CHANCES
Completed: 15 September 2003
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SCENE 1
EXT - CEMETERY - DAY
WIDE ANGLE - We see a bright blue sky with the odd cloud here and there. PAN DOWN and we see the tops of trees swaying slightly in the breeze. PAN DOWN more and we see we’re in a cemetery.
OVERHEAD - Wesley and Cordelia are standing near a grave while Gunn is starting to move away from it. Cordelia removes her hand from Wesley’s arm then steps away from him. She joins Gunn and they walk off camera together.
ANGLE - Wesley is dressed in a dark gray suit, white shirt, black tie and black shoes. His sad eyes are cast downward.
ANGLE - Cordelia and Gunn approach Angel’s convertible which has the top up. Cordelia drops her handbag on the passenger seat then leans against the side of the car with Gunn. Together they look at…
REVERSE ANGLE - a lone Wesley staring down at the new grave.
GUNN
I feel so bad for him.
CORDELIA
So do I. I just wish he wouldn’t
blame himself for what happened.
GUNN
If Angel had been able to get there
a few seconds earlier…
CORDELIA
Don’t blame this on Angel.
GUNN
I’m not. I’m just saying if we
hadn’t got stuck on the freeway…
CORDELIA
There’s no point in mulling over the ifs
and maybes, Gunn. Nothing we do
or say now can change what happened
the other night.
GUNN
Yeah, I know. But still…
ANGLE - Wesley looks at the grave for a few more moments then turns and walks away and out of frame.
DISSOLVE TO…
SCENE 2
INT - WESLEY’S APARTMENT - NIGHT
LIVING ROOM - ANGLE - Wesley arrives home wearing a dark gray suit, white shirt, black tie and black shoes. As he closes the door and turns to face the apartment…
CLOSE UP - we see he looks tired and drained.
WIDE ANGLE - Wesley removes his coat as he moves towards the camera. He drapes the coat over the back of the couch then…
KITCHEN - ANGLE - moves into the kitchen. He picks up the kettle and finds it near empty. He fills it from the tap then puts it on the stove. He opens an overhead cupboard and takes down a cup, then from a medium-sized tin, takes a tea bag.
TIGHT - as he drops the tea bag into the cup…
CLOSE UP - Wesley HEARS a knock on the front door.
WIDER - he turns and…
LIVING ROOM - WIDE ANGLE - moves out of the kitchen and towards the front door.
EXT - ANGLE - He opens the door and finds…
WESLEY
(surprised)
Teresa?
INT - ANGLE - Teresa is standing in the hallway. She smiles sadly.
TERESA
Hello, Wesley.
Off Teresa.
SCENE 3
INT - WESLEY’S APARTMENT - NIGHT
3 DAYS EARLIER
ANGLE - Wesley is surprised to see Teresa.
TERESA
Can I come in?
ANGLE - Wesley comes out of his reverie.
WESLEY
Yes, yes, of course.
ANGLE - Wesley stands aside and allows Teresa entrance. As he shuts the door…
WESLEY
When did you get in?
ANGLE - Teresa removes her jacket and drapes it on the back of the couch next to Wesley’s coat.
TERESA
A couple of hours ago.
WIDE ANGLE - Wesley walks from the door and towards the couch. Teresa moves into frame and…
ANGLE - embraces Wesley tightly.
TERESA
I’ve missed you.
WESLEY
I’ve missed you, too.
CLOSE UP - when the embrace is over, the two kiss but are interrupted by the WHISTLING KETTLE (O.C).
WIDER - Wesley pulls away from Teresa and starts for the kitchen.
WESLEY
Sorry. Would you like a cup?
TERESA
Yes, please.
ANGLE - as Wesley disappears into the kitchen…
ANGLE - Teresa takes a seat on the couch. O.C. we HEAR the clinking of china as Wesley goes about making the tea. Teresa looks around the living room then towards the kitchen as…
ANGLE - Wesley returns with two cups. He hands one to Teresa then as he sits down beside her…
WESLEY
So, how have you been? I was
worried when I hadn’t heard from
you this past week.
TERESA
(sadly)
My mother passed away on Tuesday.
CLOSE UP - Wesley’s face falls and is then full of sympathy.
WESLEY
Oh, Teresa, I’m so sorry.
TERESA
Thank you.
WESLEY
How are you holding up?
TERESA
It’s hard, you know?
WESLEY
Losing a loved one is never easy,
but as time passes, the pain will
gradually lessen.
TERESA
I keep telling myself that, but…
(shakes her head)
Hopefully, it will for you, too.
WESLEY
Me? How so?
TERESA
I’m moving back to Colorado…
permanently.
WESLEY
Oh?
(beat)
When?
TERESA
As soon as I’ve packed all my stuff
and found someone to lease my
apartment.
WESLEY
Oh.
(then)
Not to sound like I’m trying to get rid
of you or anything, but I know of
someone who may be interested
in the apartment.
TERESA
Who?
WESLEY
Charles Gunn.
TERESA
What happened to the place under
the office?
WESLEY
Angel’s back there now.
TERESA
Don’t you mean Angelus?
WESLEY
No. He has a soul again.
TERESA
Since when?
WESLEY
A few days ago.
TERESA
What about Paris?
WESLEY
Paris is another story.
TERESA
I think you should fill me in on
everything that’s happened since
I’ve been away. Starting
with Paris and Angel.
Off Wesley.
CUT TO…
SCENE 4
INT - EXCALIBAR - NIGHT
ANGLE - Lindsey is in the corridor, his ear to the door, trying to listen to what’s going on inside the room. Suddenly the door opens a little, startling Lindsey. He steps back as he hears…
PARIS (O.C)
I love you.
ANGLE - the door opens further and Paris walks out, pulling the door closed behind her. She looks to her left and sees Lindsey standing in the middle of the corridor.
LINDSEY
Is everything okay?
PARIS
Everything’s just peachy, Lindsey.
ANGLE - Paris moves past Lindsey and walks towards the exit door at the end of the corridor.
LINDSEY
Paris, wait.
ANGLE - Paris ignores him and pushes the bar that opens the door. As she exits the building…
ANGLE - Lindsey starts after her.
HARD CUT TO…
SCENE 5
EXT - EXCALIBAR - REAR OF BUILDING - NIGHT
WIDE ANGLE - Paris has stopped about ten feet from the building as we see Lindsey push the door open and step outside.
LINDSEY
Paris…
PARIS
Get back inside, Lindsey.
LINDSEY
Not until -
ANGLE - A Tregothi demon (#1) moves into frame and knocks Lindsey to the ground. He looks up as the same demon…
REVERSE ANGLE - joins three of his mates in attacking Paris.
ANGLE - Lindsey gets to his feet and watches the fight.
WIDE ANGLE - Tregothi #1 kicks Paris in the middle of her back which sends her into the arms of Tregothi #2. Tregothi #2 quickly turns Paris around so she’s facing Lindsey.
PARIS
Go!
ANGLE - Tregothi #2 holds Paris’ arms, Tregothi #3 strikes her hard across the face then Tregothi #4 punches her hard in the stomach.
ANGLE - Lindsey turns and goes back inside.
WIDE ANGLE - Tregothi #1 catches Paris’ leg as she tries to kick her way free. Paris struggles in Tregothi #2’s grip as Tregothi #4 takes her other leg.
ANGLE - Tregothi #3 strikes Paris several times in the face and head until she is rendered unconscious.
WIDE ANGLE - a blue van reverses back towards the demons. Tregothi #3 opens the rear doors as…
ANGLE - Lindsey rushes out of the building again, this time with Angel. Angel watches as…
WIDE ANGLE - The Tregothis load Paris into the back of the van. The demons get inside then as the doors are closed, the van drives off.
ANGEL
Damn it.
LINDSEY
I’ll follow them and let you know
what they do to her.
