The Thin Dead Line

Part 1

January 23, 2001 (Green)

Written by: Jim Kouf & Shawn Ryan

Teaser

INT. OFFICE - NIGHT

Cordy, Wes and Gunn. Cordy reads the newspaper as Gunn practices a simple magic trick with a quarter. Wes looks around impatiently, then --

WESLEY
What I wouldn't give for a roving
band of Prekian Demons right now.
(off their looks)
I mean without the ritualistic
slayings of course.

CORDELIA
Of course.

WESLEY
Something to fight. Good to be done.
A little action.

CORDELIA
Maybe we should buy one of those star
maps, find out where Steven Seagal lives.
(off them)
You telling me he got to be a movie star
without a little demonic assistance?

GUNN
I say if things are quiet, let 'em
stay quiet.

WESLEY
Quiet may be good for mankind, but
it's bad for business. We need to make
a name for ourselves.

GUNN
We can't even agree on a new name
yet. Unless you two have come around
to the idea of--

WESLEY
I don't think so.

CORDELIA
Give it up already.

WESLEY
New name or not, we should be on the
streets, plying our trade, generating
a little word of mouth.
(beat)
We can't just expect evil to walk
through our door.

The three of them start suddenly, as THE DOOR OPENS. They relax as it's just -- MRS. SHARP (MOTHER from Episode #15) and her daughter, STEPHANIE (YOUNG GIRL from #15) both dressed tastefully, looking very innocuous.

CORDELIA
Can we help you?

MRS. SHARP
(nervous, edgy)
I'm looking for Wesley Wyndam-Pryce.

WESLEY
I'm Wesley.

MRS. SHARP
I'm Francine Sharp. My daughter,
Stephanie. I'm a friend of Virginia's.
From the club.

WESLEY
Right, the country club.

CORDELIA
So you're one of Virginia's rich
friends? You certainly came to
the right place then.
(beat, hopeful)
Please tell me you came to the right place?

MRS. SHARP
Virginia said you specialize in...
strange phenomenon?

As Cordy starts to usher them to some chairs --

CORDELIA
The stranger, the better, as far as
we're concerned. Please, have a
seat and tell us what the problem is.
Trust me, there's nothing we haven't se--

Cordy suddenly SCREAMS as she gets a look for the first time at the back of Stephanie's head. An EYE is there, blinking, staring right at her.

CORDELIA
There's an eye in the back of her head!

Wes and Gunn rush over to get a look.

WESLEY
Fascinating.

GUNN
Damn.

MRS. SHARP
Something grabbed Stephanie on her
way home from swim practice and bit
her. When she woke up this morning...
that was there.

WESLEY
(gently, to Stephanie)
Did you see who did this?

Stephanie looks nervously to her mother.

MRS. SHARP
It was dark... she doesn't remember
much... she's been in shock ever
since it happened.

CORDELIA
Well, yeah.

MRS. SHARP
I'll pay whatever it takes. Can you
make it go away?

WESLEY
Yes! Absolutely. Consider us
already on the job.

CORDELIA
I knew you came to the right place.

MRS. SHARP
Who would do this?

WESLEY
We're going to find out. But it'll
take a little time. You'd be surprised
at how many nasty things are roaming
the streets these days.

EXT. STREET #1 - NIGHT

TWO STREET KIDS, KENNY and LES (a girl), wheel around the corner of a building and press themselves against the wall. They are panting, out of breath. Kenny has a fresh BRUISE on his jaw. Les holds her arm as if it's broken.

Kenny ducks his head around the corner--

KENNY'S POV -- The SILHOUETTE of a man-shaped FIGURE appears on the wall of the alley, starts moving toward them.

BACK ON KENNY AND LES, as Kenny pulls his head back.

KENNY
He's right behind us.

LES
Oh God...

KENNY
We gotta move. Now.

Kenny grabs Les and they run out of frame.

INT. EAST HILLS TEEN CENTER - NIGHT

ANNE, carrying a stack of BLANKETS, approaches a 20-something LATINA. As Anne speaks, she hands the blankets to the Woman.

ANNE
Here you go. Pass these out first,
and then get Eva to go to the storage
room. I bought a bunch of new
sleeping bags last week, just in case
we got crowded, and...

She looks around the room as we--

REVERSE ANGLE TO REVEAL -- The Teen Center is in chaos -- kids everywhere, sprawled over couches, sitting and lying on the floor.

BACK ON ANNE -- as she stands there, takes in the scene.

ANNE
Tonight definitely qualifies.

Suddenly a LOUD and FRANTIC POUNDING erupts at the door. Anne moves to the sound, swings open the door to find Kenny and Les standing outside. They keep throwing nervous glances over their shoulders.

KENNY
Anne, look, I know it's past curfew,
but we gotta come in.

ANNE
Sorry, Kenny. 10 o'clock. You
know the rules.

KENNY
I know, I know, but -- you can't
leave us out here, okay? There's
somethin' --
(backtracking)
We gotta come in.

