Sense and Sensitivity (October 12, 1999) Written by: Tim Minear Teaser EXT. ALLEY/STREETS - NIGHT The back of an old tenement, fire escape up the side. A GYM BAG Falls from a height, hits the pavement. RATTLING on the fire escape above, then a sweaty MAN, SPIVEY, drops to the ground. He crouches, looks around. This guy's clearly coming out the back way. He sweeps up the gym bag, starts off. As he turns and CAMERA PANS, we REVEAL -- A FIGURE Has appeared at the end of the alley way. Silhouetted, menacing. SPIVEY Freaks, bolts in the opposite direction. THE EXCITING FOOT CHASE We're INTERCUTTING between Spivey and The FIGURE. MOVING through the alleyway, round corners, dodging cars. SPIVEY Reaches a BEAT UP SEDAN. Claws the door open, but before he can get in... THE FIGURE Kicks the open car door against Spivey. Spivey goes down. KATE LOCKLEY Looms over him. Spivey continues to crawl a few inches... He tries to rise from his hands-and-knees position. KATE No, don't get up. Really. She brings a foot up sharply into his kidneys. KATE Gosh. Sorry, Spivey. Guess I just have a problem expressing myself verbally. It's something I struggle with. She stalks him, looming as he crawls. KATE You stood me up. You were going to come down to the station and answer a few questions, remember? SPIVEY I forgot...? She reaches down, yanks him to his feet. KATE Not something a girl likes to hear. She whirls him around, slamming him hard up against the top of the sedan. As she roughly yanks his hands behind his back and slaps on the cuffs: KATE So we'll skip the informal invitation and do the more formal thing... You have the right to remain silent. But I wouldn't recommend it... And as she shoves her prisoner forward... INT. POLICE PRECINCT - INTERROGATION ROOM - DAY A SERIES OF 8x10 PHOTOS Scattered on a table. The images feature TWO MEN, one SMALL AND OILY (SPIVEY), the other a larger, more FORMIDABLE LOOKING MAN (LITTLE TONY PAPAZIAN). Clearly a secret meeting. KATE (O.S.) Look at the pictures. WIDER to reveal SPIVEY sitting at the table in the interrogation room. Kate looms over him. They both look worn down, exhausted... The table is littered with coffee cups, etc. This has been going on for some time. SPIVEY I looked at the pictures. KATE What's in the pictures? SPIVEY Me and Little Tony Papazian and I don't know where he is. How long are we gonna do this? Kate's patience with this mook is clearly growing thin. KATE So you haven't seen him since the day this picture was taken. The day County Supervisor Caffrey was found murdered... SPIVEY (uneasy) I don't know anything about Caffrey. Anyway - I heard it was a suicide. KATE (oh, I see) Supervisor Caffrey shot himself... SPIVEY (wary) It happens... KATE ...in the back of the head. Then he wrapped himself in plastic and locked himself in the trunk of his car. SPIVEY (shrugs) He'd been depressed. KATE I got enough for accessory, Spivey. This is your shot to walk. Where is Little Tony? SPIVEY Burbank. Stockholm. The planet Mongo I have NO IDEA WHERE HE IS and I'm losing patience with this crap. KATE I'm not. She sits. Stares him down. Playing chicken. INT. POLICE PRECINCT OBSERVATION ROOM - DAY Now we see Detective HARLAN and a few other plainclothes cops watching the interrogation through a two-way mirror. One cop sighs, looks at his watch. Then on Harlan: KATE (O.S.) I can do this all day. COP (O.S. ) Oh, man... HARLAN Doesn't she ever have to pee? INT. POLICE PRECINCT - INTERROGATION ROOM - DAY Now Spivey loses it. Stands. SPIVEY Fine. You wanna play all day, play with yourself. You charge me or get me gone 'cause I'm telling you nothing. KATE Look at the pictures. SPIVEY Bite me. That's it. Kate also snaps - in a heartbeat she's out of her chair and shoving Spivey against the wall. Pressing her forearm against his neck... KATE (deadly) Where's Little Tony? Spivey looks terrified - but he's not backing down. Before she can make another move Harlan and the other plainclothes cops have blown into the room. Harlan takes Kate outside. INT. POLICE PRECINCT - HALLWAY - DAY Kate, breathing hard, looks away from Harlan, embarrassed. KATE Sorry. HARLAN Don't sweat it. We should have gotten you out of there hours ago. KATE He's not going to talk. HARLAN Then Little Tony's good as gone. We can't find him, then I don't know anyone who can. Off Kate, musing... INT. CITY SEWER TUNNEL - DAY A GIANT TENTACLE comes at us -- THWAP! Knocking -- ANGEL And SLAMMING him up against a wall. Using a length of PIPE, he's squaring off with... something. And it's kicking his ass at the moment. We only see bits and pieces of the thing he's battling, but based on the giant TENTACLES which writhe and slither from an opening above him -- it ain't pretty. We MAY see a GIANT SLIMY EYEBALL peering from within the opening. Angel's pretty worn down but revives a bit when he sees- CORDY AND DOYLE cringing as they enter hurriedly carrying a large black bag. ANGEL It's about time! DOYLE Not a lot of enchanted swordsmiths open on Sunday. They open the black bag. Pull out a big sword, lob it to Angel. Angel catches it, hacks off a tentacle, then deftly skewers the beast through the opening. The sword C.G.I. GLOWS as the thing ROARS and DIES. A beat. Angel steps over the fallen tentacle, hands the sword to Cordy. Something green oozes from it. ANGEL Make sure you cut off all the limbs and both heads this time. And remember to bury the parts separately. I don't want it coming back to life again. CORDELIA (what, no thanks?) That's it? ANGEL I'm going to clean out the nest. See you back at the office. And he's gone. Cordy looks after him, miffed. CORDELIA Okay, am I wrong in thinking that a "please" and "thank you" is generally considered good form when requesting a dismemberment? DOYLE He appreciates us in his own... unappreciative way. The hacked-off tentacle limb re-animates, violently grabs Doyle by the throat. Cordy, sword in hand, doesn't notice, too preoccupied: CORDELIA You know what I think? Doyle struggles against the angry limb. CORDELIA I think he uses his Tortured- Creature-Of-The-Night status as license to be rude and insensitive-- Doyle gurgles something resembling "Cordligha!" CORDELIA Sure, he's polite to the helpless and downtrodden. But he ignores the people closest to him... The people who matter the most - you know? Doyle is still gagging and thrashing around in the background. CORDELIA Can you say "clueless?" He can't actually at the moment as his esophagus is pinned to the back of his throat as we -- BLACK OUT. END OF TEASER Act One INT. ANGEL'S OUTER OFFICE - DAY Cordy and Doyle enter the office, grimy after the dirty work. CORDELIA Does giant tentacle spew come out with dry cleaning? Angel appears from his office, looking impeccable. He's got his attention on a file folder. Briefly notes their presence. ANGEL You're back. Good. Cordy, you need to-- CORDELIA (interrupting) No. I don't care what horrible thing's about to happen -- Cordy sits, picks up a magazine, loudly flips the pages. CORDELIA An asteroid's hurtling toward earth. Unspeakable Evil is rising in the San Fernando Valley. Jar jar is getting his own talk show. Whatever. I don't want to hear about it. Not until you ask us how it went. ANGEL ...call your mother back. She phoned saying she'd like to speak with you - and what are you talking about? She reacts to the call from her mother, quickly recovers with: CORDELIA You do remember leaving us in a sewer with the Giant Calamari? ANGEL Yeah... and you're both here. So I assume it went okay... right? CORDELIA Yeah it went okay, of course it went okay. Okay? That's not the point. ANGEL So there is a point? CORDELIA Being that it is possible to brood and show a little interest in the feelings of others. Angel, baffled, looks to Doyle for interpretation. DOYLE She thinks you're insensitive. And -- not to bring up the irony -- but, consider the source. Angel is still absorbing the idea of being called insensitive. ANGEL So I'm reserved. Doesn't mean I don't care. CORDELIA It's like you don't have a pulse. ANGEL I don't. CORDELIA Well spend a little time listening to how the living interact, okay? Kate enters. Senses she's interrupted something. Terse looks all around. She and Angel regard each other. Nod. KATE Angel. ANGEL Kate. KATE Got a minute? ANGEL Sure. Angel and Kate start to move into his office. Cordy gives up as she and Doyle overhear-- ANGEL Coffee? KATE I'm fine. Angel shuts the door of his office. Cordy rolls her eyes. CORDELIA Mr. and Mrs. Spock need to mind meld, now. CUT TO: INT. ANGEL'S OFFICE - SAME Angel looks at one of the surveillance photos of Little Tony. KATE His name's Tony Papazian. Street name, Little Tony. And he's a bad guy. We've already got an indictment against him for the murder of a county supervisor. Just one little problem -- we don't know where to send the subpoena. ANGEL You can't find him. KATE He's still in the city, we're pretty sure. But all my sources are dry. ANGEL You want me to look into it. KATE I'll pay for whatever you can get. ANGEL I already owe you favors, you don't need -- KATE This isn't a favor. It's a job. That's how we do it. Understand? He looks at her, takes in her resolve. Nods. ANGEL All right. KATE Good. She jots down a number on a card, hands it to him. KATE Time is a factor. Tony's looking to skip town. ANGEL Got it. KATE You find him, you call me. Nothing above nor beyond. You can't be a part of this. ANGEL You don't want to get a reputation for going outside the department. KATE I don't want to get a reputation for getting you killed. EXT. LOS ANGELES SKYLINE - LATE DAY As the sun hangs low over the city... INT. ANGEL'S OUTER OFFICE - LATE DAY Doyle is at the computer, logged onto "exposition.com," researching. Cordy at her desk, pores through documents. Angel enters from his inner office, looks tired. ANGEL Anything? DOYLE Plenty here on Papazian. Known acquaintances. Hangouts. But you've got to figure the cops have already been over all this. ANGEL Yeah, but we haven't. Doyle sneaks a look at Angel, then nods toward Cordy, nose buried in documents. Doyle's look says "say something nice.'' ANGEL (stiffly) Uh, Cordelia. I wanted to, you know, thank you, so much, for going through those coroner's reports. Because I can imagine how not fun it is to read about, you know, coroner stuff. CORDELIA (without looking up) Lame. Angel looks at Doyle, Doyle shrugs. Cordy rubs her bleary eyes, stretches. ANGEL What have you got? CORDELIA The weebies. This guy clearly has anger management issues. You got victims and victim parts washing up ail over the Southern California coast. Something about that sparks Angel's interest, he moves to Cordy, looks at the coroner's reports. ANGEL (scanning reports) Long Beach, San Pedro, Carlsbad... Angel gathers up the reports, moves to Doyle -- ANGEL Let's pull up the tidal flow charts for the last ten months, match them up to the dates of these murders. DOYLE (getting it) Tides... You think he's got a primary dumping ground. That maybe all these victims originated from the same spot -- ANGEL (nods) Someplace Little Tony feels safe... INT. POLICE PRECINCT - NIGHT Kate busy at her desk. She glances up -- sees a UNIFORMED OFFICER (fit fifty-five year old) climbing the stairs across the bustling precinct. She pushes up, moves toward -- ANGLE ON STAIRCASE The Officer alights onto the landing, as Kate catches up from behind, a little winded. KATE Daddy -- TREVOR Katie. They lock at one another. Discomfort right off the bat. This is TREVOR LOCKLEY, Kate's gruff beat cop father. KATE I was just at my desk... I saw you-- (off his nod) Were you planning on saying hi? TREVOR I figured you're working. KATE But I still have time to say hello to you. TREVOR I'm not here very long, anyway. Just dropping off some pension forms up in records. (holds up envelope) If you think you got red tape on the job, wait'll you retire... KATE Harlan tells me they're throwing you a send-off at the Blue Bar. TREVOR Just some of the guys looking to give me a hard time. Not a big deal. KATE He said I should say something. You know, just a few words to mark the occasion. Seeing as you're my father. TREVOR That'd be fine. Don't go to any trouble. KATE It's no trouble, really ... Another awkward silence. A COP, HEATH, calls out from a nearby desk, holding a phone -- HEATH Detective? You got a call on 229. KATE Thanks. (to Trevor) I guess I'd better-- Trevor nods tersely, then moves off. A little thrown by the encounter, Kate grabs her call on a nearby phone. KATE (into receiver) Lockley. INTERCUT WITH: EXT. PAPAZIAN'S LAIR - NIGHT - ANGEL'S CAR Angel alone in his parked car, on his cell phone, eyeing A WAREHOUSE on the docks where HENCHMEN patrol. ANGEL 8843 Hyperion Way. Right off pier 39, in San Pedro. KATE You found him. You're sure? ANGEL It's Gotz Salvage Depot on the northwest side. Looks like quite a bit of firepower, too. KATE I'm on my way. Get out of there. KATE OUT. We stay with Angel as he clicks off. Reaches for the ignition switch, is about to start his car, but now -- ANGEL'S POV LIGHT FLASHING on the water in the distance... A BOAT, a CABIN CRUISER, heads toward the warehouse. ANGEL Looks through a NIGHT SCOPE, sees -- ANGEL'S POV - NIGHT SCOPE MATTE Seeing the approaching boat a bit closer. Angel's POV PANS to find... LITTLE TONY PAPAZIAN, whom we recognize from the photos, emerging from the warehouse with two of his HENCHMEN, watching the distant boat getting closer. ANGEL realizes that Little Tony is likely getting ready to take a trip. Squirms. Remembers what Kate instructed. A beat. Then Angel reaches into the back of his car and extracts a seriously LOUD HAWAIIAN SHIRT and a crumpled hat. EXT. PAPAZIAN'S LAIR - SHORT TIME LATER Little Tony and his men watch as the