The Trial (October 23, 2000) Story by David Greenwalt Teleplay by Douglas Petrie & Tim Minear Teaser EXT. ANGEL'S HOTEL - NIGHT - STOCK INT. ANGEL'S HOTEL - NIGHT CORDELIA He's been down in that cellar a long time. WESLEY I keep hearing a ... "chucka chucka" sound... what's he doing down there? CORDELIA How should I know? He barely says good morning and get me a glass of blood anymore. WESLEY I know. He's just so distraught about -- CORDELIA Don't say Darla. I am sick and tired of hearing about Darla. If I hear the name Darla one more time... And he's not distraught, he's obsessed! I thought you were going to be a man and talk to him about this. WESLEY I was a man -- I said... things. CORDELIA Like what? WESLEY (softly) Like did he prefer milk or sugar in his tea. (off her look) It's how men talk about things in England! CORDELIA Shhh, listen, it stopped. Then they HEAR Angel's FOOTFALLS climbing the cellar stairs. WESELY He's coming. They bolt across the room, skittering behind reception. Wesley pretends to shelve some BOOKS. Cordelia opens their business calendar, scribbling notes in it as: ANGEL - exits from the cellar stairs into the lobby, carrying a bunch of his (dark) shirts and pants fresh from the dryer. He seems in a pretty good mood. ANGEL Hi guys. What's up? CORDELIA Nothing. So you were, uh, doing your laundry? ANGEL Yeah. There's an old washer and dryer in the cellar. Angel plops his clothes on the round couch, starts folding them. He presses a shirt to his face. ANGEL Mmmm, don't you love it when they're still warm from the dryer? Cor and Wes exchange a look -- this is a new side to Angel. ANGEL (examining shirt) Wrinkle-free, right, after you iron it for fifteen minutes. He shakes his head good-naturedly, dropping the shirt and neatly folding some pants. WESLEY Well, this is good to see you... taking a domestic tack... CORDELIA Yeah, you seem all calm and homey -- are you on drugs? ANGEL (beat) Guys, I know I've caused you both a lot of grief with this whole Darla situation. And I apologize. Took me a hundred years before I ever decided to do anything about my own situation. Darla may never want help. All I can do is be there for her if and when she comes around. But I can't do it for her. I know that now. They look at him, impressed. Wes turns to Cor. WESLEY We had tea. ANGEL In the meantime there's nothing I can do but let go. The front door bursts open and GUNN charges in. GUNN I found Darla! And it wasn't easy. But you said keep looking' and my wide-ranging knowledge of L.A.'s low rent motels finally paid off. Gunn hands Angel some PHOTOS which Angel studies. CORDELIA You lied to us! ANGEL I did, I know. WESLEY Why? ANGEL I figured you'd nag. INSERT PHOTOS - A couple of LONG LENS shots of Darla approaching a motel room, entering, etc. ANGEL (to Gunn) They Royal Viking Motel? GUNN Conveniently located mere steps from scenic skid row. I guess she's not livin' off Wolfram and Hart anymore. ANGEL And not by their choice, is my guess. GUNN What do you think they'll do if they find her? ANGEL Let's get there first and not find out. (grabs his coat). CORDELIA Listen up, Mister, if you expect us to go with you on some wild goose chase -- Angel (ignoring Cor entirely) and Gunn head out the door. CORDELIA -- then guess again. We're not going to enable you in your addiction! As the door closes on Angel's departing back, Wes calls: WESLEY Didn't we learn anything from the tea?! Cor looks at Wes: CORDELIA How in God's name did you people ever run an empire? INT. DARLA'S MOTEL ROOM - NIGHT Dingy and cheap. TWO HANDS unclasp a necklace. WIDEN to reveal DARLA, looking a little pale and lost as she takes off her cross, lays it on the low dresser. Darla sits. Looks at herself in the dresser mirror. Her hair's unkempt, her face devoid of make-up. She opens her purse, pulls out a lipstick. With a slightly shaky hand, she paints her lips. Darla looks at her pale reflection in the mirror, now with the bright red lips. After a beat, she wipes the lipstick off, just sits there staring at herself. There is a KNOCK at the door. She barely glances. Another KNOCK. She's ignoring it. Then the SOUND OF A KEY in the door. ANGLE - THE DOOR OPENS Revealing LINDSEY and the SEEDY MANAGER who just unlocked the door. Lindsey, never taking his eyes off Darla, hands the manager cash. The manager skitters off. Lindsey looks at Darla for a beat, his own emotions churning, then says simply: LINDSEY You're a hard one to find. END OF TEASER Act One INT. WOLFRAM AND HART - LINDSEY'S OFFICE - NIGHT Darla sits on the couch in Lindsey's office. She is both defensive and resigned. Lindsey, looking a little ashamed, sits perched across from her on the edge of his desk. A UNIFORMED SECURITY GUARD hovers near the door. Big, throbbing silence between Lindsey and Darla. Finally: LINDSEY Thank you for coming in. DARLA Did I ever have a choice? Lindsey's trying here. Maybe even hurt by her antagonism. HOLLAND (O.S.) Of course... HOLLAND has entered the room, he nods to The Security Guard, who exits. HOLLARD We would never force you to do anything against your will, Darla. Holland carries a 14x11 ENVELOPE that we may or may not notice at this point. DARLA It wasn't my will to be here in the first place. I never asked for this life. HOLLAND No one ever does. God doesn't give us a say in these matters. DARLA God isn't the one who brought me back. HOLLAND True. DARLA (resigned) So what do you want me to do now? Go back to him? It won't matter even if I did. There's nothing between us anymore. HOLLAND You misunderstand. We didn't invite you here to discuss Angel. LINDSEY This is about you. She glances to Lindsey who looks sincere, maybe even worried. HOLLAND You're not our prisoner, Darla. You are, however, our moral responsibility. He hands her the folder... she opens it, slides out files that we don't see. HOLLAND No doubt you have little memory of your first few weeks with us. No one ever really recalls their first days of life... but that's when these were initiated... During the following, her reaction tells us at least something about them... a combination of numb and shock. HOLLAND Surely you can see there's no reason for you to be living in squalor or discomfort. Certainly not given the circumstances. She looks up from the unseen documents to Lindsey, who is clearly pained by all this. DARLA Did you know about this? All he can do is shake his head "no." HOLLAND We're prepared to deal with this situation any way you see fit. It's up to you. She looks at him, stunned, lost, and stunned some more. HOLLAND We just thought you should know. Off this