The Prodigal

Part 1

(January 6, 2000)

Written by: Tim Minear

Teaser

WHITE

light SOLARIZING our FRAME. CAMERA TILTS down from what must have been the sun as a scene resolves into view before us . . .

INT. EXT. IRISH HOUSEHOLD - DAY (1753)

We're looking from inside the front room of an Irish home through to a courtyard. The key feature being a stone well where a CHAMBER MAID draws water, filling an earthen jug. A Legend appears: Galway, 1753.

The girl starts back toward the house. Just as she crosses the threshold she pauses as . . .

ANGEL (O.S.)
(whispered)
Anna . . .

She turns. A FIGURE lurks in a corner, pressed into the shadows. We may recognize Angel's distinct outline.

IRISH CHAMBER MAID
(Irish accent)
Master Liam? Is that you?

ANGEL
Anna... come closer.

She casts a nervous glance further into the house.

IRISH CHAMBER MAID
Master Liam, your father --

ANGEL
-- will be off to church by now.
Repenting of his sins. And well he
should. Closer, Anna.

She takes a tentative step toward the figure.

IRISH CHAMBER MAID
Why do you keep to the shadows, sir?
Are you not well?

ANGEL
The light. It bothers my eyes just now.

FATHER (O.S.)
And I know the reason why --

ANGEL'S FATHER appears, a rough man out dressed to look the part of the lauded gentry. He pushes past the Maid, grabs up Angel, swings him around, dropping him roughly.

Angel lands on his ass in a POOL OF SUNLIGHT, wincing in pain. He shields his eyes, glances up at his father, annoyed but not bursting into flames or anything.

FATHER
Out again all night, is it? Drinking
and whoring! I can smell the stink
of it on you!

ANGEL
And a good morning to you, Father.

Angel manages to get to his feet, the effect of a long night of drinking evident on him, but his arrogance intact.

FATHER
Look at you, a disgrace.

ANGEL
If you say so, Father.

FATHER
Oh, I do. I do say so. Have you not
had enough debauchery for one night?
Must you corrupts the servants, too?

ANGEL
Servant, Father. We have one
servant. Anyway, everyone gets
corrupted. It's inevitable. But I
find some forms of corruption are
more pleasant than others.

WHACK! Father gives Angel the back of his hand -- hard.

FATHER
I'm ashamed to call you my son. A
layabout and a scoundrel. You'll
never amount to anything more than that!

ANGLE: VERY CLOSE ON ANGEL

His face turned away, still stinging from the blow. He slowly and lethally turns back from the hit. Touching his lip, finding BLOOD on his finger. He looks at it. Now he's pissed. We PULL BACK FAST only to find that the Angel reacting to the blow is...

INT. SUBWAY TUNNEL - DAY

...the Angel of the present day, and he's mid battle. The blow was struck by what we will learn is a KWAINI DEMON: dressed from head to toe in TATTERED RAGS, a kind of ersatz "Mummy" feel. Only the BURNING EYES and INHUMAN HANDS giving us any indication that it is not human.

Well, that and its sheer power. The thing is vicious, frothing at the mouth, coming at Angel with everything it has. While Angel and the Kwaini go at it in the tunnel...

INT. SUBWAY PLATFORM - CONTINUOUS

We're MOVING with DETECTIVE KATE LOCKLEY as she arrives in the scene. A UNIFORM OFFICER walks with her, bringing her up to speed.

UNIFORM
Crazy homeless guy got on at the
Central Street Station. Went nuts,
started tearing up the car,
threatened some of the passengers.
It was one of them that pulled the
emergency brake.

As they draw closer, Kate takes in what's before her: A STOPPED COMMUTER TRAIN sits on the track, just short of the platform. A few UNIFORMED OFFICERS are helping a steady stream of PASSENGERS off the train and onto the platform via a catwalk.

UNIFORM
(re: the scene before them)
They're all still pretty shook up.

KATE
And what about the suspect?

UNIFORM
Gone.

Kate looks at him, confused.

KATE
The call said this was a hostage
situation --

UNIFORM
It was.

KATE
The suspect escaped -- ?

UNIFORM
Well, we're still trying to get the
story, but it's a little unclear.

KATE
Unclear? You have two dozen
witnesses.

UNIFORM
I know... and they're all saying the
same thing --

KATE
Which is?

UNIFORM
That the suspect went out through the
top vent.
(adding uncomfortably)
While the train was still moving.

KATE
He climbed out of a moving train?

UNIFORM
(shakes his head)
No. They're saying he was pulled out.

KATE
Pulled out? By what?

He shrugs. Has nothing to add. A long beat as Kate just looks at him. Finally:

KATE
Get statements.

He nods, moves off to join the other cops who are evacuating the train car. Kate backs away from the scene, moving apart from the others. She casts a look down the dark tunnel. Her intuition working now as...

INT. SUBWAY TUNNEL - DAY

...Angel and the Kwaini continue to battle it out, trading blows. Angel lets loose with a bone crunching combination, driving the thing backward, but not putting it down. It comes back at him, all the more enraged... but suddenly it SHUDDERS, is gripped by a violent SEIZURE of some kind. It drops to the tunnel floor, rattles and dies.

Angel steps back, gets his breath. It's all over.

KATE (O.S.)
Well...

Angel looks up to see Kate standing there. She saw at least the end of this.

KATE
Guess I can forget about reading him
his rights --

Off Angel and Kate standing over the dead body of a demon . . .

BLACK OUT.

END OF TEASER

Act One

INT. SUBWAY TUNNEL - DAY

As we were. Angel and Kate over the dead body of the Kwaini. Kate, totally uncomfortable, kneels, looks at it.

KATE
It's... not a person, is it?

ANGEL
No. Demon.

KATE
And is it...?

ANGEL
Dead? Yes, Kate -- it's dead.

She nods. Considers that. She's still absorbing this new world. Angel regards her, measuring her response.

KATE
(almost to herself)
So they die, then --

ANGEL
Yeah.

A beat. She feels him looking at her. Snaps out of it a bit.

KATE
Sorry, I guess I'm still having a
little trouble with this
"otherworldly" stuff.

ANGEL
Right.

A beat. He knows that means him. Uncomfortable silence. Angel tries to break it with:

ANGEL
Though demons aren't technically
"other" worldly. In fact, they were
here...

She flashes a "can we not get into this right now?" look.

ANGEL
...first.

He trails off. Looks sheepish.

INT. SUBWAY PLATFORM - CONTINUOUS

Various UNIFORMS and PLAINCLOTHES COPS take statements from the rattled Passengers. Kate and Angel appear, walking together, moving back toward the train platform.

KATE
So do I call the coroner or hazardous
materials?

ANGEL
My advice? Don't call anyone.
(off her look)
I'll see it gets taken care of.

KATE
And what am I supposed to put in my
report?

ANGEL
Just do what you would normally do in
a case like this.

KATE
There is no "normal" in a case like this.

ANGEL
It's Los Angeles, Kate. You've seen
this kind of thing before. Probably
a lot. You just didn't have a name
for it, that's all.

KATE
Uh. No. I think I'd remember.

