An Alternative Angel

SAFEGUARD

Completed: 15 July 2003

SCENE 1

EXT - ALLEY - TWILIGHT

ANGLE - on the brick wall of a building. O.C we HEAR the sounds of a fight. Suddenly, somebody is sent flying into the wall and lands heavily on the ground. It’s a young woman. As she lifts her head, we see that she’s about twenty years of age and of Asian appearance. She has short black and red hair that goes well on top of her black outfit.

CLOSER - she winces slightly as blood trickles down her left cheek from a deep gash near her hairline.

WOMAN
Okay…that hurt.

She looks up and smiles at…

ANGLE - an Emandox demon that is standing in the middle of the alley. The demon is average in size, reptilian-like with a long spiky tail. The traces of a smile appear below its long snout. It silently watches as…

ANGLE - the young Asian woman gets to her feet. It’s now that we see she is quite tall (about 5’8" - 5’9") and well toned.

WIDER - She moves into the middle of the alley and does a spinning heel kick then a reverse spinning kick with her other leg. The kicks stagger the demon but only marginally. The demon turns then extends one of its legs backwards with such force that the woman is sent flying into the wall again.

ANGLE - before the woman has had time to feel the pain of the impact, she suddenly gasps and closes her eyes. As her body starts to shiver with cold…

ANGLE - the intrigued Emandox demon watches as another demon possesses the Receiver…The Receiver that is rightfully his. The Emandox demon lets out a GROWL from deep within then turns quickly, allowing his long, hard, spiky tail to whip around behind him.

ANGLE - the girl still has her eyes closed. The top half of her body lurches forward slightly as the demon leaves her body…only seconds before…

WIDER - the demon’s tail makes contact with the girl’s head and smashes it against the brick wall.

CLOSE UP - blood trickles down the girl’s face and into her wide eyes. Her breathing is shallow for a few moments then stops altogether. Her brown eyes glaze over as she stares blankly ahead.

WIDE ANGLE - FX - the girl’s body begins to glow as the Receiver power prepares to leave her body. The white power hovers in a ball above the girl’s body then slams into the Emandox’s body.

HARD CUT TO…

SCENE 2

INT - OLD OFFICE - TWILIGHT

CLOSE UP - Paris opens her eyes.

PARIS
(clenched teeth)
Damn it.

ANGLE - Angelus is leaning against the window sill watching Paris who’s…

ANGLE - sitting cross-legged on the floor.

ANGELUS
What is it?

PARIS
She’s dead.

ANGELUS
How?

PARIS
Emandox demon.

ANGELUS
I went up against one of them a
few years ago…killed it pretty
easily as I recall.

PARIS
Yeah, well, if I hadn’t left girl
when I did, I’d be dead too.

ANGELUS
So, we have to wait for the next
one to be called?

PARIS
Yeah. We were so close too.
She was only a couple of miles
from here.

ANGELUS
It’s not like we’re in a rush, Paris.

PARIS
Then why do I feel like we’re
running out of time?

ANGELUS
I don’t know.

PARIS
Look, the sooner we have the
Receiver, the sooner we can
eliminate the Senior Partners…

ANGELUS
And the sooner we can move
on to other business.

PARIS
Exactly.

Off Paris.

BLACK OUT

SCENE 3

INT - TEMPLE BAR - NIGHT

DOLLY - through the bar which is not too crowded. Most of the booths and tables are occupied and there are about eight patrons sitting at the bar. The song Seanchas" from the Irish band, Clannad, emanates from speakers hidden throughout the room. As we move towards the rear of the room, we see a three-piece band setting up their equipment. We also see Lyle McInerney sitting in one of the booths. He’s sitting with someone whose back is to the camera.

ANGLE - on Lyle who has a half empty glass of beer sitting in front him.

LYLE
…so I offered it to the client who said
he’d rather burn in Hell than accept it.

REVERSE ANGLE - we now see Lindsey who is looking a little tired. He’s drinking a tequila and tonic.

LINDSEY
Did you tell him that the Senior
Partners could probably arrange that?

LYLE
I said something to that affect so
he asked if I could get a better deal.
I went back to the prosecution who
offered man one which we accepted.

LINDSEY
Sounds like you got a good deal
especially if the guy was arrested
for murder one.

LYLE
It was.

LINDSEY
Enough about work, huh?
How’s the apartment going?
Have you and Karyn given it the
McInerney touch yet?

LYLE
That’s all Karyn was doing last
week. New furniture…new paint…

LINDSEY
I didn’t realise you’d moved into
Lilah’s place.

LYLE
Neither did I until a couple of days
ago when Holland mentioned it.

LINDSEY
How’s Karyn liking her new job at
Cohen And Jacobs?

LYLE
(smiles) She’s loving it. Yesterday she
saw some of the houses they’ve
designed and she loved them all.

LINDSEY
That’s good.

LYLE
So, how are you doing?

LINDSEY
(shrugs)
I’m doing okay.

LYLE
(fishing)
Is there a special someone?

LINDSEY
Not at the moment.

LYLE
(surprised)
No one?

LINDSEY
Nope. Now that I’m back with
the firm, I don’t really want to be in
a relationship.

LYLE
Are you saying that since you’ve
been at Wolfram And Hart you
never had a girlfriend?

LINDSEY
I had one about five years ago.
She came to work one day to surprise
me, only she’s the one who was
surprised. She saw the Fzaki
demon that was in my office.

LYLE
(cringes)
Ooh.

LINDSEY
(cont’d)
She ran out and I haven’t seen or
heard from her since.

LYLE
Can you blame her? Those Fzaki
demons are ugly looking things.

Lindsey reaches for some potato chips from a bowl that sits on the table to the left of him. He eats a chip then…

LINDSEY
I really don’t know how you
and Karyn do it.

LYLE
It’s not easy. Take last Monday
for instance.

LINDSEY
How’d you explain that one to her?

LYLE
I told her that one of the security
guards wasn’t paying attention and
shot me by mistake.

LINDSEY
You didn’t tell her about the vampires?

LYLE
No, but I know it’s only going to be
a matter of time before I’ll have to.

LINDSEY
How do you think she’ll take it?

LYLE
She already hates that I work there.
I honestly wouldn’t be surprised if
she up and left me because of it.

ANGLE - Lyle finishes his beer then leans back into the seat.

LYLE
You should be with someone,
Lindsey. Even if it only lasts
a week.

LINDSEY
I’d like something that lasts a little
longer than that.

LYLE
Are you talking about the ‘m’ word?

LINDSEY
Yeah…eventually. Of course that
would mean leaving the firm…again.

LYLE
And finding a girl that’ll put up with you.

LINDSEY
(laughs)
That’d help.

Off Lindsey as he drinks some of his drink.

