1. Where Have You Been ...
By
Satoshi
Inspired by Joss Whedon‘s Tv Show
Darkowriter99@gmail.com

2. FADE IN:
INT.ANGEL‘S BASEMENT - NIGHT
Enough light to recognize ANGEL from pitch black.
INT.ANGEL‘S KITCHEN - CONTINUOUS
Angel OPENS the fridge.
There are two products inside. One is pig‘s blood. The other
is a diet salad in a plastic container with the green
stick-paper on.
INSERT
MINE! DO NOT TOUCH!
CORDELIA XOXO
END OF INSERT
Angel‘s eyes dart from left to right. Calculates his time to
make the right decision.
He goes for pig‘s blood.
ANGEL
Tough choice.
INT.ANGEL INVESTIGATION GROUND FLOOR - CONTINUOUS
Office is empty. Dark.
Cordelia‘s PC shines light. Angel gets behind her desk.
Turns off PC.
He legs to the other side of the room. Turns on the RADIO.
INT. ANGEL‘S OFFICE - CONTINUOUS
Office door remain open. Angel sits in a chair . Glass of
pig‘s blood on his table. Ready to read a book.
Song ends on radio. Announcement.
RADIO (V.O)
I hope you enjoy this good music
like we do. Quality music is hard
to come by these days. And we
(MORE)
(CONTINUED)

3. CONTINUED: 2.
RADIO (V.O) (cont’d)
always have quality when it comes
to you.
(beat)
Anyway, we have to make
announcement, and pay our respects.
Today is November 22nd. The grim
day for America. And you know why.
The death of one and only, the most
real president this beautiful
nation had ever had. John. F.
Kennedy.
RADIO is in background now.
Angel lifts his eyes from the book. Looks ahead.
END OF TEASER
EXT. WHITE HOUSE (1963)- NIGHT
American flag proudly FLAPS on top of the White House.
Several magnolias trees.
The Rose garden borders the West Colonnade.
Jacqueline Kennedy Garden raises to completion.
INT. OVAL OFFICE (1963) - NIGHT
KENNEDY locks the door behind him.
KENNEDY
Angel?
Angel steps out from shadows next to the president‘s desk.
KENNEDY
It took me awhile. Don‘t hold it
against me.
(beat)
Got use to Oval office by now? It
has that something, don‘t it?
Angel remains quite.
Kennedy FLOPS DOWN in his executive chair.
Angel strolls by the president‘s desk, wrapped in own
thoughts.
(CONTINUED)

4. CONTINUED: 3.
KENNEDY
I talked to Bobby.
(pulls a desk drawer)
About Marcello. Bobby is pinnin‘im
down. But keepin‘ a crook in a jail
is an empty promise. Isn‘t that
sad?
ANGEL
The power of a man‘s in his
connections.
CLOSE SHOT:
Kennedy‘s hand navigates through a sea of medicine bottles.
END OF CLOSE SHOT.
Kennedy lifts a pitch of water, and pours a glass. Takes a
pill. Waters it down his throat.
KENNEDY
He illegally got himself that
power. Gamble. Alcohol.
Racketeering.
(leans back in his chair)
This is leading to a country based
on fears. Unemployment. Abandonment
of values.
ANGEL
You can not delete the crime.
KENNEDY
But I can contain it. And I will
give a better tomorrow to an honest
hard-working man who makes this
country a great country. We are the
beacon for the rest of the world. A
symbol of hope.
(beat)
This country can be more than a
mere symbol.
ANGEL
What about CIA?
KENNEDY
What about‘em?
ANGEL
Who protects you from them?
(CONTINUED)

5. CONTINUED: 4.
KENNEDY
Protect?
(beat)
They are soon to be in a thousand
pieces in a wind. Bay of Pigs
sealed their destiny. It wrote them
off.
ANGEL
And, they accepted?
KENNEDY
We have the constitution. There is
nothing to accept.
Angel stalks behind a globe.
ANGEL
Any news on Marilyn Monroe.
Kennedy under a soft melancholy, but hides it.
KENNEDY
Not that I know of.
ANGEL
Asked?
KENNEDY
I did not. I am advised to focus on
my presidency.
(beat)
She was a one special girl. The
only woman you didn‘t care if she
had someone else. That was Marilyn
for you.
ANGEL
When you are with Monroe you are
with Monroe, huh?
KENNEDY
(laughs)
Couldn‘t put it better myself. She
was someone you meet ones a
lifetime. I... I was lucky.
Angel ambles to the red ship model.
KENNEDY
Like ships?
(CONTINUED)

6. CONTINUED: 5.
ANGEL
It‘s all about where they can take
you. And where are we taken with
Bobby?
KENNEDY
You‘ll have to be more clear.
Direct, if not much to ask.
ANGEL
I heard ... several witnesses saw
Bobby on night when they found
Marilyn dead.
KENNEDY
(defensively)
It‘s true that I send Bobby over.
Marilyn was falling apart. Not a
big secret.
ANGEL
But shortly after his leave, she is
found dead. Phone in her hand.
KENNEDY
Are you tellin‘ me my kid brother
had something to do with demise of
Marilyn Monroe?
Angel keeps silent.
Kennedy storms to Angel.
KENNEDY
Is there something I can not
clearly see, Angel?
ANGEL
Leave blackmail out of it. Look
again.
Kennedy is completely out of his game.
Gently takes Angel under arm, and springs their step toward
the table in between sofas that are placed opposite in front
of a fireplace.
They sit against and lean toward each other, and volume down
their conversation.
KENNEDY
I am aware of Marilyn‘s friend
circle. And I mingled in the same
(MORE)
(CONTINUED)

7. CONTINUED: 6.
KENNEDY (cont’d)
circle. But I was told that Marilyn
spent time with shady characters.
ANGEL
Was mob involved?
KENNEDY
Could be. They are connected to
show business.
Kennedy gets comfortable, crosses his legs.
KENNEDY
(cont‘d)
Mob has us targeted. Just like we
have‘em. Bobby is on‘em. I am the
President. Heat they are under
becomes unbearable.
ANGEL
And this is all politics?
KENNEDY
What else it could be?
ANGEL
Personal. Grudge.
KENNEDY
They hate us with passion. Can‘t
get more personal.
Angel taps his index finger against the glass surface of the
table. Kennedy pays attention to tapping.
KENNEDY
(cont‘d)
You think mob had something to do
with Marilyn‘s death?
ANGEL
She called Justice Department.
Threatened to call in a press
conference - -
KENNEDY
(cuts off Angel)
And you believe in the conspiracy?
ANGEL
Why was Bobby there?
Kennedy finds himself uncomfortable to answer. Steals time.
(CONTINUED)

