POSSESSED
Completed: 22 September 2000
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SCENE 1
EXT - UNDERNEATH A FREEWAY OVERPASS - NIGHT
Angel is in the middle of a fight with 4 Pregonian demons.
One of the demons slashes Angel’s upper left arm with a sharp claw. Angel VAMPS OUT. He leaps over the demon, rolls and picks up the battle-axe that had earlier been wrenched from his hand. He smoothly gets to his feet and with one arc of the axe, decapitates the demon.
The remaining three Pregonians approach Angel, but he holds them at bay with the axe.
ANGEL
Unless you want to end up like your
friend, I’d be thinking of leaving
town right about now.
The Pregonians look at each other and silently retreat. Angel watches them disappear into the shadows then MORPHS BACK into human form. He checks his left arm.
ANGEL
(mutters)
Another shirt ruined.
Angel picks up the coat he had earlier discarded as he returns to his black convertible.
CUT TO…
SCENE 2
INT - ANGEL INVESTIGATIONS - NIGHT
Paris is sitting at Angel’s desk doing some paperwork. She looks up as Angel ascends in the elevator. When he steps into the office, she sees the blood on his arm and face.
PARIS
(concerned)
You’re hurt.
ANGEL
(dismissively)
It’s nothing.
PARIS
Let me take a look anyway.
Paris gets up from the desk and goes to the outer office while Angel sits on the edge of the desk. She returns with a small first aid kit.
PARIS
Take your shirt off.
Angel obliges. Paris takes a look at the four inch wound on his arm then gently starts to clean it.
PARIS
How many were there?
ANGEL
Four.
PARIS
Why are all these demons turning up?
This makes, what, fourteen in the
past four days.
ANGEL
I don’t know.
PARIS
(frowns at him)
That wasn’t the answer I was
looking for.
Angel looks at her and can smell her sweet scent.
ANGEL
(softly)
You smell like a rose.
Paris smiles at him.
PARIS
It must be the new soap I
bought yesterday.
ANGEL
It’s nice.
PARIS
I’m glad you like it.
(ref: his arm)
You don’t need a bandage.
ANGEL
(looking at the wound)
It’ll heal before morning.
PARIS
I know.
Off Angel and Paris.
BLACK OUT
SCENE 3
INT - ANGEL INVESTIGATIONS - DAY
Wesley is making a fresh pot of coffee when Cordelia walks in.
CORDELIA
(happily)
Guess what?
WESLEY
You got out of bed on the right
side this morning?
CORDELIA
Well, yeah. I got a call back!
WESLEY
(surprised)
You did?
CORDELIA
(all smiles)
Yeah.
WESLEY
For what?
CORDELIA
Some new breakfast cereal. I have to
go in for another audition at four o’clock
today, so I’ll have to trust you to keep
everything under control while I’m gone.
WESLEY
I’m sure I’ll be able to manage.
CORDELIA
(jumping up and down)
I am so excited!
WESLEY
(sarcastic)
Really? I would never have guessed.
CORDELIA
Wesley, this is the first callback I’ve had
since that fabric softener commercial I
did a couple of weeks ago.
WESLEY
Promoting breakfast cereal.
CORDELIA
Well, at least it’s something.
WESLEY
And what’s this cereal called exactly?
CORDELIA
Oh, I don’t know. I don’t really care.
WESLEY
Don’t you think you should?
CORDELIA
(sighs)
If it’ll make you happy, I’ll find out what
it’s called this afternoon. Alright, Dad?
Paris and Angel step out of the elevator and move through his office to the outer office.
ANGEL
We could hear you jumping up and down.
What’s all the excitement about?
CORDELIA
(excitedly)
I got a call back.
PARIS
For that breakfast cereal commercial?
CORDELIA
(beaming)
Yep.
PARIS
When?
CORDELIA
Today at four.
PARIS
(sheepishly)
Could I maybe tag along?
CORDELIA
(frowns)
Why would you want to do that?
PARIS
(shrugs)
I don’t know. It might be interesting.
CORDELIA
Whatever. Just stay away from all the
casting agents, or anyone who even
resembles a casting agent. With your
looks, I do not want you stealing
this part from me.
PARIS
Cordelia, I can assure you that I have
no interest what-so-ever in doing
a breakfast cereal commercial.
ANGEL
Are you two done sorting out
your careers?
Cordelia and Paris look at Angel.
ANGEL
We need to find out why there have been
so many demons showing up recently.
WESLEY
Did something happen last night?
ANGEL
I went dancing with four Pregonians
in Echo Park.
CORDELIA
Did you kill them?
ANGEL
Only one of them.
CORDELIA
So, that makes, what…
(thinking)
PARIS
Fourteen.
CORDELIA
Right. Fourteen in four nights.
WESLEY
And they’re different demons
each night.
ANGEL
I kind noticed that.
PARIS
With all these demons in town at the
moment, you’d think I’d be possessed
by at least one of them. I haven’t
had an uninvited guest in over a week.
CORDELIA
Maybe they’re not all evil.
WESLEY
All demons are evil to some
degree, Cordelia.
ANGEL
Something’s going on and I think
we should try and find out what it is.
Off Angel.
TIME CUT TO…
SCENE 4
INT - ANGEL INVESTIGATIONS - DAY
Wesley looks up from a book. He takes off his glasses and rubs his eyes then replaces the glasses. He looks across at Angel who looks towards the door as Paris and Cordelia appear.
WESLEY
I can’t find anything that gives us any
indication as to why there’s a sudden
influx of demons in the city.
PARIS
Neither did we.
CORDELIA
(offers)
Maybe they’re here for a family reunion.
WESLEY
I hardly think so, Cordelia.
CORDELIA
Well, I don’t see you coming up with an
explanation, Mr Smarty-Pants-Book-Man.
ANGEL
(scolds)
Children. If you can’t play together,
I’ll have to separate you.
Cordelia glances at her watch then takes a closer look.
CORDELIA
(panicked)
Oh, my God. I have to go.
PARIS
Cordy, there’s still an hour to go.
CORDELIA
Yeah, but I have to get ready.
PARIS
(bewildered)
It takes you an hour to get ready?
ANGEL
You’d be surprised what she does in
that hour and yet she still looks the
same when she’s done.
Cordelia glares at Angel who tries not to smile.
CORDELIA
(to Paris)
Are you coming or not?
PARIS
I’m coming. Later, guys.
WESLEY
Good luck.
Cordelia waves a hand as Paris follows her out of the office.
