure you didn’t go out and get yourself killed.

 

Connor: You can’t control me.

 

Kent: I have to. I have to keep you alive, it’s far too important. <Raises his voice> You may not get this, but there’ll be a lot more deaths if you’re not around. We’re here to keep people alive, and there are going to be casualties along the way. It may be hard for you to understand right now, but you have a responsibility here. And no one else can do that.

 

Connor: I’ve lost everything in the last twenty-four hours. I have nothing left. The city is burning, and these monsters are running wild.

 

Kent: You can protect them.

 

Connor: I couldn’t even protect my own family. I didn’t fight side-by-side with my dad.

 

Kent: You’re going to save these people, just like he did. And you’re going to keep his memory alive.

 

Connor: Why?

 

Kent: Because you can, and no one else will. This is your responsibility, it’s your destiny. These monsters have killed you’re family. If you do it for anything, you do it for them. You can’t get them back, but you can honor their memory.

 

<Connor walks over to the motorcycle. He pulls out a katana from Kent’s bag. He practices with it in his hand.>

 

Connor: And if I do it for them, what will I get out of it.

 

Kent: You’ll be doing the right thing.

 

Connor: I’ll settle for blood on this sword.

 

<Connor drags the sword as he walks away. Kent pulls a fresh arrow out of his bag and loads his gun, and get on his motorcycle. He starts it. Picture fades to black.>

[Anya 0]

I'm watching the Jasmine arc now, and there's no way to make sense of this while thinking of the FE story going on at the same time just hours away. Both of their evil schemes contradict each other, both should be completely aware of what the other is doing, yet neither do anything about it or even seem to notice. It's like there's a barrier between the two and you're just supposed to pretend the other show doesn't exist, but then they have Willow coming out and W&H giving Buffy deus ex machina amulets.

[Ravenbomb 0]

Jasmine was making everybody all jolly and happy, and the First was making everybody miserable and such, so they cancelled each other out.

[Guest Brian]

Plus, they were competing against each other. Neither wanted the other to suceed, and W&H wanted to push their own agenda over the other two.

[Anya 0]

They just ignore it though. It's never brought up by anyone. It's like LA and Sunnydale are in their own little worlds and Angel/Buffy only cross paths when ME wants it. I'm sure the writers feel that it's worth it to tell the stories they want to tell, but it's still really silly to think about.

[Jingus 0]

It doesn't help that the time continuity is seriously screwed up for seasons 7 and 4 for Buffy and Angel respectively. On Buffy, the season takes place over several months, with lots and lots and LOTS of time spent with the scooby army just sitting around Buffy's house and waiting. On the other hand, Angel's season 4 rockets by in comparison, taking place over just a couple of weeks. It's even more complicated when you remember that Faith was on both shows, mucking up the timeline even more.

[Guest Brian]

I'm sure they don't really have alot to concern themselves with. Buffy was dealing with something she thought was unstoppable, and I could see some room there for cross-over but Angel Inc. had their hands tied, first with the Beast, than Angellus, then Cordy, then Jasmine.

[Anya 0]

Yeah, and season 5 of Angel being only 19 days after Chosen is very strange.

 

Someone should try to make sense of the timeline...

[Jingus 0]

When I think about it though, it does make sense that the Scoobies and Team Angel were unable to help each other. Buffy probably would've broken down into a comatose state if she'd heard about Angelus being back, and Evil Cordy probably wouldn't have sat too well either, considering she'd just had to deal with Evil Willow and Evil Anya so recently.

 

That's another odd thing: even the human chicks that Xander is involved with eventually turn into some kind of supernatural villain. Man, that poor guy just can't catch a break. He might as well try dating Ilyria or Eve next.

[Anya 0]

That's not what I mean. I am talking about FE and Jasmine. Their own schemes contradict each other. Jasmine can't have her peaceful world if ubies are overrunning it. She surely knows of the FE and what's it's doing. Same for FE knowing of her. Yet neither do anything to stop each other.

[LaParkaMarka 0]

That's another odd thing: even the human chicks that Xander is involved with eventually turn into some kind of supernatural villain. Man, that poor guy just can't catch a break. He might as well try dating Ilyria or Eve next.

Wow, I didn't notice that. Nice observation.

 

I think he should date Harmony. She's already evil, so it can't really go down from there.

[Anya 0]

NO HE SHOULDN'T. The idea of Xander with anyone else sucks. Especially stupid Harmony. Xanya is forever.

[LaParkaMarka 0]

You're right. He should lug around Anya's dessicated corpse. Double dates with Kennedy and Willow would be fun.

