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Angel Pilot - Part 2 Writer's First Draft Written by: Joss Whedon & David Greenwalt |
| Act Three |
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INT. TINA'S APT. - DUSK We HEAR footsteps in the hall outside. The door, left slightly ajar, is pushed open by Angel. He sees - TINA ON THE FLOOR, next to the sofa-bed. CAMERA RUSHES AT HIM as the horror hits him. FLASH CUT - TINA - o so fucking dead on the floor. FLASH CUT - The bite marks on her neck. FLASH CUTS - The BLOOD EVERYWHERE (shot discreetly and fast!) but it's on the walls, it's on the bed, it's by her empty open eyes and her head twisted at a very unnatural angle on the floor. ANGEL - trying hard to get his breath, makes himself walk up to her, makes himself look around this room in hell, makes himself kneel down next to the girl he couldn't save on the floor. He reaches out, strokes her face… he hangs his head to cry or vomit… he looks back at her and sees the BLOOD ON HIS HANDS NOW. He stares and stares at it - until he can't stand it anymore and suddenly thrusts one of his hands in his mouth, lapping up the blood ravenously, instinctively - until he utters some deep, inhuman sound and rips his hand out of his mouth. SMASH CUT TO: INT. TINA'S APT. - KITCHEN SINK - DUSK Angel furiously washing his hands; scrubbing them nearly raw, sickened by what he just did. Behind him on the floor, Tina's body is a silent witness. TELEPHONE NEAR TINA - As Angel picks it up, his eyes never leaving her. INSERT HIS (now clean) hand - as it dials 911. DISSOLVE TO: INT./EXT. TINA'S APT. NIGHT - LATER A CORONER studies Tina's body. Two DETECTIVES search for clues, a FINGERPRINT person dusts, etc. CAMERA PULLS BACK, revealing we were looking in the window. CAMERA CONTINUES BACK to a neighboring rooftop where a shadowy figure stands watch. Angel. He waits, still and silent, as her body is bagged and removed from her home. Then he turns, grim, steps up on the roof ledge, leaps. We see him land on a neighboring roof far below and disappear into the darkness. DISSOLVE TO: EXT. RUSSELL MANSION - DAY Large iron gates secure the stone wall that surrounds it: a fortress. A GUARD in a KIOSK next to gates keeps watch. INT. RUSSELL MANSION - DAY A couple of quiet, uniformed MAIDS clean and polish. We FOLLOW A MAN (WILLIAM, 30's, efficient), carrying a neat leather folder, through the cavernous place. He comes to a huge set of doors, knocks and enters: INT. RUSSELL MANSION - STUDY - DAY Russell' home office. A large, clean space; computers, huge monitors, lovely paintings, an empty desk, thick drapes secured against the daylight. Russell, casually but elegantly dressed, lounges near several monitors that track the world's financial markets. But he isn't watching them, he's watching the video Margo shot at her party: footage of Tina. He clicks the remote and Tina's image suddenly fills all the monitors. He rewinds and watches Tina again and again as:
I'm sorry to intrude, sir, but we need a decision on Advanced Technical Instruments. (opens leather folder) There's going to be a negative earnings preannouncement… also you have a ten A.M. tomorrow with your lawyers. Russell just watches the vid. William waits patiently.
She had something…
Yes sir.
Let's short A.T.I. four hundred thousand shares. When they fall below thirty-seven and an eighth, cash out and buy back a quarter million. William makes a note in his folder, heads for door.
Very good, sir.
Hold on… William stops.
(continuing) Who's this? William looks to the vid monitors, where shots of Cordelia (from the party vid) are now playing.
(continuing) Have we met her?
I don't believe so, sir.
Let's do.
Very good, sir. Will you be requiring theater or club reservations with the young lady? Russell stares at Cor's image for a beat.
God no, she's not going to live that long, I just want something to eat. Cor's multiple images are rapidly replaced on the monitors by the world market reports. EXT. FOREST LAWN - NIGHT - ESTABLISHING Big old cemetery. INT. MAUSOLEUM - NIGHT Goes on forever: hundreds of small little lockers that hold individual urns. A lone figure stands in the middle of it all. CLOSE ON THE FIGURE - ANGEL - Staring at one of the lockers, the plaque below it reads: CHRISTINA CLARKE 1967-1999. He HEARS FOOTSTEPS. Doesn't turn as Whistler steps out of the shadows.
