Darla

Part 1

(September 26, 2000)

Written by: Tim Minear

Teaser

INT. ANGEL'S HOTEL - ANGEL'S APARTMENT - NIGHT

Angel sits in his arm chair, a sketch pad before him. His face full of concentration as he draws. He's working on a pencil drawing of (present day) Darla. He adds some detail to her delicate features. So immersed is he that he doesn't seem to notice Wesley appearing at his door behind him. Wesley watches him for a beat, wants to speak. Hesitates.

ANGEL
(without looking up)
What is it, Wesley?

WESLEY
"It?" There's no "it." "It's"
nothing, really. Just popping
'round to see if everything's alright.

ANGEL
Fine.

WESLEY
Oh, good, good.
(then)
You're certain? Because, you know,
we haven't seen you downstairs at
all today --

ANGEL
Uh-huh. G'night, Wesley.

WESLEY
Goodnight.

More strained silence. Wesley not leaving.

ANGEL
You're still here.

WESLEY
Apparently. So... you're sure
there's nothing on your mind,
then? That is to say, nothing
you'd like to, perhaps, share?

Angel looks up from his pad, thinks, then back with:

ANGEL
Nope.

WESLEY
(flatly)
Really?

WIDER -- we see what Wesley sees: Angel's room is littered with dozens of such drawings, all of Darla. Different angles of her face. Various eras depicted. Angel acts like he's seeing them for the first time, too.

ANGEL
I've been... thinking. That's all.

WESLEY
Thinking?

ANGEL
Yes. It helps me sometimes to
think with my hands.

Wesley has picked up a nude drawing of Darla. Admires it.

WESLEY
And occasionally... just the one hand?

Off Angel, snatching that one away from him --

EXT. CONDO - DAY

A PROSTHETIC HAND

RAPS against a door. Knock-knock. The one-handed Linsdey continues to knock on the door to this ND condo. Getting no response. He takes off his sunglasses, cranes his neck around, tries to see into the windows. Finally he produces a set of keys. Unlocks the door, enters into...

INT. CONDO - DAY

But it might as well be night. All the shades are drawn. He steps gingerly into the room, waiting for his eyes to adjust. Lindsey's shoes CRUNCH over broken glass as he moves deeper into the place.

LINDSEY
Darla -- ?

Schmucky the bait. Getting the bad feeling now, as:

DARLA (O.S.)
Hello, Lindsey.

Now he sees her. A figure sitting there alone, stone still in the dark. He's relieved. She's not dead. He moves to her.

LINDSEY
Is everything okay? You haven't
been answering your phone.

DARLA
Is it ringing?

Now he notes --

LINDSEY
You're bleeding --

Her hand is bloody. Not gushing, mostly grazed with tiny bits of glass. She seems to be registering it for the first time.

DARLA
Huh. I guess I am. That's funny.

He looks up from this to the broken glass and general semi-busted-up state of the place.

LINDSEY
Did something happen?

DARLA
Oh, god, yes. So many things.
I remember them all. Which ones
were you thinking of?

Ho-boy. Lindsey looks at her. Then back to her hand, carefully removing the tiny shards of glass.

LINDSEY
It was too soon. We shouldn't
have sent you to him. We should
have waited.

He's looking down at her hand. She's looking right at him. Just sort of taking in his Lindseyness. She likes to say:

DARLA
Lindsey.
(then)
You never talk about yourself,
Lindsey. Got a girlfriend?
Boyfriend? Someone special?

A beat. He looks at her. Then back to her hand.

LINDSEY
There's no one.

DARLA
(in the larger sense)
No. There really isn't, is there?
You can be with someone for a
hundred and fifty years. Think
you know them. Still it doesn't
work out.
(then)
You should have seen us together.
We were a plague. A curse. A
savage pestilence. It was glorious.

LINDSEY
He was a different person then.

DARLA
Yes. Yes he was. But then,
so was I...
(then)
Now do you know what we are?
What we've become?

LINDSEY
Enemies.

DARLA
Oh, no. Much worse.

Lindsey looks at her, they meet eyes. A smile creeps over her face. Her own private joke.

DARLA
Now we're soul mates.

She tries to stifle a giggle. Lindsey's not laughing. But now Darla is. And it's a laugh full of four hundred years of pain and irony. And off that laugh --

BLACKOUT.

END OF TEASER

Act One

INT. ANGEL'S HOTEL - LOBBY - DAY

We can see into Angel's office. Someone is leaning down into a mini-fridge.

GUNN (O.S.)
Oh, man. This is nasty.

GUNN comes up, a small bottle of what appears to be tomato juice to his lips. He grimaces.

GUNN
Maybe ya'll shouldn't buy in bulk.
This V-8 has gone seriously bad.

Cordelia appears in the f.g., gathering up notebook, pen, etc. She glances at him, eyebrow raised.

GUNN
(horrible realization)
Not tomato juice...

CORDELIA
Might want to ask before you take
next time. That's Angel's fridge.

Gunn sets it aside, horrified. We move off this with Cordy to find Angel and Wesley also nearby. This discussion started before we got here.

CORDELIA
Am I the only one who think this is
just a really bad idea?

ANGEL
We can't just sit around here waiting
for Wolfram and Hart to make their
next move. It's time we got ahead
of the game.

CORDELIA
This won't involve kidnapping again,
will it?

ANGEL
All we're going to do is find her.

Gunn, still lemon-mouthed, now appears, casts a distasteful glance back toward the mini-fridge.

GUNN
Hey, uh, no chance I'm gonna turn
into something evil, is there?

ANGEL
It's just butcher's blood.
You're fine.

Somehow this not making Gunn feel any better.

CORDELIA
(to Angel, on point)
Okay. So we find Darla. Then what?

ANGEL
Then... we'll figure it out.

CORDELIA
And this would be the same woman
you didn't actually notice was in your
bedroom every night for like three
weeks straight?

ANGEL
That was different.

CORDELIA
Different in the sitting-right-on-top-
of-you sense, yeah.

WESELY
Cordelia does have a point.

CORDELIA
Finally!

WESLEY
The last time Darla emerged she
wanted to be found. Now she's out
there among six million other people.

CORDELIA
She could be sitting on top of
anybody!

ANGEL
Come on, guys. We're a detective
agency. We investigate things.
That's what we're good at.

CORDELIA
No. That's what we suck at. Let's
face it, unless there's a website
called "www dot oh by the way, we've
got Darla stashed here dot com,"
we're pretty much out of luck.

