Selected Scenes from Angel's

In the Dark

(August 2, 1999)

Written by: Doug Petrie

A Familiar Face

[NOTE: The teaser from this episode is available in Tidbits #3 (where Spike imitates Angel)]

EXT. CITY STREET – NIGHT

Oz' van moves through the downtown streets of L.A.

INT. VAN – NIGHT

We see, through the windshield of a now-familiar van, OZ. Driving along. Fast food bags litter the dashboard. The radio plays.

DEEJAY (V.O)
You're listening to the sounds of
L.A.'s only modern alternative, K. L.
Rock. It's eleven-oh-five, do you
know what your karma is?

Oz pulls over, shuts off the ignition. He looks around to see the streets are empty, then opens the glove compartment. Takes out a small bundle. Pockets it. Then steps out.

INT. ANGEL'S OFFICE – NIGHT

CORDELIA is at the computer, hunting and pecking – sends a document to the printer.

CORDELIA
This is so awesome. Our first walk-
in client and everything is going
according to plan.

Now Cordy goes to the printer, eagerly watches a sheet of paper emerge.

CORDELIA
See girl in distress… See Angel
save girl from druggie stalker
boyfriend. See boyfriend go to jail.
(snatching paper from printer)
See invoice. Taa daa!

She folds the invoice, puts it in an envelope. Doyle watches from a nearby office chair, looking pretty unimpressed.

CORDELIA
What?

DOYLE
Nothing. You've done a lovely job
there. Looks very official.

CORDELIA
So why are you not rejoicing at our
first paying client?

DOYLE
‘Cause that's not money in your hand,
darlin' – it's mail. There's a big leap
between that and actually getting paid.

CORDELIA
But she has to pay.
(holding up invoice)
Invoice. That's the rule of our whole,
like, society.

DOYLE
Defaulting. Another popular rule of
society. Particularly among the down
and out. Not that I've perpetrated said
heinousness myself, but-

CORDELIA
So what are you saying – why bother?

DOYLE
I'm saying – if you and I ever hope
to take that cruise to the Bahamas
together – we're going to need a lot
more clients of means.

CORDELIA
And an alternate reality in which
you're Matthew McConaghey.

Before Doyle can answer that, the door opens. Oz walks in.

OZ
Hello, L.A.

Cordelia jumps up, genuinely excited to see Oz. She gives him a big hug.

CORDELIA
Oz! Oh my God, I am so happy to see
you! Oz! Good old Oz!
(to Doyle)
Oz!

DOYLE
(to Oz)
Just taking a wild stab – but you'd be Oz?

OZ
Good guess.

CORDELIA
This is so cool! I mean, here you
are in L.A., but you're this total
embodiment of all things Sunnydale.

OZ
It's a burden, but I manage.

CORDELIA
We have got like a ton of serious
catching up to do. So, tell me
everything. How's the Bronze?

OZ
Same.

CORDELIA
And the gang?

OZ
They're good.

CORDELIA
Good? Good! Good…

Pause. They both just stand there nodding.

OZ
We done?

CORDELIA
Completely.

Doyle clears his throat, none too subtly.

CORDELIA
Oh. And this is Doyle. He air-quote "works" here.

Oz takes in the office and surroundings.

OZ
So I've heard rumors – but you can
fill me in on the real deal. You're detectives?

CORDELIA
No. I'm an actress.

DOYLE
A captivating one at that.

CORDELIA
And, between my many gigs, I
sometimes choose to help Angel.

DOYLE
He's the detective.

OZ
He have a hat and gun?

CORDELIA
Just fangs.

OZ
That works. Where is he?

CUT TO:

INT. ANGEL'S APARTMENT – NIGHT

The elevator descends. Stops. Doyle, Cordelia and Oz step out. Angel's standing there, half in shadow, waiting.

ANGEL
Oz.

OZ
Angel.

The two barely nod to each other in greeting.

ANGEL
Nice surprise.

OZ
Thanks.

ANGEL
Staying long?

OZ
Few days.

DOYLE
They always like this?

OZ
No, we're usually laconic.

