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Dead End Part 1 February 12, 2001 (Yellow) Written by: David Greenwalt |
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Teaser |
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EXT. CITY - STOCK - DAY Flashy morning in the city. INT. LINDSEY'S APT. - BEDROOM - DAY CAMERA MOVES in on Lindsey, asleep in bed. Hold him for a beat. His eyes snap open, he stares almost directly into LENS: his expression empty. He looks over at the -- CLOCK RADIO - he knows it's going to click on. We HEAR: D.J'S VOICE THE STUMP OF LINDSEY'S RIGHT HAND Comes down on the OFF BUTTON silencing the radio. TIME CUT: LINDSEY LOOKS IN A MIRROR Shaving. All we hear is the EXAGGERATED SCRAPING of the razor across his face. LINDSEY'S DRESSER DRAWER SLIDES OPEN He looks in where we see his prosthetic gear. He attaches the prosthetic holder over his stump, "puts on" his hand. LINDSEY'S PROSTHETIC HAND Slides open the closet door. Lindsey is dressed now in shirt and slacks. He reaches towards a pile of PRE-TIED ties, picks one. Slips it over his neck, straightening it as best he can with his good and bad hands. He glances at something in the corner of the closet. HIS OLD GUITAR - Dusty and unused in the back of the closet. LINDSEY - Stares at it with that same empty expression for a beat, then slides the closet door shut, blotting out his image as we PRE-LAP: JOSEPH INT. KRAMER KITCHEN - DAY A normal, happy family on the go - a contrast to the silence and emptiness of Lindsey's morning. JOSEPH KRAMER (late thirties, early forties) bounds in, kisses his WIFE. JOSEPH Their two KIDS (BOY, 12, GIRL, 9) bustle about, swallowing breakfast, grabbing books and back packs, etc. The kids' BOOK BAGS say THE DELANCEY SCHOOL on them. WIFE JOSEPH WIFE She holds up muffin, he takes it, grabs morning paper, turns to daughter. JOSEPH He hugs daughter, turns to son -- JOSEPH (cont'd) Son holds out hand. Joseph takes it and pulls the kid into a bear hug. JOSEPH (cont'd) WIFE Wife and kids head out, grabbing purses, back packs, etc. WIFE (O.S.) Joseph, grabbing a muffin, trying to read headlines, calls: JOSEPH Joseph grabs the DELANCEY SCHOOL book bag off the table, munching on muffin. WIFE (O.S.) JOSEPH Joseph, eyeing the paper, reaches down for the vitamins on the counter, but instead of picking them up, his hand grabs the LARGE BUTCHER KNIFE lying next to them. JOSEPH - still reading paper, heads out, butcher knife in hand. Then, without warning or awareness on his part, he brings up the butcher knife as CAMERA rotates to the back of his head and he suddenly stabs himself HARD in his eye -- MATCH CUT: INT. ANGEL'S HOTEL - LOBBY - DAY We're IN ONE OF COR'S VISIONS - quick stylized snippets of Joseph stabbing himself in the face, Joseph falling, blood spattering on the DELANCEY SCHOOL BOOK BAG as it falls from his hand, Joseph hitting the floor, more blood, etc. And we're intercutting this with: CORDELIA HERSELF Reeling from this vision -- one of her worst ever -- careening back into furniture and/or a bookshelf, falling, SCREAMING as ANGEL, GUNN AND WESLEY come running from different directions, trying to get to her before she falls to the ground, not making it in time. ANGLE - THE FLOOR As Cor hits it. Angel's there in an instant, gathering her into his arms. We POP in a couple of the disturbing flashes of Joseph as Cor gasps for air. ANGEL CAMERA PUSHES IN ON CORDELIA All she can do is gasp and try to get air into her lungs, the tears rolling down her cheeks, shaking her head. Off her horror, END OF TEASER |
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Act One |