ANGLE - Angel nods then…
ANGLE - Lindsey follows the path the van took.
ANGLE - Angel stands hands on hips and bows his head. He shakes his head slowly then follows Lindsey’s path.
CUT TO…
SCENE 6
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
WIDE ANGLE - Wesley, Gunn and Cordelia are still at the office. They are all seated.
ANGLE - Cordelia looks at her watch.
CORDELIA
He should’ve been back by now.
ANGLE - as Gunn stands up…
GUNN
I’m going down there.
WESLEY
Charles…
GUNN
(looks at him)
I know what Angel said, but I ain’t just
gonna sit here and do nothing, Wes.
WESLEY
I want to go to the bar as well, but -
CORDELIA
(noticing, softly)
Angel.
ANGLE - The three look towards the inter-office door and see…
ANGLE - Angel standing there, hands jammed into his coat pockets.
WIDER - Cordelia stands and moves towards him.
CORDELIA
Are you alright?
ANGLE - Silently, Angel moves deeper into the office.
WESLEY
What happened?
Did you see Darla?
ANGEL
(softly)
Yeah.
GUNN
And?
ANGEL
I watched Paris kill her.
ANGLE - Wesley…
ANGLE - Gunn and…
ANGLE - Cordelia are stunned.
CORDELIA
The wicked vamp of the west is dead?
CLOSE UP - Angel glowers at Cordelia, then…
ANGEL
Yeah.
WIDE ANGLE - Angel moves around the visitors chairs and stands against the wall between the stairs and the elevator.
WESLEY
Paris was at the bar?
ANGEL
Yeah.
WESLEY
Did she and Darla fight?
ANGEL
No. Actually, it was one of the few
times they were civil towards each other.
GUNN
So why’d Paris kill her then?
ANGEL
Paris had been talking on and off for
months about killing Darla…tonight
she did it.
ANGLE - Angel slides down the wall and sits on the floor, his knees slightly drawn.
WESLEY
Was that before or after Darla had
a chance to tell if Paris had a soul?
ANGEL
After.
CORDELIA
(stepping towards Angel)
And does she?
ANGEL
(looking up)
Does she what?
CORDELIA
Have a soul.
ANGEL
(wearily)
I don’t know. I can sense something
resembling a soul in her, but Darla
couldn’t.
WESLEY
Maybe what you’re sensing is the bond
you share with Paris. It’s clouding
your judgement.
ANGEL
I don’t know…maybe.
GUNN
Did you ask her about it?
ANGEL
She said that there are moments when
she feels like she has a soul, and
moments when she doesn’t.
CORDELIA
Like a split personality?
ANGLE - Angel looks up at Cordelia while he considers that possibility.
ANGEL
Maybe. Maybe that’s what
happened when she killed Charlie
last night.
ANGLE - Cordelia, Gunn and Wesley are stunned by that statement.
WESLEY
Paris killed Charlie? Why?
ANGEL
I don’t think she really knows.
GUNN
So, where’s Paris now?
ANGEL
Lindsey’s trying to find out.
CORDELIA
Lindsey? He was there?
ANGEL
He took Darla to the bar. Some
Tregothi demons attacked Paris at the
back of the bar then put her in the
back of a van. Lindsey’s gone
to Wolfram And Hart to see what he
can find out.
WESLEY
The demons work for them?
ANGEL
Yeah.
ANGLE - Angel reaches into his coat pocket and takes out the plastic bag with the powder.
ANGEL
(cont’d)
This kills them. I just didn’t
have a chance to use it.
CORDELIA
So, if Wolfram And Hart have Paris, and
Lindsey finds out where they’re holding
her, when are we going to get her out?
ANGEL
We’re not.
ANGLE - Wesley, Cordelia and Gunn are stunned by Angel’s answer.
DISSOLVE TO…
SCENE 7
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
ANGLE - Cordelia closes the front door, locks it then moves across the apartment in the dark.
TIME CUT TO…
SCENE 8
INT - CORDELIA’S APARTMENT - BEDROOM - NIGHT
ANGLE - Cordelia is in bed. She lays her head down on the pillow and closes her eyes.
TIME CUT TO…
SCENE 9
INT - CORDELIA’S APARTMENT - NIGHT
LIVING ROOM - REVERSE ANGLE - we see the back of someone moving from the front door and across to the bedroom.
BEDROOM - ANGLE - the person enters Cordelia’s bedroom where she is…
ANGLE - sleeping peacefully.
WIDER - the person moves to the bed and clamps a hand over Cordelia’s mouth.
CLOSE UP - her eyes fly open in fear. The fear quickly turns to anger and puzzlement when she sees…
CLOSE UP - Lindsey.
LINDSEY
Sshhh.
CORDELIA
What the hell are you doing?
LINDSEY
I can’t stay long. I’m pretty
sure I’m being watched.
CORDELIA
Are you alright?
LINDSEY
Yeah.
CORDELIA
What happened tonight?
LINDSEY
You mean after Paris killed Darla?
CORDELIA
(nods)
Yeah.
LINDSEY
I don’t know. Angel told me to
get out and I wasn’t about to argue
with him. I tried listening through
the door but the music in that place
was just too loud.
CORDELIA
Angel said that Paris was the one
who killed Charlie.
CLOSE UP - Lindsey is surprised by the news as he…
WIDER - sits on the edge of the bed.
WIDER - Cordelia sits up and rests her chin on Lindsey’s shoulder as she takes his hand in hers.
LINDSEY
So, she inherited the power?
CORDELIA
That’s how it works, yeah.
Lindsey nods.
LINDSEY
Listen, tell Angel that Paris is being
held in a cell in the dungeon at
Wolfram And Hart.
CORDELIA
They have a dungeon?
LINDSEY
Yeah. In the sub-basement
located under the east end of the
parking garage. I don’t know
how long she’s going to be there for.
CORDELIA
Okay.
LINDSEY
(cont’d)
Tell him the same spell that was used
on the cell Charlie and I were in has
been used on Paris’ cell. If he’s
planning on getting her out, he’ll -
CORDELIA
He’s not planning.
LINDSEY
Why not?
CORDELIA
He told us that given the power she
gained from killing Charlie, she would
have been able to fight those demons
without breaking a sweat.
LINDSEY
He thinks she allowed herself to
get caught.
CORDELIA
Well, she did want to see Holland,
didn’t she? The question is why.
LINDSEY
I’ll find out tomorrow…that’s when
Holland’s seeing her.
CORDELIA
Do you think she has a soul?
LINDSEY
Darla didn’t think so.
CORDELIA
Do you?
LINDSEY
Honestly?
CORDELIA
Yeah.
ANGLE - Lindsey shakes his head in the negative.
SCENE 10
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
ANGLE - from the inner office, we see Cordelia approach her desk and put her bag down behind it. She looks through the window then turns around and moves for the door.
CORDELIA
Hi.
REVERSE ANGLE - Angel is sitting at the desk going through some files.
ANGEL
(glances up)
Hey.
WIDER - as Cordelia moves in to the office…
CORDELIA
What are you doing?
ANGEL
Just going through some of the cases
you guys worked on while I was…
you know.
CORDELIA
Otherwise pre-occupied?
ANGEL
Yeah. There are a couple of files
where I don’t recognise the writing though.
CORDELIA
Teresa probably did them.
CLOSE UP - Angel thinks for a moment, then…
ANGEL
Oh, the woman who was here…
Wesley’s friend.
CORDELIA
Yeah.
ANGEL
Why was she writing up files?
WIDER - Cordelia steps forward and takes a seat opposite Angel.
CORDELIA
Because I was recovering.
ANGEL
Recovering from what?
CORDELIA
Didn’t Wesley or Gunn tell you?
ANGEL
(concerned)
Tell me what? What happened?