DISSOLVE TO…
SCENE 5
INT - WHITE HOT CASTING AGENCY - DAY
Cordelia and Paris enter the small waiting area that is filled with hopeful women. Cordelia moves to the reception desk where a portly middle-aged woman sits.
WOMAN
(blunt)
Name?
CORDELIA
Cordelia Chase.
WOMAN
Which commercial?
CORDELIA
(taken off guard)
You mean there’s more than one?
WOMAN
Cornflakes or Cherry Puffs.
CORDELIA
Ah…Cherry Puffs.
(smiles nervously)
Yeah. Cherry Puffs. That’s it.
The woman picks up a sheet of paper and hands it to Cordelia.
WOMAN
Fill this in and hold on to it
until your name is called.
CORDELIA
Okay. Thanks.
WOMAN (B/G)
Name.
Cordelia sees Paris standing by a plastic palm tree by the door and joins her.
PARIS
(low)
Are there usually this many people at
one of these things?
CORDELIA
They’re auditioning for two commercials,
so usually there wouldn’t…actually, come
to think of it, yeah, there are normally
this many people.
Cordelia takes a felt-tip pen and her portfolio out of her bag.
CORDELIA
Lean over so I can fill this form out.
Paris bends over, hands on knees as Cordelia rests the portfolio on her back and begins writing.
CUT TO…
SCENE 6
INT - ANGEL INVESTIGATIONS - DAY
Wesley is sitting opposite Angel, going through some more books. He suddenly looks up at his boss.
ANGEL
What?
WESLEY
I just had a thought. What if someone’s
actually summoning these demons?
ANGEL
It’s possible. The question is who?
WESLEY
And why?
ANGEL
(thoughtful)
Hmmm.
WESLEY
If we knew why they were here, it might
lead us to who summoned them.
ANGEL
Maybe we should give Giles a call.
See if they’re having the same
problem in Sunnydale.
WESLEY
Good idea.
Off Angel.
CUT TO…
SCENE 7
INT - WHITE HOT CASTING AGENCY - DAY
A door opens and a young woman walks out as a bearded man appears in the doorway.
CASTING AGENT
Cordelia Chase!
Cordelia looks nervously and excitedly at Paris.
CORDELIA
Wish me luck.
PARIS
Good luck.
(reassuring)
You’ll do fine.
Cordelia goes into the office and the door closes.
CUT TO…
SCENE 8
INT - ANGEL INVESTIGATIONS - DAY
Angel hangs up the phone.
WESLEY
What’d he say?
ANGEL
There are no demons converging on
Sunnydale. In fact, it’s just
the opposite.
WESLEY
(surprised)
They’re leaving?
ANGEL
Yeah. There’s been less and less
activity there in the last four or five days.
WESLEY
(slowly)
So all the demons are coming here.
ANGEL
It looks that way.
WESLEY
Did Giles offer any explanation as to
why this is happening?
ANGEL
No. He’s as much at a loss as we are.
Angel looks towards the door then frowns.
WESLEY
What is it?
ANGEL
Something Paris said earlier.
WESLEY
Which was?
ANGEL
That she hasn’t been possessed in
over a week.
WESLEY
That doesn’t necessarily mean anything,
Angel. I mean, she’s gone for several
weeks without so much as a sniff of
a possession. I wouldn’t ready too
much into it.
ANGEL
(frowns)
Hmmm.
Off Angel.
CUT TO…
SCENE 9
INT / EXT - WHITE HOT CASTING AGENCY - DAY
Cordelia and Paris step out of the crowded elevator and into a small crowded lobby. As they weave their way towards the exit, we see a demon wearing a hooded coat come up behind them. He places his hand on the back on Paris’ right shoulder, but she doesn’t feel it given all the bumping from other people.
As Cordelia and Paris step outside the building, Paris is immediately affected by the bright sunlight.
PARIS
(strained)
Oh, God.
Paris covers her face quickly with her arms and scurries to find shade.
CORDELIA
(concerned)
What’s wrong?
Paris groans then gasps loudly. Despite the ninety degrees of high humidity, Paris’ body starts shaking badly from the coldness of the demon possessing her.
CORDELIA
Oh, God. Not now.
(looks around frantically)
Come on, Paris. Fight it. Quickly.
After twenty seconds or so, Paris collapses on the hot sidewalk still possessed by the demon.
CORDELIA
(really concerned)
Paris!
Cordelia takes her cell phone out of her bag.
CLOSE UP – the battery is dead.
She looks up at the small crowd that has gathered.
CORDELIA
Someone call 9-1-1!
A man takes a cell phone from his coat pocket and makes the call as Cordelia looks at Paris helplessly.
CUT TO…
SCENE 10
INT - ST MATTHEW’S HOSPITAL - DAY
A male doctor and two nurses surround Paris in the emergency room as Cordelia stands back watching. Despite knowing that the doctors can’t really help Paris, Cordelia begs them to help her anyway.
CORDELIA
(panicked)
Come on. Do something.
Anything. Help her.
DR ELLIS
We’re trying to help her, miss.
NURSE 1
Doctor, her body temperature’s
continuing to drop.
DR ELLIS
Get the heat blanket.All of a sudden, Paris starts flailing her arms and kicking her legs about as she tries to fight the demon out.
DR ELLIS
(urgently)
Get her in the restraints…now!
CORDELIA
(tightly)
Oh, God.
DR ELLIS
(to Cordelia)
Is she using drugs of any kind?
CORDELIA
What? No.
DR ELLIS
Is she allergic to anything?
CORDELIA
Not that I know of.
DR ELLIS
Has she ever had seizures like
this before?
CORDELIA
No.
DR ELLIS
Has she ever lost body heat as
dramatically as this before?
Cordelia looks at one of the machines. It shows Paris’ body temperature at 85 degrees.
CORDELIA
I don’t think so.
NURSE 2
(to the doctor)
Do you want her sedated?
DR ELLIS
Not just yet.
CORDELIA
(shocked)
You’re going to sedate her?
DR ELLIS
Not until I’ve finished examining her.
(to Nurse 1, ref. Cordelia)
Get her out of here.
NURSE 1
(approaching Cordelia)
You’ll have to wait outside, miss.
CORDELIA
I’m not leaving.
NURSE 1
Let the doctor work on your friend.
Cordelia reluctantly allows the nurse to usher her out of the emergency room.
