Somnambulist (November 9, 1999) Written by: Tim Minear Teaser A HARVEST MOON shimmers in a night sky. We take this in for a beat, then... the image is shattered as a BARE FOOT plops into it; the moon just a reflection in a puddle and WE ARE: EXT. CITY STREET - NIGHT A WOMAN runs down the lonely street. We don't get a good look at her face. We likely realize we're in someone's dream landscape. Dominant SOUNDS -- The Woman's labored BREATHING and her BARE FEET SLAPPING on the wet pavement -- are heightened. Maybe we're a bit OVER-CRANKED, giving her flight a slightly surrealistic quality. She looks over her shoulder as she runs, checking for her pursuer. She turns forward again... SHE SEES... A DARK FIGURE blocking her path. Seemingly appearing from out of nowhere. She puts on the brakes, but too late, he has her, his grip iron fast. CLOSE SHOTS Her trembling lips... HIS HAND reaching in, gently moving hair from her porcelain neck... On his thumb, fitted snugly like a thimble, is an open-topped metal piece which comes to a sharp point. He draws it lightly over her cheek. She's breathing hard, more from fear than from the running. The veins on her neck stressing against her flesh. HIS FACE shrouded in shadow... pressing forward just slightly, the MOONLIGHT bringing into relief... his VAMPIRE FANGS, bared and ready... HIS THUMB he punctures her cheek with the tip of the finger fitting. He's cutting her, drawing a thin line of blood in her cheek. WIDER The attack in silhouette as he bites down, drinks deeply, then lets her body drop there on the pavement. THE WOMAN'S DEAD FACE where we see a pattern out into her cheek: a Christian Cross. THE KILLER COMING UP INTO FRAME. It's ANGEL. Still in full vamp face. He shuts his eyes in rapture. We PUSH CLOSER... on the push he MORPHS back to normal face. He opens his eyes again. Now his demeanor changes. He's suddenly confused... disoriented. Somewhere in the distance, the SOUND of a POLICE SIREN... WE PULL WIDER and now we find that we are no longer on the lonely street, and neither is Angel, and we are: INT. ANGEL'S BEDROOM - NIGHT ...STILL PULLING BACK, finding Angel on his bed, on top of the covers, fully dressed, just coming awake, rattled. Everything else was just a dream. The distant SIREN becomes a PRESENT WAIL taking us to: EXT. CITY ALLEYWAY - NIGHT - A POLICE CHERRY stop an UNMARKED SEDAN as it rolls into frame. WIDER Out of the sedan alights DETECTIVE KATE LOCKLEY and her man- of-no-words MALE PARTNER. They are met by a UNIFORMED COP. KATE Where? The Uni leads them to a crime scene at the mouth of an alleyway. A few more UNIFORMED COPS. Yellow police tape keeping out the curious. They cross under the police tape, move to a FEMALE BODY lying (discreetly) in the alley. Kate slips on rubber gloves, takes the woman by the chin, turning her face. We don't yet see what she's seeing, but something is confirmed for her: KATE It's the same guy... The others follow her gaze to... THE DEAD WOMAN'S FACE It's the same woman from Angel's dream. We see a familiar marking... the Cross cut into her left cheek. KATE (0.S.) This makes three. As we PUSH IN on her glazed, lifeless eyes... KATE He's just getting started. Off that grim image -- BLACK OUT. END OF TEASER Act One IN BLACKNESS: CORDELIA (V.O.) I believe in Los Angeles... INT. ANGEL'S OUTER OFFICE - DAY On the SLOW FADE UP we're VERY TIGHT on Cordelia, in the shadows, speaking to someone O.S. As we slowly CREEP WIDER: CORDELIA It's the city of dreams. A mystical oasis willed from a desert. But even sunny blonde L.A. has its trashy dark roots. And you've learned that the hard way, haven't you? You've taken your problem to the police. They couldn't help you. So you've come to us... Now WE SEE that all this has been directed to an empty chair. Cordy feels eyes on her... looks over to see WESLEY standing in the open doorway, holding a bundle of mail and a newspaper. It's clear he's been watching all this. WESLEY (re: the empty chair) I think it's about to speak. CORDELIA Nobody likes a smartass rogue demon hunter. What do you want Wesley? WESLEY Just thought I'd pop 'round so we might compare battle plans from our respective fronts. CORDELIA I thought you worked alone? WESLEY Well, even a solitary soldier such as myself recognizes that a free exchange of intelligence benefits the common struggle. Also I brought in your mail and newspaper. He hands her the mail and paper. She takes them. CORDELIA Thanks. (then) Okay, so what've you got? WESLEY (thrown) Got? CORDELIA You wanted to compare skinnies on current evil happenings? WESLEY Yes! "Skinnies." Precisely. (Cordy's waiting) Right. Well... (with terrific import) Everything seems quiet. (off her deadpan look) Which, if experience teaches us anything, could mean... something. CORDELIA 'kay, well, thanks for stoping by. WESLEY And you? How go things on your end of the good fight? She's thumbing through the mail now. CORDELIA I've been giving the hard sell to an empty chair -- what do you think? WESLEY Quiet all around, then. Well! I'll keep myself available. The situation can only escalate. (she's still thumbing) We made a most effective team, I felt. Vanquishing that empathy demon in such short order. CORDELIA Yeah, well, nobody gouged out my eyes, so I'm happy. WESLEY Yes. Most effective. Your cryptic visions. Angel's brawn. And my highly-developed powers of deduction rounding out the... CORDELIA This isn't our mail. WESLEY Sorry? CORDELIA See here? Dentist office next door. She shoves the entire lot back at him. He juggles them. WESLEY I see... I didn't realize... Something in the newspaper catches Wesley's eye. Cordy looks up, sees Wesley's absorbed, has gone a bit pale. CORDELIA Something wrong? You stopped yammering. He quickly folds the paper. Now the SOUND of the ELEVATOR coming up from downstairs. Wesley reacts to that. WESLEY I suppose I should return these items to their proper owner -- lovely to see you. Cordy watches him go. The ELEVATOR appears. Angel looks like hell, tired. As he moves to the coffee maker -- ANGEL Who were you talking to? CORDELIA Nobody. And Wesley. (rummages on her desk) So you remember that license plate we got on that runaway case? ANGEL I remember you were going to follow up on it -- CORDELIA (approaching him) No go. The DMV's totally stalker phobic and wow, you look about half dead. He flashes her a look; she backpedals. CORDELIA Which for someone's who's completely dead would be... kinda neat? ANGEL The license plate, Cordelia? CORDELIA Right. I thought maybe you could have Police Woman run it for us on the Q.T. ANGEL Kate? CORDELIA Just remind her that if it wasn't for you she'd be the curdled gooey leftovers of a proto-babylonian