Eternity

Part 1

(January 26, 2000)

Written by: Tracey Stern

Teaser

OVER BLACK:

in hushed tones --

WESLEY (V.0.)
We're doomed...

FADE UP on a TIGHT TWO SHOT of ANGEL and WESLEY'S faces, frozen, eyes straight ahead as they bear witness to some unspeakable horror that we can't yet see.

ANGEL
Maybe we can make a break for it --

WESLEY
Impossible.

ANGEL
The front exit --

WESLEY
We'd be spotted instantly.

ANGEL
Back door?

WESLEY
Blocked.

ANGEL
That's it, then. We're trapped.

WESLEY
We might try shouting "fire"...

PULL BACK to reveal:

INT. SMALL THEATER - NIGHT

THREADBARE EQUITY THEATER with a seating capacity of seventy. Tonight, only ten people are in the audience.

WESLEY
...I mean, it's not technically a
crowded theatre...

CORDELIA is onstage, dressed in a late-Victorian high-necked dress. COR'S playing Nora in "A Doll's House" -- very badly. She shares the stage with another actress.

CORDELIA
(as Nora)
One day I might, yes. Many years
from now, when I've lost my looks a
little. Do not laugh!
(gesticulate wildly)
I mean of course, a time will come
when Torvald is not... is not...

ANGEL and WESLEY - pained.

WESLEY
Only another hour.

CORDELIA
Line!

OF SCREEN VOICE
(sotto voice)
Is not as devoted to me --

CORDELIA
What?

WESLEY
Perhaps two.

OFF SCREEN VOICE
IS NOT AS DEVOTED --

CORDELIA
Right, right, right.
(back in "character")
When Torvald is not as devoted to me.

ANGEL
And I thought I knew eternity.

Off the two slumping down in their chairs--

BLACK OUT.

END OF TEASER

Act One

EXT. STREET - NIGHT

Post play. Angel and Wesley walk with Cordelia, who drinks water from a wide-mouthed clear sports bottle (we'll see this later) through the Westwood like district.

WESLEY
I've always regarded Nora as one of
the seminal characters of late 19th,
early 20th century literature.

CORDELIA
Yeah, but I thought I managed to
breathe a little life into her, anyway --
(drinks)
You have to train for a tour de
force like this, lots of water,
lots of power walking.

WESLEY
Yes, I uh, don't recall ever seeing
Ibsen's Nora portrayed as a power-
walker before.

CORDELIA
I brought that to the part, the
director was like, clueless. So
what'd you guys think?

WESLEY
Well... your projection was excellent.

ANGEL
Yeah, I could hear every word. And
we were way in the back.

CORDELIA
Okay, so I was loud. Was I any good?

WESLEY
You took the role and made it your own.

CORDELIA
Really? Thanks. Angel? Was I good?

ANGEL
I, uh... wouldn't say it
if I didn't think so.

CORDELIA
Thanks.
(then)
You didn't say it.

ANGEL
I didn't... ?

Cordy stops in her tracks --

CORDELIA
I don't believe it --

ANGEL
No, it was... a night in the theater
I'll never forget --

CORDELIA
That's Oliver Simon!

Now Angel and Wesley see she's referring to --

Across the street, A NIGHTCLUB ENTRANCE. Out of which is emerging OLIVER SIMON with a bit of an ENTOURAGE (BEAUTIFUL PEOPLE, BODY GUARDS, HANGERS ON). The more astute viewer will recall Oliver from the pilot party scene.

WESLEY
Who?

CORDELIA
He's only one of the most important
talent managers in this town. I was
at a party with him once.
(to Angel)
You were there --

ANGEL
Oh, right... He gave me his card.

CORDELIA
What? I was working him all night
and he gave you his card?

ANGEL
(a tad defensive)
He thought I had a quality.

CORDELIA
(shoots him a look, then:)
Look who's with him!

We see that the real center of attention here is a gorgeous young WOMAN. We'll come to know her as:

CORDELIA
Rebecca Lowell!

WESLEY
Who?

CORDELIA
Raven.
(nothing from them)
She played Raven... in "On Your Own"?
(still nothing)
Big hit television show, it was only
on for like, nine years. Do either
of you even own a television?

ANGEL
No.

WESLEY
I do.

Something catches Angel's attention...

CORDELIA
It was a seminal show...

Angel notes: half a block away from the club sits a CAR, its headlights dark. It's IDLING, exhaust leaking from its tailpipe. The UNSEEN DRIVER REVS the ENGINE... CLOSE ON ANGEL - he can HEAR IT.

CORDELIA
...cancelled last year
by the idiot network.

...Angel's glance travels from the idling car to the group emerging from the club. Oliver escorts Rebecca. She's about to step right into the (still) car's path...

CORDELIA
I was going to picket them but I
didn't have any comfortable shoes.

Angel LAUNCHES across the street toward Rebecca, racing the car that ls now bearing down on her, the engine SCREAMING.

THE CAR

As its HEADLIGHTS SNAP ON --

REBECCA

- as she turns to see the car hurtling toward her. The headlights illuminate her face, and she's frozen, can't move.

