FIRE IN THE HEAD

Completed:   08 April 2003

SCENE 1

INT   -   ANGEL INVESTIGATIONS   -   OUTER OFFICE   -   DUSK

ANGLE   -   Lindsey switches off his cell phone and slides it back into his pocket.

LINDSEY
The meeting’s set up for ten o’clock
Monday morning.

ANGLE   -   on Gunn who is leaning up against the door jamb of Wesley’s office.

GUNN
You couldn’t make it any sooner?

LINDSEY
Lilah said that Leon Maddox is doing
orientation all this week.   He’s not
accepting any meetings until next week.

GUNN
Next Monday it is then.

CORDELIA
Did you manage to talk to your old gang?

GUNN
Yeah.   They ain’t seen or heard
from LaVon since they gave me my
walking papers.

CORDELIA
I checked into LaVon’s history, and it’s
just like Gunn said.   School drop out
at fifteen, two years in Juvy, arrested at
eighteen for grand theft auto, and again
at twenty-one for forgery.   Plus another
four times since for assault and battery.

LINDSEY
Busy boy.

CORDELIA
If LaVon and Leon are the same guy,
then he must be good at creating
himself a new history.

LINDSEY
Why?

CORDELIA
Because Leon hasn’t had so much as
a parking ticket.   He’s Mr Clean.
Therefore, I say we don’t worry about the
guy until after Gunn has met with him
on Monday.

Everyone silently agrees.

GUNN
I wonder how English is enjoying his
vacation with Teresa.

CORDELIA
I don’t know.   But I checked the
weather report for Lake Tahoe earlier
and it was snowing, so…

LINDSEY
(speculates)
They’ve probably been skiing all day.

Cordelia laughs.

CORDELIA
Wesley on skis?   I don’t think so.

DISSOLVE TO…

SCENE 2

EXT   -   CABIN, LAKE TAHOE   -   DUSK

CORDELIA (V.O)
He’s probably all rugged up in front of
a roaring fire with a glass of wine and
a good book…

ANGLE   -   on the lake, its shore covered with a thick layer of snow.   O.C.   we hear a wet, slapping sound and a grunt.   PAN to the right and we see Wesley fighting with what seems to be a snowman.

ANGLE   -   the snowman swings its white puffy arms and hits Wesley across the face.   Wesley kicks the demon and it falls back and rolls in the snow, making itself larger.   As the demon slowly gets to its stubby legs, Wesley advances and is ready to strike.

ANGLE   -   on the chalet as Teresa comes rushing out with a burning stick.

ANGLE   -   Wesley starts to move around in an arc, to force the demon between him and Teresa.

WESLEY
Hold the stick near it.

WIDE ANGLE   -   as the demon starts to turn to face Teresa, she moves forward, keeping the burning stick at arms length.

CLOSE UP   -   of the demon’s face, we see the fire dancing in its widening eyes.

WIDE ANGLE   -   The snow demon quickly backs up, but Teresa moves forward.   This continues until the demon is pressed up against a wooden fence.   Teresa holds the flame just inches from the demon who is starting to melt rather quickly.

BACKGROUND   -   Wesley trudges through the snow and stands just behind Teresa.

WESLEY
Here I was thinking that Snamwoni
demons were just a myth.   Turns out
they were real after all.

ANGLE   -   on the almost completely melted demon.

ANGLE   -   on Teresa as she looks at Wesley then back at the demon that is now nothing but wet snow.

WESLEY
(peeved)
Well, I’m certainly enjoying the holiday.
How about you?

WIDE ANGLE   -   Wesley moves away from Teresa and starts back towards the chalet.

ANGLE   -   on Teresa who’s a little hurt by Wesley’s remark.

TERESA
(mutters)
It was just one Snamwoni demon.

WIDE ANGLE   -   Teresa shoves the burning end of the stick into the snow to extinguish it then starts in the direction of the chalet and out of frame.

BLACK OUT

 

 

 

SCENE 3

INT   -   THE HOUSE, SANTA MONICA   -   LIVING ROOM   -   DUSK

ANGLE   -   on the front door as Angelus closes it after coming in.   He moves deeper into the living room to where Paris is putting on her long black coat.

ANGELUS
Ready?

PARIS
Willing and able.

ANGELUS
Where’s your boy?

PARIS
Jake!   Front and centre.

ANGLE   -   Jake appears from the hallway wearing black jeans and a red shirt.   He doesn’t look injured.   In fact, he looks heaps better since we last saw him, even though he does look a little pale against his dark outfit.

REVERSE ANGLE   -   he walks up to Paris and she immediately begins to fuss over him, adjusting his shirt collar.

PARIS
Are you ready for you first night out?

JAKE
I am so hungry.

PARIS
We’ll soon cure that.

ANGLE   -   on Paris as she pats Jake’s chest then steps closer to Angelus.

ANGELUS
We have a big night ahead of us, Jake.
If you let the side down, you’re history.

JAKE
I won’t let you down.

ANGELUS
Let’s go then.

WIDE ANGLE   -   Jake follows Angelus to the door then Paris follows.

CUT TO…

SCENE 4

INT   -   WOLFRAM & HART   -   LILAH’S OFFICE   -   NIGHT

WIDE ANGLE   -   Lilah is sitting at her desk.   The desk light is the room’s only illumination.   It’s extremely quiet.

ANGLE   -   on the desk.   There are a stack of files and papers separated into four piles surrounding an open file that Lilah is reading.   PAN up to see a look of concentration on Lilah’s face.   As she reads, the frown lines on her forehead slowly begin to wrinkle.   She looks up from the file and looks like she’s trying to remember something of importance.

WIDER   -   after a moment, Lilah pushes back from her desk a little in order to pull out the centre drawer.   She looks at something for a moment, then removes it from the drawer.

ANGLE   -   on the black and red notebook as Lilah places it on top of the open file.   It’s Paris’ diary, and it has several yellow Post-It notes marking certain pages.   Lilah opens o the first marked page and skims over the words.   She then removes the yellow Post-It and turns to the second marked page.   She continues this practice until all six of the Post-Its are gone.   Lilah closes the book then…

WIDER   -   …pushes back from her desk.

CUT TO…

SCENE 5

INT   -   ANGEL INVESTIGATIONS   -   OUTER OFFICE   -   NIGHT

ANGLE   -   Cordelia hangs up the phone.

CORDELIA
His phone is out of range.   Looks
like he’s going to have a peaceful
couple of days after all.

GUNN
I don’t remember the last time I
took a vacation.

CORDELIA
Neither could Wesley.
(frowns)
Actually, come to think of it, neither can I.

LINDSEY (O.C)
Cancun, April two thousand.

ANGLE   -   Cordelia looks at Lindsey who is sitting on the blue office couch.

CORDELIA
(suspiciously)
And how do you know that?

LINDSEY
A contact at customs.
(off Cordelia’s look)
He told us when Paris went to
Ireland, too.

GUNN
So, how come you didn’t know Paris
and Angelus went to Europe for
the summer?

LINDSEY
(getting up off couch)
Because they didn’t use passports.

GUNN
Oh.

CORDELIA
How’d they travel then?

LINDSEY
They probably stowed away on a ship
or in the cargo hold of a plane.

CORDELIA
(dreamily)
I’d love to go on another cruise.

GUNN
I didn’t know there was a first time.

CORDELIA
My parents and I cruised the Greek
Isles and the Mediterranean the
summer before Sophomore year.

GUNN
Gee…and I thought I had it rough.
That must’ve been a real hardship.

CORDELIA
It was.   Especially when the Greek
men seem to believe that body odour
is appealing to women.

