An Alternative Angel - Soulfulless

SOULFULLESS

Completed: 12 August 2003

SCENE 1

EXT - ANGEL INVESTIGATIONS - NIGHT

WIDE ANGLE - we see the outside façade of the building that houses Angel Investigations.

CLOSE UP - a hand comes into frame and opens the car door.

WIDER - the back of the passenger seat is moved forward and someone climbs into the back seat. The person stumbles slightly but makes it inside without further drama. Once seated, we see that the person is Lindsey who is again wearing the black hood.

WIDER - the top of the Plymouth Belvedere convertible is up so passers-by don’t become suspicious of Lindsey’s predicament.

ANGLE - Paris puts the passenger seat back and climbs into the vehicle as Angelus gets in behind the wheel.

LINDSEY
What happens now?

ANGELUS
Shut up.

WIDE ANGLE - Angelus starts the car then speeds off down the street.

DISSOLVE TO…

SCENE 2

INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT

WIDE ANGLE - As Cordelia, Wesley and Gunn file into the office…

CORDELIA
(rattled)
We should’ve told them the truth
about Paris. I just knew it.

WIDE ANGLE - Cordelia glances around the office, clearly peeved that Lindsey is not back with her

GUNN
You agreed with us that not telling
them was the best thing.

CORDELIA
That was then.

WESLEY
We did the right thing by not telling
them, Cordelia.

CLOSE UP - Cordelia glares at Wesley.

CORDELIA
How can you say that? If we did the
right thing, Wesley, then Lindsey would
be here with me right now instead of
with them.

GUNN
You don’t know that, Cordy.

CORDELIA
Yes, I do. It’s simple: we tell
them the truth; they let Lindsey go.
It’s a no-brainer.

WESLEY
What we can do is create a different
kind of truth…one that Paris will believe…

CORDELIA
But that’s just it, Wesley. She won’t
believe it. I don’t know what it is
about vampires, but they can tell when
they’re being lied to. The only way
I’m going to get Lindsey back is by telling
them what Paris’ true involvement is in
the Apocalypse.

ANGLE - As Cordelia reaches for the phone…

GUNN
Who are you calling?

CORDELIA
Angelus.

WESLEY
Don’t be hasty, Cordelia.

GUNN
I’m with English. There has to be
another way to get your boy back.

ANGLE - Cordelia has the phone to her ear and is half-way through punching in the number when…

CORDELIA
There is.

ANGLE - Cordelia puts the phone down.

GUNN
There is?

CORDELIA
Yeah.

ANGLE - Cordelia looks at Wesley.

CORDELIA
We give them back their souls.

Off a surprised Wesley.

SCENE 3

INT - ANGEL INVESTIGATIONS - NIGHT

ANGLE - on Wesley.

WESLEY
You want to re-ensoul them?

CORDELIA
Well, not me. I was thinking you
could do it.

GUNN
Wait a minute…I thought we weren’t
going to do that until we knew they’d
found out about the Senior Partners.

CORDELIA
I think they already have.

GUNN
You do?

CORDELIA
Yeah. I’m betting they knew about
the Senior Partners’ involvement in the
Apocalypse before they came to see
me the other night.

GUNN
So why would they want all the information
about the Apocalypse then?

WESLEY
Because they hit a brick wall.

WIDE ANGLE - Gunn and Cordelia look at Wesley for further explanation.

WESLEY
(cont’d)
They probably didn’t find anything in the
files they stole from Wolfram And Hart to
verify the Senior Partners’ involvement, so
they went to Lindsey to see what he knew.

CORDELIA
But he doesn’t know anything.

GUNN
He does now.

WESLEY
(cont’d)
They picked up your scent at Lindsey’s
apartment and came to you with an
ultimatum: get the information on the
Apocalypse or they’ll kill Lindsey.

GUNN
Angelus would’ve remembered the disks
Angel stole, wouldn’t he?

WESLEY
Yes. He’d have also figured that we’d
remember them, too..

CORDELIA
Yeah, but except that stuff about psycho
blind lady, none of us knew what other
information was on them.

GUNN
So they took a punt and it paid off.

WESLEY
Exactly.

CORDELIA
But none of this helps Lindsey. They’re
holding him for ransom until we tell them
what they want to hear.

GUNN
The truth about Paris.

CORDELIA
Yeah. The way I see it we have two
options: we can tell them the thing I know
we definitely shouldn’t tell them, or we give
them back their souls. Now unless
you two can come up with a better solution
to get the man I love back, I vote we do
the curse and give them back their souls.

WIDE ANGLE - Gunn and Wesley look at each other and silently acknowledge that they don’t have another viable solution.

GUNN
I’m with Cordy.

ANGLE - Cordelia looks at Wesley who’s mentally analysing the ramifications of such an act.

CORDELIA
Wes?

WESLEY
I’m not a hundred percent sure the
restoration curse will work on
both of them.

CORDELIA
We won’t know unless we try, Wes.

ANGLE - Wesley thinks about it for a few moments.

CORDELIA
Wesley, please.
We have to at least try.

ANGLE - Wesley silently nods his agreement.

WIDER - Cordelia breathes a sigh of relief and embraces Wesley.

CORDELIA
(grateful)
Thank you.

Off Cordelia and Wesley’s embrace.

DISSOLVE TO…

SCENE 4

INT - ABANDONED APARTMENT BUILDING - BASEMENT - NIGHT

LINDSEY’S POV - we are in darkness. We HEAR the sound of metal on metal. Suddenly, the darkness is gone and we are looking at Charlie and the cell.

ANGLE - Charlie is rather surprised to see him.

WIDE ANGLE - Angelus is holding the black hood he’s just taken from Lindsey’s head. He opens the cell door and pushes Lindsey inside. As Angelus locks the door, Lindsey turns and stands in front of him.

LINDSEY
You know Wolfram And Hart are going
to wonder where I am when I don’t show
up for work tomorrow.

ANGELUS
And I’m sure Wolfram And Hart would
be very interested to know that you’re
sleeping with the enemy.

LINDSEY
You wouldn’t dare.

ANGELUS
Wouldn’t I?

CLOSE UP - the corner of Angelus’ mouth curls up; he knows he’s got Lindsey on the ropes.

LINDSEY
What happens if Cordelia doesn’t find
anything about Paris?

ANGELUS
(cold)
Then you die.

WIDE ANGLE - Angelus turns and leaves the basement, shutting and locking the door behind him.

ANGLE - Lindsey turns around and looks at Charlie who’s been silent up till now.

CHARLIE
I wasn’t expecting to see you again.

LINDSEY
Neither was I.

Off Lindsey’s troubled face.

