PAIN
Completed: 06 March 2003
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SCENE 1
EXT - THE HOUSE, SANTA MONICA - DAY
WIDE ANGLE - as a silver Mercedes pulls up outside the house Paris and Angelus usually call home.
ANGLE - on the front of the car. Lindsey gets out from behind the wheel and Cordelia gets out of the passenger seat and shuts the door. As she walks around the car…
CORDELIA
(excited)
Do you know how long it’s been
since I’ve ridden in a decent car?
Lindsey shuts his door and activates the car alarm. They stand together on the sidewalk.
LINDSEY
I’m guessing it’s been a while.
CORDELIA
Months! I mean Angel’s car was
fine but talk about a gas guzzler.
And Gunn’s truck? Puh-lease.
From now on I’m riding with no one but you.
(fingers Lindsey in the chest)
LINDSEY
(lacking enthusiasm)
Great.
ANGLE - on Lindsey who looks overjoyed at the prospect of being Cordelia’s personal chauffeur…NOT!
WIDE ANGLE - Cordelia follows Lindsey through the gate and to the front door. Lindsey knocks on the door and together they wait. Cordelia surveys the house and yard, and after a few moments…
CORDELIA
Are you sure this is the right place?
LINDSEY
Yeah. I’ll check around back.
ANGLE - on Lindsey as he moves along the front of the house then disappears around the corner.
ANGLE - on Cordelia as she knocks on the door. No answer.
FOREGROUND - Cordelia moves along to the window and tries to peer inside but the curtains are drawn.
BACKGROUND - The front door opens and Lindsey steps out.
LINDSEY
They’re not here.
CORDELIA
Okay, this can’t be good.
Lindsey locks the door from the inside then pulls it shut.
WIDE - Lindsey and Cordelia walk away from the house and out of frame.
BLACK OUT
SCENE 2
INT / EXT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY - INTERCUT
PAN around the myriad of people sitting around the conference table in Holland’s office. We recognise some people from previous meetings, such as George. Lilah is sitting towards the middle of the table two seats from George.
ANGLE - on Holland who has some notes spread out before him.
HOLLAND
Following Lindsey McDonald’s resignation
last week, I have been interviewing
people from within the firm for his
position in the Special Projects Division.
If all goes well, I hope to make my
decision by Friday.
LILAH
Are there any candidates you’re
interviewing in particular?
HOLLAND
There are, yes. As soon as one has
been chosen, you’ll be informed accordingly.
Now then…as most of you are aware,
Paris and Angelus have been missing
for the past several days. We have
teams out looking for them, but as yet
we’ve had no luck locating their position.
GEORGE
Are they dead?
HOLLAND
(incredulously)
If they were, George, do you think I’d
have teams out looking for them?
CLOSE UP - of George who looks like he wants to hide under the table.
GEORGE
No…sorry.
WIDE ANGLE - someone’s cell phone starts ringing. As people start reaching into their pockets…
HOLLAND
(annoyed)
I seem to recall telling all of you to
switch those things off prior to staff
meetings.
ANGLE - on Lilah who realises it’s her phone.
LILAH
(cringes)
Sorry.
Lilah answers the phone.
LILAH
Lilah Morgan.
(pause)
Stewart, hi, thanks for calling me back.
Can you hold on a moment?
(to Holland)
Excuse me. I have to take this.
ANGLE - on Lilah who quickly gets up from the table and heads towards the door.
CLOSE UP - on Holland’s annoyed face.
ANGLE - Lilah exits Holland’s office and moves along the corridor towards the elevators. She returns to the phone call.
LIILAH
(hostile)
What the hell do you want?
ANGLE - on Lindsey who is on his cell phone in his car.
LINDSEY
What…no hello?
LILAH
(bitter, hushed)
What…no goodbye? You could
have told me you were jumping ship.
LINDSEY
I thought about it, but then thought
better of it.
LILAH
And you’re calling me now because…
LINDSEY
I need to know where Paris and
Angelus are.
LILAH
What are you going to give me
if I tell you?
ANGLE - on Lindsey who thinks for a moment.
LINDSEY
I’ll keep you apprised of things I find out.
ANGLE - on Lilah who thinks about the deal.
LILAH
Fine. They’re missing.
LINDSEY
What do you mean they’re missing?
CORDELIA
(hushed)
Who’s missing?
LILAH
All I know is that they returned from
seeing the Senior Partners six days
ago, and now they’re missing.
LINDSEY
How do you know they’re missing?
LILAH
There was a memo. Plus you just
pulled me out of a staff meeting about it.
LINDSEY
So you haven’t seen them?
BACKGROUND - Cordelia is leaning towards Lindsey to try and hear the conversation.
LILAH
No. Can’t say I’m all that
eager to either.
LINDSEY
Have they become Senior Partners?
LILAH
I have no idea.
LINDSEY
Right.
LILAH
Was there anything else ‘cause I
really should get back to this meeting.
LINDSEY
Two things.
LILAH
Which are?
LINDSEY
Who’s replaced me?
LILAH
Holland’s interviewing candidates from
within the firm and hopes to make his
decision by Friday. Next?
LINDSEY
Are you able to go down to the Files
and Records Division and get everything
you can on the Senior Partners?
ANGLE - on Lilah who almost freaks.
LILAH
(hushed)
You want me to what?
Do you know how suicidal that is?
LINDSEY
Can you at least get me the codes?
LILAH
(conflicted)
I don’t know.
Listen, I really have to go.
LINDSEY
I’ll be waiting for your call.
LILAH
Don’t hold your breath.
ANGLE - on Lilah as she hangs up and returns to Holland’s office.
ANGLE - Holland looks towards the door as she enters the room.
HOLLAND
Is everything alright, Lilah?
LILAH
(not really but…)
Everything’s fine, Holland.
Sorry for the interruption.
Off Lilah as she sits down.
DISSOLVE TO…
SCENE 3
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
ANGLE - We see a variety of open books, pages of notes written on yellow legal pad paper, and the Prophecies of Aberjian spread out across the desk.
PAN up to see a very tired - looking Wesley.
TERESA (O.C)
You really ought to get some
sleep, Wesley.
WESLEY
(wearily)
I’ll sleep when I’ve found even a
sliver of information about which
dimension Paris and Angelus
might have gone to.
CORDELIA (O.C)
They’re already back.
ANGLE - on Cordelia and Lindsey as they enter the office.
WIDE ANGLE - we see Teresa and Gunn sitting in the guest chairs opposite Wesley.
GUNN
(standing)
You found them?
CORDELIA
Not yet, but they’re back.
TERESA
How?
LINDSEY
I called Lilah. She said they
returned six days ago but are now missing.
WESLEY
Have they become Senior Partners?
LINDSEY
Lilah didn’t know, but if Wolfram and
Hart don’t know where they are, then
I’d say they’re not Senior Partners.
GUNN
And they weren’t at the house in
Santa Monica?
CORDELIA
No.
LINDSEY
The house looked like no one had
been there in well over a week.
GUNN
(incredulously)
You went to the right house, right?
LINDSEY
It was theirs, right down to Angel’s
trademark coats hanging on the
back of the bedroom door.
Silence for a few moments.
TERESA
So, where do we go from here?
CORDELIA
Maybe the vision I’m about to…
have will…tell us.
ANGLE - Cordelia barely finishes her sentence when the vision hits her like a brick wall.
INSERT - a pair of feet, bound, and surrounded by a pool of blood
INSERT - a girl in her late teens / early twenties with blonde hair and blue eyes is sitting limp in a chair in a dusty old room.
INSERT - two dark figures stand either side of the girl.
INSERT - the girl is screaming as blood runs from her right temple and down her cheek
ANGLE - on Cordelia who is screaming in pain as a rivulet of blood trickles down her cheek. Lindsey has caught her under her arms, stopping her from falling backwards to the floor.
GUNN
Okay, that was intense.
