Judgment

(August 28, 2000)

Story by Joss Whedon & David Greenwalt
Teleplay by David Greenwalt
 

Teaser

INT. KARAOKE BAR - NIGHT

VERY CLOSE on a mysterious figure -- that suddenly steps into a spotlight. CAMERA ARCS around as we see his face for the first time: it's not a human face. He is THE HOST. He looks scary, evil. He brings something up towards his lips . . . incongruously it's a microphone. The opening strains of the disco hit "I Will Survive" fade up as:

HOST
(singing)
"At first I was afraid/ I was
petrified/ Kept thinkin' I could
never live without you by my side/
But then I spent so many nights
thinkin' how you did me wrong/ And
I grew strong/ And I learned how
to get along . . . "

Music pauses . . . the Host speaks into the mic. He is a showman and entertainer. A little wacky, funny and likable. We stay close, we don't see who he's speaking to, it seems like he's speaking to us.

HOST
You know what I'm talking about:
in this city, you better learn to
get along -- 'cause L.A.'s got it
all, the glamour and the grit, the
big breaks and the heartaches, the
sweet young lovers and the nasty
ugly hairy fiends that suck out
your brain through your face -
it's all part of the big wacky
variety show we call Los Angeles.
You never know what's coming next.
And let's admit it, folks - isn't
that why we love it?

And the music kicks in again and he sings:

HOST
(sings)
"I've got all my life to live and
I've got all my love to give/ And
I'll survive, I will survive . . . "

INT. ACTING CLASS - NIGHT

CLOSE ON OUR BELOVED CORDELIA - Big tears in her eyes, she's hurt and upset.

CORDELIA
But why, Johnny, why?

CLOSE ON JOHNNY, gaunt, great looking, cool.

JOHNNY
'Cause it's over.

CORDELIA
No . . . I love you, I gave you everything . . .

She's got the big emotion going and now we CUT WIDE and see that she's on a little stage in her ACTING CLASS. Her TEACHER and ten or so students are impressed by her performance.

CORDELIA
. . . didn't I?

JOHNNY
Yeah, and now it's time to move on.

CORDELIA
You can't, you're everything to
me, I'm nothing without you,
baby, nothing --

WHAM! Out of the blue she hauls off and slaps his face. His head snaps to the side and he falls right out of character.

JOHNNY
Ow! Hey . . . . owwww.
(turns to teacher)
She hit me!

CORDELIA
(to teacher)
I threw that in myself. She seems
so spineless, begging this creep
not to dump her.

TEACHER
That was just amazing. You were
Eleanor, body and soul . . .

JOHNNY
Where does it say she hits me?

TEACHER
You're on fire, Cordelia, this is
exciting work -- let's take it
again and put the focus on how
conflicted you --

Cor's beeper goes off. She pulls it out.

INSERT L.E.D. READOUT - the number 911.

CORDELIA - jumps off stage, marching out of the class.

TEACHER
Cordelia?

CORDELIA
(without looking back)
Sorry, duty calls.

INT. BAR - NIGHT

CLOSE ON WESLEY, composed and intent.

REVERSE - A DART BOARD

Six darts in it. No bulls-eyes, some pretty good scores.

ANGLE - THE TWO GUYS Wesley is playing. Watching him.

WESLEY - glances down at the three darts in his hand, then back at the board. Then Wesley glances at:

A PRETTY GIRL - She's nice, she's watching Wesley.

Wesley hurls the first two darts in rapid succession.

THE DART BOARD - Both darts THWACK in the triple score slots near the middle.

THE TWO GUYS - Deflate.

The PRETTY GIRL - is impressed.

WESLEY
Don't worry, lads, I'll give you
a re-match.

Wesley's beeper goes off. He grabs it -- sees the 911. Wesley grabs a small pile of money off the table, pockets it and heads out:

WESLEY
But it'll have to be another time.

Glancing at the girl instead of the board, Wes confidently flings the third dart. Wesley's look tells us his aim is true -- until we HEAR O.S. one of the guys call out in minor pain:

GUY (O.S.)
Yeow!

EXT. L.A. HIGH CLASS GYM - NIGHT - STOCK

Preferably upscale, lots of glass.

INT. GYM - NIGHT

Beautiful MEN and WOMEN work out. It's an expensive, exclusive CLUB.

ANGLE - THE DOUBLE DOORS

As they burst open. ANGEL, in his long black coat, Cor and Wes enter in cool power shot. The CLUB MANAGER moves to them.

MANAGER
Can I help you?

Angel, ignoring Manager, moves past, Cor and Wes flanking.

MANAGER
I'm sorry, this club is for
members and their guests only --

ANGEL
We're thinking of joining.

MANAGER
(hurries after them)
Excuse me, you can't just --

The gorgeous men and women working out look up as Angel, Cor and Wes plow through, the Manager trailing after them.

CORDELIA
Uh, you sure we're in the right place?

WESLEY
Seems a tad public for a
praetorian sacrifice . . .

ANGEL
The quadrants match -- and it's a
Carnyss demon, they love muscles and . . .
(re: mirrored wall)
. . . mirrors.

ANGLE - SHOOTING INTO A LARGE MIRROR

We see Wes and Cor and the manager moving towards us, people working out, etc., but no Angel. SWISH PAN away from this reflection (and hide the cut in the swish pan) and DISCOVER Angel where he belongs, in front of Wes and Cor, stopping a few feet in front of the mirror.

MANAGER
Listen, I'm not fooling around,
I'll call the po --

HIS POV OF MIRROR - He can see himself, Wes, Cor -- no Angel.

BACK TO SCENE

The Manager looks from mirror to Angel, alarmed.

THE ONE GREEN SCREEN SHOT - Shooting over Angel whom we hold in F.G., seeing everyone but Angel in the mirror's reflection, the Manager clearly struggling with what he's seeing, Angel walks up and kicks the shit out of the mirror.

THE MIRROR - SHATTERS - leaving a great big hole revealing --

A HIDDEN CHAMBER

REVERSE - IN THE SACRIFICIAL CHAMBER BEHIND THE MIRROR

CAMERA BLASTS past a scary CARNYSS DEMON and his HUMAN HENCHMAN towards Angel.

Angel sees a YOUNG PERSON (14-16) hands bound, forced by henchman to kneel before demon who has a nasty looking BEHEADING SWORD in hand. TWO OTHER YOUNG PEOPLE, also bound, cower nearby. Sacramental skulls, torture implements and tapestries add a homey flavor to the killing chamber.

CLOSE OF DEMON - Looking up at Angel, furious.

CLOSE ON ANGEL - Looking back.

ANGEL
(quite matter-of-factly)
Stop that.

Then Angel MORPHS -- oh yeah, he's pissed -- and heads for demon. Henchman hurls himself at Angel who just hits him SO DAMN HARD. Henchman caroms off a wall towards Wes and Cor. Angel, as vamp, engages Demon in a vicious and swift fight, ducking and blocking Demon's sword.

