Angel
Lullaby

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And Baby Makes...a Dozen?

While Cary bustles to prepare Caritas for a grand re-opening, the MoG ask if Darla can come have the baby there. Cary reluctantly agrees, and then checks with a demon called Arney to find out if he's almost done with his work on the security system. Arney appears to be doing some kind of electronics work, which, Cary explains, "routes the new sanctuary spells together to prevent both human and demon violence." So the magic spells need wiring now? Whatever, I don't care any more. Then, because Arney was humming while he worked, Cary determines that Arney is planning to milk the job for more money, and throws Arney out.

Still on the rooftop, Darla asks Angel if he'll protect the baby from her once it's born. Angel doesn't answer, which amuses me. Then Wesley calls, and tells Angel that they've found a sanctuary for Darla. Behind Wesley, Cary is trying to fix the security system. They test the set-up by having Fred slap Gunn. She does so without any magic effects. Cary keeps trying. Why can't Gunn slap Fred? I'd be much more amused by that.

Angel tells Darla that they should go, because he "can feel a storm coming." Darla doesn't ask if he means literally or metaphorically because she's too busy groaning. Angel asks if she's feeling a contraction, but Darla says "it's something else." Maybe it's the storm. Johanna says it would be funny if Angel could feel a storm approaching because his bum knee was acting up.

Blipvert. Lilah returns to the translator at Wolfram & Hart, who enthuses about how helpful Wesley's notes were in understanding the scroll. Lilah tries to move things toward some kind of point, and asks what the scroll says about the birth. The translator says it doesn't. "You said it did," she points out. "Yes, I did say it did," he admits. "But it doesn't?" she asks. "In a way," he hedges. Lilah notes, "I have a gun." Man, I wish I did. He finally reads the scroll: "For surely, in that time when the sky opens and the heavens weep, there will be no birth, only death." I wonder if it says anything about the recapper cursing, or Shakespeare performing a pirouette in his grave.

After the commercials, we're back in flashback-land. It's dawn now, and Holtz is sitting calmly as a couple of his Merry Men return. One suggests that it's time for Holtz to leave, and that the death of his family is "the devil's work." Holtz says, "Not the devil. Just a demon." Sarah's doll is lying on the floor in a patch of sunlight, and the camera pans up to show Caroline's body, and Sarah cowering in a dark corner across the room. "What are we going to do?" one of the men asks. Holtz stands up and intones, "Whatever we have to," as he walks over to his daughter. He picks her up, and Sarah begins wailing, "Papa, please no! Let me go!" He carries her outside, and she almost escapes for a moment before he grabs her again and throws her out into the sunlight. She looks back at him with a vamp-face, and then bursts into flames. Holtz stares a moment and then walks straight into a blipvert. Don't you think that scene would have been a lot more revealing and exciting if the characters had made dramatic speeches? Me neither.

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