WESLEY
It certainly won't be easy.

CORDELIA
Well, before he said he could smell her.
(to Angel)
How 'bout we cruise around with the
top down and you take big whiffs?
(off their looks)
We'll wait until after the sun sets, obviously.

GUNN
Big law firm like that, they gotta
have some kind of housing for
their out-of-towners, right?

Wesley chuckles at the newbie's naivet�.

WESLEY
"Out-of-towner?" It's not as though
they flew her in from Miami. She was
raised from the very pits of hell by way
of an ancient and dangerous ritual.

GUNN
Yeah, and? They still gotta put her
up, don't they? That's an expense.
(off their blank looks)
You telling me these lawyers haven't
figured out a way to write that off?

ANGEL
Let's start digging into Wolfram and
Hart's real estate acquisitions. Not
just their primary holdings, but any
subsidiaries. She'd want something
with a view. Darla always loved a view...

INT. CONDO - DAY

SUNLIGHT UNFOLDS over Darla as she sits on the couch. Lindsey is pulling open the drapes. She squints against it. Not loving the view. Lindsey reaches for a bowl of water, bottle of hydrogen peroxide, dish towel. He crosses to her, kneels in front of her --

LINDSEY
Give me your hand.

She does. He takes it gently. Examines it. She lets him, yields to his touch.

LINDSEY
Doesn't look too bad. Don't want
it to get infected...

Now, casually, as he opens the bottle of hydrogen peroxide:

LINDSEY
Looks like you smashed every mirror
in the place -- you wanna tell me why?

DARLA
(quite simply)
They bothered me.

LINDSEY
I'd think after 400 years it's be
good to see yourself again --

DARLA
So you would think.

They hold the look for a beat. He breaks off the connection.

LINDSEY
This might sting a little --

He gently takes her hand, holds it over the bowl of water, pours the hydrogen peroxide over her hand.

Darla leans back a bit, shuts her eyes, maybe against the sunlight, maybe against the sting of human pain.

WE MOVE DOWN the stream to the clear water... and now the STREAM coming from the top of the frame TURNS RED... the water in the bowl CLOUDS CRIMSON... we move back up the now dripping red to...

INT. COLONIAL HOUSE - DAY - 1607

DARLA on her death bed, wincing from the sunlight coming from a window. The blood drips are coming from her arm. She's being bled by A SURGEON. She's drawn, pale, lesions are in evidence. Standing nearby, two SHROUDED NUNS whisper to each other. We're playing this from Darla's point of view. Everything is slightly surreal and dreamlike.

The surgeon wraps the latest doctor-inflicted wound. Then he removes a leech from her chest. Red mark underneath.

DARLA
Someone close those shutters.
It seems wrong I should die while
the sun is still so bright.

ROBED PRIEST (O.S.)
You'll not see it again --

One of the Nuns moves to the window, closes them. Darla looks over. A ROBED and HOODED PRIEST has entered the room.

ROBED PRIEST
By the time it sets, you will
have left this life.

DARLA
I didn't ask for a priest.
Who invited him in here?

ROBED PRIEST
You did. You called out for me
last night in your delirium.

DARLA
I don't remember... Do you even know
what I am?

ROBED PRIEST
A woman of some property. No
husband. No inheritance. Yes.
I know what you are. As does God.
(then)
You should have asked for a priest
long ago, child. Your life may have
turned out the better for it.

DARLA
And you should have paid me a visit
before this day, father. Your life
may have been more interesting
because of it.

ROBED PRIEST
Are you prepared to renounce
Satan? Beg God his forgiveness?

She laughs with what little energy she has left.

DARLA
Why? God never did anything for me.

ROBED PRIEST
(to the others)
Leave us.
(off their hesitation)
You can't save her life. Perhaps
I can still save her soul.

Now the others exit the room. The Priest roams the room.

DARLA
My soul is well past saving. Let the
devil take me if he'll have me. It
doesn't matter. Either way, I die.

She breathes heavily, her eyes close. She hasn't the energy to go on. He considers her for a moment...

ROBED PRIEST
No. You will not die.

His hand emerges from his cloak... and WE SEE that it is TALON-LIKE.

ROBED PRIEST
You will be reborn...

He moves his right clawed hand to his left wrist... he cuts his wrist, blood beads there. He holds it over her face...

A drop of blood to her lips. Her eyes flutter open, she looks startled. And if she wasn't before...

Now he pushes back his hood -- it's THE MASTER. And so he shall be referred to as THE MASTER from here on out --

DARLA
I know you...

THE MASTER
I came to you last night. Sang to
you from that window...

DARLA
I remember now... you're death...

THE MASTER
No.

DARLA
What, then?

THE MASTER
Your savior.
(then)
God never did anything for you...
but I will...

And as he bares his fangs and leans down, ready to make with the eternal embrace thing --

INT. ANGEL'S HOTEL - ANGEL'S OFFICE - DAY

Angel in his office, scans large book. Wesley knocks, enters.

ANGEL
Darla. Anglo-Saxon derivation.
Meaning "dear one." It didn't
come into common usage until
more than a hundred years after
she was born... he must have
given it to her...
(closes the book)
I never knew her real name.

Angel tosses the book onto his desk. Rubs his eyes.

ANGEL
Any luck?

WESLEY
Not yet. We're working on it.

ANGEL
Something'll turn up.

WESLEY
Yes. That's my fear...

Angel looks at him. Wesley pulls the door shut.

WESLEY
Angel, you must admit your track
record when it comes to Darla has
been spotty at best.

Angel takes a beat, can't really argue with that.

ANGEL
Yeah. Seeing her again... it threw
me. I killed her, Wesley. And she
came back. They brought her back.
Now I need to know why. And why
like this -- why human?

WESLEY
Perhaps human was the only way
Wolfram and Hart could bring her
back -- at least and hope to control
her with any degree of success.

Angel can't help but smile at that, remembering Darla...

ANGEL
And even then...
(then)
Darla was never just about the fangs.

Wesley regards Angel who is having a nearly fond memory.

WESLEY
Angel -- I don't suppose it's
occurred to you that this may
be why they've brought her back?

Angel looks at him questioningly.

WESLEY
You've got all your resources, all
your attention focused on finding
this one woman --

ANGEL
She's not a woman --

WESLEY
Oh, yes. That's precisely what she
is. She may have all the memories
of a four hundred year old vampire --
but she's a woman now. A human
woman. And you mustn't forget that.

Angel considers that.