ANNE
We're already packed to the ceiling.
There's no room, even if I did let
you in. No more beds.

LES
(immediately)
Please, we'll sleep on the floor.

KENNY
(desperate)
Anne, don't make us go back out there.

Anne sees the urgency in these two kids. A beat. Then she steps back and lets the teenagers in. After they enter, she pokes her head outside the door, looks around for a moment... nothing. She steps back in, starts to let the door close --

EXT. EAST HILLS TEEN CENTER - CONTINUOUS

UNKNOWN POV -- We see the door closing (no need to have Anne for this), then hear a LOCK being turned.

REVERSE ANGLE -- A COP steps out of the shadows though his face is still obscured.) He stares at the Teen Center for a beat, then slips back into the darkness.

BLACK OUT.

END OF TEASER

Act One

EXT. LOS ANGELES - DAY

WACKY MONTAGE, ANGEL STYLE

INT. MERL'S LAIR - DAY

Merl is packing up, moving about the room as he tosses things into a suitcase. He turns from it and Angel is standing right behind him. He jumps.

MERL
AAH!

ANGEL
Hey, Merl.

MERL
Jeez! Ya can't, y'know, knock?

ANGEL
You don't make that funny expression
when I knock. Or if you do, I don't
see it.

His tone is pretty deadpan - he's here on business. He takes in the suitcase, the mess.

ANGEL
What are you doing?

MERL
Packing.

ANGEL
But you're not going anywhere.

MERL
Oh yes I am. As in far; as in now.

ANGEL
Well who's gonna tell me all the fun
facts about my friends?

MERL
Big Meeting. Tomorrow night. Some
top level Wolfram and Hart brass, I
think it's a new demon account.
Nine-thirty at Diaghilev and that
concludes my career as a professional
informant. Consider it a freebie,
just like every other piece of
information I've ever given you.

ANGEL
Nine-thirty.

MERL
(starting to pack again)
Tomorrow night. Best of luck. Hope
you bust that evil law firm wide open.

ANGEL
So why the rush to relocate?

MERL
Well, there's, let's see, um, you...
then there's every crook and monstro
in town thinks they can just waltz in
here and pound me till they get
information. Not payin', either.
At least the British guy understood
what a working relationship was.
Had some respect. You don't care
about anyone but yourself.

ANGEL
Don't really think you're in a
position to judge my-

MERL
How is old Wesley? Or the other two
guys ya fired. They doing all right??
(off silence)
Oh gee, let me guess: you never
bothered to check.

Still Angel says nothing. Finally.

ANGEL
This had better pan out.

MERL
Nine-thirty. Diaghilev. Pleasure
doing business with you.

Merl continues to pack - the conversation is over.

INT. EAST HILLS TEEN CENTER - DAY

Anne speaks to a YOUNG BLACK MAN carrying a clipboard.

ANNE
And make sure you get full names --
no tags, no nicknames. I've seen at
least a dozen new faces, and I don't
want any of them slipping through
the cracks.

The Young Man nods, moves off. Anne spies --

ANNE
Kenny!

Kenny approaches, a little calmer than last night -- though the BRUISE on his jaw has worsened.

KENNY
S'up?

ANNE
Can I talk to you for a sec?

Kenny shrugs. They move to a couch, sit.

ANNE
How've you been? We haven't seen you
in a while.

KENNY
Fine. Crashin' different places.
You know me and shelters, man --
too many rules. I gotta have my
freedom, know what I'm sayin'?

ANNE
Mm-hmm. So why you come in
last night?

KENNY
(beat)
I dunno, it was cold out there.
I was getting' frostbit.

ANNE
(not buying it)
It was 65 degrees outside.

KENNY
So? I'm from Florida. 65 degrees
is, like, the Arctic Circle.

ANNE
(don't bullshit me)
Kenny.

Kenny looks at her, uncomfortable.

ANNE
Why'd you come in?

Kenny looks at Anne. He knows she's not an idiot. A beat.

KENNY
(muttering)
Cops.

ANNE
What?

KENNY
Cops. They been hasslin' everybody
on the street lately. Which, hey, what
else is new, right? But these guys...

He looks around the room, then leans in, confidential.

KENNY
Last night me and Les were hangin'
out down 39th --

ANNE
(disapproving)
Panhandling?

KENNY
(dryly)
No. Washin' my Mercedes. But so
then this cop comes up outta nowhere
and just WHAM. Hit me so hard I
thought my teeth were comin' out.

ANNE
He hit you? What were you doing?

KENNY
Nothin', I swear to God. And after
he punched me, he threw Les against
a wall, 'bout near broke her arm.
Next thing I know he's reachin' for
his nightstick so I just grabbed Les
and booked.

ANNE
You mean he wasn't trying to arrest
you, or --

KENNY
I'm tellin' ya. He just walked up,
said, "No loitering," and slugged me
in the mouth. Chased us for a couple
blocks before we made it here.