The car careens closer, is almost upon her when - Angel dives and tackles her, shoving her out of the path of the car, taking her place now as -- WHAM! The car slams into Angel. He flies back and tumbles, hitting the ground hard. Angel watches as the car zigzags, then speeds off.

THE ENTOURAGE

rush toward the fallen Angel --

VARIOUS
Oh, god! Did you see that? Are you
hurt? What's the number for 911?

OLIVER
Call the police, that was a blatant
hit and run --

-- and right past him... to Rebecca.

OLIVER
Are you all right, darling?

Angel stands, brushes himself off as Wes and Cor run up. She looks at him with great intensity.

CORDELIA
Ohmygod -- what was she like?

ANGLE THE GROUP AROUND REBECCA

She's impatient, trying to look over everyone, in Angel's direction.

OLIVER
Are you sure you're alright?

REBECCA
I'm fine, Oliver -- I wasn't the one
who was hit.

She pushes past them toward Angel. Oliver takes out his cell phone, dials.

ANOTHER ANGLE

Rebecca approaches Angel. Cordy sees her coming, nudges him.

REBECCA
Excuse me... Are you alright?

Cordelia positions herself in between them.

CORDELIA
Oh, he's fine. It is such an honor
to save your life, Ms. Lowell.

REBECCA
(blinking at Cordy)
Uh... thank you...
(turns back to Angel)
I didn't get your name.

CORDELIA
Cordelia Chase, I'm just
so glad you weren't --
(realizes)
--oh, he doesn't even know who you are.

REBECCA
(intrigued)
You don't know me?

OLIVER
(moves up, reaching for wallet)
Sure he doesn't. But I'm sure he'll
accept a small reward anyway --

ANGEL
No thanks.

OLIVER
We're not going to be held up here --

REBECCA
Oliver, down, he doesn't know who I am.

CORDELIA
He's culturally retarded that way.

REBECCA
(hand extended)
I'm Rebecca.

ANGEL
(takes her hand)
Angel.

She raises an eyebrow at the name.

REBECCA
So you make a habit of this sort of
thing, Angel?

CORDELIA
It's only like his purpose in life.
Angel's The Dark Revenger. Only not
too dark. Happy dark. I have a card
in here somewhere.

Cordy digs in her bag while Rebecca looks at Angel.

WESLEY
(not now)
Cordelia --

OLIVER
(re: Angel)
How do I know you...
you've done print work --

ANGEL
No. We've actually met.
You gave me your card.

OLIVER
(registers that:)
Why didn't you call me?

ANGEL
I'm not an actor.

OLIVER
Everyone's an actor in this town.
Some are just better than others.

CORDELIA
Speaking of, Mr. Simon, I happen to
be appearing just around the corner
in a ground breaking production --

Suddenly there's a vid-cam and PHOTOGRAPHERS snapping picture

REBECCA
Oh god, who called E.T.?

WESLEY
(looking around)
Emma Thompson?

CORDELIA
Entertainment Tonight, doofus.

REBECCA
Oliver...

OLIVER
It's going to be all over the tabs
come morning, Beck. We might as well
put our own spin on it first, right?

She sighs. Not what she wants. FLASH FLASH! Rebecca shields herself from the glare --turns back toward Angel with:

REBECCA
Look, I want to apologize...

But when she looks back for Angel, he's gone. She spots him down the street and sees him disappearing into the night, his long dark coat trailing in the wind. Rebecca can't take her eyes off this mystery man. Cordelia shoves a card in her hand.

CORDELIA
He does that. Here's our card. if
you ever need rescuing or just want
to pal around or something, call us!

And as Wesley pulls Cordy one way, and Oliver pulls Rebecca the other way, where she's swallowed up by her "people"...

EXT. ANGEL'S OFFICE - DAY

Cool jump cutty transition, reprising FLASHES from photographers' cameras taking us to --

INT. ANGEL'S OUTER OFFICE - DAY

Angel's at the filing cabinet. Cordy enters with a stack of newspapers.

CORDELIA
I made the papers. Last night's all
over the front page of the Calendar section.

Curious, Wesley emerges from the inner office, a book in hand. He puts it down, takes a paper, looks through it.

WESLEY
Really? There was a reviewer from
the Times at your play?

CORDELIA
What? No! Like a reviewer needs to
see some hundred year old play. The
thing with Rebecca Lowell! I'm in
the picture.

WESLEY
Where?

A candid shot of Rebecca in the aftermath. A Headline says: "Rebecca Lowell's Brush With Death." Cordy's finger points.

CORDELIA
Right there.

WESLEY
Where?

CORDELIA
Right there, next to Rebecca,
that's my elbow.

Wesley cocks his head, trying to see it. Angel approaches.

ANGEL
Guys -- can we just forget about
Rebecca Lowell? We ran into an
actor. It's Hollywood. It happens.
We have a nice photo of... Cordy's
elbow... and an article about me
saving a TV star -- just because the
papers want to make a big...

WESLEY
(off article)
There's no mention of you.

ANGEL
What?