burrower demon. Or words to that effect. You'll pretty it up. Angel takes the note with the license plate number from Cordy. Looks at it. She's been staring at him. CORDELIA You sure you're okay? I mean, for a guy who's 200 plus, you're not usually with the bags. He ignores the question, starts for the front door -- ANGEL I'll do this now. CORDELIA Hey -- ANGEL Look, I'm fine, Cordelia. Alright? CORDELIA Alright... Angel pulls open the door -- and Cordy lets him. A strong BEAM OF SUNLIGHT blasts into the room, just missing Angel. He instinctively jumps back, leaving the door open. ANGEL (avoiding her gaze) I'll take the tunnels. Angel moves to the elevator without further comment. Cordy watches him go, knowing all is not well. ANGLE FROM FOYER As Cordy shuts the front door INTO LENS... leaving CAMERA IN FOYER... finding... WESLEY, pressed into a corner, eavesdropping, then looking back to the newspaper with grave concern as we GO TO -- EXT. POLICE PRECINCT - DAY Jump cutty transition to... INT. POLICE PRECINCT - DAY A maze of desks. UNIFORMS and PLAINCLOTHES COPS work. Angel with Kate as she moves busily about the bullpen, cutting together materials. She eyeballs the note in Angel's hand. KATE You know I'm not supposed to release that kind of information to a civilian, Angel -- ANGEL I know. A beat, she looks at him, then takes the license plate note. KATE If it were anyone else... ANGEL I appreciate it, Kate. KATE I know you do. Which is why I don't mind. I'll run it myself. Have it for you by morning. She sits at her desk, puts the plate note her "in" basket. ANGEL No rush... late afternoon... Evening would be fine, actually. KATE To be honest, I won't mind getting my head out of this case. Even for a minute. She's picked up a photograph on her desk, gazes at it. He takes the seat opposite her. She passes the photo over to him: A VICTIM PHOTO of a SWEET LOOKING MIDDLE AGED MAN, all the more poignant because this is a victim in life. KATE The first victim. Reggie Sparks. Volunteered as a crossing guard. As she flips through more family-supplied photos of: KATE Jessica Halpren, 25. Worked as a waitress. And Jenny Markem. She'd just started the 10th grade. And do you know what they all have in common? Angel just looks at her, doesn't have a clue. KATE What he did to them. That's all. ANGEL That's not all. They have you. She looks at him, appreciates that. A moment of connection which is interrupted as a CLERK approaches with more photos. PRECINCT CLERK Here's the crime scene photos you wanted. KATE Thanks -- (to Angel) Look, why don't you stop by Tomorrow. By then I'll have invaded a citizen's right to privacy for you, and you can... (then) Angel -- ? He's not paying attention. He's focused on the top most crime scene photo. Mesmerized by it: a black and white featuring the Christian Cross on one of the victims. FLASH! An explosion flashing back to Angel's dream, the dead Young Woman, the same symbol carved in her face. BACK TO SCENE Kate notes Angel's reaction to the photo -- KATE Yeah. Pretty grim, isn't it? I've spent the last forty eight hours putting together a suspect profile, and believe me -- being inside this guy's head hasn't been a whole lot of fun. Angel just stares at the photo, can't speak. KATE The tabloids are calling him "The Pope." He probably thinks he's doing "God's work." ANGEL No. Just the opposite. This is about mocking God. She looks at him, a little thrown by his utter certainty. He feels her gaze. Awkwardly adding: ANGEL ...is my guess. Before she can consider that any further, the Clerk reappears: PRECINCT CLERK They're ready for you now, Detective. A beat, then she looks to the clerk, re-orients herself. KATE Yeah. Okay. (back to Angel) Looks like it's show... But he's not there. He's up and moving toward the door. KATE ...time. As he heads out and she eyes him, processing their last curious exchange, she vacantly pulls a charm she wears around her neck from under her shirt, she fiddles with it - a Christian Cross. And we PRE-LAP with: KATE (V. O.) Our suspect will be a white male... INT. POLICE PRECINCT - WAR ROOM - NIGHT Kate is before an assembled group of law enforcement professionals. She's got charts and photos of crime scenes. KATE ...to the observer he will not seem a monster. His victims put up little or no struggle, so it's likely he's charming, attractive. But at his core, he's a loner... EXT. CITY STREETS - NIGHT Angel pushes out into the streets, a loner. He doesn't make eye contact with the humans who pass him by. KATE (V.0.) Possibly a dual personality, who, once the crime has been committed, retains no memory of the act. He will not view his victims as sub- human, rather, it's himself he regards as something other than human. More than human. A superior species ... INT. POLICE PRECINCT - WAR ROOM - NIGHT Kate continues her profile... KATE It's unlikely he'll be married, though he may have recently come off a long term relationship which ended badly. We look for a precipitating event in cases such as this, and a painful breakup is always at the top of our list. EXT. CITY STREETS - NIGHT Angel at a corner. Waiting for a light to change. Nearby, a group of YOUNG PEOPLE, laughing together. We're in Angel's head and they seem distant, apart from him. KATE (V.0.) Prior to failing, this relationship may have marked an inactive period in our suspect's life... A particular FEMALE, her back to us, may remind us of Buffy. Angel can't help but be drawn to this image... The Female feels this stranger's gaze. Looks at him. Smiles. KATE (V. O.) He would've regarded it as a life- line, his salvation. But once ended, resulted in his recidivism. Angel's gaze travels from the Young Female's face to her luscious neck. He forces himself to keep moving. INT. POLICE PRECINCT - WAR ROOM - NIGHT KATE What is not in question is his experience. He's been doing this for a very long time. And he will do it again. INT. ANGEL'S OUTER OFFICE - NIGHT Cordy closing up shop. Woman alone, turning out lights... turns -- gasps to find a grave looking Wesley standing there. CORDELIA Geez, Wesley. Hover much? WESLEY Where is he? Where's Angel? CORDELIA Not here... Wesley moves to the windows, peers out through the venetians. Cordy notes he's holding a stake at his side. CORDELIA What is that? WESLEY Just what it looks like. CORDELIA Kind of rude to walk into a vampire's place of business with one of those things, don'tcha think? Could be misinterpreted. WESLEY You recall earlier today, that mix up with the dentist's mail and newspaper? Well, that's when I saw this. He's removed a newspaper clipping from his pocket. Hands it to her. She looks at it, then at him, stung with realization. CORDELIA Ohmygod -- (she