SETTLING IN
Completed: 02 July 2003
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SCENE 1
EXT / INT - EXCALIBAR - NIGHT
EXT - WIDE ANGLE - the street is not very busy. There are various people wandering or staggering along the sidewalk past the bar.
INT - WIDE ANGLE - the bar is still relatively busy. There are people sitting at tables or at the bar, but they are outnumbered by the demon and vampire population. There is a jukebox on the far wall which cranks out the final few bars of "Man In The Box" by Alice In Chains. The song fades out then another Alice In Chains song called "Grind" starts pulsating from the speakers.
ANGLE - on an orange-y colored demon with hideously large ears. He looks like he just took a big whiff of some really stinky cheese as he searches the room.
DEMON
Are they the only band on that
friggin’ thing? Who put that on?
We don’t see who answers as…
TIGHT - we see the face of Trevor, a rather ugly looking demon. He has wrinkly grey flesh, narrow black eyes and a single horn protruding about 8 inches from the top of his head. He looks a little scared.
TREVOR
I don’t know.
WIDER - two hands grab the lapels of Trevor’s shabby blue jacket and jerk him forward.
TIGHT - on Angelus’ impatient face.
ANGELUS
(firm)
Tell me how to kill it.
WIDER - Angelus’ nose is about six inches from Trevor’s flat nose.
TREVOR
I’m telling you I don’t know.
ANGELUS
And I’m telling you I don’t have
time to play games, Trevor.
ANGLE - Angelus VAMPS out then presses Trevor up against the bar and wraps his hand around Trevor’s horn.
ANGELUS
Tell me how to kill it or I’ll break
off your horn and stab you in the
eye with it.
Trevor’s eyes widen as he realises the implications of such an action.
TREVOR
(quickly)
Alright, alright, I’ll tell you.
ANGLE - we shift away as Trevor begins to tell Angelus what he knows. We move through the crowd to the entrance of the bar where Paris is standing in wait. She is watching Angelus listen to the demon, but she is unable to hear the conversation given that "Grind" is still playing.
ANGLE - A large Turquani demon and his equally blue girlfriend approach Paris. The male Turquani ‘bumps’ into Paris on his way to the bar.
ANGLE - Paris becomes immediately annoyed.
PARIS
Hey, watch where you’re going,
blue boy.
ANGLE - the demon turns around and takes two big steps towards Paris. He towers over her and looks down his long pointed nose at her.
MALE TURQUANI
It’s turquoise, vampire.
PARIS
Blue, turquoise, pink with orange
polka dots, I don’t care. You bump
into me, you apologise.
MALE TURQUANI
I don’t think so.
Blue Boy turns away from Paris but she grabs his thick arm, whirls him around then kicks him hard in the gut. As he doubles over, Paris quickly takes his head in her hands and twists it, snapping the demon’s neck. As the dead demon crumples to the floor, its ‘girlfriend’ glares at Paris.
FEMALE TURQUANI
(angrily)
What the hell do you think you’re
doing?
(stepping forward)
You can’t just go around killing
demons because they accidentally
bumped into you.
PARIS
I think I just proved I can, and if you
don’t get out of my face, you’ll end
up just like your idiot boyfriend.
BACKGROUND - Angelus, now wearing his human face, moves away from Travis and across the bar towards Paris.
ANGELUS
Got it.
FOREGROUND - Blue Girl looks over her shoulder and recognises…
FEMALE TURQUANI
Angelus.
She backs off a little as she looks back at Paris.
FEMALE TURQUANI
Sorry…I didn’t know you two were
together.
PARIS
Now you do.
ANGELUS
Paris…
ANGLE - Paris follows Angelus out to the street, leaving Blue Girl staring after them.
BLACK OUT
SCENE 2
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
WIDE - Gunn turns on the answer machine as Wesley walks out of his office, a coat draped over his arm.
WESLEY
Do you have any plans for this
evening?
GUNN
I’m seeing the new Jackie Chan
movie up at El Capitan.
(makes with Kung Fu move)
Wah!!
Wesley takes a step back to avoid Gunn’s flying hands.
GUNN
How about you? You and your
girl doing anything special?
WESLEY
Just a quiet night with the DVD
player, I’m afraid.
GUNN
So what time’s Cordy coming in
tomorrow?
WESLEY
Probably about nine…or ten…
GUNN
Eleven…I get the picture. She’ll be
here when she gets here. I guess
she’s taking the ‘come back when
you’re ready’ phrase literally, huh?
WESLEY
Yes.
GUNN
(checking his watch)
I gotta book if I want to make my
movie. See you tomorrow.
WESLEY
Night, Charles.
ANGLE - Gunn walks out of the office then Wesley turns off the lights and also leaves, locking the door behind him.
WIDER - from the left of frame, we see Paris and Angelus appear. Angelus unlocks the door with his key, then he and Paris enter.
PARIS
(low)
I thought they were never going to leave.
ANGELUS
Hurry up and get the computer running.
PARIS
Alright, alright, hold your horses.
ANGLE - Paris moves behind Cordelia’s desk and turns on the computer. It beeps a couple of times.
PARIS
Cordelia must have had time off.
ANGELUS
Hmph.
PARIS
Maybe the visions are really taking
their toll on her.
ANGELUS
I hope so. It might make up for
some of the crap she put me through.
WIDE - as Angelus sits down on the blue couch, Paris is typing and clicking her way around the computer. It isn’t long before…
PARIS
Found something.
ANGELUS
What?
PARIS
Looks like your friend from the bar was
right. It will kill them, and quick, too.
ANGELUS
Do we need any incantations or
songs or dancing?
PARIS
No, yes, and no.
ANGELUS
(horrified)
I have to sing?
PARIS
I was just kidding about the song.
You have to sing and dance.
CLOSE UP - Angelus is not a happy boy until Paris gives a playful smile to let him now she’s kidding again.
ANGELUS
(surmises)
So, once we get what we need for
this powder, we can go ahead
with our plan.
PARIS
Yep.
ANGELUS
Okay…try the quartet of doom again.
PARIS
Already trying.
WIDE - while Paris works, Angelus moves into the inner office and looks down at what’s on Wesley’s desk. He picks up a book then makes himself at home in Wesley’s chair.
CUT TO…
SCENE 3
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
TIGHT - a hand hovers over the VCR slot as the tape pops out. We don’t see which video was being played as the hand removes the video from the machine.
CORDELIA (O.C)
Well, that movie sucked.
WIDE - as Lindsey puts the video back in its case which he then places on the coffee table.
LINDSEY
It wasn’t that bad.
CORDELIA
What movie were you watching?
(then)
As a lawyer, what do you think our
chances are of getting our money back?
As Lindsey sits down next to Cordelia…
LINDSEY
Non existent.
CORDELIA
No fair. They should make it
that you pay after you’ve seen the
movie then if you hate it, you don’t
have to pay for it.
LINDSEY
That might work where you are, Cordy,
but it would never work down here on earth.
ANGLE - Cordelia gives Lindsey a playful punch on the arm and pokes her tongue out at him.
CORDELIA
So, are you ready for your first
full day back in Hell?
