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Epiphany Part 1 January 25, 2001 (Green) Written by: Tim Minear |
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Teaser |
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A chunky "previously on" takes us through Angel's descent into his own personal hell. All culminating with Angel and Darla furiously making love. We end up exactly where we left off actually -- Angel astride Darla. The climax... of the story, I mean. And then it's back to -- INT. ANGEL'S HOTEL - ANGEL'S BEDROOM - NIGHT LIGHTNING FLASHES outside Angel's balcony doors, the curtains billowing into the room. CAMERA TRACKS over the debris and devastation of Angel and Darla's fight/sexcapades. Finally finding the bed, where now the violence has passed. CAMERA GENTLY ARMS UP to find DARLA asleep in Angel's bed, sheet pulled up around her naked shoulders, Angel sleeping next to her. We linger on this for a moment, then... ANGEL wakes suddenly, violently sitting up INTO FRAME, clearly in terrible pain. He looks back at Darla, and it all comes back to him. He pushes himself out of the bed, exits frame. We hold on the bed as Darla wakes, blinks sleepily off in the direction where Angel went... EXT. ANGEL'S HOTEL - BALCONY - NIGHT Barefoot, wearing just a pair of pants, Angel stumbles out onto the balcony, clumsily pulling on a shirt. He drops to his knees. Hugs his arms around himself, rain beading on him as he shudders. Darla appears now, emerging onto the balcony, the bed sheet pulled around her. DARLA She looms behind him, looks down on him, not without compassion, but with cool satisfaction as well. DARLA He is facing away from her, but reacts to her presence behind him, confusion and pain in his eyes. DARLA As THUNDER PEELS in the distance and lightning flashes -- BLACK OUT. END OF TEASER |
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Act One |
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EXT ANGEL'S HOTEL - BALCONY - NIGHT Angel on his knees. Darla slowly approaching him from behind. ANGEL DARLA She moves toward him. He rises, twists away, faces her. Seeing her as if for the first time as she glides toward him. DARLA She reaches out to touch his cheek. His own hand comes up to stay hers. He grabs her wrist, a handful of bedsheets between his hand and her flesh. A beat as they stare. DARLA ANGEL A moment as she stares back, then smiles... DARLA He continues to stare at her. In awe of what has happened. ANGEL DARLA Then: ANGEL DARLA ANGEL He takes her hand, now. Puts it to his face. His eyes never leaving hers. ANGEL And now slowly, flickeringly, her smile fades. The moment grows as something horrible dawns on her. DARLA ANGEL DARLA She tries to pull her hand away, he won't let her yet. ANGEL DARLA She yanks her hand away. Draws back, knowing now: DARLA He just looks at her, doesn't deny the charge. She backs up, back into the apartment, repulsed. He follows... INT. ANGEL'S HOTEL - ANGEL'S BEDROOM - NIGHT Angel follows her in, keeps his eyes on her as he moves into the room. He's tucking in his shirt. Will pull on his shoes at some point during this. She's backing away, confused, gesturing randomly toward the rumpled bed --
DARLA He says nothing. A kind of calm has come over him. When he speaks, it's all very measured, very unemotional. But not cold. She continues to stare, trying to grasp what's happened. DARLA He just looks at her, is that sympathy in his gaze? She looks at him, unbelieving and defiant. DARLA She reaches for his hand, tries to drag him back to the bed. DARLA ANGEL She whirls on him. Stares. Standoff. DARLA ANGEL DARLA ANGEL DARLA ANGEL DARLA ANGEL Rage building inside of her. DARLA ANGEL DARLA ANGEL'S MEMORY HIT Angel listening to the answering machine in the lobby hours before, and... Kate sitting in her apartment... KATE BACK TO SCENE Angel is suddenly struck by the familiarity of those words. He turns away, moves for his coat. ANGEL DARLA ANGEL He's turned his back on her, slips on his coat. Darla goes ballistic with rage. She looks around the room, the debris there. She picks up a shard of wood, races after him -- Angel at the door, spins around, grabs her wrist. He could take her. A beat between them. He makes a choice. ANGEL He pushes her away, turns, then is gone. She is so stunned she cannot move. Off Darla-- EXT. LOS ANGELES - NIGHT Big with the flashy cuts that take us to -- INT. KATE'S APARTMENT - NIGHT CAMERA TRACKS over spilled and empty pill bottles, a vodka bottle that's been knocked over... and nearby, a LIMP HAND and some tousled BLOND