ALL IN A DAY'S WORK
Completed: 10 August 2000
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SCENE 1
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
FOREGROUND – Angel is in his office, feet up on the desk, reading a book.
BACKGROUND – Cordelia picks up her bag and slings it over her shoulder then pokes her head in the office.
CORDELIA
Need anything before I go?
ANGEL
I’m fine.
CORDELIA
Okay. I’ll see you…
Angel looks up alarmed when he HEARS (SFX) the rush of an incoming vision.
CORDELIA
…tomorrow…
Angel drops the book then rushes to Cordelia as she puts her hands to her head and grimaces in pain. Angel guides her to a chair and she sits.
INTERCUT – a teenaged boy is being attacked by two demons in a warehouse.
As the vision subsides…
ANGEL
What’d you see?
CORDELIA
A boy…maybe seventeen…being
attacked by two demons.
ANGEL
Where?
CORDELIA
An old box warehouse in Inglewood.
Angel looks at Cordelia concerned.
ANGEL
Will you be –
CORDELIA
Fine after a dozen Advils. Go.
Angel grabs his coat and races towards the stairs as Cordelia lets out a deep breath.
CUT TO…
SCENE 2
INT - THE WAREHOUSE - INGLEWOOD - NIGHT
Demon 1 hurls the teenaged boy through the air. He crashes into a pile of cardboard packing boxes. He scrambles to his feet and tries to run for the exit, but is grabbed by Demon 2 who appears from out of nowhere. As Demon 2 pushes the boy towards Demon 1, Angel drops down from the roof, landing between the boy and Demon 1. Angel grabs the terrified boy’s arm and glares at him.
ANGEL
Run.
Not needing to be told twice, the boy hightails it through the warehouse and out the door.
Angel turns side on to the demons and looks at them as he VAMPS OUT.
ANGEL
Don’t you know it’s not nice to
pick on little kids?
Both demons charge at Angel who leaps, somersaulting and twisting forward, landing so he sees the demons crash into each other. Angel quickly charges Demon 2 and they crash to the ground. Demon 1 pulls Angel up to his feet and punches him in the jaw. Angel retaliates with a left-left-right combination, then does a sidekick to Demon 1’s solar plexus.
Demon 2 kicks Angel in the back, Angel stumbles forward but quickly recovers, turns and glares at the demon. Demon 2 kicks Angel in the chest and follows it up with two quick jabs to Angel’s nose. Demon 2 grabs Angel around the waist and lifts him up off the ground. As the demon squeezes Angel tight, he head-butts the demon. Angel grabs its head with both hands and twists, breaking the demon’s neck.
Angel lands on his feet as the demon collapses in a heap on the concrete. Demon 1 kicks Angel in the jaw just as he turns around. Angel is momentarily knocked off balance but recovers and executes a spinning heel kick to the demon’s distorted face. He then follows it up with a quick sidekick to the chin. Using the advantage, Angel quickly gets the demon in a headlock and breaks its neck.
Angel looks at the two dead demons as he touches the corner of his mouth. He then looks at the blood on his finger. He closes his fist as he MORPHS BACK then heads for the exit.
BLACK OUT
SCENE 3
INT - WILCOX ENTERPRISES - DAY
The elevator doors open and Paris steps out into the large foyer. Carrying a folder, she walks up to the reception desk where a lady is speaking into the telephone headset. She sees Paris and holds up a finger indicating she’ll only be a minute.
MONICA
He’s out of the country until Thursday,
Mr McDonald.
(listens)
Yes, I’ll make sure he calls you as soon
as he comes back into the office.
(listens)
Okay, then. Have a nice day.
(looking up at Paris)
Sorry, it’s crazy here this morning.
Can I help you?
PARIS
I’m here about the secretarial position.
MONICA
Oh. I think they filled that yesterday.
Let me just check.
The receptionist punches in an extension number with the end of her pencil.
MONICA
Hi, Gary. It’s Monica. There’s a lady
out here about Heather’s job…
(listens)
Thought so. Okay, thanks.
Monica hangs up and looks up at Paris, an apologetic look on her face.
MONICA
I’m sorry, but the job has been filled.
If you’d like to leave your resume…
PARIS
You already have it.
MONICA
We’ll be sure to keep you in mind if
another position becomes available.
PARIS
Thanks.
Paris turns away from the desk and moves back to the elevator. She pushes the down button then pulls a piece of paper out of the folder and checks the address of her next job interview. The doors open and she steps in and press the ‘1’ button then looks towards the ceiling as the doors close.
CUT TO…
SCENE 4
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Cordelia is at the coffee maker pouring a cup while Wesley sits on the couch.
WESLEY
So, what was in this vision?
CORDELIA
Two butt-ugly demons attacking a teenaged
boy in a warehouse in Inglewood.
WESLEY
Did Angel save the boy?
CORDELIA
I guess he did. I kinda went home
before he got back.
WESLEY
You should have stayed until he returned.
CORDELIA
(shoots)
Well, when he starts paying me overtime, then
I’ll stay as long as he wants. Anyway, what was
all that about when you rushed out of here at
five-thirty? Hmmm?
WESLEY
I had to pick up my motorcycle from
the garage before it closed.
CORDELIA
(bewildered)
That was your great emergency?
(then)
I’m still having major issues with you riding
a motorcycle. It’s just not…you.
WESLEY
What do you expect me to drive?
CORDELIA
I don’t know. Something…James
Bond-ish. Something British.
WESLEY
I’ll have you know that before I came
to America, I drove…
Wesley looks into Angel’s office as Angel steps out of the elevator. He walks through his office and stands in the doorway.
ANGEL
Morning.
CORDELIA
Hey.
WESLEY
Cordelia told me about her vision.
Did you save the boy?
ANGEL
Yeah.
CORDELIA
(to Wesley)
Told you.
WESLEY
And the demons?
ANGEL
They’re dead.
WESLEY
What sort were they?
ANGEL
Not sure.
Angel pulls a piece of paper from his trouser pocket and offers it to Wesley who takes it.
ANGEL
I was hoping you could tell me.
WESLEY
(studying Angel’s sketch)
They look like Pregonian demons.
CORDELIA
(inquisitive)
Pregonian? That’s a new one.
WESLEY
Fighting demons.
They usually work in pairs.
CORDELIA
There were two of them in my vision.
(to Angel)
There were two of them, right?
ANGEL
Yeah. Wes, find out all you can about
them. Habits, battle tactics…everything.
WESLEY
You think there might be more of them?
ANGEL
I do, yeah. The two I killed last night were
organised so I’m guessing they’re soldiers of
some kind. I need to be prepared if I’m
gonna come up against the General.
WESLEY
Did you have difficulty killing these two
from last night?
ANGEL
Let’s just say I wasn’t fully
prepared for them.
WESLEY
Right. Well.
(indicating the drawing)
I’ll get on to this straight away.
Angel nods then steps back into his office and closes the door.
CORDELIA
You get the feeling there’s more to this
than he’s letting on?
WESLEY
I think last night may have been a tougher
fight than he leads us to believe.