ANGEL
So you think Wolfram and Hart went to
all this trouble just to keep me distracted?
Take me out of the game?

WESLEY
It is a possibility. And, if
that is the case --

ANGEL
It's working?

Wesley shrugs, well...

ANGEL
So, what, Wesley? You think I should
just give up? Ignore all this?

WESLEY
No. I don't see that you have
that option. I would just caution
pragmatism. Sober thinking in
the event we do locate her.

Angel digests that, nods.

ANGEL
She does kind of bring it out
in me... She always has...

Off Angel --

INT. UNDERGROUND CATACOMBS - DAY - 1760

THE MASTER finishes feeding on the young dandy. Hench vamps in evidence. The Master drains his victim, drops the body to the ground. Hench vamps move in and remove it as he speaks to Darla and Angel, who stand before him.

THE MASTER
Angelus. The Latinate for "Angel."
How marvelous.

DARLA
His name would already be legend in
his home village -- had he left anyone
alive there to tell the tale.

THE MASTER
You had a nice trip. I'm so glad.

DARLA
On the way back, we cut a bloody
swathe through South Wales and
Northern England. He was magnificent.

ANGEL
(aside to Master)
Yorkshiremen -- tough as leather.

They both laugh. Now:

ANGEL
So Darla here tells me you're
some sort of master?

DARLA
The Master. He commands our order.

ANGLE
There's an order?

THE MASTER
The Order of Aurelius. We are
the select. The elite.

ANGEL
(considers that)
And ya live in the sewers, do you?

Darla reacts. The Master exhibits elder statesman patience.

THE MASTER
We lurk below, giving tribute to
The Old Ones, until that promised
day when we will arise! Arise and
lay waste to the world above!

ANGEL
Why'dja wanna do that?

THE MASTER
Heh?

ANGEL
Well. I mean, have you been above
lately? It's quite nice.

The Master just blinks; Darla's getting nervous.

ANGEL
Me, I could never live in a rat
infested stink hole, if you'll
pardon my for sayin' so. I've
got to have myself a proper
bed or I'm a terror.
(to Darla)
Isn't that right, love?

DARLA
(quickly, to Master)
He's young.

ANGEL
(re: Darla)
And this one. Down and goosefeathers
and the finest silks and linens. Oh, and
the view. She's always got to have the
view, don'tcha, my lamb?

The Master's eyes burn on Darla.

DARLA
We fed very recently. The blood
is still hot in his veins.

ANGEL
(nuzzling her)
You noticed that, did you?

THE MASTER
We stalk the surface only to feed and
grow our ranks. We do not live among
the human pestilence.

ANGEL
(snorts)
Well, be honest -- you really couldn't
with that face, now could ya?

DARLA
Angelus!

The Master shoots Darla a look -- what's the deal?

ANGEL
It's not stuck like that, is it?

ROAR! The Master whips his head at Angel, bares his fangs. If a vampire can sweat, Darla's doing it now.

DARLA
Angelus, The Master is centuries old.
He has grown past the curse of human
features.

ANGEL
Am I gonna get a bat nose like that?

THE MASTER
Very few vampires are cunning enough
to live as long as I. As you now
demonstrate -- whelp!

WHAM! The Master's arm flashes out, catching Angel and sending him sailing across the chamber, crashing into a wall. That hurt. He rises, looks from The Master to Darla:

ANGEL
Naples. You and me. Whaddya say?
Italians have got to be more supple
than the Welsh --

DARLA
(fearful)
Angelus --

The Master hits him again.

THE MASTER
You will show proper respect.

Angel ignores the pain, gazes at Darla.

ANGEL
Ahh, but you're a lovely thing,
This is no place for you. Bowing
to the likes of him.

WHAM! He's finding it harder to get back up. But won't cow.

ANGEL
(in between blows)
You belong by my side. Out in the
world. Takin' what we want. Feedin'
as we like -- I'll give you that view
you crave, darlin'. I'll give you everything.

A kick to the head. Angel's head lolls, his face swollen and bloody. His eyes finding her anyway.

ANGEL
Tell the truth -- whose face you
wanna look at for eternity? His
or mine?

THE MASTER
Idiot! I made her!

But Angel hasn't taken his eyes off her. The Master follows Angel's gaze... and sees Darla locked-eyes with Angel. Angel smiles at her through all the blood and shit. She can't help it, becomes Stella Kowalski. Grins right back.

THE MASTER
Darla -- ?

She shifts her eyes to The Master, a daughter caught lusting by her father.

THE MASTER
You're leaving with the stallion,
aren't you?

Her silence is her answer. Angel's been getting to his feet.

THE MASTER
Go, then. Now.

He turns his back. Darla moves to join Angel. She helps Angel to his feet. They start off together. The nearby Hench Vamps start to make a move -- The Master stops them with a gesture --

THE MASTER
It won't last. I give it a century. Tops.

Off the Master's POV of the retreating figures of Darla and Angel --

FLASHY CUTS TO:

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

The door opens, revealing the silhouetted figures of Lindsey and Darla. He helps her into the room.

LINDSEY
Are you hungry? I can run down the
hall and get some sandwiches out of
the vending machine. Not exactly
gourmet cuisine, but...

He notes that she's looking past him at something. He follows her gaze to see... HOLLAND MANNERS standing in the open doorway, watching with interest.

HOLLAND
(that smile)
Lindsey.

LINDSEY
Holland...

Holland moves past Lindsey, to Darla, all smiles.

HOLLAND
Darla, how are you?

DARLA
I'm fine, Holland. Good to
see you again.

HOLLAND
Always a pleasure. Lindsey. A word.
(to Darla)
You'll excuse us.

LINDSEY
I'll be right outside.

She smiles, nods, looking a little dreamy. Holland moves past Lindsey, back to the hall. Lindsey looks to Darla briefly, then exits to --

INT. WOLFRAM AND HART - HALLWAY - DAY

HOLLAND
I thought we were very clear on this
matter -- now that she's made contact,
it's not prudent to have her on the premises.

LINDSEY
I know... I just... I didn't feel
I could leave her alone.

Holland looks at him with interest. Lindsey girds himself, comes out with it:

LINDSEY
I think we may have a problem, sir.
Darla seems to be displaying some
sort of post-traumatic...

HOLLAND
(cutting him off, but
mostly to himself)
She's cracking up.

LINDSEY
No. I wouldn't say that --

HOLLAND
She's way ahead of schedule.

LINDSEY
Sir?