CUT TO…

SCENE 4

INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT

TIGHT - a on a map of Los Angeles. Scattered on the map are a large number of dots that have been made with a blue highlighter pen.

WIDER - as the camera pulls back, we see Cordelia, Gunn and Wesley hovering over the map, studying it. Wesley looks a little frustrated.

WESLEY
I was hoping that by mapping where
they’ve been the past few months,
we’d be able to find an epicentre,
but there’s no pattern whatsoever.

CORDELIA
They do seem to be all over the
place, don’t they?

GUNN
I still can’t believe we didn’t know
they were only two blocks from
here last night.

WESLEY
We can’t be expected to predict
where they’re going to be, Gunn.

GUNN
Yeah, I know.

CORDELIA
I wish they had tracking devices
on them.

GUNN
Pity we didn’t think of that when
they were here using the computer
a few months ago.

ANGLE - Wesley is looking from the map to his notepad and back again. There is a small crease in his brow.

WESLEY
The number of sightings and
mysterious deaths around the Santa
Monica and Venice Beach areas
dropped off when their house was
demolished a couple of weeks ago.

GUNN
So they moved inland.

WESLEY
If we discount all sightings and
attacks north of Hollywood and east
of Silver Lake, that leaves us with
this area.

CLOSE UP - of the map. Wesley uses the end of his pen to circle the Beverly Hills - Hollywood - Korea Town - Downtown area.

CORDELIA
That’s still a pretty big area, Wes.

GUNN
So we only look at all the places
they’ve been in the past couple of
weeks. Right?

WESLEY
Exactly. Perhaps then a pattern
will emerge.

ANGLE - Cordelia picks up a pink highlighter pen and gets ready to mark the map.

CORDELIA
Okay…fire away.

Off Cordelia.

CUT TO…

SCENE 5

EXT - ALLEY - NIGHT

POV - looking down on the Asian girl who is still lying in the alley.

PARIS (O. C)
You can have her.

WIDE ANGLE - Angelus and Paris are standing in the alley looking at the dead girl.

ANGELUS
You sure?

PARIS
Yeah. She’s lost too much blood
for both of us to eat.

ANGLE - Angelus moves forward then kneels down on the ground. He picks up the girl’s corpse.

ANGELUS
She’s still warm.

PARIS
Meanie.

ANGLE - Angelus VAMPS out and sinks his fangs into the girl’s neck. As he begins to drink deeply…

OVERHEAD - the Emandox demon descends from a roof above.

PARIS
Incoming.

WIDE ANGLE - Angelus pulls away from his meal and looks over his shoulder as the demon lands on its feet in the middle of the alley. Paris looks towards Angelus.

PARIS
Any hints?

ANGELUS
Duck.

ANGLE - Angelus returns to his meal as…

WIDE ANGLE - Paris ducks a kick from the demon. She straightens and spins quickly, catching the demon’s long nose.

ANGLE - The Emandox uses its hard and rough claw-like hands to punch Paris in the face with lefts and rights. Paris gets in a couple of punches of her own but they have little affect. The demon winds up and punches Paris hard in the jaw, sending her staggering backwards towards Angelus.

ANGLE - Angelus is done feeding and drops the girl. He gets to his feet as he MORPHS back to human mode.

ANGELUS
It’s the same one that killed the girl.

ANGLE - Paris gets to her feet and glares at the demon.

PARIS
Tell me something I don’t know.

WIDE ANGLE - Angelus leans back against the brick wall as Paris takes several steps then launches herself at the demon. She kicks the demon hard in the chest but the creature stays upright. She then begins punching the demon’s face and body but the impact has no affect whatsoever. The demon spins and whips its tail around but Paris jumps over it. As she lands on the ground, the demon quickly back-kicks her in the stomach. She rolls and quickly gets to her feet.

Paris steps towards the demon and spins, raising her leg for a spinning kick that catches the side of the demon’s head. She continues spinning and switches legs to execute a spinning heel kick. This time she misses.

ANGLE - the Emandox catches her ankle in its claw then grabs her arm with the other claw. He spins then lets Paris go.

WIDER - Paris sails through the air towards the building opposite Angelus.

ANGLE - she hits the brick wall hard and lands heavily on the ground. She puts a hand to the back of her head.

ANGLE - the Emandox demon moves slowly towards her as…

ANGLE - Angelus decides to lend a hand. He pushes off the wall and…

WIDER - moves up behind the distracted demon. Angelus is a little taller than the Emandox demon and is able to get a good grip on its head. Angelus twists and the demon’s neck snaps with a loud crack. He quickly back-peddles from the demon as it crumples to the ground.

ANGLE - FX - Almost immediately, the demon begins to ‘melt’ into a black gooey mess that…

PARIS
(grimaces) Good golly, Batman, that stinks.

ANGLE - Paris covers her nose with her arm.

ANGLE - Angelus looks at Paris, a little surprised by what she just said.

ANGELUS
How hard did you hit your head?

PARIS
Hard.

ANGELUS
Don’t let any of that stuff get on
you unless you want to smell like
it for the next three weeks.

ANGLE - Paris draws her legs in as the thick goo threatens to move in her direction.

ANGLE - the demon is gone; all that remains is a big puddle of black goo.

WIDER - Angelus walks around the mess and holds a hand out to Paris. She takes it and he pulls her to her feet. Angelus looks down at…

CLOSE UP - Paris’ bloodied face.

ANGELUS
You alright?

PARIS
Yeah. Nice of you to step in
when you did.

ANGELUS
You looked like you were having fun.

PARIS
You call a butt-kicking fun?

ANGELUS
Fun for me…maybe not so much
for you.

O.C. in the distance police sirens can be heard, and they’re getting closer.

PARIS
We should go.

ANGLE - Paris takes several steps towards the mouth of the alley then her legs start to give way.

ANGELUS
You haven’t fed in two days, love.
You need to eat.

PARIS
Yeah.

ANGLE - Angelus puts his arm around her waist and they walk towards the street.

CUT TO…

SCENE 6

INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT

ANGLE - Cordelia closes the door behind her. She moves towards the bedroom as…

ANGLE - Lindsey comes out of the kitchen.

LINDSEY
Hi.

CORDELIA
Hey.

Lindsey places his hand behind Cordelia’s head and kisses her tenderly on the lips.

LINDSEY
How was your day?

CORDELIA
Pretty boring except for the part
when Wesley decided to map all
the places Paris and Angelus have
been sighted or where there have
been suspicious deaths.

LINDSEY
I did the exact same thing at work
last week.

Cordelia playfully hits Lindsey’s arm.

CORDELIA
And you didn’t think to tell me?

LINDSEY
There was no point given the lack
of logic to their movements. As for
trying to pinpoint their current residence…
forget it.

