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Angel Pilot - Part 1 Writer's First Draft Written by: Joss Whedon & David Greenwalt |
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Teaser |
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EXT. THE CITY - NIGHT AERIAL SHOTS - We move across the city… tall buildings jut into the sky… over-and-under-lap one another, it's big and cold and fast here… EXT. DOWNTOWN STREET - NIGHT Bums drink, beg, well-dressed men and women head from the high rise offices towards bars and cars. CAMERA PUSHES IN ON a downtown bar. INT. DOWNTOWN BAR - NIGHT E.C.U. ANGEL - His dark eyes, focused, deadly. PULL BACK: his expression grim, ready for battle. ANGEL He raises his hand - something sharp and steely in it - and throws! WIDER - Angel is playing darts. The dart he just flung misses the dart board but not the beer bottles on a nearby table. CRASH! ANGEL GUYS at dart board shake their heads as Angel, in his long dark coat, staggers to the bar, climbs on his stool, whistles at BARTENDER, points to his empty beer glass. Angel glances around as Bartender pours him a beer. The joint is happening: artists from the downtown lofts, young professionals, unemployed actors on the make, etc. Angel watches three GOOD LOOKING GUYS shooting pool with TWO GOOD LOOKING YOUNG WOMEN nearby. They're laughing, having a good time. One of the guys gets behind one of the women (JANICE, who may resemble Buffy) helping her line up a shot. ANGEL ANGLE - The three GUYS and the TWO GIRLS move past Angel, heading out the back exit. As they do, he swivels slowly around on his stool, watching them. CAMERA PUSHES IN as his whole demeanor changes. His eyes go cold and purposeful, his loopy expression sober and focused. He isn't drunk, he's a man with a mission. EXT. PARKING LOT BEHIND BAR - NIGHT Fairly dark and deserted. Janice, her friend and the three guys move through. JANICE GOOD LOOKING GUY # 1 JANICE GOOD LOOKING GUY # 1 And he GROWLS and MORPHS INTO A TERRIFYING, YELLOW-EYED FANG-TOOTHED VAMPIRE. He grabs Janice as Guys # 2 & 3 swing around (VAMP FACED) and grab her friend. The women are too freaked to even scream as Angel stumbles into frame, apparently snockered. ANGEL GOOD LOOKING GUY # 1 Angel stumbles up to the guy. ANGEL Guy # 1 lets go of Laura and comes for Angel who drops the drunk act and whips his elbow up under # 1's chin, knocking him clean over a car as -- # 2 charges and Angel spin kicks him, but gets clocked from the side by # 3. Angel and # 3 trade vicious blows. Angel sends him crashing into a small stake bed truck with enough force to shatter a few of the stakes. Laura and Janice watch, as - # 2 gets to his feet and charges. # 3 gets to his feet and does the same. Angel stands there, waiting calmly and efficiently until they are very close, then holds up both arms and - CHUNK! CHUNK! - TWO SHARP WOODEN STAKES (attached to hidden spring devices on his wrists) RATCHET into his hands. # 2 and 3 explode in a cacophony of dust. Angel hears running footsteps behind him, swings around as # 1 rears up with a metal trash can and bashes him in the face with it. Angel hits the ground hard where, pissed now, he MORPHS into vamp face (his back to Laura and Janice who don't see his vampireness). He de-ratchets his stakes: ANGEL Angel grabs # 1 who is briefly shocked to see that Angel is a vamp and beats the crap out of him, finally flinging him head first into a Mercedes windshield, knocking him out and setting off the CAR ALARM. JANICE His back to them, he walks away. ANGEL JANICE She grabs his arm. Pulling him around, seeing his VAMP FACE. ANGEL She reacts, quickly backs away with Laura. ANGLE - SHOOTING OVER MERCEDES WITH VAMP ON THE HOOD Angel walks toward us, grim and dark, the women getting in their car in b.g. Without breaking stride, Angel grabs a broken stake from the truck and dusts the semi-conscious vamp sprawled on the car hood, walking into a BIG ASS CLOSE UP - and then into darkness. MAIN TITLES |