HAIR. There is a MUFFLED POUNDING on the door in the distance. The POUNDING continues, while... INT. HALLWAY OUTSIDE KATE'S APARTMENT - CONTINUOUS Angel POUNDS on the door. Juggles the knob. Locked. ANGEL Nothing. He steps back, then BAM!, kicks the door in -- we move with him as he rushes to -- INT. KATE'S APARTMENT - CONTINUOUS -- KATE'S LIFELESS BODY, lying there on the carpet. Angel gathers her up. ANGEL Nothing. She's just as limp as a limp thing. INT. KATE'S APARTMENT - BATHROOM - SHOWER - NIGHT Angel's hand twists the faucet knob. Water explodes out of the shower head -- WIDER Angel and Kate, both fully clothed, as he holds her under the stream of water. Trying to get some kind of response. They're both soaked to the skin. He's just holding her there. Full of anguish as he gently moves the wet and matted hair from her face. A few beats of just the rush of water... then... ...she evidences life as she COUGHS and GAGS. The GAGGING becomes a PRE-LAPPED RETCHING as we CUT TO -- INT. KATE'S APARTMENT - BATHROOM - NIGHT The SOUNDS of RETCHING are present, now. Included in this frame -- the bathroom mirror/sink. Reflected in the mirror, the doorway beyond. Empty. Now WE HEAR a TOILET FLUSH. Kate rises up into view, presumably from leaning over the toilet where she's been puking her guts out. She moves to the sink, throws some water on her face, rinses her mouth. Looks at herself in the mirror. She looks like hell, but alive. Her eyes flick to the reflection of the empty doorway. Now she turns away from the mirror, and WE PAN with her head turn, going from her and the reflection of the empty doorway to find -- ANGEL standing in the doorway. Not having been reflected for he is a vampire, you see. Kate glances at him -- KATE And as she moves past him -- KATE Off Angel -- 10 AND 11 OMITTED INT. LINDSEY'S APARTMENT - NIGHT LINDSEY comes dragging in, still wearing the same clothes from the review, looking disheveled. But still wearing his jacket and tie in this scene. (When they come off later it will be a character point.) He clicks on the light and reacts when he sees -- Darla, just standing in a corner, looking out the window, bathed in blue light. LINDSEY She says nothing. LINDSEY He drops his briefcase, moves to her. LINDSEY He gently moves her aside, peers out, not yet noticing her state -- LINDSEY She wanders over to her "area." Evidence of her guest status here: women's clothing, some jewelry, etc... She just sits, turning something over in her hand. LINDSEY He moves to her. LINDSEY DARLA He glances are her personal property, spread out in her area. LINDSEY She says nothing, turning that item over in her hand. LINDSEY He takes it from her. She lets him. It's the copper ring from episode 15. LINDSEY DARLA LINDSEY DARLA That just hangs there for a beat. Then: LINDSEY She hits him with a look. DARLA LINDSEY But he does. He does know. He stares at her, not wanting to. DARLA Lindsey's eyes fix into the distance. LINDSEY She looks off, more to herself than to him: DARLA LINDSEY She looks at him sharply -- DARLA A long moment as he stares and stares, and finally he's nodding "yes." LINDSEY A long beat until finally her eyes meet his. And before any kind of lurid confession can take place -- INT. KARAOKE BAR - NIGHT The place is closed. Chairs up on tables. A BELL is RINGING. Someone's really laying on the buzzer outside. The HOST appears, wearing a bathrobe and slippers. HOST He shuffles to the bar, reaches underneath it and BUZZES in the visitor. HOST During this last rant, Angel has appeared, entering, looking a bit forlorn. Timed just for the end of the Host's last line so he can see him at that instant and: HOST Off Angel's sheepish look -- INT. KARAOKE BAR - NIGHT Angel sits at a lonely table. The Host is at the bar, making drinks. ANGEL HOST ANGEL Host carries the two drinks to the table. HOST ANGEL Host joins Angel at the table, settles in. HOST Angel sits, lost in thought. A beat as Host watches him, then, with compassion: HOST Angel takes a beat. ANGEL HOST Angel looks at the Host. Weighs this, then he looks away again, can't meet the Host's eyes as he begins, slowly tentatively... ANGEL HOST Angel looks at him. The Host looks back. HOST A beat as Angel takes that in, anger bubbling up now... ANGEL HOST ANGEL HOST Angel puts the lid on a potential rant. Fumes a bit. HOST ANGEL HOST ANGEL A beat as Angel waits expectantly for the answer. Finally: HOST This resonates with him. HOST ANGEL HOST ANGEL HOST Angel looks at him. HOST Off Angel, taking that in... CUT TO: EXT. SHARP'S HOME - NIGHT A tidy single