HOLLAND
We'll have to accelerate matters.
(that confident smile)
But I think we're ready. You did
the right thing, Lindsey. Good
work. Don't let her leave the building.

Holland pats Lindsey on the shoulder, starts to go, pauses:

HOLLAND:
Oh -- and letter openers, staple gun,
even ball point pens. Anything with
a sharp edge. You may want to
remove those sorts of items from
your office. Just in case.

He winks, heads away. Off Lindsey, a little rattled --

BLACKOUT.

END OF ACT ONE

Act Two

EXT. LONDON STREETS - 1880 - NIGHT

ANGLE ON - A DEAD SAILOR. Eyes wide dead and starting.

DARLA (O.S.)
So beautiful. Not a blemish, not
a freckle. Perhaps we should have
preserved that beauty for eternity --

ANGLE UP - on our couple -- Angle and Darla, looking down at the fresh kill, regarding it as one might a houseplant.

ANGEL
Still -- he won't age now.

DARLA
No, but he'll rot. Seems a pity.

Now we PULL WIDER to reveal that a third has been added to this little family -- DRUSILLA is with them.

DRUSILLA
When I bit into him, I could
hear the ocean.

DARLA
Of course you could.

TRACKING now with the three of them as they emerge into the bustling London streets.

DRUSILLA
I'm full and warm, yet all alone.
And the clouds haven't laughed
since Sunday.

ANGEL
That's not true, precious. You've
got us.

DRUSILLA
Not in the least. You won't even
hurt me just a little bit.

DARLA
All you have to do is ask.

DRUSILLA
No. His head's too full of
you, Grandmother.

DARLA
Stop calling me that.

DRUSILLA
Don't be cross. I could be
your mummy...

ANGEL
If you're lonely, why don't you make
yourself a playmate, Dru?

DRUSILLA
I could! I could pick the wisest and
bravest knight in all the land and
make him mine forever with a kiss.

Now A MAN carrying a stack of papers and hurrying along the streets bumps into them.

SPIKE
Bloody... watch where you're going!

He didn't see them for his weepiness. He continues on.

DARLA
Or you could just take the first
drooling idiot that comes along.

She and Angel laugh at that thought. Dru looks back over her shoulder -- DRU'S MOVING POV - moving away from the fop as he rips up his poems. Off Dru, eyeing this...

INT. ANGEL'S HOTEL - LOBBY - DAY

Angel, Wesley and Cordy. The latter are reporting to Angel on their findings. Angel's looking at Cordy's notes.

CORDELIA
According to the building manager,
only about twenty percent of the
units are occupied.

ANGEL
And the property's owned by
Wolfram and Hart?

WESLEY
Annapolis Olive Oil Import/Export.
A corporate client of Wolfram and Hart.

ANGEL
And based on this we think the
search is over? It's pretty slim.

CORDELIA
It has a view!

ANGEL
It's not enough.

CORDELIA
And hardwood floors!

ANGEL
We need to narrow it down further.
Keep looking.

Angel starts to move off. Cordy stops him with:

CORDELIA
And my sister's living in unit 319.

ANGEL
You don't have a sister.

CORDELIA
Sure I do. My older, like way older,
like four hundred years older, blonde
sister, Darla. No last name. I'm
desperately trying to find her because
Mom and Dad are in the coma. Sue,
the property manager, was very helpful.
She even cried.

ANGEL
Wait a minute -- they're both in the coma?

CORDELIA
Oh, and what luck. Our long lost
brother who was born with just the
one hand, yet still harbors dreams of
being a concert pianist, has apparently
been seeing a lot of sis.

ANGEL
Let's go.

Angel tears off the sheet of notes. Wesley blocks him

WESLEY
Or not.
(off his look)
Perhaps it's be best if you let me
call Gunn and he and I could
check this out.

Wesley tugs at the note paper with the address. Angel's having a hard time handing it over.

WESLEY
We could do the reconnaissance,
give you a full report -- then we
can all decide how to proceed.
As a team.

CORDELIA
Probably a good idea since it's one
o'clock in the afternoon and that
address is in Sun Valley.

Angel reacts to that.

ANGEL
Right.

Releases the address. Wesley takes it.

ANGEL
Sun.

CORDELIA
Actually, I was thinking "Valley."
I mean, why go there if you don't
have to?

She moves away. So does Wesley. Off Angel, alone --

EXT. WOLFRAM AND HART - DAY

To re-establish, as...

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

Darla sits in Lindsey's office, gazing out the window. Lindsey enters.

LINDSEY
Darla? You've got a choice --

He holds up two wrapped vending machine sandwiches.

LINDSEY
-- ham and cheese on white or
cheese and ham on white.

DARLA
Say that again

LINDSEY
You've got a choice --

DARLA
No, not that. The first thing
you said.

LINDSEY
I just... I said your name... Darla.

DARLA
It sounds so odd, doesn't it?

LINDSEY
I don't know what you mean --

DARLA
It wasn't my name when I was human.
The last time I was human, I mean.

Lindsey takes a seat next to her. Fascinated.

LINDSEY
What was your name?

She turns, gazes back out the window. Thinks for a moment.

DARLA
(without sentiment)
I don't remember.
(then)
I'm not her, anyway. Whoever she
was. I was Darla for so long. And
then... I wasn't. I wasn't anything.
I just... stopped. He killed me, and
I was done.
(she looks at him)
But then you brought me back.

LINDSEY
Yes...

DARLA
What did you bring back, Lindsey?

He looks at her, doesn't quite understand the question.

DARLA
What am I now? Did you bring back
that girl whose name I can't recall?
Or did you bring back something else?
The other thing?

LINDSEY
Both. Neither. You're just... you.
And whatever that is, whatever
that means...

DARLA
Why haven't you kissed me? You've
been dying for it, haven't you?

LINDSEY
I didn't know if you wanted me to...

DARLA
Why should that matter? Do you
think I ever hesitated when I wanted
something? Life's too short. Believe
me. I know. Four hundred years and
still too short.

He moves in, sincere. He kisses her. She lets him.

DARLA
This is how humans get what they
want -- I remember that much.

LINDSEY
Do you like it?

DARLA
It's nice. But it's not me you
want to screw --

LINDSEY
What?

DARLA
It's him. You all think you can
use me to get to Angel.

A beat as Lindsey looks at her. Is that hurt we see flashing across his face? His features harden again --

LINDSEY
Maybe...

And he goes at her again, kissing her all the more violently. She returns that hunger -- in between mouthfuls:

DARLA
What am I?

