DIFFERENT
Completed: 29 August 2003
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SCENE 1
EXT / INT - STREETS - ANGEL’S CAR - NIGHT
CAR POV - up ahead we see police cars and ambulances parked haphazardly in the street. As the car slows to a stop, we see that a small crowd has gathered amongst the vehicles to see what the commotion is all about.
ANGLE - Angel is behind the wheel, Wesley sitting beside him. In the back are Lindsey, Cordelia and Gunn.
WESLEY
Is this the alley you saw in your vision?
Cordelia leans forward and peers out the front window.
CORDELIA
Looks like the one, yeah.
ANGLE - Angel goes to open his door when…
WESLEY
Angel…given your recent history with
the police, I don’t think it wise for
you to go into that alley.
CLOSE UP - Angel considers this for a moment then moves his hand away from the door handle.
WESLEY
(cont’d)
I’ll try and get close enough to the
body to see if I can find any clues.
ANGLE - Angel nods then…
ANGEL
Try and bring something back
with you.
WESLEY
Like what?
EXT - ANGLE - Angel says something to Wesley but because we’re outside the car, we aren’t able to hear. Wesley nods, then gets out of the car. He shuts the door then moves out of frame towards the alley.
INT - Cordelia leans forward and…
CORDELIA’S POV - watches Wesley through the windshield.
CORDELIA
There’s no way he’s going to pull
this off.
CAR POV - Wesley walks up to a police officer at the mouth of the alley. The two talk for a moment before Wesley is permitted access to the alley.
ANGLE - Gunn looks at Cordelia.
GUNN
You were saying?
CORDELIA
(snaps)
Shut up.
ALLEY - Wesley walks at a steady pace down the alley, passing a police photographer walking in the opposite direction. Wesley approaches several police officers and two medical examiners.
ANGLE - one of the police officers, a young energetic guy, notices Wesley and holds up a hand to stop him. The name tag on the officer’s uniform reads BANKS.
OFFICER BANKS
Hold up.
ANGLE - Wesley stops.
OFFICER BANKS
How’d you get down here?
NOTE: Wesley uses a fake American accent.
WESLEY
Officer Greene said I could come down.
I’m Sergeant Tom Crassman, Bismarck PD.
CLOSE UP - the officer is slightly embarrassed.
OFFICER BANKS
Sorry Sarg, you get so many cranks
wanting peeks at the stiffs.
CLOSE UP - Wesley tries not to let the officer’s crassness get to him.
WESLEY
I’m sure you do.
OFFICER BANKS
So what are you doing all the way
from Montana?
WESLEY
(corrects)
North Dakota.
OFFICER
Right.
WESLEY
For the past three months, I’ve been
trying to track down a young woman
by the name of Charlotte Webb. I was
wondering if I might take a look at the
young woman that was found here
to make sure it isn’t her.
OFFICER BANKS
Sure. Go ahead.
WESLEY
Thank you, officer.
OFFICER BANKS
No problem.
ANGLE - Wesley moves towards the Dumpster. As one of the medical examiners steps back to converse with his colleague, Wesley looks down and sees…
ANGLE - Charlie’s body.
WIDER - Wesley crouches down beside the body and looks for clues.
REVERSE ANGLE - Officer Banks walks up behind Wesley.
OFFICER BANKS
That her?
WESLEY
No.
ANGLE - Wesley straightens then steps away from the body.
WESLEY
(cont’d)
It’s not her.
OFFICER BANKS
I guess that means your girl’s still
alive then.
WESLEY
Not necessarily.
WIDE ANGLE - Wesley moves away from the officer and the Dumpster.
TIME CUT TO…
SCENE 2
EXT / INT - STREET - CAR - NIGHT
ANGLE - as Wesley gets in the car and shuts the door…
LINDSEY
Was it her?
WESLEY
Yes. She had two puncture wounds
in the left side of her neck just under
her ear.
CORDELIA
Crap. Just once I’d like for the Powers
to be wrong.
(to the heavens)
Thanks a lot, guys!
ANGEL
Did you get -
WESLEY
No. They’d already taken photos
of the body. If I’d disturbed it,
they’d have known.
ANGLE - Angel opens his door.
CORDELIA
What are you doing?
ANGEL
I’ll wait around until everyone leaves
then I’ll snoop around. See if I can
pick up a scent or something.
CORDELIA
You sure?
ANGEL
Yeah. I’ll see you tomorrow.
ANGLE - Angel shuts the door then steps away from the car.
ANGLE - Gunn climbs over the front seat and settles himself in behind the wheel. He starts the car then…
WESLEY
Be careful, Angel.
ANGLE - Angel nods then…
WIDE ANGLE - Gunn drives off down the street and around the corner. When the car is gone…
ANGLE - Angel looks around. After a moment, he frowns slightly then looks up.
ANGEL’S POV - high above, we see Paris on the roof of the building next to the alley. After a brief moment, she is gone.
TIME CUT TO…
SCENE 3
EXT - ALLEY - ROOFTOP - NIGHT
WIDE ANGLE - Angel walks across the rooftop to…
REVERSE ANGLE - the edge of the building. He looks around but Paris is nowhere to be seen.
SCENE 4
EXT - ALLEY - NIGHT
ROOFTOP - Angel is standing at the edge of the roof, hands jammed into the pockets of his coat.
ANGEL’S POV - The last two police cars reverse back into the street below, leaving the alley empty.
ALLEY - WIDE UPWARDS ANGLE - Angel steps off the roof of the building and…
WIDE ANGLE - lands in the middle of the alley, not far from the Dumpster. He looks around then moves to where Charlie’s body was found.
ANGLE - Angel looks around for any evidence that hasn’t already been taken by the police. There’s nothing.
CLOSE UP - a familiar feeling comes over Angel.
WIDER - FOREGROUND - As he straightens…
BACKGROUND - we see Paris at the other end of the alley.
FOREGROUND - Angel turns to look behind him but…
ANGEL’S POV - no one is there.
ANGLE - When Angel turns back around, he jumps slightly when he sees…
ANGLE - Wesley.
WESLEY
It’s not like you to be so jumpy, Angel.
ANGEL
I’m not jumpy. I just didn’t hear you.
WESLEY
Have you found anything we can use
to track down the vampire that
killed Charlie?
CLOSE UP - Angel refocuses.
ANGEL
Which ever vamp did it knew exactly
what they were doing.
WESLEY
You’re referring to the complete lack
of blood?
ANGEL
Yeah.
WESLEY
There was no residual blood on or
in the body from what I observed.
There didn’t seem to have been a
struggle either.
