Offspring (October 8, 2001) Written by: David Greenwalt Directed by: Turi Meyer Teaser INT. UNDERGROUND SEWERS - DAY Rats feed on something unspeakable; small pools of fetid water reflect the creepy, dank space. Rats scatter as a dark figure tears down the stony chambers, running for his life, his feet splashing in the foul water. CLOSE ON HIS FACE - ANGEL RUNS His wig pulled back, his period clothes somewhat elliptical (vest and dress shirt) and shot in a shadowy way so we don't yet realize we're not in the present day. Angel turns into a tunnel. Runs halfway down it -- sees SEVERAL BLACK-ROBED figures, some carrying torches, heading for him. Angel doubles back into the first tunnel until he sees SEVERAL SCARLET-ROBED figures (some of these also with torches) heading for him from the way he came. Angel has no choice but to turn and run into a THIRD TUNNEL. This one is ¢rockier than the others and slants sharply down. Angel's feet slip on the rocky floor. Angel trips and falls, sliding and tumbling down the rocky, dusty tunnel and plummeting into: INT. TORTURE CHAMBER - DAY Human bones, a skeleton or two, and rotting corpses on a rack; a myriad of cruel torture devices fill the ancient chamber. Angel gets to his feet, backing away from the black and scarlet robed (fourteen or so) figures. Many of them have crossbows; others, long chains, some torches (making this, as for example, a DARK AND SCARY SPACE.) Angel backs toward a gigantic, ornate, wooden double door. The sound of METAL locks and braces being released causes him to spin around as the huge doors open inward, letting in a sudden wash of blinding light. Angel is scorched and possibly knocked over by the searing light; THUNDERING HOOFBEATS ARE HEARD as HOLTZ gallops in. SUPER: ROME 1771 Smoldering, Angel rolls oÈut of the light into the darkness. Holtz, a silhouetted figure (white light behind him) moves toward Angel as the huge doors are shut and locked. HOLTZ "And you will know the curs-ed among you, for they scurry from the light and cling unto the darkness..." The room is cast into darkness again, except for the torches the HUNTER-PRIESTS carry (some can be placed on wall sconces.) Keeping his eye on Angel, Holtz moves to one of the scarlet-robed men -- his robe is brighter than his brethrens', and he has vestments that set him apart. HOLTZ (cont'd) (in ITALIAN, sub- titled) Grazie, Monsignore. Sono nel vostro debito. {Thank you, Monseigneur, I am in your debt.} MONSEIGNEUR (in ITALIAN, sub- titled) No, questo animale ha ucciso la sua famiglia. {No, this animal murdered your family.} Monseigneur makes the sign of the cross, Holtz moves towards Angel, Monseigneur barks out: MONSEIGNEUR (cont'd) (in ITALIAN, sub- titled) Mantenete la bestia! {Hold ãthe beast!} A few of the robed guys expertly hurl their chains. THE CHAINS wrap around Angel's body and arms -- he is brutally dragged to a blood-stained wooden post and held fast (chains fastened to loops on post and/or wall), cross-bows aimed at his heart as Holtz studies him. HOLTZ (re: priest) Monseigneur Rivalli performed the ceremony when Caroline and I were wed. You remember Caroline. Angel's still got some Irish in him: ANGEL Strawberry blond lass? Hearty screamer? Holtz remains calm, not taking the bait. HOLTZ The good Monseigneur has since been excommunicated. The Order he founded, "Inquisitore", adheres to the old beliefs... Holtz glances at Monseigneur who nods to two brethren; they pick up trays of torture implements, bring them to Holtz. HOLTZ (cont'd) ...the devils among us must be exposed and... chastened. ANGEL An enlightened lot, eh? HOLTZ They're Traditionalists. And quite good at their work. Let's get started, shall we? Holtz selects a tool, meêthodically cuts a BLOODY gash down Angel's neck to his chest, ripping open the top of his shirt. As Angel tries not to scream, DISSOLVE TO: EXT. STOCK SHOTS Day becomes night becomes day again; we HEAR terrible screams. INT. TORTURE CHAMBER - DAY A whole day has passed. Horses are gone. Monseigneur kneels, his lips moving, praying with a BIBLE in his lap. Holtz's coat is off. He drinks from a mug. Some of the brethren sleep on the ground; remnants of a couple of meals in evidence. A terrible SCREAM from ANGEL (O.S.); no one even bothers to look. Two brethren, carrying bloody tools (and pieces of Angel's shirt) move past Holtz who finishes his drink, thoughtfully dabs his mouth with a linen napkin and moves to Angel, studying him calmly for a beat. HOLTZ You lost me in North Africa, I knew you'd come back to Europe -- but Rome, Angelus? Why in God's name would you come to the seat of all that's Holy? It's difficult for Angel to speak, but he manages: ANGEL Darla... loves tìhe Sistine Chapel. She's mad about Botticelli's frescoes -- "The Temptation of Christ" is her favorite, probably because of the leper... Holtz picks up a wicked looking multi-pronged thing. Despite himself, Angel flinches. Their eyes meet across the device. ANGEL (cont'd) What do you want, Holtz? HOLTZ I don't want anything. My family is gone; I don't trust you to give me Darla -- although I will find her, you know that -- my only desire here is to discover if a thing such as yourself can be made to pay for its sins. Holtz suddenly gouges Angel with the pronger somewhere painfully LOW and OUT OF FRAME. Angel gasps and cries out. Holtz continues, calm as rain. HOLTZ (cont'd) You're a demon: it is your nature to maim and kill. But you were also once a man -- if we beat and burn the demon out of your living flesh, will there be anything left? Anything at all? I doubt it but I'm willing to spend the next fortnight of my life finding out. Holtz raises the (now bloody) pronger back intoç frame. HOLTZ (cont'd) In either event, you have no soul, you cannot be saved. As Holtz lowers the device again AND WE PUSH IN on ANGEL, awaiting the pain, a FLAMING ARROW suddenly shoots past Holtz and spears a brethren next to him. HERO SHOT OF ALL TIME - CAMERA races low and wide to DARLA C.U., her gorgeous face filling frame. With her are a gang of vampires (eight or so.) DARLA Sorry it took me so long, darling. (to vamps) Kill them. (vamps attack brethren; to Angel:) Mind your head. Angel ducks as Darla fires another flaming arrow which sails alarmingly close to Angel's head and catches Holtz in the shoulder, knocking him back and down as though he'd been shot with a gun. THE FIGHT might include the following: Vamps meet brethren in combat. Torture implements and swords can be used. Three more brethren should get killed. At least two vamps should get dusted on screen. Darla makes a beeline for Angel -- Monseigneur rises up in front of her, holding a cross in front of Åhim. MONSEIGNEUR (in ITALIAN, sub- titled) Vai all' inferno, demonio lordo! {Go