CAGED

Completed:   24 June 2002

SCENE 1

INT   -   ANGEL INVESTIGATIONS   -   DAY

ANGLE   –   on the coffee maker as a hand pushes the filter drawer in then turns the machine on.   It gurgles then coffee starts dripping into the decanter.

WIDER   –   Wesley takes a cinnamon doughnut from a box on the mini-fridge.   As he starts for his office, he HEARS footsteps enter the office.   Wesley looks towards the door.

WESLEY
Good afternoon, Cordelia.

WIDE   –   Cordelia walks past Wesley and drops her bag on her desk.

CORDELIA
(irritated)
I know I’m late.

WESLEY
(pointedly)
Only by five hours.
(then, concerned)
Is everything alright?

CORDELIA
Everything’s fine, Wesley.
Where’s Gunn?

Cordelia moves to the fridge and pours herself a cup of coffee.

WESLEY
He’s been out most of the day seeing
what the word is on the street
regarding Kate Lockley’s murder.

CORDELIA
(somberly)
Her funeral was yesterday.

WESLEY
Yes, I know.

CORDELIA
We should have gone.

WESLEY
I think our presence would have
raised some suspicion.   Don’t you?

CORDELIA
Yeah, probably.
(then)
So, are we giving up trying to find
where Angelus and Paris are living?

WESLEY
For the moment, yes.   We’ve been
searching for the better part of a week
with no luck.   I think we’d better
direct our energy towards finding out
more about the ‘Couple Killers’.
Plus there’s the visions.
Did you experience any pain or
after-affects when you woke
up this morning?

CORDELIA
(quickly)
I was fine this morning.

WESLEY
(sceptically)
You’re not just saying that so
I’ll leave you alone, are you?

CORDELIA
No.   I’m saying that because
it’s the truth.

WESLEY
(backing off)
Alright.

Wesley moves into his office and Cordelia moves back to her desk.   She peers through the window and sees Wesley going back to several books he’s been looking at.

Cordelia turns around and opens up her bag.   She rummages around then pulls out an orange pill bottle.

Off Cordelia.

BLACK OUT

 

 

 

SCENE 2

INT   -   WOLFRAM & HART   –   HOLLAND’S OFFICE   -   DAY

DOLLY through the door then along the conference table.   All the chairs are taken by a variety of employees.   On the left is Lindsey McDonald who is slowly tapping his pen on a yellow legal pad.   Two chairs away, at the head of the table, is Holland Manners.   He is looking down at some notes, then looks up and to his left.

HOLLAND
George, where are we with the
J & J Incorporated case?

ANGLE   –   on a middle-aged man who is seated opposite Lindsey.

GEORGE
The CEO of the company wants to settle
out of court, but our client, Mr Finch,
doesn’t want any part of it.   We put our
first witness on the stand tomorrow morning.

HOLLAND
And what do our people say regarding
the jury?

GEORGE
There’s one, possible two jurors they
feel may ruin our chance for a not
guilty verdict.

HOLLAND
Take care of that, George.

GEORGE
It’s being dealt with today, sir.

HOLLAND
That’s what I like to hear.   Now…
(looks to his right)
…Lindsey, what’s happening with
these serial murders?

LINDSEY
The police are no closer to finding
those responsible for the 24 murders
that have taken place in the past two
weeks, including the two detectives
that were buried yesterday.

HOLLAND
And Angel?

LINDSEY
Angel’s disappeared for the moment.
We still have teams out looking for him,
but if he is still in L.A, he’s doing a
good job of not being found.

HOLLAND
And what of this mystery woman he’s with?

LINDSEY
The strands of hair we found at the
Excelsior Hotel were inconclusive.
We have no idea who she is.

HOLLAND
Right.   Well, keep me apprised of
any developments.

LINDSEY
Yes, sir.

HOLLAND
Are there any other issues anyone
wishes to discuss?
(off the silence)
Good.   Back to work then.

As Holland remains seated, everyone gathers up their files and notepads and begin to file out of the office.

HOLLAND
Except you, Lindsey.

Once everyone has left the room, Lindsey looks at Holland.

HOLLAND
Are you sure every possible place
has been checked for Angel?

LINDSEY
Yes, sir.

HOLLAND
What about that house Darla was
staying in?

LINDSEY
That was one of the first places
we looked.

HOLLAND
Perhaps we should look again, Lindsey.

LINDSEY
(nods)
Yes, sir.

Lindsey takes his cell phone from his coat pocket and presses a speed dial number as he moves towards the door.

LINDSEY
(into phone)
Yeah, Phil.   This is Lindsey McDonald.
I need you to send a team to that
house in Santa Monica A.S.A.P.

Lindsey walks out of the office.

CUT TO…

SCENE 3

INT   -   POLICE STATION   –   DAY

CLOSE UP   –   of the newspaper headline "2 DETECTIVES BURIED".

WIDER   –   we see Detective Tony Forrester sitting at what was Kate Lockley’s desk.   He closes one file and puts it aside, then reaches for a new one from a large stack.

DET. GIMBLE (O.C)
Hey, Tony.

DET. FORRESTER
Hey.

GIMBLE
How’s it going?

Detective Forrester frowns up at his partner.

FORRESTER
I don’t know, Brian.   Kate had a
heck of a lot of unsolved cases.

GIMBLE
I know.

FORRESTER
What’d you find at her apartment?

GIMBLE
We finally found some of her old
case books from a couple of
years ago.

FORRESTER
Anything interesting in them?

GIMBLE
I’ve got Rhodes and Davis going
through them with a fine tooth
comb.   But…

Gimble reaches into the breast pocket of his shirt and pulls out a white card.   He holds it up.

GIMBLE
(cont.)
…this fell out of one of them.

Forrester peers closely at the card.

FORRESTER
What is that?   A butterfly?

GIMBLE
That’s what I thought.   When I
called the number, the girl said
‘Angel Investigations’.   This
butterfly is a freakin’ angel.

FORRESTER
I wonder if this is the same Angel that
went to Kate’s old man’s retirement
party a couple of years back.

GIMBLE
There’s only one way to find out.

Forrester gets to his feet and takes his coat off the back of the chair.

FORRESTER
Let’s go.

Gimble pockets the business card then follows his partner towards the stairs.

CUT TO…

SCENE 4   -   FLASHBACK

EXT   /   INT   –   A COMMUNITY HALL   –   BUDAPEST   –   NIGHT

Angelus is walking along a street, occasionally taking an interest in the locals that pass him by.   He looks ahead when he starts hearing traditional music coming from a rather large building up ahead.   A sly smile starts to appear on his face.

The music gets louder as Angelus moves closer to the building.   He looks at the front of the building.

ANGLE   –   on the sign that says "COMMUNITY HALL" (in Hungarian).   PAN down to a smaller sign by the entrance that says "Private Function in progress" (in Hungarian).

ANGLE   –   on Angelus who smiles again then enters the hall.

INT   –   there is a wedding taking place inside the hall.   The bridal party and some of their guests are dancing in the center of the room while the rest are sitting at a number of tables that surround the dancers.

ANGLE   –   on Angelus who stands in the doorway and looks at the festivities.

A middle-aged man notices the uninvited guest.   He gets up from his table and wanders over to Angelus.

MAN
(in Hungarian)
This is a private reception.
Please leave.

ANGELUS
Whatever.

MAN
Please leave, sir.
You are not invited here.

ANGELUS
Even if I knew what you were
saying, it still wouldn’t matter.

WIDE ANGLE   -   In one quick movement, Angelus grabs the man’s head and twists it, snapping his neck like a twig.

Several women who witnessed the murder scream then scurry from their tables to the closest man available to protect them.

ANGLE   –   on Angelus as he smiles and moves deeper into the room.