ANGEL
Well, people have a way of seeing
what they need to...

They have now moved close enough to overhear A UNIFORMED DELIVERY GUY giving his statement to a COPY.

DELIVERY GUY
(thinking a beat)
...no, nothing about him really stood
out. Except maybe the smell. Just
your average joe stink homeless guy.

Angel glances to Kate. She pretends not to notice, moves to the Cop. She takes the report from the cop's hand.

KATE
(off statement)
Average height, average weight,
average build...
(to Delivery guy)
This the best you can do?

He shrugs. It is. Testy, she looks back to the statement.

KATE
(noticing)
You're the one that pulled the
emergency brake?

DELIVERY GUY
Yeah.
(to cop)
Guy came right at me.

KATE
Why?

What does this woman want from him?

DELIVERY GUY
He didn't say --

KATE
No. Why did you pull the emergency brake?

DELIVERY GUY
It... was an emergency?

Kate glances back over at Angel for a beat, makes a choice, then hands the statement back to the cop with:

KATE
Well? Let's get this description
circulated. We wanna find this guy, right?

The cop nods, moves off.

DELIVERY GUY
Can I go?

KATE
Yeah, you can go.

He does. Kate turns back to Angel. He's looking at something o.s. He nods toward --

ANGEL
Isn't that your father?

She turns, looks, registers recognition and surprise at --

TREVOR LOCKLEY

Kate's father is among the gathering crowd in the periphery of the scene.

He's speaking to a UNIFORM, a familiar, casual conversation. Kate approaches.

KATE
Daddy -- what are you doing down here?

Trevor sees his daughter. The UNIFORM moves away.

TREVOR
In the neighborhood.

KATE
(knows better)
You've been sitting in your apartment
listening to that police scanner
again, haven't you?

TREVOR
(shrugs)
Nothin' on cable, anyway.

The Delivery Guy exits through frame in the b.g. We shouldn't make much of this, witnesses are being released now.

TREVOR
Heard you had a hostage situation.
Looks like I missed all the action.

KATE
35 years on the force, don't you
think you've seen enough action?
(then)
Did you also happen to hear I was the
lead officer on scene?

A beat. He neither confirms nor denies.

TREVOR
You look like you're doing okay. Let
you get back to it.

He moves off. She watches him go. Now Angel appears at her shoulder.

ANGEL
What's he up to?

Kate doesn't look at Angel, her mind and eyes still on her father. Amused, maybe a little touched as she says:

KATE
I think he's actually... checking up on me.

ANGEL
You sound surprised --

She's still smiling as she looks to him, is about to say something, but the eye contact makes her smile dissolve away. She hardens herself against this near intimacy.

KATE
No. You don't get to do that.

ANGEL
What -- ?

KATE
Kill a demon in front of me then act
like we're gonna go out and have a
cappuccino together. It doesn't work
that way --

ANGEL
How does it work?

KATE
I'm not convinced it does... look, no
offense, I think you're probably a
pretty decent guy for a... you
know... what you are. But let's keep
this strictly business, alright? We
don't get personal. I'm not your
girlfriend.

She moves off. As we hold on Angel...

DARLA (V.O.)
Who is he?

INT. IRISH PUB - NIGHT (1753)

DARLA, dressed similarly to her outfit in "Becoming", sits apart from the slightly more rough and tumble crowd in this Galway Pub. She's speaking to a BAR MAID who leans over her table, freshening Darla's drink.

BAR MAID
Who, that one?

They're both looking off toward --

ANGEL, tipsy, CRASHES against a table, in the midst of a BAR FIGHT. He's loving this, shakes off the hit, lunges back at the OTHER PATRON. More slugging ensues.

Darla's enraptured. The Bar Maid disapproving.

DARLA
Yes. He's magnificent.

BAR MAID
(sarcastic)
Oh, yeah. God's gift, all right.

DARLA
Really? I've never known God to be
so generous.

BAR MAID
You don't want to get involved with
the likes of him, Miss. He's trouble.

DARLA
(intrigued)
Is he?

BAR MAID
Oh, his lies sound pretty when the
stars are out. But he forgets every
promise he's made once the sun comes
up again.

DARLA
(eyes on Angel)
That wouldn't really be a problem for
me, actually...

The Bar Maid sees the desire in Darla's eyes. Darla continues to watch.

Angel struggles with the Patron. He feels Darla's eyes on him, glances over, sees her, flashes a killer smile.

The Bar Maid sees the connection being made between these two, huffs away, clearly one of Angel's now forgotten conquests.

As Angel and Darla continue to look at each other, he flashing that smile . . .

CORDELIA (V.O.)
Hey! Pay attention!

But he's not and that gives the other guy the opportunity to bring a bottle down, SMASHING it over Angel's skull --

CUT TO:

INT. ANGEL'S INNER OFFICE - DAY

Angel lost in though. Just now hearing Cordelia. Turns, looks to her. She's sitting across from him, has a security systems manual opened and is trying to give him the run down.

CORDELIA
We just have to decide on what the
code will be.

Angel's still not totally in the room, brain-wise.

ANGEL
Code?

CORDELIA
For the security system we just had
installed? Hello? What have we been
talking about, anyway?

He glances down to the security system manual, charts spread out on the desk, etc.

ANGEL
I don't...

CORDELIA
Come on. The installation guy said
it should be something easy to
remember. Like my birthday.

ANGEL
I don't know your birthday --

CORDELIA
Yeah. Tell me something you don't
know that I don't know. But after
eleven and a half months of punching
it into this, next time you won't
have any excuses.

Now Wesley appears, carrying one of those ubiquitous demon tomes. He's got it opened to a particular page.

ANGEL
Did you identify it?

WESLEY
I believe so... would that be the
demon you encountered this morning?

Wesley displays a page with a drawing of a RAG CLAD KWAINI.

ANGEL
Yeah, that's him.

WESLEY
Her, actually. It's a Kwaini.
They're always female.

ANGEL
Okay... And what does it say about
disposal methods?

WESLEY
Should be relatively standard...
Burial in virgin soil, simple
Latinate incantation... However...

ANGEL
What?

WESLEY
Well, it's curious... according to
everything I could find, a Kwaini is
a peaceful, balancing demon. Non-
violent.

ANGEL
Non-violent? No. This thing was a
fighter.

WESLEY
Well, not if it was a Kwaini, it
wasn't. At least not a fighter by
nature. They're incredibly
articulate, gentle creatures. Not
even capable of the kind of power and
strength you described.

CORDELIA
(off drawing)
Maybe it was just having a bad skanky
rag day.

Angel lets that register, takes the book, looks at it.

ANGEL
Something set it off, that's for sure.

WESLEY
Clearly.

ANGEL
Alright -- so forgetting for the
moment whether this thing shouldn't have
been able to fight as well as it did...
What would make a peaceful balancing
demon attack a train full of Los
Angeles commuters in the first place?

WESLEY
Something on the train, perhaps?

ANGEL
Or someone...

As that question hangs there for a beat --

EXT. POLICE PRECINCT - DAY

Flashy flash cut to establish the precinct, as...

