THE DEMON WITHIN
Completed: 07 September 2000
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SCENE 1
INT - ANGEL INVESTIGATIONS - DAY
Cordelia is sitting at the computer.
BACKGROUND - Angel and Paris are in his office.
PARIS (O.C)
(shocked)
You want me to what?
BACKGROUND - Cordelia looks through the window as…
FOREGROUND - Paris stands up.
ANGEL
You heard me.
PARIS
(stammers)
Angel, I…I can’t.
ANGEL
Yes, you can.
PARIS
Why?
ANGEL
Because I want you to.
Paris moves towards the elevator, her back to Angel.
PARIS
It’s too fast, Angel. We’ve only known
each other a couple of months.
ANGEL
Paris, you’ve been staying with me for
over a month. You’ve spent more time at
my place than at yours.
Paris runs a hand through her hair.
ANGEL
You once told me that you didn’t feel
safe in your own home.
PARIS
(whirls around)
Because I thought I was being stalked!
ANGEL
You’d be safe here.
PARIS
For how long, Angel? How long is it
going to be before another demon has an
all access pass to your apartment?
You’re not always around. You can’t
watch me 24 hours a day.
Angel stands up and walks over to Paris as she turns her back to him again. He touches her right shoulder and she flinches slightly.
ANGEL
You’re right. I can’t.
Angel puts his hands on her shoulders. She turns around but doesn’t look at his face.
ANGEL
But at least I’d know you’d be safe.
Safer than at your apartment anyway.
PARIS
I’m not ready, Angel.
Angel places his finger under her chin and she looks up at him.
ANGEL
Let me know when you are?
PARIS
I will.
Paris opens the door and walks out of Angel’s office.
CORDELIA
What was all that about?
PARIS
Angel asked me to move in with him.
CORDELIA
(deadpan)
Oh. I thought you already had.
Off Cordelia as she looks at Paris.
BLACK OUT
SCENE 2
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Paris is looking in the filing cabinet while Cordelia’s checking out a shopping circular for bargains.
PARIS
What did you do to my filing system?
CORDELIA
(innocently)
Nothing. Why?
PARIS
Because none of the files are where
they should be.
CORDELIA
Which one are you looking for?
PARIS
The Nabbit file.
CORDELIA
Look under ‘R’.
PARIS
And it’s under ‘R’ because…
CORDELIA
He’s rich.
PARIS
Well, that makes perfect sense.
Paris pulls the file out of the drawer then goes over to desk and sits down opposite Cordelia.
PARIS
Cordelia.
CORDELIA
(distracted)
What?
PARIS
Can I ask you something if you
promise not to laugh?
CORDELIA
Depends on what it is.
PARIS
Promise?
CORDELIA
Okay. Okay. I promise.
PARIS
How do you know if you’re -
Wesley walks into the office.
WESLEY
Hello.
CORDELIA
(to Paris)
If you’re what?
PARIS
(embarrassed)
Never mind.
CORDELIA
You sure?
PARIS
Yeah. Forget it.
Wesley looks at the two ladies.
WESLEY
I interrupted something, didn’t I?
CORDELIA
(looking at Paris)
Apparently not.
Off Cordelia and Paris.
CUT TO…
SCENE 3
EXT / INT - PARIS’ APARTMENT BUILDING - NIGHT
Paris enters the building and checks the mailbox for the first time in over a month. < She’s not surprised to see only one letter. She looks at it as she moves towards her door. She lets herself in, turns on the light and sits down on the couch. She opens the letter, reads it then looks up at the calendar by the kitchen door.
PARIS
Great.
Off Paris.
DISSOLVE TO…
SCENE 4
INT - ANGEL’S APARTMENT - NIGHT
Angel is sitting in an arm chair in the living room reading when he HEARS the elevator descending. He stands up and puts the book down on the chair then takes half a dozen cautious steps forwards. The elevator stops and the cage door opens.
ANGEL
(surprised)
Paris?
Paris steps out of the elevator with two bags as Angel moves forward.
PARIS
Hi. Sorry to barge in uninvited.
ANGEL
It’s alright.
(looking at the bags / puzzled)
What’s with the bags?
PARIS
I got evicted.
ANGEL
Here. Let me get those for you.
Angel reaches down and takes the bags from Paris then puts them by the bedroom door.
ANGEL
Why were you evicted?
PARIS
Something about the landlord wanting his
rent last week. Today was the last
day for me to pay it.
ANGEL
Oh.
