Somnambulist

(November 9, 1999)

Written by: Tim Minear

 

Teaser


Teaser
A HARVEST MOON


shimmers in a night sky. We take this in for a beat, then... the image is
shattered as a BARE FOOT plops into it; the moon just a reflection in a puddle
and WE ARE:

EXT. CITY STREET - NIGHT

A WOMAN runs down the lonely street. We
don't get a good look at her face.

We likely realize we're in someone's dream
landscape. Dominant SOUNDS -- The Woman's labored BREATHING and her BARE FEET
SLAPPING on the wet pavement -- are heightened. Maybe we're a bit OVER-CRANKED,
giving her flight a slightly surrealistic quality.

She looks over her shoulder
as she runs, checking for her pursuer. She turns forward again... SHE SEES...


A DARK FIGURE

blocking her path. Seemingly appearing from out of nowhere. She
puts on the brakes, but too late, he has her, his grip iron fast.

CLOSE SHOTS


Her trembling lips... HIS HAND reaching in, gently moving hair from her
porcelain neck... On his thumb, fitted snugly like a thimble, is an open-topped
metal piece which comes to a sharp point. He draws it lightly over her cheek.


She's breathing hard, more from fear than from the running. The veins on her
neck stressing against her flesh.

HIS FACE

shrouded in shadow... pressing
forward just slightly, the MOONLIGHT bringing into relief... his VAMPIRE FANGS,
bared and ready...

HIS THUMB

he punctures her cheek with the tip of the
finger fitting. He's cutting her, drawing a thin line of blood in her cheek.


WIDER

The attack in silhouette as he bites down, drinks deeply, then lets her
body drop there on the pavement.

THE WOMAN'S DEAD FACE

where we see a pattern
out into her cheek: a Christian Cross.

THE KILLER

COMING UP INTO FRAME. It's
ANGEL. Still in full vamp face. He shuts his eyes in rapture. We PUSH CLOSER...
on the push he MORPHS back to normal face. He opens his eyes again. Now his
demeanor changes. He's suddenly confused... disoriented.
Somewhere in the
distance, the SOUND of a POLICE SIREN...

WE PULL WIDER and now we find that we
are no longer on the lonely street, and neither is Angel, and we are:

INT.
ANGEL'S BEDROOM - NIGHT

...STILL PULLING BACK, finding Angel on his bed, on
top of the covers, fully dressed, just coming awake, rattled. Everything else
was just a dream.

The distant SIREN becomes a PRESENT WAIL taking us to:

EXT.
CITY ALLEYWAY - NIGHT - A POLICE CHERRY

stop an UNMARKED SEDAN as it rolls
into frame.

WIDER

Out of the sedan alights DETECTIVE KATE LOCKLEY and her man-
of-no-words MALE PARTNER. They are met by a UNIFORMED COP.

KATE
Where?



The
Uni leads them to a crime scene at the mouth of an alleyway. A few more
UNIFORMED COPS. Yellow police tape keeping out the curious.

They cross under
the police tape, move to a FEMALE BODY lying (discreetly) in the alley. Kate
slips on rubber gloves, takes the woman by the chin, turning her face. We don't
yet see what she's seeing, but something is confirmed for her:

KATE
It's the
same guy...



The others follow her gaze to...

THE DEAD WOMAN'S FACE

It's
the same woman from Angel's dream. We see a familiar marking... the Cross cut
into her left cheek.

KATE (0.S.)
This makes three.



As we PUSH IN on her
glazed, lifeless eyes...

KATE
He's just getting started.



Off that grim
image --

BLACK OUT.

END OF TEASER

Act One


Act One
IN BLACKNESS:

CORDELIA (V.O.)
I
believe in Los Angeles...



INT. ANGEL'S OUTER OFFICE - DAY

On the SLOW FADE
UP we're VERY TIGHT on Cordelia, in the shadows, speaking to someone O.S. As we
slowly CREEP WIDER:

CORDELIA
It's the city of dreams. A
mystical oasis willed
from a
desert. But even sunny blonde
L.A. has its trashy dark roots.
And you've
learned that the hard
way, haven't you? You've taken
your problem to the
police. They
couldn't help you. So you've come
to us...



Now WE SEE that all
this has been directed to an empty chair. Cordy feels eyes on her... looks over
to see WESLEY standing in the open doorway, holding a bundle of mail and a
newspaper. It's clear he's been watching all this.

WESLEY
(re: the empty
chair)
I think it's about to speak.


CORDELIA
Nobody likes a smartass rogue

demon hunter. What do you want Wesley?


WESLEY
Just thought I'd pop 'round so
we
might compare battle plans from
our respective fronts.


CORDELIA
I thought
you worked alone?


WESLEY
Well, even a solitary soldier such
as myself
recognizes that a free
exchange of intelligence benefits
the common struggle.
Also I
brought in your mail and newspaper.



He hands her the mail and paper.
She takes them.

CORDELIA
Thanks.
(then)
Okay, so what've you got?


WESLEY

(thrown)
Got?


CORDELIA
You wanted to compare skinnies on
current evil
happenings?


WESLEY
Yes! "Skinnies." Precisely.
(Cordy's waiting)
Right.
Well...
(with terrific import)
Everything seems quiet.
(off her deadpan look)

Which, if experience teaches us
anything, could mean... something.


CORDELIA

'kay, well, thanks for stoping by.


WESLEY
And you? How go things on your
end
of the good fight?



She's thumbing through the mail now.

CORDELIA
I've been
giving the hard sell to
an empty chair -- what do you think?


WESLEY
Quiet all
around, then. Well!
I'll keep myself available. The
situation can only
escalate.
(she's still thumbing)
We made a most effective team, I
felt.
Vanquishing that empathy
demon in such short order.


CORDELIA
Yeah, well,
nobody gouged out my
eyes, so I'm happy.


WESLEY
Yes. Most effective. Your

cryptic visions. Angel's brawn.
And my highly-developed powers of
deduction
rounding out the...


CORDELIA
This isn't our mail.


WESLEY
Sorry?


CORDELIA

See here? Dentist office next door.



She shoves the entire lot back at him.
He juggles them.

WESLEY
I see... I didn't realize...



Something in the
newspaper catches Wesley's eye. Cordy looks up, sees Wesley's absorbed, has
gone a bit pale.

CORDELIA
Something wrong? You stopped yammering.



He
quickly folds the paper. Now the SOUND of the ELEVATOR coming up from
downstairs. Wesley reacts to that.

WESLEY
I suppose I should return these

items to their proper owner --
lovely to see you.



Cordy watches him go. The
ELEVATOR appears. Angel looks like hell, tired. As he moves to the coffee maker
--

ANGEL
Who were you talking to?


CORDELIA
Nobody. And Wesley.
(rummages on
her desk)
So you remember that license plate
we got on that runaway case?



ANGEL
I remember you were going to
follow up on it --


CORDELIA
(approaching
him)
No go. The DMV's totally stalker
phobic and wow, you look about half dead.




He flashes her a look; she backpedals.

CORDELIA
Which for someone's who's
completely
dead would be... kinda neat?


ANGEL
The license plate, Cordelia?



CORDELIA
Right. I thought maybe you could
have Police Woman run it for us on
the Q.T.


ANGEL
Kate?


CORDELIA
Just remind her that if it wasn't
for you
she'd be the curdled gooey
leftovers of a proto-babylonian
burrower demon. Or
words to that
effect. You'll pretty it up.



Angel takes the note with the
license plate number from Cordy. Looks at it. She's been staring at him.