WESLEY
Nothing.

Angel takes the paper, scans it. Covers his disappointment.

ANGEL
Huh. Well -- I mean, that's good,
right? This kind of high profile
thing isn't really our deal, anyway.

CORDELIA
What are you talking about? First
off, Rebecca Lowell hasn't had a
series since "On Your Own" was
cancelled. And that was almost a
season and a half ago --

WESLEY
And they say there are
no seasons in Los Angeles --

CORDELIA
We have to use this now, before she's
just another E! True Hollywood Story!
When word gets our that you're
Protector To The Stars, they'll be
lining up at the door.

REBECCA (O.S.)
Glad I beat the crowd, then --

They turn. There's Rebecca in the flesh, having quietly slipped inside. Two burly BODYGUARDS (a brand new set), stand behind her. She's dressed very casually, but great.

REBECCA
Gary Coleman's still circling the
block looking for a parking spot.

CORDELIA
Oh, god -- no. I didn't mean...
Coffee? Tea? We don't have anything
good here, but our...
(points to Wesley)
... intern will be happy to get you something.

Wesley shoots her a look. Rebecca slips off sunglasses, never takes her eyes off Angel.

REBECCA
(to Angel)
Can we talk?

Angel hesitates, indicates his office.

REBECCA
(to Bodyguards)
Stay.

They do. Angel and Rebecca disappear into his office. Wesley and Cordy are left with the Body Guards.

INT. ANGEL'S INNER OFFICE - CONTINUOUS

Rebecca walks around his office, noting the BRICKED UP WINDOWS behind his desk, the TIGHTLY DRAWN SHADES on the other windows. Angel watches her closely.

REBECCA
You're not fond of sunshine?

ANGEL
I'm a... night person.

REBECCA
Me too. Makes it easier to hide.

ANGEL
Seems like you're in the wrong
business if you want to hide.

REBECCA
I know it sounds like I'm
complaining. I'm not.
(then)
So -- you really never saw even a
single episode of "On Your Own"?

ANGEL
No.

REBECCA
Well, stop by. I'll give you a
private screening of the episode I
didn't win the Emmy for.

ANGEL
(taken aback)
Thanks for the invitation, but I'm...

REBECCA
Kidding. I'm kidding. I mean... not
about the invitation part --

An awkward beat. She looks at him, sincere.

REBECCA
I've been famous since I was
fourteen. It's refreshing to meet
someone who doesn't care.

ANGEL
Seems like you're surrounded by
people who care.

REBECCA
(matter of fact)
They work for me. They're paid to care.

Rebecca removes a letter written in red scrawl from her bag and places it on his desk. Angel doesn't pick it up.

REBECCA
I have a stack of them at home. All
the same. Written in blood. And
he's got my personal phone number.
Scary calls in the middle of the
night. Most of my "devoted" fans are
harmless, but these...

ANGEL
It's not blood.

Rebecca stares.

REBECCA
What? Are you sure?

ANGEL
I'm sure.
(changing the subject)
You think this is the same guy who
tried to run you down?

REBECCA
Yeah -- there was a day I'd have
rated two stalkers, but I've been off
the air for a while.

ANGEL
(smiles at that, then:)
Have you tried the police?

REBECCA
Oliver's been after me to. But then
I'd just be hand-feeding the story to
the Enquirer. No thanks.

ANGEL
How do you know I won't do the same?

She looks him dead in the eye.

REBECCA
I don't. But I do know you came out
of nowhere and saved my life last
night. I know you didn't ask for
anything in return. And I know... I
feel safer in this office than I do
in my own home.

Angel eyes her. She takes a deep breath --

REBECCA
I'm up For a new series. One of
those make-or-break gigs for
Rebecca's Career, Part Two. I
need... Peace of mind. Also, to not
end up road pizza would be good.

Angel tears a piece of paper from a work pad. As he does:

ANGEL
The car that tried to run you down
was a green, freshly painted, '86
Pontiac Lemans. I caught the plates.
Ran the vehicle ID. It was stolen...

She's impressed. As he hands her the sheet of paper:

ANGEL
...and I'm sorry,
but I can't take your case.

CORDELIA (O.S.)
Are you INSANE?
(beat)
Achoo.

Rebecca's face falls as she absently takes the paper from him.

REBECCA
I don't understand...

ANGEL
Give that information to your people.
They'll find the guy. You don't need me.

Off Rebecca's confusion and hurt --

INT. ANGEL'S INNER OFFICE - DAY

Angel behind his desk, trying to ignore Cordy who's on a rant. Wesley hovers near the doorway, watching Angel.

CORDELIA
My first big connection in Hollywood,
and you practically throw her out of
the office. Haven't You ever heard
of "networking"?

WESLEY
Cordelia --

CORDELIA
No! He can fight off donkey demons
who rip people's guts out, but he
can't save one defenseless actress
from a psycho? What is your thing?

WESLEY
He likes her.

A beat as they both look at Wesley. Angel's busted.

WESLEY
He's afraid of getting close.

CORDELIA
'Cause of his curse? You'd have to
get awfully close to her for that to
kick in -- in the mean time you could
be helping me.

