THE CHOSEN ONE
Completed: 07 September 2000
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SCENE 1
INT - ANGEL’S APARTMENT - DAY
Cordelia walks into the bedroom with a bag and a cup of coffee. Paris is sitting up in bed reading a book.
CORDELIA
(cheery)
Good morning.
(off Paris’ silence)
Paris.
Paris looks up from the book.
PARIS
Oh. Hey, Cordy. I didn’t hear you.
CORDELIA
Must be a good book.
PARIS
I thought I’d better start reading up
on demons and vampires before I meet
any more of them.
CORDELIA
Well, I hope you’re a fast reader.
(ref: bag and coffee)
I brought you some breakfast. I figured
you’d be kind of hungry since Angel
probably hasn’t gone to the store yet.
PARIS
Thanks.
Cordelia sets the bag and cup down on the bedside table.
CORDELIA
You’re looking a lot better. Most of the
cuts on your face have healed already.
PARIS
So Angel tells me.
CORDELIA
(carefully)
Still haven’t looked in a mirror yet?
PARIS
(softly)
No.
(then)
Did your parents leave this morning?
CORDELIA
Finally. One more day with them
and I was going to sign myself up for a
stay in the luxuriously padded room at
the Shady Palms Sanatorium. God help me
if they’d actually stayed the whole week.
PARIS
(despondently)
Just be grateful that you have parents, Cordy.
Some of us aren’t so lucky.
CORDELIA
Sorry.
Cordelia looks around the apartment.
CORDELIA
So, where’s Mr Dark And Broody this morning?
PARIS
He was gone when I woke up, but I
feel him close-by.
CORDELIA
You feel him?
PARIS
Yeah. I can’t explain it, Cordy.
I just know when he’s nearby.
CORDELIA
O-kay. That’s weird.
PARIS
Yeah. Actually, ever since I was…
you know, I’ve felt kind of different.
CORDELIA
Different? How?
PARIS
Well, my body’s healing faster than
it should. And my senses seem to be
sharper than they used to be.
CORDELIA
Okay, if you tell me you have an aversion
for sunlight and a taste for blood…I’m
outta here.
PARIS
I’m not a vampire, Cordy.
(then, frowning)
At least I don’t think I am.
CORDELIA
(relieved)
Well, okay then.
Off Cordelia.
CUT TO…
SCENE 2
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
Lindsey McDonald and Lilah Morgan are in Lindsey’s office looking out the window at the city.
LILAH
Holland told me he wants those
scrolls back ASAP.
LINDSEY
I don’t see why when we’ve already
brought Darla back.
LILAH
Apparently there’s something in them
that he doesn’t want Angel and his
friends discovering.
LINDSEY
Like what?
LILAH
I don’t know, but I got the distinct
impression that whatever it is could potentially
ruin whatever Holland and the Senior
Partners have planned.
LINDSEY
I thought bringing Darla back was the plan.
LILAH
Maybe she’s only part of it. Anyway,
Holland said there’s someone who can get
the scrolls back for us.
LINDSEY
Who?
Off Lilah.
BLACK OUT
SCENE 3
INT - ANGEL’S APARTMENT - DAY
ANGLE - Angel emerges from the tunnels then closes the access door in the floor. He moves in to the bedroom.
ANGEL
(somewhat surprised)
Cordelia. Hi.
CORDELIA
Hey. Where’ve you been?
ANGEL
The tunnels. Did your parents get off okay?
CORDELIA
Yeah. Although I did have to try and explain
about Dennis without sounding like a
complete whacko, but they seemed to buy it.
The rest…complete darkness.
ANGEL
Good.
CORDELIA
When you’ve got a sec, I need you to come
upstairs and sign some cheques. That is, if
you still want an office and a phone.
ANGEL
I’ll be up in a bit.
CORDELIA
Don’t forget.
ANGEL
I won’t.
CORDELIA
See you later, Paris.
PARIS
Okay.
BACKGROUND - Cordelia disappears up the stairs.
FOREGROUND - Paris looks up at Angel.
PARIS
What were you doing in the tunnels?
ANGEL
Thinking.
PARIS
Thinking about what?
ANGEL
How much of my life I dare tell you.
(pauses)
How much of it you’ll be able to handle.
PARIS
I need to hear everything, Angel.
I need to understand what happened to me.
ANGEL
Let me go keep Cordelia happy by
signing these cheques then we’ll talk.
PARIS
(nervously)
Okay.
BACKGROUND - Angel moves out of the bedroom and towards the stairs.
FOREGROUND - Paris watches him disappear, then looks nervously towards the ceiling.
CUT TO…
SCENE 4
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
Lindsey and Lilah are in his office talking to a particularly evil-looking demon.
HARKUS
Why have you summoned me here?
LILAH
Straight to the point…I like that.
HARKUS
I have other business to take care of.
LILAH
This won’t take long.
LINDSEY
Have you heard of the Prophecies
of Aberjian?
HARKUS
(impatiently)
What about them?
LINDSEY
We want you to get them back for us.
HARKUS
Who has them?
LILAH
Someone who’s been more than a thorn
in Wolfram & Hart’s side for some time.
A vampire.
HARKUS
Who?
LINDSEY
Angelus. But these days he goes by Angel.
The demon shifts uncomfortably in his seat.
LINDSEY
I see you’ve heard of him.
HARKUS
I’ve dealt with him once before.
He almost destroyed my brother and I.
LILAH
Well, then. You’ll have to make
sure he doesn’t finish the job this time.