PARIS (O.C)
Yoo-hoo.

DISSOLVE TO…

SCENE 5

INT   –   THE HOUSE   -   BEDROOM   -   DAY

Angelus looks at Paris who is lying next to him on the bed.

ANGELUS
Huh?

PARIS
You were a million miles away.

ANGELUS
Hmmm.

PARIS
What were you thinking about?

ANGELUS
Budapest.

PARIS
Thought you wanted to forget what
happened there.

ANGELUS
I do, but something just made
me think about it.

PARIS
Like what?

ANGELUS
(frowns)
I don’t know.

Angelus ticks his head towards the door.

TIGHT   –   Angelus listens intently, his face starting to show signs of inquisitiveness.   His gazes shifts to the door.

PARIS (O.C)
What is it?

WIDE ANGLE   –   Angelus gets out of bed, careful not to disturb Paris, and wearing nothing but black boxer shorts, he moves across the room.

ANGELUS
Stay here.

ANGLE   –   Angelus walks out of the bedroom and into the living room.   He HEARS (O.C) two car doors slam shut.

Quickly, he moves to the front door and puts his eyes to the peephole.

P.O.V   –   Angelus sees two bulky men move off to the right and another two walking up the path to the door.   All the men are dressed in black and are armed.

WIDE ANGLE   –   Angelus quickly moves away from the door and into the kitchen.   A moment later he returns with two bags of blood, then goes into the bedroom.

ANGELUS
(low / urgent)
We have company.

PARIS
Damn.

Paris gets out of bed while wrapping herself in a sheet.   She follows Angelus out of the bedroom and down the hallway.

Angelus hands Paris the blood bags, then leaps up through the open man-hole in the ceiling.   Paris then tosses up the blood bags.

As we HEAR the doorbell ring, Paris looks up as Angelus extends his hand to her.   She takes it and is pulled up into the roof.

ANGLE   –   Angelus slides the cover over the hold as Paris sits down on one of the crossbeams.   They are now emersed in darkness.

PARIS
(low / complains)
This is the second time they’ve
been here since we moved in.

ANGELUS
Sshhh.

ANGLE   –   the two men are in the living room, ready to shoot anything that moves.

ANGLE   –   the other two men walk along the hallway, peer into the bedroom then join their colleagues.

MAN 1
The bed’s unmade; top sheet’s missing.

MAN 2
Maybe it’s laundry day.

MAN 1
There weren’t any clothes in the
laundry or on the line out back.

MAN 3
Did you check the kitchen?

MAN 2
There’s a carton of milk in the fridge
that’s been there a while, but
nothing else to speak of.

MAN 4
Could be vagrants.

MAN 1
Not when there’s a red ’68
Mustang in the garage.

MAN 2
We’re supposed to be looking for
a Plymouth not a Mustang.

MAN 4
Let’s take another look round
then go.

Off the four men as they disperse.

CUT TO…

SCENE 6

INT   –   ANGEL INVESTIGATIONS   -   DAY

Cordelia looks at the computer screen then writes some notes down on a note pad.   She looks up again, her eyes scanning the text in front of her, then she jots down some more notes.

ANGLE   –   Wesley closes a book then removes his glasses and rubs his eyes.   He replaces the glasses then stands up and moves into the outer office.

WESLEY
Coffee?

CORDELIA
No, thanks.

Wesley pours himself a cup.   He takes a sip then leans against the fridge.

WESLEY
Have you discovered any more
details about what happened the
night Kate was killed?

CORDELIA
Not really.   I found more on her
in the six months leading up to her
death than the actual event.

WESLEY
Like what?

CORDELIA
Kate was teamed up with Raymond
Wolchek after being reprimanded for
her high number of unsolved cases.
Within three months, four of the
unsolved cases were solved, so the
two detectives were ordered to
stay together.

WESLEY
The force kept Wolchek with Kate
to stop her from getting involved
in the paranormal cases.

CORDELIA
That’s my thinking, except the two of
them were leading the serial couple
murder investigation.   The night
of their murders, they joined a
high-speed car chase around
Wilshire and Fairfax.

WESLEY
Who were they chasing?

CORDELIA
They were after a black Plymouth
convertible.   Sound familiar?

WESLEY
Hmmm.

CORDELIA
I haven’t found any details on what
happened with the chase, but about
an hour later Kate and Raymond were
found dead in an alley off Fountain.

WESLEY
Okay.   Have you –

CORDELIA
(smiles)
Hi.   Can we help you?

Wesley looks to his left.

ANGLE   –   on Detective Gimble who’s standing just inside the door.

GIMBLE
(holding up his badge)
Detectives Gimble and…
(looks behind him)
…Tony?

Detective Forrester steps in behind his partner.

GIMBLE
(cont.)
Detective Forrester.
We’re with the L.A.P.D.

ANGLE   –   on Cordelia as a surprised then worried look masks her face.

CORDELIA
Detectives Gimble and Forrester?

GIMBLE
Yes, ma’am.   And you are?

CORDELIA
(standing)
Cordelia Chase.   And this is
Wesley Wyndam-Pryce.

Wesley puts his coffee down then steps forward.

WESLEY
Is there something we can do
for you, detectives?

GIMBLE
Yeah.   Is Angel in?

Detective Forrester’s eyes stray in Cordelia’s direction as a look of recognition reaches his face.

FORRESTER
You look very familiar, Ms Chase.
Have we met?

CORDELIA
I don’t think so.   I’m an actress…
well, used to be.   You probably
just recognise me from one of the
TV commercials I did last year.

FORRESTER
Maybe that’s it.

GIMBLE
So, is Angel in?

WESLEY
May I ask what this is regarding?

FORRESTER
That would be between him and
us, Mr Pryce.

CORDELIA
(moving to Wesley)
Angel’s not here, detectives.
In fact, he hasn’t been here in months.

GIMBLE
And why’s that?

CORDELIA
Someone close to him passed away.
He went on an extended vacation
to deal with the loss.

FORRESTER
So, he’s not in the city?

WESLEY
We don’t exactly know where he
is, Detective Forrester.

GIMBLE
And he hasn’t contacted you?

CORDELIA
Not for a couple of months now.

FORRESTER
Tell me, does Angel own a black
Plymouth Belvedere convertible?

WESLEY
Yes, he does.   Why?

FORRESTER
Because it was involved in a car
chase last week.

CORDELIA
It couldn’t have been him because
he gave the car to me before he left.

FORRESTER
Really?

CORDELIA
Yeah.

GIMBLE
Do you mind if we take a look at it?

CORDELIA
You could if it was here.
(then…big explanation)
I was driving up on Hollywood
Boulevard last Thursday when
some guy decides to not check
for oncoming traffic.   Needless to
say, I was that oncoming traffic.
Now there’s a big dent in the
passenger side door that’s being
fixed.   Angel had better pay me
back for getting the dent knocked
out of his car.

ANGLE   –   on Wesley who is somewhat impressed with Cordelia’s tall tale.

ANGLE   –   on the two detectives who are getting a little impatient.

FORRESTER
So, is it just the two of you here?

WESLEY
Our other associate is out doing some
field work, but if he had seen or
talked to Angel, he would have told us.

GIMBLE
Do you know if Angel had dealings
with a Detective Kate Lockley?

Off Wesley and Cordelia who look at each other.

BLACK OUT

 

 

 

SCENE 7

EXT   –   ANGEL INVESTIGATIONS BUILDING   –   CAR   –   DAY

ANGLE   –   on a dark-colored car parked facing the building.

INT ANGLE   –   the two detectives are looking at the building.

GIMBLE
They were covering for him.

FORRESTER
About the car, yes, but I believe
that they don’t know where he is.