Anne takes that in.

ANNE
(almost to herself)
We gotta big problem.

KENNY
Yeah, good luck solvin' it. I mean,
who ya gonna call? The cops?

A beat, as Anne looks thoughtful.

ANNE
I think I know someone who can help.

HARD CUT TO:

INT. OFFICE - DAY

GUNN turns to see Anne in the doorway. CORDELIA and WESLEY are present. Gunn approaches Anne, gives her a warm hug.

GUNN
Annie -- haven't see you in forever.
Whatcha doin' in this neck of the woods?

ANNE
Oh, just thought I'd see how the other half lives.
(looking at crappy office)
And strangely enough, it's not that different.

CORDELIA
We like to think of it as... early
American dilapidation. Hi, I'm
Cordelia.

They shake hands.

ANNE
Anne.

WESLEY
And I'm Wesley Wyndam-Pryce. Nice to
meet you.

GUNN
Annie here runs a teen shelter over
on Crenshaw, not too far from my hood.

ANNE
(teasing)
Aw, Gunn, all this time, and you
still remember?

GUNN
(good-natured)
All right, I get it. But I been
workin' a lot lately.

ANNE
Well, if you're not too busy, mind if
I run something by you?

TIME DISSOLVE

It is now night. Anne sits in a chair, a cup of tea nearby. Gunn sits across from he. Cor and Wes in the background, researching in some musty TOMES.

ANNE
And Kenny's not the only one. I've
talked to some of the others and they
all say the same thing: no provocation,
no reason. The police are just
terrorizing them.

GUNN
(exhales)
Renegade cops. Not exactly my usual.

ANNE
(remembering)
Oh, that's right. You used to hunt --

She stops, looks over at Wes and Cor. Gunn notes this.

GUNN
'S okay. They know what's what.

Cor looks up.

CORDELIA
What?

GUNN
I still hunt vampires -- but if this
job's taught me anything, it's that
there's a lot worse things out there
than a set of teeth.

ANNE
Like a bunch of overzealous cops
beating on my kids.

Gunn gestures: "For example."

ANNE
(looking at her watch)
Speaking of which, I should really
get back.

She stands. Gunn follows.

ANNE
The shelter's been getting jammed
after sunset, and somebody's gotta
keep 'em reined in.

GUNN
I'll go with you. I don't think it's
safe to be out there by yourself.
(to Wes and Cor)
I'm gonna head over to the Teen
Center. See if I can figure this out.

CORDELIA
Oh, gee, and miss this exciting
case we're working on?
(to Anne)
One of Wesley's "wealthy
acquaintances" got bit by a demon.

ANNE
(concerned)
Are they okay?

WESLEY
For the most part.

CORDELIA
Except for she grew another eye in
the back of her head.

ANNE
Wow. That sounds... handy. What
kinda demon does that?

WESLEY
That's what we're trying to figure
out. Once we know, we should be
able to... deoculate her.
(beat)
I mean, you know -- just the one in the back.

CORDELIA
Ah, yes. Angel Investigations. Home
of the wicked high creep factor.

ANNE
Angel..?

GUNN
Our company, named after our former
boss. We're plannin' on changin' it
to the Gunn Agency --

CORDELIA
No we're not.

WESLEY
No we're not.

GUNN
-- soon as these two narcissists come
to their senses.

ANNE
But... Angel. That... this isn't the
guy in the long black trenchcoat,
is it?

GUNN
You know him?

ANNE
Yeah. He tried to help me out
a few weeks ago.

CORDELIA
(hopeful)
He did?

WESLEY
Really?

ANNE
But it turned out it was just a scam
to screw this law firm.

A beat.

CORDELIA
(mock cheerful)
Well. He hasn't changed a bit.

EXT. OFFICE - NIGHT

CLOSE ON ANGEL, in shadows. Looking down at an angle. Watching.

ANGEL'S P.O.V.

The office. Anne and Gunn exit. Move down the street.

ANGEL

Moves to the edge of the roof, watching them for a moment, then he steps off the edge, drops out of sight and disappears.

EXT. EAST HILLS TEEN CENTER - NIGHT

Anne's car pulls up. Gunn and Anne get out of the car. PAN WITH THEM AS THEY WALK to the center and enter. CONTINUE CAMERA MOVE AROUND THE OUTSIDE OF THE BUILDING so we can SEE GUNN AND ANNE THROUGH A SIDE WINDOW. We watch as Anne takes Gunn to the kids...

But we CONTINUE PAN TO ANGEL, revealing him in the shadows of an alley... already watching.

INT. EAST HILLS TEEN CENTER - REC ROOM - NIGHT

Gunn sits across from a group of EIGHT TEENAGERS, listening to their stories. Anne stands behind Gunn. RAY, 17, black, and CALLIE, 17, Hispanic, will do all the talking for the kids.

RAY
The cops are trippin', G.

GUNN
Define "trippin'" for me.