looks at him) You cut up Dr. Folger's newspaper! You're going to get us kicked out of the building. WESLEY What? No, Cordelia, the clipping. CORDELIA Third Dead Body Found In Alley. So? Not exactly front page news. WESLEY Actually... that is the front page. Still, note the modus operandi. The mutilation of the corpse with the religious icon -- CORDELIA (no clue) I'm against it? WESLEY I think it's best you sit down. She sees his seriousness, does. He sits opposite her. WESLEY While executing my duties as Watcher in Sunnydale, I did extensive research. Specifically on Angel... given his uncomfortable proximity to The Slayer. CORDELIA Looked pretty comfortable to me. WESLEY When I saw this story today, it rang -chillingly familiar. So I re- acquainted myself with certain... facts. Confirming, I'm sorry to say, my grim suspicions. In the late 1700's, it was Angelus' custom to "sign" his victims by carving a Christian icon into the left cheek. He liked to let people know he'd been there. Cordy lets this sink in for a moment, sets her jaw. CORDELIA Okay. You get to leave, now. You're not gonna come in here and accuse Angel like this. WESLEY Cordelia -- CORDELIA No. I don't care how many files you have on the horrible things he did back in the powdered wig days. He's good now. He's my friend. And nothing you or anyone else can say will make me turn on a friend. ANGEL (O. S.) He's right. They both jump a little to see that Angel has appeared. CORDELIA (quickly to Wesley) You stake him, I'll cut off his head. Wesley pulls out a cross. Angel averts his gaze. WESLEY Come no closer! ANGEL I'm not going to hurt you -- CORDELIA Yeah? Is that what you told Miss Third Body Found In Alley?! WESLEY Why should we believe a word... Lightening quick the cross is cast aside, in a corner, Wesley taken from behind, Angel at his ear. ANGEL Because that's how fast could take you if I wanted to. A tense, dangerous beat. Angel releases Wes, steps back. WESLEY Alright, we're listening. ANGEL I have no memory of doing any of these things -- CORDELIA (aside to Wes) Not exactly the confidence inspiring denial I was looking for -- ANGEL I've been having... dreams. WESLEY Dreams? ANGEL Killing dreams. Always the same... I stalk them... toy with them... mark them while they're still alive. And before they can die from the fear, I feed on them. CORDELIA Okay, so you've been having nightmares... ANGEL They're not nightmares. CORDELIA (gets it) Oh. Wesley tries to take the academic view. WESLEY And you fear these may be more than just dreams, that you've been acting out in some sort of hypnogogic state Angel nods. CORDELIA Hypnowhaagic? WESLEY Sleepwalking. CORDELIA (that's crazy) A vampire can't sleepwalk. He'd take one step out the door and his p.j.s would burst into flames. WESLEY Unless it were happening in the pre-dawn hours. Which is when all these murders took place. ANGEL There's only one way to be sure... INT. ANGEL'S BEDROOM - (LATER THAT) NIGHT Wesley is looking at something off camera. WESLEY You've got to make it tight. Cordy and Wesley in the process of chaining Angel to his bed. CORDELIA Like I need instructions from you. My glamorous L.A. life -- I get to make coffee and chain the boss to the bed. Gotta join a union. ANGEL Uh, Cordelia? I think that's tight enough. CORDELIA And if it turns out we're back on the liquid lunch? Better safe than cocktails. She gives the chain a hard tug. Wesley inspects the results. WESLEY All we can do now is wait. CORDELIA Yeah... and no offense, Angel -- maybe you're just committing horrible crimes in your dreams, but even so I'd rather not stick around for your nocturnal commissions. ANGEL I understand. CORDELIA Okay. Well. Pleasant... I mean... sleep tight. ANGEL (splayed in chains) That's pretty much a given. She nods, hoping this really is ail a nightmare. They watch her go. Wesley takes a seat, settles in. Produces a pack of PLAYING CARDS. WESLEY Well! I thought perhaps a few friendly hands of Rummy might help to pass the... He glances to Angel, tied up to the bed, looking at him with a drier-than-whiskey look. WESLEY (realizing, puts cards back in pocket) Right. DISSOLVE TO: EXT. COBBLESTONE STREET - NIGHT - (1786) Similar to the teaser dream sequence, but even more elliptical. Various IMAGES of the victim, again a WOMAN, but this time we note she is dressed in period PURITAN CLOTHING. The chase... The finger fitting... She winces as he punctures her cheek with the tip of the finger fitting. Looks to her attacker in horror... The fangs, bared... Her body drops onto the cobblestones. WE MOVE to her profile, where WE SEE the cross cut into her cheek. ANGEL (normal face, period dress) moves INTO FRAME, looks down at the corpse. ANGEL There now -- isn't that better? BANG! INT. ANGEL'S BEDROOM - DAY Angel awakes with a start, tugging at the chains. Wesley, who has fallen asleep in his chair, wakes -- The "bang" was Cordy slamming the elevator door, dressed for the next day. CORDELIA Wakey, wakey. WESLEY (coming around) We made it -- Wesley sets about releasing Angel from his bonds. Cordy approaches, waving a newspaper. CORDELIA Great news, sports fans! There's been another killing! Wes hurries to look at the paper. CORDELIA Okay, maybe not-so-great-news for the, you know, dead person -- but at least now we know Mr-I'm-So- Tortured didn't do it. ANGEL Yes I did. Off Cordy and Wes reacting to that Houdini-like admission... BLACK END OF ACT ONE Act Two EXT. COBBLESTONE STREET - NIGHT (1786) THE MOON reflected where the dead Puritan lies in glassy-eyed profile. ANGEL Normal faced, looks town on the corpse. ANGEL There now -- isn't that better? Suddenly, ANOTHER FIGURE rises up from a crouched position just under camera, rearing up in front of Angel: PENN. Fair haired, slightly younger than Angel. Dressed in Quaker/Puritan style clothing. And VAMP FACED. Blood drips from his fangs... it is he who has claimed this girl's life. PENN Better... Penn DE-MORPHS, back to human face. He looks back to the girl's corpse, pondering it. ANGEL Your first kill. Aptly done. PENN Strange... She was my sister -- ANGEL And yet you feel nothing. PENN No. I feel... Hungry. Angel smiles that Angelus smile. ANGEL You do learn quickly. PENN My father would disagree. ANGEL Then perhaps it's time you shared with him just what a fine student you've become. PENN (lighting up) My father -- yes... they'll all be sitting down to dinner now... ANGEL A feast! Excellent. Angel puts his arm around his young charge. As they start off together -- ANGEL When they invite you in, savor it, Penn. You'll not recapture the moment. Family blood is always the sweetest. And as they move off, WIPING FRAME... A THROBBING, bloodpulsing BEAT