CORDELIA
Or that he’s willing to admit to.
WESLEY
That, too.
CORDELIA
Well, you hit the books and I’ll hit the
computer. Let’s see if we can get the
4-1-1 on these things before they decide to
get busy again.
CUT TO…
SCENE 5
INT - CRANDELL & FINCH LAW OFFICES - DAY
ANGLE on double doors on which there is a brass nameplate reading ‘WILLIAM CRANDELL’. One of the doors opens.
PARIS
I’m sorry to have wasted your time,
Mr Crandell.
CRANDELL
It’s alright. If you look at enrolling in some
of those courses I suggested, I’m sure you’ll
have a very bright future ahead of you.
PARIS
I’ll definitely look into it.
CRANDELL
Good luck.
PARIS
(smiles)
Thank you.
Paris steps out into the corridor and William Crandell closes the door behind her.
PARIS
(mutters)
Thanks for nothing.
Paris takes a pen from her folder and puts a line through Crandell & Finch’s name.
CLOSE UP of the list of names and we see the name Wolfram & Hart. Paris draws a line through that name.
PARIS
(mutters)
Law firms aren’t going to hire me.
Maybe the library will.
Paris closes the folder then starts down the corridor.
CUT TO…
SCENE 6
INT - WAREHOUSE - HUNTINGTON PARK - DAY
There are eight Pregonians seated in a circle on the concrete floor in the middle of a large warehouse.
ZANTRA
We must assume that our soldiers have
been eliminated.
VEDEO
Agreed.
ARTUNO
We must also assume that the
vampire intervened.
VEDEO
Agreed. He has a link to the
Powers That Be.
ETHOS
The girl.
VEDEO
Yes. And a link to The Council.
ZANTRA
The Watcher.
ARTUNO
If we go after one of them, it may draw
the vampire to us.
ETHOS
And then we can eliminate him before
his followers arrive.
VEDEO
Yes.
ZANTRA
Who shall it be, Vedeo?
The girl or the Watcher?
Off Vedeo’s contemplative demon face.
CUT TO…
SCENE 7
EXT / INT - PARIS’ APARTMENT - LATE DAY
Paris walks along a reasonably deserted street, a rather despondent look on her face. As she rounds the corner, she looks up and sees her tenement. She crosses the street and walks into the building.
She stands in front of a row of mailboxes as she rummages around in her bag for her keys. She opens the mailbox and pulls out three envelopes, then locks the box.
Paris turns and crosses the corridor and prepares to unlock the apartment door, but it pushes open. She pushes it open further and breathes in sharply.
PARIS’ POV – the living room has been ransacked.
Paris steps inside and looks around, a shocked looked on her face. She moves into the kitchen to find all the cupboards and drawers open, all their contents strewn over the counter and floor. She moves into the bathroom to find a similar scene, then into the bedroom. Her few clothes are strewn about the room, the mattress overturned.
She moves back to the living room and sits down heavily on the couch. She picks up the phone and dials 9-1-1. As she waits on hold, she opens the first of her letters and reads it. She stuffs it back into the envelope then opens the other two letters.
PARIS
(mutters)
Why am I not surprised?
She looks at the calendar that lies on the floor to the left and we see a date circled in red. She rests an elbow on the arm of the couch and grabs a handful of hair.
PARIS
Yes, hello. My apartment has
been broken in to.
(listens)
Paris O’Riordan.
(listens)
(sighs)
Yes, I’ll hold.
Off Paris.
DISSOLVE TO…
SCENE 8
INT - ANGEL INVESTIGATIONS - INNER OFFICE - LATE DAY
Angel is reading a book when Wesley and Cordelia walk into his office. Angel doesn’t look up.
ANGEL
What’d you find out?
WESLEY
(sitting down)
The demons are definitely Pregonian.
Angel puts the book down as Cordelia sits beside Wesley.
CORDELIA
And they’re not exactly the best-looking
demons I’ve ever seen.
WESLEY
Pregonians are one of the lesser known of the
fighting demons. As I said earlier, they usually
work in pairs, but there are never more than
five pairs working together at any one time.
ANGEL
So, there are eight of them still around.
WESLEY
Assuming there were ten to begin with.
CORDELIA
One of the demon sites I was looking at said
that one of the aims of these demons is sometimes
to stop something big from happening.
But it didn’t really give anything specific.
WESLEY
My research was a little vague on that
particular subject as well.
ANGEL
What’s the best way to deal with them?
WESLEY
Try and separate a pair and fight them
one on one.
CORDELIA
And then you kill them like you would any
normal demon. That is, if demons can
be considered normal.
WESLEY
They tend to reside in isolated areas, but
also tend to move with some frequency.
CORDELIA
Which doesn’t really give us much time
to find them.
ANGEL
They’re probably in a warehouse or abandoned
building. Some place where they wouldn’t
attract attention. Check out all the possible
places with a five-mile radius of that warehouse
in Inglewood. I didn’t see any vehicles, so they
probably got there on foot.
WESLEY
(suggests)
Or via the tunnels under the city.
ANGEL
That’d be my bet. They’d be sure to
draw attention to themselves if they
moved above ground.
CORDELIA
(standing up)
This could take a while.
ANGEL
Then you’d better get started.
CORDELIA
(salutes)
Aye aye, Captain.
A small smile plays at the corner of Angel’s mouth as Cordelia moves out of the office.
CUT TO…
SCENE 9
INT - PARIS’ APARTMENT - NIGHT
Two uniformed police officers are wandering around the apartment while Paris sits on the couch.
OFFICER DAVIS
You said you haven’t touched anything.
PARIS
Except the phone and the door, no.
OFFICER RHODES
Was anything taken?
PARIS
No.
OFFICE RHODES
No jewellery or cash?
PARIS
(shaking her head)
I don’t have either.
OFFICER RHODES
How about a TV or VCR or stereo?
PARIS
No.
OFFICER DAVIS
(hushed to Rhodes)
This is the fourth B & E in the last two days
but the first where nothing’s been taken.
OFFICER RHODES
Yeah. Maybe they broke into the wrong
apartment.
OFFICER DAVIS
That’s my thinking.
(to Paris)
We’ll get a couple of guys to come
over and fingerprint the place.
PARIS
Will that be tonight?
OFFICER DAVIS
With any luck.
Office Rhodes moves out into the corridor and starts talking on his police radio, requesting a print team.
OFFICER DAVIS
We’ll check with your neighbours, see if
they heard or saw anything.
As Officer Davis moves towards the door…
PARIS
Do you think you’ll find who did this?
OFFICER DAVIS
If they left fingerprints, we’ll find them.
Officer Davis moves out into the corridor. Paris reaches into her bag and pulls out her wallet. She opens it and pulls out a business card. She looks at it then taps the corner of it against her lips.
SCENE 10
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
As Wesley pours over a large map of the city and Cordelia surfs the Internet, Angel leans against the wall by his office door and watches them. They’re oblivious to his presence.