ANGEL
Whoever did it must’ve come up from
behind the girl and incapacitated her.
WESLEY
It takes, what, a good two to three
minutes to drain a body of blood?
ANGEL
I’ve done it in less than two, but yeah,
at least two.
Wesley observes Angel who is looking around.
WESLEY
Are you able to pick up any scents?
ANGEL
Other than Charlie’s and the dozen
cops and MEs that have been through
here tonight? No.
WESLEY
What about the Receiver power?
ANGEL
I can’t tell if it left Charlie when she died.
WESLEY
If it did, could you tell which vampire
inherited it?
ANGEL
Possibly. I don’t know.
ANGLE - Wesley looks around, his mind working overtime.
WESLEY
What was Charlie doing all the way
down here in the Skid Row district?
ANGEL
Good question, not that it really
matters now she’s dead.
WIDE ANGLE - Angel walks off, leaving Wesley alone in the alley.
DISSOLVE TO…
SCENE 5
INT - CORDELIA’S APARTMENT - LIVING ROOM - DAY
TIGHT - on a TV. The morning news in on. As a picture of Charlie is flashed up next to the female newsreader’s head…
NEWSREADER
Police today are treating the death of
a young woman as suspicious after
her body was discovered less than a
mile from the Central Division of the
Los Angeles Police Department. The
woman, who is still to be identified, is
aged between sixteen and twenty-two,
was killed and left behind a Dumpster in
an alley off Seventh Street. Police
are urging anyone who was in the area
around ten o’clock last night, to contact
them with any information that could lead
to the capture of the young woman’s killer.
In Sacramento yesterday…
The sound is muted as…
ANGLE - Lindsey looks away from the TV and at…
ANGLE - Cordelia who is rummaging through desk drawers.
LINDSEY
What are you looking for?
CORDELIA
Something of…ah-ha!
ANGLE - Cordelia takes a small gift-wrapped box from the drawer and we realise it’s Angel’s birthday present to Paris from last year.
LINDSEY
What’s that?
CORDELIA
Something that belongs to Angel.
(then)
Can you drop me off at work?
LINDSEY
You really need to get your own car.
CORDELIA
(hinting)
Well, my birthday’s coming up, I wouldn’t
object to something red and sporty
suddenly appearing in my empty car
space.
LINDSEY
You wouldn’t, huh?
CORDELIA
Nuh-uh.
CLOSE UP - Lindsey makes a mental note of this and checks his watch.
LINDSEY
You ready to go?
CORDELIA
Yeah.
ANGLE - Cordelia drops the gift into her bag as…
ANGLE - Lindsey turns off the TV and picks up his briefcase.
WIDE ANGLE - Cordelia follows Lindsey to the door. He opens the door and…
ANGLE - finds Paris standing in the corridor.
LINDSEY
(surprised)
Paris.
ANGLE - Cordelia steps up next to Lindsey and is also surprised to see Paris.
PARIS
Can I come in?
CORDELIA
(puzzled)
Yeah, sure.
WIDE ANGLE - As Paris steps inside…
LINDSEY
I really need to get to work.
I have an early mee -
PARIS
Actually, it’s you I needed to see.
LINDSEY
Me?
CORDELIA
Why?
PARIS
(to Lindsey)
I need you to get me into Wolfram
And Hart.
CORDELIA
Why?
PARIS
I need to see Holland.
CORDELIA
Again with the why.
PARIS
Many reasons.
CORDELIA
Are you out of your mind?
PARIS
I don’t know…maybe.
LINDSEY
How do you expect me to get you in?
PARIS
You’re a smart guy, Lindsey. Say you
caught me and are bringing me in.
I could even be your show and tell
item for your meeting.
LINDSEY
I’m not taking you into Wolfram And
Hart, Paris. Angel would kill me.
PARIS
Fine. Don’t worry about it then.
CORDELIA
Have you heard about Charlie?
PARIS
Yeah. It’s all over the papers.
Awkward beat until Cordelia clears her throat.
ANGLE - Paris looks at her then Cordelia tilts her head subtlely towards Lindsey.
PARIS
(puzzled)
What?
CORDELIA
Didn’t you have something you
wanted to say to Lindsey?
PARIS
Oh, right, yeah.
(to Lindsey)
Sorry for the whole torturing-you-
while-holding-you-prisoner thing.
CORDELIA
(appalled)
You call that an apology?
PARIS
It’s the best I can come up with
right now, Cordy.
LINDSEY
Apology accepted. Now can we go?
CORDELIA
Yeah.
ANGLE - as Cordelia takes her keys out of her bag…
CORDELIA
(cont’d)
Paris, you can stay…
LINDSEY
She’s gone, love.
WIDE ANGLE - Cordelia looks up and sees Paris has indeed gone.
CORDELIA
Grrr. I hate when they
do that.
LINDSEY
(presses)
Can we go now?
ANGLE - Lindsey walks out of the apartment and leaves Cordelia to close and lock the door.
CUT TO…
SCENE 6
INT - ANGEL’S APARTMENT - LIVING ROOM - DAY
TIGHT - another TV screen with the same female newsreader and picture of Charlie. The sound is turned down low.
ANGLE - Angel is sitting on the couch watching the TV as…
ANGLE - Gunn comes out of the kitchen with two mugs.
GUNN
Okay, Angel, I know it’s been a while,
but you gotta keep the blood separate
from the other stuff in the fridge.
As he hands one of the mugs to Angel…
ANGEL
Sorry. I gotta get used to
storing it again.
GUNN
Now that it’s not on tap anymore?
ANGLE - Angel stays quiet.
ANGLE - Gunn looks at the TV.
GUNN
They have any leads yet?
ANGEL
No.
GUNN
Are they calling it suspicious like
they have with all the other death-
by-vampire cases?
ANGEL
Yeah.
ANGLE - Angel shuts off the TV.
GUNN
What time did you get in?
ANGEL
Couple of hours ago.
GUNN
I gather you didn’t find any other
clues in that alley?
ANGEL
Apart from the total lack of blood
at the scene, nothing.
GUNN
So, do we know what Charlie was
doing in the Skid Row area of this
fine city?
WESLEY (O.C)
She was living there.
FOREGROUND - Gunn turns around as…
BACKGROUND - Wesley appears from the stairs.
GUNN
You sure you ain’t part vampire?
‘Cause you’ve really got the whole
sneaking up on people thing down.
ANGLE - Wesley offers a half smile.
WIDE ANGLE - Angel puts his mug on the coffee table then stands up and turns to face Wesley.
WESLEY
After I left you last night, I talked
to some rather colourful people in
the area and found out that Charlie
had been living only two blocks
from where she was killed.