CORDELIA
Okay…so you came up with the
exact same conclusion we did.
Now I don’t feel like I wasted the
last five hours.

LINDSEY
You can’t find someone if they don’t
want to be found, and obviously
these two don’t want to be found.

CORDELIA
Probably because they’re out there
having way too much fun killing
people, and keeping everyone
guessing where they’ll strike next.

LINDSEY
Sounds about right.

WIDE ANGLE - Lindsey takes Cordelia’s hand and leads her towards the couch. Once seated…

CORDELIA
So what about you?
How were ‘drinks with Lyle’?

LINDSEY
I wasn’t sure if you got my SMS.

CORDELIA
I did. I just didn’t want to
message you back in case you
were in a meeting or something
Wolfram And Hart-y.

CLOSE UP - Lindsey smiles at Cordelia’s thoughtfulness.

LINDSEY
It was okay except when he
started asking whether or not I
had a girlfriend.

CORDELIA
What’d you tell him about me?

LINDSEY
Everything.

CLOSE UP - of Cordelia’s horrified face.

LINDSEY
(cont’d)
No…I told him I didn’t want to be in
a relationship while I’m still at the firm.

CORDELIA
And he bought that?

LINDSEY
He seemed to, but…

CORDELIA
But what?

LINDSEY
It felt like he was checking up on
me…digging for information.

CORDELIA
Why would he do that?

LINDSEY
I don’t know.

CORDELIA
Well, I hope he didn’t dig too far.

LINDSEY
No…I quickly turned the conversation
back to him.

CORDELIA
Good, because I really don’t want
Wolfram And Hart finding out about us.

LINDSEY
Neither do I.

Off Lindsey.

CUT TO…

SCENE 7

EXT - SUPERMARKET - CAR PARK - NIGHT

ANGLE - a pretty, petite, blonde girl about 18 years of age (Charlie) is carrying a bag of groceries. The automatic doors open and she steps out of the supermarket (think the Kwik-E-Mart from "The Simpsons").

WIDER - she turns left and walks around to the side of the building. She looks ahead and sees…

ANGLE - a beat up brown Oldsmobile parked by itself.

ANGLE - the girl juggles the grocery bag as she fumbles around in her bag for her car keys. She pulls them out of the bag, and looks towards the car. Suddenly, she gasps in surprise and stops in her tracks.

ANGLE - on a Vlanturian demon (medium size, heavy set, reddish-brown flesh, black eyes, claw-like hands, two horns in his head).

WIDER - before the girl can say anything, the demon waves its hand and she is rendered unconscious. The demon is quick and catches the girl before she hits the deck. The bag of groceries falls to the ground and its contents scatter.

BLACK OUT

SCENE 8

INT - WOLFRAM & HART - CORRIDOR - NIGHT

POV - we are looking at the doors inside an elevator. There is a DING then, a moment later, the doors open. The person turns left and walks swiftly along the corridor. At the end of the corridor, we see two Ri’Mindafaur (pr. Ra-min-DA-fore) demons (large, red-fleshed, red eyes, long sharp claws, scary looking) standing guard outside Holland Manner’s office. They are obviously the new security team. We also notice that the secretary’s desk is unoccupied.

RI’MINDAFAUR 1
Name and ID.

ANGLE - on Lyle. As he takes his ID tag out of his coat pocket…

LYLE
Lyle McInerney.

RI’MINDAFAUR 2
Purpose of visit?

Off Lyle.

HARD CUT TO…

SCENE 9

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

WIDE ANGLE - Holland is sitting at his desk with a young geeky IT guy (Brian). The IT guy is working on Holland’s computer.

HOLLAND
Brian, I want a firewall that even the
best hacker can’t get past.

BRIAN
It’ll be tougher to crack than Fort
Knox once I’m done with it.

HOLLAND
That’s what the last two people
from IT told me.

Holland looks towards the door as we HEAR it open.

ANGLE - the demon stands in the doorway and blocks most of the space.

RI’MINDAFAUR 1
Lyle McInerney to see you.

HOLLAND
Send him in.

ANGLE - The demon steps back into the corridor and allows Lyle to enter the office. As Lyle walks in…

HOLLAND
What can I do you for, Lyle?

As the demon closes the door…

LYLE
I’ll get straight to the point.

HOLLAND
Which is?

LYLE
I don’t know if I can see this latest
project through.

HOLLAND
Why not?

LYLE
A number of reasons…the primary
one being that it could destroy a
four-year friendship.

HOLLAND
Friendships are a luxury, Lyle.
When you work for Wolfram And Hart,
the firm and its future must come
first. If you happen to lose a
couple of friends along the way
then that’s a price you must pay.

LYLE
You’ve done something like
this before?

HOLLAND
I have, but I never lost any friends.

LYLE
Why not?

HOLLAND
To have lost friends, one must
have friends to begin with.

LYLE
Oh.

HOLLAND
(cont’d)
You can’t afford to emotionally
invest in the employees of this firm.
The sooner you take emotion out
of play, the sooner you can confirm
the information that we already
suspect as being true.

LYLE
And if I’m unable to do that?

HOLLAND
Then maybe you’re not the right
person for this firm.

BRIAN (O.C)
Mr Manners?

ANGLE - Holland glances towards Brian.

HOLLAND
One moment, Brian.
(to Lyle)
I want a progress report on my
desk in 48 hours, Lyle.

LYLE
Yes, sir.

ANGLE - Lyle nods then turns to leave.

DISSOLVE TO…

SCENE 10

EXT - SUPERMARKET - NIGHT

NOTE: This is the same supermarket that the blonde girl came out of earlier.

TIGHT - someone has their mouth on someone’s neck. We then see a trickle of blood.

WIDER - it’s Paris. She is feeding on a cute-looking guy in his early twenties. His mouth is open in shock; his eyes starting to glaze over as death approaches.

WIDER - the guy is wearing a supermarket employee’s uniform (white shirt with logo, black trousers). Paris withdraws her fangs from his neck then lets him fall from her grasp. He crumples to the ground almost in slow-motion.

ANGELUS (O.C)
Better?

ANGLE - Paris looks up at Angelus as he steps into frame.

CLOSE UP - a rivulet of blood trickles from the corner of her mouth as she smiles.

PARIS
Much.

ANGLE - Paris MORPHS back as she gets to her feet. She stands before Angelus who bends down and licks the blood from her chin.

ANGELUS
Let’s go find us a pretty young
Receiver, shall we?

PARIS
Yeah.

ANGLE - Angelus starts towards the car that is parked about thirty feet away. Soon he realises that Paris is not beside him. He stops and looks back over his shoulder at…

ANGLE - Paris who hasn’t moved. Her eyes are closed.