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EXT. WOLFRAM AND HART - STOCK - DAY INT. WOLFRAM AND HART - CONFERENCE ROOM - DAY A staff meeting. NATHAN REED, another LAWYER or TWO his age, LINDSEY, LILAH, and a half dozen other lawyers their age, sit around the dramatically lit conference table, little pools of light isolating people in their own little worlds. Lindsey, bored with the daily grind, doodles on a legal pad with his left hand. Lilah pays attention to Nathan, seeking opportunities to prove her invaluableness to the firm. NATHAN YOUNG LAWYER #1 NATHAN LILAH LINDSEY NATHAN Lindsey looks-up from his pad. LILAH LINDSEY NATHAN YOUNG LAWYER #2 NATHAN YOUNG LAWYER #2 NATHAN Lindsey sighs -- here we go with the Angel. LINDSEY Lilah jumps in: LILAH NATHAN LILAH LINDSEY NATHAN Lilah nods, struggling to stay calm at the mention of "reevaluating" her and Lindsey. NATHAN (cont'd) Meeting adjourned. Everyone gets up, gathering their things. Lilah turns to Lindsey. LILAH LINDSEY LILAH LINDSEY LILAH NATHAN (O.S.) Lindsey turns, Nathan's in the door, gesturing for Lindsey to: NATHAN Lindsey leaves Lilah, heads for Nathan. INT. WOLFRAM AND HART - NATHAN'S OFFICE - DAY Nathan closes the door. NATHAN LINDSEY NATHAN Nathan glances through window. Lilah can be seen in b.g., trying not to look like she's spying on them which she is. NATHAN (cont'd) LINDSEY NATHAN Nathan removes an appointment card from his pocket, Lilah, watching the warm hand on Lindsey's shoulder in b.g., moves on. NATHAN (cont'd) LINDSEY NATHAN Nathan, pleased with his little gift, opens the door for Lindsey who looks down at the appointment card: what now? PRE- LAP: CORDELIA INT. ANGEL'S HOTEL - LOBBY - DAY Cordelia in a chair or on the couch now, looking pale, upset, out of it; Angel, Gunn and Wes gathered around, concerned. She has a water glass nearby. CORDELIA WESLEY CORDELIA GUNN CORDELIA She shakes her head, at a loss. ANGEL WESLEY GUNN WESLEY Gunn grabs a phone book, heads for phone. ANGEL WESLEY Angel leans in to Gunn, re: Cor. ANGEL GUNN ANGEL She waves him off, Wes heads out front or garden doors, Angel heads out cellar stairs. Gunn looks at Cor, sitting off alone in her chair, rubbing her head. GUNN Nothing from Cor. He opens fridge. GUNN (cont'd) She glares at him. GUNN (cont'd) Cor goes back to rubbing her head, Gunn runs his finger to HOSPITALS in the front page of the phone book, picks up phone. EXT. EXTREMELY MODERN LOOKING CLINIC - STOCK - DAY INT. DOCTOR'S EXAM ROOM - DAY A NURSE finishes taking Lindsey's blood pressure, noting it in a file and removing the cuff as DR. MELMAN (smooth, professional) enters. DR. MELMAN He glances at chart in Nurse's hand. DR. MELMAN (cont'd) Nurse prepares a syringe in b.g. DR. MELMAN (cont'd) LINDSEY DR. MELMAN LINDSEY DR. MELMAN LINDSEY DR. MELMAN LINDSEY DR. MELMAN LINDSEY DR. MELMAN CAMERA IN on Lindsey as Dr. Melman gives him the shot. DR. MELMAN (cont'd) As Lindsey starts to look very drowsy, INT. OPERATING ROOM - DAY DR. MELMAN, another DOCTOR, ANESTHESIOLOGIST, VARIOUS NURSES, etc., give Lindsey a new hand. (NOTE: This scene will be SHOT IMPRESSIONISTICALLY, much of it from Lindsey's groggy point of view -- jumpy cuts in pictures and time.) ANGLE - LINDSEY - hooked to I.V.s, chest stickers, breathing tubes, he lies groggy on the table, occasionally opening his eyes, as Dr. Melman cuts. DR. MELMAN A NURSE pulls something out of an ice chest - THE HAND - on a medical tray, is set down next to the operating table. Each of the following lines is a different ANGLE on MELMAN: DR. MELMAN (cont'd) DR. MELMAN SEWING on new hand. DR. MELMAN (cont'd) NURSE There's an other worldly WHOOSHING SOUND as a creature in a robe glides in. The CREATURE has no FACE but rather a black void in the shape of one on top of its shoulders, long hair. Lindsey looks groggily from the Creature to the Doctor; the Creature raises a BONY HAND, passing it over Lindsey's wrist (as the doctor ties the last stitch on the new hand) sprinkling colored powder on the wrist. The