ANGEL
Did you go to the place?
WESLEY
Yes. It’s a tiny studio with very little
in the way of furnishings or personal
belongings. I can’t imagine what
she was going back there to get.
The only thing of any value she owned
was an old beat up Oldsmobile, but it had
recently been stripped, no doubt during
the time she was being held prisoner.
ANGLE - Angel shifts uncomfortably then looks away from Wesley.
CORDELIA (O.C)
Anyone down there?
GUNN
Yo!
ANGLE - Cordelia comes down the stairs and looks at the three men.
CORDELIA
You guys are never going to guess
who was at my place this morning.
WESLEY
Who?
CORDELIA
Paris.
ANGLE - Angel looks at Cordelia.
ANGEL
She was at your place?
CORDELIA
(nods)
Uh huh.
WESLEY
Is she there now?
CORDELIA
(shakes her head)
Nuh-uh. I have no idea where she
went after her little disappearing act.
ANGEL
What’d she want?
CORDELIA
Lindsey.
ANGEL
Why?
CORDELIA
She wanted him to get her into
Wolfram And Hart so she could
see Holland Manners.
WESLEY
But he didn’t take her?
CORDELIA
No.
GUNN
Why would she want to see Holland
Manners for?
CORDELIA
(suggests)
To apologise for killing his family?
WESLEY
If she’s feeling remorseful about it,
she may risk going to Wolfram And
Hart to see him.
CORDELIA
But I doubt it.
WESLEY
Why?
CORDELIA
She apologised to Lindsey earlier for
keeping him in that cell, but her sincerity
was sadly lacking. I still think what
I did yesterday…that Paris is different
somehow.
ANGLE - Wesley looks at Angel.
WESLEY
You’re very quiet, Angel.
ANGEL
I’m just thinking.
CORDELIA
About what?
ANGLE - Angel doesn’t answer.
WIDER - Cordelia looks at him closely then steps towards him.
CORDELIA
Angel…she’s different, isn’t she?
Angel looks at Cordelia, his expression unsure.
ANGEL
Yeah. I just haven’t figured
out what part of her’s different.
GUNN
She has a soul, right?
Angel looks at Gunn, again, his expression unsure.
ANGEL
I don’t know.
WESLEY
I thought vampires could sense
someone’s soul.
ANGEL
They can.
WESLEY
Do you sense one in Paris?
ANGEL
I sense…I don’t know…something in her.
I just don’t know if it’s her soul.
WIDE ANGLE - Wesley, Gunn and Cordelia are taken aback a little by Angel’s response.
CORDELIA
I think that before we let Paris come
back here to possibly kill us, we
need to find someone who can tell
us if she does or does not have a soul.
(off Angel’s look)
Someone who’s not you.
Off Angel.
CUT TO…
SCENE 7
INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY
ANGLE - Lindsey is sitting next to Lyle in the morning staff meeting.
ANGLE - as we see Holland standing at the head of the conference table, we see that the window blinds are closed, making the room darker than normal.
HOLLAND
Continuing this morning’s vampiric
theme…an old acquaintance of this
firm arrived back in the city early
this morning.
LINDSEY
Who?
ANGLE - Holland reaches for the phone that sits on the corner of the table. He presses the intercom.
HOLLAND
Denise, would you send her in
please?
DENISE (V.O)
Yes, sir.
WIDE ANGLE - Everyone turns to face the door as it opens.
CLOSE UP - of Lindsey’s shocked face as he sees…
CLOSE UP - Darla!!
BLACK OUT
SCENE 8
INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY
CLOSE UP - Lindsey is stunned.
LINDSEY
Darla?
ANGLE - As Darla moves into the office…
DARLA
Hello, Lindsey.
ANGLE - she moves up behind him and runs her hand seductively across his back. As she leans into him…
DARLA
(breathy)
It’s been a while.
ANGLE - Lindsey watches as she moves to the head of the table and stands next to Holland.
HOLLAND
Darla has returned to Los Angeles
at my request.
LINDSEY
For what reason?
HOLLAND
Paris and Angelus.
LINDSEY
Given that Paris and Angelus are
my responsibility, why wasn’t I
included in this decision?
HOLLAND
Lindsey and Lyle, stay. The rest
of you, the meeting is now adjourned.
WIDE ANGLE - Lindsey and Lyle remain seated as the rest of their colleagues get up and file out of the office.
HOLLAND
I wanted you to be a part of this
decision, Lindsey, but no one had
been able to contact you since
Saturday morning, and Lyle wasn’t
able to find you. Lyle’s opinion on
the matter was sought in your absence
and he concurred with me; that Darla
be brought back to Los Angeles.
LINDSEY
Why her? Why now?
HOLLAND
The Senior Partners have made no
secret about the fact that they want
to bring Paris and Angelus into the fold.
They also want a third inductee, and
given Darla’s recent actions in various
parts of South America, they feel that
she would make a fine Senior Partner.
Darla will seek Paris and Angelus out,
then once together, the Senior Partners
will come for them.
LINDSEY
I can find them myself, Holland.
HOLLAND
You’ve had more than enough time to
find them, Lindsey, and given that the
girl you claimed wasn’t The Receiver
was found dead last night, your skating
on some rather thin ice.
LINDSEY
What’s that supposed to mean?
HOLLAND
You have twenty-four hours to locate
Paris and Angelus. If you fail, I’ll send
Darla out to track them down, and you’ll
be delivering the mail again.
Do I make myself clear?
LINDSEY
Yes, sir.
(glances at his watch)
If you’ll excuse me…
(starts to get up)
…I have an out of office meeting I
need to get to.
HOLLAND
Go.
ANGLE - Lindsey stands, pushes his chair under the table then leaves.
ANGLE - Darla turns to Holland.
DARLA
He knows where they are.
HOLLAND
I believe you’re right, my dear.
ANGLE - Holland looks at Lyle.
HOLLAND
(cont’d)
See where he goes.
LYLE
Yes, sir.
ANGLE - Lyle stands and turns to leave.
TIME CUT TO…
SCENE 9
EXT - STREETS - DAY
WIDE ANGLE - We see a silver Mercedes travelling along a rather busy street. Three cars behind it is a blue Honda Civic.
MERCEDES - ANGLE - Lindsey is behind the wheel of the Mercedes. He checks his rear view mirror and sees…
MIRROR - TIGHT - the blue Civic travelling behind him.
CIVIC - ANGLE - Lyle is behind the wheel of the Civic. He cranes his neck and…
LYLE’S POV - sees the silver Mercedes turn right at the lights ahead.
