Soul Sister: When the Vympyre With a Soul Is Darla:
Writing the Early S2 and S3 Darla Arc


Writing Darla pre-1609: canon history, speculations, timeline of actual history
Writing Darla, pre The Trials: back from hell, in dreams, visions
Angel (I): playing bait, re-meeting, "God doesn't want you . . ."
Mortal: sickness, medicine of syphillis, Darla's attitude toward dying
Angel (II): "but I still do.", Angel's new position in her life
The Trials: episode synopsis, Darla and Angel (pre-revamp)
Writing the S3 Darla Arc: Heartthrob and That Vision Thing, Offspring, Quickening, Lullaby



“A vympyre with a soul? How lame is that?”
-- Buffy, Tabula Rasa

He’s the undead man’s Batman, jaded, dark, and brooding avenger of wrongs, as campy and clichéd as that may be. But Angel’s title character isn’t the only fanged fiend burdened with a soul. So . . . how do you handle it when Darla is the vympyre with a soul?


Writing Darla pre-1609

Darla, of course, first had a soul in its original packaging . . . as human.

Darla was born in the late fifteen-hundreds, presumably on the east coast of what would become the United States of America. Though the specifics of her birth have not been fully disclosed in canon, we do know that in 1609, she lived in Virginia Colony (present USA) and worked as a prostitute. This profession, while providing her with considerable wealth, was also the cause of her step into death. When the Master sired her in 1609, Darla was dying of a heart condition with its roots in the venereal disease syphilis.

On her death bed, the only place we have seen human Darla before her siring, she is bitter, sharp-tongued, and rather cynical about herself, salvation, and life in general. She banters freely with a man she believes to be a priest, and openly calls herself “a whore.” She seems not afraid of death, but, rather, resigned to accept whatever fate may be in store for her, may it be Heaven, Hell, or some unknown.

This Darla is flippant, smooth-talking, and experienced. While writing her, remember that not only does she know how the world works, she also knows people, men in particular. She is not likely to be frightened by much, or surprised by anything.


Writing Darla, pre The Trials

“So you’re what Wolfram and Hart brought back in that box . . .”
-- Angel, Dear Boy


In To Shanshu in LA, five vympyres lose their lives, Angel loses his cool, and Lindsey McDonald loses his hand, all over a mystery item in a big wooden box. Turns out, it’s Darla, dirty and shaking and fresh from Hell. After adjusting to this minor embarrassment and doing some deep conditioning, all Darla has to do with her spare time is wander around the offices of Wolfram and Hart, a couple hundred years older and suddenly and inexplicably human.

What does she do with this spare time? Well, a normal person might take up golf or do some reading, but Darla is a special girl. So she gets a little magic dust and a clever spell, and decides to torture her beloved into the early grave she once coaxed him out of.

With the use of a little fairy dust, Darla plagues Angel’s sleep with vibrant wet dreams and image after image of killing Gypsy girls and being straddled by natural blondes. She unlocks the deepest regions of his psyche, and then fucks with it for all she’s worth. Says Darla: There is nothing so lovely as dreams. Everything is in them, everything hidden. Open those chambers and you can truly understand someone - and control them.

This Darla is still a little out of touch with reality, moving through life in an almost dreamlike state. But cut her a break: she just spent a couple hundred years in Hell. She needs a little time to reorient herself, and you’ll have to take into account that she’s doing that when you write her. Keep in mind that she is enjoying torturing Angel, both the fact that she’s causing him anguish, and the fact that she gets to relive pleasant memories.


Angel (I)

In Dear Boy, Darla drops the little narcolepsy game with Angel and takes thing to the next level. She comes out of hiding, and plays a little game of cat and mouse with him . . . during which, she gets to be both bait, and the cat.

First, Darla lets Angel glimpse her as they're both walking the streets of LA. Then, now that he's had some time to obsess just a little more, she "accidentally" runs into him and the gang as they're doing some PI work. He can see her, he can smell her, and he knows her voice, but she's human now, and she plays dumb, making a scene that leaves Angel looking crazy to the onlookers and obsessed to his friends.

But, determined as he is, he doesn’t let it go at that, and hunts her down. She’s staying in a fake house with an actor “husband”, waiting for him to get close enough to do some damage. The time comes, and he falls right into her lap. Or so she thinks . . .

After her little trick, which results in Angel getting chased by the police and Wolfram and Hart, he catches up with her, onto her game. He confronts her, and they have an argument, of sorts.