becomes TECHNO, or "Garbage" or something too cool for the CBS demographic and we -- MATCH CUT TO: PENN in the present day, completing the WIPE, moving to -- INT. PENN'S CONDO - DAY A KILLER'S SHRINE on the wall where Penn tacks a NEWSPAPER CLIPPING. "Pope Slays Fourth Victim." We see other newspaper articles of the recent L.A. killings adorn the wall. Penn's yuppied up: tense professional haircut, wire glasses, a bit pinched in his expression. You can take the Puritan out of the 18th century... ANGEL (V.O.) I taught him well... INT. ANGEL'S APARTMENT - LIVING ROOM - DAY Cordy and Wesley sit reacting to Angel's shameful tale. CORDELIA A real Psycho-Wan-Kenobi. WESLEY 200 hundred years practice... I imagine he's got it down by now. CORDELIA No lie. Gallagher's changed his act more times than this dude has in the last two centuries. Why do you figure he's still doing the same kid shtick? WESLEY Well... I mean it's a classic, isn't it? (a wistful chuckle) Every time he smashes that watermelon with that sledgehammer, I just... He notes them looking at him, realizes his mistake. Stiffens. ANGEL I don't know why. WESLEY You don't suppose it's his way of trying to draw you out? That he knows you're here? That might explain the dreams. ANGEL I used to have a connection with those I sired. It just means he's close. That's all. CORDELIA Neat. So we can't find him, and the cops stand zero chance of actually stopping him... ANGEL Kate -- He rises; so does Wesley. WESLEY What are you doing? ANGEL She has no idea what she's dealing with. What she's up against. WESLEY And you're not going to tell her. Angel just looks at him, his emotions churning underneath. WESLEY Think about it. You can't walk into a police precinct with intimate knowledge of these murders and claim a two-hundred- year-old Puritan's responsible. You'll be locked up faster than Lady Hamilton's virtue. (to Cordy) My apologies. CORDELIA That's okay, I have no idea what it meant. ANGEL She's a good cop. She has resources we don't. Eventually, she will find him. CORDELIA Bad for her, then. ANGEL Or good for us... Angel moves to a shelf, finds a drawing pad and pen... Off Cordy and Wesley, curious... INT. POLICE PRECINCT - DAY Kate moves through the bullpen, working. She reacts as she spots Angel entering the busy precinct house. Waves him over. KATE Hey -- I got the info on your license plate. Angel just stares at her, not sure how to approach this. KATE Angel, are you okay? (off his non-response) Not that the "brooding man of mystery" thing isn't working for you. I mean, it is. A lot... ANGEL Can we talk somewhere in private? KATE Sure -- of course. INT. POLICE PRECINCT - WAR ROOM - MOMENTS LATER The home base for Kate's Pope investigation. Not unlike Penn's shrine in many ways -- walls covered with news clippings, etc. But more to the point: crime scene photos and photos of the victims from their lives. Angel and Kate enter, alone in here. KATE What is it? He paces. Finds himself drawn to the wall of photos. ANGEL How's the investigation? She reacts to that -- what is this, small talk? Okay. KATE It's nowhere... Some of your more inconsiderate serial killers often fail to leave us any clues. During this, Angel continues to scan the wall of victim photos... Something about them... Kate sees she's lost him. KATE Angel -- ? ANGEL'S POV: WE PAN the photos: MIDDLE AGED MAN, MIDDLE AGED WOMAN, YOUNG WOMAN, TEEN GIRL we MATCH CUT TO: INT. N.D. ROOM OF THE PAST - NIGHT (1786) - FLASHBACK WE PAN the now DEAD FAMILY. Each a counterpart to the victims in the crime scene photos... CAMERA RESTS on an image not featured on the war room wall... a DEAD TEENAGE BOY. BACK TO INT. POLICE PRECINCT - WAR ROOM - CONTINUOUS ANGEL as realization hits him... ANGEL (to himself) He's reliving it ... KATE What's going on? He turns. Looks at her, is startled to see her absently toying with her cross. He casts his glance away. ANGEL It's... complicated. KATE So make it simple. A beat, then -- ANGEL Kate, do you trust me? KATE You know I do -- Angel reaches into his coat, removes an 8x1O sheet of paper. Tacks it to the wall. It's a drawing of Penn. ANGEL Then trust me when I tell you... This is the man you're looking for. She's floored by this. Unnerved. KATE Where did you get that? How could you possibly... ANGEL Do you trust me? A long beat as she looks at him, weighs that... KATE I don't understand... Are you protecting a source? He holds her gaze. His look reiterates the question... KATE Yes. I trust you. ANGEL His next victim will be a white male adolescent. He'll take him off the streets in a low rent neighborhood. Probably near a bar or a liquor store. And he'll kill him just like he did these others. Unless you use every resource this department has to make sure he's not successful this time. She doesn't offer any more questions, just holds his gaze, measuring all this... INT. POLICE PRECINCT PARKING GARAGE - DAY A few BLACK AND WHITE PATROL CARS in evidence. ANGEL'S CAR Wesley sits waiting in the passenger seat. Angel appears, sits in the driver's seat. WESLEY So I take it you told her everything? ANGEL Just enough to get her killed. WESLEY Well, we'll just have to see that doesn't happen. ANGEL Exactly. And once you hook this up, she finds something -- we'll know about it. Angel hands Wesley a police band radio, the wires dangling from it. WESLEY Where'd you get the police radio? ANGEL Police car. Wesley, his hands full of the hot merchandise, sinks town into his seat as TWO UNIFORMS pass by outside the car window. WESLEY Oh, dear. INT. POLICE PRECINCT - SAME Kate with two PLAINCLOTHES DETECTIVES, going over a map of the city marked with red push pins. KATE Let's add patrols here and here. Anything matching the profile gets reported. They nod, move off. Kate, pensive, looks to her desk... muses on Angel's sketch of Penn. Off that -- EXT. LIQUOR STORE - NIGHT A fair-haired SKATEBOARD KID loiters outside a liquor store. As ADULTS pass, heading in and out of the store: SKATEBOARD KID (to passerby) 'Scuse me - - could you buy me some beer? I left my I.D. at home. (under his breath) Wipe. (to woman shopper) Ma'am, can you possibly pick me up some beer? It's for my mother. A FIGURE steps into view, we're looking over a shoulder at the Skateboard Kid. He senses the presence, looks over. SKATEBOARD KID Hey dude, you old enough to buy beer? Reveal what we already know: PENN STANDS THERE. Smiles. WE CUT WIDER, watching Penn and the Kid's conversation from a distance, across the street. After a moment, they walk off together... REVERSE - POLICE CAR We've been watching this from inside a BLACK AND WHITE patrol unit. The UNIFORMS look from the scene unfolding in the distance to a fax: the SUSPECT SKETCH OF PENN. EXT. ABANDONED BUILDING - NIGHT Penn and the Skateboard kid walking amongst lonely, secluded buildings. The Kid's starting to get nervous. SKATEBOARD KID Hey, man, you sure about this? I don't think there is any "discount" liquor store over here. PENN You remind me very much of a brother I once had. SKATEBOARD KID Yeah? Whatever. I think we're going nowhere here. PENN Good point. Skateboard Kid reacts -- Penn has gone VAMPFACE. He lunges at the horrified kid -- but suddenly it's LIKE DAYLIGHT as several SPOTLIGHTS hit Penn -- No less than SIX COP CARS with their spots trained on this attack, a distance away, blocking Penn's exit. Penn shields his eyes (and his Vamp visage) from the police, backs away from the woozy kid. Penn turns, leaps, CRASHING UP through a second story window, disappearing into the abandoned building. Off the Cops' amazed reactions... CLOSE - POLICE RADIO POLICE DISPATCHER (V.0.) All units, back up requested at 3336 Channel Avenue. Use caution, multiple homicide suspect believed to be at location... And we are: INT./EXT. ANGEL'S CAR - NIGHT - MOVING Angel and Wesley react as they see a POLICE ROADBLOCK up ahead. Angel rolls the car to a stop, climbs out of the car. ANGEL Meet you back here -- Angel moves to a building -- and scurries up the side. EXT. ABANDONED BUILDING - NIGHT OFFICIAL VEHICLES abound. The TASK FORCE has arrived. We're moving with Kate, in command as UNI #1 fills her in. UNI #1 (indicating) ...he went in through there. We've got three teams searching the place now. We'll find him. Kate looks to a PARAMEDIC UNIT where the Skateboard Kid is being tended. She girds herself, pulls her gun. KATE I'm going in -- EXT. ROOFTOPS - NIGHT Angel races across rooftops, leaping from one to the next... INT. ABANDONED BUILDING - NIGHT Kate, her gun before her, silently enters the crumbling building. She spots some other SEARCHING COPS up ahead. They see her, she nods at them to continue. Now a noise somewhere in the building draws her attention... INT. ABANDONED BUILDING - NIGHT We're moving with Kate up a rickety staircase. The stairway opens into a larger, even more... CRUMBLING ROOM It's all very tense and Silence Of The Lambsy as Kate sweeps the room looking down the nose of her firearm. A sound behind her... a rustling... she whirls to see -- just above her on a slight rise, Penn, emerging from the shadows. KATE DON'T MOVE! But he does, right toward her. KATE I WILL FIRE! Penn looks at her as if she were a snack. Takes a step. Pauses. Cocks his head... takes another step. Kate squeezes her trigger -- BLAM! BLAM! BLAM! Penn goes does down. Ringing silence. Kate holsters her gun, moves gingerly to the body. Kneels down, feels for a pulse. Satisfied, she pulls her walkie talkie. Is about to speak when -- PENN'S HAND shoots up, clamps onto her wrist. PENN Ouch. Kate is too stunned to scream. Penn hurls her across the room, sending her crashing against a far wall. She slumps, half out. Penn rises, moves toward her, but now a tremendous CRASH! ANGEL drops into the scene in a shower of wood and plaster. Penn spins on the intruder, GROWLS... but is stunned as he registers recognition. He's seeing a ghost. PENN Angelus?! A pregnant moment as Penn takes in Angel... Kate watches this through her ringing haze. Penn breaks into a broad grin, sweeps Angel into an embrace. PENN Angelus! (disengaging) My god! it's been a lifetime! ANGEL At least. Staying low, Kate inches for her fallen walkie talkie. PENN We were to meet in Italy, remember? ANGEL I remember. PENN I waited. Hell, I waited until the 19th century. What happened? ANGEL Got held up in Romania. PENN Romania? What's in Romania? ANGEL Gypsies... Kate picks up her walkie, speaks into it -- KATE (into walkie) Suspects sighted... southwest corner... Penn glances over at Kate. Amused. PENN Join me for a drink -- ANGEL That's not why I'm here. KATE (into walkie) ...request assistance -- Penn does a take. Looks to Angel. Now that you mention it... PENN Yes... why are you here? Angel MORPHS to VAMP FACE. ANGEL To kill you. Kate gasps, drops her walkie. Angel plows into Penn. Penn hits a beam, hard. Turns, now VAMPED himself. The vampires grapple, two titans. Clawing, leaping, performing moves beyond human capacity. Kate, on her ass, looks up in shock. Angel swings Penn hard into and through a wall. Angel turns to Kate -- ANGEL (still VAMP FACED) Go, Kate! Get out of here! But she's frozen there, can't believe her eyes. CRASH! Penn returns, bursting through old plaster doing an incredible full flip over Angel's head and landing solidly on his feet in front of Angel. PENN You know its name?! Angelus... what's happened to you? ANGEL People change. PENN We're not people -- They go at it some more, all the more ferociously, the monsters in them having come to the fore. Kate advances, her gun shakily before her. KATE You're both under arrest! ANGEL Kate -- Angel glances to her, Penn takes advantage of the Angel's distraction to land a solid blow, dropping Angel to his knees. Now the SOUNDS of approaching COPS, thundering up the steps. Penn registers that, as... ANGEL Shaking it off, comes back up -- ANGEL'S POV Whip-panning the area. Holes in walls. Dust settling, but no sign of Penn. WIDER The SOUNDS of the approaching COPS grow louder. Angel looks back to Kate, who's just wide-eyed. Angel draws back into the shadows, hiding his monstrous face as we -- BLACK OUT. END OF ACT TWO Act Three INT. ABANDONED BUILDING - NIGHT UNIFORMS and FORENSICS work in the crumbling room. CAMERA MOVES past this, FINDING Angel (normal-faced) and Kate, off to the side, in a private-ish alcove. She's freaked, pacing, fingering that blasted cross she wears. KATE I shot him. I know I did. Three times I shot him. And then... he got up! ANGEL Kate... He takes a reconciling step toward her. Suddenly she's got her gun up, shoves it into him. KATE If I pull this trigger will you get up, too? He just looks at her. KATE What are you? ANGEL (gently) You already know the answer, Kate. (then) A detail's been left out of the press reports. Something you've held back. Isn't that right? She reacts to that, her suspicion telling us he's right. KATE What do you know about it? ANGEL The puncture wounds. The victims have all been drained of their blood -- haven't they? We can see that it's true. And it just makes her angrier. KATE And should I trust you more or less because you happen to know that? ANGEL You can't stop him, Kate. Not like this. KATE What do you mean? ANGEL It's going to take direct sunlight, decapitation -- or a stake through the heart. She absorbs the implications. Angry. Disgusted. KATE You're telling me children's stories -- ANGEL I'm telling