ANGEL
So. Good to see you.

OZ
Likewise. I came for a gig primarily, but also…

Oz reaches into his pocket, pulls out a small bundle. Unwraps it. Revealing the ring with the Gem of Amarra embedded within. Holds it out to Angel.

OZ
… to bring you this.

Angel hesitates before taking the ring. Then reaches out, holds it up to catch the light. Cordy and Doyle crowd in for a closer look. Doyle's clearly awed. The gem glistens.

DOYLE
Is that what I think it is?

ANGEL
The Gem of Amarra.

OZ
(to Angel)
One and the same.
(then)
Buffy wanted you to have it.

CORDELIA
Hey! Buffy! How is good old Buffy, anyway?

Angel looks to Oz for the answer. Oz hesitates.

OZ
She's…

CORDELIA
What? Still the brave little slayer, or is
she moping around in the dark like…

Angel gives her a look.

CORDELIA
… nobody around here.

OZ
She's good. She's… Buffy.

DOYLE
And I'm sure we'll be interested
later – but for right now, can we
concentrate on the mother-lode
Angel just hit?
(to Angel/re: ring)
So what are you waiting for, man?
Put it on!

CORDELIA
(to Doyle)
Okay. You're getting weird with this
ring. Since when did you get all
Versace about accessorizing?

DOYLE
Since the "accessory" is priceless and
renders the wearer one hundred percent unkillable.

CORDELIA
Unkillable? Like – not even stakes?

DOYLE
Not nothing. Not stakes, not fire, and
best of all – not sunlight.
(to Angel)
Think of it. Pool side tanning…
Bargain matinees… Plus there are
several strip clubs with a luncheon
buffet that's really quite tasty.
(beat)
I hear.

ANGEL
(to Oz)
And – it's from Buffy

OZ
Yeah, your old buddy Spike dug up
Sunnydale looking for it – but he got
a fistful of Buffy and left it behind.
She wanted to make sure it was in
good hands.

ANGEL
So she sent you.

Oz gets just slightly uncomfortable. Covers:

OZ
I was heading this way.

CORDELIA
And she didn't send a note or anything?
Wow, that's really-

She takes in Angel's pained expression.

CORDELIA
This is one of those times I should
just shy away from the topic, isn't it?

DOYLE
(to Angel/re: ring)
I know what will boost your spirits.
Put it on and I'll stake you. It'll be fun!

Angel considers the ring in his hand for a long beat. Then pockets it.

ANGEL
Maybe later.

DOYLE
What? Are you out of your head? I mean-

ANGEL
(interrupts/firmly)
I said – maybe later.

DOYLE
But-

ANGEL
(warning)
Doyle.

Doyle shuts up. An awkward beat. He and the others clearly don't get Angel's response to this seeming stroke of luck.

DOYLE
Have your way then. I'm still going
to celebrate with a drink down at the pub.

He starts off and Cordelia tags along.

CORDELIA
(to Oz)
He'd celebrate the opening of a
mailbox with a drink down at the
pub… You coming?

OZ
Sure. I could eat.

They prepare to go.

ANGEL
You go on. I'll catch up.

DOYLE
(pointed)
That's right. He likes to wait until
happy hour ends. Not his style you know.

Oz, Cordy and Doyle pile into the elevator and they head upstairs. Angel barely registers them leaving – he's too consumed with his own troubling thoughts. Angel moves to the grate covering the entrance to the tunnel. He lifts the grate, steps down into...

INT. TUNNELS – NIGHT

… where he drops into frame. Still looking deeply preoccupied, he walks far down into the tunnel. Slows to a stop. Takes out the ring, drinks in one last look – then drops to his knees. He digs a brick (or a stone, etc.) out from its place. He puts the ring in the hole where the brick was. He replaces the brick, then gets up and walks away, fast…

FADE TO BLACK

Torture

EXT. ALLEY – NIGHT

Angel exits and looks around. No Spike. Then Angel hears the loud sound of something hard banging against metal coming from deep inside the dank alley.