WESLEY
The person who needs help here is Ms. Lowell.

CORDELIA
Right, he gets to help us both.
Think of the karma!

WESLEY
(to Angel)
This may not be the right case for
you, maybe we can find someone else
to help her.

Cordy looks from Wesley to Angel. The two men hold the look. Suddenly Cordy lets out a CRY, grabs her head.

CORDELIA
Oh no! Not now!

She sneaks a half glance to make sure they're watching.

CORDELIA
What's this I see in my vision? A
figure... a woman. It's Rebecca!
She's in danger! Terrible danger!

They both look at her, deadpan. No sale.

CORDELIA
(dropping the act)
Great, just great. Because Mr.
Distant has intimacy issues I lose my
brush with fame.

ANGEL
She's just a person, Cordelia.

CORDELIA
Spoken like a true non-person. Just
knowing a star makes your life
better. I'd do anything to live in her world.

INT. REBECCA'S HOUSE - DAY (MONTAGE)

Rebecca on the Stairmaster. Surrounded by ASSISTANTS, answering questions, being shown an outfit by a DESIGNER. And giving an interview to a REPORTER.

INT. OR EXT. REBECCA'S HOUSE - DAY (MONTAGE)

Rebecca gets a facial. One of those painful kind, with much hair removal strips and wincing.

MASSEUSE
...they make an incision behind the
jaw and under both eyes and suction
out the fat... you have to be
proactive with deterioration.

REBECCA
Right ...

MASSEUSE
Christiana had it done at twenty-four.

INT. REBECCA'S HOUSE - NIGHT (MONTAGE)

Rebecca with FRIENDS. An evening in. A medium-ish cocktail party, with guest of honor a ROBED DALAI LAMA-like guy and an obnoxious STEVEN SEAGAL-like guy. Rebecca seems distant.

And this is a series of DISSOLVES as the medium-ish cocktail party thins out. Finally...

INT. REBECCA'S HOUSE - NIGHT

...the DISSOLVES leave us with Rebecca all alone in her big house. She's clearly not just alone, but lonely as well. She moves through the house. As she moves...

UNKNOWN STALKER POV

Somebody is watching from outside the windows...

She slips off her sweater, drops it over a couch. She unbuttons her blouse, moving up the stairs towards her bedroom. Gets a ways up. Hears something. Turns around, walks back down. The peeping tom still peeping... She's looking around, her fears aroused.

UNKNOWN STALKER POV

CRASHING through a window... coming right at her...

REVERSE - It's Angel! Coming right for her. But he's seen something neither Rebecca nor we have -- A GUY IN A SKI MASK is INSIDE, HEADING for Rebecca.

Angel hits the Intruder and they tumble to the floor, trading blows. This guy isn't going down easy. The Intruder pulls a bookcase down on top of Angel, distracting him long enough to escape out the window.

Angel crawls out of the debris just as Rebecca comes to his side. She looks at him, concerned --

REBECCA
Are you...

She trails off as she notices something behind him. Something that simply has her mesmerized... Angel turns, sees what she's seeing

HUGE MIRROR... reflecting Rebecca kneeling before... nobody. Angel isn't reflected at all. Rebecca looks back to Angel, confused, stunned. They hold the look between them for a suspended moment, then... RUNNING FOOTSTEPS are heard. Then POUNDING on the front door.

BODYGUARD (O.S.)
Miss Lowell? You all right in there?

Rebecca finally hears this. She manages to get to her feet, eyes still on Angel for a beat, then she turns toward the POUNDING... not sure what to do... she turns back to Angel.. But once again he's disappeared. Off Rebecca...

BLACK OUT.

END OF ACT ONE

Act Two

INT. REBECCA'S HOUSE - LIVING ROOM - LATER

Various COPS and BODYGUARDS are making their way out. The huge picture window now has several sheets of plywood nailed across it. We FOLLOW a BURLY COP across the room to find Rebecca standing with Oliver.

REBECCA
I am sure, Oliver.
I'd rather be alone tonight.

OLIVER
Alone, though? After all this?
Don't you at least want someone in
the house?

Rebecca looks around, scanning the place. Back to Oliver:

REBECCA
Look, for weeks you've been begging
me to bring the police in on this.
Fine. Done. Now half the LAPD is
camped out on my front lawn. He
won't be back tonight.

OLIVER
(placating)
All right, all right. I should
probably go deal with the press.

REBECCA
You do that, Oliver.

OLIVER
(genuine, searching)
I love you, kid. You know that.

REBECCA
I know.

Oliver gives her a warm hug, then exits. He's the last one to go, and now Rebecca's alone in her living room. She walks forward a few steps, turns slowly. A beat, and then...

REBECCA
I know you're still here...

Angel EMERGES from the dark recesses of the room. She gazes at him, not so much wary as again fascinated.

ANGEL
Don't scream.

REBECCA
(had no intention)
Okay.

ANGEL
I'm not what you think.

REBECCA
You're not? Because... no
reflection... dark, private office...
instantly knowing those letters
weren't written in blood. I guess
what I would think is, vampire.