Wes hits Henchman once, twice, sending him down where Cor drops a free weight (in frame) onto Henchman's head (of out frame). Cor and Wes untie the youngins, freeing them.

Angel rips the sword out of Demon's grasp, beats the crap out of him and kills him.

INT. GYM - MOMENTS LATER - NIGHT

Angel (UN-MORPHED) walks out of the shattered mirror along with Cor and Wes who are helping the (greatly relieved) young people. The Manager stares in at dead demon, freaked:

MANGER
That guy has horns . . .

Our heroes never stop moving, under:

ANGEL
Steroids, not good for you.

BLACK OUT.

END OF TEASER

Act One

EXT. STOCK SHOTS - L.A.

THE SUN ROARS INTO THE SKY - THE CITY SPEEDS PAST; BRAND NEW DAY IN L.A.

EXT. CORDELIA'S APT. - DAY - ESTABLISHING - STOCK

INT. CORDELIA'S APT. - DAY

STARTING CLOSE ON LARGE WHITE-BOARD hung on Cor's living room wall. It is a "case" board, keeping track of our heroes' work (similar to the murder board in "Homicide".)

We see separate vertical columns for "case", "leads", "progress" and "status", intersected by eight or ten horizontal columns, each representing a case.

Cor writes "closed" in the status column of their latest case and puts a large CHECK MARK next to it. We see most other cases marked closed with the big check, a few still open.

Angel is toying with some little glass figurines Cor has on a shelf.

WESLEY
(re: board)
I'm beginning to think it was the
sloth demon . . .

CORDELIA
Sloth demons don't sacrifice
adolescents, Wesley. It was a
Carnyss, you I.D.'d it.

Cor points to "Carnyss", the last case on the board.

WESLEY
I don't mean the demon we killed
last night --

ANGEL
That was a nice gym.

WESLEY
I mean the one we incinerated last month.

Cor follows Wes's look to the board, the fourth or fifth case down reads "Sloth Demon".

WESLEY
I think that's what Wolfram and
Hart raised in that box when Angel
was fighting Vocah.

ANGEL
Thing about a gym, you're not
alone, you've got people around.
It encourages you to work out.

Cor has crossed to Angel, takes the delicate figurine out of his hand, puts it back on the shelf.

CORDELIA
You don't have to work out.
You're eternal.

ANGEL
I may not always be . . .

Wes and Cor exchange a look over that, she moves back towards the board:

CORDELIA
(to Wesley, re: board)
It was the Vartite Monster, took
two days to kill that thing, it's
got Wolfram and Hart written all
over it -- actually it had those
big slimy pustules . . .

Angel has absently picked up another figurine.

ANGEL
You got your steam, your sauna,
fresh towel . . . where's the down side?

CORDELIA
You shower with a lot of men.

ANGEL
(instantly)
I'll always be a loner.

Cor suddenly puts her hand to her face, takes a startled intake of breath. They pound across the room towards her --

ANGEL
Vision -- 

WESLEY
Vision --

-- Angel accidentally dropping the figurine as he reaches to steady Cor.

CORDELIA
(sneezes)
Just a sneeze.

ANGEL
(disappointed)
Oh.

WESLEY
(disappointed)
Oh.

CORDELIA
Oh?

ANGEL
I mean bless you.
(re: figurine)
And sorry about that . . .
(picks up pieces)

CORDELIA
My landlady keeps saying, "you
better not be running a business
up there, I hear a lot of noise"
and I keep telling her, "no
business, just wild orgies . . ."

ANGEL
I'll get us a new office, I just
haven't had the --

She raises her hand again. The look at her expectantly.

CORDELIA
Sneeze.
(sneezes, then gasps:)
Followed by vision!

Angel drops pieces, they steady her as WE ROCKET IN ON HER.

INSERT - VISION - The Prio Motu, very scary killer demon.

BACK TO SCENE

ANGEL
Are you all right?

The visions still hurt like hell but Cor is more of a soldier about it now. She shakes off the pain.

CORDELIA
I'll survive.

Wesley grabs marker, ready at the board.

WESLEY
What do you got?

CORDELIA
Nasty looking demon,
didn't recognize it.

Wes fills in a new space on the board with: N.D.U.O.

WESLEY
Nasty Demon, Unknown Origin . . .

ANGEL
Awful lot of that in this town, I'm
sure he'll feel right at home here.

EXT. WOLFRAM AND HART - DAY - ESTABLISHING - STOCK

INT. WOLFRAM AND HART - HALL - DAY

LILAH, on her cell phone, breezes down a hall. It's a bright bustling day and she's her chipper shark-like self.

LILAH
(into cell)
You have every right to review the
contracts, I encourage it. We'll
talk Monday. Of course if you
don't sign, we'll sue you ass off
and kill your children . . .
(listens, smiles)
. . . I'm kidding, Donald; nobody
wants a lawsuit . . .

She clicks off, wheels into:

INT. WOLFRAM AND HART - LINDSEY'S OFFICE - DAY

Dark in here. Blinds closed. Depressing. And far from bustling. Soothing classical music plays. Lilah enters, shuts the door behind her.

LILAH
Nice 'n gloomy in here.

She joins LINDSEY near his desk. He's trying to open a C.D. She looks down. He's having trouble due to his PROSTHETIC RIGHT HAND. He struggles with the C.D., finally gets it open.

LILAH
Wow, you're not handicapped,
you're handi-capable.

Lindsey ignores her, hits a button on the C.D. player -- the tray slides out, the music stops. He changes discs.

LINDSEY
She likes Chopin. And Brahms.
Not very fond of the Russians.

Chopin C.D. plays. Lilah moves across the room to the little sitting area. A WOMAN, in a simple dress, stands there, her back to us.

LILAH
Hello Darla, how are you doing today?

DARLA turns. She looks a lot better then when we last saw her in the box, but she's pretty jumpy and wigged, what with being brought back from hell and all.

Darla just stares at Lilah.

LILAH
Feeling better? It's a beautiful
day outside . . .

Lindsey moves to Darla. They're simpatico, two damaged birds of a feather.

LINDSEY
Lilah, shut up. She's not a child,
she's four hundred years old.

Darla listens to the Chopin for a moment, hums with it a little.

DARLA
Dum dum da da dum . . . the prelude . . .

LINDSEY
In C Sharp minor. The preludes and
the nocturnes . . .

DARLA
. . . so much better than the
Waltzes . . . he had consumption.

LINDSEY
Died way too soon, lot of that
going around.

DARLA
He's here . . .

LILAH
Chopin?

LINDSEY
Angel. Yes, he's here in town.
You can feel him . . .

DARLA
Always could . . .

LINDSEY
You know, he hasn't been very
helpful to us . . .

Darla feels her hands or rubs her skin.

DARLA
It's so strange . . . how you brought
me back . . .

LILAH
We went to a great deal of trouble
and expense --

Lindsey shoots her a look: shut up.

LINDSEY
We don't care about trouble and
expense, Darla, we care about you.
And we care about justice.

