Heartthrob July 17, 2001 (Blue) Written by: David Greenwalt Teaser EXT. L.A. - STOCK SHOTS - DAY Bring us into the big splashy city. EXT. ANGEL'S HOTEL - STOCK? - DAY INT. ANGEL'S HOTEL - DAY TECHNO-CRANE looks down the long upstairs hallway. A small face peers out of the last door. CLOSER - FRED Looks out for a moment -- HEARS the sound of the front door opening -- ducks back in her room. TECHNO-CRANE ARMS DOWN Into the vast lobby, carrying WESLEY, GUNN and CORDELIA in. They are all armed and bedraggled (some ripped clothing, demon goop on clothes) from battle. CORDELIA I understand people who drink too much, I understand people who put a little note on the parking meter saying it's broken when it's not -- I don't understand people who worship demons. GUNN 'Specially a Lur-ite demon. The stink on that thing -- you're a prince of the underworld, bro', take a jacuzzi once in a while. Wes and Gunn wipe off weapons, put them away, under: WESLEY It's sad. The only way some people can find a pÕurpose in life is by becoming obsessed with demons. By the way, Gunn, technically that wasn't a Lur-ite demon, it was a Mur-ite, I subspecies of the Lur-ite, the males sport a small telltale fin just behind the third shoulder. Wes points to his hip. Beat. GUNN So glad to know we're not the sad people obsessed with demons. WESLEY We have to be a little obsessed, we're detectives who specialize in these things. Cordy catches sight of herself in a glass case (or pulls out a small mirror): mussed hair, grimy face. Tries to clean up. CORDELIA But we're not sad. WESLEY No. We're a happy and rambunctious lot if I ever saw one. (off their looks) Not going to humor me even a little, are you. I realize we sacrifice a great deal of our social lives, we have to, our work demands it. GUNN True . Who's got time for love when you're out there doin' it with the demons? (beat) Didn't that come out sad and wrong. I need to get out more. Speakin' of, anyone talked to ×Fred lately? Wes and Cor glance upstairs. CORDELIA Not " talk . " Glimpsed. She pokes her head out of her room once in a while. WESLEY Nice girl. CORDELIA Nice but not making the giant strides towards mental health. She's been hibernating up there for three months now. WESLEY Ever since Angel went away. She's very attached to him. GUNN Angel groupie, I get that, he rescued her from Pylea. CORDELIA I miss Pylea. She gives up on her reflection, moves to her desk. WESLEY I would think you might. You were there a week, they made you their Queen. Fred was there five years, she was a slave, a runaway, they nearly chopped her head off, she spent years hiding out all alone in that cave. GUNN She survived, girl's strong. Wesley nods. CORDELIA Girl's trading in one cave for another, how strong is that? WESLEY When Angel comes back . . . GUNN When is he comin' back, anyway? CORDELIA Soon as he works through his grief a little. GUNN A little? Buh - Ø CORDELIA Don't say the "B" word. GUNN The "B" word was the love of his life -- and he's what, two hundred and fifty? -- that ain't a short life. This grief-work's gonna take more than a vacation in Sri Lanka. WESLEY It's not a vacation, it's a spiritual retreat, at a monastery. GUNN Angel and a buncha monks in the middle of nowhere: there's a party. He shoulda got hammered and gone to Vegas like I told him. WESLEY He doesn't need a lap dance, he needs some peace and quiet so he can work through this. EXT. TIBETAN-LIKE MONASTERY - DAY 4 C.G.I. or STOCK of an ancient monastery, cradled in the high mountain walls of a distant land. All seems peaceful from here.. . INT. TIBETAN-LIKE MONASTERY - DAY Huge two story place with interior balconies, ancient carvings and a KICK ASS BATTLE raging. A KICK ASS battle that should be short with two or so really cool moves. The place is littered with DEAD and DYING monks. ONE LONE FIGURE (his back to us) battles the reâmaining MONKS. The monks are armed with Long daggers, fighting sticks and swords. They wear black, vaguely Ninja-like clothes. The LONE FIGURE wears white. A monk, sword raised high, charges the lone figure from behind. CAMERA CHARGES with him. Lone figure turns at the last instant as our attacker is on him, revealing - ANGEL - His white outfit is stained red with blood from a few (tasteful) cuts. Attacker swipes sword at Angel who takes another cut on his white outfit -- Angel ducks another swipe, kicks Monk in groin, dodges two other attackers by leaping straight up in the air, grabbing the floor of the balcony above, pulling himself up. Where he sees more monks charging. He leaps off the balcony, catching onto a long rope hanging down from above. We hear the monastery's bell ring as Angel swings across the floor, kicking a monk or two en route. He looks to the opposite balcony. Two monks race up, swords pointed right at him -- he's swinging towards them fast. He reachesï down, grabs the loose part of the rope below him, whips it out in front. THE ROPE - whirls around Monk # 1's neck. Angel pulls. Monk # 1 is yanked diagonally off the balcony, falling across Monk # 2 ' s sword as - ANGEL flies in, kicking Monk # 2 in the face. As Angel fills frame, engaged in battle, DISSOLVE TO: EXT. TIBETAN-LIKE MONASTERY - NIGHT By "Ext. Monastery" I mean two giant wooden doors as they're thrust open, revealing Angel, bloody, beaten, triumphant, walking out, travel bag in hand. Slew o ' dead and beaten monks on floor in b.g. Several PILGRIMS are huddled in front with offerings. They look up, startled. (NOTE: We'll shoot Angel's and Pilgrim's dialogue in Tibetan and English.) PILGRIM (in Tibetan, sub-titled) What happened? [Mona wada uney?] ANGEL (subtitled) (beat) Bad monks. [Narakka saadu la1 Shoulda gone to Vegas. [Vegas yannatta thibune . ] END OF TEASER Act One EXT. L.A. - STOCK SHOTS - DAY INT. ANGEL'S HOTEL - LOBBY - DAY A few days later. Gunn and Wes böusy with stuff. Cor enters, several large rat traps in hand. CORDELIA Whose turn is it to set the traps? Wes and Gunn each point at the other. GUNN His. WES His. CORDELIA You guys amaze me. You'll fight hell beasts but you're scared of rats. (crosses to cellar) GUNN Hate rats. Their beady eyes - WESLEY And their beady teeth -- (takes tiny bites) GUNN -- and their tails all woosha-woosha- woosha - CORDELIA Well aren't you two just the biggest scaredies I ever - Car opens the cellar door and - CORDELIA (cont'd) WHAH! ! There's Angel. Wearing casual traveling clothes (not white