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Act One |
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EXT. L.A. STREETS - NIGHT Old L.A., mostly BUMS and DRUGGIES on the boulevard at this hour. Angel walks past, keeping to himself like everyone else on the street… Angel turns up a smaller street, a mix of old residential and small commercial buildings. He enters: INT. ANGEL'S BUILDING - NIGHT Old offices on the ground floor, apartments above. Angel unlocks a door and we FOLLOW him: INT. OFFICE - NIGHT An outer and inner office space, not in use, beat-up desk, chairs and a couple of musty filing cabinets shoved into corners. Angel moves through, unlocks a door in back and descends some stairs. INT. ANGEL'S APT. - NIGHT Angel walks down into his basement apartment. Not a huge space but clean and eclectically elegant with Angel's furniture, tapestries and art. He slips off his coat, tosses it on a chair. He undoes the two ratchet-stake devices strapped to his forearms, drops them on a table where we see other stakes, knives, a fighting ax. Angel leans on the table, brooding for a moment, then sensing a presence, he slowly straightens up, SPINS AROUND FAST, grabs WHISTLER (youngish, loud dresser, would live at the race track if he could) ANGEL WHISTLER Angel lets go. Whistler looks around. WHISTLER ANGEL WHISTLER ANGEL WHISTLER Holds up his finger, he's going to sneeze. He does, MORPHING FOR A SECOND into a BLUE FACED DEMON and snapping back to his "human" form. WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER Nothing from Angel. WHISTLER He accidentally hits the release button, the stake rockets across the room, misses Angel by a hair, rips through a painting and imbeds in the wall. WHISTLER ANGEL WHISTLER EXT. ANGEL'S STREET - NIGHT Angel and Whistler exit a 24 hour liquor store. Whistler munches a huge sandwich, drinks from a can in a paper bag. WHISTLER Beat. They walk on. Whistler pulls out a slip of paper, hands it to Angel. WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER A HOMELESS WOMAN holds out her hand to Whistler. HOMELESS WOMAN WHISTLER ANGEL WHISTLER EXT. THE CITY - NIGHT - SPECIAL FX The lights of the cars zoom past in that impossibly fast Koyanisqatsi way. The sun roars into the sky in the same manner. INT. ANGEL'S APT - DAY CLOSE - The slip of paper: TINA, COFFEE SPOT, S.M. scribbled on it. ANGEL studies it for a long moment. Then suddenly he stands, moves out of frame. MATCH CUT: EXT. SANTA MONICA STREETS/COFFEE SPOT - NIGHT Angel drives into frame behind the wheel of his car. THE CAR - pulls up in front of THE COFFEE SPOT. INT. COFFEE SPOT - NIGHT Think Starbucks. Angel enters, looks around. YUPPIES sip and chat. UNIFORMED EMPLOYEES (white shirts, black pants) work the registers and the coffee makers. ANGEL SEES - behind one of the registers, TINA (twenties, striking, a little pale and exhausted looking). Angel moves to her line. Glances at her name tag as she calls out a Customer's order to the guy making it, rings him up. TINA COSTUMER # 1 TINA ANGEL TINA ANGEL TINA DISSOLVE TO: SAME SCENE - A LITTLE LATER Angel stands apart sipping his coffee, watching Tina work. She moves to the MANAGER. TINA He shakes his head. She grabs a bus rag, heading in Angel's general direction. He steps forward like he might say something to her. She glances at him - he can't think of anything to