CUT TO…

SCENE 5

EXT - ABANDONED APARTMENT BUILDING - NIGHT

WIDE ANGLE - Angelus walks out of the building and towards…

PAN - the car. The top is down now, and Paris is sitting in the passenger seat, waiting.

ANGLE - Angelus opens the driver side door and gets in behind the wheel.

PARIS
(low)
They know what my involvement is
in the Apocalypse.

ANGELUS
I know. It must be something pretty big
if Cordelia’s willing to risk Lawyer Boy’s life.

PARIS
I wish I could see those disks for myself.
It’d save us a lot of time.

ANGELUS
The mousketeers’ll stay at the office and
guard those disks so we can’t get to them.

ANGLE - Paris nods in agreement.

PARIS
So…what do you think my role is?

ANGELUS
I don’t know. Maybe you’re going to
become a Senior Partner.

PARIS
Well, they did say there was going to
be seven of them.

ANGELUS
Makes you wonder who the other two
are going to be.

PARIS
You.

ANGELUS
Maybe.

PARIS
Except Angel’s the one who’s supposed to
be involved in the Apocalypse, not you.

ANGELUS
Hmmm. We might have to see what we
can do to change that. I guess we’ll
know tomorrow night when Cordelia tells us.

PARIS
You think she will?

ANGELUS
If she ever wants to see lover boy again,
she will.

PARIS
Did you see the way she looked at
him tonight?

ANGELUS
Yeah. Sickening, wasn’t it?

PARIS
Never would’ve picked those two to
get together.

ANGELUS
Neither would I.

Off Angelus.

CUT TO…

SCENE 6

INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT

WIDE ANGLE - Wesley slowly sits down behind his desk as Cordelia and Gunn sit down in the visitors chairs opposite.

WESLEY
If we’re going to do this, we need to
prepared. We need -

CORDELIA
An Orb Of Thesulah.

GUNN
A what?

WESLEY
The Orb Of Thesulah. Spirit vault for
the rituals of the undead.

GUNN
Okay…so where do we get one of
these Orbs?

WESLEY
Rick at the Magic Store on Melrose
had one last time I checked.

CORDELIA
When did you do that?

WESLEY
Soon after Paris and Angelus killed Alicia.

CORDELIA
Oh.

GUNN
How much does one of these bad
boys go for?

WESLEY
A lot.

ANGLE - Wesley reaches into his back pocket and pulls out his wallet. He opens it up and takes out one of his credit cards. As he hands it to Gunn…

WESLEY
Be at Rick’s as soon as he opens in the
morning. Cordelia -

CORDELIA
I’ll go with him and get the rest of the stuff.

WESLEY
You know what we need?

CORDELIA
Hey, I’m the only one in this room who was
around when Willow restored Angel’s soul
five years ago. I even helped her
with it. So I think I know what we need.
Okay?

WESLEY
Fine. I’ll contact Willow in Sunnydale and
ask her to e-mail me the details of the
Restoration Curse.

CORDELIA
We all might want to get a good night’s
sleep because we’re going to need all our
strength to pull this off.

GUNN
How come?

CORDELIA
Because doing this Curse really took it out
of Willow. Mind you, she was in hospital at
the time, but, hey, she’s a witch…we’re not.

WESLEY
Good point. We’ll all get a good night’s
sleep and meet back here in the morning.

CORDELIA
We should lock the disks up, you know, in
case Paris decides to get a little break
and enter-ish.

WESLEY
I’ll take the disks home with me.

CORDELIA
Good.

Off Cordelia.

CUT TO…

SCENE 7

INT - ABANDONED APARTMENT BUILDING - BASEMENT - NIGHT

ANGLE - Lindsey is sitting on the floor of the cell, his mind racing a million miles an hour.

ANGLE - Charlie is dozing. She’s sitting up against the back wall; her chin resting on her chest. Her head shifts back and bangs against the wall, waking her up.

CHARLIE
Ow.

ANGLE - Lindsey glances at her as she rubs the back of her head.

LINDSEY
You okay?

CHARLIE
Yeah. They could have at least given
us pillows, couldn’t they?

ANGLE - Charlie looks up at him and notices…

CLOSE UP - the heavy look on his face.

ANGLE - Charlie frowns slightly.

CHARLIE
Are you okay?

LINDSEY
No.

CHARLIE
Is there anything I can do to help?

ANGLE - Lindsey looks around at the bars that surround them.

LINDSEY
I doubt it.

CHARLIE
Why didn’t they let you go?

LINDSEY
Because they didn’t get all the information
they wanted. They’ve given Cordelia
until seven o’clock tomorrow night to get it.

CHARLIE
What information?

LINDSEY
What Paris’ involvement is in the Apocalypse.

CHARLIE
I’ve been meaning to ask you about that…

LINDSEY
The end of the world as we know it.
There have been some smaller Apocalyptic
events over the past few years, but the
one Paris and Angelus are trying to find
out about is a big one.

CHARLIE
What’s the difference between a small
Apocalypse and a big one?

LINDSEY
There have been some small ones the
last five or six years in a town a couple
of hours from here called Sunnydale.

CHARLIE
I’ve been there.

LINDSEY
Then you know it sits on the Hellmouth.

CHARLIE
The what?

LINDSEY
The Hellmouth is a hot spot for demons
and vampires, and now and then they
get a little Apocalyptic.

CHARLIE
Who stopped them all?

LINDSEY
The Slayer. She lives there.

ANGLE - Charlie nods her understanding.

LINDSEY
(cont’d)
Last year there was a Hell God who wanted
to open a hell dimension that would swallow
everything in this dimension.

CHARLIE
(unnerved)
And you call that a small Apocalypse?

LINDSEY
Yeah. All I know about the big one is
that it’s going to be just that. Big.
There’s going to be pain and injuries and
death, but hopefully all that can be
stopped before it happens.

CHARLIE
Who can stop it? The Slayer?

LINDSEY
Hopefully Cordelia and her friends.

CHARLIE
What about Wolfram And Hart?

LINDSEY
(laughs)
Wolfram And Hart? They want the
Apocalypse to happen. That was one
of the reasons I left and started working
with Cordelia.

CHARLIE
But you went back to them? Why?

ANGLE - Lindsey looks at his right hand. As he holds it up…

LINDSEY
Up until a couple of months ago, this
was plastic.

CLOSE UP - Charlie’s stunned.

LINDSEY
(cont’d)
I agreed to return to Wolfram And Hart
and they agreed to give me a new hand.

ANGLE - Charlie crawls across the floor towards Lindsey. As she looks at his hand…

LINDSEY
Other worldly means.
That’s why there’s no scar.

CHARLIE
Oh. So, if Wolfram And Hart didn’t want
the Apocalypse to happen, you wouldn’t
have left in the first place?

CLOSE UP - Lindsey thinks about that for a moment.