but not black.) Bag in hand. Cordy hugs Angel. CORDELIA (cont'd) You're back -- he's back! Wes and Gunn hurry over, hugs and greetings are exchanged, genuine affection amongst the gang. WESLEY Welcome home. GUNN Good to see you, dog. ANGEL You too, missed you guys. As they head into lobby: CORDELIA So . . . I hope you had a good retreat, all peaceful and meditate-y. ANGEL It was all rightæ. You know, until the monks turned out to be life-sucking Shur-hod demons. WESLEY Oh. GUNN (sing-song) "Vegas". ANGEL Yeah. CORDELIA Well the point is, you worked on things, it wasn't like a holiday where you'd come back home . . . to your friends ... you know, with some small mementoes of your trip. ANGEL Are you fishing for gifts? CORDELIA Yes. Angel digs a shrunken head out of his bag, hands it to her. CORDELIA (cont'd) Ohhh, a small human head. Angel grabs it, tosses it to Gunn, hands her something wrapped in tissue, hands Wes something wrapped in tissue. GUNN (re: head) Cool. Cor unwraps a pendant (pretty exotic stone). Wes unwraps a shiny, filigreed dagger. All three are like kids at Christmas. CORDELIA (puts pendant on) It's gorgeous! Look how it brings out my breasts! (off their looks) Like you weren't al1 thinkin' it. Thank you. WESLEY Sixteenth century, Murshan dynasty..? (Angel nods) I always wanted one of these, I never thought I'd.. . (fights ëhis emotions) J just can't wait to kill something with it! (to Cor) Any visions brewing? Cor shoots Wes a look as: ANGEL Place looks good. You guys have a busy summer? WESLEY Not too - GUNN Couple a quick cases. CORDELIA What are you talking about? We had a gi-normous summer, I had more visions than a psychic hot line and we were nearly killed a buncha -- ohhhh, we're trying to make Angel feel better about bailing on us all summer -- can we get some hand signals or something for these things? Angel looks at them fondly for a sec, turns, looking upstairs: ANGEL How's Fred? CORDELIA Good. She's doing well. Cor throws hand signals at Gunn and Wes behind Angel's back. ANGEL Hasn't come out of her room, huh. CORDELIA Not what you'd call frequently. We send a lot of tacos up there. ANGEL I'll settle in and check on her, then you guys can bring me up to date. It's really good to see you guys. He heads upstairs. Beat. Cor watching him go, concerned. WESLEY He seems ïa lot better than when he left. CORDELIA (no he doesn't:) Uh-huh.. . GUNN (holds up head) I think I'll call him Stanley. (Stanley's voice:) Oh no, what's happening? Is everyone growing or -- am I shrinking?! EXT. L.A. - STOCK SHOTS - DAY TO NIGHT INT. ANGEL'S HOTEL - FRED'S ROOM - NIGHT It's dark in here. The windows are covered with black-out paper. The walls are covered with Fred's neat scrawl -- formulas, sayings, theories -- as though her rather large mind were displayed all around the room, WE START CLOSE on the wall, read the Words: "time,. space and plexiglas", discover a hand, finishing the sentence, " listen , listen, listen". PULL BACK TO REVEAL FRED Writing. KNOCK on the door. FRED Oh hi, how are ya'? I'm just fine, doin ' real good here, no need to worry about me but thanks for checking - ANGEL (O.S.) It's me. FRED Angel? She scurries to the door, opens it, revealing Angel. FRED (cont'd ) Hey! Hey! You're. . . well, hey there! She reaches as though to hug hñim, then decides it might be too forward, pulls back. FRED (cont'd) It's good to -- did you have a nice - Fred steps back, swipes some clothes and taco wrappers off a chair. FRED (cont'd) Here, I'll make some room. Angel just stands at the door. She looks up. ANGEL I can't come in - FRED 'Course not, silly me, you're worn from your trip, you go rest, we'll catch up later when you're- ANGEL No, Fred, I want to talk to you, I just can't come in unless - FRED --I invite you! Instead of being rude. Come in, come in - (she gestures, he enters) It's really just a smidge of vampire in you far as I'm concerned but the universe has rules -- I'm a big believer in rules and theorems, formulas -- ANGEL (glances at walls) I get that. FRED Aphorisms leave me a little dry. "You can lead a horse to water but you can't make him drink!" (laughs) Lemme tell ya', you bring a salt lick and a two by four? That horse'll drink. ANGEL How are you? FRED Yeah, good. Everything's pretty much like wîhen you . . . you know, went away on your trip. ANGEL Sorry I left so suddenly, I just . . . FRED Hey, no, you had things to take care of . And it's not like I need a baby sitter or -- you're stickin' around now, right? ANGEL I am. FRED Oh good. Angel moves to her most recent writing on the wall. ANGEL "Listen, listen"... What are you listening for? FRED The click . Angel nods, waits. FRED (cont'd) When it all comes together and makes sense, there's like a click in your brain and you understand things again. ANGEL What happens if you run out of wall space before you get the click? FRED Well I still got the ceiling and the floor and I... (vulnerable) I don't know.. . ANGEL Fred, you spent five years in a place where humans could only be slaves or fugitives. I know that wasn't a picnic. FRED No. There was no picnic, no tacos -- fair amount of panic. ANGEL But you're home now, you're safe. You can come out of your room. I know it's just going to take a little time. õ FRED I have a whole treatise on that. (moves to wall, pen in hand) I seem to take a lot of it to do about anything these days . . . (scribbles. talking to herself) . . . time and space, both measurable - and malleable -- but which perception is more real, hah hunh? Angel gently takes the pen from her. ANGEL (gently) Fred, you don't have to write absolutely everything down. FRED Oh, right. God, I should write that down. (laughs; beat) ANGEL You just need to take some small steps. Like coming downstairs and hanging with us for a little while. She looks at door, scared. He opens it, steps into the hall ANGEL (cont'd ) What do you say? She looks down at HER FEET. FRED Small steps. ANGEL There's nothing to be scared of. You're safe here in the hotel. She gathers strength from him; takes a step and SUDDENLY, from downstairs, they HEAR CORDELIA SCREAMING BLOODY MURDER. ANGEL (cont'd) Urn, hold that thought, I'll get back to you. He tears off. INT. ANGEL'S HOTEL - LOBBY - NIGHúT TECHNO-CRANE again as Angel tears down the hall. ANGLE down to the lobby where Cor lies screaming on the floor in a DOOZY OF A VISION as Angel bounds down the stairs, Wes and