GIMBLE
I think he’s laying low here in L.A
waiting for all this to blow over.

FORRESTER
Maybe.

GIMBLE
So, Tony…you know that Chase girl
from somewhere?

FORRESTER
She posed as a reporter for the Times
a couple of months back.   Connie
something.   She thought Lockley was
in charge of one of my cases.
We talked for 15 or 20 minutes.

GIMBLE
She’s a looker.

FORRESTER
Can’t say I noticed.

GIMBLE
Yeah, right.

POV (from car)   –   the detectives see a pick-up truck pull up outside the building.   Gunn gets out of the truck and looks in the direction of the detectives.   As he turns to go into the building…

GIMBLE
Back from field work I presume?

FORRESTER
Hmmm.

Forrester starts the car then pulls away from the kerb.

CUT TO…

SCENE 8

INT   –   WOLFRAM & HART   –   LINDSEY’S OFFICE   -   DAY

Lindsey enters his office as his cell phone rings.   He takes it from his pocket.

LINDSEY
Lindsey McDonald.
(listens)
Right.
(listens)
Okay then.   Send a team back to
the Excelsior Hotel.   They might
have gone back there.
(listens)
You do that, Phil.

Lindsey turns off the phone as he moves towards the window.   He gazes out at the city.

LINDSEY
(low)
Where are you, Angel?

Off Lindsey.

CUT TO…

SCENE 9

INT   –   THE HOUSE   –   LIVING ROOM   –   DAY

Angelus is sitting on the couch watching Paris pacing back and forth in front of him.

ANGELUS
You look like a caged animal.
Sit down, will you?

PARIS
I’d prefer to pace if you don’t mind.

ANGELUS
If they knew we were here, there’d
be an entire Wolfram & Hart swat
team breaking down the door right
now, and you know it.

Paris glances at Angelus.

PARIS
They saw the car in the garage, Angel.

ANGELUS
A car that has no connection to us.

PARIS
I still say we should move.

ANGELUS
And I say we stay.

PARIS
Until the next time we have unwelcome
visitors drop in unannounced.

ANGELUS
There won’t be.

PARIS
(stops pacing)
You don’t know that.

Paris sits down next to Angelus, runs a frustrated hand through her long hair then drops her head into her hands.

PARIS
They can’t know about us
yet, Angel.

ANGELUS
And they won’t unless we drop
the ball.

Paris looks up at Angelus.

ANGELUS
(comments)
You’re hungry.

PARIS
We should go out tonight.

ANGELUS
We have blood here, Paris.

PARIS
You know I hate that stuff.   If you
want to stay here and drink pig’s
blood, fine.   But as soon as that
damn sun goes down, I’m going out
to get the fresh human stuff.

Off Angelus who sighs.

CUT TO…

SCENE 10

EXT   /   INT   –   PHILLIPS HOUSE   -   DAY

EXT   –   a blond-haired boy, wearing a blue and white soccer uniform, walks quickly up the path to the front door and lets himself inside the house.

INT   –   after closing the door, the boy slides his heavy backpack off his back and it lands with a thud on the floor.   He peers into the living room then moves quickly towards the rear of the house.

ANGLE   –   as the boy enters the kitchen.   He heads for the fridge and pulls out a carton of orange juice.   He takes a couple of swigs straight from the carton, and then puts it back on the shelf.   When he closes the door, he jumps when he sees his father standing there with a scowl on his face.

JEFF
(scary)
How many times have you been
told not to drink from the carton?

The boy hangs his head, afraid to look at his father.

JEFF
Go upstairs and do your homework.
Don’t come down until you’re finished.

The boy nods once then swiftly moves out of the kitchen.   Jeff moves to the door.

JEFF’S POV   –   he watches his son pick up his backpack and virtually drag it up the stairs.

CUT TO…

SCENE 11

INT   -   ANGEL INVESTIGATIONS   –   DAY

Gunn walks into the office and sees Cordelia’s vacant desk.   As he walks into Wesley’s office…

GUNN
Somebody wanna tell me why there
are two cops parked across the street?

WESLEY
They’re detectives actually.

GUNN
Same diff.   I can still spot a
cop a mile away.   So what’s
the deal?   They here about
Angel and his car that was in a
chase the same night that Kate
girl got killed?

Wesley and Cordelia look at Gunn, surprised he guessed correctly.

GUNN
You’d be surprised what I found
out today.

CORDELIA
Really?   Well why don’t…you…

A pained look masks Cordelia’s face.

CORDELIA
In-coming.

INSERT       -       a blond boy walks into a house

INSERT       -       an angry father.

Cordelia grimaces as she grabs her head.

INSERT       -       a door closes quickly

If not for Wesley and Gunn holding her, Cordelia would have collapsed on the floor.   She is guided to a chair.

WESLEY
What did you see?

CORDELIA
(strained)
A boy, maybe about nine or ten
years old being locked inside a closet.

GUNN
Was there a demon or –

CORDELIA
It’s the boy’s father.

ANGLE   –   on Wesley as a painful memory comes flooding back.

GUNN
The father’s a demon?

CORDELIA
No.

GUNN
A vamp?

WESLEY
(flatly)
He’s human.

After a moment.

GUNN
Oh.

Off Wesley.

TIME CUT TO…

SCENE 12

INT   –   ANGEL INVESTIGATIONS   –   NIGHT

Cordelia hangs up the phone then slowly gets up from her desk.   She moves into Wesley’s office.

CORDELIA
Sandra Phillips said that she and her
ex, Jeff, share custody of their son,
Wilson; one week on, one week off.
It’s been that way for the last six
months or so.

GUNN
Has she noticed changes in the boy?

CORDELIA
She said that he withdraws whenever
she mentions her ex.   Wilson is
also incredibly reluctant to go with
his father.

WESLEY
(idly)
No one wants to return to their tormentor.

CORDELIA
She also said she’d be here shortly.
She wants to talk with you then go
with you to the house.

WESLEY
Right.

CORDELIA
If you guys don’t mind, I’m done for
the day.   I’m going home to
have a hot bath and go to bed.

GUNN
(smiles)
Enjoy.

CORDELIA
Thanks.   Wes?

Wesley comes back to the present and looks at Cordelia.

WESLEY
Hmmm?   Right, yes.
Go home and rest.

CORDELIA
Good luck tonight, guys.

GUNN
Thanks.

Cordelia turns and moves out of the office.   Gunn looks at Wesley and frowns.

GUNN
You okay, bro?

WESLEY
(curt)
I’m fine.

GUNN
(backing off)
Alright.   Just checking.

Off Gunn as he gives Wesley a sideways glance.

CUT TO…

SCENE 13   -   FLASHBACK

INT   –   A HOTEL   –   BUDAPEST   –   NIGHT

ANGLE   –   on a clock-radio that reads 2.42am.

ANGLE   –   on Paris who is standing at the window.   She looks from the clock-radio and peers out the window.

PARIS
(low)
Where are you?

Paris leans forward and looks down at the street.   After a few moments she moves away from the window and over to the closet.   She takes out a leather coat and puts it on as she walks over to the nightstand.   She takes the room key from the nightstand then leaves the room.

DISSOLVE TO…

SCENE 14

EXT   –   THE PROMENADE   –   SANTA MONICA   –   NIGHT

PARIS’ POV   –   as she walks slowly along the promenade.   Some people give Paris a strange look as they pass by.   She sees a young couple, arms around each other, laughing.   There are many couples walking hand-in-hand, laughing, talking, and coming in and out of eateries.

ANGLE   –   a tallish blond man, perhaps a surfer, walks out of a café with a tall leggy blonde woman.

BLOND MAN
I’ll go get the jeep and meet
you down on the corner.

BLONDE WOMAN
Okay, but don’t take too long.