CORDELIA
I overdosed…on painkillers.
CLOSE UP - Angel takes that in.
CORDELIA
(cont’d)
The visions had been getting worse
and I was taking Vicodin to help with
the pain. But after you and Paris
left, the visions worsened and the
pain became unbearable.
ANGEL
So you tried to stop the pain altogether.
CORDELIA
Yeah. Luckily Lindsey found me
in time.
ANGEL
So how do you deal with the pain now?
CORDELIA
Meditation, but ever since that night,
the Powers seem to have been taking
it easy on me because the visions are
nowhere near as bad as they used to be.
ANGEL
Good.
(beat, looks at her)
You’re happy with him, aren’t you?
CORDELIA
With Lindsey?
(off Angel’s nod)
I am.
(beat, serious)
He came to see me last night.
He said that Paris is being held in
the dungeon at Wolfram And Hart.
ANGEL
(surprised)
They have a dungeon?
CORDELIA
Yeah, in a sub-basement under the east
end of the parking garage. She’s in
a cell that has the same spell as the
one you used for Charlie.
ANGEL
She knows how to break it.
CORDELIA
The spell?
ANGEL
Yeah. She memorised it just
in case.
WESLEY (O.C)
Who memorised what?
ANGLE - Cordelia looks towards the door.
CORDELIA
Hey, Wes.
ANGLE - Teresa appears by Wesley’s side.
CORDELIA
And Teresa…hi.
TERESA
Hi, Cordy.
CORDELIA
I didn’t know you were back.
TERESA
I got in last night.
ANGLE - The door for the stairs opens and Gunn enters the office.
GUNN
Woh…party time.
(then, surprised)
Teresa, hi.
TERESA
Hi, Charles.
WESLEY
Angel, you remember Teresa,
don’t you?
ANGEL
Yeah.
(to Teresa)
Hi.
TERESA
Hi.
WESLEY
I filled Teresa in on everything that’s
happened during her absence.
TERESA
It was quite a story.
CORDELIA
Especially given that it’s real.
WESLEY
(to Angel)
Any word about Paris?
CORDELIA
I was just telling Angel that…
DISSOLVE TO…
SCENE 11
INT - WOLFRAM & HART - DUNGEON - DAY
CORDELIA (V.O)
...Wolfram And Hart have her
locked up.
WIDE ANGLE - as we HEAR a door open, we see Paris sitting in a corner of the small cell that measures six feet by eight feet.
CLOSER - her knees are drawn and her head is tilted back against the wall. Her eyes are closed and she seems to be asleep. For a few moments there is silence then…
PARIS
(evenly)
I was wondering how long it would
be before you showed up.
CLOSE UP - Paris opens her eyes and tilts her head forwards slightly as she looks up at…
ANGLE - Holland.
HOLLAND
Hello, Paris.
PARIS (O.C)
And you brought the welcoming
committee. How thoughtful of you.
WIDER - we now see Lindsey and Lyle standing either side but behind Holland.
ANGLE - Paris stands up and takes several steps towards the front of the cell. She looks at the three men.
PARIS
Well, I already know Mr McDonald.
Aren’t you going to introduce me to
his new playmate, Holland?
HOLLAND
This is Lyle McInerney.
Lyle, Paris O’Riordan.
ANGLE - Paris looks at Lyle, a devilish smile on her face that is enough to…
ANGLE - make Lyle feel uncomfortable.
PARIS
So, you’re the one I spoke to on
the phone the other day. It’s nice
to finally put a face to the voice.
CLOSE UP - Paris looks at…
TIGHT - Lyle’s throat and…
CLOSE UP - …a flash of hunger hits her eyes.
LYLE
I don’t believe we’ve…
ANGLE - using a ‘blonde’ California-type voice…
PARIS
Hi. Are you the one that
works with Lindsey? My name’s
Patience…I’m a friend of Lindsey’s…
(then, regular voice)
Is it all coming back to you, Lyle?
ANGLE - Lyle looks across at Lindsey.
LYLE
Told you she seemed different
on the phone.
ANGLE - Holland turns his head slightly in Lyle’s direction which forces Lyle to pay attention and focus.
WIDER - Holland takes a step towards the cell.
HOLLAND
You’ve been a busy girl of late,
haven’t you?
PARIS
(jaded)
Gotta do something to help make
eternity move a little faster.
HOLLAND
Like killing, Darla?
ANGLE - Paris looks at…
ANGLE - …Lindsey.
PARIS
Tut, tut. I’m disappointed,
Lindsey. Why’d you have to
go and tell him what I did?
LINDSEY
Because Darla wasn’t supposed to die.
PARIS
Yeah, she was. And I’d kill her
again given half a chance.
HOLLAND
Darla’s dead. Unfortunately, though,
you’re the only one revelling in that joy.
PARIS
Awww…let me guess…the bosses
aren’t happy.
HOLLAND
Far from it.
PARIS
Well, boo-hoo. I’ve upset the
Senior Partners.
HOLLAND
Yes, you have.
PARIS
I want to hear it from them.
HOLLAND
Excuse me?
PARIS
You heard me. I want to hear the
Senior Partners say that they’re pissed
off at me for killing off one of their future
inductees. Get Edictoradi down
here, or better yet, get Lemerczic down
here to tell me he’s pissed at me for
everything that’s happened in the last
few days. I’m real interested to
hear what his thoughts are on Angel
and his newfound soul.
HOLLAND
So his friends didn’t try to re-ensoul you?
PARIS
They tried, they failed. Just like
Angel failed to save the Receiver before
I killed her.
ANGLE - Lindsey appears shocked by Paris’ revelation, but stays quiet.
HOLLAND
You killed the Receiver?
PARIS
Uh huh.
HOLLAND
Well…the Senior Partners are going to be
most upset when I tell them that news.
PARIS
I’m sure they already know, Holland.
(beat)
So, when do I get my meeting with them?
HOLLAND
I’ll let you know.
PARIS
Well, while I’m waiting, could I have
some breakfast? A warm body of
O-negative would go down very
nicely right about now.
HOLLAND
I’ll see what I can do.
PARIS
Thanks.
ANGLE - Holland turns and leaves, and Lyle follows.
HOLLAND
Lindsey…
LINDSEY
I’ll catch up in a minute.
WIDE ANGLE - Once Holland and Lyle have left the room, Lindsey steps towards the cell and looks at Paris.
LINDSEY
(whispers)
You killed Charlie…
(off Paris’ smile)
…why?
PARIS
I’m evil, Lindsey, it’s what I do.
LINDSEY
Why did you allow yourself to be
caught last night?
PARIS
Angel should’ve figured it out by now.
Ask him.
LINDSEY
He’s not coming to save you.
Paris smiles.
PARIS
Smart boy.
Off Paris.
DISSOLVE TO…
SCENE 12
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
ANGLE - on Angel who has given up Wesley’s chair and is now standing near the elevator.
ANGLE - Cordelia and Teresa are sitting in the visitor’s chairs and Gunn is standing near the inter-office door.
CORDELIA
So when are you leaving?
TERESA
As soon as I’ve packed and found
someone to lease my apartment,
which brings me to why I’m here.
(to Gunn)
Wesley said you might be interested
in leasing my place.
GUNN
(looking at Wesley)
Me?
WESLEY
It was just an idea.
WIDE ANGLE - Gunn looks at Teresa.
GUNN
How much are we talking a month?
TERESA
Wesley told me that you don’t have
a lot saved up, so I could pay the
next three months for you. After
that you’ll be paying six hundred.
GUNN
A month?
TERESA
Yeah.
GUNN
A month?
CORDELIA
Six hundred’s good despite it being in
the Valley, Gunn.
TERESA
Plus it’s rent controlled.
Those two little words change Gunn’s mood.
GUNN
(eagerly)
So, when can I see it?