Gunn running from two other directions. The three men converge on her. Angel gathers her in his arms. ANGEL What is it, what do you see? CORDELIA Three ... no, four vampires ... INTERCUT - HER VISION INT. DORM ROOM - NIGHT Four VAMPS wreak havoc on a college party. Young folks scream and die. One of the vamps is a beautiful young woman, ELISABETH. CORDELIA . . . crashing a party, killing ... they're going to take a couple of people with them... ANGEL Where? VISION CAM BARRELS at pennants in room: Wilson Wildcats. VISION CAM BARRELS at sign in hall: BONNER HALL. CORDELIA Wilson College. Bonner Hall. VISION CAM BARRELS at open door -- the numbers 918. CORDELIA (cont'd) Room nine eighteen . . . Gunn is already tossing stakes and weapons to Wes. ANGEL You gonna be all right? CORDELIA I'm fine, go. Go! As öthe three tear out, and Cor looks anything but fine: CORDELIA (cont'd) Watch out for the girl, she's the worst of 'em. FLASH - ELISABETH smashes one college guy, bites another. EXT. COLLEGE CAMPUS - STOCK - NIGHT INT. DORM ROOM - NIGHT A bloody fist holds a crumpled FLIER: BACK TO SCHOOL BLAST, COME ONE, COME ALL. Gunn leans down, pulls flier out of dead guy 's fist. GUNN So much for inviting everyone . . . Wes kneels down nearby, feels a pulse as Angel picks his way over a few blood-stained bodies. ANGEL Some of them are still alive. Wes grabs the room phone, dials 911. WESLEY (into phone) There's been an accident. We're going to need two, maybe three ambulances . . . CAMERA MOVES WITH ANGEL to window as Wes continues in b . g . WESLEY (O.S. ) ÉWilson college, Bonner hall, room nine eighteen. Hurry. Angel opens window, looks out into the night. Turns to Wes and Gunn as Wes hangs up phone. ANGEL They're heading East on Sixth street. Take the car. GUNN What are you gonna - ò ANGLE - Angel is now in vamp face. He turns and leaps out the window. GUNN (cont'd) Oh. EXT. ROOF - NIGHT LONG SHOT - Angel STUNT DOUBLE, lands on a roof, runs like hell, leaps off the other end. Depending on the location, we might see him land on the second roof and keep on going. EXT. STREET - NIGHT A CONVERTIBLE roars past. A VAMP at the wheel (VAMP ONE ) , Elisabeth (the girl vamp, LOCKET around her neck) in the passenger seat, a YOUNG MAN HOSTAGE from the party between them. In back seat, TWO MORE VAMPS, a YOUNG WOMAN HOSTAGE between them. YOUNG MAN HOSTAGE Please.. . ELISABETH Hmmmm? YOUNG MAN HOSTAGE Please don't hurt her. Elisabeth looks to girl in back. ELISABETH You love her. (guy nods) You'd do anything for her. (guy nods again) What's your name? YOUNG MAN HOSTAGE Bobby. Elisabeth leans in, whispers in his ear. ELISABETH Well Bobby, what if we just kill her and let you go. The guy can't help but hope that's true. ELISABETH (cont'd) Come on now, life's aböout choices. You or her, what's it gonna be? YOUNG MAN HOSTAGE Her . . . take her.. . oh god . . . ELISABETH Gee Bobby, you call that love? (strokes his neck) We get home, I'll show you what love is. Suddenly a black shape leaps on them from above. ANGLE - Angel (VAMPED) hits the driver from above. THE CAR - swerves out of frame and we HEAR a CRASH as - GUNN AND WES - roar up in ANGEL'S CAR. They leap out, armed, run to - THE CRASHED CAR Angel pulls Guy and Girl Hostage out. They freak at the sight of him. ANGEL Run. They do. Angel battles Vamp One. Gunn gets kicked hard in the face by Elisabeth, goes down. She turns to whomp on Angel as Wes engages the other two vamps. Gunn gets up and helps Wes. It's now two against two. It's a rough flght -- killing vamps is not easy -- but Gunn and Wes prevail while: Angel fights Vamp One, Elisabeth attacking him from behind. Angel beats the crap out of Vamp One who, when Elisabeth blind-side punches Angel, takes the opportunity to run away. ö Elisabeth punches and kicks Angel like crazy from the back. He reaches behind, grabs her by the locket chain, swings her around and stakes her in one neat balletic move. SLOW MO - THE CHAIN BREAKS, the locket CLATTERS to the ground. Angel looks from Locket to Elisabeth, recognizing her. REGULAR MOTION - ELISABETH - stake in her heart, gazes at Angel, deeply surprised. ELISABETH Angelus ? She dusts. Angel DE-MORPHS to human, stunned by this flash from his past. END OF ACT ONE Act Two EXT. CORDELIA'S APARTMENT BUILDING - STOCK - NIGHT INT. CORDELIA'S APARTMENT - NIGHT She unlocks the door, lets herself in. She feels just awful. She drops her purse. Stumbles towards bathroom. An UNSEEN FORCE (Dennis the Ghost) shuts and bolts the door. INT. CORDELIA'S APARTMENT - BATUROOM - NIGHT She stumbles in, opens medicine cabinet. We see a hefty array of prescription and over-the-counter pills. She grabs a couple of bottles as - THE LIGHT SWITCH - Clicks on. CORDELIA Too bright ... The light swiútch clicks off. A small and softer table lamp CLICKS ON. CORDELIA (cont'd) Thank you, Dennis . . . how'd I ever live without a ghost? Cor shakes some pills into her hand. Dennis drops the stopper into the tub, turns on the cold and hot taps. CORDELIA (cont'd) Hot, really hot, pleaseÉ Cold tap turns down. Cordy swallows some pills, leans on sink . She's hurting bad. Dennis floats bubble-soap over pouring (and steaming) water. Bath fills with water and soap bubbles. CORDELIA (cont'd) (on verge of tears) These visions . . . are killing me... it's getting worse every time. She breathes for a moment. She slips out of her blouse - as it falls, Dennis catches it, hangs it on the door. We see her skirt hit the floor, Dennis picks that up, too. From the back AND DISCREETLY, we see Cor slip into the hot, bubbly tub. She puts her head back, trying to relax and ease the pain. A LUFFA floats up, hangs in front of her. She opens her eyes, sees it, leans forward. The luffa starts massaging her back. CéORDELIA (cont'd) Oh Dennis. I don't know what I'd do without you. O.S. her PHONE starts RINGING. CORDELIA (cont'd) No.. . The RINGING of the phone BECOMES: EXT. MARSEILLES STREET - 1767 - NIGHT The RINGING of FIREBELLS in FLASHBACK # 1 EITHER A STOCK SHOT OR A BACK LOT SHOT. SUPER: MARSEILLES, 1767. AN OLD FASHIONED FIRE TRUCK, pulled by horses, gallops past. CRANING DOWN, we see a BURNING HOME (or the light effect of one) in b.g . as CAMERA SETTLES in the quaint BUSINESS STREET. Shops closed at this late hour. ANGEL (long hair wig) and DARLA, both in period dress hurry o u t of an alley or side street in the company of JAMES (25, passionate, romantic, dangerous and