moment -- INT. DARLA'S MOTEL ROOM - NIGHT Gunn stands in the motel room. GUNN She ain't here, bro. CAMERA ADJUSTS to reveal Angel at the doorway, sussing out the room. ANGEL No. But she was. And not long ago. Scent's still fresh -- Lot of fear... Gunn looks back at Angel, then moves deeper in the room. CAMERA loses Angel at the door as: GUNN Don't envy that particular talent. Not based on what I'm gettin' with just my standard issue human smeller. (re: the room) Man. Not even for free cable TV, you know what I'm saying? Angel moves up next to Gunn having entered the room O.S. ANGEL She chose this neighborhood for a reason. Gunn reacts to Angel's presence. GUNN Bro -- how'd you...? ANGEL Motel. Public accommodation. She doesn't live here... GUNN I wouldn't call it livin', either... Gunn moves to the dresser. Finds Darla's cross, picks it up. GUNN Hey. Looks like maybe she was expecting company... in the form of you. ANGEL I don't see any blood -- nothing new, anyway. GUNN You smellin' that, too? ANGEL This room has seen a lot of it. GUNN No doubt. Big step down from her last digs, that's for sure. ANGEL When you're desperate, you do what you have to do... Off that... INT. BARN - 1765 - NIGHT Two cloaked figures riding a single HORSE enter. Darla and Angel. Looking tired, dogged. They climb off the horse. ANGEL This is outrageous! Don't these people know who we are? DARLA I believe they do. Which would explain the lynch mob. She pats the horse. DARLA We should all rest. It'll be dawn in a few hours, and she won't last another mile. Not carrying us both. They both check out various corners of the barn for safety. Seems like a drill they've been through before. As they do: ANGEL I hate the French. We should go someplace like Romania. DARLA In Italy you said we should go someplace like France. ANGEL (not "hearing" that) Place like Romania, they really know how to treat a creature of the night. DARLA You were craving rich food. That's what you said. Something French. Angel moves to a window, looks out. ANGEL The valley seems quiet. DARLA I told you, we lost them back in Arles. I'm sure of it. ANGEL It's this man Holtz. How does he keep finding us? DARLA We stay in the best hotels. Order room service. Eat the waiters. People talk. ANGEL He's no mere mortal, I'll tell you that. DARLA Of course he is. He's just a man. A vampire hunter. I've seen hundreds of his kind in my time. Though he does seem to be better than most... ANGEL Good enough to have driven us into a stinking barn like animals. DARLA Alright. Then let's be animals. At least for tonight. She takes his hand, tries to pull him down to a bale of hay. DARLA That is, unless you're too tired... He looks at her, laying there invitingly ready to make hay on the hay. He can't help but smile. ANGEL Shouldn't we be keeping watch? DARLA I can see the window. And we'll hear the hoofbeats should anyone approach. ANGEL Always making the best of it, aren't you? DARLA Come now. You have to admit the chase can be exhilarating... especially with the proper companion... He moves to her, looms over her. He smiles, enjoying this. He lowers himself down onto her and OUT OF FRAME and -- CRASH! A FLAMING STAKE/ARROW comes crashing through the window behind Angel, nailing the wall just beyond where his head was seconds ago. Angel comes back up into frame, shakes his head. ANGEL Bastard! Off that -- INT. SEEDY BAR - NIGHT DARLA is seated in a booth at the back of this seedy bar. Across from her is a total SHEMP VAMPIRE (or "shempire"), he sports an eighties mullet hairdo. He bares his fangs and tries to act all evil-sexy. DARLA That's great. Really. Very threatening. SHEMPIRE Gettin' to you, isn't it? It's funny, when I was human, I never really had much luck with women. DARLA Hard to believe. SHEMPIRE I had kind of a skin condition. DARLA Mmmm. SHEMPIRE But now... something about the teeth, I guess. Chicks go crazy for it. DARLA You've got girlfriends everywhere, I imagine. SHEMPIRE (not wanting to brag) Well, mostly I just kill 'em. Dump the bodies. DARLA That must be very lonely for you. SHEMPIRE Well, we're a lonely, sort, we creatures of the night. Doomed to walk the earth, that kind of deal. DARLA How long have you been...? SHEMPIRE And eternal child of darkness? Since '92. DARLA Nineteen ninety two? SHEMPIRE Hard to believe it's already "last century." DARLA And in all that... time... you've never considered making yourself... a mate? SHEMPIRE How do you mean? DARLA Well, isn't it true that some vampires choose a mortal, someone they can sire, someone who too will walk those lonely nights... hunting with them... feeding with them... joining with them... SHEMPIRE (pffft) No. That'd just be weird. DARLA "Weird?!" It's mythic! SHEMPIRE You been readin' way too much Anne Rice, lady. You got no idea how this thing works. DARLA Then teach me -- SHEMPIRE You want me to... make you? DARLA Why do you think I came into this bar? For the snacks? SHEMPIRE Sweetheart, in this bar you are the snacks. DARLA I live nearby. We can go back to my place. You can do it there... SHEMPIRE You're serious about this? So I make you... and then you'd, what? Be like, my immortal babe? DARLA Yes. SHEMPIRE Kinda says "commitment" to me. DARLA Then use me for as long as you like, any way you like, then discard me. No strings. SHEMPIRE There's an alley out back -- EXT. ALLEY - NIGHT Darla and Shempire appear in the alleyway. SHEMPIRE How do you know I won't just kill you here? Drain you and leave your body? She whirls on him, planting an amazing kiss on his vampy mouth. She pulls away and he's a little woozy. DARLA I'll take my chances. SHEMPIRE I should probably mention that I'm not real clear on how this works... DARLA What? SHEMPIRE Well... I never actually did it to anyone before. And I was kinda out when it happened to me. DARLA I'll walk you through it. Drink. When you feel my heart start to slow, stop -- She pulls at her collar, exposes her neck. He bares his fangs, leans forward, is just about to bite into her pink, pretty neck, when -- his face registers SHOCK and he goes DUST from the edges in, a STAKE where his heart was, plunged into his back by Angel, who stands there with the stake. Darla is just furious. DARLA What the hell do you think you're doing? ANGEL Saving you. DARLA I wasn't in danger, Angelus! Believe me. I picked a stupid one. I always pick the stupid ones! Didn't you know that? I can take care of myself. ANGEL I didn't mean from him -- I was saving you from yourself. DARLA Who asked you to? ANGEL This isn't the answer. DARLA You don't even know what the question is. Why can't you