LINDSEY
(surprised)
You mean it’s not?

CORDELIA
(crinkles up her nose)
Eeuw!

ANGLE   -   Cordelia playfully hits Lindsey on the shoulder, but he still smiles.

CORDELIA
Alright, smarty, when was your
last vacation?

LINDSEY
Before I joined Wolfram And Hart.

GUNN
Don’t they give you vacation time?

LINDSEY
They do, but if you valued your life, it
was better not to take a vacation in
the first place.

CORDELIA
They’d kill people for taking holidays?

LINDSEY
It’s happened…more than once.

GUNN
Remind me to never apply for a job there.

CORDELIA
Same here.   And you…
(turning to Lindsey)
…are never going back there.
Do I make myself perfectly clear?

LINDSEY
Yes, dear.

Off Lindsey.

DISSOLVE TO…

SCENE 6

EXT   /   INT   -   TUDOR HOUSE, BRENTWOOD   -   NIGHT

WIDE ANGLE   -   on a large and expensive 2-storey Tudor house.   The front garden is beautifully landscaped and well maintained with a white picket fence along the sidewalk.   The two car garage is at the left of the house.   The door begins to close as a young-looking woman in her mid-forties walks along the front of the house.

ANGLE   -   on the blonde-haired woman who’s wearing a designer black skirt and a plain white shirt and black heels.   She finds the house key as she approaches the front door.   She slides the key into the lock and lets herself in.

INT   -   ANGLE   -   the woman closes the door and is greeted by a yapping Scottish Terrier.   She bends down and pats him on the head.

MOM
Hey, Scotty.

ANGLE   -   o.c we can hear the sounds coming from the television.   The mother puts her keys on the side table inside the front door, then wanders into the living room off to the left.

ANGLE   -   on a girl in her teens who is lounging in an arm chair, one leg hanging over the arm of the chair.   She’s wearing faded blue jeans, a white shirt and black boots.   Her long blonde hair is swept up into a mess on top of her head.   Lying on the couch is a man of around twenty who is dressed all in black.   He’s staring at the TV.

HOLLY
Hey, mom.

HARLEY
(grunts)
Hey.

MOM
(inquisitive)
What are you doing home, Harley?

HARLEY
(simply)
Laundry.

MOM
(to Holly)
Holly, I thought you were going out tonight.

HOLLY
I am.   I’m just waiting for my
date to arrive.
(checks her watch)
He should be here any minute.

ANGLE   -   on the mother as she looks towards the dining room and kitchen area.

MOM
Is Maria is still here?

HOLLY
She went home about an hour ago.

MOM
Did she prepare dinner?

HOLLY
It’s in the oven.   Should be ready
in half an hour or so.

MOM
Has your father called to say when
he’ll be home?

HOLLY
Nope.

MOM
(mutters)
Of course he hasn’t.

ANGLE   -   the woman turns and walks out of the living room and starts for the stairs when there’s a knock on the front door.

HOLLY (O.C)
I’ll get it!

ANGLE   -   the mother starts up the stairs as her daughter bounds out of the living room and towards the door.

EXT   -   ANGLE   -   the door opens and Holly smiles.

HOLLY
Hi.   Come on in…I’ll just
be a second.

Holly steps back from the door and disappears from view.

CUT TO…

SCENE 7

INT   -   WOLFRAM & HART   -   HOLLAND’S OFFICE   -   NIGHT

LILAH’S POV   -   Lilah walks along the corridor and sees Marcia sitting at her desk.

WIDE ANGLE   -   Marcia looks up as Lilah approaches, diary in hand.

MARCIA
Good evening, Ms Morgan.

LILAH
Is he in?

MARCIA
He’s about to head home.

LILAH
Can you tell him I’m here?

ANGLE   -   on Marcia as she presses the intercom.

MARCIA
Mr Manners, Lilah Morgan is here
to see you.

HOLLAND (V.O)
I’m on my way home, Marcia.

ANGLE   -   Lilah steps closer to the desk.

LILAH
Sir, I have something you’re going
to want to see.

HOLLAND (V.O)
(sighs audibly)
Come in then.

WIDER   -   Lilah steps away from the desk and moves towards the door.

ANGLE   -   Lilah opens the door and enters Holland’s office.

ANGLE   -   Holland has his briefcase open on the desk and is putting several files in it.   As he closes it…

HOLLAND
This had better be good, Lilah.

LILAH
It is.

ANGLE   -   Lilah holds up Paris’ diary.

HOLLAND
What’s that?

LILAH
Some very interesting reading.

WIDER   -   Lilah steps closer to the desk and hands Holland the book.

ANGLE   -   Holland opens the book up to the first page then after a moment, looks up at Lilah.

HOLLAND
Where did you get this and how
long have you had it?

Off Lilah.

DISSOLVE TO…

SCENE 8

INT   -   ANGEL INVESTIGATIONS   -   OUTER OFFICE   -   NIGHT

ANGLE   -   on Cordelia as she pushes back from her desk and stands up.   She picks up her bag and slings it over her shoulder as she pushes her chair under the desk.

CORDELIA
All this talk about vacations has
given me itchy feet.
(to Lindsey)
How about we drive past some travel
agencies on our way home?

LINDSEY
Thinking of anywhere in particular?

CORDELIA
As long as there are no demons or
vampires, I’d be happy with anywhere
that’s called Tahiti.

LINDSEY
Tahiti, huh?   We’ll see.

ANGLE   -   on Lindsey as he pulls on a leather jacket.

CORDELIA
See you tomorrow, Charles.

ANGLE   -   on Gunn who is on the couch looking over some information.

GUNN
Cordelia…Lawyer Boy.

LINDSEY
Night.

WIDE ANGLE   -   as Cordelia and Lindsey walk through the doorway leaving the office, Cordelia is suddenly hit with a vision.

CORDELIA
Oh, God…no…

LINDSEY
Cordy…

CORDELIA
…not…now…

INSERT       -       a blonde woman in her forties who’s obviously had some work done.

ANGLE   -   Gunn quickly gets up off the couch.

INSERT       -       a large expensive Tudor house.

INSERT       -       the letter B.

INSERT       -       Harley and Holly looking terrified.

ANGLE   -   Lindsey is not quick enough to stop Cordelia from being flung back against the door jamb.

INSERT       -       the older blonde woman is in the shower, screaming.

ANGLE   -   Lindsey and Gunn look down at Cordelia who is…

ANGLE   -   …now lying on the floor.   She is crying and screaming in pain as blood trickles from her neck.

BLACK OUT

 

 

 

SCENE 9

INT   -   ANGEL INVESTIGATIONS   -   OUTER OFFICE   -   NIGHT

ANGLE   -   Lindsey carries Cordelia to the blue couch and sets her down.

ANGLE   -   Gunn comes out of the bathroom with a hand towel.   He kneels down beside Cordelia and presses the towel against her neck to stop the bleeding.

CLOSE UP   -   when the towel is removed, we see that there’s no wound.

CLOSE UP   -   Cordelia presses her hands against her temples.   Her eyes are shut tight to try and block out the pain but is not working as she writhes on the couch.

GUNN
(urgently)
Cordy…what’d you see?

CORDELIA
(forces out)
Family…killed.

GUNN
Where?

CORDELIA
Starts with B’…Brentwood…
BelAir…I don’t know…

LINDSEY
Was it in a house or outside?

CORDELIA
House.

LINDSEY
What sort of house, sweetie?

CORDELIA
Two floors…big…nice…
expensive…Tudor…

GUNN
Brentwood and BelAir are full of Tudor
houses, Cordy, you need to try and
narrow it down a bit.

