Lonely Hearts ( July 19, 1999) Written by: David Fury Teaser INT. ANGEL'S OFFICE - NIGHT PANNING across the quiet, darkened office - lit only by some ambient MOONLIGHT peeking in through the window - we find ANGEL, alone at his desk, in the dark, lost in contemplation. So deep in thought, in fact, that he's startled as a nearby table lamp is SWITCHED ON, illuminating the room. He turns toward the light, squinting, and sees DOYLE Maybe we should go over again this thing of getting out in the world and involving yourself with people. Angel looks at him, saying nothing. DOYLE It's Friday night - the most social night of the week. A couple of lookers like us should be out loving the nightlife, getting to boogie - Instead, you're sitting around in the dark like some kind ofÉ ANGEL Vampire? DOYLE I was going to say Slacker, but, okay, you be Mr. Obvious - (almost pleading) C'mon, you gotta come out with me. ANGEL Why? DOYLE BecauseÉ! (reluctantly) I want you to invite Cordeliað to join us. ANGEL I'm not going anywhere. Ask her yourself. DOYLE I don't know if she likes me. I need you to put in a few good words. Tell her what a great guy I am. ANGEL I barely know you. DOYLE Perfect, that should make it easy for you. Just then, from the outer office, we hear a DOOR SLAM and: CORDELIA (O.S.) Hello? DOYLE (quickly) Oh, and when you're talking me up to her, leave out the part about me being a half demon. Some women get a little funny about that. CORDELIA enters Angel's office, carrying a box. CORDELIA They're finally in! ANGEL (no clue) O-kay. CORDELIA Your cards. (off his blank look) Your calling cards. To leave with people so they'd know how to reach you. DOYLE (to Cordelia) Well, I, for one, am impressed with your resourcefulness. (to Angel) I mean, it's not like you got a signal folks can shine in the sky whenever they need help. Angel pulls a card out of the box and studies it. INSERT CARD - A number: 213/555-0162, inside a styÅlized drawing. ANGEL (O.S.) Look at that. There's our number. ON ANGEL as he looks to Cordelia for help. ANGEL Inside aÉ butterfly? Cordy appears disappointed. DOYLE Of course that's not a butterfly. It's obviously aÉ bird. (got it!) An owl! A bird that hunts at night. Brilliant. It's- CORDELIA (annoyed) It's an angel! ANGEL (of course) An angel! Right! DOYLE Brilliant. So obvious, and yet, clever, on so many levels - CORDELIA Oh, shut up. She backhands him in the shoulder. DOYLE Ow! He grimaces in obvious pain. CORDELIA Oh, c'mon, you big baby, I didn't hit you that hard. Doyle's eyes are pinched shut. Suddenly his arm involuntarily SHOOTS UP, knocking the box out of her hands, sending the cards flying up into the air. Cordelia YELPS with surprise. Angel rushes over and helps the spasming Doyle into a chair. ANGEL Doyle? But Doyle doesn't hear him as his head is filled with a LOUD WHOOSHING SOUND - as if we hear hÍis blood rushing through the heart chambers. PUSH IN ON DOYLE - as his lids snap open, revealing his eyes rolled up in the back of his head. DOYLE'S P.O.V. - a series of images FLASH across his brain: each accompanied by a sharp WHIPPING noise - Young people in a bar. Dancing, sitting at tables, on barstools, standing in corners, neckingÉ Among them, though of no special note, is a pretty, yet somewhat DOWDY GIRL seated at the bar. The WHOOSHING subsides and Doyle's breathing begins to slow. ANGEL You okay? (off his nod) What'd you see? DOYLE A bar. I think I recognize it. A real meat market for the trendy hipster set. ANGEL AndÉ? DOYLE That's it. No faces popped out at me. Just a feeling. CORDELIA What feeling? Doyle looks at Angel, soberly. DOYLE We gotta go now. Angel nods and grabs his coat. ANGEL Looks like you got your wish. We're going out, after all. EXT. BAR - NIGHT - ESTABLISHING CLOSE ON the bar's sign: "D'OBLIQUE." The Ñheavy THUMPING of a sexy hip-hop song's bass-line emanates from within. INT. BAR - NIGHT THE CAMERA MOVES through the throng of people, WEAVING among the undulating bodies on the dance floor, FINALLY STOPPING ON SHARON, the Dowdy Girl from Doyle's vision, sitting by herself at the bar. PULL BACK to an OVER THE SHOULDER shot of a WELL-DRESSED FELLOW, revealing we were watching her through his P.O.V. After a few beats, the Fellow crosses to her. She's unaware of his presence, until: FELLOW Excuse meÉ Sharon glances up at him. ON KEVIN, well-dressed, indeed, and EXTREMELY ATTRACTIVE. He gives her a gold-medal winning smile. KEVIN I've been trying to muster the courage to talk to you. ON SHARON - apparently unaccustomed to such attention, particularly from one so Greek god-like. SHARON You have? KEVIN Almost didn't make it, until I realized that if I lost the opportunity to meet you, I'd be kicking myself. (re: adjacent stool) May I? SHARON (invitäing him) Sure. Yes. He sits and looks warmly into her eyes. His demeanor seems sincere and friendly, yet we can't shake the feeling: HE'S GOING TO DO SOMETHING HORRIBLE TO THIS GIRL. SLOW PUSH IN as he says: KEVIN Don't you hate places like this? BLACK OUT END OF TEASER Act One INT. BAR - A LITTLE LATER KEVIN AND SHARON are now at a table, his hand resting atop hers. They're in mid-conversation. KEVIN I'm no different than anyone else. I look across a sea of people, searching faces, trying to find "the one." The one I can share my life with. Forever. But it's so hard. SHARON I know exactly what you mean. KEVIN Sometimes I get the feeling that forever doesn't exist. I should just give up. SHARON You can't think like that. We all get hurt. But I really and truly believe there's someone for everyone. He looks deeply into her eyes and gives her that smile. KEVIN Maybe you? She blushes shyly and returns his smile as he squeezes her hand. NEW ANGLE - SWOOPì IN at