CALLIE
Out for blood. Les here got her arm
busted up.

RAY
Cops stopped me few nights back, went
for his gun looking to put a cap in my
ass. If I ain't outrun the doughnut-eatin'
dude, I wouldn't be sitting here talking
to you.

ANNE
It's outrageous. These are the very people
who should be protecting these kids.

Gunn looks back at Anne.

GUNN
You think you could give us a minute?

ANNE
I've got some paperwork to do.

Anne turns, heads out of the room. Gunn waits for her to go, then turns back to the kids with a "no more bullshit" look.

GUNN
You guys trying to play her?

CALLIE
What?

RAY
No way, G.

GUNN
Anne's no fool, but she's got one
blind spot. She wants to trust y'all.
I find out you're taking advantage
of that...

RAY
This ain't no scam. We're the victims.

GUNN
Victims, right. Tell me, what were
you doing when this cop pulled his
piece on you?

RAY
Absolutely nothing.

GUNN
So I haven't seen you on Normandie
and 4th dealing? You trying to tell
me that wasn't you I seen?

RAY
Ancient history. I gave that up.

GUNN
The cops know that? Maybe they
didn't get the memo.

CALLIE
Hey, we're not talking about some
street sweep the P.D. does every
six months to shut up the moms.
This is war. And everyone's a target.

RAY
She speaks the truth, G. One hundred
percent truth.

Gunn looks at them, trying to take a measure of their honesty.

EXT. EAST HILLS TEEN CENTER - NIGHT

Angel moves to ANOTHER WINDOW so he can continue to watch Gunn and Anne as they move through the center. (Note: this will help set up the various entrances to the center to be used in the attack sequence. There are BARS on some of the windows.)

Angel checks his watch. Time to go.

MAN'S VOICE (O.S.)
Keep your hands where I can see them.

Angel turns. Someone is stepping from the shadows at the corner behind him. As the light form the street lamp hits him we SEE THE UNIFORM... POLICE OFFICER... his BILLY-CLUB out and ready. Angel tries the friendly tack.

ANGEL
Sorry, officer, have I done something wrong?

POLICE OFFICER
Turn around, face the wall, place
your hands on your head --

ANGEL
Look, this is a mistake.

Suddenly the Police Officer CRACKS Angel in the head with the billy-club, spins him around and SHOVES him against the wall.

POLICE OFFICER
You're under arrest. You have the
right to remain silent.

Angel PUSHES off the wall, knocking the Police Officer back and away. There's a few feet of space between them now.

ANGEL
Believe me, you don't want to do this.

The Police Officer comes at him again.

POLICE OFFICER
Anything you say can --

He swings the billy-club again, but Angel ducks, uses the Police Officer's momentum to slam him into the wall. But the Police Officer just turns, keeps on coming --

POLICE OFFICER
-- and will be used against you in a
court of law.

The Officer swings, Angel ducks, COLDCOCKS him. The police Officer goes down. Angel looks at him for a moment, then turns to leave --

POLICE OFFICER (O.S.)
You have the right to an attorney --

Angel turns back to find the Police Officer getting up. Angel's confusion is plain on his face.

POLICE OFFICER
Should you be unable to afford an
attorney --

The Police Officer attacks again. Angel fends off a few blows from the billy-club as --

POLICE OFFICER
-- one will be appointed to you.

Finally, Angel spins and kicks, connecting with the Officer's head, knocking it clean off the body

The HEAD caroms off the building wall, drops into a puddle of putrid water. Eyes still open. Mouth still moving.

POLICE OFFICER
Do you understand your rights... as
IIIIII....haaaaaave... exssssssss....

The HEAD BEGINS TO RAPIDLY DEGRADE... the flesh shriveling up... hair falling out... eyes disappearing... until all that is left is a grotesque, almost mummy like, head.

Angel turns to the body. The body, too, has reverted to a corpse-like state.

THE WEIGHT OF THE BADGE

hanging limply from the sagging blue uniform.

BLACK OUT.

END OF ACT ONE

Act Two

OMITTED

INT. EAST HILLS TEEN CENTER - REC ROOM - NIGHT

Various teens congregated in here, not so much recreating as they are waiting out a proverbial storm. Two tough looking guys, RONDELL, 20, black, and GEORGE, 20, black, enter, look around. Rondell carries a SMALL CAMCORDER. They spot Gunn talking with Anne, walk over to him.

RONDELL
Well, if it isn't Charles Gunn,
brother at large.

Gunn greets the two of them.

GUNN
Anne, meet Rondell and George.

ANNE
Hi.

RONDELL
Greetings.
(to Gunn)
Brought the camcorder. What do you need?

GUNN
Got a little neighborhood problem
I promised Anne we'd look into.

GEORGE
This have something to do with the
police cracking skulls?

GUNN
(surprised)
You know about that?

RONDELL
Who doesn't?

GUNN
I didn't until today.
(pointed)
Someone could've filled me in.