Angel moves toward the noise. He rounds a dumpster and sees Spike – in VAMP FACE – draining the life out of a young woman. She's bucking and kicking in his grasp, her high hell hitting the dumpster and making that rhythmic pounding we've been hearing.

ANGEL
Let her go.

A surprised Spike looks up, fangs bloodied.

SPIKE
Anybody every tell you you're a hell
of a buzz-kill, mate?

He SHOVES the girl into Angel, takes off running. The girl is terrified, but still very much alive. Angel speaks to her firmly.

ANGEL
Go. Run!

The girl bolts for the street. Now Angel gives chase after Spike, who isn't far ahead of him. Spike reaches the end of the alley, finds nothing but brick. Dead end. As Angel closes in on him, Spike (not in VAMP FACE) turns and glares at him, strangely confident.

SPIKE
Right. Caught me fair and square, white hat.

Spike turns and raises his hands, mockingly.

SPIKE
(big sigh)
Guess there's nothing to do now but come
along quietly and pay my debt to society.

ANGEL
You think you can come into my town and
pull this crap? You never learn, Spike.

SPIKE
I may be a slow learner, but…

Spike grins at something just over Angel's shoulder. Angel turns to see a HUGE GUY, MARCUS, looming behind him with a long length of chain in each hand. Angel's been set up.

Before Angel can react, Marcus MORPHS TO VAMP FACE, swings one of the chains like a bolo, wrapping it around one of Angel's legs. He jerks Angel to the ground at the same time he swings the other chain around Angel's neck. As Angel falls, the chain tightens – cutting off his air supply. Angel chokes and claws while Spike addresses him calmly, nodding to Marcus.

SPIKE
Eventually I catch on.

BLACK OUT.

---

INT. OLD BUILDING – DAY

CLOSE ON ANGEL

WIDEN AS

Angel opens his eyes, looks around. He's in a large room in an abandoned building. Tin roof overhead.

Now we see that he's CHAINED UP IN THE MIDDLE OF THE ROOM – each arm strung out to overhead restraints.

Marcus picks up an old-fashioned phonograph needle. Places it on a record. The soothing sounds of Mozart's Symphony #41 play forth.

Angel watches. Marcus opens a battered old trunk filled with torture instruments – among them we may see a cat's paw, a breast ripper, a heretic's fork, "the pear", etc. Spike moves to Angel.

SPIKE
Marcus is an expert. Some say "artist,"
but I've never been comfortable with
labels. He's a bloody king of torture, he
is. Humans, demons, politicians, makes
no difference. Rumor has it he invented
several of the classics, but he won't tell
me which ones.
(confidential)
Beneath the cool exterior, you'll find he's
rather shy… except with kids. You like
kids, don't you Marcus?

Marcus moves to Angel, unbuttons his shirt, puts on a pair of spectacles, inspects Angel's skin.

SPIKE
Well, "likes to eat" and other nasty things;
Marcus was run out of Novi Grad by a
pack of angry Howler demons for his
antics with some local sprites – and you
know Howler demons, they'll put up with anything.

MARCUS
His skin…

SPIKE
Annoying, isn't it? Still attached…

MARCUS
Over two hundred years of living and
so little external damage…

Marcus places his hand near Angel's heart (and the scar from Buffy stabbing him).

MARCUS
What about internal…?

SPIKE
(picking up breast ripper)
Do you two need to be alone or can we
get on with the ouchy part?

MARCUS
He's known love.

SPIKE
Yeah, a Slayer no less. How's that for perversion?

MARCUS
And he has a soul.

SPIKE
Right, a vampire with a soul, cursy-cursed
to walk the earth, trying to do good – that's
not going to be a problem, is it?

MARCUS
On the contrary…
(to Angel)
Creatures with souls have something to lose.

SPIKE
Souls, fingers, toes, let's get choppin', shall
we? I want me damn ring.

MARCUS
What do you want, Angel?

Angel and Marcus size each other up for a tense beat, then:

ANGEL
Are you gonna torture me or just bore me to death?