sexy) and ELISABETH (the vamp Angel killed in Act One.) Nobody's in vamp face at the moment. Angel and James carry travel bags. James and Elisabeth are kissing and laughing and crazy in love. DARLA (dryly) Young love. ANGEL Give it a century. JAMES A century? A mere hundred years? ELISABETH (touching hiís face) I would need a thousand to sketch the perfect plain of your face. JAMES And I would need ten thousand just to name the color of your eyes. ANGEL They're blue, but take your time. In fact don't, we've a ship to catch and Holtz may not be far behind. ELISABETH You know neither poetry nor love, Angelus. DARLA He knows other things, marvelously vile and ripping things . . . didn't we eat a poet in Madrid? ANGEL Troubadour. He sang of noble death, yet when his own came.. . DARLA Not even a rhyme, justÉ (fondly) É howling. JAMES (looks at shops) Everything's closed. (to Elisabeth) Pity. I want to spend some of the Count's gold on you. ANGEL We'll need it for the voyage. ELI SABETH The Count de Leon was substantial and delicious: I'll be full for a week. ANGEL The fire was excessive. JAMES Of course it was! We burned his villa to the ground! ELISABETH We left a mark, made a statement ANGEL Ahh, a statement, as in here we are, Holtz, please hunt us down. JAMES Ohó who cares about Holtz. DARLA You would if you knew him. He's killed scores of us, hunted Angelus and me across half of Europe. God, if he follows us to Morocco, what then, the New World? JAMES I say we stay and fight the bastard. ANGEL Yes, but you're an idiot. JAMES I don't believe he's the most formidable vampire killer in the world, "none lives to tell the tale" and all. You lived to tell the tale. ELISABETH I heard he trapped you both in a barn and - (to Darla) -- you fled, leaving him to die. Darla and Angel exchange a look. JAMES It's not true? ANGEL It's entirely true. (utter admiration) She hit me with a shovel, wished me luck and rode off on our only horse. DARLA Life's full of surprises. ANGEL No darling, life's boring, you're full of surprises. DARLA Of course when he finally caught up to me in Vienna I had to pay for my sins. Again and again. ANGEL (to James) Can you even begin to fathom the things we did? Of course not ... (disdain) . . . you're in love. ô Elizabeth has stopped, a little behind them, gazing in a SHOP WINDOW. James hurries to her. ANGEL (cont'd) Let's not dawdle, children. ELISABETH It's so pretty ... James follows her gaze to a LOCKET inside the store. JAMES No it's not. . . ELISABETH (hurt) James. . . JAMES Not nearly as pretty as it's going to be.. . James smashes his hand through the glass, collapsing the window, making a great deal of noise. He grabs the locket (yes, the one Angel ripped of her neck as he staked her) and clasps it around Elisabeth's neck. JAMES (cont'd) Éwhen it's worn by the prettiest one of all. ELISABETH I adore it! I'll never take it off. A few GENDARMES come running around a corner, blowing whistles, batons raised. Angel turns to Darla: ANGEL And this is where love gets you. JAMES Lisbeth, you and Darla get to the ship. We'll join you there. Let's give 'em a rout, what do you say , Angelus? ANGEL I'd say "you're an idiot" but I'd just be repeating myself, wouldn't I? Angel traôdes a look with Darla before she runs off with Elisabeth, disappearing round a corner as James taunts the approaching Gendarmes. JAMES C'mon you bloody frogs, I broke the window and I'll break your skulls! Suddenly the Gendarmes stop. James turns to Angel, grins. JAMES (cont'd) See, all you have to do is stand up to them. (shouts) WHAT ARE YOU AFRAID OF?! ANGEL Not usÉ James, sobered by Angel's tone, turns back as a HORDE OF MEN, THREE ON HORSEBACK, the REST on foot ( long coats, armed with stakes and crossbows) charge past the Gendarmes, surrounding Angel and James. Though these men are mostly Continental, there's something of the Wild West about them. They're tough, ruthless and oh yeah, they really hate vampires. Their LEADER sits tall and grim in the saddle, his eyes and heart made of steel. WE PUSH IN, getting our first look at HOLTZ . Angel turns to James who's looking less blustery now. ANGEL (cont'd) Hope she treasures that locket. CUT TO: INT . ANGEL'S HOTEL - LOBBY - DAYõ Angel fingers the locket, having just related the story of James and Elisabeth to Cor, Gunn and Wes. GUNN (rapt ) Then what? ANGEL Huh? GUNN What happened with Holtz? ANGEL Oh, that's another story. GUNN We got time. WESLEY I'm not so sure we do. CORDELIA (getting it) No. 'Cause James and Elisabeth had the big forever love. If he's still around and he finds out who killed herÉ (looks to Angel) WESLEY He's going to want revenge. ANGEL If he's still around. If they're still in love. It was a long time ago. CORDELIA Yeah, two hundred plus years and the girl was still wearing his locket. You see me wearing Curt Eisenthorpe's football ring or Xander's Meet Medallion? All three men look at her . Gunn turns to the guys. GUNN I'd like to take this one. (to Cor) SoÉwhat kind of meat did he have that earned him a medallion? CORDELIA Not that kind of meat -- swim meet, he was on the swim team. Get your mind out of the gutter. All of you! WESLEY As to James, Gunn and I'll hit the stòreets, see what our sources can tell us . CORDELIA (to Angel, proudly) Uh-huh, see? We've got sources now. ANGEL Wow. You're almost like real detectives. GUNN Hey. ANGEL Kidding. You should probably check it out. James lived for that woman. EXT. STREET - DAY Where Angel killed Elisabeth. The vamps' crashed car is being towed. WE PUSH PAST into a visually interesting indoor/outdoor location. Moving from bright daylight to DARK SHADOWS. Where James stands watching; he's grief-stricken, his eyes and body racked with pain. Vamp One (who ran away during the fight, sports some bruises) moves cautiously up. VAMP ONE We did everything we could but they were. . . he was too much for us . JAMES Angelus. VAMP ONE Yeah, one of our own hunting u s down. It's sick. JAMES How is it possible? The Angelus I knewÉ VAMP ONE He's not the same. Gypsies cursed him with a soul a hundred years ago or so. He's got a business here in L.A., he kills us for money! JAMES She's gone . . . VAMP ONE Iñt was horrible. She was bringin' you two ripe and rosy humans and he just flew out of the sky and . . . JAMES And you ran . VAMP ONE No. I fought, until I saw it was hopeless. I thought you'd want to know how it happened, who did