Though I might find you here.
She just wanted to go home.
Maybe in some way she is. Angel tuns and looks at him with such cold fury that he takes a step back.
I wouldn't know about that. I do know she died in the coldest and deliberate hell I've ever seen. What he did to her wasn't about feeding, it was about ownership. He took everything she had… Beat. He turns away.
(continuing) …no one even came to the funeral.
You did.
Yeah. She had me… Angel looks at Tina's name for a moment, then down at his hand - the hand he licked the blood from - suddenly he slams it into the wall - ripping a crucifix off, wrapping his fist around it.
Angel -
Made a big difference in her life, didn't I. Powers that be really knew what they were doing this time. Angel's hand starting to smoke and shake.
Let go of that.
I got involved and I made it worse, that's what I do. Whistler grabs him, tries to wrestle the cross out of his hand. Gets thrown back.
Maybe you did, maybe I got the name wrong, maybe you were supposed to help somebody else, I don't know, nobody's showin' me the big picture. You want to die? They got a sunrise with your name on it every morning. You don't, then stick around and do something about this bastard before he puts another name up on that wall. Angel glares at Whistler, his hand shaking and smoking furiously now. He hurls the crucifix away.
I didn't help her… Whistler picks up crucifix, hangs it back up, moves to Angel.
Here's the thing about pain… when it's too much to bear, you need to start sharing it with others. POWER SHOT - low and cool - PUSHING IN on Angel - EXT. STACEY'S GYM SUPPLIES - DAY As THUG 1 comes crashing through the plate glass window. INT. STACEY'S GUY SUPPLIES - DAY Angel has Stacey by the throat, pressed up against the wall.
Where does he live, how much security does he have?
Listen hot shot, whatever she was to you, you better forget it. You have no idea who you're dealing with here.
Russell? Lemme guess: not big on the daylight or the mirrors, drinks a lot of V-8?
You get in his way, he'll kill you, he'll kill everyone you care about.
There's nobody left I care about. Now we can do this the fast way or the slow way - (tightens grip) -- where does he live, how much security does he have? INT. CORDELIA'S CRUMMY APT. - DAY Cordelia, in sweat pants and t, sits cross legged on her bed, breathing slowly and deeply. Next to her the book: MEDITATION FOR A BOUNTIFUL LIFE.
I am somebody… (breathes) I matter… (breathes) People will be attracted to my positive energy and help me achieve my goals… She glances at phone machine. The message counters registers a big zero. She breathes again.
(continuing) … I am right where I'm supposed to be and not DYING FOR SOMETHING TO EAT! She hurls the book across the room, sits there on the verge of tears. The phone RINGS. She jumps, startled, then answers in a "positive" tone of voice.
(continuing) Hello, Cordelia Chase speaking. INTERCUT: MARGO - ON THE PHONE IN HER HIGH RISE - DAY
Cor, it's Margo, you were such a hit at my party.
Thanks, I had a great time. I want to have you over to my place… (re: shabby digs) …soon as I'm done redecorating.
What'd you think of the hors d'oeuvres?
(deadpan) Couldn't get enough.
Well guess who saw my videotape of the party and guess who wants to meet you…
Brad Pitt? Say it's Brad Pitt. Or a manager - oh Sweet Mary, a horrible little toad of an agent will do…
Russell Winters.
The investment guy?
Oh, Cordelia, he's a lot more than that. He helps people get started in their careers, he know everyone and… he wants to meet you tonight.
Tonight? Well, let me check my calendar.. (waits a beat) … I'll have to cancel a couple of things but I'm sure I can - oh, wait, he doesn't think I'm gonna, you know…
Sleep with him?
Well, yeah. Cause that's not my -
No, no, he just likes to help people. I don't think he enjoys sex at all.
Oh good!
He'll send a limo for you at eight. EXT. STREETS - NIGHT Possibly slo mo, a long black limo glides into frame. INT. LIMO - NIGHT Cordelia rides in plush comfort. She sips a mineral water, munches some nuts. Hums a little happy tune to herself. EXT. RUSSELL MANSION - NIGHT Limo approaches. GUARD in the KIOSK recognizes the car, hits a button. The huge iron gates swing open. INT. LIMO - NIGHT Cordelia peaks out at the impressive mansion.
