IN THE GAME
Completed: 10 August 2000
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SCENE 1
INT - JAIL CELL - NIGHT
Faith is sitting on her bed, her back against the wall.
HARD CUT TO...
SCENE 2
INT - DICK'S APARTMENT - NIGHT
Faith is fighting Angel inside the apartment.
HARD CUT TO...
SCENE 3
INT - DICK'S APARTMENT - NIGHT
Faith is fighting Angel inside the apartment.
HARD CUT TO...
SCENE 4
EXT - THE ALLEY - NIGHT
Faith is pounding on Angel's chest begging him to kill her as the rain pours down.
FAITH
(cries)
Please. Just kill me.
Angel, please.
HARD CUT TO...
SCENE 5
INT - JAIL CELL - NIGHT
Faith exhales shakily. She runs her fingers through her hair then rests her head against the wall.
CUT TO...
SCENE 6
EXT - A DARK EMPTY STREET - NIGHT
ANGLE of Paris’ feet walking steadily along the sidewalk. We HEAR heavy footsteps behind her. Paris stops as do the footsteps.
CLOSE UP of Paris’ face then from her POV as she looks behind her but sees nothing.
She resumes walking and quickens her pace as the footsteps begin again. She looks behind her again and from HER POV sees three shadowy figures.
CLOSE UP of Paris sliding the key into the lock. She opens the door of the ground floor apartment and gets halfway inside.
PARIS' POV - she looks at the figure.
PARIS
(screams)
Aaaargh!
She fights from the strong grip and as Demon 2 grabs at her again, she pushes the door shut and locks it.
CLOSE UP of Paris’ face. Her eyes are wide with terror, her breathing heavy and shaky.
FADE TO BLACK
SCENE 7
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Cordelia is sitting at her desk, her chin resting on her hands.
CORDELIA
(bored)
I wish the phone would ring.
There must be someone out there
with a demon problem.
WESLEY
(looking up from his newspaper)
It has been rather quiet of late.
Hasn't it?
CORDELIA
(hopeful)
Maybe all the bad guys went on
vacation. Or better yet, maybe
they’ve found a new town to annoy.
WESLEY
I somehow doubt that, Cordelia. When
I spoke to Giles the other night, he said
it’s been quiet in Sunnydale as well.
CORDELIA
Buffy must be loving the peace and quiet.
WESLEY
She is, but as always, she’s ever on the
alert. As should we. I’m sure a demon
will show up when we least expect it.
CORDELIA
Well, it better be soon. I sneaked a
peak at our bank statement the other day.
After refurbishing and rebuilding everything
that bomb destroyed, and our total lack of
clients, we have bubkus left. I’m afraid we’re
going to have to go out into the real world
and look for actual paying jobs.
Angel stands in the doorway, coat in hand.
ANGEL
No one’s going to be looking for a job.
CORDELIA
Why? Have you got a secret fortune
stashed away somewhere? Because if
you do, I want to see some of it.
ANGEL
We’ll be fine, Cordelia.
WESLEY
Where are you off to?
ANGEL
To see Faith.
CORDELIA
Not a good idea.
WESLEY
I agree with Cordelia.
CORDELIA
(surprised)
You do? Wow. That’s a first.
WESLEY
Angel, if you see Faith, it could cause
irreparable damage to her already fragile
state of mind. Do you want that
on your conscience?
CORDELIA
She could just as easily hug you as try
and kill you again.
Angel considers this.
CORDELIA
Plus, if you haven’t noticed, it’s daytime.
Unless you want to become a crispy critter,
I’d be refraining from venturing outside
right now.
ANGEL
Maybe I’ll hold off for a while.
WESLEY
I think that would be wise.
CUT TO...
SCENE 8
INT - WOLFRAM & HART - LINDSEY'S OFFICE - DAY
Lindsey McDonald and Lilah Morgan are standing by the window in his office.
LINDSEY
(irritated)
I don’t care what you say, Lilah.
LILAH
You’re being totally unreasonable.
You’re letting your hatred for him cloud
your judgement.
LINDSEY
Hatred has nothing to do with it.
(holds up his right arm)
Have you forgotten what he did to me?
LILAH
I haven’t forgotten, Lindsey. You remind
me of it every chance you get.
LINDSEY
Angel’s gotten in the way far too often.
He has to be stopped one way or another.
LILAH
And how do you plan on doing that?
LINDSEY
I think I know just the right person
for the job.
LILAH
And who would that be?
LINDSEY
You’ll find out soon enough.
CUT TO...
SCENE 9
INT - PARIS' APARTMENT - DAY
A closet door slowly opens and Paris pokes her head out.
PARIS’ POV - she sees the apartment is empty.
She steps out into the living room, walks over to the door and looks through the peephole.
PARIS’ POV – she sees an empty corridor.
She moves to the window and peers through a crack in the drapes.
PARIS’ POV – she sees an empty street.
She looks around the apartment and walks over to the phone. She opens up the yellow pages, finds the section she wants, then dials the first number she finds.
CUT TO...
SCENE 10
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Cordelia is looking at a home-shopping website on the computer when the phone rings. She quickly picks it up.
CORDELIA
Angel Investigations.
How may we help you?
(listens)
Yes we do. What seems to
be the problem?
(listens)
Okay. Why don’t you come down
to the office and we can talk?
(listens)
We sure are.
(listens)
That’s fine. We’ll see you then.
Cordelia hangs up the phone and looks at Wesley.
WESLEY
Was that a prospective client?
CORDELIA
Sure was.
WESLEY
What sort of case is it?
Vampire? Demon?
CORDELIA
She didn’t say.
WESLEY
She?
CORDELIA
Yeah. She sounded real scared, too.
WESLEY
And she’s coming into the office?
CORDELIA
Yeah. She’ll be here in a little while.
CUT TO...
SCENE 11
INT - THE PRISON - DAY
A prison guard strolls along the gangway then stops outside one of the cells.
GUARD
Get up, missy. You have a visitor.
Faith stands up as the guard unlocks the cell door.
CUT TO...