CREATURE hisses and spits, muttering unintelligibly: CREATURE'S VOICE THE WRIST -- (C.G.I.) the stitches dissolve and the ugly wound HEALS before our eyes, leaving a light pink scar around the wrist. THE DOCTORS' EYES above their masks - impressed. The Creature lowers it's creepy hand, glides off, losing dimensionality, disappears, moving right through the door. DR. MELMAN EXT. CITY/HOTEL - STOCK - NIGHT Establish with the cutty thing. INT. ANGELIS HOTEL - LOBBY - NIGHT Gunn's on the phone. Cor's in the background, compulsively rearranging books and cleaning, still pale. GUNN INSERT - PAD next to Gunn. We see a long list of hospitals: St. John's, U.C.L.A., County, etc., most of them crossed out. GUNN (O.S.) CAMERA moves off Gunn to Cor. Looking a little haunted as she straightens the books and begins polishing the glass (with a cloth) on a picture on the wall over and over. Angel enters from cellar stairs under: GUNN (cont'd; O.S.) Gunn hangs up, crossing another name off his long list as Angel glances at Cor who's far enough away not to hear: ANGEL GUNN They watch Cor, concerned, as Wes enters, moves to them. Wes is "up", not glum, obviously he's found something. WESLEY Gunn shows list of crossed out hospitals, Angel shakes his head. WESLEY (cont'd) ANGEL GUNN Beat. They all stand there. Wes turns to Angel. WESLEY ANGEL WESLEY He takes a step towards Cor, turns on a dime to Angel. WESLEY (cont'd) Angel looks at Wes, moves to Cor, watches her rub the glass. ANGEL CORDELIA ANGEL CORDELIA ANGEL CORDELIA ANGEL CORDELIA She holds or touches her head as: FLASH - GUY PICKING UP KNIFE (NOTE: These are more a "memory" flash than an actual vision -- she's not falling over or anything.) CORDELIA (cont'd) FLASH - OBLIQUE STAB INTO HIS EYE CORDELIA (cont'd) FLASH - CEREAL BOWLS ON BREAKFAST TABLE Next to the book bag. ANGEL CORDELIA FLASH - THE DELANCEY SCHOOL book bag as Joe's hand picks it up. FLASH - The bag falls to the floor, blood splashing on it. CORDELIA (cont'd) She closes her eyes. A COUPLE OF QUICK HORROR FLASHES She opens her eyes, looks at Angel. CORDELIA ANGEL CORDELIA ANGEL EXT. CITY - STOCK - DAY Sun rising. INT. LINDSEY'S APT. - BEDROOM - DAY Morning sun as CAMERA AGAIN moves to Lindsey who again opens his eyes. He lies there for a beat: was everything that happened yesterday a dream? He slowly brings up his left hand, then his right -- except for the small pink scar where it attaches to his wrist, perfectly normal. Lindsey flexes it slowly, looking at it with something like wonder. O.S. the clock radio clicks on. D.J'S VOICE Lindsey's new hand hits the clock radio, turning it off. TIME CUT: WATER - spills out of a faucet, runs over two hands. LINDSEY - splashes water on his face with both hands. LINDSEY - opens the closet door, hair combed, slacks and shirt, looks at the pre-tied ties, starts to grab one, then his eyes fall on the dusty guitar. LINDSEY - guitar in hand, he sits on the edge of a chair or the bed and strums a chord with his new hand. It's out of tune, he quickly tunes it up, plays the chord again. Pretty good. He plays another chord -- even better. He plays an improvised progression, his strumming hand working better than ever. As he gets a little fancier -- INT. WOLFRAM AND HART - HALLWAY - DAY Lilah moves down the hall, keeping a lid on her emotions. HER POV - MOVING TOWARDS LINDSEY AND IRV KRAIGLE (C.F.O. of Lycor Corp.) Nathan is with them. TIGHT POV - LINDSEY SHAKES HANDS - Holding Irv's in both of his. LILAH - Takes this in, as she moves up. NATHAN IRV LINDSEY IRV Irv enters. Lilah pauses, looks down at his new hand. LILAH LINDSEY LILAH LINDSEY LILAH INT. WOLFRAM AND HART - NATHAN'S OFFICE - DAY Irv's at the head of Nathan's conference table, Lilah on one side, Lindsey on the other. Drinks, pads and pens in front of them, Lindsey taking an occasional