Marcus smiles a little, reaches behind Angel – GRABS A HOT, POINTED POKER from a metal dish brimming with hot coals (this is the first time we see poker, coals), runs the POKER (OFF SCREEN!) through Angel's side. Angel writhes in pain but manages not to cry out.

MARCUS
Probably a little of both.

SPIKE
(sniff the air)
Mmm, someone's having shish-kabob.

Angel nearly faints from the pain, but manages to bring himself back around.

MARCUS
What do you want, Angel?

ANGEL
Well… still hoping for you to invest in some
breath mints, Marky, and you know, I spent
a little time in hell: bringing out the hot poker
first thing, pretty amateur if you ask me.

Marcus stares at Angel blankly for a beat, turns to Spike and just as blankly says.

MARCUS
I really like him.

Spike gives them two thumbs up.

SPIKE
Party.

DISSOLVE TO:

SAME SCENE – LATER

Spike paces, bored now. Angel has a second hot poker stuck through his shoulder; Marcus stands before him with "the pear" (a pear-shaped device for rupturing internal membranes). Marcus opens and closes the pear absentmindedly as he asks Angel:

MARCUS
What do you want, Angel?

ANGEL – in incredible pain, but fighting it with incredible strength –

ANGEL
House in the country, good pair of running
shoes you can also wear out to dinner…

SPIKE
Why do you keep asking him that?! And why
do you keep playin' that bleedin' Brahms?!

MARCUS
Actually it's Mozart. Symphony forty-one.
I find it very effective.

SPIKE
Yeah, well personally, I like his older, funnier
symphonies myself. Now I want my ring –

Spike grabs a wooden-handled torture knife, breaks the handle on a table, creating a stake, and comes for Angel.

SPIKE
-- and if I don't' get it pretty soon – I'm
gonna dust me old sire right here and now.

MARCUS
(beat)
You finished? He knows you won't kill him
until you get the ring, he knows you're lying.

Spike hurls the make-shift stake to the ground (a few feet away from Angel).

SPIKE
Well then get it for me.

MARCUS
Soon he'll want to tell me everything he
has to tell and then some…
(to Angel)
… and he knows I'm not lying.

Spike looks at Angel.

SPIKE
I believe he does.

ANGEL
Spike, you're an idiot.

SPIKE
Ya' think? Cause I'm not the one chained
to the ceiling with the hot pokers in my side.

ANGEL
You hired a vampire. What do you think
he's going to do with the ring if he gets it,
hand it over to you?

SPIKE
Oh good lord, why didn't I think of –
Oh, half a mo', I did. I hired a guy who
doesn't care about the ring or anything
else on God's green earth except taking
blokes apart one piece at a time. It's called
addiction, Angel, we all have ‘em. I believe
yours is named Slutty the Vampire Slayer.

The music stops.

SPIKE
(re: music)
Thank you.
(to Angel)
Speaking of little Buff… I ran into her
recently, your name didn't come up
but then again she's been awful busy
jumping the bones of the very first
lunkhead who came along. Good
looking fellow. Used her shamelessly.

Angel can't quite hide the hurt in his eyes.

SPIKE
She's cute when she's hurting, isn't she?

ANGEL
She's cuter when she's kicking your ass.

Spike's expression sours as Marcus puts the needle back to the beginning of the Mozart, pulls a hot poker from the fire.

SPIKE
I think I'll get some air,
leave you two kids to it.

Marcus heads for Angel with the poker. Spike, crossing in f.g., blocks our seeing the poker go into Angel's thigh. Angel, this time, cries out in pain.

SPIKE
Now that's music.

---

INT. OLD BUILDING – DAY

Angel now has a third rod through him; he's mucho pale and sweaty. Marcus circles him, a small gun in hand – a CO2 pellet gun – that he's loading as:

MARCUS
Most things that live and breathe fear
the dark and love the light…

Marcus holds up the gun. Angel looks at it. Marcus moves it past Angel's face, pointing it straight up. He fires.

ANGLE – THE TIN ROOF of the old building, as the pellet puts a tiny hole through it that lets a beam of sunlight through.

ANGLE – ANGEL – as the tiny beam of sunlight hits his cheek. He moves his head to avoid it.