LINDSEY
(requests)
Can we not talk about work?
CORDELIA
So, what do you -
ANGLE - Lindsey leans over and quickly kisses Cordelia in order to shut her up. When he pulls away…
CORDELIA
(happily)
Okay.
Cordelia immediately kisses Lindsey back. He runs his right hand through her hair as they lay back on the couch.
CUT TO…
SCENE 4
INT - ANGEL INVESTIGATIONS - NIGHT
FOREGROUND - Angelus is sitting in Wesley’s chair, looking rather relaxed as he leafs through one of Wesley’s tomes.
BACKGROUND - Through the inter-office window, we see Paris slam the keyboard in frustration. As she runs a hand through her long dark tresses…
Angelus looks at her then closes the book and puts it back on the desk where he found it. He gets up out of the chair and moves to the outer office.
PARIS
I am now officially convinced that
there’s nothing in this stupid thing
about them.
ANGELUS
Leave it then. We need to get
to Rick’s before he closes anyway.
PARIS
Yeah.
WIDE ANGLE - Angelus moves towards the door while Paris turns off the computer. Paris then walks around the desk and follows Angelus out.
CUT TO…
SCENE 5
INT - MCINERNEY APARTMENT - BEDROOM - NIGHT
ANGLE - Karyn and Lyle are sitting up in bed. He’s looking over what would probably be legal papers, while she is flicking through InStyle magazine. Suddenly, Karyn sees something that she likes. As she leans over with the magazine…
KARYN
What do you think of that?
Lyle looks at what his wife is pointing to.
LYLE
It’s okay…different color though.
KARYN
Blue?
LYLE
(confirms)
Blue.
As Karyn leans back to her previous position…
KARYN
That’s settled then.
LYLE
What is?
KARYN
Furniture shopping.
I’m definitely going tomorrow.
LYLE
Make sure you get some color
charts as well.
KARYN
Already on my to-do list.
LYLE
It sounds like you’re going to
have a full day tomorrow.
KARYN
Well, I’m not going to have much of
a chance to do this sort of stuff once
I start my new job next week, am I?
I may as well get it all done now rather
than put it off…then it never gets done.
LYLE
Good point.
The two are quiet once again as they return to their reading material.
CUT TO…
SCENE 6
EXT - EL CAPITAN THEATRE, HOLLYWOOD - NIGHT
WIDE ANGLE - there are lots of people going in and coming out of the theatre. After a few moments, we see Gunn walk out.
ANGLE - Gunn looks ‘up’ from the movie and there’s a slight spring in his step. He walks along the sidewalk, passing and ignoring several hookers along the way. One black woman starts walking with him.
HOOKER
What some company, honey?
GUNN
Not tonight.
HOOKER
Aw, come on. I’ll make it a night
you’ll never forget.
GUNN
I’m sure you will, but I’m not interested.
Okay?
HOOKER
You don’t know what you’re missing.
GUNN
Somehow, I think I do.
WIDE ANGLE - Gunn quickens his pace and the hooker eventually gives up and starts back towards the theatre.
ANGLE - Gunn turns the corner into a side street.
GUNN’S POV - his pick up truck is parked up ahead.
ANGLE - still buzzed from the movie, Gunn is inspired and practices a couple of Kung Fu kicks. He smiles to himself as he continues towards his vehicle.
TIME CUT TO…
SCENE 7
EXT - MELROSE AVENUE - PICK UP TRUCK - NIGHT
OVERHEAD - we see Gunn’s pick up truck moving slowly down the street. The traffic is quite heavy for a Sunday night.
ANGLE - Gunn taps his thumb against the steering wheel in time with the latest Usher song that’s coming from the radio.
GUNN’S POV - through the windshield, we see the traffic lights up ahead turn red. He slows the truck to a stop.
ANGLE - Gunn looks to his left at the people on the opposite side of the street. He then looks to his right.
GUNN’S POV - after a few moments, he sees Paris and Angelus walk around the corner and move in his direction. Neither are talking or looking at each other as they walk with purpose along the sidewalk. He watches them but they don’t seem to notice him. When they are about fifteen feet in front of the truck, both turn their heads and look directly at him. It is a cold, hard, evil look. As they pass the truck…
ANGLE - on Gunn who visibly shudders. He turns to look out the rear window and he sees that the two vampires are facing forward. All of a sudden, Paris looks back over her shoulder and directly at him. Another evil look. Gunn quickly turns and faces forward, clearly disturbed by Paris’ look.
O.C. a car horn SOUNDS behind him. Gunn quickly puts the truck in gear and moves off.
ANGLE - Gunn peers in the rear view mirror and sees Paris and Angelus enter Rick’s.
CLOSE UP - Gunn’s eyes are wider than normal as he tries to regain his composure.
BLACK OUT
SCENE 8
INT - CORDELIA’S APARTMENT - BEDROOM - DAY
TIGHT - on a pair of hands working to knot a neck tie.
ANGLE - on the reflection in a long cheval mirror. Lindsey is standing in front of it as he does up the red and blue tie. He’s wearing navy blue trousers, white shirt, and black shoes. Cordelia is sitting cross-legged on the bed, but is still under the covers.
CORDELIA
It must be strange doing that from
scratch after all this time.
LINDSEY
After having only one good hand
for the past two years, I managed
to adapt pretty well to most things,
but I’m damn happy to have both
of them again.
WIDE ANGLE - Lindsey turns towards Cordelia.
LINDSEY
Is this thing straight?
Cordelia throws back the bed covers and stands up. She’s wearing a white camisole and powder blue pyjama bottoms. She moves towards Lindsey and adjusts his tie a little, then smooths out his shirt.
CORDELIA
Now it is.
LINDSEY
Thought you were going back to
work today.
CORDELIA
I am.
LINDSEY
Shouldn’t you be getting ready then?
CORDELIA
I will. Not all of us have to be
at the office as early as you.
Lindsey moves to the closet and takes a blue suit coat off a hanger and drapes it over his left arm. He picks up his briefcase that is near the dresser then looks back at Cordelia who is standing at the end of the bed.
LINDSEY
Take it easy at work, okay?
CORDELIA
I’ll try.
LINDSEY
Hopefully I’ll find something out today
about Paris and Angelus.
CORDELIA
(optimistically)
Hopefully.
ANGLE - Lindsey glances at…
ANGLE - the clock radio which reads 7.18am.
ANGLE - Lindsey looks back at Cordelia.
LINDSEY
I’d better go. I have an
early staff meeting.
CORDELIA
Okay.
Cordelia moves towards Lindsey. She places a hand softly against his freshly shaved cheek and kisses him tenderly. We she backs away…
LINDSEY
Now all I want to do is stay at home
with you all day.
CORDELIA
Me, too, but we won’t have a home if
we don’t earn some money.
Lindsey starts to snake his arm around Cordelia’s waist when she backs away even more.
CORDELIA
Pull the reins in, cowboy.
(points towards door)
Work…now.
LINDSEY
Yes, ma’am.
ANGLE - Lindsey tips his imaginary hat at her then he turns and walks out of the bedroom.