CORDELIA
You sure you're okay? I mean, for
a guy who's 200 plus, you're not

usually with the bags.



He ignores the question, starts for the front door --


ANGEL
I'll do this now.


CORDELIA
Hey --


ANGEL
Look, I'm fine, Cordelia.
Alright?


CORDELIA
Alright...



Angel pulls open the door -- and Cordy lets
him. A strong BEAM OF SUNLIGHT blasts into the room, just missing Angel. He
instinctively jumps back, leaving the door open.

ANGEL
(avoiding her gaze)

I'll take the tunnels.



Angel moves to the elevator without further comment.
Cordy watches him go, knowing all is not well.

ANGLE FROM FOYER

As Cordy
shuts the front door INTO LENS... leaving CAMERA IN FOYER... finding... WESLEY,
pressed into a corner, eavesdropping, then looking back to the newspaper with
grave concern as we GO TO --

EXT. POLICE PRECINCT - DAY

Jump cutty transition
to...

INT. POLICE PRECINCT - DAY

A maze of desks. UNIFORMS and PLAINCLOTHES
COPS work. Angel with Kate as she moves busily about the bullpen, cutting
together materials. She eyeballs the note in Angel's hand.

KATE
You know I'm
not supposed to
release that kind of information
to a civilian, Angel --



ANGEL
I know.



A beat, she looks at him, then takes the license plate note.


KATE
If it were anyone else...


ANGEL
I appreciate it, Kate.


KATE
I know you
do. Which is why I
don't mind. I'll run it myself.
Have it for you by morning.




She sits at her desk, puts the plate note her "in" basket.

ANGEL
No rush...
late afternoon...
Evening would be fine, actually.


KATE
To be honest, I won't
mind getting
my head out of this case. Even
for a minute.



She's picked up a
photograph on her desk, gazes at it. He takes the seat opposite her. She passes
the photo over to him: A VICTIM PHOTO of a SWEET LOOKING MIDDLE AGED MAN, all
the more poignant because this is a victim in life.

KATE
The first victim.
Reggie Sparks.
Volunteered as a crossing guard.



As she flips through more
family-supplied photos of:

KATE
Jessica Halpren, 25. Worked as a
waitress. And
Jenny Markem.
She'd just started the 10th grade.
And do you know what they all
have
in common?



Angel just looks at her, doesn't have a clue.

KATE
What he
did to them. That's all.


ANGEL
That's not all. They have you.



She looks at
him, appreciates that. A moment of connection which is interrupted as a CLERK
approaches with more photos.

PRECINCT CLERK
Here's the crime scene photos you
wanted.


KATE
Thanks --
(to Angel)
Look, why don't you stop by
Tomorrow. By
then I'll have
invaded a citizen's right to
privacy for you, and you can...

(then)
Angel -- ?



He's not paying attention. He's focused on the top most
crime scene photo. Mesmerized by it: a black and white featuring the Christian
Cross on one of the victims.

FLASH! An explosion flashing back to Angel's
dream, the dead Young Woman, the same symbol carved in her face.

BACK TO SCENE


Kate notes Angel's reaction to the photo --

KATE
Yeah. Pretty grim, isn't it?

I've spent the last forty eight
hours putting together a suspect
profile, and
believe me -- being
inside this guy's head hasn't been
a whole lot of fun.




Angel just stares at the photo, can't speak.

KATE
The tabloids are calling him
"The
Pope." He probably thinks he's
doing "God's work."


ANGEL
No. Just the
opposite. This is
about mocking God.



She looks at him, a little thrown by
his utter certainty. He feels her gaze. Awkwardly adding:

ANGEL
...is my
guess.



Before she can consider that any further, the Clerk reappears:


PRECINCT CLERK
They're ready for you now, Detective.



A beat, then she looks
to the clerk, re-orients herself.

KATE
Yeah. Okay.
(back to Angel)
Looks like
it's show...



But he's not there. He's up and moving toward the door.

KATE

...time.



As he heads out and she eyes him, processing their last curious
exchange, she vacantly pulls a charm she wears around her neck from under her
shirt, she fiddles with it - a Christian Cross. And we PRE-LAP with:

KATE (V.
O.)
Our suspect will be a white male...



INT. POLICE PRECINCT - WAR ROOM -
NIGHT

Kate is before an assembled group of law enforcement professionals.
She's got charts and photos of crime scenes.

KATE
...to the observer he will
not
seem a monster. His victims put
up little or no struggle, so it's
likely
he's charming, attractive.
But at his core, he's a loner...



EXT. CITY
STREETS - NIGHT

Angel pushes out into the streets, a loner. He doesn't make
eye contact with the humans who pass him by.

KATE (V.0.)
Possibly a dual
personality, who,
once the crime has been committed,
retains no memory of the
act. He
will not view his victims as sub-
human, rather, it's himself he

regards as something other than
human. More than human. A
superior species ...




INT. POLICE PRECINCT - WAR ROOM - NIGHT

Kate continues her profile...

KATE

It's unlikely he'll be married,
though he may have recently come
off a long
term relationship which
ended badly. We look for a
precipitating event in cases
such
as this, and a painful breakup is
always at the top of our list.



EXT.
CITY STREETS - NIGHT

Angel at a corner. Waiting for a light to change. Nearby,
a group of YOUNG PEOPLE, laughing together. We're in Angel's head and they seem
distant, apart from him.

KATE (V.0.)
Prior to failing, this relationship
may
have marked an inactive period
in our suspect's life...



A particular FEMALE,
her back to us, may remind us of Buffy. Angel can't help but be drawn to this
image... The Female feels this stranger's gaze. Looks at him. Smiles.

KATE (V.
O.)
He would've regarded it as a life-
line, his salvation. But once
ended,
resulted in his recidivism.



Angel's gaze travels from the Young Female's
face to her luscious neck. He forces himself to keep moving.

INT. POLICE
PRECINCT - WAR ROOM - NIGHT

KATE
What is not in question is his
experience.
He's been doing this
for a very long time. And he will
do it again.



INT.
ANGEL'S OUTER OFFICE - NIGHT

Cordy closing up shop. Woman alone, turning out
lights... turns -- gasps to find a grave looking Wesley standing there.


CORDELIA
Geez, Wesley. Hover much?


WESLEY
Where is he? Where's Angel?



CORDELIA
Not here...



Wesley moves to the windows, peers out through the
venetians. Cordy notes he's holding a stake at his side.

CORDELIA
What is
that?


WESLEY
Just what it looks like.


CORDELIA
Kind of rude to walk into a

vampire's place of business with
one of those things, don'tcha
think? Could be
misinterpreted.


WESLEY
You recall earlier today, that mix
up with the
dentist's mail and
newspaper? Well, that's when I
saw this.



He's removed a
newspaper clipping from his pocket. Hands it to her. She looks at it, then at
him, stung with realization.

CORDELIA
Ohmygod --
(she looks at him)
You cut up
Dr. Folger's newspaper!
You're going to get us kicked out
of the building.



WESLEY
What? No, Cordelia, the clipping.


CORDELIA
Third Dead Body Found In
Alley.
So? Not exactly front page news.


WESLEY
Actually... that is the front

page. Still, note the modus
operandi. The mutilation of the
corpse with the
religious icon --


CORDELIA
(no clue)
I'm against it?


WESLEY
I think it's
best you sit down.



She sees his seriousness, does. He sits opposite her.


WESLEY
While executing my duties as
Watcher in Sunnydale, I did
extensive
research. Specifically
on Angel... given his uncomfortable
proximity to The
Slayer.