MARCUS
… we're different, though, aren't we?
We hate the light of day and it hates
us back in kind…

Marcus fires again. This time the small shaft of light catches Angel on the shoulder. It starts to smolder and smoke, he wrenches his chains, gets his shoulder out of the light.

Marcus continues to pace. Angel looks down, sees the makeshift stake Spike dropped a couple of feet away from his own feet.

MARCUS
… you hid the ring, Angel, you could be
walking in the light right now… so I
have to wonder, what do you want if not the ring?

Marcus fires again, a third shaft hits Angel, he backs out of that one into the first one, twists his chained body painfully, trying to avoid the light.

MARCUS
(getting closer)
It's through the pain that we find the truth
of who we are… It strips us of our defenses
-we are made innocent again, like children. I
like children, Angel… it's all right, I'm here
to help you find that innocence…

He fires again: another shaft sears Angel.

MARCUS
… here with the light…

---

INT. OLD BUILDING – DAY

As before. Angel twisting like hell to stay out of the beams of light. Marcus, calm as ever, stands nearby.

MARCUS
You did terrible things when you were bad,
didn't you… and now you're trying so hard
to do good… but Angel, "There is nothing
either good or bad but thinking makes it so."

Angel edges his feet closer to the make-shift stake on the ground.

MARCUS
Now I can make the pain go away…

Marcus rips out the rod in Angel's thigh. Angel howls.

MARCUS
And as you know I can bring it back again.

Marcus pulls out the rod in Angel's shoulder (leaving the one in his side).

MARCUS
What do you want, Angel? I think I know
but I'd like to hear it from you. The truth,
I'll know if you're lying…

Angel mumbles something. Marcus moves closer. Angel almost has his feet on the stake.

ANGEL
I want… forgiveness.

MARCUS
Yes – that's the truth. And you want to
earn it, you're not the type who takes
the easy way out. Which is why I like
you so much…
(almost like a lover)
… in the end you won't feel guilt or remorse
or anything but pure darkness… in the end
the ring, the past, none of it will mean
anything anymore, you'll be free, I promise…

ANGEL
And I promise…

Angel's FEET wrap around the make-shift stake –

ANGEL
… you'll be dead.

Angel's feet bring the stake up, fast. And it almost stabs Marcus except SPIKE reaches in, grabs it.

SPIKE
Now, now, staking the torturer is strictly prohibited.

Marcus, furious, SMASHES Angel in the face. Spike pulls him back.

SPIKE
(to Marcus)
Easy big fellow, still need that ring.
(to Angel)
Now you've made him mad. Wouldn't
want to be in your chains.

Marcus gets control of himself.

MARCUS
It won't be long now.

SPIKE
Well, what say I break out the needle nose
pliers and give a hand? I'll have to go in a
while, though…
(to Angel)
… your friends may come up with the ring
before you break. It's sure turning into a
win/win, isn't it?

Sunlight

EXT. ALLEY – DAY

Doyle and Cordelia walk into a darkened alley together. At the end of the alley, Spike is there, tucked away in the shadows.

SPIKE
So. Where's my ring?

DOYLE
Not on us.

CORDELIA
But we know where it is.

SPIKE
And suddenly, I am so painfully bored.
Time runs short, children. Give me the
ring as if Angel's life depended on it.

CORDELIA
Listen you little Cockney, you take us
to Angel, now.

DOYLE
Show us he's still in one piece, we tell
you where you can find your ring.

Spike thinks it over.

SPIKE
He's alive, I think… "In one piece"
was never a part of the deal.

INT. OLD BUILDING – DAY

Spike enters with Doyle and Cordelia.

SPIKE
Lucy! I'm home!

Doyle and Cordelia stop cold at the sight of Angel, chained to the wall, streaks of light streaming down around him, trapping him. Marcus is holding a beartrap-like clamp. Cordelia and Doyle try to move to Angel – but Spike stops them.

CORDELIA
Angel!

SPIKE
Ah ah ah… deal's a deal.

ANGEL
Cordelia.