CORDELIA
(without looking up)
You’d think that for someone who spends
so much time creeping around underground,
Angel would know the entire L.A. sewer
system by now.
WESLEY
(without looking up)
There are hundreds of miles of tunnels under
this city, Cordelia. I don’t think Angel’s
had time to travel through every single
one of them.
CORDELIA
Well, he should find the time. At least
then I’d be able to go home and get my
beauty sleep instead of trying to break
into the city’s not-so-public records.
ANGEL (O.C)
Found anything yet?
Wesley and Cordelia look up at their boss.
CORDELIA
(suspiciously)
How long have you been standing there?
ANGEL
Not long.
CORDELIA
Why do you have to be so quiet when you
enter a room? Make some noise
once in a while. Would you?
ANGEL
I’ll try and keep that in mind. That is,
when I’m not taking the city’s guided tour
of the sewer system.
Cordelia cringes a little upon realising how long Angel had been standing there.
WESLEY
In answer to your question, Angel, no…we
haven’t found anything yet. Although there
are a couple of areas I’d like to
check out tomorrow.
ANGEL
Good. I’m going to go out and see if anyone
knows anything about these Pregonians. Why
don’t you two keep looking until I get back and
we can compare notes?
Cordelia pouts.
WESLEY
Do you think you’ll find out anything?
ANGEL
I don’t know. But it doesn’t hurt to ask a
few questions, does it?
CORDELIA
(snide)
Only if you’re the one at the painful
end of your fist.
ANGEL
I’ll be back in an hour or so.
Angel moves into his office, steps into the elevator and descends out of view.
As Cordelia turns her attention back to the computer, the phone rings.
CORDELIA
Angel Investigations.
How may we help you?
(listens)
Oh, hi. How are you?
(listens)
Uh huh.
(listens)
Yeah, of course I remember.
(listens)
(unsure)
I guess. Why don’t you come over
and we’ll see what we can do?
(listens, looks at her watch)
Yeah. I guess tonight’d be okay.
(listens)
Okay. We’ll see you then.
Cordelia hangs up the phone.
WESLEY
New client?
CORDELIA
Unfortunately, no. It was Paris.
WESLEY
(surprised)
Paris? She’s not having demon trouble
again, is she?
CORDELIA
She’s demon free.
WESLEY
Then what is it?
CORDELIA
Work problems.
WESLEY
She found a job then?
CORDELIA
More like she needs one.
WESLEY
(suspiciously)
Cordelia…what did you tell her?
CORDELIA
(faux innocence)
I may have mentioned that if she couldn’t
find a job to give me a call.
WESLEY
And I assume you’ve discussed this with Angel?
Cordelia shrugs her shoulders slightly and avoids answering the questions.
WESLEY
Need I remind you that Angel is our employer?
He’s the one who pays us, and he’s the one
who decides if we need additional staff.
Which, by the way, we don’t.
CORDELIA
Well, how was I to know she wouldn’t be able
to find a job? Or that she would actually
remember something I said to her - in
passing – nearly a month ago?
WESLEY
(annoyed)
Well, she hasn’t found a job and she did
remember what you said, Cordelia. Besides,
what do we really know about the girl?
Nothing.
CORDELIA
Do we really know anyone? No. I mean
there’s heaps about you and Angel that I
don’t know about. Mind you, some of Angel’s
baggage I just don’t want to know about.
(visibly shudders)
By the way, you never did tell me what you
drove back in England. Other than people
crazy, that is.
Wesley frowns at Cordelia for a moment.
WESLEY
If you must know, I drove a Jaguar.
CORDELIA
(impressed)
Ooh…very nice.
WESLEY
(continues)
That kept breaking down at the most
inconvenient of times.
(mutters)
Useless piece of junk.
CORDELIA
(smirks)
Oh.
CUT TO…
SCENE 11
INT - PARIS’ APARTMENT - NIGHT
Two plain-clothes policemen put fingerprint equipment back into their briefcases.
OFFICER DAVIS
Did you guys get any prints?
COP 1
Other than the lady’s, the place is clean.
OFFICER DAVIS
(softly)
Damn.
COP 2
Look, we’ve got another place to do a few
blocks from here so…
OFFICER DAVIS
Yeah, okay. Thanks for coming down.
The two cops leave the apartment as Officer Davis moves into the kitchen where Paris is putting things back in the cupboards.
OFFICER DAVIS
Miss O’Riordan.
PARIS
(turning)
Have they finished yet?
OFFICER DAVIS
Yeah. They didn’t find any prints.
PARIS
Oh.
OFFICER DAVIS
I’m afraid there’s very little chance of finding
the one who broke in. Especially when none
of your neighbours witnessed anything.
PARIS
Do you think they’ll come back?
OFFICER DAVIS
I doubt it. If they didn’t find
anything first time round, they’d have no
reason to come back.
PARIS
What if they do?
OFFICER DAVIS
Call me.
(digs into his breast pocket)
Here’s my card.
Officer Davis hands Paris the card and she looks at it for a moment.
PARIS
(softly)
Thank you.
Officer Rhodes sticks his head around the corner.
OFFICER RHODES
Mike, we’ve got another call.
OFFICER DAVIS
Okay.
(to Paris)
Will you be okay here by yourself?
PARIS
I think so, yeah.
Paris follows Officer Davis to the front door where his partner is waiting for him.
PARIS
Thank you both.
Officer Rhodes nods.
OFFICER DAVIS
Just doing our job. Take care.
PARIS
I will.
The officers leave and Paris closes the door.
CUT TO…
SCENE 12
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
CORDELIA
Do you like Paris?
WESLEY
I like her as much as I can like anyone I know
practically nothing about.
CORDELIA
Do you think she’d fit in here?
WESLEY
I really can’t answer that, Cordelia. You saw
her after those Divanis attacked her.
She was ready to leave town.
CORDELIA
Until Angel convinced her to stay.
Wesley moves towards the desk and looks at the drawing of the Pregonian.
WESLEY
And what do you think she’d do if she came
face-to-face with one of these…
(indicates the drawing)
…lovely creatures?
CORDELIA
If she’s smart, she’d turn and run.
(then realises)
Maybe it wasn’t such a great idea when I
told her I could get her a job here.
WESLEY
(sighs)
When’s she coming in?
CORDELIA
Soon.
WESLEY
Well, let’s hope Angel gets back before she
arrives so you can talk to him.
CORDELIA
Me? Why am I the one who has
to talk to him?
WESLEY
Because you’re the one who invented this
job and offered it to Paris without discussing
it with him first.
CORDELIA
(cringes)
Right.
TIME CUT TO…
SCENE 13
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
Cordelia makes a big deal out of a yawn.
WESLEY
You’re not tired, are you?
CORDELIA
Whatever gave you that idea, Wesley?
WESLEY
Look, Angel should be back any moment.
We’ll see if he found anything out about these
Pregonians. Then you can talk to him about
Paris. And then you can go home.
CORDELIA
Well, he’d better get back soon. I don’t really
feel like spending another sleepless night on…
(hearing the elevator)
Good, he’s back.