Won’t you?
LINDSEY
We want you to deal with him and anyone
else who stands in the way of you retrieving
the scrolls. Do we understand each other?
Harkus nods silently.
CUT TO…
SCENE 5
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
FOREGROUND - Angel is at Cordelia’s desk signing a number of cheques.
BACKGROUND - Wesley is at Angel’s desk translating the Prophecies of Aberjian.
CORDELIA
Wesley’s sure had his nose in those
scrolls a lot lately.
ANGEL
(matter-of-factly)
They’re important, Cordelia.
CORDELIA
I know, but he’s like obsessed with them.
I wouldn’t be surprised if he takes them home
and sleeps with them under his pillow.
ANGEL
(deadpan)
He doesn’t.
CORDELIA
And how would you know?
ANGEL
He locks them up downstairs each night
before he goes home. Remember?
CORDELIA
(remembering)
Oh. Right.
Angel pushes the cheque book towards Cordelia.
ANGEL
Anything else you need signed?
Cordelia looks at the cheques then back at Angel.
CORDELIA
Well…you could always send me on a
vacation…all expenses paid. I’m kinda
thinking Hawaii or Jam-
ANGEL
Not going to happen, Cordelia.
CORDELIA
It isn’t?
(off Angel’s silence)
Alrighty. Well, that’s it then.
ANGEL
I’ll be downstairs if you need me.
CORDELIA
I’m sure we’ll be fine without your illustrious
presence to guide us through the day.
Angel moves into his office.
DISSOLVE TO…
SCENE 6
INT - ANGEL’S APARTMENT - DAY
Angel walks back into the bedroom and sees Paris picking at a blueberry muffin.
ANGEL
It’s good to see you finally eating something.
PARIS
I’m feeling a lot better.
ANGEL
So I see. You’ll be up and around
before you know it.
PARIS
That’d be nice.
Paris takes a sip of the coffee as Angel sits on the edge of the bed.
ANGEL
(hesitantly)
So, where do you want me to start?
PARIS
Patrick.
ANGEL
Are you sure?
PARIS
No. But I need to hear it.
ANGEL
Alright.
Off Angel.
DISSOLVE TO…
SCENE 7
EXT - STREET SCENE - DUBLIN, IRELAND - 1838 - NIGHT
A moustached Angelus is looking at a general store from across a near-deserted and dark street. A young red-headed woman of about twenty walks out of the store and down the street.
FOREGROUND - Angelus walks in the same direction, watching her.
BACKGROUND – The woman walks along the street then turns down an alley.
Angelus crosses the street and enters the alley.
ANGELUS
Elizabeth.
The woman stops and turns around to see who’s behind her.
ELIZABETH
(recognition)
Oh, hello.
ANGELUS
(smiles and does a little bow)
And hello to you.
ELIZABETH
Were you looking for Patrick?
ANGELUS
No, my dear. I was looking for you.
ELIZABETH
Me, sir?
ANGELUS
Yes. I wanted to give you your
wedding present.
ELIZABETH
Will you not be at the wedding tomorrow?
ANGELUS
(smiles sadly)
No.
ELIZABETH
(softly)
That’s such a shame.
ANGELUS
(moving forward)
You’re such a beauty, Elizabeth.
ELIZABETH
(nervously)
ANGELUS
May I steal a kiss from you while you’re
still a single lady?
ELIZABETH
I don’t think I should, sir.
ANGELUS
I do.
Angelus grabs her and pulls her towards him. He presses his mouth hard against hers as she struggles to push him away. When he withdraws from her, she quickly slaps him across the face. Instinctively, he hits her back and she falls to the ground. He looks down at her then kneels down beside her trembling body.
ANGELUS
You shouldn’t have done that,
my dear.
ELIZABETH
(whimpers)
Please, don’t hurt me.
ANGELUS
Oh, I think I hurt you.
Angelus runs his finger down her throat and down the front of her dress as Elizabeth begins to sob.
ANGELUS
And I’m going to enjoy every
single moment.
Off Elizabeth’s terrified face.
DISSOLVE TO…
SCENE 8
EXT / INT - HOUSE - DUBLIN, IRELAND – 1838 - NIGHT
Angelus knocks on the door of a house. The door opens and a sad-looking Patrick stands in the doorway, but he seems surprised to see his visitor.
ANGELUS
(gently)
I heard about Elizabeth.
May I come in?
PATRICK
Of course. Come in.
Patrick steps aside to allow Angelus to enter his home.
ANGELUS
How’re you bearing up?
PATRICK
(shakes his head)
I still can’t believe she’s gone.
It’s like a nightmare.
ANGELUS
I felt the same after my family was killed.
Patrick sits at the table, his head hanging. He picks up a cup and finishes the wine he’s been drinking.
ANGELUS
I thought that with Elizabeth gone, you’d
consider joining me and my lady.
PATRICK
(stammers)
Why?
ANGELUS
We could teach you all sorts of wonderful
things. Some of which you won’t be
able to comprehend right now, but in
time, you will. Just like I did.
PATRICK
(confused)
What the hell are you talking about?
ANGELUS
Eternal life, my boy. Something your
precious Elizabeth never had the chance to
experience when I tortured and killed her.
PATRICK
(shocked)
You…you killed her?
ANGELUS
(casually)
Guess I should have mentioned that earlier.
Angelus VAMPS OUT and steps forward. Patrick quickly gets up and scurries away from the table.