DARLA
He killed me . . .
(laughs a little)
. . . I remember now . . . with a soul
in his heart . . .

LINDSEY
He's taken from both of us . . .
When you feel ready we'll start
thinking about giving back a little.

DARLA
Angel . . . it's been a long time . . .

Darla looks up -- steel in her eyes.

DARLA
. . . I'd love to see that boy.

INT. CORDELIA'S APT. - DINING ROOM - DAY

CLOSE on DRAWING, about three-fourths done, of the Prio Motu demon Cor saw in her vision.

Angel sketches as Cor describes; Wesley plows through a ton of books on the dining room table.

CORDELIA
They eyes are a little farther apart . . .

Angel adjusts the eyes.

CORDELIA
They look right through you -- I
don't think this guy's afraid of much.

Wes pages through the books, glancing at the drawing.

CORDELIA
More hair . . .

ANGEL
Wes, I'm startin' to think
Northern Pakistan, the Hindu Kush . . .

WESLEY
Right, or maybe the Tien Shenin
in Kazakhstan . . .

Wesley moves to a bunch of books staked on a shelf.

WESLEY
Which means I need Suleman's
Compendium --

Suddenly the book he's reaching for leaps off the shelf at him.

WESLEY
HAY-YAH!

CORDELIA
Don't yell like that, you'll scare him.

WESLEY
Scare him?

CORDELIA
Dennis is very sensitive,
he's just trying to help.

Wesley uncomfortably places book on table, paging through it.

CORDELIA
(to Angel)
He's really more a person than a
G-H-O-S-T. Wesley, say you're sorry . . .

Wes, paging through book, looks up at Angel:

WESLEY
We have to get an office.

Cor shouts, startling Wes again.

CORDELIA
Whah! There!

She points at book; Wesley turns the last page back.

INSERT - BOOK - Woodcut of the Prio Motu demon.

Wesley slides the book next to Angel's drawing. It's a match (not exactly, of course).

WESLEY
Prio Motu demon, it's a killer . . .

ANGEL
(re: text)
Ancient Ofga-beast bred
to maim and massacre . . .

CORDELIA
Oh goody, a pit bull.

Angel moves to the white board, erases N.D.U.O., writes Prio Motu as:

ANGEL
Okay, we know what we're dealing
with, now we need to find it.
Right now we've got it narrowed
down to "somewhere".

WESLEY
I think I can help us with that.
I've been working the street --

CORDELIA
You're a prostitute? It's always
the quiet British ones . . .

WESLEY
(glares)
I've been broadening our contact
base, reaching out to the underlife,
I may have someone who could help us.

ANGEL
Who?

WESLEY
A parasite demon named Merl.

CORDELIA
(tough moll)
Maybe it's time we pay your
stoolie a little visit . . .
(makes a fist)
. . . and make with the
chin music until he canaries.
(off their looks)
I've been watching a Noir
festival on Bravo.

WESLEY
There's a place he hang out -- a
safe haven for demons -- I've been
meaning to take you there, I think
it could be useful to us but . . .

ANGEL
But what?

WESLEY
It's a little outside the box.

Pre-lap music -- "I'm So Excited, I just Can't Hide It . . ."

INT. KARAOKE BAR - NIGHT

CLOSE ON LIZARD DEMON -- Rockin' the house.

LIZARD DEMON
(singing)
"I'm so excited and I just can't
hide it . . . I'm about to lose
control and I think I like it . . ."

ANGLE - the Host stands near the little stage, sipping a drink and watching the Lizard thoughtfully.

WIDER - THE CLUB

Ten or so tables, some booths, an intimate little downstairs place. The audience consists of humans, demons, couple of vampires.

CAMERA MOVES TO THE STAIRS IN BACK

They lead down from the front door and alley or street above; Wes, Cor and Angel enter, head downstairs. Cor checks out the place.

CORDELIA
(to Wes)
Your stool pigeon feels safe
in a Karaoke bar?

WESLEY
In this one he does.
It's a sanctuary.

At the bottom of the stairs a SHADY LOOKING CHARACTER hands a nasty ceremonial knife over to a BOUNCER who gives him a claim check for it, then passes through a metal detector.

Various signs declare: "ALL ARE WELCOME" and "NO WEAPONS OR VIOLENCE ALLOWED" and "EATING THE CLIENTELE IS STRICTLY PROHIBITED".

Angel, Cor and Wes pass by Bouncer and through metal detector as:

ON STAGE - LIZARD FINISHES SONG

A healthy round of applause. HOST hops on stage, take mic.

HOST
Well, move over Pointer Sisters,
that was cook-in'.
(to the audience)
That was some good old-fashioned
home cookin', am I right?
(applause)
Okay. I'm gonna have a word with
Liz here -- don't go anywhere,
coming right up, Mordar the
Bentback will be callin' the tune
with a personal favorite of mine.
Make him feel welcome.

Host takes Lizard aside for a private word.

HOST
Well, I can see someone's feelin'
pretty zippy . . .

Liz looks down, shyly. Host gets serious:

HOST
Liz, I know it's hatching time and
you're looking forward to that,
but there's more to life than
eating your young.

Liz looks up, listening carefully to the Host's counsel.

HOST
I see anger and fear in your aura,
it's cause the Shysa-Lekark are
moving in, isn't it? Now you can
fight to the death or you can
learn to spawn peacefully, side by
side. Can't we all just get along?

ANGLE - THE BAR

MERL, a low rent PARASITE DEMON sits alone at the bar, sipping a drink. Wes, Angel and Cor move up.

WESLEY
Hello Merl.

Merl glares at them for a beat, says nothing.

CORDELIA
(tough moll)
Cat got your tongue, Merl?

MERL
I don't have a tongue.

CORDELIA
Oh.

MERL
(to Wes, re: Angel)
And keep the blood-sucker away from me.

WESLEY
He can't hurt you in here.

MERL
I know his rep -- hates his own
kind, beatin' on demons wherever
he finds 'em.

ANGEL
Especially when they waste my time.

Merl looks to Wesley who slides him an envelope. Merl picks it up, glances at cash inside.

WESLEY
We're lookin' for the Prio Motu --

Merl drops the envelope on the bar.

MERL
Whoah, whoah, you've obviously
never seen one up close -- Prio's
are stone cold killers, they got
teeth that'll . . .
(taps envelope)
You're gonna have to sweeten this
a whole lot -- and keep my name
out of it.

Wesley looks to Angel. Angel nods. Wesley adds cash to the envelope. Merl glances around, pockets it.

MERL
The Prio you're lookin' for don't
like it above ground . . . he'll be
travelin' east in one of the sub-
tunnels off the Redondo line.
(to Angel)
Prios are nasty, they're not some
big mosquito like you, turns to
dust when you stake it.
(hope you die)
Best of luck.

Angel turns to go, finds himself facing the Host.

HOST
Love the coat. It's all about the
coat. Welcome to Caritas. You know
what that means?

ANGEL
It's Latin for mercy.

HOST
Smart and cute. How 'bout gracing
us with a number?

