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Reprise Part 1 January 15, 2001 (Yellow) Written by: Tim Minear |
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Teaser |
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INT. ABANDONED TENEMENT - CORRIDOR - NIGHT CAMERA CREEPS through an abandoned tenement building, taking in the emptiness and dilapidation. This place might as well be called "The Schmuck Bait Arms" as we're... TRACKING PAST items left behind by those who once lived here -- an old chair, broken dishes, discarded clothing, like that. And, specifically -- and merely for atmosphere -- a tattered CHILD'S DOLL, eye gouged out, limb ripped of. Over all of this, WE HEAR, FAINTLY, in some undiscernible distance, what sounds like the CRIES OF A CHILD, echoing eerily as we move forward, until finally WE SEE... A SHADOWY FIGURE Rising up out of a dark stairwell. The figure moves forward, into a pool of pale light... Cue the hero music. It's ANGEL, in full-on Dark Avenger mode, all his senses on the alert. He's hearing that spooky crying, too, and he's moving toward it. MOVING WITH ANGEL as he inches up to a broken old door. The CRYING is louder here. Then it stops. A beat, Angel reaches down, gently pushes on the door, eases it open, keeps to the shadows as he slips into... INT. ABANDONED TENEMENT - VACANT APARTMENT - CONTINUOUS We're very close with Angel, and it's very dark in here. All around him, a WEIRD RUSTLING NOISE. He moves deeper into the room, conscious of the strange RUSTLING beneath him. He's made his way into the center of the room. We're still tight. Glinting nearby, a hanging chain. Angel reaches for it, gives it a tug -- a single hanging light bulb snaps on. WIDER Angel is standing in the middle of the room knee deep with FIFTY LIVE GOATS (or however many we can cram in here), wall-to-wall. Angel's expression is pure deadpan. Not surprised, not impressed. We linger on this image for a moment or two. Then... the CRYING begins again. It's coming from behind the door to the next room. Angel navigates his way through the goatage... moves to that door, reaches for the knob, turns it, cracks it open and CAMERA MOVES off him, peering into... INT. ABANDONED TENEMENT - ANOTHER ROOM - CONTINUOUS ...A chamber of horrors. An ALTAR has been erected. Ceremonial candles burn. Bones, talismans and various other ooga-boogady items adorn the place. (We may or may not also note a few opened packing boxes.) TWO MEN, dressed in butcher's aprons, hover over the altar -- their backs to us and their bodies obscuring our view of the doomed creature there. First Worshipper struggles to hold down the (apparently) squirming sacrifice while Second Worshipper tries to read from a booklet of printed instructions, clearly unnerved by the CRIES. FIRST WORSHIPPER SECOND WORSHIPPER FIRST WORSHIPPER SECOND WORSHIPPER FIRST WORSHIPPER SECOND WORSHIPPER FIRST WORSHIPPER SECOND WORSHIPPER ANGEL (O.S) Startled, the two men whip around, lose their victim -- A YOUNG GOAT, which BLEATS then bolts. Angel stands holding a, frankly, cheap looking ceremonial dagger. ANGEL Angel casually roams the space, taking in the set up. ANGEL SECOND WORSHIPPER Angel jams the dagger into the wall, bends it to uselessness. SECOND WORSHIPPER ANGEL The two men exchange worried looks. FIRST WORSHIPPER ANGEL FIRST WORSHIPPER Angel looks at them -- ANGEL WHOOSH! Angel is across the room. Now he's got them both pinned up against a wall, a hand clamped around each throat -- oh, yeah, and he's in full VAMP FACE. ANGEL Both guys now big with the stinky fear. Time to blab all -- FIRST WORSHIPPER ANGEL SECOND WORSHIPPER ANGEL First Worshipper waves a hand at a nearby open prayer book. FIRST WORSHIPPER ANGEL FIRST WORSHIPPER SECOND WORSHIPPER ANGEL Angel roughly unhands them, (staying vampfaced throughout, now) picks up a human leg bone (or something baseball bat like) and starts smashing the altar to pieces. Off his frenzy and the two hands-for-hire backing away from this loony vampire and out the door... BLACK OUT. END OF TEASER |