ANGEL
Then again...

REBECCA
Which is impossible. Bela Lugosi,
Gary Oldman -- they're vampires.

ANGEL
Frank Langella was the only
performance I believed, but...

REBECCA
This is real. You're real.

Rebecca circles him --

REBECCA
Do you... drink blood?

ANGEL
Yeah, but not people.

REBECCA
Unlike the bloodsuckers I'm used
to -- You're not a killer.

ANGEL
I gave that up.

REBECCA
Well, there's a support group for
everything in this town, I guess.

ANGEL
It's a long story.

REBECCA
How long?
(guessing)
A hundred years?

ANGEL
Two. Hundred. And some change.

REBECCA
Two hundred years. But you look --

Rebecca comes back to face him, closer now.

REBECCA
If I touch you, will you be cold?

Angel looks at her. She moves even closer, reaches up... gently touches his face, in wonder. Their eyes meet.

REBECCA
I've felt colder...

ANGEL
You're really not afraid --

REBECCA
No.

ANGEL
Most people who saw what you saw...
or didn't see what you saw... or saw
what you didn't see...

REBECCA
Angel -- I'm not most people.

He nods at that. She regards him. Grows more sincere.

REBECCA
I lied to Oliver. I don't really
want to be alone tonight.

And off the two of them gazing at each other...

INT. REBECCA'S HOUSE - BEDROOM - A LITTLE LATER

Rebecca, in a nightgown or sexy nightware, moves to her bed.

REBECCA
Sure you wanta do this...?

We now reveal Angel, clothed, sitting in an easy chair a comfy distance from the bed.

ANGEL
Yeah, I'm not much of a sleeper anyway.

She reaches for one of the MYRIAD PRESCRIPTION BOTTLES (15 or 20 of them) lined up along the back of her nightstand.

REBECCA
Me, either, but I have a big meeting
tomorrow. Gotta get my beauty rest.

She unscrews a cap, pops a pill or two... off his look:

REBECCA
I know, I'm weak -
and doctors never say no to me.

ANGEL
Or anyone else, I'm guessing.

She smiles at that, gets into bed. She turns out the light. We can still make out their shapes in the blue light of night.

REBECCA
Angel... Thank you.

As she snugs up the covers and closes her eyes...

INT. ANGEL'S OUTER OFFICE - NEXT DAY

Early morning. Wesley's at the computer, working. Cordelia takes a seat across from him, having only recently arrived.

CORDELIA
He took the case?

WESLEY
Yes, he phoned early this morning.
We're to follow up on the stolen vehicle.

CORDELIA
What made him change his mind?

WESLEY
Apparently he didn't. He was quietly
keeping tabs on her all along.

CORDELIA
And he called you early this morning?

WESLEY
Yes. Isn't this what you've been
lobbying for?

CORDELIA
How early? Did he spend the night?

WESLEY
One assumes.

CORDELIA
Great. He spent the night with the
fantasy of millions. All alone.
"Protecting" her...

WESLEY
Now you're worried about the curse.
Well, I wouldn't be.

CORDELIA
Hey -- you weren't around the last
time Angel went mental. I, on the
other hand, was first wave on the
clean-up crew. He knows perfect
happiness, he goes evil, so don't
tell me not to worry.

WESLEY
Angel's moment of true happiness
occurred because he was with Buffy.
Do you realize how rare that is --
true happiness? And what are the
odds he finds it with an actress?

CORDELIA
What's that supposed to mean?

WESLEY
I was... uh... uh... I meant a TV actress.

CORDELIA
Save it.
(grabbing her bag)
Angel spent the night at Rebecca's
last night. I owe it to that poor
girl to see if he wound up chowing
down on my single link to fame.

INT. REBECCA'S HOUSE - DAY

Angel talks to one of Rebecca's bodyguards who takes note:

ANGEL
I want every door, window and screen
in this house hard wired to the
police. I also want the exterior
phone wires encapsulated in metal
conduit and a cellular back-up --

BZZZ! An intercom. Bodyguard moves to it, depresses a button...

GUARD VOICE
Tell Mr. Angel his Senior Vice
President of Marketing's here.

INT. REBECCA'S HOUSE - FRONT DOOR - DAY

The DOOR swings open, revealing Cordy with a HUGE CROSS around her neck, carrying a tray of three coffees. Angel's in the (shaded) entryway. He sees the cross, flinches.

ANGEL
Cordelia -- you're here.
And you brought a cross.

CORDELIA
(offering tray)
Along with three double half-caf
non-fat skinny lattes!

ANGEL
And a cross.

CORDELIA
(looking him over)
Well, judging by the outfit, I guess
it's safe to come in. Evil Angel
never would've worn those pants.

She enters (walking out of the sun), looks around:

CORDELIA
Where's Rebecca?

ANGEL
She had a lunch to go to.

CORDELIA
Lunch? It's like noon. Shouldn't
that be more of a "brunch" for her?

ANGEL
Actually, she was up before dawn,
working out.