TIME CUT TO…
SCENE 11
INT - ST MATTHEW’S HOSPITAL - DAY - INTERCUT
Cordelia is pacing the floor of the waiting area then looks up as Dr Ellis approaches her.
CORDELIA
(anxiously)
How is she?
DR ELLIS
We’re taking her up to the neuro-
psychiatric unit to run some tests.
We’ve sedated and restrained her, and
we’re trying everything to elevate
her body temperature.
CORDELIA
(hopeful)
Is it working?
DR ELLIS
No. Her temperature is continuing
to drop.
CORDELIA
How low is it?
DR ELLIS
(concerned)
When I left her just now it was at
seventy-six degrees.
CORDELIA
Okay. That’s not good. Right?
DR ELLIS
People have survived before, but if her
temperature drops to as low as
sixty degrees…
(shakes his head slowly)
CORDELIA
(stunned)
She’ll die?
DR ELLIS
We’re trying to prevent that from
happening, miss.
CORDELIA
(peers behind the doctor)
Can I see her?
DR ELLIS
After we’ve finished running these tests.
But given that she’s heavily sedated, you
won’t get any response from her.
BACKGROUND - Nurse 2 approaches Cordelia and Dr Ellis.
NURSE 2
Doctor Ellis, we’re ready to take her
upstairs now.
DR ELLIS
Right.
(to Cordelia)
We’ll do everything we can for
your friend.
CORDELIA
(despondently)
Yeah. Thanks.Cordelia watches the doctor walk quickly back down the corridor as Paris is wheeled out of the emergency room. Cordelia moves to the pay phone as she digs around in her bag for a quarter. She finds one then picks up the receiver, drops in the coin and punches in the number.
WESLEY (V.O)
Angel Investigations.
How may –
CORDELIA
(interrupts / urgent)
Wesley, it’s me. Is Angel there?
WESLEY (V.O)
Cordelia, is everything alright?
CORDELIA
(frantic)
Just put Angel on!
Wesley puts Cordelia on hold then looks through the window at Angel.
WESLEY
Angel, it’s Cordelia.
She sounds frantic.
Angel quickly picks up the line.
ANGEL
(worried)
Cordelia, what’s wrong?
CORDELIA
(urgent / hushed)
It’s Paris. She’s been possessed only
she can’t get rid of the demon.
ANGEL
(getting to his feet)
Where are you?
CORDELIA
St. Matthew’s. They’re taking her
to the neuro-psychiatric unit.
ANGEL
Stay with her. We’re on our way.
Cordelia hangs up the phone.
CORDELIA
(softly)
Please hurry.
Off Cordelia who hangs up the phone.
BLACK OUT
SCENE 12
INT - ST MATTHEW’S HOSPITAL - LATE DAY
Cordelia is standing outside the waiting area of the neuro-psychiatric unit. She turns her head when she sees Angel and Wesley racing down the corridor towards her.
CORDELIA
(relieved)
Angel.
Angel places his hands on Cordelia’s shoulders and looks at her with worried eyes.
ANGEL
(urgently)
How is she?
CORDELIA
They haven’t let me see her yet.
They’ve been running tests on her.
WESLEY
What happened?
CORDELIA
Ah…
(hand to forehead)
…we were coming out of the building
where I auditioned. As soon as we
got outside, Paris couldn’t get out of
the sun quick enough. That’s when
the demon possessed her and she
collapsed on the sidewalk.
(then)
It’s still in her, Angel.
WESLEY
(alarmed)
She didn’t cast it out?
CORDELIA
No. The doctor said her body temperature
was seventy-six and still dropping.
WESLEY
(concerned)
It sounds like she may be possessed by
more than one demon.
CORDELIA
Is that possible?
WESLEY
I didn’t think it was.
CORDELIA
The doctor said that if her temperature
drops to sixty, she’ll…
(sees the doctor approach)
Doctor. How is she?
Dr Ellis eyes Wesley and Angel warily, then looks at Cordelia.
DR ELLIS
We’ve finished running our tests. The
preliminary results don’t show any brain
or organic damage. Though we’re still
waiting for the final results to come
back from the lab.
ANGEL
(agitated)
You didn’t answer the question.
How is she?
DR ELLIS
And you would be?
CORDELIA
(quickly)
Her husband.
DR ELLIS
(tries to hide his surprise)
We’ve had to put her in restraints to
prevent her from hurting anyone, including
herself. We’ve also covered her with
a heat blanket and given her a warm IV to
try and raise her body temperature.
ANGEL
(low)
I need to see her.
DR ELLIS
She’s heavily sedated at the moment.
ANGEL
(firmly)
I need to see her.
Angel looks at the doctor with very intense eyes.
DR ELLIS
Alright, but just for a moment.
WESLEY
Where is she?
DR ELLIS
The last room on the left down the hall.
Angel races down the corridor.
CONTINUOUS…
SCENE 13
INT - ST. MATTHEW’S HOSPITAL - LATE DAY
Angel pushes the door open and steps into Paris’ private room. He stares at her, shocked by her appearance. Cordelia and Wesley join Angel at the door.
CORDELIA
(shocked)
Oh my, God. She’s so pale.
She wasn’t this pale before.
Angel slowly approaches the bed and looks at all the machines Paris is hooked up to. He notices her body temperature is at sixty-nine degrees. He takes her left hand in both of his.
ANGEL
(softly)
You’re so cold.
Cordelia stands by the bed and looks at the machines. In the blink of an eye, Paris’ body temperature drops from 69 to 61.
CORDELIA
(stunned)
Oh, God.
WESLEY
(urgently)
What is it?
CORDELIA
(softly)
Another demon just possessed her.
Angel closes his eyes and bows his head.
WESLEY
Good Lord.
(beat)
There’s no telling how many demons
are in her.
CORDELIA
What if she can’t fight them out?
WESLEY
(grimly)
Then they’ll take over her body
and kill her.
ANGEL
(firmly)
You have to fight the demons out, Paris.
You hear me? Drive them out.
Off Angel and Paris.
CUT TO…
SCENE 14
INT - WOLFRAM & HART - LINDSEY’S OFFICE - NIGHT
Holland Manners and Lindsey McDonald are in Lindsey’s office talking to the demon, Ferugia. Lilah Morgan is on the phone.
LINDSEY
So, you’ve done what we asked?
FERUGIA
Yes. The Receiver is being invaded
as we speak.
LILAH
Okay. Thanks.
Lilah hangs up the phone then looks at Holland and Lindsey.
