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Angel Pilot - Part 1 Writer's First Draft Written by: Joss Whedon & David Greenwalt |
| Teaser |
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EXT. THE CITY - NIGHT AERIAL SHOTS - We move across the city� tall buildings jut into the sky� over-and-under-lap one another, it's big and cold and fast here� EXT. DOWNTOWN STREET - NIGHT Bums drink, beg, well-dressed men and women head from the high rise offices towards bars and cars. CAMERA PUSHES IN ON a downtown bar. INT. DOWNTOWN BAR - NIGHT E.C.U. ANGEL - His dark eyes, focused, deadly. PULL BACK: his expression grim, ready for battle.
Thought you could take me, didn't you� guess you're gonna have to think again. He raises his hand - something sharp and steely in it - and throws! WIDER - Angel is playing darts. The dart he just flung misses the dart board but not the beer bottles on a nearby table. CRASH!
(continuing) Huh. Good game. GUYS at dart board shake their heads as Angel, in his long dark coat, staggers to the bar, climbs on his stool, whistles at BARTENDER, points to his empty beer glass. Angel glances around as Bartender pours him a beer. The joint is happening: artists from the downtown lofts, young professionals, unemployed actors on the make, etc. Angel watches three GOOD LOOKING GUYS shooting pool with TWO GOOD LOOKING YOUNG WOMEN nearby. They're laughing, having a good time. One of the guys gets behind one of the women (JANICE, who may resemble Buffy) helping her line up a shot.
(continuing; to folks at bar who ignore him) Yeah, women, they're just� (loses his train of thought completely) �what? So round and comfy and then they say "oh, could you pass me that fork, honey�? And your heart, too, come on" and then they - (POUNDS pretend fork into heart on the bar over and over) I'm not bitter. ANGLE - The three GUYS and the TWO GIRLS move past Angel, heading out the back exit. As they do, he swivels slowly around on his stool, watching them. CAMERA PUSHES IN as his whole demeanor changes. His eyes go cold and purposeful, his loopy expression sober and focused. He isn't drunk, he's a man with a mission. EXT. PARKING LOT BEHIND BAR - NIGHT Fairly dark and deserted. Janice, her friend and the three guys move through.
You guys really know the doorman, you can get us in the Lido?
I don't want to go clubbing anymore. (throws his arm around her) I want to party right here.
Hey, back off.
"Hey", shut up and die. And he GROWLS and MORPHS INTO A TERRIFYING, YELLOW-EYED FANG-TOOTHED VAMPIRE. He grabs Janice as Guys # 2 & 3 swing around (VAMP FACED) and grab her friend. The women are too freaked to even scream as Angel stumbles into frame, apparently snockered.
'Scusey, scusey, anybody seen my car? It's big and shiny� (looks around) �why does it keep doing this to me?
(in shadow) Piss off, pal. Angel stumbles up to the guy.
Whoa, note to self, visit your dentist regularly. Guy # 1 lets go of Laura and comes for Angel who drops the drunk act and whips his elbow up under # 1's chin, knocking him clean over a car as -- # 2 charges and Angel spin kicks him, but gets clocked from the side by # 3. Angel and # 3 trade vicious blows. Angel sends him crashing into a small stake bed truck with enough force to shatter a few of the stakes. Laura and Janice watch, as - # 2 gets to his feet and charges. # 3 gets to his feet and does the same. Angel stands there, waiting calmly and efficiently until they are very close, then holds up both arms and - CHUNK! CHUNK! - TWO SHARP WOODEN STAKES (attached to hidden spring devices on his wrists) RATCHET into his hands. # 2 and 3 explode in a cacophony of dust. Angel hears running footsteps behind him, swings around as # 1 rears up with a metal trash can and bashes him in the face with it. Angel hits the ground hard where, pissed now, he MORPHS into vamp face (his back to Laura and Janice who don't see his vampireness). He de-ratchets his stakes:
(continuing) You shouldn't have done that. Angel grabs # 1 who is briefly shocked to see that Angel is a vamp and beats the crap out of him, finally flinging him head first into a Mercedes windshield, knocking him out and setting off the CAR ALARM.