CORDELIA
Looked pretty comfortable to me.


WESLEY
When I saw this
story today, it
rang -chillingly familiar. So I re-
acquainted myself with
certain...
facts. Confirming, I'm sorry to
say, my grim suspicions. In the
late
1700's, it was Angelus'
custom to "sign" his victims by
carving a Christian
icon into the
left cheek. He liked to let
people know he'd been there.



Cordy
lets this sink in for a moment, sets her jaw.

CORDELIA
Okay. You get to leave,
now.
You're not gonna come in here and
accuse Angel like this.


WESLEY

Cordelia --


CORDELIA
No. I don't care how many files
you have on the horrible
things he
did back in the powdered wig days.
He's good now. He's my friend.
And
nothing you or anyone else can
say will make me turn on a friend.


ANGEL (O.
S.)
He's right.



They both jump a little to see that Angel has appeared.


CORDELIA
(quickly to Wesley)
You stake him, I'll cut off his head.



Wesley
pulls out a cross. Angel averts his gaze.

WESLEY
Come no closer!


ANGEL
I'm
not going to hurt you --


CORDELIA
Yeah? Is that what you told Miss
Third Body
Found In Alley?!


WESLEY
Why should we believe a word...



Lightening quick
the cross is cast aside, in a corner, Wesley taken from behind, Angel at his
ear.

ANGEL
Because that's how fast could
take you if I wanted to.



A tense,
dangerous beat. Angel releases Wes, steps back.

WESLEY
Alright, we're
listening.


ANGEL
I have no memory of doing any of
these things --


CORDELIA

(aside to Wes)
Not exactly the confidence
inspiring denial I was looking for --



ANGEL
I've been having... dreams.


WESLEY
Dreams?


ANGEL
Killing dreams.
Always the
same... I stalk them... toy with
them... mark them while they're

still alive. And before they can
die from the fear, I feed on them.


CORDELIA

Okay, so you've been having nightmares...


ANGEL
They're not nightmares.



CORDELIA
(gets it)
Oh.



Wesley tries to take the academic view.

WESLEY
And
you fear these may be more
than just dreams, that you've been
acting out in
some sort of
hypnogogic state



Angel nods.

CORDELIA
Hypnowhaagic?


WESLEY

Sleepwalking.


CORDELIA
(that's crazy)
A vampire can't sleepwalk. He'd
take
one step out the door and his
p.j.s would burst into flames.


WESLEY
Unless it
were happening in the
pre-dawn hours. Which is when all
these murders took
place.


ANGEL
There's only one way to be sure...



INT. ANGEL'S BEDROOM -
(LATER THAT) NIGHT

Wesley is looking at something off camera.

WESLEY
You've
got to make it tight.



Cordy and Wesley in the process of chaining Angel to
his bed.

CORDELIA
Like I need instructions from you.
My glamorous L.A. life --
I get to
make coffee and chain the boss to
the bed. Gotta join a union.


ANGEL

Uh, Cordelia? I think that's
tight enough.


CORDELIA
And if it turns out we're
back on
the liquid lunch? Better safe
than cocktails.



She gives the chain a
hard tug. Wesley inspects the results.

WESLEY
All we can do now is wait.



CORDELIA
Yeah... and no offense, Angel --
maybe you're just committing
horrible
crimes in your dreams,
but even so I'd rather not stick
around for your
nocturnal commissions.


ANGEL
I understand.


CORDELIA
Okay. Well. Pleasant...
I
mean... sleep tight.


ANGEL
(splayed in chains)
That's pretty much a given.




She nods, hoping this really is ail a nightmare. They watch her go. Wesley
takes a seat, settles in. Produces a pack of PLAYING CARDS.

WESLEY
Well! I
thought perhaps a few
friendly hands of Rummy might help
to pass the...



He
glances to Angel, tied up to the bed, looking at him with a drier-than-whiskey
look.

WESLEY
(realizing, puts cards back in pocket)
Right.



DISSOLVE TO:


EXT. COBBLESTONE STREET - NIGHT - (1786)
Similar to the teaser dream sequence,
but even more elliptical. Various IMAGES of the victim, again a WOMAN, but this
time we note she is dressed in period PURITAN CLOTHING.

The chase... The
finger fitting... She winces as he punctures her cheek with the tip of the
finger fitting. Looks to her attacker in horror... The fangs, bared...

Her
body drops onto the cobblestones. WE MOVE to her profile, where WE SEE the
cross cut into her cheek.

ANGEL (normal face, period dress) moves INTO FRAME,
looks down at the corpse.

ANGEL
There now -- isn't that better?



BANG!

INT.
ANGEL'S BEDROOM - DAY

Angel awakes with a start, tugging at the chains.
Wesley, who has fallen asleep in his chair, wakes -- The "bang" was Cordy
slamming the elevator door, dressed for the next day.

CORDELIA
Wakey, wakey.



WESLEY
(coming around)
We made it --



Wesley sets about releasing Angel from
his bonds. Cordy approaches, waving a newspaper.

CORDELIA
Great news, sports
fans!
There's been another killing!



Wes hurries to look at the paper.


CORDELIA
Okay, maybe not-so-great-news for
the, you know, dead person -- but
at
least now we know Mr-I'm-So-
Tortured didn't do it.


ANGEL
Yes I did.



Off
Cordy and Wes reacting to that Houdini-like admission...

BLACK

END OF ACT ONE

Act Two



Act Two
EXT. COBBLESTONE STREET - NIGHT (1786)

THE MOON

reflected where the
dead Puritan lies in glassy-eyed profile.

ANGEL

Normal faced, looks town on
the corpse.

ANGEL
There now -- isn't that better?



Suddenly, ANOTHER FIGURE
rises up from a crouched position just under camera, rearing up in front of
Angel: PENN. Fair haired, slightly younger than Angel. Dressed in
Quaker/Puritan style clothing. And VAMP FACED. Blood drips from his fangs... it
is he who has claimed this girl's life.

PENN
Better...



Penn DE-MORPHS, back
to human face. He looks back to the girl's corpse, pondering it.

ANGEL
Your
first kill. Aptly done.


PENN
Strange... She was my sister --


ANGEL
And yet
you feel nothing.


PENN
No. I feel... Hungry.



Angel smiles that Angelus
smile.

ANGEL
You do learn quickly.


PENN
My father would disagree.


ANGEL

Then perhaps it's time you shared
with him just what a fine student
you've
become.


PENN
(lighting up)
My father -- yes... they'll all be
sitting down to
dinner now...


ANGEL
A feast! Excellent.



Angel puts his arm around his
young charge. As they start off together --

ANGEL
When they invite you in,
savor it,
Penn. You'll not recapture the
moment. Family blood is always
the
sweetest.



And as they move off, WIPING FRAME... A THROBBING, bloodpulsing
BEAT becomes TECHNO, or "Garbage" or something too cool for the CBS demographic
and we --

MATCH CUT TO:

PENN in the present day, completing the WIPE, moving
to --

INT. PENN'S CONDO - DAY

A KILLER'S SHRINE on the wall where Penn tacks
a NEWSPAPER CLIPPING. "Pope Slays Fourth Victim." We see other newspaper
articles of the recent L.A. killings adorn the wall.

Penn's yuppied up: tense
professional haircut, wire glasses, a bit pinched in his expression. You can
take the Puritan out of the 18th century...

ANGEL (V.O.)
I taught him well...




INT. ANGEL'S APARTMENT - LIVING ROOM - DAY

Cordy and Wesley sit reacting to
Angel's shameful tale.