LILAH
She’s been admitted to the neuro-
psychiatric unit at St. Matthew’s. Apparently
the doctors haven’t determined what’s
wrong with her.
HOLLAND
Good.
And this incantation…
(holds up a piece of paper)
…is the only cure?
FERUGIA
Yes.
LILAH
You’re sure about this?
FERUGIA
Yes. My brother, Harkus, made sure
there was only one cure.
HOLLAND
(pleased)
Good.
LINDSEY
(to Holland)
Shall I go ahead and make the offer?
HOLLAND
Not just yet.
(to Ferugia)
How long before the girl dies?
FERUGIA
Once the mark is activated, The
Receiver has only eighteen hours.
But this one…this girl is strong.
HOLLAND
(agitated)
How long?
FERUGIA
No more than twenty-four hours.
LINDSEY
So, that leaves, what, about
twenty hours?
FERUGIA
Yes.
LILAH
(to Holland)
We should wait until the last few hours.
HOLLAND
My thoughts exactly.
LINDSEY
I’ll make the offer tomorrow afternoon.
HOLLAND
Good.
Holland turns to leave the office then stops and looks back at Lindsey.
HOLLAND
Oh, and Lindsey?
LINDSEY
Yes, sir?
HOLLAND
(smiles)
Make it an offer that can’t be refused.
LINDSEY
(nods)
Understood.
Off Lindsey.
CUT TO…
SCENE 15
INT - ANGEL INVESTIGATIONS - NIGHT
FORGROUND - Angel is seated at his desk, his hands pressed together almost in prayer against his forehead, a worried look on his face. Wesley is seated silently opposite.
BACKGROUND - Cordelia is on the computer in the outer office. Cordelia gets up from the desk and enters Angel’s office.
CORDELIA
I’ve looked at every website about The
Receiver and demonic possession and there’s
nothing about a person being possessed
by multiple demons in one big hit.
WESLEY
(slamming a book shut)
I’m unable to find anything either.
CORDELIA
It’s like this Mark Of Visceria thing is
working overtime on Paris.
WESLEY
I’d say that’s why all these demons have
come here from Sunnydale. They’ve all
been drawn to the mark for some reason.
CORDELIA
But why?
WESLEY
I wish I knew.
ANGEL
(low)
How many demons can she have in
her at any one time?
WESLEY
My guess is as many as she’s able to handle.
It might be two or three. Maybe more.
I really don’t know, Angel.
CORDELIA
I just hope she can fight them out before
they kill her. I mean she’s always
been able to do it before.
WESLEY
Yes, she has.
CORDELIA
But then again, she’s never been
hospitalised because of it.
WESLEY
(alarmed)
Good Lord.
Wesley leans forward in the chair then gets up and moves over to the bookcase. Angel looks up at him.
CORDELIA
Wesley, what is it?
WESLEY
Paris has never had to be restrained
and sedated before.
CORDELIA
What are you getting at?
WESLEY
If Paris is restrained and sedated, the
demons can possess her at will en masse.
She is completely powerless to cast them
out while she’s in this vulnerable and
weakened condition.
ANGEL
(urgently)
We need to get her out of that hospital.
WESLEY
(equal urgency)
And we need to do it now.
Off Wesley.
CUT TO…
SCENE 16
INT - ST. MATTHEW’S HOSPITAL - NIGHT
Angel and Wesley, dressed as orderlies, walk down the deserted corridor to Paris’ room. They enter the room and approach the bed.
WESLEY’S POV – he notices the temperature has dropped to a usually fatal 58 degrees.
Wesley disconnects all the machines as Angel carefully removes the IV from the back of Paris’ hand. He then removes the heat blanket from her body. Wesley and Angel then undo the restraints. Angel covers Paris’ face with the bedsheet as if she were a corpse.
ANGEL
(whispers)
Let’s go.
Wesley and Angel slowly wheel Paris’ bed towards the door. Angel checks the corridor then nods to Wesley. They wheel Paris into the corridor and towards the elevator. Angel presses the down button and they wait. When the doors open, an orderly steps out. He looks at Wesley and Angel, not recognising them.
The orderly nods once, and Wesley nods in return.
As the orderly moves away down the corridor, Wesley and Angel wheel the bed into the elevator. Wesley presses the button and the doors close.
CONTINUOUS…
SCENE 17
INT - ST. MATTHEW’S CAR PARK - NIGHT
The elevator doors open and Wesley and Angel wheel the bed out. They push it towards the black convertible as they look in all directions to ensure they are not seen. When they reach the car, Wesley removes the sheet from Paris then Angel picks her up in his arms and sits her in the back seat. He climbs into the back seat and lays Paris back against his own body as Wesley pulls the car’s roof securely in place.
ANGEL
(urgently)
Let’s go.
Wesley climbs into the driver’s seat, starts the car and moves towards the carpark exit.
DISSOLVE TO…
SCENE 18
INT - ANGEL’S APARTMENT - NIGHT
Wesley pulls back the sliding door and Angel carries Paris into the apartment. Cordelia comes out of the kitchen.
CORDELIA
Did you have any problems?
WESLEY
No.
Angel carries Paris into the bedroom and lays her down on the bed. He covers her with a number of blankets and a comforter.
CORDELIA
How long before the sedative
wears off?
WESLEY
It was probably in her IV. I’d say
eight…maybe ten hours.
CORDELIA
How many demons do you think
are in her?
WESLEY
Before we unhooked the machines,
her temperature was fifty-eight degrees.
I’d say she has at least five or six
demons inside her at the moment.
CORDELIA
(closes her eyes)
I can’t even begin to imagine what
she must be going through.
(looks at Wesley)
Is there anything we can do?
WESLEY
It’s up to Paris now. She’s the only
one who can cast the demons out.
Cordelia looks at Angel who is sitting on the edge of the bed. She moves towards him and puts a hand on his shoulder.
CORDELIA
(gently)
Are you okay?
ANGEL
(soft / distant)
She’s so cold.
CORDELIA
She’s a fighter, Angel.
She’ll cast them out.
ANGEL
(shakily)
And if she can’t?
CORDELIA
She will. She’ll be okay, Angel.
You have to believe that.
Off Angel’s worried eyes.
BLACK OUT
SCENE 19
INT - WOLFRAM & HART - LINDSEY'S OFFICE - DAY
Holland walks into Lindsey’s office.
HOLLAND
I just heard something rather
interesting.
LINDSEY
What?
HOLLAND
The girl disappeared from the
hospital last night.
LINDSEY
(stunned)
What do you mean disappeared?