boat gets closer. LITTLE TONY And don't forget to water my plants. HENCHMAN Sure thing. LITTLE TONY And talk to them. They like that. Now another figure appears among them, shoulder-to-shoulder. Angel, dressed in his "tourist" clothes, now also watching the approaching boat. They take note of him, exchange looks. He smiles to them, nods. ANGEL (geek guy) Hi. This is exciting, isn't it? I just love boat trips. The bad guys just blink at him. LITTLE TONY Who's the mook? ANGEL (offering his hand) Herb Saunders, Baltimore. HENCHMAN It's Herb Saunders. Little Tony shoots his henchman a drier-than-whiskey look. ANGEL Cripes! The freeways you people have in this town. I been driving around in circles all day. But the brochure did say boats leaving every two hours. Little Tony nods to his Henchman to get rid of this guy. HENCHMAN (moving on Angel) Yeah, I think you're still lost. ANGEL That's not the boat to Catalina? HENCHMAN No. ANGEL You sure? I could have sworn the ticket said Pier 39. Angel pseudo-searches his pockets. ANGEL It's here someplace, I just had it. HENCHMAN Come on, get out of here. LITTLE TONY (suspicious) Benny, I don't like this guy. Angel doesn't budge, steals a glance behind himself - no sign of cops. Looks to the boat - docking. Without further ado he pops the Henchman - who goes down hard. ANGEL (to Little Tony) It was the hat, wasn't it? I knew the hat was too much. Tony's second Henchman (Henchman, well, #2) goes for his piece, well trained for this. But Angel's fast. He knocks the gun away and they exchange quick blows. Little Tony quickly guesses who's going to win this fight, he backs away, then runs -- ANGLE - DOCK SIDE As Little Tony runs down the end of the dock just as MARKED AND UNMARKED COP CARS SKID UP. Kate jumps from one of the cars, her gun before her. Suddenly, Little Tony's surrounded. She and Little Tony lock stares. KATE Hiya, Tony. CUT TO: EXT. PAPAZIAN'S LAIR - NIGHT - LITTLE TONY'S FACE as a police cruiser door is SLAMMED over it. Kate, steamed, moves away from this to Angel, who waits nearby. KATE Which part of "just get out of there" gave you the trouble? ANGEL (contrite) I had to do something. He was getting away. KATE So you decided to dress like a road flare and put my ass - and yours - on the line? (then) Look, just... go. I'll figure out something to tell my Lieutenant. She walks away, gets into the passenger side of the cruiser. Angel watches. He catches Little Tony's eye. Holds the look for a beat, then the cruiser pulls away. Off Angel -- INT. POLICE PRECINCT - NIGHT Kate hustles the cuffed Little Tony into the precinct house. LITTLE TONY I want my phone call -- KATE Gotta cancel the suite in Yerevan? Think you can get your deposit back? She takes him to a wall phone, a couple of UNIFORMS in evidence nearby. She uncuffs him so he might use the phone. As she does: LITTLE TONY Been running after me a long time, haven't you, sweetheart? If I'd known how bad you wanted me, I mighta let you catch me a little sooner. KATE And if I'd known how much you needed the exercise, I mighta let you run a little longer. She pats his great girth, moves off. Little Tony darkens, reaches for the phone, dials. Waits. EXT. WOLFRAM AND HART OFFICE - NIGHT - STOCK To establish with burnished plate reading "Law Offices Of Wolfram and Hart." Over this: RECEPTIONIST (V.O.) Wolfram and Hart -- INT. WOLFRAM AND HART OFFICE - LEE'S OFFICE - NIGHT A smart young lawyer, LEE MERCER, wears a phone headset. Moves freely about his office. CAMERA finds the SIGNAGE behind him, indicating these are the LAW OFFICES OF WOLFRAM AND HART... LEE Yes, Mister Papazian. We're already well aware of the situation -- INTERCUT WITH: INT. POLICE PRECINCT - SAME Tony on the phone, eyeballs Kate in the near distance. LITTLE TONY And are you aware I got a certain thorn in my side -- LEE Oh, yes. We understand the factors very clearly. And I think I can say with some confidence... Lee moves to his FAX MACHINE as a TRANSMISSION comes in. He removes the fax -- a PHOTO OF KATE. LEE ...that thorn is about to be removed. Permanently. BLACK OUT. END OF ACT ONE Act Two INT. POLICE PRECINCT - INTERROGATION ROOM - DAY Kate, her LIEUTENANT, Lee Mercer and his (still in custody) client Little Tony together for this. A STENOGRAPHER sits in, keeping the record. Kate doesn't take her eyes off Little Tony, who stares right back, both waiting for the other to blink. Lee hands over sheaves of legal documents. LEE ...here is your copy of our petition to the court to transfer our client out of this precinct. LIEUTENANT What for? LEE For his own safety, Lieutenant. KATE Aww, is he scared to stay with us? Do you need a night light? LITTLE TONY You got a pretty mouth, Katie, hate to see it get broken -- LEE I want that stricken from the record, Mr. Papazian is under tremendous stress due to the abuse suffered at the hands of your officers and (for Kate's benefit) an as-yet unnamed assailant we believe was in league with Detective Lockley at the time of the arrest. The Lieutenant looks at Kate. KATE I wouldn't know about that. LITTLE TONY I saw you talkin' to him! KATE Yeah? Was this before or after you murdered Supervisor Caffrey, you fat piece of -- The Lieutenant touches her arm, stops her. LIEUTENANT That's enough. LEE (to stenographer) I want her verbal abuse entered into the record. KATE (scoffing) Pffft! LEE That Pffft, too. LIEUTENANT We're well aware of your grievances, councilor. All of Mr. Papazian's rights will be duly respected while he is in our custody. LEE Mr. Papazian is a very important client at Wolfram and Hart -- any further violation of his rights and there will be serious repercussions. KATE And what exactly the hell does that mean? LEE It means that we will open this case to the court of public opinion. It means we will shine a light into the darkest corners of this precinct and give the people a view of the brutality and callousness of this police force that will make Mark Fuhrman look like Gentle Ben. LITTLE TONY (pleased) Everybody should have a lawyer like this one. INT. ANGEL'S OUTER OFFICE - DAY Cordelia's at her desk. Angel, in thought, emerges from his office, pours himself a cup of coffee. CORDELIA So how nice is it to finally have a simple find-the-crime-lord case? Over and done with. ANGEL (sips coffee) Yeah. CORDELIA Wait. You've got pensive face -- ANGEL I've always got pensive face. CORDELIA Pensiver face. ANGEL I'm just not so sure this thing is so over-and-done-with, that's all. There was something about Little Tony... CORDELIA What something? ANGEL Just a feeling I got. CORDELIA (a self satisfied:) Mmm-hmmm. ANGEL What? CORDELIA Nothing. I just find it endlessly fascinating how your instincts are so highly attuned when it comes to boring-old-evil, but you have yet to make any mention of these new shoes I'm wearing. She goes back to what she was doing. He sighs big. ANGEL