CORDELIA
A real Psycho-Wan-Kenobi.


WESLEY
200 hundred
years practice... I
imagine he's got it down by now.


CORDELIA
No lie.
Gallagher's changed his
act more times than this dude has
in the last two
centuries. Why do
you figure he's still doing the
same kid shtick?


WESLEY

Well... I mean it's a classic, isn't it?
(a wistful chuckle)
Every time he
smashes that watermelon
with that sledgehammer, I just...



He notes them
looking at him, realizes his mistake. Stiffens.

ANGEL
I don't know why.



WESLEY
You don't suppose it's his way of
trying to draw you out? That he
knows
you're here? That might
explain the dreams.


ANGEL
I used to have a connection
with
those I sired. It just means he's
close. That's all.


CORDELIA
Neat. So
we can't find him, and
the cops stand zero chance of
actually stopping him...



ANGEL
Kate --



He rises; so does Wesley.

WESLEY
What are you doing?


ANGEL

She has no idea what she's dealing
with. What she's up against.


WESLEY
And
you're not going to tell her.



Angel just looks at him, his emotions churning
underneath.

WESLEY
Think about it. You can't walk
into a police precinct with

intimate knowledge of these
murders and claim a two-hundred-
year-old Puritan's
responsible.
You'll be locked up faster than
Lady Hamilton's virtue.
(to Cordy)

My apologies.


CORDELIA
That's okay, I have no idea
what it meant.


ANGEL

She's a good cop. She has
resources we don't. Eventually,
she will find him.



CORDELIA
Bad for her, then.


ANGEL
Or good for us...



Angel moves to a
shelf, finds a drawing pad and pen... Off Cordy and Wesley, curious...

INT.
POLICE PRECINCT - DAY

Kate moves through the bullpen, working. She reacts as
she spots Angel entering the busy precinct house. Waves him over.

KATE
Hey --
I got the info on your
license plate.



Angel just stares at her, not sure how
to approach this.

KATE
Angel, are you okay?
(off his non-response)
Not that
the "brooding man of
mystery" thing isn't working for
you. I mean, it is. A
lot...


ANGEL
Can we talk somewhere in private?


KATE
Sure -- of course.




INT. POLICE PRECINCT - WAR ROOM - MOMENTS LATER

The home base for Kate's Pope
investigation. Not unlike Penn's shrine in many ways -- walls covered with news
clippings, etc. But more to the point: crime scene photos and photos of the
victims from their lives. Angel and Kate enter, alone in here.

KATE
What is
it?



He paces. Finds himself drawn to the wall of photos.

ANGEL
How's the
investigation?



She reacts to that -- what is this, small talk? Okay.

KATE

It's nowhere... Some of your more
inconsiderate serial killers often
fail to
leave us any clues.



During this, Angel continues to scan the wall of victim
photos... Something about them... Kate sees she's lost him.

KATE
Angel -- ?




ANGEL'S POV: WE PAN the photos: MIDDLE AGED MAN, MIDDLE AGED WOMAN, YOUNG
WOMAN, TEEN GIRL we MATCH CUT TO:

INT. N.D. ROOM OF THE PAST - NIGHT (1786) -
FLASHBACK

WE PAN the now DEAD FAMILY. Each a counterpart to the victims in the
crime scene photos... CAMERA RESTS on an image not featured on the war room
wall... a DEAD TEENAGE BOY.

BACK TO

INT. POLICE PRECINCT - WAR ROOM -
CONTINUOUS

ANGEL

as realization hits him...

ANGEL
(to himself)
He's reliving
it ...


KATE
What's going on?



He turns. Looks at her, is startled to see
her absently toying with her cross. He casts his glance away.

ANGEL
It's...
complicated.


KATE
So make it simple.



A beat, then --

ANGEL
Kate, do you
trust me?


KATE
You know I do --



Angel reaches into his coat, removes an
8x1O sheet of paper. Tacks it to the wall. It's a drawing of Penn.

ANGEL
Then
trust me when I tell you...
This is the man you're looking for.



She's
floored by this. Unnerved.

KATE
Where did you get that?
How could you
possibly...


ANGEL
Do you trust me?



A long beat as she looks at him, weighs
that...

KATE
I don't understand...
Are you protecting a source?



He holds
her gaze. His look reiterates the question...

KATE
Yes. I trust you.


ANGEL

His next victim will be a white male
adolescent. He'll take him off the
streets
in a low rent neighborhood.
Probably near a bar or a liquor store.
And he'll
kill him just like he did
these others. Unless you use every
resource this
department has to make
sure he's not successful this time.



She doesn't offer
any more questions, just holds his gaze, measuring all this...

INT. POLICE
PRECINCT PARKING GARAGE - DAY

A few BLACK AND WHITE PATROL CARS in evidence.


ANGEL'S CAR

Wesley sits waiting in the passenger seat. Angel appears, sits in
the driver's seat.

WESLEY
So I take it you told her everything?


ANGEL
Just
enough to get her killed.


WESLEY
Well, we'll just have to see
that doesn't
happen.


ANGEL
Exactly. And once you hook this
up, she finds something --
we'll
know about it.



Angel hands Wesley a police band radio, the wires
dangling from it.

WESLEY
Where'd you get the police radio?


ANGEL
Police car.




Wesley, his hands full of the hot merchandise, sinks town into his seat as
TWO UNIFORMS pass by outside the car window.

WESLEY
Oh, dear.



INT. POLICE
PRECINCT - SAME

Kate with two PLAINCLOTHES DETECTIVES, going over a map of the
city marked with red push pins.

KATE
Let's add patrols here and here.
Anything
matching the profile gets reported.



They nod, move off. Kate, pensive, looks
to her desk... muses on Angel's sketch of Penn. Off that --

EXT. LIQUOR STORE -
NIGHT

A fair-haired SKATEBOARD KID loiters outside a liquor store. As ADULTS
pass, heading in and out of the store:

SKATEBOARD KID
(to passerby)
'Scuse me -
- could you buy me some
beer? I left my I.D. at home.
(under his breath)
Wipe.

(to woman shopper)
Ma'am, can you possibly pick me up
some beer? It's for my
mother.



A FIGURE steps into view, we're looking over a shoulder at the
Skateboard Kid. He senses the presence, looks over.

SKATEBOARD KID
Hey dude,
you old enough to buy beer?



Reveal what we already know: PENN STANDS THERE.
Smiles.

WE CUT WIDER, watching Penn and the Kid's conversation from a
distance, across the street. After a moment, they walk off together...

REVERSE
- POLICE CAR

We've been watching this from inside a BLACK AND WHITE patrol
unit. The UNIFORMS look from the scene unfolding in the distance to a fax: the
SUSPECT SKETCH OF PENN.

EXT. ABANDONED BUILDING - NIGHT

Penn and the
Skateboard kid walking amongst lonely, secluded buildings. The Kid's starting
to get nervous.

SKATEBOARD KID
Hey, man, you sure about this? I
don't think
there is any
"discount" liquor store over here.


PENN
You remind me very much
of a
brother I once had.


SKATEBOARD KID
Yeah? Whatever. I think we're
going
nowhere here.


PENN
Good point.



Skateboard Kid reacts -- Penn has gone
VAMPFACE. He lunges at the horrified kid -- but suddenly it's LIKE DAYLIGHT as
several SPOTLIGHTS hit Penn --

No less than SIX COP CARS with their spots
trained on this attack, a distance away, blocking Penn's exit.

Penn shields
his eyes (and his Vamp visage) from the police, backs away from the woozy kid.