CORDELIA
So she went to lunch and just left
you here all by yourself to rummage
through her things?

Which is what Cordy's doing now. Angel closes the drawer she's gotten into.

ANGEL
No. I told her I was a vampire and
that daytime patio dining was out.

CORDELIA
Did you just make a joke?

ANGEL
I really told her.

A beat as she lets the enormity of that register, then --

CORDELIA
Wow. So you think she'd still set me
up with her manager?

INT. TRENDY RESTAURANT - DAY

Rebecca enters the restaurant, Body Guards hover at the entrance. She's looking gorgeous, sees Oliver sitting at a table alone. The closer she gets to Oliver's table, noticing the empty third chair, the more her smile fades. He rises.

OLIVER
You look terrific.

REBECCA
They cancelled, didn't they?

OLIVER
How did you get from "you look
terrific" to they cancelled?

REBECCA
I know you.

OLIVER
(as they sit)
Not cancelled. Postponed, that's all.
Scheduling conflicts. it's nothing.

REBECCA
Oliver, you said I had this part.

OLIVER
You own this part. They're dying for
you to play it. And they definitely
want to meet with you next Tuesday.

REBECCA
Definitely --

OLIVER
Yes... they'd like you to come in.
To their offices... And read.

REBECCA
They want me to read? Oliver, I did
176 hours of "On Your Own". What,
they don't get cable?

OLIVER
That's the problem, Beck. Not that
there is a problem. They love you.
They're just afraid you may be too
identified with Raven.

REBECCA
I'm an actress, don't they know that?
Do they think I can only do one thing?

Before he can answer, A WAITER appears, order pad in hand.

THE WAITER
The usual, Miss Lowell?

REBECCA
The usual Miss Lowell. Yeah, that's me...

Off Rebecca's sinking feeling...

INT. REBECCA'S HOUSE - BEDROOM - LATER

A steady THUMP-THUMP-THUMP as Rebecca's FEET hit the treadmill in a rhythmic run. She's pushing herself, sweating. Angel sits in a chair to her right, pretending to flip through one of a stack of tabloids. In reality, though,
he's watching her.

REBECCA
Do you know how long it's been since
I had to read for anything?

He fumbles to respond, doesn't really need to.

REBECCA
A season and a half off the air and
suddenly I'm nobody again.

Angel catches himself staring at her lithe body, straining, glistening... He clears his throat, picks up a tabloid.

ANGEL
Well, not according to these.

REBECCA
According to those, I've slept with
Ernest Borgnine. And I'm bulimic.

ANGEL
I hear Borgnine's a great guy --
(off her look)
You're bulimic?

REBECCA
According to those.

ANGEL
I'm really the last person who would
comment on an eating disorder.
(tossing it away)
But, I think your shape is great.
(uh...)
I meant... that you... your shape...
is... in great... shape.

He trails off. Rebecca grins, climbs off the treadmill, grabs a towel.

REBECCA
Listen to me. Poor little rich girl.

ANGEL
We've all got problems.

REBECCA
Well, right now my problem involves
getting this Fright Night guy off my
back long enough to win this part.
I've been so distracted lately, I
haven't had time to play the game.
(sad)
And now I'm losing.

The INTERCOM buzzes. Rebecca hits a button.

VOICE ON INTERCOM
There's a guy here...

Angel gets to his feet.

REBECCA
(to Angel)
Relax. It's just the delivery guy.
(to intercom)
Send it up.

She trots off to the door. Angel stays behind, looks at a tabloid cover: WHERE ARE THEY THIS YEAR? REBECCA LOWELL UPDATE. Rebecca re-enters (or we see a MAID hand it to her at the door), carrying a garment bag.

REBECCA
You're, what, a 44 long?

ANGEL
(confused)
Why?

REBECCA
I've got a premiere tonight. Can't
go without my bodyguard, can I?

EXT. HOLLYWOOD THEATRE - NIGHT

Angel exits a limo, wearing a sexy tuxedo, eyes scanning the crowd. He reaches back in and helps out... Rebecca, looking positively stunning. Every inch the star. Angel takes her arm protectively. They move up the red carpet. POP! POP!
POP! The assault of dozens of photographers.

Angel is amazed at this circus -- mesmerized by the scene. Fans scream for Rebecca... "Raven! Raven...!"

REBECCA
(through the smile)
Raven, they think I'm the character
I play. I feel like one of those
motorized rabbits at a shooting gallery.

ANGEL
I don't think he'll try something
here. It's too open.

REBECCA
I take it you've never actually seen
"The Bodyguard"?
(then, re: photogs)
Say -- when they develop these pictures --

ANGEL
You won't be walking by yourself.
the "we don't photograph" thing's a
myth. I think it comes from the
truth about us not reflecting in
mirrors. It's not about physics.
It's metaphysics.

CAMERA FINDS a MAN with his back to them. We STAY with the man, and when they clear frame, the Man turns -- watches them go inside with sharp, steely eyes.