just leave me alone? She tries to walk away; he grabs her, spins her around. ANGEL If you do this thing, I won't be able to leave you alone. Don't you get that? I'll never be able to leave you alone. (re: the stake) It'll be you on the end of this the next time. (then, calming) I'm sorry, but I don't want that. Not again. She looks at him for a beat. DARLA (lethal) Don't worry, I wouldn't let it happen twice. She holds the look for a beat, a challenge, then she yanks away. He lets her, but follows. ANGEL Where are you going? DARLA Well, not back in there. Everyone saw me leave with the mullet. I'll try something on the west side, I guess. ANGEL Another dive, another loser? DARLA What do you care? ANGEL This isn't you, Darla. DARLA Just because we had a thing for a hundred and fifty years, don't presume you know me. ANGEL You really want to be made by some creep in a filthy alley? DARLA I wanted you to do it. ANGEL That'll never happen. DARLA So I do what I have to do. (as she moves away) Anyway, you were made in an alley if I recall. ANGEL That's... not the point. DARLA What is the point, Angelus? ANGEL The point is... you were undead for four hundred years. You've only been human again for a few months. Why not give it some time? DARLA I don't have time. ANGEL You do. You've been given a second chance. Don't throw that away before you even have an opportunity to understand just what that could -- DARLA (blurting it) I'm dying! That got through. ANGEL What? DARLA Yeah. And not some time. Not later. Now. Right now. She lets that hang there for a moment, then continues. DARLA They showed me the medical files. All the tests said the same thing: I've got about two months left. Three at the most. So excuse me. I'm in sort of a hurry. She pulls away from him, moves off. Off Angel, taking that all in... FADE OUT: END OF ACT ONE Act Two INT. BARN - 1765 - NIGHT WE can SEE shadowy HORSEMEN through the broken shutters as they lay siege to the barn. More FLAMING STAKE/ARROWS crashing into the barn. Things are starting to IGNITE. ANGEL AND DARLA The target of this siege. Angel tries to peer out without getting skewered. ANGEL How many men do you suppose he has with him? DARLA I can't die. Not like this. Darla has moved to the frightened mare. ANGEL We could try to flee to the hills to the south. DARLA We'd never make it before the sun rises. Not on foot... Angel's focus in not on Darla but on the flames and still trying to get a look at the odds. ANGEL Well, we'll not make it easy for them, I'll tell you that. They're men. Mortals. Between the two of us, at least we can go out with a reputation -- even death, with the right companion... He turns to her, and WHAM! She brings down a FLAMING PLANK across his jaw. He goes down, stunned. DARLA I hope you survive this, Angelus. He struggles to get up, but he's a bit brained at the moment. She climbs onto the mare. As she rides off: DARLA If you do, maybe we'll meet again in Vienna! And she gallops out through the back door. Off Angel, reeling, the enemy closing in... OMITTED INT. ANGEL'S HOTEL - LOBBY - NIGHT Cordy is behind the registration desk. She reacts as the front door opens and Angel enters the hotel, ushering in Darla who has a small duffel bag with her. CORDELIA (directing this o.s.) Angel's back... Wesley appears from Angel's office area. CORDELIA ...and he has Darla with him. Hi. (re: duffel) You, uh, planning on sleeping over? DARLA I'm dying. CORDELIA (no clue) So just for the one night, then? WESELY Dying? DARLA He doesn't believe it. WESLEY Angel, what's going one? ANGEL Wolfram and Hart showed her some medical files. Supposedly proving that she's only got a few months left to live. CORDELIA Oh. So maybe more than the one night? WESLEY (to Angel) And you believe it's some kind of trick? ANGEL We're talking about Wolfram and Hart. Of course it's a trick. They're playing a mind game. WESLEY To what end? ANGEL I don't know. But we're not taking the bait. DARLA You just don't want to believe it, that's all. ANGEL I'm just not ready to start believing anything that comes of Wolfram and Hart. WESLEY (gently to Darla) It's true, they can't really be trusted. DARLA I don't trust them. But I know a thing or two about mind games. (to Angel) And so do you. We played them together for over a century. A beat as he looks at her. It's true. CORDELIA Yes, but you were just soulless bloodsucking demons. They're lawyers. ANGEL She's right. We were amateurs. DARLA And if you're wrong? ANGEL I'm not. And I'm going to prove it. (to Cor and Wes) You guys look after her for a while? I'll be back soon. WESLEY Of course. CORDELIA Don't worry about a thing. ANGEL Thanks. He starts to move off. He pauses as: DARLA You can't force me to stay here. ANGEL You're not a prisoner. DARLA I've been hearing that a lot, lately. ANGEL Just give me a chance, okay? She just looks at him. Doesn't object. Another beat, then he turns and goes. The moment he's gone, Cordy and Wes turn on her -- CORDELIA Okay, first up: You're our prisoner. WESELY I would have to concur with that, yes. CORDELIA See, you've got our friend all in knots. WESLEY Can't say we like you much. CORDELIA So, sorry about the dying, but if you try to escape, we will hit you. WESLEY On the head. CORDELIA With very large and heavy objects, 'kay? Off Darla, not arguing with that... INT. LINDSEY'S APARTMENT - NIGHT Lindsey sits in his apartment. Lights low. Soothing MUSIC on. Drinking. He almost looks as if he's waiting for something... then something happens -- BOOM! The door is kicked open. Angel stands there in the threshold. Lindsey doesn't start. Just sips. ANGEL I may not be able to come in, Lindsey -- but sooner or later you'll have to come out. And when you do -- LINDSEY Wipe your feet. ANGEL What? LINDSEY You can come in, but wipe your feet. Lindsey rises, turns his back, and with a perfunctory flourish: LINDSEY Geez. I invite you in, already. Angel takes a beat, confused, then steps over the threshold. Lindsey refreshes his drink. Suddenly there's a hand clamped around his throat. LINDSEY Does it really look like you need to throttle me for information? ANGEL Need to? But he really wants to. A beat, Angel lets him go. LINDSEY Yes, she's dying. Yes, the medical records you saw are real. Want a second opinion? Okay. Lindsey starts tossing file after medical file at Angel... LINDSEY How about a third? A tenth? I went through every connection Wolfram and Hart has. Oh, and this one's from my own doctor. They all say the same thing: syphilitic heart condition. Terminal. Angel absorbs that, looks from the files to Lindsey. LINDSEY