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Act One |
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INT. OFFICE - DAY WESLEY, in a wheelchair still recovering from his gunshot wound, GUNN and CORDELIA (both kneeling) all examine the back of the YOUNG GIRL'S head who stands before them. The girl's MOTHER, a pleasant housewife type, stands nearby. GUNN WESLEY CORDELIA Cordy replaces a baseball cap on the girl's head, gives her an affectionate pat, rises with: CORDELIA MOTHER CORDELIA WESLEY MOTHER WESLEY GUNN CORDELIA MOTHER The woman deposits an envelope on the counter. CORDELIA MOTHER Wesley wheels forward with tremendous dignity. WESLEY MOTHER She takes her daughter by the hand, moves to the door. CORDELIA Wesley wheels his chair in between Cordy and the door. WESLEY GUNN CORDELIA GUNN CORDELIA Gunn has moved to the coat rack. GUNN CORDELIA WESLEY GUNN Gunn slips on his coat. CORDELIA GUNN CORDELIA GUNN WESLEY CORDELIA GUNN Gunn exits. Off Wes and Cor, sitting in silence... INT. WOLFRAM AND HART - LOBBY - DAY A sharp contrast. Big with the bustling. The energy level seems ratcheted up several notches, even for this place. But it's tense energy. Something's in the air. Lilah moves through the busy lobby, spots Lindsey, approaches him. LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH She hands him a manila envelope. He keeps walking. LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH LINDSEY LILAH She moves off. We hold on Lindsey, considering her words. As the place hums and buzzes around him we PRE-LAP with: ANGEL (V.O.) INT. POLICE PRECINCT - KATE'S OFFICE - DAY Angel dogs Kate around the office as she moves from filing cabinet to desk to cabinet. He looks like he hasn't slept in a few days. She doesn't seem to be paying a lot of attention to him. He's an annoyance, a buzz in her ear. He's rambling. ANGEL KATE He looks at her like she's crazy for asking the question. ANGEL KATE He lets that pass, pushes on with: ANGEL KATE She's staring. He looks at her, takes a beat. ANGEL KATE She dumps a stack of files on her desk. ANGEL KATE She suddenly finds this funny. A burst of giggles. She puts her hand over her mouth to keep from guffawing. ANGEL KATE Now she goes almost dark. Serious. KATE She's pretty much said that to her files. Angels looks at her now. Really sees her distress, maybe for the first time. ANGEL KATE She opens the file, starts setting out crime scene photo after photo of the wine cellar. Dead lawyers. ANGEL KATE ANGEL KATE ANGEL KATE She moves away. Off Angel -- INT. LINDSEY'S APARTMENT - NIGHT Lindsey enters his new apartment, jacket over his arm, tie loosened. He tosses his jacket, deposits his briefcase on the coffee table. As he does, he speaks to someone who is OFFSCREEEN... LINDSEY We see he's carrying a bottle-shaped brown paper bag. We move with him as he crosses over to -- DARLA Lies on the sofa, a shawl over her. her scars are mostly healed, but she looks pale, weak. LINDSEY DARLA LINDSEY She's a bit spacey. DARLA LINDSEY DARLA LINDSEY DARLA LINDSEY She reaches out, strokes his cheek. A blistering moment, then he removes a blood bottle from the bag. Hands it to her. LINDSEY She holds the bottle. Pouts. DARLA LINDSEY DARLA She opens the bottle, sniffs it. He rises, tugs at his tie. DARLA LINDSEY She's not even looking at him, holding up the bottle and studying the light bouncing off of it with childlike fascination. DARLA LINDSEY He moves off. Our first clue that Darla's been faking it is the gigantic eye roll she gives Lindsey's exiting line once he's out of the room. She listens, HEARS the SHOWER in the other room. Throws off the shawl. Rises. This girl's just fine. She moves to his briefcase. Rifles through it, finds the manila envelope that Lilah gave him. She slides