Oh my god, you saved our lives� His back to them, he walks away.
Go home.
(heads after him) They were� oh god� thank you - She grabs his arm. Pulling him around, seeing his VAMP FACE.
I said go home. She reacts, quickly backs away with Laura. ANGLE - SHOOTING OVER MERCEDES WITH VAMP ON THE HOOD Angel walks toward us, grim and dark, the women getting in their car in b.g. Without breaking stride, Angel grabs a broken stake from the truck and dusts the semi-conscious vamp sprawled on the car hood, walking into a BIG ASS CLOSE UP - and then into darkness.
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| Act One |
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EXT. L.A. STREETS - NIGHT Old L.A., mostly BUMS and DRUGGIES on the boulevard at this hour. Angel walks past, keeping to himself like everyone else on the street� Angel turns up a smaller street, a mix of old residential and small commercial buildings. He enters: INT. ANGEL'S BUILDING - NIGHT Old offices on the ground floor, apartments above. Angel unlocks a door and we FOLLOW him: INT. OFFICE - NIGHT An outer and inner office space, not in use, beat-up desk, chairs and a couple of musty filing cabinets shoved into corners. Angel moves through, unlocks a door in back and descends some stairs. INT. ANGEL'S APT. - NIGHT Angel walks down into his basement apartment. Not a huge space but clean and eclectically elegant with Angel's furniture, tapestries and art. He slips off his coat, tosses it on a chair. He undoes the two ratchet-stake devices strapped to his forearms, drops them on a table where we see other stakes, knives, a fighting ax. Angel leans on the table, brooding for a moment, then sensing a presence, he slowly straightens up, SPINS AROUND FAST, grabs WHISTLER (youngish, loud dresser, would live at the race track if he could)
(recognizes) Whistler.
Easy on the rayon, bug guy, this ain't wash 'n wear. Angel lets go. Whistler looks around.
(continuing) Nice cave, they throw in the musty for free?
What are you doing here?
Powers that be have been watching you. I got the short straw so I'm back on duty.
You know what I don't need? Wacky sidekick from hell.
For your information, I'm from Philly - Holds up his finger, he's going to sneeze. He does, MORPHING FOR A SECOND into a BLUE FACED DEMON and snapping back to his "human" form.
(continuing) -- gyaaad! gotta get a better antihistamine. Where was I? Oh yeah, I spent some formative time underground, does that make me a bad guy per se? I'm tryin' to keep a little even keel between the good and the vile - why it's not unlike a vampire with a soul - which is something you are dangerously close to losing.
I'm out there saving people, isn't that what your "powers that be" want?
These folks you're savin', know any of their names�? (nothing from Angel) � their jobs, their hopes and dreams? Shoe size?
I'm not good when it gets personal.
You stink with the personal, you got the social skills of a hermit rat. What's that got to do with anything?
I get close to people, they end up getting hurt.
Well shucks, yeah, welcome to the world. You keep your distance, you turn people into meaningless stats - "oooo I saved two, I saved three" - how long before you think it's gonna be before you decide it's okay to drink one?
That's not going to happen.
Got that under control, do ya'? You're not lyin' awake at night thinkin' about chowin' down on one of these human ciphers, get a little relief? Nothing from Angel.
(continuing) Yeah. I see it in your face - plus newsflash: you're a vampire! You don't wanta go all bloody, revert to your demon roots, then you better start getting' involved with others - that's what keeps you human� (picks up ratchet stake) � not playing Batman in back alleys and - WHOAH! He accidentally hits the release button, the stake rockets across the room, misses Angel by a hair, rips through a painting and imbeds in the wall.
(continuing) Jeez, that things got torque. That a valuable painting?
(pulling out stake) Not anymore.
Can we get out of here? I need some air - and a beef dip. EXT. ANGEL'S STREET - NIGHT Angel and Whistler exit a 24 hour liquor store. Whistler munches a huge sandwich, drinks from a can in a paper bag.