TERESA
Now, if you like.
GUNN
Let’s go then.
ANGLE - Gunn turns and heads for the front door.
TERESA
Are you coming, Wesley?
WESLEY
No, I’ll stay here.
TERESA
I’ll see you later then?
WESLEY
Yes.
ANGLE - Teresa stands up then moves out of the office.
CORDELIA
(to Wesley)
It’s a pity Teresa can’t stay on in LA.
WESLEY
Yes, it is.
CORDELIA
I know I had my doubts in the beginning,
but she’s good for you, Wes.
WESLEY
Thank you, Cordelia. Unfortunately,
Teresa and I agreed last night not to
try a long distance relationship.
CORDELIA
Oh. I’m sorry, Wesley.
Wesley nods then looks at Angel.
WESLEY
So, given what Lindsey told Cordelia
last night, you’re still not going to get
Paris out of Wolfram And Hart?
ANGEL
No.
WESLEY
May I ask why?
ANGEL
Even though her soul status is
questionable at the moment, I still
know her better than anyone. I have
to trust in the fact that what she’s
doing is the right thing.
CORDELIA
Right for who?
The world in general, or just her?
ANGLE - Angel is silent, unsure of his answer.
WESLEY
You don’t know because it’s unclear
if she’s on the side of good or evil.
ANGEL
Let’s just see what happens in the
next few days. Okay?
Off Angel.
CUT TO…
SCENE 13
INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY
ANGLE - Lindsey and Lyle are standing side-by-side in Holland’s office.
ANGLE - Holland is standing at the large window, looking out at the city.
HOLLAND
Lindsey, when you told me yesterday
that Angelus was going to be at that
bar, you didn’t know he had a soul?
LINDSEY
No, sir. As soon as Darla sensed
his soul, he dropped the Angelus act.
HOLLAND
Any idea when he got it back?
LINDSEY
It must’ve only been in the last few days.
HOLLAND
And what about The Receiver?
Did you know Paris had killed her?
LINDSEY
No, sir. Like you, I just found
out now.
CLOSE UP - Holland takes a moment to think.
HOLLAND
Lyle…
LYLE
Yes, sir?
HOLLAND
Locate the new Receiver and have
her brought here immediately.
LYLE
Yes, sir. Will there be anything
else?
HOLLAND
No.
ANGLE - Lyle turns and leaves the office.
HOLLAND
When Paris killed Darla…
(turns around)
…did Angel try and stop it?
LINDSEY
No. It happened so quick that
even Darla didn’t have a chance
to stop it.
HOLLAND
Was he upset?
LINDSEY
I think he was surprised more than
anything.
HOLLAND
Where’s he living now?
LINDSEY
Back in his old place under Angel
Investigations.
HOLLAND
Was Paris?
LINDSEY
Not as far as I know. I don’t think
there was any particular place Paris
was calling home recently.
HOLLAND
Until now.
Beat.
LINDSEY
Are you going to grant Paris’
request to see the Senior Partners?
HOLLAND
That’s up to them.
LINDSEY
What are we going to do with her?
HOLLAND
Nothing until I’ve spoken to the
Senior Partners.
LINDSEY
And Angel?
HOLLAND
Nothing. Now that he has his
soul back, he’s no longer valuable
to the Senior Partners.
(beat)
Lindsey, what was Paris doing at that
bar last night?
LINDSEY
I don’t know. Maybe she heard
Angel would be there and she’d try
and turn him again.
HOLLAND
Hmmm…possibly.
(looks at Lindsey)
Find out for me, will you?
LINDSEY
Yes, sir.
Off Lindsey as he turns to leave.
BLACK OUT
SCENE 14
INT - TERESA’S APARTMENT - DAY
ANGLE - on the front door as we HEAR a key slide into lock. The door opens and Teresa enters the apartment then Gunn follows her inside. Gunn moves along the hallway while Teresa shuts the door.
WIDER - Gunn stands at the end of the hallway then Teresa steps up along side him.
TERESA
Okay…this, as you may have
guessed, is the living room.
REVERSE ANGLE - we see the living room which has empty boxes scattered around it. There are several piles of books on the floor near the large bookcase.
GUNN
It’s certainly a lot brighter than
Angel’s place, that’s for sure.
TERESA
Over here…
(indicating to the left)
…is the master bedroom and bathroom.
ANGLE - Gunn moves to the left and enters the bedroom. A few moments later he reappears.
GUNN
I like the big closet.
TERESA
You can get quite a bit in it.
GUNN
I noticed.
ANGLE - Gunn then pokes his head in the bathroom.
GUNN
Cool. A shower and a bath.
As Gunn turns and looks at Teresa again…
TERESA
This place and the one above are
the only two apartments that have
a separate shower and bath.
WIDE ANGLE - Gunn moves to the kitchen that is off the living room.
ANGLE - he looks at the electric stove, sink, fridge and the cupboards.
TERESA
The fridge is staying, so you won’t
have to worry about getting one.
GUNN
Good. This is a great place.
TERESA
Yeah, it is.
GUNN
It needs a man’s touch though.
TERESA
Well, you’re free to change it to your liking.
GUNN
How are the neighbours?
TERESA
There’s a retired couple next door…
(points towards the bookcase)
…you won’t hear anything from them
until it’s time to take the dog for a walk.
GUNN
What kind of dog?
TERESA
Maltese Terrier. There’s a woman
in her twenties on the other side…
(points towards the common wall)
…she’s been seeing the same guy for
six years and they’ve broken up at
least four times this year alone.
GUNN
You’re kidding.
TERESA
Nope. Every time they break up,
out comes the Mariah Carey.
GUNN
Oh, God, not Mariah.
Please don’t tell me she sings.
TERESA
Not all the time.
GUNN
(sarcastic)
Great.
(then)
What about the others?
TERESA
There’s a gay couple above but they’re
hardly ever home, and then there’s a
Chinese couple downstairs who
always seem to be cooking something.
GUNN
I was wondering what that funky smell was.
TERESA
You’ll fit in here, Charles. You just
can’t bring your work home with you.
GUNN
So no demons?
TERESA
No demons.
GUNN
Works for me.
ANGLE - Gunn looks around and takes in the apartment.
GUNN
(cont’d)
I’ll take it.
TERESA
(smiles)
Excellent. I’ll get the papers drawn
up to make it all legal, and you can
move in by the weekend.
GUNN
Great.
WIDER - Teresa moves towards one of the empty boxes and picks it up.
GUNN
You need a hand with anything?
TERESA
I’m good.
GUNN
Okay. Well, if you need a hand
moving boxes or anything, let me know.
TERESA
I will.
GUNN
Okay, then.
ANGLE - As Gunn turns to leave…
TERESA
Charles…
GUNN
Yeah?
TERESA
Thanks.
GUNN
I should be the one thanking you.
ANGLE - Teresa smiles her appreciation then…
ANGLE - Gunn turns to leave.
DISSOLVE TO…
SCENE 15
EXT / INT - WOLFRAM & HART - DUNGEON - DAY - INTERCUT
EXT - CORRIDOR - Lindsey walks along a white corridor to where…
REVERSE ANGLE - Two Ri’Mindafaur demons are standing guard either side of a door.
LINDSEY
Open it.
ANGLE - One of the Ri’Mindafaur demons unlocks the door then pushes it open.
WIDER - Lindsey steps forward and…
INT - ANGLE - into the room. As the demon pulls the door shut, Lindsey moves towards…
ANGLE - the cell where Paris is once again sitting on the floor.
PARIS
Back so soon, Lindsey?
LINDSEY
Holland wants to know why you
went to Excalibar last night.
PARIS
Why?
LINDSEY
He has an inquiring mind.
ANGLE - Paris stands up and moves towards the front of the cell. She looks at…
PARIS’ POV - Lindsey for a moment then - PAN - looks up at the far left corner where there’s a security camera.