ANGLE - Lindsey helps Cordelia into one of the chairs as tears of pain run down her cheeks. Wesley crouches down beside her, placing a hand tenderly on her knee.
WESLEY
Cordelia…what did you see?
CORDELIA
A woman…maybe twenty-one or
twenty-two…being tortured.
WESLEY
Where?
CORDELIA
I didn’t see the building, just the
room she was in.
TERESA
What sort of room was it?
CORDELIA
Old…dusty…could have been a hotel
room or a really old house.
WESLEY
(gently)
Cordelia, can you please try and
narrow it down a bit?
ANGLE - on Cordelia who closes her eyes.
INSERT - the Hollywood sign
INSERT - an old abandoned house
ANGLE - on Cordelia who is pained and exhausted from going back into her vision.
CORDELIA
(strained)
An old abandoned house near
the Hollywood sign.
WESLEY
What sort of house is it?
CORDELIA
The haunted house movie kind.
WESLEY
That’s good, Cordy. Did you see
who was torturing the poor girl?
CORDELIA
Two demons…I think…I didn’t see
them clearly. I did sense that they
were going to be hard to kill though.
TERESA
How long do we have?
CORDELIA
(shakily)
The girl’s not going to make it to
tomorrow morning.
WIDE ANGLE - Wesley looks up at Gunn and Teresa.
WESLEY
Right then, let’s start checking all the
abandoned houses in the areas
around the Hollywood sign.
GUNN
We’re on it.
Gunn and Teresa move out into the outer office. Wesley looks up at Lindsey.
WESLEY
Would you mind driving Cordelia home?
LINDSEY
Sure.
Cordelia tries to get to her feet but is forced back into her chair.
CORDELIA
You need me here, Wesley.
WESLEY
What you need is to go home and
get some rest. That vision
took a lot out of you.
LINDSEY
Come on, Cordy.
CORDELIA
(baulks)
Who said you could call me that?
LINDSEY
(gently)
You did yesterday…remember?
CORDELIA
(frowns)
Oh, right, yeah.
WIDE ANGLE - Lindsey and Wesley help Cordelia to her wobbly feet. Lindsey slides a hand around Cordelia’s waist.
LINDSEY
I’ve got her.
Wesley lets Cordelia go and steps back.
LINDSEY
Call if you need any help.
WESLEY
Just keep an eye on Cordelia.
If she has another vision, call
me immediately.
CORDELIA
Stop talking about me like I’m
not here, guys.
ANGLE - Wesley nods towards the door.
WIDE ANGLE - Wesley follows Lindsey and Cordelia out of the office.
DISSOLVE TO…
SCENE 4
INT - WOLFRAM & HART - LILAH’S OFFICE - DUSK
ANGLE - on Lilah who is sitting back in her leather chair, staring at the computer monitor on her desk. She absently taps the end of an expensive pen on the desktop.
BACKGROUND - Holland wanders into the office.
HOLLAND
I would have though that after so many
years with the firm, you’d have learned
by now to turn your phone off before
coming to a staff meeting.
LILAH
I’m sorry, Holland.
It won’t happen again.
HOLLAND
So, what did Lindsey want?
ANGLE - on Lilah who looks like her heart just skipped a beat.
LILAH
I haven’t spoken to him since the
day he resigned.
HOLLAND
Really? That’s not what I’ve heard.
LILAH
There are a number of rumours
going around the firm at the moment,
Holland, but it doesn’t mean I believe
any of them.
HOLLAND
And which rumours would they be, Lilah?
LILAH
That Paris and Angelus are
undergoing Senior Partner training
even as we speak. That Lyle
McInerney is the primary candidate
for Lindsey’s position.
Need I go on?
HOLLAND
Firstly, Paris and Angelus turned
down the Senior Partners offer.
LILAH
Why?
HOLLAND
You don’t need to know why.
Secondly, Lyle McInerney is one of
the people I’ve interviewed for
Lindsey’s position, but as I said in
the meeting, a decision will not be
made until the end of the week.
LILAH
Like I said, you can’t believe all the
rumours that float around this building.
HOLLAND
Touché. Goodnight, Lilah.
WIDE ANGLE - as Holland turns and moves towards the door.
LILAH
Goodnight, Holland.
When Holland has disappeared…
ANGLE - on Lilah who shifts her gaze back to the computer screen.
LILAH
(low)
To hell with it.
WIDE ANGLE - Lilah presses a couple of keys on her computer then gets to her feet and moves towards the door.
BLACK OUT
SCENE 5
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DUSKANGLE - on Gunn who is sitting on the couch looking at a map.
PAN - to Teresa who is sitting at the computer. Wesley is standing behind her looking at the monitor.
GUNN (O.C)
That makes eight.
WESLEY
Which is seven too many.
TERESA
And that’s just in the Los Feliz area.
Do you want me to try further east
or maybe north?
WESLEY
Not at the moment.
ANGLE - on Wesley who moves around the desk, his brow furrowed.
WESLEY
In a place where people by and
sell property like they change clothes,
it’s a wonder every house in the
hills isn’t occupied.
TERESA
Well, five of these are supposedly
haunted, Wesley. Can’t say I’d
be too eager to move in.
WESLEY
But still…if Cordelia’s vision is right,
we’re not going to find the correct
house in time to save this girl.
Off Wesley.
CUT TO…
SCENE 6
EXT / INT - CORDELIA’S APARTMENT - NIGHT
CORRIDOR - ANGLE - Lindsey follows Cordelia around the corner and towards her apartment door. Cordelia fumbles around in her bag for her keys then pulls them out and drops them.
CORDELIA
(under her breath)
Crap.
WIDE ANGLE - on Lindsey and Cordelia as they both bend down to pick the keys up. Lindsey reaches them first and looks at Cordelia as they straighten.
CORDELIA
Thanks.
ANGLE - on Lindsey who smiles then proceeds to unlock the door. The door opens slightly then slams shut.
CORDELIA
Dennis, it’s only me.
Let me in please.
Lindsey tries the door again and this time it opens.
LINDSEY
Who’s Dennis?
CORDELIA
My resident ghost.
He doesn’t like letting strangers in.
LIVING ROOM ANGLE - as Cordelia and Lindsey enter the apartment. Lindsey surveys the apartment as he closes the door.
LINDSEY
Nice place.
CORDELIA
Thanks.
(to thin air)
Dennis, this is Lindsey.
FX - suddenly a glass vase is hurled across the room straight at Lindsey who manages to dodge it in time.
CORDELIA
(scolds)
Dennis! I know that after all the
stuff I said about him you think Lindsey’s
a bad guy, and he was, but he’s not now.
So cut it out and be nice to him. Okay?
ANGLE - on Lindsey who is bemused by what’s going on.
LINDSEY
You told a ghost about me?
CORDELIA
Well, I had to complain to someone,
and Dennis doesn’t talk back.
WIDE ANGLE - Cordelia moves towards the kitchen, and drops her bag next to the arch that leads to the bedroom.
CORDELIA
Dennis, clean up the mess you made
please. Do you want anything to drink?
LINDSEY
Me or Dennis?
ANGLE - on Lindsey as he sees the closet door open all by itself.
CORDELIA
You, doofus.
LINDSEY
No, thanks.
CORDELIA
Well, if you’re planning on babysitting
me, you may as well make yourself
at home then.
ANGLE - on Lindsey as he moves towards the couch.
KITCHEN - ANGLE - as Cordelia takes a bottle of water out of the fridge. She reaches up and opens an overhead cupboard.
CLOSE UP - next to the glasses are two orange pill bottles. Cordelia takes a glass and the larger of the two bottles.
ANGLE - Cordelia opens the pill bottle and shakes three of the white pills into her hand. She puts the bottle back in the cupboard, then cracks the seal on the water bottle and swallows all three pills at once.
WIDE ANGLE - Cordelia moves back into the living room with the water bottle and glass. As she moves towards the couch…
CORDELIA
You sure you don’t want anything?
