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Dear Boy Part 1 (August 22, 2000) Written by: David Greenwalt [Note from Rayne: This was a final shooting script, but there were two sets of revisions that occurred after the date listed above. There are significant dialogue differences between this version and the aired version.] |
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Teaser |
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A fancy Angel-like collage of rapid fire images - mostly of the city - with one or two of Darla thrown in - takes us to: EXT. HOTEL - DAY - STOCK INT. HOTEL - DAY CAMERA CIRCLES ANGEL, looking haggard, plopped on the couch. We see WESLEY'S and CORDELIA'S bodies moving through frame. WESLEY ANGEL CORDELIA ANGEL CORDELIA NORMAL ANGLE - Cor turns to Wes (who has one of his big old books). CORDELIA ANGEL She shows Wes a piece of paper, figures scrawled on it. CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY Wes gestures with book. ANGEL Suddenly, Cor is hit with a vision. CORDELIA Angel leaps to his feet, catching her. ANGEL CAMERA ROCKETS TO COR - INSERT - HER VISION A bunch of robed guys fighting with fists and weapons. A very scary MONSTER o' slime seemingly growing out of a wall. INT. ANGEL'S OFFICE - DAY - LATER Wes scours a slew of big old books laid out on Angel's desk. Angel is near Cor who is pacing. ANGEL CORDELIA WESLEY Wesley shows Cor a DEMON ETCHING in one of the books. CORDELIA ANGEL Angel sits in a chair. CORDELIA ANGEL Wes and Cor keep looking at the books, ignoring him. ANGEL REVERSE - DARLA DARLA Darla is sitting on Angel's lap, nuzzling and kissing him. Wes and Cor in b.g. going over books, paying no attention. DARLA REVERSE - Shooting over Wes and Cor we see Angel has dozed off in b.g. WESLEY ANGEL Angel wakes up suddenly, startling Wes and Cor. ANGEL WESLEY ANGEL CORDELIA ANGEL CORDELIA ANGEL Angel starts pulling out weapons. ANGEL WESLEY ANGEL WESLEY INT. BIG TANK - NIGHT A long stairway leads into the huge cavernous chamber. Ten or twelve ROBED AND HOODED ACOLYTES (five or six in black robes, five or six in red) are fighting. Behind them, growing out of the pillars, is their slimy, mushy leader, TURFOG. He is huge and hideous. CRANE OUR HEROES - Angel, Gunn, Wes, Cor As they quietly move down the stairway, all armed. They reach the bottom of the tank, keeping out of sight behind pillars. THEY ALL WHISPER: GUNN CORDELIA GUNN ANGEL WESLEY ANGEL WESLEY CORDELIA CAMERA RUSHES AT TURFOG whose horrible eyes focus on something in the dim recesses of the tank - our heroes. TURFOG The disciples stop fighting and turn towards our heroes. CORDELIA The disciples charge. Angel and Gunn lead the counter-charge. Angel takes out a robed guy. Gunn ducks a sword, takes a punch, and punches out another guy. GUNN Angel punches out two other guys - he's hit by a BIG BRUISER. Angel rolls, comes up and starts beating the hell out of Big Bruiser, oblivious to everything else. GUNN Gunn fights two other guys as: CORDELIA - Ax in hand, tries to make an end run at Turfog. A ROBED GUY grabs her from behind. Wesley tackles robed guy as Gunn finally breaks through and begins hacking up Turfog. ANGEL - Still beating on Big Bruiser who is really freaked now. GUNN - Sinks the final blow. Turfog deflates with a rude sound and lots of running slime. THE FIGHTERS - Come to their senses, stop fighting. ANGEL - Still hitting Big Bruiser. Wes pulls him off. WESLEY EXT. BIG TANK - NIGHT A few disciples, hoods off, looking somewhat normal, wander off into the night. CAMERA FINDS Angel, Cor, Wes and Gunn, all looking the worse for wear, exiting. Angel's car and Gunn's truck are in evidence. GUNN ANGEL Angel tosses his car keys to Cor. ANGEL He heads off. Wes and Cor try to explain to Gunn: WESLEY CORDELIA GUNN WESLEY EXT. THIRD STREET PROMENADE - NIGHT Angel in a crowd, walks past TWO CLOWNS making balloon animals (or juggling) for passers-by. There are street musicians and vendors and performers and a lot of folks out walking. Angel nearly runs into a LARGE HOT DOG. Actually it's a guy wearing the large hot dog - on it is written Frank's franks, best dog in town. Angel heads on, brooding. Some sixth sense causes him to turn. In the distance, behind the hot dog guy and the clowns he sees a woman. MEDIUM SIZE - It is, in fact, Darla, a little more sensibly dressed than we've seen her, out walking. Angel turns, walks back through clown and hot dog guy, loses sight of her for a beat, then she walks into his POV in an even TIGHTER SIZE. Clearly Darla in the flesh. Off Angel, END OF TEASER |
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Act One |
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EXT. ALLEY/STREET - FLASHBACK - NIGHT CRANE SHOT - high and wide - we're in the past, London circa 1860 to be exact. There's carriages, horses, Cockneys and fancy dressed folk out walking. CLOSE - a carriage wipes frame, revealing Angel in period dress and hair moving down the street, looking for someone. He stops, scents the air, looks down an alley. HIS POV - THE ALLEY - dim and dark, SOMEONE in a period dress is about halfway down it. Angel enters the alley. ANGLE - THE WOMAN Her back to us, Angel moves up. ANGEL The woman, who is of course DARLA, turns. There's a little blood running down from her mouth. DARLA CAMERA PANS DOWN TO THE GROUND. Lord Nichols lies dead, two vicious bite marks in his neck. DARLA ANGEL DARLA He leans in, half-kisses half-licks the blood off her face. ANGEL DARLA ANGEL DARLA ANGEL ANGLE - THE GROUND - Next to Lord Nichols, a dead prostitute. DARLA She smiles and heads up the alley. Curious, he follows. EXT. ALLEY/STREET - FLASHBACK - NIGHT Darla and Angel exit the alley and walk along the street. ANGEL DARLA Angel scans the street, his senses alert. PAN - Various people, potential victims. A FAMILY (FATHER, MOTHER, THREE TEENAGE TO EARLY TWENTIES DAUGHTERS) emerges from a restaurant. We shouldn't see the girls' faces. Angel focuses on the family. ANGEL He moves after them, Darla moves with him. DARLA ANGEL DARLA ANGEL Darla nods merrily. Angel's hunger is mounting. ANGEL ANGLE - THE FAMILY Walking away from us. The girl in the middle turns. It's DRUSILLA. Her eyes are wide and innocent but marked by fear. She looks straight into Angel's eyes. ANGEL Drusilla, shaken, quickly looks back. Angel would keep after her but Darla puts a hand on his arm and stops them both. DARLA ANGEL DARLA Darla heads TOWARD CAMERA, leaving Angel to follow. Angel watches Drusilla's departing back then follows Darla. EXT. THIRD STREET PROMENADE - NIGHT Twenty-first century Darla heads past camera. A beat later, Angel follows. DARLA - moves around a corner or behind the big coffee cart. ANGEL - follows. But when he gets there she is gone. He turns, looks all around. No Darla. POSSIBLE HIGH SHOT - Angel in the crowd, turning, looking. INT. HOTEL - RECEPTION/LOBBY - NEXT DAY CLOSE - ANGEL'S