Penn turns, leaps, CRASHING UP through a second story window, disappearing into
the abandoned building.

Off the Cops' amazed reactions...

CLOSE - POLICE
RADIO

POLICE DISPATCHER (V.0.)
All units, back up requested at
3336 Channel
Avenue. Use caution,
multiple homicide suspect believed
to be at location...




And we are:

INT./EXT. ANGEL'S CAR - NIGHT - MOVING

Angel and Wesley react as
they see a POLICE ROADBLOCK up ahead. Angel rolls the car to a stop, climbs out
of the car.

ANGEL
Meet you back here --



Angel moves to a building -- and
scurries up the side.

EXT. ABANDONED BUILDING - NIGHT

OFFICIAL VEHICLES
abound. The TASK FORCE has arrived. We're moving with Kate, in command as UNI
#1 fills her in.

UNI #1
(indicating)
...he went in through there.
We've got
three teams searching
the place now. We'll find him.



Kate looks to a
PARAMEDIC UNIT where the Skateboard Kid is being tended. She girds herself,
pulls her gun.

KATE
I'm going in --



EXT. ROOFTOPS - NIGHT

Angel races
across rooftops, leaping from one to the next...

INT. ABANDONED BUILDING -
NIGHT

Kate, her gun before her, silently enters the crumbling building. She
spots some other SEARCHING COPS up ahead. They see her, she nods at them to
continue. Now a noise somewhere in the building draws her attention...

INT.
ABANDONED BUILDING - NIGHT

We're moving with Kate up a rickety staircase. The
stairway opens into a larger, even more...

CRUMBLING ROOM

It's all very tense
and Silence Of The Lambsy as Kate sweeps the room looking down the nose of her
firearm. A sound behind her... a rustling... she whirls to see -- just above
her on a slight rise, Penn, emerging from the shadows.

KATE
DON'T MOVE!



But
he does, right toward her.

KATE
I WILL FIRE!



Penn looks at her as if she
were a snack. Takes a step. Pauses. Cocks his head... takes another step. Kate
squeezes her trigger -- BLAM! BLAM! BLAM! Penn goes does down. Ringing silence.
Kate holsters her gun, moves gingerly to the body. Kneels down, feels for a
pulse. Satisfied, she pulls her walkie talkie. Is about to speak when -- PENN'S
HAND shoots up, clamps onto her wrist.

PENN
Ouch.



Kate is too stunned to
scream. Penn hurls her across the room, sending her crashing against a far
wall. She slumps, half out. Penn rises, moves toward her, but now a tremendous
CRASH!

ANGEL

drops into the scene in a shower of wood and plaster. Penn spins
on the intruder, GROWLS... but is stunned as he registers recognition. He's
seeing a ghost.

PENN
Angelus?!



A pregnant moment as Penn takes in Angel...


Kate watches this through her ringing haze.

Penn breaks into a broad grin,
sweeps Angel into an embrace.

PENN
Angelus!
(disengaging)
My god! it's been a
lifetime!


ANGEL
At least.



Staying low, Kate inches for her fallen walkie
talkie.

PENN
We were to meet in Italy, remember?


ANGEL
I remember.


PENN
I
waited. Hell, I waited until
the 19th century. What happened?


ANGEL
Got held
up in Romania.


PENN
Romania? What's in Romania?


ANGEL
Gypsies...



Kate
picks up her walkie, speaks into it --

KATE
(into walkie)
Suspects sighted...
southwest corner...



Penn glances over at Kate. Amused.

PENN
Join me for a
drink --


ANGEL
That's not why I'm here.


KATE
(into walkie)
...request
assistance --



Penn does a take. Looks to Angel. Now that you mention it...


PENN
Yes... why are you here?



Angel MORPHS to VAMP FACE.

ANGEL
To kill you.




Kate gasps, drops her walkie.

Angel plows into Penn.

Penn hits a beam,
hard. Turns, now VAMPED himself.

The vampires grapple, two titans. Clawing,
leaping, performing moves beyond human capacity.

Kate, on her ass, looks up in
shock.

Angel swings Penn hard into and through a wall. Angel turns to Kate --


ANGEL
(still VAMP FACED)
Go, Kate! Get out of here!



But she's frozen there,
can't believe her eyes. CRASH! Penn returns, bursting through old plaster doing
an incredible full flip over Angel's head and landing solidly on his feet in
front of Angel.

PENN
You know its name?! Angelus...
what's happened to you?



ANGEL
People change.


PENN
We're not people --



They go at it some more, all
the more ferociously, the monsters in them having come to the fore.

Kate
advances, her gun shakily before her.

KATE
You're both under arrest!


ANGEL

Kate --



Angel glances to her, Penn takes advantage of the Angel's
distraction to land a solid blow, dropping Angel to his knees. Now the SOUNDS
of approaching COPS, thundering up the steps. Penn registers that, as...

ANGEL


Shaking it off, comes back up --

ANGEL'S POV

Whip-panning the area. Holes in
walls. Dust settling, but no sign of Penn.

WIDER

The SOUNDS of the
approaching COPS grow louder. Angel looks back to Kate, who's just wide-eyed.
Angel draws back into the shadows, hiding his monstrous face as we --

BLACK
OUT.

END OF ACT TWO

 

Act Three





Act Three
INT. ABANDONED BUILDING - NIGHT

UNIFORMS and
FORENSICS work in the crumbling room. CAMERA MOVES past this, FINDING Angel
(normal-faced) and Kate, off to the side, in a private-ish alcove. She's
freaked, pacing, fingering that blasted cross she wears.

KATE
I shot him. I
know I did. Three
times I shot him. And then...
he got up!


ANGEL
Kate...




He takes a reconciling step toward her. Suddenly she's got her gun up, shoves
it into him.

KATE
If I pull this trigger
will you get up, too?



He just
looks at her.

KATE
What are you?


ANGEL
(gently)
You already know the answer,
Kate.
(then)
A detail's been left out of the
press reports. Something you've

held back. Isn't that right?



She reacts to that, her suspicion telling us
he's right.

KATE
What do you know about it?


ANGEL
The puncture wounds. The
victims
have all been drained of their
blood -- haven't they?



We can see
that it's true. And it just makes her angrier.

KATE
And should I trust you
more or
less because you happen to know that?


ANGEL
You can't stop him, Kate.

Not like this.


KATE
What do you mean?


ANGEL
It's going to take direct

sunlight, decapitation -- or a
stake through the heart.



She absorbs the
implications. Angry. Disgusted.

KATE
You're telling me children's stories --



ANGEL
I'm telling you the truth.


KATE
No... I don't believe you.


ANGEL
I
know you don't. Even after what
you saw. You won't let yourself.
Which is why
you'll lose.


KATE
(fuck you)
I've heard enough.


ANGEL
No. You haven't heard
a word --
and you won't. Not now. Not yet.



He reaches out, grabs her cross.
His hand SIZZLES. She goes wide-eyed, but he takes no note of the rising steam.


ANGEL
Because there are some things in
this world you're just not ready to
face.



He releases her charm, it's still smoking. He turns, goes. She makes
no attempt to stop him, not sure of anything now...

EXT. LOS ANGELES - WIDE -
DAY (STOCK)

As the sun ROARS UP over The City Of Angels...

INT. POLICE
PRECINCT - WAR ROOM - DAY

PANNING the wall of crime photos... Kate sits alone
in the room, taking it all in. She looks like she hasn't slept. Now the
Precinct Clerk, enters, carrying A STACK OF BOUND RECORDS. As she sets them
down in front of Kate:

PRECINCT CLERK
Here's everything with that M.O.
dating
back as far as I could find.