The two of them see Angel pull back the cage door and walk through the office.
WESLEY
Any luck?
ANGEL
No-one’s heard anything, and if they have,
they’re not talking. These demons are
keeping their presence very low-key which makes
me think they’re up to something.
Did you two find anything?
CORDELIA
I finally managed to get into the city records,
but I’m having trouble trying to get into
the tunnel system. I really wish Willow
was here. She’s so good at this sort of stuff.
ANGEL
Keep trying.
CORDELIA
Do you mind if I keep trying in the morning?
It’s not easy looking for something when
your eyes can’t focus.
ANGEL
Both of you go home.
We’ll start fresh in the morning.
Wesley stands up as Angel goes back into his office. Wesley looks at Cordelia then tilts his head towards Angel’s office.
CORDELIA
(mutters)
Right.
Cordelia switches off the computer as Wesley picks up his coat and slips into it.
WESLEY
I’ll see you in the morning.
CORDELIA
Yeah.
Wesley leaves the office as Cordelia peers through the window at Angel who’s sitting at his desk, seemingly deep in thought. She moves to the door.
CORDELIA
Angel.
ANGEL
(looking up)
Yeah.
CORDELIA
Can I talk to you?
ANGEL
Yeah.
Cordelia enters the office and sits down across from Angel.
ANGEL
What’s on your mind?
CORDELIA
Okay. You know how you’re always saying that
we’re here to help people when they need it?
ANGEL
I’m vaguely familiar with the concept.
CORDELIA
Right. Well, someone needs our help.
But it’s not the I’m-being-harassed-by-demons
kind of help.
ANGEL
(leaning forward)
What kind is it then?
CORDELIA
(hesitantly)
It’s the I’m-in-need-of-a-job kind.
Angel half-laughs and leans back in his chair.
ANGEL
Cordelia, there’s barely enough work here for you
and Wesley, let alone someone else. What are
they going to do? Clean the office?
CORDELIA
Kind of. They could do my job.
ANGEL
(sceptically)
Your job. And what’re you going to do?
CORDELIA
You could always promote me?
ANGEL
(chuckles)
Promote you? To what?
CORDELIA
I don’t know.
(thinks for a moment)
How about making me an Associate?
ANGEL
You already are one, Cordelia.
CORDELIA
(surprised)
I am?
ANGEL
It was your idea to start this little business
venture. Remember?
CORDELIA
Right.
ANGEL
Does this person know we deal with
demons and vampires?
CORDELIA
(unconvincing)
Kind of.
ANGEL
(rubs his face with his hands)
Cordelia, I really don’t know what this
person would do here.
CORDELIA
Well, they could help with research. You know,
help us find out about all of these demons quicker.
Look, Angel, I’m sure you’ll be able to think
of something. Plus give me a raise.
ANGEL
A raise? Now you’re pushing it.
CORDELIA
Hey, you can’t blame a girl for trying.
So, is there a vacancy?
ANGEL
You’re not going to let up until I say
yes, are you?
CORDELIA
Nope.
ANGEL
Are you going to tell me who this
mystery person is?
CORDELIA
Of course I’m going to tell you. It’s…
There’s a knock on the door and Cordelia and Angel look up.
ANGEL
(whispers, surprised)
Paris.
ANGLE on Paris who’s standing in the doorway.
CUT TO…
SCENE 14
EXT - WESLEY’S APARTMENT BUILDING - NIGHT
Wesley cuts the engine of his motorcycle and turns off the headlight. He takes a bag off the back of the bike then starts walking along the path towards the tenement.
When he’s about twenty feet from the building, he hears a rustling in the bushes to the right. He stops and peers towards the bushes. As he steps in for a closer look, two long gray arms wraps around him from behind. He drops the bag.
PULL BACK to see a Pregonian demon holding Wesley as a second demon emerges from the bushes. As the demon nears him, Wesley raises his knees and kicks the demon as hard as he can in the stomach. Before Wesley’s feet land on the ground, Demon 1 lets him go and he lands hard on his ass. Wesley grunts upon impact.
Wesley looks up at the two demons as they move in towards him.
CUT TO…
SCENE 15
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
Cordelia moves towards the door.
CORDELIA
I’ll leave you two to talk.
Paris steps into the office as Cordelia slips past her.
PARIS
(nervously)
Hello.
Paris looks around the dimly lit office as Angel watches Cordelia leave.
ANGEL
How are you?
PARIS
I’ve been better.
ANGEL
(motions)
Have a seat.
Angel waits for Paris to sit down before doing so himself.
ANGEL
Cordelia and I were just discussing the
details of the job.
Paris looks down at the desk, unable to look at Angel.
PARIS
She didn’t tell you it was me.
Did she?
ANGEL
She hadn’t quite gotten around to that part.
PARIS
(rising)
If you don’t want me here, I’ll go.
ANGEL
(sharply)
No.
(off Paris’ startled reaction)
I’m sorry. Please. Stay.
Paris sits back down and lets out a shaky breath.
PARIS
I realise that if you decide to hire me,
you won’t be able to pay much, and that’s okay.
I just need enough for rent and food.
ANGEL
You’ve been in L.A. how long now?
A month?
PARIS
Yeah.
ANGEL
And I’m guessing your rent is due pretty soon?
PARIS
Tomorrow.
ANGEL
When was the last time you ate?
A day?
Paris nods silently, ashamed.
ANGEL
How much do you need?
PARIS
(softly)
Four hundred dollars.
Angel opens the middle drawer of the desk and counts out some money. As he slides it across the desk…
ANGEL
That should tide you over.
PARIS
I can’t take your money.
She slowly pushes the notes back towards Angel.
ANGEL
I want you to.
(pushing the notes back)
It’s an advance in pay.
PARIS
(surprised)
You’re giving me a job?
ANGEL
I am.
With a shaky hand, she takes the money and slowly counts it.
PARIS
I can’t take all this.
There’s six hundred dollars here.
ANGEL
You need a place to live and food to eat.
Don’t you?
Paris looks at the money then folds it and puts it in her bag.
PARIS
(softly)
Thank you.
An uncomfortable silence fills the room and Angel shifts in his seat.
ANGEL
(carefully)
Are you going to be comfortable
working for me?
PARIS
Why?
ANGEL
Because you haven’t been able to look
at me since you arrived.
PARIS
(whispers)
I can’t.
ANGEL
You’re still scared of me?
Paris nods slowly.
ANGEL
What is it about me that scares you so much?
PARIS
(shakily)
I don’t know. All I do know is that since
I arrived in L.A., this office is the
only place I feel safe.
ANGEL
You don’t feel safe at home?
(off Paris’ silence)
Why not?
PARIS
(shakily)
I think someone’s watching me.
ANGEL
Have you seen someone?
PARIS
(shakes head)
No, but I know they’re there. And today
someone broke into my apartment.
ANGEL
Was anything taken?
PARIS
No. And there were no fingerprints.
The police don’t hold out much hope of
finding the person.
ANGEL
At least the police know about it.