to hell foul demon} -- WHAM! Darla knocks him across the room. DARLA (without breaking stride:) No, grazie, Padre. Holtz, arrow in shoulder, crawls to a weapon as two vampires throw ropes around the double door hinges, pull them loose. THE DOUBLE DOORS - collapse inward with a thunderous crash! Darla moves to Angel, rips his chains out of the post/wall, takes him in her arms as -- A WAGON PULLED BY HORSES - Gallops in. The DRIVER is a vamp in long gloves and a hat, covered by a large blanket. Holtz tries to rise up with his weapon; Darla kicks him in the face so hard, he flies back. Darla and vamps load Angel in back of wagon, sliding under large blankets. ANGEL Darlin'? DARLA Yes? ANGEL Shouldn't we be killin' Holtz? Darla looks back at Holtz, bloody face, arrow in shoulder, crawling blindly and lamely towards a sword. DARLA I know, but it's just so mucßh fun ruining his life -- he's like family now. Angel smiles, there's no one like Darla. They kiss, sliding under the blankets; surviving vamps jump in with them. Holtz collapses. The DRIVER VAMP whips the horses. They gallop out into the bright sun, pulling the "covered" wagon to safety. EXT. L.A. - STOCK - NIGHT FLASHCUTS - buildings, cars, people. SUPER: L.A., THE PRESENT EXT. L.A. STREETS - NIGHT As much CRANAGE and vista as we can manage on the back lot -- as little New York as possible (maybe we're looking down more than back.) A modern L.A. metro bus roars down the street. Going way too fast. We hear: DARLA (O.S.) Right here's fine... The bus SCREECHES TO A STOP as we CRANE into the logo on top of the bus which reads: DOWNTOWN L.A. - HOLLYWOOD INT. BUS - NIGHT The TERRIFIED BUS DRIVER rocks to a halt. Looks toward CAMERA as a pregnant belly fills the frame. BOOM UP to Darla. DARLA Thanks for the lift, that didn't take long at all -- and they say there'ïs no public transportation in L.A. She turns back towards us, we see a little bit of blood on her mouth. She clears frame, we ANGLE to see the few passengers on the bus -- three or four huddled in the very back and two lying dead on the floor with big bloody bite marks on their necks. Bus Driver grabs his walkie-talkie, nearly drops it, manages to get out: BUS DRIVER Help! We got a code twelve on the five eight line -- DISPATCHER'S VOICE What is the nature of your emergency? BUS DRIVER She... she... HELP! EXT. L.A. STREETS - NIGHT Darla in f.g., already surprisingly far away from the bus, walking towards us. In b.g. we HEAR, coming from the bus: BUS DRIVER WE NEED HELP HERE, NOW! As Darla fills the frame and disappears, leaving only the screaming: BUS DRIVER (cont'd) FOR GOD SAKE, DO SOMETHING! OH, NO, OH OH OH... OMITTED END OF TEASER Act One EXT. L.A. - STOCK - DAY Including the Hotel. INT. ANGEL'S HOTEL - BASEMENT - DAY ANGEL (in T shirt and dark pants, or somethãing he might work out in) sees something strange -- he moves to a POTTED FLOWER ARRANGEMENT, pretty bright flowers, stares at it intently. WIDER - Several of the potted flower arrangements are strategically placed about the dark cellar. (There are also work-out pads, some weight, speed bag and body bag, etc. in evidence: make shift gym.) ANGEL What is this? CORDELIA, also in work-out garb, attends to one of the pots, arranging the flowers. CORDELIA It's just so dark and lifeless down here, I thought I'd brighten it up a little for you. (she moves to him) You can't exactly go out and enjoy the sunny fields of Nature -- but that doesn't mean we can't bring a little bloom into your darkness. Angel sniffs a flower, feels it with his fingers. ANGEL They're fake. CORDELIA Yeah, you put somethin' real in this hell hole it'll die like that. (snaps fingers) He just stares at her. CORDELIA (cont'd) "Thank you, Cordelia." ANGEL You know I've been around a long time -- CORãDELIA Which reminds me, next birthday can we skip the two hundred and fifty odd candles on your cake -- and the inevitable Fire Marshall -- and just go with a little song? ANGEL -- and I've never known anyone like you. CORDELIA Well, DUH-UH. Time's a wastin', big guy, can we do it? Half a beat, then she "ke-yiis" into a fighting stance. CORDELIA (cont'd) KEEE-YIII! ANGEL All right, last time we were working on not pulling your punches and kicks -- don't worry about me, just follow through... They circle each other, Cordy throwing a few punches, Angel expertly but gentling blocking each one. ANGEL (cont'd) Good, good... snap it... where's your weight, balls of your feet,... don't forget to follow -- GURNK! She's popped Angel right in the nose. CORDELIA Ooops, oh god, you said to -- ANGEL No, no, that's good. CORDELIA Are you all right? ANGEL (smiles) I'm a vampire, you can't hurt me... He casually turns his back -- he's big in f.g., she's behind; he feels hiës nose, miming "YEOWWW". CORDELIA You're off your game -- it's cause of the prophecy Wes and Gunn are trying to get their hands on: you think the end is coming. ANGEL The end is not coming. Someone's always uncovering some ancient scroll and they always say the same thing: something terrible's coming. Do you have any idea how many of these things I've seen in my very long life? CORDELIA Four? ANGEL (half beat) Three, but it's nothing to worry about. CORDELIA Then why are Gunn and Wesley breaking and entering right now? ANGEL You know, breaking and entering is such a negative term... (off her look) They're simply retrieving some missing pieces of the Nyazian scroll just to make sure -- CORDELIA That the end is coming! (beat) Well all we can do is live each moment to the fullest and be grateful we didn't throw too much money at the Nasdaq. Angel sighs, feels his nose. ANGEL Am I swelling? EXT. COOL MANSION - STOCK - DAY INT. COLLECTOR'S HOUSE - DAY CAMERA MOVES past soóme PAINTINGS and beautiful OBJECTS D'ART on various gorgeous TABLES, windows behind them, discovering (outside) Gunn and Wesley (with bag) moving stealthily towards the last (paned) window next to a side door. WESLEY Step one: Dobermans are happily gnawing steak; alarm and vid lines are disabled... He pulls a small device from bag, holds it up to window. WESLEY No infrared, caught a break there. Step two: Wesley pulls glass cutter, suction cup, mini-cam at the end of a long snake-like chord and lock-smith tools out, as: Gunn opens the side door and walks in. WESLEY (cont'd) (oh:) -- step three. Wes follows Gunn in, quietly closing the door behind him. (In version B, Wes has a terrible time with his paraphernalia, nearly dropping several pieces of it while attempting to close the door -- Gunn watches utterly deadpan and finally has to close the door for him. In version B Wes mouths: "Thank you" and they move on.) INT. COLLECTOR'S HOUSE - SPECIAL ROOM - DAY The doors open, Gunn and Wôesley move quietly in, letting their