CORDELIA’S POV - she sees Lindsey disappear into the living room, then she HEARS the door open and close.
ANGLE - Cordelia smiles to herself then moves out of the bedroom to the bathroom.
CUT TO…
SCENE 9
EXT - WOLFRAM & HART - SUV - DAY
EXT - We see a silver Bronco parked against the kerb. There are two people sitting in it.
INT - ANGLE - Karyn McInerney looks out the front window at…
ANGLE - the foreboding Wolfram And Hart building.
ANGLE - Karyn then looks at her husband.
KARYN
Have I told you how much I do
not want you going in there?
LYLE
For the fourth time this morning.
I’ll be fine, honey. All I have on
my schedule are meetings and stuff.
Compared to yours, my day is going
to be positively boring.
KARYN
When will you be home?
LYLE
I’m going to try and get together with
Lindsey McDonald for an after work
drink, so I’ll probably be late.
KARYN
Call and let me know, okay?
LYLE
I will. Have a good day.
KARYN
Bye.
Lyle leans over and kisses his wife goodbye.
EXT - Lyle then opens the passenger side door and gets out of the vehicle. After shutting the door, he stands on the sidewalk and watches his anxious wife wave to him before driving off.
WIDER - Lyle turns and heads towards the steps that lead up to the building.
CUT TO…
SCENE 10
INT - ANGEL INVESTIGATIONS - DAY
OUTER OFFICE - WIDE ANGLE - Wesley unlocks the office door and enters. He has a satchel under one arm and a cup of take-out coffee in the other. He immediately moves towards his office.
INNER OFFICER - Wesley enters and moves behind his desk. He sets his coffee down on the desktop and places the satchel next to it. As he sits down…
ANGLE - the door to the stairwell opens and Gunn appears. He must have run up the stairs because he’s puffing.
GUNN
(quickly)
I saw ‘em.
WESLEY
Who?
GUNN
Paris and Angelus…last night…
going in to Rick’s.
WESLEY
Rick’s on Melrose?
GUNN
Is there another one?
WESLEY
I don’t suppose you talked to them,
did you?
GUNN
Didn’t need to. The look they
gave me was evil, Wes. There ain’t
a lot in this world that scares me, but
when they gave me the evil look last
night, I swear my blood ran cold. I don’t
know what they were doing there, but
I’m thinking it ain’t good. I was up
all night waiting for them to come in
and kill me just for fun…
ANGLE - Gunn realises that Wesley has now gone in to pensive mode and will probably stay that way for a while.
GUNN
(cont’d)
And you’ve stopped listening to me.
Alright…you start thinking of all the
things the gruesome twosome are
possibly up to, and I’ll go get myself a
really big coffee.
WIDE ANGLE - Gunn heads towards the door as Wesley reaches for his coffee and takes a mouthful. He’s still very much in think mode.
CUT TO…
SCENE 11
INT - WOLFRAM & HART - HOLLAND’S OFFICE - DAY
WIDE ANGLE - we are looking down the length of the conference table. All the chairs are occupied by the USUAL WOLFRAM & HART EMPLOYEES. Sitting next to each near the head of the table are Lindsey and Lyle. Holland is sitting at the head of the table, a notepad in front of him.
HOLLAND
Right. Now for the final order
of business. Following the sudden
departures of Lilah Morgan and Leon
Maddox, I know a number of you have
been wondering who’d be replacing them.
Given their presence here this morning,
I’m sure you’ve all put two and two
together and concluded that Lyle
McInerney and Lindsey McDonald
will assume the positions.
ANGLE - there is a small uttering of acknowledgement and Lindsey and Lyle smile and nod at their colleagues in appreciation.
HOLLAND
Lyle will take over from Lilah and will
be using her old office. As for
Lindsey, he couldn’t quite stay away
from us and has agreed to return to
the position he resigned several months
ago. Lindsey’s primary focus will
be the Paris and Angelus project.
Now, as the gossipmongers seemed
to have been out in force at the end
of last week, some of you may have
heard that Paris and Angelus miraculously
escaped the demolition of the house
they resided in in Santa Monica.
This, I’m afraid to say, is true and
their whereabouts are currently unknown.
Yes, George?
ANGLE - on George as he puts his hand down. He is sitting at the far end of the table.
GEORGE
How did they manage to escape
during the daylight hours?
HOLLAND
They were prepared and extremely
lucky. Yes, Eric?
ANGLE - on a man in his early forties who is starting to bald a little. He sits opposite Lyle.
ERIC
Why was the house demolished?
HOLLAND
That’s not important. Thomas?
ANGLE - on a man in his mid-thirties who has a goatee. He sits opposite George.
THOMAS
Are we expecting them to try and break
in to the building like they did a couple
of weeks ago?
HOLLAND
It’s unlikely that they will attempt another
break in so soon. Nevertheless,
we have increased the Tregothi security
guarding the Files & Records Division.
That was their target last time, and
there’s no reason to suspect it won’t
be their target again.
GEORGE
Do we know what they’re after
specifically?
HOLLAND
Unfortunately, no. If we did, then ,
we’d be able to remove the item.
THOMAS
Will Lyle be assisting Lindsey like
Lilah used to?
HOLLAND
Lyle has been assigned a project separate
to that of Lindsey.
(glances at his watch)
Are there any more questions
before I let you go?
ANGLE - the people are silent.
HOLLAND
Alright then, have a good day everyone.
ANGLE - as everyone gets up to leave…
HOLLAND
Ah, Lyle, could I have a moment, please?
ANGLE - on the door as everyone files out.
ANGLE - Lyle looks from the door as it’s closed to Holland as he gets to his feet.
LYLE
Yes, sir?
HOLLAND
There is one more project I’d like
you to undertake.
ANGLE - Lyle sits back down and looks at Holland.
LYLE
What’s the project?
Off a curious Lyle.
DISSOLVE TO…
SCENE 12
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
ANGLE - Gunn is sitting on the blue couch reading the sports section of the morning paper.
CORDELIA (O.C)
Well, it’s nice to see nothing’s
changed since I’ve been gone.
WIDE - Gunn looks up and sees…
ANGLE - Cordelia standing just inside the door. She’s wearing a pair of blue jeans and a red shirt under a black coat. Her shoulder length hair is down. As she moves deeper into the office…
WIDE - Gunn gets to his feet and moves towards Cordelia.
GUNN
(smiles)
Hey, Cordy.
ANGLE - Gunn embraces Cordelia for a few seconds then stands back to give her room.
CORDELIA
It’s good to be back.
GUNN
How’re you feeling?
CORDELIA
I haven’t had a vision in a couple of
days, so I’m feeling pretty darn good.
Where’s Wes?
ANGLE - as Wesley steps out of his office…
WESLEY
I’m here, Cordelia. How are you?
CORDELIA
Good.
GUNN
Do you want some coffee?
CORDELIA
I’m still capable of getting my own
coffee, Gunn.
Cordelia puts her bag on her desk then as she moves towards the coffee machine…
GUNN
Don’t!
CORDELIA
Why?
GUNN
The machine broke down on Friday,
and we haven’t had a chance to get
a new one.