Yeah. Looks like our Darla was a working girl in the New World. The syphilis is what she was dying from when she was human. Now she's human again... kind of picking up where she left off -- Angel looks at the files, lost. LINDSEY Of course, today something like that could be cleared up with a few antibiotics. That is, if you catch it soon enough. In this case, we were about a month and, oh, four hundred years too late. Lindsey sits, drinks, broods. ANGEL (re: the files) You didn't believe them, either. (then) So it's true... LINDSEY I had to be sure. ANGEL Why? LINDSEY Why? I don't want her to die any more than you do. Angel looks at him, a pathetic sight. A long beat as Angel reads this guy like a book. ANGEL Do you love her, Lindsey? Is that what this is? Lindsey doesn't respond. Tightens his jaw. Fuck you. ANGEL Look at you. A few short months with her and you've gone all schoolboy. I was with her for 150 years -- LINDSEY But you never loved her. A beat. Angel's caught. Finally: ANGEL I wasn't capable of it. And neither are you. LINDSEY Maybe not. But I'd save her if I could. You can... and you won't. Angel scrutinizes him. LINDSEY You got a choice, pal. Waste the last two months of her life searching for a cure that doesn't exist and watch her wither away and die... or use the only real power you've got. You can make that disease go away today if you really wanted to. ANGEL By killing her again? LINDSEY By giving her life! Eternal life! Angel stares at Lindsey with loathing. ANGEL And then, what, Lindsey? You and her can be together? (then) If I were to do it, if I turned her -- how long do you think before she hunted you down and had you for breakfast? Lindsey swallows at that. It's true and he knows it. Still... ANGEL Gotta say -- that thought alone almost makes it worth it. (then) But there's another way. And I'll find it. Angel tosses the useless medical files. They scatter to the floor. He exits. Lindsey stares at his broken, empty doorway... And as Lindsey seethes and drinks... 13 THRU 15 OMITTED INT. ANGEL'S HOTEL - LOBBY - NIGHT Cordy comes into the lobby area from behind reception someplace. Wesley comes up behind her. CORDELIA (on entering) I mean, not only is she putting his life at stake, no pun intended, but ours. I'm sorry, but after four hundred years of death and destruction, seems to me you get voted off the island, am I right? They both stop and react as they see Angel standing there. CORDELIA You're back -- But he doesn't seem to notice them. His attention is one something else in the distance. WESLEY Was it... good news? Again, no response. They follow his gaze to -- THEIR POV Angel's looking at Darla, out in the garden. A sad and beautiful image. RESUME Cordy and Wes read the news from this moment. Finally: ANGEL Just give me a minute, will you guys? He moves off without even looking at them. Off Cordy and Wes, the solemnity of the moment weighing with them... INT. ANGEL'S HOTEL - GARDEN - NIGHT Darla takes in a jasmine bush. Angel appears beyond her, enters quietly. DARLA Jasmine. It blooms at night. I remember what that was like... Only now does she turn and look at him -- and she reads instantly what's what. DARLA I told you. I told you it was the truth. ANGEL Darla... DARLA I have to go -- He blocks her. INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS Wesley and Cordy watch Angel and Darla as they square off. Can't hear what they're saying. INT. ANGEL'S HOTEL - GARDEN - CONTINUOUS ANGEL We'll find a cure. We'll do something... DARLA You do something. I've been around long enough to know when something's a lost cause. (then) Unless... She looks to him, forlorn. He returns the gaze, his heart breaking for her. ANGEL That's exactly what they want us to do, Darla. We'd be playing right into their hands... DARLA I don't care! I don't want to die! ANGEL I can't give you what you want... She tries to blow past him, he blocks her. DARLA It's what I need! ANGEL It's not what you need, Darla... Really it's not. I don't know what you need. I wish I did. She slumps a little, worn out. DARLA I don't know either. Angel looks at her. ANGEL No. You do. You're the only one that could... you just can't see it, that's all. You need a little help... She looks at him, curious, and we -- CUT TO: INT. KARAOKE BAR - NIGHT Darla, hair and make-up simple but nice now, sits on a stool in a great dress. She sings simply and from the heart. DARLA (sings) Blow, ill wind, blow away,/Let me rest today/ You're blowin' me no good/ No good... Go, ill wind, go away/ Angel sits in the audience with the HOST who is captivated by Darla. He lets out a sigh: HOST Ohhhh.... ANGEL What is that? What does that mean? HOST It means: ohhhh, Ground Control to Major Tom, we may not be able to save this bird. ANGEL I'm going to save her. And you're going to help me. HOST I sense pain and anger -- are you still testy from last time? ANGEL When you sent me to that swami who was dead and his imposter tried to kill me? Why would I be testy about that? HOST That was painful. I'm still reeling. ANGEL I feel your pain -- what with the trying to kill me and all. HOST Oh people try to kill you every day -- I'm talking about Ramon who overheard us and betrayed me... man was a world class bartender, made a Seabreeze that took you to Tahiti -- (icy) he's off the menu now. ANGEL Can we get back to Darla? HOST If you'll shush up and listen to the bridge. ANGLE - DARLA as she goes into the bridge: DARLA (sings) Around my neighborhood/ And that's no good/ (the bridge) You're only misleadin' the sunshine I'm needin'/Ain't it a shame! Lord, it's so hard/ To keep up with troubles that creep up from out of nowhere/When love's to blame/ ANGLE - HOST AND ANGEL He's looking hard at Angel ANGEL Aren't you supposed to be reading her? HOST I'm a channel surfer. Look, you're a big hunk of hero sandwich, you want to save the girl and I can see why... (glances at Darla) "Have her bathed and taken to my chambers... rrrrrr" but you're missing the crucial point here: things fall apart, not everything can be put back together no matter how much you want it. ANGEL She's not gonna die. HOST Why do you care so much? She had more than most of us, four hundred plus years already. ANGEL As a vampire. Before that she was... she never had a chance. HOST Well you're just a big softy, aren't you. DARLA - Finishes the song. DARLA (sings) Go ill wind, go away/ Let me rest today/ You're blowin' me no good/ No good/ No good. APPLAUSE - a lot of it. Darla just looks forlornly at Angel. The Host can't take his eyes off of her. HOST (clapping) Someone get my heart, that