PARIS
I went there because I’d heard Angel
was going to be there. I wanted
to try and get him alone so I could
rip that damn soul from his body.
ANGLE - Holland is sitting at his desk watching…
TIGHT - Paris via the security footage on his computer monitor. She is looking directly up into the camera, her eyes are cold.
PARIS
The Senior Partners aren’t the only
ones who want Angelus back, Holland.
TIGHT - on Holland’s face. He’s a little unnerved that Paris is talking directly to him.
ANGLE - Lindsey steps forward.
LINDSEY
So you didn’t know Angel was
meeting Darla last night?
PARIS
I didn’t even know she was back in town.
LINDSEY
So, why kill her?
PARIS
Why not kill her?
Beat.
LINDSEY
Do you know where the new Receiver is?
PARIS
Why should I tell you?
LINDSEY
(firm)
Do you know or don’t you?
PARIS
I know she’s not in LA, beyond that,
I have no idea where she is.
ANGLE - Holland looks a little puzzled.
HOLLAND
How do you know…
LINDSEY
…she’s not in LA?
TIGHT - on Holland’s computer monitor as Paris steps right up to the bars.
PARIS
How do you think?
LINDSEY
You tried possessing her.
PARIS
Very good, Lindsey.
LINDSEY
That doesn’t necessarily mean she’s
not in the city though. The spell
that’s been put around the cell stops
you from possessing the Receiver.
PARIS
No it doesn’t, Lindsey. It slows
me down a little, but it doesn’t stop me.
(beat)
Is that all?
LINDSEY
For the moment.
PARIS
So when do I get my breakfast and
my meeting with the head honchos?
LINDSEY
Breakfast is on its way. As for
meeting the Senior Partners, we’ll
let you know.
PARIS
Don’t keep me waiting, Lindsey.
WIDE ANGLE - Lindsey looks at Paris for a moment then turns and moves back to the door.
TIGHT - on the computer monitor. Paris looks directly into the security camera again.
PARIS
That goes for you, too, Holland. .
I want my meeting.
CLOSE UP - on Holland who still looks a little unnerved.
TIME CUT TO…
SCENE 16
INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY
WIDE ANGLE - Lindsey enters Holland’s office and finds Holland sitting back in his chair, thinking.
LINDSEY
Did you hear everything she said?
HOLLAND
I did. It seems you’re getting to
know her quite well.
(off Lindsey’s questioning look)
When you asked her why she was at
the bar, her answer matched yours
almost word for word. If I didn’t
know better, I’d say you coached her…
or she coached you.
LINDSEY
I swear, Holland, I had no idea she
was going to be there.
HOLLAND
(placates)
I believe you, Lindsey.
LINDSEY
I stopped by Lyle’s office and told him
what Paris said about the Receiver.
HOLLAND
He should start looking in LA.
LINDSEY
But Paris said she wasn’t in LA.
HOLLAND
And you believe her? The one
place she says the Receiver isn’t,
is the exact place the Receiver will be.
LINDSEY
You said it seems I’m getting to know
Paris well -
HOLLAND
(corrects)
Quite well, but go on.
LINDSEY
I believe her when she says the
Receiver is not in LA.
HOLLAND
Really?
LINDSEY
And I also believe that she doesn’t know
where the Receiver is.
ANGLE - Holland looks at…
TIGHT - the computer monitor and we see a VAMPED OUT Paris slowly draining the life out of her breakfast. When Paris pulls away from the young man…
WIDER - Holland clicks the computer mouse and…
TIGHT - the camera zooms in on Paris. She knows she’s being watched and turns to look directly into the camera…there’s blood on her lips and her yellow eyes show all the signs of evil.
CLOSE UP - Holland flinches slightly as she looks at him.
TIGHT - Paris flicks her tongue over her fangs then looks back at her meal.
PARIS
I think I’m going to save you for later.
ANGLE - Holland looks from the monitor to Lindsey who is watching the monitor.
HOLLAND
Do you still believe her, Lindsey?
Off Lindsey who isn’t too sure.
CUT TO…
SCENE 17
INT - TERESA’S APARTMENT - LIVING ROOM - DAY - INTERCUT
WIDE ANGLE - Teresa has packed a number of boxes since we last saw her. There are six largish boxes stacked against the wall near the kitchen and then there are two smaller boxes sitting on one side of the couch. The bookcase is almost empty.
ANGLE - as Teresa moves to the last section of the bookcase, the phone rings. She reaches for the cordless phone on the coffee table and answers it.
TERESA
Hello?
ANGLE - Wesley is at the office, sitting in his chair.
WESLEY
Hi. It’s me.
TERESA
Hi, Wes.
WESLEY
How’s the packing going?
TERESA
(looking around)
It’s getting there slowly. I’m glad
you called though…I have a couple
of boxes here for you.
WESLEY
(frowning)
I don’t recall leaving anything at
your place.
TERESA
You didn’t. I’m leaving you some
of my books…ones with some of the
more obscure references.
WESLEY
You needn’t do that, Teresa.
TERESA
I want to.
WESLEY
How about we discuss this tonight over
dinner?
TERESA
Dinner sounds good.
WESLEY
Alright then. I’ll come by and -
TERESA
(interrupts)
How about I just meet you?
WESLEY
Okay. The French Connection at seven?
TERESA
How about The Temple Bar at eight?
WESLEY
The Temple Bar at eight it is.
I’ll meet you there then.
TERESA
Okay. Bye.
WESLEY
Bye.
ANGLE - Teresa hangs up, puts the phone back on the coffee table then turns her attention back to the bookcase.
CUT TO…
SCENE 18
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
WIDE ANGLE - Cordelia walks into Wesley’s office and puts a file on his desk.
CORDELIA
You’re going out tonight?
WESLEY
Yes, with Teresa.
CORDELIA
For a farewell dinner?
WESLEY
Not as such.
CORDELIA
Good, because I was thinking of
throwing her a farewell dinner at
my place.
WESLEY
Don’t go to too much trouble, Cordelia.
ANGLE - as Gunn appears in the doorway…
GUNN
What’s too much trouble?
CORDELIA
I wanted to do a farewell thing for Teresa.
GUNN
Cool…I’m in.
WESLEY
By your happy demeanour, I take it
you liked Teresa’s apartment?
GUNN
Yep.
CORDELIA
So, you’re moving in?
GUNN
As soon as she’s gone, I’m in there.
(then, realises)
Did that sound too eager?
ANGLE - Cordelia holds up her hand and measures ‘a little bit’ with her thumb and forefinger.
GUNN
Sorry. The place was bigger
than I thought it would be.
CORDELIA
Is she leaving all the furniture behind?
GUNN
Most of it, yeah.
CORDELIA
Well, that’s good seeing as you don’t
own so much as a beanbag chair.
GUNN
One of these days I will.
CORDELIA
(glowers)
You’re kidding.
GUNN
Hey, once the little bean things are in
the right spot, you can’t move me
for hours.
WIDER - as Cordelia starts to head out of the office…
CORDELIA
To each his own, I guess, but give me a…
(stops suddenly)
…vision…
ANGLE - Gunn just reaches Cordelia as the vision hits her hard.
INSERT - Teresa and Wesley
INSERT - an open space
INSERT - a big, gray-fleshed demon
ANGLE - Gunn has his arms firmly around Cordelia as he guides her to the closest visitor’s chair.
GUNN
What’d you see?
ANGLE - Cordelia looks directly at Wesley.
CORDELIA
You and Teresa getting attacked by
a demon.
WIDER - Gunn looks at Wesley who is alarmed.
WESLEY
When?
CORDELIA
Tonight.
WESLEY
Can you describe the demon?
CORDELIA
Big, dark gray flesh…black eyes.