CARD in a man's hands. The card is rumpled - the hands work the card nervously. HAROLD WIDER - HAROLD JEAKINS, 30's or 40's, meets with Cor and Wes. HAROLD CORDELIA She hands Harold a list. HAROLD WESLEY HAROLD Cor and Wes exchange a look. HAROLD WESLEY HAROLD Cor takes the receipt, looks at Wes, then: CORDELIA Behind them, from under the stairs, Angel enters, looking like he's been out all night walking and brooding. HAROLD CORDELIA HAROLD ANGEL Angel drifts past them towards his office. Harold is speechless. Cor covers with: CORDELIA Cor looks at Wes, gestures (re: Harold) get him out. HAROLD Wes walks Harold towards door; Cor heads to Angel's office. WESLEY HAROLD WESLEY INT. HOTEL - BEHIND RECEPTION - DAY Angel has his back to Cor as she moves to the computer, starts typing. CORDELIA Angel moves up behind her. Rather close. Leans down over he shoulder. She thinks he's looking at the file she's entering. CORDELIA Angel is smelling her hair, a little lost in his own world. CORDELIA Angel is now running his fingers through her hair and petting her. CORDELIA Cor jumps back as Wes enters, steamed. WESLEY CORDELIA WESLEY ANGEL CORDELIA ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY CORDELIA ANGEL WESLEY HARD CUT: INT. WOLFRAM AND HART - LINDSEY'S OFFICE - DAY Dark and gloomy as usual, Darla glides through the office. LINDSEY watches her. DARLA LINDSEY DARLA Lindsey smiles at that, then: LINDSEY Lindsey absently touches his prosthetic hand with his normal one. DARLA LINDSEY DARLA Beat. He holds it up a little. She strokes his fake hand. DARLA LINDSEY Beat. She lets go. LINDSEY DARLA LINDSEY DARLA LINDSEY DARLA LINDSEY DARLA LINDSEY Lindsey picks up a manila envelope. LINDSEY INT. PRECINCT - DAY THE MANILA ENVELOPE Moves through the smallish set. Being carried by DETECTIVE CARLSON. He approaches Kate's desk. KATE LOCKLEY sits behind it. Doing paper work, listening to the police scanner on her desk. POLICE SCANNER (O.S.) Kate looks up. KATE CARLSON KATE CARLSON KATE CARLSON Beat. He drops the envelope on her desk. CARLSON She opens the envelope. INSIDE: a picture of the Hyperion Hotel and a new business card of Angel's, with new address and phone number on it. Also a very simple note that reads: He's moved. KATE CARLSON He goes. EXT. L.A. - STOCK - DAY TO NIGHT TO DAY EXT. FRANKLIN HOTEL - DAY - ESTABLISHING INT. FRANKLIN HOTEL - LOBBY - DAY An upscale hotel. With a restaurant and bar in the lobby. CONVENTIONEERS and YUPPIES. Follow a COCKTAIL WAITRESS in REVEALING UNIFORM as she stops at the bar, replaces a stack of cocktail napkins. CAMERA sees that the waitress is in fact Cordelia. ZOOM IN on the napkins: a tiny microphone peaks out near the bottom of the stack. Cordelia adjusts napkins so mic is pointed at CLAIRE and REPAIR MAN standing at bar, trying to look discreet. MAN CLAIRE CAMERA STEADIS away from them, Claire's voice gradually changing from "live" tone to a thinner "recorded" one. CLAIRE (O.S.) MAN (O.S.) CAMERA FINDS a small tape recording device. A HAND pulls a long dark coat over the device as we HEAR: CLAIRE (O.S.) CAMERA PANS UP to Angel, earwig in his ear, listening from a discreet corner of the lobby. MAN (O.S.) Claire laughs; Angel listens, a sour expression on his face. MAN (O.S.) ANGLE - WESLEY in another discreet part of the lobby, snapping pictures of the couple with a small camera. CLAIRE (O.S.) THE MAN - drops money on bar, heads for elevators with Claire. CORDELIA - looks to Wes