SCENE 12
INT - GRIFFITH PARK - THE CAVE - DAY
Inside the dimly lit and damp cave, we see two of the Divani demons that chased Paris.
PATRICK (O.C)
(angrily)
What do you mean you failed?
DEMON 1
We were too slow.
PATRICK (O.C)
You have failed me twice in as many
nights. Failure is unacceptable.
DEMON 2
She was a lot stronger than we anticipated.
PATRICK (O.C)
I don’t want to hear your excuses.
(then)
Why’s there only two of you here?
Where’s the other one?
DEMON 1
Keeping watch at the girl’s home to see
where she goes.
PATRICK (O.C)
You have one last chance to capture this
girl. If you fail me again, you’ll
wish you’d never met me. Do I make
myself perfectly clear?
The two demons nod affirmatively.
CUT TO...
SCENE 13
INT - THE PRISON - VISITOR'S ROOM - DAY
Faith is led into the room as the guard stands at the door. She looks at the visitors then recognises someone. She moves forward, sits down and picks up the phone.
FAITH
(unpleasant)
What do you want?
LINDSEY
Nice to see you, too.
FAITH
Let’s skip the formalities, huh?
Why are you here?
LINDSEY
I’m going to get you out of jail.
You’ll be exonerated -
FAITH
Huh?
LINDSEY
(clarifies)
The charges will be dropped.
FAITH
(eyeing him/suspicious)
And how are you going to do that?
LINDSEY
I’m a lawyer, Faith. A good lawyer.
Leave everything to me.
FAITH
But it comes at a price. Right?
So out with it.
LINDSEY
My associates and I will pay you fifty
thousand dollars after you eliminate
someone for us.
FAITH
Fifty G? That’s quite a step up from
the fifteen you paid me last time.
Who do I have to drop?
LINDSEY
A certain person we have in common.
FAITH
Wait a sec. Didn’t we already go down
this road? Why do you want me to do it?
Don’t you have people who do that sort
of stuff for a living?
LINDSEY
People who have failed.
We know you won’t, Faith.
FAITH
Give me one good reason why I
should do this.
Lindsey looks around the room then at Faith.
LINDSEY
Do you like being in here?
CUT TO...
SCENE 14
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Paris enters the office and Cordelia gets up from her desk to greet her.
CORDELIA
Hi. You must be the one who
called earlier.
PARIS
(softly)
Yes.
CORDELIA
I didn’t get your name when you called.
PARIS
It’s Paris.
CORDELIA
I’m Cordelia Chase and…
(motioning)
…this is Wesley Wyndam-Pryce.
CORDELIA
Let me get Angel.
Cordelia walks into Angel’s office where he’s reading a book.
CORDELIA
Our new client's here.
ANGEL
Right.
Angel puts the book in the desk drawer then stands up and follows Cordelia out of the office.
CORDELIA
Angel, this is Paris. Paris, this is
Angel…the man who can help you.
ANGLE - Angel is momentarily struck by the woman’s beauty and the desperation in her green eyes.
ANGLE - Paris glances at him and breathes in sharply before quickly dropping her eyes to the floor.
ANGEL
How can I help you?
PARIS
(nervously)
I’m being stalked, and last night
I was attacked.
WESLEY
Are you alright?
PARIS
(nodding)
Just scared.
ANGEL
(gently)
Why don’t you come into my office
and tell us what happened?
PARIS
(softly)
Thank you.
Angel steps aside to let Paris past. Wesley and Cordelia follow Angel in to the office.
CORDELIA
Can I get you something to drink?
PARIS
No, thank you.
Cordelia sits in a chair with pen and notepad at the ready, while Wesley stands by the bookcase to the right of the desk. Angel sits down at his desk and Paris sits opposite him. She stares down at her hands, unable to look at the investigator.
ANGEL
How long have you been stalked?
PARIS
(nervous/soft)
For the past two nights.
WESLEY
(glancing at Angel)
Not during the day?
PARIS
(shakes her head)
No.
ANGEL
What happened last night?
PARIS
I was walking home and heard
someone following me.
(pauses)
I’m sorry.
ANGEL
(gently)
It’s okay. Take your time.
Paris takes a deep but shaky breath.
PARIS
They chased me into my building.
CORDELIA
How many were there?
PARIS
Three. One of them grabbed my arm…
(touches her arm)
…as I tried to get inside my apartment.
I managed to fight it off and get inside.
ANGEL
What can you tell us about these men?
PARIS
(hesitantly)
They weren’t…men…exactly.
CORDELIA
They weren’t?
PARIS
(shakily)
I’m not sure what they were.
I don’t even know if they were…human.
(raises a shaky hand up to her mouth as
tears well in her eyes)
You must think I’m crazy.
I feel like this is all a nightmare.
ANGEL
(soft/gentle)
Paris, whatever you tell us, we’ll believe
you. We’ve dealt with a lot of different
creatures, human and otherwise. You won’t
shock us, and we won’t think you’re crazy.
Paris looks at Cordelia then Wesley who both nod in agreement. She then looks back down at her hands.
CORDELIA
(preparing to write)
You can talk to us, Paris.
ANGEL
Do you remember what they looked like?
PARIS
(nods/hands and voice shaking)
I don’t think I’ll ever forget.
They were tall. Well built. Their faces were...
grotesque. They had small eyes…big noses…
and rows of teeth. No hair. They had
these two bumps on top of their heads…kind
of like horns but smaller. Their hands
were like claws. They had blue skin.
And they smelled horrible.
WESLEY
What kind of smell?
PARIS
(screws her nose up slightly)
Sort of musty but worse.
ANGEL
Can you think of any reason why they
might want to harm you?
PARIS
(shakes her head)
No. I’ve only been in Los Angeles a
week. I don’t know anybody here.
CORDELIA
You live alone?
PARIS
Yeah.
WESLEY
If they know where you live, I don’t think
it’s wise for you to go back to your apartment.
Is there somewhere else you can go?
PARIS
(strained)
I can’t afford to stay anywhere else.