PARIS
(softly)
Yeah.
ANGEL
Paris, if you see or even sense someone
watching you, I want you to call me.
Okay?
PARIS
(nods, softly)
Okay.
(then)
So, what time do you want me to come
in tomorrow?
ANGEL
How about eleven?
PARIS
(taken aback)
Eleven?
ANGEL
We start later than most places because
there’s a lot of night work.
PARIS
Oh. Okay.
Paris stands up then so does Angel.
ANGEL
Will you be alright getting home?
PARIS
Yeah.
They move towards the door then Paris stops.
PARIS
Angel.
ANGEL
Yeah?
Paris slowly shifts her gaze upwards and looks at Angel’s face but not his eyes.
PARIS
Thank you.
ANGEL
You’re welcome.
He gives her a reassuring smile, realising how hard it was for her to look at his face.
PARIS
(softly)
Goodnight.
ANGEL
(softly)
Goodnight, Paris.
Angel watches Paris leave.
SCENE 16
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
As Cordelia pours herself a cup of coffee, Paris walks into the office carrying a pink box.
PARIS
Good morning.
CORDELIA
(turning around)
Are those doughnuts?
PARIS
Yeah.
Paris puts the box down on top of the mini-fridge. Cordelia opens it and takes out a cinnamon doughnut.
CORDELIA
(mouth full)
So, Angel gave you the job?
PARIS
(smiles)
Yeah, he did.
CORDELIA
Good.
PARIS
Where would you like me to start?
CORDELIA
Do you know how to use a computer?
PARIS
(shakes her head)
That’s one of the many reasons I couldn’t
find a job.
CORDELIA
O-kay. Do you know how to read
a map?
PARIS
Yeah.
CORDELIA
Okay, now we’re getting somewhere. Wesley
was looking for some isolated areas down near
Inglewood. Places where there might be old
warehouses or abandoned buildings.
PARIS
And you want me to keep looking at the
map for them.
CORDELIA
Exactly.
PARIS
Okay.
Paris moves to the couch, picks up the half-folded map then sits down while Cordelia moves back to the desk.
A few moments pass and Wesley shuffles into the office, his face all beaten up.
PARIS
Oh, my God. Wesley.
Paris gets up and rushes over to the man then help him to the couch.
WESLEY
Thank you.
CORDELIA
(concerned)
What happened?
Wesley looks through Angel’s office as Angel pulls the cage door open and walks through.
ANGEL
(concerned)
What happened?
WESLEY
Two Pregonians attacked me last night.
PARIS
(frowns)
Pregonians?
ANGEL
(matter-of-factly)
Demons.
PARIS
(small)
Oh.
ANGEL
Did you kill them?
WESLEY
No. They fled when one of my neighbours
came home.
CORDELIA
(horrified)
They attacked you at home?
WESLEY
Outside the building.
ANGEL
Did they say anything?
WESLEY
Not a word. They were waiting for me,
and I’m sure that had they not been
interrupted, they would have killed me.
Angel furrows his brow and goes into pace mode.
ANGEL
(low)
Why would they attack you?
What’s their motivation?
WESLEY
I don’t know, Angel, but I suggest we find
them before they attack again.
CORDELIA
I’m going with Wesley on this one.
We need to find them before they decide
to come after me.
ANGEL
(to Wesley)
You said you were going to check out a couple
of places. Are you up to that?
WESLEY
I’m sure I’ll be able to manage.
ANGEL
Okay. Take the car and go.
Angel fishes the keys from his pocket and hands them to Wesley as Paris helps him to his feet. Wesley shuffles into Angel’s office and gets in the elevator.
ANGEL
(to Cordelia)
Did you find a map of the tunnels?
CORDELIA
After I called Willow, yeah.
Cordelia takes several sheets of paper off the desk and hands them to Angel.
ANGEL
Good. Thanks.
Angel goes into his office and closes the door.
PARIS
Is he always like this in the morning?
CORDELIA
Usually he’s …yeah, pretty much.
He is so not a morning person.
PARIS
That makes two of us.
CORDELIA
Three of us.
PARIS
I guess it’s probably just as well.
CORDELIA
Why?
PARIS
Angel said there was a lot of night work.
CORDELIA
There is.
PARIS
So, what sort of clientele do we deal with?
CORDELIA
Normal people who have problems with
demons and vampires and, well, basically
all things supernatural.
PARIS
No, really. What sort?
Angel’s door opens and he sticks his head out.
ANGEL
It’s just what she said.
PARIS
Oh.
ANGEL
(to Cordelia)
Can I see you please?
CORDELIA
Yeah.
Cordelia moves into Angel’s office as Paris frowns.
PARIS
(mutters)
Vampires?
She shudders then sits back down.
CUT TO…
SCENE 17
INT - WAREHOUSE - HUNTINGTON PARK - DAY
The eight Pregonian demons are seated on the floor. Vedeo is glaring at the two that attacked Wesley.
VEDEO
(angrily)
The Watcher should be here right now.
DEMON 1
And we are sorry that he isn’t.
ZANTRA
Shall we go after the seer?
VEDEO
(annoyed)
No, Zantra. We will not go after the seer.
ETHOS
Why not?
VEDEO
By now the Watcher has informed the vampire
of last night’s events.
ARTUNO
You think he’ll be looking for us?
VEDEO
Yes, Artuno, I do.
ZANTRA
So we prepare for an attack from him?
VEDEO
Yes.
ARTUNO
(to others)
We’ll start preparing.
All the demons, but Vedeo, stand and disperse.
CUT TO…
SCENE 18
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
As Cordelia sits down…
CORDELIA
Did someone get up on the wrong side of
the bed this morning?
ANGEL
I didn’t sleep well.
CORDELIA
Maybe a warm glass of blood would help
with your insomnia.
ANGEL
Not funny, Cordelia.
CORDELIA
Sorry. What’s up?
ANGEL
You could have told me it was Paris who
was looking for a job before she
showed up last night.
CORDELIA
(defensive)
Well, I figured if you knew it was her,
you wouldn’t give her the job. And given
that she doesn’t know about all the things
that go bump in the night, I never expected
you would actually hire her.
ANGEL
I had to, Cordelia.
CORDELIA
You felt sorry for her, didn’t you?
ANGEL
She was on the verge of becoming homeless
and starving. And her apartment was
broken into yesterday.
CORDELIA
(surprised)
It was? She never said a word.
ANGEL
She’s going to have a tough time dealing
with the fact that we hunt and kill demons.
CORDELIA
I know.
ANGEL
Keep an eye on her.
CORDELIA
I will. Was there anything else?
ANGEL
How much do you know about her?
CORDELIA
Not much. Just the basics. She
hasn’t exactly been forthcoming in the
information department.
ANGEL
Her family name’s O’Riordan, right?
CORDELIA
Yeah.
ANGEL
Where’s she from?
CORDELIA
I don’t know, but she described it as the
middle of a big nowhere.
(frowns)
What’s with the twenty questions?
ANGEL
I just want to know who I have working for me.