WIDE ANGLE - Lyle also turns the corner which…
MERCEDES - TIGHT - Lindsey sees in the side mirror.
LINDSEY
Damn it.
OVERHEAD - Lindsey moves into the left lane.
MERCEDES - ANGLE - Lindsey looks over his left shoulder then moves into the inside lane.
WIDE ANGLE - Lyle is travelling in the center lane.
MERCEDES - ANGLE - Lindsey leans forward a little and checks his location.
WIDE ANGLE - He passes through an intersection, as does the blue Honda.
LINDSEY’S POV - as he approaches another intersection, the lights turn yellow.
CLOSE UP - of Lindsey flooring the accelerator.
ANGLE - Lindsey checks the rear view mirror and sees…
MIRROR - TIGHT - the lights turn red and Lyle screeching to a stop.
CLOSE UP - Lindsey allows the corners of his mouth to curl upwards slightly as he eases off the gas a little.
OVERHEAD - Lindsey slows down at the next intersection and turns left as the light turns red.
CIVIC - LYLE’S POV - he sees Lindsey disappear down the street to the left.
ANGLE - Lyle is pissed off, and he slams the heel of his hand against the steering wheel.
LYLE
Damn it.
WIDE ANGLE - Lindsey turns into a side street on the right. After a short distance, he pulls into a car park.
ANGLE - Lindsey pulls into a spot at the rear of the lot.
ANGLE - He leans over and takes something from the glove compartment then…
WIDER - gets out, activates the car alarm then turns for the street.
ANGLE - Lindsey jogs along the street until he comes to a manhole in the middle of the street. He checks for traffic but there is none.
CLOSER - Lindsey takes a metal hook from his pocket then crouches down near the manhole cover. He uses the hook to pull the manhole cover up. He checks for traffic again then climbs down into the tunnel.
WIDE ANGLE - Lyle drives the Civic down the first street Lindsey had turned into.
ANGLE - Lyle looks around then reaches for his cell phone. He holds it up and presses the speed dial number.
LYLE
Mr Manners, it’s Lyle. I lost him.
(listens)
Yes, sir.
ANGLE - Lyle turns off the phone, then…
WIDE ANGLE - slows down to do an illegal U-Turn.
DISSOLVE TO…
SCENE 10
INT - ANGEL’S APARTMENT - LIVING ROOM - DAY
ANGLE - Cordelia and Angel are sitting silently on the couch.
CORDELIA
I have something for you.
ANGEL
What?
Cordelia reaches into her coat pocket and takes out the small gift.
CLOSE UP - Angel is a little shocked that Cordelia has it.
CORDELIA
Gunn found it when he found Paris’
diary. I thought I should hold on
to it until the time came when the two
of you got your souls back.
Angel takes the gift from Cordelia and looks at it.
ANGEL
Thanks.
As Angel leans forward to place the gift on the coffee table…
CORDELIA
Do you mind me asking what’s in it?
ANGEL
You’re not going to give up until I
tell you, are you?
CORDELIA
Not when I’ve been wondering for
the past year.
ANGEL
(softly)
It’s a gold crucifix.
CORDELIA
Okay…not really the jewellery of choice
for vampires.
ANGEL
She was never meant to be one.
CORDELIA
(resists temptation)
I’m not going there. I might say
something I won’t regret.
ANGEL
I bought it for her when I felt myself
slipping further into the darkness.
If I got too close, the crucifix would
stop me from going too far.
CORDELIA
Pity you didn’t give it to her the day
before her birthday, huh?
ANGEL
Yeah.
Beat.
CORDELIA
When did you know something wasn’t
quite right with her?
ANGEL
(low)
Yesterday…when she was talking to
Charlie.
CORDELIA
The part about Charlie dying?
ANGEL
Yeah.
CORDELIA
Me and the guys knew something was
off yesterday morning.
(beat)
When we did the spell, I didn’t see
Paris’ eyes do that glow-y thing that
yours did.
ANGEL
I felt something go into her.
CORDELIA
Her soul?
ANGEL
I thought it was.
CORDELIA
Angel, if it turns out that she doesn’t
have a soul, you know what you’ll
have to do.
ANGEL
I’m not going to lose her again, Cordy.
CORDELIA
Then you’d better pray that Wesley
and Gunn find a vamp that’s able to
tell if she has a soul.
O.C. we HEAR the sound of metal scraping against metal.
WIDE ANGLE - Angel is up quickly.
ANGEL
(to Cordelia)
Stay here.
Angel moves around the couch. He looks at…
ANGLE - the sliding door which is shut. He then looks at…
PAN - the grid that leads down into the tunnels. The grid is being pushed up.
WIDE ANGLE - Angel moves towards the grid then…
CLOSE UP - Lindsey’s head pops up from the darkness.
ANGEL
Lindsey?
ANGLE - Cordelia frowns.
CORDELIA
Lindsey?
WIDE ANGLE - Cordelia appears behind Angel and sees Lindsey climbing up out of the tunnel.
CORDELIA
Lindsey…what are you doing coming
up from the tunnels?
ANGLE - Lindsey stands up and moves towards Cordelia.
LINDSEY
Giving Lyle McInerney the slip.
Holland must’ve told him to follow me after…
ANGEL
Did it work?
LINDSEY
I think so, yeah.
As Cordelia and Lindsey stand in front of each other…
CORDELIA
What are you doing here?
LINDSEY
We’ve got a problem.
ANGEL
What kind of problem?
ANGLE - Lindsey looks at Angel.
LINDSEY
A big one. You remember the
information that was on that disk
about there being seven Senior
Partners at the time of the Apocalypse?
ANGEL
You found out who the other three
are, didn’t you?
LINDSEY
Yeah. Angelus, Evil Paris and Darla.
(off Angel’s surprised look)
She’s at Wolfram And Hart right now.
CORDELIA
You’re kidding.
Please tell me you’re kidding.
LINDSEY
Wish I was.
ANGEL
I thought the Senior Partners didn’t want
Darla after that whole Leviathan
debacle last year.
LINDSEY
They didn’t. But apparently she’s
been rather busy killing people down
in South America which has made the
Senior Partners sit up and take notice.
ANGLE - Angel goes into pensive mode.
CORDELIA
Angel…
ANGEL
I want to see her, but not at Wolfram
And Hart.
LINDSEY
Where?
ANGEL
Excalibar. It’s a demon bar near
Hollywood and Vine.
Nine o’clock tonight.
LINDSEY
Will you be Angel or Angelus?
ANGEL
Take a guess.
LINDSEY
(nods)
There’ll probably be Wolfram And Hart
security there.