It's not... look, Cordelia. Women's shoes. Men just don't -- Doyle enters, looking like he's got news. DOYLE (quickly to Cordy) Great shoes. New? (to Angel) So you were right. Papazian's planning something. ANGEL What'd you hear? DOYLE (didn't I just say this?) Papazian's planning something. ANGEL That's it? DOYLE Johnny Red says, quote: "Papazian's planning something." ANGEL I thought he might be planning something. DOYLE Well, you were right. And as those grim suspicions are confirmed... INT. COP BAR - NIGHT - KATE enters the cop bar, nods to several people. She's hero of the hour in here. She moves down the bar passing a couple of COPS NOT IN UNIFORM. COP #1 (good naturedly) Lockley, what are you trying to do - bagging Little T? Make us look bad? COP #2 Home run, Lockley. Smiling, she takes her place at the bar as the BARTENDER brings her her usual. She starts to pay for it, he puts up a hand indicating it's paid for. She looks to the cops she just passed, who toast her. TREVOR (O.S.) Tony Papazian, eh? Kate turns at the sound of that voice, sees her father at a booth. She braces herself, moves to sit with him. KATE Yeah. TREVOR Well, congratulations... He lifts his glass. KATE Thanks -- Kate raises her glass. TREVOR (before he drinks, gesturing with glass) Here's hoping the bust doesn't fall apart before you finish filing the paperwork. Damn lawyers, huh? Now he drinks. KATE (glass poised in mid-toast) Yeah... Harlan, the Plainclothes Detective from the Teaser, appears. TREVOR Harlan. HARLAN You see this? He holds up a memo. Kate takes it. KATE Sensitivity training? INSERT - MEMO mandating sensitivity training. It includes a line "Allen Lloyd of the Sensitivity Awareness Institute..." and a phone number. HARLAN Everyone has to take it. Word is it's because of what you did to Papazian-- KATE What I did? (steamed) Oh, somebody's gonna answer for this. HARLAN You think they'll make us hug? KATE (absently, scanning the paper) I'm not hugging you, sweatboy ... TREVOR Glad I'm getting out. In my day we didn't need any damn sensitivity. Kate looks from the memo to her father... LLOYD (V.O.) I'm guessing not too many of you want to be here right now... INT. POLICE PRECINCT - CONFERENCE ROOM - DAY - KATE shifts uneasily, as she sits among other off duty cops for the sensitivity training session. Mostly men, at least two other FEMALE cops. They're in street clothes and ail wear "Hi My Name Is _" tags. ALLEN LLOYD, the affable, straight-shooting, somewhat shaggy sensitivity consultant sits on the edge of a desk in front of the room. LLOYD Quick show of hands. Who actually wants to be here? No hands are raised. Except for Lloyd's. He smiles sheepishly, precipitating some laughter from the cops. They appreciate the icebreaker. LLOYD Well, I'm not gonna waste your time. What I'm gonna do is give you some tools to help you experience the full range of human emotions. Learning that won't just make you better people - it'll help you defuse volatile situations in the field... It'll allow you to manage your aggression, so you won't feel so tired all the time. in short, it'll make you better cops. Lloyd scans the crowd. Sees that some of the cops are now actually listening to him. LLOYD One of the tools we use is this... He takes a baton-sized stick from the desk top. LLOYD It's called a Talking Stick. (he smiles) I know it sounds silly. But it works -- if you give it a chance. It's our contract with each other. Whoever holds it has the freedom to express himself or herself completely, without judgement, within the confines of this room. He approaches the cops. OFFICER HEATH squirms a bit as Lloyd stops in front of him, leaning to read his nametag. LLOYD Officer Heath. Lloyd offers the stick to Heath. HEATH I don't think so-- LLOYD Go ahead. Give it a try. Reluctantly, Heath accepts the stick. LLOYD Why don't you start by telling us something about your family, how you grew up... Any siblings? HEATH (fine, I'll answer) Uh, yeah. Six brothers. LLOYD And what was that like? HEATH I learned how to hit back pretty quick. Heath grins to his buddies, gets a low grade laugh. LLOYD Your brothers went kinda hard on you, huh? Where were your parents? That gets Heath's attention. He looks at Lloyd. HEATH Well, it was just my mom. She - she did the best she could. LLOYD So you had to get tough right out of the gate. Shut down your emotions. (off Heath's rising emotion) It's okay. You have our permission to be honest. Is there something you wanted to say to your mother, but never could? A beat as Heath considers that... we feel a breakthrough about to occur... he's ready to speak, but -- KATE (aside) "Will you marry me." The spell is broken. Laughs from the others, but not Heath. Lloyd pats him on the shoulder, takes the Talking Stick from him and moves to Kate. Some "ooooh, busted" from the onlookers. He looks at her name tag. LLOYD Kate. You'd like to share something. We'd like to hear it. KATE No, I don't really -- He holds the Talking Stick out to her. A beat. LLOYD Afraid? She takes it. LLOYD Genuine emotion makes you uncomfortable. That's okay. She's a little disarmed by that. LLOYD Your inappropriate sarcasm masks anger. And do you know what anger is, Kate? It's just fear. Fear of being hurt. Fear of loss. (zeroing in) You've been hurt, haven't you, Kate? You're afraid of being hurt again. (then) Who are you afraid is going to hurt you? She isn't laughing anymore. As we hold on her... JOHNNY RED (O.S.) Hell if I know... INT. JOHNNY RED'S SALVAGE - DAY Angel and Doyle with JOHNNY RED, who's doing a Nordictrack. JOHNNY RED "Planning something." That's all I heard. ANGEL Who'd you hear it from? JOHNNY RED Some guys that work for Little Tony. They're in my Thursday night spinning class. ANGEL But what did they say, exactly? JOHNNY RED They weren't actually talking to me. They were talking to a couple guys from Izzy Erancato's crew. But I overheard it on account of they kind of had to shout over the bikes. DOYLE All these guys are at your gym? JOHNNY RED Yeah. DOYLE What, they have some kind of thug rate special there? JOHNNY RED No, but if you wanna sign up, I get a discount for bringing you in -- ANGEL Hey -- guys. What was said? JOHNNY RED Right. Izzy's boys, they say to these guys from Little Tony's crew that now that LT's in the clink they'll have to look for new employment and LT's guys say no because no stupid bitch is gonna get the best of LT and LT's "Planning something.'' Angel looks to Doyle, grave. ANGEL You know what that means? DOYLE LT? I think it just stands for "Little Tony," yeah? ANGEL It means he's going after Kate. INT. POLICE PRECINCT - HOLDING CELLS - NIGHT CAMERA TRACKS past the cages, past the DUTY COPS, past the various scary looking INMATES... PUSHING, PUSHING... we find Little Tony in his cell, sitting quietly, a smile playing on his features. We continue to PUSH IN, getting