CORDELIA
And you didn’t think to empty this
crud out?
It looks like I came back
just at the right time then.
ANGLE - Cordelia takes the coffee decanter from the machine and heads towards the small bathroom. As she empties the 3 day old coffee into the sink…
CORDELIA
Is Teresa around?
WESLEY
She thought it best if she stayed away
rather than intrude on your first day back.
ANGLE - Cordelia frowns slightly then looks at Wesley.
CORDELIA
(accusingly)
She changed the filing system,
didn’t she?
Gunn and Wesley are both quiet which means it’s true.
CORDELIA
I knew it. I’m away five minutes
and someone comes in and changes
the filing system. What is so
wrong with the way I file things?
The guys don’t dare respond to the rhetorical question.
CORDELIA
One of these days I’m going to lock
that filing cabinet so no one can
get in there.
Cordelia rinses out the decanter then turns it upside down in the sink so it can dry. As she moves back into the office…
WESLEY
Is Lindsey at Wolfram And Hart?
CORDELIA
Yeah. He’s hoping to find out
something…anything about where
Paris and Angelus might be.
GUNN
Maybe he can find out what they
were doing at Rick’s Magic Shop then.
CORDELIA
Sorry?
WESLEY
Gunn saw them go in there last night.
CORDELIA
Well, then…I guess that explains the
I’ve-been-thinking look you had on
your face when I walked in. Have
you called Rick and asked what they
were doing there?
WESLEY
I keep getting the machine.
CORDELIA
Well, then, let’s go and find out, shall we?
ANGLE - Cordelia picks up her bag and heads for the door. Gunn and Wesley look at each then follow her.
GUNN
She seems to be back to her old self.
You think she realises that the filing
cabinet has a lock that doesn’t work?
WESLEY
It wouldn’t seem so.
GUNN
I’m so glad she’s back.
WESLEY
Me, too.
Wesley closes the door behind him.
CUT TO…
SCENE 13
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
ANGLE - on the phone then PAN up to see that Lindsey is on it. He’s in mid-conversation.
LINDSEY
…whereabouts on Melrose?
(listens)
I know the place.
What did they take?
WIDER - Lindsey picks up a pen and starts writing a list down on a notepad.
LINDSEY
(cont’d)
Uh huh. Uh huh.
ANGLE - on the notepad and we see the list he’s writing. It has the names: Calder Flower, Palythian Powder, Fralemarj Root, Eye Of Rat, and Vanilla.
LINDSEY
(cont’d)
Why vanilla?
(listens)
Fair enough. So what do you
make with those ingredients?
(listens, dryly)
No kidding. Find out what sort
of spell is done using those ingredients
and get back to me within the hour.
ANGLE - Lindsey hangs up then notices…
ANGLE - Lyle standing in the doorway.
LYLE
Busy?
WIDE - as Lyle moves deeper into the office…
LINDSEY
Just taking down Paris and Angelus’
shopping list from last night.
LYLE
Vampires go shopping?
LINDSEY
These two do.
(then)
What can I do for you?
LYLE
I just wanted to know if you wanted
to get together for a drink after work.
LINDSEY
Sure. The way today’s going, I’m
going to need a drink by lunch time.
Call me later and I’ll let you know
when I might possibly get out of here.
Lyle nods.
LINDSEY
So, how’re you settling in?
LYLE
It’s pretty much what I expected
and then some.
LINDSEY
And at home?
LYLE
It’s fine. Karyn’s out shopping
for new furniture and looking at paint
samples as we speak.
LINDSEY
The firm didn’t put you in an already
furnished place?
LYLE
There’s some furniture…but it’s just
not us and it’s not ours. You know?
LINDSEY
Yeah.
Off Lindsey.
CUT TO…
SCENE 14
EXT / INT - ABANDONED APARTMENT BUILDING - DAY
EXT - From the outside, the building is boarded up and it looks like no one has lived there in decades.
INT - the inside is dusty and falling apart. DOLLY along a corridor that’s maybe five feet wide. There are about a dozen or so female and male vampires lying around; some sleeping, some just lying. They are dressed rather shabbily and they look as if they haven’t fed in a couple of days. It’s fairly quiet until…
NIGEL (O.C)
I take it that your presence here
means that we’re on for tonight?
We enter one of the apartments which is small, cramped studio. At the end of the collapsed iron bed frame, we see a tall, thin vampire with auburn hair. He looks nervous and a little more than intimidated by who he’s talking to. We then see…
ANGLE - Paris and Angelus, dressed in black on black.
ANGELUS
We are. You and your lackeys
know what you have to do, right?
NIGEL
Yeah, but I still think the whole deal
is nothing more than a suicide mission.
PARIS
All you have to do is show up and
do your thing. If any of you get
dusted, you’ll have no one to blame
but yourselves, will you?
ANGELUS
If you do mess up then we’ll hunt you
down and kill you ourselves.
NIGEL
(quickly)
Yeah, yeah, yeah, I got it.
Mess up or die…I got it.
ANGELUS
Good.
(to Paris)
Let’s go.
As Paris and Angelus turn to leave…
NIGEL
See you tonight.
Angelus continues, but Paris stops, turns and walks back to the vampire.
PARIS
If you do your job, you won’t be
seeing us at all, Nigel.
CLOSE UP - Paris is about twelve inches from Nigel’s face as she gives him a hard stare. He nods quickly, unable to speak.
PARIS
Good boy.
WIDE - Angelus has left the room. Paris turns and follows suit.
ANGLE - Nigel closes his eyes and tries to steady himself.
BLACK OUT
SCENE 15
EXT - STREETS - PICK UP TRUCK - DAY - INTERCUT
ANGLE - on Gunn who is driving. PAN to Cordelia who’s looking straight ahead. She sighs.
CORDELIA
Come up with anything, yet?
WIDER - she turns her head to her right and looks at Wesley who’s deep in thought.
WESLEY
Not yet, but I will.
GUNN
I’m thinking they’re going to use it
to kill someone or some thing.
A cell phone starts RINGING.
CORDELIA
It’s mine.
ANGLE - Cordelia reaches into her bag and rummages around for her phone.
WIDE ANGLE - Cordelia puts the phone to her ear.
CORDELIA
Hello?
ANGLE - on Lindsey who is sitting in his Mercedes which is in a parking garage.
LINDSEY
It’s me.
CORDELIA
(smiles)
Hi, me.
Wesley and Gunn look at each other.
WESLEY & GUNN
Lindsey.
LINDSEY
Can you talk?
CORDELIA
More importantly, can you?
LINDSEY
Yeah, but not for long. Listen, I
found out that Paris and Angelus
were at Rick’s Magic Shop last night.
CORDELIA
We know. They took a bunch
of powders and stuff. Don’t suppose
you know why, do you?
LINDSEY
The best we’ve been able to come
up with is that they’re going to create
a poison of some sort. Now,
there are a number of demons that
the ingredients can hurt or kill, but
we haven’t ascertained exactly which
demons they are.
CORDELIA
So you know pretty much what we do.
What about where Paris and Angelus
are calling home now?