PARIS
(hesitantly)
I was kind of hoping the offer was still open.
(off Angel’s puzzled look)
Do you still want me to move in?
ANGEL
You said you weren’t ready.
PARIS
(nervously)
Ready or not, here I am.
ANGEL
You sure?
PARIS
I don’t have anywhere else to go, Angel.
ANGEL
Cordelia wasn’t home, was she?
PARIS
(softly)
No.
Angel smiles then utters a soft laugh, then so does Paris.
ANGEL
It’s good to hear you laugh.
PARIS
I haven’t had much to laugh about lately.
ANGEL
I know.
PARIS
(looking around)
So, how’s this going to work?
ANGEL
Sorry?
PARIS
Two of us. One bed.
ANGEL
Oh. Ahh….
Angel frowns and looks down at the floor.
PARIS
Did you think…?
ANGEL
No. You can have the bed again.
I’ll sleep out here.
PARIS
Are you sure?
ANGEL
I’ve slept in worse places.
Off Angel.
CUT TO…
SCENE 5
INT - ANGEL’S APARTMENT - DAY
Angel opens his eyes and it takes him a moment to realise where he is. He sits up and gets up off the sofa, then shuffles towards the bathroom. He pushes the door open and sees Paris standing in front of the mirror combing her wet hair, and wearing nothing but a towel.
Paris gasps and quickly looks over her shoulder.
ANGEL
(mutters)
Sorry.
PARIS
I didn’t hear you.
ANGEL
I’ll remember to knock next time.
PARIS
I’m almost done.
ANGEL
Take your time.
Paris turns around and resumes combing her hair. Angel watches her from the doorway. When she’s done combing, she looks in the mirror, frowning when she notices Angel doesn’t cast a reflection. But she knows he’s still there.
PARIS
(lifting her hair)
Up or down?
ANGEL
Down.
PARIS
(letting her hair fall down)
Down it is.
ANGEL
I didn’t know you had a tattoo.
PARIS
I don’t.
ANGEL
What’s that on your shoulder then?
PARIS
(looking over her left shoulder)
What’s what?
ANGEL
The other one.
PARIS
(looking over her right shoulder)
I don’t see anything.
ANGEL
Look in the mirror.
Paris turns her back to the mirror and looks over her shoulder at the reflection.
PARIS
(panicked)
I can’t see. I’m too short.
Angel walks into the room and puts his hands on Paris’ waist then lifts her up. Paris looks over her right shoulder and pushes her hair away.
CLOSE UP – of the tattoo (a black ‘V’ in a red flame)
PARIS
(freaked)
Oh, my God. What is that?
She looks at Angel who puts her down.
ANGEL
You don’t know?
PARIS
I think I’d remember getting
something like that.
ANGEL
It got there somehow.
Paris puts a hand to her forehead and walks out of the bathroom. Angel follows her into the bedroom.
PARIS
Wait.
(remembering something)
Wait a minute.
ANGEL
What is it?
PARIS
Harkus.
ANGEL
What about him?
PARIS
He…he did something to me.
ANGEL
(urgently)
What’d he do?
Paris sits down on the bed and Angel stands by the bureau. She puts her head in her hands.
PARIS
(shakes her head)
It’s all fuzzy.
ANGEL
Just tell me what you can.
PARIS
He put his hand on my shoulder and there
was this intense…pain. He said something
and when he was done, I felt…something…go
through me. Then he took his hand away.
ANGEL
What’d he say?
PARIS
I…I don’t remember.
ANGEL
Try, Paris.
Paris thinks for a few moments then looks up at Angel.
PARIS
He said I was The Chosen One.
ANGEL
Chosen for what?
PARIS
I don’t know. Everything’s still fuzzy.
What does it mean?
ANGEL
I don’t know. Wesley might though.
Off Angel.
DISSOLVE TO…
SCENE 6
INT - ANGEL INVESTIGATIONS - DAY
Angel and Paris step out of the elevator into Angel’s office. Angel takes a seat at his desk and Paris proceeds to the outer office where Cordelia is using the computer. Paris glances at the screen and sees a home shopping network.
PARIS
Can you afford that?
CORDELIA
(scoffs)
Not on what I get paid.
(then)
So, you moved in with him?
PARIS
Yeah.
CORDELIA
O-kay.
PARIS
It’s not what you think, Cordy.
CORDELIA
Uh-huh.
PARIS
I got evicted from my apartment. I tried
calling you last night but all I got
was the machine.