8. CONTINUED: 7.
KENNEDY
Politics is dirty, Angel. She
became liability. She called me at
the white house. Jackie picked up
the phone. Hell, she told Jackie
that she‘s goin‘ to marry me. That
I will leave‘er.
ANGEL
What did Jackie do?
KENNEDY
Jackie is a fighter. She told‘er
about president‘s wife duties. That
got Marilyn cooled off a little.
ANGEL
Marilyn was a sweet perk that comes
with being a President?
KENNEDY
I told you. Marilyn was special, at
least to say. But I am the
president. I have a wife and
children. Maybe if ... things were
different. If ... Marilyn‘s persona
had a little of Jackie‘s ... You
know, public appearance. I hate all
of this , but this game is played
with those set of rules.
ANGEL
Presidency comes first.
Kennedy leans toward angel.
KENNEDY
(aggravated)
I needed Marilyn as much as I need
those darn pills.
(beat)
We should focus on Mob. Do you
think mob had to do anything with
her death?
ANGEL
I have a better one. Do you think
mob can hurt your next elections?
Kennedy shares his doubt.
Silence breaks soon.
(CONTINUED)

9. CONTINUED: 8.
KENNEDY
They can try. We are ready. I am
more worried on facing George
Romney. He is the one fellow I
don‘t want to run against. That guy
could be tough.
Telephone RINGS. Kennedy goes to answer.
KENNEDY
(re:Angel)
Just a second.
Kennedy lets the telephone RING. He sits on the desk, jerks
his suit pants up his leg a little. Answers the phone.
The conversation lasts a few seconds. Kennedy decides to
tell Angel it might take awhile.
KENNEDY
(into phone)
Give me a moment.
Kennedy turns to face Angel. No one is there. He smiles.
KENNEDY
(into phone)
Go on. I‘m listening, Johnson.
END OF ACT ONE
EXT. NEW ORLEANS STREETS (1963) - NIGHT
Street lamps radiate. Traffic breathes. Line of parked cars
on a side of a road.
Glowing neon signs reveal local stores and bars.
INT. OUTSIDE MARCELLO‘S OFFICE (1963) - CONTINUOUS
Angel reads a sign.
INSERT:
THREE CAN KEEP A SECRET IF TWO ARE DEAD
END OF INSERT.

10. 9.
INT. MARCELLO‘S OFFICE (1963) - NIGHT
MARCELLO presides in his chair behind the desk. He has black
sun-glasses on.
Money neatly folded on his desk, more of it on floor and
ready to pile up.
On his right his CONSIGLIERE stands attentively.
ANGEL
I‘m here to see Boss Marcello.
CONSIGLIERE
You are seeing him.
ANGEL
I would like to speak to Boss
Marcello.
CONSIGLIERE
I‘ll speak on his behalf.
ANGEL
I prefer to have a talk with Boss
himself.
CONSIGLIERE
He‘s busy being quite.
Angel wants to snap Consigliere‘s neck.
ANGEL
There‘s a demand for leg work.
(beat)
I want in.
Consigliere approaches Angel casually. He starts to FRISK
Angel, checks if he is wired.
Consigliere looks at Marcello. Marcello nods his head
lazily. Consigliere walks back to his previous position.
CONSIGLIERE
Got someone inside?
ANGEL
No one.
CONSIGLIERE
You want the errand because?
(CONTINUED)

11. CONTINUED: 10.
ANGEL
Need money. Out of job,gotta make
ends meet.
CONSIGLIERE
Your woman nags, ain‘t that right?
ANGEL
Somethin‘ like that.
CONSIGLIERE
A man of a few words. Keep that up.
(beat)
Philly Lucky and Tommy Shots are
outside. Do what they tell you to
do. If you are stupid and fuck up
this simple errand, it‘d be for the
best this meeting never happened.
Angel walks out Marcello‘s office.
EXT. BACK ALLEY (1963) - NIGHT
Angel approaches a group of six people.
CHATTER volumes down until it dies. Everyone stares at
Angel.
ANGEL
I need Philly Lucky and Tommy
Shots.
PHILLY LUCKY and TOMMY SHOTS step out the circle.
PHILLY LUCKY
Follow me.
Philly Lucky and Tommy Shots lead Angel deeper in the alley.
Tommy Shots FRISKS Angels. Tries to tap for a wire. Nods his
head at Philly Lucky.
PHILLY LUCKY
Let‘s go.
EXT. NEW ORELANS STREETS (1963) - NIGHT
Car PULLS next to a bar.

12. 11.
INT. PAULI‘S BAR (1963) - NIGHT
Married men with young astonishing ladies in their lap.
Drinks and card game circle the bar.
Angel follows a lead of his two superiors.
PAULI, the bar owner, takes Angel and his two superiors in
his backroom.
INT. PAULI‘S BACK ROOM (1963) - NIGHT
PAULI
I payed Marcello for this month.
PHILLY LUCKY
This isn‘t about monthly buck. It‘s
about jukebox, pinball machine, and
any other coin-eater that slipped
Marcello‘s hands.
PAULI
That‘s not how we agreed.
PHILLY LUCKY
Marcello protects you, and gets
everything you need.
(beat)
Now, spit it out. Everything you
paid them, give us back . Plus
interest.
PAULI
I don‘t got that money on me now,
Philly.
Tommy Shots punches Pauli in stomach.
Paulie bents down. Gasps for air.
Angel in the back,supposedly learning.
PAULI
(catches his breath)
I will give when I can. I swear.
Paulie straights himself. Raises his arm in the air, goes
for a deep breath. Accidentally, his hands SMACK against the
hanging-light.
Philly Lucky SLAPS him.
(CONTINUED)

