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The Prodigal Part 1 (January 6, 2000) Written by: Tim Minear |
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Teaser |
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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.) She turns. A FIGURE lurks in a corner, pressed into the shadows. We may recognize Angel's distinct outline. IRISH CHAMBER MAID ANGEL She casts a nervous glance further into the house. IRISH CHAMBER MAID ANGEL She takes a tentative step toward the figure. IRISH CHAMBER MAID ANGEL FATHER (O.S.) 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 ANGEL Angel manages to get to his feet, the effect of a long night of drinking evident on him, but his arrogance intact. FATHER ANGEL FATHER ANGEL WHACK! Father gives Angel the back of his hand -- hard. FATHER 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 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 KATE UNIFORM Kate looks at him, confused. KATE UNIFORM KATE UNIFORM KATE UNIFORM KATE UNIFORM KATE UNIFORM KATE He shrugs. Has nothing to add. A long beat as Kate just looks at him. Finally: KATE 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.) Angel looks up to see Kate standing there. She saw at least the end of this. KATE Off Angel and Kate standing over the dead body of a demon . . . BLACK OUT. END OF TEASER |
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Act One |
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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 ANGEL KATE ANGEL She nods. Considers that. She's still absorbing this new world. Angel regards her, measuring her response. KATE ANGEL A beat. She feels him looking at her. Snaps out of it a bit. KATE ANGEL A beat. He knows that means him. Uncomfortable silence. Angel tries to break it with: ANGEL She flashes a "can we not get into this right now?" look. ANGEL 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 ANGEL KATE ANGEL KATE ANGEL KATE ANGEL They have now moved close enough to overhear A UNIFORMED DELIVERY GUY giving his statement to a COPY. DELIVERY GUY Angel glances to Kate. She pretends not to notice, moves to the Cop. She takes the report from the cop's hand. KATE He shrugs. It is. Testy, she looks back to the statement. KATE DELIVERY GUY KATE What does this woman want from him? DELIVERY GUY KATE DELIVERY GUY Kate glances back over at Angel for a beat, makes a choice, then hands the statement back to the cop with: KATE The cop nods, moves off. DELIVERY GUY KATE He does. Kate turns back to Angel. He's looking at something o.s. He nods toward -- ANGEL 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 Trevor sees his daughter. The UNIFORM moves away. TREVOR KATE TREVOR The Delivery Guy exits through frame in the b.g. We shouldn't make much of this, witnesses are being released now. TREVOR KATE A beat. He neither confirms nor denies. TREVOR He moves off. She watches him go. Now Angel appears at her shoulder. ANGEL Kate doesn't look at Angel, her mind and eyes still on her father. Amused, maybe a little touched as she says: KATE ANGEL 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 ANGEL KATE ANGEL KATE She moves off. As we hold on Angel... DARLA (V.O.) 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 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 BAR MAID DARLA BAR MAID DARLA BAR MAID DARLA 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.) 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 Angel's still not totally in the room, brain-wise. ANGEL CORDELIA He glances down to the security system manual, charts spread out on the desk, etc. ANGEL CORDELIA ANGEL CORDELIA Now Wesley appears, carrying one of those ubiquitous demon tomes. He's got it opened to a particular page. ANGEL WESLEY Wesley displays a page with a drawing of a RAG CLAD KWAINI. ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY CORDELIA Angel lets that register, takes the book, looks at it. ANGEL WESLEY ANGEL WESLEY ANGEL 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 KATE ANGEL She bristles at the word "demon". Moves him into a private corner. KATE ANGEL KATE ANGEL KATE ANGEL KATE ANGEL She looks at him, realizes he means himself. KATE ANGEL KATE ANGEL KATE ANGEL KATE ANGEL KATE ANGEL KATE ANGEL KATE He looks at her. ANGEL KATE ANGEL KATE ANGEL KATE She moves off, ending the discussion. As we hold on Angel we PRE-LAP with: WESLEY (V.O) 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 INTERCUT WITH: INT. SUBWAY TUNNEL - NIGHT Wesley moving cautiously through the subway tunnel, cell phone to his ear. WESLEY 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 She drops to her knees, starts sawing into it. WESLEY Wesley swallows back an "ulp". ANGEL 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 ANGEL Wesley joins Cordy, snaps on some rubber gloves. WESLEY ANGEL WESLEY Wesley reaches in side the demon carcass, starts transferring organs into handy Tupperware containers. ANGEL 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 |
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Act Two |
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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 ANGEL Recognition first, then concern flashes subtly and quickly over Trevor's face. TREVOR ANGEL Trevor's still confused, tosses a look past Angel. TREVOR ANGEL Angel lets that hang there for a moment, then continues. ANGEL TREVOR ANGEL TREVOR ANGEL Trevor sets his jaw, starts to shut his door. ANGEL Trevor holds the door, looks defiantly at Angel. TREVOR ANGEL TREVOR Angel reacts to the word "son". The question hurts him. ANGEL Trevor bristles at that. TREVOR ANGEL Trevor darkens, regards Angel for a moment. TREVOR Angel's a little taken aback by the question. ANGEL TREVOR SLAM. The door is shut. FATHER (O.S.)