the entrance as our three heroes enter, standing side by side, sizing up the room, ready toÉtoÉ CORDELIA Okay, now what? Angel looks at Doyle. He shrugs. ANGEL Let's split up. Look for someone who might be in trouble. DOYLE Or something about to cause it. Cordelia and Angel peel off in opposite directions, leaving Doyle standing alone. After a moment of thought, HE HEADS OFF IN CORDELIA'S DIRECTION. ON ANGEL as he crosses to the bar, looking around. The BARTENDER, a young, good-looking, amiable sort, notices him and approaches. BARTENDER Evening. What can I get you? ANGEL Just wondering -- You noticed anythingÉ unusual here tonight? BARTENDER UnusualÉ ANGEL Yeah. Out of the ordinary. Possibly evenÉ dangerous. The bartender grins, seemingly understanding. BARTENDER Don't worry. It's early yet. The real hot tickets don't mosey in 'til around eleven. Angel's tempted to elaborate, but decides instead to just nod. NEW ANGLE ON CORDELIA as she hands out Angeòl's business card to everyone she comes across. CORDELIA Hi! If you're in trouble, just call this number. We can help. (to another) Being harassed by someone? Or some thing? Dial us up, day or night. (to another) Hey, you look troubled. (looking closer) Or is that just your lazy eye? Anyway, call us. We're very discreet. CLOSE ON HER HAND as she shoves a card at someone else. A HAND reaches out and grabs it from her. She looks up to see DOYLE This isn't a marketing seminar, princess. We need to operate a little more below radar. CORDELIA What radar? DOYLE The police. The service our friend Angel provides might put some in mind of the "v" word. CORDELIA Vampire. DOYLE Vigilante. Laws against that sort of thing. You need to chat people up, casual like: "Hi, what's your name?" "How's life treating you?" "What's that you say?! Minions from Hell getting you down?" CORDELIA Excuse me, but I'm an actress. A student of the human animal. I don't have to talk to people to knoøw their stories. She looks around then indicates some guy on the dance floor. CORDELIA Jazz Hands over there? Mama's boy. Peter Pan complex. Gestures toward a girl over Doyle's shoulder. CORDELIA Self-absorbed closet deb with a big 'ol "the world owes me" chip on her shoulder. She spots something else. CORDELIA'S POV - SHARON AND KEVIN, heading toward the exit. CORDELIA (O.S.) Check out Sarah Plain and Tall. Has or comes from big money. DOYLE How do you know that? CORDELIA Gotta be rich to snag the Calvin Klein model she's leaving with. NEW ANGLE ON ANGEL, at the bar, as the man he's apparently been talking to walks away in disgust. ANGEL (calling after him) Seriously, I wasn't hitting on you! He shakes his head and wearily turns back to the bar. WOMAN'S VOICE He'll be back. Angel looks over at KATE, mid-20's, lovely, yet somehow a little lost and needy. ANGEL Excuse me? KATE Give him time. Maybe send him some flowers. He'll realize he blew it with you. Angel st÷udies her, blankly. KATE It's a joke. ANGEL I knew that. KATE I'm Kate. She offers her hand. He shakes it. ANGEL Hi. Angel. Unsure of what to say next, Angel scans the bar, until: KATE Looking for someone special, Angel? He studies her for a beat. ANGEL Possibly. Any chance you might be in need of someÉ rescuing? KATE Rescuing? (off his nod) I gave up a long time ago waiting for my knight in shining armor. Right now I'd settle for a serf in dung- stained burlap. ANGEL (nodding, deadpan) That's funny. KATE Yeah, I can see you love to laugh. ANGEL Sorry. I'm just not, you know, very good atÉ thisÉ KATE Talking? ANGEL Yeah. An awkward beat. ANGEL I don't usually come to places like this. KATE Oh, me neither. But how else am I going to meet someone, outside of work? It's either this or sit home alone in the dark. ANGEL (sounding good) Wouldn't want that. KATE SoÉ what do you do? ANGEL Do? KATE For a living. ANGEL I'mÉ Basically, I, uhÉ I helpÉ He lÓooks at her, eyeing him expectantly. ANGEL I'm a veterinarian. KATE Really. As Angel nods confirmationÉ ANGLE ON CORDY and DOYLE over in a corner. DOYLE So, you got everyone figured out, huh? CORDELIA Not everyone. You, I don't get. DOYLE Me? CORDELIA Yeah, what's with these vision things of yours? DOYLE They're messages I get from a higher--- CORDELIA Yeah, yeah. "Powers that be," I know that part. But why you? What, did something fall on your head when you were a kid and give you "the gift?" Oh, wait, or is it "a curse"? Those migraines look mighty painful. DOYLE (shrugging it off) They're not so bad- A GUY comes over, holding one of Angel's cards. He's the teensiest drunk. GUY (to Cordelia) Hey, you the one handing out these cards with the duck picture? CORDELIA It's an angel! And, yes. Do you need some help? GUY Well, if this is really your number, mind if I ring you up some time for a date? DOYLE Yes, she minds. CORDELåIA (to Doyle) I can handle this. (to Guy) Yes, I mind. This is a business card. We offer our services to people in need. GUY So what are you, some kind of hooker? CORDELIA Excuse me?! DOYLE Hey, just beat it. The lady's with me, pal. CORDELIA No, I'm not. The Guy's friend, OTHER GUY, arrives. OTHER GUY (to Guy) What's the trouble? GUY Turns out she's a hooker and her pimp here's giving me a hard time. DOYLE (stepping forward) That's it! Cordelia gets between them. CORDELIA Okay, everybody, let's calm down. ANGLE ON ANGEL AND KATE, in mid conversation. KATE Meanwhile, I've got a married kid sister in El Paso going on her second child. And I wonder why I can't have that. ANGEL Maybe life has other plans for you. KATE Don't get me wrong. I love my job. But sometimes I wish I could have just a little bit of a normal life, you know? ANGEL I hear you. Kate stares at him for a moment. KATE Would youÉ (stopping herself) I'm sorry. Forget