LINDSEY
I don't know what you are --
and I don't care.

And she bites his neck. Somehow with her blunt, human teeth it's all the more shocking. He recoils.

DARLA
Now do you care?

LINDSEY
No.

DARLA
That's how vampires get what they
want. What am I?!

LINDSEY
(take it easy)
Darla --

DARLA
Is that it? Am I Darla?

LINDSEY
Yes --

DARLA
Careful. Darla would snap you
in half. Is that who I am?!

A beat as they stare at each other. Her rage turns to deep sadness. She winces against it. Turns away from him. He moves to her out of compassion.

LINDSEY
I understand what you must be
going through --

DARLA
No. Nobody understands! Nobody can
understand! I can feel this body dying,
Lindsey! I can feel it decaying moment
by moment! It's being eaten away by
the thing inside of it. It's a cancer,
this soul...

EXT. GYPSY VILLAGE - NIGHT - 1898

OFF SCREEN SOUNDS OF SLAUGHTER. A gypsy wagon upturned, burning. Violence has happened here and continues to. A GYPSY MAN, who anyone with any sense will recognize from "Becoming," backs up hard INTO FRAME. Darla looming --

DARLA
You took him from me! You stole
him away! You gave him a soul!

GYPSY MAN
He must suffer as those he has
wronged have suffered.

Darla laughs crazily at that.

DARLA
That's no justice! Whatever pain he
caused your daughter was momentary.
Over in an instant. Or an hour. But
what you've done to him will force
him to suffer for an eternity.

GYPSY MAN
The soul he has been given does not
make him suffer. The evil he has
caused does that.

Dru appears from around the corner, clearly in the midst of slaughtering.

DRUSILLA
My love has gone all away.
Where is my love?

DARLA
Drusilla. The camp. Go on.
Kill things.

DRUSILLA
My Angelus shall be very cross if he
finds we had a lovely mass slaughter
without him.

DARLA
He'll join us soon. Now do as
you're told.

Dru wanders off. Darla turns back to Gypsy Man. She indicates a nearby covered (not burning) wagon.

DARLA
In that wagon is your family. They
live now only through my protection.
You have other daughters -- I had
only him. You can leave this place.
Your family can live. But only if
you release him. Remove the filthy
soul so my boy might return to me.

He's about to respond to her offer when -- SPIKE hops out of the back of the covered wagon, lets out an enormous BELCH. Darla looks at him, eyes wide.

SPIKE
(no clue)
What?

Darla sighs, reaches out and TWISTS the Gypsy Man's head -- CRACK! She lets his lifeless body drop to the ground. Dru wanders up beside Spike.

DRUSILLA
Pretty song. Pretty, pretty song.
Hear it? They cry out for mercy.

DARLA
(moving off)
Show none.

DRUSILLA
Grandmother's not having any
fun at all.

SPIKE
Some people just can't hold
their gypsy...

INT. ANGEL'S HOTEL - LOBBY - NIGHT

THE SCREEN OF A DIGITAL CAMERA. Image after image of Darla's self-trashed condo clicks by.

Angel, Wesley, Gunn and Cordy looking at the photos. Gunn's eating a sub sandwich, lots of groceries on the lobby counter.

CORDELIA
What happened? Did someone break in?

GUNN
(chewing)
Well -- us.

CORDELIA
(re: photos)
You guys did this? Real mature.

WESLEY
No. This is how we found it. There

was no evidence of forced entry.

GUNN
Well, not before we got there, anyway.

WESLEY
It appears she did this herself.

GUNN
Didn't look to me like she was
planning on coming back anytime
soon, either. Half the stuff in the
ice box had gone bad.

Cordy glances at the stock-piled food.

GUNN
The other half.
(then)
Hey, she wasn't eatin' it.

ANGEL
She's smashed all the mirrors --

CORDELIA
Why?

ANGEL
Isn't obvious?

WESLEY
Angel, I don't think anything's
obvious.

ANGEL
The weight of her soul.
She's feeling it.

WESLEY
We don't know that for certain.

ANGEL
It makes sense. She was a vampire.
Now she has a soul.

CORDELIA
That makes sense? So how come you
don't go around smashing mirrors?

ANGEL
Because I don't have to look
at myself in them.

The PHONE rings. Cordy goes off to answer it.

ANGEL
She's in trouble. We have to
find her.

WESLEY
Angel --

ANGEL
She needs help.

WESLEY
That's quite possible. Or that's
what someone would like you to think.

CORDELIA
(re: phone)
Angel?

ANGEL
Take a message.
(then, to Wes)
You think this is a set up?

WESLEY
You mustn't rule it out.

CORDELIA
Angel?

ANGEL
Cordy! Take a message, alright?

CORDELIA
(into phone)
Hi, Darla? He can't talk to you
right now. He'll call you back
once he's found you. Okay, buh-bye --

Angel lunges for the phone.

ANGEL
Darla?

INTERCUT WITH:

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

Darla alone in the office, whispering into the phone.

DARLA
My boy -- my darling boy...

ANGEL
Where are you?

She laughs. Sing songy.

DARLA
Better question -- where was I?
I don't remember anything. It
was a great big nothing. Could
it be there's no hell?

ANGEL
There's a hell. I've been there.

DARLA
I told him no one could understand...
but I was wrong, wasn't I? My
boy knows...

ANGEL
Yes, I know.

DARLA
You said you'd give me everything --
do you remember that? I believed it
then. I still do.

ANGEL
I'll do whatever I can...

Suddenly she looks like a frightened child.

DARLA
It's been four centuries since I've
had to be afraid of anything. And
now I'm sick with it.

ANGEL
I know.

DARLA
Angel...

LINDSEY (O.S.)
Darla -- ?

She turns, sees Lindsey has re-entered the office.

LINDSEY
What are you doing?

DARLA
(a whisper)
Help me...

LINDSEY
Hang up the phone.

She just stares at him. Not sure what to do. Her end of the phone conversation has gone silent.

ANGEL
Darla?

Lindsey slowly approaches her --

LINDSEY
It's okay. Just put it down --

Now a SECURITY GUARD passing by appears at the open door --

SECURITY GUARD
Mister McDonald, is everything
okay in there?

LINDSEY
Yes, we're fin --

SECURITY GUARD
Mister Manners said you might need
some help with her --

LINDSEY
No. Leave!

DARLA
I have to go to him, Lindsey --

LINDSEY
Please don't say that.