out its contents, views it with interest. As she does, she take a sip from the blood bottle. Makes a face, sets it aside. BING-BONG. Doorbell. She moves to it, pulls it open. At first, it appears that no one's there -- then we TILT DOWN to see. A GIRLSCOUT stands there, holding a box of cookies. DARLA Off Darla, eyeing the fresh-faced youngster... INT. KARAOKE BAR - NIGHT Angel has to squeeze sideways to even get in this place. It's PACKED TO THE RAFTERS. He displays no reactions to this, he's single minded, preoccupied. He shoves his way through the demons and humans, searching for -- THE HOST Who is in frustrated conversation with a BARTENDER. HOST Angel's all business, with a definite intensity lurking just beneath the surface. ANGEL The Host looks at Angel, gives him a serious once-over, taking in his smell of desperation. Then, dismissive: HOST ANGEL HOST ANGEL HOST The Host nods toward a booth where several UPTIGHT MEN AND WOMEN in business suits are sitting. ANGEL HOST Host eyeballs Angel as Angel eyeballs lawyers. The Host is really sizing up Angel, closely watching his intense, laser-like reaction to the table of lawyers: HOST Angel takes a beat. Now he turns and looks at the Host. ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST ANGEL HOST The Host leans in close to Angel. Looks him in the eye. HOST He takes a sip, moves off into the crowd. Beyond Angel, TWO or THREE of the LAWYERS have taken the stage. They launch into "Re-United." Off Angel, reacting to that... BLACK OUT. END OF ACT ONE |
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Act Two |
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INT. KARAOKE BAR - NIGHT The SINGING LAWYERS sing. We find the Host sitting at a table, watching them. Angel appears, joins Host there. ANGEL HOST ANGEL HOST ANGEL HOST Angel looks away, frustrated, distracted. He's not here for insights into himself. Host watches him, reading him, then: HOST Angel looks at him -- huh? HOST ANGEL HOST ANGEL HOST A beat as Angel just looks at The Host expectantly. Intensely. Host looks back. Finally, sigh, shrug. HOST ANGEL HOST Angel starts to slide out of the booth. He pauses as: HOST Angel looks at him. HOST ANGEL HOST Angel makes to exit again. HOST Angel pauses in mid-exit. Looks at the Host. Yes? HOST Angel follows the Host's gaze to see the table for Lawyers. They're all looking at Angel and whispering amongst themselves. We get the sense they've been eyeing him for some time. Off Angel taking that in and The Host sipping his drink -- EXT. LOS ANGELES - NIGHT Flashy cuts take us to -- INT. ANGEL'S HOTEL - ANGEL'S OFFICE - NIGHT Angel in full research mode. Books and parchments spread out on his desk. He's knee deep in it, but from his attitude, we sense he's not getting anywhere. He moves to a small shelf in his office, grabs another book, flips through it. Puts that one down, rises and moves to -- BEHIND RECEPTION Angel moves to a bookcase. Runs his hand along a few books... then it's empty shelf. We GO A BIT WIDER to reveal only three measly books in this entire dusty bookcase. As Angel ponders that -- INT. OFFICE - NIGHT BANG! The front door flies open and Angel strides in. Cordy and Wesley both jump -- well, Wesley as much as one can in a wheelchair. WESLEY CORDELIA But he doesn't so much as look at them, blows past -- WESLEY Angel moves to the back area -- WESLEY Angel makes a beeline for their bookshelf. Runs his finger along the titles. Won't look at Wes and Cor. ANGEL CORDELIA Angel seems to have found the title he's looking for. Reaches for it. CORDELIA She wedges herself in between Angel and the bookshelf, swipes the book out of his hand, holds it protectively to her chest. CORDELIA She slides it back into place. Pulls another one, shoves it at him -- the Yellow Pages. CORDELIA Angel fixes her with a deadly cold stare. ANGEL Creepy, tense beat. She swallows. Stand off. He means it. Wesley, pissed