Now isn't this better, see, you need to get with the people - hide! (yanks Angel into shadows as dark sedan cruises past) Looked like some guys I've placed a few wagers with. Monday night's game, I'm getting' it all back. Beat. They walk on. Whistler pulls out a slip of paper, hands it to Angel.
(continuing) All right, we got work to do. Her name's Tina, she works at the Coffee spot in Santa Monica.
What am I supposed to do with this?
Find her and get involved. What are you, remedial?
Who is she?
I don't know.
How'd you get her name?
I don't know.
What do you know?
Hey, pal, these are mysterious forces we're dealin' with. I get a little tingle in the back of the neck followed by a brain curdling flash - at which time if the migraine isn't too blinding I see maybe a name, part of an address� one time I got a nudie picture - didn't pan out, some kind of wire cross with the internet.
If these mysterious forces want me to do something, why don't they show up and tell me what the hell it is.
You're two hundred and forty some odd years old, time you started figuring stuff out yourself, I'd say. Tell you this much, it starts by reaching out to others, helping hand where you can. A HOMELESS WOMAN holds out her hand to Whistler.
Could you� spare a little change?
Get a job, sister. Man, these people, where was I?
"Helping hand".
Right. Well, time's a wastin' EXT. THE CITY - NIGHT - SPECIAL FX The lights of the cars zoom past in that impossibly fast Koyanisqatsi way. The sun roars into the sky in the same manner. INT. ANGEL'S APT - DAY CLOSE - The slip of paper: TINA, COFFEE SPOT, S.M. scribbled on it. ANGEL studies it for a long moment. Then suddenly he stands, moves out of frame. MATCH CUT: EXT. SANTA MONICA STREETS/COFFEE SPOT - NIGHT Angel drives into frame behind the wheel of his car. THE CAR - pulls up in front of THE COFFEE SPOT. INT. COFFEE SPOT - NIGHT Think Starbucks. Angel enters, looks around. YUPPIES sip and chat. UNIFORMED EMPLOYEES (white shirts, black pants) work the registers and the coffee makers. ANGEL SEES - behind one of the registers, TINA (twenties, striking, a little pale and exhausted looking). Angel moves to her line. Glances at her name tag as she calls out a Customer's order to the guy making it, rings him up.
Decaf roomy grande Americano. Two dollars, next?
Extra foamy, vente cap, sweet and low, two per cent, vita pack.
Extra foamy, vente cap, sweet and low, two per cent, vita pack. Three ten. (to Angel) You're up.
Coffee.
How do you want it?
Black. Still do that?
(small smile) One old fashioned. DISSOLVE TO: SAME SCENE - A LITTLE LATER Angel stands apart sipping his coffee, watching Tina work. She moves to the MANAGER.
Bobby, you got any overtime for me? I need the money, I'll work a double shift. He shakes his head. She grabs a bus rag, heading in Angel's general direction. He steps forward like he might say something to her. She glances at him - he can't think of anything to say, he just looks away and sips his coffee - she moves on to clean up a service area in b.g. Angel sees a GUY with a cute and friendly dog. A couple of YOUNG WOMEN passing by pet and coo over the dog. Angel sees Tina heading back towards the counter. He edges to the dog, holds out his hand to pet him.
Dogs are sure� Tina, moving past, doesn't get that he's talking to her - the cute and friendly dog backs away from Angel and lies down, cowed.
(continuing) �nice. Now he feels really out of place. The manager looks his way:
We don't need you in here tonight.
Leave him alone. Tina moves towards - then past - Angel to the HOMELESS GUY who's wandered in behind him.
(continuing) How ya' doin', you okay? She gives him a large coffee and a bag of rolls.
You're payin' for that, Tina. Homeless guy drops the coffee. THE FULL CUP is caught halfway to the floor by Angel who hands it back to him. Homeless guy shuffles off; Tina turns to Angel, impressed.
You got some reflexes. Angel nods, still can't think of what to say. Looks at homeless guy, then back at her.
I was, uh, watching you�
So I noticed.
Just wondering if everything was okay. (off her look) With your life.
That's a new one. You don't get out much, do you. (he shakes his head) Well, my life kinda sucks right now, how's yours?