LINDSEY
Nothing. My guess is they’ve
gone underground.
CORDELIA
The tunnels?
LINDSEY
Yeah.
(looks around)
Listen, I have to go. I’m going out
with Lyle for drinks so I’ll be late, okay?
CORDELIA
Okay. Bye.
LINDSEY
Bye.
Cordelia switches off her phone and as she drops it in her bag…
GUNN
What was that about the tunnels?
CORDELIA
Lindsey thinks Paris and Angelus
have gone underground, but he
doesn’t know for sure.
WESLEY
They’ll be somewhere we’d never
think to look.
CORDELIA
That’s what I think, too.
The tunnels are too obvious.
GUNN
I might drop you two back at the
office then see what the word is
on the street.
Off the truck as it moves out of frame.
TIME CUT TO…
SCENE 16
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
CLOSE UP - on the filing cabinet as a pair of hands take one file and move it towards the back of the filing.
WIDER - it’s Cordelia, and she’s re-organising her filing system.
ANGLE - Gunn walks with purpose into the office.
CORDELIA
You find out anything?
GUNN
Yeah.
WIDE ANGLE - Gunn moves past Cordelia and into Wesley’s office. Cordelia follows him.
GUNN
A female Turquani demon saw Angelus
in a dive off Sunset called the Excalibar.
He was threatening a Na’kosh demon
called Trevor.
CORDELIA
Trevor?
WESLEY
Why?
GUNN
Angelus wanted to know how to
kill a demon. Trevor eventually
told him about the ingredients for
a poison.
WESLEY
Which demon?
GUNN
Don’t know.
CORDELIA
What about Paris?
GUNN
She was there as well.
WESLEY
So they’re looking to poison a demon…
the problem is which one.
CORDELIA
I don’t suppose you know where
Trevor likes to hang out at this time
of day, do you?
GUNN
No, but I’m sure I can find out.
WESLEY
Do it.
ANGLE - Gunn turns and heads back out of the office.
CUT TO…
SCENE 17
INT - ABANDONED APARTMENT BUILDING - CORRIDOR - DAY
LONG OVERHEAD - we see Nigel and his scruffy-looking cohorts gathered in the corridor of the apartment building they call home.
NIGEL
Is everyone clear about what we
have to do?
VAMP 1 (O.C)
Yeah.
ANGLE - on a young-looking male vampire. He’s obviously a newbie.
VAMP 1
(cont’d)
We go in, do our thing and leave
without getting ourselves killed.
NIGEL
Right.
ANGLE - an older-looking vampire (Jackson)
is leaning up against the door to one of the rooms.
JACKSON
What I don’t get is why we’re actually
thinking of doing this.
NIGEL
We’re doing this because Angelus
and his bitch will dust us if we don’t.
ANGLE - on another newly-made male vampire.
VAMP 2
So they’re going to owe us, right?
ANGLE - Jackson rolls his eyes.
JACKSON
(mumbles)
I wouldn’t bet on it.
NIGEL
Shut up, Jackson. We have a
couple of hours before we need to
leave, but we need to feet first.
We need to be strong enough to fight
if we need to. Go find yourselves
some tasty treats and meet back
here at seven.
VAMP 2
And if we decide not to come back?
NIGEL
Then you may as well go find Angelus
and ask him to kill you now.
LONG OVERHEAD - Nigel watches as his cohorts start to move out of frame.
CUT TO…
SCENE 18
INT - TUNNELS - DAY
ANGLE - the tunnels are dark even though it’s still daylight above ground. From out of the darkness we see a tall figure emerge. It’s Gunn. He has an axe raised and poised ready to strike should something jump out at him.
POV - Gunn approaches a junction and stops to look around from right to left. It’s then that he sees something curled up on the floor near the far wall.
ANGLE - Gunn starts towards it.
GUNN
(loud)
Trevor.
ANGLE - the demon doesn’t move.
ANGLE - Gunn continues forward.
GUNN
Hey, Trevor, wake up.
ANGLE - Gunn stops about three feet from the demon. He crouches down and touches the demon who…
ANGLE - …rolls on to its back. It’s definitely Trevor, and he’s definitely dead. His single horn has been broken off and used to pierce his left eye. There’s a green viscous fluid all over his face.
ANGLE - Gunn takes a half-step backwards.
GUNN
(low)
I guess you ain’t going to be able
to tell me anything, are you, Trev?
WIDER - Gunn straightens and looks down at Trevor.
GUNN
Damn it.
Off Gunn who looks both disgusted and disappointed.
DISSOLVE TO…
SCENE 19
INT - WOLFRAM & HART - LINDSEY’S OFFICE - NIGHT
ANGLE - Lindsey turns off his computer and shoves a couple of files into his briefcase.
ANGLE - the office door is open and Lyle walks in without knocking.
LYLE
You ready?
LINDSEY
Almost.
ANGLE - Lindsey puts on his coat and picks up his briefcase. He walks around his desk and…
REVERSE ANGLE - follows Lyle out of his office.
CUT TO…
SCENE 20
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
ANGLE - As Cordelia turns off the computer…
ANGLE - Wesley walks out of his office and stands on the other side of Cordelia’s desk.
WESLEY
So how are you feeling after your
first day back?
CORDELIA
Well, Paris and Angelus are out
there somewhere planning something
special for some kind of demon; I’m
worried about my boyfriend who’s
back working for an evil law firm that
he hates; and I keep wondering when
the next vision is going to hit me like
a tonne of bricks. Other than that,
I’m good. How are you doing?
WESLEY
About the same, except for the
boyfriend bit.
CORDELIA
How are things with Teresa?
WESLEY
She’s good. She’s applying for
some post-graduate psychology classes
for next semester, so she’s writing
essays and the like at the moment.
That’s another reason she didn’t
come in today.
CORDELIA
I didn’t realise she was into that
sort of stuff. I hope she gets in.
WESLEY
So do I.
ANGLE - Cordelia turns on the answering machine and as she steps towards the door…
ANGLE - Gunn walks in.
GUNN
Okay…so you guys want the good
or the bad news first?
CORDELIA
Good.
GUNN
I found Trevor.
WESLEY
And the bad news is?
GUNN
He’s dead. Stabbed in the eye
with his own horn.
CORDELIA
(winces)
Ouch.
WESLEY
Sounds like Angelus is covering is
tracks; making sure Trevor didn’t talk
to anyone about what they talked
about at the bar.
CORDELIA
Well, duh.
GUNN
I don’t understand why he didn’t just
kill Trevor at the bar.
WESLEY
Too many witnesses.
GUNN
Yeah, but that didn’t seem to stop Paris
from killing the Turquani’s demon boyfriend.
WESLEY
She what? You never mentioned
that.
GUNN
Sorry…it didn’t seem important at the time.
CORDELIA
She’s getting reckless. Angelus…
WESLEY
Not reckless. Smart.
CORDELIA
Huh?
WESLEY
She’s letting the other demons and
vampires know a) who she is, b) who
she’s with, and c) what she’s capable
of doing.
GUNN
She’s building her rep.