GEORGE
You ain't been around to tell nothing to.

RONDELL
You've been moving on up, dog.
Playing demon detective with your
new family.

GEORGE
Deluxe apartment in the sky.

RONDELL
(biting)
When I got your call, I figured it
must be Christmas or something.

GUNN
(defensive)
Maybe I shouldn't have called at all.
In fact, you know what? Y'all free to go.

RONDELL
We already made the trip. Might as
well go all the way.

GUNN
Don't do me any favors.

RONDELL
I'm not. The favor's for these kids.
Now you got a plan or don't you?

A tense pause, as Gunn considers whether to push this or let it slide. He opts for the latter.

GUNN
Plan's simple. We roll the camcorder,
wait for the cops to hassle us.

ANNE
How do you know they will?

GUNN
'Cause we'll be the ones walking
while black.

INT. SQUADHOUSE - KATE'S PRECINCT - NIGHT

We follow a UNIFORMED COP as he walks through the squadhouse. He passes KATE, who carries a manila folder. The camera stays with her as she makes her way through the squadhouse and towards her desk where --

ANGEL waits for her, leaning comfortably against her desk. A pause, as Kate eyes him, clearly uncomfortable.

KATE
Haven't seen you in a while.

ANGEL
I've been busy.

KATE
Me too.

She goes to her filing cabinet, opens it, files her manila folder. She pulls out two other folders, waves them at Angel.

KATE
Couple open cases I've been working.
(re: the first folder)
Two women killed in a clothing store.
(re: the other folder)
Thirteen lawyers from Wolfram and
Hart slaughtered in a wine cellar.

Angel glances at file non-committally, they both know he knows more than he's letting on.

ANGEL
That's a real tragedy.

KATE
Yeah, you seem pretty broken up by
the loss. We're still looking into this one.

ANGEL
Good luck with that.

KATE
Guess you couldn't catch up to your
vampire friends in time.

ANGEL
(beat)
I did track them down later and set
them on fire.

KATE
Sounds like you enjoyed it. But then
again, the whole murder and mayhem
thing's always been right up your alley.

ANGEL
If that's how you feel, then this
probably isn't the best time to tell
you I just killed a cop.

A pause, as this stops her.

KATE
I wouldn't make a joke like that
in this building. No matter how
immortal you think you are.

Angel takes a BADGE from his jacket, tosses it on to her desk.

ANGEL
Of course, this is the kind of cop
that keeps talking even after he's
been decapitated. I doubt they teach
you that in the academy.

Kate picks the badge up off her desk, gazes at it.

ANGEL
Can you tell me who the badge
belonged to?

She slides into the chair behind her desk, punches the badge I.D. number into her computer. After a moment, she spins the COMPUTER MONITOR around for Angel to see.

It's the computer dossier for one OFFICER PETER HARKES -- including service record and PICTURE. The picture is of the cop that Angel killed earlier, albeit in happier times, as reflected by his smile.

KATE
Office Peter Harkes.

ANGEL
That's the guy. You know him?

KATE
Well enough to be at his funeral
six months ago.

Angel nods, not surprised.

ANGEL
Want to take a ride?

Off Kate, undeniably curious --

INT. OFFICE - NIGHT

Cordy is on the phone as Wesley sits at a nearby desk doing some research.

CORDELIA
(into phone)
Of course we can handle the eye thing
without you. That's not the point.
(beat)
Just that maybe we should back you
up on this.
(beat)
Because I don't want you to get hurt.
(beat)
Of course I do. But...
(beat)
Hello?

Cordy hangs up the phone, frustrated.

CORDELIA
Okay. Gunn's about to do a really
stupid thing.

WESLEY
What did he say?

CORDELIA
Just that in order to find out if the
police have been brutalizing and
killing people in Anne's neighborhood,
he's going to videotape the cops trying
to brutalize and kill him.

WESLEY
You can't be serious.

CORDELIA
Nothing says "Aha, I'm on to you!"
like being on the receiving end of
a vicious police beating.

WESLEY
You couldn't stop him?

CORDELIA
Hello. Gunn, stubborn, synonyms.

Wesley rises from his seat, contemplates this development.

WESLEY
That can't be his plan... can it? I
mean... that's really a... dumb plan.

CORDELIA
Hey, Gunn graduated with a major in
"Dumb Planning" from Angel University.
He sat at the feet of the master and learned
well how to plan dumbly.

Cordy and Wes contemplate the situation.

WESLEY
I guess we'll have to let him do this.

CORDELIA
Oh, I'm sure he'll be fine.

WESLEY
He wants our help, he knows where to call.

CORDELIA
We'll work our gig, Gunn can work his.

After a long beat --

WESLEY
Right, let's get down there and save
him from himself.

CORDELIA
It's not like that third eye's really
going anywhere.

As the two of them exit, hurriedly --

EXT. GRAVEYARD - NIGHT

Moonlight. Quiet. Creepy. Tombstones dot the grounds. Angel and Kate approach. Kate points to a particular grave.