say, he just looks away and sips his coffee - she moves on to clean up a service area in b.g. Angel sees a GUY with a cute and friendly dog. A couple of YOUNG WOMEN passing by pet and coo over the dog. Angel sees Tina heading back towards the counter. He edges to the dog, holds out his hand to pet him. ANGEL Tina, moving past, doesn't get that he's talking to her - the cute and friendly dog backs away from Angel and lies down, cowed. ANGEL Now he feels really out of place. The manager looks his way: MANAGER TINA Tina moves towards - then past - Angel to the HOMELESS GUY who's wandered in behind him. TINA She gives him a large coffee and a bag of rolls. MANAGER Homeless guy drops the coffee. THE FULL CUP is caught halfway to the floor by Angel who hands it back to him. Homeless guy shuffles off; Tina turns to Angel, impressed. TINA Angel nods, still can't think of what to say. Looks at homeless guy, then back at her. ANGEL TINA ANGEL TINA ANGEL MANAGER ANGEL Off her, considering. EXT. COFFEE SPOT - NIGHT Tina, wearing a nice dress, large carry bag at her feet, sips coffee with Angel, leaning against his cad. TINA ANGEL TINA ANGEL TINA ANGEL TINA ANGEL TINA ANGEL TINA She goes very cold, walks away. He follows. ANGEL She pulls out a key ring with mace, points it at him. TINA ANGEL TINA ANGEL She looks at him for a long beat, then she sags. TINA ANGEL EXT. HIGH RISE APTS. - NIGHT Angel's car (Angel and Tina inside) pulls up to the classy high rise and disappears into the underground parking. INT. HIGH RISE APT. - NIGHT Nice place, city view, full of the YOUNG and HIP. MARGO (Tina plus five years of hard living) opens the front door and aims her VIDEO CAM at Angel and Tina. MARGO TINA MARGO Margo turns cam on other arriving GUESTS as Tina and Angel drift towards hors d'oevres table. Tina indicates the mountain of party sandwiches cut in the shape of stars. TINA ANGEL TINA ANGEL TINA Margo moves up. MARGO TINA MARGO They move off. He looks around - hip folks chatting, drinking - feeling out of place. He sees TWO HIP GUYS nearby. HIP GUY Angel hears LAUGHTER - he looks, sees CORDELIA CHASE in a fab party dress, move up to the two guys. CORDELIA They look at her as though she were a bug. HIP GUY CORDELIA She stands there somewhat mortified, then spots: CORDELIA ANGEL CORDELIA ANGEL CORDELIA ANGEL CORDELIA She moves off. Angel sees Tina returning, not looking too happy. She is intercepted by a THUGGISH MAN (STACEY) in a great suit. Angel watches them have a few words. The man puts his hand on her arm, she wrenches it away, moves to Angel. TINA ANGEL TINA They head for the door. Stacey watches them go. He pulls out a small cell phone, as - INT. PARKING GARAGE BENEATH HIGH RISE - NIGHT Two elevators. One opens. Angel and Tina step out. Three BIG GUYS IN SUITS are waiting. Two of them (THUGS 1 & 2) grab Angel, hustle him back into the elevator which closes on them as the third guy stands between Tina and escape and the second elevator door snaps open, revealing Stacey. STACEY TINA Stacey indicates a waiting BMW 750. Tina obediently heads for it, then takes off running. They take off after her. She dodges between some parked cars, catches her dress on a car's side mirror, rips it, starts to run again, gets grabbed from behind by Thug 3. TINA As they put her in the car - END OF ACT ONE |
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Act Two |