the shit off, forces himself to a standing position, not without some pain, but holding it together. WESLEY She doesn't yet. WESLEY She doesn't want to, but nevertheless she reaches into the bookshelf, pulls out the book, slaps it into his hand. He turns and starts for the door. CORDELIA ANGEL And he's gone. Wesley collapses back into the chair. Cordy stares at the empty door, shaken up but also pissed off. CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY She finally glances in Wesley's direction -- gasps. WESLEY A RED STAIN blooms under Wesley's shirt. Off that and his considerable agony. EXT. LOS ANGELES - NIGHT FLASHY CUTS take us from night to -- INT. POLICE PRECINCT - HEARING ROOM - DAY Kate sits in this sterile room before a tribunal of sorts. Suited INTERNAL AFFAIRS MAN AND WOMAN. Some PLAINCLOTHES, including a LIEUTENANT. The ones running the show, the I.A. people, have several file folders scattered before them. INTERNAL AFFAIRS GUY Kate sits silently. Says nothing. LIEUTENANT Kate looks absently over at the Lieutenant. He's supposed to be on her side. KATE A beat, she looks back to I.A. KATE A beat. I.A. Guy looks back to his notes. INTERNAL AFFAIRS GUY She just looks at them, offers nothing. Internal Affairs Guy keeps his eyes averted from her as he segues into this next moment... INTERNAL AFFAIRS GUY KATE INTERNAL AFFAIRS GUY Kate goes poker-faced. KATE INTERNAL AFFAIRS WOMAN A beat. Kate does look at Internal Affairs Woman, now. What a stupid fucking question. KATE INTERNAL AFFAIRS WOMAN KATE INTERNAL AFFAIRS GUY INTERNAL AFFAIRS WOMAN Kate looks at her -- and gets it. KATE INTERNAL AFFAIRS GUY KATE INTERNAL AFFAIRS WOMAN KATE INTERNAL AFFAIRS GUY Beat. Kate says nothing. INTERNAL AFFAIRS GUY Sure sounds like "fired." Kate's stunned. She stands. Moves to the table. Sets her gun and badge there. Feels the eyes of the Lieutenant on her. LIEUTENANT She has no response to that. Off Kate's demoralization... INT. RARE BOOKSTORE - NIGHT The proprietor of the shop, a now EIGHTY YEAR OLD MAN, who, if we look closely we might recognize as DENVER from "Are You Now Or Have You Ever Been" sits behind the counter of this rare bookstore. He watches a TV (we can't see the screen), but WE HEAR familiar SITCOM LAUGHTER. DENVER ANGEL (O.S.) Angel looms over him. Denver stares, registering recognition. DENVER INT. RARE BOOKSTORE - SOMETIME LATER Angel is sitting at a table which is covered with open books. Denver joins him, bringing another one. DENVER ANGEL DENVER ANGEL DENVER ANGEL DENVER ANGEL DENVER After a beat of Angel staring: DENVER ANGEL DENVER ANGEL DENVER ANGEL DENVER ANGEL DENVER ANGEL DENVER Angel says nothing. There is dark purpose in his eyes. Denver regards him, getting it now. DENVER ANGEL DENVER ANGEL A crafty smile spreads over Denver's face. DENVER ANGEL DENVER ANGEL Denver rises, moves toward the back. Angel follows. DENVER Denver disappears around a corner, still talking. DENVER (O.S.) Denver reappears dusting off an ancient knight's glove. DENVER Denver offers it to Angel. DENVER But he's cut off in mid-sentence as BLOOD BUBBLES up out of his mouth, bright red... DENVER Angel instinctively moves forward to steady him -- just as the business end of an antique sword comes poking out of his guy, someone shoving it through in the back. So hard that it now pierces Angel, goes through him, effectively skewering the two men together. DARLA Comes around the corner, having done the skewering. DARLA Angel and Denver, locked together, topple over. Darla sweeps up the fallen Glove, smiles, looks down on them entwined -- DARLA Angel writhes. Darla gives him a sharp kick to the head -- DARLA --and she exits. Angel slides himself, with great pain, off the bloody blade. Looks with despair to the now very dead Denver. And as Angel rolls onto his back, off his pain and defeat -- BLACK OUT. END OF ACT TWO Continue on to Part