I used most of my money to get my apartment.
CORDELIA
Well…if you don’t mind sleeping on the
couch, you’re welcome to stay at my place.
PARIS
I couldn’t ask you to put yourself
out like that.
CORDELIA
It’s not a problem. Besides, where
else are you going to go?
Off Paris’ uncertain face.
TIME CUT TO...
SCENE 15
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel looks up at Wesley who’s in ‘think’ mode.
ANGEL
So what sort of demons are we dealing
with here, Wes?
WESLEY
Judging by the description, I’d say
they’re Divani demons.
ANGEL
Which are?
WESLEY
Predators with a purpose.
One of the worst kinds of demon.
They have certain debilitating powers
that vary from each individual demon.
ANGEL
What sort of powers?
WESLEY
The most common are the ability to fire
lightning bolts at enemies, and zapping a
person of their strength so they are incapable
of fighting back.
ANGEL
Could they be acting on behalf of
another demon?
WESLEY
It wouldn’t be the first time that’s happened.
It’s possible that a higher power has ordered
these three Divanis to go after Paris for a
particular reason. They won’t stop until their
mission is complete. As they seem to have
failed in their attempts thus far, they’ll
continue until they succeed.
ANGEL
(standing up)
We have to find them before they find Paris.
WESLEY
Well, as it’s still daylight, may I suggest
we start with the tunnels?
Angel moves towards the elevator and Wesley follows.
SCENE 16
INT - CORDELIA'S APARTMENT - DAY
CORRIDOR - Cordelia and Paris walk along the corridor. Cordelia unlocks the door and they enter.
PARIS
(looking around)
This is nice. Much better than my place.
CORDELIA
(closing the door)
As soon as I saw this place I knew I had
to have it.
PARIS
How long have you lived here?
CORDELIA
Almost a year.
(pointing)
The kitchen’s in there, my room, and
the bathroom.
(then)
Make yourself at home.
Paris moves to the couch, sets her bag down on the floor then takes a seat.
CORDELIA
Would you like something to drink?
PARIS
A cup of tea would be nice.
CORDELIA
Coming right up.
Cordelia starts to move towards the kitchen then stops and turns back around.
CORDELIA
Oh, I forgot to tell you about Dennis.
PARIS
Is he your husband?
CORDELIA
(horrified)
God, no.
(then)
He’s my ghost.
PARIS
(taken aback)
Your ghost? There’s no such thing
as ghosts.
CORDELIA
That’s what I used to think.
(to thin air)
Dennis, can you make yourself known
to Paris please?
A chair moves slowly across the room.
PARIS
(stunned)
Oh, my God.
She looks at the chair then at Cordelia, mouth open.
PARIS
Is…is he friendly?
CORDELIA
Just like Casper.
PARIS
Who?
CORDELIA
Casper the friendly ghost?
(off Paris’ frown)
Never mind. Yes, he’s friendly.
He lets me know if there’s trouble.
PARIS
(slowly)
Ghosts……demons……Los Angeles is
nothing like where I’m from.
CORDELIA
Okay, firstly, it’s not Los Angeles.
It’s L.A. And secondly…you don’t get
out much, do you?
CUT TO…
SCENE 17
INT - WOLFRAM & HART - LINDSEY'S OFFICE - DAY
Lindsey walks into his office to find Lilah waiting for him.
LINDSEY
I’m busy, Lilah. What do you want?
LILAH
How’d it go?
LINDSEY
She agreed to do it.
LILAH
Good. I’ll set the wheels in motion.
Lilah moves towards the door as Lindsey picks up the phone.
CUT TO…
SCENE 18
INT - CORDELIA'S APARTMENT - LIVING ROOM - DAY
Cordelia comes out of the kitchen with two cups and hands one to Paris.
PARIS
Thank you.
CORDELIA
(sitting down)
So, why'd you decide to move to L.A.?
PARIS
I was tired of reading about the world.
I thought I should actually try and see
some of it. L.A. seemed as good a place
as any to start.
CORDELIA
And how much have you seen?
PARIS
In between looking for an apartment
and a job…none.
CORDELIA
You know you’re living in one of the
worst neighbourhoods in the city.
PARIS
I found that out pretty quick. I’ll
look for something better once I find a
job and get some money together.
CORDELIA
If you want, I could ask Angel if he could
give you a job. Though he wouldn’t
be able to pay you much.
PARIS
Thanks, Cordelia, but I can’t.
I need to try and make it on my own.
CORDELIA
Well, if you change your mind, let me
know. Okay?
PARIS
I will.
There is a prolonged silence as Paris shifts in her seat.
CORDELIA
You look like you want to ask me something.
What is it?
PARIS
How long have you worked for Angel?
CORDELIA
We started the business about a year ago.
PARIS
So, you’ve known him a while?
CORDELIA
Yeah. Four years, give or take.
PARIS
And the other guy? What was his name?
CORDELIA
Wesley? I’ve known him about eighteen
months, but he’s only been with us since the
end of last year.
PARIS
He seems smart.
CORDELIA
He is. Some of the stuff that’s locked
away in that British head of his is scary.
PARIS
Is Angel smart, too?
CORDELIA
Yeah, but in a different way from Wesley.
Angel’s seen a lot and he’s learned from
those things.
PARIS
When I was at the office, I sensed a kind
of, I don’t know, loneliness about him.
Is he always like that?
CORDELIA
Only about 99 percent of the time.
He tends to keep pretty much to himself.
He’s not an easy person to get to know.
PARIS
So, he’s not married or anything?
CORDELIA
No. Listen, Paris. Don’t think
about starting something with Angel.
Other than professionally, that is.
PARIS
(shocked)
I wasn’t. I just wanted to know about
the person I just hired.
CORDELIA
Well, okay then. But if you were thinking
along those lines…don’t.
PARIS
Words of warning.
CORDELIA
Words of advice, Paris. I saw what happened
with his last relationship and he’s still
dealing with that. In fact, I don’t think
he’ll ever get over it.
PARIS
(smile forming around mouth)
You wouldn’t happen to be sweet on him,
would you?