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INT. PARKING GARAGE - NIGHT - CONTINUOUS CAMERA BLASTS PAST the revving BMW (Thug 3 at the wheel, Stacey in back with Tina) to the elevator doors. We HEAR sounds of a struggle inside. The doors open and Angel heads out (the two thugs down and out on the floor behind him), sees the BMW roaring away and takes off running in the opposite direction the BMW took. Angel jumps on a parked car and runs across several more parked cars. INTERCUT: BMW heading for the exit and ANGEL'S FEET bounding across the parked cars. Angel leaps over the last car and into his convertible. THE BMW - screeches around a corner, clear shot for the exit. ANGEL'S CAR - roars into frame from the opposite direction, going straight for the BMW. CLOSE - Thug 3 behind the wheel, sees the caddie. CLOSE - ANGEL, not slowing, stopping or turning. Thug 3 chickens out at the last minute, yanks the wheel. THE BMW - swerves into the concrete wall, grinds to a halt in a shower of sparks and scrunching of metal. ANGEL - is already running towards the BMW as Thug 3 gets out pulling a gun. Angel kicks the gun out of his hand, straight up in the air. Thug 3 looks up at the gun. Angel smashes him in the face, grabs the gun out of the air and shoves it in Stacey's (barreling out of the back seat) neck. Angel pulls Tina out. STACEY ANGEL He puts Tina (holding the torn front of her dress) in his car. STACEY Angel gives Stacey a deadly look - grabs him, fishes Stacey's wallet out of his coat pocket, removes some bills, shoves him back. ANGEL Angel slams the car into gear, roars out. EXT. CRUMMY APT. BUILDING - NIGHT - ESTABLISHING INT. CORDELIA'S CRUMMY APT. - NIGHT A HAND irons a pretty party dress. The dress is picked up and hung in a threadbare closet. We see Cordelia, in her slip, move from the closet to the little bed, sit. She hits the PLAY button on her answer machine. The machine says: "YOU HAVE ONE MESSAGE, I WILL REPLAY ONE NEW MESSAGE." JOE'S VOICE ON MACHINE Cor looks at her hands. JOE'S VOICE ON MACHINE The machine says: "THAT WAS YOUR LAST MESSAGE." Cordy sits there for a long beat then picks up a napkin, unwraps it, revealing two star-shaped sandwiches from the party. She lifts one to her mouth, takes a bit, chews slowly looking out the window at the dark city. INT. ANGEL'S APT. - NIGHT Tina, wearing a t-shirt over her black work pants, exits the bathroom, drops her party dress in the wastebasket. Holds up her large bag: TINA ANGEL TINA She gives him a hard look, her emotions churning beneath the surface. He moves to her. ANGEL TINA ANGEL Her eyes fill with tears. She tries to brush them away. TINA She sits on the couch, cries; he gives her some Kleenex. TINA ANGEL She nods. He heads into kitchen, fills the tea pot as: TINA ANGEL TINA ANGEL TINA Angel moves to her. ANGEL TINA ANGEL Beat. The tea pot whistles. Angel heads into the kitchen, takes pot off stove. Pours a cup, carries it back, sees: Tina lying back on the couch, her eyes closed. TIME CUT: SAME SCENE - A LITTLE LATER Angel covers Tina, sleeping now, with a blanket. He studies her for a moment, then his eyes fall on her large bag. THE BAG - is put on the table. Angel reaches in, pulls out her address book, opens it, sees her own name and address on the first page, starts thumbing through it. A BUSINESS CARD FALLS OUT. Angel looks at it: WOLFRAM & HART, ATTORNEYS AT LAW (with their distinctive LOGO). He puts the card aside, keeps thumbing until he finds what he's looking for. INSERT - A NAME - (handwritten by Tina) SHANISE WILLIAMS and a few phone numbers, all crossed out. Off Angel, EXT. L. A. LIBRARY - NIGHT - ESTABLISHING INT. L. A. LIBRARY - NIGHT A cavernous space, deserted at this hour. CLOSE - ON SECURITY MONITORS - a shadowy figure appears. PAN UP from monitors as figure approaches. It's Angel, moving past the deserted GUARD DESK. A SECURITY GUARD APPEARS behind him, puts his hand on his gun and says in Spanish: GUARD (IN SPANISH, SUB-TITLED) Angel