BLOND MAN
I won’t.

The two people move in opposite directions.

PARIS’ POV   –   she watches the blonde woman walk towards and past her.   She ten shifts her gaze to the blond man and begins to follow at a safe distance.   On Paris’ right are two uniformed policemen drinking coffee as they chat to several locals.   Paris averts her gaze back to the blond man.   She sees him go around the corner thirty feet ahead.

COP 2 (O.C)
Police!   Freeze!   Don’t move!

Paris turns to look behind her and sees the two coffee-drinking cops training their weapons on her.

CLOSE UP   –   on Paris as a flash of anger hits her eyes.

WIDE ANGLE   –   Paris turns and starts for the corner.

COP 1
Stop or we’ll shoot!

OVERHEAD   -   Paris rounds the corner as the two cops take off after her.

ANGLE   –   on two other cops who are walking their beat.   From one of their police radios we HEAR…

COP 2 (V.O)
…in your direction.   She’s wearing
black pants and leather coat.
She’s wanted for questioning in
the serial murders.

FOREGROUND   –   Paris is running along the sidewalk.

BACKGROUND   –   The two cops are doing their best to keep up with her.

ANGLE   –   on the other two cops.

COP 4
That’s gotta be her.

The two flatfoots draw their weapons and take a stance.

COP 3
Police!   Freeze!

WIDE ANGLE   –   Paris rushes the two cops and tackles them both to the ground.   She then gets up and continues running.

COP 1
Stop or we’ll shoot!

The first cop takes aim.

ANGLE   –   on Paris.   We HEAR the gunshot (O.C) then Paris stumbles and falls to the ground.

OVERHEAD   –   as the four cops race towards Paris who is starting to get up.

COP 1
What part of stop or we’ll shoot
didn’t you understand?   Huh?

Two of the cops hold a struggling Paris down as the third one starts cuffing her.

COP 2
You have the right to remain silent.
Anything you say can and will be
used against you in a court of law…

Off Paris’ pissed off face.

BLACK OUT

 

 

 

SCENE 15

INT   –   POLICE STATION   –   INTERVIEW ROOM   -   NIGHT

ANGLE   –   Paris’ wrists are handcuffed behind her back.   She is sitting motionless on a chair.

BACKGROUND   –   Detective Forrester sits opposite Paris, and Detective Gimble is leaning against the mirror behind his partner.

FORRESTER
I’ll ask you again, what were you
doing down at the Promenade?

ANGLE   –   on Paris who is silent; her face stoic.   You might even say she looks a little bored.

ANGLE   –   Gimble looks down at the business card he’s been idly playing with.

GIMBLE
Do you know a man named Angel?

ANGLE   –   on Paris who doesn’t so much as blink at the mention of Angel’s name.

GIMBLE
(offers)
Private investigator?   Has an
office over near Korean Town?

WIDE   –   Paris’ silence is really starting to get to Gimble.   He moves forward and bangs his hand on the table.   Paris doesn’t even flinch.

GIMBLE
You will talk to me, girl.

FORRESTER
Given the seriousness of the charges
against you, I really recommend that
you start co-operating with us.

ANGLE   –   on Paris as she sifts her gaze to meet that of Detective Gimble’s.

PARIS
(low / even)
I need to make a phone call.

GIMBLE
So you can talk.

Paris is silent again.

Gimble moves towards the door then is followed by Forrester.

ANGLE   –   from the corridor, Chief Tyler is looking at Paris through the one-way glass.

TYLER
Apart from requesting a phone call,
I gather she hasn’t said anything else?

GIMBLE
No.   We’ve been grilling her for
almost an hour.   She ain’t going to talk.

TYLER
Has a doctor seen to her leg yet?

FORRESTER
She wouldn’t let him anywhere near her.
If she’s in any pain though, she sure
ain’t showing it.

TYLER
Well then, get her settled in then come
to my office.   The A.D.A wants
to talk to you.

FORRESTER
Yes, sir.

Tyler looks back at Paris as the two detectives step back into the room.

CUT TO…

SCENE 16

INT   –   ANGEL INVESTIGATIONS   -   NIGHT

Wesley is sitting behind his desk.   He looks up.

WESLEY
Does he have a history of violence
of use of intimidation tactics?

ANGLE   –   on Sandra Phillips, a blonde, who is seated opposite Wesley and beside Gunn.

SANDRA
Jeff could be a little overbearing at times,
but he never laid a hand on me or Wilson.

WESLEY
(carefully)
What about confining Wilson to his
room or a smaller room?

SANDRA
What are you saying, Mr Pryce?

WESLEY
I’m going to be honest with you, Sandra.
We have reason to believe that your
ex-husband is tormenting Wilson by
locking him in a closet or other small
room in the house.

ANGLE   –   on the woman’s horrified face.

SANDRA
What?

WESLEY
We need to get Wilson out of that
house and away from whatever other
torment your ex-husband may be
subjecting him to.

ANGLE   –   on Sandra who nods in agreement.   She quickly gathers her bag and coat, as Gunn gets to his feet.

GUNN
Let’s go get your boy back, ma’am.

The three all move out of the office.

CUT TO…

SCENE 17

INT   –   LINDSEY’S APARTMENT BUILDING   –   CORRIDOR   –   NIGHT

ANGLE   –   on the elevator as the doors open.   Lindsey steps out into the corridor then turns right.   He fishes his keys from his pants pocket then looks up.

LINDSEY’S POV   -   he sees a tall man wearing black leather pants, red silk shirt, black leather coat, black hat and full moustache, standing at the end of the corridor.   As Lindsey approaches…

LINDSEY
Can I help you?

ANGELUS
You better hope so, Lindsey.

Lindsey slows as he nears the familiar man.

LINDSEY
Angel?
(then, angrily)
Where the hell have you been?

ANGELUS
Does it matter?

LINDSEY
And the disguise?

ANGELUS
I’m going incognito.

LINDSEY
And you’re here because…

ANGELUS
One of my clients was arrested
tonight for resisting arrest among
other things.   I need you to get
me in to see her.

LINDSEY
I’m sure someone as ingenious as you
can find a way to do that without me.

ANGELUS
True, but I need someone as ingenious
as you to come up with a way of
getting her out of jail…tonight.

LINDSEY
Can’t that wait until morning?

ANGELUS
(stepping closer)
No, Lindsey, it can’t wait until morning.

LINDSEY
(irritated)
And you want me to just drop
everything and help you?

ANGELUS
(firmly)
Very good, Lindsey.

LINDSEY
Okay.   Suppose I do agree to help
you, what do you want me to do?

ANGELUS
Remember that Brewer woman
you got off?

LINDSEY
Yeah.

ANGELUS
I want you to come up with something
even more creative to get my client off.

LINDSEY
And if I don’t?

ANGELUS
(low, threatening)
Then expect me to get
creative with you.

CLOSE UP   –   of Lindsey as he mentally pictures some of the creative things Angel might do to him.

ANGELUS (O.C)
Are you going to help me, Lindsey?

LINDSEY
Do I really have a choice?

ANGELUS
Not really.

LINDSEY
Lead the way then.

ANGLE   –   on Lindsey as Angelus walks towards the camera and out of frame.

ANGELUS (O.C)
Lindsey.

Lindsey moves towards the camera.

CUT TO…

SCENE 18

INT   –   PHILLIPS’ HOUSE   -   NIGHT

ANGLE   –   on Jeff who is in the living room watching TV (his back is to the door).

BACKGROUND   –   wearing his pyjamas, Wilson comes down the stairs, his homework in his hand.

JEFF
(facing TV)
Wilson.

BACKGROUND   –   Wilson freezes on the bottom step.

JEFF
Have you finished your homework?