HOLLAND
As in vanished into thin air. Gone.
LINDSEY
Did anyone see what happened?
HOLLAND
No. But you don’t need to be a genius
to figure out who took her.
LINDSEY
(disdainfully)
Angel.
(then)
Well, it doesn’t really matter where she is.
There’s still only one thing that’ll cure her
and we have it. Angel won’t be
a problem.
HOLLAND
Just make sure he isn’t, Lindsey.
Off Lindsey.
CUT TO…
SCENE 20
INT - ANGEL’S APARTMENT - DAY
Cordelia and Wesley enter the bedroom and find Angel lying next to Paris, asleep. Angel stirs and unconsciously drapes an arm across Paris’ stomach. Paris is motionless except for the rising and falling of her chest as she breathes.
CORDELIA
(whispers)
Should we wake him?
WESLEY
No. Let him sleep.
CORDELIA
He’ll probably need all the sleep he can
get before Paris gets active again.
WESLEY
It looks like Paris is still under the
effects of the sedative.
CORDELIA
Yeah. I guess when it wears off,
he’ll wake up soon enough.
Cordelia and Wesley turn and leave the bedroom.
TIME CUT TO…
SCENE 21
INT - ANGEL’S APARTMENT - DAY
Paris shivers violently and moves her head to the left. Angel wakes up as she gasps loudly and a demon enters her body. He sits up and watches her anxiously.
ANGEL
(urgently)
Fight them out, Paris.
You have to fight them.
As Angel gets up off the bed, Paris raises her knees then kicks her legs out, taking most of the bedcovers with her. She moves her head from side to side as a determined but pained look fills her face.
Paris’ body arches forward as a demon is cast out, but then gasps loudly as another demon immediately takes its place.
ANGEL
(angrily)
Come on, Paris. Fight it out.
Fight them out.
Despite her low body temperature, Paris begins sweating with the effort it takes to fight the demons out of her weakened body. Her body arches forward as another demon is cast out, but another replaces it.
ANGEL
(bewildered)
No, no, no.
(then)
Come on, Paris. You have to fight harder.
Paris begins kicking her legs and throwing her arms about as she fights the many demons that possess her. Angel slowly moves away from the bed, his eyes never leaving Paris. She casts another demon out, but it, too, is replaced by another.
Angel turns and races out of the bedroom towards the stairs.
CONTINUOUS…
SCENE 22
INT - ANGEL INVESTIGATIONS - DAY
Angel opens the door from the stairs and walks quickly through his office to the outer office where Cordelia is printing something off and Wesley is reading the morning paper. They both look up at Angel.
CORDELIA
You look, I don’t know,
kinda freaked.
ANGEL
I am.
WESLEY
I take it the sedative has worn off?
ANGEL
Ah yeah. She’s fighting the
demons, but…
WESLEY
(sensing something’s wrong)
But what?
ANGEL
She casts one out and another one
jumps into her. It’s like a tag
team wrestling match.
WESLEY
(gravely)
Oh dear.
CORDELIA
I hate it when you say that.
ANGEL
(to Wesley / urgent)
I want you to try the incantation you did
when Cordelia had all those visions.
WESLEY
I don’t think the Words Of Anatoll are
designed to cast demons out of
someone who’s possessed.
ANGEL
Can you at least try?
CORDELIA
We have to do something, Wesley.
ANGEL
(desperately)
Wesley, please.
WESLEY
(hesitantly)
Alright. I don’t think it’ll work,
but we can try.
ANGEL
Thank you.
Off Angel.
CUT TO…
SCENE 23
INT - ANGEL’S APARTMENT - DAY
Wesley, Cordelia and Angel walk into the bedroom. Paris’ body arches forward then she gasps as another demon enters her.
Wesley stands by the bed as Cordelia and Angel stand a couple of feet behind him. Wesley unfolds the piece of paper he holds then begins reading the words of Anatoll.
WESLEY
‘And if the beast shalt find thee
And touch thee
Thou shalt be wounded in thy soul
And thou shalt know madness.
The beast shalt attack and cripple thee
And thou shalt know neither friend nor family
But thou shalt undo the beast.
Thou shalt find the sacred words of Anatoll
And thou shalt be restored
Three times shalt thou say these words
Unbind. Unbind. Unbind. ’
Everyone looks at Paris who is still kicking and fighting the demons.
CORDELIA
Isn’t something supposed to happen?
ANGEL
(despondently)
It didn’t work.
WESLEY
I told you it probably wouldn’t, Angel.
We tried. Paris is the only one who
has the power to cast these demons out.
Paris’ body arches forward as she casts a demon out, but it is not replaced. She breathes heavily as Angel approaches the bed.
ANGEL
Come on, Paris. Fight them.
She gasps and another demon enters her.
ANGEL
(soft / determined)
I know you have the strength to fight
them, Paris. You have to find
it and use it.
Angel kneels down beside the bed and watches on helplessly as Paris kicks wildly and throws her arms about, without uttering a sound. All of a sudden, her left hand flails and strikes Angel hard across the face.
Cordelia gasps in surprise.
ANGEL
Come on. Fight, Paris.
Paris’ body lurches forward as a demon is cast out. She breathes heavily as her head falls back on the pillow.
Wesley turns to Cordelia and puts a hand on her shoulder. Cordelia looks at him silently then they quietly move out of the bedroom.
DISSOLVE TO…
SCENE 24
INT - ANGEL INVESTIGATIONS - DAY
Wesley and Cordelia are sitting in Angel’s office.
CORDELIA
(anxious)
She’s been possessed for almost
twenty-four hours, Wesley. How much
longer can she last?
WESLEY
(gravely)
If a demon enters her every time she casts
one out, I don’t think she’ll see tomorrow.
CORDELIA
(whispers)
Oh, God.
WESLEY
Given that her body temperature is so low,
I’d say she has at least two particularly evil
demons inside her. If the one that first
possessed her is still in her, then that’s the
demon that’ll kill her. He must be
especially strong. Much stronger than Paris.
CORDELIA
We can’t let her die, Wesley.
There must be something we can do.
WESLEY
I don’t know what we can do.
CORDELIA
What about the Powers That Be?
WESLEY
Even if they could help us, it’s not like
we can just pick up the phone and call
them. We don’t know how to get in
contact with them.
Frustrated, Cordelia stands up and runs her fingers through her flowing hair.
CORDELIA
God, Wesley. I feel so…so…helpless.