LINDSEY
Water would be good.
WIDE ANGLE - Cordelia pours half a glass of water and hands it to Lindsey.
LINDSEY
Thanks.
Lindsey takes a sip of the water then places the glass on the coffee table.
O.C. Cordelia’s cell phone starts ringing just as Cordelia’s about to sit down.
ANGLE - on Cordelia as a brief look of annoyance hits her eyes.
CORDELIA
Excuse me.
WIDE ANGLE - Cordelia puts the water down then moves towards her bag.
CLOSE UP - on the bag as she rummages around for her phone.
ANGLE - Cordelia pulls out the phone and answers it.
CORDELIA
Hello?
(pause)
How’s the research going?
(pause)
I don’t know how much more
information I can give you, Gunn.
(pause, sighs)
Alright. Hang on.
WIDE ANGLE - as Cordelia moves back towards the couch.
LINDSEY
What’s going on?
CORDELIA
I have to go back into my vision to
get more information about this house.
LINDSEY
Again? I didn’t know you could
do it the first time.
CORDELIA
As much as I hate it, I can.
ANGLE - on Cordelia as she sits down. She closes her eyes and is immediately transported back into the vision.
INSERT - a two storey gothic - looking house
ANGLE - on a pained Cordelia as she drops the phone to the floor.
INSERT - Hailie is barely conscious and covered in blood
INSERT - the number 2666
ANGLE - on Cordelia as she comes out of the vision. She is gasping for air. Lindsey is now holding the cell phone.
LINDSEY
(concerned)
Cordelia…are you alright?
CORDELIA
(gasps)
Gothic…two-storey…house…
number two-triple six…hurry…
ANGLE - on Lindsey whose gaze is fixed on Cordelia.
CLOSE UP - of the cell phone in Lindsey’s left hand.
GUNN (V.O)
(on phone)
Hello? Cordy? Lindsey?
Is anyone there?
ANGLE - Lindsey lifts the phone to his ear as he watches Cordelia closely.
LINDSEY
Gunn?
(pause)
I think she saw a two-storey Gothic
house with the house number
two-triple six.
(pause)
Yeah, she said hurry.
(pause)
She’s not good.
(pause)
Okay.
ANGLE - on Lindsey as he switches off the phone.
CUT TO…
SCENE 7
EXT / INT - WESTWOOD VILLAGE CINEMA COMPLEX - NIGHT
EXT - OVERHEAD - there are dozens of people milling around outside the cinema complex. There are small groups of people chatting away, and there are single men and women looking around, obviously waiting for someone to meet them.
INT - ANGLE - on the long lines at the candy bar. People leaving the candy bar move slowly as they try and carry too many drinks, containers of popcorn, candies and chips while attempting to retrieve their movie ticket from their pocket.
SLOW ZOOM - on one man (Jake) who turns away from the candy bar with two drinks and a large container of popcorn. He is a tall, good-looking man in his mid-twenties. His black hair is cut short and he’s wearing black casual trousers, white shirt and long black coat. He looks around then smiles when he finds who he’s looking for. He moves in to the right and out of frame.
ANGELUS (V.O)
I feel like having some fun.
DISSOLVE TO…
SCENE 8
EXT - STREET SCENE - THE CAR - NIGHT
ANGLE - on Paris who’s sitting in the passenger seat of the black Plymouth. The top is down and the wind rushes through her hair.
PARIS
What’d you have in mind?
WIDE ANGLE - Paris looks at Angelus who’s driving. He looks at her.
ANGELUS
Oh, I don’t know.
PARIS
Yes, you do, so out with it.
ANGELUS
It’s a surprise.
PARIS
You know I don’t like surprises.
ANGELUS
Oh, but this one you’ll like.
I’ll drop you off while I go and
get your surprise.
PARIS
Is it like the surprise I brought
home for you the other night?
ANGELUS
Better.
ANGLE - on Angelus as he smiles at his wife.
DISSOLVE TO…
SCENE 9
INT - CORDELIA’S APARTMENT - NIGHT
ANGLE - on the bathroom door.
BATHROOM - ANGLE - Cordelia is leaning forward against the wash basin. Her arms are visibly shaking and blood trickles down from her right temple. She looks up into the mirror.
ANGLE - on the mirror and we see the pain and exhaustion in Cordelia’s eyes and face. She takes a washcloth and moistens it under the water before dabbing the blood away. There’s no visible wound once the blood is gone.
There is a soft knock on the door.
LINDSEY (O.C)
Are you alright?
CORDELIA
(faux upbeat)
I’m fine. I’ll be out in a minute.
Cordelia looks in the mirror and looks anything but fine. She runs the water and splashes some on her face.
ANGLE - she takes the hand towel from its hook and pats her face dry. After replacing the towel she looks back in the mirror.
MIRROR ANGLE - she looks a fraction better and she reaches up to open the cabinet.
LIVING ROOM - ANGLE - on Lindsey as he looks around the apartment. He comes to the stereo and CD collection and pauses to peruse it. Lindsey pulls out an Enya CD and looks at it.
CORDELIA (O.C)
You’re not planning on stealing
that, are you?
WIDE ANGLE - as Cordelia moves towards Lindsey, he turns around.
LINDSEY
No. I was surprised to see
it in your collection.
CORDELIA
Why?
LINDSEY
You just don’t seem like the sort of
person who’d listen to Enya.
CORDELIA
I don’t?
LINDSEY
Not unless you’re good at keeping
secrets.
CORDELIA
Okay…the secret’s out.
I’m a closet Enya fan.
ANGLE - on Cordelia who smiles for the first time all day.
ANGLE - on Lindsey who also smiles.
LINDSEY
So, whose is it?
CORDELIA
(serious)
It’s Paris’. She left it here about
a year ago. All the other Irish
CDs were ones she left at Angel’s
after she turned evil.
ANGLE - as Lindsey puts the CD back.
LINDSEY
I didn’t realise the two of you
were so close.
ANGLE - on Cordelia who winces at the friendship she and Paris once had.
CORDELIA
Can we please not…?
LINDSEY
Sure. I didn’t mean to push.
WIDE ANGLE - Cordelia sits down on the couch while Lindsey remains standing.
LINDSEY
I had no idea how badly the
visions affected you.
CORDELIA
(wearily)
They never used to be this bad.
ANGLE - Lindsey notices Cordelia and the strained look on her face. As he moves towards the couch…
LINDSEY
Are they always painful?
CORDELIA
They’ve always been painful.
(then, after a moment)
But over the past few months they’ve
started exceeding my pain threshold.
And it’s only been in the last few
weeks that they’ve started manifesting
themselves.
WIDE ANGLE - as Lindsey sits down next to Cordelia.
LINDSEY
Do you know why they’ve gotten worse?
CORDELIA
(shakes her head)
No.
LINDSEY
Have you told Wesley and Gunn?
CORDELIA
They know the visions are painful.
LINDSEY
But they don’t know how painful,
do they?
ANGLE - Cordelia looks down and shakes her head ever-so-slightly.
LINDSEY
Have you seen a doctor?
CORDELIA
I’ve seen at least four of them.
But unless I want to be locked up
in a room with padded walls, I can’t
tell them about the visions.
LINDSEY
What do you tell them then?
CORDELIA
That I get really bad migraines.
They give me a prescription and
send me on my way.
LINDSEY
Does the medication help?
CORDELIA
(despondently)
Less and less each day.
(then, strained)
I just…I know that the visions are
my link to the Powers That Be, but…
LINDSEY
(gently)
But what?
ANGLE - on Cordelia as she looks down at her shaky hands.
CORDELIA
(strained)
I don’t know how many more of them I
can handle. But at the same time,
I don’t want to let the team down.
ANGLE - on Lindsey whose face shows sympathy and concern for Cordelia.
LINDSEY
I don’t think Wesley and Gunn would
think any less of you if you gave
up the visions.
CORDELIA
But that’s just it, Lindsey. I can’t
give them up. They were passed
on to me so we could help the helpless.