SPIKE
And our deal was for the ring. So. You've
wasted quite enough of my time, I'd really like it. Now.

DOYLE
You want the ring, you dog?

Doyle takes the ring from his pocket. Holds it up high for demonstration. It catches the light. Glitters.

DOYLE
Then fetch.

Doyle tosses the ring to the floor about 10 feet in front of Spike.

Cordelia slowly, step by step, crosses to Angel.

CORDELIA
Okay. Good. You have the ring, we have
Angel, and now you are going to leave us
alone, and we are going to leave.

Spike, heading for his ring, says:

SPIKE
Oh, come on. You don't believe we're
going to do that, do you?

CORDELIA
Not really…

DOYLE
No…

And just at that second, SMASH! Oz's van comes crashing through the side of the building, through the wall. Spike and Marcus dive for cover.

The van stops. Oz rips the van's side doors open. He covers Cordy, Angel and Doyle with two crossbows.

OZ
Spike.

Cordelia and Doyle undo his shackles and load the barely-conscious, bloodied Angel into the van.

Oz hits the gas. The van tires screech and the van pulls out – backward. It hits the streets, pulls a 180 and is gone.

Inside, the dust settles. Spike stands, looks around. The ring is missing. He looks some more. And some more, frantically. Then he stops. Realizes the ring's not here. And that's he's alone.

SPIKE
Oh, bloody hell.

EXT. STREET – DAY

Marcus strides into the sunlight. He does not burn. He looks up into the light, squinting. He smiles. We see, glittering on his ring finger… the Gem of Amarra.

---

EXT. L.A. STREET – DAY

We see a sidewalk street vendor. Selling rows of hot sunglasses cheap.

VENDER
Shades here, no pair over ten-
(seeing something)
Hey, buddy – you want to go easy over
there? You'll scratch them…

We see that he is talking to MARCUS, whose back is turned. Marcus is trying on a pair of those horrible wrap-around sports shades. He whips them off, throwing them aside. Puts on another pair. Throws those aside too, and so on. The agitated vendor moves to him.

VENDOR
Look. If you aren't going to buy anything-

Now Marcus turns, another pair of glasses on. He's a VAMP.

MARCUS
(lifts glasses)
Do these look good? I can't see in the mirror.

The vendor reacts to Marcus' vampiness. Stammering, starting to back away…

VENDOR
I – I… Oh, sweet…

But he doesn't finish before Marcus has his hand around the poor guy's neck…

MARCUS
Oh, what the hell. I'll take ‘em.

Marcus snaps the vendor's neck like a twig. Then drops the lifeless body to the ground and goes about his merry way.

EXT. L.A. STREET – DAY

Oz' van barrels down a downtown L.A. street.

INT. VAN – DAY

Oz keeps his eye on the street, driving hard. In the back of the van, Cordy and Doyle tend to Angel. He's pretty banged up – and worst of all – he still has one of those rods sticking out of his chest.

OZ
How's he doing?

DOYLE
He'll live.

CORDELIA
Not without help. We have to get him
to a hospital.

OZ
I hear you, but which one? They all tend
to specialize in humans.

DOYLE
He's right. Too risky.
(to Oz)
You know any first aid?

OZ
Just your basic sixth grade, but I can
improvise. First we get someplace
dark. We do that, maybe I can…

He'd go on but Angel sits up abruptly, interrupting him.

ANGEL
Turn… around.

OZ
Angel…

CORDELIA
He's delirious. Ignore him.

ANGEL
Turn around.

CORDELIA
So you can do what? It's daylight, you're
ring-less, and unless you're changing the
act to Human Torch, I don't think so.

DOYLE
She's right. You're death on toast. And in
no shape to be fighting a torture demon.

In answer to their arguments, Angel RIPS the remaining rod from his chest – stares them down as he fights the pain.

ANGEL
He's got a thing for children.
(then)
Oz-

Oz looks at Angel.

OZ
How will we find this guy?

ANGEL
Follow the carnage.

And Oz cranks the wheel.

EXT. STREET – DAY

The van turns around.