you the truth. KATE No... I don't believe you. ANGEL I know you don't. Even after what you saw. You won't let yourself. Which is why you'll lose. KATE (fuck you) I've heard enough. ANGEL No. You haven't heard a word -- and you won't. Not now. Not yet. He reaches out, grabs her cross. His hand SIZZLES. She goes wide-eyed, but he takes no note of the rising steam. ANGEL Because there are some things in this world you're just not ready to face. He releases her charm, it's still smoking. He turns, goes. She makes no attempt to stop him, not sure of anything now... EXT. LOS ANGELES - WIDE - DAY (STOCK) As the sun ROARS UP over The City Of Angels... INT. POLICE PRECINCT - WAR ROOM - DAY PANNING the wall of crime photos... Kate sits alone in the room, taking it all in. She looks like she hasn't slept. Now the Precinct Clerk, enters, carrying A STACK OF BOUND RECORDS. As she sets them down in front of Kate: PRECINCT CLERK Here's everything with that M.O. dating back as far as I could find. KATE Thanks, Chris. PRECINCT CLERK There was a lot of it... So you think this guy's a copycat? History buff? KATE Something like that... The Clerk quietly exits. Kate opens a large book with NEWSPAPER CLIPPINGS. Yellowed and dusty. Similar headlines to the ones documenting the recent killings... "Vampire Killer Strikes In Garment District!" And a dateline: "Los Angeles, 1929." WE FIND a victim photo -- the same Cross carved into the face. As Kate absorbs that... INT. ANGEL'S OUTER OFFICE - DAY - CLOSE - CORDY Not unlike before and her pitch to the empty chair... CORDELIA So -- you've discovered the seamy underbelly of a candy coated America, have you? Well, you've come to the right place. Here at Angel Investigations we won't judge. But we will charge. Now, if you'll just tell me how you heard of us ... As we GO WIDER we see this time she's speaking to an actual prospective client. Whoops, it's Penn sitting there. PENN From the police, actually. CORDELIA Really? PENN Yes. The detective I spoke with was very enthusiastic... Penn rises from his chair, starts to casually wander the office, more or less snooping. His back to Cordy. Cordy notes on the arm of his chair he has left quite a lot of clothing; overcoat, etc. PENN For the truly human touch, she said, I should come to you. CORDELIA Oh, good. Is it cold out there? PENN Now I'm trying to remember her name... What was it? About yay tall? Attractive? Natural blonde. CORDELIA Oh, right. Kate. Detective Lockley. PENN Lockleeee. Yes. That's her. CORDELIA Yeah, she and Angel are pretty tight. PENN Really -- ? So this is more than just a professional relationship, then? He cares for her? CORDELIA Oh, yeah. More than he knows. But that's our Angel. Dour, sure, but not afraid to get personally involved in his work and you're totally pumping me for information, aren't you? Penn, his back to her, picks up various items; knick-knacks, books, photographs. Turns them over, ponders them. CORDELIA Oh, crap. You're him. He. The guy. Apt Pupil boy -- She's up and backing away. PENN (back still to her) You realize you'll never make it to that exit before I -- SIZZLE! He's hit with a BLINDING SHAFT OF SUNLIGHT. He jumps back -- Cordy has yanked open the venetians. CORDELIA Go up like a kitchen match? Cordy is safely on one side of the huge slanting shaft of sunlight, Penn on the other. It is a barrier which Penn can not cross. Now Penn notes something beyond Cordy -- PENN Well, look who's back from his "Up With People" meeting -- Angel appears, coming up behind Cordy, sees the sitch. Doesn't take his eyes off Penn. ANGEL (to Cordy) Get me a stake. She does a take at that -- a steak? CORDELIA It's like eight o'clock in the morning! (off his look) Oh! You mean like -- She mimes a staking motion. Starts digging through her desk. PENN What, you don't drink so now no one gets to? ANGEL I don't expect you to understand. PENN Oh, I understand. I was a Puritan, remember? ANGEL It's got to end. PENN Why? Because you say so? How does that work, exactly? You wake up one morning and decide "okay, now I'm good!" No, Angelus. It doesn't end. It never, ever ends. It just goes on and on -- Cordelia reappears with a stake. CORDELIA That's not the only thing that goes on and on -- (hands Angel stake) Here. Dust 'em. ANGEL I'm sorry for what I did to you, Penn. What I turned you into -- Angel, stake in hand, is now smoothly looking for an opening... Penn keeps a wary eye... PENN A first class killer? An artist? A bold re-interpreter of the form? ANGEL Try "cheesy hack." Penn bristles at that. ANGEL Look at you. You've been getting back at your father for over two hundred years. It's pathetic. And cliched. You've probably got a killer's shrine on your wall... news clippings, magazine articles, maybe a few candles ... Angel trails off as Penn looks sheepish -- bull's-eye. ANGEL Oh, you are so prosaic. Angel's about to make his move, but now -- Wesley enters, having no clue what's going on in here. WESLEY (on entering) Well, nothing on the street about a new vampire in town Before Angel and Cordy can warn him, Penn has grabbed him up. WESLEY Which may be because he's here and has me by the throat... ANGEL Let him go. PENN You're right, Angelus, my work was getting stale. I appreciate the critique. So look for something new, innovative. Shockingly original. Just think of the worst possible thing you can imagine -- and I'll see you there. And Penn shoves Wesley back at them and whirls, grabbing his coat, pulling it over his head and crashing through the window, escaping. INT. OCCULT BOOKSTORE - NIGHT Kate roams the quaint book shop. She pulls several dusty, neglected old volumes on vampire lore from the shelves. We go all MONTAGY, INTERCUTTING Kate and what she's learning with: EXT. CITY STREETS - NIGHT Angel on the prowl, roaming the streets, searching. INT. PENN'S CONDO - NIGHT CLOSE ON PENN as he works on something o.s. For all we know it's an art project... he's all concentration... focused... INT. OCCULT BOOKSTORE - NIGHT Kate pages through books depicting fangs in necks, etc. -- EXT. CITY STREETS - NIGHT Angel perched on the rooftops, looking into the city. Penn could be anywhere... after a moment he turns and folds himself into the night. INT. KATE'S APARTMENT - NIGHT The place is littered with the fruits of Kate's research. WE PAN the various items: the forensics research as well as mythology texts. We come to rest on an open volume -- a particularly lurid illustration of a staked vamp. Now her DOORBELL RINGS. She rises, moves to the door. Opens it -- revealing Angel. ANGEL Oh, that's right -- you have to be invited in, don't you? He glances past her shoulder, sees what she's been up to. ANGEL You've been doing