eyes adjust to the dimness. I'm thinking the DARK plush gallery at the Bellagio in Vegas, little pools of light on the collectibles -- in this case, the collectibles are parchments and weapons, dried and/or stuffed demons and demon parts, orbs and charms, etc, many enclosed in glass. They speak in hushed tones. WESLEY Can you believe this? GUNN Some guys collect old cars, some guys -- Gah! -- Gunn passes a vile and gushy DEMON head (cyclops), mounted on the wall. Gunn moves his head back and forth. GUNN (cont'd) -- it's like the eye follows you wherever you go. WESLEY All right, if you were priceless remnants of the lost Nyazian scroll, where would you be? They look around the room. GUNN If I was priceless, I'd be in the vault. WESLEY (turns and sees:) anything about a vault. GUNN I've got a bad feeling about this. WESLEY We'll figure something out... (like what?!) It's just a... vault. GUNN Actually my bad feeling is more about the man stùanding behind you with the large revolver. Wes whips around. The OWNER (STEPHEN MILLS, older, robust), stands there with a gun. MILLS Move and I'll kill you. (picks up phone) WESLEY I hope you're calling the police. MILLS You bet I am. WESLEY Good. You can explain to them why you keep so much G.H.B. on hand -- you know, Rophynol, the date rape drug. MILLS What? WESLEY (re: display jar) Muselok Trancing Amalgam -- under a microscope it's virtually indistinguishable from G.H.B. MILLS (beat, replaces phone) All right. I won't call the police -- WESLEY I'm glad we understand each other -- MILLS -- until after I kill you. WESLEY Oh. GUNN Are these worth a lot? While Mills has been paying attention to Wes, Gunn has picked up four small orbs. Mills is alarmed: MILLS Yes! They're Cyopian Conjuring Spheres. GUNN How much. Four figures each? Five? (starts juggling them) More? MILLS Stop that! GUNN Put the weapon down. Mills hesitates. Gunn "drops" one. It shatters on the floor. ø GUNN (cont'd) Whoah, kinda delicate. We're not thieves, we're investigators. And we need to look at your Nyazian scrolls... Now put the weapon down, I'm gettin' tired here... MILLS All right, all right. Mills sets the gun down; Wes grabs it. Gunn catches one, then two of the orbs. He "misses" the third one -- Mills screeches -- Gunn catches it expertly on the tip of his shoe, flips it up into his hand. GUNN (to Wesley) You always want to give 'em a big finish. CUT TO: INT. ANGEL'S HOTEL - LOBBY - DAY Fred is either walking down hall towards lobby (passing the open cellar door) or reading in the garden, the window between lobby and garden open. She hears, from the cellar door, various grunts, groans and: CORDELIA (O.S.) Ow! That doesn't feel right... ANGEL (O.S.) Just relax, you have to bend... CORDELIA (O.S.) I don't bend there... eee! Okay now that's downright unnatural. Fred, curious, moves to the door and enters (or to the window from the garden, listening more closely.) INT. ANGûEL'S HOTEL - BASEMENT - DAY Fred enters, looks down from the top of the stairs. Angel is below, behind Cordelia, possibly bending her forward. ANGEL I know it feels strange, but if an attacker gets you from behind, you want to shift your weight immediately to the other foot so you can spin and kick. Try it... Cor shifts weight, spins and kicks and nearly falls -- CORDELIA Ahhh! He catches her. ANGEL Better. We'll keep workin' on it. That's probably enough for today. CORDELIA (nods, stretches) We could do more but I'd have to ice every bone in my body. Cor heads up stairs. CORDELIA (cont'd) See ya'. (passes Fred) Hi Fred. FRED Hey. Kye-rumption. CORDELIA (whatever that means:) Well back at you. (she goes) ANGEL What did you say? FRED Kye-rumption. It's the one nice word I remember from the Pylean hell dimension. Can I come down? ANGEL Sure. What's it mean? FRED (descends) It's when two great heroes meet in a field of battle -- or a Thalian orgy pod -- and recognize their mutualü fate. It's also a kind of grog made from Yox-dung, but that's archaic. ANGEL Well, that's... interesting. FRED When I see you and Cordelia sparring, kye-rumption always comes to mind. ANGEL Me and Cordelia? FRED I know, she's such a hero, with the visions and the courage, it's only natural that you and she would be drawn to one another... ooo, plastic flowers, my favorite. They never fade you know. ANGEL Wait, Fred, there's nothing going on between me and Cordelia. FRED Nothing but Moira. ANGEL Who's Moira? FRED Moira's the gut physical attraction between two larger than life souls -- ANGEL No, no, there's no attraction -- Cordelia's just a friend, someone I work with, that's all. FRED (nods, smiles) See? You're being chivalrous, cause you're a hero. Just like her. You've got kye-rump-- ANGEL Stop using that word! I've known her for years and believe me if there was any kind of romantic... whatever, I'd know it. You know these kind of things and there isn't any. At all. FRED I'll õkeep your secret. ANGEL Stop saying that!! WESLEY (O.S.) What's going on down here? They look up. Wes has just entered the top of the stairs. ANGEL Nothing. WESLEY I believe Fred's been through enough recently without people yelling at her. Wes looks at her -- it's the first time they've seen each other since ep 6 when he went insane and tried to kill her. FRED He didn't mean anything. ANGEL Was there something you wanted? WESLEY Yes. (to Fred) Gunn and I were hoping you could give us a hand with these Nyazian prophecies. We need someone who can do the math. FRED Sure. As she heads upstairs: WESLEY (re: potted plants) Who gave you all the flowers? ANGEL (small, a little panicked) Nobody... EXT. L.A. - STOCK - DAY TO NIGHT INT. ANGEL'S HOTEL - LOBBY - NIGHT Cordy, her back slightly to us, works at her desk, filing and doing paper work. CAMERA moves toward her. REVERSE - ANGEL Moves through the lobby watching her from a distance. CLOSER - COR Going about her busineéss. CLOSER - ANGEL Simply trying to deal with the possibility of some small truth in what Fred said. He looks at Cor, shakes his head a little -- HER, Cordelia? No way. OVER ANGEL - CAMERA PANS TO WES'S OFFICE We see Gunn, Wes and Fred inside. INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT The Nyazian Scroll remnants (still encased in glass) are on Wes's desk. Along with lots of documents, notes and reference materials. Fred works feverishly at a computer, Wes at the scrolls, making notes. Gunn hovers between them. GUNN How're you doin' there, Fred? FRED Oh, it's a simple equation, really, the ancient Roman Calendar has fourteen hundred and sixty four days in a four year cycle -- the Etruscan, Sumerian and Druidian each have their own cycles, you work forward from the presumed date of the prophecy under each calendar... (tapping away) -- factoring in our