ANGEL
I don't sing.

In distant b.g. Mordar the Bentback growls a tone deaf version of "Sexual Healing . . ."

HOST
And neither does Mordar the Bentback --

MORDAR
"When I get dat feelin' I need
sexual healing . . ."

HOST
That cat's a foghorn on two legs;
this isn't about your pipes, 'bro,
it's about your spirit.

ANGEL
I don't sing.

ANGLE - COR AND WES

CORDELIA
Who is this guy?

WESLEY
He's anagogic --

CORDELIA
Really? Looks like he's eating
enough to me . . .

WESLEY
Psychic, connected to the mystic.
When you sing you bare your soul
and he can see into it.

ANGEL AND THE HOST

HOST
I know you're feelin' smooth, in
the groove. Isn't that the thing
that comes before a fall?

COR STEPS UP

CORDELIA
Come on Angel, I want to hear you sing --

ANGEL
No.

WESLEY
(cautiously)
It would be for a good cause,
we might learn something.

ANGEL
Hey, who's the boss here? Three
things I don't do: tan, date, and
sing in public.

Angel moves past them, exiting. Host calls after:

HOST
See you around.
(to Wes and Cor)
How fabulous would I look in that coat?

INT. TUNNELS - NIGHT

Angel moves through the tunnels, alert to danger. He hears footsteps, moves against the wall, into shadow. He sees someone approaching - a woman, twenties, very pregnant, moving fast. Her name is JO.

She is frightened, stressed, tough. She sees Angel, startles. He steps out.

ANGEL
It's okay, I won't hurt you. Are
you all right? What are you --

Suddenly from behind her, comes a TERRIFYING ROAR.

ANGEL
Look out!

Angel leaps past the woman and encounters the fierce PRIO MOTU. Who attacks Angel. It's a swift and vicious encounter (so different from the swift and vicious encounter with last night's demon at the gym, you can't imagine, really).

The woman, freaked, backs against the wall as:

Angel and Prio hurl each other about. Angel eventually snaps Prio's neck. He falls to the ground, dead. Angel immediately heads towards the woman.

ANGEL
It's all right. He's dead --

She blows past him to the Prio. Kneels down, grief-stricken, cradles Prio's dead head in her arms.

WOMAN
No . . . no! What did you do . . . WHAT
DID YOU DO?! Oh God, oh God . . . !

Off her sobbing and Angel's shock,

BLACK OUT.

END OF ACT ONE

Act Two

INT. TUNNELS - NIGHT

Some moments later. Angel is battered, a little out of it from the fight and clearly thrown by this. He watches Jo, not sobbing now but still cradling the Prio's head, from a respectful distance.

ANGEL
I didn't -- I thought he
was going to hurt you.

JO
He was my protector.

She gazes down at Prio for a beat, then gently closes his eyes. Somewhat laboriously (due to her pregnancy) she gets to her feet. Angel moves to help her up.

JO
Stay away from me.

ANGEL
I'm sorry, I was sent here to . . .
I'm not exactly sure, but --

JO
"Sent here"?

ANGEL
There's powers that . . . it's kind
of a long story, I help people --

JO
You're joking, right?
God, I hate this town . . .

ANGEL
I'm really . . . what was he
protecting you from?

JO
Things you couldn't handle.

ANGEL
Like what?

JO
Like the Tribunal.

Oh boy he wishes he had.

ANGEL
Is that . . . that's more back East, right?

JO
Listen, I don't know who you are
or what your deal is and I don't care.
(re: Prio on ground)
He was my protector, I had one
friend in this world and you killed
him. Now stay the hell away from me.

She walks away. Off Angel, watching her go.

INT. CORDELIA'S APT. - NIGHT

Angel's just told Cor and Wes the news. They're all upset.

WESLEY
He was good?

ANGEL
Yes.

CORDELIA
And you . . .
(mime breaking neck)
. . . kheeekh . . . ?

ANGEL
Yes.

CORDELIA
Well that's bad . . .
(off Angel's glare)
Which of course you already . . . right.

Angel moves to the board, looks at the "Prio Motu" entry.

ANGEL
He was a demon . . . I just assumed . . .

WESLEY
Why wouldn't you? Cordelia said he
was a nasty demon.

CORDELIA
Well he looked nasty! I didn't say
he was a killer, you did!

WESLEY
That's what Prio Motu's are. They
hunt, they kill, you best believe
they're torturing -- what, we're
supposed to think a creature like
that can just change its modus
operandi overnight . . .
(begins to see parallel to Angel)
. . . and turn into some noble
protector and defender of . . . oh
god, what have we done?

CORDELIA
I didn't feel any fear when I saw
him. Angel was probably
supposed to help him, not . . .
(to the heavens)
Thanks for the obscure visions,
we're doin' great with that!

ANGEL
I killed an innocent being. He was
a soldier -- like me -- whatever
his mission was, it's mine now.

CORDELIA
Okay, that's a start. You said he
was protecting a pregnant woman.

ANGEL
From something called the
Tribunal. I want you two to
Find out what that is.

WESLEY
We will.
(beat)
Angel, you didn't know.

ANGEL
I'm thinkin' somebody did.

EXT. STREET OR ALLEY - NIGHT

Merl, the stoolie, is so slammed against a wall by Angel.

ANGEL
You're not on protected ground now.

MERL
Ow, ow, hey easy, what do you want?

ANGEL
The truth.

MERL
I told you where to find him --

Angel smashes him against the wall again.

ANGEL
Not a lotta time tonight, Merl.
Why'd you lie about the Prio?

MERL
There's a price on the woman.

ANGEL
The woman or the baby?

MERL
Yeah, it's the kid - a daughter,
she's supposed to become some
powerful, benevolent . . . I don't
know, the Dark Ones want her out
of the picture so it's a two-for-
one with the mom. Local brokers
are offerin' hard cash, but nobody
could get close enough with that
Prio around. You know, now that
he's out of the picture, you and
I could make some real --

Angel tightens his grip.

ANGEL
Where is she?

MERL
If I knew would I be hangin' out
here gettin' strangled by you?

ANGEL
Put the word out, nobody touches
the woman.

MERL
Too late for that, you have any
idea the beasts that're after her now?

ANGEL
Where did the Prio live?

MERL
I don't know exactly, Boyle
Heights, somewhere underground
near the water and power -- kind
of an iffy part of town, you know
what I'm sayin'.

EXT. IFFY PART OF DOWNTOWN - NIGHT

A WHITE GUY walks to his car. Hears voices, looks behind.

HIS POV - SOME DISTANCE AWAY

Three young black men, a hooded sweat shirt or two.

WHITE GUY

Scared, starts fumbling for his keys, glancing back -- and now the three young back men are running towards him -- the one in the middle (GUNN) is fast, ahead of the others.

WHITE GUY
Oh God . . .

White Guy can't make his fingers work, fumbling with the key in the lock. HE HURLS THE KEYS towards black guy, runs for his life.