And Angel…God, there’s nothing he
can do for her.
WESLEY
I know.
Off Wesley’s helpless face.
DISSOLVE TO…
SCENE 25
INT - ANGEL’S APARTMENT - DAY
Angel is still kneeling beside the bed. Paris is casting out another demon and is automatically possessed by another. He rests his elbows on the bed then presses his hands together against his forehead, almost prayer-like.
ANGEL
(soft / firm)
Fight them, Paris. Fight harder.
I know you can do it.
(then / voice shaky)
Please. You have to do it.
Off Angel as he bows his head.
CUT TO…
SCENE 26
INT - ANGEL INVESTIGATIONS - DAY
There is a reflective silence between Wesley and Cordelia. HEAR footsteps enter the outer office. Wesley and Cordelia look up and see Lindsey McDonald standing in the doorway to Angel’s office.
CORDELIA
(hostile)
What do you want?
LINDSEY
I need to see Angel.
WESLEY
What for?
LINDSEY
That’s between him and me.
Cordelia looks at Wesley then back at Lindsey.
BLACK OUT
SCENE 27
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel ushers Cordelia and Wesley out of his office as Lindsey stands by the desk. Angel shuts the door and closes the blinds that cover the door and windows to the outer office. He keeps his back to Lindsey.
ANGEL
(low / even)
Give me one good reason why I
shouldn’t kill you right now.
LINDSEY
Because I have something that will
be of great interest to you.
ANGEL
And what would that be, Lindsey?
LINDSEY
The cure to save your girlfriend’s life.
Angel turns and looks sceptically at the young lawyer.
LINDSEY
I see that got your attention.
ANGEL
I’m listening.
LINDSEY
(smiles)
Good.
Angel moves forward and takes his seat behind the desk, while Lindsey remains standing.
LINDSEY
A demon by the name of Ferugia sent
the Mark Of Visceria into overdrive.
Paris – that’s her name, isn’t it?
Angel is silent.
LINDSEY
Paris is now being possessed by multiple
demons, one after another. She keeps
casting them out but they keep on
coming. Right?
Angel is still silent.
LINDSEY
The demons will keep coming until they
kill her. Which will be in…ooh…
(consults his watch)
…about ninety minutes from now.
ANGEL
(surmises)
And you have the cure to stop that
from happening.
LINDSEY
That’s right. All you need to do is say
an incantation that’ll save her life.
ANGEL
(suspicious)
And how is that you happen to have
this incantation, Lindsey? Did you
summon the almighty and powerful Ferugia
here? Is he on the payroll now or
is Wolfram and Hart sub-contracting?
LINDSEY
(offended / starts to leave)
You know, I could leave right now and
Paris will be dead by six-thirty.
ANGEL
(threatening)
You have to make it out of the office first.
Lindsey stops and turns back around.
ANGEL
You brought the incantation with you?
Lindsey digs into his inside coat pocket then holds up a slip of yellow paper.
LINDSEY
It’s all you need, Angel.
ANGEL
But it comes at a price. Right?
LINDSEY
(smiles)
You catch on quick.
ANGEL
So, what do you want?
LINDSEY
The Prophecies of Aberjian.
ANGEL
(mutters)
How’d I know you were going
to say that?
Off Angel’s pissed off face.
HARD CUT TO…
SCENE 28
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Cordelia has her ear pressed to the door of Angel’s office.
WESLEY
What are they saying?
CORDELIA
(whispers)
Something about an incantation
and Paris.
Wesley moves towards the door.
HARD CUT TO…
SCENE 29
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel rises from his chair, walks around the desk and stands in front of the bookcase.
ANGEL
So, let’s see if I’ve got this straight.
You summoned Ferugia here to send
Paris into overdrive with the whole
demon possession thing just so you
could get the scrolls back?
LINDSEY
In a nutshell. Yeah.
ANGEL
Will this incantation save Paris from the
demons that are in her right now? Or will
the Mark Of Visceria disappear forever?
LINDSEY
It’ll get rid of the demons that possess
her now. As for the mark, she has
that until she dies.
ANGEL
How do I know this incantation will work?
LINDSEY
That, my friend, is a risk you’re going
to have to take.Off Lindsey.
HARD CUT TO…
SCENE 30
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Wesley and Cordelia both have their ears to the door.
CORDELIA
(whispers)
He wants the scrolls in exchange for
this incantation thingy?
WESLEY
(whispers)
Yes.
Off Wesley and Cordelia.
HARD CUT TO…
SCENE 31
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel turns his back to Lindsey and wanders over to the outside window. There’s a frustrated look on his face.
LINDSEY
Come on, Angel. Tick tock.
ANGEL
Did Ferugia give you that incantation?
LINDSEY (O.C)
Yeah. Why?
Angel is silent.
LINDSEY
It must be a tough decision to make.
Paris…scrolls…Paris…scrolls. Is my
girlfriend’s life more important than
the Prophecies Of Aberjian?
Angel winces upon hearing that question.
LINDSEY
(growing impatient)
Come on, Angel. Are those scrolls
really more important than the woman
you love? Are you really going to subject
her to more demons that’ll only end
up killing her?
Angel spins around and charges at the lawyer. He shoves him up against the wall.
ANGEL
(clenched teeth)
If you don’t shut the hell up, I’ll let
my demon kill you!
Lindsey holds his hands up in surrender as a look of realisation hits Angel. He lets Lindsey go and backs away.
LINDSEY
(shakily)
That’s better.
(then)
So, do we have a deal?
ANGEL
(firmly)
No.
CORDELIA
(O.C) What?!
LINDSEY
(stunned)
You’re turning down the chance to
save your girlfriend’s life?
(off Angel’s silence)
Un-believable.
(shakes his head)
ANGEL
(low)
Get out, Lindsey.
LINDSEY
You sure you don’t want to think it
over some more?
ANGEL
(grinds out)
I said get out.
Angel grabs Lindsey by the coat and leads him to the door. When he opens the door, Wesley and Cordelia fall forward but quickly regain their balance. Angel pushes Lindsey between them.
LINDSEY
(pointing)
You’re making a big mistake, Angel.
ANGEL
Yeah? Well, it isn’t the first, and it
certainly won’t be the last.
Wesley and Cordelia stare at Angel then at Lindsey as he leaves the office.
CORDELIA
(confused)
Angel, what the hell are you doing?
Angel retreats back into his office with Cordelia and Wesley hot on his trail.
WESLEY
(concerned)
Angel.
Angel returns to the window.