(closes eyes)
Two horns in the top of its head,
sharp teeth.
GUNN
Could be any number of demons.
CORDELIA
It feeds on brains.
GUNN
Or not.
ANGLE - Wesley puts on his thinking cap then after a few moments…
WESLEY
There are four demons that I know of
off the top of my head that fit that
description.
CORDELIA
If you’ve got pictures of them, I’ll point
out the one from my vision.
Off Cordelia.
HARD CUT TO…
SCENE 19
INT - ANGEL’S APARTMENT - DAY
WIDE ANGLE - Gunn, Cordelia and Wesley step out of the elevator. Wesley moves directly into the living room where the bookcase is. As he searches for a particular book…
ANGLE - Cordelia sits cross-legged on the couch and closes her eyes. As she starts meditating…
BACKGROUND - Angel comes out of the bedroom.
ANGEL
What’s going on?
GUNN
Cordy had a vision of Wes and Teresa
being attacked tonight by some
brain-eating demon.
ANGEL
Oh.
ANGLE - Wesley pulls a book from one of the shelves and begins leafing through it. He comes to one page then approaches Cordelia. He holds the page open for her.
WESLEY
Cordelia…
ANGLE - Cordelia opens her eyes and looks at the page.
CORDELIA
Nope.
Cordelia closes her eyes again and concentrates on her breathing.
ANGLE - Wesley leafs through the book some more then comes to another page.
WESLEY
This one?
WIDER - Cordelia glances at the page.
CORDELIA
Nuh-uh.
Wesley turns to near the end of the book then…
WESLEY
How about this one?
ANGLE - Cordelia looks at the page.
CORDELIA
That’s it.
ANGLE - She closes her eyes again.
WIDE ANGLE - Wesley looks at Gunn and Angel and motions with his head for them to move into the kitchen.
KITCHEN - ANGLE - The three guys move into the kitchen and stand around the kitchen table.
ANGEL
What are we looking at here, Wes?
WESLEY
A Xanexim (pr. Zan-EX-im) demon.
GUNN
Which is what exactly?
WESLEY
The Xanexim feeds exclusively on human
brains, preferably those with high IQs.
ANGEL
Why?
WESLEY
To maintain its own IQ.
GUNN
So, it’s brainy instead of muscly?
WESLEY
Yes.
ANGEL
Shouldn’t be a problem.
WESLEY
Killing it could be a little tricky though.
GUNN
How come?
WESLEY
It has three brains.
GUNN
Three?
WESLEY
One in its head; one in the centre of
its chest; and one in the lower abdominal
region. Remove all three brains
and you kill the demon.
CORDELIA (O.C)
Which is why you’ll need to take a
weapon with you when you meet up
with Teresa later.
WIDE ANGLE - the three guys see Cordelia standing in the doorway.
WESLEY
You should be concentrating on getting
rid of the vision pain.
Cordelia steps forward and sits down near the fridge.
CORDELIA
It’s not as bad as it was, Wes.
WESLEY
I was already planning on taking a
weapon with me tonight.
CORDELIA
I know you’re Mr Brainiac and everything,
Wes, but this demon is smart. It may
not be a fighter per se, but this one’s
quick, mentally and physically.
(to Wesley)
I think you should take Gunn or Angel
with you.
WESLEY
This isn’t the first demon I’ve faced,
Cordelia, nor will it be the last.
CORDELIA
I know.
WESLEY
(cont’d)
I’m sure I can deal with one Xanexim
Demon should it make an appearance
tonight.
CORDELIA
Alright. But don’t say I didn’t warn you.
Off Cordelia.
BLACK OUT
SCENE 20
INT - TEMPLE BAR - NIGHT
MUSIC - In A Lifetime - Clannad
WIDE ANGLE - The bar is rather busy. There are a number of businessmen and women sitting around drinking and laughing, as well as some tradesmen (labourers, etc). PAN around and we see Wesley sitting at one of the tables near the wall.
ANGLE - He checks his watch which reads…
TIGHT - 8.32pm.
ANGLE - Wesley downs the remainder of his beer as…
REVERSE ANGLE - …a waitress (mid-twenties, red hair, green eyes, average build) comes over with another beer (probably Guinness). She has an Irish accent.
WAITRESS
Can I get you anything else?
ANGLE - Wesley glances towards the front entrance and…
WESLEY’S POV - sees Teresa has just entered. She looks for him so he…
TERESA’S POV - waves.
ANGLE - as Teresa makes her way through the crowd…
ANGLE - Wesley looks up at the waitress.
WESLEY
A glass of orange juice, please.
WAITRESS
(smiles)
Sure.
ANGLE - as the waitress leaves, Teresa steps up to the table.
TERESA
Sorry I’m late.
WESLEY
It’s okay.
ANGLE - as she sits…
TERESA
Apparently there was a big accident
on the one-oh-one.
WESLEY
It’s alright. I ordered a juice
for you.
TERESA
Thanks.
Once Teresa’s settled, she looks at Wesley who…
CLOSE UP - looks a little weary.
WESLEY
How’s the packing coming along?
TERESA
I’m about half done.
WESLEY
Do you need a hand with anything?
TERESA
No. All the books and bulky things
are pretty much done…there’s just all
the little knick-knacky stuff and the
kitchen to go.
WESLEY
Well, if you do…
TERESA
I’ll call you. I was hoping that
you could come over afterwards and
get those books I boxed up for you.
ANGLE - Teresa looks up as…
WIDER - the waitress comes with her orange juice.
TERESA
Thanks.
WAITRESS
Would you like to order now?
WESLEY
In a couple of minutes?
WAITRESS
Sure.
ANGLE - once the waitress has gone…
WESLEY
Are you sure you want me to have them?
TERESA
Positive. They’re the ones with
the information about the Senior
Partners in them. I figured
you’d need them more than I will.
WESLEY
Yes, I suppose we will.
(awkward beat)
Cordelia said she’d like to throw you
a farewell dinner at her place.
CLOSE UP - Teresa is a little surprised by the gesture.
TERESA
She does?
WESLEY
It surprised me, too.
TERESA
When was she planning to have it?
WESLEY
Friday night.
What should I tell her?
After a moment…
TERESA
Tell her I’ll be there.
WESLEY
(smiles)
Good.
(then)
Are you ready to eat?
TERESA
Yeah, I’m starving.
ANGLE - Wesley looks in the direction of the bar and motions that he’s ready to order.
DISSOLVE TO…
SCENE 21
EXT / INT - CORDELIA’S APARTMENT - NIGHT - INTERCUT
EXT - ANGLE - Cordelia is feeling around in her bag and she walks along the corridor towards her apartment. She takes the keys from her bag and is about to slide the key into the lock when she’s hit with more of her vision. As she catches her breath…
INSERT - Wesley appears either dead or unconscious
INSERT - Teresa is lying on the ground
ANGLE - When the vision is over, we see that Cordelia has collapsed in front of the door. Suddenly, the door opens.
ANGLE - It’s Lindsey.
LINDSEY
(concerned)
Cordy.
CORDELIA
(looking up)
Lindsey? What are…
WIDER - Lindsey crouches down and gathers Cordelia up in his arms. He carries her…
INT - …inside and lays her down on the couch.
LINDSEY
Did you have a vision?
CORDELIA
More like a continuation of the one
from earlier today. You need to
call Angel and Wesley. Tell them
that the demon’s going to attack in the
car park behind the Temple Bar, not
the vacant lot.
LINDSEY
Who’s it attacking?
CORDELIA
Wesley and Teresa. Hurry.
ANGLE - Lindsey stands up and reaches for the phone.
ANGEL’S APARTMENT - Angel is sitting in the living room sharpening a broadsword when his cell phone starts ringing. He takes it from his pocket as…
ANGLE - Gunn comes out of the kitchen with a bowl of mac & cheese.