girl's ripped it right out. (eyes still on Darla) Okay. And I know I'm probably going to regret this. In fact, being prescient, I'm actually sure of it, but there is one way -- it' s a bit of a quest and it'll probably kill you. ANGEL I'll take it. HOST All right, big fella, you asked for it. (writes out address) You're about to face the hell and the high water. Go to this address, out in back... ANGEL What is it? HOST It's where we find out if you're really ready to take the plunge. Off Angel, EXT. AMBASSADOR POOL - NIGHT WIDE - ANGEL AND DARLA Stand at the edge of a large swimming pool. They look a little unsure about all this. ANGEL Well, here we are... DARLA I don't think this is right. ANGEL He said I had to take the plunge. Now we PAN DOWN and see that the deep pool is empty. DARLA Into an empty pool? ANGEL Sure, 'cause if you had water in there you'd get all wet and miss out on the skull crushing. DARLA Maybe he meant another pool... ANGEL Something in a koi pond, they're very Zen... (checks address) ... he's testing me, it's that whole leap of faith thing. Beat. Angel heads for diving board. He pauses as: DARLA Then don't do it. Angel, some green-faced horned lounge singer tells you to do something like this and you just do it? ANGEL Yes. DARLA Why? He looks at her, keeps his eyes on her, doesn't speak. She gets that she's "the why." This silences her. ANGEL I'm either coming back with a cure or you're about to see something kind of funny... Angel runs to the end of the board and DIVES. Darla can barely watch as he heads right for the concrete bottom in the deep end -- and just when it's skull cracking time he (MAGICALLY, C.G.I.) SLIDES right through the bottom and disappears from sight. INT. FIRST CHAMBER - NIGHT Angel continues his dive from above, tucking and tumbling in a roll and getting to his feet. The chamber is a stone-walled affair, medieval in appearance, the only way in or out is a carved arch with a large metal gate lowered in front of it. It's dark and moody in here. VALET (O.S.) You certainly have faith... Angel turns. CAMERA ARCS to reveal the VALET, a diminutive man in slightly disheveled Dickensian clothing, a gentleman's dresser from a bygone era. VALET ... now we'll test your valor. (small bow) I'll be assisting you with the trials, sir. CAMERA KEEPS ARCING and now we see Darla is also in the chamber. Looking a little surprised. ANGEL Darla... why are -- (to Valet) -- why is she here? VALET You wish to save her life? ANGEL Yes. VALET She is your collateral then, should you complete all three trials, she will be made whole. ANGEL What happens if I don't complete the trials? VALET She dies instantly. (to Darla, pleasant) In the meantime, Darla, you can relax with an iced beverage in our ante-chamber. ANGEL No -- Angel looks to Darla who suddenly DISAPPEARS (C.G.I.) VALET It's better this way, sir. In a few moments it won't be safe for any living thing in here. ANGEL You can't -- no one said she would -- VALET I'm sorry if there was a misunderstanding, but life is the bargain here. By entering you've placed hers in the balance. A frightening SOUND, something in a vicious animal growl, is heard from the dim hallways behind the closed gate. Even the unflappable Valet reacts a little. VALET Along with your own, of course. Anyway, you'd best get ready now, this is no time to be dwelling on the negative, sir. Off Angel, END OF ACT TWO Act Three INT. FIRST CHAMBER - NIGHT We return to find the Valet standing before Angel in the medieval chamber. VALET Your trials will consist of three separate challenges. I'll need your shirt and shoes. Angel eyes him, hesitates. ANGEL Unarmed combat? The Valet chooses his words with care: VALET You'll be unarmed, yes. Angel RIPS his shirt off and hands it to the Valet, who accepts it with aplomb and starts folding. ANGEL Three challenges. Okay. What are they? VALET That's for you to discover, sir. Um... (point to Angel's feet) Shoes and socks. Angel takes them off and hands them over. ANGEL I'm thinking you've seen this play before. Give me something I can work with. VALET I've never given information to a challenger before. ANGEL How may of 'em asked? He hands over his shoes. The Valet considers, then: VALET In theory, the first test is child's play. Once the gate opens all you have to do is walk through it. ANGEL That's it? The Valet nods. ANGEL What's the catch? VALET That would be telling. ANGEL Okay, that's one. What's two and three? VALET (over his shoulder) I really wouldn't know about the last two tests, sir. And, even as he speaks, the Valet begins to FADE AWAY. Disappearing before our eyes, still holding Angel's shirt and shoes as he goes... VALET I've never seen anyone survive the first one. Best of luck. He's gone. Pause. Angel eyes the gate at the far end of the chamber suspiciously. Looks around the room for any sign of danger. There's nothing. Angel takes on step forward. The gate opens. A DEMON comes out through the gate which closes behind him. This is TOR. Seven feet tall, massively wide, all muscle, tusk and bone. Glowing red eyes. Equipped for battle with a broadsword strapped to his back and a twin set of huge metal HOOKS, each set at the end of a thick length of CHAIN. ANGEL You must be the catch. Angel braces himself for attack. Arms out, backing away, scuttling sideways, never taking his eyes off Tor. Tor lifts one massive hooked chain from his side and begins to SWING the hooked chain over his head, around and around for momentum, slowly at first, building speed. Angel keeps sidestepping cautiously, maneuvering, getting Tor to step forward, away from the door... Tor takes a step forward. And the second Angel sees his chance - he BOLTS for the door. Tor releases the hook, letting it fly. The hook DIGS into Angel's thigh - not going all the way through, but embedding itself. Angel screams. ANGEL Aaah! Angel grabs the hook through his leg and tries to pull it out. But before he can, Tor gives the chain a mighty tug. Angel's legs go out from under him and he slams down onto the ground - hard. Tor pulls Angel across the floor to him. Angel skids across the floor, unable to halt his progress. Tor pulls the chain in hand over hand. Angel keeps coming... INT. SMALLER CHAMBER - NIGHT Darla stands flanked by two LARGE DEMON GUARDS. The Valet pulls a POCKET WATCH from his vest coat, checks the time, snaps it shut. VALET Seventeen seconds. Already twice the time most others have lasted. DARLA Call this off. VALET Impossible. Once the tests have started, they cannot be stopped. Darla gets in the Valet's face. DARLA I need to see what's happening. The