He reaches into his jacket pocket for his invitation. As he does, his jacket rises just enough so that we see the LARGE GUN tucked into his waistband. As he crosses out of frame --

INT. HOLLYWOOD THEATRE - STAIRWELL/HALLWAY - CONTINUOUS

Angel and Rebecca appear through the door, the SOUNDS of the premiere beyond, shut out as the door shuts heavily behind them. Rebecca visibly relaxes. Angel looks around.

ANGEL
They're showing the movie in a hallway?

Rebecca laughs, starts moving ahead of him, down the darkened passage. Red emergency exit lights give the whole place a fiery glow.

REBECCA
I just come to these things for the
photo op. My driver knows to meet me out back.

ANGLE, BELOW - he waits for them in the darkness. Quietly pulls the gun out.

REBECCA
God, if I had to sit through every
one of these...

BACK UP STAIRS WITH THEM they cross a little bridge. She's been moving farther away from him, and suddenly Angel's Spidey-sense clicks in.

THE GUN in bad guy's hand, cocks.

ANGEL
Rebecca --

The Stalker takes aim down below. Angel leaps to Rebecca, shoves her out of harm's way and LEAPS OVER THE EDGE

EVEN AS BAD GUY fires from down below.

Angel hits him like a rocket from above, and they fight, slamming into walls, stair railings. The man is strong, gets off a couple of shots up towards Rebecca.

ANGEL
Rebecca, get down!

Rebecca SCREAMS -- we don't know if she's been hit. This drives Angel even harder, he rips the gun out of the guy's hand and knocks him down and out.

ANGEL
Rebecca!

Angel races back up the stairs to her side. She's cowering into the wall, shaking. He takes her in his arms.

ANGEL
(whispering)
It's okay. I'm here.

And as he folds her into his arms she glances at the fallen man. Something resembling recognition flashes across her face for an instant, then she buries herself in his arms.

EXT. HOLLYWOOD THEATRE - REAR OF THE BUILDING - LATER

The aftermath. Cherries spin, walkies blare. Angel stands twenty yards away, talking to a COP. As the police lead the handcuffed Man to a black-and-white, he passes Rebecca, a blanket over her evening gown.

Rebecca just stares as the Man is led away. She's following him with her eyes, when Oliver appears behind her.

OLIVER
Rebecca, not again, are you all
right? I came as soon as I heard.

REBECCA
And when was that, exactly?

OLIVER
What do you mean?

REBECCA
I know the stalker. I've seen him.

OLIVER
At your house --

REBECCA
He's a stuntman You used to
represent him.

OLIVER
I didn't get a good look.

REBECCA
I'm not fourteen anymore, Oliver.
Don't lie to me.

He looks at her. The lies are finished. He looks cowed.

REBECCA
You set this up, didn't you? My
private phone number. How to get
into my house. That I always skip
the movie at a premiere only you
know all that.

OLIVER
I never would have let you get hurt.
You must believe that. I thought the
publicity might help get you the
series. I did it out Of love,

REBECCA
I don't pay you to love me.

OLIVER
(stung)
No. That you get for free.

REBECCA
I didn't get the part did I?

OLIVER
I was going to tell you tonight. The
network suddenly feels you're too
mature for the role. They want you
to read for the sister.

She shoots him a fiery look --

OLIVER
I told them no reading. Offer only.

REBECCA
And if they don't offer it?

OLIVER
Then there'll be other offers. I
know it may not seem that way now,
but once we get a little distance
between you and "Raven" --

REBECCA
Oliver -- the series is in
syndication! She'll always be there!

OLIVER
Beck --

REBECCA
Looking younger and better and
sweeter than me! Forever!

OLIVER
Sweetie, your life is not over at 24.

REBECCA
Oliver, I'm not 24. I'm twenty--

OLIVER
(glances around)
Shhh!

REBECCA
And Raven's 22. She'll always be 22...

OLIVER
All right, so she'll always be 22.
She's not you, and we're just gonna
have to face it, nobody stays young forever.

Rebecca is looking at... ANGEL, still some yards away. Young, beautiful -- forever and always. He feels her gaze, returns it. Smiles comfortingly.

Off Rebecca, simply staring at him...

BLACK OUT.

END OF ACT TWO

Continue on to Part Two

Eternity

Part 2

(January 26, 2000)

Written by: Tracey Stern

Act Three

EXT. MELROSE AVENUE - DAY

Ultra groovy many-imaged establishing of Melrose --

EXT. MELROSE AVENUE SHOP - DAY

Rebecca and Cordelia shopping together. Rebecca keeps to the shade, dressed for gamma rays.

REBECCA
Thanks for coming, I'm glad you could
find the time.

Cor laughs, a little hysterically.

CORDELIA
Hah hah hah -- oh, were you being
serious? 'Cause big important stars
ask me out for lunch and a shopping
spree like all the time -- in my dreams.

REBECCA
I'm just an actress, like you.

CORDELIA
Uh, no, you're an actress, I'm
someone who auditions and auditions and...

REBECCA
That's what you do when you're starting
out. I'm sure you'll make it big.

CORDELIA
Yee-hee-hee! -- sorry, didn't mean
to squeal like that in public.
(beat)
Anyway, thank you for calling, you
must have a ton of friends you could
have asked.