ANGEL
Won’t be a problem.
LINDSEY
Alright. I’ll see what I can do.
If you don’t hear from me then it’s on.
ANGLE - Angel nods.
LINDSEY
I’d better go.
ANGLE - Lindsey quickly kisses Cordelia on the cheek then turns back for the tunnels.
ANGLE - Cordelia watches Lindsey for a moment then turns to Angel.
CORDELIA
Are you…
WESLEY (V.O)
…sure about this. Angel?
HARD CUT TO…
SCENE 11
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
ANGLE - on Angel.
ANGEL
I have to see her, Wes. If Lindsey
can set up the meeting for nine o’clock,
it’ll give me a good couple of hours to
find Paris and take her with me.
WIDE ANGLE - Gunn, Cordelia and Wesley all look at Angel.
WESLEY
And if Darla senses a soul in Paris?
ANGEL
Then I know what I have to do.
GUNN
And if she doesn’t?
ANGEL
Then I know what I have to do.
CORDELIA
Paris isn’t going to like seeing Darla again.
ANGEL
Neither am I.
WESLEY
And if you can’t find Paris?
ANGEL
Then I know what I have to do.
Off Angel.
CUT TO…
SCENE 12
INT - WOLFRAM & HART - CORRIDOR - DAY
ANGLE - Lindsey steps out of the elevator and moves down the corridor. As he turns a corner, he runs into Holland and Darla.
HOLLAND
There you are. You missed all
the excitement a few minutes ago.
LINDSEY
What happened?
HOLLAND
Two Ga’ha’handi demons tried to gain
access on the Mezzanine Level.
Fortunately security stopped them.
LINDSEY
Good.
HOLLAND
How was your meeting?
LINDSEY
Interesting. I found out that Angelus
has been seen recently at a demon
bar called Excalibar.
HOLLAND
Really.
LINDSEY
(cont’d)
I have it on good authority that he’s
going to be there tonight.
DARLA
Alone?
LINDSEY
As far as I know. My source tells me
that Angelus and Paris went their
separate ways a few days ago.
CLOSE UP - Darla can hardly hide her joy at the news.
DARLA
Really?
LINDSEY
Yeah.
HOLLAND
Who’s your source?
LINDSEY
You know I can’t divulge that
information, Holland.
HOLLAND
Right you are. Well, if Angelus is
there, then you can send a team to
get him and bring him back here.
Can’t you?
DARLA
I want to see him first, Holland, before
you get your grubby little paws on him.
HOLLAND
Alright. You can have one hour
with him, then he comes back here.
DARLA
Thank you, Holland.
ANGLE - Darla continues down the corridor towards the lifts, almost skipping with delight at the prospect of seeing Angelus again.
ANGLE - Holland looks at Lindsey.
HOLLAND
Nothing had better go wrong tonight,
Lindsey.
LINDSEY
It won’t, Holland. Is that all?
HOLLAND
For the moment.
WIDE ANGLE - Holland watches as Lindsey continues down the corridor.
TIME CUT TO…
SCENE 13
EXT / INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
EXT - ANGLE - Lindsey is walking along the corridor. When he comes to his office, he opens it. He’s barely stepped across the threshold when a hand comes into view and pulls him inside.
INT - ANGLE - Lindsey regains his balance and looks at his attacker.
ANGLE - It’s Paris.
BLACK OUT
SCENE 14
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
ANGLE - Lindsey looks at Paris.
LINDSEY
(hushed)
What the hell are you doing here?
PARIS
Like I told you this morning, I want
to see Holland.
LINDSEY
How did you get in here undetected?
PARIS
It wasn’t easy. Those demons
on the second floor kinda ruined my
whole tampering with the security
camera scenario.
ANGLE - Lindsey looks up at…
ANGLE - the security cameras that have been angled away from the door.
PAN - to the wall to the left of him that has a hole where the grilled air conditioning cover should be.
LINDSEY
Look, if you want to see Holland,
you’ll have to wait until tonight.
PARIS
Why when I know he’s in the building
right now?
LINDSEY
He is in the building but he’s with
someone at the moment.
PARIS
Who?
LINDSEY
I can’t tell you.
ANGLE - Paris is quick and presses her forearm against Lindsey’s throat as she pushes him up against the wall.
PARIS
Who?
LINDSEY
Darla. Alright? He’s with Darla.
ANGLE - Paris lets Lindsey go a little.
PARIS
What the hell is she doing back in LA?
LINDSEY
Long story. One that Angel can
tell you tonight at the Excalibar.
WIDER - Paris lets Lindsey go and backs away from him a little.
PARIS
He’s meeting her there, isn’t he?
LINDSEY
Yeah.
PARIS
What time?
LINDSEY
Nine.
PARIS
I’ll be there.
WIDER - Paris moves towards the air conditioning duct.
PARIS
It’s time to finally get that bitch
out of my life once and for all.
ANGLE - Paris leaps up into the hole in the wall and disappears.
LINDSEY
(mutters)
Well this day just keeps getting
better and better.
ANGLE - Lindsey leans against the wall then bows and shakes his head.
DISSOLVE TO…
SCENE 15
INT - ANGEL’S APARTMENT - DUSK
CLOSE UP - of a fist coming into contact with a punching bag.
ANGLE - Angel is working out, and it looks like he’s been at it for quite some time. He’s wearing black trousers and no shirt.
BACKGROUND - Wesley comes down the stairs and watches him for a few moments.
WESLEY
Are you sure that seeing Darla is
the best thing?
ANGEL
No.
WESLEY
So why are you?
ANGLE - Angel stops punching and holds on to the bag as he considers his answer. Finally…
ANGEL
I don’t know.
ANGLE - Angel lets go of the bag and starts punching it again.
WESLEY
Do you want back up?
ANGEL
No.
WESLEY
Are you sure?
ANGEL
I said no, Wes.
WESLEY
Alright then. If you want to find
Paris, you should start thinking about
leaving. The sun’s about to set.
ANGLE - Angel gives the bag one final punch then walks towards the bathroom.
ANGLE - Wesley moves towards the punching bag and grabs it to stop it from swinging around.
TIME CUT TO…
SCENE 16
INT - ANGEL’S APARTMENT - NIGHT
ANGLE - Angel walks out of the bedroom wearing black leather pants and white undershirt. He carries his long black duster as he moves towards the weapons cabinet.
ANGLE - Wesley is sitting on the couch watching TV with the sound down low.
WIDER - As Angel drapes his duster over the back of the couch, Wesley turns the TV off and stands up.
WESLEY
The police identified Charlie.