PATRICK
(stammers)
You’re a…a…
ANGELUS
Vampire? That’s right, my boy.
And so shall you.
Angelus approaches Patrick and pushes his head back against the wall. &nbps; He sinks his fangs into Patrick’s neck. Patrick is frozen with pain and fear.
DISSOLVE TO…
SCENE 9
INT - ANGEL’S APARTMENT - DAY
A pale Paris looks at Angel, shocked.
PARIS
(slowly)
I can’t believe you did that.
ANGEL
It wasn’t me, Paris. It was the demon.
PARIS
But he trusted you. He invited you into
his home and then you…Oh God…
Paris grabs a handful of hair and lowers her head.
PARIS
How…how many people have you…?
ANGEL
Too many.
PARIS
(raised voice)
How many?
ANGEL
Hundreds…thousands.
Paris is silent, trying to take in the large number.
ANGEL
(softly)
The number of ways to maim and torture
and kill is endless. As the years
passed, the more creative I became. I didn’t
care about one single person except myself.
You can’t even begin to imagine the things
I’ve done, Paris.
PARIS
I know exactly what you’ve done.
What you’re still capable of doing.
ANGEL
(shaking his head)
You have no idea, Paris.
Paris looks up at Angel through teary, hateful eyes.
PARIS
(shakily)
Yes, I do, Angel, because those things
were done to me. What he did to me
are things you taught him. You’re as
much to blame as he is. No…more.
He did this to me because of what
you did to Elizabeth.
Angel lowers his head.
PARIS
Tell me I’m wrong.
(silent beat)
Tell me I’m wrong!
ANGEL
(softly)
You’re not wrong.
Paris closes her eyes and bows her head.
BLACK OUT
SCENE 10
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
Holland is in Lindsey’s office.
HOLLAND
Where do we stand regarding the
retrieval of the scrolls?
LINDSEY
The wheels are in motion.
HOLLAND
Let’s just hope the wheels don’t come off
this time, Lindsey.
LINDSEY
They won’t.
HOLLAND
And we should have the scrolls when?
LINDSEY
Tomorrow night.
HOLLAND
Good.
Holland turns to leave and as he moves to the door says…
HOLLAND
I’d hate for you to lose your other
hand, Lindsey.
An uneasy look masks Lindsey’s face as Holland leaves the office.
CUT TO…
SCENE 11
INT - ANGEL’S APARTMENT - DAY
A tense silence has filled the room until Paris pushes her anger aside and changes the subject.
PARIS
I remember you telling me something
about gypsies.
ANGEL
Yeah. I killed a gypsy girl in Romania
a little over a hundred years ago.
The elders punished me by restoring my soul,
my humanity. I could remember every single
person I’d killed; their faces, their names if
I knew them. From that day, I shunned
vampires and humans alike. I fed off rats or
stray animals, whatever I could find and catch.
PARIS
But not people?
ANGEL
No.
PARIS
So, you’ve been good for the last
hundred years?
ANGEL
(uneasily)
Not exactly.
(off Paris’ alarmed look)
Three years ago, I lost my soul and for
six months was evil again.
PARIS
(confused)
I don’t understand.
How…how could you lose your soul?
ANGEL
If I experience one true moment of
happiness, my soul is taken from me.
Paris searches Angel’s face for more information then it occurs to her.
PARIS
Buffy.
ANGEL
Yeah.
PARIS
Tell me about her.
ANGEL
Buffy’s The Slayer.
PARIS
(frowns)
The Slayer?
ANGEL
Vampire Slayer. She lives in a town
called Sunnydale, which is built over
something called the Hellmouth.
PARIS
The Hellmouth?
ANGEL
It’s like a gathering place for demons
and vampires. Buffy has the strength and
skill needed to kill them.
PARIS
Why didn’t she kill you?
ANGEL
She did.
PARIS
(shocked)
Excuse me?
ANGEL
I opened the door to Hell. The only way to
close it again was if Buffy killed me. A friend
of hers restored my soul but it was too late.
Buffy killed me and I was sent to Hell to suffer
eternal torment.
PARIS
But…but…how did you come back?
ANGEL
After enduring over 1000 years of torture, I
was sent back to kill Buffy and resume my
evil ways as Angelus.
PARIS
But you didn’t?
ANGEL
I couldn’t. I came close, but…Beat.
PARIS
You still love her, don’t you?
ANGEL
A part of me always will, yeah.
PARIS
Oh.
(looks back down then quickly back up)
A thousand years?
ANGEL
Time in Hell moves a lot quicker than it does
in this dimension. It was the equivalent
of about four months.
PARIS
(horrified)
Of torture?
(then)
And I thought 24 hours was enough.
ANGEL
(admits)
I still have nightmares now and then,
like you do.
PARIS
But you’re good now. Right?
ANGEL
(softly)
Yeah. I’m good.
CUT TO…
SCENE 12
INT - A BASEMENT - LATE DAY
Harkus finishes lighting some candles which encircle an emblem of some sort (a black ‘V’ in a red flame).
He moves away for a moment then returns holding a small container of red powder. He sprinkles some of the powder over the emblem. He then steps away.
HARKUS
The time is near.
CUT TO…
SCENE 13
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
Angel steps out of the elevator into his office.
ANGEL
Hey.
WESLEY
Angel.
ANGEL
(ref: the translating)
How’s it going?
WESLEY
Slowly.
ANGEL
You’re doing a good job, Wes.
I want you to know that.
Wesley looks up rather surprised at Angel.