note. IRV LILAH IRV LINDSEY IRV LILAH IRV LINDSEY IRV LINDSEY Lindsey's in his element now. He makes notes without ever looking down at this hand. LINDSEY (cont'd) IRV LINDSEY IRV Lindsey nods, looking down at his pad. CAMERA MOVES IN ON HIS PAD And we see that in fact Lindsey's new hand is writing only one word over and over on the pad -- "kill". TIGHTER - Camera moves across the words as they fill the screen "kill, kill, kill..." LINDSEY - sees what he's doing, covers his reaction as: IRV (cont'd) LILAH PUSHING IN ON LINDSEY - watching in a kind of numb fascination as his new hand writes "kill" yet again. END OF ACT ONE |
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Act Two |
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INT. WOLFRAM AND HART - NATHAN'S OFFICE - DAY Lindsey's hand writes "kill". Lindsey takes his right hand with his left and puts it in his lap. IRV He looks to Lindsey who says nothing. Lilah jumps in. LILAH IRV Lindsey suddenly stands. LINDSEY He rips the page off his pad, crumples it in his pocket and goes. Irv and Lilah watch him exit, a little surprised. IRV LILAH She gives him a reassuring smile. INT. LINDSEY'S APT. - BEDROOM - DAY CAMERA STARTS BACK WIDE - GLIDES to Lindsey, sitting very still at his desk. He puts a pen in his right hand, puts the pen to paper on the desk. Waits, watching the hand. Nothing. The hand doesn't write. He pokes at it a little with his other hand, like you would a dead snake. He opens a drawer, pulls out a sharp looking letter opener, pokes at the hand a little. We see a few dots of blood. He transfers the letter opener from his left hand to his new one, again glaring at it, waiting for it to do something. CAMERA CREEPING in, we're thinking: is he going to cut himself? Lindsey drops the knife, holds up his hand. LINDSEY INT. ANGEL'S HOTEL - LOBBY - DAY DELIVERY GUY hands Angel several BAGS OF FOOD. Angel hands him some bills. ANGEL Delivery Guy goes. O.S. we hear: DELIVERY GUY (O.S.) Angel glares after him, then carries the bags to the reception desk, starts laying out all kinds of food as Cor looks up from her desk in b.g. CORDELIA ANGEL CORDELIA ANGEL Cor moves to the reception desk, she can read the names of the sandwiches on their wrappers. CORDELIA ANGEL CORDELIA Beat. Angel confesses: ANGEL CORDELIA ANGEL CORDELIA ANGEL Beat. Is this going to go well or is she going to freak? CORDELIA She grabs two sandwiches. Angel smiles, pleased. CORDELIA (cont'd) ANGEL CORDELIA She heads for her desk, unwrapping the first sandwich; looks down at it -- FLASH -- we're back in the kitchen, in Joseph's TIGHT POV: the muffin in his hand. FLASH we're back. She barely reacts, "unh", but Angel picks up on it. ANGEL CORDELIA ANGEL Angel thinks that over as Wes and Gunn blow in. WESLEY GUNN ANGEL WESLEY ANGEL GUNN ANGEL Gunn produces a small piece of wood, shows it to Angel. GUNN ANGEL WESLEY CORDELIA GUNN WESLEY ANGEL CAMERA PUSHES in on Cordelia realizing what he means. CORDELIA WESLEY GUNN CORDELIA WESLEY ANGEL INT. CARITAS - NIGHT CLOSE ON HOST - Somewhat enraptured with whoever's on stage. CLOSE ON HANDS playing guitar, PAN UP to LINDSEY - ON STAGE sings (song to come), plays guitar. He's terrific. ANGLE - THE STAIRS - Cor, Gunn, Wes and Angel enter. CORDELIA ANGEL WESLEY CORDELIA They all follow her gaze -- and see Lindsey singing. ANGEL The Host enters frame. HOST ANGEL HOST CORDELIA GUNN ANGEL A bunch of crowd members shush him, along with: CORDELIA INTERCUT - Lindsey singing, the AUDIENCE enjoying, and our people watching. ANGEL - not impressed. Wes, Cor and Gunn are. ANGEL WESLEY Host signals a waiter who brings him a tall clear drink. ANGEL HOST LINDSEY - finishes the song. ROUSING APPLAUSE. Lindsey pays it no mind, heading off stage. CORDELIA HOST Cor looks to Angel: what's that mean? Host moves through crowd