ANGEL
Good.
ANGLE - Angel opens up the cabinet, takes out his spring - loaded contraptions and starts strapping them to his bare forearms. He then picks up two stakes and loads them.
ANGLE - Wesley watches him silently as…
ANGLE - he picks up his coat and puts it on.
ANGLE - Angel returns to the cabinet and carefully selects a number of weapons including a sai, a dagger and some throwing stars. Without looking at Wesley…
ANGEL
Are you just going to stand there
watching me, Wes, or are you going to
come out and say what’s on your mind?
WESLEY
When you walk into that bar tonight,
you’re more than likely going to be -
ANGEL
Walking into a trap?
ANGLE - Angel takes a plastic snap - lock bag from his coat pocket and holds it up for Wesley to see.
ANGEL
Got it covered.
As Angel re - pockets the bag…
WESLEY
But if Wolfram And Hart somehow
manage to capture you -
ANGEL
They won’t, Wesley.
WESLEY
If they somehow manage to capture you,
do you want us to try and get you out?
ANGEL
No.
WESLEY
Why not?
ANGEL
(turning)
Because it could be a little difficult
looking for my dust and ashes.
(off Wesley’s look)
I can pretend to be Angelus, it wouldn’t
be the first time I’ve done it, but when
I come face to face with Darla, she’s
going to know right off the bat that
I’m not him. The Senior Partners want
Angelus, not me, and I know they would
rather see me dead than sit around
waiting for me to turn evil again.
ANGLE - Wesley takes in what Angel has said.
WESLEY
Right, then. I believe some good luck is
in order. Be careful…don’t get killed.
ANGEL
Thanks.
INSIDE CABINET - ANGLE - Angel moves towards the cabinet and shuts the doors.
CUT TO…
SCENE 17
INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT
ANGLE - Lindsey enters Holland’s office and approaches the man’s desk.
ANGLE - Darla is standing behind Holland, staring out the window at the city lights.
LINDSEY
Everything’s set. There will be a team
of Tregothi Demons surrounding the bar.
If Angelus tries to escape, he won’t get far.
HOLLAND
Good. Is the holding cell in the
dungeon ready?
LINDSEY
Yes, sir.
DARLA
(turning)
You have a dungeon?
HOLLAND
Yes, we do.
DARLA
Angelus won’t like that. He’s not
terribly fond of places -
HOLLAND
We’re not here to cater to Angelus’ likes
and dislikes, Darla. Angelus has
already turned down the offer to become
a member of this firm once. The
Senior Partners have instructed me
to ensure he doesn’t turn down the
offer a second time.
DARLA
(dismissive)
Fine. But don’t say I didn’t warn you.
LINDSEY
Was there anything else you needed
before I go, Holland?
HOLLAND
Yes. You’ll be escorting Darla to the bar.
LINDSEY
I will?
HOLLAND
Yes.
DARLA
I don’t need a babysitter, Holland.
HOLLAND
I beg to differ.
(to Lindsey)
Don’t let her out of your sight.
LINDSEY
I won’t.
(to Darla)
I’ll come and get you in an hour.
DARLA
Can’t wait.
WIDE ANGLE - Lindsey turns and heads for the door.
CUT TO…
SCENE 18
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
WIDE ANGLE - Cordelia, Gunn and Wesley are sitting in Wesley’s office.
GUNN
I feel like I should be out there
backing Angel up.
WESLEY
He stressed to me that he didn’t want
back up.
CORDELIA
Yeah, but what he doesn’t know
won’t hurt him.
WESLEY
It could, Cordy. Even though Lindsey
has been instrumental in setting up
this meeting, I have no doubt in my
mind that Angel’s walking into a trap.
If we were to go to that bar and get
caught as well…
Beat.
CORDELIA
Are you sure that Angel said he doesn’t
want us saving him if he gets caught?
WESLEY
Yes.
GUNN
I wonder if he’s found Paris yet.
WESLEY
I hope for his sake he has.
GUNN
Why do you say that?
WESLEY
Regardless of whether or not Paris
has a soul, she still has a connection
with Angel. She’d rather kill Angel
herself than allow Wolfram And Hart do it.
CORDELIA
Plus there’s the Darla factor. If Paris
somehow knows she’s back in town,
she’s going to know that Darla’s going
to seek Angel out.
WESLEY
If Paris and Darla come face to face…
CORDELIA
It’s going to get ugly. Real ugly.
Off Cordelia.
DISSOLVE TO…
SCENE 19
EXT / INT - STREETS - LINDSEY’S CAR - NIGHT
ANGLE - Lindsey is in his car. So is…
ANGLE - Darla who looks at him.
DARLA
So, what’s your girlfriend’s name?
LINDSEY
I don’t have a girlfriend, Darla.
DARLA
Okay. So when did you start
wearing perfume? Chanteuse, is it?
LINDSEY
I met a client earlier today who was
wearing it.
CLOSE UP - Darla smiles to herself.
DARLA
You know, you and I could have made
a good couple.
LINDSEY
No, we couldn’t, Darla. If I remember
right, the last time I let you get close
to me, you bit me.
DARLA
Don’t tell me you didn’t enjoy that.
LINDSEY
The only thing I enjoyed was passing
out due to loss of blood.
DARLA
I didn’t take that much.
LINDSEY
It was enough.
(beat)
At the staff meeting this morning,
someone was missing. Lilah, was it?
LINDSEY
She’s dead, courtesy of Paris
and Angelus.
ANGLE - Darla’s expression sours slightly upon hearing Paris’ name.
DARLA
Can’t believe he married her.
It should have been me.
LINDSEY
The way I heard it, she asked him
to marry her.
DARLA
Typical Angelus. Thinking with what’s
in his pants rather than what’s in his head.
ANGLE - Lindsey glances at Darla as she stares out the window.
DISSOLVE TO…
SCENE 20
EXT - STREETS - EXCALIBAR - NIGHT
MUSIC - "Apathy" by The Tea Party"
ANGLE - Angel is in his car. His eyes dart left and right as he searches for Paris, but is not having much luck.
OVERHEAD - WIDE ANGLE - Angel slows the car down as he approaches Excalibar. There are a number of humans and demons walking along the sidewalk outside the building.
ANGLE - Angel peers out the front window and sees…
ANGLE - Two Tregothi demons walking towards him and the bar. They don’t notice him.
ANGLE - Angel shifts his gaze slightly and…
WIDE ANGLE - guides the car into the next street on the right, a couple of doors down from the bar.