REBECCA
But none of them would know
what to buy a two hundred year-old
vampire as a thank-you gift.

CORDELIA
Oh god, he's impossible to buy for,
what on earth does he need, more
socks? Another broadsword?

Rebecca smiles.

CORDELIA
And hello, I'm still dealing with the
fact you know about Angel. Usually
we have to be all secretive and weird.

REBECCA
Well, it's not every day you run into
a guy who could be your great-great-
great-great--I don't know how many
greats to use here--grandfather.
(beat)
So what's his story, anyway? How'd
he become ... what he is?

CORDELIA
(rolls her eyes)
Oh god, you got eight hours?

REBECCA
I've got all day.

Cordelia squeals again -- and as they exit frame:

CORDELIA
Sorry, I won't do that again.

INT. ANGEL'S INNER OFFICE - DAY

Angel's sitting at his desk, brooding. Wesley enters.

WESLEY
Thought you might like to know --
I got the preliminary forensics from
the theatre. The bullets were...

ANGEL
Blanks.

WESLEY
No, I'm afraid they were blanks.

Wesley does a double-take.

ANGEL
The shots never connected. I went
back, there were no holes in the
wall, no chipped paint, nothing.

WESLEY
Since when does a killer use blanks?

ANGEL
When he's not a killer.
When it's a fake.

WESLEY
Miss Lowell?

ANGEL
I don't think she knows. And I don't
know how to tell her.

WESLEY
Well... this is good news, isn't it?

ANGEL
Depends on what's going to bother her
more -- being stalked or not being stalked.

Wesley nods in understanding.

WESLEY
Actresses.

ANGEL
Tell me about it.

They both muse for a moment, about actresses. Possibly two different ones, still... then:

ANGEL
I'll go see her tonight.

EXT. LOS ANGELES SKYLINE - DAY TO NIGHT

Another cool, jump-cutty transition to...

INT. ANGEL'S APARTMENT - NIGHT

Angel's getting his coat on when Rebecca comes down the stairs, carrying a bottle of champagne.

ANGEL
I was just coming to see you.

REBECCA
There was no one upstairs so I just
came down. Hope that's okay?

ANGEL
Sure, come in.

REBECCA
I went shopping with Cordelia to pick
out a thank-you gift, but what do you
get the guy who's seen everything?
So, I figured, what's better than Dom?
(off his look)
You can... I mean, you do...

ANGEL
I can drink other... liquids. Yeah.

REBECCA
Good. Have you got glasses?

ANGEL
Yeah. Yeah.

He exits to the kitchen while Rebecca takes in the place, slips off her sweater, revealing a very sexy dress. She opens her purse, positions it on the couch -- easy access.

REBECCA
Wow -- sort of what you'd expect and
sort of... not.

She glances over, sees Angel's bed. Good. Angel has returned holding two slim glasses. He pops the cork, pours.

ANGEL
There's no coffin --

REBECCA
You know, that never even crossed my mind.

ANGEL
Rebecca... I have to tell you
something... Your stalker,
he's not really --

REBECCA
Oh. That. I already know.

ANGEL
You do?

REBECCA
Turns out we share representation.

ANGEL
(no surprise)
Oliver --

REBECCA
Set the whole thing up to revive my
flagging career. Didn't work. I
lost the part.

ANGEL
I'm sorry.

REBECCA
Yeah.

He's not sure what to say. A beat. Off her glance, he realizes he's still holding both of the glasses, snaps out of it, offers her one.

REBECCA
Have you ever -- ugh, this is so
dumb. Have you ever done that thing
where you link arms and sip
champagne? I know, it sounds
ridiculous...

She trails off, shakes her head. Another pause, then Angel slowly lifts his glass, gently intertwining his arm with hers. Their eyes are locked on each other, as they both take a slow drink from their glasses. It's romantic... until she starts laughing. Champagne spills down his shirt front.

REBECCA
(still laughing)
Oh God -- I'm so sorry. Your shirt!

Angel's actually enjoying this moment of pseudo-normality.

ANGEL
It's okay. It was kinda fun. Cold.
But fun. Be right back.

Angel moves back to his bedroom. As soon as he's gone Rebecca quickly reaches into her purse. Pulls out a small, foil wrapped something. Unwraps it. Drops Jt into Angel's glass. All the while half watching him as he changes.

REBECCA
You know, next time I try something
so corny, I'll try not to ruin your
wardrobe in the process.

Angel reappears from the bedroom, a new shirt on. As he returns, she hands him his newly spiked drink.

REBECCA
Let's try this again. A toast. To
the end of an ending... and the
beginning of a beginning.

They clink glasses again. Angel takes a long sip. Rebecca watches. We PRE-LAP with DING-DONG!

INT. CORDELIA'S APARTMENT - DAY

Cordy is pacing by the phone when the door bell rings. She moves to it, pulls it open to find Wesley standing there.

CORDELIA
Wesley

WESLEY
(as he enters)
I got your pages. What's happened?

CORDELIA
I think I may have done
Something terrible...