INT. POLICE PRECINCT - RESEARCH ROOM - DAY

Kate going through filing drawer, turning back and finding Angel standing there --

KATE
Angel --

ANGEL
Hi. Can we talk?

KATE
What's up?

ANGEL
It's about that demon from this
morning --

She bristles at the word "demon". Moves him into a private corner.

KATE
Look, if you insist on talking about
this stuff, could you please not use
that word. Makes me... I don't
know... uncomfortable. Just say...
"evil thing". Okay?

ANGEL
Sure... I understand.

KATE
Thanks. Anyway, I thought you were
going to take care of it?

ANGEL
It is being taken care of. It's just
the... evil thing... Turns out it
wasn't... an evil... thing.

KATE
The evil thing wasn't an evil thing?

ANGEL
Well, it was an evil thing, in terms
of... that word. It just wasn't an
evil evil thing.

KATE
There are not-evil evil things?

ANGEL
(offended)
Well -- yeah.

She looks at him, realizes he means himself.

KATE
Oh. Right. Sorry.
(then)
Hey -- how did you get in here,
anyway? It's like the middle of the
day. Don't you have to...

ANGEL
Sewer system. It opens up into the
parking garage.

KATE
Oh, right. Of course. I remember --

ANGEL
Kate, I need the names of the
passengers on the train.

KATE
Why?

ANGEL
I think the de... I think the train
may have been targeted for a reason.

KATE
An evil thing needs a reason?

ANGEL
I think maybe it was after something
or someone.

KATE
There was nothing on the train. We
searched it.

ANGEL
The passengers --

KATE
All checked out.

ANGEL
I want to look into them, anyway.
And I think we should start with the
guy who pulled the emergency brake.
That delivery man. He said the thing
came right at him, maybe there was a
reason for...

KATE
(cutting him off)
Angel?

He looks at her.

ANGEL
Yeah?

KATE
It is still dead, right?

ANGEL
Yeah --

KATE
Good. You told me to forget about
it -- I'd like to.

ANGEL
Kate...

KATE
There's nothing here, Angel. Your
not-evil evil thing was just ...evil.
Okay? Now can't we just leave it at that?

She moves off, ending the discussion. As we hold on Angel we PRE-LAP with:

WESLEY (V.O)
I suppose one can hardly blame her
for being skittish about the topic.

EXT. DELIVERY COMPANY - ANGEL'S CAR - NIGHT

Angel sits in his car, cell phone to his ear, as he watches the exterior of a building with signage indicating this is "Blue Circle Delivery Co."

ANGEL
I guess so. I don't know. Ever
since she ran me through with a 2x4
things have been different.

INTERCUT WITH:

INT. SUBWAY TUNNEL - NIGHT

Wesley moving cautiously through the subway tunnel, cell phone to his ear.

WESLEY
She'll come around. I think you'll
find most people require some period
of adjustment after being confronted
with the dark forces which surround
us. Women, in particular, I think...

Wesley reacts now to --

CORDELIA

is just up ahead of him, has come upon the dead body of the Kwaini demon. She's got a hack saw in one hand.

CORDELIA
Found it!

She drops to her knees, starts sawing into it.

WESLEY
...struggle with it.

Wesley swallows back an "ulp".

ANGEL
Maybe. I'm just afraid if she's
still struggling with the bigger
picture, she may miss the details...

He's saying this as he's watching...

ANGEL'S POV

A DELIVERY CAR pulls up outside the building and out of it steps THE DELIVERY GUY from the train incident.

WESLEY
Details?

ANGEL
Yeah... like why a guy who drives a
delivery van would be on a commuter
train during his shift...

Wesley joins Cordy, snaps on some rubber gloves.

WESLEY
Good question --
(then)
Anyway, it appears we've located the
Kwaini's body --

ANGEL
You'll run the tests?

WESLEY
Yes.

Wesley reaches in side the demon carcass, starts transferring organs into handy Tupperware containers.

ANGEL
Good. I'll see you back at the
office.

Angel clicks off, still watching Delivery Guy moving toward the building. Angel gets ready to climb out of his car, but pauses, as...

DELIVERY GUY

stops, pulls a cell phone from his pocket, answers it. Says something that we can't hear, then returns to his car. Pulls away.

ANGEL

fires up his engine, follows.

EXT. TREVOR'S APARTMENT BUILDING - NIGHT

THE DELIVERY CAR

Pulls up to the curb outside the apartment building. Delivery Guy gets out, starts toward the building, as...

ANGEL'S CAR

Rolls into frame across the street. He quietly gets out of his car, follows on foot now, as...

INT. TREVOR'S APARTMENT BUILDING - SAME

Delivery Guy looks very suspicious as he moves to a particular apartment. Knocks on the door. Waits nervously for an answer, as...

ANGEL

appears at a shadowy corner, watches unnoticed from the distance, as . . .

APARTMENT DOOR

The door opens, revealing a FIGURE. As the figure steps out a little, handing off a large book-sized package wrapped in brown paper to Delivery Guy WE SEE that it's TREVOR LOCKLEY.

ANGEL

reacts to that, surprised.

ANGEL'S POV

Trevor and Delivery Guy exchange some heated words that we can't hear. Trevor looks put out, pissed off. He slams the door shut. Delivery Guy takes the package. WE MOVE with him as he exits the scene, revealing...

ANGEL

who steps from the shadows, watches Delivery Guy go by, then casts his glance back toward Trevor's closed door.

And off Angel, not liking what any of this might mean...

BLACK OUT.

END OF ACT ONE

Act Two

INT. TREVOR'S APARTMENT - NIGHT

Old guy bachelor pad. Trevor sits watching a game on TV. DING DONG. He curses under his breath, moves to the door, pulls it open, and reacts surprised to see Angel standing there. Thinks he might recognize him, isn't sure at first.

TREVOR
Yeah?

ANGEL
Mister Lockley. I'm Angel. We met
at your retirement party. I'm a
friend of your daughter's.

Recognition first, then concern flashes subtly and quickly over Trevor's face.

TREVOR
Katie? Did something --

ANGEL
No. She's fine.

Trevor's still confused, tosses a look past Angel.

TREVOR
She with you?

ANGEL
No. And she doesn't know I'm here,
either. Though you can bet she'd be
interested to know who else was just
here visiting you.

Angel lets that hang there for a moment, then continues.

ANGEL
Do you know she actually thought you
were at the crime scene today because
you were worried about her?

TREVOR
What do you want?

ANGEL
I want to know what was in that
package. The one you gave to the
delivery man.

TREVOR
I don't know what you're talking
about.

ANGEL
You removed something from that crime
scene, today. Something somebody
didn't want the police to find.

Trevor sets his jaw, starts to shut his door.

ANGEL
Who are you working for, Mister
Lockley?

Trevor holds the door, looks defiantly at Angel.

TREVOR
I don't work for anybody. I'm
retired. You were at the party,
remember?

ANGEL
I will find out what's going on, sir.
I'm just letting you know that now
out of respect for Kate.

TREVOR
Are you threatening me, son?

Angel reacts to the word "son". The question hurts him.