ANGELUS
Paris?

WIDE ANGLE - Angelus moves back towards her and realises she’s trying to locate the Receiver.

ANGLE - after a few moments, Paris opens her eyes and looks up at Angelus.

PARIS
She’s close.

ANGELUS
She’s been made already?

PARIS
No, but she will be once we get there.

ANGLE - Paris starts towards the car (moving out of frame). Angelus watches her then shakes his head a little, wondering just how she’s able to do what she does. He then follows her out of frame.

DISSOLVE TO…

SCENE 11

INT - CORDELIA’S APARTMENT - BEDROOM - NIGHT

ANGLE - Cordelia pours some moisturiser into the palm of her hand then rubs the lotion into her hands and arms.

CORDELIA
So what are you going to do if
Lyle keeps on pressing you for
information about me?

ANGLE - Lindsey puts his shirt in the clothes hamper then proceeds to take off his trousers.

LINDSEY
Try and continue to convince him
that you don’t exist. He can
be pretty persistent when he wants
to be, especially if Holland’s the
one pushing his buttons.

CORDELIA
I know he’s your friend, Lindsey,
but I think you’ve got to treat him
like the enemy until he backs off
with the questions.

LINDSEY
I plan to. I’m also thinking it
might be a good idea if I move
back to my apartment until things
cool off a bit.

CORDELIA
(upset)
What? Why?

LINDSEY
Well, if Wolfram And Hart have
someone following me, you don’t
want me leading them to you, do you?

CORDELIA
Of course not.

ANGLE - Cordelia climbs into the bed and sits up, cross-legged.

CORDELIA
When would you move?

ANGLE - Lindsey climbs into the bed next to Cordelia.

LINDSEY
I’ll take some of my stuff back to the
apartment before work in the morning.

CORDELIA
Will you come here after work?

LINDSEY
That would kind of defeat the whole
not leading them to you part of the
plan. Wouldn’t it?

CORDELIA
I guess. So…when will you
move back in with me?

LINDSEY
I don’t know, sweetheart.

CORDELIA
Then I guess we should make the
most of the time we have left, huh?

LINDSEY
I guess so.

ANGLE - Lindsey leans over and starts to kiss Cordelia passionately.

CUT TO…

SCENE 12

EXT - STREETS - CAR - NIGHT

OVERHEAD - the car (top down) is travelling along at a moderate speed. Angelus is driving, Paris is riding shotgun.

ANGLE - Angelus glances at…

ANGLE - Paris whose eyes are closed. She is trying to get a fix on the new Receiver’s location.

ANGELUS
Anything?

PARIS
Her presence is getting stronger.
She’s not far from here.

ANGELUS
Is the ritual complete yet?

PARIS
She hasn’t been marked yet otherwise
I’d be able to possess her.

ANGELUS
Is that the last part of the ritual?

PARIS
Not that I remember.
(opens eyes, points)
Turn right up here.

WIDE ANGLE - Angelus slows down then turns in the street Paris referred to.

ANGLE - Paris looks around at her surrounds, taking everything in. Gradually a frown begins to appear on her face.

ANGELUS
What is it, love?

PARIS
This place.

ANGELUS
What about it?

PARIS
It’s familiar.

ANGLE - Paris looks around some more then focuses on something up ahead.

PARIS
(points)
There.

ANGLE - Angelus looks through the windshield at what Paris is pointing at.

ANGELUS
You sure?

PARIS
Positive. It’s where Harkus
brought me.

WIDE ANGLE - the car slows down at it approaches a single-storey house that has vacant blocks either side of it.

CUT TO…

SCENE 13

INT - HOUSE - BASEMENT - NIGHT

TIGHT - on a burning candle.

WIDER - we see more burning candles, then a pair of sneaker-clad feet that are bound to a wooden chair. The chair is placed in the centre of the ring of burning candles. It’s the girl from the supermarket car park. Her hands are bound behind her; a rope is tied around her stomach and another around her thighs. She is unable to move. Note: unlike Harkus, Vlanturian does not have the ability to ‘freeze’ people.

CLOSE UP - her eyes show fear as they look up at…

ANGLE - the Vlanturian demon is standing in front of her, but outside the ring of candles.

WIDE ANGLE - without warning, the demon steps inside the ring, startling the girl.

GIRL
(stammers)
P-P-Please…let me go…

The demon ignores the girl’s plea and shifts his gaze from her to the ceiling. After a moment…

VLANTURIAN
(recites)
O Might Terrambulus
I call upon thee when the last is taken
I call upon thee to aid the new vessel
Fill her but do not harm her
So she will accept her destiny
For she will become The Chosen One.

WIDE ANGLE - the demon steps back out of the circle and walks slowly around its perimeter.

CLOSE UP - the girl is getting more scared as a tear slides down her cheek.

WIDE ANGLE - the demon stops directly behind the girl then steps back into the ring of candles. He stands behind the girl then…

CLOSE UP - slides his rough, scaly hand underneath her shirt, laying it flat against her right shoulder.

CLOSE UP - the demon looks skyward again.

VLANTURIAN
(recites)
O Might Terrambulus
I call upon thee to accept the new vessel
I call upon thee to give power to the Mark
When they fill her and harm her
May she be strong in her destiny
For she has become The Chosen One.

CLOSE UP - the Mark of Visceria begins to glow red under the girl’s shirt.

CLOSE UP - the girl grimaces in pain.

WIDER - her body jerks forward as Vlanturian removes his hand from her shoulder.

VLANTURIAN
You are now The Chosen One.

GIRL
(strained)
Chosen for what?

VLANTURIAN
You will soon see.

ANGLE - The Vlanturian demon closes its eyes and…

ANGLE - the girl gasps and closes her eyes.

WIDE ANGLE - the door is kicked in and Angelus appears, broadsword in hand.

ANGLE - the girl’s body launches forward and she opens her eyes as…

ANGLE - the demon opens his. He’s been forced to exit the Receiver.

ANGLE - Angelus looks at the girl as…

ANGLE - she is quickly possessed again.

ANGLE - Angelus VAMPS out.

WIDE ANGLE - the demon is incensed by the interruption and launches himself at Angelus. Using his speed, Angelus easily evades the attack. As the demon stops abruptly and turns, Angelus quickly spins and executes a heel kick to the demon’s jaw. The demon staggers backwards which gives Angelus time to raise the sword. As he arcs it downwards…

ANGLE - the demon waves his hand to try and render Angelus motionless. It doesn’t work. The demon quickly waves his hand again and…

WIDE ANGLE - the sword flies out of Angelus’ hands and embeds itself in the far wall.

ANGLE - Angelus carries through with the swinging motion and ends up off balance.

ANGLE - the girl’s body is trembling and little puffs of steam stream from her nose and mouth.

