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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 She pulls out a phone memo pad (the kind with carbons,) writes during: CORDELIA She hangs up excitedly, tears the memo off the book. Looks astonished... CORDELIA INT. SHARP HOME - CONTINUOUS Mother hangs up the phone. We PULL BACK to REVEAL the thing that forced this poor woman to make that phone call... one god damn hideous steam snortin' DEMON (which will be featured in episode 16) with a THIRD EYE in the back of its head. MOTHER The demon snaps the woman's neck. Her body drops next to the rest of her dead family. The Demon turns to -- THREE MORE THIRD EYED DEMON MINION. The Head Eye Demon says something in DEMONESE and the others respond, CHATTERING. Off that -- EXT. LOS ANGELES - NIGHT Flashy cuts take us back to -- INT. WOLFRAM AND HART - CONFERENCE ROOM - NIGHT A packed house of NERVOUS LAWYERS for the big Seventy Five Year Review. In the center f the room, darkly clad PRIESTS trail pots with incense. A PENTAGRAM, in the form of a lovely throw rug (if possible,) marks the spot. Lindsey waits with the others. No sign of Lilah. He looks at his watch, scans the crown. And it is a crowd. Now NATHAN REED approaches Lindsey. NATHAN LINDSEY Now a UNIFORMED SECURITY GUARD appears, steps up to Nathan, whispers to him. Nathan reacts, pissed. NATHAN The Security Guard moves off, signals to some other UNIFORMS nearby. They start spreading out through the crowd. LINDSEY NATHAN Lindsey turns, looks back into the crowd, his heart sinking... THE RITUAL Continues. The air over the pentagram starts to BEND and SHIMMER... something's coming. But this an EFFECT that needs to take a while, because we must start orchestrating as... LINDSEY Reacts now as he sees -- LILAH Enter the room. Angel right behind her. She meets eyes with Lindsey, her look saying "this wasn't my idea." LINDSEY The Guards and others react. Try to see where Lindsey's pointing, but now... Lilah gives Angela sharp elbow to his stomach wound, then dives out of the way. Angel disengages, slips into the throng. We're moving with Angel now as he bobs and weaves. He's searching for something, too, all his senses heightened. WE SEE him slip his hand into his coat pocket, as... Confusion builds in here. We're CUTTING between... Uniforms fanning out... Lindsey pushing through the crowd, searching... Angel doing his bob and weave thing... and... The Pentagram where more and more a FIGURE is taking FORM. ANGEL Comes up behind a DARK-HAIRED FEMALE LAWYER. His vamp senses tell him this is it. CLOSE - ANGEL'S HAND As he pulls a vile of what we will realize is HOLY WATER from his pocket, he's using a handkerchief wrapped around it for his own sake. WIDER Angel tosses the Holy Water into the female lawyer's face -- ROAR! VAMP FACED DARLA whirls on him, her face smoking from the Holy Water, losing the wig. ANGEL The Guards react to that, descend on that ROAR. Lindsey sees this, reacts, shocked, horrified. Lilah is spellbound. Several Guards going for Darla, Darla tossing them off. Angel uses her
distraction to try and get the GLOVE from her. But she comes back at him. Angel and Darla in combat, but Angel has the Guards on his side at the moment who don't realize what's what. LINDSEY Nathan moves to the FORMING SENIOR PARTNER, ignores the blooming chaos behind him, gets on his hands and knees in prayerful supplication. ANGEL AND DARLA Trading blows. Angel connects, sending her into the Guards, who have their stakes poised. Lilah steps forward -- LILAH WHAM! A LEFT HOOK connects with her jaw. Lilah goes down, clocked by -- Lindsey steps into frame, wild-eyed, looking down on her. ANGLE OVER A CLAWED HAND, inches away from being SOLID FORM now. A plain BAND RING is visible on one of the taloned fingers. We're looking past this at the melee, as... ANGEL Comes up with the Glove. Darla tries to get to him, but the Guards make this impossible. Angel tugs on the Glove. THE SENIOR PARTNER It is a HOODED CREATURE. And less is going to be more here, folks. We can make out BURNING