WESLEY
Thank you.
(beat)
How’s Paris?
ANGEL
She’s getting stronger. A lot of her wounds
have already healed.
WESLEY
Cordelia was telling me earlier.
ANGEL
(looking towards the outer office)
Has she gone for the day?
WESLEY
She left about an hour ago.
ANGEL
Maybe you should do the same. It’s late.
WESLEY
(trying to suppress a yawn)
Yes. I think I will.
Wesley rolls up the scrolls and hands them to Angel.
WESLEY
(moving towards the door)
I’ll see you tomorrow.
ANGEL
Night.
CUT TO…
SCENE 14
INT - A BASEMENT - NIGHT
Harkus stands in the middle of the candles as he holds his hands away from his body. He looks upwards.
HARKUS
O Mighty Terrambulus
I call upon thee when the last is taken
I call upon thee to aid the new vessel
Fill her but do not harm her
So she will accept her destiny
For she will become The Chosen One.
The emblem begins to pulsate light red.
CUT TO…
SCENE 15
INT - ANGEL’S APARTMENT - NIGHT
Angel comes down in the elevator and goes to the weapons cabinet where he locks the scrolls away. Angel turns around when he hears a CRASH come from the bathroom. He moves quickly to the bathroom and bangs on the door.
ANGEL
Paris? Are you okay in there?
PARIS
(weak)
Angel.
Angel opens the door and sees Paris slumped on the floor amongst a broken bottle. He moves to her and kneels down.
ANGEL
(concerned)
What happened?
PARIS
Everything’s spinning.
(raises her hands to her head)
I can’t stop the spinning.
Angel picks Paris up in his arms and carries her into the bedroom then lays her down on the bed.
PARIS
(strained)
Do you have any painkillers?
ANGEL
Yeah.
Angel disappears back in to the bathroom as Paris presses her hands against her head and closes her eyes. Angel comes back into the room and hands her some painkillers and a glass of water. She takes them in shaky hands then swallows the pills.
ANGEL
What happened?
PARIS
I don’t know. It just came
from nowhere.
ANGEL
Lie back down.
Angel takes the glass as Paris lies back down.
ANGEL
Better?
PARIS
A little.
A moment of silence fills the room then Paris looks up at Angel.
ANGEL
What is it?
PARIS
I want to tell you about my life.
(then)
Before I came to L.A.
ANGEL
You don’t have to. Especially after
what just happened.
PARIS
I need to.
ANGEL
Alright.
Paris moves across the bed and Angel sits beside her.
PARIS
I was born in Paris.
That’s how I got my name.
ANGEL
I’ve been there. It’s a beautiful city.
PARIS
Texas. Not France.
ANGEL
Oh. Right.
PARIS
When I was six, my parents were killed in a
car crash. At least that’s what I was told.
ANGEL
But they weren’t?
PARIS
No. I was put in an orphanage and was
soon adopted by a couple in El Paso.
Six months later we moved to a cattle ranch
which was miles from anywhere. My mother
schooled me at home. She used to be a
teacher before she married my father.
When I wasn’t being taught things, I’d have
to work on the ranch.
ANGEL
You didn’t go to school?
PARIS
The closest school was over sixty miles away.
There were a lot of books around the house
that I would read. I must’ve read
every book they had.
ANGEL
Did you have any friends?
PARIS
I got along with a couple of the ranch hands,
but…no, no friends. The only time I went to
town was to get new clothes or stock up
on food. I didn’t talk to anyone.
My adopted parents weren’t bad people.
They were protective of me, and I loved them
for that. But I also resented it.
As I got older, the more I wanted to leave:
to see the world I’d been reading about for
so long. So I talked my parents into paying
me for working on the ranch. When I had
enough money, I packed up and left.
ANGEL
And you came here?
PARIS
Yeah.
ANGEL
So, what happened to your birth parents?
PARIS
(shakily)
Patrick told me how he’d visited my adopted
parents and killed them. He looked around
the house and found my bedroom. He saw a
picture of my birth parents. He remembered
killing them.
ANGEL
(softly)
I’m sorry.
PARIS
He said he’d been in my life for twenty years
and that he’d always be in my life. He wants
to torment and kill me, Angel, but I don’t
know why. I mean, this all started before
I came here…before I met you.
ANGEL
I don’t know, Paris. But we’ll find out.
Okay?
PARIS
(yawns)
Yeah.
ANGEL
Get some sleep. Okay?
Paris is already asleep.
CUT TO…
SCENE 16
INT - ANGEL’S APARTMENT - DAY
BUFFY’S P.O.V – - Buffy moves towards the bedroom and stands in the doorway. She sees Angel lying on his right side, his arm resting protectively across the chest of an unfamiliar dark-haired woman. Angel wakes suddenly.
ANGLE - he looks towards the doorway and sees Buffy standing there.
TIME CUT TO…
SCENE 17
INT - ANGEL’S APARTMENT - DAY
Angel closes the bedroom doors and moves into the living room where Buffy stands, arms crossed in front of her.
ANGEL
(low)
What are you doing here, Buffy?
BUFFY
(peeved)
What? No hello, how are you?
Angel doesn’t respond.
BUFFY
Just straight to the point. Huh?
ANGEL
Buffy –
BUFFY
(motioning to the bedroom)
Who is she?
ANGEL
Her name’s Paris.
BUFFY
(raises her eyebrows)
Who names their kid after a city?
PARIS (O.C)
Aargh! Aargh!