LINDSEY
No…probably not.

CHARLIE
Then you and Cordelia wouldn’t have
got together.

LINDSEY
No…I guess we wouldn’t have.

CHARLIE
It seems to me that you made the right
choice in leaving.

LINDSEY
Yeah?

CHARLIE
Yeah. I’m not so sure about you going
back there though.

LINDSEY
Why not?

CHARLIE
Yeah, you got a new hand out of the deal,
but at what price? From what you’ve
told me about Wolfram And Hart, they’re
going to want more and more from you
until you have nothing more to give.
And once that happens…

Off Lindsey as he considers what Charlie’s saying.

BLACK OUT

SCENE 8

EXT - STREETS - CAR - NIGHT

WIDE ANGLE - Angelus is behind the wheel of the car. Paris looks around then…

PARIS
So what do you want to do until
Cordelia contacts us?

ANGELUS
I can think of one thing.

CLOSE UP - Angelus runs his finger along Paris’ thigh as he drives.

ANGELUS
(cont’d)
Sun’ll be up soon. Let’s get an early
breakfast and find a really nice hotel.

PARIS
In LA? It shouldn’t be too hard to
do either.

WIDE ANGLE - the car drives out of frame.

DISSOLVE TO…

SCENE 9

INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY

CLOSE UP - Wesley is sitting at his desk, phone to his ear.

WESLEY
Hello? Buffy?
(listens)
It’s Wesley Wyndam-Pryce.
How are you?
(listens)
Good.
(listens)
I’m good.
(listens)
I’m actually after Willow if she’s there.
(listens)
Thank you.

WIDER - While Wesley waits for Willow to come to the phone, he absently writes ‘soul’ on a piece of paper.

WESLEY
Hi, Willow.
(listens)
I need you to do something for me…
something that you mustn’t mention
to Buffy.
(listens)
I need you to e-mail me the spell to
re-ensoul Angel.
(listens)
Yes.
(listens)
I know I haven’t performed it before,
Willow, but I’m sure I’ll be able to do it.
(listens)
Cordelia’s out getting everything we need.
(listens)
I will. Ah…one other thing.
(listens)
Do you think it’s possible to perform the
spell on two vampires at the same time?
(listens)
Angel and Paris.
(listens)
We thought it better not to worry you.
(listens)
Almost a year.
(listens)
It’s a long story, Willow, but suffice to say it's
now time for them to have their souls back.
(long pause, listens)
Thank you.
(listens)
I will.
(listens)
Goodbye, Willow.

ANGLE - Wesley hangs up the phone and puts his pen down.

WESLEY
Thank you, Willow.

ANGLE - Wesley gets up, moves out to Cordelia’s desk, and sits down at the computer.

CLOSE UP - of the piece of paper Wesley was doodling on. CLOSE IN - and we see the world ‘soul’ has become ‘soulfuless’.

CUT TO…

SCENE 10

EXT / INT - RICK’S MAGIC STORE - MELROSE AVENUE - DAY

EXT - WIDE ANGLE - Gunn is standing near the door of the store while Cordelia paces back and forth in front of him.

CORDELIA
(impatiently)
Where is he? We’ve been waiting here
half a freakin’ hour.

GUNN
Maybe he got held up in traffic or something.

CORDELIA
If a store says it opens at nine o’clock,
then it should open at nine o’clock.
Not nine-thirty.

ANGLE - Cordelia looks along the street and sees a largish man walking towards them.

CORDELIA
(mutters)
Well, it’s about time.

The man takes a set of keys out of his trouser pocket and as he approaches his store, recognises Cordelia.

RICK
Cordelia, right?

CORDELIA
Yeah. Hi. This is Charles Gunn.
Gunn, this is Rick.

RICK
Hey.

GUNN
Hey.

ANGLE - As Rick unlocks the security grid…

RICK
I hope you haven’t been waiting long.

CORDELIA
(smiles)
Just got here.

ANGLE - Gunn glances at Cordelia and shakes his head slightly.

WIDE ANGLE - Rick raises the security grid then unlocks the front door.

RICK
Come in. Come in.

Rick disappears inside.

INT - Rick moves through the crowded store as Cordelia and Gunn enter the establishment.

RICK
So, what can I do for you today?

ANGLE - Cordelia takes a piece of paper out of her bag and hands it to Rick.

CORDELIA
We need everything on that list.

ANGLE - as Rick peruses the list…

RICK
Not a problem. Got all this here.

CORDELIA
And an Orb Of Thesulah.

RICK
Did you ask Angel?

CORDELIA
(puzzled)
Why would I ask him?

RICK
Because he bought my last one a few
weeks ago.

CORDELIA
(shocked)
He what?

GUNN
You’re kidding, right?

RICK
I’ve been waiting for another one to come
in, but no one seems to have any. Sorry.
I can get you all the other things on this
list though.

Off Rick.

TIME CUT TO…

SCENE 11

EXT - RICK’S MAGIC STORE - DAY

WIDE ANGLE - Cordelia and Gunn walk out of the store. Gunn is holding a paper bag full of the items from Cordelia’s list.

CORDELIA
I can’t believe Angelus bought an
Orb Of Thesulah.

GUNN
He must’ve known we’d try the spell
at some point.

CORDELIA
That’s Angelus for you. Always thinking
one step ahead.

GUNN
Do you know where else we can get
another Orb?

ANGLE - Cordelia puts her thinking cap on.

CORDELIA
There’s a magic store in Ojai, but I really
don’t know if they’d have one.

GUNN
How about we let our fingers do the
walking? We’ll call around to all the
magic stores and see if one of them’s got
an Orb Of Thesulah.

CORDELIA
They don’t grow on trees, Gunn.

GUNN
I know, but someone’s bound to have one
stashed away somewhere, right?

CORDELIA
(dejected)
Yeah…Angelus.

Off Cordelia.

DISSOLVE TO…

SCENE 12

INT - ABANDONED APARTMENT BUILDING - BASEMENT - DAY

WIDE ANGLE - Lindsey is sitting in a corner of the cell while Charlie walks back and forth across it.

CHARLIE
I am so hungry. I can’t believe they
only bring food in once a day.

LINDSEY
They’re vampires, Charlie. They only have
to feed once a day, if that. I guess we’re
lucky they’re feeding us at all.

CHARLIE
I don’t know how they can drink blood.
(makes ‘ick’ face)
I mean, it’s just so…disgusting. Why can’t
they eat food like everyone else?

LINDSEY
They can eat regular food, but it does
nothing for them.

Charlie stops pacing and looks down at Lindsey.

CHARLIE
Why not?

LINDSEY
I don’t know. Cordelia told me about
a time when Angel became human.

CHARLIE
(surprised)
How’d that happen?