CORDELIA
(sceptically)
Uh huh.
(then)
Well, you’re the private eye, Angel. I’m sure
you’ll be able to dig up every little bit of dirt
on her in no time.
Angel shifts uncomfortably in his seat, a guilty look on his face.
CORDELIA
You already did, didn’t you?
(off Angel’s silence)
And you didn’t find anything on her, did you?
ANGEL
No.
CORDELIA
Well, I can try and get some more out of her,
but it’s going to cost you.
ANGEL
I’m not paying you, Cordelia.
CORDELIA
(casually)
I’ll settle for Friday off.
(off Angel’s raised eyebrow)
Audition.
Angel looks at Cordelia. He exhales then nods in agreement.
CORDELIA
Thanks.
CUT TO…
SCENE 19
INT ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Wesley steps out of the elevator as Angel looks up.
ANGEL
Any luck?
WESLEY
(sitting down)
There’s a warehouse in Huntington Park
which is a definite possibility.
ANGEL
Where exactly?
WESLEY
(looking around)
Where’s the map?
Angel gets up and moves into the outer office. Paris is still pouring over the map.
ANGEL
I need the map for a bit.
Paris folds the map in half then hands it to Angel. He looks at Cordelia and motions towards his office. Cordelia follows him in and shuts the door. She sits down next to Wesley as Angel spreads the map out on his desk.
ANGEL
Where?
Wesley stands to look at the map then points to a spot.
WESLEY
There.
ANGEL
(referring to map of tunnels)
It looks like the tunnels run underneath
that street.
WESLEY
I didn’t see any manholes in the street outside
the building.
CORDELIA
There might be one inside the building.
ANGEL
Then that’s my way in.
(to Wesley)
How sure are you that they’re there?
WESLEY
Reasonably sure. There are no other
buildings within a hundred yards of this warehouse.
It would make a perfect hiding place
for these demons.
CONTINUOUS…
SCENE 20
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
The phone begins to ring and Paris gets up to answer it.
PARIS
Angel Investigations.
How may we help you?
(listens)
No. This is Paris.
(listens)
He’s unavailable at the moment.
(listens)
I don’t know. He could be a while.
(listens)
She’s unavailable, too.
(listens)
Sure I can take a message.
(listens, writes down message)
Okay. Does Angel have a number
where he can reach you?
(listens)
Okay, then. I’ll let him know you called.
Paris hangs up the phone then tears the message off the notepad.
CONTINUOUS…
SCENE 21
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
WESLEY
(to Angel)
How do you want to approach this?
ANGEL
Carefully. These demons are strong.
CORDELIA
How are you going to fight eight of them?
ANGEL
One at a time.
WESLEY
You shouldn’t go in there alone, Angel.
ANGEL
You’re in no condition to fight, Wes.
I can handle it.
CORDELIA
Are you sure?
ANGEL
Yeah. Why…you want to come along?
CORDELIA
(firmly)
No, thank you.
WESLEY
So, you’ll go in tonight?
ANGEL
Yeah.
Wesley and Cordelia both stand up and move out of the office as Angel goes into pensive mode.
PARIS
What’s going on?
WESLEY
Angel’s going to attack these Pregonian
demons tonight.
PARIS
Alone?
CORDELIA
Yeah.
PARIS
Is that wise?
CORDELIA
In a word…no.
Paris picks up the message then wanders into Angel’s office.
PARIS
Angel.
ANGEL
(looking up)
Yeah?
Paris looks at the message, still unable to look at Angel’s face.
PARIS
I have a message for you.
ANGEL
From who?
PARIS
Someone called Buffy.
ANGEL
(surprised)
Buffy?
(then)
What’d she want?
PARIS
She asked if you could call her.
She said you had her number.
ANGEL
How’d she sound?
PARIS
I don’t know. Kind of anxious, I guess.
In a hurry.
ANGEL
(nods)
Thanks.
PARIS
(hesitantly)
Angel.
ANGEL
Yeah?
PARIS
Is it wise for you to go alone tonight?
ANGEL
I’ll be fine.
PARIS
(concerned)
Be careful.
ANGEL
I will.
Paris turns to leave the office.
ANGEL
Paris.
PARIS
(turning around)
Yeah?
ANGEL
Any trouble last night?
PARIS
No.
ANGEL
Good.
PARIS
Was there anything else?
ANGEL
No.
After Paris leaves the office, Angel picks up the phone and punches in the number. He lets it ring a few times but there’s no answer. He hangs up then goes back into pensive mode.
DISSOLVE TO…
SCENE 22
INT - THE TUNNELS / THE WAREHOUSE - HUNTINGTON PARK - NIGHT
Angel moves stealthily through a long, dimly lit tunnel. He travels along the curved wall to avoid splashing through the shallow channel of putrid water that runs down the middle of the tunnel. Angel is holding a double-edged fighting axe, its head pointed towards the ceiling. As his long black coat flutters behind him, we see glimpses of a long sheath containing a sword.
As Angel rounds a corner, several rats scatter, but he keeps moving for another thirty yards. He stops at a ladder built on to the wall and looks up at the manhole cover.
Angel begins to climb the ladder then stops. He listens for signs of movement, but doesn’t hear anything. With his free hand, he pushes up the manhole cover and slides it over. He steps up and pokes his head through the hole just enough to survey the area.
ANGEL’S POV - he sees that a wall of wooden crates surrounds the manhole, towering about thirty feet high. The warehouse roof is constructed of beams and crossbeams and covered in corrugated metal, as are the walls. High above is a row of dirty, multi-paned windows, which allow little light in.
Angel silently places the fighting axe on the concrete floor. Quietly, he grips the edge of the manhole and pulls himself up. He picks up the axe and stands up straight, senses alert.
Moving quietly, Angel keeps the wall to his right as he moves through the stacks of crates. When he rounds the corner, there’s a one-foot gap between the stacks through which he can see four Pregonian demons. As Angel watches them, he HEARS footsteps above him.
Angel gazes upwards and sees two Pregonians armed with crossbows walking on a metal catwalk above. Angel slips into the shadow behind the stacks as the two demons pass each other.
SCENE 23
INT - THE WAREHOUSE - NIGHT
Angel glances through the gap at the four Pregonians who are sitting in a silent circle. He looks up at the two demons moving above him. He then looks back at the four on the floor as two more move into view from the right then sit down.
Angel leans the fighting axe up against one of the crates then runs quietly between the stacks. He leaps up and lands softly on the catwalk behind one of the demons. The demon turns quickly, raising the crossbow, but Angel kicks it from its grasp. Before the demon can react, Angel grabs its head with both hands and twists. There is a crack as the demon’s neck is broken.
Angel turns to look at the second demon on the catwalk as the dead demon slumps at Angel’s feet. The demon hears the noise and turns as it raises the crossbow. When the demon sees Angel, it fires a bolt which Angel manages to swat away just in time.
DEMON 2
(yells)
He’s here!
Angel looks down at the six Pregonians as they in turn look up at the catwalk. As the six demons quickly get to their feet, the demon fires another bolt, but Angel does not react in time. He winces as the bolt enters his left shoulder. He VAMPS OUT then breaks off the shaft.