Valet hesitates... DARLA Now. The Valet steps forward, holds his hand up. Darla takes a step back, eyeing him suspiciously. VALET If you insist. But please remember: He almost touches her on the forehead, pauses: VALET You did ask. He TOUCHES HER. And the second he does we cut to: INT. FIRST CHAMBER - NIGHT Quick, flashy closeup of Angel getting POUNDED in the face by a brutal punch from Tor. Cut back immediately to... INT. SMALLER CHAMBER - NIGHT Darla reacting. Her head brushes aside in the same direction Angel's head just got punched. Same motion, less exaggerated. INT. FIRST CHAMBER - NIGHT Angel gets POUNDED again... INT. SMALLER CHAMBER - NIGHT And Darla looks nauseated, taking a small step sideways, not entirely stable on her feet. She jerks her head back slightly... INT. FIRST CHAMBER - NIGHT Matching. Angel's head rockets back as he takes another blow. He's on his feet, but wobbly. Plus there's that hook in his leg. Tor backhands Angel, sending him to the ground. Tor reaches around behind his back and slowly pulls out a gleaming BROADSWORD. Angel grabs hold of the hook in his leg with both hands. Steels himself, gritting his teeth and with one mighty yank, PULLS the hook from his leg. Tor brings the broadsword down on Angel. Angel thrusts the hook up at the Demon, BLOCKING the sword. Stalemate as the two combatants stand locked, then... Angel WHIPS the hook to one side, RIPPING the sword from Tor's hands. The sword goes clattering across the floor. Angel RUNS for the sword as Tor lumbers after him. Angel's quicker than his big, lumbering foe. He grabs hold of the sword's hilt as Tor comes rushing upon him. Angel swings the sword just as Tor reaches him... And CUTS CLEANLY THROUGH TOR, straight through the waist, CUTTING HIM IN TWO. This happens so fast we barely see it, be we hear something KALUMP to the floor. The top half of the demon lies beside the bottom half of the demon. INT. SMALLER CHAMBER - NIGHT Darla heaves a sigh of relief. She looks like she's been through an ordeal, too. She turns to the Valet and gives him a small smile of triumph. He returns her look with the expression of real innocence. INT. FIRST CHAMBER - NIGHT Angel looks down at what he's done. Wipes his mouth. Breathing heavily, too tired to be happy about the victory, he lets the heavy sword fall with an echoing clatter, and limps toward the still-closed gate. He grabs it, tries to lift it. Calls out to the stone walls. ANGEL Hey, I defeated him, open up! That's when Angel hears a sound behind him. He turns: We see what he sees: Neither of Tor's two halves are dead. Tor's top-half walks briefly on his hands, pulls his bottom-half to him like he's putting on a pair of pants. The two halves FUSE TOGETHER, re-meshing themselves. INT. SMALLER CHAMBER - NIGHT Darla shakes her head in horror and disbelief. The Valet's expression remains unchanged. INT. FIRST CHAMBER - NIGHT Tor RISES, whole again. He grabs hold of a chained hook in each hand and swings them both, twin whirling hooks as he slowly heads toward Angel. Tor is unkillable and knows it. He moves forward, two-fisted, swinging the hooks, one after another, in synch, like a thresher. The second Angel dodges one hook, the other comes right after. It's just a matter of time before he's skewered... Angel watches the Demon's rhythm. Gets it. A hook comes down. Angel times it, catches the hook, and, turning, RAMS it straight into Tor's side. The Demon drops the second hook and BELLOWS. As Tor busies himself trying to rip out the hook, Angel grabs hold of the sword and again - (mostly off camera) CUTS HIM IN HALF. The demon is once again in two. Angel secures the chain that's hooked through Tor's side by quickly wrapping it around a torch pole extending from a stone wall. Angels watches as the Demon's top half reaches out for its bottom half again. But this time, Angel grabs the second hook and RAMS IT THROUGH Tor's leg. Tor BELLOWS AGAIN. Angel grabs the chain, throws it over a torch mooring. Pulls on the chain, sending Tor's lower half scuttling ACROSS THE FLOOR, further and further from the reach of the demon's upper half. We see what Angel's done: the unkillable Demon is now in two separate halves. Chained fast from one another. The Demon's arms reach out towards its own legs, which lie across the room. The gate simply opens. Angel walks through. INT. SMALLER CHAMBER - NIGHT The Valet nods, impressed, at the time on his pocketwatch. Darla hisses at him DARLA This how a little guy like you gets his rocks off? VALET I have no feelings about this contest one way or another, Miss. (beat) Do you? INT. TUNNEL - NIGHT Angel enters the gateway to a dark, unlit tunnel. He's standing on a small stone platform, the size of a welcome mat. The gate SLAMS shut behind him. We hear the sound of a loud, echoing LOCK. Angel takes a step forward, still on the small stone entrance platform. And the second he does... CHOOM! Light appears. Not harsh electrical light, but soft, bluish, full-moon light. It appears from a slat running along the tunnel ceiling, filling the room with its soft hue. Angel looks forward. Sees what the ceiling light is illuminating: CROSSES. Hundreds of them. Some free-standing, many more fixed into the floor, walls and ceiling. There's not a single square foot to be found in the tunnel that doesn't have a crucifix embedded in or sticking out. They run all the way down the tunnel's length, to a door at the far end. In the center of the tunnel, there stands an ornate bronze receptacle filled with water. INT. SMALLER CHAMBER - NIGHT Darla glares up at the Valet, who is now eating a cookie. Her looks says it all: she sees the crosses. The Valet nods. DARLA Why not just kill him if you want him dead. He chews, swallows, then: VALET We don't "want" anything, Miss. In this place, the journey is all. Where it may lead is not our concern. INT. TUNNEL - NIGHT Angel braces himself. Looks around the tunnel for another way to the door. Forget it. One way only. Angel takes three deep breaths like a sprinter... then RUNS to the door on the far side of the tunnel. Every step is burning agony, sending up little HISSING PUFFS OF STEAM from under his bare feet. Angel stumbles - and falls. SMOKE billows out from under him, his bare chest landing solidly on the all-cross floor. Angel SCREAMS. He presses his palms to the floor. Tries to push himself up. Smoke comes out from under his hands as he rises... INT. SMALLER CHAMBER - NIGHT Darla flinches, knowing Angel's agony. INT. TUNNEL - NIGHT Angel keeps trying, succeeds. He pushes himself up off the floor. We see his chest is BURNED, each cross