who nods slightly, got 'em. She looks to Angel who suddenly starts moving. STEADI as he passes Wesley - who coolly looks the other way - Angel grabs Wes's camera, moves into the line of the couple. ANGEL She stops, startled. ANGLE - Cor joins Wes. CORDELIA WESLEY ANGEL AND THE COUPLE CLAIRE ANGEL He points out Wes and Cor who suddenly look very sheepish. ANGEL MAN ANGEL Angel rips the film out of the camera. Claire turns; marches out of the hotel. Man, relieved, heads off in another direction. Angel moves off, Cor and Wes fall into step with him. CORDELIA ANGEL CORDELIA WESLEY Angel spots something O.S. HIS POV - In the restaurant, A MAN (STEPHEN) gives a woman (DARLA) a kiss and heads out. Darla, dressed stylishly but conservatively, gets the check from a WAITRESS. ANGEL DARLA signs the check, putting her wallet in her purse. She nearly bumps into Angel. DARLA She politely tries to sidestep him. He moves with her, blocking her path. ANGEL DARLA By now Wes and Cor have moved up to witness: ANGEL CORDELIA DARLA Darla again tries to go, he grabs her arm, causing her to drop her purse. ANGEL She bends down to gather the spilled items: wallet, lipstick, etc. Angel bends down too. ANGEL Angel scoops up the wallet, Darla snatches it out of his hand as Wesley leans down. WESLEY A HOTEL SECURITY MAN comes over. SECURITY GUY DARLA SECURITY GUY Security Guy reaches for Angel who hurls him back, he stumbles and falls. People stop to watch, he's creating a scene. CORDELIA He grabs Darla, not gently. ANGEL She wrenches her arm free and runs out the front door - RIGHT INTO THE DIRECT SUN and the arms of Stephen who is paying the valet for their car. STEPHEN DARLA STEPHEN FROM ANGEL'S POV - Darla crying, pointing back towards the lobby. Wes, Cor and Angel all react. Off Angel. END OF ACT ONE |
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Act Two |
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INT. HOTEL - AFTERNOON Angel blows through the stairwell door - a moment later Wes and Cor (still in cocktail uniform) follow. CORDELIA Angel moves to hotel desk, rifling through a big phone book. WESLEY CORDELIA WESLEY CORDELIA WESLEY CORDELIA ANGEL WESLEY Angel leans ever so slightly closer to Wes, inhales. ANGEL WESLEY CORDELIA ANGEL CORDELIA ANGEL Angel starts to go, stops. ANGEL WESLEY ANGEL INT. KARAOKE BAR - NIGHT ANGEL The crowd, a few demons, watches with appropriate pity. THE HOST - Sips a drink, watching Angel intently. ANGEL Angel finishes abruptly, makes a beeline through to the Host. HOST ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST Angel moves off, digging out his cell phone, dialing. INTERCUT: INT. HOTEL - NIGHT Cordelia (no longer in cocktail garb) answers phone. CORDELIA ANGEL ANGLE TO INCLUDE WESLEY CORDELIA ANGEL CORDELIA ANGEL He hangs up. ANGEL OUT. CORDELIA Wesley moves to a cabinet, unlocking it under: WESLEY CORDELIA Wesley removes a large tranquilizer gun from the cabinet. CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY EXT. DEETTA KRAMER'S HOUSE - NIGHT Angel's car pulls silently to a stop, it's engine already off. Angel slips out of the car. Moves down the block a few houses, checks out the one at 1409. ANGEL'S POV - A perfectly nice home. Stephen, visible through the living room window, reads a book inside. Angel moves up onto the lawn. A YOUNG COUPLE out walking their dog, give him a funny look. ANGEL They move on but clearly do not trust him. He looks back as: ANGEL'S POV - DARLA Enters the living room, gives Stephen a kiss, says something. He laughs, gets up. Angel watches them move into the dining room where dinner is set. INT. DEETTA KRAMER'S HOUSE - DINING ROOM - NIGHT Stephen holds Darla's chair for her. DARLA STEPHEN DARLA Stephen scoops up linguini for both of them. EXT. DEETTA KRAMER'S HOUSE - NIGHT Angel watches the scene, looks like any couple having dinner. INT. DEETTA KRAMER'S HOUSE - DINING ROOM - NIGHT STEPHEN CAMERA DRIFTS AROUND, DISCOVERING DARLA'S GUARD, hidden (from the windows) in the shadows, earwig in his ear. STEPHEN DARLA STEPHEN Darla's hand slips out of sight beneath the table cloth in the general region of his crotch. STEPHEN Darla's guard winces: painful grab. DARLA STEPHEN DARLA We CLOSE in the earwig in Darla's ear and INTERCUT: INT. WOLFRAM AND HART - LINDSEY'S OFFICE - NIGHT CLOSE - SPEAKERPHONE, a hand turns up the volume; WIDER - Lindsey speaks into it. LINDSEY DARLA EXT. DEETTA KRAMER'S HOUSE - NIGHT Angel watches the tableau - Darla's perfectly sweet expression still that of the happy housewife. LINDSEY INT. DEETTA KRAMER'S HOUSE - NIGHT LINDSEY DARLA STEPHEN INT. HOTEL - NIGHT Gunn stares at tranquilizer gun and chains as Wes and Cor, looking through a lot of old books, talk to him. CORDELIA GUNN WESLEY CORDELIA GUNN CORDELIA WESLEY GUNN CORDELIA GUNN Off Wesley's discomfort. INT. CONVENT - MOTHER SUPERIOR'S CHAMBERS - NIGHT Camera pans a plaque: SISTERS OF MERCY. Angelus in 1860, stares hard at something we don't see. Footsteps behind him on the stone floor. Darla, in period costume, enters. ANGEL DARLA ANGEL Now we see what Angel was staring at: Drusilla, tied up, completely mad, a HEALED GASH along her throat. Near her, a couple of discreet dead bodies in nun's habits on the floor. DRUSILLA DARLA ANGEL DRUSILLA DARLA ANGEL He kisses Darla, rather savagely. ANGEL DARLA ANGEL DARLA Some of their clothes are coming off now. ANGEL Drusilla's mad eyes watch them. DARLA DRUSILLA ANGEL As they lie down, virtually on top of mad Dru and the nuns: DARLA ANGEL Even Darla is a little taken aback by this idea. DARLA ANGEL They kiss hard, clothes coming off, Dru's eyes huge with horror. ANGEL DRUSILLA EXT. DEETTA KRAMER'S HOUSE - NIGHT CLOSE ON WINDOW - Darla, smiling pleasantly, gets up, gathers up dinner dishes. Angel, very intense, moving closer to the house as Darla and Stephen carry dinner dishes out of his line of view. INT. DEETTA KRAMER'S HOUSE - NIGHT DARLA LINDSEY Darla picks up a phone, dials 911. We HEAR OPERATOR'S VOICE, "This is 911, what is your emergency?" DARLA Darla calmly rips the phone out of the wall. STEPHEN Darla ignores him, turns to her guard. DARLA STEPHEN Darla's guard morphs into a vamp. Stephen drops his dishes. STEPHEN Darla's Vampire Guard back-hands Darla, she goes flying. EXT. DEETTA KRAMER'S HOUSE - NIGHT Angel hears dishes crashing, Stephen screaming, sounds of a terrible assault and: DARLA Angel bolts - INT. DEETTA KRAMER'S HOUSE - NIGHT The front door is blasted open, Angel comes flying in. Darla huddles in a corner, hysterical. And APPROACHING SIRENS can already be heard outside. Angel moves towards Darla, big bruise on her cheek. DARLA Angel looks at Stephen lying on the ground next to Darla, lot of blood on his throat, very dead. INT. WOLFRAM AND HART - LINDSEY'S OFFICE - NIGHT Lindsey listens on his speaker phone: DARLA (O.S.) LINDSEY INT. DEETTA KRAMER'S HOUSE - NIGHT We HEAR COP CARS ROAR UP OUTSIDE, running footsteps. Angel looks from dead Stephen to Darla, getting it now. DARLA TWO COPS BURST IN, GUNS DRAWN. Darla screams at Angel: DARLA The cops look down at dead Stephen, level their guns at Angel. Off Angel, trapped. END OF ACT TWO Continue on to Part