CORDELIA
(horrified)
God, no. We’re friends.
(makes swiping motion with hand)
That’s it.
CUT TO…
SCENE 19
INT - SEA CAVE - NEAR MANHATTAN BEACH - NIGHT
Angel and Wesley enter the cave and, using their flashlights, begin looking around.
WESLEY
(low)
I don't think they're here.
ANGEL
It doesn't hurt to look, Wesley.
Wesley and Angel move deeper into the damp cave. Wesley moves along the rock wall and comes to a small ledge.
WESLEY
There are some candles over here.
ANGEL
There’s some over here, too.
WESLEY
It looks like they’ve been here a while.
ANGEL
Whatever was here has since moved on.
I’d say less than a week ago.
WESLEY
If the Divani demons were here, maybe
they’ve moved closer to Paris’ apartment.
She did say she’d only been in L.A. a week.
ANGEL
Yeah.
(looks around)
Let’s go.
The two men move out of the cave.
CONTINUOUS…
SCENE 20
EXT - SEA CAVE - NEAR MANHATTAN BEACH - NIGHT
Angel and Wesley exit the cave and move quickly back to the black Plymouth convertible. They get in the car.
ANGEL
We’re running out of places to look.
WESLEY
I know.
Long beat.
WESLEY
There is one more place we can try.
ANGEL
Do I have to guess or are you going
to tell me?
WESLEY
Griffith Park.
Angel starts the car engine and plants his foot on the accelerator.
DISSOLVE TO…
SCENE 21
INT - CORDELIA'S APARTMENT - LIVING ROOM - NIGHT
It’s dark. Paris is asleep on the couch. She shivers from the cold air.
Dennis (the ghost) takes a blanket off the back of the couch and drapes it over Paris.
CUT TO…
SCENE 22
EXT - CORDELIA'S APARTMENT BUILDING - NIGHT
The three Divani demons are standing in amongst some bushes outside the building.
DEMON 1
(to Demon 3)
Are you sure she's here?
DEMON 3
Positive.
(points to a window)
Apartment 212.
DEMON 2
Let’s go.
The three demons move slowly towards the building.
CUT TO...
SCENE 23
EXT - GRIFFITH PARK - NIGHT
Angel pulls the convertible over to the side of the road and shuts off the engine. He and Wesley grab their flashlights then get out of the car.
ANGEL
(looking around)
Are you sure about this, Wes?
WESLEY
Positive.
ANGEL
Lead the way then.
Wesley moves towards the guard rail and Angel follows.
CUT TO…
SCENE 24
INT - CORDELIA'S APARTMENT - NIGHT
BEDROOM - CLOSE UP of Cordelia sleeping then water is splashed on her face. She awakens with a start.
CORDELIA
(hisses)
Dennis. What the hell is wrong
with you?
Cordelia gets out of bed and walks into the living room.
CORDELIA’S POV – she sees the three Divani demons hovering over Paris.
She quickly moves back to the bedroom and rummages around in her bag. She pulls out her cell phone and presses the speed dial number.
CORDELIA
(urgently/whisper)
Angel, it’s me. The demons…
they’re here.
ANGEL (O.C)
We’ll be there as soon as we can.
CORDELIA
Hurry.
Cordelia switches the phone off then moves back to the living room.
CORDELIA
Hey! Get away from her.
The three demons turn and look at her.
CORDELIA
What are you? Deaf?
I said get the hell away from her!
Paris wakes up and screams when she sees the three demons.
PARIS
Get away from me!
Demon 1 raises his hand at Cordelia. A lightning bolt emanates from its hand and hits Cordelia in the chest, sending her flying back against the wall. She hits hard then crumples to the floor unconscious.
PARIS
Cordelia!
Demon 2 grabs Paris’ arm and pulls her roughly to her feet.
PARIS
Let me go!
The demon pulls her towards the door.
PARIS
Dennis. Help me!
As the demon reaches the door, Dennis prevents him from opening it. Dennis then smashes a vase over the demon’s head but to no avail. Demon 1 tries to open the door while Demon 2 and Demon 3 hold Paris as she struggles to kick her way free.
PARIS
(near hysterical)
Let me go!
What do you want with me?
Demon 3 moves behind Paris and places his clawed hand on top of her head.
FX - A blue-white light begins to pulsate as Paris’ legs begin to weaken.
PARIS
(weakly)
What are you…what have you
done…to me?
Demon 3 removes its hand as Paris leans towards Demon 2 for support.
CUT TO…
SCENE 25
INT - CORDELIA'S APARTMENT - CORRIDOR - NIGHT
Angel and Wesley race around the corner and along the corridor to Cordelia’s front door. Angel tries the doorknob but the door is locked. He bangs on the door.
ANGEL
Cordelia! Open up!
PARIS (O.C)
(yells weakly)
Help me.
Angel steps back from the door then kicks it in. He stands in the doorway.
FADE TO BLACK
SCENE 26
INT - CORDELIA'S APARTMENT - LIVING ROOM - NIGHT
ANGLE - Angel stands in the doorway and Wesley stands behind him. Angel looks at the three demons and notices Paris’ weakened state.
WESLEY
(low)
Careful, Angel.
ANGEL
(to the demons)
Let the girl go.
Angel steps into the apartment and Wesley follows. Wesley looks around the apartment and sees Cordelia on the floor.
ANGEL
I said let her go.
Demon 2 holds Paris fast as Demon 1 and Demon 3 look at each other.
ANGLE - Wesley moves towards Cordelia. Just as he reaches her, Demon 1 raises his hand and hits him with a powerful lightning bolt.
ANGEL
Wesley!
Wesley is slammed against the wall then crumples to the floor beside Cordelia.
ANGEL
That wasn’t very nice.
Now, let her go.
DEMON 1
I don’t think so.
He raises his hand and sends a bolt Angel’s way. Angel uses his vampiric speed and watches the lightning burn a hole in the wall.
ANGEL
You missed.
You want to try two for two?
The demon tries again, but Angel dodges the bolt and another hole appears in the wall.