Similar.
(re: customers) Tina�
Maybe we could talk some more when you get off. Off her, considering. EXT. COFFEE SPOT - NIGHT Tina, wearing a nice dress, large carry bag at her feet, sips coffee with Angel, leaning against his cad.
I came out here to be an actress - I know, how original - the fame and fortune thing didn't happen but I sure met a lot of crappy people in the mean time. Soon as I get enough money, I'm goin' home.
Where's home?
Montana.
Big sky country. You know Paradise Valley?
Grew up there, outside of Livingston, best fly fishing in the world. You kinda remind of the cowboys back home - 'cept you're not drunk.
(deadpan) I'm high on life.
(smiles; checks watch) I gotta hook up with this girl owes me some money. It was nice talkin' to you.
Listen, if you need a ticket or something to get back home�
I wasn't trying to hit you up.
I didn't think so, just if I can help�
Wait a minute� God, I'm stupid. She goes very cold, walks away. He follows.
Tina� She pulls out a key ring with mace, points it at him.
I know who you are, what you're doin' here. You stay the hell away from me and you tell Russell to leave me alone.
I don't know anyone named Russell.
You're lyin'
No I'm not. She looks at him for a long beat, then she sags.
Oh God� I know you less than a hour and I'm trying to mace you, kinda tells you I have "relationship issues". (puts mace away) Look, I'm sorry, I'm just� I'm really sorry, I gotta go.
Why don't you let me take you to your friend's? EXT. HIGH RISE APTS. - NIGHT Angel's car (Angel and Tina inside) pulls up to the classy high rise and disappears into the underground parking. INT. HIGH RISE APT. - NIGHT Nice place, city view, full of the YOUNG and HIP. MARGO (Tina plus five years of hard living) opens the front door and aims her VIDEO CAM at Angel and Tina.
Smile for the camera, who's this hunk of tall dark and handsome?
He's a friend� Margo, I really need to talk to you -
Get yourself a drink, I'll be there. Margo turns cam on other arriving GUESTS as Tina and Angel drift towards hors d'oevres table. Tina indicates the mountain of party sandwiches cut in the shape of stars.
Cute, everybody's a star.
Who's this guy you thought I was working for?
You don't want to know.
Actually I do.
He's someone I made the mistake of trusting. Margo moves up.
Here I am.
(to Angel) This won't take long.
(smiles at Angel) I wouldn't leave that one unattended. They move off. He looks around - hip folks chatting, drinking - feeling out of place. He sees TWO HIP GUYS nearby.
� so the Ferrari hits her from behind and both cars burst into flame. Angel hears LAUGHTER - he looks, sees CORDELIA CHASE in a fab party dress, move up to the two guys.
That part's so funny. Guy's all burning up and Mel Gibson's walking away going "I guess he got fired�" They look at her as though she were a bug.
I'm not talking about a movie, this happened to my mother. (they move off)
Oh. Well then it wouldn't be funny - if you liked your mother� She stands there somewhat mortified, then spots:
(continuing) Angel?
Hi Cordelia.
What are you doing here?
I live here.
You live here? With Margo? Does she know you're a vampire?
I live here in L.A. and my condition's not the first thing I tell people. How are you?
Me? Really good. I left Sunnydale, like you, moved to the big city, doing the acting thing and - say, you're still a good vampire - oops - (looks around) -- a good "you know what", grrrr - you didn't go bad again did ya'? (before he can answer) Course if you were bad you'd say you were good - and if you were good you'd also say you're good so� (takes a step back) Let's call ya' good. We should grab a bi - have a drink sometime. Good to see ya'� it's all� good. She moves off. Angel sees Tina returning, not looking too happy. She is intercepted by a THUGGISH MAN (STACEY) in a great suit. Angel watches them have a few words. The man puts his hand on her arm, she wrenches it away, moves to Angel.
Of course she doesn't have the money I loaned her. Can we get out of here?
(re: Stacey) Who's that?