family dwelling. A TAXI pulls up out front. CORDELIA alights from the taxi. Hoists her bag. Looks at the strangely quiet house. The windows dark. All is quiet. Cordy looks back to the taxi, but it's already pulling away. Cordy takes a stroll up schmuck bait lane. She steps up to the front door. Rings the bell. Gets no response. CORDELIA This time she tries knocking -- and as she does, the door, which was apparently ajar, creaks open. She pushes it a little further. Dark inside. CORDELIA Cordy steps into... INT. SHARP'S HOME - CONTINUOUS Cordy enters. Moves in the creepy dark house. CORDELIA She comes around a corner, gasps now, reacting to -- CORDY'S POV Looking into the kitchen area, where WE SEE the (tastefully) DEAD BODIES of the SHARP FAMILY: MISTER AND MRS. SHARP, THE LITTLE GIRL AND A TEENAGE BOY CORDY is about to turn to bail, but at that very instant -- CAMERA ROCKETS at her as she is hit with a VISION -- CORDY'S VISION the jarring vision: cuts of CORDELIA herself, in this very house, and in the vision she's coming out of a vision, and turning to see a HORRIBLE SKILOSH Demon looming over her -- BACK TO SCENE Cordy comes out of the vision, turns and find a HORRIBLE SKILOSH DEMON looming over her -- CORDELIA And as the CREATURE ROARS and advances, attacking, BLACKING OUT FRAME -- BLACK OUT. END OF ACT ONE |
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Act Two |
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EXT. SHARP'S HOME - NIGHT To re-establish, as... INT. SHARP'S HOME - NIGHT Cordy lies on the floor of the living room, just coming into consciousness. She sits up, rubs her head, clearly she got conked pretty good. CORDELIA She starts at a crawling position, is about to rise -- but sees the Skilosh looming. SKILOSH CORDELIA SKILOSH Cordy does a double-take. CORDELIA SKILOSH CORDELIA SKILOSH CORDELIA TWO MORE SKILOSH appear in the b.g. Say something in SKILOSH-SPEAK. The lead Skilosh moves to them. They CHATTER in SKILOSH-SPEAK. As lead Skilosh turns away from Cordy, WE SEE a THIRD EYE on the back of the demon's head. CORDELIA The minion Skilosh finish reporting whatever it is they have to report to the Lead Skilosh. Lead Skilosh turns back to Cordelia. SKILOSH CORDELIA CUT TO: INT. WESLEY'S APARTMENT - NIGHT Wesley maneuvers his wheelchair about his living room, tidying up. He clears frame for a beat, revealing a window in the b.g., where... A SINGLE EYE blinks into the house. Wesley reappears, not noticing the eye, picks up more dishes, balances them as he moves off. The window is clear now. Wesley rolls back toward the kitchen. Past another window, where -- TWO EYES peer in, the head turns -- SINGLE EYE. ON WESLEY Delayed reaction, registering the thing or things lurking outside. He drops the plate and glass, backs the chair up with surprising dexterity. Slams himself up against the wall, thinking, now. CRASH! Window smashing offscreen. SOUNDS of demon breaking and entering. Wesley rolls the chair in the other direction, to a closet. He reaches up, tries to pull the door open, then has to scoot back in the chair to do so. This done, he wheels forward, looks up to -- TOP SHELF We can just make out a bit of a shotgun, wedged good and high up there. CRASH! Another window breaks somewhere else. Wesley tries to rise -- too painful. He sees a broom, grabs it, uses it to poke and prod at the top shelf. The shotgun starts to move a bit. He keeps at it, it starts to tip toward the end of the shelf. More BREAKING and ENTERING SOUNDS. Wesley's sweating. He's not well. This isn't easy. He pokes and prods with the broom handle. Finally the shotgun topples from the top shelf and lands in his lap. He winces in pain. Another SOUND. Something closer. Wesley strains to turn his neck, to see behind him. He looks back to the shotgun, cracks it open -- empty. He looks back up to -- WESLEY'S POV Of that damned top shelf -- a box of SHOTGUN SHELLS visible there. WESLEY grabs the broom again. Gives the thing a good prod -- and the box of shells comes tumbling down -- opening and spilling ammo all over the floor. Wesley reaches down, his finger tips just barely brushing the floor, as... More scary offscreen SOUNDS. Wesley strains and strains, manages to sweep up a couple of shells. He drops them into the shotgun, snaps it shut. Wesley braces himself for the worst. Backs his chair up , careful to keep all corners in plain view. He's taking aim, now, waiting... BANG! The front door, right behind Wesley explodes open -- Wesley spins his chair around, finds himself aiming at -- -- ANGEL, who's standing there. WESLEY