own three hundred and sixty-five day calendar, accounting for a three day discrepancy every four years, and... oh, that écan't be right. Unless the world ended last March. More tapping, Gunn moves to Wes. GUNN So are we talking Armageddon or a bad house number? (Wes looks up) You know, the Tro-Clon, is it a bad event or a bad guy? WESLEY It's not clear on that, it predicts the arriving -- or arising of the Tro- Clon: the person or thing that brings about the ruination of mankind. GUNN Oh, it's a two for one, isn't that nice. WESLEY And I'm not certain about the translation: ruination may in face be purification. GUNN Purification? Are you saying this Tro- Clon thing's good? WESLEY I doubt that but it's purification in Aramaic, ruination in ancient Greek and in the lost Ga-Shundi language, it means both. CORDELIA And you don't want to make the same mistake twice. Cordy has spoken up from her desk behind reception. She's visible through the double doors. WESLEY No. FRED What mistake? WESLEY There was another prophecy a while back, it seemed to be about Angel and it had the word "Shanshóu" in it which I thought meant to die and I sort of told Angel... CORDELIA That he was going to die. FRED Oh no. WESLEY Then I found out it also meant to live -- it meant to die and to live. FRED So which is it? WESLEY Both. In his case, it meant that someday the vampire in him might die but the human in him might live. FRED That he'd be like a normal man? IN THE LOBBY - ANGEL Watches Cordy, unseen as: WESLEY Yes. FRED Wow! What would we do if that happened? CORDELIA I'd buy him some plaid shirts and take him to the beach. Boy needs some color. BACK IN THE OFFICE FRED (re: computer) That came out better -- oh no it didn't. Wes and Gunn look over at her. FRED (cont'd) It's still very preliminary, but if these calculations are correct... this bad thing should already be here. (looks around, spooked) Well I guess not right here. Here in L.A. Let me run the numbers again. ANGLE - COR Gets up and moves toward the reception area, spotting Angel. CORDELIA Hey. ANGEL Heyõ. He looks at her pretty intently -- studying her. CORDELIA Why are you looking at me like that? ANGEL Uhhh... no reason. She moves past him to get a cup of coffee or some such. He keeps looking at her. She turns, catches him. CORDELIA Okay it's getting creepy now. ANGEL I was just thinking about things, people, how they relate... take you and me for instance, we're very different, very different. Obviously... (gestures at her) Human... (gestures at self) Vampire... woman, man..pire... CORDELIA Has someone been putting vodka in your blood? He laughs too loud. ANGEL See? You're funny and I'm -- well I get off a good one every once in while but you -- CORDELIA Angel, are you trying to say you love me? ANGEL What? CORDELIA (perfectly calm) I love you, too. ANGEL You do?! When did this --? She calls out in the direction of Wes's office. CORDELIA (matter of fact) Angel loves me, I love him... ANGEL Oh my god! CORDELIA ...you guys love us, we love you. (back to Angel) They wöere all sayin' it earlier, just in case this prophecy comes true and we all die. You're not gonna want a hug, are you? ANGEL No. She moves back to her desk. CORDELIA God knows, we've been through a lot together. ANGEL That's really all I was trying to say. We've been through so much. You and me. As friends. You've seen the good and the... not so good. CORDELIA Just like you have in me. For the record, the good I've seen far outweighs the bad. Beat. He's touched by that. ANGEL Thanks. You, too. CORDELIA Hey, what are friends for? The nice moment is shattered by: DARLA (O.S.) You ask me, they're for knockin' you up and leavin' you high and dry... They spin around - Darla stands in the entry, hugely pregnant. Gunn, Wes and Fred look up, startled from the office. DARLA ...hey lover, long time no see. Off everyone, END OF ACT ONE Act Two INT. ANGEL'S HOTEL - LOBBY - NIGHT As before. Darla with child. Everyone else staring in shock. ANGEL Darla... WESLEY Darla... CORDELIðA Darla. FRED (whispered to Gunn) Who's Darla? GUNN (whispers back:) Angel's old flame, from way back -- FRED Not the one who died. GUNN Yes -- no, not that one -- the other one who died and came back to life. She's a vampire. FRED This one? (Gunn nods) Do y'all have a chart or something? GUNN (nods) In the files, I'll get you one later. Angel, in shock, tries to cover with a breezy: ANGEL So... when did this happen? She's moving towards him now. She's not happy. DARLA You know exactly when it happened. CORDELIA Angel? Did you... and Darla...? ANGEL Well, uhhhhh... this is impossible. DARLA Tell me about it, "Daddy". CORDELIA You slept with her? ANGEL Vampires can't have children. Wes?! WESLEY Uh no, he's right. It's not possible. CORDELIA (to Angel) That's not what I asked. DARLA (to Angel) You know we can't, I know we can't -- (points to belly) -- but we did! FRED, WES, GUNN FRED (tiny aside:) I wonder if this might not be that bad thing we were expectñing. DARLA, ANGEL, COR DARLA What did you do to me? Darla hits Angel -- surprisingly hard, she's strong than ever -- he bounces off the weapons cabinet or some such, comes for her. Cor steps inbetween. CORDELIA STOP IT --! ANGEL It's all right, Cordy, I'm okay -- CORDELIA -- you'll hurt her! Haven't you done enough? Cordy, to Angel's shock, pulls Darla away from him. CORDELIA (cont'd) Here, sit down, you need to get off your feet. Cordy helps Darla to a seat. CORDELIA (cont'd) (over her shoulder) Can we get some water? ANGEL Cordy, it's Darla. I don't think you want to -- CORDELIA (glares at Angel) Did you or did you not look me in the eye and say you would never do a thing like this with her. Angel is speechless. DARLA Oh he lied? What a surprise. FRED (brings water) Hi. I'm Fred. Is water okay or did you want some blood? Cor takes water, hands it to Darla. She sips. ANGEL Cordy, I'm sorry I lied but... it was a very dark time. CORDELIA Oh, you used her to makeø you feel better in your dark time. Well that makes it all heroic. ANGEL It wasn't like that, it just happened. I didn't go evil or anything, I just -- CORDELIA You just went male. (to Darla) Have you been to a doctor? DARLA No. But I've been to every shaman and seer in the Western hemisphere. Wes takes a step forward. WESLEY And what did they say? DARLA They don't know what it is, they don't know what it means, nothing like this has ever happened. Angel takes a last desperate stab to get off the hook. ANGEL Maybe it's an hysterical pregnancy. DARLA You want to feel it kick? CORDELIA Does it kick a lot? DARLA Like crazy. ANGEL Well wouldn't that be the first sign of... (even smaller) ...hysteria... Cor shoots him a look, turns to Darla: CORDELIA What can we do for you? DARLA You can get