As the demon knocks another bolt into the bow, Angel leaps off the catwalk. He lands heavily then rolls to his feet.
CUT TO…
SCENE 24
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
Cordelia is pacing the floor, wringing her hands.
CORDELIA
You should’ve gone with him, Wesley.
WESLEY
In my present condition, I doubt I would’ve
had much impact, Cordelia. Angel’s
fought multiple demons before and has always
managed to walk away in one piece.
I’m sure he’ll do it again.
PARIS
That wasn’t very convincing, Wesley.
CORDELIA
Exactly.
(scoffs)
He’d better come out of this in one piece.
The phone rings loudly and Paris is quick to answer it.
PARIS
Angel Investigations.
How may we help you?
(listens)
No, he’s out of the office.
(listens)
Yes, I gave him your message.
(listens)
Yes, she is. Hold on a moment.
(covers the mouthpiece)
Cordelia, it’s Buffy.
CORDELIA
(surprised)
Buffy?
(taking the phone)
Hey, Buffy. What’s up?
(listens)
Yeah, we have. Why?
(listens)
Uh huh.
(listens)
Okay, not good.
(listens)
How many?
(listens)
Oh, boy.
(listens)
Yeah, of course I’ll tell him.
Thanks for the heads up.
(listens)
I will. Okay, bye.
(hanging up, urgently to Wesley)
We have to find Angel.
WESLEY
What did Buffy say?
CORDELIA
These Pregonians are looking to kill Angel.
PARIS
I’ll try and get him on his cell phone.
As Paris picks up the phone…
WESLEY
(sharply)
No.
(then)
If his phone rings, it could endanger his life.
Paris puts the phone back down as Wesley looks at Cordelia.
WESLEY
We’ll go to the warehouse.
CORDELIA
We will?
WESLEY
We will.
Wesley moves into Angel’s office as Cordelia looks at Paris.
PARIS
Good luck.
CORDELIA
I think we’re going to need it.
Cordelia starts for Angel’s office.
CUT TO…
SCENE 25
INT - THE WAREHOUSE - NIGHT
FOREGROUND – Angel is moving towards the camera.
BACKGROUND – The catwalk demon aims the crossbow and fires another bolt, which hits Angel in his left side.
Angel ducks in behind a stack of crates and looks down at the arrow. He snaps it off then reaches behind him and pulls the wooden shaft out, dropping it to the ground.
ANGEL
(mutters)
Well, this was a real good idea.
Angel pokes his head around the corner and sees Zantra and Ethos carrying fighting axes and moving swiftly from the direction Angel had just come from. He looks the other way and sees Artuno and Vedeo approaching with swords.
Angel reaches under his coat and slides the sword from its leather sheath. He closes his eyes and holds the sword up in front of his face as he senses the demons closing in on him.
He opens his eyes as Ethos and Zantra step into view beside him. He swings his sword and Ethos’ head comes away from his body. Zantra swings his axe angrily at Angel and the sharp blade cuts across his stomach.
ANGEL
(pained)
Grrr.
Artuno and Vedeo come into view with their swords raised. As they both arc at Angel, he leaps over Zantra, somersaulting in mid-air. When he lands, he quickly turns and swings his sword at Zantra, but the demon blocks it with his axe. Artuno and Vedeo step up behind Zantra and the three advance towards Angel.
Angel looks up at the crates and sees the last two demons moving across the tops either side of him. They have crossbows pointed directly at him.
VEDEO
There’s no way out, Angelus.
ANGEL
(snarls)
Don’t count me out just yet.
Zantra swings his axe at Angel’s head, which he ducks. As the demon recovers from the momentum, Angel arcs his sword upwards and takes Zantra’s head off. As the demon drops dead, the two demons on top of the stacks fire their bolts simultaneously. Angel dodges one of them but the other hits him in the chest, inches from his heart.
ANGEL
(snarls)
Close but no heart.
Artuno and Vedeo advance on Angel, their swords raised.
CUT TO…
SCENE 26
EXT - THE WAREHOUSE - NIGHT
Wesley and Cordelia pull up to the warehouse in Angel’s black convertible. Wesley stops the car about thirty feet from the building. They exit the car and look at the building.
CORDELIA
Doesn’t look terribly inviting, does it?
WESLEY
No.
Cordelia moves around the car to join Wesley as he reaches into the back seat and produces a sword and a fighting axe. He hands the axe to Cordelia and she tests its weight.
CORDELIA
(complains)
I don’t remember this thing being this
heavy back at Angel’s place.
Wesley looks up sharply as the scraping of metal can be heard from inside the warehouse.
WESLEY
Shall we?
CORDELIA
(snaps)
Do I have a choice? Because if I do, I’d really
like to know what it is.
WESLEY
Not really. Now let’s go.
Wesley moves towards the building and Cordelia reluctantly follows.
CONTINUOUS…
SCENE 27
INT - THE WAREHOUSE - NIGHT
Angel blocks the two swords with his own. He moves backwards as Artuno advance towards him.
Wesley and Cordelia enter the warehouse and the demon on the catwalk spots them.
DEMON 2
(calls out)
We have company!
Artuno glares at Angel with contempt.
ANGEL
(shrugs)
How was I to know this was a
private party?
ARTUNO
(yells out)
Kill them!
Cordelia and Wesley watch the three crossbow-wielding Pregonians leap from their positions to the concrete floor.
CORDELIA
(low)
Not terribly hospitable, are they?
WESLEY
(low)
They’re killers, Cordelia. I don’t think
hospitality is exactly at the top of their
to-do list.
The two look at the three demons who are fast approaching.
CORDELIA
(disgusted)
Okay, they’re even uglier in person.
We really should put them out of their misery.
And mine.
(off Wesley’s surprised look)
Wesley, demons that ugly should not be
wandering around, especially in those outfits.
I mean, are they rejects from the medieval
era or what?
One of the demons raises its crossbow, aiming for Cordelia, but Wesley pulls her out of the way. The bolt lodges in the wall behind him.
CORDELIA
(relieved)
Thanks.
Angel swings his sword at Artuno, but the move is blocked. Vedeo swings and the sword is knocked from Angel’s hand and clatters on the concrete. The two demons move quickly towards Angel but he leaps and somersaults over the top of them then runs down the alley.
Angel grabs the fighting axe he’d left behind then squeezes through the one-foot gap between the stacks. When he’s out in the open, he sees Wesley and Cordelia trying to fight off the three demons.
One of the demons fires the crossbow and the bolt enters Wesley’s left thigh.
CORDELIA
(panicked)
Wesley!
Cordelia swings her fighting axe at the demon closest to her as he knocks another bolt into the bow. The bow clatters to the floor as the demon’s head comes away from its body. As the body turns to a green mess…
CORDELIA
(disgusted)
That is so gross.
Angel senses something and looks up just as Artuno and Vedeo launch themselves at him from the top of the crates. Angel quickly moves away from the landing site and takes a fighting stance, axe raised in both hands.