Just a creep. Can we please go? They head for the door. Stacey watches them go. He pulls out a small cell phone, as - INT. PARKING GARAGE BENEATH HIGH RISE - NIGHT Two elevators. One opens. Angel and Tina step out. Three BIG GUYS IN SUITS are waiting. Two of them (THUGS 1 & 2) grab Angel, hustle him back into the elevator which closes on them as the third guy stands between Tina and escape and the second elevator door snaps open, revealing Stacey.
He just wants to see you, that's all.
Okay� no problem. Stacey indicates a waiting BMW 750. Tina obediently heads for it, then takes off running. They take off after her. She dodges between some parked cars, catches her dress on a car's side mirror, rips it, starts to run again, gets grabbed from behind by Thug 3.
(continuing) Let go of me! LET GO OF ME! As they put her in the car -
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| Act Two |
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INT. PARKING GARAGE - NIGHT - CONTINUOUS CAMERA BLASTS PAST the revving BMW (Thug 3 at the wheel, Stacey in back with Tina) to the elevator doors. We HEAR sounds of a struggle inside. The doors open and Angel heads out (the two thugs down and out on the floor behind him), sees the BMW roaring away and takes off running in the opposite direction the BMW took. Angel jumps on a parked car and runs across several more parked cars. INTERCUT: BMW heading for the exit and ANGEL'S FEET bounding across the parked cars. Angel leaps over the last car and into his convertible. THE BMW - screeches around a corner, clear shot for the exit. ANGEL'S CAR - roars into frame from the opposite direction, going straight for the BMW. CLOSE - Thug 3 behind the wheel, sees the caddie. CLOSE - ANGEL, not slowing, stopping or turning. Thug 3 chickens out at the last minute, yanks the wheel. THE BMW - swerves into the concrete wall, grinds to a halt in a shower of sparks and scrunching of metal. ANGEL - is already running towards the BMW as Thug 3 gets out pulling a gun. Angel kicks the gun out of his hand, straight up in the air. Thug 3 looks up at the gun. Angel smashes him in the face, grabs the gun out of the air and shoves it in Stacey's (barreling out of the back seat) neck. Angel pulls Tina out.
(to Angel) I don't know who you are but you don't want to get involved here, trust me.
Actually I don't. He puts Tina (holding the torn front of her dress) in his car.
She's pretty, she worth your life? Angel gives Stacey a deadly look - grabs him, fishes Stacey's wallet out of his coat pocket, removes some bills, shoves him back.
You ruined her dress - You can buy her a new one. Angel slams the car into gear, roars out. EXT. CRUMMY APT. BUILDING - NIGHT - ESTABLISHING INT. CORDELIA'S CRUMMY APT. - NIGHT A HAND irons a pretty party dress. The dress is picked up and hung in a threadbare closet. We see Cordelia, in her slip, move from the closet to the little bed, sit. She hits the PLAY button on her answer machine. The machine says: "YOU HAVE ONE MESSAGE, I WILL REPLAY ONE NEW MESSAGE."
Cordy, it's Joe, no luck on any of your sit com or drama auditions, we didn't get a single call back. The glove commercial went away, they said they didn't believe your hands really wanted the gloves� Cor looks at her hands.
(continuing) � there was an auto expo hostess thing - hey, it's still showbiz, okay? - they like your picture but they wanted a look that said "foreign and domestic" so.. no need to call us, we'll get back if we find something. Bye. The machine says: "THAT WAS YOUR LAST MESSAGE." Cordy sits there for a long beat then picks up a napkin, unwraps it, revealing two star-shaped sandwiches from the party. She lifts one to her mouth, takes a bit, chews slowly looking out the window at the dark city. INT. ANGEL'S APT. - NIGHT Tina, wearing a t-shirt over her black work pants, exits the bathroom, drops her party dress in the wastebasket. Holds up her large bag:
My Girl Scout training, be prepared. I can live out of this for days if I have to.
Good, 'cause you can't go back to your place. You can stay here.
Yeah. (glances at bed) I guess this is the part where you Comfort me. Not like you didn't earn it. She gives him a hard look, her emotions churning beneath the surface. He moves to her.