KATE
Thanks, Chris.


PRECINCT CLERK
There was a
lot of it... So you
think this guy's a copycat? History buff?


KATE
Something
like that...



The Clerk quietly exits. Kate opens a large book with NEWSPAPER
CLIPPINGS. Yellowed and dusty.

Similar headlines to the ones documenting the
recent killings... "Vampire Killer Strikes In Garment District!" And a
dateline: "Los Angeles, 1929." WE FIND a victim photo -- the same Cross carved
into the face. As Kate absorbs that...

INT. ANGEL'S OUTER OFFICE - DAY - CLOSE
- CORDY

Not unlike before and her pitch to the empty chair...

CORDELIA
So --
you've discovered the seamy
underbelly of a candy coated
America, have you?
Well, you've
come to the right place. Here at
Angel Investigations we won't

judge. But we will charge. Now,
if you'll just tell me how you
heard of us ...




As we GO WIDER we see this time she's speaking to an actual prospective
client. Whoops, it's Penn sitting there.

PENN
From the police, actually.



CORDELIA
Really?


PENN
Yes. The detective I spoke with
was very
enthusiastic...



Penn rises from his chair, starts to casually wander the
office, more or less snooping. His back to Cordy. Cordy notes on the arm of his
chair he has left quite a lot of clothing; overcoat, etc.

PENN
For the truly
human touch, she
said, I should come to you.


CORDELIA
Oh, good. Is it cold
out there?


PENN
Now I'm trying to remember her
name... What was it? About yay

tall? Attractive? Natural blonde.


CORDELIA
Oh, right. Kate. Detective
Lockley.


PENN
Lockleeee. Yes. That's her.


CORDELIA
Yeah, she and Angel are
pretty tight.


PENN
Really -- ? So this is more than
just a professional
relationship,
then? He cares for her?


CORDELIA
Oh, yeah. More than he knows.

But that's our Angel. Dour, sure,
but not afraid to get personally
involved in
his work and you're
totally pumping me for
information, aren't you?



Penn,
his back to her, picks up various items; knick-knacks, books, photographs.
Turns them over, ponders them.

CORDELIA
Oh, crap. You're him. He. The
guy. Apt
Pupil boy --



She's up and backing away.

PENN
(back still to her)
You
realize you'll never make it
to that exit before I --



SIZZLE! He's hit with
a BLINDING SHAFT OF SUNLIGHT. He jumps back -- Cordy has yanked open the
venetians.

CORDELIA
Go up like a kitchen match?



Cordy is safely on one side
of the huge slanting shaft of sunlight, Penn on the other. It is a barrier
which Penn can not cross. Now Penn notes something beyond Cordy --

PENN
Well,
look who's back from his "Up
With People" meeting --



Angel appears, coming
up behind Cordy, sees the sitch. Doesn't take his eyes off Penn.

ANGEL
(to
Cordy)
Get me a stake.



She does a take at that -- a steak?

CORDELIA
It's
like eight o'clock in the morning!
(off his look)
Oh! You mean like --



She
mimes a staking motion. Starts digging through her desk.

PENN
What, you don't
drink so
now no one gets to?


ANGEL
I don't expect you to understand.


PENN

Oh, I understand. I was a
Puritan, remember?


ANGEL
It's got to end.


PENN

Why? Because you say so? How
does that work, exactly? You wake
up one morning
and decide "okay,
now I'm good!" No, Angelus. It
doesn't end. It never, ever
ends.
It just goes on and on --



Cordelia reappears with a stake.

CORDELIA

That's not the only thing that
goes on and on --
(hands Angel stake)
Here. Dust
'em.


ANGEL
I'm sorry for what I did to you,
Penn. What I turned you into --




Angel, stake in hand, is now smoothly looking for an opening... Penn keeps a
wary eye...

PENN
A first class killer? An artist?
A bold re-interpreter of the
form?


ANGEL
Try "cheesy hack."



Penn bristles at that.

ANGEL
Look at you.
You've been getting
back at your father for over two
hundred years. It's
pathetic.
And cliched. You've probably got
a killer's shrine on your wall...

news clippings, magazine articles,
maybe a few candles ...



Angel trails off
as Penn looks sheepish -- bull's-eye.

ANGEL
Oh, you are so prosaic.



Angel's
about to make his move, but now -- Wesley enters, having no clue what's going
on in here.

WESLEY
(on entering)
Well, nothing on the street about
a new
vampire in town



Before Angel and Cordy can warn him, Penn has grabbed him
up.

WESLEY
Which may be because he's here and
has me by the throat...


ANGEL

Let him go.


PENN
You're right, Angelus, my work was
getting stale. I
appreciate the
critique. So look for something
new, innovative. Shockingly

original. Just think of the worst
possible thing you can imagine --
and I'll
see you there.



And Penn shoves Wesley back at them and whirls, grabbing his
coat, pulling it over his head and crashing through the window, escaping.

INT.
OCCULT BOOKSTORE - NIGHT

Kate roams the quaint book shop. She pulls several
dusty, neglected old volumes on vampire lore from the shelves. We go all
MONTAGY, INTERCUTTING Kate and what she's learning with:

EXT. CITY STREETS -
NIGHT

Angel on the prowl, roaming the streets, searching.

INT. PENN'S CONDO -
NIGHT

CLOSE ON PENN as he works on something o.s. For all we know it's an art
project... he's all concentration... focused...

INT. OCCULT BOOKSTORE - NIGHT


Kate pages through books depicting fangs in necks, etc. --

EXT. CITY STREETS -
NIGHT

Angel perched on the rooftops, looking into the city. Penn could be
anywhere... after a moment he turns and folds himself into the night.

INT.
KATE'S APARTMENT - NIGHT

The place is littered with the fruits of Kate's
research. WE PAN the various items: the forensics research as well as mythology
texts.

We come to rest on an open volume -- a particularly lurid illustration
of a staked vamp. Now her DOORBELL RINGS. She rises, moves to the door. Opens
it -- revealing Angel.

ANGEL
Oh, that's right -- you have to be
invited in,
don't you?



He glances past her shoulder, sees what she's been up to.

ANGEL

You've been doing your homework --


KATE
Wanna quiz me? I'm just full of
fun
facts. For instance, I
learned your friend has been in
L.A. before. Did you
know that?
Yeah. At least twice. Once in
1929, and again in 1963. Oh, and
I
found something in Boston in
1908. I think he was there, too.


ANGEL
You
believe me.


KATE
Yes. I believe you.


ANGEL
Good. Because he's planning

something, Kate. I don't know
what, we have to work together,
now. We have
to...


KATE
(trying it out)
Angelus...


ANGEL
What?


KATE
That's what he
called you, isn't
it? Angelus. I looked it up.
It's all right there. "The demon

with the face of an Angel. "A
particularly brutal bastard by all
accounts. Oh,
and no. You can't come in.



Angel takes a beat, has no defense.

ANGEL
I
can't make up for the past,
Kate. I know that, but...


KATE
No. You can't. In
fact, all of
this... what's happening now, it's
really because of you. You made

him, didn't you?


ANGEL
Let me help end it -- please.


KATE
"Please." Now
there's a word I
imagine you heard quite a lot of
in your time. Please. No.
Don't
(then)
Thanks for the offer, but I don't
need your help. I know what to

do. Drive a stake right through
the sonofabitch's heart. And when
that happens -
- I suggest you not
be there... because the next time
we meet -- I'll do the
same to you.