WHITE GUY
Take the car, JUST TAKE IT!
I don't want any trouble . . . !

White Guy runs towards JUNK YARD, hollering:

WHITE GUY
It's all yours! Gas tank's full --

He runs into someone, looks up expecting a banger, sees a VAMPIRE.

WHITE GUY
Whahahat? --

Vampire grabs him and bites as --

GUNN - AND THIS IS HEROIC STUFF NOW

Running, his guys not far behind, whipping out a stake -- Gunn leaps, dives, and stakes Vampire who turns to dust.

White Guy just stands there breathing hard, freaked, hand to bloody neck.

WHITE GUY
I . . . he . . .

GUNN
You should probably go home now.

Guy stares at Gunn, then stumble-runs back towards his car, scooping up the keys. As guy leaps in car, nearly burns out the starter motor, tears off:

GUNN
You're welcome.

ANGEL (O.S.)
People nowadays . . .

Angel steps out of shadows. Gunn wheels around. His gang tenses.

ANGEL
Would it kill him to say thank
you, I'd like to make a donation?

GUNN
Angel.

ANGEL
It's been a while. You well?

GUNN
Picture of health and harmony. And
look at you, you haven't aged a bit.

ANGEL
I got a situation.

GUNN
So much for the small talk.
(to gang)
Sweep Olympic up to Broadway, I'll
hook up with you back home.

Gang moves off. Angel and Gunn walk in opposite direction.

ANGEL
Where is home nowadays?

GUNN
Got a friendly landlord off
Eighth; we keep the block safe for
democracy, he gives us a break on
the rent. So what's your situation?

ANGEL
Ever hear of a Prio Motu?

GUNN
That like a sixty-two Chevy with
the big cam?

Angel gives him the dead pan.

GUNN
I coulda just said no.

ANGEL
A warrior demon. He was living
down here.

GUNN
Isn't that nice. And I thought all
we had to dodge was roaches and
vampires. What's this demon up to?

ANGEL
Not much, he's dead. I want to
find where he was living. It's be
underground near the D.W.P.

GUNN
I know all the pockets. And I'm
gettin' the sense you want to do this now.

ANGEL
It's kind of urgent.

INT. TUNNELS - NIGHT

But different from the earlier tunnels. Angel and Gunn move through.

GUNN
We cleaned a vampire nest out of
here last year . . . just been patrolling
it on occasion since . . . this Prio Mojo
guy, what was he up to?

ANGEL
He was protecting
a young pregnant woman.

GUNN
He was on our side.

ANGEL
Yeah.

GUNN
Did you find the scumbag
that killed him?

ANGEL
I'm the scumbag that killed him.

Gunn digests that.

GUNN
Oh . . .

INT. TUNNELS - ENTRANCE TO PRIO'S CHAMBERS - NIGHT

They move past a large (four or so feet in diameter) circular metal vent. Gunn stops.

GUNN
That wasn't here before.

Gunn walks back to vent, puts his face next to it.

GUNN
You feel any air coming out of
this vent? I don't feel any air.

Gunn gets his fingers under one edge, pulls. Angel helps; the vent POPS OPEN and swings out on hinges. They look in.

INT. PRIO'S CHAMBERS - NIGHT

Angel and Gunn enter through the open circular vent-door. They look around, there's a sleeping mat, a few cooking utensils, a small altar with candles and religious paraphernalia, a tapestry or two hung on the rough-hewn rock walls -- modest, neat, clean.

GUNN
Guy kept a neat house . . .

Angel moves to altar, DOESN'T KNEEL, picks up an ORNATE GOLD BOX. Turns it over.

ANGEL
Kamal . . .

GUNN
What's what?

ANGEL
(looks to the living chamber)
His name was Kamal.

Gunn allows Angel this moment. Now Angel runs his fingers over the raised filigree.

GUNN
Are we supposed to be looking
for something?

Angel presses on two key spots -- a small hidden drawer pops open.

GUNN
Like that?

Angel removes a round bronze disk about the size of a saucer from the hidden drawer. Hand-carved, a TALISMAN of some sort, marked with symbols we may have seen on the Prio Motu.

Angel stands, moves to Gunn.

ANGEL
Hate to ask, but --

GUNN
Night's still young, what do you need?

ANGEL
I work with a couple of people at
this address . . .

Angel hands Gunn an ANGEL CARD, turning it over, there's a hand-written address on the back.

ANGEL
(re: address)
The one on the back. I'd like them
to see this right away.
(hand Gunn talisman)
Tell them it may have something to
do with the Tribunal.

GUNN
The Tribunal, got it. You gonna
hang here and soak up the guilt?

ANGEL
Something like that.

Gunn nods, goes.

Angel moves around the Prio's chamber, noting the day to day life of the guy he killed; Angel looks at an old ornate teapot, a silver spoon, picks up a tea cup or some other personal object . . .

After a few beats of this, Angel hears a NOISE O.S. Angel backs into the shadows, hearing someone or SOMETHING enter the chamber. Schmucky with the bait . . . Angel sees a CEREMONIAL SWORD near alter, starts edging towards it . . . a shadowy figure is just coming into the light or into view from behind one of the tapestries . . .

INSERT - Angel's fingers reach out and wrap around the hilt of the sword.

Angel grabs the sword and swings himself around to face the intruder -- who happens to be Jo. Angel is visibly relieved to see her.

ANGEL
You're safe --

She reacts to the sword he's still leveling at her.

JO
Am I?

Angel sets it aside, rather awkwardly. They look at each other for a beat, Jo measuring him. Finally she pushes past him with:

JO
You shouldn't be here . . .
you don't have the right.

She starts looking through the Prio's belongings . . . searching for something.

ANGEL
I know . . . but I don't have
a choice, either.
(beat)
Kamal's mission is mine, now.

A beat. She pauses in her search, glances at him.

JO
You sound just like him. You guys
with your missions and ancient
laws and medieval codes of honor.
Well, I'm not interested. I'm
just trying to protect my baby.

She goes back to searching.

ANGEL
I understand --

JO
How could you? I don't even
understand it. I mean, six months
ago I'm working the register at
Costco. Did my time as a
stockgirl, and I was moving up.
A nice promotion, you know? I was
going to be able to provide for my
baby . . . then these things start
coming after me . . . now all I want
to do is make sure she gets born.

ANGEL
That's what I want, too.

JO
Right -- because she's some seer
or leader or Joan of Arc. Well
you know what she is to me? My
daughter. Not someone's "holy mission".

ANGEL
Well, it's not just that. I mean,
it's also, sort of . . . my job.

JO
Your job?

ANGEL
Yeah. Look. I've got cards
and an office . . .
(gives her a card)
. . . well the office kind of blew
up, we're working out of this other . . .
(flips card over, temp address hand-written on back)
. . . apartment in Silverlake -- temporarily . . .

She glances at the card, looks at him.

ANGEL
Let me help you. Let me help your daughter.