WILSON
(timidly)
Yes, sir.

JEFF
Let me check it then.

Wilson walks slowly towards his father and, with a slightly shaky hand, passes the homework to Jeff who immediately starts checking it.

JEFF
(critically)
There are two wrong answers in
your math homework.

He shuffles the papers and looks over another subject.   After a moment…

JEFF
And there are three spelling errors in
your Social Studies.   Now, go
back upstairs and make the corrections.
(holds out the papers)

WILSON
But I’m hungry.

JEFF
You can have dinner after you’ve
corrected your homework.

WILSON
But dad…

JEFF
(firmly)
Go upstairs or –

There’s a knock on the front door and Jeff turns around to face the hallway.

EXT   –   Wesley, Gunn and Sandra Phillips are standing on the doorstep.

CUT TO…

SCENE 19   –   FLASHBACK

EXT / INT   –   COMMUNITY HALL   -   BUDAPEST   -   NIGHT

ANGLE   –   on Paris who is walking along the street.   Several well-dressed women rush past her, almost bowling her over.

O.T.S   –   Paris sees several more women and a couple of elderly men, also well-dressed, coming out of the community hall.

WIDE ANGLE   -   Paris moves swiftly to the building then enters.

INT   –   Paris stands in the doorway and looks to the back of the room.

PARIS’ POV   –   she sees about thirty male wedding guests surrounding Angelus who is cornered near the bridal table.

PARIS
(hisses)
Damn it, Angel.

WIDE ANGLE   –   Paris strides towards the group of men.   She swiftly breaks the neck of the first man she comes to, then knocks another out from behind.

The men all turn to see who’s causing the new chaos.

ANGLE   –   on Angelus and a man in his late teens who are fighting on the floor.   A vamped-out Angelus looks up.

ANGELUS
(surprised)
Paris.

ANGLE   –   on Paris who is standing amongst the men.

PARIS
Looks like I found you just in time.
Need some help?

ANGLE   –   on Angelus who gives her a crooked smile just before being punched in the jaw by his teenaged opponent.

CUT TO…

SCENE 20

INT   –   POLICE STATION   –   JAIL CELL   -   NIGHT

ANGLE   –   on Paris who is sitting on the cot against the wall, her arms wrapped around her knees, her head bowed.   She is rocking slowly back and forth, and every now and then she shudders.

PULL BACK   –   until we are now looking at her from outside the cell.   A police officer walks into frame, then two other men appear (faces obscured).

ANGLE   –   on the police officer who unlocks the cell door then steps aside.

OFFICER
Yell out when you’re done.

ANGLE   –   on Angelus and Lindsey who step inside the cell, then the door is closed behind them.   The police officer returns to his desk.

Lindsey glances at Angelus then looks at his client.

LINDSEY
Are you alright, miss?
(off Paris’ silence)
Miss?

Lindsey looks at Angelus who is looking at Paris.

LINDSEY
(low)
You didn’t tell me she was deaf.

PARIS
(wearily)
I’m not deaf, Lindsey.
(looks up)
But I am pissed off…
and a little hungry.

ANGLE   -   on Lindsey who looks like a deer caught in the headlights.

LINDSEY
(stunned)
Paris?

Off Lindsey.

CUT TO…

SCENE 21

EXT   /   INT   –   PHILLIPS’ HOUSE   –   NIGHT

Gunn knocks on the door again.

GUNN
Do you have a key?

SANDRA
No.   I’ve asked Jeff for one
but he’s never given it to me.

O.C   –   we HEAR a door slam shut, then a few moments later the front door opens.

JEFF
(irritated)
Yes?

WESLEY
Jeffrey Phillips?

JEFF
That’s right.   And you are?

SANDRA
Here to get my son.

Sandra pushes past Jeff and enters the house.

JEFF
Hey, wait a minute, Sandra.
You can’t just come barging in here.
You get Wilson back tomorrow
and not a minute sooner.

BACKGROUND   –   As Wesley and Gunn step into the house…

SANDRA
I’m getting him back now, Jeff.
Now, where is he?

JEFF
You want him, you find him.

SANDRA
Wilson!   Wilson!

As Sandra races upstairs calling for her son, Jeff turns around and sneers at the two strange men in his house.

JEFF
And who the hell are you two?

WESLEY
Wesley Wyndam-Pryce and Charles
Gunn.   We’re private investigators
working for your ex-wife.

JEFF
Why the hell would she hire you for?

While Wesley cautiously moves deeper into the house…

GUNN
It’s kind of a long story, but basically
we’re here to get your son back to
his mother.

JEFF
(angrily)
This is none of your business.

WESLEY
Actually, it’s very much our business.

Wesley looks at a closet door as Sandra comes racing back down the stairs.

SANDRA
(near hysterical)
Where is he, you bastard?

Jeff doesn’t answer.

WESLEY
What’s in the closet, Mr Phillips?

JEFF
Nothing.   Just junk.

WESLEY
Then you won’t mind if I take a look
then.   Will you?

Before Jeff can say anything, Wesley opens the door.

CLOSE UP   –   on Wesley as a look of horror masks his face.

WESLEY’S POV   –   Wilson is bound and gagged on the floor of the closet.

SANDRA
What?   What is it?

Sandra moves towards the closet then sees her son.

SANDRA
(cries)
Oh, my God.   Wilson.

As Sandra kneels down to free her son, Wesley looks from the boy to his father; a look of hatred and anger on his face.

CUT TO…

SCENE 22

INT   –   POLICE STATION   –   JAIL CELL   -   NIGHT

ANGLE   –   on Lindsey who’s staring at Paris.

LINDSEY
(stunned)
You’re alive.

PARIS
I guess you could call it that.

Lindsey sits down on a second cot and shakes his head in disbelief.

LINDSEY
But you’re supposed to be dead.

PARIS
I was.

LINDSEY
You –
(takes a moment, then)
You’re a vampire.

PARIS
Well, duh.

LINDSEY
But how?

ANGLE   –   Angelus sits down on Paris’ cot as she shudders.

ANGELUS
You’re hurt.

PARIS
One of them damn cops shot me
in the leg, but it’s healing.

ANGELUS
Did you get the bullet out?

PARIS
Eventually.

Paris shudders violently.

ANGELUS
(low)
You didn’t get to eat, did you?

Paris shakes her head then looks at Lindsey.

LINDSEY
Don’t even think about it, Paris.
I’m here to try and get you out
of here, not to be your dinner.

ANGELUS
Take it easy, Lindsey.
You’re safe…for now.

Angelus looks back at Paris whose eyes are closed.

ANGELUS
Paris.

PARIS
(whispers, strained)
My whole body hurts, Angel.

ANGELUS
I know.

Angelus pushes up his coat sleeve.   With her eyes still closed, Paris partially VAMPS out, then takes Angelus’ wrist in both hands.   She sinks her fangs into his wrist and drinks.

LINDSEY
Okay, that’s something I didn’t
need to see.

ANGELUS
Get her out of here and you’ll never
have to see it again, Lindsey.

LINDSEY
The things she’s been charged with
are serious, Angel.   Resisting arrest,
grievous bodily harm to four
police officers –

ANGELUS
One of which shot her.

LINDSEY
And then there’s the little matter of
her being one of these serial killers.
I guess I don’t have to look to far
for the other one, do I?

ANGELUS
We had our reasons.

LINDSEY
Like the fact that, for some inexplicable
reason, you’re both vampires?

ANGELUS
(to Paris)
That’s enough, love.

Paris withdraws her fangs then licks the wound on Angelus’ wrist.   He then lowers his coat sleeve.

PARIS
(whispers)
I need more.

ANGELUS
(whispers)
I know.   I can feel the strength
leaving your body.

