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EPISODE 1.2
LONELY HEARTS
Written by: David
Fury
Directed by:
James A. Contner
Introduction
One of the earliest indications of what ANGEL as a series would
be about came from Joss Whedon when he said that it would be the second half of
BUFFY. It would extend the "High School" as Hell metaphor into the
adult world. In "Lonely Hearts" we have a very early example of the
supernatural as a metaphor for the problems of the adult world. And one of the
reasons why this episode works so well is that it points up the fact that there
are certain fundamental differences between life at school and life in the adult
world. There is, therefore, a clear sense that this is not the same world that
Buffy is set in; that we are moving from that world to another very different
one. Cordelia puts it very well when she says of High School
"It was easy to date there. We all had so much in common.
Being monster food every other week for instance."
To this Doyle responds:
"Well, you’re in the big, bad city now, huh? Where
everyone’s a stranger - hiding behind walls, keeping secrets."
High School is an enclosed almost claustrophobic environment where there is a
clearly defined and settled community with fixed relationships. The big city
has a vastly larger and more mobile community where relationships are in a state
of continual flux. There are problems of alienation and loneliness in both but
they are different problems. "Invisible Girl" was a High School Story.
It was about being an outsider in an enclosed world dominated by cliques and
where status was all-important. It could never really have made as much sense in
the adult world. On the other hand "Lonely Hearts" was about the
loneliness of being surrounded by people you don't know. It could never have
been set in Buffy's world. So, in this episode we get a clear sense both of
place and of the society that inhabits it. This really sets the scene for the
real centerpiece of the episode - its treatment of loneliness. The striking
thing here is that everyone has this problem. It’s not only the people on the
singles scene and the demon preying on them but, in different ways, Angel, Kate
and Doyle.
The Theme of Loneliness
Let us begin with the victims of the week. As Kate later observes, outside
work there are few options for meeting people. Singles bars are the only option.
And the writers make a considerable effort to show how unattractive they are.
Sharon, when we first see her, is alone and looks unhappy. Kate is just as
uncomfortable and refers to D’Oblique as "the international house of
poseurs". Nevertheless, people still come here. The grimness of the
experience is intended to show just how desperate they are in their loneliness.
Kevin and Sharon are the first couple we meet on the singles scene. Because of
this and because the real story is only just starting to develop the writers use
them to establish the basic premise in the following conversation:
Kevin: "When I was a kid I thought: you grow up, you meet
her,
and everything sort of falls into place."
Sharon: "Yeah, I had that. - Only I had a him, where you
had a her. Actually I just had a Ken and Barbie."
Kevin: "Ken and Barbie had it easy. They never had to come to
places like this. But you’ve got to try. I mean, what if she was
here and you missed her because you were – I don’t know – too burned out
to still believe? - You know what I mean?"
These aren’t people out just looking for a good time, an evening’s fun.
These are people looking to meet someone with whom they can have a meaningful
relationship. They want to make a connection. This is a term used so often in
the episode that it practically constitutes hitting us over the head with the
idea so that we don’t miss it. And here we come to what may be the sub-theme
for the night – trust. Early on in the pieces there are three rather forced
and awkward conversations. The first is that between Kevin and Sharon; then we
have Angel talking to Kate and finally Sharon talking with the
"Screech". All have one thing in common apart from the obvious
discomfort of the participants. In each of them there is a slight but deliberate
opening up – a confession of need and of inadequacy. Its as if by revealing a
vulnerability they are watching how the other person reacts to it and using that
reaction as a gauge to see if they can be trusted. The Screech puts it very
clearly when he says:
"It’s difficult to know who you can trust."
And this is the irony of the situation. Sharon and the Screech both do trust
and not only to the extent of going home with a stranger. They allow themselves
to be held by that stranger while they were at their most vulnerable, naked in
bed, only to have their trust betrayed. The message here seems to be clear, and
it is a bleak one. The foundation of any meaningful connection must be trust –
but don’t expect to find it on the singles’ scene. In other words no matter
how hard you look you are not going to find what you are looking for.
The parallels with the burrower are obvious. It makes its own motivations
clear in the following exchange:
Angel: "This has to stop. You have to stop."
Screech: "I will, when I find the right one. The one I can stay
with."