EXT. PIER – DAY

The waves break.

Marcus, in vamp face and sunglasses—not drawing much attention, it's L.A.—walks onto the pier, which is alive with activity. People and cart vendors are out in droves, enjoying the beautiful, sunny day.

Marcus wanders, fascinated. There's a lot of fun being had here. And so many potential victims…

Marcus sees a small gaggle of CAMPER SCOUTS up ahead. They are completely unaware of him. Their DEN MOTHER is further down the pier, trying to rein in some stragglers.

MARCUS
(to himself)
Hello boys and girls…

Marcus lumbers closer to the group. They have no idea what's coming. Many cool beats until Marcus is almost upon them. He stops, hearing a growing sound.

It's A MOTOR ENGINE, coming closer. Marcus turns just as Oz' van SMASHES INTO HIM (or not, if the stunt is too expensive) from behind. Direct hit. Arms splayed, Marcus goes flying. Cordelia and Doyle leap from the van. Cordy grabs some SCOUTS, ushers them out of there.

CORDELIA
Go! Run! Move your little scout legs!

The Scouts just stare at her, too terrified to move.

CORDELIA
NOW!

The Scouts are more scared of Cordelia than they are of Marcus. They haul out of there.

Marcus turns to the van like it's a living creature. And it is. Through a side window, Oz pulls a crossbow into position, aims at Marcus. Fires. Direct hit. Marcus takes the arrow/stake in the chest – and laughs. He holds up the ring.

DOYLE
Damn it. I'll take him.

Doyle jumps Marcus. It's not much of a fight. Marcus tosses him aside like a rag doll. Doyle eats pier.

CORDELIA
Doyle!

INT. VAN – DAY

Inside, in the dark, Angel moves into position beside the sliding door. He prepares himself for a moment – then nods to Oz. Oz rips the door open. Sunlight pours in. Angel leaps from the van.

EXT. PIER – DAY

Angel runs – after a beat or two, and just before he hits Marcus, his back begins to flame. He's not covered in flames. A living growing apparition of flame as he approaches, Angel unleashes a primal roar…

ANGEL
Rrrraaa…!!!

And – BAM! – Angel tackles Marcus as the flames consume him, a human pyre, his momentum carrying the two of them off the pier and into…

EXT. WATER – DAY

Splash! Marcus and Angel, entwined like loves, hit the water together, plunging in, Angel's flames extinguished. Marcus grabs Angel by the throat with both hands and squeezes. Marcus carries Angel out of frame.

EXT. ON THE PIER – DAY

Cordy and the others look for Angel in the water.

CORDELIA
Where is he?

EXT. PIER UNDERSIDE – DAY

Angel and Marcus emerge from the water together. Angel knocks Marcus's hands away from his throat. They square off. Angel punches Marcus so hard his head whips sideways. Marcus brings his head whipping back to face Angel – and laughs.

MARCUS
What are you planning to do? Kill me?

ANGEL
Well after all, I promised.

Tough talk – but Marcus grabs Angel's head in both hands and smashes it into a pylon – hard. Angel gouges his thumbs into Marcus's eye sockets. Marcus lets go.

EXT. PIER – DAY

Cordelia, Doyle and Oz run along the pier, spotting the fight below. (Note: luxury shot)

EXT. PIER UNDERSIDE – DAY

They exchange blows. Angel's getting tired. Marcus is not.

ANGEL
You never cracked me, Marcus.

MARCUS
I would have.

ANGEL
But you didn't. Now that…

Angel rushes Marcus, sending him back, directly into a pylon. It's painful – with a sickening – Thwump!

Marcus looks down to see there is an outcropping of sharp wood sticking straight through his chest.

ANGEL
… that's gotta be torture.

But Marcus just looks at the wood, looks at Angel – and laughs. Angel head-butts Marcus, grabs his wrist with one hand and pulls the ring off his finger with the other.

Marcus's laughter turns to a scream. And he explodes into dust.

EXT. BEACH – DAY

ANGEL

moves out of the waves and toward the shore. He's bloodied, burned and exhausted… but victorious. He has the ring on his finger.