it. ANGELç What? KATE I was just wondering if you'd like to go some placeÉ more quiet. Angel hesitates. ANGEL I can't. I have to stay here. KATE (clearly hurt) Oh. Right. ANGEL I wouldÉ KATE That's okay. ANGEL It's justÉ A GIRL'S SCREAM cuts him off. He whips around- DOYLE is trading blows with the two GUYS on the now cleared dance floor. Cordelia's off to the side, kicking the Other Guy in the shins. The Bartender, already moved in to stop it, gets CLOCKED in the nose by the FIRST Guy and goes down. ON THE OTHER GUY WHO grabs a chair and raises it over his head to hit Doyle, when his back is turned. He tries to bring it down, but finds he can't. WIDEN TO reveal Angel's got hold of one of the chair's legs. The Other Guy releases the chair and turns to punch Angel. Angel lowers the chair in time for the OTHER Guy's fist to SLAM into the hard metal seat. The OTHER Guy howls in pain, cradling his busted hand, as Angel takes him out with a right cross. The first Guy jumps Angòel from behind, getting him in a stranglehold. With little effort, Angel flips the Guy over his shoulder sending him crashing down hard on a table. When he starts to get up again, Doyle decks him. The bartender gives Angel a thankful nod as he helps him to his feet. Cordelia and Doyle come over. CORDELIA (indicating the Guys) Those two jerks started it. BARTENDER (to guys) Okay, let's go. I warned you guys before. He ushers the guys out as a PRETTY GIRL comes over to Angel. PRETTY GIRL Wow. Are you okay? DOYLE (holding his eye) Yeah, I'm fi- (realizing she's not talking to him) Oh. He and Cordelia move off. PRETTY GIRL Sorry about my brother and his friend. Can't believe they started another fight. That's all I need. Angel looks at her. ANGEL What do you mean? Are youÉ in trouble? PRETTY GIRL (stunned) H-How did you know? Angel reacts, but before he can say anythingÉ PRETTY GIRL I know it's crazy, but I've decided to go ahead and have it. ANGEL Have it? PRETTY GIRíL The baby. My parents have been great about the whole thing. They said they'd help outÉ NEW ANGLE - PUSH IN ON KATE, standing amid the dispersing crowd, watchingÉ KATE'S P.O.V. - Angel and the Pretty Girl, engrossed in conversation. KATE, seemingly hurt and disappointed, grabs her bag and moves toward the exit. AS SHE BREEZES PAST HIM, Angel looks up and sees her. Aware of how his current situation looks, he attempts to say something. But nothing comes out. She's gone. PRETTY GIRL Of course, this is going to set my singing career back a little, but then think of all the material I'll have for new songsÉ ON ANGEL'S guilty expressionÉ INT. KEVIN'S BEDROOM - NIGHT MOVING UP and OVER Kevin's bed, we find he and Sharon lying side by side, looking uncomfortable, post not-so-great sex. After a few beatsÉ SHARON It's late. KEVIN Yes. Beat. SHARON I shouldÉ KEVIN I know. Beat. SHARON Well. Sharon sits up, making a move to leave. Kevin moves to her. KEVIN (patheticaôlly) Before you goÉ Could I justÉ hold you? She looks at him - he seems so melancholy - and reluctantly allows it, nodding slightly. He hugs her from behind. Both of their expressions convey sadness over this failed connection. INT. BAR - LATER CLOSING TIME. BAR STOOLS UP ON THE BAR. TRACKING THROUGH the nearly empty club, we find ANGEL, DOYLE and CORDY at a table. Doyle digs ice out of his drink and holds it to his swollen eye. ANGEL I'm having a hard time believing Doyle's vision meant I was to come here and break up a bar fight. DOYLE If it was, I got some serious workman's comp coming. ANGEL Think. Could either of you sense that anybody here tonight needed help? CORDELIA Yeah. Everybody. ANGEL This socializing thing is brutal. I was young once. I used to go to bars. It was never like this. DOYLE You went to taverns, mate. Small towns. Everybody knew each other. CORDELIA Like high school. It's easy to date there. We all had so much in common. Being monster food everyô other week, for instance. DOYLE You're in the big, bad city now, boyo. Here, everyone's a stranger. Hiding behind walls. Keeping secrets. Self-consciously, Doyle notices she's glancing at him. DOYLE What are you looking at me for? The Bartender swings by. BARTENDER Sorry, folks. Gotta kick you out now. He walks away. They get up to leave. CORDELIA (to Angel) I guess the single life's particularly tough on you. ANGEL Why? CORDELIA Well, a couple of hundred years ago, the worst you had to worry about was a hangover. Now, you sleep with someone, you turn into a homicidal monster. They exit. INT. - KEVIN'S APARTMENT - DAYBREAK Crossing into view is Sharon, fully dressed and looking damn good now, as she sits down on the edge of the bed to adjust her stockings. PANNING across the bed, we see blood splattered sheets, stopping finally on the sunken cheeked corpse of Kevin. BLACK OUT END OF ACT ONE Act Two EXT. ANGEL'S BUILDING - DAY - ESTABLISHING The sun hangs low as ÷afternoon gives way to evening. INT. OUTER OFFICE - DAY We find Cordelia sitting at her desk in front of a computer, Angel over her shoulder. Doyle is nearby, poring through a bundle of recent newspapers. DOYLE This is completely whacked, man. I don't even know what I'm looking for anymore. (indicating shirt) Plus I'm getting newsprint all over my best Ralph Lauren knockoff. ANGEL Looking for any mention of events in and around that bar. CORDELIA Okay, I'm in the newsgroup search engine. Now, what's the name of the place again? ANGEL D'Oblique. Capital D-apostrophe- capital O-B-L-I- CORDELIA (hunting and pecking) Not so fast. Capital D. (searching) ApostropheÉ apostropheÉ Oh, got it. Now what's after that again? DOYLE Here. I need a break. Lemme. He leans over her, and types on the keyboard, pretty proficiently. ANGEL (to Doyle, impressed) How