KATE
That one.

They approach. We see the tombstone now. It reads PETER HARKES, 1965-2000.

KATE
Never saw the guy who shot him.

ANGEL
You catch the killer?

KATE
Oh, yeah. Not exactly a criminal
genius. He's up for the death penalty.

Angel squats down next to the grave, stares at the ground.

ANGEL
You said his funeral was six months ago?

KATE
Around then, why?

ANGEL
This ground's been disturbed in the
past few weeks. Someone's done
some digging.

KATE
How do you know?

Angel just shoots her a look. She registers it, then Angel rises, his attention drawn to another grave.

ANGEL
There a lot of cops buried here?

KATE
Yes.

Angel walks towards another GRAVE, points to it.

ANGEL
What about him?

KATE
Kevin worked vice.
(beat, creeped out)
What's going on here?

ANGEL
I think someone's unearthing dead cops,
putting them back on the street.

KATE
What? How is that...?

ANGEL
Zombies. Magically reanimated corpses.
They walk, they talk, but someone else
is pulling their strings.

Kate tries to fathom this. Suddenly, something awful occurs to her. A look of panic races across her face.

Kate SPRINTS away through the graveyard. Angel gives chase.

EXT. GRAVEYARD - BACK AREA - NIGHT

Angel running. He slows down, arrives at KATE, who's standing in front of a grave. Angel walks up, stands next to her. She's visibly shaken. Angel looks at the tombstone. It reads, "Trevor Lockley, born 1938, at rest 2000, Beloved Father" (NOTE TO PRODUCTION: This tombstone should exactly match the tombstone from "The Prodigal.")

KATE
Is it... my dad, is he...

ANGEL
No. His ground is undisturbed.

KATE
You're sure?

ANGEL
I'm sure.

Kate's flooded with memories and feelings she's been keeping in far too long. She begins to cry.

She looks at Angel, who doesn't move to her or away from her. He's just there for her.

A moment of agreement, of understanding between them. She begins to compose herself. Realizing that she's let Angel see behind the curtain, she draws it closed once again.

She wipes her eyes dry, looks around the cemetery.

KATE
Who's doing this?

Off Angel, without any answers --

INT. EAST HILLS TEEN CENTER - NIGHT

The place is swarming with TEENS. Anne moves through the throngs, carrying a stack of towels, trying to maintain some semblance of calm and control.

ANNE
(to some passing kids)
Could you give Emma a hand in the
kitchen, please?

The kids nod, move off as there's a KNOCK at the door. Anne balances the blankets in one hand, opens the door with the other.

ANNE
Sorry, no more --

Wesley and Cordy stand there.

ANNE
Oh, hi. What...?

CORDELIA
Is Gunn still here?

ANNE
He and his friends left a little
while ago. Why?

WESLEY
Did he say where they were going?

ANNE
45th Street, I think.

WESLEY
(to Cordy)
I'll start there. I'm on my cell
if you hear from him.

As Wesley exits --

CORDELIA
Check in with me.
(to Anne, re: the chaos)
Looks like you could use some help.

ANNE
My regular staffers were too scared
to come in tonight.

CORDELIA
Where do you want me to start?

ANNE
How're your laundry folding skills?

CORDELIA
I'm an actress. I can fake it.

Just then a GIRL passes by, wearing CORDY'S SHIRT (the one Angel donated in episode 12).

CORDELIA
Hey! That's my --

The Girl turns, looks back at Cordy.

CORDELIA
Sorry. I have a shirt just like that.

The Girl moves off. Cor turns to Anne --

CORDELIA
This girl at the store told me it was
one of a kind, the big fibber.

Anne goes to close the front door. Just before it closes all the way, though, a BOOT jams its way in, prevents the door from closing. Anne opens the door warily to reveal --

JACKSON, early 20's, black, scary, a career criminal, stands there. Even if she doesn't know him by name, Anne recognizes him and the kind of person he is.

ANNE
I'm sorry. I'm all out of beds.

JACKSON
C'mon, sweet thing. You know it's
not safe for man or beast out here.

ANNE
I'm very sorry. But I really don't
have any free beds.

She starts to close the door on him. Before she can, Jackson glides in, used to getting what he wants.

JACKSON
Don't worry about me. I'm sure I can
find someone willing to share.

Jackson steps inside, scans the various girls milling around the Teen Center.

JACKSON
Oh, yeah. Plenty of candidates.

ANNE
I really think it'd be best if you left.

CORDELIA
You should probably go.

JACKSON
Hey, this is a shelter, right? Just
so happens I'm in need of a little
shelter tonight.

Jackson pushes past them, nudging Cordy aside, slightly.

CORDELIA
Hey!

Anne stops Cordy from going after him.

ANNE
Let him go. I don't want any trouble.

Cordy watches Jackson disappear into the rec room --

CORDELIA
Why do I get the feeling he doesn't care?