A beat as she weights this. Finally:

JO
We need to find the Coat of Arms.
(searching again)
Kamal said I needed to present it
to the Tribunal. Maybe if I do,
they'll call off this whole . . .
(off his not searching)
What?

ANGEL
It wouldn't be a round, bronze
Talisman, about . . .
(mimes the size)
. . . this big, would it?

Joe looks relieved. Maybe this guy can do something right.

JO
Yes.

ANGEL
(a little proud)
Already found it.

JO
(that's great!)
Yeah? Where is it?
(off his hesitation)
What?

ANGEL
Well it's not, I don't exactly . . .
have it right here on my person . . .
I thought it was best to -- I know
where it is.

She's starting to get a little frosty again.

ANGEL
I can take you there --
(off her look)
-- the address on the back of the card.

She looks at card, then:

JO
Do me a favor -- stop helping.

She's about to turn to go when Angel suddenly leaps at her and pulls her roughly towards him -- just as a nasty DEMON SWIPES HIS TALONS through the air, nearly taking her head off.

BLACK OUT.

END OF ACT TWO

 

Act Three

INT. PRIO'S CHAMBERS - NIGHT

Angel leaps on the Talon demon - they roll out into --

INT. TUNNELS - NIGHT

Angel and Talon struggle. Talon knocks him into the wall as:

Jo runs out and the nasty demon swipes his talons at her belly -- Angel grabs it from behind, mid-swipe, saving her.

ANGEL
(to Jo)
Get back!

Angel and the demon fight; but Angel is being cautious.

ANGEL
I can kill this one, right?

JO
Yes!

Angel ducks a swipe of talons, trades blows -- Angel's doing his damndest to hold talon guy at bay but not kill him.

ANGEL
You're sure -- you don't think --
(duck, punch)
-- he might --
(slash)
be good --

SLASH! Angel gets a dose of the talons along his chest.

JO
Kill it!

Angel beats the hell out of the talon demon, eventually putting its head in the vent door and slamming the door on it. We hear a nasty CRACK and the demon falls dead to the ground.

Angel leans against the wall, breathing hard.

ANGEL
I think we should . . .

He sees TWO MORE taloned demons running towards them from the dim recesses of the tunnels --

ANGEL
Run.

Angel and Jo run for their lives.

EXT. CORDELIA'S APT. - NIGHT - STOCK

We HEAR a doorbell ring.

INT. CORDELIA'S APT. - NIGHT

Wes is at the books, Cor moves to the door.

CORDELIA
Who is it?

GUNN (O.S.)
Gunn.

Cor looks to Wesley, alarmed. He heads over.

WESLEY
What was that?

CORDELIA
(urgent whisper)
Something about a gun -- what if
it's a demon with a gun!

Wesley pulls Cor away from the line of fire.

WESLEY
(bravely, to door)
Listen up, whoever you are, we're
well armed and we know how to do
battle so if you know what's good
for you --

GUNN
My name is Gunn. Angel sent me.

Cor and Wes exchange a look, she opens the door. Gunn stands there.

CORDELIA
Well this is a little embarrassing.
Please, come in, come in. Wesley,
you've heard Angel talk about Gunn,
he's a great guy -- with a really fly
street tag.

WESLEY
What's he fly?

CORDELIA
It's how they know you
on the street, dorko.
(to Gunn)
We've been meaning to get some
ourselves but it's our busy season
and good ones are so hard to --
you know, like Gun, that just lets
'em know you mean business.

GUNN
It's my name. Charles Gunn.
Two "N"s.

CORDELIA
Oh lord will no one shut me up?

WESLEY
I'm Wesley Wyndam-Price,
this is Cordelia Chase.

CORDELIA
Like I said, we've heard a lot
about you from Angel, it's nice to
finally meet.

GUNN
I've seen you before.

CORDELIA
Really? Ahhh, the Tan n' Screen commercial.
(to Wesley)
See, people are starting to know me.

GUNN
I saw you in bed.

CORDELIA
What?!

WESLEY
I can see this is none of my business.

CORDELIA
I never -- we never -
I would know if --

GUNN
(to Wes)
You, too.

WESLEY
Now just a moment --

GUNN
In the hospital after Angel's
building blew. He sent me
there to keep an eye on you two.

CORDELIA
Right. I think our new street
Name should be "kick us, we
have it coming".

GUNN
Had to have a little fun. I was
hoping for some demon fighting
tonight, wound up with the
delivery job instead.

He hands Wes the talisman.

GUNN
Angel said it might have something
to do with the Tribunal.

WESLEY
Could be some kind of emblem or
protective amulet . . .

Wes moves to books, Gunn sees the case board.

GUNN
These are all cases you got goin'?
(looking closer)
Isn't this the well-oiled machine.

CORDELIA
We set 'em up, we knock 'em
down -- well, we did, until Angel
knocked down the wrong . . . I'm sure
he's getting on top of it now.

INT. TUNNELS - NIGHT

Angle and Jo run for their lives. Some distance behind, the taloned demons are closing in.

ANGLE - Angel and Jo round a corner, come to a fork in the tunnels. Angel stops, looks around.

JO
What?

Angel seems to be remembering something:

ANGEL
This way . . .

We don't see which way they go, instead we CUT TO:

THE DEMONS

As they round the corner and come to the fork. Barely slowing, each demon runs down a separate fork. CAMERA PANS to NARROW METAL DOOR, barely visible in the dark wall. It opens a crack and we see Angel behind it, watching the demon's departing backs.

INT. HOTEL - BOILER ROOM - NIGHT

Angel and Jo come up the stairs into the Boiler Room.

JO
Where are we . . . ?

Angel looks around, getting his bearings.

ANGEL
Come on.

They head up the cellar stairs.

INT. HOTEL - LOBBY - NIGHT

They enter from the stairwell and we PULL BACK to reveal the gorgeous old lobby. The place is abandoned now, a couple of pieces of furniture are covered with sheets. It's dusty but not filthy.

Angel moves through the lobby, distant memories washing over him. Possibly one nice high shot from the balcony to show the space.

JO
You've been here before.

ANGEL
Long time ago.

JO
Feels creepy.

ANGEL
Yeah . . .
(back to business)
What's the Tribunal?

JO
Some kind of other-worldly court,
supposedly they can save me and my
daughter . . . you go before 'em --
you gotta have that charm -- I
don't know how it works, Kamal
said he was going to be my champion --
(her fear mounting)
-- you know what? Screw this, I'm
gettin' out of town.

ANGEL
No.

JO
Try and stop me.

ANGEL
They'll find you wherever you go.
You have to stay with me.

JO
You! You can't protect me!

Angel takes her by the arms, a little forcefully:

ANGEL
Yes I can. We'll go to my friend's
house, get the charm and I will
make this right, I promise.

She looks at him, not believing but wanting to.

ANGEL
(leading her to garden steps)
There's a gate in back --

They hear a SUDDEN NOISE O.S.

CAMERA BARRELS at basement door, it bursts open, both demons charge into the lobby. Angel moves Jo up the stairs.

ANGEL
Go to the address I gave you.