DARLA
I'm sorry. He's the only one.
He can help me.

LINDSEY
I can help you, too.

DARLA
No. You can't. You don't have
it in you. I'm sorry.

WHAM! She brings the receiver down on his skull. He staggers back. The Security Guard enters the office, pulling his gun. Lindsey shakes off the blow, a cautioning hand out toward the Security Guard.

LINDSEY
I can handle this! Get out of here!

SECURITY GUARD
I'm sorry sir. She's not leaving the
building. Why don't we all take a
walk down to Mister Manners' office?

LINDSEY
I said go!

He shoves at the guard. Darla takes the opportunity and tries to bolt past. The Guard and Lindsey struggle. The guard grabs Darla, pulls her back into the room. She crashes into some furniture. More struggling, and now...

INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS

Angel on his end, hearing the scuffling.

ANGEL
Darla? DARLA?!

And now, A GUNSHOT. Silence. Off Angel --

END OF ACT TWO

Continue on to Part Two

Darla

Part 2

(September 26, 2000)

Written by: Tim Minear

Act Three

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

WE OPEN on BLACK AND WHITE security camera footage. The footage picks up when Darla bolts for the door. Now we see what happened -- The Guard knocking Lindsey out of the way. Getting between the fleeing Darla and the door.

A struggle for the gun. The guard going down. Darla staggering back, stunned by the blood on her hands. Lindsey moving to her, taking her by the shoulders and leading her from the room. STATIC

WIDER

Holland has been rolling the tape for Lindsey. Shuts off the monitor, looks to his young prot�g�.

HOLLAND
You not only allowed her to escape --
you facilitated it.

LINDSEY
Things were confusing...

HOLLAND
Things are often confusing for you,
aren't they, Lindsey? Especially, it
seems, when it comes to this woman.
You've allowed yourself to be ruled by
your emotions.

Lindsey just sort of stares off into space.

LINDSEY
The Guard?

HOLLAND
His family has been notified. The
police have a suspect in custody.
It's handled.

Lindsey looks away, guilt eating at him.

HOLLAND
You're off this project, Lindsey.

He starts, looks to Holland, worried for Darla.

LINDSEY
I can find her.

HOLLAND
You don't have to find her.
We picked her up two blocks
from here.

LINDSEY
She's safe?

HOLLAND
We won't discuss it any further.

LINDSEY
If you're thinking of giving this
project over to Lilah, I really
feel that bringing her in at this
stage --

HOLLAND
I'm not giving it over to anyone.
The situation has gone too far
out of control. I'm terminating
the project.

LINDSEY
Terminating -- ?

We get from Lindsey's reaction just what that might mean.

HOLLAND
Go home, Lindsey. Get some rest.
We'll start fresh tomorrow.

Holland exits, leaving Lindsey with his words.

INT. ANGEL'S HOTEL - LOBBY - NIGHT

Angel on the move, pulling on his coat.

GUNN
You want me to go with you?

ANGEL
No. This is something I have to
do on my own.

Cordy brings him his car keys.

WESLEY
Angel --

ANGEL
I know, Wesley. I could be walking
into a trap. I get that.

WESLEY
I'm not convinced you do.

ANGEL
She asked for my help. I can't
turn my back.

WESLEY
No. And you shouldn't -- not for
a moment. You more than anyone
know what she was.

ANGEL
What we were. I also know what
she's going through. Maybe unlike
me, she won't have to go through
it alone.

CORDELIA
You're not alone.

That catches him a little off guard, he looks at her.

WESLEY
You may be right. Darla may
very well be experiencing all
of this exactly as you did. But
Angel -- you yourself wandered
for a hundred years before ever
seeking redemption.

ANGEL
She's human. She doesn't have
a hundred years to wander.

INT. PARLOR OF A CHINESE PERIOD HOME - 1900

Darla enters, dressed in the local fashion. She's been shopping. She puts down her wrapped packages on a table. She senses something, looks up as -- HANDS take her from behind, holding either side of her head. Angel's face comes up close to her, cheek to cheek. He's filthy. Unkempt.

ANGEL
You're so warm. You've just fed.

She's breathless, quickly running through her options in her mind.

DARLA
You found me --

ANGEL
You could never resist a religious
war. And you always talked about
China... I just followed the bodies.
You didn't used to be so careless.

DARLA
Maybe I wanted to be found --

ANGEL
Spike and Dru?

DARLA
They're here. Probably out in
the riots. Maybe starting some
new ones.

She's still got her back to him, her hands have been quietly and carefully working at the tissue paper of the package before her. Now she whips around, has a big ass bowie like knife in her hand. She brandishes it at Angel's throat. He doesn't look surprised. Doesn't struggle.

DARLA
I should kill you right now.

ANGEL
Go ahead.

DARLA
Is that why you've come all this way?
Too much of a coward to end your own
existence? You want me to do it for
you? Release that filthy soul?

ANGEL
If you like.

DARLA
I can still smell it, you know.
(then, re: his odor)
That's not all --

ANGEL
Steamer. I had to stow away.

DARLA
You reek of vermin. Is that what
you've been living off of?

ANGEL
This should be nothing for you,
Darla. Go on, now -- be sure to
cut clean through the bone. Put
the blade in the wall.

He presses his throat against the blade. Blood beads there. They're face to face, very close. She doesn't look strong. She looks weak. A long beat as she regards him. Finally she withers, lowers the blade, steps back.

DARLA
What do you want?

ANGEL
A second chance.

DARLA
What?

ANGEL
I want things to be like they were.
You and me together. Darla --
I miss the view...

She looks at him looking at her. She sadly shakes her head.

DARLA
It's impossible...

ANGEL
It's not impossible.

DARLA
You still have a soul.

ANGEL
And I'm still a vampire.

DARLA
You're not. Look at you. You're not
even the careless youth I found in
that tavern so many years ago. I
don't know what you are --

ANGEL
You know what I am. You do.
You made me, Darla. I'm Angelus.

DARLA
Not anymore.

ANGEL
I can be again. Just give me the
chance to prove it to you.

DARLA
You almost make me believe you...

ANGEL
Believe it. We can have the
whirlwind back...

She's drawn into his eyes, his conviction.

DARLA
We can do this...

ANGEL
Yes we can.

DARLA
We can do anything...

ANGEL
Anything we like.

They come together, drawn by a force not unlike gravity. And as their passion mounts...