WIDE ANGLE - the demon kicks Angelus in the stomach then backs it up with a flurry of punches to the body and head. Angelus ducks one of the punches then executes an upward punch to the demon’s stomach. He quickly follows that up with an uppercut to the chin. The demon backhands Angelus across the face which forces Angelus back a step. Angelus kicks the demon in the knee, then takes another step back, and another until he is able to reach back and wrap his fist around the sword.

ANGLE - Angelus pulls the sword from the wall and arcs it swiftly at the demon.

ANGLE - the blade slices through the demon’s neck, decapitating him.

ANGLE - Angelus MORPHS back to human form as…

ANGLE - the girl’s body lurches forward and she opens her eyes. She is still trembling with fear and cold as she bursts into tears.

ANGLE - Paris appears in the doorway and looks at Angelus.

WIDE ANGLE - he nods, then she enters into the room.

PARIS
(soothing)
It’s alright, Charlie.
We’re here to help you.

Off Paris.

BLACK OUT

SCENE 14

INT - MCINERNEY APARTMENT - LIVING ROOM - NIGHT

ANGLE - on Karyn who is curled up on the new 3 - seater couch watching TV. O.C. we HEAR the door open. Karyn looks up and sees…

ANGLE - Lyle step inside.

LYLE
Hi.

KARYN
Hi, hon.

As Lyle closes and locks the door…

KARYN
There’s some lemon chicken and
rice in the fridge if you want me
to heat it up for you.

LYLE
I’ve already eaten.

WIDE ANGLE - Lyle moves across to the couch as Karyn sits up. He places his briefcase down then takes a seat next to his wife.

KARYN
I had the best day today.

LYLE
What happened?

KARYN
I was asked to design my first house.

Karyn is clearly excited with her news, but Lyle is less enthused.

LYLE
That’s great, honey.

ANGLE - Karyn looks strangely at her husband, sensing something’s not quite right.

KARYN
What’s wrong?

ANGLE - Lyle is silent for a moment then…

LYLE
There’s something I need to tell you.
Something you’re not going to like.

ANGLE - Karyn immediately becomes anxious and suspicious.

KARYN
Is it another woman?

LYLE
No.

KARYN
(horrified)
Another man?

LYLE
No…nothing like that.

KARYN
Then what?
(off his silence)
Lyle, what’s going on?

LYLE
I need to tell you what happened
last Monday.

KARYN
You already told me -

LYLE
(cuts her off)
A lie.

KARYN
(upset)
You lied to me? Why?

LYLE
Because I didn’t know how to
tell you the truth.

KARYN
(with dread)
What is the truth?

Off Lyle.

CUT TO…

SCENE 15

INT - ABANDONED OFFICE BUILDING - BASEMENT - NIGHT

CLOSE UP - Charlie is lying on a concrete floor, unconscious. There are no visible signs of injury. Slowly, she begins to awaken.

WIDER - gradually she sits up, supporting her weight with one hand. She looks around then she realises where she is. She quickly gets to her feet and moves forward. She wraps her hands around the thick steel bars.

WIDER - she is in a cell that is about 12 feet x 12 feet and 8 feet high, and there is no furniture inside it. Charlie peers through the bars.

CHARLIE’S POV - the room is empty (no furniture at all). There is a solid steel door opposite the cell that is closed and probably locked. She looks at all the walls which are solid and have no windows.

CHARLIE
(hopeful)
Hello? Is anybody out there?

There is nothing but silence.

ANGLE - Charlie moves to her right to where the cell door is. She tries it but it’s triple padlocked. She shakes the door which makes a racket but doesn’t give.

CLOSE UP - Panic begins to rise in Charlie. She can’t escape.

CHARLIE
Hello? Can somebody please
let me out?

Still nothing but silence.

CHARLIE
(more desperate)
Help! Somebody help me!

O.C. we HEAR the sound of the door being unlocked and opened. Relief sweeps over Charlie.

CHARLIE
Oh, thank God. Can you
please let me out of here?

POV - the person moves slowly towards the cell.

CHARLIE
(more desperate)
Please…help me get out of here.

POV - the person continues moving forward, silently watching the girl become more anxious and afraid.

CHARLIE
Please…I can’t take being in
confined spaces. You have
to let me out.

CLOSE UP - Paris looks at the girl, her face void of emotion.

PARIS
(cold)
I don’t have to do anything.

ANGLE - Charlie can’t believe what she just heard. Her voice catches in her throat.

CHARLIE
What?

WIDE ANGLE - Paris is standing right in front of the cells now, staring at Charlie who stands about a foot away on the other side of the bars.

CHARLIE
(scared)
Why won’t you let me out?
Why did you save me from that,
that monster and then lock me
in a cage? Why?

O.T.S. ANGLE - Paris uses her vampiric speed to reach through the bars, grab the back of Charlie’s head and slam it into the bars. When Paris pulls Charlie’s head away from the bars, we see a bloody gash in the middle of her forehead. She is dazed. Paris holds on to the back of Charlie’s head.

PARIS
(pointedly)
Because you’re The Chosen One,
Charlie, and that makes you very
valuable to us.

ANGLE - frustrated and scared, Charlie begins to get teary.

CHARLIE
What am I chosen for?
I don’t understand.

PARIS
Neither did I when it happened to
me, but you soon will.

ANGLE - Paris gently brings Charlie’s head forward again and slowly licks the blood away from her forehead.

CHARLIE
(strained, disgusted)
Ugh.

ANGLE - Paris lets go of Charlie’s head.

PARIS
Hmmm…you taste like strawberries.
(then)
Hello, my love.

FOREGROUND - Paris smiles.

BACKGROUND - Angelus appears in the doorway behind Paris and watches silently.

ANGLE - Charlie sees Angelus and takes a quick step back in surprise.

CHARLIE
H-How did you know he was there?

PARIS
Magic.

ANGELUS
Speaking of which…

ANGLE - Angelus moves forward and we see he is holding a book and a large black pouch. He stops in the middle of the room.

ANGELUS
(prompts)
Love.

WIDE ANGLE - Paris looks at Charlie for a moment longer then takes several steps back towards Angelus.

DISSOLVE TO…

SCENE 16

INT - MCINERNEY APARTMENT - LIVING ROOM - NIGHT

ANGLE - on Karyn who looks at her husband, almost in disbelief. Suddenly she bursts into fits of laughter.

LYLE
This isn’t funny, Karyn.

WIDE ANGLE - Karyn gets up off the couch and walks around behind it.

KARYN
Funny? It’s preposterous.
Did you honestly think I would
believe everything you just told me?

LYLE
Actually…

KARYN
I didn’t realise you had such an
imagination, Lyle.