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Reprise Part 2 January 15, 2001 (Yellow) Written by: Tim Minear |
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Act Three |
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INT. WESLEY'S APARTMENT - NIGHT Wesley lies on his couch, his mid section re-wrapped with new bandages, visible under bathrobe. VIRGINIA brings him tea. Takes care of him. WESLEY VIRGINIA Wesley smiles affectionately at that. VIRGINIA WESLEY VIRGINIA WESLEY VIRGINIA WESLEY VIRGINIA She nestles in next to him. He puts an arm around here, gently guides her to his shoulder. He wants this, and she lets him. They're quiet for a moment. In this position they can't look into each other's eyes. Her head to his heart. VIRGINIA WESLEY VIRGINIA WESLEY VIRGINIA WESLEY Wesley just listens. VIRGINIA Wesley doesn't need to consider this, but it takes a moment: WESLEY VIRGINIA WESLEY VIRGINIA WESLEY She can't speak. Shocked, absorbing that. He knew it before she did. Off Virginia... INT. KATE'S APARTMENT - NIGHT Kate enters her lonely apartment. (A set we will need for episode 16.) She's spent, miserable. She moves to her bar, pours herself a drink. Nearby, a shelf with her cop memorabilia. She moves to it, looks at it -- a trophy, her academy diploma, blue ribbons. She lashes out, sweeps a crap load of it off onto the floor. Something among the rubble draws her attention -- she picks it up -- a framed photo of her father. She looks at it, full of emotion. EXT. WOLFRAM AND HART - NIGHT We establish this area of Wolfram and Hart: fairly bushy-ish streets with Century City-esque city foot traffic. And ELEVATOR, the kind perhaps enclosed in a glass tube on the outside of the building like at the Bonaventure Hotel, is featured. A TOWNCAR pulls up in front of the building. A BODYGUARD, alights from the front, and the DRIVER, also a bodyguard, moves to open the back door. Lilah emerges. They move toward the building. Suddenly -- WHOOSH! Angel swoops down from overhead, (from a tree?) taking down both Bodyguards. It's a fell swoop, and it's just one. Fell swoop, that is. He lands in front of Lilah. LILAH ANGEL LILAH He steps in closer to her... ANGEL He grabs her forearm. He holds up -- ANGEL Off Lilah, blanching... INT. ELEVATOR - NIGHT LILAH'S HAND, specifically her thumb, is inserted into a fingerprint scanner. An electronic voice says: ELECTRONIC VOICE LILAH Lilah stands in the elevator with Angel. She eyefucks him as the elevator begins its assent. LILAH ANGEL He looks to the floor indicator. Winces a little from being skewered earlier in the evening. This isn't lost on Lilah... INT. OFFICE - NIGHT Cordy alone in the office. She unpacks some boxes. The PHONE RINGS. As she answers, she runs her hand over her mouth to make the word "Angel" sound like "ANGPHLMN" or some such gibberish: CORDELIA INTERCUT WITH: INT. WESLEY'S APARTMENT - NIGHT Wesley, alone in his house, on the couch, old black and white movie playing on the TV with the sound off. He's on the phone. Surprised to hear her picking up. WESLEY CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY CORDELIA WESLEY WESLEY CORDELIA She just tosses it off, but he's a bit stung by it. WESLEY A nice big fat silence on the line between them as that heartfelt truth hangs there for a moment. CORDELIA WESLEY CORDELIA WESLEY She's not convinced but not in the mood to argue the point. CORDELIA WESLEY CORDELIA WESLEY They hang up. Maybe we hold on Wesley alone in his living room for a moment, then we continue with Cordelia as she moves back to the boxes. Decides, screw it. She grabs her coat and purse. Moves toward the door. Just before she hits the lights -- RING! The phone. CORDELIA MOTHER (V.O.) CORDELIA INTERCUT WITH: INT SHARP HOME - NIGHT The Mother of the no-longer-third-eye-girl is on the phone. We're pretty close on her, not seeing much of this house yet. MOTHER CORDELIA STAY WITH CORDY during the following... CORDELIA |