CORDELIA
I went to the movies.
Wesley enters the office armed with a box of doughnuts.
CORDELIA
(standing)
Oh, good. I’m starving.
Cordelia moves towards Wesley and takes the box from him.
WESLEY
(miffed)
And a good morning to you, too.
CORDELIA
Whatever.
Cordelia raids the doughnuts as Angel stands in the doorway. He looks at Paris then Wesley.
ANGEL
Can I see you a minute, Wes?
WESLEY
Of course.
Wesley enters Angel’s office and Paris follows.
WESLEY
What is it?
ANGEL
I need you to take a look at something.
WESLEY
Alright.
Angel stands behind Paris. He takes the strap of her tank top and pulls it down, then shifts her hair to the left.
ANGEL
(pointing)
I need you to tell us what that is.
Wesley stands to Paris’ right and looks at the mark on her shoulder.
WESLEY
Hmm. It’s a mark of some kind.
ANGEL
What does it mean?
Wesley steps away and Angel lets go of Paris’ hair and fixes the strap of her tank top.
WESLEY
I haven’t the faintest idea.
(looking at Paris)
How long have you had it?
PARIS
I think Harkus did it.
WESLEY
Oh dear.
ANGEL
Harkus said something about her being
The Chosen One.
PARIS
He put his hand on my shoulder, there was
pain, he said some stuff, something went
through me then he took his hand away.
WESLEY
What ‘stuff’ did he say exactly?
PARIS
I don’t remember.
ANGEL
Wesley, we need you to find out
what it means.
PARIS
And how to get rid of it…if it’s not
too much bother.
WESLEY
Right. Well. I guess I’d better
start going through my books.
ANGEL
(pulls a piece of paper from his pocket)
I made a drawing of it.
(handing it to Wesley)
Here.
WESLEY
I’ll get started straight away then.
Off Wesley who moves back into the outer office.
CUT TO…
SCENE 7
INT - A BAR - HOLLYWOOD - NIGHT
Spike is sitting at the bar, clearly drunk and rambling to a very disinterested guy seated beside him.
SPIKE
(slurring)
Beautiful she was. I wish you could’ve
seen her. Then he came back and
ruined everything. She was never the same
after him. She stopped loving me and
started flirting with every miserable
demon that could walk. Made me
want to heave.
RICHARD
Why don’t you go ‘heave’ somewhere
else, bud?
SPIKE
(hurt)
Here I am pouring my heart out and you’re
telling me to leave? That’s not very
nice. Maybe we should step
outside. Huh?
Spike rises and glares at the man.
RICHARD
Maybe we should.
The man gets up.
DISSOLVE TO…
SCENE 8
INT - ANGEL INVESTIGATIONS - NIGHT
Angel sticks his head out the door and looks at Wesley who has his nose in several books.
ANGEL
Found anything?
WESLEY
Not yet.
CORDELIA
I think I might have.
Paris looks up from re-organising the filing system as Angel steps forward and stands by the desk.
ANGEL
What’d you find?
CORDELIA
Let me see that drawing again.
Paris takes the paper from Wesley and hands it to Cordelia who looks at the drawing then the computer screen.
PARIS
Well?
CORDELIA
Close…but no cigar.
WESLEY
We’ll keep looking.
Angel turns to go back into his office.
PARIS
Angel. Do you have the Feldman file
in your office?
ANGEL
The vampire in Santa Monica?
PARIS
That’d be the one.
ANGEL
Yeah.
Paris follows Angel into his office and he hands her the file. As she turns to leave, she drops the file, gasps, closes her eyes and stands still.
ANGEL
(concerned)
Paris?
What’s wrong?
Paris doesn’t hear him. As her body temperature drops, she starts shivering.
ANGEL
(urgent)
Paris.
Angel stands beside her and moves to touch her arm, but she raises her hands to her head and lets out a painful groan.
ANGEL
Wesley!
Wesley and Cordelia rush to the door and watch wide-eyed as Paris clutches her head.
PARIS
Aargh!
ANGEL
Paris!
CORDELIA
What’s happening?
All of a sudden, Paris’ body lurches forward then she collapses on the floor. Despite the warmth of the room, she is shivering and steam comes out of her mouth as she breathes heavily. Angel kneels down beside her and grabs her shoulders. He quickly withdraws and looks up at Wesley.
ANGEL
(amazed)
She’s freezing.
(then)
Get my coat.
Wesley retrieves Angel’s black coat from the hat stand and puts it around Paris’ trembling shoulders.