And there are so many helpless people
out there who have no idea of the
things that go bump in the night.
LINDSEY
You can’t save everybody, Cordy.
All you can do is try and save one
person at a time.
CORDELIA
(angrily)
Sometimes I can’t even do that.
ANGLE - tears roll down Cordelia’s face and she brushes them away impatiently with the back of her hand.
LINDSEY
There are going to be people that you
can’t help because circumstance won’t
allow you to, but you can’t let that get
in the way of those you can help.
CLOSE UP - Cordelia thinks about that then looks up at Lindsey.
CORDELIA
When did you get all insightful
and philosophical?
LINDSEY
(smiles)
There’s a lot about me you don’t know.
CORDELIA
I’m starting to see that.
Off Cordelia.
DISSOLVE TO…
SCENE 10
INT - WOLFRAM & HART - CORRIDOR - NIGHT
LONG ANGLE - we look down a long white shiny corridor. We see Lilah walking towards the camera, each high-heeled step echoing around her.
PULL BACK a little and we see a black box attached to the wall and a maze of infrared sensors blocking the path forward.
ANGLE - as Lilah stops at the black box. She opens it to reveal…
CLOSE UP - … a keypad.
ANGLE - on Lilah who reaches into her pants pocket and pulls out the yellow Post-It.
CLOSE UP - on the keypad as Lilah punches in the number 7-8-7-8-7-3 (spells: R-U-S-U-R-E). A red light turns green as…
ANGLE - the infrared sensors vanish. Lilah moves forward then looks back as the infrared sensors re-appear.
LILAH
(whispers)
So far, so good.
ANGLE - on Lilah who moves forward and out of frame.
BLACK OUT
SCENE 11
INT - OLD HOUSE - UPSTAIRS ROOM - NIGHT
ANGLE - Paris is standing at a window covered with broken boards, allowing the moonlight to shine on her face. This is not the Santa Monica abode we’re used to seeing Paris in, but an old, dusty, dilapidated house. Paris steps away from the window and turns to face the room.
PARIS’ POV - The room is almost dark but we can make out the shapes of a dresser, two high-backed arm chairs, a four-poster bed and two small side tables which are all covered with drop sheets.
ANGLE - Paris rocks back and forth on her feet, and to the tune of ‘Auld Lang Syne’, starts singing…
PARIS
I’m bored, I’m bored, I’m bored,
I’m bored, I’m bored, I’m bored, I’m…
ANGELUS (O.C)
Lucy, I’m home!
PARIS
…so glad he’s back.
Off Paris as she walks out of the upstairs room.
CUT TO…
SCENE 12
EXT - OLD HOUSE - LIVING ROOM - NIGHT
ANGLE - on Gunn as he descends a wide staircase rather quickly.
WIDE ANGLE - Gunn meets Wesley who’s coming from the rear of the house. Both men are carrying flashlights to illuminate the interior of the house.
GUNN
Can I say it again? This house
gives me the big time creeps.
(shudders)
WESLEY
(agreeing)
There is a rather unsettling atmosphere
in here.
(looking up the staircase)
Did you find anything upstairs?
GUNN
Just some spiders and rats…oh and
I’m sure I heard someone breathing
right behind me in the rear bedroom…
other than that, nothing. You?
WESLEY
The same as you except without the
mysterious breathing.
GUNN
(jittery)
Well, I’m sure that on any given day
you’d have a field day in here with
all the heavy breathers and stuff.
But we can go now, right?
WIDE ANGLE - before Wesley’s had a chance to respond in the affirmative, Gunn is heading for the front door.
Wesley as he shakes his head slightly then starts towards the door.
CUT TO…
SCENE 13
INT - THE OLD HOUSE - NIGHT
ANGLE - Paris comes down the stairs and enters the dark living room.
PARIS’ POV - as with the bedroom, we can just make out furniture covered by drop sheets.
CLOSE UP - on Paris as she sniffs the air the looks to her left and smiles.
WIDE ANGLE - as she moves to her left towards a dark doorway.
KITCHEN - ANGLE - there is a soft glow in the kitchen as we see the door push open and Paris appear.
CLOSE UP - on Angelus’ smiling face.
ANGELUS
Surprise!
Angelus looks down and we PAN DOWN to see the girl from Cordelia’s vision. She is bound and gagged and very, very scared as tears trickle from her eyes.
CUT TO…
SCENE 14
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
WIDE ANGLE - Cordelia and Lindsey are still on the couch and are now sipping at cups of hot tea. Cordelia is leaning in towards Lindsey whose right arm rests along the back of the couch behind her. They both look rather comfortable.
LINDSEY
So, do you think you’ll ever become
this world-famous actress?
CORDELIA
Only if the PTB can give me
pain-free visions.
LINDSEY
I guess it’d be a bit embarrassing
at an audition if you got a vision.
CORDELIA
I did and it was.
LINDSEY
Oh no. What happened?
CORDELIA
I go into this audition for paper towels
and I am so ready for it. I’m not
in the room for more than a minute
when I get this brain-searing vision of
this slime demon at a seven-eleven.
As it turns out, this is the first vision
that decides to manifest itself.
LINDSEY
What happened?
CORDELIA
I vomited green slime everywhere.
CLOSE UP - Lindsey grimaces.
LINDSEY
That’s disgusting.
CORDELIA
The taste and smell were a hundred
times worse. Major eeuw factor.
Anyway, I used the paper towels to try
and mop up some of the slime, and
might I say, false advertising.
Those towels absorbed nothing.
CLOSE UP - on Lindsey who starts laughing.
CORDELIA
Stop laughing…it’s not funny.
LINDSEY
Probably not at the time, but now…
CLOSE UP - on Cordelia who reflects back then a smile reaches her lips.
CORDELIA
I guess it is kinda funny.
LINDSEY
So, you didn’t get the commercial?
CORDELIA
Have you seen me on TV lately?
LINDSEY
Not lately, no.
ANGLE - on Cordelia who drinks some more of the tea. The smile on her face slowly fades and is replaced by a more serious one.
CORDELIA
(low)
Paris and I were…best friends.
ANGLE - on Lindsey who’s a little taken aback that Cordelia’s now willing to talk about Paris.
LINDSEY
And that changed when she died?
CORDELIA
It changed when she turned evil.
Off Cordelia as she looks at Lindsey.
DISSOLVE TO…
SCENE 15
INT - THE OLD HOUSE - KITCHEN - NIGHT
ANGLE - on Hailie who is still scared.
PAN UP - to Angelus who is looking down at the prey he’s found.
ANGELUS
What do you think?
ANGLE - on Paris who doesn’t look terribly happy.
PARIS
I think she looks like Darla.
ANGLE - Angelus steps out from behind Hailie.
ANGELUS
I knew you would. Seeing as Darla’s
not here, I thought you might like to
play with her long lost twin here.
PARIS
(brightens)
Really?
ANGELUS
(smiles)
Really.
WIDE ANGLE - Paris trots over to Angelus and jumps into his arms.
CLOSE UP - as Paris moves her face close to her husband’s.
PARIS
Does she have a name?
ANGELUS
Do you care what her name is?
PARIS
Not really. Can you show me
how to play nice and nasty with her?
ANGELUS
You know I will, love.
ANGLE - on the two as they kiss quickly then look down at the girl.
ANGLE - on Hailie as she looks fearfully up at her captors.
DISSOLVE TO…
SCENE 16
INT - WOLFRAM & HART - CORRIDOR - NIGHT
ANGLE - on Lilah’s feet as she walks along another white shiny corridor, her shoes echoing with each step.
ANGLE - as Lilah stops at a red box. She opens it to reveal…
CLOSE UP - another keypad.
ANGLE - on Lilah who reaches into her pants pocket and pulls out the yellow Post-It.