13. CONTINUED: 12.
PHILLY LUCKY
Why‘d you do that for?
You should carry turned on
light-bulb above your head at all
times. You‘d get better ideas than
to go behind Marcello‘s back.
Philly Lucky and Tommy Shots laugh.
PAULI
You‘ll have your money. I swear.
Tommy Shots punches Paulie in stomach again.
PHILLY LUCKY
If I recall ... you have a wife.
PAULI
(through cough)
Please don‘t. She got nothin‘ with
this.
PHILLY LUCKY
You love‘er?
PAULI
She is my world.
PHILLY LUCKY
Good. It‘d be unpractical to
kidnap‘er and demand ransom , if
you‘re over her. Waste of time. No
money, and it cramps the style. Had
to check.
(beat)
Show up at Marcello‘s. With money.
Angel and his superiors leave the back room.
EXT. PAULI‘S BAR BACK ALLEY (1963) - NIGHT
Angel and his superiors are cut off on their way to the car.
Two FBI AGENTS stand in the way.
FBI AGENT 1
Hands on wall, fellas.
Angel and his superiors face the wall. Hands on wall. Legs
apart.
(CONTINUED)

14. CONTINUED: 13.
PHILLY LUCKY
(cheap surprise)
What‘d we do? Can‘t an honest man
have a drink?
FBI agents quickly FRISK them.
FBI AGENT 1
Sure. Just let me know when you
bozos become honest men.
FBI agents finish the frisk.
FBI AGENT 2
You can turn around, now.
TOMMY SHOTS
(re:FBI Agent 2)
Look at him. Had a second shave in
his life. Got a gun and a badge.
Your mother knows you out this
late, kid?
PHILLY LUCKY
Come on, Tommy. We don‘t need this,
Tommy.
FBI AGENT 1
Yeah, Tommy, it‘s a bad habit to
spit a badge. Ditch the habit,
Tommy.
FBI Agent 1 registers Angel.
FBI AGENT 1
A new bozo in circus?
PHILLY LUCKY
More like a cousin of a cousin. We
show‘im around. New Orleans is a
beautiful city. Specially at night.
FBI AGENT 1
And where better then to a bar.
(beat)
What ya had?
PHILLY LUCKY
You know --
ANGEL
Lemonade.
Philly Lucky gives Angel a fuck off look.
(CONTINUED)

15. CONTINUED: 14.
FBI AGENT 1
(surprised)
Lemonade?
FBI Agent 1 darts his eyes to all three.
FBI Agent 2 throws in a bluff.
FBI AGENT 2
They don‘t serve lemonade in there.
ANGEL
We had one.
FBI AGENT 1
It‘d be better you three
sell lemonade ten cent a cup. God
forbid, you might become useful
members to society.
PHILLY LUCKY
Special talents ask for special
customers. I gotta go with nature
on that one.
FBI AGENT 1
Nature? You wouldn‘t know what‘s
nature if grizzly bear mounts your
dumb ass next to a river under a
shimmering moon.
TOMMY SHOTS
You dropped soap in woods?
FBI Agent 1 undertakes a vicious approach to Tommy Shots.
PHILLY LUCKY
Gentleman, gentleman ... it‘s a
beautiful night.
Philly Lucky stands in between them two.
PHILLY LUCKY
(cont‘d)
We had a good fun. Now, it‘s time
for us to leave--
FBI Agent 2 shoves Philly Lucky.
Philly Lucky SLAMS against the wall.
(CONTINUED)

16. CONTINUED: 15.
FBI AGENT 2
Stay back.
PHILLY LUCKY
Why you gotta push me, fed?
FBI AGENT 2
Show some respect, christ.
Angel leaps in with a quick knock out STRIKE to FBI Agent 1.
FBI Agent 2 reaches for a gun. Angel HEADBUTTS him into
knock out.
Philly Lucky and Tommy Shots exchange a look of disbelief.
They follow Angel to the car.
INT. MARCELLO‘S HALLWAY (1963) - NIGHT
Angel waits outside Marcello‘s office.
Tommy Shots gestures Angel to come in.
Philly Lucky on left side of doors, Tommy Shots takes the
right.
Marcello leans back in the chair, focuses on Angel.
CONSIGLIERE
They tell me you clocked agents.
Angel remains quite.
CONSIGLIERE
(cont‘d)
You got heart, kid. Try to have
brains next time. And you‘ll be a
valuable asset.
Angel wants to snap consigliere‘s neck.
CONSIGLIERE
(cont˙d)
They‘ll drive you to collect your
reward. We‘ll stay in touch.
(re:Philly)
Take‘im for a ride.
Marcello in stoic attitude with sun glasses on Angel.
Philly Lucky opens the door. Angel, Tommy Shots and Philly
Lucky leave the office.

17. 16.
INT./EXT. CAR (1963) - DAY (DAWN) (DRIVING)
Philly Lucky on the wheel.
Angel and Tommy Shots in a back seat.
EXT.NEW ORLEANS OUTSKIRTS (1963) - DAY (DAWN)
Car PULLS.
INT./EXT. CAR (1963) - CONTINUOUS
Philly Lucky turns around. Snub revolver at Angel.
PHILLY LUCKY
Get out.
Angel turns to face Tommy Shots who jabs snub revolver under
his ribs.
EXT. NEW ORELANS OUTSKIRTS (1963) - CONTINUOUS
Angel steps out. Tommy Shots has him on a gun range.
Philly Lucky POPS up his trunk. Lifts a shovel. THROWS it on
the ground.
Tommy Shots directs Angel with the snub revolver to move
toward the shovel.
PHILLY LUCKY
Dig.
Angel stands still.
Philly Lucky closes in. PUNCHES Angel in guts.
PHILLY LUCKY
One way or the other, you˙ll end up
pushing daisies.
(beat)
Dig.
Angel straights up. Philly Lucky UNSHEATHES his snub
revolver. SMACKS Angel over his mouth with it. HITS him on
the ground.
Angel hunts for the moment when Philly Lucky and Tommy Shots
find them selves next to him and close to each other.
(CONTINUED)

18. CONTINUED: 17.
PHILLY LUCKY
Stand up.
Angel slowly raises back up to his feet. Faces Philly Lucky
and Tommy Shots.
Philly Lucky and Tommy Shots FIRE six bullet each at Angel.
Angel COLLAPSES and twitches under FIRE.
Philly Lucky and Tommy Shots nonchalantly SHEATH their snub
revolvers.
PHILLY LUCKY
Oh , Marry and Joseph, we have to
dig now.
Philly Lucky HITS Angel in his leg.
TOMMY SHOTS
Say what you will, but kid had
heart.
PHILLY LUCKY
Kid had heart. But kid didn˙t have
smarts.
Philly Lucky shows at Angel.
PHILLY LUCKY
(cont˙d)
This‘s how you end up without
smarts.
(re:Angel)
How come we didn‘t think to punch
feds? Because they are hot. You
strike a badge you gotta deal with
--
Philly Lucky violently BEATS Angel in his leg.
PHILLY LUCKY
(cont‘d)
-- heat that comes from hitting a
fed.
Seems to land a last HIT.
PHILLY LUCKY
Idiot.
(beat)
Now we gotta dig‘im a hole.
HITS Angel in the leg one more time.
(CONTINUED)