CORDELIA
(exasperated)
Okay…Mr-High-And-Mighty-Lawyer-Boy
waltzes in here, offers you a chance to
save Paris’ life, and you don’t take it!
What the hell’s wrong with you?
ANGEL
(low)
I can save her.
WESLEY
You? How?
ANGEL
By letting my demon possess her.
CORDELIA
Okay, I’m really not liking the sound of this.
You know, it’s not too late to get Lindsey
back here.
(turns for the door)
ANGEL
(quietly)
We don’t need him.
WESLEY
Angel, you can’t possess her.
ANGEL
Yes, I can. I can help her fight the
demons that are in her.
CORDELIA
(panicky)
And what happens if you can’t get out?
ANGEL
I have to try.
WESLEY
It’s too dangerous, Angel.
ANGEL
(glares at Wesley)
I’m doing it, Wesley.
Angel moves to the stairs.
CORDELIA
(to Wesley)
Did I mention that I am so not liking
the sound of this?
WESLEY
You and me both.
Off Wesley’s worried face.
CUT TO…
SCENE 32
INT - ANGEL’S APARTMENT - NIGHT
Paris is thrashing around on the bed as Angel, then Wesley and Cordelia enter the bedroom.
CORDELIA
Okay, if she goes all ‘Exorcist’ on us
and starts levitating and spinning…
I am so outta here.
WESLEY
I don’t think you have to worry about
that happening, Cordelia.
Angel stands by the bed and looks at Paris as she casts out a demon and takes in another.
CORDELIA
(to Angel)
How do you know this’ll work?
ANGEL
(low)
I don’t.
WESLEY
(firmly)
Then don’t do it.
ANGEL
(defiantly)
I have to.
WESLEY
Are you sure?
ANGEL
(pained)
I can’t let her die like this, Wesley.
Angel faces Paris. He closes his eyes and VAMPS OUT as he lets his demon take over. His body jerks several times as Paris gasps and his demon enters her body.
CORDELIA
(small)
Oh, God. He’s in her.
Off Cordelia as she looks at Wesley.
CUT TO…
SCENE 33
INT - INSIDE PARIS’ BODY - DIMLY LIT
Angel exits a vortex and lands heavily within Paris’ body. He slowly gets to his feet and looks at his surroundings.
ANGEL’S POV – he sees seven demons, including Ferugia. When one of the demons moves, he sees Paris. She is bruised, bloodied and exhausted, but still fighting. In the distance he sees a second vortex. The exit.
Angel watches Paris as she back-kicks one of the demons into the exit vortex and he disappears, cast out. Angel is then knocked off his feet as another demon enters Paris’ body. The two quickly get to their feet and look at each other.
Angel throws the first punch, which the demon reciprocates. They trade blows then Angel grabs the demon’s scaly arm and throws him half-way towards the exit vortex. Before the demon can get to its webbed feet, Angel is standing beside him. Angel pulls him to his feet the pulls him towards the vortex. With one push, Angel sends the demon into the vortex then looks behind him as another demon lands at the foot of the entry vortex.
ANGEL
(mumbles)
Great.
Angel sees Ferugia attack Paris. He jumps on Ferugia’s back and puts him in a chokehold. Paris does a hard sidekick to Ferugia’s mid-section which sends him to the ground. Angel grunts from Ferugia’s massive weight. Ferugia rolls off Angel, stands up and goes after Paris again. She side-steps him as Angel gets to his feet. Paris does a spinning heel kick and catches Angel in the jaw but he doesn’t go down. She then begins blindly punching him in the torso and face.
ANGEL
(grunts)
Paris.
She hits him again with blind ferocity.
ANGEL
Paris! It’s me!
She attempts to hit him again but he grabs her fist.
ANGEL
Paris! It’s me!
She looks at him, a confused look on her beaten face.
PARIS
Angel?
Ferugia comes up behind Paris but she back-kicks him away.
PARIS
(quickly)
What are you doing here?
ANGEL
Helping you.
Angel elbows a demon in the face as he charges in.
PARIS
You can’t.
ANGEL
How long have you been
fighting Ferugia?
Paris turns with another spinning heel kick and catches Ferugia in the right shoulder. As she punches another demon…
PARIS
He – was – the – first.
He’s been in me three times.
ANGEL
We have to get him out of you.
PARIS
(snaps)
Don’t you think I know that?
A blue-skinned demon attacks Paris from behind but she manages to flip him over so he’s in front of her. With one kick, she sends him into the exit vortex.
Angel charges at Ferugia and sends him to the ground with a shoulder tackle. Angel then sits on Ferugia’s stomach and begins punching his face with hard lefts and rights. Ferugia growls then pushes Angel off him, sending him crashing into Paris.
They both get to their feet quickly and look at Ferugia. Together they charge at the demon but he holds out his massive hands and stops them. Angel quickly grabs Ferugia’s left arm and twists it behind his back as Paris begins punching and kicking the demon. Slowly, Angel moves towards the vortex as Paris continues her assault. When Angel is standing in front of the exit vortex, Paris does a series of spinning kicks. She then takes her stance and as Angel moves out of the way, she takes a couple of steps and kicks Ferugia into the vortex.
She snaps her head around and looks at the entry vortex, but no one comes through it.
HARD CUT TO…
SCENE 34
INT - ANGEL’S APARTMENT - DAY
WESLEY & CORDELIA’S POV – they see Paris’ body lurch forward as Ferugia is cast out.
CORDELIA (O.C)
(worried)
Oh, God.
Off Paris and Angel.
HARD CUT TO…
SCENE 35
INT - INSIDE PARIS’ BODY - DIMLY LIT
Paris moves forward and begins fighting a Pregonian demon, as Angel goes after a Howler demon. Paris uses a series of left and right punches, before kicking the Pregonian demon into the vortex. Angel quickly does the same to the Howler demon.
Paris begins fighting a gray reptile-like demon. It thrashes its long spiny tail and slashes Paris across the stomach. Angel sees this and immediately goes after it as Paris backs off in pain. Angel does a series of kicks and punches then throws the reptile demon into the vortex.
Paris begins fighting a yellow slime demon and punches it back towards the vortex. Just as she is about to cast it out, she is grabbed from behind by a spiky yellow demon. Angel kicks the slime demon into the vortex before being attacked by the last demon.
Angel trades punches and kicks with the tall, veined demon as Paris does the same with the spiky demon. Angel spins quickly and delivers a kick to the veined demon’s chest, sending it off balance and stumbling backwards into the vortex.