your homework -- KATE Wanna quiz me? I'm just full of fun facts. For instance, I learned your friend has been in L.A. before. Did you know that? Yeah. At least twice. Once in 1929, and again in 1963. Oh, and I found something in Boston in 1908. I think he was there, too. ANGEL You believe me. KATE Yes. I believe you. ANGEL Good. Because he's planning something, Kate. I don't know what, we have to work together, now. We have to... KATE (trying it out) Angelus... ANGEL What? KATE That's what he called you, isn't it? Angelus. I looked it up. It's all right there. "The demon with the face of an Angel. "A particularly brutal bastard by all accounts. Oh, and no. You can't come in. Angel takes a beat, has no defense. ANGEL I can't make up for the past, Kate. I know that, but... KATE No. You can't. In fact, all of this... what's happening now, it's really because of you. You made him, didn't you? ANGEL Let me help end it -- please. KATE "Please." Now there's a word I imagine you heard quite a lot of in your time. Please. No. Don't (then) Thanks for the offer, but I don't need your help. I know what to do. Drive a stake right through the sonofabitch's heart. And when that happens - - I suggest you not be there... because the next time we meet -- I'll do the same to you. And she shuts him out. Off Angel -- INT. ANGEL'S OFFICE - NIGHT Angel and Cordy at the computer. On-line. Wesley, nearby, is going through hard copies of old newspaper articles. CORDELIA Here it is... Los Angeles Globe... 1929. On the screen, WE SEE an old newspaper article. There is a small photo of a HOTEL. The Regent Gardens. CORDELIA (reading) "The Regent Gardens Hotel manager said the suspect seemed like a quiet, normal type... A search is still ongoing." No kidding -- (then) What are we looking for, exactly? ANGEL I don't know yet... WESLEY (off article) 1963. The police tracked the killer to a residential hotel called the Cloverwood Apartments. By the time they made their move, he'd already fled. They never caught him. Angel looks at the clipping. Holds it up to the computer the photo of the Cloverwood Apartments and the Regent Gardens... CORDELIA It's the same place! New name and face lift. Not the first time that's happened in this town. ANGEL Good old predictable Penn. We NOSE IN on the image of the apartment building... it dissolves and resolves into: EXT. PENN'S CONDO - NIGHT Same building, new paint job. A sign reads: "Under New Management!" INT. PENN'S CONDO - NIGHT The door bursts open and Wesley enters, brandishing a stake. Angel walks in right past him as -- WESLEY (a production) I invite you in. ANGEL Relax. That's only for humans. Breaking-and-entering another vampire's lair isn't a problem. (then) He's not here. Wesley relaxes a bit at that, thank god. Angel looks at him and he assumes a "oh, darn" look. WESLEY So what, then? We wait, raid the ice box and try to "think of the worst possible thing we can imagine?" ANGEL Stop imagining... Now they both look to... on the table, laid out, GRAINY SURVEILLANCE PHOTOS of a school bus full of children, the photos detailing the bus loading, it's travel, disembarking, etc. The work space is a full on research project, with maps, charts, time tables. WESLEY Good God -- all those children ANGEL He's finally changing his act... BLACK OUT. END OF ACT THREE Act Four EXT. LOS ANGELES - WIDE - DAY The sun burns high above the city, as... EXT. POLICE PRECINCT - DAY To reestablish -- INT. POLICE PRECINCT - WAR ROOM - SAME Half a dozen or so members of the task force assembled. A general MURMUR as they mill, a meeting is about to get underway. Now Kate appears, looking wired, determined. She sets a large carry bag onto the table, turns to the room. KATE Alright, listen up -- The room comes to order. Kate holds up Angel's SKETCH of Penn. KATE You've all received one of these in your briefing packets. This is the man we're looking for... Now she backs up and WE SEE an enlarged PHOTOGRAPH of Angel. A surveillance-like shot. KATE And this man is how we're going to find him... He's the way to our killer. His name's Angel, and he's a local private detective. We have reason to believe our suspect will make an attempt to contact Angel, possibly as his next target. TASK FORCE MEMBER #1 So we're going to stake out this Angel character? She pauses at the interesting choice of words. KATE Yes, you could say that -- (then) We'll be working in rotating teams... PENN (O.S.) This is a terrible likeness... Kate stops, looks through the seated task force members... KATE'S POV PUSHING ONTO Penn, sitting in the back of the room, casual as hell, looking down at the sketch of himself. PENN I mean, the mouth -- it's all wrong. Now he looks up, right at Kate -- PUSHING ONTO KATE as her eyes widen in shock. This was not the plan... KATE Everyone GET BACK! WIDER Scattered confusion blooms into chaos. The other task force guys are on their feet, many reaching for their guns as -- KATE No! Kate's access is blocked as guys with guns go at Penn. He plows through them, tossing 6 foot men aside and into each other. Kate races around the table at the front of the room, trying to get to her bag. It gets knocked off the table in the melee. She dives for it, gathering up items that we don't yet see, as... PENN pushes toward Kate. KATE on the floor, scrambling, stashing something in her jacket pocket. Reaching for something else, but now -- Penn comes up behind her, yanks her to her feet. He spirits her from the room. WE LINGER, FINDING... her tote bag and some of the items which have spilled out.. among them... a stake. Left behind. INT. POLICE PRECINCT PARKING GARAGE - DAY We're inside the covered parking garage, looking at the mouth which opens into SOLARIZED DAYLIGHT. Now a car appears, rocking and bouncing as it tears into the garage. ANGEL'S CAR screeches up INTO CLOSE UP. Wesley at the wheel, Angel in the passenger seat, a blanket tugged over himself. Now out of the daylight, he shucks it off. WESLEY I don't understand - - what about the school children? Shouldn't we be... But he trails off as he sees -- ANGLE - THEIR POV COPS SWARMING out of the precinct house. Moving to their cars, and tearing out of there. ANGEL AND WESLEY Angel taking all this in, complete concentration now... ANGEL He's here -- Wesley looks at Angel - - how could he know that? Now, on the pilfered police radio: POLICE DISPATCHER (V.O.) All units -- dragnet in progress. Suspect believed to be in vicinity of Twelfth Street Station House. Secure area, use caution. See? Angel is out of the car, Pushing against the tide as SQUAD CARS tear out past him, barrelling into the light at the mouth of the garage opening. Now Angel's gaze falls to... A MANHOLE COVER On