Angel: "The right body? What’s wrong with this one?"
Screech: "Nothing, - yet. It’s new and different. It's
great… But it won’t last. I already know it’s not the I can live
in."
The need for the demon to find a body that it can stay with is a very good
parallel to the need of the human to make a genuine connection with someone that
he or she can stay with. This parallel is reinforced by the obvious fact that it
is never going to find what it is looking for. It is doomed to move from body to
body, never finding the right one in the same way that those on the singles’
scene will never be able to make the right connection.
For me the parallels between the demon moving from body to body, never
finding what it wants and humans in a desperate and equally fruitless search all
work flawlessly. Moreover the scenario has just the right "feel" to it
for ANGEL as a series. It is certainly a sophisticated and dark, if
not downright bleak, idea. It taps a well of pain and misery that lies beneath
the surface glitz of the big city. Moreover I am very intrigued by the idea of a
demon that acts out of inadequacy or simple need. We have been used to the idea
of demons as agents of pure evil. This in general restricts the impact that they
have. Here of course you cannot have sympathy with the "donkey demon"
but you can understand the motivation, indeed the desperation. This adds
dimensions to it.
To an extent the attempts to find a connection on the singles scene are also
paralleled by Doyle’s doomed pursuit of Cordelia. From the start of the
episode his interest in her is made plain but he will not do anything about it.
And there is one major issue between them – the fact that he is a half demon.
He cannot open up on this point because he doesn’t trust Cordelia’s reaction
to the news. While he continues to hide that he cannot form a connection with
her. The inter-reaction between the Doyle and Cordelia was, however, little more
than a pleasant interlude in the episode. Thematically it was consistent with
the rest of the piece but the scenes between the two of them served no real
purpose in either advancing the plot or casting any real light on the basic
metaphor. Probably the writer couldn’t think of anything significant he could
do with them and that is something of a pity.
The Principal Characters
The central figure in "Lonely Hearts" is, of course, Angel. He is
the one who has to stop the demon and it is in this context that we see the
strength of the chosen metaphor. In what is basically an old fashioned detective
story Angel’s own feelings of loneliness are the ideal way in which to connect
Angel to the case. Moreover it is a useful vehicle in which to further explore
his character and how it must change to meet the demands of his mission. In this
episode we first meet Angel in his office, in the dark and alone. In distinction
from Sharon, Kate and the other clients of D’Oblique he seems quite content to
remain that way. This is nowhere made plainer than in the final scene, which is
a very nice mirror image of the first one. On being left alone he mutters
"God, yes! Thank you." And returns to his dark solitude. It is
Doyle who points out the problem with that attitude:
"Hey, you know, maybe we should go over this thing again of you getting
out in the world and involving yourself with people."
His words are prophetic because when warned about the unidentified danger in
D’Oblique Angel has to mingle with the crowd. This shows just how ill equipped
for human society he is. He can’t even strike up a conversation with the
bartender without it sounding lame and his attempts to talk to another man are
misconstrued as an attempt to hit on him. But the best example of his social
ineptness is his excruciating conversation with Kate. I think that it is fairly
clear that she is not just on a stake out. First of all the bartender knows her
(he later gets her "the usual") and the very awkwardness of the
conversation with Angel suggests that was the real Kate and not someone who was
there professionally. Anyway neither she nor Angel has any "small
talk" and both flounder. Interestingly, however, they do make a connection
of sorts. Kate in particular seems attracted to Angel. This potential rapport
is, however, ruined by three events – the way Angel seems to spurn her
interest, then his attempts to keep her out of D’Oblique’s the following
night and finally by her discovery of him in the same room as the body of a
victim.
These scenes serve a number of purposes. First of all they continue the
humanization of Angel. There is nothing quite so effective in this regard as
making us feel sorry for someone who is doing something he is ill equipped to do
and failing miserably at it. At the same time they illustrate his weakness in
dealing with cases that do require him to involve himself with people. Secondly,
and more importantly, they establish, or re-establish, the fact that Angel is
cut off from human society. He is as alone as anyone on the single’s scene and
this is what allows him to understand the motivations and ultimately the actions
of the demon. Thirdly, they set up the basic dynamic between Angel and Kate for
this episode. Notwithstanding the grounds she is subsequently given for
distrusting him the writers want us to accept that Kate and Angel have indeed
made a connection and that because of that she is prepared to trust him, at
least to some extent. It is these last two points that are the key to the
resolution of the story. Angel knows instinctively that the demon will continue
to look for new hosts because "that’s what lonely people do." And,
in a nice piece of counterpoint, just as trusting the demon was a fatal mistake
for Sharon, the Screech and others so was Angel and Kate’s willingness to
trust one another the key to its downfall. This all speaks of careful and well
thought out plotting and this is especially important here.