CLOSE UP   -   Cordelia tries to breathe through the pain which now seems to be lessening.   Her answers are now requiring less effort.

LINDSEY
Describe the family.

CORDELIA
There’s a woman…blonde…forty-something.
The son is about twenty…long reddish-brown
hair.   The daughter’s still in high school.
She has long blonde hair.

LINDSEY
What about the father?

CORDELIA
Don’t see one.   Either he doesn’t
spend much time at home, or he’s out
of the picture altogether.

GUNN
Was it a demon?

CORDELIA
(disdainfully)
Vampires.

GUNN
How many?

CORDELIA
At least two.   The only one I saw kind
of looked familiar, but…

INSERT       -       a flash of Jake’s face.

CLOSE UP   -   Cordelia grimaces in pain.

CORDELIA
It was that guy looking for
haunted-house-girl.

LINDSEY
Jake Stratton?

CORDELIA
Yeah.

GUNN
He went and got himself bit?

CORDELIA
Yeah.

GUNN
Damn.

CLOSE UP   -   Cordelia sees more images of the vision, but we don’t.   Cordelia opens her eyes, a horrified look on her face.

CORDELIA
(gasps)
Oh God…

LINDSEY
What is it?

CORDELIA
We’re too late.

LINDSEY
(surprised)
It’s already happened?

CORDELIA
Yeah.

GUNN
Why would the powers show you
something that’s already happened?

CORDELIA
(snaps)
If I knew that, would I be lying
here in pain?

LINDSEY
Let’s get you home, huh?

ANGLE   -   Cordelia nods weakly and tries to sit up by herself but fails.

WIDER   -   Gunn stands up and takes Cordelia’s arms and lifts her to her feet.

CUT TO…

SCENE 10

INT   -   WOLFRAM & HART   -   HOLLAND’S OFFICE   -   NIGHT

ANGLE   -   Holland is slowly leafing through the pages of Paris’ diary.

ANGLE   -   Lilah is sitting opposite Holland, watching him.

LILAH
Most of it is girly stuff, but there are
some very interesting passages for
seventeen and thirty November,
twenty-eight January, twenty February,
six April and the very last entry on
May fifteenth.

HOLLAND
(turning to the end of book)
What’s the last entry?

LILAH
She wrote, and I quote, "I know what
I have to do."

HOLLAND
She could have been referring to
any number of things, Lilah.

LILAH
I realise that, sir, but that passage was
written on the day she died.

HOLLAND
You’re thinking she intentionally
became a vampire?

LILAH
It wouldn’t be the first time it’s happened.

HOLLAND
The question is why?

LILAH
I believe the entries for the dates I
mentioned might help answer that.

HOLLAND
What was the first date?

LILAH
November seventeenth.

Off Lilah.

CUT TO…

SCENE 11

INT   -   THE TUNNELS   -   NIGHT

LONG ANGLE   -   we’re in a dim, dank tunnel.   Two people walk into frame and we realise it’s Paris and Angelus.   They walk to the end of the tunnel, stop and look up.

PARIS
So, how’d you want to do this?

ANGELUS
I thought I’d do…

ANGLE   -   Angelus does a handstand then bends his arms before pushing up hard.   His hands leave the ground and his…

ANGLE   -   heavy boots kick a large hole in the tunnel ceiling.

ANGLE   -   Angelus rolls then stands upright and looks at Paris.

ANGELUS
…that.

PARIS
(impressed)
That was so cool.

ANGELUS
(looking up)
It was, wasn’t it?
(looking at Paris)
Need a hand up?

PARIS
Yes, please.

WIDER   -   Angelus bends down and interlocks his fingers.   Paris places a boot in them then Angelus hoists Paris up through the hole.

ANGELUS’ POV   -   Paris squeezes through the hole then disappears for a moment before looking back down at him.

PARIS
It’s a bit of tight fit.
Hang on a second.

ANGLE   -   on Angelus as he stands back a little.

ANGELUS’ POV   -   he looks up as Paris stomps on the floor to make the hole bigger.   Concrete and dusts rain down in from of Angelus.

PARIS
Okay.

WIDE ANGLE   -   Angelus takes a couple of steps and leaps up through the hole.   Paris grabs his arm and helps pull him through the tight squeeze.

ANGLE   -   from the tunnel, we see Paris and Angelus through the hole.   They look in both directions.

PARIS
Which way?

ANGELUS
Left.

The two turn left then disappear.

CUT TO…

SCENE 12

INT   -   WOLFRAM & HART   -   HOLLAND’S OFFICE   -   NIGHT

ANGLE   -   Holland is in concentration mode as he reads the diary.   That is, until the noisy phone breaks it.   He snatches up the handset.

HOLLAND
Yes?
(listens)
Where?
(listens)
Send a team down there and let
me know when it’s been dealt with.

Holland slams the phone down.

ANGLE   -   on Lilah who shifts a little in her chair.

LILAH
Problem?

HOLLAND
A vampire’s in the building.
Now…Paris was questioning whether
or not she wanted to become a vampire
after she shared the dream with Angel.

LILAH
She was, but it seemed like she
decided on the negative.   Yes, she
wanted to be with Angel, but not if
it meant becoming immortal.

HOLLAND
But she is, Lilah, on both counts.
What made her change her mind?

LILAH
I don’t know, sir.

HOLLAND
Unless…
(thinking)
…that final passage is not referring to
her decision to become a vampire.
That it’s referring to something else entirely.

LILAH
Like what?

HOLLAND
(indignantly)
That’s what we need to figure
out, isn’t it?

ANGLE   -   Holland looks back down at the diary and turns a page.

DISSOLVE TO…

SCENE 13

INT   -   CORDELIA’S APARTMENT   -   NIGHT

ANGLE   -   Lindsey pulls the bed covers over Cordelia who is trying to find a comfortable spot on the pillow.

LINDSEY
Will you be alright?

CORDELIA
I will be once this fire in my head
goes out.
(off Lindsey’s look)
I’ll be fine, and I have Dennis to keep
me company.   You go with Gunn and
find Jake Stratton and kill him for me.

CLOSE UP   -   Lindsey offers a small smile.

LINDSEY
Call if you need me, okay?

CORDELIA
I will.   Now go.
(waves towards the door)

ANGLE   -   Lindsey kisses Cordelia on the lips then moves for the door.

ANGLE   -   Gunn is standing in the middle of the living room.   He turns around when he hears the bedroom door close.   Lindsey moves towards him.

GUNN
How is she?

LINDSEY
Better than she was, but I’m still
worried about her.

GUNN
That makes two of us.

LINDSEY
So what’s the plan?

GUNN
We drive around Brentwood and
BelAir until we find the house with
lots of police and ambulances.
Shouldn’t be too hard to find.

LINDSEY
Providing someone’s already
called them.

GUNN
Yeah.

WIDE ANGLE   -   Gunn moves towards the door, but Lindsey doesn’t.   Gunn stops at the door and looks back at the former lawyer.

GUNN
You waiting for an invitation
or something?

LINDSEY
Shouldn’t we take a weapon or
something?

GUNN
Why?   The vamps won’t be there.

ANGLE   -   Gunn opens the door and leaves the apartment.

ANGLE   -   Lindsey looks in the direction of the bedroom.

LINDSEY
(low)
Look after her Dennis.

WIDE ANGLE   -   Lindsey moves for the door, closing it behind him as he leaves.

CUT TO…

SCENE 14

INT   -   WOLFRAM & HART   -   LEON’S OFFICE   -   NIGHT

ANGLE   -   This is actually Lindsey’s office which Leon has moved into.   The desk has been moved away from the window so Leon sits with the window on his left and the door on his right.   Leon is sitting at the desk and is going through some files on the computer.