WESLEY
Yes, by letting them know that she’s
someone you really don’t want to mess
with or you’ll suffer the consequences.
GUNN
Smart girl.
WESLEY
Yes, she is.
CORDELIA
So, what do we do now?
WESLEY
We can’t do anything with the information
we have. We’ll just have to wait
and see which demon Paris and Angelus
kill and why.
GUNN
Well, I’m all for having one less demon
in the world…it means one less we have
to go out and kill.
Off Gunn.
DISSOLVE TO…
SCENE 21
INT - WOLFRAM & HART - LOBBY - NIGHT
ANGLE - on the bank of elevators. One of them DINGS then the doors open. Out step Lindsey and Lyle. As they move towards the lobby…
LINDSEY
So, where’d you want to go?
LYLE
Given the time, I was thinking we could
go to Marashimo’s and have some dinner
as well.
LINDSEY
You need a booking to get into that
place. How about the Temple
Bar off Wilshire?
LYLE
Is it any good?
LINDSEY
It’s okay, provided you don’t mind Irish
music and pub food.
LYLE
Temple Bar it is then.
WIDE ANGLE - Lindsey and Lyle are in the middle of the lobby when…
REVERSE ANGLE - Nigel and his vampire cohorts, all of whom are in full VAMP mode, storm the front of the building.
ANGLE - Lindsey is alarmed and looks around. He points at a security guard…
LINDSEY
You, deal with them.
ANGLE - The security guard is joined by two other guards, all of which look nervous and apprehensive. They each take out their truncheon which has a wooden stake attached to the end, and they move forward.
ANGLE - Lindsey moves quickly over to the front desk, puts his briefcase on it then leans over and picks up the phone. He presses in several numbers.
LINDSEY
(urgently)
There’s a vampire situation in the lobby.
Send down as many men as you can
right now.
ANGLE - Lindsey looks at the vampires and sees that Jackson has quickly taken Lyle hostage. Lyle looks a little anxious as the vampire’s fangs hover over his throbbing jugular.
BLACK OUT
SCENE 22
INT - WOLFRAM & HART - LOBBY - NIGHT
WIDE ANGLE - more SECURITY PERSONNEL appear from the direction of the elevators. All men are armed with crossbows, stakes, tazers and guns.
OVERHEAD - the security personnel form a semi-circle around the vampires. Those with crossbows raise their weapons and aim them at the intruders. The bolts fly and…
ANGLE - two of the vampires turn to dust. A couple of others are injured while…
ANGLE - one of the bolts hits one of the other security guards.
ANGLE - with his head swivelling quickly from side to side, Nigel looks like he wants to be anywhere but here.
ANGLE - Lindsey, still near the front desk, looks at Lyle and the vampire holding him tightly against him. The vampire is pressed up against a tiled pylon to protect his back from a surprise attack.
LINDSEY
Let him go.
JACKSON
I don’t think so. As soon as I
do, you’ll kill me.
LINDSEY
No, we won’t. Just let him go
and you can leave.
JACKSON
Nuh-uh.
LINDSEY
You can’t hold on to him forever.
JACKSON
Wanna bet?
ANGLE - from the same direction the extra security men came from, Holland appears and is clearly not happy. He moves towards the front desk and stands near Lindsey. Holland looks at the security men and…
HOLLAND
(indignantly)
Why aren’t you idiots killing the
vampires?
Off Holland and Lindsey.
DISSOLVE TO…
SCENE 23
INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT
ANGLE - the door to Holland’s office opens and Paris and Angelus enter. Angelus stays near the door while…
WIDE ANGLE - Paris moves quickly towards the desk.
ANGLE - She takes a seat at the computer and looks at the screen.
CLOSE UP - on the black screen is the Wolfram & Hart logo.
ANGLE - Paris manoeuvres the mouse and begins to click and type quickly.
PARIS
Holland really needs a password
that’s a challenge to crack.
ANGLE - Angelus is looking through the crack in the door. He looks over his shoulder at Paris.
ANGELUS
(urgently)
Just hurry up and get the codes.
As Angelus looks back through the crack…
ANGLE - Paris continues typing. After a few moments…
PARIS
Got ‘em.
Paris takes a few more moments to type some more, then…
CLOSE UP - the screen goes back to a black screen with the Wolfram & Hart logo.
WIDE ANGLE - Paris gets up and moves quickly across the office towards the door.
EXT - Angelus walks out of the office then Paris follows, closing the door behind her. As the two walk out of frame…
PAN - to Holland’s secretary’s desk. Marcia is slumped over her keyboard, lifeless.
DISSOLVE TO…
SCENE 24
INT - WOLFRAM & HART - LOBBY - NIGHT
ANGLE - Holland takes a step forward, away from the front desk.
HOLLAND
Let him go.
JACKSON
No.
ANGLE - Nigel is nervously shifting his weight from one foot to the other.
NIGEL
Let him go, Jackson.
JACKSON
(amused)
Said the fearless leader.
HOLLAND
At least he knows when the battle
is lost. Now let the lawyer go.
JACKSON
No!
ANGLE - Holland looks at the man who seems to be in charge of the security team.
HOLLAND
Shoot your bow.
SECURITY TEAM LEADER
Sir?
HOLLAND
(firmly)
Shoot your bow. Kill the vampire.
ANGLE - the team leader raises his bow and aims it a little unsteadily towards Jackson and Lyle. There’s a distinct look of uncertainty on his face. Will he or won’t he hit the vampire. The man releases the bolt and…
ANGLE - misses the vampire. Lyle grunts in pain as the bolt tears into his right shoulder. When he slumps forward a little…
ANGLE - a second security man fires his gun.
ANGLE - the bullet hits Jackson just below the left shoulder, but doesn’t kill him.
HOLLAND
(to Jackson)
Let him go…now!
ANGLE - Fed up with the ineptitude of the security team, Lindsey takes several steps to his left and snatches the crossbow from the security team leader. Lindsey nocks a bolt in place then raises the bow at Jackson.
ANGLE - Jackson winces a little as he tries to shut out the pain as well as keep Lyle on his feet for protection. Weakening, the vampire allows Lyle to slip enough for…
ANGLE - Lindsey to fire the crossbow.
ANGLE - just as Lyle crumples to the floor, the bolt pierces Jackson’s chest and the vampire explodes in a cloud of dust.
ANGLE - Lyle scurries away from what’s left of his captor and leans up against a potted palm.
ANGLE - Lindsey nocks in another bolt and aims it at…
ANGLE - Nigel who really wants out. Now.
CUT TO…
SCENE 25
INT - WOLFRAM & HART - CORRIDORS - NIGHT
OVERHEAD - we see the white corridor then a moment later, the dark figures of Paris then Angelus. They are moving quickly along the corridor that leads to the Files & Records Division.
ANGLE - the two vampires see the third barrier up ahead. When they get to it…
CLOSE UP - Paris punches in the code (3-2-6-4-3-7-# = D-A-N-G-E-R) and…
WIDER - …the door opens.
ANGLE - on two Tregothi demons who are quickly on guard.