ANGLE - Angel is looking at the phone, trying to figure out which button to press.
ANGEL
(frustrated)
How do you turn this damned thing on?
ANGLE - Gunn rolls his eyes then reaches out.
GUNN
Give it here.
ANGLE - Angel wilfully hands the phone to Gunn who answers it.
GUNN
Angel Investigations.
LINDSEY
Gunn?
GUNN
Yeah. Lindsey?
LINDSEY
Yeah. I thought this was Angel’s
number.
GUNN
It is, but until he figures out how to work
the phone, I’m playing secretary.
What’s up?
LINDSEY
Cordy had more of her vision.
She said the demon’s not going to
attack in the vacant lot.
GUNN
Where’s it attacking then?
ANGLE - Angel looks at Gunn as Lindsey tells him. Gunn then looks at Angel.
GUNN
The demon’s gonna be in the car park
behind the Temple Bar instead of
the vacant lot.
ANGEL
Makes no difference…the thing’s still
going down.
GUNN
(into phone)
You called Wesley?
LINDSEY
Not yet. I will though.
GUNN
How’s Cordy doing?
ANGLE - Lindsey looks at Cordelia who…
ANGLE - has her eyes closed and is breathing deeply.
LINDSEY
She’ll be alright.
GUNN
Good. Thanks for the heads up.
ANGLE - Gunn turns off the phone and tosses it back to Angel who pockets it.
ANGEL
I hate these things.
GUNN
I know you’ve been out of the game for
the better part of a year, Angel, but
cell phones are a part of the job.
ANGEL
I know, it’s just this one’s a lot different
from the last one I had.
GUNN
Then you’ll just have to get Cordy to
show you how to use it again.
Won’t you? Let’s go, huh?
ANGLE - Angel doesn’t answer as he gets up off the couch and moves out of frame.
CUT TO…
SCENE 22
INT - TEMPLE BAR - NIGHT
MUSIC - Na Laetha Bhi - Clannad
ANGLE - The red-headed waitress clears the dishes away as Teresa leans back in her seat.
TERESA
That filled the spot.
WESLEY
Two desserts will have that affect.
CLOSE UP - Teresa blushes with embarrassment.
TERESA
I’m going to miss this after I’m gone.
WESLEY
Miss what?
TERESA
This. You and me having dinner
and intelligent conversation.
WESLEY
There are quite a few people who wouldn’t
consider stories about Kwaini or
Ga’shnaki demons terribly intelligent.
TERESA
(laughs)
True.
ANGLE - Teresa looks at Wesley who is…
REVERSE ANGLE - …smiling.
TERESA
I wish I didn’t have to go back to Denver.
CLOSE UP - the smile slowly disappears from Wesley’s face.
WESLEY
So don’t.
ANGLE - Wesley moves his hand across the table and allows it to rest on top of Teresa’s. .
TERESA
I have to, Wesley. There’s just
too much to sort out with the estate
and the house.
ANGLE - Wesley is silent as he looks down into his half-full glass of beer.
TERESA
(cont’d)
You can come and visit me when you’re
not fighting the demon of the week.
(off his nod)
And I’ll come and visit when I have a chance.
WESLEY
I’ll look forward to it.
TERESA
Wesley, you know I love you…
WESLEY
(looking up)
And I love you.
TERESA
(smiles)
I know, but we agreed last night that it
would be wiser not to do the long-distance
relationship thing and just remain friends.
Good friends.
WESLEY
I know.
WIDER - Teresa leans forward over the table. Wesley also leans forward and she kisses him for a few moments before leaning back.
CLOSE UP - Wesley smiles a little, then after a moment…
WESLEY
Are you ready to go?
TERESA
Yeah.
Off Wesley who summons the waitress for the bill.
TIME CUT TO…
SCENE 23
EXT - FREEWAY - ANGEL’S CAR - NIGHT
CLOSE UP - Angel is looking ahead, craning his neck trying to see something.
WIDER - he’s standing on the driver’s seat while Gunn remains seated. As Angel sits back down…
ANGEL
I knew we shouldn’t have taken the
one-oh-one.
GUNN
The next exit is only a couple of hundred
yards. We can take that…
…if someone will let us in.
ANGEL
I could get there faster on foot.
GUNN
So go then.
(off Angel’s look)
Go.
ANGLE - Angel doesn’t need to be told twice. He shuts off the engine and takes the keys out of the ignition.
WIDER - He gets out of the car and moves back to the trunk as Gunn slides across to the driver’s seat.
ANGLE - Angel takes the broadsword from the trunk then slams the lid shut.
ANGLE - other drivers see the broadsword and…
CLOSE UP - …the peeved look on Angel’s face.
ANGLE - people start quickly rolling up their car windows and locking their doors, fearing that Angel’s going to go nuts and start killing everyone.
ANGLE - Angel moves back to the driver’s door and hands the keys to Gunn.
ANGEL
Get there as soon as you can.
GUNN
You, too.
WIDE ANGLE - Angel starts jogging down the freeway and weaves in and out of the traffic towards the side railing about thirty yards up ahead.
ANGLE - Gunn starts the engine as…
ANGLE - the car in front of him moves several feet.
FOREGROUND - he starts to angle the Plymouth into the right hand lane as we see…
BACKGROUND - Angel step up on to the side railing and, as a couple of drivers get out of their cars, he steps off.
DISSOLVE TO…
SCENE 24
EXT - STREETS / CAR PARK - NIGHT
WIDE ANGLE - Wesley and Teresa exit the bar and start down the street.
WESLEY
Where did you park?
TERESA
Round back.
ANGLE - Wesley takes Teresa’s hand in his as they walk to a narrow side street then turn down it.
LONG ANGLE - Wesley sees the ‘P’ sign for the car park up ahead on the left about twenty yards.
WIDE ANGLE - Wesley and Teresa enter the open air car park. Teresa reaches into her handbag and digs around for her car keys. Just as she pulls them out…
WIDE UPWARD ANGLE - the Xanexim demon leaps from a low-storey building adjacent to the car park.
ANGLE - the demon lands in front of a blue SUV that’s parked against a wall.
ANGLE - Teresa lets out a short scream of surprise as…
ANGLE - Wesley reaches for a dagger that is in a sheath strapped to his leg under his trousers.
WIDE ANGLE - as the demon steps towards Teresa…
TERESA
(afraid)
Wesley…
WESLEY
(urgently)
Get in the car.
ANGLE - Teresa turns and starts towards a red Pontiac Grand Am at the back of the lot.
WIDE ANGLE - Wesley moves towards the demon, but the demon is more interested in going after Teresa. The Xanexim moves quickly towards her.
ANGLE - She looks over her shoulder and sees the demon coming at her. She starts running towards the Pontiac but the demon…
WIDER - catches her by the arm.
TERESA
Wesley!
ANGLE - Wesley is already moving towards the demon who…
ANGLE - spins Teresa around to face him.
WIDER - Wesley rushes up behind the demon and thrusts the dagger between its shoulder blades.
XANEXIM
(pain)
Grrr…
ANGLE - before Wesley can thrust the dagger into the demon’s back again, the demon turns around, raises its arm and swats Wesley aside. The force of the blow sends Wesley…
WIDE ANGLE - sailing through the air about fifteen feet. He lands on…
ANGLE - the hood of a green Buick that’s parked two cars away. Wesley’s head cracks the windshield and he’s knocked unconscious.
ANGLE - while the demon has been distracted with Wesley, Teresa has started towards her red Pontiac again.
WIDER - the Xanexim turns and sees her, then moves quickly after her.
ANGLE - Teresa finally reaches her car.
CLOSE UP - she keeps looking to her right as she tries to get the key in the lock.