And she shuts him out. Off Angel --

INT. ANGEL'S OFFICE -
NIGHT

Angel and Cordy at the computer. On-line. Wesley, nearby, is going
through hard copies of old newspaper articles.

CORDELIA
Here it is... Los
Angeles Globe... 1929.



On the screen, WE SEE an old newspaper article. There
is a small photo of a HOTEL. The Regent Gardens.

CORDELIA
(reading)
"The
Regent Gardens Hotel
manager said the suspect seemed
like a quiet, normal
type... A
search is still ongoing." No kidding --
(then)
What are we looking
for, exactly?


ANGEL
I don't know yet...


WESLEY
(off article)
1963. The
police tracked the
killer to a residential hotel
called the Cloverwood
Apartments.
By the time they made their move,
he'd already fled. They never
caught him.



Angel looks at the clipping. Holds it up to the computer the
photo of the Cloverwood Apartments and the Regent Gardens...

CORDELIA
It's the
same place! New name and
face lift. Not the first time
that's happened in this
town.


ANGEL
Good old predictable Penn.



We NOSE IN on the image of the
apartment building... it dissolves and resolves into:

EXT. PENN'S CONDO -
NIGHT

Same building, new paint job. A sign reads: "Under New Management!"


INT. PENN'S CONDO - NIGHT

The door bursts open and Wesley enters, brandishing
a stake. Angel walks in right past him as --

WESLEY
(a production)
I invite
you in.


ANGEL
Relax. That's only for humans.
Breaking-and-entering another

vampire's lair isn't a problem.
(then)
He's not here.



Wesley relaxes a bit
at that, thank god. Angel looks at him and he assumes a "oh, darn" look.


WESLEY
So what, then? We wait, raid the
ice box and try to "think of the
worst
possible thing we can imagine?"


ANGEL
Stop imagining...



Now they both look
to... on the table, laid out, GRAINY SURVEILLANCE PHOTOS of a school bus full
of children, the photos detailing the bus loading, it's travel, disembarking,
etc. The work space is a full on research project, with maps, charts, time
tables.

WESLEY
Good God -- all those children


ANGEL
He's finally changing
his act...



BLACK OUT.

END OF ACT THREE

Act Four

INT. SEWER SYSTEM - NIGHT (CONTINUOUS)

MOVING WITH ANGEL as he's ushered forward by the relentless momentum of the stormtroopers. Then he notices a few yards ahead: a SIDE TUNNEL, forming a shallow alcove.

Angel navigates across the streaming bodies, and manages to duck inside the tunnel. Undetected as the stormtroopers thunder past. He slips inside and is gone.

INT. SIDE TUNNEL - NIGHT

Angel enters the darkness, silhouetted by the tunnel light behind him. He runs into something big. Looks up. A uniformed FULL DEMON is patrolling this side tunnel. Blocking his way. Angel DECKS him and moves on ...

EXT. CARGO SHIP - DECK - NIGHT

Cordy is on deck, pacing nervously, keeping an eye out along with the Elder and few of the other male Lister Demons who serve as sentries. She glances over at the Captain in the near distance, who's looking impatient. She reacts now as --

CORDELIA
Someone 's coming...

CORDY'S POV

Of Doyle and Rieff, hurrying out of the night toward the boat.

ANOTHER ANGLE

As Cordy et al rush to meet up with them.

ELDER
Do you have any idea what you put us
through? We've got to get out of here.

RIEFF
I'm sorry.

ELDER
Let's get you down with the others.

The Elder starts off with Rieff who looks back at Doyle --

RIEFF
Thanks.

Cordy moves to Doyle.

DOYLE
What?

CORDELIA
You're alive --

He looks at her -- she still seems weird...

DOYLE
And you're not happy?

CORDELIA
We were worried --

He's touched.

DOYLE
Oh. Well, it's all okay now --

When, WHAP! She slaps him across the face. Doyle staggers back, shakes it off, looks at her bewildered.

DOYLE
What was that for?

CORDELIA
Why didn't you tell me you were
half demon?

He reacts to that, stunned.

CORDELIA
I thought we agreed secrets are bad.

He takes a beat, on the spot...

DOYLE
I wanted to tell you. I was afraid...
I thought if I did you'd reject me.

CORDELIA
(snorts)
I rejected you way before now! So
you're half demon. Big whoop. I
can't believe you think I'd even care
about that!

DOYLE
Well...

CORDELIA
I mean, I work for a vampire! Hello!

DOYLE
True... I just...

CORDELIA
What do you think I am, superficial?

He does a take, thinks better of responding, she's still rolling, anyway --

CORDELIA
I mean, half demon. That is so far
down the list! Way under "short"
and "poor."

She calms a bit.

CORDELIA
Anything else I should know?

DOYLE
The half-demon thing--pretty much my
big secret.

CORDELIA
Good. That's out. It's done. Would
you ask me out for dinner already?

DOYLE
Yeah?
(he's really happy about this)
Cordelia, would you like to...

They are cut off by the sound of a motorcycle ROARING up. Headlight cutting into the night. The BIKER, in death squad pants, his own shirt, riding an old-fashioned Indian Model pulls up. Hops off the bike...

CORDELIA
It's Angel...

ANGEL

Hurries up to the deck. Spots the Captain, moves to him.

ANGEL
We have to shove off. Now.

CORDELIA
What's going on?

CAPTAIN
We can't. I can't find my First Mate --

ANGEL
You won't. We're going. Get to the bridge.

The Captain keys on the seriousness in Angel's voice, moves off.

DOYLE
Angel?

But now all react at the GROWING SOUND of APPROACHING VEHICLES. They turn to see --

THE DEATH SQUAD

Two trucks, three motorcycles, approaching.

DECK

Angel turns to Doyle and Cordy.

ANGEL
Get below. And lock the doors.

DOYLE
But ...

ANGEL
Move - NOW!
(to Doyle)
And stay with the others.

They nod, hurry off. Angel turns to the face the approaching Scourge, as...

INT. CARGO HOLD - NIGHT

The Lister Demons sit amongst wooden crates and containers, waiting anxiously -- when Cordelia and Doyle enter through the high hatch. Even as they descend the stairs, Doyle is barking orders to the refugees below --

DOYLE
Lock the hatches. The Scourge is
here. We're shoving off, we're going
to make it.

The Listers race into action, as --

EXT. CARGO SHIP - DECK - NIGHT

Angel stands on the deck - unnervingly composed as Trask steps down from a truck, followed by a growing number of uniformed demons who automatically fall in step behind him.

They reach the deck, surround Angel.

TRASK
You lied to us, half-breed.

A thin, tight smile crosses Trask's face. Then he issues orders to his men:

TRASK
Kill him. Painfully.

(NOTE: Don't need this big a fight. SPIRO: Angel fights three guys, falls in hold. Take it from there.) Angel is attacked by three of the Number at once. Two grab his arms. The third stands before him and pulls out a billy club, raising it high ... but before he can bring it down, Angel unleashes a full-on jackbooted kick in the nuts. The demon goes thud on the hard deck floor. His billy club clatters to the deck.

Angel struggles with the other two demons. He pulls his arm out of the first one's grip and backhand-punches him. Spins the second, whipping him around, positioning him to take a
hard blow on the head from the other demon's baton. SMASH! Demon Two goes down.

Angel squares off against Demon Three, who's bringing his billy club whistling down hard. Angel drops, picks up a fallen club and braces himself, blocking the blow. Demon Three goes wild, landing three hard shots. Angel blocks them all. The Demon's fourth blow, a backhand, knocks the club from Angel's hand and sends it flying. They both watch it go. And while the Demon's still looking, Angel punches him in the face so hard - he's out before he hits the deck.