LINDSEY
Mohra Demon. Anyway, he raided the
fridge like there was no tomorrow. He was
so excited by the fact that he could actually
taste food again.

CHARLIE
So a vampire doesn’t taste food like you
and I taste food?

LINDSEY
No.

CHARLIE
So, why do they drink blood then?

LINDSEY
Nutrition. It’s the only thing that gives
them sustenance. I’m not sure why.
Maybe it has something to do with how
they became vampires in the first place…
(shrugs)
I don’t know.

CHARLIE
For a lawyer, you seem to know an awful lot
about vampires, especially Paris and Angelus.

LINDSEY
Those two are my main project at Wolfram
And Hart, you know, when I’m not doing
the lawyer thing.

CHARLIE
Why are they your main project?

LINDSEY
Because I’ve had the most contact with
them, especially Angel. The firm’s Senior
Partners have big plans for them, one of
which was the main reason I left.

CHARLIE
What was it?

LINDSEY
They wanted Paris and Angelus to become
Senior Partners as well.

CHARLIE
And that’s a bad thing, right?

LINDSEY
Oh, yeah. The Senior Partners make
Paris and Angelus look like saints where
evil’s concerned.

CLOSE UP - Suddenly, Charlie gasps and closes her eyes.

WIDER - she collapses to the floor as a demon enters her body.

ANGLE - Lindsey quickly crawls over to her and rolls her on to her back.

LINDSEY
(urgently)
Charlie…can you hear me? Charlie?

CLOSE UP - small clouds of steam are being exhaled from Charlie’s mouth as she shivers with cold.

LINDSEY (O.C)
Charlie?

WIDER - her body lurches forward slightly as the demon is expelled. Charlie opens her eyes and looks up at Lindsey. She’s obviously scared and shaken by what’s happened.

LINDSEY
Which demon was it?

CHARLIE
(stammers)
I-I don’t know. Who-whoever it w-was,
though, w-was evil, w-with a ca-capital E.

LINDSEY
(half-joking)
It wasn’t one of the Senior Partners, was it?

CHARLIE
I-I don’t know…I-I-I didn’t see who it w-was.

Off Lindsey’s puzzled face.

DISSOLVE TO…

SCENE 13

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

ANGLE - on Lyle who is standing in Holland’s office.

HOLLAND
And he wasn’t due in court today?

LYLE
No, sir. I’ve tried his cell phone,
but keep getting his voice mail.

HOLLAND
What about his home?

LYLE
I sent a couple of men to his apartment.
His car was in the parking garage but
he wasn’t home.

HOLLAND
Alright then. I guess we’ll have to -

Lyle’s cell phone starts ringing.

LYLE
Excuse me.

HOLLAND
Go ahead.

He reaches into his inside coat pocket and takes it out. Lyle answers the call.

LYLE
Lyle McInerney.
(listens)
Yes, I am. Who’s this?
(listens)
Oh, hello. I didn’t realise…
(listens)
Right.
(listens)
Is he alright?
(listens)
Good, good. Tell him I hope he
gets better soon.
(listens)
I will. Bye.

WIDE ANGLE - Lyle switches off the phone and looks at Holland.

LYLE
That was a girl friend of Lindsey’s.
Apparently he was mugged last night and
won’t be in for a day or two.

HOLLAND
What was the girlfriend’s name?

V.O. Paris is laughing.

HARD CUT TO…

SCENE 15

INT - FIVE-STAR HOTEL - ROOM - DAY

ANGLE - Paris laughs as she takes her hand off the bedside phone. She lies back on the bed, the middle of her body strategically covered with the bed sheet, then looks across the room.

PARIS
(amused)
He didn’t have a clue.

ANGLE - on a shirtless Angelus who looks up from whatever he’s doing (we only see him from the waist up so we can’t see what he’s doing).

ANGELUS
Good. That’ll keep Wolfram And
Hart from wondering why Lindsey’s not
at work today.

PARIS
Yeah. That Lyle guy sounds cute.

CLOSE UP - Angelus gives her a hard glare.

PARIS
I bet he’ll look even cuter when I’m
ripping out his throat.

ANGELUS
(smiles)
There’s my girl.

ANGLE - Paris smiles and closes her eyes are closed as she starts rolling around on something underneath her.

PARIS
Have you tried this?

ANGELUS (O.C)
Tried what?

PARIS
These orb things. They’re really good
for massaging your lower back.

ANGELUS (O.C)
Are they?

PARIS
Yeah. You should have tried it after
we got back from Ravadanczic.

ANGELUS (O.C)
Hmmm.

Paris reaches under the sheet and pulls out…

CLOSE UP - an Orb Of Thesulah. It glows as she holds it in her hand and stares at it.

PARIS
It’s kind of pretty, isn’t it?

ANGLE - Angelus, who’s wearing a towel around his waist, drags a blonde-haired girl into the closet and deposits her there. It’s quite clear she’s dead. He drops the girl’s arm and closes the closet door.

WIDE ANGLE - He turns around and looks across the room at Paris. It’s now that we see the room clearly. It’s quite large and spacious. There’s a huge king-size bed with ornate wooden headboard and matching side tables. To the left of the bed, near the window (drapes closed of course), is a round wood table with four chairs. On the opposite side of the room is a writing desk with a phone, and next to that is a large two-seater sofa. Opposite the sofa is a cabinet which houses the TV and DVD player. This is a very swish five-star hotel.

ANGELUS
Put it down, love.

PARIS
Why? You afraid I’m going to smash
it into the wall like you did that one the
other day?

ANGELUS
That was an accident.

PARIS
Oh, so you didn’t mean to throw the
Orb against the wall?

ANGELUS
It’s not like it matters. We’re eventually
going to destroy them all anyway.

PARIS
True.

WIDE ANGLE - Paris sits up a little and hurls the Orb towards Angelus. He sidesteps the Orb and allows it to smash against the door jamb of the closet.

PARIS
Well, that was fun…for about half
a second.

ANGELUS
We’ve still got a few hours before
we have to go.

ANGLE - Suddenly Angelus is on the bed, straddling Paris’ naked thighs. He looks down at her…

ANGELUS
I can think of a few things we can do.

PARIS
I can think of a few more.

ANGLE - Angelus grabs Paris by the shoulders and pulls her into a sitting position. It’s now we see long welts on Paris’ naked back, obviously from their lovemaking earlier in the day.

CLOSE UP - Off Paris and Angelus as they kiss hungrily.

BLACK OUT

SCENE 15

INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY

ANGLE - Wesley is sitting hunched over at his desk. He is perusing something of great interest.

TIGHT - on three versions of the Restoration Curse.

ANGLE - Wesley looks up as…

WIDE ANGLE - Gunn (carrying the paper bag of goodies) and Cordelia enter the office.