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Dear Boy Part 2 (August 22, 2000) Written by: David Greenwalt |
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Act Three |
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INT. DEETTA KRAMER'S HOUSE - NIGHT As before, Darla reaches to touch her dead "husband". DARLA COP #1 ANGEL She wails louder. COP #1 Angel turns and runs - INT. DEETTA KRAMER'S HOUSE - HALL - NIGHT Both cops fire. He takes a couple of hits, jumps straight up and through an attic access door in the ceiling. COP #1 STEADI FAST with Cop #1 back into the living room as two or three more cops enter, guns drawn. Darla wails on the floor. COP #1 Suddenly a dark shape falls past a side window. COP #1 They tear outside, after the dark shape. We HEAR MORE GUNFIRE lots of SHOUTING and running. CAMERA MOVES TOWARDS DARLA who looks up calmly, the tears running down her cheeks but no sorrow in her eyes; in fact, a trace of a smile. DISSOLVING TO: OMITTED EXT. DEETTA KRAMER'S HOUSE - FRONT YARD - NIGHT Kate walks a very distraught Darla outside, wrapping a police blanket around her, moving her a discreet distance from all the police activity. KATE DARLA KATE DARLA KATE DARLA She breaks down. Kate waits compassionately. DARLA Beat. DARLA KATE Darla looks at Kate through tearful eyes. DARLA Kate takes a few steps to the cops nearby. KATE CLOSE - DARLA A HAND in a dark COAT swoops down from above, clamps down over Darla's mouth. An arm wrap around her waist and she is lifted straight up OUT OF FRAME. KATE Kate looks. No Darla. KATE MATCHING CUT: INT. HOTEL - NIGHT WESLEY Wes and Cor pour through books. Gunn toys with a nasty stake. WESLEY CORDELIA GUNN WESLEY CORDELIA GUNN CORDELIA GUNN They hear a noise out front. They all look, expecting Angel. The front doors are kicked open - Kate and several SWAT COPS with SHOTGUNS charge in. KATE CORDELIA KATE Several cops run up both sides of the stairs. A couple head into the garden, a couple head for the cellar stairs. WESLEY KATE Wes, Cor and Gunn react. CORDELIA WESLEY It's a weak denial at best. KATE Nothing from Cor, Wes, Gunn. KATE She looks at Gunn and the stake in his hand. KATE CORDELIA KATE GUNN KATE Gunn fishes out his wallet. KATE GUNN She hands his I.D. to a cop. KATE WESLEY KATE Off Wesley. EXT. BIG TANK - NIGHT Angel's car comes roaring up. Stops hard. Angel, pissed, gets out. Moves to the back of the car, opens the trunk. Inside is Darla, playing scared. If she had the blanket on when he grabbed her, it's still in evidence. He yanks her out. DARLA Angel drags her towards the entrance. Roughly. DARLA INT. BIG TANK - NIGHT Angel manhandles her down the long stairwell into the giant empty chamber. Darla comes skidding across the floor, having been hurled this-a-way way by Angel. He walks in and out of view amongst the pillars. She watches him from the floor. He just stares at her for a beat, then: ANGEL She scrambles to her feet, runs. He pops out from behind a pillar. ANGEL She looks at him, terrified, makes the sign of the cross. He bursts out laughing. ANGEL CAMERA PUSHES IN ON ANGEL ANGEL ANGEL MORPHS INTO A VAMPIRE. He comes at her unbelievably fast. (Maybe we can pull him on a wire and paint it