ANGEL’S POV – he sees Paris battling the spiky demon but to little effect.
Angel moves up behind the demon as it punches Paris in the face. He grabs it and with a roar, hurls it into the vortex.
As the spiky demon disappears, Paris and Angel HEAR someone clapping (o.s). They look towards the entry vortex and see Ferugia moving slowly towards them.
PARIS
(exhausted)
I cast you out four times.
(defeated)
Why do you keep coming back?
FERUGIA
(superior)
I can do whatever I want. Right now,
I want to go another round with you.
What do you say, little girl?
ANGEL
(to Paris)
No.
PARIS
(to Ferugia)
Let’s do it.
Ferugia charges at Paris but Angel steps in between them. The demon runs into Angel and sends him flying towards the vortex. Angel lands heavily a couple of feet in front of it. As Ferugia gets to his feet, Paris kicks him in the head then the legs, but he remains standing. She punches him with lefts and rights about the head and chest.
Angel slowly gets to his feet and stands beside Paris where they take turns at hitting Ferugia, slowly weakening him. They manoeuvre Ferugia so his back is to the exit vortex. Paris sidekicks the demon, sending him back a step, then Angel does the same. They keep doing this and when Ferugia is only a couple of feet from the vortex, Angel does a spinning kick to get the demon off balance then Paris back kicks Ferugia into the vortex.
HARD CUT TO…
SCENE 36
INT - ANGEL’S APARTMENT - DAY
WESLEY & CORDELIA’S POV – Paris’ body lurches forward as Ferugia is once again cast out. Angel slumps heavily to his knees, breathing heavily.
CORDELIA
(urgently)
Angel! Are you alright?
Angel doesn’t respond.
WESLEY
(quietly)
He’s still in her.
CORDELIA
(panicky)
What if he can’t get out?
Off Wesley’s grave face as he shakes his head slowly.
HARD CUT TO…
SCENE 37
INT - INSIDE PARIS’ BODY - DIMLY LIT
Angel is on his hands and knees, breathing heavily, exhausted from fighting the demons. Paris is doubled over, one hand on her knee, the other across her bleeding stomach, her breathing shallow. She glances towards the inactive entry vortex, a pained and exhausted look on her battered face.
PARIS
(pained)
Angel, leave. It’s over.
ANGEL
(breathlessly)
I can’t. I’m too weak.
PARIS
No, you’re not.
Where’s that fighting Irish spirit?
ANGEL
(deadpan)
Back in Ireland.
Angel tries to get to his feet but collapses.
ANGEL
You have to do it.
PARIS
(shakily)
I’m dying, Angel. I don’t have the
strength to cast you out.
ANGEL
Yes, you do. I know you do, Paris.
PARIS
Get out.
ANGEL
You have to do it.
Paris quickly stands upright and moves towards Angel. She grabs him by the collar and pulls him to his feet. He stands on shaky legs as he looks at her swollen and bloodied face.
PARIS
(angrily)
I told you to leave!
Paris uses her last ounce of strength and punches Angel back towards the vortex. She then kicks him in the mid-section and he disappears into the vortex…
HARD CUT TO…
SCENE 38
INT - ANGEL’S APARTMENT - DAY
Paris’ body lurches forward as Angel is cast out. Paris falls back on to the bed, trembling with cold, her body soaked with sweat.
Angel moves, breathing heavily, exhausted as he MORPHS BACK into human form.
CORDELIA
Angel?
(worried)
Are you back?
ANGEL
(exhausted)
Yeah.
Angel claws at the bed and pulls himself up. He looks at Paris, concerned.
WESLEY
Is it over?
Angel is silent, pondering his answer as he looks at Paris’s face.
WESLEY (O.C)
Angel?
ANGEL
(quietly)
It’s over.
CORDELIA
(relieved)
Oh, thank God.
WIDE SHOT - as Angel rests his forehead on the edge of the bed.
BLACK OUT
SCENE 39
INT - ANGEL’S APARTMENT - NIGHT
Wesley and Cordelia are sitting on two kitchen chairs while Angel sits on the floor leaning against the nightstand.
WESLEY
It looked like it was a hell of a battle.
ANGEL
(quietly)
It was.
CORDELIA
You look exhausted.
ANGEL
I am.
WESLEY
How many demons did she have in her?
ANGEL
There were seven when I got there.
WESLEY
(shocked)
Seven? Good Lord.
CORDELIA
(amazed)
How could Paris fight so many demons
for such a long time?
ANGEL
She has a lot of strength in her.
I’ve never seen anyone fight like she did.
CORDELIA
Better than Buffy?
ANGEL
Yeah.
(then, quietly)
Better than Buffy.
Paris groans in pain and moves her head slowly from side-to-side. Angel pulls himself up and sits on the edge of the bed.
ANGEL
(softly)
Paris. Can you hear me?
Paris moans as she slowly opens her eyes.
ANGEL
(softly)
Paris.
Paris slowly turns her head and looks at Angel, a confused look on her face.
CORDELIA
Welcome back.
Paris looks at Cordelia and Wesley, confused.
ANGEL
(softly)
It’s all over, Paris.
She looks at him again, still confused as she shivers violently.
PARIS
(softly)
Angel?
ANGEL
It’s me.
Angel draws the bedcovers up to her chin.
PARIS
(confused)
You…you were in me.
ANGEL
(whispers)
Yeah.
PARIS
Why?
ANGEL
To save your life.
Paris shivers violently. Angel moves his hand to shift a lock of her hair but she jerks her head away. He withdraws his hand slowly.
PARIS
You’re still in me.
Angel is confused and looks to Wesley for an answer.
WESLEY
When a demon possesses her, an aspect
of that demon is left inside her.
The stronger the demon, the more aspects
it leaves behind. It’s usually a strength
or weakness or both.
ANGEL
(looking at her)
Paris.
Angel touches Paris’ arm but she pulls away and slips it under the covers.
PARIS
(strained)
Don’t touch me.
ANGEL
Paris, I’m sorry. I had to do it.
PARIS
(strained)
You should have let me die.
ANGEL
How can you say that?
PARIS
I was ready to die.
ANGEL
But I’m not ready to lose you. Paris…
PARIS
(whispers)
You should have let me die.
Paris turns her head away from Angel.
BACKGROUND - Angel bows his head and shakes it slowly.
FOREGROUND – a tear rolls down Paris’ pale and confused face.
FADE TO BLACK
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