DISSOLVE TO…
SCENE 21
INT - EXCALIBAR - NIGHT
WIDE ANGLE - the bar is rather busy tonight. There’s a scattering of humans amongst the large number of vampires and demons. "Apathy" by The Tea Party throbs out of the speakers.
ANGLE - we see Angel come down the steps from the street, stopping on the bottom step. He surveys the room then takes the final step.
CLOSE UP - the wary and alert look on Angel’s face and in his eyes changes to devilish as he assumes his Angelus persona.
ANGLE - As Angel makes his way to the bar, several demons notice him, but he ignores them.
DEMON 1
(wary)
Angelus.
VAMP 1
Hey, Angelus. How’s it hanging?
DEMON 2
What are you doing here, Angelus?
BUSINESSMAN
(to female companion)
So, that’s Angelus, huh?
ANGLE - Angel arrives at the bar and looks at the bartender.
BARTENDER
Thought you weren’t allowed back
in here, Angelus.
ANGEL
You thought wrong. Now give me
a warm glass of o-neg.
ANGLE - The bartender nods then moves to get Angel’s order.
FOREGROUND - Angel turns and leans against the bar as he again surveys the patrons.
BACKGROUND - the bartender places his order on the bar.
ANGLE - Angel turns as he takes some cash out of his pocket. He peels off a bill then tosses it on to the bar. He picks up the glass and brings it up to his lips as he turns. Before he can drink any of the blood, he lowers the glass slightly and a wicked grin appears on his face.
CLOSE UP - Darla is standing before him, smiling.
DARLA
Hello, precious.
Off Darla.
BLACK OUT
SCENE 22
INT - EXCALIBAR - BAR - NIGHT
ANGLE - Angel sets his glass down on the bar and looks at Darla.
ANGEL
Thought I could feel you nearby.
DARLA
You always could.
ANGEL
What’s it been? Three, four months
since I last saw you?
Where’ve you been?
DARLA
Peru, mainly.
ANGEL
What’s in Peru?
DARLA
A lot of religious people. I haven’t
heard people pray so hard while I’ve
been draining the piety out of them.
ANGEL
How’d you find me?
DARLA
A little bird told me.
ANGLE - Darla looks over her shoulder.
ANGLE - Angel follows her gaze and sees…
ANGLE - Lindsey standing against the wall near the entrance.
ANGEL
What’s he doing here?
DARLA
He’s babysitting me…making sure I don’t
do anything bad like run off with you.
ANGEL
You working for the evil law firm
again, Darla?
DARLA
Not yet.
ANGEL
The last time you worked with them,
it didn’t work out quite so well for
you as I understand it.
DARLA
It’s different this time. They brought
me back here for something bigger.
ANGEL
(intrigued)
Like what?
DARLA
(hushed, excited)
Their bosses want to make us
Senior Partners.
ANGEL
(loses interest)
Sorry, love, but I’ve already turned
them down once.
ANGLE - Angel reaches for his glass and drinks some of the crimson fluid.
DARLA
Are you saying you’re not interested?
ANGEL
That’s exactly what I’m saying.
DARLA
Back in our Europe days, you were the
most evil thing that walked. Do you
honestly expect me to believe that you
don’t want that reputation back?
ANGEL
Do you want honesty, Darla? I’ve met
the Senior Partners, seen where they live…
it’s not all fun and games. When you
go to their world, you wouldn’t see me like
this; you’d see me in my true demonic form,
just like I’d see you. You can’t speak
like we are now because the demon that
lives in us doesn’t speak. Now, do
you honestly expect me to believe that that’s
how you want to spend the rest of eternity?
CLOSE UP - Darla is shocked and appalled. She looks back at…
ANGLE - Lindsey who is looking at her.
ANGEL
He doesn’t know any of what I’ve just
told you. I doubt he’s even
met any of the Senior Partners.
DARLA
Everything you just said, it’s true?
ANGEL
Every word of it. Now do you
understand why I turned their offer down?
DARLA
You’re serious, aren’t you?
(off his silence)
You are.
ANGLE - Darla looks at him closely as he drinks some more of the blood. As he ticks his gaze to his right…
DARLA
I’ve had this nagging feeling ever since
I walked in here, but I can’t put my finger
on it. There’s something different
about you.
PARIS (O.C)
Maybe it’s that pesky soul his friends
decided to give back to him.
WIDE ANGLE - Darla turns around and sees a black-clad Paris standing behind her.
DARLA
What the hell are you doing here?
PARIS
Funny…I was just about to ask you
the same thing.
ANGLE - Darla looks at Angel.
DARLA
(appalled)
You’re soul-boy again?
Angel drops his Angelus act.
ANGEL
Yeah. For the record though,
it only happened a couple of days ago.
DARLA
I don’t care when it happened…it
happened. You’re all Mr
Goody-Two-Shoes again.
ANGLE - Lindsey makes his way through the crowd and steps up along side Darla.
LINDSEY
Darla, let’s go.
DARLA
No. Holland said I could have an
hour with him, and I fully intend to
use every single second of it.
LINDSEY
(to Angel)
Is there a back room to this place?
ANGEL
Yeah.
ANGLE - Darla looks at Angel then Lindsey, then she realises. . .
DARLA
You two are working together?
ANGEL
Who do you think set this little meeting
up, Darla?
WIDE ANGLE - Angel grabs Darla’s arm and pulls her towards the back of the bar. Lindsey and Paris follow.
TIME CUT TO…
SCENE 23
INT - EXCALIBAR - BACK ROOM - NIGHT
ANGLE - Angel stops at a door then opens it.
WIDE ANGLE - Inside the room are four human males playing eight-ball while their skanky-looking women watch.
ANGLE - Angel asserts his authority.
ANGEL
Get out.
As Paris, Darla and Lindsey appear behind Angel…
MAN 1
We were here first, pal.
ANGLE - Angel VAMPS out.
ANGEL
I said get out.
ANGLE - the men and women don’t seem to be too concerned that Angel’s a vampire. One of the women stands up and looks at Angel with some recognition.
WOMAN
Angelus, right?
ANGLE - Angel ignores the woman as Paris and Darla VAMP out.
DARLA
He said get out.
MAN 2
(to Lindsey)
You going to get all bumpy and fangy
as well.
LINDSEY
I don’t do that.
MAN 2
So what can you do?
Bore us to death?
WIDE ANGLE - in a flash, Paris is in the room, moving towards the man. She grabs him around the throat with one hand.
PARIS
He probably could, but I think you
should be concerned with what I can
do to you.
ANGLE - With one hand, Paris easily lifts the 200 pound man off the ground.
WIDE ANGLE - the man’s friends look on in astonishment.