the floor of the underground parking garage. It's just slightly ajar... printed on it: "Los Angeles City Works Sewage System." INT. SEWER SYSTEM/TUNNELS - CONTINUOUS Penn drags Kate through the tunnel system. The place is in mid-construction, WOOD SCAFFOLDING in evidence. Above them we CAN HEAR the sounds of PATROL CARS and CHAOS, a DULL ROAR through several feet of cement. KATE What are you going to do? PENN Well, first I thought I'd stop everything to tell you my plan -- He shoves her against the tunnel wall, hard. PENN Better yet, why don't I just show you? He MORPHS to VAMPFACE, he bares his fangs, moves toward her. CLOSE - KATE'S HAND as she slowly removes a small bottle of Holy Water marked with a cross from her pocket. PENN regards his prey. PENN Mmm-mmm. Smell that fear. It makes the blood sweeter... you know who taught me that? KATE I'm not afraid to die -- PENN Oh, I'm not going to kill you. But when I'm finished - Angel will. He's ready to pounce, but just before he does -- ANGEL (O.S.) A bus full of schoolchildren, Penn? Penn whirls, shocked to see... ANGEL casually stepping over the filth. ANGEL You really think I was going to fall for that? PENN You could have -- ANGEL Naw. Too original. Penn, pissed and ready, turns back on Kate -- -- but she comes up with a handful-of-Holy-Water-bottle, smashes it against his face. He burns, yelps, jumps back his face SCARRED. ANGEL doesn't waste a moment, moves in for the kill. PENN snaps around, sensing the danger, swings Kate aside. She smashes into some of the old wood scaffolding, landing in a pile of splintered wood. Penn and Angel square off. PENN You were right about one thing, Angelus... the last two hundred years has been about me sticking it to my father. But I've come to realize something... It's you. Penn lets into Angel with a furious volley, driving him backward with each bone crushing blow -- PENN You made me! You taught me! You approved of me in ways my mortal father never did! Angel's been driven up against the wall, now in a submissive position. It looks as if he's lost this fight -- PENN You're my real father, Angelus. But just then -- Angel snaps back up. ANGEL Fine. You're grounded. And the power shifts. Angel lays into Penn. And now it's two bitchin' dudes fighting in a sewer tunnel time. They brawl, bouncing each other off the curved tunnel walls. Punching, clawing, kicking. As they do... KATE Avoiding the battling bodies, inching for one of the fatter, sharper pieces of splintered wood, three feet long... PENN AND ANGEL Penn glimpses Kate just about to grab up the stake-like debris. He's fueled by this, swings Angel away... KATE Scrambling for the stake, it's kicked away out of her reach. She looks up just in time to see Penn coming at her -- Angel launches himself in between them, pulls Kate away, throws her aside -- but in the process has opened himself up to Penn... KATE Grabs up the three foot stake. She spins around with it... just as... PENN Spins with Angel before him, a shield. Kate falters. PENN You forget your own lessons, old teacher. Never give up the advantage, remember? Angel looks to Kate. He holds her eyes. Solemn. As they silently connect... PENN Living among them has made you weak. It sickens me to think there was a time when you would've done whatever was necessary. Angel holds Kate's eyes. And he nods. Yes. A beat. She sucks up a big breath, grits her teeth, takes a step back... Penn's eyes widen as he realizes Angel hasn't forsaken the old lessons after all... he's done what is necessary -- PENN Oh... Kate lunges forward with all her might, letting out a BANSHEE CRY as she plunges the stake deep into Angel. Angel accepts it, resigned, but wincing in agony nonetheless. And as the stake exits the back of Angel, it must be entering Penn, because he SCREAMS... then goes DUSTVILLE. WIDER Kate just blinks, stunned stupid. Angel, still quite solid, but impaled, opens his eyes, surprised to still be an animate object. The stake is just under his heart, the'sharp end sticking out of his back. Angel looks from it to Kate. ANGEL You missed -- KATE No. I didn't. But she's anything but warm and fuzzy. Still hard, pissed off. She moves to him, grabs the stake with both hands. ANGEL What made you change your mind? Angel bites the bullet, holds his breath as... KATE Tell you the truth... ...she tugs it out of him. Now he collapses against the tunnel wall. KATE ...I'm not so sure have. Angel nods, understands. As they hold the look between them, their future relationship a big fat question mark, WE PUSH past them, into the tunnels, PUSHING INTO the BLACKNESS... DISSOLVING TO: EXT. L.A. SKYLINE - NIGHT The city lights twinkling... EXT. ANGEL'S ROOFTOP - NIGHT Angel looks out at the city. Still in some pain. Now Cordy appears, looking a little sick herself, has a scrap of paper in her hand. CORDELIA Thought I'd find you up here. She sits, a little painfully, next to Angel. CORDELIA If you're wondering why this vein on my temple is doing the cha-cha, I just had one of those bone- crunching, mind-splitting vision headaches. She offers up the slip of paper. CORDELIA New job. Angel nods, takes it, but doesn't look at it, still gazing out at the city. ANGEL I was just thinking about how much this place is like where grew up. CORDELIA Right... Yeah, I can see that... Except for the cars and the buildings and the, you know, everything else. ANGEL It's not so different. People, moving through their lives. I wonder if anything ever really changes. CORDELIA Sure it does. They do. (then) You have. Angel doesn't respond to that. CORDELIA They were just dreams, Angel. They weren't even your dreams. It didn't mean anything. ANGEL But I enjoyed it. CORDELIA I'd probably be okay if you never mentioned that part ever again -- ANGEL It's still in me, Cordelia. CORDELIA Sure it's in you. We all have something. But it's not the only thing that's in you. Angel just nods, not all that convinced. CORDELIA You're not him, Angel. Not anymore. (re: slip of paper) The name I got in my vision? That's a person. Someone who needs help. The message didn't come for Angelus... It came for you. Angel. And you have to trust that whoever The Powers That Be -- are -- is -- anyway, they know the difference. Angel smiles wryly, nods. ANGEL Yeah -- CORDELIA People really do change. ANGEL Yes they do. And sometimes they change back... If the day ever comes that I... CORDELIA (without hesitation) Oh, I'll kill you dead. He's a little thrown by her non-hesitation. ANGEL Thanks... ? CORDELIA What are friends for? And as they move off, CAMERA MOVES back to the L.A. Night, finding an electric CROSS somewhere glowing out there in the city... and off that -- BLACK OUT. THE END