CLOSE UP - on the keypad as Lilah punches in the number 4-6-2-2-2-5 (spells: G-O-B-A-C-K). The red light turns green as…
ANGLE - the infrared sensors vanish. Lilah moves forward then looks back as the infrared sensors re-appear.
LILAH
(whispers)
One more to go.
ANGLE - on Lilah who moves forward and out of frame.
DISSOLVE TO…
SCENE 17
EXT - CREEPY HOUSE - NIGHT
GUNN’S TRUCK - ANGLE - on Wesley who is peering out the front window.
PAN to Teresa sitting next to him who is looking ahead with some trepidation.
PAN to Gunn who’s sitting behind the wheel. He, too, is looking out the front window with trepidation.
GUNN
Okay, I ain’t seeing any vehicles or
movement around the place, are you
sure we have to go in there?
WESLEY
You’re not scared, are you, Charles?
GUNN
Damn straight.
WESLEY
It’s just a house, Gunn.
GUNN
This place is so creepy that the ghosts
probably don’t even hang out here.
ANGLE - on Wesley as he opens the passenger side door. He gets out the truck then looks back inside at Teresa.
TERESA
I’ll stay here and watch the truck.
GUNN
Hey, I should be the one watching
my truck.
WESLEY
Gunn, you’ve faced countless vampires
and demons, and yet you’re afraid to
go into one house?
GUNN
One creepy, haunted house.
TERESA
Charles, the sooner you get in there,
the sooner you get out again.
GUNN
Says the person who didn’t have
someone breathing down their neck
at the last house we checked.
WESLEY
Alright then, stay here.
I’ll be back in a few minutes.
ANGLE - on Wesley as he shuts the door and moves around the truck.
ANGLE - on Gunn as he watches Wesley approach the house.
GUNN’S POV - for the first time, we see the house, and it is mega creepy…evil looking. Wesley takes the four steps that lead up to the porch, then opens the door and disappears inside.
ANGLE - on Gunn who looks guilty for having let Wesley go alone.
GUNN
(softly)
Damn.
WIDE ANGLE - Gunn gets out of the truck and jogs towards the house.
CUT TO…
SCENE 18
INT - THE OLD HOUSE - KITCHEN - NIGHT
CLOSE UP - of Hailie’s eyes as tears escape her blue eyes.
WIDER - and we see there is sweat on Hailie’s brow and narrow rivulets of blood trickling from small wounds in her temples. Paris and Angelus emerge from either side and run their tongues up Hailie’s cheeks, tasting the blood. A small scared squeak comes from Hailie’s throat as she squeezes her eyes shut. Paris pulls away then touches her finger to the tip of Hailie’s nose. Hailie flinches slightly at the touch.
PARIS
(smiles)
You’re yummy.
Hailie muffles something.
PARIS
What?
I didn’t quite catch that.
Paris roughly pulls the gag away from Hailie’s mouth.
HAILIE
You’re sick.
PARIS
(to Angelus)
You hear that? She thinks I’m sick.
ANGELUS
I heard.
Paris looks back at Hailie.
PARIS
(scary)
You have no idea what I’m like, little
girl. But over the next few
unbelievably long hours, you’re most
certainly going to find out.
HAILIE
Why are you doing this to me?
ANGLE - Paris crouches down in front of Hailie and looks up at her.
PARIS
What’s your name?
HAILIE
Hailie.
ANGELUS
Pretty name.
PARIS
Well, Hailie, we’re doing this because
we can, and quite frankly…
(leans forward, hushed)
…because we want to.
HAILIE
(shakily)
Why me?
WIDER - Angelus crouches down beside Hailie who looks at him.
ANGELUS
Because you’re so pretty and
innocent, my dear.
HAILIE
M-my boyfriend’ll be looking for me.
ANGLE - Paris shoots Angelus a glare.
PARIS
(slowly)
Boyfriend? And you didn’t think to
get him for me?
ANGELUS
(shrugs)
Sorry…my bad.
PARIS
Well…
(stands up)
…we’ll just have to do to Hailie what
we could have done to…
(to Hailie)
What’s your boyfriend’s name?
HAILIE
J-jake.
PARIS
What we could have done to Jake.
HAILIE
(stammers)
W-what are you going to do to me?
ANGELUS
So many things. For instance…
ANGLE - Angelus reaches behind Hailie who soon cries out in pain as we hear the distinct sound of a bone snapping.
HARD CUT TO…
SCENE 19
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT - INTERCUT
WIDE ANGLE - Lindsey is leaning back into the couch and is sleeping. Cordelia is curled up beside him, her head resting on his lap. She is sleeping in relative peace when she suddenly wakes up screaming in pain. Lindsey wakes with a start and looks like he’s about to have a heart attack as Cordelia sits up. She is breathing heavily and shakily, pain etched on her face.
LINDSEY
(urgently)
Cordy, what is it?
CORDELIA
(laboured)
The girl’s being tortured right now.
She’s in so much pain, Lindsey.
LINDSEY
I can tell just from looking at you.
CORDELIA
I have to call Wesley.
ANGLE - on Cordelia as she reaches for her cell phone on the coffee table. She presses the speed dial number and waits.
ANGLE - on Wesley who is creeping quietly along a corridor in the old, dark house. Suddenly his cell phone starts ringing, startling him. He quickly answers it.
WESLEY
(hushed)
Yes?
CORDELIA
(urgently)
Wes, you’ve gotta hurry.
WESLEY
Cordelia?
CORDELIA
The girl doesn’t have much time left.
WESLEY
Cordelia, calm down, please.
CORDELIA
I’m as calm as anyone can be after
what I just saw.
WESLEY
You had another vision, didn’t you?
CORDELIA
Why else would I be calling you?
Where are you?
WESLEY
Looking around the third of five
houses for this girl and her captors.
CORDELIA
Why don’t you just go to the last one on
the list…you know that’s where she’ll be.
WESLEY
And she could also be in the fourth
unless you can give me more details
about the house.
CORDELIA
I haven’t had any more vision images
of the house, just the girl.
What about the house number?
WESLEY
None of the houses we found have
the number two-triple six.
Any more on her captors?
CORDELIA
Sorry, Wes. Just find her, please.
BACKGROUND - Gunn comes to the top of the stairs, sees Wesley and starts towards him.
FOREGROUND - upon hearing Gunn’s footsteps, Wesley turns around to face him.
WESLEY
We will, Cordy.
BACKGROUND - Gunn’s pace slows as his eyes widen.
GUNN
(hushed)
Wes.
WESLEY
Try not to worry, okay?
CORDELIA
That’s easy for you to say.
GUNN
(hushed but more urgent)
Wes.
WESLEY
What?
Gunn nods ahead past Wesley.
CORDELIA (V.O)
What do you mean ‘what’?
ANGLE - Wesley turns around and catches his breath when he finds himself face to face with a…
ANGLE - ghostly young woman. Her black hair falls to her waist and she’s in period costume from the early 1900s. Her ice-blue eyes are vacant and, let’s face it, kind of creepy looking. As she raises her left hand towards Wesley…
ANGLE - Gunn yanks Wesley back hard enough to make him stumble a little and drop his cell phone.
ANGLE - on Cordelia who’s frowning.
CORDELIA
Wesley? What’s going on?
ANGLE - on Gunn who picks up the phone before he and Wesley start for the staircase.
CORDELIA (V.O)
Wesley?
GUNN
Cordy, it’s Gunn.
CORDELIA
What’s happening?
What’s going on?
GUNN
(casually)
Oh, we just got a ghost chasing us
outta the house. You know, the usual.
ANGLE - looking up the staircase, we see Gunn and Wesley descending.
CORDELIA
Sounds like you need Phantom Dennis.
GUNN
Him I can deal with, but this one is
one scary female.
ANGLE - still looking up the staircase. The ghostly woman starts floating down the staircase after Wesley and Gunn who are racing towards the front door.
CORDELIA
Okay, well, good luck with that.
Let me know how you go, okay?
GUNN
Yeah.
ANGLE - on Cordelia as she terminates the call.