ever closer to his still, determined face -- a man who doesn't plan to be here long, until we -- EXT. LOS ANGELES SKYLINE - NIGHT Cool jump cutty transition to -- INT. POLICE PRECINCT - NIGHT Kate moves through the precinct, looking thoughtful, troubled. She's surprised to see Angel standing there. KATE Angel -- ANGEL We need to talk -- KATE I know. I want to apologize for the other night. ANGEL You don't have to do that. KATE (a touch of sarcasm) Oh, that's not what my sensitivity trainer says. (off his reaction) I know. Pretty goofball, right? Still... (then, plainly) Thank you for what you did, Angel. ANGEL You're welcome. A quiet moment of gratitude, then -- KATE Hey -- what are you doing tomorrow night? Around eightish. My dad's having this retirement party thing with a bunch of his old cop buddies. I'm supposed to say a few words. It'd be nice if there was at least one person there who wasn't, you know... armed. (then) It'd be a favor. ANGEL (small smile) Sure. KATE That was easy. I'm relieved. (beat) Is something wrong? ANGEL Kate -- I think you're in real danger. KATE So the relief part's done -- ANGEL I've heard some things. I don't have the specifics yet, but I think Papazian's taken a contract out on you. KATE Wow... ANGEL I'm going to stay on this until -- KATE (musing) He's really acting out, isn't he? ANGEL Well, yeah... he wants you dead -- KATE Oh, I get that - I'm just saying he must be in some kind of pain, to have to strike out at others that way. ANGEL Are you okay? Kate realizes how she must sound. Laughs at herself. KATE God, listen to me. Suddenly I'm Dr. Laura. Don't worry, Angel, I'm sure I'll be back to my usual level of cynicism in no time... Not entirely convinced, Angel looks at her as we PRELAP: LLOYD (V.O.) All right, then. Tell me... CUT TO: LLOYD is looking at someone o.s. -- LLOYD ...what are you feeling? INT. INSTITUTE FOR SENSITIVITY AWARENESS - NIGHT Lloyd's home base. Not unlike a scientology church. WE SEE who Lloyd is talking to: Lee, Papazian's attorney. LEE Concerned. We went to great effort and expense to get you into that precinct. Is it working? LLOYD Of course it's working. Now, as Lloyd paces his office, we see behind him an impressive demonic altar. LLOYD After tomorrow's session, you'll see results. Incredible results. LEE (deadpan) That makes me feel all warm inside. BLACK OUT. END OF ACT TWO INT. COP BAR - NIGHT Several COPS, some in UNIFORM, others in street clothes, already here for Trevor's party. We might recognize several of them from Kate's precinct and the sensitivity training. There's a table set up with a decorated cake. KATE AND ANGEL enter. Kate's a bundle of emotion, as we might expect, given the occasion. We MOVE with them as Kate takes in the room, grabs a glass of cheap champagne off the cake table: KATE Boy... I feel scared. And excited. And consumed with dread -- and glad you're here. ANGEL I doubt even one of Little Tony's hired guns would try something in a room full of cops. Even so, we can sense Angel is keeping a sharp eye out. KATE What? Oh, that... Death threat. Hanging over head. No, I meant speaking in public. ANGEL Well... what's that old saying, picture your audience in their underwear? She slides a glance up and down Angel's body. KATE Way ahead of you. She moves off. We hold on Angel for a beat, then he follows. TREVOR stands jawing with some of his COP BUDDIES. Kate approaches, kisses him lightly on the cheek. KATE Happy retirement, Daddy. TREVOR (as Angel approaches) Who's this? KATE This is Angel. He's a friend. Angel, this is my father. Angel extends his hand, they shake. ANGEL Hello, Mister Lockley. Congratulations. TREVOR For what? All I did was live this long and not get shot. Trevor feels Kate looking at him... seemingly looking into him. KATE Why do you do that? TREVOR Do what? KATE Pretend important things don't matter. An awkward beat. TREVOR So -- Angel... how long you been seeing Katie? ANGEL We're, uh, pretty new friends. TREVOR Well, good to see her out with a man. (then) I was starting to wonder if she didn't lean in another direction altogether... Angel forces a strained smile. An awkward beat. Kate and Trevor both grab their drinks and down them in unison. LIEUTENANT (O.S.) All right, everyone! Harlan stands before the crowd, at the cake table. LIEUTENANT Before we cut the cake and end a career, the other officer Lockley - - the good looking one -- would like to say a few words. Kate? Kate glances to Angel, moves to the front of the crowd. The CROWD quiets, converges to the center of the room, listens up. Angel and Trevor side by side. KATE Looks out at the room, feels the press of attention. KATE Hi everybody, welcome to the end of an era... now the old man would like us to believe he could care less about all this attention and free booze... A little polite laughter. KATE ...but I know him better than that. He put a lot of years in on the job and he made a difference in a lot of lives. (then) And now it's over... it's a huge deal - no matter what he says. In fact, I don't know what he's going to do with himself. He forgot how to be anything but a cop a long time ago. Kate looks at Trevor, her expression darkening now. KATE And maybe - maybe that's why I wanted to be a cop too. Like, if we spoke the same language you'd notice me again. After mom died, you stopped, you know. It was like you couldn't stand the sight of me. Her face, her eyes - looking up at you... CAMERA PANS the crowd. Many of the cops from the sensitivity class listening intently, welling up. A couple, inexplicably, giggle. ANGEL GLANCES AT TREVOR Who looks straight ahead at Kate, hard to read what he's feeling. KATE But big girls don't cry, right? You said, gone was gone and there's no use wallowing. Worms and dirt and nothing forever... Not one word of a better place. You couldn't even give a scared little girl a beautiful lie... God, I wanted to drink with you. I wanted you to laugh once with me the way you laughed with-- (indicating Lieutenant) Jimmy here, or Frank... Angel looks from Kate to the crowd, some of whom are actually weeping, (including Harlan), some of whom are rocking and holding themselves. Trevor glances at Angel. TREVOR (glances at Angel) What the hell'd they do to her in that class? Kate starts to cry now. Her hurt and ire growing... KATE My best friend, Joanne? Her mom was soft and she smelled like macaroni and cheese and she'd take me on her lap and rock me... She said she wanted to keep me for herself, I was so good and sweet... Everybody said I was. See - I can overachieve up the ying yang - gold stars to gold tin. But I'm never going to get it, am I? You realize you've never told me I was pretty? Not once in my life? HARLAN Keep going, Katie... we're here for you... KATE Well, I can't anymore, dad. I can't campaign for the office of your beloved daughter. You closed your heart after