INT. EAST HILLS TEEN CENTER - REC ROOM - NIGH

Ray turns from some friends, BUMPS into Jackson.

RAY
Yo, watch out --

Ray realizes who it is. Jackson clearly scares him.

RAY
Jackson.

JACKSON
Well, lookie here. You been ducking
me, lately, Ray?

RAY
(nervous)
No.

JACKSON
You don't think I'm still pissed
at you, do you?

RAY
I don't know.

JACKSON
You're shaking, Ray. What you got to
be nervous about?
(smiles)
You think I'm gonna kill you or something?

Jackson puts his arm around Ray, faux friendly, speaks quietly in his ear.

JACKSON
I'd never kill you here, Ray. Not in
front of all these pretty ladies.
(beat)
You know I'd never kill you here.

Off Ray, squirming --

EXT. STREET #2 - NIGHT

TRACKING SHOT. MOVING with THREE SETS OF LEGS... down the sidewalk. TILTING UP TO GUNN, RONDELL, GEORGE. They've got the angry youth look. Rondell is messing with a VIDEO CAMERA.

RONDELL
...all I'm saying is, you gotta let
me get set up so they don't see me
with this. Cops see me with this and
there's no way we're gonna Rodney
King them.

GUNN
That's if we ever find any. I never
had to look so hard to find trouble before.

RONDELL
Hey, check it.

Rondell points up at...

ANGLE ON STREET SIGN

We can READ THE SIGN - 45TH STREET - as the guys pass, looking up at the sign. Graffiti on the STREET.

RONDELL
Forty-Fifth Street, man.

GUNN
So?

RONDELL
You kiddin' me? This is gang ground.
They catch us rollin' up in here, they'll
take us out. That's why we ain't seen
any cops. They don't even come down here.

GUNN
Y'know, I said you were free to go.

RONDELL
(veiled insinuation)
Hey, I say I'm gonna do somethin', I do it.

They continue on, but as they round the CORNER... they stop... because the street is empty. Not a car to be seen. Nobody walking. Nothing moving.

GUNN
Damn. Somebody have an apocalypse
and not invite us?

We HEAR A TAP, TAP, TAP...

They turn to find a UNIFORMED STREET COP standing at the corner, tap-tap-tapping his billy-club against the wall. He wears a sharp blue uniform. Trim mustache. Shiny badge.

Rondell quickly tries to cover the video camera with his coat.

STREET COP
What are you doing?

GUNN
Doing? Nothin', man, just taking a walk.

Gunn glances at Rondell, who backs off a little as the cop approaches. Rondell exposes the lens as he secretly starts video taping. (Note: Let's film a couple of takes of this scene from the videotape perspective to use in coverage.)

STREET COP
Put your hands on the wall, step back
and spread your feet apart.

GUNN
You arrestin' us?

STREET COP
Do as you're instructed.

GUNN
Officer, I'd just like to know if
we're bein' arrested.

STREET COP
Turn around and face the wall. Now.

GUNN
Hey, I'm not trying to argue
with you, but --

Gunn glances at Rondell. Rondell gives him a slight nod, acknowledgement that he's getting it on tape.

GUNN
--I'd like to know what we did
wrong. You know, what law we
broke. 'Cause if we broke one, I
think we should know what it was
so we don't make the same mistake
twice.

The Street Cop raises his club, starts advancing on Gunn --

STREET COP
I'm not going to say it again.

Wesley suddenly runs in.

WESLEY
Wait, Officer, wait! This man is a
friend of mine, a very good friend,
and I'm sure he hasn't committed
any --

The street cop calmly draws his gun from his holster, turns and SHOOTS Wesley in the stomach. Wesley clutches his gut. Dropping to his knees...

WESLEY
(stunned)
Oh my God.

BLACK OUT.

END OF ACT TWO.

Continue on to Part Two

 


 

The Thin Dead Line

Part 2

January 23, 2001 (Green)

Written by: Jim Kouf & Shawn Ryan

Act Three

EXT. STREET #2 - NIGHT - WHERE WE LEFT OFF

Wesley crumples to the street.

GUNN
Wesley!

The cop swings the gun at Gunn, but Gunn lunges. Hitting the cop as he fires. The shot goes wild.

Gunn and the cop slam to the street. The cop loses his grip on the gun.

ANGLE ON THE GUN

As it skitters into the gutter.

GUNN AND THE COP

struggle on the street. Gunn slams a fist into his face. The cop kicks Gunn aside and gets to his feet as George hits him from behind.

The cop sprawls into the street again. Gunn gets up.

The cop pulls up his pant leg, reaching for --

RONDELL
HE'S GOT ANOTHER GUN!

Gunn sees the cop pulling the small pistol from an ankle holster. There is no place for Gunn to go. The cop aims at Gunn as we HEAR GUNSHOTS.

The COP IS BLOWN BACKWARDS as two bullets slam into his chest. Sending him sprawling onto the street. The small pistol slides away.