ANGLE - Lyle gets up off the couch and as he approaches Karyn…

LYLE
Everything I’ve just told you is
the truth, Karyn. Vampires and
demons and spells do exist.

KARYN
I think you’ve been reading too much
Anne Rice or Harry Potter, or, or
watching too many horror movies, or,
that TV show about witches with that
girl that used to be in "Who’s The Boss?"…

LYLE
You know I don’t do any of those things,
Karyn. Why should I when I live
all that stuff at work?

ANGLE - Karyn thinks for a moment, trying to wrap her brain around all this.

KARYN
Alright then, what are their names?

LYLE
Who?

KARYN
These demons and vampires.
They must have names.
I want to know what they are.

LYLE
I can’t give you the names of all
the vampires and demons, Karyn…

KARYN
Just three then. Three of each.

LYLE
Okay…three demons…
(counts on his fingers)
Fzaki, Tregothi and Damentak.
And three vampires…Angelus,
Paris and Darla.

KARYN
(scoffs)
Did you have those names rehearsed
in case I asked you?

LYLE
They’re the first names that popped
into my head. The Tregothi demons
were killed by Angelus and Paris
last Monday when they broke into
Wolfram And Hart. The vampires
that raided the lobby were purely a
distraction that Lindsey and I got
caught up in.

ANGLE - Karyn looks at her husband and soon realises…

KARYN
My God…you’re serious, aren’t you?

LYLE
I’ve never been more serious in my life.

KARYN
So that myth about vampires having
to be invited…

LYLE
Is true. I’ve already performed a
spell that will stop vampires coming in,
but once you invite them, they’re free
to come and go as they please until
the spell in performed again.

KARYN
How do I know if someone’s a vampire?

LYLE
You won’t. That’s why I’m going
to leave you a cross and some holy
water and a stake that you are to keep
with you at all times. I’ll leave the
same things in the table by the door.
The only think I can’t give you protection
from is a demon.

KARYN
Why not?

LYLE
Because some of them are able to
portal into places, and all of them are
immune to the anti-vampire spell.

WIDE ANGLE - Karyn walks around the couch and sits back down. She leans forward and places her head in her hands. She begins to shake her head slowly.

KARYN
I knew there was a reason I didn’t
want you going back to that place.

ANGLE - Karyn looks up at her husband as he sits down beside her again.

CUT TO…

SCENE 17

INT - ABANDONED OFFICE BUILDING - BASEMENT - NIGHT

WIDE ANGLE - Charlie presses her back against the brick wall as Paris and Angelus shower the cell with the handfuls of purple powder they take from the black pouch. When the last of the powder has been used, the two move back to the middle of the room where the book lies on the floor.

ANGLE - Angelus pockets the pouch as Paris picks up the book and opens it to the bookmarked page. Both she and Angelus hold the book.

PARIS & ANGELUS
(together, in Latin)
Bind this space and all those in it.
Prevent all but those who bind
this space from penetrating it.

WIDE ANGLE - FX - a purple flash of light emanates from the cell then disappears.

ANGELUS
Okay…see if it works.

ANGLE - Paris hands the book to Angelus then steps towards the cell. She extends her arm and it passes through the bars successfully. As she returns to Angelus’ side…

PARIS
Get the Fzaki in here.

ANGLE - Angelus hands Paris the book then turns and leaves the room. Several moments later, he returns with the Fzaki demon on a chain leash. The demon is about 5’8" and of slender build. It has black mottled flesh, big yellow eyes, long claws on both hands and feet and is really ugly looking.

WIDE ANGLE - Angelus points the Fzaki towards the cage, and it immediately smells the girl.

FZAKI DEMON
(guttural)
Food.

ANGLE - Charlie’s eyes are wide in terror and disgust.

CHARLIE
Aarrghhh!

WIDE ANGLE - The Fzaki leaps towards the cage, pulling Angelus along behind. As Charlie presses her body harder against the brick wall, the Fzaki tries to put one of its claws through the bar. It fails.

ANGLE - the demon tries again but is prohibited. Angry and frustrated, the demon turns and leaps at Angelus who pulls hard on the chain. Angelus hits the Fzaki across its short nose and the demon settles down.

ANGELUS
It works.

PARIS
Hopefully enough to keep them out.

ANGELUS
I guess we’ll find out soon enough.

Off Angelus as he keeps the demon in check.

TIME CUT TO…

SCENE 18

EXT - ABANDONED OFFICE BUILDING - NIGHT

ANGLE - Paris (carrying the book) and Angelus exit the building they are holding Charlie in.

REVERSE ANGLE - when they are nearing the Plymouth convertible, the air shimmers and a light begins to appear.

ANGLE - Paris places the book behind the driver’s seat as…

ANGLE - the portal begins to take form and grow. A few moments later, Eddie Radi steps out of the light.

ANGLE - as Paris stands beside Angelus…

ANGELUS
Well, fancy that. We were just
talking about you and your pals.

EDDIE
Your presence has been requested.

ANGLE - Paris and Angelus look at each other.

PARIS
Lead the way.

ANGLE - As Paris and Angelus follow Eddie towards the portal…

ANGELUS
Hey, we’re not gonna turn into
those demons again, are we?

ANGLE - Eddie is silent as the three enter the portal then disappear.

HARD CUT TO…

SCENE 19

INT - RAVADANCZIC - NIGHT

ANGLE - we are in a cave that gives off a red hue. The portal shimmers and crackles then appears, and the three travellers step out of it. All are in their demonic forms (last seen in Episode 3.10 "Under The Surface"). Paris and Angelus look at each other.

IMPORTANT NOTE: Demon Angelus and Demon Paris use a series of grunts, growls, gestures/movements to communicate what is written in English. SUB-TITLES REQUIRED. The Senior Partners are able to understand Demon Angelus and Demon Paris when they are in this demonic form.

DEMON ANGELUS
(disappointed)
Oh, crap.

Off Demon Angelus.

BLACK OUT

SCENE 20

INT - RAVADANCZIC - NIGHT

ANGLE - Edictoradi steps away from Demon Paris and Demon Angelus, and moves off camera to the left. Demon Paris watches him then a strange look comes over her.

DEMON ANGELUS
What is it?

PARIS
Lemerczic.

ANGLE - Demon Angelus, who thus far has been distracted by Paris’ demonic features, looks and sees…

ANGLE - the four Senior Partners stand abreast in a higher area of the cave.

The first of the demons, Valishni, is a largish pudgy demon with scaly green flesh, small and beady yellow eyes and a large mouth. To his left is Inwaridan, who is about 5’6" with smooth, sand-colored flesh, long, narrow black eyes and a wide mouth. The demon to his left, Lemerczic, is about 6’0" talk and well-built with smooth, red flesh, wide black eyes, wide mouth. Lastly is Edictoradi, a 6’2" demon with rough, brown/grey colored flesh that covers his well-built physique, wide black eyes and a row of razor-sharp teeth.