ANGEL
Looks like you might have to try and kill
me the old fashioned way.
Demon 1 lunges at Angel and the two lock up. They trade punches and kicks. Angel kicks the demon in the chest then reaches down and pulls a sai from his boot. He raises it then arcs it down into the demon’s chest. The demon drops to the floor, dead.
Demon 3 immediately attacks Angel, but it is a much shorter fight as Angel stabs and kills him. Angel then turns around and looks at Demon 2.
ANGEL
Unless you want to end up like your
friends, let the girl go.
DEMON 2
I don’t think so.
The demon holds Paris against his body with one arm and puts his claw to her throat.
PARIS
(terrified)
Angel.
ANGEL
Let her go. You don’t need her.
DEMON 2
I beg to differ.
The demon presses his talons against Paris’ pale skin until it punctures and blood is drawn. Paris cries in horror and pain as the demon slowly draws the talons across her throat.
ANGEL’S POV – he looks from Paris to Cordelia who is now conscious and looking at the demon.
ANGEL
(holding out hands)
Alright. I’ll back off.
Cordelia stands up slowly as she picks up a shard of glass from a picture frame. Quietly, she moves up behind the demon, who has stopped ripping into Paris’ throat, and stands behind him.
CORDELIA
Hey!
The demon turns around with Paris as Cordelia raises the glass and slashes the demon’s throat. The demon lets Paris go and grabs at his throat. Cordelia raises the glass again then plunges it into the demon’s chest. He falls to the floor, dead.
ANGLE - on Wesley as he comes to.
WESLEY’S POV - he sees Paris crumple to the floor. Angel moves quickly to Paris and draws her trembling body into his arms.
ANGLE - Paris grabs at Angel as she cries terrified into his chest.
ANGEL
(softly)
It’s okay. You’re safe now.
Sshhh. It’s okay.
DISSOLVE TO…
SCENE 27
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel, Cordelia and Wesley are sitting in Angel’s office discussing the previous night.
ANGEL
I’m real proud of you, Cordelia.
WESLEY
We both are.
CORDELIA
Well, I wasn’t going to let those Smurfs
kill our one and only client. Was I?
(then, points to Angel)
And I expect you to pay for all the damage
that was done to my living room.
ANGEL
I will.
Paris appears in the doorway, her throat heavily bandaged.
PARIS
Hello.
CORDELIA
(standing up)
Paris. Hi. Are you okay?
PARIS
I’ll have a scar but the doctor says
I’ll be okay.
WESLEY
That’s good news.
PARIS
I wanted to thank you all for last night.
I’m still not sure I understand what I saw
and I’m not sure if I really want to.
But thank you.
CORDELIA
You’re welcome.
Paris reaches into her bag, pulls out an envelope and hands it to Cordelia.
PARIS
I don’t know how much your services are,
but it’s all I have. I hope it’s enough.
ANGEL
You keep it.
Cordelia glares at Angel.
ANGEL
Give it back to her, Cordelia.
PARIS
Are you sure?
ANGEL
Yeah.
Cordelia reluctantly hands the envelope back and Paris puts it back in her bag.
PARIS
I have to go. My bus leaves in an hour.
CORDELIA
You’re leaving?
PARIS
I don’t belong in the city.
I’m going back home.
CORDELIA
Surely you’re not going to let a few big,
blue smelly demons scare you away,
are you?
PARIS
Yeah…I am.
ANGEL
It’d be safer if you stayed.
PARIS
(looking at Wesley & Cordelia, but not Angel)
Why?
WESLEY
I think what Angel means is that whoever
sent those demons after you is still out
there. If you stay in L.A., we can try
and stop him before he tries again.
PARIS
(alarmed)
You mean he’ll follow me?
ANGEL
It’d be best if you were nearby.
PARIS
(hesitantly)
Well, if you think I’d be safer then
I guess…I guess I’ll stay.
(checks her watch)
I should go. Thank you again for
last night.
ANGEL
You’re welcome, Paris.
When Paris leaves, Angel gets up and goes downstairs. Cordelia looks at Wesley, a look of confusion on her face.
CORDELIA
Did I just miss something here, Wesley?
WESLEY
(after a moment)
I think he likes her.
DISSOLVE TO…
SCENE 28
INT - WOLFRAM & HART - LINDSEY'S OFFICE - DAY
Faith is standing at the window in Lindsey’s office looking out at the city.
LINDSEY (O.C)
It’s up to you as to how you kill him.
LILAH (O.C)
But we don’t want a debacle like last time.
LINDSEY
You have one purpose and that is to kill
Angel. No more, no less. Are we clear?
FAITH (O.C)
As crystal.
LILAH
Good.
FAITH
(turning around)
About the money…
LINDSEY
You’ll get the money only after the job
is done. Not one second sooner.
FAITH
(shrugging)
Hey. Can’t blame a girl for trying.
CUT TO…
SCENE 29
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
The phone rings and Cordelia answers it.
CORDELIA
Angel Investigations.
How may we help you?
(listens)
No, he’s not.
(listens)
Yeah, sure, I can give him a message.
(listens)
Oh, boy. When?
(listens)
Okay. I’ll let him know. Thanks.
Cordelia hangs up the phone.
WESLEY
Who was that?
CORDELIA
Super Cop. Faith’s been let out.
WESLEY
Of jail?
CORDELIA
Yeah.
Cordelia gets up from her desk and moves into Angel’s office.
CONTINUOUS…
SCENE 30
INT - ANGEL'S APARTMENT - DAY
Cordelia and Wesley enter Angel’s bedroom where he is sound asleep. Cordelia touches his bare shoulder.
CORDELIA
Angel, wake up.
Angel stirs, opens one eye then closes it again.
ANGEL
(annoyed/sleepy)
This had better be good, Cordelia.
CORDELIA
Faith was released from jail this morning.
Angel looks at his two friends then sits up.
ANGEL
Why?
CORDELIA
Super Detective just said that Faith’s
been exonerated of all charges.
WESLEY
How can this happen?