BUFFY
(surprised)
Jesus.
PARIS (O.C)
No!
Angel races into the bedroom and over to the bed where Paris is sitting up, shaking and crying.
PARIS
(cries)
Angel.
Paris falls into his arms, crying.
ANGEL
(soothing)
Sshhh. I’m here. It was just
a nightmare. It’s over now.
He strokes her hair as Buffy watches on in the background. When Paris has calmed down a little, Angel lets her go and looks at her.
ANGEL
Are you okay?
Paris nods as Angel brushes the tears from her cheeks. It’s then she notices who’s standing in the doorway.
PARIS
(recognition)
Buffy?
Off Paris.
BLACK OUT
SCENE 18
INT - ANGEL’S APARTMENT - DAY
Buffy looks at Paris, surprised that Paris knows who she is.
BUFFY
(cold)
Hello.
Buffy looks at Angel and motions with her head that they need to talk.
ANGEL
I need to talk to her. Okay?
Paris nods silently.
Angel stands up and moves away from the bed then turns to leave.
CUT TO…
SCENE 19
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Buffy and Angel step out of the elevator and into Angel’s office, which is empty.
BUFFY
(peeved)
How does she know who I am?
ANGEL
I told her about you.
BUFFY
(softly)
You told her about me.
And I suppose you told her about your life?
ANGEL
Yeah, I did.
BUFFY
Everything?
ANGEL
Yeah.
Buffy moves to the window then turns and looks at Angel.
BUFFY
It looked like she was attacked.
ANGEL
She was tortured.
BUFFY
Was it you?
ANGEL
(slightly stung)
No. But it was vampires.
BUFFY
(dryly)
Really?
ANGEL
Well, one in particular.
BUFFY
So, why is she here instead of with her family?
ANGEL
Because the same vampire killed them.
BUFFY
So this vamp has it in for her. Why?
ANGEL
We don’t know.
Off Angel.
CUT TO…
SCENE 20
INT - ANGEL’S APARTMENT - DAY
OVER THE SHOULDER - Harkus enters the apartment via the sliding door. He looks around then moves directly towards the weapons cabinet, which he forces open, breaking the lock. He sees the scrolls, takes them out of the cabinet and slides them into the inside pocket of his long black coat. As he turns to leave, the bedroom door opens and Paris emerges.
Paris breathes in sharply upon seeing the intruder.
HARKUS
(smiles)
We finally meet.
The demon raises his hand and Paris is unable to move or respond.
CUT TO…
SCENE 21
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Buffy folds her arms across her chest.
BUFFY
Do you love her?
ANGEL
No.
BUFFY
You don’t love her yet you’re sleeping
in the same bed as her.
(bitterly)
Care to explain that logic to me?
ANGEL
Why don’t you explain to me why
you’re here?
Beat.
BUFFY
In a word…Spike.
ANGEL
What about him?
BUFFY
He wants to kill you…again.
Wesley walks into the office.
WESLEY
Who wants to kill you, Angel?
(smiling)
Hello, Buffy.
BUFFY
Hey, Wesley.
ANGEL
Spike.
(to Buffy)
Why?
BUFFY
All I know is he wants you dead.
As Wesley passes Angel…
WESLEY
I’ll just go and get the scrolls
from downstairs.
ANGEL
Okay.
BUFFY
(puzzled)
Scrolls?
Wesley steps into the elevator and goes downstairs.
ANGEL
Long story.
(then)
So, Spike’s coming back to L.A to try and
finish what he started last year? Maybe
I’ll finish him off first.
BUFFY
That’d be nice. He’s been nothing but a
major pain in the butt lately.
Cordelia walks into the office.
CORDELIA
Buffy!
BUFFY
Hey, Cordy.
CORDELIA
Who’s been a pain in the butt?
BUFFY
Spike.
CORDELIA
(sarcastically)
So, what else is new?
Wesley comes running up the stairs and bursts into the office.
CORDELIA
Where’s the fire, Wes?
WESLEY
The scrolls. They’re gone.
TIME CUT TO…
SCENE 22
INT - ANGEL’S APARTMENT - DAY
Angel, Wesley, Cordelia and Buffy are in the living room. Angel is studying the broken doors of the weapons cabinet. He turns around and there’s a concerned look on his face.
ANGEL
(looking around)
Where’s Paris?
CORDELIA
I was just thinking that.
Angel’s concern turns to worry as he begins to check around the apartment along with Cordelia and Wesley.
ANGEL
Paris! Paris!
WESLEY
She’s not here, Angel.
BUFFY
Maybe she went out.
ANGEL
She’s still too weak to go out.
WESLEY
Maybe someone’s taken her.
CORDELIA
Or something.
Off Cordelia as she looks at Angel.
TIME CUT TO…
SCENE 23
INT - ANGEL’S APARTMENT - DAY
Wesley, Cordelia and Buffy are sitting at the kitchen table while Angel leans up against the sink.
CORDELIA
I can understand taking the scrolls, but
why take Paris?
WESLEY
I don’t know, Cordelia.
BUFFY
Okay, you guys keep mentioning these scrolls.
What scrolls?
WESLEY
The Prophecies of Aberjian.
BUFFY
(fishing)
Which are?
WESLEY
Extremely important.
BUFFY
Okay. So who would want them?
ANGEL
(dark)
Wolfram and Hart.
BUFFY
And they are?
CORDELIA
A law firm. They have a rather unusual
and creepy clientele.
BUFFY
Maybe we should pay them a visit.