19. CONTINUED: 18.
TOMMY SHOTS
I‘ll take hands.
Tommy Shots positions himself at hands, Philly Lucky about
to take his legs.
Angel bolts up. MORPHS. JABS Tommy Shots in throat, he
CHOKES.
PHILLY LUCKY
Jesus Christ!
Angel LANDS foot on Philly Lucky‘s chin. Gets him
unconscience.
Shifts his focus back to Tommy Shots who staggers back,
KNEES HIM IN THE CHIN. Tommy Shots FALLS FLAT on his back,
another black out.
Angel staggers back to car. SLIDES DOWN. MOANS, his vampire
rejuvenation kicks in. MORPHS out. Bullets begin to pop out,
painfully and slowly.
ANGEL
(in pain)
Hate modern warfare.
Bullet pops out.
INT. MARCELLO‘S OFFICE (1963) - DAY (DAWN)
Consigliere hands Marcello his briefcase. Escorts him out.
EXT. NEW ORELANS STREETS (1963) - DAY (DAWN)
Marcello ambles to his car.
Car DRIVES away.
INT./EXT. MARCELLO‘S CAR (1963) - DAY (DAWN)
Marcello notices that DRIVER is off his usual route.
MARCELLO
Hey, braniac, forgot were we are
goin‘?
Driver is Angel. Turns to face Marcello.
(CONTINUED)

20. CONTINUED: 19.
ANGEL
We are goin‘ by the plan. My plan.
Marcello panics. Assumes the worst.
MARCELLO
Syndicate will hunt you down.
They‘ll handle you your own teeth.
Angel pumps the pedal. Ignores Marcello.
MARCELLO
You think you are doin‘ someone a
favor?
INT. GARAGE (1963) - DAY (DAWN)
Angel DRIVES in. STOPS the car.
Drags Marcello out. SMACKS him against the car. He MORPHS.
ANGEL
I am back from the dead. With a
handful of bullets. And many more
questions.
Marcello is genuinely afraid, most likely for the first time
in his life.
MARCELLO
Wh-what got your face?
Angel grabs Marcello‘s collar tightly, JAMS him against the
car.
ANGEL
Focus Marcello. And this will all
end soon.
Marcello stares Angel petrified.
ANGEL
(cont‘)
Who‘s after Kennedy?
MARCELLO
Who isn‘t?
CRACKS Marcello against the car.
(CONTINUED)

21. CONTINUED: 20.
ANGEL
I‘ll need more.
MARCELLO
Us.
ANGEL
Who‘s us?
MARCELLO
Syndicate. Las Vegas, New Orleans,
Chicago.
ANGEL
Why?
MARCELLO
Kennedy crossed us. His doofus
brother got FBI breathin‘ down our
necks harder than ever.
ANGEL
Isn‘t that how it suppose to work?
You bad, they good. You hustle,
they arrest.
MARCELLO
You know who won Kennedy his
elections? That‘ right. Syndicate.
He suppose to scratch our back. But
he turned on us.
(beat)
Get it now?
Angel releases Marcello from his grab.
Marcello fixes his suit and tie. Has a grim look. Stares
Angel‘s abominated face.
MARCELLO
That‘s right. He is a worse type of
scum bag. His old man started their
affiliation with us. And when push
came to shove, Kennedy forgot his
roots.
ANGEL
You believe you‘ll settle the score
with the president? Security. CIA.
They‘ll close on you.
(CONTINUED)

22. CONTINUED: 21.
MARCELLO
Who said it‘s only the mob that‘s
after‘im?
(beat)
Know what happened to Cesar?
It‘ll happen to Kennedy, and the
world will see. You don‘t coy with
mob. No matter who you are. We are
the untouchables.
Angel turns his back to Marcello. Runs information through
his head.
ANGEL
Who else?
Marcello‘s lips seal the cigar. LIGHTS it.
MARCELLO
You should see a doctor about that
face.
Angel MORPHS out.
Marcello just stares. PUFFS cigar. Nods his head.
MARCELLO
I see .... I don‘t get it.
ANGEL
Who else?
Marcello peeks around. Closes on Angel. Whispers.
MARCELLO
I told you enough. I won‘t send off
any one after you --
Angel kills the whispering.
ANGEL
(interupts)
And I can promise I won‘t snap your
neck, if I got what I wanted.
Marcello‘s eyes pierce at Angel.
MARCELLO
You got balls, kid. Maybe too big.
Angel remains silent.
(CONTINUED)

23. CONTINUED: 22.
MARCELLO
Cubans.
ANGEL
How they fit in?
MARCELLO
Gamble. Casino. Castro hit our
income hard. CIA got us involved
under agreement. We re-open
ourselves in Cuba the moment Castro
dies. Win-win.
Marcello PUFFS on cigar.
MARCELLO
(cont‘d)
Then that fiasco happened.
Something with pigs.
ANGEL
Bay of Pigs.
MARCELLO
Yeah, yeah.
Marcello enjoys another cigar PUFF.
MARCELLO
That Red President ... They say he
could be a president for years to
come. I am not associated with any
one who finds that a good news.
You?
Angel patrols in front of Marcello.
ANGEL
I need names. Participants.
MARCELLO
(much sarcasm)
Open your eyes. Follow the trail.
Make sure you ask the right
questions. Read between the lines.
ANGEL
Enough with a cloak and a dagger.
Names. Now.
MARCELLO
I don‘t know.
(CONTINUED)

24. CONTINUED: 23.
Angel RAMS Marcello against his car. Marcello drops his
cigar.
ANGEL
Name them.
MARCELLO
Are you that stupid?
(beat)
Less I know, better for me. I don‘t
need that black-ops danglin‘ above
my head. I don‘t give a damn who
gets to Kennedy first. I want‘im
dead.
ANGEL
You have to remember faces and
names that approached you.
MARCELLO
We all pitch. From all sides. No
introduction. No connections. No
traces. They call it under ground
for a reason.
Angel backs off. Rushes a step. Disappears in garage
shadows.
Marcello escorts Angel with a look. Fixes his suit. Enters
car. Drives off.
END OF ACT TWO
EXT. NEW ORLEANS 544 CAMP STREET (1963) - DAY
OSWALD hands leaflets. People pass him by, picking it up.
Some of them share a look of disbelief.
One particular group of men is displeased with Oswald. Group
confronts Oswald, shoving and pushing follows.
ANGRY MAN 1
Take your commie love else where.
Angry Man snatches a few leaflets from Oswald‘s hand. Throws
some. SHREDS some.
ANGRY MAN 2
Go back to Fidel, Red.
(CONTINUED)