No. This is the part where you have a safe place to stay while we figure things out.
You don't want to�?
I might want to but I'm not going to. You got enough people taking advantage right now. Her eyes fill with tears. She tries to brush them away.
Boy are you ever in the wrong town. She sits on the couch, cries; he gives her some Kleenex.
(continuing) Thank you�
How 'bout some tea? She nods. He heads into kitchen, fills the tea pot as:
I'm just so tired, I can't sleep, he's going to find me. Russell always finds you.
Russell have a last name?
Yeah but you don't need to know it, you've done enough already. this is L.A., guys like him get away with murder.
Who'd he murder?
(beat) I don't know� maybe nobody� he's got the bucks, likes to hang with starlets and such� he was nice at first - I'm not an idiot, I know he's gonna want something in return - I figured what the hell, at least I'd be eating good. Angel moves to her.
What does he want in return?
He likes to� beat girls up. And you don't leave him, he tells you when he's had enough. I had a friend, Shanise, she tried to get away, she disappeared off the face of the earth. He finds you.
Not anymore. Beat. The tea pot whistles. Angel heads into the kitchen, takes pot off stove. Pours a cup, carries it back, sees: Tina lying back on the couch, her eyes closed. TIME CUT: SAME SCENE - A LITTLE LATER Angel covers Tina, sleeping now, with a blanket. He studies her for a moment, then his eyes fall on her large bag. THE BAG - is put on the table. Angel reaches in, pulls out her address book, opens it, sees her own name and address on the first page, starts thumbing through it. A BUSINESS CARD FALLS OUT. Angel looks at it: WOLFRAM & HART, ATTORNEYS AT LAW (with their distinctive LOGO). He puts the card aside, keeps thumbing until he finds what he's looking for. INSERT - A NAME - (handwritten by Tina) SHANISE WILLIAMS and a few phone numbers, all crossed out. Off Angel, EXT. L. A. LIBRARY - NIGHT - ESTABLISHING INT. L. A. LIBRARY - NIGHT A cavernous space, deserted at this hour. CLOSE - ON SECURITY MONITORS - a shadowy figure appears. PAN UP from monitors as figure approaches. It's Angel, moving past the deserted GUARD DESK. A SECURITY GUARD APPEARS behind him, puts his hand on his gun and says in Spanish:
Hey, what are you doing here? Angel stops, says in perfect Spanish:
I'm not here� (turns, holds out envelope) Which is why you didn't see me. Guard moves up, looks at Angel, the cash in the envelope.
Shift changes at six, make sure you turn everything off this time. (takes envelope) INT. L.A. LIBRARY - NIGHT A COMPUTER SCREEN lights up. NEWSPAPER SIGHT. WIDEN, we see two other SCREENS are already on, Angel sits before them, gathering data. Angel types into the news sight: MURDERS, YOUNG WOMEN. ON COMPUTER SCREEN # 2 - Info is coming up in response to SEARCH: WILLIAMS, SHANISE. It reads: ACTRESS, MEMBER OF S.A.G., A.F.T.R.A.; DANCER IN LAS VEGAS UNDER THE NAMES LYLA WILLIAMS, LYLA JONES. Angel types in WILLIAMS, LYLA and JONES, LYLA in, hits SEARCH. ON COMPUTER SCREEN # 3 - Angel scrolls POLICE FILES. MONTAGY - INTERCUT ANGEL and what he's learning: SCREEN 1 - VARIOUS BACK PAGE (as opposed to front page) HEADLINES: Unidentified woman found strangled�Hiker finds body in Angeles Crest Forest� Murder Victim Trashed in Dumpster� SCREEN 2 - Angel looks at a photo of LYLA JONES, DANCER A.K.A. SHANISE WILLIAMS. Dressed up in a Vegas costume. SCREEN 3 - He scrolls through various MISSING PERSONS REPORTS and JANE DOES. Stops, scrolls back to one. CLOSER - This Jane Doe's stats: five foot ten, 115 pounds� IDENTIFYING MARKS: tattoo on left shoulder. SCREEN 2 - He goes back to the Vegas Photo of Lyla Jones. She has a small flower tattoo on her left shoulder. PUSH IN ON ANGEL AND PRE-LAP:
No�! INT. ANGEL'S BUILDING - BASEMENT HALL - DAWN Angel moves down hall, his car in covered parking in b.g. He hears:
�please, don't�! He runs to his door. INT. ANGEL'S APT. - DAY Angel bursts in, sees: Tina on the couch in the throes of a nightmare. He races to her.