LINDSEY
I don’t know what I can do for
you tonight, Paris –

PARIS
Well, you’d better come up with
something real fast then.
(motioning)
See that window?   It faces east.

LINDSEY
So?

ANGELUS
So, if you don’t get her out of here by
sunrise, I’m going to be married to
a big pile of dust.

LINDSEY
(laughs)
You’re married?   Oh, this just
keeps getting better and better.

PARIS
Yeah, it does, Lindsey.   Angelus was
the entrée.   If you don’t get me
the hell outta here, you’re going to
be the main course.
Do we have an understanding?

LINDSEY
(nods)
Yeah…yeah.

Paris looks up at Angelus through anxious and pained eyes.   She shudders slightly and Angelus wraps his arms around her.   He kisses the top of her head then looks at Lindsey.

BLACK OUT

 

 

SCENE 23

INT   –   PHILLIPS’ HOUSE   -   NIGHT

Gunn is kneeling down in front of the closet untying the rope that binds Wilson’s hands together.   Once Wilson is free, he wraps his arms around his mother who comforts him.

SANDRA
Are you alright, sweetheart?

WILSON
(small)
I want to go home with you, mommy.

SANDRA
Let’s go upstairs and get your things
and then we’ll go home.   Okay?

Wilson nods then grabs his mother’s hand.   Gunn stands back as Sandra and Wilson come away from the closet and move slowly up the stairs.

ANGLE   –   on Wesley who watches the mother and son climb the staircase.   He then looks back at Jeff who is standing hands on hips by the entrance to the living.

WESLEY
(controlled anger)
What gives you the right to lock your
son in a closet, Mr Phillips?

JEFF
And what gives you the right to come
in here and take him away from me?

WESLEY
I believe that would be the person
you once called your wife.

JEFF
Get out of my house.

WESLEY
I’m not going anywhere until I’ve
said what I need to say.

GUNN
Easy, Wes.

JEFF
I’m not interested in anything you
have to say, you pompous British ass.

Wesley takes several steps forward and gets in Jeff’s face.

WESLEY
How dare you treat your son they
way you do.   You an insensitive,
demeaning, oversized bully who likes
nothing more than to torment a poor
defenceless boy.

JEFF
(angrily)
How dare you –

WESLEY
How dare you!   Do you have any
idea what sort of affect your actions
are going to have on Wilson?
He’s not the same boy he was six
months ago.   He’s withdrawn and
afraid and lacks the confidence he
once had, and you’ve done that to him.

JEFF
I suggest you leave before I
make you leave.

WESLEY
I don’t take too kindly to being
threatened, Mr Phillips.

JEFF
You’ll know when I’m threatening you,
Mr Wyndam-Pryce.   Now, get out.

Jeff grabs Wesley by his coat, but Wesley twists out of Jeff’s grasp.   Jeff takes a swing at Wesley and the punch lands on Wesley’s left jaw.   Wesley immediately retaliates and punches Jeff in nose then the right jaw.   Jeff punches Wesley hard in the stomach that causes him to double over in pain.

Gunn quickly moves forward and tries to stop Wesley from punching Jeff again, but Wesley shrugs him off.

GUNN
Wesley, that’s enough, man.

Wesley lands a punch to Jeff’s stomach before Gunn grabs Wesley’s arms and pulls him away.   Gunn looks at Jeff who is slightly bent over in pain, then he turns to glare at Wesley who is breathing heavily.

GUNN
What are you doing, man?

WESLEY
He deserved it.

GUNN
True, but you could’ve at least -

SANDRA (O.C)
What’s going on?

ANGLE   –   on Sandra and Wilson who are coming down the stairs.

SANDRA
Wesley, what’s going on?

Wesley glances at Jeff then back at Sandra.

WESLEY
Nothing’s going on.

GUNN
Wes, why don’t you make sure Sandra
and Wilson get to their car okay?

Wesley looks at Gunn then at the mother and son.

WESLEY
Yes.
(to Sandra and Wilson)
Shall we?

Sandra and Wilson move towards the front door and leave.   As Wesley walks past Jeff, they each give the other the evil eye.

WIDE ANGLE   –   on Gunn who watches Wesley leave then he looks in Jeff’s direction.   Gunn moves towards Jeff who stands up straight.

JEFF
You gonna start in on me, too?

GUNN
Don’t tempt me.   If we hear that you’ve
gone anywhere near Wilson again, I
promise you, you’ll wish you hadn’t.

JEFF
You threatening me?

GUNN
I don’t make threats, Mr Phillips.
I make promises, and I don’t
break my promises

Gunn gives Jeff a hard stare then leaves the house.

CLOSE IN   -   on Jeff as a revengeful look begins to mask his face.

CUT TO…

SCENE 24

EXT   –   THE POLICE STATION   -   NIGHT

WIDE ANGLE   –   on the front entrance of the police station as Lindsey and Angelus walk out.   Angelus looks around as Lindsey moves towards his silver Mercedes parked a few yards down the street.

ANGELUS
So what are you going to do?

Lindsey stops and turns to look at Angelus.

LINDSEY
Do?

ANGELUS
(moving towards him)
To make all the charges against
her disappear?   To get her out of
that cage she’s in?

LINDSEY
It’s the middle of the night, Angel.
I don’t know what I can do.

ANGELUS
Well, you’d better come up with
something real fast, Lindsey.   You
only have about seven hours
until sunrise.

LINDSEY
I’m very well aware of how much
time I have.

ANGELUS
So what are you still doing here then?

Angelus glares at Lindsey who turns and moves towards his car.

ANGELUS
That’s a real nice car you got
there, Lindsey.

LINDSEY
Yeah, and I’d appreciate it if you
stayed the hell away from it.

ANGELUS
I will if you get my wife out of jail.
I’ll call you later…see how you’re doing.

LINDSEY
Whatever.

O.T.S   –   Angelus watches Lindsey get into the Mercedes and drive off.   He then turns to face the camera, a slightly anxious look on his face.   He moves forward and out of frame.

CUT TO…

SCENE 25

INT   –   LION’S HEAD PUB   -   NIGHT

DOLLY   –   through the crowded room.   There are people laughing and drinking and playing darts.   Music can be heard coming from a jukebox somewhere in the background.   As the crowd parts, we see Gunn and Wesley sitting in a corner booth.   There are two empty beer glasses at one end of the table.   A waitress puts two new glasses of beer on the table.   Both men drink then put their glasses down.

GUNN
I’ve never seen you like that
before, Wesley.

WESLEY
Like what?

GUNN
Losing your cool like that.
I mean I know that guy had
it coming, but still…

Wesley hangs his head and stares into his beer.   He obviously doesn’t want to have to explain his actions.

GUNN
You alright, bro?

WESLEY
Hmmm?

GUNN
What’s up with you?

WESLEY
Nothing.   I’m just tired.

GUNN
Could have fooled me.   Ever since
Cordy had that vision you been all
distant and kinda obsessive.   And
when you opened that closet and saw
that boy in there, it was like, it was
like you recognised him.

WESLEY
I did.

Gunn is surprised by Wesley’s response.   As Wesley drinks some more beer, Gunn studies him.   He takes a few moments then…

GUNN
That boy was you.   Wasn’t it?

Wesley glances up at Gunn then looks back down at his beer.

GUNN
Oh, man.   Your old man locked
you in a closet when you were a
kid, didn’t he?

WESLEY
(low, ashamed)
Under the stairs…sometimes for
days at a time.

GUNN
Days?   Why?

WESLEY
There didn’t necessarily have to be a
reason for many of the things he did.

GUNN
What kinda things?

Wesley downs the rest of his beer then quickly starts to slide out of the booth.

GUNN
Hey, where’re you going?