25. CONTINUED: 24.
OSWALD
I‘m Marxist.
ANGRY MAN 3
Drop dead, commie.
POLICEMEN arrive at the scene.
Angry group disperse. Oswald picks up his leaflets.
Angel monitors situation from shades provided by the
building behind.
DAVID FERRIE is surrounded by three CUBANS.
POLICEMEN escort Oswald inside the building on 544 Camp
Street.
INT. 544 CAMP STREET BUILDING (1963) - CONTINUOUS
OSWALD
All right, I don‘t need protection.
POLICEMAN 1
Are you sure, sir?
OSWALD
(rid off)
Very sure. You did your job. Thank
you.
Policemen head out.
Angel appears behind Oswald.
ANGEL
Admiring.
Oswald faces Angel.
OSWALD
In times like these true brave men
display courage.
Angel picks one of his leaflets. Reads.
OSWALD
They can‘t tell a Marxist from a
commie.
(beat)
What about you?
(CONTINUED)

26. CONTINUED: 25.
ANGEL
I don‘t like Castro. I hate
Kennedy.
Oswald forms a smile.
OSWALD
And how much?
ANGEL
All the way. And more.
Oswald profiles Angel.
OSWALD
Rare quality these days.
ANGEL
Even less acts. I saw you taking a
heat there. I can trust you. Know
any one who is willing to act?
OSWALD
A group or two.
ANGEL
They act?
OSWALD
For a long time.
ANGEL
I want something soon.
Angel turns. Ready to leave.
Oswald grabs him for a shoulder. Turns Angel around.
OSWALD
Broadmoor section. Ten p.m. Be
there.
EXT. BROADMOOR SECTION (1963) - NIGHT
Angel glances over the street. Moves toward the house.

27. 26.
EXT. DAVID FERRIE‘S HOME (1963) - CONTINUOUS
Angel follows stairs up . Rings the door BELL.
INT.DAVID FERRIE‘S HALLWAY (1963) - NIGHT
David Ferrie tours Angel.
INT. DAVID FERRIE‘S LIVING ROOM (1963) - CONTINUOUS
ANGLE ON LIVING ROOM ENTRANCE
Angel notices white mice with red eyes in cages. PhD above
cages on the wall. David Ferrie pauses the tour.
DAVID FERRIE
(points PhD)
My most valuable possession. When
they talk Ferrie, tell‘em a doctor.
Show‘em my name in a phone book.
It‘s right there.
Angel stunned, utter surprise attack. Absorbs David Ferrie‘s
self boasting.
DAVID FERRIE
(cont‘d)
You wonder why I have mice. He is
crazy, right? Don‘worry.
Experiments. They are the key to
find a cure for cancer. Will
move‘em down the street soon. It‘s
just temporary.
ANGLE ON LIVING ROOM
Oswald cleans rifle in the corner. CLAY SHAW nests on couch.
Three Cubans, the same ones from before, sit around at the
table in simple wooden chairs.
DAVID FERRIE
Moment of your time. This here is--
David Ferrie faces Angel.
ANGEL
Michael.
DAVID FERRIE
Michael is trigger happy when it
comes to Kennedy.
(CONTINUED)

28. CONTINUED: 27.
Cubans laugh. Oswald flicks a smile.
Clay Shaw‘s heart skips a beat when he laid his eyes on
Angel.
CLAY SHAW
Such a handsome young man. Sit
here. Indulge me with your
presence.
Clay Shaw eagerly TAPS a seat next to him.
Oswald rolls eyes.
DAVID FERRIE
You and me both, Oswald.
(re:Angel)
Go on, sit there.
David Ferrie points the seat next to Clay Shaw.
Angel casually sits next to Clay Shaw.
Clay Shaw shamelessly stares on Angel.
CUBAN 1
That Kennedy putta hugs
Khrushchev too tight. He is scared
to war with Castro.
David Ferrie nods head in agreement, sips a drink. Offers
the drink to Angel.
Angel accepts the offer.
DAVID FERRIE
That‘s not all. Fuckin‘ poisons.
You got options. Poison Castro‘s
food, cat, dog, whore. Any god damn
shit he tastes or swallows.
Cubans laugh.
Oswald keeps to shine his rifle.
Clay Shaw mesmerized with Angel.
CUBAN 2
Texan in the White House. Kennedy
needs a time out.
(CONTINUED)

29. CONTINUED: 28.
DAVID FERRIE
Time out with triangular fire.
That‘s the time out he needs.
Oswald sends attention to David Ferrie.
DAVID FERRIE
(cont‘d)
Can‘t be that hard. More candidates
then we need. Someone has to be a
fall guy. CIA will take care of
that guy. We don‘t leave a man
behind. Rest fled country. Come
back when we have our man inside
the White House.
CUBAN 1
That is America I want to live in.
Fuck Castro and Kennedy. And all
commie kissers. We need our guns
back - -
David Ferries shatters a glass against the wall.
DAVID FERRIE
(shouting)
Don‘t get me started. They closed
our training grounds. Anti-Castro
Cubans got deported. They took our
guns, explosives. I will kill
Kennedy.
David Ferrie intoxicated and furious pummels air around him.
Cubans under a hype bolt up from their chairs. They swear
and threat to retaliate to Kennedy.
Clay Shaw snaps out his mesmerized state when tensions rise.
CLAY SHAW
Gentleman, Gentleman.
No one pays him attention.
CLAY SHAW
(raise a voice)
Gentleman!
Everyone stops their misfit behavior.
CLAY SHAW
(shows Angel)
(MORE)
(CONTINUED)