stops, says in perfect Spanish: ANGEL (IN SPANISH, SUB-TITLED) Guard moves up, looks at Angel, the cash in the envelope. GUARD (IN SPANISH, SUB-TITLED) INT. L.A. LIBRARY - NIGHT A COMPUTER SCREEN lights up. NEWSPAPER SIGHT. WIDEN, we see two other SCREENS are already on, Angel sits before them, gathering data. Angel types into the news sight: MURDERS, YOUNG WOMEN. ON COMPUTER SCREEN # 2 - Info is coming up in response to SEARCH: WILLIAMS, SHANISE. It reads: ACTRESS, MEMBER OF S.A.G., A.F.T.R.A.; DANCER IN LAS VEGAS UNDER THE NAMES LYLA WILLIAMS, LYLA JONES. Angel types in WILLIAMS, LYLA and JONES, LYLA in, hits SEARCH. ON COMPUTER SCREEN # 3 - Angel scrolls POLICE FILES. MONTAGY - INTERCUT ANGEL and what he's learning: SCREEN 1 - VARIOUS BACK PAGE (as opposed to front page) HEADLINES: Unidentified woman found strangled…Hiker finds body in Angeles Crest Forest… Murder Victim Trashed in Dumpster… SCREEN 2 - Angel looks at a photo of LYLA JONES, DANCER A.K.A. SHANISE WILLIAMS. Dressed up in a Vegas costume. SCREEN 3 - He scrolls through various MISSING PERSONS REPORTS and JANE DOES. Stops, scrolls back to one. CLOSER - This Jane Doe's stats: five foot ten, 115 pounds… IDENTIFYING MARKS: tattoo on left shoulder. SCREEN 2 - He goes back to the Vegas Photo of Lyla Jones. She has a small flower tattoo on her left shoulder. PUSH IN ON ANGEL AND PRE-LAP: TINA (O.S.) INT. ANGEL'S BUILDING - BASEMENT HALL - DAWN Angel moves down hall, his car in covered parking in b.g. He hears: TINA (O.S.) He runs to his door. INT. ANGEL'S APT. - DAY Angel bursts in, sees: Tina on the couch in the throes of a nightmare. He races to her. TINA ANGEL She SCREAMS! arching up, clawing at his face, real horror in her eyes. TINA ANGEL She recognizes him, collapses in his arms. TINA ANGEL They hold each other, her face against his, her tears on his cheek. TINA She holds on even tighter, rocking a little… then touching his hair, his face… he puts his hand up on hers, responding for a moment, then gently pulls back. ANGEL TINA ANGEL She looks at him, then away, very frightened. ANGEL TINA ANGEL But Tina is looking at a crumpled slip of paper on the end table - the one Whistler gave Angel: TINA, COFFEE SPOT, S.M. TINA He looks, she pulls away from him, standing. TINA ANGEL TINA ANGEL TINA ANGEL She hurls a lamp at his head and runs upstairs. INT. ABANDONED OFFICE - DAY Tina races up the stairs, through the office and out the door as Angel bolts up the stairs after her. ANGEL EXT. ANGEL'S BUILDING - DAY Tina runs out of the building, Angel close behind. As she hits the SUNLIGHT he grabs her arm. ANGEL HIS HAND - on her arm in the sunlight: BURSTS INTO FLAME! She screams. He wrenches his hand back into the shadows, howling in pain and MORPHING into a VAMPIRE. She sees this - and runs for her life. He collapses against the building, cradling his hand, breathing hard, watching her go. EXT. TINA'S APT. BUILDING - DAY Not as crummy as Cordelia's but not much better. INT. TINA'S APT. - DAY She lets herself in, shuts the door. She grabs a small traveling bag, drops it on the open sofa bed, bends down lifts up the mattress, takes out a small .38. She throws a few things in the bag, then sensing a presence, she spins, pointing the gut at: RUSSELL, (late 30's or 40's, charming, incredibly well dressed). RUSSELL TINA RUSSELL TINA RUSSELL TINA RUSSELL Tina holds her ground with the gun, looking very shaky. RUSSELL He moves towards her, getting very close. RUSSELL She just stares at him, frozen like a deer in the headlights. Tina lets Russell take the gun out of her hand as: RUSSELL TINA RUSSELL She lets him put his arms around her. RUSSELL TINA RUSSELL TINA RUSSELL She looks at him, confused. He looks at her warmly - and MORPHS into a HORRIBLE VAMPIRE, much more demon-like than your average Joe Vampire. Tina opens her mouth but she has nothing left inside with which to scream. Russell chomps down hard and vicious on her neck. END OF ACT TWO |