to Lindsey, puts his arm around him, ushering him towards Angel and the others. HOST (cont'd) LINDSEY HOST LINDSEY ANGEL Lindsey sees Angel for the first time. ANGEL (cont'd) Angel laughs at his joke. No one else does. CORDELIA GUNN WESLEY ANGEL LINDSEY HOST LINDSEY HOST GUNN LINDSEY HOST LINDSEY Host gets dead serious. HOST Lindsey takes a big slug of his drink, sets it down. LINDSEY Lindsey walks out. HOST COR, GUNN, WES - All look at Angel. HOST (cont'd) Host moves off, Angel watching him, something clicking. Gunn points towards exit: GUNN ANGEL WESLEY GUNN ANGEL Angel picks up Lindsey's glass, holds it to the light. INSERT - GLASS - in the moisture on the outside, fingerprints. ANGEL (cont'd) EXT. WOLFRAM AND HART - STOCK - NIGHT INT. WOLFRAM AND HART - NIGHT It's late. We're GLIDING DOWN a hall. A Dark Figure moves in front of us. We follow it to a door marked NATHAN REED. The figure reaches into it's pocket, pulls out a fancy key card. Runs the card over a sensor on the door. The door pops open. We see the figure is Lindsey. INT. WOLFRAM AND HART - NATHAN'S OFFICE - NIGHT Lindsey enters, quietly closes the door behind him. He moves quickly past Nathan's pristine desk to Nathan's state of the art computer (possibly set flush in a wall or something cool.) Lindsey fires up the computer, glances at a framed photo of NATHAN, HIS WIFE, and a CHILD who looks a lot like Nathan. ON THE COMPUTER - The prompt asks for a password. Lindsey types in the word ZEN. The computer opens up and Lindsey gazes at Nathan's DESKTOP PAGE. Lindsey glances at a "To Do" icon, clicks on it. A list of items fills the page, including one called "Special Projects Reevaluation". Lindsey clicks on that one and finds a series of file folders projected on the page, including ones marked Lindsey McDonald and Lilah Morgan. Lindsey hits Lilah's file and it fills the page, her picture prominent in the upper corner. Lindsey moves the cursor to "Open?", hesitates for a beat, then hits "Close" and Lilah disappears, returning Lindsey to Nathan's desktop page. Lindsey types in the words "Fairfield Clinic" and in a moment another page appears, hopefully with a picture of the clinic that we might recognize in the corner. PRE-LAP: ANGEL INT. ANGEL'S HOTEL - LOBBY - NIGHT Wes, Gunn and Cor look up as Angel breezes in from the cellar or garden door. ANGEL Angel drops a file on the counter, Cor picks it up, studies it, heading for her desk as: ANGEL (cont'd) GUNN ANGEL CORDELIA ANGEL CORDELIA WESLEY ANGEL Gunn and Wes exchange a look, then: WESLEY ANGEL WESLEY ANGEL GUNN Beat. Wes and Gunn look at Angel. ANGEL CORDELIA ANGEL WESLEY GUNN ANGEL CORDELIA WESLEY ANGEL GUNN INT. WOLFRAM AND HART - HALLWAY - NIGHT Lindsey exits Nathan's office, quietly shutting the door behind him. He moves down the hall, turns a corner. LINDSEY'S POV - A small amount of light spills out of a half open door down the hall. He HEARS someone rummaging around, opening drawers, cupboards. He moves up, peers in: INT. WOLFRAM AND HART - SNACK ROOM - NIGHT This should be dimly and romantically lit, and possibly not white-walled. Lilah rummages around haphazardly, not really sure what she's looking for. She is scared and we need to feel her vulnerability. Lindsey watches unseen from the dark hallway. She settles on a candy bar, rips it open, takes a bite or two, drops it on the counter, rummages some more. She finds a glass, fills it with water from a water cooler and opens her purse. INSERT - PURSE Full of the normal stuff, plus a couple of prescription pill bottles and a .38. Lilah removes one of the pill bottles, drops two in her hand and takes them with the water. She leans on the counter, or looks around nervously, trying to calm herself, trying to breathe. LINDSEY - Watches, betraying no particular emotion, then backs into the dark hallway