WESLEY
I need to get home.

GUNN
Sounds to me like you’re trying to
skip out on telling me one of your
deepest, darkest secrets.

WESLEY
I am.

WIDE ANGLE   –   Gunn watches as Wesley hurriedly rushes away from the table and into the crowd.

DISSOLVE TO…

SCENE 26

INT   –   WOLFRAM & HART   –   LINDSEY’S OFFICE   -   NIGHT

Lindsey hangs up the phone then picks it up again.   He dials a number and then waits for the other party to answer.

LINDSEY
This is Lindsey McDonald at
Wolfram and Hart.
Is Annalise Humphries there?
(listens)
Yes, I’m very well aware of the time.
(listens)
Thank you.
(waits)
Annalise, it’s Lindsey McDonald.
(listens)
I’ve been better.   You?
(listens)
I need a favour.
(listens)
I’m representing a woman who
was arrested last night down at
The Promenade.
(listens)
That’s the one.
(listens)
I need you to drop the charges.
(listens)
Yes, including that.
(listens)
Because she has an iron-clad
alibi for each night one of the
murders took place.
(listens)
The cops didn’t tell her why they
wanted to speak to her.
She got scared and ran.
(listens)
Alright.   Let me know, okay?
(listens)
Thanks, Annalise.   I owe you.

Lindsey hangs up the phone then sits back in his chair.   After a few moments, Lindsey’s cell phone starts ringing.   He answers it.

LINDSEY
Lindsey McDonald.
(listens)
It’s about time.
Have you found them?
(listens)
Okay…here’s what I need you to do…

Off Lindsey.

CUT TO…

SCENE 27

INT   –   SANDRA PHILLIPS’ HOUSE   –   NIGHT

JEFF’S POV   –   on Wilson who is sound asleep in his bed.   He walks across the dimly lit bedroom towards the bed and reaches out his hand to cover Wilson’s mouth.   Wilson’s eyes shoot open and there is immediately fear in them.   Jeff’s hand muffles Wilson’s call for help as he struggles to get out of the bed.

JEFF
(harshly)
Sshhh.

ANGLE   –   As Jeff goes to pick up Wilson…

WILSON
Mom!   Help!   Mom!

Jeff quickly clamps a hand over Wilson’s mouth to shut him up.

JEFF
(scolds)
I told you to shut up.

SANDRA (O.C)
(worried)
Wilson.

Jeff turns towards the door and hurries out of the bedroom only to run into Sandra.

SANDRA
What the hell are you doing?

JEFF
I’m taking my son.

SANDRA
You’re not taking him anywhere, Jeff.

JEFF
Get out of my way, Sandra.

Jeff moves past his ex-wife who grabs his coat and pulls him back.   With one swipe of his hand, Jeff knocks Sandra to the floor.

WILSON
(fearful)
Mom!

FOREGROUND   -   Jeff hurries down the corridor and in to the living.

BACKGROUND   –   Sandra gets up and rushes after Jeff and her son.

WIDE ANGLE   –   as Jeff moves towards the front door of the house, Sandra grabs him and pulls him back.

SANDRA
(defiantly)
If you want Wilson, you’re going
to have to kill me to do.

JEFF
Fine.

Jeff puts Wilson down then starts to pursue Sandra back through the living room and down the corridor.

ANGLE   –   on Wilson who is scared.   His back is pressed up against the wall as he looks around wide-eyed.

ANGLE   –   on the phone just inside the living room.

Wilson cautiously moves towards the phone.   He picks up a piece of paper and looks at it, then picks up the phone and dials the number.

SANDRA (O.C)
Aahhh!

JEFF (O.C)
Come here, bitch!

Wilson looks around into the corridor as he waits for the phone to be picked up.

WILSON
(scared, low)
Hello?   My dad is here.
He’s hurting my mom.
(listens)
Y-yes.
(listens)
Okay.   What should I do?
(listens)
Okay.
(listens)
Okay.

Wilson hangs up the phone.

CLOSE UP   –   as Wilson uses a shaky hand to dial 9-1-1.

DISSOLVE TO…

SCENE 28

INT   –   HOUSE   –   SANTA MONICA   –   NIGHT   -   INTERCUT

OUTSIDE LOOKING IN   -   Angelus is at the window looking out.

INT   –   Angelus steps away from the window then turns to look at a clock that is on the mantelpiece.

CLOSE UP   –   the clock reads 4.17am.

Angelus takes a cell phone out of his coat pocket and dials a number as he paces the living room.

ANGELUS
You’d better have some good
news for me, Lindsey.

ANGLE   –   on Lindsey who is in his car.

LINDSEY
Angel.   I’m working on it.

ANGELUS
Tick tock, Lindsey.   There’s only
two more hours until sunrise.

LINDSEY
I’ve very well aware of that.

ANGELUS
So, what’s the hold up?   Huh?

LINDSEY
The Assistant District Attorney is
holding things up.   I’m on my
way to see her now.

ANGELUS
I’ll call you back in an hour.

Angelus hangs up the cell phone.

ANGLE   –   on Lindsey who holds the phone away from his ear then turns it off.

LINDSEY
(hushed)
Son of a bitch.

Off Lindsey who continues to drive.

CUT TO…

SCENE 29   –   THE ONLY SOUND IS MUSIC

INT   –   POLICE STATION   –   JAIL CELL   -   NIGHT

ANGLE   –   on Paris curled up in the foetal position on the cot.   Her body is shaking.

DISSOLVE TO…

SCENE 30   –   THE ONLY SOUND IS MUSIC

INT   –   CORDELIA’S APARTMENT   –   BATHROOM   -   NIGHT

Cordelia stumbles into the dark bathroom and opens the medicine chest over the sink.

CLOSE UP   –   on the contents of the chest.   We see all the usual things such as mouthwash, Q-tips, band-aids, etc.   We also see four orange pill bottles (names obscured).

ANGLE   –   With a trembling hand, Cordelia reaches into the chest and grabs one of the orange pill bottles.   Using her teeth, she pops the cap off then pours two of the pills into her hand.   She puts the bottle back in the chest and closes it.   She puts the two pills into her mouth then turns on the cold water tap.   She bends over and cups a couple of handfuls of water into her mouth.   After swallowing the pills, she leans over the sink for a moment before looking up into the mirror.

ANGLE   –   we see Cordelia’s reflection in the mirror.   She looks terrible.   There are dark circles around her blood-shot eyes.   She’s obviously been crying.

DISSOLVE TO…

SCENE 31   –   THE ONLY SOUND IS MUSIC

INT   –   A HOUSE   -   NIGHT

ANGLE   –   on a frustrated Lindsey who is standing in the living room of the house and is arguing with someone.

ANGLE   –   on a woman who is yelling back at him.

DISSOLVE TO…

SCENE 32   –   THE ONLY SOUND IS MUSIC

EXT   –   SANDRA PHILLIPS’ HOUSE   -   NIGHT

OVERHEAD   –   we see three police cars and an ambulance with their lights flashing parked outside of the house.

ANGLE   –   on the front door as a bloodied and beaten Jeff Phillips is led out of the house in handcuffs by two police officers.   We then see Wesley, also bloodied and beaten, led out of the house in handcuffs by two more police officers.

ANGLE   –   as paramedics wheel Sandra out of the house; Wilson holding her hand as he walks with her.

ANGLE   –   as Jeff is put in the back of a squad car.   He stares straight ahead as the door is shut by one of the officers.

ANGLE   -   as Wesley is put in the back of a car.   After the door is closed, he turns and peers out the rear window at the ambulance that is parked behind to squad car.

WESLEY’S POV   –   Sandra is put in the back of the ambulance.   Wilson stands near the ambulance and looks from his mother to Wesley.