Artuno and Vedeo move and are quickly standing either side of Angel.
CUT TO…
SCENE 28
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
Paris picks up two files then gets up from the desk and moves into Angel’s office. She moves in behind the desk and places the files on top of it. She looks at the things on the desk then sees three books about demons. She picks one up and starts leafing through it. She stops at one page and a disgusted look masks her face.
PARIS
(softly)
Yuck.
Paris puts the book back down where it had been. She picks up a pen then looks around for a piece of paper. She opens the middle drawer and takes a sheet of paper out, which reveals an upside-down picture frame. Paris takes the frame out of the drawer and turns it over.
CLOSE UP – a photo of Buffy, which Paris touches lightly.
PARIS (O.C)
(softly)
I’m guessing you’re Buffy.
You’re very pretty.
Paris puts the picture face down in the drawer and closes it, but not all the way, then walks out of the office.
CUT TO…
SCENE 29
INT - THE WAREHOUSE - NIGHT
Angel swings his axe at Artuno’s head but the demon ducks the weapon as Vedeo arcs his sword, the blade slicing through Angel’s coat and shirt. Angel ducks Artuno’s sword as he spins and brings the axe around. Vedeo falls off balance as his left leg is severed just above the knee. Angel continues spinning around then arcs the axe up towards Artuno. The blade lodges in the demon’s left side and the demon howls in pain as Angel dislodges the axe.
Artuno swings angrily at Angel but he evades the blade. Angel backhands the axe and decapitates Artuno. As the demon turns to a green puddle, a sword blade pierces Angel’s right thigh from behind then is removed.
Angel spins around and in one action, decapitates Vedeo. As the demon goes gooey, Angel looks up and sees Wesley arc his sword at one of the demons, knocking the crossbow from its hand. The other demon has Cordelia by the hair and she is screaming loudly.
CORDELIA
Let me go, you ugly freak!
Let me go now!
Angel jogs with a limp towards the scene.
ANGEL
Hey!
The two demons look at Angel as he approaches them. The demon holding Cordelia raises the crossbow at Angel, but she knocks it from his hand. Wesley scrambles for one of the bows while the other demon picks up the other one. Wesley aims the bow at Cordelia and the demon.
WESLEY
(demands)
Let her go.
The demon grabs Cordelia’s head, intent on breaking her neck. Wesley fires the bolt which lodges in the demon’s head, only inches from Cordelia. The demon lets her go.
The other demon fires at Angel and the bolt hits him in the upper chest, but that doesn’t stop him. Angel raises his axe and swings it, taking the demon’s head off.
Cordelia picks up the axe she’d dropped and grips it in both hands. With a roar of anger, she turns around and decapitates the demon. As the demon goes gooey…
CORDELIA
I hate it when they do that. It’s so
disgusting…and stinky.
(waves hand in front of face)
Angel lowers his axe and looks at Wesley and Cordelia.
ANGEL
(concerned)
Are you two okay?
CORDELIA
Fine. Nothing a hot shower won’t cure.
WESLEY
(hand on leg)
Or a few stitches. You?
ANGEL
(strained)
I’ve been better. I thought I told
you not to come down here.
WESLEY
You did.
ANGEL
So, why are you?
WESLEY
We’ll explain back at the office.
CORDELIA
(studying her hands)
Damn.
ANGEL
(urgently)
What is it?
CORDELIA
(whines)
I broke two nails.
A smile appears on Wesley’s face. As a smirk appears on Angel’s face, he MORPHS BACK.
CORDELIA
Hey, not funny, guys. Do you know
how much I paid for this manicure?
As Angel takes a step forward, his legs start to give way but Wesley catches him.
ANGEL
Thanks.
Wesley and Cordelia stand either side of Angel and help him out to the car.
SCENE 30
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
Cordelia, Wesley and Angel are in his office with the door closed. Cordelia is tending to Angel’s numerous wounds.
ANGEL
So, what’d Buffy say?
CORDELIA
She said there’s a gang of about twenty
vampires headed for L.A.
ANGEL
Why?
CORDELIA
She didn’t know except that it has
something to do with you.
ANGEL
And the Pregonians?
WESLEY
Apparently they found out about this
vampire gang and wanted you out of
the way before your brethren arrived.
Cordelia moves around behind Angel.
CLOSE UP of a long diagonal gash across his back, extending from his right shoulder to his lower left back.
CORDELIA
This doesn’t look very deep.
ANGEL
It isn’t.
CORDELIA
You want me to leave it?
ANGEL
Yeah.
WESLEY
I wonder what this gang wants with you.
CORDELIA
Maybe they’re his fan club.
ANGEL
I guess we’ll find out when they show up.
Cordelia puts the first aid stuff back in the box.
CORDELIA
All done.
ANGEL
Thanks.
(then)
You two did good tonight.
WESLEY
Thank you.
CORDELIA
Hey, when you work for a vamp-turned-
private-eye, you gotta expect a little demon
action now and then. It’s all in
a day’s work. But thank you.
ANGEL
How’s Paris working out?
CORDELIA
She has a lot to learn about demons and stuff,
but she seems to be a quick learner. I think
she’ll be okay once she settles in.
ANGEL
Good.
Wesley winces as he gets to his feet.
WESLEY
I think I’d better go to the hospital
and get this leg checked.
I’ll see you tomorrow.
ANGEL
Night, Wes.
CORDELIA
(to Wesley)
Do you want me to take you?
WESLEY
I’ll manage, but thank you for the offer.
CORDELIA
Well, I might head home, too. I’m
starved. Fighting demons really builds
up an appetite, doesn’t it?
Angel smiles knowingly.
ANGEL
Goodnight.
Cordelia and Wesley walk out of the office as Paris turns off the computer and picks up her bag.
WESLEY
Goodnight, Paris.
PARIS
Goodnight.
(watches Wesley leave)
Cordelia.
CORDELIA
Yeah?
PARIS
Can we talk?
CORDELIA
Yeah…sure.
PARIS
Thanks.
Paris joins Cordelia.
CORDELIA
Are you hungry?
PARIS
Starving.
CORDELIA
Come on then.
Angel watches Cordelia and Paris leave together. He stands up and moves around the desk and eases himself into his chair. He looks down at the files on his desk then notices the drawer that juts out slightly.
He opens the drawer and looks at the photo frame. He glances towards the door, then takes the frame out and looks at the photo.
CLOSE UP – Angel slowly traces the outline of Buffy’s face with his finger.
He closes his eyes momentarily then puts the photo back in the drawer, face down. He leans forward in the chair, resting his elbows on the desk. He looks down at the note that’s on top of the two files.
CLOSE UP of beautifully written note: ‘Angel. Can you please look over these and let me know why the clients have not been invoiced? Thanks, Paris.’ Angel touches Paris’ name.
ANGEL (O.C)
(softly)
If you can move on, Buffy, so can I.
SLOWLY PULL BACK – Angel slides the note off the files then opens the top one.
FADE TO BLACK
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