BACKGROUND   -   something moves past the partially opened door which catches his eye.

FOREGROUND   -   Leon looks towards the door.

LEON
Hello?

ANGLE   -   Leon pushes back from the desk, stands up and moves towards the door.

ANGLE   -   he opens he door all the way and sticks his head out into the corridor.   A moment later he steps out into the corridor.

LEON’S POV   -   he looks to the right but there’s no one there, then he looks to his left, but no one’s there.

ANGLE   -   Leon turns around and moves back into his office, leaving the door ajar.   He glances back out into the corridor, then turns to face his desk.

LEON’S POV   -   Paris is sitting at the computer and Angelus is watching her.   Angelus looks towards the door and recognises him.   Angelus smiles.

ANGELUS
LaVon?

ANGLE   -   Leon presses himself up against the wall.

LEON
The name’s Leon.
Am I supposed to know you?

ANGLE   -   on Paris as she starts typing quickly on the computer.

ANGLE   -   Angelus moves out from behind Paris and takes a couple of steps in Leon’s direction.

ANGELUS
Nah…I’m pretty sure it’s LaVon.
You used to hang out with Charlie
Gunn, right?   I negotiated the truce
between his gang and that other one…
what was their name?

LEON
(nervously)
I think you’re confusing me with
someone else.   Now get the
hell out before I call security.

ANGLE   -   as Leon goes for his coat pocket…

ANGELUS
(warns)
You’ll be dead before your phone
clears your pocket.

ANGLE   -   Leon’s hand freezes then drops back to his side.

ANGELUS
We were never formally introduced.
The name’s Angelus.

CLOSE UP   -   Leon’s dark skin seems to pale as he swallows hard.

ANGELUS
And this is Paris.

ANGLE   -   on Paris who waves quickly before going back to her typing.

LEON
What do you want?

ANGELUS
What we want are the directions to
the Files And Records Division.

LEON
I don’t know where it is.

ANGLE   -   on Leon whose eyes widen when Angelus suddenly appears before him.   Angelus wraps his hand around Leon’s throat and pushes him up against the wall.   Hard.

ANGELUS
Think real hard, LaVon.

LEON
(strained)
I only started here a few days ago…
I don’t know where everything is yet.

ANGELUS
(over his shoulder)
How’s it going, love?

PARIS (O.C)
Getting there.

LEON
(breathless)
Please…I can’t breathe.

PARIS
Only one more firewall to go.

ANGLE   -   Paris types furiously then hits enter and waits.

ANGLE   -   on Angelus as he squeezes Leon’s throat even harder.   Leon’s eyes are bulging, his mouth open and gasping for air.

CLOSE UP   -   of the computer monitor.   It beeps and then comes up with a screen that says ‘Hello, Holland,’ with a yellow smiley face.

PARIS
(smiles)
I’m in.
(then)
I think he’s dead now.

ANGLE   -   Angelus looks from Paris to Leon who has stopped breathing.   Angelus lets him go and the former vampire hunter…

WIDER   -   drops to the floor in a heap.   Without so much as a glance, Angelus walks away.

ANGLE   -   on Paris who is looking at something on the monitor as Angelus steps up behind her.

PARIS
He’s still logged in.
So is the lovely Ms Morgan.

ANGELUS
Just get the codes…oh, and a map
if it’s not too much bother.

PARIS
(looking up at him)
Do you want to do this?
(off Angelus’ look)
Right.   Be patient.   I can’t work any
faster than the computer will let me.

WIDE ANGLE   -   As Paris works to get the information they need, Angelus steps away from her and starts to wander around the office.

EXT   -   ANGLE   -   on Lilah who is leaning against the wall outside of Leon’s office listening to what’s going on.   Suddenly, the door opens.   Lilah looks up and sees…

ANGLE   -   Angelus looking down and smiling at her.

ANGELUS
(over his shoulder)
Honey…forget the map…
our tour guide just arrived.
(then)
Hello, Lilah.
LILAH
(nervously)
Angelus.

Off Lilah’s slowly rising panic.

BLACK OUT

 

 

 

SCENE 15

INT   -   WOLFRAM & HART   -   LEON’S OFFICE   -   NIGHT

ANGLE   -   Paris is typing and clicking quickly on the computer.   As she waits for information to appear on the screen, she taps her fingers on the desktop.

ANGLE   -   Angelus is standing with Lilah in the middle of the office, holding the lawyer firmly by one arm.   Lilah is watching Paris.

LILAH
How’d you get into the system?

PARIS
I hacked my way in.

LILAH
(surprised)
And you got past the firewalls?

PARIS
You’d be amazed what you can find
out from a few choice books and a
couple of hours surfing the net.

ANGLE   -   Paris types and clicks some more and waits, tapping her fingers again.

LILAH
Smart and speedy.   Maybe Holland
should have hired you for the I.T.
department instead of having you
try and turn Angel.

PARIS
(pointedly)
I didn’t know how to use a computer
when Holland hired me.

LILAH
(incredulously)
You’re kidding.

ANGELUS
It’s true.

ANGLE   -   Paris is looking expectantly at the monitor.   After a moment, she clicks on something and the printer starts printing off a page.

PARIS
Got them.

ANGELUS
Good.

LILAH
You got what?

ANGELUS
The codes to get us into the Files
And Records Division.

Lilah is shocked that Paris has been able to get them.

LILAH
You did?

ANGLE   -   while the information is printing, Paris looks back at the computer, and starts typing something.

ANGLE   -   Lilah looks from Paris to Angelus.

LILAH
Do you honestly think you’re going
to access that room?

ANGELUS
I do.

LILAH
Boy, are you going to be in for a surprise.

ANGELUS
Meaning?

LILAH
As soon as you enter the first code,
security is alerted.   If you’re lucky enough
to make it through the fourth barrier,
you have to deal with two Tregothi demons
in order to actually enter the room.

ANGELUS
Not a problem.

LILAH
You do know what Tregothi demons
are and what they’re capable of doing,
don’t you?

ANGLE   -   Paris logs out of the computer.

PARIS
I’m done here.

As Paris pushes back from the desk…

ANGLE   -   Angelus looks from her to Lilah.

ANGELUS
A demon’s a demon, Lilah.

BACKGROUND   -   Paris moves out from behind Leon’s desk.

FOREGROUND   -   Angelus jerks Lilah around to face the door.

ANGELUS
(to Lilah)
Lead the way.

WIDE ANGLE   -   Angelus shoves Lilah ahead and she stumbles on her high heels, turning her ankle slightly.

CLOSE UP   -   as Lilah winces in pain.

WIDE ANGLE   -   Lilah limps out of the office ahead of Angelus.   Paris follows, closing the door behind her.

DISSOLVE TO…

SCENE 16

INT   -   WOLFRAM & HART   -   HOLLAND’S OFFICE   -   NIGHT

ANGLE   -   Holland is still gleaning Paris’ diary.   He turns another page and reads for a moment before turning the page back.   He frowns at something then his phone rings noisily.   He snatches it up, annoyed at the interruption.

HOLLAND
Yes?
(listens)
When?
(listens)
Arrange for the body to be sent to
the morgue, and double the teams
to find them.
(listens)
They what?
(listens)
Where are they going?
(listens)
Forget the teams.   I can stop
them from here.