"People will be attracted to my positive energy and help me achieve my goals." Oh yeah. Happily, she pops a nut into her mouth. EXT. RUSSELL MANSION - NIGHT The limo pulls in and up the long drive as the gates swing shut, closing and locking Cordelia in with a resounding CLANG.
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| Act Four |
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INT. ANGEL'S APT. - NIGHT Angel is wrapping up an impressive array of gear: timer, detonators, plastique explosive, small set of tools, rope, etc. Whistler watches.
Wow, you're really going to war here. Guess you've seen a few in your time.
Fourteen. Not counting Viet Nam, they never declared it.
Well, this is good, you're taking charge, fighting back - is that plastique explosive? What do you need all this for?
A Girl Scout told me: be prepared.
Sure looks like fun. Game's on tonight, got a lotta coin ridin' otherwise I'd be right there by you side -
You will be, you're driving.
Angel, I'd love to but I don't mesh well with underpaid and over-armed security guards - Angel thrusts equipment into Whistler's arms, propels him towards the door.
Don't drop that, it'll blow your foot off.
I like my foot, it comes in very handy - footy - did I mention the money I got riding on this game? EXT. RUSSELL MANSION - NIGHT - ESTABLISHING INT. RUSSELL MANSION - NIGHT William leads Cordelia through the cavernous place. She looks around, taking it all in, impressed.
You know what'd come in handy here? Electric tram. William smiles with subtle politeness, opens the door to: INT. RUSSELL MANSION - STUDY - NIGHT William shows her in.
Miss Chase, sir. Russell rises to greet her.
Hi. I'm Russell, thank you so much for coming.
Will there be anything else, sir? Russell shakes his head. William starts to leave. As he gets to the door:
You wouldn't have a little snack or somethin' would you? William looks to Russell who nods: it's okay.
What would you care for?
What do you got?
Well, anything. Cheese, crackers… sandwich… (nothing from Cor) Cook made a roast, there's potatoes, asparagus, bread pudding…
That sounds good.
Which --?
All of it. William nods and exits. Cor turns to Russell.
(continuing) Aerobics, I burn a lot of… (looking around) So, nice place, we sure didn't skimp on the curtains.
Thank you.
I grew up in a nice home. It wasn't like this but we did have a room or two we didn't even know what they were for. He smiles.
(continuing) Then the I.R.S. got all huffy about my folks forgetting to pay taxes for, well, ever. They took it all.
I'm sorry to hear that. Where are your folks now?
Well, after prison they moved to… I think it's Bimini. EXT. RUSSELL MANSION - NIGHT The GUARD in the KIOSK watches the security monitors (that show front, side, back, etc. of the property). He looks up as Angel's car pulls up, Whistler at the wheel. Angel gets out.
Hi, I think we're lost… INSERT - The remote device in Angel's hand as he pushes it. All the security monitors go snowy. The Guard looks down at his security monitors, then up at ANGEL'S FIST, knocking him unconscious.
(continuing; to Whistler) Tie him up. I'm out in ten minutes or I'm not coming out.
Ten minutes. Angel grabs gear and bolts. ANGLE - ANGEL LEAPS, grabs the top of the tall stone wall, pulls himself upright and runs along it into the night. ANOTHER ANGLE - Angel runs along a section of wall closer to the house. He stops, crouches low. ANGEL'S POV - An armed guard walks the property. As the guard rounds a corner - ANGEL runs on the wall and LEAPS. He lands on the roof of the mansion. He moves across the roof, jumps again. THE SIDE YARD - Angel lands, looks for guards, attaches plastique and detonator to an auxiliary generator. He heads around the corner of the house to THE FUSE BOX, starts working on it. INT. RUSSELL MANSION - STUDY- NIGHT Cor looks over her shoulder towards the door.
Is he going to be long?
The reason I wanted to see you is I found you so appetizing on camera.
Oh, well, thanks, that's just a party vid, but I've done a lot of, you know, a few things since I've been in town… the hands in the Liqua Gel commercial, they were almost mine by like one or two girls and… (looks around again)
You won't have to worry about your career anymore. He moves in, puts his hand on hers, gives her that same warm looks he gave Tina.
That's what it is, this whole place, no mirrors. And the big thick curtains everywhere… hey, you're a vampire.
(caught off guard) What? No I'm not.
Are too.
(removes hand) I don't know what you're talking about.