unseen. SPORTS ANNOUNCER'S VOICE UP along with crowd sounds as: EXT. CRAPPY APT. BUILDING - STOCK - NIGHT INT. CRAPPY APT. BUILDING - NIGHT A BEEFY GUY (SAM) watches sports (unseen but heard) on T.V., drinks a beer. There's a knock at his door. SAM LINDSEY (O.S.) Sam reacts to the "Wolfram and Hart", gets up, clicking off the T.V., moving to the door pretty fast for a big guy. He opens it, chain still on, revealing Lindsey in the hall. SAM LINDSEY Sam closes door, takes chain off, lets Lindsey in, glancing in the hallway before he shuts and locks the door again. LINDSEY (cont'd) SAM LINDSEY SAM LINDSEY SAM LINDSEY WHAM! Sam suddenly hits Lindsey just SO GODDAMN hard on the side of the head with a .45. Lindsey careens into a wall. Sam pistol whips him once, twice, then shoves him against a wall, gun at his throat. SAM Sam cocks the gun. Off Lindsey, END OF ACT TWO Continue on to Part
Two |
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Dead End Part 2 February 12, 2001 (Yellow) Written by: David Greenwalt |
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Act Three |
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INT. CRAPPY APT. BUILDING - NIGHT As before, Lindsey against the wall, Sam about to kill him. SAM LINDSEY SAM Sam's finger tightens on the trigger. Suddenly the window across the room behind him explodes in a shower of glass, a trash can flying through it. Sam swings the gun around -sees Angel (who just hurled the trash can through the window) outside. Sam fires, Angel leaps incredibly fast out of sight. Sam grabs Lindsey's neck, drags him across the room towards the window, using him as a shield. SAM (cont'd) LINDSEY SAM Sam edges closer to window, peering out into the darkness. SAM (cont'd) Sam looks for Angel's body -- doesn't see it anywhere -- suddenly a rope flies in, lassos Sam's neck, yanks him hard right out the window, Lindsey grabbing the gun as Angel (outside) holds Sam, the rope around the neck. LINDSEY ANGEL Lindsey points the gun towards Angel, more gesturing with it than threatening. LINDSEY SAM ANGEL LINDSEY ANGEL Sam looks from Lindsey to Angel: these guys are crazy. SAM Angel tightens the rope on his neck. Sam chokes as: LINDSEY ANGEL LINDSEY ANGEL LINDSEY ANGEL LINDSEY ANGEL SAM ANGEL SAM ANGEL LINDSEY SAM ANGEL SAM LINDSEY SAM ANGEL SAM INT. ANGEL'S HOTEL - NIGHT Cordy sits at her desk, head in her hands. Not doing so well. DOLLY to DOUBLE DOORS to Angel's (now Wesley's). office. Open just a crack. Perhaps we see a tiny bit of Wes and Gunn watching her. The doors quietly close, Cor doesn't notice. INT. ANGEL'S HOTEL - ANGEL/WESLEY'S OFFICE - NIGHT Wesley quietly closes the doors. He and Gunn move away from them, speaking in hushed tones. GUNN WESLEY GUNN They HEAR through the double doors: CORDELIA GUNN They look back towards the doors. INT. ANGEL'S HOTEL - COR'S DESK - NIGHT She's on the phone with Angel. CORDELIA THE DOUBLE DOORS are FLUNG! open by Wes and Gunn. CORDELIA (cont'd) Wes and Gunn look appropriately sheepish. CORDELIA (cont'd) WESLEY GUNN Beat, they exchange a look. CORDELIA Cor goes back to resting her head on her hands. EXT. STREETS - NIGHT Angel's car blows by. EXT. /INT. ANGEL'S CAR - MOVING - NIGHT Angel drives. Lindsey, grim, sits next to him. Angel glances at Lindsey, back at the road. ANGEL Lindsey glares at him, looks away. ANGEL (cont'd) LINDSEY ANGEL Nothing from Lindsey, Angel looks back at road, peppy: ANGEL (cont'd) LINDSEY ANGEL LINDSEY ANGEL The car roars off. EXT. LAB/TRAVEL AGENCY - NIGHT Angel's car roars up. Lindsey and Angel get out, head for the trunk. Angel opens it. Inside is Sam, bound tightly with rope and gagged with duct tape. Angel yanks him up, indicates the little travel agency across the street. ANGEL Sam nods, looking pretty scared. Angel drops him back in the trunk, picks up a battle