your little gang of super natural detectives to figure out what the hell is happening to me and how to stop it. CORDELIA Are you going to take some responsibility here? Angel looks at Dúarla, awaiting her response. CORDELIA (cont'd) Angel? ANGEL Oh, me. Of course I am. Wes, let's get on this. Right now. WESLEY What do you suggest? ANGEL I suggest you hit the books and find out what's going on. Do I have to think of everything? Wes opens the nearest and largest tome. WESLEY Oh, here it is. (looks up) It says I have no idea what's going on -- we should talk to the Host. INT. CARITAS - NIGHT - OUR BELOVED HOST HOST Well this is all wrong... The HOST is restoring his club. It's been painted, a few nice new tables, etc. A couple of workers reattach sconces, fix the tap behind the bar, etc. The Host is looking at a modern painting in a large ornate frame that two workers hold up against a wall. HOST (cont'd) Try it on the back wall -- far away from where folks might be eating. Workers carry the painting off. Host moves past the FLOATING FURIES, doing a spell. FURIES Violence abounds, violence restrained... this space a sanctuary was, and shall be again... Host pauses, waòtches them bob up and down. HOST That's great, girls. Can you throw in a subliminal to make the customers tip better? Host moves on to a PLUMBER TYPE, jeans pulled low by tool belt (butt crack), kneeling in front of a security box. Host refers to bill in his hand: HOST (cont'd) Arney, why are you charging me twelve hundred over the estimate? ARNEY Hadda run a separate two twelve to the security box, double insulation everywhere in the building, plus... Arney turns, we see he's a demon. ARNEY (cont'd) ...there was a run on kek-bile and bin-der glands. And don't forget you said: (dub Host's voice into Arney's mouth) "This club's my baby, I want top drawer throughout." Host sighs, Arney keeps working. Host senses something. Moves to Furies. HOST Something's up. FURIES Mmmmm. Angel. Host looks to stairs as Angel, followed by Cordy (sticking close to Darla who looks paler than before) Wes, Fred and Gunn bound in. ANGEL You gotta help me, we got kind of a situation on our hands -- ñFURIES Mmmmm. Angel. CORDELIA And here we have three more of Angel's chippies. (to Furies) You girls're on the pill, I hope. FURIES Angel. He's. So. Mmmmm. Angel gives them a sheepish wave, while hissing at Host: ANGEL What are they doing here? HOST They're helpin' me recast the sanctuary spell to prevent violence in the club -- this time I'm covering demons and humans -- I'm opening the club again! I know I was pretty blue for a long time -- if it had gone on much longer I'd have turned aquamarine. Host laughs, indicates his face. The others just stare. HOST (cont'd) Waits for laugh... okay, now that the ice is broken -- (re: Darla) -- what happened here?! DARLA What's it look like? CORDELIA Angel boned her. ANGEL Just one -- just the one night; uh... just the two or three one times that one... night. FRED (a little excited:) Is Angel gonna sing? GUNN (small groan) Oh. WESLEY I suppose he has to. CORDELIA (re: Darla) She's carrying the baby. Darla grabs Host. DARLñA (sings grimly:) "Oh Danny Boy, what the hell's inside me!! --" HOST No, no, no, we're way beyond singing, mes enfants. We're in a brand new day here. Host disengages himself, calls out to Furies and workers: HOST (cont'd) All right everybody, that's a wrap for today. Got a little crisis brewing. Thanks for coming, check's in the mail, get the hell out. Workers and Furies exit. FURIES Bye. Angel. Come. See. Uh. Soon. CORDELIA (shakes head) Men. Host turns back to Darla and our gang. HOST This is way beyond my ken -- and my Barbie, and all my action figures. (beat) If it's alive... DARLA Oh, it's alive. And kicking. She grabs her stomach in pain. Cor puts an arm around her, supporting her. HOST It could be anything. A child born to two vampires... GUNN Maybe it's some kind of uber vamp... WESLEY The Nyazian Prophecies mention a "Tro- Clon". FRED S'posed to be coming here about now. HOST (nods) ..."born out of darkness to bring darkness." That's certainly a possibil÷ity. ANGEL Great, so we're saying my child is the scourge of mankind. Darla groans in pain. CORDELIA You guys are upsetting her. I think she needs to lie down. The look at Darla who's looking weak and pale HOST Of course, she can have my bedroom. Cor, arm around Darla, moves with Host towards a door. Angel tries to join them. CORDELIA (pointedly) We can handle it. Angel stops, Cor, Darla, Host exit down a hall. Off Angel, INT. CARITAS - HOST'S BEDROOM - NIGHT Classy, ornate, a lot of Dean Martin. The Host shows them in. They help Darla to the bed. CORDELIA I think we should get a doctor. DARLA It'll pass. I just need to... let it. She lies back on the bed. Cor sits next to her, looks up at Host. CORDELIA I'll stay with her. DARLA Make yourself at home. If you need anything, just holler. Host exits. Darla suddenly grimaces in pain. Cordy takes her hand. INT. CARITAS - NIGHT Fred, Gunn, Wes; Angel paces or exhibits a lot of pent up energy and frustration. ANGEL I doön't accept this. These stupid prophecies, you can always interpret them a hundred ways from Sunday. (to Fred) How do you even know your calculations are correct? FRED I don't. I'm still working on them. Host re-enters as -- GUNN What we do know is that Darla is pregnant with something. ANGEL It's biologically impossible. HOST And mystically unfair: you've fought long and hard for good. If your destiny is to spawn something evil... A little of the fight goes out of Angel as he absorbs this. ANGEL I don't see how anything spawned by Darla and me could be good. Beat. Something comes to Wesley. WESLEY You know the first prophecy said the vampire with a soul would be a pivotal figure in the great battle between good and evil... GUNN That "Shanshu" one? WESLEY (nods; to Angel:) Maybe it's not you. Maybe it's your child who's the pivotal figure. Maybe your destiny is simply to help bring it into the world. ANGEL (grim) Or to stop it. Beat as they all think about that. FRED Can I ùsay something about destiny? They look at her. FRED (cont'd) (with surprising force:) Screw destiny! If this evil thing comes we'll fight it. And we'll keep fighting till we whup it. Because destiny is just another word for inevitable -- and nothing's inevitable as long as you stand up, look it in the eye and say... "you're evitable!" (beat) Evitable, real word, from the Latin evitabilis... well, you catch my drift. HOST Oh I like her so much. Angel is roused into action. ANGEL I want to see these prophecies myself. And your calculations, Fred. And anything else we've got on this. FRED Why don't I go back to the hotel and get everything? WESLEY Good idea. We'll put our heads