I'm from Sunnydale, we had our own hellmouth, I know a vampire when I… (as it sinks in) …am alone with one in his fortress-like home and you know I'm just so light- headed from hunger I'm wacky and kidding!! Hah hah… (tiny, off his look) …hah. EXT. RUSSELL MANSION - NIGHT Angel finishes rigging the second auxiliary generator. HEARS SOMETHING. ANOTHER GUARD rounds the corner, walks right past the generator where we just saw Angel. As Guard disappears, Angel's feet drop into frame from above. He drops down, sets a timing device on the generator for ten seconds. INT. RUSSELL MANSION - STUDY - NIGHT Russell and Cordelia, she's scrambling to stay calm.
You know one of my dearest friends is a vampire - or do you prefer "night person"?
You stupid bitch. Do you have any idea what I'm going to do to you?
(really afraid now) Please… He GROWLS, MORPHS and lunges. She screams - EXT. RUSSELL MANSION - NIGHT - INSERTS The three small explosives go off: BAM, BAM, BAM! EXT. RUSSELL MANSION - NIGHT - WIDE All the lights go out. INT. RUSSELL MANSION - STUDY - NIGHT Suddenly dark, except for shafts of moonlight. Russell, in vamp face, looks around as:
Hi, Russ… Angel steps out of the darkness, stake in hand, ready to plunge it through Russell.
This is for Tina.
Angel? Angel looks down, sees Cordelia, face bruised, dress torn, lying across a broken coffee table. Russell uses the moment to smash Angel unbelievably hard in the face. Angel goes flying back but comes up fast - in VAMP FACE.
You must be Tina's little protector. What happened, you didn't get the manual? We don't help 'em, we eat 'em.
Hey shut up, that's my friend you're talking to and he's gonna kick your ass. Angel and Russell charge each other, trade a couple of quick vicious punches as: the doors burst open and TWO GUARDS run in GUNS DRAWN.
(re: Cordelia) Kill her. The Guards point at Cordelia. Angel jumps on a chair and catapults in front of her, taking several bullets, tackling her and sending them both crashing through the FRENCH DOORS into the yard outside. EXT. RUSSELL MANSION - NIGHT - WHISTLER Down the street in the Caddie, listening to:
…another fumble, this isn't a game, it's a disaster… Whistler hits the steering wheel in frustration, then suddenly checks his watch. Looks towards the mansion.
You're late. Very late. I should… (looks around) …leave. (now he hears SHOTS) I should leave very fast. Whistler throw car into gear, burns rubber down the street. CLOSE - WHISTLER BEHIND THE WHEEL - Scared and not proud of it. He suddenly wrenches the wheel. THE CAR - Squeals and turns in a big 180, starts barreling towards the big metal gates. WHISTLER - lets out a WAR CRY!
(continuing) YAAAHHHHHHHH!!!! THE CAR gains tremendous speed and RAMS INTO THE GATES! - which hold just find unlike the front bumper and hood of the car which crumple like a cheap toy.
(continuing; beat) Ow. Whistler backs the car - smoking and lurching but still running - off the gate as Angel (badly wounded) and Cordelia drop down the last couple of feet from the wall. They get in.
(continuing; re: car) I had a little… (more SHOTS) …we'll talk later. He hits the gas, they lurch away. INT. ANGEL'S APT. - NIGHT Angel's shirt is off. Cor, using forceps, is pulling bullets out of him. Whistler watches.
Ow… OW! I can't take this… (they look up at him) … I could just be quiet now.
I think I got 'em all… help me wrap him. She and Whistler tape Angel's wounds as:
You're something, doll. How do you know how this stuff?
Research. I hadda read for this nurse on E.R. like a kajillion times. They said I wasn't Shannon Doherty enough. Like to see her incubate a patient… She pulls the tape extra hard, Angel grimaces.
(continuing) Sorry. Are you gonna be okay?
Yeah.
They can't kill him unless they're shooting stakes - that's good - however… (to Angel, re: Cor) -- what that guy's gonna do to her now, probably isn't. Off Angel, well aware of that problem, EXT. SKYSCRAPER - DAY - ESTABLISHING A tower o' downtown power. RUSSELL WINTERS ENTERPRISES proclaims the fancy brushed steel sign in front. INT. SKYSCRAPER - CONFERENCE ROOM - DAY CLOSE - BRIEFCASE, the WOLFRAM AND HART logo on it as A SMART YOUNG LAWYER produces a document.