ANGEL
I’ll give you one guess.
WESLEY
(grimly)
Wolfram and Hart.
ANGEL
Yeah.
CORDELIA
But why would they want Faith out of jail?
ANGEL
To finish what they started.
WESLEY
We don’t know that, Angel.
ANGEL
I think it’s a pretty safe bet, Wes.
CORDELIA
But I thought Faith had reformed.
ANGEL
She did. But money and freedom are
a powerful form of persuasion.
CORDELIA
What do you want us to do?
ANGEL
Check out abandoned buildings and
warehouses in and around Hollywood.
If she’s anywhere, it’ll be there.
DISSOLVE TO…
SCENE 31
INT - A CONDEMNED BUILDING - HOLLYWOOD - DAY
Faith is sitting on an old mattress, her back against the wall. She’s turning pieces of wood into stakes. When she finishes the last one, she looks at the knife and presses the tip of the long blade against her forehead.
FAITH
What the hell am I doing? I don’t
have anything against Angel anymore.
(beat)
But fifty K is one hell of an incentive.
CUT TO…
SCENE 32
EXT - STREET SCENE - HOLLYWOOD - NIGHT
Angel is walking along the street looking for the rogue slayer when his cell phone rings.
ANGEL
Yeah.
WESLEY (O.C)
It’s me.
ANGEL
Did you find her?
WESLEY (O.C)
No such luck I’m afraid.
Angel looks ahead and sees someone walking towards him on the other side of the street.
ANGEL
I just found her.
WESLEY (O.C)
Where are –
Angel hangs up the phone and slips it back inside his coat pocket as he crosses the street.
ANGEL
Hello, Faith.
FAITH
(smiles)
Hey, lover.
ANGEL
I was a little surprised when I found out
you’d been released. You want to tell
me how that happened?
FAITH
(shrugs casually)
What can I say? I had a good lawyer.
ANGEL
I’m sure you did. Let’s see if I
have this right. In exchange for your
freedom, Wolfram and Hart hire you to
kill me. Again.
FAITH
(impressed)
Give the vamp a prize. See, I knew there
was a brain in there.
(she touches Angel’s forehead)
ANGEL
You know I’m not going to make it easy for
you, Faith.
FAITH
I was kinda hoping you’d say that.
Faith pulls the knife out from her sleeve and arcs it at Angel. The blade slices into his ribs.
FAITH
Come on, Angel. It’s no fun if you just
stand there. Get in the game.
Angel kicks Faith in the stomach and sends her reeling backwards. She quickly recovers and executes a spinning heel kick to Angel’s right shoulder, which sends him crashing through an old wooden fence and into a vacant lot.
Faith picks up a piece of the fence and swings it at Angel, hitting him in the left shoulder and knocking him off balance. She swings again and his right knee gives way. Angel drops to the ground as Faith kicks him in the face. Faith throws the knife and it enters Angel’s chest only inches from his heart.
ANGEL
(gravelly)
You missed.
FAITH
Meant to.
Angel VAMPS OUT, removes the knife and tosses it aside. As he gets to his feet, Faith draws the piece of wood back then thrusts it forward. Angel grunts in pain as the wood enters his stomach. He crashes into the dirt again, growling in pain. Faith stands over him looking rather satisfied.
FAITH
Next time I won’t be so gentle.
She turns to leave then looks back.
FAITH
By the way…how’s Wesley these days?
She turns and quickly leaves.
Angel MORPHS BACK, grabs the wood with both hands and pulls it out of his stomach. He lets out a painful growl as he gets to his feet. Doubled over in pain, Angel staggers towards the street.
SCENE 33
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
Wesley and Cordelia look up as Angel staggers into the office.
WESLEY
Good Lord.
The two rush to help him to the couch.
CORDELIA
(appalled)
Faith did this?
ANGEL
(wincing)
Yeah.
Cordelia goes to her desk and takes a first aid kit from the drawer.
CORDELIA
I hope she looks as bad as you do.
ANGEL
She was ready for me.
Cordelia unbuttons Angel’s shirt.
CORDELIA
Ooh, that’s nasty.
(ref: the wound)
Angel flinches as Cordelia starts tending to his wounds.
CORDELIA
Sorry.
WESLEY
So, I take it Faith has reverted back to
her old ways?
ANGEL
Yeah. She sends her regards.
WESLEY
(shifting uncomfortably)
I’m sure she does.
(then)
Is Wolfram and Hart responsible for her
release?
ANGEL
Yeah.
CORDELIA
What I don’t get is why she didn’t kill
you when she had the chance.
ANGEL
(raising an eyebrow)
Would you rather she had?
CORDELIA
That’s not what I meant.
Cordelia finishes bandaging Angel’s stomach then starts cleaning and dressing the knife wound.
WESLEY
She was testing him.
ANGEL
I think she was also testing herself.
She’ll kill me when she’s ready.
CORDELIA
(standing up)
All done.
ANGEL
(looking at the bandages)
Thanks.
WESLEY
We need to find Faith before she has the
chance to finish what she started.
Angel slowly starts to stand up on weak and shaky legs.
CORDELIA
(chastising)
Where do you think you’re going?
You sit back down, mister.
WESLEY
(off Angel’s askance look)
She’s right, Angel. You’re in no
condition to go after Faith.
Angel winces as he sits back down heavily.
WESLEY
(announces)
We’ll go out and find her.
CORDELIA
(horrified)
We’ll what?! I am so not going after
Faith. You saw what happened the last
time we met.
WESLEY
Think of it as a chance to get back at her.
That’s what I’ll be doing.
(then)
I can’t face her alone, Cordelia.
Cordelia looks to Angel for support.
ANGEL
Go with him, Cordelia.
CORDELIA
(baulks)
What?!
ANGEL
Watch his back.
CORDELIA
And who’s going to watch mine? I happen
to be quite attached to my back…not to
mention the rest of my body.
ANGEL
(assures)
You’ll be fine.
CORDELIA
(throws her arms up)
Okay, I’ll go.