ANGLE - Angelus reaches into his pocket and pulls out a plastic snap-lock bag that contains a grey colored powder.
PARIS
(warns)
Don’t use all of it.
Angelus opens the bag and takes a small handful of the powder.
WIDE - the Tregothi demons move towards Paris and Angelus as they enter the chamber. The door closes behind them. When the demons are a little more than an arm length’s away from Angelus, he throws the powder into the single eye of each demon.
ANGLE - the demons screech as the powder burns their eyes. They claw at their eyes which have begun to melt, the residue running down their faces and into their mouths. Within a few seconds, the two Tregothi demons collapse on the floor and are dead.
ANGLE - There’s a HISSING sound from overhead and the toxic green gas that killed Lilah begins to fill the room. Paris moves around the demons to the key pad. From memory, Paris quickly punches in the ten numbers then the hash key.
ANGLE - the fourth barrier door opens and when Paris and Angelus walk through it they see…
ANGLE - four more Tregothi demons.
DISSOLVE TO…
SCENE 26
INT - WOLFRAM & HART - LOBBY - NIGHT
ANGLE - Lindsey still has the crossbow trained on Nigel.
LINDSEY
Get the hell out of here.
ANGLE - although he looks scared…
NIGEL
(brazenly)
Do it. I dare you.
ANGLE - Lindsey raises the crossbow to eye level and looks down the bolt towards Nigel.
NIGEL
(cont’d)
Come on. If you don’t do it,
someone else will. Do it.
We HEAR the sound of the bolt being released from the crossbow then we see it pierce Nigel’s chest. Nigel opens his mouth, but before he can say anything, he explodes into a cloud of dust.
ANGLE - Lindsey still has the crossbow up at eye level. As he lowers it…
LINDSEY
Fine.
ANGLE - to Lindsey’s left, we see the security guards start to move as…
WIDE - the remaining vampires flee from the building.
HOLLAND
(orders)
Kill them!
A couple of security men fire their guns. One of the men hits one of the vampires in the back, while the other shatters one of the front windows.
ANGLE - Lindsey quickly nocks another bolt into the bow, raises it and takes aim. He fires and…
ANGLE - …hits Vamp 3 in the center of the back. He turns to dust mid-stride.
ANGLE - Holland steps away from the front desk and looks at the security men. He’s furious.
CUT TO…
SCENE 27
INT - WOLFRAM & HART - FILES & RECORDS DIVISION - NIGHT
ANGLE - on the final door. There is no key pad in which to enter any codes. Paris stands in front of the door and turns the knob. The door opens to reveal…
ANGLE - the Wolfram & Hart Files & Records Division. It’s a white room about 40 feet by 25 feet. As Paris and Angelus walk through the doorway…
PAN to the four Tregothi demons lying dead on the floor.
ANGLE - Paris and Angelus look at the room that is full of grey colored filing cabinets set out in four rows with three walkways in between them (like this: X_XX_XX_X).
ANGELUS
Hmph. After all this time,
I thought it’d be bigger.
PARIS
Me, too.
WIDE ANGLE - The two look at each other then move to opposite sides of the room to begin their search.
PARIS
We only have a little over ten minutes,
so we need to find the stuff and get
out of here quick.
ANGELUS
I know. When did you learn
about security cameras and stuff?
PARIS
About twenty minutes ago in
Holland’s office.
(looks over her shoulder)
Impressed?
ANGELUS
(looks at her)
Definitely. I’ll be even more
impressed if we don’t get caught.
PARIS
So will I.
ANGLE - Paris quickly looks at the subject of content sticker on the front of each drawer on the filing cabinets. They all read one of two names.
PARIS
Hey, there’s an entire wall of filing
cabinets about you and your
goody-too-shoes alter ego over here.
ANGLE - Angelus is reading the names on the front of each cabinet.
ANGELUS
That doesn’t really surprise me.
What does surprise me though are the
two filing cabinets over here that
are devoted to you.
PARIS
(surprised and flattered)
Really? How sweet. I didn’t
think I’d done enough maiming and killing
to warrant two filing cabinets.
ANGELUS
Most of it’s from your pre-maiming
and killing days.
PARIS
Oh. Still…you’d think they’d
have at least put us on the same side
of the room. Wouldn’t you?
ANGELUS
It would’ve made sense.
ANGLE - Paris moves into the second alley to the right of the room. She’s looking at the cabinets either side of her when…
PARIS
Bingo.
ANGELUS
You found it?
PARIS
Yeah, one entire drawer.
ANGELUS
See what’s in it…I’ll keep looking.
PARIS
See if there’s anything about the
apocalypse while you’re at it.
ANGELUS
Way ahead of you.
ANGLE - Paris tries the middle drawer of the filing cabinet. It’s locked. Paris uses her increased vampiric strength and tugs on the handle, snapping the lock easily. She takes out the first manila folder and starts perusing the paperwork.
DISSOLVE TO…
SCENE 28
INT - WOLFRAM & HART - LOBBY - NIGHT
ANGLE - Holland is fuming but still in control of himself.
HOLLAND
(points)
You two…
ANGLE - on two security men.
SECURITY MAN 1
Us?
HOLLAND
Take Mr McInerney to the infirmary.
SECURITY MAN 1
Yes, sir.
ANGLE - the two security men secure their truncheons and move quickly to where Lyle is lying in pain. They help Lyle to his feet and take him towards the elevators.
ANGLE - Holland turns to the security team leader and moves towards him.
HOLLAND
I want a meeting with the entire
security personnel in my office first
thing in the morning. Is that clear?
SECURITY TEAM LEADER
(nervously)
Yes, sir.
Holland turns and faces Lindsey who has placed the crossbow on top of the front desk.
HOLLAND
Lindsey, come with me.
ANGLE - Lindsey nods silently, picks up his briefcase and follows Holland back towards the elevators.
CUT TO…
SCENE 29
INT - WOLFRAM & HART - FILES & RECORDS DIVISION - NIGHT
ANGLE - Angelus kicks the last filing cabinet.
ANGELUS
Without actually going through every
file in every drawer, there’s no more
information. We’ll have to make
do with what you found.
ANGLE - Paris puts the file back in the drawer.
ANGELUS
Ah, honey…we’re here to take the
files, not put them back.
PARIS
I know.
ANGLE - Paris removes the entire middle drawer from the filing cabinet and balances it across her forearms, then looks at Angelus.
PARIS
Let’s get home before they send
more Tregothis down here.
OVERHEAD - Paris heads towards the door and is followed by Angelus.
ANGELUS
You did get the codes to get us
out of here, didn’t you?
PARIS
Uh huh.
They disappear through the door then it closes.
DISSOLVE TO…
SCENE 30
INT - WOLFRAM & HART - HOLLAND’S OFFICE - NIGHT
WIDE ANGLE - Holland and Lindsey walk along the corridor.
HOLLAND
Where did you learn to use a
crossbow, Lindsey?
LINDSEY
Texas.
HOLLAND
A lot of vampires in Texas,
are there?
LINDSEY
I’m sure there are some, but…
The two men stop, their gazes fixed on…
ANGLE - Marcia lying dead at her desk.