ax, shuts trunk on Sam. ANGEL AND LINDSEY Head across the street towards the travel agency. ANGEL (cont'd) LINDSEY ANGEL LINDSEY ANGEL LINDSEY ANGEL Angel raises the ax, Lindsey steps back, fists up, thinking Angel is going to hit him. ANGEL (cont'd) Lindsey looks behind him as Angel hurls the ax (right past Lindsey's head) through the front window of the travel agency, shattering it. Various alarms sound. ANGEL (cont'd) CLOSER - The shattered window. Three or four GUARDS (blazers) come running. And the first one gets busted in the face by Angel. INT. TRAVEL AGENCY - NIGHT Angel and Lindsey come charging through the window. They take out the four guards in sudden and inventive Mike Vendrell fashion. After the baddies are down and out: ANGEL - moves around the office, trying to get a feel for something. LINDSEY Angel slides the desk back, pulls up a rug, revealing a large trap door. Angel opens the door. Lindsey moves up, looking down in. INT. HALL OF HORRORS - NIGHT Lindsey and Angel descend into a dark and frightening place. It's part high tech underground medical lab, part arcane stone pillared dungeon with glowing pagan symbols on the wall and several ancient looking tapestries. Each of the glass pods is numbered (44-230-OB NEGATIVE, etc.) a variety of tubes and lines feeding them. In these pods are naked human beings. Five pods on one side contain unscarred men and women. They are conscious but sedated. They gaze out blankly. On the other side, five pods with badly scarred people. People without noses and ears and limbs. In one there's just a scarred torso being kept alive by a heart and lung machine. And in one is BRADLEY SCOTT, missing a hand, a leg and an ear, a couple of open flesh wounds in his body where organs have been taken. Angel and Lindsey take in the horror, moving through. LINDSEY ANGEL Lindsey takes it in, struggling to keep his emotions in check. Angel is appalled and pissed. ANGEL (cont'd) LINDSEY ANGEL LINDSEY ANGEL Angel indicates Brad's pod. ANGEL (cont'd) Lindsey moves towards Brad. Angel stays close. LINDSEY ANGEL LINDSEY Lindsey looks at Bradley. He looks back. He looks at Lindsey, moving his lips, trying to say something. LINDSEY (cont'd) Brad manages to say: BRAD Lindsey looks to Angel, back to Brad. LINDSEY BRAD END OF ACT THREE |
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Act Four |
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INT. HALL OF HORRORS - NIGHT As before. Lindsey and Angel behold Brad in his glass hell. BRAD Lindsey looks to Angel. LINDSEY ANGEL Angel moves off to the "before" side, ripping a couple of tapestries off the wall. He walks up to a pod, rips off the tubes attached to it and PUNCHES the glass out. Mist escapes and Angel helps the poor guy or woman inside out, wrapping them in the tapestry. ANGEL (cont'd) CLOSE - LINDSEY - LOOKING AT BRAD In B.G., Angel busting pods and helping people escape. PUSH IN on BRAD, his eyes pools of sorrow. PUSH IN on LINDSEY. Lindsey puts his new hand on the glass between them. LINDSEY ANGEL SEES and quietly REACTS AS: Lindsey uses new hand to rip out every wire running to Brad's tube. The light inside slowly goes out -- we see a look of relief and even gratitude on Brad's face before he's swallowed up in blackness. Lindsey takes a breath, then heads down the length of the "after" pods, ripping out wires, then Lindsey starts busting up everything in sight as the horror-pods go black. ANGLE - ANGEL Rescuing a fourth or fifth person, wrapping a tapestry around them. ANGEL Angel looks back at Lindsey, smashing the place up good. Angel moves to a couple of LARGE OXYGEN TANKS cranks their valves open. Off the hiss and burst of misty air, INT. TRAVEL AGENCY - NIGHT Lindsey, Angel and the five they saved (bundled in tapestries) head for the door; Lindsey slows, looking back towards