together and figure out how to fight this thing. Fred heads for the stairs. Angel looks towards the door and hall to Host's bedroom. ANGEL How was she doing? HOST She's weary, poor thing looks about eighteen months pregnant. I hope it's not twins. ANGEL Not her. Cordelia. HOST Oh. I sense she's hurt, and pissÒed, what with the lying and deception, etcetera. You should probably stay out of her way for a while. Angel nods, looking towards the hall. INT. CARITAS - HOST'S BEDROOM - NIGHT Cor sits with pale Darla, still holding her hand. CORDELIA How're you feeling. DARLA (not really listening) ...just crazy... CORDELIA What? DARLA Why would anyone bring something into this world...? CORDELIA (beat) I was pregnant once -- I was out to here overnight... (mimes big belly) ...mystical thing, I didn't go to term, but while it lasted? Talk about uncomfortable. Your back and legs hurt all the time. First your sick to your stomach and can't eat anything, then you're ravenous... are you able to eat or do you just... Cor suddenly stops speaking. DARLA What, drink? CORDELIA Well that's none of my business, is it. Cor gently disengages her hand. CORDELIA (cont'd) You should rest now and I should... (gets up, heads for door) ...just be real close by out there. Iåf you need anything at all -- ON THE BED - DARLA VAMPS! and WHOOSHES! off the bed so fast. COR GETS HER HAND ON THE DOOR, Vamp Darla wooshes in, shuts door. DARLA I'm hungry all the time, it's weird... Cordy tries to back away, she can't, her back's to the door. CORDELIA Sure, you're eating for two, it's only... natural. DARLA No, what's weird is, no matter how much I feed, I can't seem to get full. Darla grabs Cordy. Cordy elbows her in the face, sidesteps, coming up with a cross in one hand, belting Darla with the other, knocking her back. (Some of the moves she worked on with Angel.) Cor holds cross out: CORDELIA Pregnant or not, you're going to keep your distance. Darla comes for her again, Cordy blocks her and then gets thrown across the entire room, smashing into a wall. Darla is on her in a heartbeat. Cor tries to cry out. Darla covers her mouth with a hand and bites down on her beck hungrily. As Cor struggles and Darla feeds ravenously and violently, END OFò ACT TWO Act Three INT. CARITAS - HOST'S BEDROOM - NIGHT Just as we left 'em. Cor is losing ground, Darla drinking from her neck. WIDE SHOT - AN UGLY TABLEAU But the CAMERA SUDDENLY ROCKETS in to CORDELIA as she bucks and shakes in the throes of a vision; so strong that it momentarily kicks Darla off Cordelia. Darla looks at her: what the hell is this? Cor screams and holds her head, the blood streaming down her neck. FLASH CUTS - THE VISION - which takes place in: INT. FUN CASTLE - NIGHT A Chucky Cheese type place. An odd vision, not violent. Swift shots of innocent children, playing, laughing, running -- shots of Darla (normal-faced) watching in the shadows (also scary flash cuts of Vamp Darla in Host's bedroom.) INT. CARITAS - HOST'S BEDROOM - SAME Cordy grabs her head in pain. Darla charges for her again. As she does, a hand grabs her by the neck. It's Angel. Oh yeah, he's pissed. ANGEL Get away from her! Angel punches Darla, then hurls her through the half open door, teøaring it off its hinges. She hits the ground just as hard as anyone's ever hit on our show, out cold. Angel gathers Cordy (who's about to faint) in his arms. He rips a piece of his shirt off, uses it to staunch the bleeding on her neck. He's pretty freaked. ANGEL (cont'd) You're gonna be all right, you're gonna be all right... Cordy...? She looks up at him, nods. ANGEL (cont'd) I'll kill her for this. CORDELIA You're gonna have to find her first. Angel looks back at the doorway and the shattered door. No Darla. INT. CARITAS - NIGHT Angel enters, carrying a conscious but weak Cordelia in his arms. She holds a piece of his shirt against her neck. Some of the tables are knocked over, clear signs of a struggle. Wes, Gunn and Host all woozy on the floor, slowly getting to their feet. ANGEL (pissed) She bit Cordy. HOST Oh sweetie, are you all right? Before woozy Cor can respond -- ANGEL No. Where is she? WESLEY She got away. GUNN We tried to stop her by hitting her fists and feet ùwith our faces, but... ANGEL We'll get Cordy to a safe place, and then we'll get Darla. Angel heads for the stairs with Cor in his arms. Gunn and Wes follow, Host bringing up rear, rubbing his jaw: HOST I gotta hurry up and finish that violence spell. EXT. ANGEL'S HOTEL - NIGHT - STOCK INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT Wes at the prophecies; Fred at the computer. FRED Wesley? WESLEY Yes? FRED How're we supposed to find out where Darla is by runnin' numbers and readin' prophecies? WESLEY (beat) I know it's a long shot, maybe there's something the Tro-Clon likes or needs... FRED Some cycle it goes through... if the thing in Darla is the Tro-Clon.. (off his look) ...I'm startin' to think I was off in my earlier calculations, that it's not actually here yet. WESLEY Darla hasn't given birth yet. FRED Oh right. (beat) What's he gonna do? He cares so much about Cordelia, but Darla's pregnant with his... how's he gonna bring himself to... WESLEY Kill her?... I don't know. î Fred nods, looks upstairs or up towards the ceiling. Perhaps the CAMERA drifts up as well -- INT. ANGEL'S HOTEL - ROOM (NOT ANGEL'S) - NIGHT PILL BOTTLE, half empty glass of water by the bedside. Cordy in bed, a little groggy from the attack and the pills, a small bandage on her beck where Darla bit her (which she'll carry for the rest of the show.) Angel is next to her. ANGEL You feelin' any better? CORDELIA Yeah. You don't have to stay with me... Angel turns, Gunn stands in the threshold, keeping an eye on them and the hallways, nasty crossbow in hand. ANGEL Gunn's gonna be right here. CORDELIA Thanks. ANGEL I'm not gonna keep tellin' you how sorry I am -- I am gonna tell you: she'll never do it again. CORDELIA It was my fault, Angel. I felt sorry for her. She looked so helpless... like a mother, I forgot what she really was... I'm startin' to feel the pills... She closes her eyes. Angel moves quietly to Gunn. ANGEL You see Darla anywhere in range... GUNN I'll takeï care of it. Angel starts to go -- CORDELIA Wait -- He turns, moves back to her. CORDELIA (cont'd) When she bit me, I had a vision... FLASHCUT: Darla biting Cordy; Cordy has a vision. CORDELIA (cont'd) I almost forgot... ANGEL What did you see? CORDELIA It wasn't like any vision I ever had before... the innocence... she's so hungry; she doesn't know how to make the hunger stop... I think I know where she's headed... Off Angel, FLASH CUT - DARLA, KIDS INT. ANGEL'S HOTEL - LOBBY - NIGHT CLOSE - A STAKE Angel pockets it near the weapons cabinet. Wes next to him. Fred