Angel turns to face Trask - who tackles him. The two of them land, crashing onto the cargo hold HATCH DOORS.

Angel and Trask both leap to their feet, squaring off. They fight.

The Beacon RISES into view behind Trask, hauled into place by one of the truck's giant cranes. The Beacon heads this way.

Angel lunges, wraps his arms around Trask's neck. Trask returns the favor.

Demon and half-demon stand over the cargo doors locked in combat as the Beacon, towering above them, floats down, growing larger ...

Angel looks up for a moment at the Beacon, distracted. And the second he does - the twin cargo hatch doors FLY OPEN. Angel and Trask fall through.

INT. CARGO HOLD - NIGHT

Angel and Trask drop through the open hatch, tumbling thirty feet before they hit the steel catwalk perched high above the hold.

CORDY, DOYLE, AND THE LISTER DEMONS

react to the bone crushing fall.

THE PLATFORM

Angel and Trask slowly push themselves up to their feet. They face off, ready for another round when a familiar humming sound draws their attention upward --

ANGLE TO INCLUDE THE BEACON

as it's lowered through the hatchway. Its pulsing light and sound marking its lethal descent.

CLOSEUP: The Beacon's indicator's rising, nearing the red zone ...

ANGLE TO INCLUDE LISTER DEMONS

Watching the Beacon's descent with fearful anticipation until --

ANGEL (O.S.)
(to himself)
It's going to detonate.
(shouting)
GET OUT!

ANGEL shouts down from the platform above.

ANGEL
EVERYONE OUT NOW!

Doyle rushes to one of the ground-level hatches, trailed by the refugees. He unlocks the bolt and pulls - only to find it doesn't budge. Doyle turns, CAMERA RACKING with him to Rieff, who's pulling on the second hatch to no avail.

DOYLE
They're locked from the outside.
We're trapped.

A loud metallic crunch draws their attention toward --

ANGLE: THE CEILING HATCH

The end of the crane's boom lowers into the opening ...

ANGEL AND TRASK

The Beacon jerks to a stop, dangling fifteen to twenty feet away and a few feet above the catwalk level. Trask smiles as Angel steps toward him...

TRASK
Welcome to a cleaner world. Soon,
only the pure will be left standing --

ANGEL
Actually, pure-boy ...

Angel's hard right cross cuts Trask down. Angel pulls him close --

ANGEL
You'll be on your ass.

-- and breaks his neck, dropping him.

Angel moves to the edge of the platform. The Beacon glowing stronger now, radiating. Doyle and Cordelia approach him, having climbed the stairs.

DOYLE
What does this thing do?

ANGEL
Its light kills anything with human blood.

Doyle and Cordelia digest this, as --

DOYLE
Well it's gettin' brighter, and that
little doohicky --

CLOSEUP of the glowing indicator, only moments from totally filling up the red zone ...

DOYLE
... It's fully armed, isn't it?

ANGEL
Almost. I pull the cables, I think
I can still shut it off.

DOYLE
Yeah, but how're you gonna get to it
without touching the light?

Angel's look says he's not. All of them aware of Angel's imminent sacrifice.

CORDELIA
Angel, it's suicide -

DOYLE
No man, there's got to be another way.

Angel looks down. Lister demons below look up, afraid.

ANGLES - The Elder, Rieff, Rayna, their fate in Angel's hands.

Angel turns to Doyle and Cordelia.

ANGEL
It's all right...

He starts to move. Cor tries to stop him--

CORDELIA
No.

Doyle stops Cor. He moves to Angel. They smile at each other, comrades.

DOYLE
The good fight, yeah?

Angel claps his hand around Doyle's neck, squeezes affectionately. Looks toward the bomb.

DOYLE
You never know 'til you're tested.
I get that now.

Then Doyle PUNCHES the unsuspecting Angel hard, Angel falls off the catwalk.

ON THE GROUND

Angel falls. The Lister Demons move to help him. He's dazed but alive, as --

ON THE PLATFORM

Doyle turns to the stunned Cordelia, marches right up and kisses her. A full, strong, mind-blowing kiss. A faint blue glow emanates from between their lips. Cordy's eyes go wide. This is no ordinary kiss.

ON THE GROUND - ANGEL

Gets onto his feet --

ANGEL
No. DOYLE!

He races toward the stairs, hitting them hard --

ON THE PLATFORM

Doyle and Cordelia break apart. They share a look.

DOYLE
Too bad we'll never know ...

Doyle MORPHS into DEMON FACE and looks Cordelia in the eye, unashamed. Smiling wryly.

DOYLE
If this is a face you could learn
to love.

Cordelia stands there, stunned, unable to do or say anything as Doyle moves off.

ANGLE ON RIEFF

Looking up as Doyle reaches the edge of the platform.

ANGEL

Pounds up the stairs, two at a time:

ANGEL
DOYLE!

ANGLE ON DOYLE (SLIGHT OVERCRANK?)

He girds himself - then dives out over the abyss, committing totally, and catches himself on the cage-holding the Beacon.

DOYLE

DE-MORPHS, human faced now, struggling like hell with the immense pain as:

ANGLE ON RIEFF

Shielding his eyes from the light as he watches from below. Close-ups of the other Listers, too.

DOYLE'S FLESH

Begins to burn. But the fire in his eyes burns brighter as he struggles with the cables.

ANGLE ON CORDELIA

She closes her eyes and bows her head, unable to look, as Angel reaches the platform and blows past her. Camera staying with him as he reaches the edge, reaching out --

ANGEL
DOYLE!

ANGLE ON DOYLE

Dying, fighting it.

CLOSE ON DOYLE'S HAND

The skin ripping off, little more than muscle on bone as it finds and grabs the cables.

WIDER

A supernatural CHARGE flows out of the beacon, crawling its way up Doyle's arm. He screams as it reaches his head and torso, consuming him, exposing his bone structure, melting flesh away. Still, he holds the cables in his grasp

Doyle rips the cables from the Beacon. They dangle in his hand. Triumph.

CLOSEUP: The glowing indicator, now in the red zone, goes down immediately. The light shrinks to nothing, taking with it what little is left of Doyle. Killing both him and the Beacon.

And he's gone. The Beacon dangles lifelessly on the chain. All is still.

Angel watches, silent, stunned.

As does Rieff.

As does Cordelia.

As camera pulls up and away...

DOYLE'S VOICE
If you need help, then look no
further...

INT. ANGEL'S OFFICE - NIGHT - CLOSE ON TV SCREEN

Doyle is talking into camera.

DOYLE
Angel Investigations is the best.
Our rats are low--

CORDELIA (O.S.)
Our rates...

DOYLE
It says 'rats'. ...Our rates are low,
but our standards are high.
When the chips are down, when you're
at the end of your rope, you need
someone you can count on. And that's
what you'll find here. Someone
who'll go all the way, who'll protect
you no matter what. Don't lose hope.

Doyle lingers for an endearing, awkward beat.

CLOSE ON CORDELIA AND ANGEL

Watching the monitor. Cordy's red eyes brimming.

CLOSER ON TV SCREEN - DOYLE

looks directly into camera.

DOYLE
Come on over to our offices, and
you'll see there's still heroes in
this world.

CLOSER ON CORDELIA AND ANGEL

They just watch. They don't look at each other, they don't touch. They just watch, alone in their private grief.

DOYLE
Is that it? Are we done?

BLACK OUT.

THE END