ANGLE   -   Holland hangs up the phone then turns to face his computer.   He moves the mouse and…

CLOSE UP   -   the computer monitor comes to life.   Holland clicks on an icon that’s called "CODES".   A log in box pops up in the middle of the screen that asks for a log in name and a password.   He types in the log in name "HOLLAND50" and a ten character password.   After a moment, another box pops up on the screen that says "LOADING W & H ACCESS CODES".

ANGLE   -   Holland waits impatiently as he repeatedly mouths the words ‘Come on’.   When the computer beeps…

CLOSE UP   -   a new window appears, reading "GOOD THINKING, HOLLAND.   BETTER LUCK NEXT TIME.  " The computer then proceeds to shut down completely as a series of hieroglyphics starts to fill the black screen.

WIDER   -   as Holland bangs the keyboard with his fists…

HOLLAND
Damn it!!!!

Off Holland’s reddening face.

DISSOLVE TO…

SCENE 17

INT   -   WOLFRAM & HART   -   CORRIDOR   -   NIGHT

ANGLE   -   Lilah is holding her shoes and is limping as quickly as she can in her stocking feet.   Angelus and Paris are ambling along behind her.

LILAH
You don’t really need me to take you
the rest of the way, do you?
You just need to keep -

ANGELUS
Keep moving.

OVERHEAD   -   Angelus pushes Lilah in the back and she stumbles forward.   She quickly regains her balance and continues leads Angelus and Paris down the long, white corridor.

DISSOLVE TO…

SCENE 18

INT   -   WOLFRAM & HART   -   SECURITY ROOM   -   NIGHT

ANGLE   -   Lilah, Angelus and Paris lose their color and change to black and white as we are now viewing them on a security monitor.

HOLLAND (O.C)
Where are they?

ANGLE   -   a portly security officer is sitting on an office chair, Holland standing beside him.

SECURITY OFFICER
Approaching the second barrier.

CLOSE UP   -   of the monitor.   Lilah, Angelus and Paris arrive at the barrier.   Paris stands in front of the keypad and punches in the number.   A moment later the barrier disappears and the three proceed along the corridor.

SECURITY OFFICER
What do you want us to do?

HOLLAND
Have four teams waiting for them
down in the F and R Division.

SECURITY OFFICER
With orders to kill?

HOLLAND
With orders to severely injure and
bring them to my office.

SECURITY OFFICER
Yes, sir.

ANGLE   -   Holland as he takes one more look at the security monitor then turns to leave the room.

CUT TO…

SCENE 19

INT   -   CORDELIA’S APARTMENT   -   BEDROOM   -   NIGHT

ANGLE   -   Cordelia is tossing and turning in bed.   The bedcovers are almost falling off the bed.

CLOSE IN   -   on Cordelia’s pained face.

INSERT       -       the slain daughter, son.

INSERT       -       Jake being dusted by someone unseen.

INSERT       -       the slain mother lying in a pool of blood, half in and half out of the shower.

INSERT       -       Leon gasping for air as a large hand closes around his throat.

CLOSE UP   -   Cordelia’s mouth is open as she gasps for air.

INSERT       -       there are two puncture wounds in the neck of the slain daughter’s body.

ANGLE   -   Cordelia is now crying in pain.

CORDELIA
(sleep talking, gasping)
No…stop…please stop…

CLOSE UP   -   Cordelia’s eyes shoot open and we see the fear and pain in them.

WIDER   -   Cordelia sits up and is breathing heavily.   As she wipes the tears from her face, she looks around the room and realises she is alone.

FX   -   Dennis takes a box of tissues from the nightstand and holds them out for Cordelia.   She takes on and dries her face.

CORDELIA
(strained)
Why do the Powers insist on
bombarding me with images of
something that’s already happened?
It’s not like we can stop it or anything.

FX   -   Dennis puts the tissue box down as…

ANGLE   -   Cordelia fakes a coughing fit.

CORDELIA
Dennis…could you get me a bottle
of water please?

A moment later…

FX   -   the bedroom door opens as Dennis leaves.

ANGLE   -   Cordelia coughs some more as she peers out into the dark hallway.   She then looks to her right.   With a trembling hand, she reaches to open the drawer of the nightstand.

CLOSE UP   -   we see a drawer full of pill bottles.   Cordelia sifts through them until she finds the some of the bottles she wants.

ANGLE   -   Cordelia coughs again as she starts opening each bottle.

DISSOLVE TO…

SCENE 20

EXT   -   STREET   -   LINDSEY’S CAR   -   NIGHT

WIDE ANGLE   -   of the silver Mercedes travelling along a suburban street.

ANGLE   -   looking through the windshield at Lindsey and Gunn, who’s riding shotgun.

GUNN
This is a nice car and all but I still
say we should’ve brought my truck.

LINDSEY
And we would’ve been sticking out
like a sore thumb.

GUNN’S POV   -   up ahead we see red and blue lights reflecting off the trees and houses.

GUNN
Something’s going on up ahead.

LINDSEY
I see it.

ANGLE   -   the car draws closer, and we see the flashing lights of police cars and two ambulances pulled up in front of a Tudor house.   As they creep closer…

LINDSEY (O.C)
(slowly)
I know who lives here.

GUNN (O.C)
Who?

ANGLE   -   Gunn looks at Lindsey for an answer.

CUT TO…

SCENE 21

INT   -   WOLFRAM & HART   -   CORRIDOR / FILES & RECORDS DIVISION   -   NIGHT

OVERHEAD   -   Lilah, Angelus and Paris standing at the door which acts as the third barrier.

ANGLE   -   Paris punches the code into the keypad and the door opens.

WIDER   -   the three walk through the door and into the area that Holland had been waiting for Lilah in.   The third barrier door closes behind them.

LILAH
(anxiously)
Hurry up and enter the code.

PARIS
(innocently)
Why?

LILAH
You know damn well why, you bitch.

PARIS
Bitch?   Oh, well, just for that, I
think I’m just going to take my time
punching the code in.

ANGLE   -   Paris moves closer to the keypad and punches in the first number.   She waits ten seconds then punches in the second number.

PARIS
You know, Lilah, this could take all
night given it’s a ten digit code.

ANGLE   -   A horrified look masks Lilah’s face as she realises what Paris’ slowness means.

LILAH
You’re going to let me die, aren’t you?

ANGELUS
That’s the plan, Lilah.   It’s going to
take a lot more than some toxic gas
to get rid of us.

WIDE ANGLE   -   as if on cue, there’s a HISSING sound from overhead then the small room begins to fill with a toxic green gas.   Lilah looks around as the panic starts to overwhelm her.   She moves towards Paris.

LILAH
Enter the frigging numbers!!

ANGLE   -   Paris looks at the keypad and punches in the remaining eight numbers of the code.   Her finger hovers over the hash button.

ANGLE   -   Lilah’s face is beginning to turn red as her eyes widen.

LILAH
Enter the damn code, you bitch!!!!
(coughs, then)
Please…

ANGLE   -   Angelus slides across the room and stands beside Paris by the fourth door.   They watch…

ANGLE   -   Lilah’s face growing redder and redder.   Her mouth is open as she gasps for air.   She begins coughing violently.

LILAH
Please…open the door…

ANGLE   -   Lilah takes a couple of staggering steps towards the vampires then collapses on the floor.

CLOSE UP   -   blood begins to trickle from her nose and from the corner of her mouth…

WIDER   -   as her body begins to convulse.   Gradually, the convulsions slow down, and Lilah is still.

PARIS
Finally!   I thought she was
never going to shut up.

ANGELUS
Me either.

ANGLE   -   Paris turns and presses he hash button on the keypad.

WIDER   -   the door opens and Paris and Angelus walk through.