LINDSEY
What’s happening with Wesley
and Gunn?
CORDELIA
They’re being chased out of a house
by a scary female ghost.
ANGLE - on Lindsey who tries to suppress the urge to laugh.
LINDSEY
I didn’t think Wesley was the sort
to be scared off by a ghost.
CORDELIA
I don’t think it’s him as much as
it is Gunn.
LINDSEY
So they haven’t found the girl yet?
CORDELIA
(low)
No. Not yet. They have two
more houses to check.
ANGLE - Cordelia puts the cell phone back on the coffee table, then raises a hand to her temple and rubs it gently.
LINDSEY
How’s your head?
CORDELIA
It feels like a bomb went off in it.
LINDSEY
Come here.
CORDELIA
Why?
LINDSEY
(insistent)
Come here.
Cordelia looks at Lindsey for a moment, then moves across the seat towards him. Apprehensively, she leans into him and allows him to put his arm around her. With his good hand, he gently starts massaging her left temple.
ANGLE - on Cordelia as she closes her eyes.
CORDELIA
That feels so good.
ANGLE - Lindsey smiles, glad he is useful for something. He stops for a moment.
CORDELIA
Don’t stop.
Lindsey reaches across and starts massaging Cordelia’s right temple.
LINDSEY
I have to do one side at a time.
(indicates his plastic hand)
CORDELIA
You know, with all the money and
the resources Wolfram and Hart has,
I’m surprised they never sprung for
a better hand for you.
LINDSEY
I think they decided the money was
better spent elsewhere.
CORDELIA
Well that sucks.
LINDSEY
Yeah, it does.
Off Lindsey as he starts massaging Cordelia’s left temple again.
CUT TO…
SCENE 20
INT - THE OLD HOUSE - KITCHEN - NIGHT
ANGLE - there is a proud smile on Angelus’ lips as he stands back and observes Paris at work.
ANGLE - Hailie’s head is drooping forward so we can’t see her face. Paris takes a handful of Hailie’s blonde hair and yanks it out; the action so brutal that part of the scalp tears away from the girl’s head.
HAILIE
(cries, pained)
Aarghhh!
We now see Hailie’s face which has dozens of little cuts all over it that are bleeding.
ANGLE - on Angelus who grimaces.
ANGELUS
Ooh…that had to hurt.
ANGLE - on Paris as she tosses the hair and scalp into the sink.
PARIS
(blandly)
Like I care how much pain she’s in.
ANGELUS
You sound like you’re not having any
fun, love. That’s just not right when
you’re torturing and maiming someone.
WIDE ANGLE - Angelus moves forward towards Paris who’s looking at Hailie, deciding how to hurt her next.
ANGELUS
Shall I show you?
PARIS
(stepping back)
Go ahead, Mr Big Artiste.
ANGLE - Paris steps aside and watches closely as Angelus crouches down in front of Hailie.
ANGELUS
How’s it going there, Hailie?
Hailie lifts her head up and looks at Angelus through tears and blood.
HAILIE
(begs)
Kill me…please…just kill me.
ANGELUS
Mmm…maybe later.
ANGLE - Angelus reaches a hand to Hailie’s face, but she pulls away from his touch. Angelus smiles.
ANGELUS
You want us to kill you yet you won’t
allow me to touch you. I don’t
think you really want to die.
(to Paris)
Do you, my love?
PARIS
Nuh-uh.
ANGELUS
(to Hailie)
I think you want us to hurt you just a
little bit longer. Isn’t that right, Hailie?
HAILIE
(sobs)
No.
ANGELUS
Really? Well, my lady isn’t having
fun and I promised her some, so I
think I’m going to have to hurt you
just a little bit longer.
That seems fair, doesn’t it?
ANGLE - Hailie doesn’t answer as Angelus straightens and moves around behind her.
CLOSE UP - he bends down and whispers into her ear.
ANGELUS
No one’s going to find you, Hailie.
Hailie squeezes her eyes shut in pain.
ANGELUS
No one’s going to save you.
The pain on Hailie’s face intensifies as a tear escapes and rolls down her cheek.
ANGELUS
No one’s going to hear you scream.
Angelus does something that we can’t see which does cause Hailie to scream in agony.
ANGLE - Paris smiles at the sound of Hailie’s scream.
ANGELUS (O.C)
There’s something in my coat pocket
that you can have some fun with,
my sweet.
Paris moves to the island bench and picks up Angelus’ long coat. She feels the pockets then finds something. She removes the item and sees that it’s…
TIGHT - a small container of salt.
CLOSE UP - of Paris’ and the evil smile on her face.
PARIS
(low)
Oh, we’re gonna have a lot of fun now.
Paris looks to her right then walks out of frame.
BLACK OUT
SCENE 21
INT - POLICE STATION - INTERROGATION ROOM - NIGHT
ANGLE - on Jake who is sitting in a chair staring up at two detectives who are standing in front of the mirrored window.
JAKE
(testy)
I don’t know how many times I have
to tell you, I don’t know where she is.
We were in the movie theatre, Hailie
gets up to go to the bathroom and never
came back. I went looking for her but
didn’t find her, then I called nine-one-one.
DETECTIVE 1
One of the ticket attendants at the cinema
saw a man fitting your description approach
Miss Bunning and leave with her.
JAKE
Well, it wasn’t me.
DETECTIVE 2
Alright then. How long have
you known Miss Bunning?
JAKE
Three years.
DETECTIVE 1
How would you describe your relationship?
JAKE
I was going to propose to her on
Christmas Day if that answers your
question.
DETECTIVE 2
So neither of you strayed from
the relationship?
JAKE
No!
DETECTIVE 1
Would you know if she had?
JAKE
Of course I would.
Hailie would never do that to me.
There’s a knock on the door then a police woman opens the door holding a sheet of paper.
POLICE WOMAN
Here’s the description that ticket
guy gave Rick.
The first detective takes the sheet of paper and looks at it. He doesn’t seem happy as he hands the sketch to his partner.
TIGHT - on the sketch and we see that it’s Angelus’ likeness rather than Jake’s.
The second detective looks at Jake.
DETECTIVE 2
It looks like you’re free to go, Mr Stratton.
ANGLE - on Jake who looks up at the detectives. As he stands up…
JAKE
I told you I didn’t do it.
Jake walks around the steel table and faces the two detectives.
JAKE
Find the bastard who did do this.
You hear me?
The two detectives are stoic as Jake walks out of the room.
CUT TO…
SCENE 22
INT - WOLFRAM & HART - FILES & RECORDS DIVISION - NIGHT
ANGLE - on a steel door that has a small black plaque attached that reads ‘FILES & RECORDS’ in plain white lettering. On the wall beside the door is a black box with a keypad. O. C. we hear the echo-y footfalls then Lilah comes into frame. Holding the yellow post-it note, Lilah punches in the number 4-6-8-2-4-2 (spells: G-O-T-C-H-A). The security lock clicks open and…
REVERSE ANGLE - the door opens automatically. Lilah goes to step forward but stops abruptly, her eyes widening with shock.
ANGLE - on Holland who is standing in the room looking at Lilah.
HOLLAND
What’s the matter, Lilah?
You look like you weren’t expecting me.
ANGLE - on Lilah who is too shocked to formulate a sentence.
ANGLE - Lilah looks over her shoulder and sees…
ANGLE - two large security men with their weapons drawn.
HOLLAND
Take her to my office and stay with
her. I’ll be there directly.
WIDE ANGLE - the two security men nod then take Lilah by each arm and walk her back along the corridor.
ANGLE - on Holland as he turns around and moves in the opposite direction, the door closing behind him.
CUT TO…
SCENE 23
EXT - THE OLD HOUSE - NIGHT
ANGLE - on the driveway as Gunn’s pickup heads towards the camera. Gunn shuts off the engine but leaves the lights on.
INT PICKUP - ANGLE - on the three occupants of the vehicle as they look out at the house.