did you pick up computer skills? CORDELIA Downloading naked pictures of women. DOYLE (offended) Not just naked. I like a nice bikiniß shot as much as the next guy. The computer BEEPS. DOYLE (clicking on the mouse) Hel-lo. We got two hits. ANGEL (reading from screen) "The search continues for Alison Hagen, missing since late last month. The twenty-four year old paralegal reportedly vanished after leaving a downtown bar called D'ObliqueÉ" CORDELIA Missing girl. That sounds a little more up your alley. ANGEL (to Doyle) What's the second one? Doyle clicks. DOYLE It just keeps getting better: (reading) "An eviscerated body found in a dumpster nearly three weeks ago, has been positively identified as twenty-eight year old Daniel MartinÉ" (skimming through) Blahblahblah-Here: "Élast seen with an unidentified female companion at D'Oblique, a trendy singles establishment." ANGEL That's it then. Probably been a lot more disappearances the press hasn't traced back to the bar yet. DOYLE We've got a missing girl and a stiff. ANGEL An eviscerated stiff. Use the books in my apartment. Tryë to narrow down a list of eviscerating demons, one who might have reason to prey on young singles. Angel grabs his coat. CORDELIA Where are you going? ANGEL To the bar. See if I can meet a killer. EXT. BAR - NIGHT Angel walks hurriedly toward the bar. A woman, whose face we don't see, sets her car's alarm with a remote, and steps onto the curb. Angel nearly collides with her. ANGEL Excuse me. The woman turns. It's Kate. KATE Well, hello. ANGEL Hi. Kate. I'm glad to see you again. KATE (skeptical) Really. ANGEL I owe you an apology for last night. KATE You don't owe me anything. ANGEL No. It was rude. She studies him for a moment, sizing him up. KATE Okay, then. Maybe you can buy me a drink and we can start fresh. Angel registers her invitation then glances over at THE BAR'S ENTRANCE - ANGEL'S P.O.V. ANGEL I don't think you should go in there tonight. KATE What do you mean? ANGEL It's not safe. Kate eyes him warily. KATE What's not "safe?" ANGóEL I can't really explain. I'm just asking you not to go in there. She squints at him, confused, for a moment. KATE Where are you going? Angel pauses. He wants to explain, but doesn't know where to begin. Instead, self-consciously, he gestures toward the bar. ANGEL In there. Kate stares at Angel. Her confused expression gives way to one of rising anger. KATE Tell you what. I'll go wherever I want. And youÉ can go to Hell. She storms off toward the bar as a somewhat embarrassed Angel watches. After a moment: ANGEL (to himself) Been there, done that. He follows her inside. INT. BAR - NIGHT Kate finds a stool at the bar and sits. Angel considers going to her, then moves to a stool at the opposite end of the bar and studies the crowd. The bartender comes over to Kate. BARTENDER The usual? She nods as he fills a glass with coke. Kate glances over at Angel, then still pissed, she turns to the woman seated next to her. KATE Some guys have got real problems, you know? The Þwoman turns to look at Kate. It's Sharon, still looking great. She eyes Kate for a beat, but says nothing. Instead, she turns back to face GLEN, a somewhat geeky guy with large, unfashionable glasses, sitting next to her. He's in mild shock at this beauty that's hitting on him. GLEN What you were just sayingÉ I feel the same way. No more meaningless sex for me. SHARON I'm tired of feeling empty inside. I need more. I need to feel connected. You know what I mean? GLEN You know, I really feel connected to you. Like we're soul mates. SHARON Really? GLEN (checking out her chest) Oh, yeah. NEW ANGLE - Over by Angel, a REGULAR approaches the bar, calling to the bartender. REGULAR Hey, Danny. You seen Kevin? BARTENDER No. I was just wondering about that. Can't remember a night he wasn't here working the early birds. REGULAR Well, I don't know what's up with him, but, word is he didn't show up for work today, either. ON ANGEL as his attention is drawn toæ this exchange. INT. ANGEL'S APARTMENT - MEANWHILE CLOSE ON an open ancient tome. The pages are filled with illustrations of variousÉ CORDELIA (O.S.) Ugh. Demons. Is there anything more disgusting? CUT OUT to find Doyle and Cordelia, sitting next to each other, scanning Angel's books. Doyle looks at her, a little hurt and offended. DOYLE Think so? CORDELIA Come on! Look at this one: (re: book) It wears a wreath of intestines around its head. I mean, honestly, what kind of statement is this thing trying to make? DOYLE Well, you know, it really depends. Some demons can be nice. You just have to get to know them. CORDELIA No, thanks. (re new picture) Ew. Check out this one. INSERT: an artist's illustration of Doyle's breed of demon. CORDELIA Could you imagine being touched by that? Doyle sighs, then sulks off. DOYLE (sotto, mockingly) "Could you imagine being touched by that?" INT. BAR - MEANWHILE The Bartender and the Regular continue their conversation. ê BARTENDER Hey, you know who might know about Kev is that Sharon chick. He went home with her last night. REGULAR Get outta here. BARTENDER Yeah, I never gave her two looks before. But I gotta tell you she's here tonight and looking hot. ANGEL Where? The bartender gestures toward the other end of the bar. BARTENDER She's over - BARTENDER'S POV - At the other end of the bar. We see Kate, casually aware of something being up, but no Sharon or Glen. BARTENDER Huh. She was just there a minute ago. Getting it on with some Screech. Man, that's two scores in a row for her. ANGEL Any idea where she lives? The Bartender shakes his head and shrugs. ANGEL What about a last name? BARTENDER Last name? It's not like anybody ever really paid attention to her before, she's usually kinda plain- REGULAR It's "Reichler" Angel takes off. The Bartender gives the Regular a look. REGULAR (shrugging) Once. I mighta dated her once. ON ANGEL at the bar's payphone. He flips tñhrough the phone book hanging there, tears out a page and runs for the exit. NEW ANGLE - ON KATE, noticing him go. INT. SHARON'S BEDROOM - NIGHT Post-coitus, an unhappy-looking Sharon spoons Glen, her chest pressed against his back. GLEN (uncomfortably) This isÉ RRRIP! Bursting forth from Sharon's chest, a withered, wormy DEMON THING emerges and begins to BURROW into Glen's back. Their bodies CONVULSE as his eyes go wide and he SCREAMSÉ EXT. STREET - MEANWHILE Éwhich carries over as Angel runs at breakneck speed, dodging traffic and pedestrians, toward the scene. INT. SHARON'S APARTMENT - NIGHT Angel BURSTS in. He pauses to get his bearings and listens. Quiet now. Then he raises his head, smelling something in the air. His expression goes cold as he RUSHES toward the source of the smell. INT. SHARON'S BEDROOM - NIGHT He stops at the open bedroom door when he sees the blood splattered and Sharon's vacated body. Then seeing movement in his periphery, he turns in time to see GLEN,õ clad only in pants, as a gaping hole in his back seals closed (with CGI magic). Sensing Angel's presence, Glen's head slowly turns and looks at him, calmly. His glasses gone, he's strikingly handsome. GLEN You're not human. ANGEL News flash, pal. You're a little off the evolutionary chart yourself. GLEN You can see me. ANGEL NODS. GLEN throws a glance at Sharon's corpse. Glen's eyes follow him there. He looks at the body with regret. GLEN It's always great at the beginning. But they always let me down. ANGEL Get used to disappointment. This has to stop. GLEN I can't. I can't stop until I find one I can stay with. ANGEL (re: Glen's body) What's wrong with this one? Glen looks at himself, then: GLEN (sour) Doesn't feel right. The Glen demon rushes Angel, raining blows upon him. Angel attempts to defend himself, but Glen is MUCH STRONGER and drives him back intoÉ INT. SHARON'S APARTMENT - NIGHT The living room area. Glen strikes Angel, spinning him around. ON ANGEL as he tôurns back, now in VAMP-FACE. It's his turn to rush Glen. BIG FIGHT ensues. Angel is thrown against a wall. As he struggles to his feet, he notices that Glen is gone. He also notices Kate, standing in the doorway. He turns away from her. ON ANGEL as he DE-MORPHS out of vamp-face. ANGEL Don't come in! But she does. She stares at the bloody corpse on the bed, then at Angel. ANGEL Things aren't always what they look like. She suddenly points a BIG ASS GUN in his face. With barely any time to register that, Angel notices something in her other hand. It's a badge. KATE A lot of that going around. BLACK OUT END OF ACT TWO Act Three INT. SHARON'S APARTMENT - NIGHT Back to that gun Kate's holding in Angel's face. KATE You have the right to- ANGEL (stunned) I waive it. You're a cop? KATE No, I'm a fetishist. Thanks for playing along. ANGEL How did you find me? KATE I've been tracking you. ANGEL Listen- Angel takes a step toward her. Kate thrusts the gun at him - a warning. ô KATE Don't move. Not a step. The patrol car is on its way. ANGEL (urgently) Then they'll be picking up the wrong man. I'm after this guy too, Kate. We're on the same side. And every second you waste with me leaves him on the street. KATE You're telling me you're an investigator? ANGEL More or less. KATE Where's your license? ANGEL That's theÉ less part. Kate shakes her head - what kind of asshole does this guy take her for? KATE Right- ANGEL I know. I know what it looks like- KATE (interrupting) Like the carving job of an impotent sicko? ANGEL (faltering) Well, yeah, but- KATE It's frustrating, isn't it? Not being able to connect, to love like other people? ANGEL It's not me, Kate. You have to believe me. I know that's tough for you. To trust- KATE (scoffing) Please. Don't Hannibal me. I can do without your psychological insights. ANGEL But at the bar- KATE At the bar I was playing a part. Apparently, we both were. ANGEL Oh. So the truth is - you're marrieöd with kids, huh? Everything's happy at home. This has clearly hit a nerve, but Kate pointedly avoids the question. KATE Here's a good idea. Why don't you spend your last few minutes of freedom in contemplative silence. Face the wall. Angel does, facing a wall lined with bookcases. Kate starts fishing her handcuffs from her jacket. Angel gives it one last try. ANGEL That's what I figured. You're so isolated and defensive. You wouldn't know a good guy if you saw him. Which usually just makes you lonely, but in this case might get people killed- Faced away from her, Angel can't see that his comments are bothering her. For a moment, a tiny bit of vulnerability cracks Kate's exterior. But only for a moment. KATE That's enough. Kate roughly cuffs one hand. AS SHE HOLSTERS HER GUN AND REACHES FOR HIS OTHER HAND, Angel realizes he has no choice but to run. He pushes Kate back and bolts up the shelves of the book case. Then he FLIPS UP OVER HER HEAD, landing on his feet behind her. TïHEN Angel runs for a window. Kate grabs for her gun and FIRES at him. Barely dodging the bullets, Angel manages to dive out the window. We can hear distant sirens as Kate races to the window, looks out. WHAT KATE SEES Angel hitting the ground two stories below and landing on his FEET. He seems entirely unfazed as he takes off down the street. EXT. SHARON'S APARTMENT - NIGHT Now we are looking back through the apartment window at Kate, who reacts, stunned, to Angel's impossible landing. But only for a beat - then she takes off after him. AFTER SHE GOES, we travel along the ledge until we find GLEN perched there. He's seen and heard everythingÉ INT. CORDELIA'S APARTMENT - NIGHT Doyle and Cordelia enter. Not only is the place dinky and stinky by nature - Cordy's not much of a housekeeper. She flicks on a light, embarrassed, and starts to collect her stuff off the floor, chairs, etcÉ DOYLE Wow. This place isÉ I thought girls liked pretty things. CORDELIA Don't start. Angel told us toö meet here, so we're meeting here. But that doesn't mean you can- Naturally, he's lifting one of her lacy bras from the back of a chair, intrigued. Cordy yanks it away from him. CORDELIA That is so high school. Ohhh - Cordy wears bras. She has girl partsÉ Now she shoves her stray clothes and junk under the bed. DOYLE You're getting a tad defensive here. I think it's refreshing - seeing a woman live like this. It means you're not uptight. You live for the momentÉ Now Doyle steps on an old half-eaten bowl of cereal that Cordy left on the floor. Milk and mushy flakes go all over his shoe. DOYLE You're disgusting. He'd go on but Angel knocks on the door. Cordy goes to it. He enters, looking a little shaken and disheveled. ANGEL Hey. CORDELIA Hey. Are you okay? ANGEL That woman I was talking to at the bar last night? Kate? She's a cop and she has it out for me. Thinks I'm the killer- (stops / then) You actually live here? CORDELIA (exasperated) Yes, okay? Is it my fault thaût maid service got interrupted? It was supposed to go - home, hotel, hotel, husband! Now can we move on? DOYLE (doing just that) We came up with a list of eviscerating demons like you asked. Narrowed it down to about - ANGEL (cutting him off) It's a burrowing demon. I saw it. CORDELIA A burrow demon? Like in Pinnochio? (re: list, puzzled) We totally missed that kind. ANGEL Burrowing. It eviscerates its victims as it moves from one body to the next. And it may only be able to do it after a sex act. Some kind of exchange of fluids thing. CORDELIA Ewww. ANGEL I need you guys to find out anything you can about it. Its weaknessesÉ CORDELIA And its habits. I mean, why does it do this? And why does it keep switching bodies? ANGEL That I know. It's lonely. MONTAGE: INT. DIFFERENT BAR - NIGHT Glen is at a bar, feeding his rap to a girl. We see him laugh, but it's empty - as are his eyes. ANGEL (V.O.) It keeps searching for some shred of human intimacyÉ INT. BAR - NIGHT Angel wôalks through a bar, staring into the eyes of people as he passes, searching for the demon. ANGEL (V.O.) But fails at every turn. INT. ANGEL'S APARTMENT - NIGHT Kate comes down the stairs, her gun drawn. She looks around the empty apartment, trying to size Angel up. Crosses to the fridge and opens itÉ empty. Squinting at the arsenal of weapons on the wall. ANGEL (V.O.) Which only makes it more desperate to make a connection with someone, anyone. INT. CORDELIA'S APARTMENT - NIGHT Doyle and Cordelia research. No talk. Doyle steals a glance at her. Looks away. INT. GLEN'S APARTMENT - NIGHT From the front, we see the girl, with saddened Glen behind her, in the same chest to back position. ANGEL (V.O.) But it never works out. The terrified girl screams in silent agony as the unseen demon burrows into her back. EXT. GLEN'S APARTMENT - DAWN The girl stands by a window, gazing out at the waking city. Looking just as lonely as Glen did. ANGEL (V.O.) Somehow things are never quite right. ù Angel walks back to his place, just ahead of the emerging dawn. The streets are nearly empty. ANGEL (V.O.) And it's doomed to live alone, wanderingÉ END MONTAGE INT. CORDELIA'S APARTMENT - MORNING It's the next morning as Angel enters to find Doyle and Cordelia asleep on the couch. They are surrounded by research tomes and Cordy has her head lightly resting on Doyle's shoulder. Angel closes the door loudly and they pop awake. CORDELIA Hey! Get off me! DOYLE Me off you? I believe that's your drool on my shoulder, lassy. CORDELIA Well, who said you could fall asleep on the couch in the first place? DOYLE It seemed safer than that roach infested chair over there- ANGEL (cutting them off) Hey, think we couldÉ They stop bickering, a little cowed. DOYLE Sorry. Any luck, man? ANGEL Not yet. But I know I could recognize this thing again if I saw it in another bodyÉ DOYLE No problem then. That makes, what? About five million suspects in the naked city? Angel takes this in, fr÷ustrated. ANGEL How about you? Did you find anything? CORDELIA We found a name for this burrowing guy - Zavorux. He's been around forever. A dawn of time kind of dude. ANGEL And weaknesses? DOYLE Only one we could find. If this thing begins the process - the burrowing thing - and it can't complete the transaction, the host body it's stuck in will start to decay. And rapidly, if you believe the "things that go bump in the night" experts. ANGEL Okay. That's something. But I still need help if I'm going to find it. Someone who can take an educated guess on where it might go for its next victimÉ DOYLE And who might that be? Angel starts to move to the phone. ANGEL Kate. But Doyle grabs the phone from Angel before he can start dialing. CORDELIA Kate? I thought we were hiding from her. (re: Doyle) You made me put up with a whole night of him for nothing? DOYLE Think this through, Angel. The lady will have this place crawling with cops before you hang up. ANGEL I don't haôve a choice. She's the only one who might have the information I need. I have to get her to trust me. Doyle and Cordy take this in, both looking rather dubious. ANGEL IS RESOLUTE AS he dials the phone, waitsÉ INTERCUT WITH: INT. POLICE PRECINCT - DAY Kate is at her desk, a half-eaten microwaveable dinner resting nearby. In front of her is an open case file. Her phone rings and she answers it: KATE (into phone) Lockley. ANGEL It's me. Kate reacts to his voice. Starts to signal someoneÉ ANGEL Don't bother tracing