The daylight is so harsh he has to shield his eyes. But then, slowly, he lowers his arm – blinking, trying to adjust to it…

CORDELIA (O.C.)
You okay?

Angel looks to find that Cordy, Doyle and Oz have come down to the beach to meet him. He moves onto the sand, disoriented.

ANGEL
Fine. I'm…

He looks around as Oz moves to him.

ANGEL
Thanks for the help. You were key.

OZ
You.. are incredibly pale.

Cordy and Doyle move in and flank Angel.

CORDELIA
You need to lie down. We should get you home.

But Doyle is watching Angel closely. Says gently:

DOYLE
Let's give him a minute.

He leads Cordy away, giving Angel some space.

CLOSE ON ANGEL

Who is looking around now, feeling the warmth on his skin – really seeing the beautiful surroundings in full daylight. A world of emotions play across his face as he sees the normal people, the kids on the beach, the daylife all around.

ON CORDY, DOYLE, AND OZ – WATCHING

OZ
He's very pale. Paler than most people.

DISSOLVE TO:

EXT. ROOFTOP – SUNSET

The sun sets on L.A. Shafts of the day's last light filter through downtown skyscrapers. Standing at the ledge of their office rooftop, Angel and Doyle watch.

They let is happen for a good long beat. Finally, Doyle speaks.

DOYLE
How long's it been between sunsets?

ANGEL
Two hundred years, give or take.

DOYLE
Well, you've got to be feeling pretty
damn good then. This ring – it changes
everything, don't it?

But Doyle sees Angel is not listening. Then he sees why: the sunset is getting even more beautiful.

DOYLE
Oh, right. Look, it's spectacular, I know,
but I do promise: there will be another one
just like it tomorrow.

ANGEL
Not for me.

DOYLE
What are you saying? You think the city will
get hit by a meteor before tomorrow night or –
it's too horrible – I can't even make myself
say the other…

ANGEL
I'm not going to wear the ring.

DOYLE
That was the other.
(appalled)
you've got a real addiction to the brooding
part of life, anyone ever tell you that?

ANGEL
(smiles)
Once or twice.

DOYLE
Care to explain? I mean, this ring is your
redemption. It's what you've been waiting for.

ANGEL
No. It just looks like it.

DOYLE
Angel, man – think what you're saying-

ANGEL
I have. I've thought about it from every angle.
And what I figure is, I did a lot of damage
in my day. More than you can imagine-

DOYLE
So – what? You don't get the ring because
your period of self-flagellation isn't up yet?
What about all the daytime people you could
help from nine to five?

ANGEL
They have help. The whole world is designed
for them. So much that those people have no
idea what goes on around them after dark. They
don't see the weak ones lost in the night – or
the things that prey on them.
(then)
And if I joined them, maybe I'd stop seeing
too. Not right away, but in time.

Doyle takes this in. Finally nods.

DOYLE
And who would look out for the insomniacs?

ANGEL
I was brought back for a reason, Doyle. And
as much as I'd like to kid myself – I don't
think it was for eighteen holes at Rancho…

The last sliver of sun disappears beneath the L.A. horizon, turning the downtown skyscrapers to silhouettes. Doyle and Angel watch in silence until the sunlight leaves Angel's face, turning dark.

Angel gently removes the ring. He picks up a brick, heft it in his hands for weight. Regards it a moment, then SMASHES the ring. A small SUPERNATURAL LIGHT BURST emanates from the ring and it disappears.

And with that, Angel and Doyle get up and head off.

DOYLE
(pats pocket, comes up with message slip)
Oh, that Rachel girl with the crazy boyfriend
called… said to tell you thanks, she'd "found a
little faith." Said you'd know what that means…

ANGEL
I don't know about you, but I had a nice day…
(beat)
You know, except for the bulk of it where I
was nearly tortured to death.

DOYLE
You stood up…

ANGEL
Oh, God, I was this close to tellin' him everything.

As they disappear into the night:

ANGEL
One more hot poker, I was givin' him
the ring, your mom, everything…

BLACK OUT.

THE END