ANGEL WESLEY ANGEL WESLEY Wesley draws himself up, a bit defensive and offended. WESLEY Behind Wesley, and he can't see this, SKILOSH #1 is emerging from around the first corner, while... ANGEL SKILOSH #2 appears smashing in through a window behind Wesley... Wesley twists his neck around, sees the converging demons, his eyes widening, as -- WESLEY Angel bursts through the threshold, and it's hand-to-Skilosh combat in Wesley's living room. As Angel engages both Skilosh, Wesley does his best not to get trampled -- ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY Angel fights the things, dancing back toward a wall where Wesley has some MEDIEVAL WEAPONS mounted. He pulls one off the wall and now he's really going to town. Thrust, parry. Etc. Angel's taking both on while Wesley continues to try and not get smooshed. Angel finally lands a killing blow, slicing right at the (off screen) neck of one of the things -- SPLAT! Disgusting yellow Skilosh gore speckles the wall. The other Skilosh, however, is diving at Wesley, who brings up his shotgun, as -- -- the Skilosh is airborne, coming down toward Wesley, but now -- KA-BOOM! Wesley fires off the shotgun. Gross Skilosh jello-remains ker-splat on him. Also, lots of ceiling plaster rains down on the room. The Skilosh? He falls over, dead. WESLEY A beat. Some aftermathy heavy breathing. Now Wesley and Angel look at each other. Slight smiles playing on both their faces. Then Wesley's slight smile? Gone. As: WESLEY Off Angel, not about to get a "thank you" -- INT. LINDSEY'S APARTMENT - NIGHT Darla sits a little zombie-like on the bed/couch. Lindsey sits near to her. Space between them. It's a tableau. The post "we've got nothing to say to each other" moment. And filling it all up: the ringing silence. We hold on this for a moment. Finally Lindsey rises. Pulls off his suit jacket, tosses it. Moves off. Darla, a little out of sync with Lindsey's departure, glances absently toward where he went. But only absently -- she's in her own head space. A beat or two and Lindsey returns. Tosses a set of keys on to a side table. Now he looks back at her, his jaw set. She doesn't return his gaze. He turns to a closet, pulls it open. Starts rummaging around inside. ANGLE FROM INSIDE CLOSET Lindsey in foreground, digging around in the closet. Darla is in the b.g., sitting, staring into nothingness. On one side of the closet: a section devoted to Darla's hanging clothing. Lindsey continues to dig, comes up with a pair of shit-kicker boots. Well used and worn, but they were in the back. He hasn't had occasion to put them on recently. He looks at them, sets them aside. He stands. There's something in his eyes, a grim resolve. Now he tugs at his tie. Loosens it, then yanks it off with finality. And as he does, he slams the closet door shut INTO FRAME... BLACKNESS. EXT. LOS ANGELES - VARIOUS - NIGHT On the closet door slam some FLASHY CUTS that bring us to -- INT./EXT. ANGEL'S CAR - MOVING - NIGHT Angel drives; Wesley's in the passenger seat, cell phone to his ear. His wheelchair has been loaded into the back seat. Finally Wesley clicks off his phone. WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY Silence for a beat as they drive. They hit a bump. Wesley winces. Angel notices. ANGEL WESLEY More silence. Strained. ANGEL Wesley's just looking over at him, deadpan. Angel keeps trying. ANGEL Oh, but he could just not care less for the bondy attempts at the moment. ANGEL WESLEY ANGEL Angel fidgets. Then -- ANGEL Angel glances over at Wesley, still doing that "boy could I ever not give a shit" thing. ANGEL Wesley stares. ANGEL Wesley stares. ANGEL Wesley stares. ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL Wesley's doing the stare again. Angel not scoring any points. WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL WESLEY ANGEL Driving in silence for a few beats. Then -- EXT. LOS ANGELES - NIGHT Flashy cuts take us to -- INT. SHARP'S HOME - NIGHT Cordy watches, as... Lead Skilosh demon confers with a Skilosh minion. More of that eerie Skilosh CHATTERING. She'd try to make a break for it, but that back eye is blinking at her, watching her. Lead Skilosh now turns, moves back to her. CORDELIA SKILOSH CORDELIA SKILOSH CORDELIA SKILOSH Suddenly Cordy finds herself being held from behind by two Skilosh minions. CORDELIA SKILOSH Lead Skilosh is approaching her, now. CORDELIA It opens its mouth and now -- CORDELIA --a snaky looking spawn-prong thing slithers out. It's horrible. CORDELIA The minions force her head forward, pushing her hair back. CORDELIA She struggles and struggles but it's no use. The Leak Skilosh lowers its head and the spawn-prong connects, making a horrible CRACKING noise on the back of Cordy's skull... CORDELIA And off Cordelia's SCREAM -- BLACK OUT. END OF ACT TWO Continue on to Part