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Angel Pilot - Part 2 Writer's First Draft Written by: Joss Whedon & David Greenwalt |
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Act Three |
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INT. TINA'S APT. - DUSK We HEAR footsteps in the hall outside. The door, left slightly ajar, is pushed open by Angel. He sees - TINA ON THE FLOOR, next to the sofa-bed. CAMERA RUSHES AT HIM as the horror hits him. FLASH CUT - TINA - o so fucking dead on the floor. FLASH CUT - The bite marks on her neck. FLASH CUTS - The BLOOD EVERYWHERE (shot discreetly and fast!) but it's on the walls, it's on the bed, it's by her empty open eyes and her head twisted at a very unnatural angle on the floor. ANGEL - trying hard to get his breath, makes himself walk up to her, makes himself look around this room in hell, makes himself kneel down next to the girl he couldn't save on the floor. He reaches out, strokes her face… he hangs his head to cry or vomit… he looks back at her and sees the BLOOD ON HIS HANDS NOW. He stares and stares at it - until he can't stand it anymore and suddenly thrusts one of his hands in his mouth, lapping up the blood ravenously, instinctively - until he utters some deep, inhuman sound and rips his hand out of his mouth. SMASH CUT TO: INT. TINA'S APT. - KITCHEN SINK - DUSK Angel furiously washing his hands; scrubbing them nearly raw, sickened by what he just did. Behind him on the floor, Tina's body is a silent witness. TELEPHONE NEAR TINA - As Angel picks it up, his eyes never leaving her. INSERT HIS (now clean) hand - as it dials 911. DISSOLVE TO: INT./EXT. TINA'S APT. NIGHT - LATER A CORONER studies Tina's body. Two DETECTIVES search for clues, a FINGERPRINT person dusts, etc. CAMERA PULLS BACK, revealing we were looking in the window. CAMERA CONTINUES BACK to a neighboring rooftop where a shadowy figure stands watch. Angel. He waits, still and silent, as her body is bagged and removed from her home. Then he turns, grim, steps up on the roof ledge, leaps. We see him land on a neighboring roof far below and disappear into the darkness. DISSOLVE TO: EXT. RUSSELL MANSION - DAY Large iron gates secure the stone wall that surrounds it: a fortress. A GUARD in a KIOSK next to gates keeps watch. INT. RUSSELL MANSION - DAY A couple of quiet, uniformed MAIDS clean and polish. We FOLLOW A MAN (WILLIAM, 30's, efficient), carrying a neat leather folder, through the cavernous place. He comes to a huge set of doors, knocks and enters: INT. RUSSELL MANSION - STUDY - DAY Russell' home office. A large, clean space; computers, huge monitors, lovely paintings, an empty desk, thick drapes secured against the daylight. Russell, casually but elegantly dressed, lounges near several monitors that track the world's financial markets. But he isn't watching them, he's watching the video Margo shot at her party: footage of Tina. He clicks the remote and Tina's image suddenly fills all the monitors. He rewinds and watches Tina again and again as: WILLIAM Russell just watches the vid. William waits patiently. RUSSELL WILLIAM RUSSELL William makes a note in his folder, heads for door. WILLIAM RUSSELL William stops. RUSSELL William looks to the vid monitors, where shots of Cordelia (from the party vid) are now playing. RUSSELL WILLIAM RUSSELL WILLIAM Russell stares at Cor's image for a beat. RUSSELL Cor's multiple