it. JAMES And now I do. VAMP ONE (getting it) You want to be alone. (starts to go) JAMES No. (Vamp One hesitates) I want to die. Vamp One nods sympathetically until James' arm shoots out, grabs him. Not looking at Vamp One, James stares off to where Elisabeth was killed, thrusting Vamp One into the sunlight. Vamp One bursts into flames and DUSTS. James turns into the darkness and weeps. INT. ANGEL'S HOTEL - LOBBY - DAY CLOSE - THE LOCKET - And the daguerreotype of James and Elisabeth inside. WIDER - Angel sits in a far corner of the lobby, opening and closing the locket, not really looking at it, deep in thought, his back to: COR - IN THE DEEP B . G . Working behind the registration desk, glancing at him every once and awhile. ANGEL What. CORDELIA ðWhat? ANGEL What do you want to say? CORDELIA Me? Nothing. What makes you think I want to - ANGEL Because I know you. CORDELIA (moving towards him) It's really none of my business. ANGEL And that always stops you. CORDELIA Actually it is my business-our business --'cause we're trying to do a job here and what affects you affects me and anyway I don't like to see you suffer more than you have to . . . I don't think you should blame yourself or feel guilty for her death. ANGEL I don't. CORDELIA Good, I'm glad to hear it. ANGEL I didn't even know who she was when I killed her. CORDELIA (re: locket) Not her. Angel. ANGEL Oh, you want to talk about. . . CORDELIA She was the love of your life and she died. Beat. CORDELIA (cont'd) And you weren't there when it happened, you couldn't help her fight . . . you couldn't save her . . . you couldn't die with her. Angel just stares, neither admitting nor denying it. CORDELIA (cont'd) This is one of those talks where I'm gãoing to do all the talking, isn't it. (beat) Well, I'm not going to pry, it's not my style. He looks at her. CORDELIA (cont'd) Okay, it's totally my style, I can just tell I'm not going to get anywhere right now. But you have to tell me one thing -- you owe me this much -- what the hell happened with Holtz? Off Angel, EXT. MARSEILLES STREET - 1767 - NIGHT FLASHBACK # 2 HOLTZ - climbs off his horse, cross bow in hand, moves to Angel and James. HOLTZ Where is she? ANGEL And how's your health then, Holtz , mine's good, thanks for asking. HOLTZ Where is she. ANGEL (aside to James) He wants Darla, it's a bit of an old thorn in his side, what she and 1 did to his family. (to Holtz) Tasty lot, specially the little ones. Your wife kept repeatin' on us, 'course I repeated on her a few times meself. Holtz smashes Angel in the face. HOLTZ There are worse things than death, Angelus. I can keep you alive for months, years if I've a mind to. Now you're going to tell me wheræe she is. ANGEL Lord yes I'm going to tell, I'm not arguing, I don't want to suffer needlessly. (points to James) She's with his lass- JAMES Shut your mouth you bloody coward! ANGEL (to Holtz, re : James) He's in love, it's all very passionate and befuddling. How 'bout I give you him the women -- in those hoop skirts how hard can they be to fight? They're down at the docks - James leaps on Angel smashing him in the face. JAMES I'll kill you! They trade blows, falling into the horses, confusing the men -- exactly what Angel wants: a chance to escape. HOLTZ Kill them! Arrows fly, Angel takes a couple, battling James and posse. Angel spooks Holtz's horse so it runs off, pulls a man off one of the two remaining horses, leaps on it -- James leaping up after him - JAMES Come back here! --the two of them gallop off in the confusion. Holtz pulls the remaining rider off his horse, climbs on it. HOLTZ Fan out! Holtz takes off after them, the men racing down various sträeets to cut them off. EXT. ANOTHER MARSEILLES STREET - NIGHT Angel (two or three arrows in him) and James gallop up. Angel reigns in the horse. Looks back. ANGEL I think we lost- James knocks Angel off the horse to the ground, takes the saddle. JAMES I'd kill you where you lay if I didn't have to get to Lisbeth. ANGEL Excuse me, I'm laying here with numerous arrows in me saving your life. JAMES I'll be sure and tell Darla the utter lack of concern you had for her. James reigns the horse around. ANGEL Buy her a hat, she loves hats. James gallops off . Angel gets to his knees. ANGEL (cont'd) Why are people always riding off and leaving me? Am I a bad blokeÉ He pulls out one of the arrows, it hurts like hell. ANGEL (cont'd) Ahhh! I don't think soÉnot when you get to know me. (next arrow) Ahhh! I need a Doctor. Angel collapses, falling out of frame on his face. EXT. MEDICAL OFFICE BUILDING - STOCK - DAY INT. DOCTOR EREGSON'S OFFICE - DAY A normal medical ofîfice with an antique feel. Rare organs preserved in jars , etc. James bursts through the door, SANDY, the receptionist, hot on his heels. SANDY Wait a minute, you can't go in there, he's sloughing . . . DR. GREGSON sits at his desk calmly pulling his face off-- the hideous mottled demon skin that covers it, that is. SANDY (cont'd) I'm sorry Dr. Gregson, I tried to tell him - Dr. Gregson pulls the skin off revealing a fresh, moistly glistening human face. DR. GREGSON That's all right, Sandy. Dr. Gregson turns to James, scrunching up the molted demon skin in his hand. DR. GREGSON (cont'd) I go through this every month, just like a woman. Dr. Gregson drops the skin in a silver bin marked: MEDICAL WASTE. DR. GREGSON (cont'd) So, I gather this is a matter of some urgency? JAMES I need it. DR. GREGSON "It"? JAMES The cure. DR. GREGSON You're aware of the price? It's a steep one. JAMES I've already paid it. James stares grimly back at the kindly Dr. for a moment. DR. éGREGSON All right, then. Sandy, let's prepare the patient. CUT TO: INT. SAME PLACE - A LITTLE LATER James, shirt off, lies on an operating table right there in Dr. Gregson's office. An I.V. feeds his veins with some colored liquids (yellow and blue for example). Sandy makes preparations as Dr. Gregson studies some ancient, sharp and scary looking surgical tools. He selects one, leans over James. DR. GREGSON Now, James, this shouldn't hurt . . . Dr. Gregson starts cutting (discreetly) James' chest open. (Carry this scar for later scenes if we see it through wardrobe.) It hurts like hell, but James remains stoic. DR. GREGSON (cont'd) . . . too much. END OF ACT TWO Act Three EXT. L . A . - STOCK SHOTS - DAY INT. CARITAS - DAY ON STAGE - our beloved HOST is back! And he's crooning: HOST (sings) "I left my heart, in San Francisco.. ." CLOSE ON A SIGN - "HAPPY HOUR SPECIAL - TWO DRINKS, ONE SONG, NO WAITING!" PAN FROM SIGN TO GUNN AND WES - AT THE BAR Along with a spaórse "Happy Hour" crowd, mostly older demons and retired folks. GUNN He said he had something? (Wes nods) When's he gonna show? WESLEY Any time now. CODGER DEMON You youngsters wanna button it up? They look over. Next to them an OLD CODGER DEMON with a cane, sagging face. CODGER DEMON (cont'd) I'm tryin' to enjoy the show here. See, that's real singin' there, that's real music. Gunn holds up his hands, amused. GUNN Okay, pops. CODGER DEMON Ahh what do you know? HOST "When I come home to you, San Francisco, your golden sun will shine on meeeeeeeeeeee ! " Big finish. Applause. MERL slips in the front door, sits next to Wesley, looks around, nervous. MERL I'm not dealin' if the bloodsucker's around. WESLEY Angel's not here. MERL Good. 