Rondell and Gunn turn to George who is scared shitless and holding the cop's other gun which he picked up from the gutter. George turns to them with an "oh shit what have I done look."

RONDELL, GUNN AND GEORGE

exchange looks. Uh-oh.

GEORGE
Oh, man. Oh man, oh man.

RONDELL
Let's get the hell outta here!

GUNN
Help me get Wesley.

Gunn goes to Wesley. Wesley is curled up on the street, clutching his stomach.

Wesley looks up. He's scared. Hurting...

WESLEY
Is anyone else cold?

GUNN
It's okay. We're gonna take you
someplace warm.

Wesley merely nods. Gunn turns back to Rondell and George.

GUNN
Help me pick him up.

Rondell slides around Wesley, but George is too freaked to move.

GEORGE
I shoot him, man, I shot a cop!

GUNN
Not a lot of choice!

RONDELL
We got to move!

GUNN
George, help us!

GEORGE
I killed a police officer! Look at
him! He's dead!

George points at the cop lying in the street. And he sure looks dead except for the fact that he suddenly sits bolt upright. Staring at them.

EXTREMELY FAST PUSH IN ON George, Rondell and Gunn. Oh fucking shit all over their faces.

GUNN
Don't look that dead.

RONDELL
Let's go!

No argument now. George helps them pick up Wesley. They run down the street as fast as they can.

EXTREMELY FAST PUSH IN ON THE COP

Sitting in the street. He touches his collar radio.

STREET COP
We've got a situation. I think it's
a kill. But we have witnesses....

EXT. STREET #3 - NIGHT

Gunn, Rondell and George struggle down the street with Wesley. Wesley suddenly coughs.

GUNN
Slow down. I gotta try and
stop the bleeding.

They slow. Gunn looks for someplace to hide. Sees a BOARDED UP ALLEY. Two boards have been kicked away. Gunn rips out another board. They pick up Wesley and carry him --

INTO THE ALLEY

--finding a hiding place behind some crates and trash.

GUNN
Put him down. Take it easy.

WESLEY
9... 1... 1... you've got to...
call 9-1-1.

GEORGE
Screw the cops! They're the ones
did this to you!

GUNN
An ambulance.

GEORGE
Oh.

GUNN
Go down, keep watch.

Gunn pulls out his cell phone as George moves back down the alley.

RONDELL
Tell them no siren.

EXT. 23RD PRECINCT - NIGHT

Establishing

INT. 23RD PRECINT - RECPETION AREA - NIGHT

Unlike Kate's bustling, noisy squadhouse, this one's eerily quiet. Angel and Kate walk in, approach the front desk, which is unmanned. Kate looks around suspiciously.

KATE
Pretty quiet in here.

Angel notices a bell on the front desk. He rings it. After a moment a DESK SERGEANT ambles in from the back, biting into an apple. He's mid-40's jovial, non-threatening.

DESK SERGEANT
Can I help you folks?

Kate badges him.

KATE
I'm investigating some complaints
about the way some officers are
handling things in this precinct.

A lone DETECTIVE wanders past in the background.

DESK SERGEANT
Isn't that more a job for
internal affairs?

KATE
I'm taking a personal interest.
Where is everybody?

DESK SERGEANT
Only a few of us riding a
desk tonight.

ANGEL
Not a lot going on?

DESK SERGEANT
Crime's way down in this precinct.
We're doing things right.

ANGEL
And who gets the credit for that?

DESK SERGEANT
It's a team effort. But the Captain's
the one who got the ball rolling.

ANGEL
Can we talk to him?

DESK SERGEANT
He's not here. You're free to try
again later though.

KATE
This Captain of yours? He running
things by the book?

The desk sergeant looks at the two of them for the first time as potential enemies.

DESK SERGEANT
I don't have to tell you who used to
rule these streets, detective. The
scumbags did. Hell, I was scared
to drive to work myself.
(beat)
We got a tougher policy now.

EXT. STREET #3/ALLEY - NIGHT

Blood oozes through GUNN'S HAND.

CAMERA PANS UP from his hand to Wesley's face. He's not doing well.

From the alley entrance, George turns to them.

GEORGE
(still freaked)
Ambulance isn't gonna come down here!

RONDELL
You want to shut up before they hear you?!

George gives him a look and turns back.

Gunn rips his jacket off, uses it to stop Wesley's bleeding. Wesley looks up weakly at Gunn as he tries to help him.

WESLEY
I don't think I'm doing very well...

GUNN
You're gonna be fine, man. Getting
shot like this? I know a lot of people
been shot worse, never even slowed
them down.

Gunn glances up at Rondell. Rondell gives him a look - "Like who for instance?"

George suddenly comes running back.

GEORGE
It's here!

MINI-TIMECUT

ANGLE ON THE BACK OF THE AMBULANCE

As the DRIVER and EMT lift Wesley, strapped to the stretcher, into the back.

Gunn helps push the stretcher in. Then turns to Rondell and George.

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