WESLEY
Where have you two been?

CORDELIA
(wearily)
Trying to find an Orb Of Thesulah.

WESLEY
Didn’t Rick have one?

GUNN
Nuh-uh. Neither did any other magic
store within a hundred miles of the city.

CORDELIA
We had to go south of the border
to find one.

WESLEY
So did you or did you not buy one?

CORDELIA
We did.

ANGLE - Cordelia reaches into her bag, takes out a largish box and as she places it on Wesley’s desk…

CORDELIA
(cont’d)
Wasn’t cheap either, even for Mexico.

ANGLE - Wesley moves the box closer to him and opens it.

TIGHT - sitting in the box is the Orb Of Thesulah.

ANGLE - Wesley closes the box then looks up at Gunn and Cordelia.

WESLEY
I was sure Rick would’ve still had one
of these.

CORDELIA
He did up until a few weeks ago when
he sold his last one to Angelus.

WESLEY
(blinks hard)
Excuse me?

GUNN
Turns out Paris and Angelus have been
visiting all the magic stores in and around
the city and buying up all the orbs.

WESLEY
Oh dear.

GUNN
(cont’d)
Guess they hadn’t got down to Tijuana yet.

CORDELIA
I’m thinking that they really don’t want
their souls back.

WESLEY
Well, they’re going to get them back
whether they like it or not.
Did you get the other things?

GUNN
Yeah.

WIDER - Gunn puts the paper bag on the desk. Wesley opens it and peers inside.

WESLEY
Good.

CORDELIA
Did you talk to Willow?

WESLEY
I did. She e-mailed the curse to me.

GUNN
Did you ask her if it’d work on both of them?

WESLEY
I did, but she wasn’t sure if it would or not.
She ended up sending me three versions
of the curse. One that is worded for
more than one vampire, one for a female
vampire and the version Willow used on
Angelus five years ago.

GUNN
So which one do we use?

WESLEY
Given that the ether that’s stored inside the
Orb is meant to house only one soul at a
time, I really think that we should do two
separate spells.

CORDELIA
Makes sense. I mean, we don’t want
them ending up with the wrong soul or a
mixture of each other’s. Right?

WESLEY
That would be an unmitigated disaster.
We’re going into territory that is definitely
unchartered.

CORDELIA
Not to mention changing the future.

GUNN
Huh?

CORDELIA
Angel’s the vampire with a soul. Once we
do these spells, he won’t be the vampire
with a soul, he’ll be a vampire with a soul.

GUNN
Two vamps, both with souls. Damn.

WESLEY
I never even considered that.

CORDELIA
Especially where that ‘Shanshu’ prophecy’s
concerned.

GUNN
The thing where Angel becomes human?

WESLEY
(remembering)
The vampire with a soul will Shanshu, become
human. There’s no telling if it will be
Angel or if it’ll be Paris.

CORDELIA
At this particular moment, I’m thinking that I
don’t really care if there’s one vampire with
a soul or a hundred. All I know is that we
have to do these spells because I really
don’t want what’s on those disks coming
true where Paris is concerned.

GUNN
Me either.

WIDE ANGLE - the three look at each other.

CORDELIA
Is anyone else taking a weapon in case
these spells don’t work?

GUNN
Oh yeah.

WESLEY
I was planning to.

CORDELIA
Good. Just making sure I wasn’t the
only one packing wood.

GUNN
I’ll go get some stakes from downstairs.

WESLEY
Good.

ANGLE - Gunn moves towards the stairs that lead down to the basement and disappears.

ANGLE - Cordelia looks at Wesley who’s opened the box again.

CORDELIA
Are you sure you can really do this, Wes?

ANGLE - Wesley looks from the Orb to Cordelia.

WESLEY
Once I’d had a chance to study the
ritual, I called Willow back to check I’d
understood everything correctly, which
I had.

CORDELIA
That’s good to know, Wes, but you didn’t
answer my question.

WESLEY
Which was?

CORDELIA
Are you sure you can really do this?

WESLEY
(hesitates)
Reasonably.

CORDELIA
Reasonably?

WESLEY
(more conviction)
I can do this, Cordy. But, I might need
your help at some point.

CORDELIA
Hey, I’m just waving-stinky-herbs-around-girl.
Besides, if you get all possess-y like Willow
did when she last did the spell, you won’t
need me at all.

WESLEY
Right. Well, then. When you’re
ready, you can make the call to Angel.

CORDELIA
He’s not Angel yet, Wes.

Off Cordelia.

DISSOLVE TO…

SCENE 16

INT - HOTEL ROOM - LATE DAY

ANGLE - Both Paris and Angelus are VAMPED out. The bed sheet is strategically placed around them. Their legs are around each other as they sit facing each other.

CLOSE UP - Angelus is nuzzling the area between Paris’ neck and left shoulder.

CLOSE UP - Paris drags her nails down Angelus’ back, leaving long welts in his flesh.

ANGELUS
Grrr.

ANGLE - Angelus takes Paris’ head in his hands and twists, snapping her neck.

CLOSE UP - Paris smiles then giggles.

ANGLE - Just as Paris kisses Angelus, a cell phone rings (o.c).

CLOSE UP - Annoyed, Angelus pulls away from Paris.

ANGELUS
Dammit. Why do people always call
during the good bit?

ANGLE - Angelus gets up off the bed (we see him from waist up) and moves across to the sofa.

ANGLE - On the floor, in front of the sofa, is Angelus’ long black duster. The phone continues to ring. PAN UP as he picks up the coat and rummages around in the pockets. Finally, he pulls out Lindsey’s cell phone and drops the coat to the floor. He turns the phone on and as he MORPHS back to human…

ANGELUS
Cordelia. I hope you have some
good news for me.
(listens)
Good.
(listens)
Where are you?
(listens)
We’ll meet you there at seven o’clock.
(listens)
Oh, and Cordelia, don’t bring your
friends this time.

ANGLE - Angelus switches off the phone and drops it on to the coat.

ANGLE - Paris is back in human mode.

PARIS
You know Gunn and Wesley are going
to be there, don’t you?

ANGELUS
I’m counting on it. Even if they do tell
us what the deal is with you and the
Apocalypse, we can still kill Lindsey
on principle.

PARIS
Works for me.

ANGLE - Paris looks to her left at the clock near the bed which reads 5:37.

PARIS
We’d better go get him then.

ANGELUS
There’s still plenty of time.

PARIS
Have you forgotten about a little thing
called traffic?

ANGELUS
(remembering)
Right.

ANGLE - Angelus bends down to pick up his coat.

DISSOLVE TO…

SCENE 17

INT - ABANDONED APARTMENT BUILDING - BASEMENT - TWILIGHT

CLOSE UP - we see a pair of hands gripping one of the bars at the top of the cell.