the open trap door in b.g. ANGEL LINDSEY ANGEL Lindsey looks at Angel, then hustles the people out as Angel wads up a bunch of papers from the office, pulls a lighter out of his pocket, ignites them. He moves to the trap door, looks down. CLOSE - ANGEL As he drops the burning wad. EXT. TRAVEL AGENCY - NIGHT Angel exits, moving fast. As he clears frame, the whole fucking place blows sky high. EXT. L.A. - STOCK - NIGHT TO DAY INT. HOTEL - DAY Cor, Gunn and Wes, some of them with Starbucks-like coffee cups, are talking in hushed tones. GUNN WESLEY CORDELIA They hear footfalls on the stairs. WESLEY Angel descends. It's hard to tell his mood. CORDELIA WESLEY GUNN ANGEL The three exchange a look: uh oh. WESLEY ANGEL I'm not saying Wes hollers exactly like a girl as Angel bursts out laughing. ANGEL (cont'd) CORDELIA She hits him with a book or something. ANGEL GUNN Gunn slips the stake he had in his hand back under the reception desk. ANGEL CORDELIA ANGEL CORDELIA WESLEY CORDELIA Off our group, a little subdued, INT. WOLFRAM AND HART - CONFERENCE ROOM - DAY Pretty dramatic lighting now. A (blazered) SECURITY GUARD stands in the general vicinity of Lilah and Lindsey. We might catch a glimpse of the .45 he's packing. At the table, Lindsey, Lilah, Nathan, several other (older) LAWYERS of Nathan's rank. We should get the feeling of a senior review. CAMERA MOVES over the gleaming table, holding Lindsey VERY CLOSE. Hard to tell what he's thinking, there's tension there. Lilah is scared shitless. NATHAN LILAH She fumbles with her purse. Nathan nods at Guard who moves behind Lilah, reaching inside his jacket. Lilah's so shook she can't get her purse open. LILAH (cont'd) Lindsey puts his hand on Lilah's hands on top of her still unopened purse. LINDSEY NATHAN LINDSEY And now Lindsey's whole demeanor starts to change as he gets up, having a damn good ol' time with the tight ass lawyers. LINDSEY (cont'd) Lindsey musses (the most distinguished man there) CHARLIE's hair up in a completely inappropriate way. LINDSEY (cont'd) LINDSEY (cont'd) NATHAN Guard starts to bring out gun. Lindsey swings around, slamming the gun out of the Guard's hand, catching it with his "evil" hand. LINDSEY Lindsey FIRES a round into the guard's foot. Lilah literally jumps out of her seat. Guard falls to floor, howling in pain. LINDSEY (cont'd) BLAM! BLAM! He shoots up the water pitcher and glasses behind them. LINDSEY (cont'd) Now he's moving around the table, gun in hand, having the time of his life. They all watch him closely. LINDSEY (cont'd) The men look even more alarmed. Lindsey moves to Lilah. LINDSEY (cont'd) She jumps a little as he clearly -- but out of frame -- pinches her backside. She turns, now we're shooting over her to him. LINDSEY (cont'd) Points to his hand, mouthing but not saying: "evil hand, evil hand..." And he's gone. PUSHING IN ON LILAH, realizing Lindsey just saved her life. She takes in some air, able to breathe again. NATHAN (O.S.) EXT. LINDSEY'S APT. - NIGHT A pair of cowboy boots walk down the sidewalk. PAN UP. Lindsey, carrying a duffel bag and a guitar case, dressed in jeans and Okie shirt, heads for his old pick-up. He passes the front cab, drops guitar and duffel bag in back, turns back to get in, stops. LINDSEY At the rear of the truck we now see Angel. He walks around from the tail-gate, running his hand along the truck, as Lindsey turns to face him. ANGEL LINDSEY ANGEL LINDSEY ANGEL LINDSEY Beat. LINDSEY (cont'd) ANGEL LINDSEY ANGEL LINDSEY He's sincere, it's his way of saying goodbye. Angel responds in kind: ANGEL Lindsey gets in, guns the engine, roars away. As he does we see that Angel has attached a large sign with big bold letters to the tailgate: COPS SUCK. Lindsey's car disappears down the long street. Angel - watches it go, turns and walks off into the night. THE END |