Angel: So you're what Wolfram and Hart brought back in that box. And they brought you back as a human -- they think I won't kill one. You know what I think? I think . . . that they don't know me that well.
Darla: (runs)
Angel (catching her): You feel what this place was before they excavated it? The convent . . . you remember how much I like convents.
Darla: (makes the sign of the cross)
Angel (laughs): Come on, Darla. You and I are too old to play games. I need to talk to the real you. (vamps) It's been a long time since I said this to anyone (bares her neck) but you can scream all you want.
Angel: (feeds)
Darla (smiling): Oh . . . Oh, I'm not gonna scream.
(They kiss)
Darla: There's my boy. (kissing him again) You're hurting me . . . I like it.
Angel: (pushes her away, morphs to his human face) What's the play, Darla? What kind of game are you running?
Darla: Just having a little fun. I've been out of commision too long. You know how that feels.
Angel: Wolfram and Hart didn't bring you back for fun. The dreams, the frame job . . . what's the big plan, huh? Get me so screwed up I go bad again?
Darla: Kinda trite, I know. What do you expect? They're only human.
Angel (smiling): You better embrace that mediocrity, honey. You're talking about your own kind now.
Darla: But I'm still me. (presses herself against him) And I remember everything, Angel. Everything we did. Everything we can do.
Angel: Yeah. But the bitch is, you have a soul now. Pretty soon those memories are gonna start eating awar at you. No matter how hard you try, you won't be able to escape the truth of what you were. Believe me, I know.
Darla (cuddles him): But you can escape. You can escape it all. Remember what it was like to get lost, huh? Every thought a million miles away, every part of you being alive! All you have to do is let me give you that one little moment of happiness.
Angel: You took me places, showed me things, huh? You blew the top off my head. But you never made me happy.
Darla: But that . . . that cheerleader did? We were together 150 years! We shared everything! You're saying -- never?
Angel: You couldn't understand.
Darla: I understand, alright. Guy gets a taste of something fresh and thinks he's touching God.
Angel: It wasn't about . . .
Darla: Oh, you bet your ass it was! There was a time, in the early years, when you would have said I was the definition of bliss! Buffy wasn't happiness! She was just new!
Angel (laughing): You know, you are getting awfully bent over this, Darla. I couldn't feel that with you, because I didn't have a soul. But then I got a second chance, just like you have.
Darla: What a poster child for soulfulness you are. This is no life, Angel! Before you got neutered, you weren't just any vympyre, you were a legend! Nobody could keep up with you . . . not even me. You don'tlearn that kind of darkness. It's innate. It was in you before we ever met. You said you can smell me? Well, I can smell you. My boy is still in there and he wants out!
Angel: You're gonna feel it, you know. What you did, that man you killed.
Darla: Please! He was an actor.
Angel: I'm serious.
Darla: Yeah, like a heart attack, and just about as much fun.
Angel: Darla, you hurt anyone else and I'll kill you.
Darla: Will you? Isn't that against your Cub Scout code?
Angel: I'll make an exception.
Darla: You're gonna miss those dreams, honey. You should have hear the things you said in your sleep. Nasty things, Angel. Things like . . .
Angel (grabbing her by the throat): Stop!
Darla (pulls out a cross and presses it against his chest): No.
(Angel doesn't move, even with the cross burning into his chest)
Darla: See? No matter how good a boy you are . . . God doesn't want you!
(Angel throws himself back away from her cross)
Darla: But I still do.

Darla (goes to leave): What? No good-bye kiss?

This Darla is angry, self-righteous, and a bit confused. She has not yet gained the conscience that comes with her soul, and she still acts as though she is a daemon. She is above humans. She is above Angel, who, although a true vympyre, is dependant upon a soul. She can walk in the daylight, but she can also kill a man without feeling a thing. When writing her, keep in mind that right now, she coniders herself the most important, most powerful being in the universe, and she likes it that way. But things won't stay like that. Think of her as someone coming off a buzz: right now, they feel good and they're invincible, but soon, the badness starts, and reality kicks in.


Mortal

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


Here's where the buzz wears off. Darla's conscience starts to do its thing, and she feels the effect of it heavily. She breaks every mirror in the place where she's staying -- unable to look at her reflection. She remembers every murder, every torture, by her hand, and she feels remorse for all of them. To make matter worse, Wolfram and Hart drops a bombshell on her that they previously conveniently forgot to mention: she's dying. Not in the Sylvia Plath way that we're all dying, but actually dying. Soon. She has maybe months.

She is officially human in every possible sense of the word.

It hits her hard, and she doesn't take it well. She freaks. She breaks mirrors and doesn't care when she's cut her wrists to ribbons with the glass. She runs from Wolfram and Hart, then flees to some dive bar to try and get a vympyre to turn her. Angel rescues her from herself, but he can't stop time from cancelling out her life, and he can't make the things she did go away, stop pounding at her. At best, he is a weak comfort, but occassionally something she can lose herself in. And she needs something to lose herself in.

This Darla is fragile. She's just gone from being -- in her own mind, at least -- the most powerful being in existence for the past four hundred years, to being something scared and weak and dying. When you write her, keep in mind that she's very delicate, and very introverted. She's prone to periods of wandering off in thought, talking in riddles or to herself. She also has a strong aversion to mirrors, her reflection, and she'll look for solace most anywhere, anywhere that stops her from living in the beat of her own heart. Although Lindsey is occassionally this solace, his stints at savior are always very short lived. Angel, here, is her natural choice, as he understands what she is going through, and wants more than anything to help her find peace.