ANGLE - Charlie, wrapped in the blanket, is sitting on the floor looking up. She is watching…

ANGLE - a shirtless Lindsey doing chin-ups. His body glistens slightly with sweat. He looks hot (in a non-temperature kind of way). He does another chin-up then…

LINDSEY
How many’s that?

CHARLIE
Ninety-four.

FOREGROUND - Lindsey does four more chin-ups then…

BACKGROUND - the basement door opens.

ANGLE - Charlie gathers the blanket around her body as she stands up as…

ANGLE - Angelus walks in and sees…

ANGLE - Lindsey do another chin-up. He glances at Angelus as…

ANGELUS
Good to see you taking care of yourself,
Lindsey. Cordelia’s always liked a
nice, buff man.

ANGLE - Lindsey finishes his hundredth chin-up then drops to the floor and shakes his arms out.

LINDSEY
Like you’d know.

ANGELUS
Get your shirt on and let’s go.
Your girlfriend’s waiting to see you.

ANGLE - Lindsey picks up his shirt and puts it on as…

ANGLE - Angelus takes the black hood out of his coat pocket. He moves forward to unlock the cell door.

WIDE ANGLE - Angelus opens the door and Lindsey walks out of the cell. When Angelus goes to shut the door, Lindsey attempts to…

ANGLE - punch Angelus, but the vampire catches his fist about a foot from his face. As he grips Lindsey’s fist in his strong hand…

ANGELUS
You really think you’d connect, Lindsey?

LINDSEY
Had to try.

Angelus goes to put the hood over Lindsey’s head, but Lindsey tries to avoid it.

LINDSEY
Is that thing really necessary?

ANGELUS
Yes, it is. It’ll stop me from getting
blood on me later.

LINDSEY
Blood? What are going to do?
Huh?

Angelus proceeds to cover Lindsey’s head then pats the top of it.

ANGELUS
It’s called evidence, Lindsey. As a
lawyer, I’d have thought you’d be
familiar with that word. Oh, wait…

ANGLE - Angelus punches Lindsey in the face which Lindsey was definitely not expecting.

ANGLE - as Angelus holds Lindsey up…

LINDSEY
(angrily)
What the hell are you doing?

ANGELUS
Creating proof to show that you were
mugged last night. Isn’t that why
you weren’t at work today?

Lindsey is quiet for a moment then…

LINDSEY
You called Wolfram And Hart, didn’t you?

ANGELUS
Well, Paris did. She pretended to be
your new girlfriend, Patience.

LINDSEY
Patience?

ANGELUS
Hey, it’s LA. People seem to call
themselves anything they want
these days.

ANGLE - Charlie silently watches Angelus close and lock the cell door. As Angelus steps back and grabs Lindsey’s arm…

ANGELUS
Get moving.

ANGLE - Charlie presses herself against the bars at the front of the cell.

CHARLIE
Bye, Lindsey. Remember what I
said last night.

LINDSEY
I will. Bye.

ANGLE - Charlie steps back and watches…

ANGLE - Angelus and Lindsey leave the room, the door closing behind them.

WIDE ANGLE - Charlie looks a lonely figure in the cell.

CUT TO…

SCENE 18

INT - GUNN’S APARTMENT - NIGHT

ANGLE - Cordelia comes down the stairs of the basement apartment. Once at the bottom, she looks to her right and starts towards the bedroom.

WIDE ANGLE - Gunn and Wesley are in the bedroom.

ANGLE - Wesley places the last candle on the bedside table that is now situated between the bed and the closet.

REVERSE ANGLE - Wesley and Gunn look down at…

CLOSE UP - the items that are on the table (seven candles, some bones, and some stones with strange markings on them).

ANGLE - Cordelia stands in the doorway.

CORDELIA
How’s it going?

GUNN
All done.
(then, to Wesley)
We’re done, right?

WESLEY
Yes.

CORDELIA
They should be here in a few minutes.

WESLEY
You know what you have to do?

CORDELIA
I do. Do you?

WESLEY
Yes. You’d better get back upstairs.

ANGLE - Cordelia nods then turns and starts back towards the stairs. As she starts to climb…

ANGLE - Wesley looks back at Gunn.

WESLEY
Now, where are the darts?

Off Wesley.

DISSOLVE TO…

SCENE 19

INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT

WIDE ANGLE - Cordelia walks out of Wesley’s office and stops at the corner of her desk. She turns the answering machine on then moves around the desk and sits down. As she looks at the computer, we HEAR a set of footsteps (o.c). As Cordelia looks up…

CORDELIA
I’m sorry, we’re…closed.

Cordelia’s demeanour changes when she sees…

ANGLE - Angelus and Lindsey standing just inside the office.

CORDELIA
Angelus.

Off Cordelia.

BLACK OUT

SCENE 20

INT - ANGEL INVESTIGATIONS - NIGHT

ANGLE - From behind, we see Angelus remove the hood from Lindsey’s head.

ANGLE - Cordelia catches her breath slightly.

CORDELIA
Oh, my God.

CLOSE UP - Lindsey’s face is bruised and bloodied. He’s really been worked over.

CORDELIA
Are you okay?

LINDSEY
Yeah.

CORDELIA
(to Angelus)
Did you do that to him?

ANGELUS
(smiles)
Maybe.

CORDELIA
Where’s your wife?

ANGELUS
Parking the car.

CORDELIA
Oh. Well, I’m not telling you about
her involvement in the Apocalypse until
she gets here, you know, given that the
information’s about her.

ANGELUS
Didn’t expect you to.
(looking around)
Where are the others?

CORDELIA
Out. You said for them not to be here,
and they’re not. It’s just me here.

ANGELUS
Really? The last time we met, you were
a bundle of nerves and that was with Wes
and Chuck by your side. Now, here
you are all by your lonesome and you’re
only half as nervous.
Makes me wonder why.

GUNN (O.C)
Here’s why.

ANGLE - as Angelus turns around…

ANGLE - Gunn, who’s standing in the doorway, fires his tranquiliser gun.

ANGLE - the dart hits Angelus in the shoulder.

ANGELUS
You are so going…to…pay…for…

Angelus’ legs begin to wobble as his eyes start to glaze over. He falls backwards, hitting the floor, unconscious.

LOBBY - ANGLE - Paris enters the building and immediately sees…

PARIS’ POV - Gunn with the tranquiliser gun.

CLOSE UP - Paris VAMPS out and…

ANGLE - takes two steps before launching herself at the black man.

ANGLE - Lindsey is looking down at Angelus. When he looks up, his eyes widen a little.

LINDSEY
(warns)
Gunn, behind you!

ANGLE - SLO-MO - Gunn turns his head and sees Paris sailing towards him.