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 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 FATHER 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 FATHER ANGEL FATHER ANGEL FATHER ANGEL FATHER ANGEL FATHER ANGEL The malice vanishes from Angel's Father's face for a moment. He regards his son with gentle pain. FATHER 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 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 He nods. They move to a stone wall or bench or someplace nearby where they can sit. KATE TREVOR KATE TREVOR KATE She starts to rise. He stops her with: TREVOR She looks at him. Decides to give him a break. Rejoins him. Sits. They sit in silence for a beat. TREVOR KATE 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 She nearly gags. Doesn't. Swallows. KATE TREVOR KATE TREVOR KATE TREVOR KATE TREVOR KATE TREVOR KATE TREVOR KATE TREVOR She looks at him -- why won't he let this go? Finally. KATE Trevor registers that. TREVOR Kate takes a beat, considers that simple question. It's maybe something she's forgotten of late... KATE TREVOR KATE TREVOR KATE TREVOR KATE TREVOR He looks at her. She looks back. A pregnant moment. As he looks away: TREVOR 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 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 ANGEL WESLEY Wesley reaches for a tray with a globby looking internal organy thing the size of a large pear. ANGEL WESLEY ANGEL WESLEY Wesley picks up a beaker with a small amount of a dark fluid. WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY Angel looks back to the beaker. ANGEL WESLEY ANGEL WESLEY 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 Angel and Wesley exchange guilty looks. Cordelia unshoulders her camera bag. CORDELIA Wesley makes a space on the table. ANGEL CORDELIA ANGEL As she unloads her digital camera: CORDELIA WESLEY CORDELIA ANGEL CORDELIA She starts setting out DIGITAL PHOTOS of Delivery Guy. Surveillance shots. CORDELIA 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 CORDELIA 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 ANGEL 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 SUIT TREVOR SUIT TREVOR SUIT 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 SUIT A weird moment of silence. Trevor tucks his envelope away, exits. The Suits watch him go, stoic. SUIT 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 SUIT HEAD DEMON GUY BLACK OUT. END OF ACT TWO Continue on to Part Two |
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The Prodigal Part 2 (January 6, 2000) Written by: Tim Minear |
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Act Three |
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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 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 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 The pain has subsided. He looks at her, in awe. ANGEL DARLA He looks at her, really not knowing... ANGEL DARLA A GROUNDS KEEPER appears, holding a lit lantern. He sees the two people at the grave side. Notes the disturbed earth. GROUNDS KEEPER They turn, look at him. GROUNDS KEEPER Darla gives Angel a gentle push, with: DARLA 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 ... 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 He nods. ANGEL DARLA Angel looks at her. Angelus, now. ANGEL He moves off, musing. She watches him, delighted with his ambition, because: DARLA 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 WESLEY CORDELIA Angel appears from his office. ANGEL WESLEY ANGEL WESLEY CORDELIA KATE (O.S.) Cordy and Wesley jump. Didn't hear her come in. Kate stands just clear of the open doorway. CORDELIA KATE CORDELIA Cordy fumes, moves off. KATE 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. ANGEL KATE It takes him a beat. She's still holding it out to him. KATE ANGEL She hesitates, looks away, a little slow to admit: KATE |