in the b.g. WESLEY I'm not speaking as the boss because I know you wouldn't listen anyway, but you shouldn't do this alone. ANGEL I have to do this alone. WESLEY Angel, a normal vampire is strong, and Darla wasn't a normal vampire before this... she took the Host, Gunn and me down without breaking stride. She's stronger than all of us -- including you right now -- because of what's in her. ANGEL I knòow. I put it there. Angel goes. WESLEY Angel! But he's out the door. WESLEY (cont'd) Stubborn... why does he think he has to do everything alone? FRED I think he just can't bear to have us see him do it... WESLEY (turns to her) Kill Darla? She did try to kill Cordy and she's a vampire... FRED Who's carrying his child. The one thing he can never have, even if he lives forever. WESLEY (realizing) His child. Even if it's the Tro-Clon come to destroy us... FRED It's still his. EXT. FUN CASTLE - NIGHT A nice, wide, low sexy establishing. Kids and moms and dads coming and going. LAUGHTER. Innocence. SIGNAGE (if necessary) could read: FUN CASTLE. Not nearly as bright as you might expect in here at this hour. Pools of light catch the big plastic ball pit, the vid games, the tunnels and slides, but there are also plenty of shadows. Kids run and SCREAM and play. It's loud. Moms and Dads pay off-hand attention to their kids, sipping soft drinks on the sidelines. CAMERA snakes thùrough the space, showing us the fun and the wild playfulness -- finally settling on one little boy JOHNNY (6-8) who's looking forlorn and lost. IN THE SHADOWS - Darla watches. Hunger in her eyes. Johnny turns around in a circle. JOHNNY Mommy...? DARLA What's wrong, honey? She's suddenly right there next to him. DARLA (cont'd) Lost your mommy? Johnny nods. DARLA (cont'd) Let's go find her together. Darla holds out her hand. Johnny suddenly feels better, takes her hand. Darla leads the boy off towards the shadows. Suddenly, off to Darla's side: MOM (O.S.) You're a brave woman... Darla stops, looks over. A MOM, her small girl in tow, is looking right at her. MOM ...about to have one... (points at Darla's belly) ...takin' the other out to play. DARLA (pleasant) Oh I love children. I could just eat 'em up. Mom laughs good-naturedly, moves on. Darla leads Johnny into the dark, until they disappear into the shadows. END OF ACT THREE Act Four CORDY'S DREAM MONTAGE: Children, allû innocence, intercut with Darla watching from the shadows; Darla as a vamp biting Cor; perhaps Angel and Darla both as vamps biting each other from Ep 4, Year 2. These sub-conscious disturbing dream images take us to: INT. ANGEL'S HOTEL - ROOM (NOT ANGEL'S) - NIGHT Gunn watches Cor who is sleeping pretty fitfully. After a beat or two, she cries out and wakes up with a start. Gunn rushes to her. GUNN It's all right, it's just a dream, I'm right here. She can't hurt you. CORDELIA I gotta talk to Wes. As she starts to get up, INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT CLOSE ON COR - pacing (or not), putting the pieces together. CORDELIA It was a dream but it was more like a vision... PULLING BACK - we see Wes and Gunn listening, as is Fred, while dialing the phone and listening for an answer. WESLEY About what? CORDELIA About what's inside Darla. (to Wes) This Tro-Clon thing, the prophecy says it will be born or it will arise? WESLEY Yes. (off her look) It says both. (re: scroll reõmnants) The Middle English Ey-riz-an and the Gothic Ur-reis-an both mean to "appear" or "spring up" -- FRED (re: phone) Angel's not answering his cell phone. Should I leave a message on his voice mail? CORDELIA He doesn't know how to work his voice mail. Try his pager. Fred hangs up, glances at a number on a list in front of her, dials again. WESLEY It also makes reference to the Tro- Clon being "boren", which is pretty plain Middle English: "to be born" or "to bear". GUNN To bear... could it be saying this Tro-Clon thing is something we won't be able to bear? WESLEY As opposed to something that's being born? (Gunn nods) It's possible, I hadn't looked at it that way. The sound of a BEEPER is heard. Gunn moves one of Angel's coats hanging on a hook, pulls the BEEPING beeper out of a pocket. GUNN We found Angel's beeper. He clicks it off. WESLEY Cordy, what is it, what was the vision trying to tell you? CORDELIA I think it's trying to tell me why Darla's craving younger victims.ä.. we got a real problem on our hands. INT. FUN CASTLE - NIGHT CAMERA MOVES through the rowdy kids and tired parents, into the dark shadows. In a hidden corner, we find Darla with Johnny, who's looking worried again. JOHNNY M'am? I don't think my mommy's back here. DARLA Are you sure? Did you look? Johnny, a little confused, looks around, turning his back on Darla. CAMERA BARRELS IN ON HER. JOHNNY I don't see anybody -- He turns around, sees that she's now in VAMP FACE and SCREAMS! She moves in on the kid, about to grab him when ANGEL (in VAMP FACE) flies through the air, hitting her from behind. Johnny runs. Angel and Darla hit the ground. Angel's got a stake in hand, coming down hard for her heart. Darla thrusts up her hand, takes the stake right through the palm. Howls in angry pain and wallops Angel -- he goes flying off her. OUT IN THE LIGHT WITH THE OTHER KIDS AND PARENTS Johnny runs for his life, right into the arms of his MOTHER. JOHNNY'S MOTHER There1/2 you are. Where have you been? How many times have I told you not to wander -- Suddenly ANGEL comes flying into the room, breaking tables and chairs. Darla walks in. She pulls the bloody stake out of her hand (as parents and kids panic-run for the exit), heading for Angel, shaking her head in disgust. DARLA You so want to play the good guy, don't you. Yeah, you're the good guy who did this to me! Angel tries to get up -- she kicks him in the face, he goes flying, hits something hard, turns around. DARLA (cont'd) You may have the face, but you don't know the hunger, not this hunger... (disconnected) ...it's in you and they're just -- they may be helpless, I'm not! -- it pounds, you can't make it go away, you can't stop it. Angel gets up, beat-up but grim. ANGEL I'll stop it. He hits her hard, sends her staggering back. And we're into a battle of the Titans -- obviously, big pregnant Darla isn't doing spin kicks and the like, but sµhe's unbelievably strong. The fight should be vicious and grand. After a few choice blows on both sides, Angel, even though she is uber-strong, gets his hands around her throat. She struggles, even knees him in the groin. He keeps choking. DARLA How could you put this in me?! She smashes his chin with the palm of her hand. He keeps his grip on her. DARLA (cont'd) I HATE YOU! ANGEL I know... Still he keeps his grip. DARLA They breathe. They breathe and pound... I don't breathe, you idiot... She