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Epiphany Part 2 January 25, 2001 (Green) Written by: Tim Minear |
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Act Three |
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INT. OFFICE - NIGHT The door is open. Wesley, in his wheelchair, sits not far from the open door. CAR HEADLIGHTS glance over him. He squints at that, peers out into the night. Angel emerges from the back. ANGEL WESLEY Again those HEADLIGHTS wash into the room. Wesley rolls closer to the door, watches. WESLEY ANGEL WESLEY ANGEL Wesley turns his attention to Angel. WESLEY ANGEL WESLEY ANGEL WESLEY This stops Angel. WESLEY Wesley does not break his gaze, his eyes searing into Angel with quiet, steady authority. WESLEY Angel has absolutely nothing to say at this point. His face is saying it all. He {fells} like shit. WESLEY A silent beat. Then: ANGEL WESLEY ANGEL Wesley and Angel meet eyes for a beat. An unspoken understanding between them. The moment is broken as -- ANGEL WESLEY Angel does. He and Wesley fall back into the shadows. Angel picks up the axe he pulled from Wesley's wall. Some tense moments here, and A FIGURE enters the room. Pauses... Wesley turns the lights on, Angel comes out with the axe poised. Doesn't do the follow-through, because -- WESLEY Gunn has appeared. He flashes Angel a glance. Not the friendliest of glances. This is one telling look. Otherwise, he's mostly not paying a lot of attention to Angel. WESLEY GUNN WESLEY GUNN Gunn has cocked a casual thumb back at Angel. Wesley feels silly for even considering that, now. WESLEY Gunn brings his hand down and Wesley grasps it. Gunn and Wesley do a rather complicated "brother shake." GUNN Angel just watches in horrible fascination. ANGEL GUNN WESLEY GUNN WESLEY They do that hand shake thing again. We all want them to stop. When they finally do: GUNN ANGEL A dry beat, then: GUNN WESLEY GUNN WESLEY ANGEL WESLEY GUNN WESLEY GUNN WESLEY GUNN WESLEY Gunn has moved into the room, looks down on Cordy's workspace. GUNN ANGEL GUNN ANGEL Angel, trying to be helpful, finds a pencil. ANGEL GUNN ANGEL GUNN Interested, Wesley rolls his chair forward. WESLEY Gunn shows him the carbon on top of the pad. WESLEY Gunn flips through the messages on the pad. GUNN WESLEY GUNN WESLEY Gunn retrieves a pouch of magic powder from Wes's desk. He and Wes turn toward the door. Angel hangs back with: ANGEL
ANGEL Off that -- EXT. LOS ANGELES - NIGHT Cuts of the flashy kind, taking us to... INT. SHARP'S HOME - NIGHT Cordy, on the floor lying on her side, wakes with a gnarly headache. She rolls onto her back. That hurts even more. She sits up, wincing. She blinks in the dimness. All is quiet. She sees this as a chance to escape. She starts to inch away. She moves until WE SEE... ... Lead Skilosh lurking behind her, lurking in the shadows. Her back is to him. But she reacts to his presence. CORDELIA No CAMERA MOVES around Cordy. Close on her head... coming around to the back of her skull where... her hands appear, moving back the hair, feeling and revealing, A THIRD EYE BLINKS... CORDELIA Cordy, no longer thinking about the hideous demon guarding her, gets up, runs to the mirror. Looks at her own face, then slowly pivots around to get a look at it herself... ...the third eye blinks back in reflection. Cordelia registers horror at this... INT./EXT. ANGEL'S CAR - MOVING - NIGHT Angel drives. Gunn's riding shotgun, Wesley in the back seat, his wheelchair folded up beside him. Gunn reclines, arm on the back of the seat, looks over at Angel. Angel's been peering into his rearview mirror. Something nagging at him. Wesley notices Angel's distraction. WESLEY ANGEL GUNN ANGEL GUNN ANGEL GUNN WESLEY GUNN ANGEL GUNN Silent stoic faces for a beat. Then -- WHAM! A SKILOSH drops out of the sky and lands on the trunk of the car. Angel swerves, loses then quickly regains control of the car. The Thing claws its way toward Wesley. Wesley tries to fight it off, but he's not fully mobile. Gunn rears back on the dash board, brings his legs up and gives the thing a hard kick to the head. Skilosh is knocked backward, falling out into the street. Angel hits the brakes. The car screeches to a sideways stop in the street. GUNN WESLEY Wesley's saying this because the Skilosh in the street has gotten back up, is coming back toward them. |