ANGEL
No. I'm trying to protect your
daughter --

Trevor bristles at that.

TREVOR
Protect my daughter? From what?

ANGEL
From finding out that the reason you
were there today wasn't because you
cared about her.

Trevor darkens, regards Angel for a moment.

TREVOR
You got any kids, Angel?

Angel's a little taken aback by the question.

ANGEL
No. I don't.

TREVOR
Right. Then don't think you can know
how a father feels -- or why he does
the things he does.

SLAM. The door is shut.

FATHER (O.S.)
Liam! Liam!

INT. IRISH HOUSEHOLD - DAY (1753)

Angel bursts around a corner, carrying the 18th century equivalent of an overnight bag. Still shoving clothes into it. His Father is on his heels, dogging him. Nearby ANGEL'S MOTHER and LITTLE SISTER huddle together. Family trouble.

FATHER
Liam! You'll do as I say!

Angel ignores his Father. Moves to his mother and sister. Kneels down to the little girl who looks at him sadly. He has a special, kind smile for her.

ANGEL
Sweet Kathy. No tears. We'll meet again.

FATHER
Defy me now and you won't. Not so
long as I live.

Angel, his back still to his Father, registers that, but doesn't respond. He stands, meets eyes with his mother. She looks back, powerless. Now he turns to his Father, who stands in front of the door, blocking it.

ANGEL
You'll want to move away from the
door now, Father.

FATHER
Go through it -- and don't ever
expect to come back.

ANGEL
As you wish, father. Always just as
you wish.

FATHER
It was a son I wished for! A man.
Instead God gave me you. A terrible
disappointment!

ANGEL
Disappointment? A more dutiful son
you couldn't have asked for.
(off Father's confused look)
All my life you've told me in word
and glance what it is you've required
of me. And I've lived down to your
every expectation, haven't I?

FATHER
That's madness --

ANGEL
No. The madness is that I couldn't
fail enough for you. But we'll fix
that, now won't we?

FATHER
I fear for you, lad.

ANGEL
And is that the only thing you can
find in your heart for me now,
Father?

FATHER
Who'll take you in? No one!

ANGEL
(leans close)
Oh, I'll not lack for a place to
sleep. I can tell you that.
(then)
Out of my way.

The malice vanishes from Angel's Father's face for a moment. He regards his son with gentle pain.

FATHER
I was never in your way, boy.

A beat. Angel and Father both seeing each other's humanity for a split second, then Angel pushes past the old man. Father calls after him:

FATHER
You go courting trouble, you're sure
to find it!

Angel, his back to his Father, keeps going, waves a dismissive hand at the warning. Trouble. Pffft.

CUT TO:

INT. IRISH PUB - NIGHT (1753)

Quick pops of Angel out carousing.

EXT. IRISH PUB - 1753 - NIGHT - MATERIAL FROM "BECOMING" 18

Pops of Angel drunkenly leaving pub ... Darla beckons him ...Angel approaches the mysterious beauty on the lonely street ... She flirts with him. She bites him. His life changes forever...

EXT. PARK - HOTDOG STAND - DAY

Kate and Trevor as Trevor pays for two dogs, turns, hands one to a guardedly optimistic Kate.

KATE
Thanks --

He nods. They move to a stone wall or bench or someplace nearby where they can sit.

KATE
So why the sudden urge to have lunch?

TREVOR
Lunchtime, ain't it?

KATE
Right. So you drive all the way out
here for a hotdog --

TREVOR
Not just a hotdog... one of Manny's.
Best there is.

KATE
Right. I'll let you and Manny catch
up, then --

She starts to rise. He stops her with:

TREVOR
And I thought I could spend a little
time with my daughter.

She looks at him. Decides to give him a break. Rejoins him. Sits. They sit in silence for a beat.

TREVOR
So -- you been good?

KATE
Yeah. Yeah, good.

He nods. Is not very good at this. She takes a bite of her hotdog. What else can she do? Trevor looks at her.

TREVOR
And how's Angel?

She nearly gags. Doesn't. Swallows.

KATE
Pardon me?

TREVOR
Tall good-looking fella you brought
to my retirement party --

KATE
Yeah, I know who you mean.

TREVOR
That ain't a Mexican name, is it?
Angel?

KATE
I don't think so.

TREVOR
You two still seeing each other?

KATE
We were never "seeing" each other,
Daddy.

TREVOR
Oh. What's wrong with him?

KATE
Nothing --

TREVOR
Must be something wrong with him. He
married?

KATE
No.

TREVOR
West Hollywood?

KATE
Daddy. No. Angel's just... not my
type. Or I'm not his type. There's
definitely a type involved and it's
the wrong one. Okay?

TREVOR
He got a job?

She looks at him -- why won't he let this go? Finally.

KATE
Yeah. He's a P.I.

Trevor registers that.

TREVOR
Private investigator... He any good?

Kate takes a beat, considers that simple question. It's maybe something she's forgotten of late...

KATE
Yeah, he's good.
(nearly to herself)
Very good.
(then, snapping out of it)
He doesn't mind working nights.

TREVOR
That's good. That's good that he's
good.

KATE
You came all the way down here to
talk about a guy you saw me out with
once?

TREVOR
Well, he made an impression.

KATE
(venturing)
You like him?

TREVOR
No, not really.

KATE
Oh. Then what's this all about?

TREVOR
Nothing. It's just...

He looks at her. She looks back. A pregnant moment. As he looks away:

TREVOR
It's not good to be alone, Katie.

He takes a bite of his dog. Stares off. Ruminates. She looks at him, then takes a bite of hers. He glances back at her. She's still looking at him.

KATE
(re: hot dog)
Best there is.

Off that --

INT. ANGEL'S KITCHEN - DAY

Wesley has set up his "lab" in Angel's kitchen. He's got an apron on over his suit. The remains of the Kwaini are laid out unappetizingly on Angel's kitchen table. Wesley's going over his results with Angel.

WESLEY
Well, the vivisection confirms it --
this was most certainly a Kwaini.

ANGEL
So... the species has evolved, become
violent?

WESLEY
No. I don't think so. My tests
detected something else...

Wesley reaches for a tray with a globby looking internal organy thing the size of a large pear.

ANGEL
What is it?

WESLEY
Think of it as the creature's adrenal
gland. Normally it would be the size
of a walnut.

ANGEL
What happened to it?

WESLEY
I believe the inflammation was caused
by this substance --

Wesley picks up a beaker with a small amount of a dark fluid.

WESLEY
It's synthetic. I found traces of it
throughout the Kwaini's system --

ANGEL
Any idea what it is?

WESLEY
Difficult to say definitively under
these primitive conditions... but it
seems to contain properties not
unlike street PCP, though more
metaphysical in nature, of course.
I did identify Eye of Newt as one of
the ingredients. Though one suspects
added chiefly for taste rather than kick.

ANGEL
So you're saying the thing was on
drugs.

WESLEY
Yes.

ANGEL
And that must be why it attacked the
subway train. Delivery Guy was
probably carrying.

WESLEY
I think it would be a fair intuitive
leap to assume the Kwaini was
"jonesing" to "get well", yes.