ANGLE - on the house. It’s actually in pretty good condition. The windows are boarded up (some boards are broken), and the front door and stairs are in tact. It doesn’t look too scary.
ANGLE - on Wesley, Teresa and Gunn.
GUNN
This one’s the best looking one of
all of them.
TERESA
Leave the best till last.
WESLEY
(looking around)
I don’t see any vehicles at all.
GUNN
That don’t mean there ain’t one parked
out the back.
WESLEY
There’s only one way to find out.
Wesley opens the door just as…
HAILIE (O.C)
(pained)
Aaarghhh!
(scream cut off)
ANGLE - on Gunn as he looks sharply at Wesley.
GUNN
Looks like the vehicle is out back.
TERESA
Be careful, guys.
WIDE ANGLE - Wesley shuts his door as Gunn gets out of the truck. They both reach into the back of the truck. Wesley takes a crossbow and Gunn a double-edged axe then they turn and face the house.
GUNN
How’d you want to do this?
WESLEY
I’ll go in through the front door and…
GUNN
I’ll take the back. Got it.
WIDE ANGLE - The two men move towards the house then Gunn peels away and jogs around the far side of the large house.
TIME CUT TO…
SCENE 24
INT - THE OLD HOUSE - NIGHT
ANGLE - on the front door as Wesley opens it as quietly as the rusty hinges will allow. He peers inside and when he’s satisfied he won’t be seen, steps across the threshold then closes the door. With the crossbow ready to fire, Wesley…
WESLEY’S POV - looks around the living room but no one or thing can be seen. He then looks towards the staircase and to the landing above which is also vacant.
ANGLE - on Wesley as he slowly moves forward towards the dark doorway on the other side of the living room.
HARD CUT TO…
SCENE 25
INT - THE HOUSE - BACK ROOM - NIGHT
ANGLE - Gunn quietly closes the door behind him. He tucks the axe handle under his arm then turns on the flashlight, quickly covering the beam with his hand, but to allow enough light through to illuminate his surrounds.
GUNN’S POV - he sees a pile of chopped firewood in the far right hand corner and a large lidless barrel beside a door on the other side of the small room. He looks down and sees a rat skitter across the floor in front of him.
ANGLE - Gunn turns off the flashlight and is emersed in the near darkness again. He pockets the flashlight and readjusts his grip on the axe before moving the six or so feet to the opposite door. He carefully and quietly opens the door, grimacing when the hinges creak. He steps into the next room and closes the door behind him.
HARD CUT TO…
SCENE 26
INT - THE OLD HOUSE - KITCHEN - NIGHT
ANGLE - the door to the kitchen opens and Wesley appears.
ANGLE - on the other door at the far end of the kitchen that opens and Gunn appears.
WIDE ANGLE - both men are startled that they’ve arrived in the kitchen at the same time. Then they notice something up high and towards the camera.
GUNN
(softly)
Oh, my God.
ANGLE - on Wesley as he keeps his gaze upwards. As he approaches, PULL BACK to see a pair of legs dangling lifelessly. Gunn approaches apprehensively.
GUNN
Is she - ?
WESLEY
(subdued)
Yes.
ANGLE - on Hailie who is hanging by the neck. A noose has been secured to an exposed beam, a chair is tipped over and rests on its side beneath her. Hailie’s hands and feet are no longer bound. Hailie’s skin is almost in shreds from all the large and small cuts in it. Her jeans and t-shirt are soaked through with blood.
GUNN
She hanged herself?
WESLEY
It’s been made to appear that way.
GUNN
So she didn’t hang herself?
WESLEY
No. She’s not tall enough to have
secured the rope to the beam, and
there’s too much distance between
the seat of the chair and her feet.
WIDER - Gunn moves up along side Wesley, unable to take his eyes off the girl that was once Hailie Bunning.
GUNN
What’s that white stuff?
WESLEY
Salt.
GUNN
Rub salt into the wounds.
Can you say ‘ow’?
WESLEY
It looks like she was tortured for
several hours before being killed.
GUNN
(angrily)
And we just missed the son-of-a-bitch
that did it.
WESLEY
You didn’t see anybody around the
back of the house?
GUNN
(shakes head)
Nuh-uh. No car either.
ANGLE - on Wesley as he looks around for any evidence to suggest who might have done this. He moves towards the sink and sees…
ANGLE - the piece of Hailie’s scalp that was discarded.
ANGLE - Wesley turns and looks around some more.
GUNN
What demon would do this?
WESLEY
It’s not demonic. The wounds are too
precise to have been done by a demon.
GUNN
(amazed)
You mean a human did this?
WESLEY
Definitely one, possibly two, yes.
When we get back to the office, I’ll see
if there have been any other murders
similar to this one. Maybe whoever
did this has done it before.
GUNN
What kind of sick bastards would do this?
Off Gunn as he continues to stare at Hailie’s corpse.
DISSOLVE TO…
SCENE 27
EXT - STREET SCENE - CAR - NIGHT
ANGLE - on Paris and Angelus (driving)
who are driving along, neither speaking. After a few moments, Angelus looks at Paris who is staring down at the empty salt container in her hand.
ANGELUS
Why so quiet?
PARIS
I’m just thinking about what more I
could have done to her had we not
been interrupted.
ANGELUS
Luckily we heard the car while the girl
wasn’t screaming.
PARIS
I don’t like it when they scream…
it hurts my ears.
ANGLE - Angelus reaches across and rubs Paris’ left ear with his thumb.
ANGELUS
And such beautiful ears they are, love.
ANGLE - Paris pulls away from Angelus’ hand.
ANGELUS (O.C)
What’s wrong?
PARIS
Nothing.
WIDE ANGLE - Angelus looks at Paris.
ANGELUS
You have something on your mind
other than more methods of torture.
PARIS
I’m bored.
ANGELUS
(nods slowly)
Ahh.
(beat)
You’re not bored, Paris.
You’re coming down.
Paris looks at Angelus and raises an eyebrow.
ANGELUS
You were on a major high tonight,
Paris, and now that it’s all over, you’re
coming back down to earth.
PARIS
Yeah, well, I don’t like it.
ANGELUS
But you liked the way it felt when you
were rubbing the salt into those wounds
I created. Didn’t you?
PARIS
Yeah, I did.
ANGELUS
Hang on to that feeling, because it
may be a while before you feel it again.
PARIS
It doesn’t have to be.
ANGELUS
One thing I’ve learned in all my years
as a vampire is that when a lot of people
start getting killed in strange ways, other
people start asking questions. You don’t
want to end up in jail again, do you?
PARIS
You know I don’t.
ANGELUS
Right. So, we take a break for a
while and find the fun somewhere else.
PARIS
At Wolfram and Hart, for instance?
ANGELUS
Now you’re getting it.
CLOSE UP - Paris smiles and…
WIDE ANGLE - tosses the empty salt container over her head. It lands on the road as the car speeds out of frame.
DISSOLVE TO…
SCENE 28
INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT
ANGLE - Lilah is seated in front of Holland’s desk. The two security men stand guard behind her.
BACKGROUND - Holland opens the office door and enters.
ANGLE - on Lilah’s slightly anxious face as Holland walks past her and…
ANGLE - sits behind his desk.
HOLLAND
You didn’t know there was another
way to access the Files and Records
Division, did you, Lilah?
LILAH
No, sir.
HOLLAND
And I supposed you’re wondering how I
knew you were going down there, aren’t you?
LILAH
Yes, sir.
HOLLAND
The moment you entered the first code,
I was alerted by security.
(leans forward)
There are only certain people who
have access to the Files and Records
Division, Lilah. Unfortunately, you
are no longer one of those people.
LILAH
Since when?
HOLLAND
Since your recent suspension.
LILAH
Why wasn’t I notified?
HOLLAND
There was an e-mail waiting on your
computer upon your return. If you
failed to read it, only you can be held
responsible for being here right now.