ANGLE - Holland moves quickly into his office and goes directly to his computer.
ANGLE - Lindsey moves deeper into the office.
LINDSEY
Has anything been touched, sir?
ANGLE - Holland checks his computer which is exactly how he left it.
HOLLAND
Doesn’t seem to be.
LINDSEY
I’ll call security and get them up here.
HOLLAND
Those imbeciles…don’t bother.
I can check the camera footage from
this terminal.
ANGLE - Lindsey makes a mental note of that fact.
ANGLE - Holland clicks on an icon and brings up the Closed Circuit Television (CCTV)
footage for his office. He rewinds back to when he left his office.
CLOSE UP - Holland fast forwards through the footage but no one can be seen coming or going from his office.
LINDSEY
Anything, sir?
HOLLAND
Not yet.
CLOSE UP - Holland then brings up the CCTV footage of the Files & Records Division. In the chamber between the fourth and fifth barriers we can see the four Tregothi demons - alive and well. All of a sudden the monitor flickers and the Tregothi demons are lying dead on the floor.
HOLLAND
(puzzled)
What just happened?
LINDSEY
(confused)
Sir?
HOLLAND
Someone’s tampered with the
damned security cameras. Go down
to the F and R Division and make
sure nothing’s been taken.
LINDSEY
Yes, sir.
ANGLE - Lindsey turns and leaves the office.
ANGLE - Holland is almost beside himself with fury and his face is slowly turning a shade of beet red.
BLACK OUT
SCENE 31
INT - LILAH’S APARTMENT - LIVING ROOM - NIGHT
WIDE ANGLE - on the door and after a moment we hear a dull thud come from the outer corridor.
CLOSE UP - of the door knob as it turns. The door is pushed open and…
ANGLE - Lyle walks in. His briefcase is in his left hand and his right arm is in a sling. He closes the door, locks it and moves deeper into the apartment. As he places his briefcase next to the couch…
LYLE
Karyn!
ANGLE - Karyn comes out of the bathroom. It looks like she was in the middle of removing her make up as there is mascara residue under her eyes. She sees her husband’s arm in a sling and freaks out.
KARYN
Oh, my God. What happened?
LYLE
Work happened.
WIDE - Karyn rushes across the apartment towards her husband.
KARYN
I knew there was a reason I didn’t
want you going back to that place.
What happened? Who did this to you?
Off Lyle as he prepares to tell his wife what happened.
DISSOLVE TO…
SCENE 32
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
ANGLE - Wearing track pants, oversized sweater and thick white socks, Cordelia is sitting on the couch eating pizza and watching television when Lindsey comes home. Cordelia, pizza in hand, springs up off the couch and quickly shuffles across the floor to greet her boyfriend.
ANGLE - Lindsey puts his briefcase down and drapes his coat over the top of it. When he straightens, he’s almost bowled over by Cordelia.
LINDSEY
Woh!
Take it easy, Cor.
ANGLE - Cordelia wraps an arm around his neck and kisses him.
CORDELIA
I’m just happy to see you.
LINDSEY
And after the day I’ve had, I’m
happy to see you too.
Cordelia lets Lindsey go and holds the half eaten slice of pizza up in front of Lindsey’s face. He takes a bite then moves towards the couch. He turns the TV off with the remote and sits down heavily.
CORDELIA
Okay, what’s wrong?
LINDSEY
I found out which demon Paris and
Angelus’ magic powder kills.
As Cordelia sits next to him…
CORDELIA
Which demon?
LINDSEY
The Tregothi.
CORDELIA
Which are?
LINDSEY
Big, strong, ugly…used to guard the
Files And Records Division at Wolfram
And Hart.
CORDELIA
Paris and Angelus got in there,
didn’t they?
LINDSEY
Yep, and no one saw a thing.
CORDELIA
How? I thought Wolfram And Hart
had security cameras everywhere.
LINDSEY
They were tampered with. The
cameras didn’t record anything for thirty
minutes. Angelus had to have done it.
CORDELIA
(scoffs)
Angelus? Puh-lease. He can’t figure
out cell phones let alone a complex
security system. It was probably
Paris, but I don’t know if she’d have
the know-how to do something like that.
LINDSEY
One of them obviously figured it out.
CORDELIA
So, what did they end up taking?
LINDSEY
A drawer from one of the filing cabinets
in the Files And Records Division.
CORDELIA
What was in it?
LINDSEY
Everything Wolfram And Hart had
gathered on the Senior Partners.
ANGLE - Cordelia’s mouth gapes open a fraction as she takes that in.
CORDELIA
Wow…that means they’re going
to know…
HARD CUT TO…
SCENE 33
INT - OFFICE - NIGHT
PARIS (V.O)
(peeved)
…nothing more than we did yesterday.
ANGLE - we are in a disused office that looks as if it hasn’t been cleaned in decades. Paris and Angelus are sitting on the floor of an old disused office. Underneath a row of windows on one wall, there is an old wobbly desk and an upturned wooden chair that has only three legs. Old newspapers have been used to cover the windows, with the exception of one small pane near the ceiling.
ANGLE - on Paris and Angelus who are sitting on the floor surrounded by folders and papers.
PARIS
(cont’d)
This was nothing but a complete
waste of time.
ANGLE - Angelus sifts through the papers.
ANGELUS
It can’t be. There has to be
something in these files that tells us
how to destroy them.
PARIS
There isn’t, Angel. We’ve been through
these files twice. The information we want
isn’t going to just magically appear.
ANGLE - Paris stands up to stretch her back and legs. When her back is to the camera, we see the back of her black jeans covered with dust.
ANGLE - Angelus gives up looking and stands up. He grimaces as he stretches his back muscles.
ANGLE - Paris walks slowly around the office, slowly shaking her slightly bowed head in disbelief.
PARIS
I can’t believe that what we took from
Wolfram And Hart is the same stuff we
learned from going through Wesley’s
research. You’d think that a law
firm like Wolfram And Hart would have
a lot more information on their own
Senior Partners.
ANGLE - Paris stops and looks up at Angelus looks both peeved and crestfallen.
PARIS
(cont’d)
Wouldn’t you?
ANGELUS
Maybe they do. Maybe it’s just
not where we thought it would be.
Maybe they moved it.
PARIS
Or maybe they never had it to begin with.
ANGELUS
Maybe.
PARIS
If Wesley’s right…
ANGELUS
(interjects)
Which he usually is.
PARIS
If he’s right and the Senior Partners spent
a bulk of their time in other dimensions,
then there wouldn’t be a record of it,
would there?
ANGELUS
Probably not. The less time they
spend here is less time for Wolfram
And Hart to gather information on them.
ANGLE - Paris thinks for a moment.
PARIS
We know the Senior Partners increase
their powers by killing Receivers, right?
ANGELUS
Among other things, yeah.
PARIS
So, what if a Receiver is the only thing
that can kill them?
ANGLE - a pensive look creeps into Angelus’ face as he considers what Paris is suggesting.
ANGELUS
I think we should try and locate
the latest Receiver.
PARIS
Me, too.
Off Paris.
BLACK OUT
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