[Anya 0]

Yeah, except for the Kenndy part.

 

 

Besides, if he dated Harmony he'd still technically be lugging around a corpse.

[LaParkaMarka 0]

Good point. Damn corpses.

 

Who else could Xander hook up with? He should find that real estate agent from The Replacement. I'm sure she's evil now, but that's par for the course. Beats a preying mantis.

[Anya 0]

Turn gay and hook up with Andrew.

[chaosrage 0]

Good point. Damn corpses.

 

Who else could Xander hook up with?

WILLOW. Like he should have done since season 3.

[LaParkaMarka 0]

He's not in college, he can't go gay

 

Him and Rona could be funny.

 

Ah, Willow and Xander. Them hooking up would have been cool in season 7. Too bad Willow didn't have one of her trademark changes of sexual orientation.

[Anya 0]

Rona? Now you're just trying to make me mad.

[LaParkaMarka 0]

Rona? Now you're just trying to make me mad.

Yeah, pretty much.

 

Hmm...he could hook up with Paine. Happy?

[RavishingRickRudo 0]

If you were to give somebody a comp with ten (or twelve) episodes from Angel to introduce them to the series, what eps would you choose? Keep in mind you not only have to take episodes that are good, but will reflect some characters and their individual arcs as well as some of the major parts of the series. Can it be done?

 

Nope. Now, I haven't taken a look at all the episodes and actually tried this, but I can't imagine it working very well. There are 3 large story-arcs in the Angelverse - the Darla Saga, the Connor Saga, and the WR&H Saga. Now, you could find 10 episodes to reflect each of these Sagas, but you couldn't get away with only having 4 episodes to reflect them (that's assuming we have 12). I think a comp of "Fred and Wes" could be plausible - though you might have to need a little bit more than 12. The Pylea arc, Billy, Waiting in the Wings, The episode where Gunn kills the Professor, (there should be 3 or 4 more season 3 and 4 episodes, but I can't think of em now), and then the Illyria arc.

[AnonymousBroccoli 0]

Are there any episodes from season 4 Buffy/season 1 Angel that cross over story-wise, aside from Pangs and I Will Remember You?

[Tawren 0]

This Year's Girl and Who Are You lead to Faith going to Angel for Five By Five and the Harsh Light of Day leads to the crossover with In The Dark.

[Anakin Flair 0]

Ok, so I downloaded the unaired pilot for Buffy, and can I just ay thank GOD they got Alyson Hannigan for the role of Willow. That other girl couldn't have pulled off the innocent girl deal the Aly had in the beginning.

[LaParkaYourCar 0]

Here...hopefully it works now

 

Hey some of us Whedon fans have joined the Official Serenity Movie Forum.

 

It's fun stuff!

[RavishingRickRudo 0]

It's easy to turn that board into a Buffy/Angel chat, so its not limited to firefly.

[Guest Brian]

If you were to give somebody a comp with ten (or twelve) episodes from Angel to introduce them to the series, what eps would you choose? Keep in mind you not only have to take episodes that are good, but will reflect some characters and their individual arcs as well as some of the major parts of the series. Can it be done?

 

Nope. Now, I haven't taken a look at all the episodes and actually tried this, but I can't imagine it working very well. There are 3 large story-arcs in the Angelverse - the Darla Saga, the Connor Saga, and the WR&H Saga. Now, you could find 10 episodes to reflect each of these Sagas, but you couldn't get away with only having 4 episodes to reflect them (that's assuming we have 12). I think a comp of "Fred and Wes" could be plausible - though you might have to need a little bit more than 12. The Pylea arc, Billy, Waiting in the Wings, The episode where Gunn kills the Professor, (there should be 3 or 4 more season 3 and 4 episodes, but I can't think of em now), and then the Illyria arc.

I figure you need Home and Not Fade Away, you need something for the Darla saga (Reprise?), something with her pregnant, something with Wesley and the Connor prophesy, something with the Beast, and something with Angellus. You need something with the Gunn/Fred relationship, and the Fred/Wes relationship. You'd have to give some development in all of the characters.

 

Let's try this out:

 

Parting Gifts

To Shanshu in LA

Reprise

Waiting in the Wings

Sleep Tight

Apocalypse Nowish

Awakening

Salvage

Inside Out

Home

A Hole in the World

Not Fade Away

 

And it still feel totally inadequate. It's as good as I can do.

[Anya 0]

I just signed up. This board is really hard to navigate. Where is everyone?