INT. WOLFRAM AND HART - PARKING GARAGE - NIGHT

Lindsey walks down the ramp, moves to his BMW. Pops the trunk, tosses his briefcase inside. Slams the trunk closed as he dials his cell phone. Suddenly -- a cord wraps around his throat. Is pulled taut. He's yanked up to his tip-toes. Straining against this.

Angel is there, the wire looped up over a pipe as a fulcrum.

ANGEL
Where is she?

Angels lets it go just a little slack. Lindsey coughs --

LINDSEY
I was --

Yank! Back up on his tip-toes.

ANGEL
Nope. You get just enough breath to
tell me where she is. My advice --
don't waste it.

Lindsey can't exactly speak for the gagging part. He thrashes, holds out his cell phone toward the stone-faced Angel. Angel reacts as he hears, coming from it --

CORDELIA (V.O.)
(filtered, on phone)
Angel Investigations -- hello?

Angel reacts to that, lets it go just a little bit slack. Enough for Lindsey to croak out:

LINDSEY
-- trying to call you.

Angel regards him with the appropriate suspicion.

LINDSEY
They're going to kill her.
You have to stop it --

A beat as Angel digests that. Not sure what to make of this.

LINDSEY
She needs you. Please.

For some reason those words coming from this guy really piss Angel off. He gives the wire another good yank. Lindsey goes up again.

ANGEL
You're a liar.

LINDSEY
(just a gasp)
It's true --

ANGEL
Where -- ?

He releases the tension.

LINDSEY
An abandoned bank. Figueroa and
Ninth. Wolfram and Hart own the
property. I'm pretty sure they've
taken her there.

ANGEL
You're pretty sure?

LINDSEY
I'm not exactly in the loop on this
one. But that's where they do this
sort of thing -- they'll be underground.
Where the vaults used to be.

Another beat. Another yank. Lindsey gags.

ANGEL
If this is a trick, just know I'll be
back for you, Lindsey.

Lindsey nods as best he can. Angel looks down on him with loathing.

ANGEL
Hell. I might just come back for
you anyway.

Now Angel lets the whole thing go. Lindsey staggers back onto his car, setting off the BLARING ALARM. Lindsey rubs his throat, looks up -- Angel's gone.

LINDSEY
(to himself)
Hurry...

EXT. CHINESE VILLAGE - BOXER REBELLION - NIGHT - 1900

Riots and violence. The boxers are rebelling already. Angel appears in the fray, cleaned up since the last time we saw him. He searches the crowd for someone.

ANGEL
(calling)
Darla!

A burst of violence right at his shoulder, he moves on, searching. He comes upon an alley-like alcove between buildings. Reacts as he sees a terrified MISSIONARY FAMILY, Mother, Father, children of varying ages and an INFANT (in distinctive basket and blanket.) Hiding, cowering and Bible clutching. Angel meets their eyes. He hesitates.

DARLA (O.S.)
Angelus!

Angel starts. Eyes still on the family. He backs away, turns to meet up with --

-- Darla emerges from the chaos, giddy with it.

DARLA
The whirlwind, Angelus!

She's flushed with excitement, kisses him hard on the mouth. As she disengages --

DARLA
What's over here -- ?

ANGEL
Nothing. Bodies. Let's find
something warm --

She looks at him, just a split second of uncertainty flashing across her features. Then:

DARLA
Yes. Some missionaries. We'll drain
the piety right out of them.

They start to move away from the hiding family when now --

Spike and Dru walk out of a burning building and into the bloody chaos of rebellion all around them. Spike's long period-era coat flows out behind him as he walks. He's no longer the unsure, overcompensating vamp he was before. Now he radiates true confidence.

They see Angel and Darla.

DARLA
Where have you two been?

Spike and Dru share a conspiratorial look.

DRUSILLA
May I tell?

Spike nuzzles her.

SPIKE
No need to be humble.

DRUSILLA
My Spikey's just killed a Slayer!

DARLA
What?
(to Angel)
Did you hear that?

Angel stares.

ANGEL
(not pleased)
Congratulations. I guess that
makes you one of us.

SPIKE
Don't be so glum, mate. Way you tell
it, one Slayer snuffs it, another one
rises. I figure there's a new Chosen
One, getting all chosen as we speak.
Tell you what: if and when this new
bird does show up - I give you first
crack at her.

Angel nods, stone-faced.

DRUSILLA
I smell fear --

Her head turns back toward the alcove where the family hides.

ANGEL
This whole place reeks of it.

DRUSILLA
It's intoxicating.

A REBELLING BOXER comes at them with a lethal weapon. Angel drops the guy, twisting his neck nearly off his body. The others react, impressed.

ANGEL
Let's get out of here. This
rebellion's starting to bore me.

Angel starts off. The others follow. Darla watching him closely for a moment. The four of them start to move off together. This becomes the POWER SHOT we saw in Buffy as the four of them stride through the chaos and destruction in slow motion. The four move toward us, blacking out frame --

INT. TUNNEL UNDER ABANDONED BANK - NIGHT

A BLACK FRAME -- we're inside the back of a van as the back doors are pulled open, revealing the white cover-alled BULLET BOYS. They reach in, pull out --

DARLA

Bound and gagged, pulled roughly from the back of the van and tossed onto the hard cement floor. One of the men raises a gun. Aims. They pause at the SOUND of SQUEALING TIRES, look up to see --

-- car headlight beams glancing off the wall, then Angel's car appears, careening down the ramp before them, SCREECHING to a stop, HI-BEAMS big in the frame. Angel pulls himself up from the driver's seat, ready to rumble. And off this standoff --

BLACKOUT.

END OF ACT THREE

Act Four

INT. PARLOR OF A CHINESE PERIOD HOME - 1900

Angel enters the place. Strains to see in the darkness.

ANGEL
Darla?

Now he sees her, a figure sitting stone still in the dark.

ANGEL
What's going on?

DARLA
Where have you been?

ANGEL
Just out -- why?

DARLA
Feeding?

ANGEL
Yes --

DARLA
On vermin?

ANGEL
No.

DARLA
Don't lie to me.

ANGEL
I've killed men. You've seen it --

She rises, moves to him -- boy is she pissed.

DARLA
Rapists and murderers. Thieves and
scoundrels. Did you think I wouldn't
notice? Only evil-doers. That's all
you hunt anymore --

He just looks at her, busted.

DARLA
You swore to me. You said if I took
you back, you'd prove yourself.

ANGEL
And I will --

DARLA
Good.