this. I won't be on long enough. She puts her hand down. ANGEL I need you to help me find the killer. KATE That's easy. I'm talking to him. ANGEL That would make things nice and clean wouldn't it? But it's not true - and I think some part of you knows that. (then) He's still out there. We should be sharing information. I'll tell you everything I know - if you'll let me look at your case file. KATE That's not possible. ANGEL All I want is five minutes. If yäou still think I'm your man after that - arrest me. (then) Meet me at the bar at seven. KATE Sure. That's actually on my "to do" list this week. "Walk into serial killer's trapÉ" ANGEL I don't care if you come armed, wired and covered by sharpshooters. Do whatever it takes to feel safe. (then) I can help you, Kate. But you have to let me. He hangs up. Kate looks to the detective she signaled to see if they got a trace. He shakes his head - no. OFF KATE Frustrated and confused. INT. BAR - EVENING Kate is seated at a table in the bar. She discreetly checks to see if her gun is still in her shoulder holster. At that moment the bartender crosses over to her. BARTENDER Hi. The usual? Kate holds up her badge. The bartender registers surprise. BARTENDER That's not your usual. KATE Every now and then I'm in the mood for something different. (then) Listen - you know that guy who was in here the other night? Tall, nice lookingÉ He helped you out with that bar fight? ß BARTENDER Sure. KATE Let me know when he gets here, would you? BARTENDER Yeah, you bet. He moves off. A beat later a good-looking SLICK GUY comes over to her. SLICK GUY God, I hate places like this, don't you? He smiles kindly. He has burrowing demon written all over him. KATE I do. He sits down, prepares to get comfortable. SLICK GUY I kind of guessed that. You don't really look like you're in your element here. Which is a compliment, by the way. KATE ThanksÉ Look, I'd love to chat, but I'm actually waiting for - She's interrupted by the returning Bartender. BARTENDER That guy you're looking for? He's out back in the alley. KATE What's he doing there? BARTENDER Who knows? I just threw out some trash and there he was. You want me to show you? KATE Yes, thanks. (to Slick Guy) Excuse me. INT. BAR BACK ROOM - NIGHT Kate follows the bartender through the back room - but before they reach the door to the alley, the bartender clubs Kate over tåhe head with a large wine bottle. Kate falls to the floor in a semi-conscious state. The bartender looks over his shoulder in that dark, secret purposeful way only burrowing demons do. He bends down to Kate's prone body, takes her gun and throws it away - and rips open the back of her shirt. BLACK OUT END OF ACT THREE Act Four INT. BAR BACKROOM - NIGHT Kneeling on the floor, the bartender has the semi-conscious Kate propped up in front of him as his body convulses. CLOSE ON his torso as something PUSHES its way out of his chest, the front of his shirt straining. As blood starts to appear on his pale yellow shirtÉ RRRIP! The Burrowing Demon emerges from his chest! Without hesitating, it immediately stretches toward Kate's exposed back. CloserÉ closerÉ. Then hesitates. ON THE BARTENDER, as his body suddenly stops convulsing. He tilts his head, quizzically, then looks up. BARTENDER'S P.O.V. - A TWO-BY-FOUR swings into frame and BATS him square in the face. WHAM! The BurrowingÝ Demon SQUEALS like a stuck pig, as its host body flies backward, CRASHING into some stacked crates. ON ANGEL - wielding the two-by-four, as he eyes the Bartender's now still body. He hears a MOAN and his attention's drawn to Kate. He tosses the wood plank away and crouches down to help her. ON BARTENDER, as the Burrowing Demon retreats back into his chest cavity. CUT IN TO BARTENDER'S EYES, as they snap open. ON ANGEL AND KATE He helps her into a sitting position. KATE (groggy) He hit meÉ The bartenderÉ ANGEL Can you move? Before she can answer, he glances up to see the Bartender, looking pale and sweaty, and - oh yeah - holding a HUGE AND HEAVY-LOOKING BEER KEG above his head. ANGEL Move! He YANKS her away, just in time, as the Bartender SLAMS the keg down, narrowly missing them. As Angel moves to lean Kate against a wall, he initially fails to see THE BARTENDER RUSHING HIM. A round-house kick to the mid-section from Angel sends him reeling back. FIGHT!! Aíngel still outmatched; the Bartender Demon fighting desperately, mustering all its resources, suddenly takes note of BARTENDER P.O.V. - The open cellar door. When Angel is staggered by a blow, the Bartender manages to grab Kate and FLINGS her into the cellar. Angel runs to the cellar door and DIVESÉ INT. WINE CELLAR - NIGHT Écatching THE PLUMMETING Kate in mid-air and using his body to cushion her fall as they land HARD at the bottom of the steps. STILL WRAPPED IN HIS ARMS, a woozy, but slightly more conscious Kate looks at Angel. KATE Ouch. They both look up as they hear the door SLAM shut and its bolt locked. INT. BAR - MEANWHILE Among the patrons, the Bartender appears - His skin's a splotchy mess, his hair oily, his eyes watery as if suffering from a high fever. He touches a YOUNG LADY'S shoulder BARTENDER Excuse me, have we met before, because I get the strongest feeling- Repulsed, the Young Lady turns away. The Bartender looks around then grabs a girl's wrist as she passées. BARTENDER There's someone for every one, don't you think? The girl wrenches her hand away, and the desperate bartender moves into the crowd. BARTENDER I'm no different than anyone else. BARTENDER'S P.O.V. - We see the expressions on every person's face as he moves among them. BACK ON BARTENDER BARTENDER DON'T YOU HATE PLACES LIKE THIS!? INT. WINE CELLAR - MEANWHILE Angel, at the top of the stairs, throws himself