Angel clocks one demon. The other is already half-way up the stairs, almost has Jo -- Angel grabs it's leg, dragging it back down the stairs.

ANGEL
GO!

She runs down into the garden as Angel holds the bridge, fighting the two demons.

INT. CORDELIA'S APT. - NIGHT

Wesley studies the markings on the Talisman, paging through books at the dining room table, Cor next to him.

CORDELIA
I'm getting worried.

WESLEY
Me too, I can't identify these
markings, I thought they were
Greco-Roman --

CORDELIA
About Angel.

WESLEY
And now we each have something
to worry about.

Angel walks in the front door. Bloody and battered.

CORDELIA
Angel! Are you all right?
What happened?

ANGEL
Is she here?

CORDELIA
The pregnant woman? No . . . Gunn
brought us the Talisman, but . . .

Angel looks to Wes whose frustration is mounting.

WESLEY
Working on it.

Angel paces towards the white board, distraught.

ANGEL
I told her to come here!

CORDELIA
Maybe she's on her way.

ANGEL
No. She won't come,
she doesn't trust me --

Angel looks down at the last entry: Prio Motu.

ANGEL
-- why should she?

Angel SLAMS the board in frustration. Beat. Cordelia moves to Angel. They are a bit apart from researching Wesley.

CORDELIA
You know, you're not God . . . you
can't see everything . . . you're
just a vampire like everyone
else -- that didn't come out right.

ANGEL
I thought I was out of the tunnel.

CORDELIA
Sure you did. Because the tunnel
is . . . you know, it's something we
all -- are we talkin' a real tunnel or
symbolic? Just give me that much.

ANGEL
I saw the light at the end of the
tunnel, that someday I might
become human . . . that light
was so bright, I thought I was
already out.

Beat.

CORDELIA
Yeah, we all got a little cocky,
didn't we? It's gonna be a long
while till you work your way out.
But I know you well enough to know
you will. And I'll be with you till you do.

A beat. Angel is moved.

ANGEL
What about your inevitable stardom?

CORDELIA
I'm not saying I won't have a day job . . .

Wes, book and Talisman in hand, joins them.

WESLEY
I think we got something . . . it's
Medieval, a small badge or coat of
arms to be presented when going
before the Cahair Binse . . . roughly
translated, the Chair of Judgment . . .

ANGEL
The Tribunal.

WESLEY
Right, an ancient court to settle grievances.

CORDELIA
You mean like with lawyers and stuff?

WESLEY
This is a little more primitive --
(looks to Angel)
-- it's a fight to the death.

ANGEL
That's why she needed a
Champion . . . where would
this Tribunal take place?

WESLEY
There's no way to tell, they're
mystical events -- they can rise
up in our reality wherever they please.

ANGEL
Even if she survives the bounty
hunters, she won't make it through
the Tribunal alone . . .

ANGEL
We have got to find her --
whatever it takes.

CAMERA PUSHES IN ON ANGEL, GRIM, DETERMINED, HERO SHOT, as he makes a crucial decision.

ANGEL
There's only one way.

HARD CUT:

INT. KARAOKE BAR - NIGHT

ANGEL
(sings)
"Oh Mandy, you came and you gave
without taking . . . "

Angel is singing "Mandy". He looks uncomfortable as hell.

In the audience Wesley and Cordelia watch.

CORDELIA
That man will do anything to save a life.

Angel finishes singing to warm applause, the HOST stepping on stage.

HOST
Well, hey, how 'bout that? A
performer. Why don't we just call
him 'Angel: the vampire with soul'.
(laughs)
Okay, simmer down . . . put the
burner on low. I'm gonna have a
chat with Mr. Tall Dark and
Rockin', and meanwhile Durthock
the Child Eater is gonna open up
to you all. He's searching for
the Gorrishyn Mage who stole his
power and he's feelin' just a
little bit country so let's give
him a hand . . .

Durthock takes the stage as Angel and the Host step to one side.

HOST
Well, you're just the hot ticket.
One night only, two seats left
with partially obstructed view --

ANGEL
What can you tell me?

HOST
I can tell you're all business . . .

ANGEL
She's in danger.

HOST
And you're feeling pretty guilty
about that. You made an honest
mistake. You killed her
protector. Lotta guys woulda'
done the same. Of course, now
she's gonna face the judgement with
no champion, and that's looking
grim for her and the baby . . .

ANGEL
Tell me where they are.

HOST
Well, who's a little curt? Who's
a little Curt Jurgens in 'The
Enemy Below'? The tribunal will
be wherever she is. She can't
escape it.

ANGEL
Where is she?

HOST
(more serious)
My question first. And answer
true, 'cause you know I'll know.
(beat)
Why 'Mandy'?

ANGEL
Well, I know the words.
(quietly)
And I kind of think it's pretty.

HOST
And it is, you great big sap.
There's not a destroyer of worlds
can argue with Manilow and good
for you for fessing up. She'll be
at Fourth and Spring. The trial
will be there.

ANGEL
The trial? How does it work?
What kind of --

HOST
I can only tell you what I tell
you. The rest is up to you.

ANGEL
Can I save her?

The host smiles kindly, but gives nothing.

HOST
Try. And find out.

EXT. FOURTH AND SPRING - NIGHT

CAMERA ARMS PAST the FOURTH STREET SIGN, Jo is a small figure in the distance, running, lost . . .

A car or two pass by and there may be a couple of HOMELESS but mostly it's an empty street.

CLOSER - JO

Alone, scared. The wind kicks up. She looks back -- empty street. She looks ahead -- and suddenly:

SPECIAL FX - THE JUDGE'S PLATFORM rises right out of the earth in front of her, scaring the hell out of her.

THREE BLACK-ROBED JUDGES sit on large chairs on the dais.

Jo doesn't know what to do. She sees, at the end of the street, a MEDIEVAL DEMON KNIGHT on horseback. At the opposite end of the street, a riderless horse.

The demon Knight rides his horse up to her and the judges. He is armed to the teeth: mace, broadsword, jousting lance. He drops a TALISMAN (similar to the one Angel took from the Prio's altar -- but different colors and markings) in the street before the judges.

The JUDGE in the middle looks down at Jo:

JUDGE
Where is your coat of arms?

JO
It's . . . I don't have it . . .

JUDGE
And your Champion?

She follows his gaze to the riderless horse.

JO
He's dead.

JUDGE
You have no Coat of Arms and no Champion.

JO
I ask for, uh, asylum.

JUDGE
Asylum is not ours to give. Two
are chosen to meet in combat --
one can save your life, one can
take it -- this is the ancient
law. Your life is forfeit . . .

The Knight instantly draws his broadsword and moves his horse towards Jo who backs away, petrified.

JUDGE
. . . you have no Champion.

JO - suddenly a dark shape steps in front of her, standing between her and the demon knight. It's Angel. He hurls Jo's Talisman at the judge's feet.

ANGEL
Yes she does.

Off our hero,

BLACK OUT.