LILAH
I don’t understand…why was I able to
access the codes in the first place?
HOLLAND
To see what you would do with them.
It’s clear that had you been given all four
codes, you would have gained access
to files that, in the right hands, could
destroy this firm.
LILAH
Wait…there are four codes?
HOLLAND
Of course.
LILAH
So, what would have happened once
I’d passed through that third door and
couldn’t get through the fourth?
HOLLAND
After a thirty second period, a lethal
toxic gas is released into the room
and you pass through a door of a
different kind.
ANGLE - on Lilah who realises how close to death she had come.
ANGLE - on Holland as he sits back in his chair.
HOLLAND
Effective immediately, I’m revoking all
privileges you are entitled to, including
your parking space.
LILAH
(taken aback)
Why?
HOLLAND
Because you need to learn not to stick
your nose in business that doesn’t
concern you or that could hurt this firm.
LILAH
How long will I be without my
parking space?
HOLLAND
Until I see you’re flying right, Lilah.
(dismissively)
That will be all.
Holland promptly turns to his computer.
ANGLE - on Lilah as she stares at Holland. After a few moments, she stands up and walks towards the door.
DISSOLVE TO…
SCENE 29
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
WIDE ANGLE - Wesley is sitting as his desk, his shoulders hunched, a heavy look on his face.
BACKGROUND - Teresa is on the computer in the outer office. She looks up from the monitor as…
ANGLE - Cordelia and Lindsey walk past the desk and enter Wesley’s office.
CORDELIA
Hey, Wes.
CLOSE UP - Wesley barely acknowledges Cordelia’s presence.
CLOSE UP - Cordelia realises something’s wrong.
CORDELIA
Wes…what is it?
WESLEY
(heavy, subdued)
We didn’t save the girl.
CLOSE UP - on Cordelia as her breath catches in her throat. She eases herself into one of the guest chairs.
LINDSEY
What happened?
WESLEY
When we arrived at the last house, we heard a woman scream. Gunn and I entered the house and found the girl in the kitchen.
ANGLE - on Cordelia who tries to compose herself.
CORDELIA
What happened to her?
WESLEY
She’d been tortured for several hours
before being hanged from an exposed
overhead beam.
ANGLE - on Cordelia as she unconsciously puts a shaky hand to her throat.
ANGLE - on Lindsey who moves to the chair beside Cordelia and sits down.
LINDSEY
Did you see who did it?
WESLEY
No. They’d gone by the time Gunn
and I made it into the house.
LINDSEY
They? It was demons?
WESLEY
Not in the strictest of senses. Teresa and
I looked into previous murders with unusual
characteristics but found nothing from the
past hundred years. So we went back
further and found a similar murder in Dresden,
Germany back in eighteen-seventy-two.
Beat.
CORDELIA
(whispers)
Angelus.
WESLEY
It seems he is teaching Paris some of
old ways, starting with this girl.
TERESA (O.C)
Excuse me, Wesley.
WIDE ANGLE - Wesley looks at Teresa who’s standing in the doorway. Behind her is Jake.
TERESA
This man needs your help.
ANGLE - on Wesley as he stands up.
WESLEY
Come in.
ANGLE - Teresa steps aside and allows Jake entry into the office.
JAKE
My name’s Jake Stratton. I was
told you might be able to help me.
Off Jake.
BLACK OUT
SCENE 30
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
ANGLE - on Jake as he sits down in the chair Lindsey vacates.
ANGLE - on Wesley who has perked up a little at the prospect of having a new case to work on.
WESLEY
How can we help you, Mr Stratton?
JAKE
Jake. My girlfriend was
kidnapped last night.
WESLEY
I’m sorry, Jake, but we don’t handle
kidnappings. Have you contacted
the police?
JAKE
They didn’t believe me. They
thought I’d done something to her and
interrogated me half the night.
JAKE
I took my girlfriend, Hailie, to the movies
in Westwood last night. During the
movie, she went to the bathroom but
she never came back.
WESLEY
Maybe she didn’t like the movie and
went home.
JAKE
She’d wanted to see this movie for months.
I tried her cell phone but all I got was her
voice mail. It’s not like her not to
return a phone call, especially one from me.
WESLEY
Has there been any suspicious activity
surrounding Hailie recently? People?
JAKE
Not that I’ve noticed, and she never
said anything.
WESLEY
Have you called all her friends and family?
JAKE
I’ve called everyone I can think of, and
she didn’t turn up for work this morning.
CORDELIA
Do you have a picture of Hailie?
ANGLE - on Jake as he reaches into his back pants pocket and pulls out a black wallet that’s seen better days. He opens it up and rummages around before producing a photo. He hands it to Cordelia.
ANGLE - the moment Cordelia looks at the photo, her hands begin to shake. As she passes the photo to Wesley…
CORDELIA
(softly)
Wesley.
WIDE ANGLE - as Wesley reaches for the photo, Cordelia quickly gets up.
CORDELIA
Excuse me.
Cordelia starts for the stairs as Wesley looks at the photo and recognises the girl.
ANGLE - on Jake who watches as Cordelia disappears down the stairs.
JAKE
Is she alright?
LINDSEY
I’ll go check on her.
ANGLE - Lindsey moves towards the stairs and follows Cordelia.
JAKE
(to Wesley)
Are you able to help me find her?
Please?
ANGLE - on Wesley as he looks from the photo to Jake.
WESLEY
(low)
I’m afraid we already have.
Off Jake as he realises that what Wesley is about to tell him is not good news.
CUT TO…
SCENE 31
INT - ANGEL’S OLD APARTMENT - KITCHEN - DAY
ANGLE - on Cordelia as she takes a mouthful of water and throws her head back to swallow. She tips the remainder of the water down the sink as Lindsey walks in.
LINDSEY
(gently)
Are you alright?
WIDE ANGLE - Lindsey stands by the kitchen table and looks at Cordelia who butts her hands against the edge of the bench top, her head hanging. Slowly she shakes her head from side to side.
CORDELIA
(low, strained)
You were right.
LINDSEY
About what?
CORDELIA
That there are people I can’t help
because the circumstances won’t
allow it.
Lindsey nods slowly as he looks down at the floor.
LINDSEY
(softly)
Yeah.
CORDELIA
That poor man came to us for help and
what do we do? Tell him the person
he’s looking for is beyond help…that his
girlfriend’s body was mutilated almost
beyond recognition.
LINDSEY
I don’t think Wesley will say it quite
like that, Cordelia.
Lindsey looks up at Cordelia who is still looking down at the bench.
CORDELIA
(strained, angry)
If only I could have given Wesley and
Gunn more details about the house,
or, seen Angelus’ face, or, or, known
what those numbers meant, then that
girl would still be alive right now.
LINDSEY
(stepping forward)
You don’t know that, Cordy.
ANGLE - Cordelia whips around to face Lindsey and it is then that we see hot tears running down her cheeks.
CORDELIA
Yes, I do! The Powers gave me those
visions so we could save Hailie.
But because I couldn’t decipher the
information properly, Hailie’s dead now.
Lindsey approaches Cordelia as she gives way to the tears completely.
CORDELIA
(sobs)
It’s all my fault.
Lindsey puts his arms around her and finds no resistance. As he draws her into him…
CORDELIA
(broken voice)
I can’t do this anymore, Lindsey.
I just can’t.
Cordelia slides her arms around him and buries her face in his chest and sobs.
LINDSEY
Sshhh.
After a few moments, we HEAR the sliding door open (O.C)
CORDELIA
(small)
No. Not now.
Cordelia tries to push herself away from Lindsey.
LINDSEY
Cordy, what is it?
CORDELIA
(forces out)
Pain…bad…
ANGLE - Gunn’s head snaps around to towards the kitchen as he slides the door shut.
CLOSE UP - Lindsey loosens his grip a little as Cordelia raises her hands to her head. As the vision kicks in, her knees buckle and her back arches, but Lindsey doesn’t let her go.
BLACK OUT
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