images are rapidly replaced on the monitors by the world market reports. EXT. FOREST LAWN - NIGHT - ESTABLISHING Big old cemetery. INT. MAUSOLEUM - NIGHT Goes on forever: hundreds of small little lockers that hold individual urns. A lone figure stands in the middle of it all. CLOSE ON THE FIGURE - ANGEL - Staring at one of the lockers, the plaque below it reads: CHRISTINA CLARKE 1967-1999. He HEARS FOOTSTEPS. Doesn't turn as Whistler steps out of the shadows. WHISTLER ANGEL WHISTLER Angel tuns and looks at him with such cold fury that he takes a step back. ANGEL Beat. He turns away. ANGEL WHISTLER ANGEL Angel looks at Tina's name for a moment, then down at his hand - the hand he licked the blood from - suddenly he slams it into the wall - ripping a crucifix off, wrapping his fist around it. WHISTLER ANGEL Angel's hand starting to smoke and shake. WHISTLER ANGEL Whistler grabs him, tries to wrestle the cross out of his hand. Gets thrown back. WHISTLER Angel glares at Whistler, his hand shaking and smoking furiously now. He hurls the crucifix away. ANGEL Whistler picks up crucifix, hangs it back up, moves to Angel. WHISTLER POWER SHOT - low and cool - PUSHING IN on Angel - EXT. STACEY'S GYM SUPPLIES - DAY As THUG 1 comes crashing through the plate glass window. INT. STACEY'S GUY SUPPLIES - DAY Angel has Stacey by the throat, pressed up against the wall. ANGEL STACEY ANGEL STACEY ANGEL INT. CORDELIA'S CRUMMY APT. - DAY Cordelia, in sweat pants and t, sits cross legged on her bed, breathing slowly and deeply. Next to her the book: MEDITATION FOR A BOUNTIFUL LIFE. CORDELIA She glances at phone machine. The message counters registers a big zero. She breathes again. CORDELIA She hurls the book across the room, sits there on the verge of tears. The phone RINGS. She jumps, startled, then answers in a "positive" tone of voice. CORDELIA INTERCUT: MARGO - ON THE PHONE IN HER HIGH RISE - DAY MARGO CORDELIA MARGO CORDELIA MARGO CORDELIA MARGO CORDELIA MARGO CORDELIA MARGO CORDELIA MARGO CORDELIA MARGO EXT. STREETS - NIGHT Possibly slo mo, a long black limo glides into frame. INT. LIMO - NIGHT Cordelia rides in plush comfort. She sips a mineral water, munches some nuts. Hums a little happy tune to herself. EXT. RUSSELL MANSION - NIGHT Limo approaches. GUARD in the KIOSK recognizes the car, hits a button. The huge iron gates swing open. INT. LIMO - NIGHT Cordelia peaks out at the impressive mansion. CORDELIA Happily, she pops a nut into her mouth. EXT. RUSSELL MANSION - NIGHT The limo pulls in and up the long drive as the gates swing shut, closing and locking Cordelia in with a resounding CLANG. END OF ACT THREE |
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Act Four |
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INT. ANGEL'S APT. - NIGHT Angel is wrapping up an impressive array of gear: timer, detonators, plastique explosive, small set of tools, rope, etc. Whistler watches. WHISTLER ANGEL WHISTLER ANGEL WHISTLER ANGEL WHISTLER Angel thrusts equipment into Whistler's arms, propels him towards the door. ANGEL WHISTLER EXT. RUSSELL MANSION - NIGHT - ESTABLISHING INT. RUSSELL MANSION - NIGHT William leads Cordelia through the cavernous place. She looks around, taking it all in, impressed. CORDELIA William smiles with subtle politeness, opens the door to: INT. RUSSELL MANSION - STUDY - NIGHT William shows her in. WILLIAM Russell rises to greet her. RUSSELL WILLIAM Russell shakes his head. William starts to leave. As he gets to the door: CORDELIA William looks to Russell who nods: it's okay. WILLIAM CORDELIA WILLIAM CORDELIA WILLIAM CORDELIA William nods and exits. Cor turns to Russell. CORDELIA RUSSELL CORDELIA He smiles. CORDELIA |