RED EYES and just a glimpse of LEATHERY, SLIMY SKIN. At the very instant it become corporeal Angel's gloved fist clamps around its leathery throat. And once the Glove makes contact, A HIDEOUS SCREAM. The Senior Partner instantly starts to SMOKE and SIZZLE (CGI). The Glove and Angel's momentum send them both backward and CRASHING into a PLATE GLASS WINDOW. They EXPLODE THROUGH IT. GLASS and SWIRLING WIND (we're several floors up) fly into the crowd. Everyone recoils. Lindsey uses this instant, and that's all it is, really, to take advantage of the Guards' distraction. He yanks a now UN-VAMPED Darla away from the Guards. Lindsey and Darla lock eyes, and she slides past him out the door. Lindsey stands, WIND and PAPERS and DEBRIS flying around him. Lilah, across the room, stands in the indoor tornado, her hair flying wildly. They lock eyes. Lots 'o hate. EXT. WOLFRAM AND HART - SKYSCRAPER - NIGHT Angel and the CLOAKED FIGURE plummet toward the sidewalk. And when they finally hit the ground -- SIDEWALK BAM! It's Angel and an empty robe that do. Nearby, a STREET BUM looks over, sees this, takes a drink out of his brown paper bag. Angel painfully rights himself, as... ...nearby, tinkling lightly as it spirals to a stop -- THE PLAIN RING. Angel, in, as one might imagine, horrible pain, sweeps it up. He stands, holds the band over his finger -- girds himself. ANGEL And he slips it on his finger. ANGEL He waits. For what, he is not sure... now -- DING! The elevator doors on the exterior of the building open behind him. ANGLE FROM INSIDE THE ELEVATOR Looking out at Angel, whose back is to us. Angel turns toward us at the sound. And whatever he's seeing standing in that elevator makes him react with surprise and silence. And off that reaction -- BLACK OUT. END OF ACT THREE |
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Act Four |
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EXT. WOLFRAM AND HART - STREET - NIGHT Where we left off. Angel looking at the figure in the elevator. And whatever is in there now begins to applaud, slowly. CLAP. CLAP. CLAP. HOLLAND MANNERS HOLLAND Angel slowly approaches, doesn't step in, just regards Holland for a long beat, cocks his head slightly, takes him in. Vampire sense telling him... ANGEL HOLLAND ANGEL HOLLAND Angel just continues to stare at him with fascination. HOLLAND Angel tentatively steps into the elevator car, still staring. Holland's amused. Chuckling. HOLLAND Holland smiles, tugs at his collar to reveal two ugly FANG BITE MARKS where Darla attacked him. Holland moves to push a button -- HOLLAND Holland's finger hovers over the button for a moment. HOLLAND After a moment... ANGEL Holland smiles, his eyes twinkle. He shivers. HOLLAND Holland pushes a button that says simply "DOWN." The doors close. And the elevator car plummets. INT. ELEVATOR SHAFT - NIGHT CGI shot as the elevator car rockets downward. Expressway to hell. INT. ELEVATOR - NIGHT Perhaps some MUZAK playing. Holland shifts slightly to face Angel, smiles pleasantly. Angel keeps his eyes on the indicator lights. Won't look at Holland. Not yet. HOLLAND Angel keeps his eyes forward. HOLLAND Angel tugs at the glove, flexes his fingers. Getting ready for battle with whatever lies below. Holland observes this with delight. HOLLAND ANGEL Holland considers that, nods. Then -- HOLLAND ANGEL HOLLAND Angel looks straight ahead. ANGEL HOLLAND Holland lets that hang there, grinning. Continues. HOLLAND Holland faux muses. Eventually: ANGEL HOLLAND A beat. The elevator HUMS along. MUZAK continues to play. Holland's musing to himself for a moment, then -- HOLLAND ANGEL HOLLAND Angel reacts to that, looks to the chipper Holland. Finally -- ANGEL HOLLAND ANGEL HOLLAND The doors slide open... revealing: THE STREET IN FRONT OF WOLFRAM AND HART The exact spot where Angel got on. FOOT TRAFFIC. CARS. PEOPLE. Angel takes this in. ANGEL HOLLAND ANGEL'S POV Of the people. ANGRY MOTORISTS, FAT BUSINESS MEN passing by FILTHY BUMS. A pissed off MOTHER yanking on the arm of a CRYING CHILD. Like that. Angel takes in the faces, sees