'Cause he always beats me up or hangs me upside down -- and he never pays up like he's s'posed to. Wesley slides two hundred in twenties in front of Merl. MERL (cont'd) Jeez, I coulda made a livin' in Akron I woulda never come back to this s÷mog pit. GUNN Tick tock, Merl. MERL Yeah well lemme tell ya', this thing took more leg work than I estimated. The price is gonna change. WESLEY (deadpan) Really. MERL Yeah. WESLEY All right. Wesley takes one of the twenties off the stack. MERL Hey! Wesley rakes another. As Wes calmly reaches for a third bill, Merl slaps his hand on the stack, pockets what's left. MERL (cont'd) This guy James you're lookin' for , he IS alive. And he's plenty pissed - Suddenly the Codger Demon is standing next to Merl, his cane raised threateningly. CODGER DEMON You piece of demon dung, you got no more pride than to skunk in here for money? I oughta beat some sense into YOU, boy - Host has moved up. HOST Calm down, Glith-roo, all demons are welcome at Caritas, it's our sanctuary. CODGER DEMON He's a damn stoolie . HOST I don't judge and I don't allow any demon on demon violence in my club. MERL Lucky for you, grampa. CODGER DEMON Why YOU stinkard toad! Codger demon tries to brain MeÍrl with his cane. A (C.G.I.) flash of electric energy hits the cane just as it's about to hit Merl. Codger Demon is hurled back. Host (standing on the spot waiting) catches Codger Demon. HOST Go on and cool off or I'll have to toss YOU. Codger Demon hobbles off on cane. GUNN How'd YOU --? HOST Transuding Furies, once a month they cast a sanctorium spell here - costs me two GIs a pop but it's worth it. Wes turns to Merl, clears his throat. MERL I told you, he's alive, he's in town and he knows what Angel did to his heartthrob. He's out for blood. Wesley looks to Gunn who whips out his cell phone. INT. ANGEL'S HOTEL - LOBBY - DAY Angel is on the phone. ANGEL (into phone) Yeah, do that, I'll cover this end. Thanks. Angel hangs up as Cor moves up. CORDELIA What's up? ANGEL He's alive. Wes and Gunn are going to track him down. CORDELIA What if they can't? ANGEL Doesn't really matter. I know where he'll be headed. Angel crosses to weapÒons cabinet, rifles through it. CORDELIA Here. For you. ANGEL I want you to go home while it's still light out and stay there. CORDELIA No. ANGEL Yes. Have you seen my hurling ax? (re: cabinet) This is all different. CORDELIA I moved some things to the cellar while you were gone. (off his look) They were dust-catchers! ANGEL Go home. CORDELIA I'm sticking with you. Angel, a couple of weapons in hand, turns to her, moved by her courage. ANGEL I appreciate your courage, but I don't want to see you get hurt. Cordelia, freaked, blurts out: CORDELIA I don't either! I go home, he'll come after me 'cause I live alone and that's what they do, they come after you when you're alone. Oh sure, "Cordy go home and be a hostage!" With the torture and the fear and the torture... ANGEL Cordy, will you just once do what I tell you without arguing about everything -- where'd you put the ax, basement? Angel moves to cellar door, Cordy on his heels. CORDELIÏA I'm not arguing, I just know I'm safer by your side than all alone at home - Angel opens cellar door and a SCARY VAMPIRE is standing there, James to be precise (in vamp face.) CORDELIA (cont'd) YARHHHHH ! James hits Angel JUST SO DAMN HARD. Angel flies back into a wall, breaking off a big hunk of it. JAMES (calm and deadly) Why'd you do it? James kicks Angel in the face. JAMES (cont'd) Were you jealous? Because I had something you could never have? Angel rolls to his feet, moving between James and Cor. ANGEL (to Cor) Get back. James registers Angel's concern for Cor. James leaps at Angel. CAMERA ARMS UP as we HEAR BIG FIGHT O.S . BELOW. ANGLE - BALCONY Fred tiptoes down the hall to the balcony. FRED Angel? I thought I heard company. I came o u t of my room, "small steps" like you saidÉ LOBBY - Angel (having been hit O.S.) comes flying back from the balcony overhang, into Fred's view. ANGEL (yells to Fred) Go back to your room and staäy there. FRED Oh. Okay then. Fred turns and heads back down the hall, not really sure what's going on. James bashes Angel in the face. He staggers back, sees Cor run to the weapons cabinet. ANGEL Cor, get out of here! James tries to hit or kick Angel-he blocks it, hits back hard. INT. CARITAS - DAY As before. MERL I don't know where he is now, but I know where he was earlier today. WESLEY Where? MERL Doctor Knapp's. GUNN What kind of doctor is that? HOST (realizing) A demon kind. A slod demon. WESLEY Slod demon? What's he do? MERL Honest to god, I don't know. HOST I do. (this isn't good:) He's a collector. WESLEY What's he collect? INT. ANGEL'S HOTEL - LOBBY - DAY CLOSE ON PHONE, RINGING. Cor ignores it, digging around in the weapons cabinet. Angel and James trade blows, evenly matched - James, due to passion and recklessness, has the upper hand. James grabs Angel and backs him up the balcony railing, smashing his face into the iron bars. Cor sees ðthis, grabs the first handy thing -- a metal three hole punch (the big kind with the metal handle [or something else, Courtney]) and hurls it at James' head. Bull's-eye! It clonks James, giving Angel the chance to kick James back. James stumbles to the floor (between Cor and Angel.) ANGEL (to Cor) I told you to -- CORDELIA Shut up and stake him! She hurls the stake through the air with the same precision, right towards Angel. James bursts up from t h e ground and catches it mid-air . CORDELIA (cont'd) Ooops. He and Angel