ANGEL
Cordelia, why don’t you pay our friend a
visit and find out who or what has Paris
and the scrolls?
CORDELIA
(complains)
Why me?
ANGEL
Take Buffy with you.
BUFFY
Cordelia and me together…are you
sure about this?
ANGEL
Yeah.
Off Angel.
CUT TO…
SCENE 24
INT - A BASEMENT - DAY
Paris is slumped in a chair and Harkus is leaning up against the wall. Paris slowly awakens and sees him. She tries to move her arms and legs, but can’t.
PARIS
(weakly)
What have you done to me?
HARKUS
I’ve taken away your ability to move.
PARIS
(looking around)
Where am I?
HARKUS
That’s not important, Paris.
PARIS
You know my name?
HARKUS
Of course.
PARIS
You want to tell me yours?
HARKUS
Harkus.
PARIS
Why are you doing this?
HARKUS
Because you’re The Chosen One.
PARIS
(puzzled)
The Chosen One?
(then)
Chosen for what?
HARKUS
(moving forward)
You’ll find out soon enough.
Off Harkus to Paris.
CUT TO…
SCENE 25
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Angel is sitting at his desk and Wesley is standing by the bookcases.
WESLEY
Do you think Lindsey McDonald
knows where Paris is?
ANGEL
If he knows what’s good for him,
he’d better know.
WESLEY
And if he doesn’t?
ANGEL
I don’t know.
(then)
Hope Cordelia has a vision.
Off Angel.
CUT TO…
SCENE 26
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
Cordelia and Buffy enter Lindsey’s office and find him talking on the phone to a client.
LINDSEY
Can I call you back?
(listens)
Great.
Lindsey hangs up the phone and looks at the two ladies.
LINDSEY
(surprised)
Ms Chase.
CORDELIA
(curtly)
Mr McDonald.
LINDSEY
Who’s your friend?
BUFFY
That’s not important.
CORDELIA
What is important is the whereabouts
of a friend of ours.
LINDSEY
And who would that be?
CORDELIA
Paris O’Riordan.
Lindsey looks away to think for a moment.
LINDSEY
The name doesn’t ring a bell.
BUFFY
(threatens)
How’d you like me to ring yours?
Lindsey looks warily at Buffy.
CORDELIA
Whoever or whatever took her made a very
big mistake. Now, we know you’re behind
this, so why don’t you make it easy on
yourself and tell us who has her.
LINDSEY
I can’t tell you what I don’t know.
BUFFY
Not the answer we were looking for.
Buffy moves towards Lindsey until she’s only a couple of feet from him.
BUFFY
You have two options, lawyer boy. You
can tell us what we want to know and
we’ll leave quietly.
LINDSEY
Or?
BUFFY
I’ll beat it out of you.
Lindsey smiles at Buffy’s bravado.
CORDELIA
I’d take the first option, Lindsey.
Believe me, I’ve seen her beat information
out of people before.
Not a pretty sight.
Buffy clenches her fists.
LINDSEY
(to Buffy)
You don’t have it in you.
BUFFY
Wrong.
Buffy punches Lindsey in the jaw which sends him reeling several feet. She grabs his head and slams it down on the desk, then leans in close to him.
BUFFY
(sweetly)
Are we feeling chatty yet?
LINDSEY
Alright.
(Holds his hands up off the table)
Alright.
Buffy lets him go and he stands upright.
BUFFY
Is it a demon?
LINDSEY
Yes.
BUFFY
Does this demon have a name?
LINDSEY
Harkus.
CORDELIA
Where is he?
LINDSEY
That I don’t know.
Buffy draws back her arm and takes her stance.
LINDSEY
I swear, I don’t know.
BUFFY
Let’s go.
Buffy and Cordelia turn to leave.
LINDSEY
This Paris must be a special person.
The ladies ignore him and leave.
CUT TO…
SCENE 27
INT - A BASEMENT - DAY
Harkus is standing in the candle circle with Paris. He slides his large hand under her shirt and rests it on the back of her right shoulder.
PARIS
(frightened)
What are you doing?
HARKUS
Quiet!
Harkus looks up at the ceiling.
HARKUS
O Mighty Terrambulus
I call upon thee to accept the new vessel
I call upon thee to give power to the mark
When they fill her and harm her
May she be strong in her destiny
For she has become The Chosen One.
The emblem pulsates as Paris grimaces in pain. Her body jerks forward as Harkus removes his hand from her shoulder.
PARIS
(weak / strained)
What have you done to me?
HARKUS
You are now The Chosen One.
Off Paris.
BLACK OUT
SCENE 28
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Cordelia and Buffy enter the office. Angel and Wesley get to their feet looking for answers.
ANGEL
What’d you find out?
BUFFY
It’s a demon called Harkus.
ANGEL
(recognises the name)
Harkus? Are you sure?
BUFFY
Yeah.
WESLEY
You know him?
ANGEL
From a long time ago. Harkus is a
very powerful demon who sometimes does ‘favours’
for others. Many have tried to kill him,
but no one’s been able to figure out how.
Including me.
BUFFY
So, how do we kill him?
ANGEL
I don’t know.
(then)
Where’s he holding Paris?
CORDELIA
Lawyer boy didn’t know, and that was
after Buffy beat him up.
WESLEY
(to Angel)
Will he kill her?
ANGEL
Harkus is a demon with a purpose. When he
has a job to do he does it, no matter what.