Paris looks up at Angel, a confused look on her face.
PARIS
(small)
Angel?
ANGEL
Are you alright?
PARIS
C-cold. I’m s-so c-cold.
Angel pulls her close to him and wraps his arms around her. His body feels positively warm against hers. Cordelia looks at Paris who still has a confused look on her face and tears welling in her eyes.
BLACK OUT
SCENE 9
INT - ANGEL INVESTIGATIONS - NIGHT
BACKGROUND - Paris sits in Angel’s office, still shivering.
FOREGROUND - Angel, Wesley and Cordelia are gathered near Cordelia’s desk.
CORDELIA
Okay. Can someone please explain to
me what just happened in there?
ANGEL
(puzzled)
I don’t know.
WESLEY
(to Angel)
What happened?
ANGEL
One second she’s fine.
The next she’s gasping and shivering.
WESLEY
She didn’t say anything?
ANGEL
(shaking his head)
No.
CORDELIA
It looked like she was possessed
or something.
WESLEY
Perhaps she was.
The three enter Angel’s office and stand around Paris who is still shivering and confused. Angel kneels down in front of her and puts his hands on her knees.
ANGEL
(gently)
Are you okay?
Paris looks at him for a long moment.
PARIS
(slowly)
I don’t know.
She pulls the coat tighter around her body. She looks away then back at the vampire.
PARIS
(confused)
Who’s…who’s Spike?
CORDELIA
(surprised)
Spike?
ANGEL
Why?
PARIS
He’s here…in L.A.
CORDELIA
(drawls)
Oh, God. Not again.
PARIS
(to Angel)
Who is he?
ANGEL
We used to kill together. I told you
about him. Remember?
PARIS
Oh. Right. He’s not happy.
Paris slowly gets to her feet as Angel stands up straight. She walks slowly to the window.
WESLEY
(curious)
How do you know about Spike?
PARIS
(low voice)
He’s planning revenge.
CORDELIA
(nervous)
Revenge? On who?
PARIS
(looking at Angel)
He’s going to kill you.
Angel moves towards Paris and puts his hands on her shoulders.
WESLEY
(stepping forward)
Paris? How do you know this?
PARIS
(scared)
He’s evil, Angel.
ANGEL
(softly)
I know.
WESLEY
(firmly)
Tell us how you know this?
Paris spins around and glares at him.
PARIS
He was inside of me! He was in my
body and I had to fight him out!
(then / vulnerable)
He was…in…me.
Paris starts crying out of fear and confusion. Angel wraps his arms around her and she cries into his chest.
PARIS
(small)
What’s happening to me?
ANGEL
Sshhh. It’s okay.
CORDELIA
(surprised)
So, I was right?
(off Wesley’s questioning look)
About her being possessed.
WESLEY
It looks that way. Yes.
Off Wesley.
TIME CUT TO…
SCENE 10
INT - ANGEL INVESTIGATIONS - NIGHT
A man sporting several cuts and bruises enters the office and looks around. Cordelia looks up from the computer screen.
CORDELIA
Can I help you?
RICHARD
I hope so. Are you still open?
CORDELIA
(annoyed)
We never seem to close.
RICHARD
(stepping forward)
I’m Richard Anderson.
CORDELIA
(standing up)
Cordelia. What seems to be the problem?
RICHARD
My girlfriend and I were attacked in an
alley not far from here.
CORDELIA
(observes)
You seem okay.
RICHARD
I got off pretty light, but my girlfriend…
(shakes his head)
CORDELIA
Have you talked to the police?
RICHARD
(nervously)
I can’t.
CORDELIA
Why not?
RICHARD
I don’t think they’d believe us.
CORDELA
Why wouldn’t they believe you?
RICHARD
The thing that attacked us…
it wasn’t human.
CORDELIA
I think you’d better talk to Angel.
Richard nods in agreement.
TIME CUT TO…
SCENE 11
INT - ANGEL INVESTIGATIONS - NIGHT
Angel walks out of his office with Richard.
RICHARD
Thanks for checking into this.
ANGEL
I’ll let you know when I’ve
found something.
RICHARD
Great. Thanks.
Angel watches Richard leave the office then turns and looks at Cordelia.
CORDELIA
You’re checking it out?
ANGEL
Yeah. Where’s Wesley?
CORDELIA
He went home to do more research about
this possession thing.
ANGEL
Right.
CORDELIA
So, do you expect to find this thing?
ANGEL
It’s probably long gone by now.