(points to Angel)
But if I come out of this alive,
I want hazard pay.
ANGEL
Done.
CUT TO…
SCENE 34
INT - A CONDEMNED BUILDING - HOLLYWOOD - NIGHT
Faith is pacing the concrete floor then looks towards the entrance when she HEARS footsteps.
FAITH
(pissed off)
What do you want?
LINDSEY
A little bird told me you met with Angel
earlier. Why is he still alive?
FAITH
None of your damn business.
LINDSEY
I’m making it my business.
FAITH
I’ll kill him when I’m ready.
LINDSEY
Well, you better get ready.
FAITH
(puzzled)
What are you talking about?
LINDSEY
There’s a new stipulation. The senior
partners want Angel dead by this time
tomorrow night.
FAITH
Why do you guys want him dead so bad?
Huh?
LINDSEY
That’s none of your business.
The lawyer turns and walks away.
LINDSEY
(yells over his shoulder)
Twenty-four hours, Faith!
CUT TO…
SCENE 35
INT - ANGEL'S APARTMENT - NIGHT
CLOSE UP of someone coming down the stairs from the office.
PAN UP to Paris’ face (neck bandaged) as she stands at the foot of the stairs.
PARIS
Hello? Is anyone here?
Paris looks into the living room then towards the bedroom where she sees Angel in bed asleep. She moves quietly into the bedroom then notices the dressings.
PARIS
(whispers)
Oh, God.
Angel opens his eyes and looks at her.
ANGEL
(surprised)
Paris.
He quickly covers his body with the bedsheet.
ANGEL (cont.)
(quickly)
What are you doing here?
PARIS
(nervously)
Cordelia asked if I would come over.
She didn’t say you’d been hurt.
ANGEL
It’s not as bad as it looks.
I’ll be fine.
(then, miffed)
Although I can’t say the same for
Cordelia when I see her tomorrow.
PARIS
(gives a small, nervous smile)
What happened to you?
ANGEL
I had a run in with the wrong person.
PARIS
Oh.
Paris looks around the room, Angel sensing her nervousness.
ANGEL
There’s no need for you to stay.
Why don’t you go on home?
PARIS
(nervously)
Let me check your wounds then I’ll go.
ANGEL
They’re fine.
PARIS
I can tell you’re in pain. You say
you’re fine, but you’re not.
Paris spies the first aid kit on the bureau and gets it then slowly approaches the bed.
ANGEL
You’re not going to leave until you
do this, are you?
PARIS
(softly)
No.
She gently folds the bedsheet back from Angel’s torso then sits on the edge of the bed. She gently removes the gauze and sees a red mark that had been the knife wound.
PARIS
This doesn’t look too bad.
She lightly dabs on some antiseptic cream and leaves the wound to air.
ANGEL
(softly)
You have a soft touch.
Paris shifts uncomfortably on the bed.
PARIS
Are you able to sit up?
I need to unwrap the bandage.
With Paris’ help, Angel sits up.
PARIS
(surprised)
Your skin’s cold.
ANGEL
(softly)
I know.
When their heads move to within inches of each other, Paris breathes in nervously. With slightly shaky hands, she slowly unwraps the bandage then removes the gauze.
She gasps in horror upon seeing the gaping hole in Angel’s stomach. She quickly stands and takes several steps backwards as she stares at the wound.
Angel quickly covers the wound with the gauze as he fights not to vamp out.
DISSOLVE TO…
SCENE 36
INT - STREET SCENE - HOLLYWOOD - NIGHT
Wesley and Cordelia are driving around in Angel’s car.
WESLEY
You shouldn’t have called Paris.
CORDELIA
Why not? She likes him and, like
you said, he likes her.
WESLEY
Have you forgotten that he could change
at any given moment? He tends to do
that when he’s in a lot of pain.
CORDELIA
(grimacing)
I forgot.
Wesley slows the car down and looks to the right.
ANGLE - on the vacant lot with the broken fence.
WESLEY
That must be where Angel and Faith
fought.
CORDELIA
She must be holed up around here.
(then, disgusted)
God, I can’t believe I let myself be talked
into doing this. I must be crazy.
WESLEY
(miffed)
At least you’re getting hazard pay.
CORDELIA
(annoyed)
Need I remind you that it was your bright
idea to look for psycho-slayer?
Wesley sees a woman walking down the street and he slows the car down again. Faith looks up and sees the car.
CUT TO…
SCENE 37
INT - ANGEL'S APARTMENT - BEDROOM - NIGHT
Angel swings his legs over the side of the bed as Paris stands by the bureau, a shaky hand covering her mouth, her eyes wide with horror.
ANGEL
I’m sorry. I should’ve warned you.
PARIS
(scared/stammers)
The-there’s no blood.
The-there should be blood.
ANGEL
I’m a light bleeder.
PARIS
But, but…
(point to the wound)
…that’s not normal.
ANGEL
I know. I’m sorry I scared you.
(then)
Are you okay?
PARIS
I…no…I don’t know.
She wraps her arms around her stomach as if to protect herself from an invisible evil.
PARIS
Who…who did that to you?
ANGEL
(after a moment’s hesitation)
Her name’s Faith.
PARIS
(shocked)
A woman? Did that? Why?
ANGEL
She’s been hired to kill me.
PARIS
Why?
ANGEL
Because I pissed off the wrong people.
Listen, Paris. It’s not safe for you
here. She could show up at any moment.
Paris looks towards the door then at the gauze which has come away from Angel’s wound.
PARIS
(nervously)
I…I need to bandage your…wound.
Paris slowly approaches the bed and picks up a fresh gauze pad and bandage from the first aid kit. She kneels down in front of Angel and replaces the gauze pad and wraps the bandage around his waist.
Angel lowers his head slightly and smells her sweet scent, and closes his eyes for a moment.
Paris sits on the bed so she can secure the bandage behind his back. As she does so, she notices the tattoo on his right shoulder.
ANGEL
(softly)
Thanks.
She then stands up and puts the first aid kit back on top of the bureau.