CORDELIA
So if he was ordered by Wolfram & Hart
to kill her, then…
ANGEL
We have to find her.
WESLEY
I’ll see if Harkus is in any of my books.
CORDELIA
I’ll check the Net.
Wesley and Cordelia walk out of Angel’s office.
BUFFY
Why do I get the feeling there’s more going on
here than you’re telling me?
Angel doesn’t respond.
BUFFY
What’s so damned important about
these scrolls?
ANGEL
Wesley’s been translating them for over
six months, but has only translated a small
amount of the text. We don’t know exactly
what’s in them, but we know they’re important.
Beat.
BUFFY
You say you don’t, but you love her,
don’t you?
ANGEL
I care about what happens to her.
She’s been through enough already.
BUFFY
Right. The torture thing. It sounds
like you two have something in common.
ANGEL
(warns)
Don’t go there, Buffy.
Off Angel.
DISSOLVE TO…
SCENE 29
INT - ANGEL INVESTIGATIONS - LATE AFTERNOON
Wesley enters Angel’s office.
BUFFY
What’d you find out?
WESLEY
Most of what I found in my books, Angel
knew. Harkus is a 600-year-old demon who
uses various powers and magicks to control
those around him. And he has the ability
to create a sort of invisible shield to
keep from being killed.
BUFFY
So, I’m guessing decapitation and staking
aren’t on the menu.
WESLEY
No.
Angel hears a distant rushing sound moments before Cordelia grabs her head and starts screaming.
ANGEL
Cordelia!
Angel rushes out of his office to Cordelia’s side and grabs her shoulders fast. Buffy and Wesley look on.
BUFFY
What’s happening?
WESLEY
She’s having a vision.
BUFFY
Vision?
INTERCUT - Paris’ face
INTERCUT - Harkus’ face
INTERCUT - The numbers ‘444’
INTERCUT - The scrolls
INTERCUT - Fire
Cordelia stops screaming and looks at Angel.
ANGEL
What’d you see?
CORDELIA
Paris is with Harkus. He has the scrolls.
There was a fire but I couldn’t tell what
was burning.
ANGEL
Where?
CORDELIA
I saw the numbers 444.
It must be that building downtown.
WESLEY
Here.
Wesley hands Cordelia some painkillers and a glass of water.
CORDELIA
Thanks.
ANGEL
Wes, you and Cordy figure out how
to kill Harkus.
WESLEY
(nods)
Go.
Angel moves for the stairs and Buffy follows.
CUT TO…
SCENE 30
EXT - THE ‘444’ BUILDING - NIGHT
Angel drives up to the building and stops the car in front of it. Angel and Buffy get out of the car and stand on the pavement. Angel looks up at the top of the building.
ANGEL
They’re on the roof.
BUFFY
(looking up)
Are you sure?
ANGEL
Yeah. He likes a good view.
BUFFY
So, what’s the plan?
ANGEL
To kill Harkus and save Paris.
Let’s go.
The two move towards the building, weapons in hand.
CUT TO…
SCENE 31
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
Cordelia is at the computer and Wesley is looking through his books.
CORDELIA
I think I found something.
(as Wesley gets up and stands behind her)
It says here that the only way to destroy
Harkus is to burn him.
WESLEY
That would explain the fire you
saw in your vision.
CORDELIA
But the barrier he surrounds himself with is
impenetrable to everything.
WESLEY
There must be a way to break the barrier.
A weak link of some sort.
CORDELIA
I’ll keep looking.
Cordelia starts to type something on the keyboard.
CUT TO…
SCENE 32
EXT - THE ‘444’ BUILDING - THE ROOF - NIGHT
Paris shivers with cold as she stares through Harkus who is looking out over the city. Paris is standing motionless only a couple of feet from the edge of the roof.
ANGLE - Buffy and Angel burst through the door to the roof. They look around and Angel moves to his left, Buffy following.
They soon see Paris and Harkus who has his back to them.
HARKUS
I thought you’d be here sooner, Angelus.
(turning around)
ANGEL
Sorry. I got held up in traffic.
HARKUS
And you brought the Slayer with you.
How nice. But I’m not a vampire.
BUFFY
You think that’s going to stop me?
HARKUS
So many have tried to destroy me, little girl,
but I destroyed them first.
ANGEL
You have the scrolls, Harkus.
You don’t need Paris anymore.
HARKUS
That’s true, but at the moment I control her.
She’s going to watch me kill you like I
should’ve done in Vienna.
ANGEL
Not gonna happen, Harkus.
HARKUS
Or maybe you can watch her die.
Harkus raises his right arm and aims it towards Paris who is compelled to take a step backwards. He lowers his arm as Angel looks worried by Paris’ precarious position.
CUT TO…
SCENE 33
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
CORDELIA
(triumphantly)
I found it.
WESLEY
What?
CORDELIA
His weakness.
WESLEY
Which is?
Cordelia picks up the phone and dials the number.
CUT TO…
SCENE 34
EXT - THE ‘444’ BUILDING - THE ROOF - NIGHT
Angel VAMPS OUT then moves towards Harkus and attempts to kick him but the invisible barrier stops him.
Buffy tries the same thing but her foot stops in mid-air.
Harkus roars with laughter as Angel’s cell phone begins ringing.
ANGEL
Yeah.
(listens)
Are you sure?
(listens)
Okay. Thanks.
Angel switches off the phone and slides it back in his inside coat pocket.
HARKUS
People always call at the most
inappropriate times.