30. CONTINUED: 29.
CLAY SHAW (cont’d)
We have a beautiful angel with us
tonight. Is this how we greet our
first time guests?
Cubans slowly lower to take a seat, they expect David
Ferrie‘s reaction.
David Ferrie delivers. He snaps.
DAVID FERRIE
Christ Clay! You two will fuck
later. Pitch in. ‘Cause you know
this will happen.
CLAY SHAW
No need to dispel our magic.
Clay Shaw gives a flirty look to Angel.
Oswald in corner rests his arms on rifle. Rolls eyes, again,
at Clay Shaw.
DAVID FERRIE
(re:angel)
What do you think? What‘s the best
way to shoot that bastard?
ANGEL
Triangular fire.
Devid Ferrie and Cubans enthusiastically approve Angel.
Unaware he delivers what they ordered.
Cuban 2 shakes Angel‘s hand.
CUBAN 2
I like this guy. Doesn‘t say much.
But when he talks. he says right
things.
Cubans laugh. David Ferrie approves.
DAVID FERRIE
Wise words, indeed.
David Ferrie continuous to preach in background.
Focus on Clay Shaw and Angel.
CLAY SHAW
Ever before in my long life of
experience and meets, I did not see
(MORE)
(CONTINUED)

31. CONTINUED: 30.
CLAY SHAW (cont’d)
someone ... astonishing and
gorgeous like yourself.
(beat)
I hope I do not come off as
desperate.
Clay Shaw laughs seductively, his hand on Angel‘s thigh.
Angel plays along, and forces a smile.
CLAY SHAW
Do you have family? How old are
you? My goodness, you must be
thinking I am a sad desperate man.
ANGEL
Don‘t worry, I don‘t.
CLAY SHAW
Handsome and polite. My, my.
Aerates his shirt to cool off.
ANGEL
I am twenty-six.
CLAY SHAW
Twenty six? You look a little
younger. Must be that envious
youthful look of yours.
Seductive laugh. Leans toward Angel.
CLAY SHAW
(cont‘d)
You know ... when Cubans and Oswald
leave, three other boys that are a
little younger than you, will come
on door knocking. Would you be a
dear and stay?
ANGEL
Why not.
Forces a smile.
CLAY SHAW
Excellent!
(beat)
Now, let us listen to Mr. David. We
will pick up later.
(CONTINUED)

32. CONTINUED: 31.
Slides back to his previous position. Index finger presses
against his own lips. Sneaks a peek at Angel.
Angel aware, focuses on David Ferrie.
David Ferrie‘s show comes foreground. Visibly drunk.
Continues his banter and rant.
DAVID FERRIE
... and that‘s how we nail son of a
bitch. CIA agreed. Mob has it
covered. Triangular fire. We fix
Oswald at Book Depository, Grassy
Knoll is me, and CIA is behind the
picket fence.
Cubans confused. Oswald is on the edge of his seat.
CUBAN 2
Is this confirmed?
Clay Shaw seems to all ready know this.
Angel redirects his attention to Clay Shaw.
Clay Shaw monitors David Ferrie. Seems unpleased. Maintains
his cool.
David Ferrie lowers to his seat , finally.
DAVID FERRIE
Just ... be ready. You‘ll know
everything soon enough.
INT.DAVID FERRIE‘ DOOR WAY (1963) - NIGHT
Cubans leave right at the time when three YOUNG BOYS arrive.
CLAY SHAW
Here they come.
Raises his eye brows at Angel. Winks.
Angel forces a smile.
ANGEL
A bathroom here?
Clay Shaw points.

33. 32.
INT.DAVID FERRIE‘S BATHROOM (1963) - NIGHT
Angel escapes a gay orgy through the window.
EXT. DAVID FERRIE‘S HOME (1963)- CONTINUOUS
Angel walks away.
EXT. DALLAS (1963) - DAY (MORNING)
The motorcade day. Crowd is cheerful and happy. Sincere
welcome for President and his wife Jackie.
A few individuals stand on a higher ground with an intent to
take a picture of President with his wife. One of them is
ZAPPATA, clearly seen.
INT. LIBRARY GROUND FLOOR (1963) - DAY (MORNING)
Oswald sits on the bench in front of the vending machine.
Impatient, and waiting.
LIBRARY LADY struggles her heebie-jeebies sent by Oswald.
Angel appears at the door way.
Oswald bolts up to his feet when he spots Angel.
They stair up to sixth floor.
INT. LIBRARY SIXTH FLOOR (1963) - DAY (MORNING)
Oswald UNSHEATHES his rifle.Radiates with dedication and
devotion to the cause.A smile occasionally slips to surface.
Angel is at the window.
POV
A road where motorcade will drive through. We can clearly
see an UMBRELLA MAN. Angel turns right. A tree blocks the
part of the motorcade route.
END OF POV
ANGEL
You‘ll have one chance for a clean
shot. Maybe two.
(CONTINUED)

34. CONTINUED: 33.
OSWALD
I‘ll get‘im. He won‘t get out this
one alive.
Angel pads across the room.
Oswald positions in front of the window, the same one where
Angel was a second ago.
ANGEL
(poorly feints excitement)
Finally. You and Kennedy.
OSWALD
(detached)
You don‘t know how many time I ran
this day through my head.
Oswald assumes the sniper stance.
OSWALD‘S SCOPE POV
A german reticle crosshair.
Oswald skims over the terrain. We can see BABUSHKA LADY for
a split second. Focuses on the road, the one Kennedy has to
take.
Oswald skims to his right. Stops before the vast tree, the
one that blocks the part of the motorcade route.
END OF OSWALD‘S SCOPE POV
ANGEL
Think it will be better?
Oswald unclear.
OSWALD
With what?
ANGEL
Kennedy‘s death.
Oswald turns to face Angel. Smile wipes off.
OSWALD
I know it will. You don‘t?
ANGEL
And what then? We go after Castro?
Oswald abandons the window. Approaches Angel with an alert
step. Stands in front of Angel.
(CONTINUED)

35. CONTINUED: 34.
OSWALD
I don‘t know. I am a ...
revolutionary. This is a
revolution. Anything , anyone, will
be better instead that coward.
(beat)
What ya think?
Oswald tests Angel.
OSWALD
(cont‘d)
Are we in wrong?
ANGEL
No... I was having my wonders.
Turns to go back to the window then he spins. HAMMERS Angel
in his face with the stuck of rifle.
Angel staggers back.
OSWALD
You are a coward, just like
Kennedy.
Oswald charges at Angel. Tries to land a second hit with his
rifle.
Angel rolls away.
Oswald lunges another rifle attack.
Angel steps by, glides toward Oswald. Wraps arm around his
neck. Spins and throws him at the wall.
Oswald staggers forward, tries to keep his balance. BANGS
the wall with his forehead. That famous bruise under his
left eye is soon to appear.
Oswald staggers back. SMACKS against the floor with his
back.
ANGEL
This‘s a power scoop. Anyone and
everyone will be sacrificed. On
both sides.
(beat)
Leave it all behind. And don‘t look
back.
Angel hurries out of the room.