I can't�
Tina - She SCREAMS! arching up, clawing at his face, real horror in her eyes.
NO! DON'T!!
It's all right, everything's all right. She recognizes him, collapses in his arms.
He was here� I dreamed he was�
Shhhh, it's okay, it's okay� They hold each other, her face against his, her tears on his cheek.
Don't let me go� She holds on even tighter, rocking a little� then touching his hair, his face� he puts his hand up on hers, responding for a moment, then gently pulls back.
I have to ask you something. Did your friend Shanise have a flower tattoo on her left shoulder?
(nods) How'd you know.
I think she was murdered� and there've been others. He picks girls with no families, no one to care. She looks at him, then away, very frightened.
(continuing) You don't have to be afraid, you're safe here.
No�
Yes. But Tina is looking at a crumpled slip of paper on the end table - the one Whistler gave Angel: TINA, COFFEE SPOT, S.M.
Why do you have that? He looks, she pulls away from him, standing.
(continuing) You knew who I was when you walked in there last night.
No. I didn't. I just - had your name, it's complicated.
I'm sure, big complicated game Russell is working on my head. What's he paying you?
He's not, you have to -
(grabs lamp) You stay away from me. I'm getting out of here.
You can't leave until we know - She hurls a lamp at his head and runs upstairs. INT. ABANDONED OFFICE - DAY Tina races up the stairs, through the office and out the door as Angel bolts up the stairs after her.
Tina --! EXT. ANGEL'S BUILDING - DAY Tina runs out of the building, Angel close behind. As she hits the SUNLIGHT he grabs her arm.
Please listen to - HIS HAND - on her arm in the sunlight: BURSTS INTO FLAME! She screams. He wrenches his hand back into the shadows, howling in pain and MORPHING into a VAMPIRE. She sees this - and runs for her life. He collapses against the building, cradling his hand, breathing hard, watching her go. EXT. TINA'S APT. BUILDING - DAY Not as crummy as Cordelia's but not much better. INT. TINA'S APT. - DAY She lets herself in, shuts the door. She grabs a small traveling bag, drops it on the open sofa bed, bends down lifts up the mattress, takes out a small .38. She throws a few things in the bag, then sensing a presence, she spins, pointing the gut at: RUSSELL, (late 30's or 40's, charming, incredibly well dressed).
Tina, what are you doing, where have you been? I've been worried sick about you.
What did you do to Shanise?
Nothing.
I WANT THE TRUTH, RUSSELL!
She wanted to go home. I bought her a ticket to Miami.
No. She's dead.
What do you mean? She called me yesterday, she's back in school, passed all her make-ups - who's been telling you these things? Tina holds her ground with the gun, looking very shaky.
(continuing) Look, we both know I live outside the box, but I don't go around killing my friends. He moves towards her, getting very close.
(continuing) I've had everybody I know looking for you, I just wanted to know you're all right. She just stares at him, frozen like a deer in the headlights. Tina lets Russell take the gun out of her hand as:
(continuing) If you're sick of L.A., if you want to go home, you know all you have to do is say the word.
(softly) I want to go home�
Done. Poor thing� She lets him put his arms around her.
(continuing) �who's been spinning your head like this?
I don't know, I thought you hired him or something� he was like a� vampire.
(excuse me?) A vampire?
I know, there's no such thing� God, Russell, what's happening to me?
You're just dying. She looks at him, confused. He looks at her warmly - and MORPHS into a HORRIBLE VAMPIRE, much more demon-like than your average Joe Vampire. Tina opens her mouth but she has nothing left inside with which to scream. Russell chomps down hard and vicious on her neck.
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