ANGEL
Actually, it couldn’t have come at
a better time.
HARKUS
(laughs)
Really?
Buffy stands beside Angel who pulls out a zippo lighter from his coat pocket.
BUFFY
(low)
When did you start smoking again?
ANGEL
(low)
I need you to distract him long enough
for me to burn him.
BUFFY
(low)
Distract him to kill him?
ANGEL
(low)
If Cordelia’s right, yeah.
Buffy moves towards Harkus again and tries to attack him but to no avail.
Angel grabs his shirt sleeve and rips it from the seams, then wraps it around the fighting axe he’d brought with him.
Realising that attacking Harkus is a futile effort, Buffy looks at Angel who is lighting the shirt sleeve. She then looks at Paris and approaches her.
HARKUS
(warns)
Stay away from her, Slayer.
BUFFY
Make me.
BACKGROUND - Angel moves towards Harkus who starts to focus on Angel’s threat.
FOREGROUND - Buffy stands in front of the immobile Paris.
ANGEL’S POV – He sees Buffy reach out for Paris.
HARKUS
No!
Harkus raises his hand and Buffy becomes immobile as Paris loses her footing.
PARIS
Aarghl!
She reaches out and somehow manages to grab the edge of the roof to keep from falling some thirty stories to the street below.
Harkus is focused on Buffy as Angel moves up behind him and hits him in the back with the flaming axe.
PARIS’ POV – Buffy is looking down at her.
PARIS
(frantic)
Buffy, help me! Please help me!
Still under Harkus’ influence, Buffy can not move.
Harkus’ coat catches fire as he turns and looks at Angel who smashes the face of the axe against the demon’s left shoulder. Harkus lets out a roar as Angel drops the axe and reaches into the flaming coat and retrieves the scrolls, placing them inside his own coat.
PARIS (O.C)
Buffy! Help me! Please!
Buffy, now released from Harkus’ influence, looks down at Paris.
PARIS
Buffy, help me!
Buffy kneels down and grabs Paris’ left wrist.
BUFFY
Grab my hand!
Paris starts to lose her grip and as her right hand comes away from the roof…
PARIS
Aargh!
Buffy struggles to keep her hold on Paris’ wrist.
Angel, who is watching Harkus burn, looks over at Buffy who is trying to pull up the screaming Paris. He MORPHS back into human form as he races towards the edge of the roof.
ANGEL’S POV – of Paris’ terrified face.
PARIS
(cries)
Angel!
BUFFY
(strained)
I can’t hold on much longer.
Angel kneels down and grabs Paris’ wrist as Buffy lets go. She stands back as Angel pulls Paris to safety. She falls into Angel’s arms crying as Buffy looks on.
ANGEL
Sshhh. It’s okay. It’s alright.
Angel looks over his shoulder and sees that Harkus has been destroyed by the fire. He briefly looks at Buffy then focuses his attention on a trembling and crying Paris.
ANGEL
(softly)
He’s gone now. It’s okay. Sshhh.
I’m here. Sshhh.
Slowly pull back to a wide angle.
BLACK OUT
SCENE 35
INT - ANGEL’S APARTMENT - NIGHT
Angel comes out of the bedroom and closes the doors behind him. He moves slowly into the living room where Buffy is seated on the couch.
BUFFY
(without looking up)
How is she?
ANGEL
(softly)
Sleeping.
Buffy stands and moves towards the bookcase.
BUFFY
You know, I realised something while we
were up on that roof tonight.
Angel is silent.
BUFFY
You have your own life now.
A life that doesn’t include me.
You have Cordelia and Wesley and…her.
(motions towards the bedroom)
You love her –
ANGEL
I –
BUFFY
(holds up a hand)
Don’t try denying it, Angel, because I
see it. It’s written all over your face.
I don’t know what’s going on between the
two of you, and frankly I don’t want to know.
But I want you to remember one thing. If you
lose your soul again, you’re on your own.
Willow won’t be around to restore it, and
I won’t be there to kill you.
ANGEL
Cordelia’s already made it very clear
that she’s got the killing part covered.
BUFFY
Good.
ANGEL
Look, Buffy. I know you don’t really
like Paris. I mean, you can’t even bring
yourself to say her name. But I realised
something on that roof as well.
Buffy looks at him, dreading what she knows he’s about to say.
ANGEL
What we had was something special, something
I’ll never forget. But that part of my
life is over now. Our lives are moving in
different directions, Buffy. You have yours
with Riley and the others back in Sunnydale,
and I have mine here.
BUFFY
With her?
ANGEL
With Paris and Wesley and Cordelia. Whatever
you think is going on between me and Paris,
I want you to know this…I will never lose my
soul again. I will never subject Paris to
what lives inside of me. I would rather
die first than do that to her.
BUFFY
Wow. You really do love her, don’t you?
Beat.
ANGEL
I don’t love you anymore, Buffy. Not the
way I used to. I’ve accepted it
and moved on. You need to do the same.
BUFFY
(softly)
Fine.
Buffy starts for the stairs then turns and looks back at Angel.
BUFFY
Good luck going up against Spike.
I have the feeling you’re going to need it.
(starts to turn, then…)
Oh, and as for Paris…you’ll never be
happy with her, Angel.
Angel watches Buffy climb the stairs to his office and disappear. He looks towards the bedroom as he removes the scrolls from his coat pocket.
ANGEL
(softly)
Yes, I will, Buffy. One day I will.
Off Angel as he moves towards the bedroom.
FADE TO BLACK
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