laughs a little crazily. DARLA (cont'd) You can't strangle me. ANGEL I'm not gonna strangle you... He smashes her head against something. Keeping one hand firm around her neck, he brings up the other -- a stake in it. She tries to kick or punch -- he's got her pinned. He raises the stake to strike -- but hesitates, something deep inside him starting to waver. DARLA GO ON, DO IT! Angel releases her, takes a step back, rÒealizing something pretty momentous. Darla, furious, comes at him. DARLA (cont'd) DO IT!! She beats on his chest -- as they (or CAMERA) spin around; they both, off-camera return to NORMAL FACE. DARLA (cont'd) It won't stop... it won't stop...! She's completely falling apart, crying and trying to hit him. He just holds her fast. ANGEL No, it won't. Darla, listen to me, the thing you feel inside, the voice you can't shut out, it's because it has a soul. DARLA What?! ANGEL The child, it has a heartbeat. And a soul. DARLA Not my child -- ANGEL Our child. That's why you've been craving purer and purer blood -- that's why it's been driving you out of your mind: it has a soul. DARLA NO!! It doesn't, it can't... She's really a mess now, both angry and crying with grief. But finally letting him hold her. DARLA (cont'd) It can't... ANGEL (gently) It does... As she cries, and starts to collapse, EXT. STOCK SHOTS - ANGEL'S HOTEL - NIGHT INT. ANGEèL'S HOTEL - ANGEL'S ROOM - NIGHT A MATCHING CUT from the previous scene, (as Darla started to collapse against Angel) -- Angel lays her gently on his bed. She's physically and emotionally exhausted. He's pretty bet up. Angel passes her a cup of something. ANGEL Drink this, you're going to need your strength. Darla sips from the cup, makes a face. DARLA Pig's blood? ANGEL You need to keep yourself nourished. You'll get used to -- She hurls it away. ANGLE - THE WALL - The cup of blood shatters, leaving an ugly blood stain running down the wall. ANGEL AND DARLA ANGEL (cont'd) You're not alone with this anymore, we'll deal with it together. DARLA (with loathing) Gosh, I'm the luckiest vampire girl in the whole world. Get away from me. Angel stands. ANGEL Try and get some rest. As he walks away from her, Darla manages to smile: DARLA How's Cordy, does she want to come up and visit? He doesn't turn back, but it affects him; he walks to GUNN in the living room,Æ near the door. Gunn has crossbow, perhaps a stake and a hatchet nearby, too. ANGEL She goes near Cordelia or Fred... Gunn nods. GUNN I know. ANGEL And don't underestimate her: the woman's stronger than all of us right now. Angel goes. INT. ANGEL'S HOTEL - LOBBY - NIGHT A very weary and beat-up Angel faces Cor and Wes. Fred in b.g. working on her computer calcs. ANGEL (to Cor) You're not to go near Darla for any reason without Gunn, me and a lot of crossbows standing between you. You understand? CORDELIA (nods) Oh yeah, and if I forget, I got a nice reminder right here. She pats the bandage on her neck. Angel calls to Fred in b.g. ANGEL Fred, that goes for you, too. FRED Gotcha'. Beat. Cor tries to put her usual positive spin on things: CORDELIA So... I guess you're going to be a father. ANGEL I guess I am. CORDELIA I felt it in my dream, the same thing you did when you found her: it has a soul... WESLEY Well Angel hasÇ a soul, it makes sense, as much as any of this does... Wes and Cor exchange a look, then: WESLEY (cont'd) Angel, even with a soul, she could still give birth to what's spoken of in the prophecies. ANGEL The thing that's come to kill and burn us all. (beat) I know that. I also know that child is mine. And unless Darla attacks someone, no one is going to harm her or that child. No one. A grim beat. WESLEY Right. CORDELIA Well, another big fun day here at Angel Investigations. What do you say we all pour ourselves a good, stiff -- FRED (suddenly) Uh oh. CORDELIA (what now:) A good stiff "uh oh". Fred comes running from her computer. FRED Remember before when I said I thought that maybe, possibly, perhaps I might have been off in my calculations? (to Cor) And you asked Wes if the Tro-Clon was prophesied to arise or be born and he said it could be both -- or either -- (to Wes) And we all know that the Latin for arrive is arripare, to "come to land" or possibly in this instance simply to "come to" as from a deep sleep -- ANGEL/COR/WES Fred! FRED Right, sorry. Well -- and this is only based on a seventy-two point six oh oh nine probability -- I believe that whatever this thing is, it's arriving right about... (checks her watch) ...three, two... now. Off all of them, SCARY FLASH CUT (DARLA, KIDS, BLOOD, PROPHECIES) TAKES US: EXT. SOMETHING INNOCUOUS - NIGHT A 7-11 or some such. Normal L.A. life coming and going. CAMERA SINKS literally INTO THE GROUND. Then into blackness, then out of the blackness, descends into: INT. UNDERGROUND CHAMBER - NIGHT There's something ancient and timeless about this SCARY, DARK place. Candles are scattered throughout the b.g. Something very nearly like a sarcophagus st‰ands straight up in the middle of the chamber. It's a scary looking monument, decorated with frightening images of demons through the ages. So it's vaguely Egyptian with a touch of Jules Verne, as is the chamber itself. SAHJAHN, a scary demon, but with something wise in his features, approaches in his long cloak. He stands in front of the Sarcophagus, pulling salts and herbs out of a decorated pouch (with signs and symbols on it.) SAHJHAN The weight of time is heavy on the world; and all men born must die; but there are worlds unknown, where dreamers dream and sleepers sleep, and patiently await... SahJhan sprinkles some salts and herbs on the Sarcophagus. SAHJHAN (cont'd) ...as pledged in Caladan by Cod-she, one shall awaken in the first year of the final century; that one who lived before and joined Cod-she in the great sleep... arise, as it was promised and foretold, arise! Agaˆin SahJhan sprinkles salts and herbs on the Sarcophagus. He then walks to the corner of the chamber and hunches over some candles, appears to be working on something ominous. A beat, then he arises with a lit cigarette between his lips. SahJhan checks his watch, then a tremendous rumbling, accompanied by camera shaking, light effects, and the eyes of the Sarcophagus come to life -- fierce and terrible eyes -- and then the whole thing shatters in a million pieces, revealing a human man inside -- it's Holtz, shocked and confused, his clothes gone to rags; he crumbles to the ground. SahJhan bends down. SAHJHAN (cont'd) Welcome to the twenty-first century. Angelus is here, you'll see him soon. You haven't used your muscles in a very long time, it will be a while before you're strong enough to -- Holtz suddenly and alarmingly bolts to his feet. HOLTZ Just tell me where he is. THE END