But it doesn’t hurt to take a look around.
Angel goes into his office and towards the elevator.
CONTINUOUS…
SCENE 12
INT - ANGEL’S APARTMENT - NIGHT
Angel steps out of the elevator and goes to the weapons cabinet where he takes out several sais and stakes.
PARIS (O.C)
(timidly)
Where are you going?
ANGEL
A demon attacked two people not far
from here. I’m going to make
sure it’s gone.
PARIS
Oh.
Angel closes the cabinet doors then turns and looks at Paris who’s wrapped in a comforter.
ANGEL
(gently)
How are you feeling?
PARIS
Not as cold as I was.
ANGEL
(small smile)
Good.
PARIS
I’m still confused about what happened.
ANGEL
Wesley and Cordelia are looking into it.
They’ll know something soon.
(puts a hand on her arm)
I have to go.
PARIS
Be careful.
ANGEL
I will.
Angel moves towards the sliding door.
CUT TO…
SCENE 13
EXT - THE STREETS & ALLEYS - NIGHT
Angel walks along the dimly lit street then stops at the alley Richard had mentioned. He looks in all directions then enters the dark alley. He walks slowly and when he comes to the dead end, he turns and sees six vampires (all VAMPED OUT) blocking his path back to the street.
ANGEL
I don’t suppose you’ve seen a big,
green spiky looking demon around,
have you?
The vampires start moving towards Angel as he VAMPS OUT.
ANGEL
Didn’t think so.
One vampire swings a piece of chain like a lasso and lets it fly. It wraps around Angel’s neck.
As Angel tries to remove the chain, the vampires start attacking him.
CUT TO…
SCENE 14
INT - ANGEL INVESTIGATIONS - DAY
Paris steps out of the elevator and walks through Angel’s empty office.
PARIS
Cordy, have you seen Angel?
CORDELIA
Not since last night. Why?
PARIS
He didn’t come back last night.
CORDELIA
Maybe he’s hiding somewhere waiting for
the sun to go down.
PARIS
No. Something’s wrong, Cordy.
I can feel it.
Off Paris’ worried face.
DISSOLVE TO…
SCENE 15
INT - AN ABANDONNED FACTORY - DAY
Spike is pacing in a circle, occasionally looking to his left.
SPIKE
(impatiently)
Come on, sleepyhead, wake up. I knew
you liked your sleep but this is getting
ridiculous.
A shot of chains, then Angel who groans and slowly opens his eyes.
SPIKE
(annoyed)
About bloody time.
Angel looks at Spike.
ANGEL
(contempt)
Spike.
SPIKE
(happily)
Angelus.
ANGEL
I heard you were back.
Angel rattles the chains and realises he’s not going anywhere.
SPIKE
I thought I’d pay my old sire a visit.
ANGEL
(realisation)
You set me up.
SPIKE
(proud)
Yeah. I did. I hope they didn’t bang
you up too much.
ANGEL
Why? Would that spoil your fun?
SPIKE
(takes a moment)
Actually…yeah, it would.
Off Spike who smiles.
CUT TO…
SCENE 16
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Paris, Wesley and Cordelia are gathered near Cordelia’s desk.
WESLEY
I should go and check this alley out.
CORDELIA
Good idea.
PARIS
I’m going with you.
WESLEY
I don’t think that’s such a good idea.
PARIS
(firmly)
I’m going with you.
Paris turns and heads towards the door.
Wesley looks at Cordelia who shrugs her shoulders.
CORDELIA
I guess she’s going with you.
Wesley turns and moves towards the door.
CUT TO…
SCENE 17
INT - THE FACTORY - DAY
Spike is standing about twenty feet in front of Angel who tests the chains again.
ANGEL
So, what are you blaming me for this
time, Spike?
Spike puts a finger to his lips and ponders the question for a moment.
SPIKE
Hmm. Let me see. There are just so
many things to choose from.
ANGEL
(agitated)
Pick one.
SPIKE
Let’s start with Dru. Shall we?
Angel’s eyes roll back.
ANGEL
I can’t believe you’re still blaming me for
her leaving you.
SPIKE
(sadly)
She’s dead.
ANGEL
(shocked)
Drusilla’s dead?
(then)
What happened?
SPIKE
Not exactly sure. Heard through the
demon grapevine she was killed in Spain
a coupla weeks ago. By a fire demon.
(muses)
She always liked Spain.
ANGEL
Spike, just because you heard she was
killed doesn’t mean she was.