mom left us and that's it. BACK ON THE CROWD Where an odd sort of emotional anarchy is brewing. A few of the guys have completely broken down sobbing, a few have turned on each other - arguing... All are in the throes of some high emotional state. HARLAN, near tears, and the Lieutenant exchange words. HARLAN That was so damn brave. LIEUTENANT You kidding!? Her old man's party wasn't the forum - she shoulda wrote about it first! HARLAN She can't worry about protecting him- ANOTHER ANGLE Two cops are holding each other as one cries... COP #1 Let it out, Dale. I always knew your mother was controlling... ANOTHER ANGLE Where HEATH and another cop are locked in high drama. COP #2 What!? I'm passive aggressive? HEATH I'm hearing a lot of denial- BACK ON LIEUTENANT AND HARLAN LIEUTENANT (heading toward Kate) She abused the process and I'm tellin' her-- HARLAN What? After that breakthrough?! You're completely blocked! LIEUTENANT Your need for catharsis isn't the issue here! HARLAN I'll give you catharsis -- With that, Harlan JUMPS on the Lieutenant and they start beating on each other... Angel leaps in, breaks it up. Kate just stands there, looking at her father as people cry and shove each other and general hysteria begins to spread. But Trevor isn't paying her any mind. He grabs the blubbering Lieutenant from Angel- TREVOR For godssakes, Jimmy. Keep it together. (to Angel) I'll take him back to his precinct. Let him sleep it off with the drunks. Then Trevor glances back at Kate, who is just a splayed, open wound, not contorted in pain, just an open face, the tears streaming down. Trevor moves off. TREVOR You should do likewise. Angel watches Kate for a moment, then moves to her... ANGEL (gently) C'mon. As he leads her out -- INT. ANGEL'S OUTER OFFICE - NIGHT - CORDY enters, not amused to be called back to the office at this hour. Her rant starts before she's even in the door: CORDELIA All right, so I'm here. What's the big emergency? These middle of the night hours are really eating into my potential social life. Why I ever thought it'd be a nifty idea to work for a va... She rounds a corner, nearly collides with Kate sitting there. CORDELIA ...aaeeeentriloquist. Hi. KATE (warmly) Hi. Cordy sees Doyle as Angel appears with a cup of tea for Kate. ANGEL (offering cup to Kate) Here. Drink this. KATE (sips tea, looks in his eyes) You have the most intense eyes. I see such an old soul. DOYLE He gets that a lot, ya know. KATE I thought your enigmatic thing was just an act to get women... but the truth is -- there's not an insincere bone in your body, is there? Angel tries to get her to focus. ANGEL Kate, I need you to tell me about the sensitivity training. Who was running it? KATE (smiles) You want to go? It's pretty wonderful -- (suddenly her eyes fill with tears) It gets you where you live... ANGEL I need his name -- KATE Yeah, we all need... so much... She digs in her nurse. Produces the sensitivity memo. Angel takes it and moves to a phone in the background. Kate drifts to Cordy and Doyle in the near distance. CORDELIA What's her deal? She had too much - ? Cordy makes gesture with her fist and thumb to indicate drink. DOYLE Thumb sucking? CORDELIA Alcohol, dummy. DOYLE Don't look at me that way. I'm not the one who needs to brush up on my finger pantomime. (back to business) It's something to do with this training she had at work. They note Kate right next to them. Staring. KATE (singsong) Someone's got a crush... DOYLE What? KATE (to Cordy) It's right there. How he feels about you... And you don't know what to do about it. CORDELIA Please. We just joke around. KATE Where's the truth? Where's the truth? He's hiding behind Mr. Humor. Look at Doyle - really look at him. What do you see? CORDELIA A bad double poly- blend? KATE That's defense, Cordelia. Maybe you should try to open your heart to a new possibility. DOYLE She's starting to make some- CORDELIA (through clenched teeth) Angel -- ! Angel moves to them with the memo. ANGEL I got his address. 322 Fletcher. Kate puts her hand on Angel's arm. KATE What are your secrets, Angel -- what aren't you telling me? CORDELIA I'm sure glad we came down here to watch Late Night With Creepy Cop Lady. ANGEL You came down here to stay with her while I find this guy. (grabbing his coat) Don't let her out of your sight. He exits. Kate smiles at them... then starts to cry. Off Cordy and Doyle's extreme discomfort... INT. INSTITUTE FOR SENSITIVITY AWARENESS - NIGHT The SOUND of a LOCK being PICKED. The door opens and Angel enters. He moves past a few posters for the Institute and we schmuck bait him through a spooky hall or two. He sees a flickering light, enters the -- INT. I.F.S.A. - ALTAR CHAMBER - SAME Angel sees candles burning before the same altar we saw at the end of Act Two. As he takes in the altar... A FIGURE appears behind him -- LLOYD What's going on here? Angel turns -- ANGEL Good question, Allen. INT. ANGEL'S OFFICE - NIGHT Doyle and Cordy watching Kate carefully. CORDELIA Can we get you some coffee? Or Valium? Or both? KATE He walked out. He just walked out on me -- CORDELIA Oh, he'll be back -- KATE Not Angel. My father. CORDELIA Oh. KATE I need to find him. Kate rises. Doyle steps forward. DOYLE Maybe you could hold off on that for the time being. Angel said we should wait here. KATE I hear what you're saying, but I need to find my daddy, now. DOYLE Detective Lockley you're not exactly yourself at the moment. Why don't we all just -- KATE Help each other? She looks at them both with deep feeling. DOYLE Right. By staying here together. KATE We could do that, but I have this -- CORDELIA - - personal problem you're gonna share 'til dawn? KATE Gun. And she's pulled it out. Waves it lazily in front of her. KATE (kindly) I don't want to come off as insensitive, but if either one of you try to stop me , I'll have to blow you the-crap-away. 