CUT TO…
SCENE 38
INT - STREET SCENE - HOLLYWOOD - NIGHT
Faith approaches the car as Wesley and a very reluctant Cordelia get out of the car.
FAITH
(smiles)
Hello, Wes-old-boy. How’s it hanging?
WESLEY
(seriously)
I’m taking you back to jail, Faith.
FAITH
(baulks)
There is no way I’m going back there!
WESLEY
You’re going back, Faith, whether
you like it or not.
FAITH
Y’know, I should’ve killed you when I had
the chance. But I guess now’s as good
a time as any.
(eying Wesley)
What do you say, Wes? You up for it?
WESLEY
(nervously)
Are you?
Cordelia plucks up some courage and moves around the car, joining Wesley.
FAITH
(grinning)
Oh, this is going to be fun.
I’ll be able to tell Angel what I did
to you two just before I dust him.
Faith lunges at Wesley as Cordelia jumps back quickly. Faith punches Wesley in the jaw then Wesley hits her back.
FAITH
Not bad, Wes. Can you do this?
Faith kicks Wesley in the chest which knocks him to the ground breathlessly. Faith looks at Cordelia as Wesley scrambles to his feet.
FAITH
Come on, Cordy.
Get in the game.
It’ll be a blast.
CORDELIA
No, thanks. Wesley seems to be
doing just –
Faith kicks Wesley hard in the groin and he goes down again, groaning in pain.
CORDELIA (cont.)
(grimacing)
Ooh. That had to hurt.
Faith grabs Wesley by the collar and pulls him to his feet as Cordelia looks around for a weapon. She sees a lead pipe leaning up against the wall of a building. As she races towards the building, Faith pulls out her knife and arcs it at Wesley but he kicks it out of her hand. The two scramble for the knife and it’s Wesley who reaches a hand to it first.
As Cordelia runs back to the car, she sees Wesley thrust the knife into Faith’s stomach. As Faith doubles over in pain, Cordelia comes up behind her and brings the pipe down over the back of Faith’s head. Faith crumples to the ground unconscious.
Wesley looks at Faith then at Cordelia.
WESLEY
(breathlessly)
Good work.
Wesley slowly gets to his feet and moves towards the car.
CORDELIA
You’re not just going to leave her here,
are you?
WESLEY
That’s the plan…yes.
Wesley gets in the car and starts the engine. Cordelia looks from Wesley to Faith.
WESLEY (O.C)
Are you coming or not?
Cordelia gives Faith one last look then moves towards the car.
DISSOLVE TO…
SCENE 39
INT - ANGEL'S APARTMENT - BEDROOM - NIGHT
An uncomfortable silence fills the room. Not quite sure what to do with her hands, Paris again wraps them around her stomach. Angel tries to stand but his legs are still weak and he sits back down heavily with a grunt. Paris rushes to the bed and sits down to steady his slightly swaying body.
PARIS
(concerned)
Are you okay?
ANGEL
Guess I’m not as strong as I thought.
Paris folds her arms across her chest to hide her trembling hands, then lowers her head.
PARIS
(nervously)
You should stay in bed until you
get your strength back.
Beat.
ANGEL
(gently)
Do I frighten you?
(off her silent nod)
Why?
PARIS
(softly/shakily)
I don’t know.
ANGEL
You’re trembling.
Paris is silent.
ANGEL
Paris, look at me.
Angel raises her chin and turns her head towards him. She looks at the wall, then glances at him a couple of times. When her green eyes meet his dark brown ones, his breath is almost taken away.
ANGEL
(breathlessly)
My God. You’re scared to death of me.
PARIS
(rising panic)
I…I have to go.
Paris gets up off the bed and races to the stairs.
ANGEL
Paris. I’m…
Paris disappears up the stairs and Angel hears her run through the office upstairs. He closes his eyes and lowers his head.
ANGEL (cont.)
(whispers)
…sorry.
DISSOLVE TO…
SCENE 40
INT - ANGEL'S APARTMENT - NIGHT
Wesley and Cordelia come down the stairs as Angel emerges from the kitchen licking blood from his lips.
ANGEL
(to Wesley)
Judging by your face, I’d say you
found Faith.
WESLEY
Yes. Do you have any ice?
ANGEL
Yeah.
Angel and Cordelia follow Wesley into the kitchen.
WESLEY
Faith and I fought then Cordelia
knocked her out.
ANGEL
(surprised/to Cordelia)
You knocked her out?
CORDELIA
Only after Wesley stabbed her with
her own knife.
ANGEL
Where is she?
WESLEY
(bitterly)
The hospital.
CORDELIA
Wesley wanted to leave her for dead but
I convinced him to call an ambulance.
ANGEL
So she’s still alive?
CORDELIA
As far as we know. Yeah.
Cordelia looks around the apartment.
ANGEL
If you’re looking for Paris, I
sent her home.
CORDELIA
Why?
ANGEL
(agitated)
Why did you call her over here?
CORDELIA
(defensively)
You were hurt. Someone needed
to look after you.
ANGEL
I can look after myself, Cordelia.
I’ve been looking after myself for
two-and-a-half centuries!
WESLEY
(scolds sharply)
Angel!
Angel grabs his coat off the hook and storms out of the apartment via the sliding door.
CORDELIA
What the hell was that about?
WESLEY
I don’t think things went too well
with Paris.
CORDELIA
(guiltily)
Oh.
BLACK OUT
SCENE 41
EXT - PARIS' APARTMENT - NIGHT
Paris is getting ready for bed. She turns off the living room light. As she heads for the bathroom, she stops.
PARIS’ POV – she looks back towards the window but sees nothing.
ANGEL’S POV – he watches Paris go into the bathroom. He moves back from the window then turns and slowly walks away.
CONTINUOUS…
SCENE 42
EXT - PARIS' APARTMENT - NIGHT
PATRICK’S POV – he sees Paris turn the light off as she emerges from the bathroom. She climbs into bed then turns out the light.
PATRICK (O.C)
(low)
It won’t be long now, my dear.
Not long at all.
FADE TO BLACK
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