Angel looks back to the beaker.

ANGEL
So not only did this stuff turn the
Kwaini violent, it enhanced its
innate strength...

WESLEY
Times twenty, I would say.

ANGEL
(then, musing)
What would happen if this drug were
given to an already powerful battle
demon?

WESLEY
I shudder to think.

That hangs there for a moment. They react now to the SOUND of the ELEVATOR descending. Cordelia appears, decked out in dark glasses, blonde wig, vinyl coat, camera bag. She's been undercover.

CORDELIA
Hey, guys? Security system,
remember? What's the point of having
it if we don't turn it on? I could
have been anyone! Or anything.

Angel and Wesley exchange guilty looks. Cordelia unshoulders her camera bag.

CORDELIA
Move your entrails.

Wesley makes a space on the table.

ANGEL
So you're back --

CORDELIA
Very good, Mister I-Can't-Tail-The-
Suspect-During-The-Day-Because-I'll-
Burst-Into-Flames-Private-Eye.

ANGEL
What'd you find out?

As she unloads her digital camera:

CORDELIA
First off, I hate following detail.

WESLEY
The voyeuristic aspect is rather
unseemly.

CORDELIA
Uh, can I mention traffic? And
parking? Or the complete lack of it?

ANGEL
Not like in the movies, is it?

CORDELIA
No. But fortunately -- I am.

She starts setting out DIGITAL PHOTOS of Delivery Guy. Surveillance shots.

CORDELIA
So it turns out Delivery Guy really
is a delivery guy...

Cordy runs through the shots on the digital camera. Angel and Wes gather 'round. Shots of Delivery Guy delivering various and sundry items: food, prescriptions, etc.

ANGEL
None of it looks like the package I
saw him pick up from Kate's father --

CORDELIA
But this is where he spent his lunch
hour... He was in there for like ever.

Shots of Delivery Guy entering an EXOTIC AUTO WAREHOUSE. Signage tells us this is "Kel's Exotic Auto". Delivery Guy is captured in shots looking furtively around as he enters ... And now shots of him exiting the warehouse, arms loaded down with several BROWN PACKAGES identical to the one he retrieved from Trevor.

CORDELIA
Don't know what they were serving...
but sure are a lotta leftovers, huh?

ANGEL
That's it. That's the source.
That's where it's all coming from...

As we NOSE IN on a photo of the exterior of the warehouse ...

DISSOLVE TO:

EXT. KEL'S EXOTIC AUTO - DAY

To establish this is the same place as in Cordy's photos.

INT. KEL'S EXOTIC AUTO - DAY

A custom car chop shop. Rainman-ish. CAMERA MOVES through the hanging automobiles, finding Trevor standing with TWO SUITS. Tom Cruise x 2.

TREVOR
Guy's name is Angel. He's a private
investigator. And from what I hear
he's good.

SUIT
Any idea on why he'd be looking into
our operation?

TREVOR
I don't know. He's got his reasons,
I guess.
(then, pointedly)
What was in the package?

SUIT
Mister Lockley, we agreed --

TREVOR
We agreed I'd use my department
connections to facilitate movement of
your un-tariffed "auto parts". We
didn't agree that I'd be removing
evidence from crime scenes or pumping
my own daughter for information.

SUIT
We understand the extra lengths to
which you've gone, Mister Lockley.
Don't think we're not appreciative.

The Suit removes a fat envelope from his jacket, tosses it down onto a table, arm's length from Trevor. Trevor eyeballs it for a moment, then sweeps it up with:

TREVOR
My advice to you guys? Whatever it
is you're moving in those little
brown packages... dial it down for
awhile.

SUIT
Sound advice, Mister Lockley. Thank
you very much.

A weird moment of silence. Trevor tucks his envelope away, exits. The Suits watch him go, stoic.

SUIT
Any instructions on how we should
deal with this Angel person, sir?

OUT OF THE SHADOWS

waddles (or walks or skips or whatever Mister Miller is devising) HEAD DEMON GUY. And boy, is he ug-leeee.

HEAD DEMON GUY
Kill him.

SUIT
Are you sure that's wise, sir?
Lockley appears to be growing
uncomfortable with our arrangement as
it is. The sudden death of this
private investigator could turn him...

HEAD DEMON GUY
(as he turns and walks away)
Kill him, too.

BLACK OUT.

END OF ACT TWO

Continue on to Part Two

The Prodigal

Part 2

(January 6, 2000)

Written by: Tim Minear

Act Three

EXT. GRAVEYARD - 1753 - DAY

We're looking at a grim funeral proceeding. BLACK CLAD MOURNERS, including Angel's Father, Mother and Sister. A BLACK ROBED PRIEST reads a eulogy.

BLACK ROBED PRIEST
Father God, we commit to You Your
humble servant, taken too soon from
the bosom of his family. A man of
just twenty and six years, Liam was
well loved by all who knew him. We
pray that You would take his eternal
soul into Your care, Father...

We're PUSHING closer into the scene in a SERIES OF DISSOLVES. Lyrically moving into favor Father. With each DISSOLVE the CROWD dwindles a little more. GRAVE DIGGERS fill in the graves. Until, apart from the grave diggers, Father appears to be the only one left. After a beat, he moves away...

EXT. IRISH COUNTRYSIDE (STOCK)

The sun dips away totally into the horizon.

EXT. GRAVEYARD - 1753 - NIGHT

The Grave Diggers have finished their work. As they pack up and leave, A LONE FIGURE, identity shrouded by a heavy cloak and hood, emerges from the periphery.

The figure glides to the grave side. Draws back the hood... it's Darla. She watches the new grave as... the freshly turned earth begins to move... shift... Something's trying to get out. Now a HAND appears, clawing its way free, shooting up from the grave...

Angel is reborn from this dark womb, pulling himself totally free now, crawling on his hands and knees, gasping for breath.

Darla moves to him, helps him rise to his feet, steadies him.

DARLA
Welcome to my world.

He looks at her, half in pain, half in wonder. Not totally understanding what is happening to him. Angel shudders in agony as he's hit with a wave of sensation. She continues to steady him, exhilarated by what's happening to him.

DARLA
It hurts, I know. But it won't for
long. Birth is always painful.

The pain has subsided. He looks at her, in awe.

ANGEL
I could feels them above me as I slept
in the earth. Their heartbeats, the
blood coursing through their veins...

DARLA
Oh, yes --

He looks at her, really not knowing...

ANGEL
Was it a dream?

DARLA
A dream for you. Soon their
nightmare.

A GROUNDS KEEPER appears, holding a lit lantern. He sees the two people at the grave side. Notes the disturbed earth.

GROUNDS KEEPER
You there!

They turn, look at him.

GROUNDS KEEPER
What have you done? Grave robbers!

Darla gives Angel a gentle push, with:

DARLA
You know what to do...

Angel is still unsteady, unsure, but some instinct in him is trying to surface. He looks, a tentative child, to his encouraging mother. She nods. He turns back hungrily toward the man... and MORPHS to VAMPIRE FACE. The Grounds Keeper reacts, horrified. Takes a troubled step backward and instantly starts to pray.