REVERSE ANGLE   -   as the door closes behind them, Paris and Angelus stop in their tracks when they see…

POV   -   sixteen security men, all armed and ready to attack.   Behind them are two large Tregothi demons standing over seven feet tall.   The demons have spikes all over their motley colored flesh.   They each have one eye in the center of their large forehead, no nose and no visible mouth.   Their long arms hang by their sides, their long thick fingers brushing what would pass for their knees.

BLACK OUT

 

 

SCENE 22

INT   -   WOLFRAM & HART   -   FILES & RECORDS DIVISION   -   NIGHT

WIDE ANGLE   -   Without looking at each other, Paris and Angelus simultaneously launch themselves at the horde of security men.   In a matter of seconds, Angelus kicks a tazer from one man’s hand, grabs his neck and twists, then turns ninety degrees and does the same to another man.   Paris grabs a long wooden stake from one security man and thrusts it into his heart, only he doesn’t turn to dust.   She then puts the long stake between her teeth and quickly snaps the neck of another man.

ANGLE   -   Angelus pulls a scimitar from inside his long black duster, and uses it to slash the throats of three men in quick succession.   As Angelus prepares to slice another man…

ANGLE   -   one of the men tries to stake him in the back, but Angelus moves in the nick of time and the stake pierces his right shoulder instead.   Angelus barely feels it.

ANGLE   -   Paris kills the man who injured Angelus by ramming the long stake through his back and heart.

PARIS
(spits)
That’s how it’s done, moron.

BACKGROUND   -   a man wielding a long blade comes up behind Paris and is ready to strike.

HARD CUT TO…

SCENE 23

EXT   -   TUDOR HOUSE   -   NIGHT

ANGLE   -   Gunn is leaning up against the side of Lindsey’s Mercedes, arms folded across his chest as he waits.

GUNN’S POV   -   Lindsey is in the front garden of the property and is talking to a police officer.   Lindsey nods and says something then looks in Gunn’s direction.   He waves Gunn over.

WIDE ANGLE   -   Gunn pushes off the car and walks towards the front yard.   He lifts up the police tape and then walks through the front gate to Lindsey as the police officer walks off.

GUNN
Can we go in?

LINDSEY
Yeah, but only for a few minutes.

GUNN
That’s all I need.

WIDER   -   The two start for the front door.

TIME CUT TO…

SCENE 24

INT   /   EXT   -   TUDOR HOUSE   -   NIGHT

INT   -   ANGLE   -   Gunn and Lindsey come down the staircase.   Lindsey is looking a little pale and Gunn is quietly seething.   When they come to the bottom of the stairs, they turn and move into the living room.

ANGLE   -   The two men look around the room.

POV   -   the bloody bodies of Holly and Harley are lying on the floor between the couch and the television.

ANGLE   -   Gunn frowns and moves towards the bodies for a closer look.

LINDSEY
Remember…don’t touch anything.

GUNN
I know.

ANGLE   -   Gunn crouches down between the two bodies and looks at…

CLOSE UP   -   a pile of dust on the carpet.

ANGLE   -   Gunn cocks his head slightly.

GUNN
Either the maid doesn’t know how
to clean, or Jake got himself dusted.

BACKGROUND   -   the officer that Lindsey had been talking to earlier walks into the living room.

OFFICER
Sorry, Mr McDonald, you have
to leave now.

LINDSEY
Right.   Gunn.

GUNN
Yeah.

WIDE ANGLE   -   Gunn straightens and follows Lindsey out of the living room.

EXT   -   ANGLE   -   Lindsey and Gunn walk out of the house and back to the car.   Lindsey stands by the front of the car and watches a couple of paramedics wheel an ambulance gurney into the house.

GUNN
You’re not looking too good there.
You alright?

LINDSEY
Yeah.   I just want to find the ones
responsible for this.

GUNN
That ain’t going to be easy given one
of them is now a not-so-big pile of dust.

WIDER   -   Lindsey moves around to the driver’s side and gets in.

ANGLE   -   Lindsey takes his cell phone from his pocket as Gunn gets in the passenger seat.

GUNN
Who are you calling?

LINDSEY
The father of that family.

GUNN
Who is…?

ANGLE   -   on Lindsey as he presses in the phone number.

DISSOLVE TO…

SCENE 25

INT   -   WOLFRAM & HART   -   SECURITY OFFICE   -   NIGHT

WIDE ANGLE   -   the security man looks away from the monitor as Holland walks back into the security office.   Holland looks a little pissed off and distant at the same time.

SECURITY OFFICER
Is everything alright, sir?

HOLLAND
No.
(points at monitor)
I want those two in my office now.

SECURITY OFFICER
Yes, sir.

ANGLE   -   Holland turns and leaves the room.

ANGLE   -   the security officer looks down at the monitor and we see two-thirds of the men lying dead on the floor.   The two Tregothi demons, however, are still standing impassively by the door.

DISSOLVE TO…

SCENE 26

INT   -   WOLFRAM & HART   -   FILES & RECORDS DIVISION   -   NIGHT

OVERHEAD ANGLE   -   of the sixteen security personnel, ten are lying dead on the cold marble floor.

ANGLE   -   when Angelus turns and raises an arm to block a stake attack, we see a large stake wound in his right shoulder, and a deep diagonal gash across his back.   Angelus grabs his attacker’s arm and snaps it before snapping the man’s neck.   As the man drops to the floor, another security man armed with a long tazer hones in on Angelus.

ANGLE   -   Paris is standing behind a short stocky security guard and slits his throat.   His eyes widen and his jaw drops as he raises a hand to his bleeding throat.   Paris steps over a dead body as the dying man collapses on the floor.   As she turns slightly, we see a regular sized stake protruding from near the center of her back.

PARIS
(urgently)
Angel.

ANGLE   -   Angelus kicks a security man in the solar plexus, sending him to the floor.   Angelus turns to face Paris then takes a couple of steps towards her as she turns her back to him.

ANGELUS
Close but no heart, huh?

PARIS
It got tickled though.

CLOSE UP   -   Angelus wraps his hand around the embedded stake and pulls it carefully from Paris’ back.

WIDER   -   Angelus is about to drop the stake but uses it to kill the solar plexus man as he charges.   The man’s mouth opens in surprise as he’s stopped dead in his tracks.   He falls backwards on to one of his dead comrades.

OVERHEAD   -   Angelus and Paris face the last three security men.   He holds a long tazer in one hand and is other is pressed against an ear piece.   He looks at the two vampires.

SECURITY TEAM LEADER
It’s over, you two.

ANGELUS
Think again, Sparky.

WIDE ANGLE   -   together, Paris and Angelus advance on the three remaining men.

ANGLE   -   One of the men who is holding the long stake Paris had used earlier, steps forward and jabs the stake at Paris.   It pierces her left side but before the man can withdraw it, she grabs it and breaks it in half.   She pulls the piece of wood from her body then uses both pieces and drives them through the man’s eyes (ow!).

ANGLE   -   on Angelus as he kicks a stake out of the second man’s hand.   It clatters across the marble floor and lands next to the foot of one of the demons.   The man looks lost without the safety of a pointy stick, and then looks surprised when Angelus quickly snaps his neck.

ANGLE   -   Paris is smiling at the security team leader who is wielding the long tazer.

PARIS
How do you want to die?

SECURITY TEAM LEADER
I don’t.   But you will.

ANGLE   -   Angelus pulls one of the makeshift stakes from the head of the man Paris killed.

ANGELUS
Wrong answer, Sparky.

ANGLE   -   Angelus drives the stake through the ear of the team leader, killing the last of the sixteen men.