ANGLE - Demon Paris looks like she’s trying to remember something.

DEMON PARIS
I know you.

ANGLE - Lemerczic smiles, then…

LEMERCZIC
It’s been a long time, Paris.

ANGLE - Demon Angelus glares at Demon Paris. He’s stunned that after all this time…

DEMON ANGELUS
You know him?

DEMON PARIS
Yeah.

LEMERCZIC
It’s good to finally meet you, Angelus.

DEMON ANGELUS
Bite me.

ANGLE - Lemerczic is amused by Angelus’ comment.

DEMON PARIS
Why did you summon us?

LEMERCZIC
You have something we want.

DEMON ANGELUS
The Receiver.

LEMERCZIC
Correct.

DEMON PARIS
She’s not for sale.

WIDE ANGLE - Lemerczic turns to his left and looks at Edictoradi.

EDICTORADI
I’ll get her.

LEMERCZIC
No.
(looks left, at Valishni)
Let Valishni get her.

Valishni nods silently then steps away from his brethren. He opens a portal then leaves.

ANGLE - Demon Paris and Demon Angelus glance at each other.

DISSOLVE TO…

SCENE 21

INT - ABANDONED OFFICE BUILDING - BASEMENT - NIGHT

ANGLE - Charlie is sitting hunched over on the floor of her cell, her forehead resting in the palm of her hands.

CLOSE UP - she’s been crying. Her eyes are red and puffy, her cheeks stained with tears. O.C. we HEAR the sound of the portal opening. Charlie looks up and her eyes widen as…

ANGLE - the portal grows and Valishni (in demon form) steps out of it.

ANGLE - Charlie backs herself into the far corner as…

ANGLE - Valishni steps up to the cage. He reaches for the door but gets ‘zapped’. He pulls his hand back then takes several steps back towards the portal. He holds his hands out in front of his body, and - FX - lightning bolts emanate from them. The steel of the cell door rattles and shakes as…

ANGLE - Charlie squeezes her eyes shut in fear.

CUT TO…

SCENE 22

INT - RAVADANCZIC - NIGHT

ANGLE - Demon Angelus looks from Demon Paris to the Senior Partners.

DEMON ANGELUS
If you want The Receiver, you have
to give us something in return.

LEMERCZIC
We do not bargain, Angelus.

DEMON ANGELUS
Then you don’t get the girl.

WIDE ANGLE - the air shimmers and begins to glow as the portal opens up. From out it steps Valishni. He is alone.

ANGLE - Demon Angelus looks at Demon Paris, both of whom are obviously relieved that the spell they performed actually worked.

VALISHNI
The girl is protected by a barrier
I cannot penetrate.

DEMON ANGELUS
Tough break.

INWARIDAN
We should send them back to Quartan.

DEMON ANGELUS
Do that and you’ll never get
The Receiver.

LEMERCZIC
What do you want for her?

DEMON ANGELUS
Not much. Just tell us when
the big bang is happening and why
and what everyone’s role in it is, then
we’ll give you The Receiver.

ANGLE - Lemerczic laughs heartily (assuming he has a heart).

ANGLE - Demon Paris, who has been relatively silent up till now knows better.

DEMON PARIS
He’s not going to tell us.

LEMERCZIC
You’re right, I’m not.

DEMON ANGELUS
They you don’t get The Receiver.
Now, if you don’t mind, portal us
back to our car…we have other
things to do besides talk to you lot.

ANGLE - Lemerczic raises his right hand and…

WIDE ANGLE - sends Demon Angelus FLYING back into the unforgiving cave wall. Demon Paris doesn’t look back to see if he’s alright. She keeps her focus on Lemerczic.

ANGLE - He hits and lands hard and does not immediately get up.

ANGLE - Lemerczic looks at Demon Paris.

LEMERCZIC
I know what you’re thinking, Paris.

DEMON PARIS
I really don’t think you do.

ANGLE - Lemerczic smiles.

LEMERCZIC
Take your insolent, pathetic excuse
for a husband and leave. We’ll
be meeting again soon enough.

WIDE ANGLE - Lemerczic opens a portal next to Demon Angelus who is only now starting to get up off the floor.

ANGLE - Demon Paris walks over to him, takes his claw and drags him into the portal. Once the portal disappears…

ANGLE - Inwaridan turns to Lemerczic.

INWARIDAN
Why would they want to know
about the Apocalypse?

LEMERCZIC
Good question.

Off Lemerczic.

DISSOLVE TO…

SCENE 23

EXT - ABANDONED OFFICE BUILDING - PRE DAWN

ANGLE - the portal closes behind Paris and Angelus who have returned to their human forms. Angelus is hunched over with pain as he clutches at his lower back.

ANGELUS
(bitterly)
Thanks for the help back there.

PARIS
(sharp)
Deal with the pain, Angelus, or I’ll
create a world of it for you.

ANGELUS
What the hell’s up with you?

ANGLE - Paris ignores Angelus and moves away from him and out of frame.

ANGELUS
Paris!

ANGLE - Angelus straightens a little and watches…

ANGLE - Paris enter the office building.

WIDE ANGLE - Angelus turns and looks towards the east to see that the first signs of day appearing in the horizon. He moves around the car and…

ANGLE - eases himself into the passenger seat. He winces in pain as he digs into his pants pocket for the car keys. He leans over and slides the key into the ignition then turns the radio on. We HEAR the Eye-In-The-Sky traffic report.

DJ
(from radio)
…on the five. Traffic is at a crawl
along the Miracle Mile and there’s
been a six car fender bender near
the Sixth Street Bridge…

Angelus turns the radio off.

ANGELUS
(low)
Crap.

As he tries to find a comfortable position…

HARD CUT TO…

SCENE 24

INT - ABANDONED OFFICE BUILDING - BASEMENT - PRE DAWN

ANGLE - Paris opens the basement door and walks into the room. She takes a key ring out of her pants pocket as she moves towards the cell door. As she unlocks the three padlocks…

ANGLE - Charlie backs away and presses her body up against the very familiar brick wall at the rear of the cell.

WIDE ANGLE - Paris opens the cell door and enters.

PARIS
There was someone here…a man.
What’d he look like?

CHARLIE
(stammers)
N-n-not a man.

PARIS
A demon?

CHARLIE
(nodding)
Yeah.

PARIS
Did he say anything?

ANGLE - Charlie shakes her head sideways.

ANGLE - Paris moves slowly towards the girl.

PARIS
What did he do?

CHARLIE
He, he tried to open the door.

PARIS
How?

CHARLIE
I don’t know.