against the heavy oak door, several times. ON KATE as she gets to her feet. KATE You were telling the truth. ANGEL It happens. ANGEL GIVES UP ON THE DOOR, looks around for another exit and spots: ANGEL'S P.O.V. - A WINDOW high up at street level. Too high to reach. His eyes turn to A WOODEN CEILING BEAM just a few feet away from the window. ON ANGEL, action-mode - he descends the stairs and he reaches inside his coat. KATE What are you doing? ANGEL We're going out that window. KATE That's almost twenty feet up. It's then he produces from inside' his coat a GUN LIKE GADGET with a GRAPPLING HOOK. Kate eyes it and him, incredulously. KATE Who are you? Angel FIRES the gadget. ON THE BEAM, as the grappling hook and its cable wrap neatly and securely around the beam. ANGEL throws Kate a confident grin, then, in preparation for his ascent, he gives the cable a good solid tug. CRRRRRACKKK! Angel and Kate cower slightly as the beam comes CRASHING down to the floor. As the dust settles, Angel exchanges a slightly embarrassed look with Kate, who rolls her eyes. She then reaches down to her ankle and comes up with a small revolver. Holding it up, she gives Angel the similar confidant smile. INT. BAR BACKROOM - NIGHT ON DOOR BLAM! BLAM! The lock disintegrates and the door's kicked open in tandem. Emerging from the gun-smokey doorway are Angel and Kate - working and looking very much like a team. They hurry into the bar. EXT. STREET - NIGHT ÆThe Bartender moves quickly down the sidewalk, appearing ill. He catches up to a woman walking ahead of him. BARTENDER (a little slurry) PLEASE! I JUST WANT TO HOLD YOU! The woman turns, looks at his face and SCREAMS. When she runs back the other direction, the bartender turns to watch her go revealing: HIS LEFT PROFILE - SKIN PEELING off his face, part of his upper lip has receded or rotted away - exposing TEETH and GUM, and his left eye is MILKY WHITE. Painfully desperate, the Bartender Demon takes off across the street, dodging traffic, as irate drivers HONK at him. EXT. BAR - NIGHT Angel and Kate emerge, exchange a look, then split off, running in opposite directions. EXT. STREET - NIGHT ON ANGEL as he stops running and listens. A SCREAM. He looks across the street and sees ANGEL'S P.O.V. - THE BARTENDER dragging some CHICK into an alley. Angel SPRINTS toward them, then LEAPS into the air, over a parked car. The Bartender looks up, but,Þ too lateÉ Angel tackles the Demon Bartender, allowing the Chick to escape. The two combatants tumble into the alley. INT. ALLEY - NIGHT A few VAGRANTS, standing around a fire burning inside ametal drum, are caught by surprise. As the battle begins, the frightened vagrants scatter. BIG FIGHT! Angel kicks the bartender into the barrel which tips over on top of him, setting him AFLAME. We hear the SQUEALING of the Burrowing Demon in its death throes. Angel braces himself as the Bartender gets to its feet and RUNS FULL SPEED, right at him. Before Angel can make a moveÉ BLAM! BLAM! BLAM BLAM BLAM! The Bartender REARS BACK, then falls to the ground, dead. Angel turns around to find KATE, standing in firing position, her revolver smoking. She looks over at him. In the distance, we hear approaching SIRENS. EXT. STREET - NIGHT Later. HIGH ANGLE ON Patrol cars, fire-trucks, etc. the place is abuzz with activity. TRACK IN to find Kate sitting on the running board of a Paramýedic Unit, a blanket wrapped around her, as she's treated for her head injury. She's in mid-conversation with another DETECTIVE, but we hear nothing amid the din. The Detective nods a couple of times, then leaves. ON KATE - she sits in profile for a moment, then sensing something, turns. RACK FOCUS on Angel, standing off in the shadows. She hands off her blanket to the paramedic and moves to him. ON ANGEL as she approaches. KATE Everything adds up. The bartender connects to the bodies and the missing persons. Angel nods. KATE I didn't thank you. For saving my life. ANGEL Same here. She looks at him a few moments, thenÉ KATE I think you should know I searched your place. Illegally. No warrant. ANGEL Why are you telling me? KATE I don'tM know. I guess so we can start fresh. No secrets. (then) Got some pretty weird stuff for a veterinarian. Angel offers a small smile, then holds out one of his cards. She takes it. ANGEL If you ever need me, or if I can help you in any wayÉ KATE (re: card) What is that, a lobster? Angel grabs the card back, crumples it and shoves it in his pocket. ANGEL I'll be around. Over by the alley, someone calls: COP (O.S.) Det. Lockley? Kate looks back to see a UNIFORMED COP needing her attention. She turns to Angel andÉ He's gone. She looks down the dark, dank street, and finds him walking away, silhouetted by street lamps in the distance. After a moment, she turns around and walks back to her world. INT. OUTER OFFICE - LATER THAT NIGHT Angel's resting on the edge of his desk, summing up for Doyle and Cordy. ANGEL So, aLnyway, I know you two've been working hard, cooped up inside a lot. (with effort) So, I was thinking, since the night's, you know, young, weÉ the three of us, couldÉ shouldÉ go out. Doyle and Cordy share a look. DOYLE As much as we appreciate the offer, boyoÉ you've put in a good coupla days mingling with the mortals. Wouldn't you rather just go in your office and sit in the dark? Angel considers for a half beat, then, with a relieved sigh: ANGEL I think I would. He heads toward his office. Cordelia and Doyle move to the exit. CORDELIA He's earned it. DOYLE Yeah. You know, you and I could still go out. CORDELIA I'm not paying for your drinks, Doyle. DOYLE Okay. See you in the morning then. THEY EXIT PAN OVER TO THE DOORWAY TO Angel's office, we HEAR a CLICK and the LIGHT GOES OUT. BLACK OUT. THE END