ANGLE - SLO-MO - Wesley appears at the top of the rear steps. He fires his tranquiliser gun.

TIGHT - SLO-MO - the dart sails through the air and…

ANGLE - SLO-MO - hits Paris in the right thigh.

WIDE ANGLE - Paris hits the door jamb just as Gunn steps inside the office to avoid the collision.

ANGLE - Paris lands on the floor, unconscious, her face MORPHING back to human.

ANGLE - Wesley moves forward, gun ready to fire again if needed.

CLOSE UP - he nudges Paris’ leg with his foot but she doesn’t stir. She is indeed unconscious.

ANGLE - Cordelia moves around the desk and wraps her arms around Lindsey. He reciprocates, clearly obvious he’s glad to be back in her arms. As they part…

BACKGROUND - Wesley looks up at Gunn.

WESLEY
Let’s get them downstairs before they
wake up. Given the power they have,
I don’t know how long the sedative will last.

GUNN
Yeah.

ANGLE - Wesley rests the tranquiliser gun against the wall then crouches down and prepares to pick Paris up.

ANGLE - Gunn moves into the office and crouches down beside Angelus.

CLOSER - He looks at Angelus then…

WIDER - up at Lindsey.

GUNN
Thanks, man.

ANGLE - Lindsey nods.

GUNN
You wanna give me a hand getting the
big guy downstairs?

LINDSEY
Yeah.

WIDE ANGLE - Lindsey moves to Angelus’ boot-clad feet. He crouches down and helps Gunn pick Angelus up.

DISSOLVE TO…

SCENE 21

INT - GUNN’S APARTMENT - BEDROOM - NIGHT

CLOSE UP - we see a pair of feet that are secured at the ankles by heavy-duty chains. PAN up and the chains secure the thighs and the torso of Angelus.

WIDER - and we see that Angelus is chained to his old bed, Paris beside him.

ANGLE - Paris has a large welt on her forehead from where she slammed into the door jamb upstairs.

WIDE ANGLE - Wesley, Gunn, Cordelia and Lindsey are standing near the door watching…

REVERSE ANGLE - the two unconscious vampires.

GUNN
Are you sure they need to be awake
for this?

WESLEY
Yes.

CORDELIA
I think they should be. I want them to
be totally conscious of the pain as their
souls are forced back into their bodies.

ANGLE - Lindsey looks a little surprised by Cordelia’s callousness. She looks at him.

CORDELIA
Oh, like you don’t after what they
did to you.

ANGLE - Cordelia picks up the herbs that are needed for the ritual.

LINDSEY
Wolfram And Hart aren’t going to like
you doing this.

CORDELIA
I don’t give a rat’s patutie what Wolfram
And Hart are going to like, Lindsey. I got
you back, now I want the two people I
used to call friends back.

CLOSE UP - Angelus groans as he moves his head slightly. He cracks his eyes opens then takes a moment to take in his surroundings. He looks to his right at…

ANGLE - Paris who’s still unconscious.

CLOSE UP - he then looks to his left at…

ANGELUS’ POV - the four standing by the door.

ANGELUS
Oh, great. It’s the three mousketeers
plus one.

WESLEY
Given that we’ve used heavy-duty chains,
I wouldn’t bother trying to break them.

ANGELUS
You might want to tell that to Paris when
she wakes up. She hasn’t really been
into chains lately.

CLOSE UP - Paris moves her head and winces slightly.

WIDER - she tries to move her arms but when she’s unable to, her eyes fly open.

PARIS’ POV - she looks down at the chains that are securing her to the bed.

PARIS
What the - ?

ANGLE - Angelus looks back at Wesley.

ANGELUS
Told you.

CLOSE UP - enraged, she VAMPS out.

ANGELUS (o.c)
Don’t bother, love.

Paris looks at Angelus who…

ANGLE - Glances towards the door.

ANGLE - Paris lifts her head off the pillow a little and looks in the direction to see…

PARIS’ POV - Wesley, Gunn, Cordelia and Lindsey.

ANGLE - she drops her head back down on the pillow.

PARIS
Crap.

ANGLE - Angelus looks back at the four and sees…

ANGLE - Wesley pick up the lighter and light the candles. He then hands the lighter to Cordelia.

ANGLE - Angelus begins to realise what they’re doing.

ANGELUS
You’d better not be doing what I think
you’re doing, Wesley.

PARIS
What are they doing?

CORDELIA
Oh, yeah, we are.

ANGLE - It slowly dawns on Paris what’s going on.

PARIS
Angel…are they…

ANGELUS
Yeah, except it’s not going to work
because they don’t have -

WESLEY
An Orb Of Thesulah?

ANGLE - Wesley bends down and picks up the box.

WESLEY
(cont’d)
Got one.

ANGLE - Angelus’ face falls in disbelief as…

ANGLE - Wesley opens the box to reveal the Orb.

PARIS
Where the hell did you get that?

CORDELIA
We had to go all the way to Mexico to
get one after a certain somebody…
(glares hard at Angelus)
…decided he’d be smart and buy all the
Orbs in Southern California.

ANGELUS
Who said I bought them all?

ANGLE - A devilish smile crosses Paris’ lips as she remembers how they obtained all the Orbs.

CORDELIA
Whatever.

ANGLE - Cordelia puts the flame to the herbs and sets them alight. She blows the flame out and allows the herbs to smoulder. She then turns to Wesley.

CORDELIA
When you’re ready, Wes.

ANGLE - Wesley nods. He places the Orb within the sacred circle of candles, bones and stones. He then picks up some of the stones and casts them.

PARIS
Angel…

ANGELUS
It’ll never work, love. He doesn’t have
the power to do this.

CORDELIA
We’ll soon find out, won’t we?

ANGLE - Wesley takes Willow’s e-mail from his pocket, unfolds it and looks at the words.

ANGLE - Cordelia begins waving the stinky herbs around.

ANGLE - Wesley takes a deep breath and begins.

WESLEY
Quod perditum est, in venietur.
Nici mort, nice de-al fiinite.
(What was lost, shall be found.
Neither dead, nor of the living.)

ANGELUS
You’ll be dead if you keep this up, Wes.

GUNN
Ignore him, Wes.

ANGLE - Wesley takes another deep breath.

WESLEY
Te invoc, spirit al trecerii.
Reda trupului ce separa omul de animal.
Cu ajutoral acestui magic glob de cristal.
(Spirits of the interregnum, I call. Return
to the body what separates Man from the
beast. Use this orb as your guide.)

ANGELUS
I’ll show you the beast, Wes.

WESLEY
Galeria lagatura pe el. Lucru de aruncat
a lui inima de pe cu demon domeniu.
(Gods, bind him. Cast his heart from
the demon realm.)