Angel (II)

Immediately before The Trials, and during the episode itself, Darla's relationship with Angel becomes very complicated. The underlying reason for their bond right now is the fact that Angel really wants to help Darla, and that Darla really wants his help. The problem comes when their ideas of "help" are taken into consideration.

Angel wants to give Darla something he can't have. He wants her to have piece of mind. Because maybe, if he saves her, then he's somehow saving himself. He cares for her, yes, but beyond that, she has so many things that he wants, and he sees such a shadow of himself in her, that the crusade of helping her becomes something more than just that. Because of all that, it becomes an obsession, a righteous goal.

Darla, on the other hand, has very different ideas about being saved. Angel has a lot of things she wants right now. He has eternal life, eternal beauty. He has fangs, and he could be the answer to all of her problems. No fear of having the disgusting sound of a heartbeat reverberating through her blood. No fear of anything, and no regret, no guilt. He could give all this to her, take her out of the world the same way she brought him into it. But he won't. Not just because it would be wrong, but because his own personal crusade won't let him.

This Darla is insistent and indignant. She needs a quick fix; she's dying, she's dying right now. She needs Angel, needs him for things beyond fangs and blood, but she hates to admit that because he won't give her what she wants. Beyond everything, Darla is scared. She talks big, but she's frightened. She's got everything to gain, and everything to lose.

The Trials

The Trials shows major transformation in Darla. At the beginning, she is at odds with Angel, angry at him because she needs him and hates to admit it, angry because he won't give her what she wants. But by the end of the episode, she realizes how deep his devotion for her goes, and resigns herself to her fate, glad that she can spend the last days of her life with him by her side.

The major transformation point comes during the trials. Darla suffers as she watches her Childe struggle through battle and torture, and then realization comes to her at the third task. He would give his life, which helps so many, to save hers. Weak. Helpless, unable to even save itself. It is then that she realizes his love and devotion to her, and this changes her. She understands that his refusal to turn her was not merely self-centered, and she forgives him for denying her.

When Darla's life cannot be restored magically, she realizes that she will die, and steps out of denial and into acceptance. If she must die, then she is glad she can do it with him by her side. She knows that he understands where she is, and she knows that he would do anything to take care of her.

This Darla is sadly determined to die gracefully, and a strange sort of content. It is ironic that she should finally see love in the world, as she is leaving it, but she is comforted by seeing it.


Writing the Season 3 Darla Arc

In Season Three, Darla takes on another catalogue of personas. First, during Heartthrob and That Vision Thing, Darla is grimly resolute, desperately trying to rid herself of the baby inside of her. Not only a woman scorned, but also in an entire set of predicaments that she never would have imagined she'd be in, she is angry, and she is dangerous. Says Angel: She's stronger than any of us right now.

Darla's return to Angel is both retribution and a futal attempt at solace. She's pissed that she's carrying his child, and wants him to take his piece of the responsibility -- in her mind, all of it -- but she also remembers that the last place she felt safe, the last person who would have died for her was Angel, and so there she returns. To nest.

As she comes closer to term, her soul is more and more in charge of her. She is seeking out younger and younger victims, her body driven to mad anguish when she feeds on anything less than pure. Angel confronts her with the fact that the child in her womb has a soul, and she breaks down in tears and screaming denial.

Throughout this trial, Darla is bitter and angry. Through her rage, she belittles Angel, the one person trying to help her after she estranges Cordelia.

Darla (to Angel): You *so* want to play the good guy, don't you? . . . Gosh. I'm the luckiest vympyre girl in the whole world. Get away from me.

But all this coarseness hides the vulnerability underneath. By the end of Quickening, she's meekly asking for someone to sit with her, and even almost letting herself wish Angel good luck as he goes off to his possible death. By Lullaby, contractions quickening and then dieing away, she is fragile and desperately clinging onto the last bit of love she can ever know.

Darla (on Connor): I don't think I've ever loved anything as much as this life that's inside of me.
Angel: Well, you've never *loved* anything, Darla.
Darla: That's true. Four hundred years, and I never did. Till now. I don't know what to do . . . I haven't been nourishing it. I haven't given this baby a thing. I'm dead. It's been nourishing me . . . These feelings that I'm having, they're not mine. They're coming from it.
Angel: You don't know that.
Darla: Of course I do! We both do. Angel, I don't have a soul. It does. And right now that soul is inside of me, but soon, it won't be and then . . .
Angel: Darla . . .
Darla: I won't be able to love it. I won't even be able to remember that I loved it. (cries) I want to remember.

Darla's sacrifice for her child is not only the effort of the baby's soul, but her own inner personality as well. This Darla is torn, conflicted, but ultimately strong and selfless. When you write her, keep in mind that she's in a very vulnerable position, no matter how strong she is, and that she wants the company of anyone who might care. She has a particular bond with Angel here -- not only as the father of her child, someone she has shared a deep bond with, but also as her Child, and someone who she's known as family for a great part of her life.


When writing Darla with a soul, keep in mind that although the basic essence of a person remains the same, circumstances impact and change it. Darla grows through experience, through pain and kindness. Above all else, remember that anything she had in her was always there. It just sometimes takes a little work to show a shine.