leaving a raw red mark. Angel scrambles to the far door, sending up more puffs of steam with every footfall. He makes it to the door. It's locked. Angel look back to the bronze receptacle. Runs to it. More pain. Makes it. Looks inside. ANGEL'S P.O.V. He sees, at the bottom of the receptacle filled with water, a KEY. Just before he starts to put his hand in... INT. SMALLER CHAMBER - NIGHT DARLA (realizes) Holy water... INT. TUNNEL - NIGHT Angel shoves his hand inside the bronze receptacle. And SCREAMS. INT. SMALLER CHAMBER - NIGHT Darla gone numb. Hand lightly covering her mouth, feeling Angel feel pain, hating it... The Valet checks his watch. VALET He's quite remarkable. Darla regains something within herself. She ignores the pain, doesn't look at the Valet. DARLA Yes. He is. INT. TUNNEL - NIGHT Closeup of Angel's arm, shoved deep into the water, as he fishes around, each moment unbearable. UNDERWATER C.U. (if we need it) -- Angel's had grasps key. Angel pulls the key out of the receptacle. His arm looks like it's got SECOND-DEGREE BURNS. He heads to the door as fast as he can, which isn't all that fast at this point, the pain making him stagger, nearly fall, but he makes it. Resting against the door for support, Angel fits the key in the lock. The door opens. He half-walks, half-falls through. INT. LAST ROOM - NIGHT Angel enters a small dark room. Similar to the other chambers, but darker, more sinister. Not a lot of room. He looks around for the next surprise and -- Suddenly, chains WRAP around his wrists and ankles. He's YANKED up, hard, his arms splayed in the Christ position, in the center of the room. His toes barely touch the floor - he hangs suspended. Angel looks around, barely able to lift his head. Sees: The stone wall opposing him is filled with HOLES. All the same size, about an inch in diameter. Angel squints at them, trying to figure out what they are, as we hear a voice from the darkness. VALET Well played. The Valet emerges from the darkness, clapping. VALET You've fielded our strokes from end to end. My hat's off to you, sir. Of course, there is one final challenge. Now we see, from the holes in the wall, STAKES emerge out of each and every single one of them. ANGEL What is this? VALET I think you know, sir. INT. SMALLER CHAMBER - NIGHT Darla closes her eyes, knowing how bad this is. INT. LAST ROOM - NIGHT Angel manages to hold his head up, looking right at the row of stakes facing him. ANGEL Stakes. VALET (nods) And many of them. ANGEL You call this... He spits out some blood, continues. ANGEL ... A test? (shakes his head) Only way it could work is, you kill me. INT. SMALLER CHAMBER - NIGHT Darla reacts, looking up, helpless... INT. LAST ROOM - NIGHT The Valet continues as Angel hangs. VALET Exactly. You... do understand? This third test has no "catch" as you put it. Death is the final challenge. We can't restore one life, without taking another. You see? Angel struggles weakly at his chains, looks around for a twist, a trick, a way out. There's nothing. And those stakes all aimed right at him... VALET In order for Darla to live, you must die. END OF ACT THREE Act Four INT. LAST ROOM - NIGHT Continuous. Angel, barely conscious, hanging from twin sets of chains wrapped around his wrists. The Valet slowly paces around him as they chat. VALET My apologies for any discomfort this may be causing. I really can't imagine the pain... ANGEL How about we switch places, and you won't have to. The Valet indulges Angel with a small, pained smile. VALET My death wouldn't balance a thing, sir. Yours, on the other hand... ANGEL I die, Darla lives. VALET (nods) Yes. I'm unaware of any deities the vampire worships. But if you would like to pray... The stakes all PULL BACK about an inch simultaneously, and with a loud CHICK-CHAK, sound like they're locked into place, spring-loaded... VALET Now would be the time. INT. SMALLER CHAMBER - NIGHT Darla stands listening to every word... DARLA (a whisper) Don't do this... INT. LAST ROOM - NIGHT The Valet steps back, coolly watching Angel. Angel looks to the Valet, then back at the stakes aimed at him. A pause. Then Angel spits out: ANGEL What are you waiting for? VALET For you, sir. Angel looks at him. Is this a trick? VALET I can't proceed without your permission. You've earned a choice. Accept your death so that she may live, or... He vaguely gestures. Angel loses it. YELLS: ANGEL Or what? VALET Leave. Refuse the challenge, and walk away. No one will stop you. Our doors are all open to you, you've done that yourself. ANGEL And what about Darla? VALET Oh, she dies. ANGEL No deal. VALET I expected as much. Pity, I'm beginning to like you. ANGEL Spare me. VALET I'd very much like to. Do you mind if I ask a question? He comes closer to Angel, and begins to pace small circles around him. While his manner remains subservient, he is now conducting a subtle interrogation. VALET Isn't the world better with you in it? You can save so many people. It seems she can barely save herself. INT. SMALLER CHAMBER - NIGHT On Darla's face. She knows this is true. INT. LAST ROOM - NIGHT The Valet steps in closer to Angel, retaining his formal posture but now a little more intimate: VALET You know better than anyone the world can be a very bad place. Take yourself out, put her in, and how long will it be before she stumbles? Before she falls? ANGEL I don't know. VALET No. You don't. And are you still ready to give your life when she can promise you nothing? Angel shuts his eyes. He's so tired. Then he opens them again and fixes the Valet with a stone-cold GLARE. ANGEL Yes. The Valet betrays the smallest look of surprise, then regains himself. VALET As you wish. INT. SMALLER CHAMBER - NIGHT Darla slowly shakes her head in disbelief. DARLA No... INT. LAST ROOM - NIGHT The Valet steps back from the far wall, out of the line of fire. The STAKES stand ready to go... Angel summons what's left of his strength to raise his head and look up at the wall of stakes before him... The Valet, safely off to the side, looks to Angel. Angels looks back at him, then straight ahead. ANGEL Do it. With the sound of a thousand bow-strings being released at once, the STAKES ALL FLY from their holes, filling the air with a hideous, loud hissing sound. They race straight toward Angel, who faces them stoically. Eyes open. The armada of stakes RUSHES STRAIGHT into camera... INT. DARK ROOM - NIGHT Darla SCREAMS as though it were she being staked... The she opens her eyes. The camera COMES AROUND HER TO REVEAL... ANGEL. Standing before her, unharmed, and once again FULLY CLOTHED. They are all there together. Angel, Darla, the