36. 35.
Oswald rolls on floor. Slowly gets up, furiously grabs the
rifle. Positions on the window.
INT. SEWERS (1963) - DAY (MORNING)
Angel quickens his pace.
Stops under a sewer shaft. Looks up.
EXT. BEHIND A PICKET FENCE (1963) - DAY (MORNING)
Tree provides a vast shade.
A SECOND SHOOTER patiently waits in the vast shade.
Angel rapidly sneaks behind the Second Shooter. Wraps his
fingers around Second Shooter‘s back of the neck.
Second Shooter twitches. Instinctively turns his neck.
Angel‘s grip blocks the turn.
ANGEL
It‘s all over.
Second Shooter pants.
ANGEL
(cont‘d)
Doesn‘t have to be. I need the
name. That one that made this all
possible.
SECOND SHOOTER
They‘ll kill me.
ANGEL
They‘ll kill you if you don‘t
deliver the shot. They‘ll never
know you said it.
SECOND SHOOTER
They always find out.
ANGEL
Not with me.
SECOND SHOOTER
It‘s more than politics. A new
world order. It‘s not one man. Or a
group.
(CONTINUED)

37. CONTINUED: 36.
ANGEL
I just need that one who‘s going to
benefit the most. The one you work
for.
SECOND SHOOTER
That‘s -- that‘s not how it works.
He‘s a puppet. Like me. Like
Agency.
The motorcade is soon to take the route.
ANGEL
His name.
Angel‘s grip tightens, and yanks the Second Shooter.
ANGEL
(cont‘d)
The motorcade is almost here.
Triangular fire needs the right
timing. You‘ll mess it up.
Second Shooter struggles his dilemma.
ANGEL
(cont‘)
You‘ll be responsible. They‘ll want
to know why. And what will you tell
them?
(beat)
And here you are. A red lover.
A Second Shooter breathes heavy and deeply.
SECOND SHOOTER
The vice is a cancer to society.
The vice is the closest to the
president.
Angel gradually loosens his grip.
INT. SEWERS(1963) - CONTINUOUS
Angel marches onward.But keen hearing roots him.
INSIDE ANGEL‘S HEAD
Shots rang. One. Two. Three. Four. Five. Six.
Screams and shouts follow.
END OF INSIDE ANGEL‘S HEAD

38. 37.
EXT. OVERHEAD DALLAS STREETS (1963) - NIGHT
RADIO (V.O)
President Kennedy has been
assassinated, it is official now.
The president is dead.
Ambulance and police vehicles swarm streets.
EXT.LYNDON JOHNSON‘S HOME (1963) - NIGHT
TITLE OVER: a week later
Angel walks toward the house.
INT. LYNDON JOHNSON‘S LIVING ROOM (1963) - NIGHT
LYNDON JOHNSON packs with his family. Ready for the White
House.
BODYGUARDS aid them. Security is tight.
Lyndon Johnson pauses his packing. Stands in front of his
television set. Bodyguard next to his side continuous to
pack.
LYNDON JOHNSON
(re:bodyguard)
I just installed the television
set. New thirteen channel standard
tuner. Access to new frequencies.
BODYGUARD
Don‘t worry, Mr. President. It will
be brought to the White House.
Properly set and installed, I am
sure.
LUCI JOHNSON
(O.S)
Daddy? Come up Daddy, please. I
need you.
LYNDON JOHNSON
Dad is going to be up in a second.
LUCI JOHNSON
Hurry Daddy, I am not well.
Lyndon Johnson slightly panics. Darts upstairs to daughter‘s
bedroom.

39. 38.
INT. HALLWAY (1963) - NIGHT
Lyndon Johnson is at doors. A faint light from hallway
reaches his daughter‘s bottom of the bed. He can only see a
slipper on her foot.
INT. BED ROOM (1963) - NIGHT
Lyndon Johnson marches inside. Instinctively he flicks a
switch on. No light.
LUCI JOHNSON
Daddy ... my hand stuck behind the
bed.
Relief settles with Lyndon Johnson.
LYNDON JOHNSON
Oh sweetheart, thank god --
LUCI JOHNSON
(interrupts)
Lock the door, Daddy. I don‘t want
them to see me like this.
Lyndon Johnson quickly closes doors. Locks. Now, only the
Moonlight shines the room.
LYNDON JOHNSON
Let Daddy see what--
Angel farewells shadowy corner, illuminated by a moonlight.
ANGEL
(in Luci‘s voice)
It‘s all right daddy. Kennedy is
dead, that‘s only what matters.
Lyndon Johnson‘s fear has him paralyzed. Petrified for his
daughter, slowly turns to look at her.
Luci Johnson‘s leg remains motionless. Rest of body is
covered in dark.
ANGEL
When I lose my soul ... they say I
become artist. Murder was a story
to me. Told in steps of torture.
Blood.It all had to be in the right
setting with a deep profound
meaning.
(CONTINUED)

40. CONTINUED: 39.
Lyndon Johnson visibly sweats. Helplessly stares in
daughter‘s direction.
Angel gifts Lyndon Johnson a second or two to grasp the
moment.
ANGEL
(cont‘d)
You are intrust with a sacred duty.
Unparalleled position. Kennedy got
it right. Can you?
Lyndon Johnson braves to reach for daughter.
Angel grabs then throws him at the wall behind. Lyndon
Johnson SMACKS against it.
LYNDON JOHNSON
Who are you? Are you Bobby‘s? CIA?
Huh? Who are you, scum?
ANGEL
Ambassador of coup d‘etat.
Lyndon Johnson lets it to sink in.
LYNDON JOHNSON
Did they send you? I told‘em.
They‘ll get their war. I just took
inauguration, christ. I keep my
word. They‘ll get their war in
‘Nam. You can‘t kill another
president in a week time. Public
will go nuts. Think of mayhem.
Terror.
Lyndon Johnson slips out his handkerchief . Wipes his
forehead. Mindlessly stares at his daughter.
LYNDON JOHNSON
(cont‘d)
What did you do to my daughter,
bastard?
ANGEL
She is here. With us.
Lyndon Johnson enraged with Angel.
LYNDON JOHNSON
I‘ll get my hands on you. I‘ll make
you wish you were never born. And
Lyndon‘s promise always comes
through.
(CONTINUED)