TIGHT - she finally gets the key in the lock then…
CLOSE UP - looks to her right. Her eyes widen in terror as the demon’s hand comes in to frame and closes around her throat.
ANGLE - the Xanexim looks at her with great interest for a moment then…
XANEXIM
(broken English)
One, four, seven. Good.
TERESA
(choking)
One, four, seven, what?
XANEXIM
Smart brain.
ANGLE - suddenly the demon’s black eyes widen and it looks down at…
WIDER - a blade protruding from its chest. The demon looks over its shoulder and sees…
WIDER - Angel standing behind him.
ANGEL
Looks like you need a few more
IQ points.
ANGLE - Angel pulls the sword from the demon’s body.
TERESA
(choking)
Angel…
ANGEL
Let her go.
ANGLE - the demon, who still has its hand firmly around Teresa’s neck, turns quickly to face to Angel.
ANGLE - as he VAMPS out…
ANGEL
I said, let her go.
ANGLE - the Xanexim complies and lets Teresa go, but when it does, she collapses on the ground.
ANGEL
That wasn’t very nice.
WIDER - the Xanexim thrusts out an arm towards Angel who evades the move by taking a step back.
ANGEL
You know, for someone who eats
brains, you’re not too smart, are you?
ANGLE - as the demon steps forward…
ANGLE - Angel quickly arcs the sword and just catches the demon…
CLOSE UP - across the stomach.
WIDER - Angel then reverses the sword and slices the demon’s chest open. O.C we HEAR a car squeal to a stop.
ANGLE - the demon looks over the top of Angel’s head and sees…
DEMON’S POV - Gunn take a double-edged axe from the trunk of the car.
ANGLE - while the demon is distracted by Gunn’s arrival, Angel takes the opportunity to rip the first of the three brains from its body.
WIDER - stunned, the demon looks down at the brain in Angel’s hand, then watches Angel toss it away.
WIDE ANGLE - as Gunn runs up behind Angel…
GUNN
Need a hand?
ANGEL
I’ve got it. Check the others.
ANGLE - Gunn sees Wesley first and moves off to the right to where Wesley is starting to regain consciousness on top of the Buick.
WIDE ANGLE - the demon looks a little confused and tries punching Angel again but to no avail. Angel arcs the sword again and this time slices its abdomen open. With the demon now weakened, Angel receives little resistance when he rips the second brain from the demon’s body.
ANGLE - the demon looks at Angel, horrified.
ANGEL
What do you say?
Shall we go for number three?
ANGLE - Gunn looks at Wesley who is trying to sit up.
GUNN
You alright, English?
WESLEY
Teresa…
ANGLE - Gunn looks around then…
GUNN
(points)
She’s over there.
ANGLE - Wesley looks towards where Gunn’s pointing.
WESLEY’S POV - he sees Teresa lying on the ground near the red Pontiac.
ANGLE - Wesley starts to get off the Buick. Gunn puts an arm around him to steady him as his feet land on the ground.
BACKGROUND - Angel decapitates the demon with one arc of the broadsword. The head lands off screen and the body crumples in a heap on the ground.
ANGLE - Gunn and Wesley move slowly towards Teresa who hasn’t yet moved.
ANGLE - Wesley and Gunn kneel down beside her. As Wesley touches her shoulder…
WESLEY
Teresa? Can you hear me?
WIDER - Angel, now in human mode, steps up behind Gunn. He looks down at Wesley and Teresa.
WESLEY
Teresa?
ANGEL
(soft)
Wes.
ANGLE - Gunn looks up at Angel who…
CLOSE UP - …shakes his head.
ANGLE - Gunn looks back at Teresa then at Wesley who brushes the hair away from Teresa’s face.
OVERHEAD - SLOWLY PULL BACK - on the three men gathered around Teresa’s corpse.
DISSOLVE TO…
SCENE 25
EXT - CEMETERY - DAY
TIGHT - on the headstone which reads ‘TERESA ANNE BROWNSTONE, 17 JULY 1974 - 02 MAY 2002, WILL BE GREATLY MISSED’.
PRIEST (O.C)
We commend to Almighty God, our
sister, Teresa Anne Brownstone, and
we commit her body to the ground.
PAN UP - to the priest (note: this is the same priest used for Paris’ funeral in "Tunnel Of Darkness") who stands behind the headstone.
PRIEST
(cont’d)
Earth to earth…
CLOSE UP - Gunn, wearing a black suit, white shirt and black tie (he looks really good), is standing beside the grave, his head bowed.
PRIEST (O.C)
(cont’d)
…ashes to ashes…
PAN LEFT TO - Cordelia, wearing a simple black A-line dress and low healed black shoes, is standing next to Gunn, tears welling in her eyes.
PRIEST (O.C)
(cont’d)
…dust to dust. The Lord bless her…
PAN LEFT TO - Wesley, wearing a dark gray suit, white shirt, black tie and black shoes, looks sad, depressed, lost and a little guilty.
PRIEST (O.C)
(cont’d)
…and keep her. The Lord makes
His face to shine upon her and be
gracious to her.
WIDER - Wesley, Cordelia and Gunn are the only ones at the funeral other than the priest.
PRIEST
(cont’d)
The Lord lift up his countenance upon
her and give her peace. Amen.
WESLEY
(soft)
Amen.
CORDELIA
(mouths)
Amen.
GUNN
Amen.
ANGLE - the brown coffin is adorned with white lilies as it is slowly lowered into the ground. Once it is settled…
ANGLE - Wesley crouches down, picks up a handful of dirt and tosses it on top of the coffin.
WIDER - Gunn and Cordelia then do the same.
ANGLE - Gunn looks at Cordelia and Wesley then turns to leave.
ANGLE - Cordelia looks at Wesley and rubs his arm sympathetically.
CORDELIA
(gently)
We’ll wait for you at the car.
Wesley turns his head slightly towards Cordelia and barely nods.
WIDE ANGLE - Cordelia and Gunn move away from the gravesite as Wesley looks down at the grave.
BLACK OUT
SCENE 26
INT - WESLEY’S APARTMENT - NIGHT
LIVING ROOM - ANGLE - Wesley arrives home. As he closes the door and turns to face the apartment…
CLOSE UP - we see he looks tired and drained.
WIDE ANGLE - Wesley removes his coat as he moves towards the camera. He drapes the coat over the back of the couch then…
KITCHEN - ANGLE - moves into the kitchen. He picks up the kettle which already has some water in it, then puts it on the stove. He opens an overhead cupboard and takes down a cup, then from a medium-sized tin, takes a tea bag.
TIGHT - as he drops the tea bag into the cup…
CLOSE UP - Wesley HEARS a knock on the front door.
WIDER - he turns and…
LIVING ROOM - WIDE ANGLE - moves out of the kitchen and towards the front door.
EXT - ANGLE - He opens the door and finds…
CLOSE UP - Angel.
ANGEL
(gently)
Are you alright?
WESLEY
(no!)
I’ll be fine.
ANGEL
Yeah.
(uncomfortable beat)
I’m sorry, Wes, for not getting there sooner.
If I’d have know about the -
WESLEY
Don’t, Angel.
(looks at him)
I don’t blame you, if that’s what you
want to know. I blame myself.
ANGEL
Wes…
WESLEY
Lindsey told me about Cordelia’s updated
vision, but I still wasn’t able to do
anything except get knocked out.
ANGEL
I still should’ve gone with you to the
bar to back you up.
WESLEY
There’s no point in rehashing this again,
Angel. Teresa’s gone, end of story.
Now, if you don’t mind…
Angel gets the hint that Wesley wants to be left alone to wallow in his misery.
ANGEL
Take your time coming back to work.
Okay?
CLOSE UP - Wesley nods in silence.
CLOSE UP - Angel looks at him for a moment then turns and leaves.
CLOSE UP - on Wesley as he closes the door.
BLACK OUT
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