WIDER   -   Paris looks at Angelus then at the two large demons that…

ANGLE   -   …have now moved from their spot by the door.

PARIS
How do we kill them?

ANGELUS
I have no idea.

PARIS
I thought you knew about these guys.

ANGELUS
What can I say?   I lied.

WIDE ANGLE   -   Angelus VAMPS OUT as he spins and raises his leg for a reverse crescent kick, but the demon on the right catches his foot.   With his momentum suddenly stopped, Angelus’ left knee twists badly and he goes to ground in pain.

ANGLE   -   Paris VAMPS OUT and attempts a hard side kick but it’s blocked.   She then attempts a spinning heel kick but her ankle is caught by the Tregothi’s large hand.   The demon lifts Paris off the ground upside-down, then snaps her right ankle.

PARIS
(pained)
Aargh!!

ANGLE   -   the demon drops Paris to the floor in pain.

WIDE ANGLE   -   the two demons bend down and pick Paris and Angelus up by their necks.

DISSOLVE TO…

SCENE 27

INT   -   WOLFRAM & HART   -   HOLLAND’S OFFICE   -   NIGHT

ANGLE   -   Holland is sitting at his desk staring at a photo in a large gold frame (photo obscured) that sits on the right hand side of the desk.   He looks up when…

WIDE ANGLE   -   the office door opens and Paris and Angelus are pushed inside by two very large security men armed with stakes, guns and tazers.   Paris grimaces as her right foot touches the ground, her broken ankle causing great pain.   Angelus quickly slides his hand around her waist to steady her and she puts a hand on his shoulder.   Paris hops along side of a limping Angelus as they are co-erced past the conference table.

HOLLAND
(bitterly)
You two are quite the destroyers,
aren’t you?

ANGELUS
We try.

HOLLAND
First you kill Leon Maddox, someone
who had great potential with this firm.

ANGELUS
You didn’t know him that well, did
you Holland?

HOLLAND
Meaning?

ANGELUS
The last time I saw him, he was killing
demons and vamps on the street.
That was almost two years ago.
Now unless he was some sort of genius,
I’m guessing he couldn’t have got his
law degree and passed the bar in that time.

ANGLE   -   Holland’s face drops.   He clearly was unaware of Leon’s real identity.

HOLLAND
Well…it doesn’t matter much now,
does it?

ANGELUS
Just thought you’d like to know.

HOLLAND
Hmmm.   Why kill Lilah?

PARIS
(fighting the pain)
Why not?

CLOSE UP   -   Holland smiles briefly.

HOLLAND
And then the two of you go and kill
sixteen of Wolfram And Hart’s best
security men.

ANGELUS
They couldn’t have been too good if
they’re now dead.

ANGLE   -   Paris looks at the desk.

PARIS’ POV   -   she sees the photo frame on Holland’s desk and we can only just see the picture of a family of four.

CLOSE UP   -   Paris smiles to herself.   Then…

PARIS’ POV   -   PAN from the photo frame to a red and black book that is open on the desk.

PARIS
So…you’re the one who took my diary.

HOLLAND
Actually, it was Lilah who gave it to me.

PARIS
So?   You have now, Holland, and
I’d like it back.

HOLLAND
That’s not going to happen, Paris.

ANGLE   -   Paris smiles.

PARIS
Really?

WIDE ANGLE   -   Paris hops forward and the guard behind her grabs her upper arm.   Forgetting the pain in his knee, Angelus whirls, snaps the man’s arm and jabs two fingers into his throat.   He then glares at the other security man who is too afraid to move.

ANGLE   -   The man’s eyes bug out as he gasps for air.

WIDE ANGLE   -   The man collapses behind Paris as she hops towards the desk.   As she leans against it, she picks up the photo frame.

ANGLE   -   on Holland who is angry at Paris for touching the frame.

PARIS (O.C)
Yours?

Holland is silent.

ANGLE   -   on Paris as she looks at the photo.

PARIS (O.C)
Of course it is.

TIGHT   -   on the photo.   There’s Holland with a blonde woman in her forties, a teenaged girl with long blonde hair, and an older boy with long reddish-brown hair.   We now realise that the people in the photo are…

PARIS
Kirsten, Holly and Harley Manners…
all smiling and happy.

ANGLE   -   Holland is growing angrier.

HOLLAND
Put that down.

PARIS
Sure.

ANGLE   -   Paris puts the photo frame back down in it’s place then reaches into her coat pocket and pulls out a photo.   She looks at it and a smile starts to form on her lips.

PARIS
You know, I was all smiley and
happy when this was taken.

Paris holds out the photo, offering it to Holland.

PARIS
Go on…take it.

ANGLE   -   Holland takes the photo from Paris then looks it.   He catches his breath.

TIGHT   -   in the Polaroid photo we see Holly and Harley lying dead on the living room floor of the Manners’ family Tudor home.

WIDE ANGLE   -   as Holland stares at the photo in shock, Paris picks up her diary.   She holds the diary close to her chest as she leans forward slightly.

PARIS
(low)
I have one of your wife if you’re not
too squeamish.

WIDE ANGLE   -   Paris turns to face Angelus and smiles.

ANGELUS
(low)
Give it to him.

Paris takes another Polaroid out of her pocket and flicks it at Holland.

BACKGROUND   -   Holland picks it up and immediately ashens in color.   He slowly sinks into his chair as…

FOREGROUND   -   Paris, with Angelus’ help, turns to leave the office as the security guard watches them.

PARIS
(upbeat)
Have a nice day, Holland.

ANGLE   -   Paris smiles as she and Angelus move out of frame, leaving Holland a broken man behind his desk.

CUT TO…

SCENE 28

INT   -   CORDELIA’S APARTMENT   -   NIGHT

ANGLE   -   we HEAR a key slide into the lock then the front door opens.   Lindsey lets himself into Cordelia’s apartment and shuts the door behind him.   The apartment is dark except for the street lights that shine in through the windows.

WIDE ANGLE   -   Lindsey makes his way through the darkness to the bedroom.

ANGLE   -   on the bedroom door as it opens.   Lindsey slips into the bedroom and closes the door behind him.

LINDSEY’S POV   -   Cordelia is sleeping peacefully, the bedcovers now on her.

WIDE ANGLE   -   Lindsey makes his way over to the bed.   He bends over and kisses Cordelia’s forehead, then sits down on the edge of the bed.   She doesn’t stir.

LINDSEY
(whispers)
Cordy…

CLOSE UP   -   Cordelia doesn’t so much as make a noise.

LINDSEY
(louder)
Cordy…wake up, sweetheart.

Still nothing.   Panic begins to rise in Lindsey as he shakes Cordelia’s shoulder.

LINDSEY
(urgently)
Cordy…Cordelia.

ANGLE   -   Lindsey feels for a pulse in Cordelia’s neck and has trouble finding one.

LINDSEY
Oh, God…no.   Cordy!

MUSIC   -   "Requiem" by The Tea Party.

ANGLE   -   Lindsey reaches into his pocket and pulls out his cell phone.

DISSOLVE TO…

SCENE 29

INT   -   WOLFRAM & HART   -   MORGUE   -   NIGHT   -   MUSIC

OVERHEAD   -   we see Leon Maddox lying on a cold steel gurney, his lower body cover with a white sheet.   Another steel gurney is wheeled into frame by a man in white scrubs, gloves and mask, and placed several feet from Leon Maddox.   The man pulls he white sheet back from the face of the new arrival who we see is…

CLOSE UP   -   …Lilah.

DISSOLVE TO…

SCENE 30

EXT   -   THE TUDOR HOUSE   -   NIGHT   -   MUSIC

WIDE ANGLE   -   a limousine moves into frame and pulls up along the kerb.