GROUNDS KEEPER
Our Father, Who art in Heaven,
hallowed be Thy Name. Thy Kingdom
come, Thy Will be done, on Earth as
it is in Heaven. Give us this day
our daily bread --

... and it's on that deeply ironic line that Angel bites for the first time. As Angel drinks, he looks over the neck of his victim to his new mother/lover.

Darla smiles, enjoying every moment of this.

Angel, back to NORMAL FACE (on a cut), has finished his kill, looks rejuvenated, lets the body drop there at his feet, looks to Darla, his eyes shining. And her eyes shine right back at him, admiring her new creation.

Angel revels in the new strength. His first kill. He's suddenly no longer the confused creature that just clawed out of the grave -- he's rejuvenated.

DARLA
It makes sense now, doesn't it?

He nods.

ANGEL
Yes -- perfect sense.

DARLA
Now you can do anything. Have anyone
in the village. Who will it be?

Angel looks at her. Angelus, now.

ANGEL
Any one? I thought I'd take the village.

He moves off, musing. She watches him, delighted with his ambition, because:

DARLA
Now no one is safe --

And the thought simply thrills her.

INT. ANGEL'S OUTER OFFICE - DAY

Cordy and Wesley at the security system punch pad. He's holding the instruction manual while she runs him through it. She punches in the code to arm the system.

CORDELIA
Oh-One, Two-Two. There. See?

WESLEY
Right. So now we should be
protected by --
(reading)
"State of the art home and workplace
security designed to attractively
compliment any room, home or office. TM."

CORDELIA
Exactly -- which means no lurky
minions from hell get in here without
us knowing about it first.

Angel appears from his office.

ANGEL
Sun'll be down soon. I'm going to
head out to this exotic car
warehouse. See what I can find out.

WESLEY
You'll want back up.

ANGEL
No. Not this time.
(off Wesley's look)
This is strictly recon. I need to
know exactly what we're dealing with
before we make any moves.

WESLEY
Right you are. A deliberate,
cautious approach would be the most
sensible plan. Fools rush in.

CORDELIA
(to Wesley)
No, he wants you to stay here.

KATE (O.S.)
Hi --

Cordy and Wesley jump. Didn't hear her come in. Kate stands just clear of the open doorway.

CORDELIA
How'd you do that?!

KATE
Do what?

CORDELIA
(rips manual from Wes)
Give me that --

Cordy fumes, moves off.

KATE
Am I interrupting anything?

CUT TO:

INT. ANGEL'S INNER OFFICE - DAY

Angel and Kate retreat to Angel's office for privacy. She offers him a folded up piece of paper.

KATE
Here --

ANGEL
What's this?

KATE
The list of those names you asked for.

It takes him a beat. She's still holding it out to him.

KATE
(remember?)
The passengers, from the train?

ANGEL
Right --
(takes it)
Thank you.
(then)
What made you change your mind?

She hesitates, looks away, a little slow to admit:

KATE
Something my father said, actually.

ANGEL
Your father?

Kate laughs lightly.

KATE
Yeah. He asked if you were good.

ANGEL
Good?

KATE
(nods)
At what you do. I said you were.

ANGEL
Thanks.

KATE
And no matter how uncomfortable I am
with certain... circumstances -- I
can't let myself ignore your
instincts. If you think there's more
going on here, then there probably is.

ANGEL
I appreciate that.

KATE
And I'd like to be involved.

ANGEL
What?

KATE
With the case. You find something
you bring me in. Okay?

ANGEL
Kate, are you sure about that?

KATE
Gotta face those demons sometime, right?

ANGEL
Right.

That hangs there for a moment, then we GO TO:

EXT. ANGEL'S OFFICE - NIGHT

Flash cutty transition to, well, just later, alright?

INT. ANGEL'S OUTER OFFICE - NIGHT

Angel pulling on coat, readying to go out. Looking around the office for something, being dogged by Wesley during the following:

WESLEY
Isn't this going above and beyond the
call of duty? And friendship, for
that matter?

ANGEL
I have to at least try, Wesley.

WESLEY
Angel, I understand you want to
protect Detective Lockley from
learning about her father's...
questionable associations. But
you've already warned him once -- and
even that may have been too much,
frankly.

ANGEL
I warned him about me, Wesley. But
now he needs to understand the real
nature of what it is he's working
for --

WESLEY
If he doesn't already know.

ANGEL
He doesn't know. He can't.

WESLEY
Perhaps. Still, at the very least he
must realize he's in league with
someone who, if not criminal, is most
certainly unethical. It's his choice to...

ANGEL
Yeah, I know all about it, Wes.
Believe me. But sometimes the price
we end up paying for one bad choice
isn't commensurate with the offense.

Wesley backs down, seeing how personal this is for Angel. Cordy steps up holding out Angel's car keys.

CORDELIA
You go talk some sense into him.

He looks at her, grateful. Takes the keys. Exits. Cordy moves to the security system punch pad.

WESLEY
I hope he knows what he's doing --

CORDELIA
Have a little faith, Wesley.

She finishes punching in the code. Hits "armed". She turns, reacts since now she's face-to-rags with A HOPPED UP KWAINI DEMON. Suddenly:

SECURITY SYSTEM VOICE (V.O.)
Door is open.

CORDELIA
(glancing up)
Yeah, thanks --

She backing away from it as it converges.

Wesley is doing likewise as another KWAINI is coming at him from the other side of the room.

SECURITY SYSTEM VOICE (V.O)
Bathroom window is ajar.

Cordy's Kwaini takes a swing at her. She ducks, grabs something heavy that props already has handy and bashes it with it. She makes a run for it, but it blocks her.

Wesley's not doing much better as his Kwaini attacks him.

ANGEL
Hey --

Everyone stops to see Angel has entered from the back. He's holding up the beaker with the dark liquid Wesley extracted in his autopsy --

ANGEL
Betcha like some of this, wouldn't
ya, girls?

Bees to honey, as they say. The two monsters forget about Wes and Cordy and go for the drug.

ANGEL
Hop heads.

Angel tosses it. They follow. Angel uses the distraction to attack. He sends one of the demons CRASHING through the office window. And if we don't see this, we'll know it because:

SECURITY SYSTEM VOICE (V.O.)
Window is open.

CORDELIA
(pissed off)
I'm unplugging it --

Angel collards the second Kwaini, gets it in a vise-like grip, smashes it down onto a desk. Gets in its raggedy ass face:

ANGEL
All right. I know you can, so
talk --

As we hold on the frightened by fiery eyes of the Kwaini, we PRE-LAP with: DING-DONG.

INT. TREVOR'S APARTMENT - NIGHT

Trevor pulls open his door, revealing the Suits.

TREVOR
Yeah?

SUIT
Mister Lockley, may we come in?

TREVOR
What do you want?

SUIT
It'd be better if we discussed it
inside. It concerns your daughter.

INT. ANGEL'S OUTER OFFICE - NIGHT

Angel paces, phone to his ear.

ANGEL
Kate. Kate, it's Angel. Pick up if
you're there.

Wesley and Cordy sit guard over the cowed Kwaini.