out later.) REVERSE - SAME THING We're barreling at Darla. Angel hits her, slams them both back against a pillar, grabs a fistful of her hair, wrenches her head back with it, baring her neck. With his other hand he's ripping some of her dress (tastefully) away. ANGEL DARLA - watches as ANGEL - lowers his teeth to her neck. CLOSE - Angel RUNS HIS TEETH (not a bite) down her neck and / or across her collar bone. As we see TWO THIN lines of blood follow the trail of his teeth - MATCHING CUT and PAN Down their bodies - Angel's pressed up hard against hers. After a beat, the back of her foot comes off the ground and wraps her leg around his. DARLA She leaps up, wrapping her legs around him, kissing him like crazy all over his vampy face. DARLA Off Angel, a little thrown by this, END OF ACT THREE |
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Act Four |
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INT. HOTEL - NIGHT Wes pages through some of the books, keeping an eye on - KATE AND GUNN She's reading his rap sheet. Cor stands near Gunn. KATE GUNN CORDELIA KATE CORDELIA KATE CORDELIA KATE GUNN Kate takes a step towards Gunn; Cor tries to step in between them. CORDELIA KATE GUNN CORDELIA GUNN KATE CORDELIA KATE WESLEY Wesley's found something in one of the books. He brings it to Kate. WESLEY INSERT - DAGUERREOTYPE - Darla in period costume in one of the lore books. INT. BIG TANK - NIGHT Darla is still all over VAMPY ANGEL with the kissage. He finally has to tear himself away from her. ANGEL DARLA When he turns back he's NORMAL FACED again. DARLA He grabs her wrist. ANGEL DARLA He lets go. ANGEL DARLA ANGEL DARLA ANGEL DARLA ANGEL DARLA ANGEL DARLA Beat. Angel has to laugh. ANGEL DARLA She moves behind him, touches the back of his neck. DARLA Off Angel. INT. HOTEL - NIGHT COPS BOUND down the stairs, report to Kate in b.g. Cor, Wes and Gunn watch in f.g. as she tells the Sergeant: KATE Cops file out. Kate moves to Cor, Wes and Gunn. KATE CORDELIA KATE GUNN KATE WESLEY KATE Off Cor, Wes and Gunn, who have no answer for that. EXT. BIG TANK - MORNING Sun just coming up. INT. BIG TANK - DAY We now see a beam of SUNLIGHT shining down the long stairway that leads up and out. CAMERA MOVES out of the light THROUGH THE PILLARS, finding Angel and Darla in the dark. She's still behind him, moving about through the pillars. DARLA ANGEL DARLA Angel turns and faces her. DARLA ANGEL Darla looks like she's been slapped. ANGEL Darla's eyes fill with tears. DARLA Darla reaches into a pocket, pulls out a LARGE CROSS, presses it to his chest, smoke rising as she drives him back against a pillar. DARLA She takes a step back, cool and composed as ever. DARLA She turns and walks into the circle of sunlight shining down from the stairs above. Turns. DARLA She smiles, heads up the stairs. Off Angel, his chest smoking. EXT. STOCK SHOTS - L.A. DAY TO NIGHT EXT. HOTEL - STOCK - NIGHT INT. HOTEL - ANGEL'S SUITE - NIGHT Angel slowly paces, deep in brood. There's a knock at the door. He looks up. CORDELIA (O.S.) Angel moves to the door, opens it. Cor and Wes are there. Cor has her hands behind her back. CORDELIA ANGEL CORDELIA She quickly stuffs the tranquilizer gun (which she's been holding behind her back) into Wesley's hands. CORDELIA WESLEY ANGEL CORDELIA WESLEY ANGEL CORDELIA ANGEL CORDELIA ANGEL He starts to close the door; Cor gives him a little wave. CORDELIA The door closes, blotting them out. Off Angel, ready for war. THE END |