engage in some hard-ass hand to hand. Finally they hit the ground, roll over and over ; James ends up on top, stake poised over Angel's heart. Cor tries to grab him, gets kicked or hurled back into a wall. They struggle . The tip of the stake pierces Angel's skin. JAMES You never loved anyone or anything. Go to hell. Then Angel kicks his legs up, flips them both over, wresting the stake from James' grip. They both scramble to their feet - but Angel is just a liíttle quicker . He sinks the stake deep into James' heart, staggers back to where Cor was kicked against the wall, pulls her up. ANGEL It's all right, it's over, it's over. CORDELIA UhhÉ He follows her gaze . James is still standing there, stake in his heart. Just catching his breath. He pulls the stake out. C.G.I . - the wound closes right up , Angel and Cor react. CORDELIA (cont'd) Over in what sense? James, stake in hand, charges. END OF ACT THREE Act Four INT. ANGEL'S HOTEL - LOBBY - DAY As before. James charges with the stake. Angel block s it, struggles with James. They fall back onto the garden balcony stairs. Cor grabs something we don't see, runs up and slams a fire extinguisher against James' face. This gives Angel an opening -- he flips or hurls James up over his head and through the garden doors into a big PATCH OF SUN. No smoke, no fire as James gets to his feet. CORDELIA Shouldn't he be on fire?! Angel grabs Cor and races to the cellar door. INT. SEWERS - DAY î Where Angel's cellar stairs empty into them. Cor and Angel drop down, run for their lives. WE TRACK with them. They round a corner. And head down - ANOTHER SET OF TUNNELS TOWARDS A FORK BACK IN THE FIRST TUNNEL James drops down and runs in the direction they went. AT THE TUNNELS THAT FORK Angel and Cor run up. Angel points to right tunnel. ANGEL Go that way. CORDELIA What are you -- ANGEL Go. He gives her a gentle shove, she runs down the right tunnel. Angel reaches inside the left tunnel, gashes his hand on the rough rock walls, drawing blood. Angel runs a few feet into the left fork, smears a little blood down LOW on the walls, then doubles back into the right fork. IN THE RIGHT FORK TUNNEL Angel catches up with Cor, pulls her along to a locked iron door, rips it open, breaking the lock, and pulls her into: A SMALL SIDE TUNNEL They scramble in , out of sight. BACK AT THE FORK James races up, barely pauses to scent the blood, tears down the left tunnel. BACK IN THE SMòALL SIDE TUNNEL Angel and Cor huddle. Tools are stored here. The back end is boarded up with wood. They both whisper: CORDELIA All right, I've been doing this a while, don't stakes through the heart and sunshine kill you guys?! ANGEL He seems to have become.. . CORDELIA Invincible? ANGEL Let's not exaggerate . . . CORDELIA (shoots him a look) The ring of Amarra, when you had that, you were invincible. Does he have a ring? (Angel shakes his head) Hmmm. Did the Amarra people make cufflinks or belt buckles? ANGEL There was only one. CORDELIA And you had to smash it. ANGEL Why don't we recriminate later, okay? Now be quiet , I think he took the bait.. . They listen to the SILENCE for a beat. Suddenly a TERRIFIC RUMBLING, like an earthquake. She grabs Angel. CORDELIA Earthquake! ANGEL It's just the subway. The RUMBLING passes. Cor takes a breath. Silence again. It's suddenly shattered as Cor's cell phone rings. CORDELIA BWAKKK ! She digs it out, punches SEND. INT. CARITAôS - DAY Wesley is on his cell. Bar patrons mingle in the b.g. WESLEY Cordelia, is that you, can you hear me ? (aside to Gunn) Bloody cell phones. (into phone) Cor, we couldn't get an answer a t the hotel, there's something you have to know about James ... INT. SEWERS - SMALL SIDE TUNNEL - DAY Cor tries to make out what Wesley's saying. CORDELIA Huh? What? Say that again ... (to Angel, "so there") Éoh, he's invincible is he..? (listens: to Angel) ... he went to a what? Slog Demon, what's that? Some kind of Doctor demon that collects rare organs... cut out his heartÉ absolutely cannot be killedÉ'wait, what, how long..? Six what?! (re: phone) Ahhh, it went dead, no signal ... (to Angel) The guy's invincible but it only lasts for so long and then he dies . ANGEL How long? CORDELIA He said six, I dunno, minutes, hours, weeks -- (re: cell phone) I hate these . . . (smashes it against a wall) Come on, give me a signal ... ANGEL It's good news. All we have to do is wait him out. CORDELIA öRight. We'll just wait here until we're sure - The wood behind them is shattered and James, like the Terminator, comes barreling through. IN THE TUNNEL Cor and Angel scramble out of their hiding tunnel. Angel slams the iron door in James' face, knocking him back. Cor and Angel run down the tunnel. As Angel pulls Cor into another turn-off, James leaps out and runs after them. INT. SUBWAY PLATFORM - DAY SUBWAY TRAIN ROARS AT US. PAN TO stairs as Angel and Cor race down them onto the platform and run for ANOTHER train, one that's leaving the station, its doors closing. ANGEL Hold on! Angel pours on the speed, dragging Cor through people, across the platform - JAMES - appears at top of stairs, coming down them so fast. ANGEL AND COR AT SUBWAY CAR Barrel inside just as the doors close and the train takes off. JAMES - Races up. Too late. The train is pulling away, gaining speed fast . INT. SUBWAY CAR - DAY Angel and Cor watch James growing smaller on the platform. CORDELIA Thank god. ÕINT. SUBWAY PLATFORM - DAY James sighs, DE-MORPHS to human. Train going like hell now. As the last car passes by, he reaches out his hand and is WRENCHED right out of frame. ANGLE - DEPARTING SUBWAY TRAIN We see James on the back of the last car, climbing up towards the roof. INT . SUBWAY CAR - DAY Angel and Cor move through the car. A few extras, including a young guy on CRUTCHES, his leg in a big cast. CORDELIA (still freaked) Should we get off at the next stop and double back? He won't expect that -- or should we stay put till the end of the line, get as much distance between us as - ANGEL Shhh. Angel's looking up at the roof, listening. CORDELIA What? He couldn't possibly - Angel suddenly yanks Cor out of the way as James crashes in feet first through the window where Cor was just standing. The extras scurry backwards as JAMES heads for Angel who steps in front of Cordy. JAMES This is a new twist in an old snake, is it possible you care about someåone who isn't you? ANGEL Don't worry about her. JAMES But if you've changed . . . if you're not the same man who screwed Darla and couldn't care less what happened to her.. . ANGEL Where'd you hear..? Oh, you mean back in the day, right. Cor speaks up from behind Angel. CORDELIA He has changed, a lot. He has a soul now and he cares about people. JAMES (to Angel) So you might feel something when I snap her neck. CORDELIA (shit!) It's not like he's losing sleep with the caring . . . JAMES Lucky me, now I can kill the woman you love. ANGEL No you can't. JAMES Are you forgetting who's the invincible one here? ANGEL The woman I love is dead. JAMES Who are you talking about? Beat. CORDELIA It happened three months ago, we try not to say her name too much. C.U. - JAMES Looking a little sweaty and pale (even for a vamp.) JAMES You loved someone? (Angel nods) With all your heart? ANGEL (beat) Yes. JAMES No. You didn't. If you had you wouldn't be standing òhere playing games with me. You wouldn't be able to, because when she died -- or when some bastard killed her -- it would have killed everything in you. ANGEL I wouldn't be able to go on living. JAMES Don't worry. You won't . . . James reaches down, grips one of the subway one-seater benches and RIPS IT OUT OF THE FLOOR. JAMES (cont'd) (re: Cor) É she won't, either. He swings it at Angel -- who tries to block -- it bashes his blocking arm -- James presses forward, bashes Angel in the head, sending him down to the floor. Cor and the extras scramble back. WHAM! James hits Angel again with the seat. ANGEL ON THE FLOOR - DAZED Here comes James with the bench again. Angel throws his arms back, gripping the TIPS OF THE YOUNG GUY'S CRUTCHES on the floor behind his head. ANGEL Catch him. CORDELIA Catch him? Catch who? Angel rips the two crutches out from under the guy. He starts to topple. Cor catches him. CORDELIA (cont'd) Oh. As James brings the bench down again, Angel plants ðone of the crutches, lets it take the blow of the bench, blocking it -- knocking James' feet out from under him with the other crutch. As James topples, Angel leaps to his feet, hooks James' right arm through the open slot of the crutch (just below the crutch's arm-rest), yanking and pulling back hard on the crutch -- we HEAR a nasty BREAK of James' right arm. Angel does the same move with the other crutch on James' left arm, pulling it back to the breaking point, then pinning James against the car wall. ANGEL It's not real unless it kills you? This your idea of love, James? James is quite sweaty and pale now, looking real unhealthy. JAMES What's yours? "It's fun as long as it doesn't cost me anything?" You don't know what love is. (beat) You think you won 'cause you're still alive? You're such a loser, - I lived, you just existed. James' head lowers and WHOOSH! he goes to dust. Off Angel and Cor, EXT. L.A. - STOCK SHOTS - NIGHT INT. ANGEL'S HOTEL - LOBBY - DIFFERENT NIGHT Angel deøscends the stairs. Cor looks up from behind the desk. CORDELIA How's Fred? ANGEL All right, considering. We talked over what happened and I think she'll be coming out of her room any decade now. Beat. CORDELIA And how are you? ANGEL I'm o - CORDELIA Don't tell me "okay", Angel, please, I know you and ever since you came back from your grief-trip I can tell something's not right. (quickly) And obviously it's not -- Buffy's dead, I don't mean to diminish that. I miss her, too, we weren't all that close but she saved my life about a kazillion times and I can't even imagine what you... (beat) I just want to say: I know that James with all his Romeo and Juliette madness opened up a lot of wounds for you, but you'll be okay. ANGEL I am okay. CORDELIA Then what's the problem? ANGEL That I'm okay. That losing Buffy didn't kill me, that I could deal with it. In all those years no one ever mattered, not like she did. And now she's gone. Forever. CORDELIA (catching on) And you're still here. € ANGEL Yeah. And it feels like I'm betraying her somehow. CORDELIA No. If you were a loser, if you were a sick obsessed vampire, you'd go to a snod demon or whatever and get your heart cut out. But you're not. You're a living, breathing -- well a living, anyway -- good guy who's still fighting and trying to help people. That's not betraying her, that's honoring her. ANGEL Ya' think? CORDELIA I'm Cordelia, I don't think, I know. Okay? ANGEL (beat; he nods) Okay. CORDELIA So, can we get to work now? ANGEL Yeah, sure. There's work? She moves to the double doors, opens them. He follows. They move in, joining Wesley and Gunn in the inner office. CAMERA HOLDING WIDE, SLOWLY PULLING BACK in an "end of the show" kind of way. WESLEY What do you know about Nester demons? ANGEL Well, they like to live in the walls of peoples' homes. They hatch several times a year. Don't you thave to kill the Queen or something? GUNN Yeah, if you don't, they infest again, worse than ever. CORDELIA We killed a bunch of 'em in Hancock Park a couple of months ago. WESLEY I'm not so sure we got the Queen. Angel reaches for weapons, handing some to the others. ANGEL Let's go find out. As they move out, EXT. SMALL MEXICAN TOWN - STOCK - NIGHT INT. SMALL MEXICAN BAR - NIGHT A few lonely tables and booths. Nearly deserted. A man's ROUGH HAND carries a Tequila bottle, couple of shot glasses with limes, through the bar. Moves up to a table, sits. ROUGH MAN (Spanish accent) Sorry it took so long. Reveal DARLA. She's been on the road for a while. He slides her a piece of paper. ROUGH MAN He's a very difficult Shaman to find. Darla glances at the paper, pockets it. DARLA You can go. ROUGH MAN No, I thought we'd have a drink to celebrate. He retmoves the limes, pours two shots. DARLA No thanks. ROUGH MAN Don't be shy, little one, you get to know me, I'm a very nice man. How much can one little drink hurt? Darla looks at him for a beat, deadpan. DARLA Depends on who's doing the drinking. She smiles, slightly. He smiles. ROUGH MAN I thought you might have a surprise or two in you. DARLA Well you know what they say... Darla suddenly vamps and chomps into the guy's neck. Rough Man slump to the floor, dead. DARLA - (not in vamp face) wipes blood from her mouth, bites down on the lime as a chaser. DARLA (cont'd) Life's full of surprises. She stands giving us our first full body shot of her . As she walks out of the bar, filling frame, THE END [Note from typist - in the aired version, Darla is very pregnant in the last scene. Possibly it wasn't in the script to keep it from leaking out.]