Valet, and both Demon Guards, standing silently framing the group. DARLA Angel? VALET Congratulations. You've passed the third test. Angel can barely stand. He looks to the Valet, who continues to instruct like he's teaching an algebra class: VALET By accepting death. I'm told no one's ever gone that far before, in terms of sacrifice. Kudos. ANGEL Pay up. VALET Of course. Angels looks to Darla, barely manages to smile. The Valet turns to Darla. VALET You're a lucky woman. And you'll soon have your whole life ahead. Use it wisely. ANGEL Hey. Jeeves. Unless the fortune cookie crap's some new kind of torture, what do you say we just get on with it? The Valet looks genuinely hurt. VALET This way, Miss. Darla hesitates, then steps forward. The Valet gently takes her head in both his hands. Closes his eyes. Beat. The Valet open his eyes, steps back. VALET Oh. DARLA What? ANGEL What is it? VALET This is very embarrassing. ANGEL What is? VALET Not to mention unprecedented. She... she's been given new life once before. By supernatural means, yes? Stunned beat between Angel and Darla. Then: DARLA They... brought me back. ANGEL (to Valet) What are you saying? VALET I can't help you. ANGEL We had a bargain. She's earned a second chance. VALET She's living her second chance. Darla looks shattered. Angel tries to absorb this... VALET But you played the game magnificently. A SET OF STAIRS fades in, appearing behind the Valet as he straightens a cuff. VALET Perhaps you should have told us she was brought to life before this all started. I truly am sorry, sir. But the fact of the matter is... And again, the Valet begins to FADE AWAY. Just de-materialize right there as he stands. VALET There's nothing I can do. He's gone. Darla looks to the stairs behind them. Angel just looks to the ground, breathing hard, his fists clenched, anger building... Darla speaks softly... DARLA Angel... And the sound of her voice SNAPS HIM. Angel EXPLODES WITH RAGE. Angel grabs a large URN and turns it over. It shatters. He overturns a PAGAN SHRINE. Grabs another URN, ready to smash it too when... A demon guard tries to stop him. Angel viciously grabs the Guard and punches him with enough force to take the Demon off his feet. The second Guard tries restraining Angel. Angel throws him up against a wall. Hits him. Turns. Topples the second urn so it too SHATTERS. Angel PUNCHES a stone pillar, hard enough to bloody his knuckles and send small chunks of the pillar shattering outward. He punches it again. Hard to tell what's breaking - the pillar or the bones in his hand. He punches it again and again - losing himself. As long as he keeps hitting the pillar, he can keep his grief at bay. But he runs out of strength. The punches come slower, heavier, their impact softening. Angel slows, then stops. He falls to his knees. Covers his face. He's failed. Darla stands beside him, hollow and stunned. Destruction lies all around them. The stairs await... INT. DARLA'S MOTEL ROOM - NIGHT Angel and Darla in the seedy motel room. Silent. Separate. It looks like they belong there - two losers. She sits on the edge of the bed. He stands at a window. Big fat silence. We hold on this tableau for a beat. Finally Angel begins to speak. Thoughtfully, hesitantly, posing a question out loud to himself. ANGEL Maybe... maybe it would be different. She looks blankly at him. Did he say something? ANGEL I mean, we don't know. Maybe... because I have a soul... if I did bite you... DARLA (abruptly) No. He looks at her. ANGEL We don't know what it would do to you. DARLA I know what it would do to you. A beat as that resonates with him. DARLA Angel, I see it now. Everything you're going through, everything you've gone through. I've felt it. I've felt how you care -- in a way no one's ever cared before. Not for me. (then) That's all I need from you. ANGEL It's not enough... DARLA It is. ANGEL How could The Powers allow you to be brought back -- dangle a second chance -- then take it away like this? DARLA Maybe this is my second chance. ANGEL To die? DARLA Yes. To die. They way I was supposed to die in the first place. A long beat as they look at each other. She's scared and he sees this. He moves to her. ANGEL I'm not going to leave you. Every moment you have left, I'll be by your side. You'll never be alone again. And with that, her bravery runs out and the tears come. Angel holds her. He's battered and she's dying but they are together. They're not lovers. They're two friends who care the world about each other. Two friends who will never part until death does it for them. They soak each other in and we pull back, just the two of them together... INT. DARLA'S MOTEL ROOM - NIGHT CONTINUOUS: The motel door is suddenly KICKED OPEN, shattering the mood. Four Wolfram & Hart BLACK OPS SPECIALISTS burst in and immediately TASER Angel. He goes down. Two of the B.O. Specialists quickly lift Angel to his knees and duct tape Angel's hands behind his back. Angel struggles to regain his bearings while the other two B.O. Specialists hold Darla. Lindsey enters, surveys the room, goes to Angel. He leans down, pulls Angel's head up by the hair until Angel and he are eye to eye. Lindsey's been waiting a long time for this moment. LINDSEY (to Angel) How did you think this would end? Angel's too paralyzed to respond. Lindsey, triumphant, turns, looks to the door. Angel's eyes follow, he sees -- DRUSILLA ENTERING She's shot at 40 frames-per-second slow motion, sweeping majestically into the room, her eyes blazing, her dress FLOWING. She takes in the feeling of chaos and despair, makes a beeline for Darla. Darla struggles but the Suits hold her tight. It's as ugly as a gang rape. Drusilla comes closer. Looks Darla over. And MORPHS into VAMP-FACE. Angel struggles - but he can't move. Drusilla holds Darla's face, looking into her eyes, savoring the fear for just one moment, then BITES. Drusilla drinks deep from Darla's neck. Big greedy sucking gulps. Angel watches as the life and blood slowly drain out of Darla. Darla starts to fall, Drusilla catches her, lays her onto the BED. Drusilla pulls her own blouse down from the neck, exposing her chest (not the breasts, but almost) and with the scrape of one sharp fingernail, slowly scratches a LINE OF BLOOD across her own chest. She looks to Angel to make sure he's seeing this. Smiles. Then, cradling Darla's head like a baby's... brings Darla forward and forces her to DRINK. Darla resists, then drinks. And drinks. And drinks... Lindsey watches, pleased. Angel watches. There's nothing he can do. Immobilized, horrified, unable to scream. END OF EPISODE