Wesley sees the sadness in the boy’s face and eyes before he climbs up into the emergency vehicle.

Off Wesley as the car moves out of frame.

DISSOLVE TO…

SCENE 33   –   THE ONLY SOUND IS MUSIC

INT   –   HOUSE   –   SANTA MONICA   -   NIGHT

CLOSE UP   –   of the mantle clock that now reads 5.34am.

ANGLE   –   on Angelus who turns around and continues to peer through the window outside.   A few moments later, he steps back from the window and reaches into his coat pocket for his cell phone.   He answers it.

DISSOLVE TO…

SCENE 34

INT   –   POLICE STATION   –   JAIL CELL   –   PRE DAWN

Paris is standing in front of the window (her back to the camera).   Her arms are wrapped around herself as she looks up at the lightening sky.

Paris moves towards the cot and sits down on the edge of it.   Her body is trembling continuously, and every-so-often it shudders rather violently.   She reaches up and runs a shaky hand through her tousled hair.

CLOSE UP   –   of her face.   She grimaces in pain; she’s obviously in distress.   O.C we hear the jingling of keys.   The door is unlocked and opened.   We hear someone enter the cell.

LINDSEY (O.C)
(low)
Paris.

Paris looks up.

LINDSEY
Let’s go.

PARIS
(weakly)
I’m not going anywhere with you.

LINDSEY
The charges against you have been
dropped.   You’re free to go.

Paris stands up and looks at Lindsey.

PARIS
Where’s Angel?

LINDSEY
He’s downstairs in the garage.

Paris takes a step forward and almost collapses.   Lindsey is quick and grabs her arms to steady her.

LINDSEY
You alright?

PARIS
I’ll be fine once I’ve had
someone to eat.

She looks up at Lindsey and an almost ravenous look masks her face.

LINDSEY
Don’t even think about it, Paris.
Now, let’s go.   Huh?

With Lindsey’s help, Paris leaves the cell.

TIME CUT TO…

SCENE 35

INT   –   POLICE STATION   –   BOOKING AREA   –   PRE DAWN

WIDE ANGLE   –   Lindsey and Paris enter the booking area and move through it.

ANGLE   –   on Wesley who is sitting between two prostitutes opposite the booking desk.   His head is bowed then he looks up.   A rather surprised look reaches his face as…

WESLEY’S POV   –   he sees Paris walking by with Lindsey.   She looks at Wesley then gives him a crooked smile.

Off Wesley.

DISSOLVE TO…

SCENE 36

INT   –   ANGEL’S OLD APARTMENT   –   LIVING ROOM   -   DAY

Gunn is standing by the kitchen door, a glass of milk in his hand.

TV (O.C)
…are now in custody.   They are
scheduled for a hearing this afternoon
and are expected to be held without
bail.   Very little is known about the
two suspected murderers, but further
information will no doubt come to
light in the coming days….

CORDELIA (O.C)
Hey, Gunn!   Are you down there?

GUNN
Yeah.   Come on down.

ANGLE   –   on Cordelia who comes down the stairs.   She looks tired but doesn’t show any signs of pain.

GUNN
The cops caught the ones responsible
for all those couples getting murdered.

CORDELIA
Was it…

GUNN
Nah.   It was a couple in their early
twenties.   They were arrested at
an apartment complex in Echo Park.

CORDELIA
At least it wasn’t Paris and Angelus.

WESLEY (O.C)
I saw her this morning.

WIDE ANGLE   -   Cordelia looks at Wesley who comes down the stairs, as Gunn turns off the television.

CORDELIA
Saw who?

WESLEY
Paris.

CORDELIA
Where?

WESLEY
At the police station downtown.

GUNN
What was she doing down there?

WESLEY
Apparently she was arrested for
resisting arrest and assaulting
a police officer.

CORDELIA
She’s in jail?

WESLEY
Not anymore.
The charges were dropped.

GUNN
How can that be?

WESLEY
Two words: Lindsey McDonald.
He was with her.

CORDELIA
Lindsey McDonald?   The same
Lindsey McDonald that works for
Wolfram and Hart?

WESLEY
Yes.

GUNN
Why would Paris hire Lindsey
McDonald to be her lawyer?

WESLEY
I don’t know.   But I’m
sure she had her reasons.

CORDELIA
Did you see Angelus?

WESLEY
No.

GUNN
So where was he then?

CORDELIA
Maybe they’ve split up.   Again.

WESLEY
I doubt it.   But I don’t think he’d
be too happy about Lindsey being
Paris’ lawyer.

CORDELIA
Well, that’s a given.

GUNN
Ah, Wes?

WESLEY
Hmmm?

GUNN
What were you doing down at
the police station?

Off Wesley.

BLACK OUT

 

 

 

SCENE 37

INT   –   THE HOUSE   –   SANTA MONICA   –   DAY

FOREGROUND   –   Angelus is sitting on the couch in the living room.   He has the TV remote control in hand and is idly channel surfing.

BACKGROUND   –   Paris appears from the corridor wearing a pair of black pants and one of Angelus’ red silk shirts that is way too big for her.

Paris sits down next to Angelus as he turns off the television.

ANGELUS
How’re you feeling?

PARIS
Better.

ANGELUS
I didn’t realise the power would
dissipate so quickly from not feeding.

PARIS
Neither did I, but now we know.

ANGELUS
Yeah.
(then)
The cops arrested two people for
these murders.
(off Paris’ raised eyebrows)
Found them in an apartment over
in Echo Park.

PARIS
Really?

ANGELUS
No doubt Lindsey had something
to do with that.

PARIS
(agrees)
No doubt.

ANGELUS
I don’t care what he did to free you.
I’m just happy you’re out of that cell.

PARIS
You and me both.   I never want
to feel like a caged animal ever again.

ANGELUS
Neither do I.   But if it does happen,
I guess we know who we can go to.

PARIS
Hmmm.

Angelus looks at Paris who has gone into ‘think’ mode.

ANGELUS
What is it?

PARIS
I’m just trying to picture the look on
Holland Manners’ face when Lindsey
tells him about us.

Angelus meets Paris’ gaze then he smiles.

ANGELUS
Even if it’s half as good as the look
he had when I turned up to collect that
money he owed you, I’d seriously
consider dying   –   again   –   to see that.

Off Paris as she smiles up at Angelus.

CUT TO…

SCENE 38

INT   –   WOLFRAM & HART   –   HOLLAND’S OFFICE   -   DAY

ANGLE   –   on Holland who is standing behind his desk as he talks on the phone.

HOLLAND
…and I want to know who’s responsible
for this.   Do you understand?

Holland looks towards the door.

ANGLE   –   on the door as Lindsey walks in and closes the door behind him.   He moves towards the desk and waits for Holland to finish his call.

HOLLAND
Good.   I want to know the second
you have some news for me.

Holland hangs up the phone then looks at Lindsey.

HOLLAND
The police arrested the two people
responsible for the ‘couples’ murders
this morning.   Two people who
work for this firm.

LINDSEY
I know.   That’s partly why I’m here.

HOLLAND
Are you aware of the problems this
is going to cause us?

LINDSEY
Yes, sir.

HOLLAND
When I find out who’s responsible –

LINDSEY
You’re looking at him.

HOLLAND
(exasperated)
You?!

LINDSEY
Yes, sir.

Holland glares at Lindsey as he tries to contain his rage.

HOLLAND
Well, this is a problem.
Isn’t it, Lindsey?

LINDSEY
Yes, sir, I guess it is.
(then)
But we have an even bigger problem.

HOLLAND
What could possibly be worse than
two of our own sitting in adjacent
jail cells?

Off Lindsey who tries to think of the best way to tell Holland the damning news.

FADE TO BLACK

 

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