ANGEL
You've got to get your father out of
his house. He's in danger.

A HAMMER

Pounding on a rough piece of wood. Someone's boarding up a window in...

INT. IRISH HOUSEHOLD - NIGHT (1753)

The house is dark. Garlic, candles, all manner of vampire warding off paraphernalia is in evidence. Angel's Father, looking wrecked and sleepless, boards up the window.

Rattled, he reaches for another nail...

ANGEL
You're no different than the rest of
them, are you, Father?

Father whips around, scared out of his mind at that voice. Angel looks, well, fabulous, actually. Reeking with taste, dripping with style.

ANGEL
Cowering in their houses. Boarding
up the windows. Smearing that foul
herb in their doorways. You'd think
something evil and vile and monstrous
had taken to terrorizing this village
and everyone in it.

FATHER
Be gone, unclean thing! A demon can
not enter a home where he is not
welcome! He must be invited!

ANGEL
That's true. But I was invited...

Angel glances over to --

ANGEL'S DEAD SISTER

crumpled like a rag doll near the doorway.

ANGEL
She thought I'd returned to her --
(he says "angel" for the first time as if,
perhaps, naming himself)
-- an angel.

FATHER
Murderer... murderer...

Angel starts to move in on his Father, regarding him as one might regard a pathetic animal.

ANGEL
Strange. Somehow you seemed taller
when I was alive...

FATHER
Lord, bind the demon now --

ANGEL
To think I ever let such a tiny,
trembling thing make me feel the way
you did --

FATHER
Deliver me into your protection,
Father --

ANGEL
You told me I wasn't a man. You told
me I was nothing. And I believed
you. You said I'd never amount to
anything --
(then)
You were wrong.

He MORPHS to VAMP FACE...

ANGEL
You see, Father? I have made
something of myself, after all --

And as Angel descends on his Father...

INT. TREVOR'S APARTMENT - NIGHT

Trevor's at his wet bar (or open kitchen counter) pouring himself a drink. The Suits are seated in the living area.

TREVOR
You boys like a drink?

The Suits share a subtle look.

SUIT
We'll wait.

TREVOR
Okay. So you said this was about
Katie --

SUIT
Yes. Just a question, really. You
haven't, by any chance, mentioned to
her, even in a casual way, your
association with us -- have you?

Trevor stiffens a little at that, covers it pretty well.

TREVOR
She doesn't know a thing. Why?

SUIT
Well. We were concerned, had you
confided in her, that she might not
share your... pragmatism. Given her
position and... youth. That's all.

TREVOR
You mean you were afraid she wasn't
crooked like her old man?

The Suit smiles at that.

TREVOR
She's not. And she'll never have to
be. I've seen to that.

SUIT
Ahh. Providing for her future. Of
course. Very noble. I'm glad we
could help with that.

As Trevor pours his drink with one hand, his other hand slides unseen by his guests down behind the bar... reaching for a SERVICE REVOLVER that is hidden there...

TREVOR
Yeah. I'll be sure to thank you when
I pick up my Father of the Year
Award. Anything else?

SUIT
Just... one thing.

We can see he's about to rise, as... Trevor's hand touches the gun... but now a POUNDING on the front door. The Suits react. Trevor stops reaching for his gun. Moves to the --

DOORWAY

Trevor pulls open the door, there's Angel. Relieved to be here in time. Trevor's anything but relieved.

ANGEL
Mister Lockley... I need you to
invite me in --

TREVOR
What? Get out of here.

But now Angel sees the Suits rising behind Trevor. Angel looks Trevor dead in the eye --

ANGEL
Invite me in -- Do it now.

The Suits are moving steadily, coming up behind Trevor.

TREVOR
Son, you really need to go.

Trevor thinks he's protecting Angel.

ANGEL
Invite me in.

The SUITS MORPH to VAMP FACE behind Trevor as Trevor starts to shut the door on Angel.

ANGEL
No!

Before he gets the door shut, Trevor turns, sees the vampires coming at him. One of them knocks him violently across the room.

Angel instinctively pushes against the unseen barrier at the threshold. He's kept back by the invisible force.

Suit #1 pauses, looks at Angel, realizes what he is -- and that he can't come in. He smiles.

SUIT
Looks like you're not welcome here,
bro' --

ANGEL
He dies -- the very instant his soul
leaves his body, I'm through this
door. And then I'll kill you both.

The Vamp GROWLS at Angel, goes back in for the kill with his partner.

Violence happens in that room. Most of which, maybe none of which, we actually see, because we're PUSHING CLOSE onto Angel, in agony, inches away and unable to do anything. Finally he shuts his eyes...

TREVOR'S FACE

Drops INTO FRAME, his eyes wide and staring, dead.

DOORWAY

Where in that instant, on a cut, Angel bursts through, the invisible barrier gone, now.

ANGEL

kicks at the leg of an upturned coffee table, snaps it off kicks it up into his hand -- and expertly DUSTS the first VAMP.

The second VAMP (interestingly enough, the one with all the dialogue so far...) flies past him, escaping out the door, nearly colliding with --

KATE

as she appears at the doorway. She sees second Vamp's Vamp Face, reacts, then turns and takes in the sight before her:

Her father lying motionless. A horrible SHUDDER vibrates up through her body.

ANGEL
Kate...

Now she flies past Angel to her downed father's side, embracing him, rocks him. Just fucking MOANING in anguish.

KATE
Daddy! Oh, no... Daddy!

And off this urban Pieta...

BLACK OUT.

END OF ACT THREE

Act Four

INT. TREVOR'S APARTMENT - NIGHT

As we were. Kate weeping, her arms full of her dead father. Angel standing there, watching her, wanting to go to her.

ANGEL
Kate...

Now she sees something on her father's neck -- tell tale puncture marks. Now she knows. She looks at Angel, recrimination on her face.

ANGEL
He invited them in... he didn't know.

She turns, looks at him, her face dead, flat, hard.

He looks at her, can't hide his own feelings of guilt, whether they're justified or not.

ANGEL
I wanted to save him. He wouldn't
let me. He was involved in
something, Kate. Something he
couldn't have understood.

KATE
Get out.

He just looks at her, wants to say something, anything, but she's staring at him with such hatred.

ANGEL
Kate --

KATE
Get out. Get out! GET OUT!
GETOUTGETOUTGETOUTGETOUTGETOUT!

She's hysterical. Angel stands. Slowly backs off. She pulls her father's body to her again, rocking him.

Angel watches her for a moment, then turns, leaving the child to grieve for her dead parent...

INT. ANGEL'S LIVING AREA - NIGHT

A VARIETY OF SHOTS

Angel arming himself for bear.

The big ol' "Batman" montage of gadgets, steely eyes, etc. Wrist stakes: check. Enchanted Dagger: check.

WIDER

Wesley is here, watching, nervous.

WESLEY
What happened to calmly, cautiously
and deliberately investigating before
rushing in?

ANGEL
That was plan "a". We've since moved
on to plan "b".

WESLEY
And plan "b" is... ?

He reaches over, hefts his battle axe. This guy's ready to rock and roll.