CLOSE UP - the man’s eyes are starting to bug out of his head as he gasps for breath.
PARIS
When a vampire tells you to get out,
you get out. Got it?
CLOSE UP - the man nods as best he can before…
WIDE ANGLE - Paris hurls him across the room.
ANGLE - the man lands on the floor and slides to a stop at Angel’s feet.
WIDE ANGLE - the man’s friends put down their cue sticks and drinks then scurry to help their friend. Once they are gone…
ANGLE - Angel and Darla MORPH back as…
ANGLE - Lindsey steps into the room.
ANGEL
You sure you want to be here for this?
LINDSEY
Yeah.
WIDE ANGLE - Angel closes the door as Lindsey takes up a spot in the corner to the left.
ANGLE - Paris has morphed back and takes a seat on the pool table. She picks up the black eight ball and pushes it to the end of the table. She continues doing this as she watches. . .
ANGLE - Darla move around the table, her eyebrows almost knit together in thought.
ANGEL
Wolfram And Hart brought you back
here to change my mind about becoming
a Senior Partner, didn’t they?
ANGLE - Darla is busy concentrating.
ANGLE - Angel looks at Lindsey who nods in the affirmative.
ANGEL
And once you’d done that, you, me
and Paris would be whisked off to
Ravadanczic to become a Partner, right?
ANGLE - Darla looks at Angel.
DARLA
Rava-whats-ic?
ANGEL
Ravadanczic…it’s where the Senior
Partners reside.
DARLA
Other-worldly dimension?
ANGEL
Yeah.
DARLA
When Holland told me that the Senior
Partners wanted me, he never mentioned
anything about other dimensions and
not being able to speak.
PARIS
Plus there’s the whole skin condition thing.
(off Darla’s look, suggests)
Maybe it was because he thought you
wouldn’t go for it?
DARLA
Damn right I’m not going for it.
I was perfectly happy down in Peru.
(to Angel)
Angelus would’ve been happy, too,
especially with all the convents they
have in that part of the world.
WIDE ANGLE - Angel is silent as Darla faces him.
DARLA
(cont’d)
But now that you have that filthy human
soul again, you can’t experience perfect
happiness anymore, can you?
ANGLE - Angel remains silent.
ANGLE - Darla moves towards him.
DARLA
(cont’d)
How does it feel knowing that you can
never be a husband to your…
ANGLE - Darla looks at Paris who pushes the eight ball to the end of the table again.
PARIS
I think the word you’re looking for is ‘wife’.
ANGLE - Darla sneers at Paris then looks back at Angel.
DARLA
…to her again?
WIDE ANGLE - Lindsey looks at a silent Angel as Darla stands in front of him.
ANGLE - Darla looks up at Angel, but after a few moments, she turns and…
WIDER - walks towards Paris.
DARLA
How does it feel knowing that your
wife can have that moment of perfect
happiness?
CLOSE UP - Angel’s lips part slightly and he tries not to show his surprise.
CLOSE UP - Lindsey’s jaw drops open, partly in shock and partly because…
ANGLE - Paris quickly picks up the cue stick that’s been lying next to her on the green felt. She drives it towards a distracted Darla…
CLOSE UP - whose eyes widen and mouth opens in surprise.
ANGLE - Angel is shocked as he and…
ANGLE - Darla look down at the wood sticking out of her chest.
ANGLE - Paris smiles.
PARIS
It feels pretty damn good, Darla.
ANGLE - As Darla starts to turn…
DARLA
You bitch.
WIDE ANGLE - Paris watches Darla explode in a cloud of dust.
PARIS
Right back at you.
WIDE ANGLE - Lindsey and Angel watch as…
REVERSE ANGLE - Paris gets to her feet and stands in the center of the pool table. She raises her arms above her head and stretches her back. As she looks down at Lindsey…
PARIS
Told you I’d get that bitch out of my
life once and for all.
Off Paris.
BLACK OUT
SCENE 24
INT - EXCALIBAR - BACK ROOM - NIGHT
ANGLE - Angel has his eyes locked on Paris.
ANGEL
Lindsey, get out.
LINDSEY
I think I should -
ANGEL
Get. Out.
LINDSEY
Right. I’ll wait outside.
ANGLE - Lindsey walks behind Angel, opens the door and quickly leaves the room.
ANGLE - Angel is still looking up at Paris who…
ANGLE - lowers her arms then jumps down off the pool table.
ANGEL
You said time and time again that
you’d do it…that you’d kill her.
I guess I really shouldn’t be all that
surprised you went through with it,
but I am.
PARIS
Just doing what I had to do, Angel.
ANGEL
When they did the curse the other night,
I felt something change in you, but
I didn’t know what it was.
PARIS
You and me both.
ANGEL
Darla couldn’t sense a soul in you,
but I do.
(beat)
Do you have one?
PARIS
Honestly? I don’t know.
ANGEL
Does it feel like you have one?
PARIS
There are moments I do and moments
I don’t.
ANGEL
Like last night?
(off Paris’ silence, low)
What happened?
PARIS
I was following her to make sure nothing
happened to her, but I couldn’t…
ANGLE - Paris shakes her head and turns away from Angel.
ANGEL
Why couldn’t you stop it?
PARIS
I don’t know. Maybe because I
knew she wanted the possessions
to stop.
ANGEL
And yet you possessed her while she
was still at the office?
PARIS
(turning)
I didn’t.
ANGEL
(rising anger)
Don’t lie to me, Paris. The second
you were inside her, I could feel your
presence.
ANGLE - Paris is silent.
ANGEL
Was the power transferred?
ANGLE - Paris’ silence gives Angel his answer.
ANGEL
(low)
Get out.
WIDE ANGLE - Paris moves towards Angel and stands before him.
ANGLE - she stands on her toes and…
CLOSE UP - kisses Angel lightly on the lips.
WIDER - she places a hand tenderly against his cheek and gives him a sad smile.
ANGLE - Paris steps away from him and starts for the door.
CLOSE UP - Angel closes his eyes, then…
ANGEL
What are you going to do now?
ANGLE - Paris stops with her hand on the door handle.
PARIS
What I have to.
ANGEL
(softly)
Yeah.
Beat.
PARIS
I’m not like you, Angel. I want -
ANGEL
You’re not getting him back, Paris.
PARIS
(to herself)
Give it time.
ANGEL
Go.
ANGLE - Paris opens the door.
PARIS
I love you.
FOREGROUND - there’s a hurt look on Angel’s face as…
BACKGROUND - Paris leaves the room.
ANGEL
(whispers)
I love you, too.
Off Angel’s sad face.
BLACK OUT
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