ANGLE   -   Holland gets out of the back left of the vehicle without waiting for the driver to open the door.   The limousine pulls away slowly as Holland stares across the street.

HOLLAND’S POV   -   there are still two police cars parked out the front of the 2-storey Tudor house, along with two coroner vehicles.   As Holland moves across the street, we see one member of his family being wheeled out of the house.

CLOSE UP   -   of Holland who doesn’t seem to be able to comprehend what’s going on.

DISSOLVE TO…

SCENE 31

EXT   -   CORDELIA’S APARTMENT BUILDING   -   NIGHT   -   MUSIC

WIDE ANGLE   -   Two paramedics wheel Cordelia out of her apartment building, Lindsey following close behind.   The wheel her down the path to the awaiting ambulance.

ANGLE   -   One of the paramedics opens the rear doors then Cordelia is put in the back of the vehicle.   The first paramedic gets in with Cordelia as the other prepares to close the doors.   He looks at Lindsey and motions for him to get in the back of the ambulance.   Lindsey gets in the ambulance and the doors are closed.   The driver moves quickly and gets in behind the wheel.

OVERHEAD   -   the ambulance pulls away, its lights flashing.

DISSOLVE TO…

SCENE 32

INT   -   THE HOUSE, SANTA MONICA   -   LIVING ROOM   -   NIGHT   -   MUSIC

CLOSE UP   -   of Paris’ broken ankle that is being strapped tightly with a bandage.

WIDER   -   Angelus is shirtless and we see that his shoulder wound has been bandaged.   The large gash in his back has not been dressed as it’s already started to heal over.   He looks up at Paris who nods.

WIDER   -   Angelus stands up and steps over Paris’ outstretched leg and sits down beside her on the couch.   She lifts up her shirt and we see…

CLOSE UP   -   the nasty wound in her side.   She flinches as Angelus wipes it clean.   PAN up to Paris who is staring at something off to the left.

ANGLE   -   on the burning fireplace.  

CLOSE IN until we see that Paris’ diary is burning.

DISSOLVE TO…

SCENE 33

INT   -   THE HOSPITAL   -   DAY

ANGLE   -   on the elevators as they open at the third floor.   Wesley steps out of the car and moves quickly up to the nurses station.   He asks a nurse something and she points down the corridor.   Wesley rushes down the corridor.

ANGLE   -   Wesley comes to room 327.   He knocks softly on the door then opens it a little.

WESLEY’S POV   -   he sees Lindsey sitting with Cordelia, holding her hand as she sleeps.   Lindsey looks up through tired eyes.   He lets go of Cordelia’s hand and stands up.   As he moves towards the door…

MUSIC   -   song fades out.

ANGLE   -   Wesley steps back into the corridor and waits for Lindsey.   As Lindsey comes out of the room…

WESLEY
I got Gunn’s message.
What happened?

LINDSEY
She OD’d.

WESLEY
On what?

LINDSEY
They did a toxicology analysis and
found eleven different painkillers
in her system.

ANGLE   -   Wesley is shocked by the news.

WESLEY
Eleven?   Which ones?

LINDSEY
Demerol, Vicodin, Morphine, and eight
others I don’t remember the names of.

WESLEY
I didn’t realise the pain was that bad.

LINDSEY
No one did, Wesley.
(beat)
She wanted to be an actress…I guess
this was one of her greatest roles…pretending
everything was fine when it wasn’t.

WESLEY
How long will she be in here?

LINDSEY
The doctors want to keep her here
for a week or so.

WESLEY
Where’s Gunn?

LINDSEY
He went to get rid of all the painkillers
from Cordy’s apartment and the office.

WESLEY
Good.

WIDE ANGLE   -   Wesley looks up and down the corridor then back at Lindsey.

WESLEY
You look like you’ve been here
all night.

LINDSEY
I have.   It’s been a busy night.

WESLEY
What happened?

LINDSEY
Holland Manners’ family was
murdered last night.

WESLEY
(shocked)
Good Lord.   How?

LINDSEY
Vampires.   One of them was
Jake Stratton.   Cordy had a
vision but it came too late.

WESLEY
And Holland?

LINDSEY
He was at work when it happened.
(yawns)

WESLEY
You’re exhausted.   Why don’t you
go home and get some rest?   I can
stay with Cordelia until you get back.

LINDSEY
I can’t.

WESLEY
Are you sure?

LINDSEY
I don’t want to leave her, Wesley.

ANGLE   -   Wesley regards Lindsey for a moment.

WESLEY
You really do love her, don’t you?

LINDSEY
I know you don’t like it, Wesley,
but I do.   And she loves me.

ANGLE   -   Wesley nods once.

WESLEY
We’ll both stay with her then.

ANGLE   -   Lindsey nods then opens the door to Cordelia’s room.   He moves out of frame, leaving Wesley alone in the corridor.

BLACK OUT

 

 

 

SCENE 34

INT   -   THE HOSPITAL   -   CORDELIA’S ROOM   -   DAY

CLOSE UP   -   Cordelia shifts her head slightly and groans.   As she cracks open her eyes, she winces as the brightness of the room.   Once her eyes have adjusted, she looks to her right then her left.

WIDER   -   we see Wesley on her right, Lindsey on her left.   Both are sleeping.

ANGLE   -   Wesley has his head down on the edge of the bed, his glasses slightly askew on his nose.

ANGLE   -   Lindsey is holding Cordelia’s hand near his mouth.   She touches his cheek and he wakes up with a start.   He looks up at her, the relief evident on his face.

LINDSEY
(smiles)
Hey, you.

WIDE ANGLE   -   Lindsey stands and leans over to kiss Cordelia gently on the lips.   As he sits down…

CORDELIA
What happened?

ANGLE   -   Lindsey hesitates in answering.

LINDSEY
You OD’d.

CLOSE UP   -   Cordelia realises that her secret is no longer a secret, and begins to tear up.

CORDELIA
You found all the bottles, didn’t you?

LINDSEY
Gunn did.

CORDELIA
I’m so sorry, Lindsey…I…

ANGLE   -   Wesley wakes up and looks silently at Cordelia, the concern evident on his face.

CORDELIA
I am so sorry, Wesley.

WESLEY
Don’t be, Cordelia.

CORDELIA
(cries)
No…I should have told you how bad
the pain was.   I shouldn’t have acted
like everything was fine when it wasn’t.

ANGLE   -   Wesley takes her hand in his and gives it a squeeze.

WESLEY
Sshhh.   I’m not angry with you,
Cordelia.   I’m just relieved that you’re
going to be alright.

CLOSE UP   -   Cordelia looks from Wesley to Lindsey.

CORDELIA
I just wanted the pain to stop for a while.

ANGLE   -   sympathy emanates from Lindsey’s eyes, and we realise that he truly does love Cordelia.

LINDSEY
I know, sweetheart.

ANGLE   -   Lindsey reaches up and wipes the tears from Cordelia’s cheeks, then he kisses her softly on the lips.   Cordelia smiles a little as Lindsey sits back down.

CORDELIA
I guess Tahiti’s looking better and
better, huh?

LINDSEY
(smiles)
Yeah, it is.

CORDELIA
Wesley…

Cordelia stiffens a little as she looks back at the Brit.

WESLEY
Yes?

CORDELIA
What happens when I get another vision?

WESLEY
We’ll deal with it when the time comes.

CORDELIA
Better start dealing then.

ANGLE   -   Pain masks Cordelia’s face and her head is slammed back into the pillow as the vision sets in.

FADE TO BLACK