them as though for the first time. And they are ugly. Holland leans in to Angel's ear. HOLLAND Angel doesn't even look back at Holland. He simply drops the glove there on the elevator floor, then walks out, into the world. The doors close on Holland's smiling face. HOLLAND EXT. CITY STREETS - NIGHT MONTAGE Of Angel walking through the streets. Alone amongst the people. Really looking at them. At the twisted, Fellini-esque faces. Not a drop of caring or compassion among them. As he moves through the streets, we're: INTERCUTTING WITH: INT. KATE'S APARTMENT - BATHROOM - NIGHT (This is a set we will need for episode 16, along with a working shower.) Kate's weary face appears in what we soon learn is the reflection of the medicine cabinet. She looks at herself, then pulls open the mirrored door, revealing the many prescription bottles lined there. INT. WESLEY'S APARTMENT - NIGHT Wesley stares at the TV. Randomly flips the channels with the remote. The light from the UNSEEN screen reflecting on his face. Alone. OMITTED INT. OFFICE - NIGHT Cordelia, packed up to go collect on the Sharp bill, hoists her bag, moves to the door, takes a last look around, then clicks off the light. Exits. INT. ANGEL'S HOTEL - LOBBY - NIGHT Angel, weary, beaten, enters the hotel. The PHONE is RINGING. He moves to his office door, looks in as the MACHINE picks up. He hasn't changed the message: CORDELIA (V.O.) BEEEP! Weird silence on the other end of the line for a moment. Then finally... KATE (V.O.) INT. KATE'S APARTMENT - CONTINUOUS She's sitting on the floor, really out of it, eyes at half-mast. She's surrounded by empty pill bottles. A near empty bottle of vodka at her side. KATE (V.O.) INT. ANGEL'S HOTEL - OFFICE - NIGHT Angel now stands over the answering machine, looking down on it as Kate's voice continues. KATE (V.O.) Her voice is cut short as he lowers the volume. The he turns and walks away, expressionless. INT. ANGEL'S HOTEL - ANGEL'S BEDROOM - NIGHT Angel walks in, takes off his coat. Stops. ANGEL He turns -- she's standing there in his doorway, battered and beaten and pissed the hell off. ANGEL He holds up the copper ring. She eyes it madly. He tosses it at her. She doesn't catch it, it falls to the floor. She dives for it. He lunges, grabs her, pulls her up -- ANGEL He hits her hard, a backhand that sends her reeling. She tries to right herself, but he's lunging again, slams her up against the wall with his body. Pressed against her. He stares with dead eyes. Reaches up, traces a finger on her scars. ANGEL He kisses her. And he makes it soft and tender. But she doesn't really reciprocate, which makes it all kind of creepy. She pulls away -- DARLA ANGEL He brings her to him again. Kisses her - and she reciprocates. After a heated exchange, she breaks, laughing with evil glee. He seems somehow offended. He throws her hard through the double doors to his bed area. BED AREA ANGEL Darla scrabbles in the debris to get to her feet, but he's already stalking toward her. He pulls her up by her hair (or her clothing), twists her around. DARLA ANGEL He touches her face, tenderly. Despair on his face. His hand goes about her neck. ANGEL He doesn't choke her - he pulls her to him, kisses her hard. And now they're falling onto the bed, tearing at each other's clothing. Going at it, two animals. Biting, tearing, clawing. They are doing it, folks. And we know this because of both of their expressions. And because we've heard tell of this sex thing. And there's not a fireplace in sight to cut away to. Angel's face creases with release. And now -- 37 THRU 39 OMITTED INT. ANGEL'S HOTEL - ANGEL'S BEDROOM - (LATER THAT) NIGHT LIGHTNING FLASHES Outside Angel's balcony doors, the curtains billowing into the room. CAMERA TRACKS over the debris and devastation. Finally finding the bed, where now the violence has passed. Darla sleeps in Angel's bed, sheet pulled up around her naked shoulders. Angel sleeping next to her. And now he wakes suddenly, violently sitting up INTO FRAME, clearly in terrible pain. BLACK OUT. THE END Continue on to Epiphany |