'Cause I'm gonna find my dad. A beat. Cordy and Doyle step aside. Be their guests. INT. INSTITUTE FOR SENSITIVITY AWARENESS - NIGHT Angel at the altar, looks down at the ancient books and talismans. ANGEL Which demon do you worship? Which one gives you your power? LLOYD A whole bunch, actually. I'm a polytheist. ANGEL I'm not here to play games. LLOYD You have rage, I get that -- ANGEL What did you do to Kate Lockley? LLOYD Do you know what anger is? It's just fear. ANGEL Well, I know what fear is... and I smell it right now. Angel closes in on him. Lloyd backs up toward the altar where the Talking Stick lies. His fingers reach for it. LLOYD That's good. Give yourself permission to open up. What were your parents like? Lloyd sweeps up the Talking Stick... swings it like a bat, cracking Angel across the skull. Angel's head snaps to the side -- but at the same time his hand comes up, clutching the Talking Stick -- ANGEL Oh, my parents were great -- Angel turns back to Lloyd -- and he's now in full VAMP FACE. ANGEL Tasted a lot like chicken. Angel takes the Talking Stick with both hands and drives Lloyd up against the wail with it, pressing it against the man's throat. ANGEL Now -- why don't you talk? Angel means business. INT. POLICE PRECINCT - NIGHT CHAOS in the precinct house. The cops are arguing/getting in touch with their feelings. WE PICK UP Heath, moving through all this, muttering to himself -- HEATH It's not right... Trapped together that way... The bigger ones pick on the weaker ones... Heath unlocks the security door at the back of the precinct... we follow with him as he enters... INT. POLICE PRECINCT - HOLDING CELLS - NIGHT Heath moves to the automatic locking system, contemplates it. HEATH Not right. Makes 'em more brutal than they were when they came in... Decided, he throws some switches, and now... CAMERA TRACKS past the cages as one by one THEY UNLOCK... CLICK, CLICK, CLICK. The INMATES stand at their opening doors, amazed, delighted... CAMERA CONTINUES, finally coming to Little Tony's cell. CLICK. His door swings open. He was waiting for this... Heath smiles, breathing a little easier. The inmates take tentative steps outside of their cells. HEATH Remember this, brothers! An act of kindness is just as many as-- BAM! Suddenly a bunch of INMATES PILE ON HIM, kicking the holy crap out of him, as -- EXT. STREETS - NIGHT The aftermath of a traffic accident. TWO CARS crunched together. The TWO MOTORISTS (one of them rubbing their sore neck) just look confused as the TRAFFIC COP goes off -- TRAFFIC COP You want to talk about whiplash? I'll tell you about whiplash! I've got emotional whiplash from having to deal with people like you day in and day out! If anyone's the victim here it's me! I've alienated my friends, my family. My own children are afraid of me. I can't even make love to my wife! INT. POLICE PRECINCT - NIGHT BANG! the precinct doors are flung open to reveal Kate standing there. She scans the place, looking into the madness -- KATE Dad? Daddy? EXT. PARK BY THE PRECINCT - NIGHT Angel is on foot, racing toward the precinct through a small park. As he passes we stay with A BEAT COP, who stands between a LOW LIFE MUGGER and a bruised OLD LADY. The Mugger still holds a purse and the Old Lady holds a handkerchief to her minimally bleeding forehead. BEAT COP (to old lady/re: mugger) I hear what you're saying - but I don't think you're listening to his feelings at all... EXT. POLICE PRECINCT - NIGHT Angel arrives at the precinct. WE CAN HEAR the pandemonium growing inside. Angel moves toward the entrance when -- Cordy and Doyle appear looking winded and oh-so-worried. ANGEL What are you two... DOYLE It's Kate. We followed her here. CORDELIA She's totally lost it. She looked like she was ready to do some damage. DOYLE (re: the precinct) And it's not just her, by the looks of things -- CORDELIA The whole place is going nuts. This is so not good. Angel looks at them, deep love in his eyes and open arms. ANGEL I think someone needs a hug. Off Cordy and Doyle horrified as Angel pulls them into a group hug... BLACK OUT. END OF ACT THREE Act Four INT. POLICE PRECINCT - NIGHT While the madness continues around Kate, she sits at her desk, phone to her ear -- KATE Please, Daddy. If you're there pick up. We need to talk. Daddy...? EXT. POLICE PRECINCT - NIGHT As we were, with Angel embracing his two mostest favorite people. They wriggle out of it. CORDELIA Hey! What is your damage? DOYLE (straightening shirt) I take it he found Mr. Sensitivity. ANGEL (patting his chest) He was right in here all the time just waiting to come out. Gosh, what our folks do to us, huh? CORDELIA (recoiling) Ahh! He put the whammy on you! You stink with whammy! ANGEL The Talking Stick -- it's cursed all right. CORDELIA (aside to Doyle) There's a stick that talks? ANGEL Cordelia, do you have any idea just how precious you are? DOYLE Tell us about the stick, yeah? ANGEL He uses it as a talisman. Anyone who handles it becomes infected. He admitted it to me after I... (looking away) threatened him with physical violence. CORDELIA What's his trip? ANGEL Wolfram and Hart. The firm hired this guy to neutralize the police so Little Tony could make his escape. It'll wear off. CORDELIA Soon? DOYLE So there never was any contract on Detective Lockley -- ANGEL Little Tony's plan all along was to kill her himself. Poor guy. CORDELIA Poor guy?! ANGEL Well, he's got issues. DOYLE Angel, lad, you have to snap out of this. CORDELIA Right now. It's time to go all vampy -- grrr! Kate needs you! DOYLE She's right. Angel looks to them, is about to do it, then hesitates. ANGEL I don't want to. You both withdraw when I go vamp. I feel you judge me. CORDELIA We won't judge! Will we? Doyle shakes his head "no." Cordy looks back to Angel. CORDELIA Give it a try! ANGEL (shakes his head) Closeness is too important to me right now. DOYLE Angel, Kate's in there -- CORDELIA Along with Killer Guy! Doyle moves up the precinct steps, pulls on the door -- it doesn't open. Locked. He turns to see -- COP #1 on the other side of the door. COP #1 We're closed! DOYLE Yer the police! You can't close! COP #1 Why not? Haven't we done enough? It's always "find this," "rescue that" with you people. See how you like it! He pulls down a shade. INT. POLICE PRECINCT - NIGHT We're moving through. A UNIFORM (COP #2) has an INMATE cornered. The Uniform holds a sheet of writing paper. COP #2 I wanted to express my regret for having treated you so shabbily. So I've composed a poem about it. (begins) "I saw a leaf, and I did cry..." KATE at her desk, phone back on the cradle. She sits there, depressed. Forlorn. Now Harlan approaches. HARLAN It hurts, doesn't it? When people don't listen. When they reject you. KATE (looks up) You know? HARLAN I ought to. For two years I've been saying to you with everything I have -- love me, Kate. Need me the way I need you. But you never notice, never return my desire. You just sit at that desk next to mine, smelling the way you do, taunting me- Suddenly, GUNFIRE! A massive, blistering volley of it. INT. POLICE PRECINCT - CORRIDOR NEAR HOLDING CELLS - SAME Little Tony and some frightening looking ESCAPEES rifle through the weapons storage. The shots we heard were from some of the Escapees' new toys. They're liking the feel of 'em. Tony ready to move, tosses guns to two Escapees -- LITTLE TONY You two -- you're working for Little Tony now. You'll find I'm stern -- A COP has appeared in the corridor, without even blinking or missing a beat Little Tony BLASTS him. LITTLE TONY -- but fair. Now let's go kill us a lady cop. He locks and loads, a hunter going for a kill. Escapees #1 and #2 obediently follow, as -- INT. POLICE PRECINCT - STORAGE ROOM - NIGHT CAMERA TRACKS SLOWLY, pushing into the storage room. Creeping toward a high-ish BARRED WINDOW. During this slow creep forward, WE HEAR a harshly whispered conversation