She has moved to a table, something there under a blanket. She whips the blanket off -- revealing the GURGLING INFANT. We recognize it as the infant and basket from the missionary family.

DARLA
Now's your chance.

He looks in shock from the child to her.

DARLA
I went back before dawn. They were
still cowering there. Praying to their
God for salvation. They didn't know
that their only savior was at the
waterfront -- dining on rats.

Angel has no defense. Says nothing.

DARLA
I won't be made a fool, Angelus.
Not by you. Not by anyone.

ANGEL
I didn't mean to.

DARLA
No? For godsake, while Spike --
Spike -- is off killing a Slayer --
you're saving missionaries.
(hurt)
From me.

It does sound pretty awful the way she says it.

ANGEL
I'm sorry...

He takes a step toward her; she backs away.

DARLA
No. No more words. Act.

And off Angel returning his gaze to the innocent gurgling baby in the basket and Darla's defiant glare...

INT. TUNNEL UNDER ABANDONED BANK - NIGHT

Angel comes leaping over the hood of his car. The armed Bullet Boy gets off a shot, but Angel kicks the gun from his hand. It goes into the air. Angel catches the gun and has a fist full of it which he brings down hard against the guy's face. He goes down.

Angel exchanges some moves with the second guy. Takes him out.

Darla tries to escape, scooting back, trying to get to her feet. The third guy sees this, goes after her. They struggle. Darla is knocked hard against the wall.

Angel finishes off the second guy, comes after the last guy. Dispatches him. Now he moves to Darla's side. She's unconscious.

FLASHY CUTS TO:

EXT. WOLFRAM AND HART - DAY

To establish the new day, as...

INT. WOLFRAM AND HART - HALLWAY - DAY

Lindsey moves down the corridor toward his office. He reacts as he spots, at the end of corridor, near reception, Holland talking and laughing with the supposedly dead Security Guard, now in civilian clothing. Holland spots Lindsey watching him. Shakes not-dead guy's hand, excuses himself, approaches Lindsey. Lindsey enters his office, his mouth a straight line.

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

Holland follows Lindsey in.

LINDSEY
Did you re-notify his family?

HOLLAND
Lindsey --

LINDSEY
You played me. You played her.

HOLLAND
We had to make you believe it, Lindsey.

LINDSEY
Why?

HOLLAND
Because she had to believe it...
because Angel has to. The crisis
needed to be real.

LINDSEY
You think now that you've driven her
back to him she'll give him that perfect
moment of happiness? That he'll come
to our side? It won't happen. He's
noble. He'll never take advantage of
her in this state. Not now.

HOLLAND
You don't understand our friend at
all, Lindsey. We know there's no
prospect for physical intimacy here.
So you needn't torture yourself...

LINDSEY
Then what do you expect him to do?

HOLLAND
What he will do. What he must do.
Save her soul.

A beat -- then Lindsey bursts out laughing. Holland is perplexed.

LINDSEY
I may not understand Angel -- but you
don't understand her. You can't hope to...

Off that pronouncement --

INT. ANGEL'S HOTEL - LOBBY - DAY

Darla being tended by Angel and company. She's resting on a sofa in the lobby. The scene echoes her 1607 deathbed scene. She comes around.

ANGEL
She's going to be okay --

CORDELIA
Maybe we should get her a doctor.

Darla's eyes open. She's coming around.

DARLA
No doctors.
(she sees him)
Angelus --

CORDELIA
Um... sorry, I know you're like
concussion gal and all, but it's
Angel. Around here, just Angel. 'kay?

ANGEL
Guys -- you mind? Can you give
us a minute?

WESLEY
Of course.

GUNN
No problem.

The others exit. Angel moves to Darla's side.

DARLA
I thought I was dead --

ANGEL
You're not dead.

DARLA
(after a beat)
Not sure how I feel about that.

ANGEL
(he smiles)
I know what you mean.

She looks at him, studies him.

DARLA
God, I'm so lucky. To have someone
who understands. Who knows.
(realizing)
That's something you never had, is it?
(then)
I'm so sorry for that.

ANGEL
It wasn't your fault.

DARLA
No... but there's so much that is.

ANGEL
It's going to be okay.

DARLA
You mean that, don't you?

ANGEL
I do.

DARLA
I knew you'd help me. I knew if I
could get to you... it's funny. That's
why they brought me back -- to get
to you. Now I find I need you . Just
like I've always needed you.
(then)
You'll make the pain stop, won't you?

He looks at her, the realization just slowly sinking in...

ANGEL
It takes time...

DARLA
It takes moments. Do it now.

That sends Angel back up on his feet.

ANGEL
What?

She rises, faces him.

DARLA
Make me what I was again.

ANGEL
Darla...

DARLA
You said you'd help me --

ANGEL
And I will -- I want to...

DARLA
Then turn me back! My god! I can't
bear this pounding in my chest for
another instant!

ANGEL
You have no idea the gift you've been
given. To feel that heart beat. To
know you're alive. Really and for
once -- alive. You're human again,
Darla. Don't you know what that means?

DARLA
Of course I do. It means pain and
suffering and disease and death.
I released you from that world once.
I gave you eternal life. Now it's time
for you to return the favor.

ANGEL
Favor? You think that was a favor?
You think I wanted to be turned into
a monster? Is that really what you
think? You damned me.

She turns stony. Defiant.

DARLA
Fine. If it's such a punishment --
take out your revenge. Pay me back.
(smaller)
Please...

A long beat as he looks at her, finally:

ANGEL
(with real regret)
I can't...

She stares at him, splayed open, in the in kind of pain he knows only too well... and off this --

INT. PARLOR OF A CHINESE PERIOD HOME - 1900

DARLA
...what do you mean you can't?

Angel stares down at the innocent child...

DARLA
You won't.

ANGEL
No.. it's more than that. There's
something in me. It prevents...

He looks at her, tears in his eyes.

ANGEL
I can't seem to be what I'm not...
I've tried.

DARLA
You disgust me.

He moves toward her, grabs her hard by the shoulders, pulls her toward himself.

ANGEL
I'm sorry.

And he shoves her away, hard. Then he sweeps up the basket with the baby in it and crashes out through the window, into the night --

INT. ANGEL'S HOTEL - LOBBY - DAY

Darla continues to stare. Now she starts to back away from him. She turns, runs to the garden door. He starts to go after her -- she pauses, turns back --

DARLA
Don't look for me again.

Then she turns and is folded into the morning. Off Angel, just watching her go, unable to follow...

FADE OUT:

THE END