Cut to sunlight. The captions read "Stockton, California. Northern California Women's Facility." Just "Facility"? Shouldn't "Correctional" or "Penal" be in there somewhere? Seems odd. And again, the set-up goes on too long before a door opens and Faith steps out to the surprise of nobody. Again, that would have played better if we'd cut straight to Faith walking outside, because the build-up just made me sigh, "Yes, I saw the ads, Faith, yes, I know."
After the ads, more prison shots. Faith does chin-ups as a woman approaches her and pulls out a Harbinger's knife. The fight starts with a kick and slow-motion flip. Thank goodness that was in slow-motion or I wouldn't have been able to comprehend the fact that Faith did a flip. There's some kicking and punching and the attacker explains, "Nothing personal -- I need the money," and then Faith knocks her out with some handy barbells. The guards haul off Faith's attacker, and one of them asks, "Who'd be crazy enough to try to take you out?"
Wesley's still staring at Lilah's body. Le sigh. Nonexistent Lilah tells Wesley that he's feeling guilty because he couldn't save her. He quickly replies, "Saved you from the Beast. For all the good it did." Lilah says, "You couldn't save me from me." Bleah. Wesley asks if that's what she thought, and Lilah points out that she's a figment of his imagination, so it must be what he thinks. Logical. She rubs his shoulders and talks about redemption. Lilah says, "Angel's influence, I suppose. The whole 'not giving up on someone no matter how far he -- or she -- has fallen.'" Unless he -- or she -- is named Lindsey. I'm fine with this imaginary conversation giving Wesley the idea to see Faith; it's just that it takes so long to get there. Lilah agrees: "Let's just get it over with. That body's not gonna dismember itself, you know." Heh. Wesley apologizes and, as Lilah natters on in the background, chops off the body's head, finally shutting her up. The plaintive flute of chopping off your evil girlfriend's head tweedles. There's a plaintive flute for everything.
Angelus walks through one of those warehouses where they store moody objects and grumbles, "This how you treat an old friend? Kill the chick I was chasing, then lure me here with the scent of her blood." He sees Satan's knife sitting on a box, and Satan finally steps out to insist that they weren't friends. Satan adds, "I didn't bring you here to fight. That wasn't my instruction." He says that his master has "requested" Angelus. Can you order Angelus on an office supply form? I'll have to look into that. He'd keep our programmers in line. Satan says that everything that's happened was part of a plan to bring Angelus back. Angelus asks when he can meet "the big brain behind [his] liberation." I still don't know why he cares. Satan says he'll be giving Angelus orders, but Angelus isn't into that. Angelus says, "I don't like having my strings yanked, and I don't like being kept in the dark. Figuratively, anyway." Angelus calls Satan a lackey, a toady, a lickspittle, and a flunky. Satan is taunted into battle, but Angelus dodges all the blows and finally hops up into the rafters, repeating that he'll only talk to Satan's boss. Why does he care? Maybe he wants to track down his soul-bottle, because I can believe he'd want to make sure he wouldn't get resouled yet again. I'd have no problem believing that. If only he'd actually say something to that effect.