going on outside: CORDELIA (O.S.) We need a rock -- ANGEL (O.S.) I can't say that I'm really very comfortable with this. CORDELIA (O.S.) Don't argue. It's the only way in. DOYLE (O.S.) This one should do it. Stand back -- A THUD against the wail outside. CORDELIA (O.S.) Aim for the window! DOYLE (O.S.) I was! CORDELIA (O.S.) Give me that -- CRASH! A rock comes hurtling through the window, glass goes flying. DOYLE (O.S.) Nice arm. CORDELIA (O.S.) Angel! Your turn. Now! Come on, hop to it! Now a pair of HANDS (Angel's) appears at the window, grasps the bars. A bit of effort, some serious tugging, and Angel pulls the bars from the mortar. BIRD'S EYE VIEW Looking down on the storage room as first Doyle, then Cordelia then Angel, each in their turn, shimmies through the window, gaining entrance. IN THE STORAGE ROOM Cordy and Doyle edge toward the inner door, but Angel hangs back, surveying the damaged window. ANGEL (re: the window) Wow. That's vandalism. DOYLE We'll take care of it later. Angel continues to consider the damage... ANGEL We should leave a note. Cordy tugs at Angel. CORDELIA Would you come on! ANGEL What's the magic word? CORDELIA (O.S.) Urgh! ANGEL No, I don't believe "urgh" is the magic word. If one would even call it a word. And even then certainly not a magic one. CORDELIA We don't have time for this! ANGEL There's always time to be considerate of others, Cordelia. CORDELIA Oh, puh-lease! ANGEL See? That wasn't so hard, was it? Angel moves past them. Cordy and Doyle share a look, then follow. INT. POLICE PRECINCT - SAME Tony comes around a corner. Spots Kate. She sees him. They lock eyes. Tony raises his big ass gun at her -- LITTLE TONY Thought you finally had it over me, huh? Thought you were smarter than Little Tony? Well, nobody beats me, baby, not even a stone bitch like you- Kate rises, takes a troubled step backward. KATE I'm not a bitch, I'm just protected. He smiles. LITTLE TONY No one protecting you now.... And he raises his gun again as -- ANGEL (O.S.) Hey! Tony looks over to see -- ANGEL, DOYLE, AND CORDY Have entered the bullpen. ANGEL I'm feeling some serious negative energy in this room. Cordy gives Angel a little push. CORDELIA Go on. Take care of him. Little Tony registers recognition at Angel -- LITTLE TONY Oh, I been wanting to see you again. KATE (to Tony) I'm sure he'd say the same - but that gun really makes you come off as hostile. ANGEL (to Kate/nodding) That and the body language. So closed. DOYLE (under his breath) Angel, man, fight. Don't talk. CORDELIA We are so dead... Angel steps up to Little Tony and crew. ANGEL Now - why don't we all just sit down together and process this? Angel rests his hands on the back of a chair. Tony grins. LITTLE TONY Guess that sensitivity training I paid for really took, huh nancy boy? Tony brings up the gun. Angel brings up the chair faster -- knocking the gun out of Tony's hand, still sweeping the chair around (or hurling it) and taking down Escapee #1 at the same time. ANGEL Okay. Now I'm feeling unheard. He smashes Tony unbelievably hard. KATE DIVES FOR TONY'S GUN comes rolling up, blasts Escapee #2, who is about to shoot Angel. Shakes her head sadly. KATE Now how do you think that feels for me? ESCAPEE #1 Crawls, his head still ringing, to his fallen gun. Just as he reaches for it -- a pair of great shoes step on it. He looks up, sees Cordy. He's about to make a move when Doyle appears, sending him back with a swift kick. ANGEL wallops on Tony as: ANGEL You know, Anthony, you could be a rainbow... (big ass punch!) ...and not a (does quotemarks) "painbow". Lightning punch to the face. Little Tony finally goes down. ANGEL It really is all up to you. A stunned beat as Cordy and Doyle look at the still emotional Angel and Kate. Then Kate and Angel look at each other, point affectionately. KATE You... ANGEL You. KATE Come here... They give each other a big hug. CORDELIA Anyone for vomit? Angel and Kate break, look at their fallen foes. ANGEL It's so sad, isn't it? KATE (nodding) Some people just need to live in the problem. EXT. LOS ANGELES SKYLINE - DAY As a new day dawns and INT. POLICE PRECINCT - HOLDING CELLS - DAY Little Tony, a couple of GUARDS nearby, is on a wall phone. LITTLE TONY Where the hell are you? I want my limo here now-- INTERCUT WITH: INT. WOLFRAM AND HART OFFICE - LEE'S OFFICE - DAY Lee, phone headset on, is at his desk, watching a monitor where a SURVEILLANCE VIDEO from the police precinct and the night of madness plays. Tony brandishing guns, etc. LEE I'm afraid that's not possible, Mr. Papazian. LITTLE TONY What? What are you talking about? LEE You shot up a precinct and attempted to murder a police officer in full view of witnesses. We can't risk that kind of exposure. LITTLE TONY You're the one set this thing up- LEE We opened a door for you. The point was for you to walk through it - not blast your way out. (then) The senior partners feel you've become a liability. We can't waste valuable energy on you when there are more pressing issues at hand... Lee raises his VCR remote, zaps the screen into FREEZE FRAME... the image holding on ANGEL in the precinct. LITTLE TONY So what are you saying, you- LEE (interrupts/absently) Our relationship is terminated. As is this phone call. Lee clicks off. Gazes at Angel's frozen image... INT. POLICE PRECINCT - DAY A mess, but put back into some kind of order. The cops here all exhibit morning- after-shame. Terse greetings, no one's looking anyone in the eye, stepping around each other. We move through the scene until we PICK UP -- KATE AND ANGEL standing together. Kate looks beat. ANGEL How do you feel? KATE Pretty foolish. You? ANGEL I'm all right. KATE Internal Affairs is investigating the Blue Bar. They think someone there spiked the punch. Angel nods, doesn't offer comment. KATE Seems like everyone went a little crazy... I know I did, with my dad. (then/anxious) Did I... Did I say anything to you? ANGEL I'm a little fuzzy myself... KATE Good. After a moment: KATE Well... I should get back to work. ANGEL Yeah, me too. He smiles, then retreats. She turns back to her desk, but sees TREVOR heading through the precinct toward her. KATE Hi. A pregnant moment. TREVOR Katie. Got your messages on my machine. KATE (day-after regret) Yeah... You know that was kind of a bizarre night... TREVOR Katie, don't... don't say anything. It seems like he has more to say. She waits... TREVOR You make an idiot of yourself, embarrass me in front of the guys... you don't bring that up ever again. She goes cold. TREVOR Far as I'm concerned, it didn't happen. Then he turns his back on her and walks away. ANGLE - ANGEL'S POV of Kate, alone as the figure of her father walks away from her. She gently looks around. Doesn't want to be seen at this particular moment. ANGEL in the shadows. He affords her that sensitivity. And now he, too, turns and walks away. BLACK OUT. THE END