ANGLE - Paris is now in front of Charlie and quickly moves her hand past Charlie’s head, the palm of it hitting the wall. Charlie jumps and blinks quickly.

PARIS
(firm)
How did he try to open the door?

CHARLIE
(stammers)
L-L-Lightning bolts…came out of
his hands.

PARIS
Lightning bolts?

ANGLE - Charlie nods vehemently.

PARIS
What else?

CHARLIE
F-F-Fire.

PARIS
What kind of fire?

CHARLIE
He, he held out a finger and fire
came out of it. I-I think he was
trying to melt the padlocks.

PARIS
Anything else?

CHARLIE
N-No. He got f-frustrated and
left through that, that light thing.

ANGLE - as Paris turns her back on Charlie…

PARIS
It’s called a portal.

As Paris thinks for a moment…

CHARLIE
(meekly)
When are you going to l-let me go?

PARIS
Never.

ANGLE - Paris VAMPS out as she quickly turns around and leans in to Charlie.

PARIS
(cont’d)
Is never good for you?

ANGLE - Before Charlie can respond, Paris sinks her fangs into her neck.

CLOSE UP - Charlie’s blue eyes widen in shock and terror.

TIME CUT TO…

SCENE 25

EXT - ABANDONED OFFICE BUILDING - PRE DAWN

ANGLE - Angelus opens his eyes and looks up as…

ANGLE - Paris runs out of the building towards the car. Note: the top of the car is now up.

ANGELUS
(peeved)
Cutting it a bit fine, aren’t you?

She doesn’t answer as she opens the driver’s side door and gets in behind the wheel. As she closes the door and starts the engine…

ANGELUS
You snacked.

PARIS
Getting information builds up an appetite.

ANGLE - Paris throws the car in gear and hits the gas, the tyres squealing as the car speeds off.

PAN - to the horizon that appears to be getting lighter and brighter through the early-morning smog.

DISSOLVE TO…

SCENE 26

INT - CORDELIA’S APARTMENT - BEDROOM - DAWN

ANGLE - Cordelia is awake and watching…

WIDER - Lindsey who is still sleeping. On the bedside table next to Lindsey is the clock radio that reads 6:29. Cordelia snuggles up against Lindsey, but after a few moments, the ALARM goes off.

WIDER - Lindsey’s hand flies out from under the covers and hits the clock radio to shut the alarm off.

CORDELIA
(softly)
Good morning.

CLOSE UP - Lindsey grunts his acknowledgement.

CORDELIA
You really aren’t a morning person,
are you?

LINDSEY
(negative)
Uh uh.

OVERHEAD - Cordelia rests her head on his chest and he puts his arm around her shoulders.

CORDELIA
What time do you have to leave?

LINDSEY
(sleepy)
An hour.

CORDELIA
(softly)
I don’t want you to go.

LINDSEY
You have to let me go if you
want to stay safe.

Beat.

CORDELIA
I love you.

ANGLE - Lindsey opens his eyes and looks down at her.

LINDSEY
I love you, too, darlin’.

Lindsey kisses Cordelia’s hair and holds her.

CORDELIA
Tighter.

Lindsey complies and tightens his embrace.

BLACK OUT

SCENE 27

INT - OLD OFFICE - DAY

WIDE ANGLE - Paris kicks the office door open. Hunched over, Angelus is leaning on her for support as she helps him through the door and into the office they seem to reside in. They are each covered in a blanket from which wisps of smoke still emanate. They’ve cut it very close.

ANGLE - Paris removes the blanket from around her then removes Angelus’. She then helps him out of his long black duster.

PARIS
Take your shirt off as well.

ANGLE - Angelus starts unbuttoning his black shirt then Paris helps him out it and drapes it and the duster over a chair.

PARIS
Lean up against the window sill.

ANGLE - Angelus shuffles his feet towards the bank of newspaper-covered windows and places his hands on the low window sill.

CLOSE UP - Paris runs her hand past Angelus’ tattoo and down his spine. She finds the anomaly and presses her thumb into his back.

ANGLE - Angelus flinches.

ANGELUS
Ow.

PARIS
Shut up, you big baby.

CLOSE UP - Paris stops using her thumb and uses the butt of her hand to massage deep into Angelus’ lower back, just left of the spine. As she does this…

CLOSE UP - Angelus closes his eyes and now seems to be enjoying the pain.

ANGELUS
Mmm…that’s good.
(then)
A bit more to left.

CLOSE UP - Paris shifts her hand slightly to the left and continues the massage.

ANGELUS
That’s it.

After a few more moments of this…

ANGELUS
That feels so much better.

ANGLE - Paris stops the massage.

ANGELUS
I didn’t say stop.

PARIS
I’ll do some more later.

ANGLE - Angelus straightens, turns and faces Paris.

ANGELUS
Okay…so you knew Lemerczic.
How?

PARIS
He’s been inside me.

ANGELUS
When?

PARIS
During the whole Ferugia thing.

CLOSE UP - Angelus thinks and puts two and two together.

ANGELUS
(concludes)
You know what makes him tick.

PARIS
(points out)
I know how to kill him.

ANGELUS
How?

PARIS
How is not the problem. Well…it
is, but it’s not the biggest problem.

ANGELUS
What is then?

PARIS
Getting close enough to do it.

ANGELUS
With the powers he has, I’d say
that’s a pretty big problem.

PARIS
Yeah.

ANGLE - Paris moves away from Angelus and starts circling the room.

ANGELUS
If you got close enough to him,
you could do it though. Right?

PARIS
That’s the other big problem.
I don’t know. I might not have
enough power. If I don’t, then
he’ll kill me.

ANGELUS
Not a plus.

ANGLE - Paris looks up at Angelus.

PARIS
Neither is the amount of pain that’s
involved in killing him.

ANGELUS
How much pain?

PARIS
It makes the pain in your back just
now feel like a pin prick.

ANGELUS
But you like pain.

PARIS
I do, especially if I’m the one inflicting
it. But this kind of pain goes
both ways.

ANGELUS
It’s one of those ‘he feels it then
you feel it too’ kind of deals, isn’t it?

PARIS
Yeah. But I don’t want to
think about the pain of killing him
until we know what the deal is with
the Apocalypse.

ANGELUS
Especially if the Senior Partners play
a major role in it.

PARIS
Which I’m sure they do.

CLOSE UP - Angelus frowns.

ANGELUS
When he said he knew what you
were thinking…

PARIS
He was wrong.

ANGELUS
(surprised)
So you weren’t thinking of killing him?

CLOSE UP - an evil-looking smile begins to appear on Paris face.

PARIS
No.

ANGELUS
Are you going to tell me?

PARIS
It’s probably better I don’t.

Off Paris.

BLACK OUT

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