41. CONTINUED: 40.
ANGEL
Like with Kennedy?
Lyndon Johnson rages.
LYNDON JOHNSON
Kennedy was Red. Gorbachev, Cuban
missile crisis, Castro... It all
should‘ve been done the right way.
He gave too much to commies. Too
liberal.
(beat)
What was he expecting? He was dealt
the right way. Had to be sooner.
But who could know that a red
president would dare to go that
far.
Lyndon Johnson wipes his sweaty forehead. Stares at Angel
with all of his anger.
ANGEL
And then you appeared. A hero.
LYNDON JOHNSON
Someone had to do it.
ANGEL
Despite your endless humanity, I
think the history will favor
Kennedy.
LYNDON JOHNSON
(berserk)
You talk about humanity?
(beat)
Look at what you did to my
daughter.
Anger leads him on.
LYNDON JOHNSON
(cont‘d)
Do you have any humanity at all?
ANGEL
Something like you. Maybe more.
Lyndon Johnson charges at Angel in frustration. Tackles
Angel down. Punches fly.
Angel defends against strikes. Grabs his neck. Squeezes.
(CONTINUED)

42. CONTINUED: 41.
Lyndon Johnson‘s insanity keeps him going. Soon his eyes
roll in the back of his skull.
Angel stops his grip.
Lyndon Johnson struggles for air.
Angel stands up, like nothing happened.
Lyndon Johnson on all four. Coughs.
Angel pins him to the wall, the one he hit before.
ANGEL
Stay.
Lyndon Johnson regains his strength. Menages to stand tall,
he is a mess. Deeply infuriated.
ANGEL
I‘ve seen this before. New faces in
same positions. Power re arranges--
LYNDON JOHNSON
(interrupts)
War is money.
(beat)
The new world order is going to
change the world. And we have the
right.
Angel wonders. Waits. Goes for it.
ANGEL
And that would be ... ?
LYNDON JOHNSON
We are the beacon to this world. We
lead the world to better tomorrow.
Angel wraps it for tonight.
ANGEL
CIA hated Kennedy. Mob shared the
interest. Death of Kennedy.
Angel ambles to Luci Johnson‘s bed. Sits at her side.
Lyndon Johnson watches helplessly. Steams with hate toward
Angel.
(CONTINUED)

43. CONTINUED: 42.
ANGEL
(cont˙d)
CIA contacts Mob. They make an
agreement. David Ferrie‘s passion
is a great asset. But for this to
work, public needs to lynch.Who
would go that far to shoot the
President? But fit the profile of a
lone deranged man.They need a naive
young man that blindly believes in
ideology. That can be connected to
Castro and Russia.
(beat)
Who will become a patsy?
Angel rests his hand on Luci Johnson‘s lower back.
Lyndon Johnson channels a shark look at Angel.
ANGEL
(cont‘d)
Oswald. A man nation needs to
hate.
(beat)
But every show got to end. Send in
Jack Ruby. Make it look like a mob
did it.
(beat)
Charade is complete.
Angel stands up. Begins to stroll toward Lyndon Johnson.
Lyndon Johnson cautious. Takes a step back, but hits the
wall.
ANGEL
A self centered man that craves to
be the president. You take the
crown. Masterminds have the pawn
king. They are the true winners.
Always.
Angel inches away from Lyndon Johnson.
ANGEL
Now, evil of future has a face.
Angel slacks his way to window , the one that got him in the
room. Ready for a leap down.
ANGEL
I can reach you any time I want.
Anywhere. You got yourself in the
(MORE)
(CONTINUED)

44. CONTINUED: 43.
ANGEL (cont’d)
world beyond men. When the world
scene begins to play, you˙ll be in
the Oval Office. Informed. For me.
(beat)
Mr. Vice-President.
Angel nods his head at Lyndon Johnson. Drops down the
window.
Lyndon Johnson about to follow. But Luci Johnson coughs.
LYNDON JOHNSON
My angel.
Blinks to her side. Caresses her in his arms.
Vengefully stares the window.
EXT. LYNDON JOHNSON ‘S HOME (1963) - NIGHT
Angel leaves it all behind.
END OF ACT THREE
INT. ANGEL‘S OFFICE (PRESENT DAY) - NIGHT
Angel sits in his office. Balances the pen between his index
fingers. Pen was the gift from Kennedy.
INT. ANGEL‘S KITCHEN - CONTINUOUS
Angel reaches for a bottle of wine and two crystal glasses.
Bags it.
EXT. PARK CEMETERY - NIGHT
Angel passes among tombstones.
INT. WESTWOOD VILLAGE MEMORIAL - CONTINUOUS
Angel leans and lowers down against the crypt. Next to him
reads:
INSERT
MARILYN MONROE
Serves the wine bottle and two crystal glasses by his side.
(CONTINUED)

45. CONTINUED: 44.
Begins to open the bottle.
ANGEL
When I first saw you ...
(faces her crypt)
I was afraid to approach.
Wine cork POPS. SIPS wine in crystal glasses, half full.
ANGEL
That‘s why I gave you that promise.
Next girl that mesmerizes me , I
won‘t hesitate.
(beat)
Buffy.
Angel stares at other crypts in front.
Graveyard silence takes over. Angel seems somewhere else, as
if he remembers his time with Buffy.
ANGEL
We had a ...
turbulent relationship. You know,
she killed me.
Faces Marilyn‘s crypt with a smile.
ANGEL
But I got it better than you. All
of your life you searched for love.
To be wanted.
Angel faces Marilyn‘s crypt, again.
ANGEL
You were never happy. Understood.
You were played. Used.
(beat)
But you knew how to put up a fight
when you had to.
Angel winks at Marilyn.
ANGEL
I kept my word.
Angel raises to his feet.
About to leave then he turns.
(CONTINUED)

46. CONTINUED: 45.
ANGEL
If you wonder ... they try. None of
them are the symbol. None of them
are that wanted. Like Marilyn
Monroe.
Angel leaves behind the bottle and half full glasses, the
same way he set it.
EXT. PARK CEMETERY - NIGHT
Angel steps outside on graveyard, amongst the tombstones.
Looks up at night sky.
ANGEL˙S POV:
Shinny stars scattered over a night sky.
FADE OUT.
THE END.