The new tax deduction we lobbied… The lawyer hands it to a SMART YOUNG LAWYERESS on his right, who hands it to the next one and so on. There are eight or ten SMART YOUNG LAWYERS and LAWYERESSES in the room. At the far end of the sleek conference table, fifteen feet in front of a wall of glass (reflective - no direct sun) sits Russell. He receives the document, peruses it as:
…is so narrow in scope that it actually benefits only one conglomerate: yours. We were pretty pleased with that down at the firm. (re: other papers) You need to sign the mutual trust binder for the Eltron merger. (more papers) As for the intruder who broke into your home last night, the local authorities have no information on him but we have several top private investigators - The door is kicked open and Angel, looking a little ragged, still smarting from his wounds, walks in.
(continuing) -- looking into his whereabouts.
I believe we've located him. The lawyer moves to Angel, hands him his card.
I'm with Wolfram and Hart. Mr. Winters has never been accused of and shall never be convicted of any crime. Ever. Should you continue to harass our client, we shall be forced to bring you into the light of day - a place, I'm told, that's not all that healthy for you. Lawyer smiles. Angel looks down at the lawyer's card in his hand, then at Russell in his comfy executive chair.
This is the big city, Angel, it works in certain time honored ways. You don't belong here, if I were you I'd get out while I could. Tell Cordelia I'll see her real soon. Russell smiles, holds Angel's gaze. Angel looks around, a little defeated by all this.
I guess if you're rich and powerful enough, got the right law firm, you can do whatever you want.
Pretty much.
Can you fly? Russell's smile wavers. Angel lifts his foot, rests it on the chair, between Russell's legs, and KICKS with all his might. RUSSELL AND HIS CHAIR - rocket back fast - crashing into and through the wall of glass behind him. EXT. SKYSCRAPER - DAY The glass breaks, Russell and his chair comes flying out into the sunlight. As he falls, screaming bloody murder, he bursts into flame and burns to vampire dust. INT. SKYSCRAPER - CONFERENCE ROOM - DAY Angel, just out of the direct sunlight flooding in through the broken window, stands watching, the array of stone-faced lawyers behind him.
Guess not. Angel turns and goes, slipping the Smart Young Lawyer's card back into the Lawyer's breast pocket as he exits.
(deadpan) Well. He snaps his briefcase shut. The other follow suit, calm and cool. As they file out - EXT. SKYSCRAPER - DAY Looking at the RUSSELL WINTERS ENTERPRISES sign as Russell's chair smashes into the ground and bounces, a few dusty ashes sprinkling down in its wake. EXT. ANGEL'S BUILDING - DAY - ESTABLISHING INT. ANGEL'S APT. - DAY Angel enters. Sees Whistler.
What happened with Russell?
He went into the light.
So why are we long with the face?
I killed a bad buy, how'd I help Tina? They HEAR a scraping noise upstairs.
Could I get a hand up here?
I don't know, but you helped her - (points upstairs) -- big time. INT. ANGEL'S OFFICE - DAY The old desks and file cabinets have been dusted and moved into the inner and outer office spaces. Cordelia, wearing one of Angel's shirts, sleeves rolled up, is dusting and shoving furniture around. Angel and Whistler enter from downstairs.
Can you guys move that couch against… (looks) … that wall?
What are you doing?
Come on, come on… (they pick it up) Whistler told me how you've gotta help people or you'll go all vampy again and that's a noble mission, we shouldn't turn our back on the helpless. (re: couch) Good, now put it back where it was. However, a nominal fee… I mean why can't we charge the helpless? Monster fighting is difficult work and we have rent… They set the couch back down. Angel looks at Cordelia.
(continuing) Hey, I'm not the one who hung around for two hundred years and failed to develop an investment portfolio. I can answer the phones, do the books, you can do the fighting and risking your life thing you do so well. Cordy picks up a box of offices supplies, moves into the other room with it.
I gotta say I'm right there with her. Makes sense, we could accomplish a lot more if we were organized, I'm sure that's what the powers that be would want…
You think she's a hottie, don't you.
Oh my god. (bites his hand) But that doesn't change the fact that this city needs you. What do you say? PUSH IN ON ANGEL who gives the slightest smile as we - CUT TO: EXT. ROOFTOP - NIGHT He stands in his long coat near the edge of a tall downtown rooftop: part gargoyle, part Guardian Angel; the whole of L.A. laid out before him, keeping watch over his city… FADE OUT:
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