The Plot
As I have already said, basically "Lonely Hearts" is a detective
story. Angel’s task is to identify and find a killer. Classically such stories
rely heavily on the discovery of small clues and using forensic resources or
ingenious deductions to develop leads from them. That is not the approach here.
Essentially once the connection of the killer to D’Oblique is made we are
directed by Angel’s instinctive feel for it and its motivations. That is what
allows him to track it to Sharon’s apartment and, after its escape, to guess
its further actions. And this aspect of the story does seem to me to be very
successful. The other important part of the plot was his decision to further
involve Kate. This was, in itself, a logical decision but it depended upon the
trust that I have just mentioned, the one that Kate was supposed to have
instinctively developed for Angel. This is something I remain in two minds
about. Part of me thinks that there is no way Kate would trust someone she had
every reason to believe was a killer based on a five minute conversation, at
least not to the extent of meeting him without any back up. On the other hand
she was armed and intended to meet him in a crowded bar. When she thought he was
lurking in the alley she did send for back up. It’s a fine judgment call
whether this works or not.
The thing that I like most about the story, however, is that while there is a
comparatively straightforward basic plot, the dynamic changes and develops in
several very interesting ways. Let us take the killings first. First of all we,
the viewers, were at first given no privileged information denied to Angel and
the others. We had no better idea than they what the nature of the danger was.
We could guess it involved Kevin and Sharon with suspicion conventionally
falling on the former. But precisely how either or both were involved we were
none the wiser. This state of uncertainty was maintained until the end of Act 2
and I thought that worked very well. When Sharon was the person who got up and
left Kevin’s body behind our conventional expectation was confounded. We had
to look back at the earlier scenes with fresh eyes in the light of this
development. But it was only after what happened between Sharon and the Screech
that we were able to understand ex post facto what had happened. The demon was
in Kevin after all. Again therefore we had to mentally review the same scenes
again. I thought that this sort of double bluff was very clever. Unfortunately,
in an effort to disguise the host for the final scenes, things got a little
ragged after that. Not one but two killings must have taken place off camera
and, unless I am very much mistaken, there seems to have been at east one
occasion on which the demon killed twice or planned to kill twice on the same
night. This doesn’t make very much sense. The payoff was, however, very good.
I certainly didn’t expect the bartender to attack Kate like that. Then of
course we have the "big surprise" that Kate was a policewoman. I am
bound to say that I think this was a wasted effort on the part of the writers.
We had known for some time that Elizabeth Rohm would be a recurring character
and that she would be a police detective so there was not much there by way of a
surprise. Still, the actual revelation itself was handled well enough and I
could at least believe in Angel’s surprise. Anyway the overall effect is that
the tension is maintained throughout and we never know quite what is going to
happen next.
Overview
9/10: By the standards of later ANGEL episodes the metaphor here
was a comparatively simple one. Nevertheless it was well chosen to illustrate
Angel’s new environment, as a method of character study and also as a means to
condition his involvement in the storyline. The plot itself was a very strong
one. There was an interesting and powerful villain. I much prefer to see heroes
trying to battle odds to defeat an enemy rather than having the odds stacked on
their side. Nothing was straightforward and the audience was left continually
wondering what would happen next. But in the end the various developments
leading to the final confrontation did make sense. I also very much liked the
visual montage of Angel tracking demon and Kate tracking Angel. This actually
helped propel the narrative forward by showing what the principals were doing to
find the killer. Finally I have to add that while overall this was a very
serious episode there was also a nice balance provided by the humor. Cordelia’s
ruthless pursuit of business with the inappropriate cards, the batman and gay
jokes and the technology that didn’t quite work all provided a very nice break
in the tension.
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