ANGELUS
You’re a dead man, Pryce.

WESLEY
A lasa pe el a sti cu durere omenire galeria.
Intindere vostro zbarcit hent la pe ma.
A da la pe cu suflet.
(Let him know the pain of humanity, gods.
Reach your wizened hands to me.
Give me his soul.)

CLOSE UP - the Orb slowly begins to glow, but…

CLOSE UP - Wesley is weakening.

CORDELIA
It’s working, Wes.

WESLEY
Te implor, Doamne, nu ignora accasta
rugaminte. Lasa orbita sa fie vasul
care-i va transporta sufletul la el.
(I implore you, God, do not ignore this request.
Let this Orb be the vessel that will carry
his soul to him.)

CLOSE UP - the Orb glows brighter.

ANGLE - Lindsey looks on in awe.

ANGLE - Wesley is very weak now, every word is an effort.

WESLEY
Este scris aceasta putere este dreptul
poporuil meu de a conduce.
Utrespur aceastui.
(It is written, this power is my people’s right
to wield. Restore this one’s soul.)

ANGLE - the Orb glows brightly.

WESLEY
Asa sa fie. Acum!
(Let it be so. Now!)

ANGLE - Angelus knows there’s nothing he can do to stop what’s happening.

WESLEY
Acum!
(Now!)

BACKGROUND - Wesley almost collapses but manages to stay upright.

FOREGROUND - the Orb flashes with light then…

CLOSE UP - Angelus gasps then his eyes glow brightly for a moment.

ANGLE - Paris watches as her husband’s soul is restored.

PARIS
No…no…Angelus…

ANGLE - Confused and disoriented, Angel blinks and looks around as…

CORDELIA
Quick, Wes, do Paris.

ANGLE - Wesley is incredibly weak from having done the first spell.

WESLEY
I can’t. I don’t have the strength.

LINDSEY
I’ll do it.

WESLEY
Are you sure?

LINDSEY
Yeah.

ANGLE - Wesley looks at Lindsey then nods his approval.

WIDE ANGLE - Lindsey moves to where Wesley is standing. Wesley pockets the first spell and takes out the one for Paris. He hands it to Lindsey.

WESLEY
You need to cast some of the stones
then begin.

ANGLE - Lindsey nods then looks up at Paris and Angel.

ANGLE - Angel still looks confused and disoriented. Paris just looks angry.

PARIS
(to Wesley)
What have you done, you British bastard?

ANGLE - Lindsey picks up some of the stones and casts them.

ANGLE - Paris shifts her glare from Wesley to Lindsey as…

ANGLE - …he looks down at Willow’s e-mail then slowly begins.

LINDSEY
Quod perditum est, in venietur.
Nici mort, nice de-al fiinite.
(What was lost, shall be found.
Neither dead, nor of the living.)

PARIS
Think about what you’re doing, Lindsey.

LINDSEY
Te invoc spirit al trecerii. Reda trupului
ce separa omul de animal.
(Spirits of the interregnum, I call.
Return to the body what separates Man
from the beast.)

PARIS
If you thought the past three days were bad,
Lindsey, just wait until I’m out of these chains.
I can make your life a never ending world
of pain.

ANGLE - Lindsey falters slightly at the thought of never ending pain, but he continues.

LINDSEY
Cu ajutoral acestui magic glob de cristal.
Galeria lagatura pe ea. Lucru de aruncat
a lui inima de pe cu demon domeniu.
(Use this orb as your guide. Gods, bind her.
Cast her heart from the demon realm.)

ANGLE - Lindsey almost instantly begins to get weak.

CORDELIA
(concerned)
Lindsey…

LINDSEY
I’m alright.
(then)
A lasa pe ea a sti cu durere omenire galeria.
Intindere vostro zbarcit hent la pe ma.
(Let her know the pain of humanity, gods.
Reach your wizened hands to me.)

ANGLE - Lindsey starts to sway a little on his feet.

PARIS
You’re too weak to do this, Lindsey.
It’s never going to work.

WESLEY
Not much longer to go, Lindsey.

LINDSEY
A da la pe cu suflet. Te implor,
Doamne, nu ignora accasta rugaminte.
(Give me her soul. I implore you,
God, do not ignore this request.)

CLOSE UP - the Orb begins to glow but not as brightly as it did for Angel.

LINDSEY
(cont’d)
Lasa orbita sa fie vasul care-i va
transporta sufletul la ea.
(Let this Orb be the vessel that will
carry her soul to her.)

ANGLE - Wesley face grows anxious, waiting to see if the spell works.

LINDSEY
Este scris aceasta putere este dreptul
poporuil meu de a conduce.
Utrespur aceastui.
(It is written, this power is my people’s right
to wield. Restore this one’s soul.)

CLOSE UP - the Orb is a little brighter, but not much.

ANGLE - Lindsey is very weak now.

LINDSEY
Asa sa fie. Acum.
(Let it be so. Now.)

PARIS
No!

WIDE ANGLE - Lindsey, Cordelia, Wesley and Gunn all look at…

ANGLE - Paris who has her eyes squeezed shut and is moving her head from side to side, trying to resist the soul that is trying to return to her body.

PARIS
No…no…I don’t want it back.

LINDSEY
Acum!
(Now!)

ANGLE - Angel looks at the Orb as it flashes but not brightly. He then looks to his right at Paris.

ANGLE - Paris gasps and stops moving her head about.

ANGLE - Lindsey is exhausted and begins to crumple to the floor. Gunn catches him and helps him stay upright.

ANGLE - Wesley and Cordelia are looking at Angel and Paris, waiting for them to say something.

BLACK OUT

SCENE 22

INT - GUNN’S APARTMENT - BEDROOM - NIGHT

ANGLE - Angel looks at his friends, appearing less confused and disoriented now.

ANGEL
Cordy.

CORDELIA
Angel?

ANGEL
Yeah. What happened?
I don’t remember.

WESLEY
We’ll tell you when you’re stronger.

ANGEL
Hey, Wes. Gunn. Lindsey?
What - ?

LINDSEY
Long story.

ANGEL
(nods, unsure)
Right.

ANGLE - Angel looks to his right at Paris who has yet to utter a word.

ANGEL
Paris?

CLOSE UP - Paris still has her eyes closed.

ANGEL
Paris?

ANGLE - Cordelia is growing concerned.

CORDELIA
Why hasn’t she said anything?

WESLEY
Perhaps the memories of what she
did have returned already.

ANGEL
Paris? Can you hear me?

ANGLE - Cordelia moves to the end of the bed and looks at Paris.

CORDELIA
(direct)
Paris…are you still evil?

CLOSE UP - Paris, eyes still closed, slowly shakes her head as a tear rolls down the side of her face and into her hair.

BLACK OUT

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