ANGEL
Do I really have to explain it to
you, Wesley?

Wesley takes special note of the axe, backs away.

INT. TREVOR'S APARTMENT - NIGHT

CAMERA SLOWLY TRACKS through the rubble and debris left behind in Trevor's apartment...

Smashed and upturned furniture, etc., until finally finding Kate, sitting on the floor, knees hugged up to her chest, rocking herself, now. She's spent from crying, there's nothing left.

Her father's dead body lies where it was. It's clear she hasn't picked up the phone, has done nothing. She's Ophelia.

Her blank eyes travel the broken room, finally lighting on something that catches her interest.

At about her eye level is an end table, upturned in the melee, its drawer half opened. Sticking out of it is an envelope. An envelope which WE RECOGNIZE as Trevor's payment envelope.

Kate moves to it, takes it. Opens it. Sees the cash. She digs in the drawer again, finds a card. "Kel's Exotic Auto". She stares at it.

Now she reaches into her shoulder holster, takes out her gun, looks at it, snaps it open, checks the chamber, then snaps it shut again. Off that --

EXT. KEL'S EXOTIC AUTO - NIGHT

To re-establish, as...

INT. KEL'S EXOTIC AUTO - NIGHT

UNKNOWN PERSON'S POV

We're in someone's STRICT POV, pushing open the door to the warehouse. Moving right in without asking.

Up ahead WE SEE HENCH VAMPS in conference with the Suit (who is still in Vamp Face). They sense our presence as we move ever closer, turn as A GUN comes up INTO FRAME (we're the ones holding it in this strict POV) and STARTS BLASTING.

Hench Vamps go down, littering the warehouse floor. The only one left standing is The Suit.

A WILD EYED KATE

Is the one wielding the gun.

KATE
My father may not have known what you
are -- but I do. I know.

The Suit takes a step toward Kate, half glances to the writhing Hench Vamps.

He's moving closer, cautiously regarding the gun, but unafraid. He glances up at her.

SUIT
Do you?

He sort of doubts it, given her choice of weapon...

KATE
Oh, yeah.

SUIT
I see.

She knows just what he's thinking as he gets ever nearer.

KATE
(re: her gun)
Oh -- Right. The gun.
(a beat)
I know it won't kill you.

She fires, catching Suit in the shoulder. Now she sweeps her leg around behind his, dropping him to his back. And in that same movement she's produced a short stake and is now poised over him, missionary position, sharp end of the stake right at his heart.

KATE
But this will --

The Suit just looks at her, fear in his eyes. And she shoves the stake in with all her might. The Suit's SCREAMS fade as he goes to DUST.

KATE
Told you I knew --

HEAD DEMON GUY (O.S.)
What do you think you know?!

She reacts now to see Head Demon Guy has emerged from the private office. He's moving toward her. Kate scrabbles backward, breathing hard.

HEAD DEMON GUY
Do you know what really walks this
city?

She pulls her gun again. And she just starts fucking firing, unloading an entire round into the thing. He seems to like it.

HEAD DEMON GUY
You have no comprehension -- no
understanding of what stands before you!

Kate's escape is blocked as HENCH VAMPS rise up from the floor, converge on all sides.

ANGEL
Uh... big ugly drug running demon who
thinks he's scarier than he really
is, maybe?

All react to see Angel standing there, axe in hand.

ANGEL
Yeah, she knows.

Hench Vamps converge on Angel. He battles them back, two at a time. Kate manages to keep one at bay, but just barely.

Finally Angel has knocked away two, pulls the other off Kate, has made a clearing for both he and Kate. But they're still surrounded. Stand off.

ANGEL
We walk out of here now, you get to
keep your head.

The Hench Vamps, who are ready to jump into the fray again, look to their boss. He's weighing the offer. Finally he nods to them to stand down.

Angel, shielding Kate, takes a step backward, and --

ANGEL
Let's go...

Then --

HEAD DEMON GUY
Oh wait, I lied.

He nods to Hench Vamps, then, to Angel:

HEAD DEMON GUY
You're dead.

The Hench Vamps spring: Two Hench Vamps move in on Angel from either side, the other going for Kate.

Angel tosses the axe straight up in the air, it spins end over end, as...

Angel thrusts his arms down -- and the wrist stakes SNAP to attention. He brings his arms out, neatly staking the vamps on either side of him. We HEAR THEM go to dust, as --

Kate twists away from the Hench Vamp at her side, dives for the stake as he comes at her. She takes him out, as...

THE AXE

gravity bringing it back into --

ANGEL'S HANDS

he snatches it from the air --

ANGEL
I'm already dead --

-- and brings it around in a perfect arc -- decapitating Head Demon Guy, whose name now takes on a nicely ironic meaning, for the reader, anyway.

ANGEL
Welcome to the club.

Angel moves to Kate, who's on the ground, regaining her breath. He moves to her.

ANGEL
You okay?

She doesn't respond, is still turned away from him. He tries to lighten the moment...

ANGEL
Never trust an evil evil-thing, right?

Now she turns and looks at him. All the repulsion, disgust and horror on her face is for him and everything he represents. She recoils from him -- a little crazy with grief and rage --

ANGEL
Kate -- I know that what happened
with your father...

KATE
My father was human -- and you don't
know anything about that.

She pulls away, won't say a word to him. And all he can do is watch her go. As we hold on him...

DARLA (O.S.)
This contest is ended, is it?

DISSOLVE TO:

INT. IRISH HOUSEHOLD - NIGHT (1753)

Darla enters. Angel sits amongst the aftermath. The entire family is here: Angel's dead Father, his Mother and again the dead little sister.

ANGEL
Now I've won.

DARLA
Are you sure?

He looks at her -- what's that supposed to mean?

ANGEL
Of course -- I've proved who had the
power here.

Darla takes in the sight of the massacre.

DARLA
You think?

ANGEL
What?

DARLA
Your victory over him took but
moments --

ANGEL
Yes.

DARLA
But his defeat of you will last
lifetimes.

ANGEL
What are you talking about? He can't
defeat me now.

She regards Angel's Father's dead body.

DARLA
Nor can he ever approve of you -- in
this world or any other.

Angel looks at the bodies, takes that in.

DARLA
What we once were informs all that we
have become. The same love will
infect our hearts -- even if they no
longer beat. Simple death won't
change that.

ANGEL
Love? Is this the work of love?

She moves close to him, reaches out tenderly, strokes his face. Not so much condescending as understanding. Not sentimentally, but admiringly.

DARLA
Darling boy. So young. Still so
very young...

Off Darla gazing with gentle humor at her creation and Angel looking back, trying to process her words...

EXT. CEMETERY - DAY

The WORDS "Beloved Father", etched into stone.

WIDER

Kate sits at a fresh grave. Her father's grave. She lays some flowers there. Regards the final resting place, as...

ANGEL

Angel watches her from the distances, Angel shielded from the sunlight in the deep shadows of a crypt, lots of greenery around suggesting his way in and out of there.

KATE

rises from the graveside, moves off.

ANGEL

watching her, knowing that he can not go to her now. Knowing what it is to be haunted.

BLACK OUT.

THE END