END OF ACT THREE

Act Four

EXT. FOURTH AND SPRING - NIGHT

The demon Knight, deadly and poised, waits on his horse at the far end of the street.

ANGEL approaches his horse, noting the mace, broadsword and lance. Jo is with him.

JO
I really appreciate you coming through
for us like this, and I don't mean any
offense, but you know how you're not
really good at anything?
(re: horse)
You sure you can do this?

ANGEL
I grew up around horses.

JO
How long has it been since
you've ridden one.

ANGEL
(a beat)
A while.
(then)
But it's not something you forget.
(off her deadpany)
Don't worry. I can do this.

He moves away from her, to the horse, strokes its mane, whispering quietly in its ear:

ANGEL
Try not to make me look
stupid out there, okay . . . ?

Angel swings up into the saddle, frees the jousting lance. Turns his attention to the demon Knight at the far end of the street.

THE JUDGE

Holds out a red piece of silk and drops it. It wafts toward the ground. As it hits --

THE DEMON KNIGHT

Spurs his horse, galloping toward Angel with everything he's got.

ANGEL

ANGEL
Guess that means go . . .

Angel kicks his horse.

WIDE - THE TWO KNIGHTS

Gallop towards one another, lances pointed in the classic style. Angel's long coat flaps behind him in the wind -- he's good on a horse.

THE FIGHT

Goes something like this: On the first joust, Angel gets hit hard but stays on his horse. They charge again, this time Angel gets in a good hit with his lance but demon Knight grabs it, hurling Angel off his horse.

The judges watch impassively; Jo watches as if her life depended on it.

Angel scrambles to his feet, grabs mace and broadsword off saddle as demon gallops up and hits him with mace. Angel eventually pulls demon off horse and it's a sword and mace fight in the street.

Angel is good -- but the demon Knight is better and eventually he runs Angel through with his sword.

ANGEL - falls to the street, the Knight's sword protruding from his chest.

Jo knows this means her death, too. She tries to run. The demon Knight grabs her, drags her before the judges.

JUDGE
Her Champion is defeated. She and
all her issue are yours.

Demon Knight pulls a dagger. Is about to slit her throat when Angel rises up INTO FRAME BEHIND HIM, pulling the sword out of his chest.

ANGEL
I move to appeal that ruling . . .

Startled, the demon twirls around and Angel slices his head clean off.

The demon's body falls in a heap next to the two Talismans. Angel looks up at the judge.

ANGEL
She's safe now, right?

JUDGE
You have won, she is under our
protection, as is her daughter
until she comes of age.

The judges and their dais disappear. It's just a normal street again. Jo moves to Angel.

JO
(re: his wound)
You okay?

ANGEL
Yeah.

They move off down the street.

JO
You seem to bleed a lot . . .

WIDE - THE WOUNDED HERO AND THE PREGNANT WOMAN

Disappear into the night.

ANGEL
Part of the job.

PRE-LAP:

HOST (O.S.)
Well that about wraps it up . . .!

INT. KARAOKE BAR - NIGHT

The Host is on stage, mic in hand. It's closing time.

HOST
Boy, we've really been over the
rainbow tonight - God bless you,
Judy - and I think we've learned
a little something to boot. I know
I did when Ingmar of Sumatra told
us all to stop in the name of
love. So drive safely, everyone,
and keep your chins up, cause
there's always something new
around the next corner. It might
be a pus-beast lookin' to strangle
you with your own intestines - or
it just might be a rainbow. See you soon.

APPLAUSE. SPOTLIGHT GOES DARK.

EXT. L.A. - STOCK SHOTS - NIGHT TO DAY TRANSITION

The Host's singing continues over.

INT. CORDELIA'S APT. - DAY

Angel is taking the board (still full of cases as we last saw it) down. Cor and Wes watch.

WESLEY
Good idea, start over with a clean slate.

ANGEL
Actually we're starting over
with no slate. We're gonna
throw this thing away . . .

As he's speaking he's turning this way and that with the big board in hand, looking for the best way to carry it out back.

CORDELIA
Watch out for! --

-- he knocks a lamp over, breaking it.

CORDELIA
-- my favorite lamp.

ANGEL
Sorry, sorry . . .

CORDELIA
Just put it down, I'll deal with it.

He sets it down.

ANGEL
We're getting a new office soon,
I promise. And I'll pay for the --
it wasn't antique was it?

CORDELIA
No older than you.

WESLEY
(staring at board)
I get it.
(looks to Angel)
We shouldn't be keeping score.
We're not running a race, we're
doing a job, one client at a time.

ANGEL
Smart and cute, as someone
once said to me.
(glances at clock or watch)
I got somewhere to be.

He goes. Beat.

WESLEY
One client at a time, we could
call ourselves Vampires Anonymous . . .

He chuckles -- nothing from Cor.

WESLEY
See, because Angel's a vampire
trying not to drink, much like alcoholics . . .

He peters out all together.

CORDELIA
I get it, Wes. But I don't see
Angel joining any group on his
road to recovery . . . his
situation's pretty unique . . .

WESLEY
Hard to do it alone.

CORDELIA
That's why he's not.
Gimme a hand with this thing.

They pick the board up and exit towards the kitchen.

EXT. PRISON - STOCK SHOT - DUSK

INT. PRISON - DUSK

We see Angel pick up a phone from behind a glass partition.

ANGEL
Hey.

FAITH (O.S.)
Hey.

ANGEL
How are you doing?

Reverse on: Faith.

FAITH
Gettin' by, I guess . . .
I did sign up for this.

ANGEL
Regretting that choice?

Beat.

FAITH
Bad Day. Girl in the yard tried to
build her rep by throwin' down
with me today . . . she had low self-
esteem -- and a homemade knife.

ANGEL
Oh. Is she . . . you know, alive?

FAITH
She lives to tell the tale. I
took the knife away, and I can't
say much for the wrist it came in . . .

ANGEL
You didn't kill her.

FAITH
I really wanted to. Took a
beating from the guards, too.

ANGEL
(beat)
Sorry.

FAITH
I've earned worse. Guys like us,
we got it comin'.

ANGEL
I had to sing Barry Manilow.

FAITH
You're kidding.

ANGEL
In front of people.

FAITH
And here I am talkin' about my
petty little problems.

ANGEL
Just wanted to give you a little perspective.

FAITH
"Copacabana"?

ANGEL
"Mandy". I don't want to dwell on it.

FAITH
The road to redemption is a rocky path.

ANGEL
(smiles a bit)
That it is.

FAITH
Think we might make it?

ANGEL
We might.

A beat, as they garner strength from each other.

ANGEL
Food getting any better?

FAITH
You know, it's not that different
from what I grew up on.

The camera moves slowly away from them as they talk, comfortable, comforted by each other.

FAITH
It's a little one note, eatin' the
same thing every day.

ANGEL
I wonder what that's like.

FAITH
Right . . . but there's comfort in
the routine . . . I'm starting to get that . . .

THE END

NOTE: Over end credits, play Angel singing "Mandy".