Dru’s always –
SPIKE
Shut up!
Spike quickly moves towards Angel and backhands him across the face.
SPIKE
I am so sick of hearing you talk. I want
to hear you cry out in pain while I slowly
torture you to death.
ANGEL
(dryly)
Go ahead. I’m not going anywhere.
Off Angel.
CUT TO…
SCENE 18
EXT - THE ALLEY - DAY
Wesley and Paris enter the alley and start looking for clues. Paris, staying in the shadows, reaches the dead end and as she turns around, notices something on the ground. She crouches down and touches several drops of blood.
WESLEY
Have you found something?
PARIS
Blood.
WESLEY
It could be anyone’s.
PARIS
It could but it isn’t.
(straightening)
It’s Angel’s.
WESLEY
How could you possibly know that?
PARIS
I can smell it.
WESLEY
You can smell it?
PARIS
I don’t know how, Wesley, but I can.
(holds up bloody fingers)
It’s his.
Paris looks around at the buildings then at Wesley who seems to be rather perplexed.
PARIS
He’s not here. Let’s go.
Paris starts back down the alley and Wesley slowly follows.
CUT TO…
SCENE 19
INT - THE FACTORY - DAY
ANGLE – of an array of things on a table. There’s holy water, crosses of various sizes, stakes, large forks, knives and lighters.
SPIKE
(ponders)
What should we start with?
He turns to look behind him.
SPIKE
Do you have a preference?
There’s no response.
SPIKE
I think I might start with one of
Dru’s favourites.
Spike picks up several large bottles of holy water then saunters over to Angel, eying him. He takes the lid off one bottle and looks at Angel.
SPIKE
Feel free to make as much noise as you
want, mate. No one’s gonna hear you.
(then / smiling)
Except me, that is.
Spike rips the shirt from Angel’s body and tosses it aside. He raises the bottle over Angel’s chest then slowly tips it up. As holy water makes contact with flesh, smoke rises and Angel writhes in pain. The water trickles down Angel’s torso, burning him as his arms jerk at the chains.
CUT TO…
SCENE 20
INT - ANGEL INVESTIGATIONS - DAY
Cordelia looks up from the computer as Wesley and Paris enter the office.
CORDELIA
Did you find him?
WESLEY
No. But he’s been wounded.
CORDELIA
How do you know?
PARIS
(softly)
I found his blood.
WESLEY
She could smell it.
Cordelia gives Paris then Wesley a puzzled look. He shrugs his shoulders and shakes his head.
PARIS
(distant)
He’s still alive.
CORDELIA
You don’t know that.
PARIS
I do. I feel him.
CORDELIA
Feel him?
PARIS
He’s in pain.
Cordelia looks at Wesley for answers.
CORDELIA
What’s going on?
WESLEY
I wish I knew.
PARIS
(strained)
So much pain.
CORDELIA
Okay, this is just getting way too
weird…even for me.
WESLEY
Yes. Yes it is.
Off Wesley.
CUT TO…
SCENE 21
INT - THE FACTORY - DAY
Angel is slumped forward, arms pulling on the chains, his knees bent. There are burns over a large percentage of his chest, arms, abdomen and back.
Spike moves away from the table carrying one large and one small cross in his leather-gloved hands.
ANGLE - Spike presses a large cross into Angel’s chest and holds it there as smoke rises.
Angel writhes in pain but does not cry out. Pain is etched on his sweaty face as Spike removes the cross.
SPIKE
Y’know, after watching that two-timing
bastard torture you last year, I picked
up a few things.
Spike moves around Angel and presses the cross into Angel’s left shoulder. Angel’s body jerks in pain as he stifles a yell.
SPIKE
I know it hurts, Angelus. But you
know what the best thing is?
It’s only going to get worse.
Off Angel’s pained face.
CUT TO…
SCENE 22
INT - ANGEL INVESTIGATIONS - DAY
Cordelia’s at the computer.
WESLEY
I wish Gunn would call with some news
about Angel.
CORDELIA
So do I.
(then, triumphantly)
I found it.
WESLEY
(standing up)
What have you found?
CORDELIA
This mark thingy Paris has.
Wesley stands next to Cordelia and looks at the monitor. He starts reading the text.
WESLEY
(grim)
Oh dear.
CORDELIA
I hate it when you say that.
WESLEY
(reading further)
Oh dear.
Off Wesley and Cordelia.
BLACK OUT
SCENE 23
INT - THE FACTORY - DAY
Angel is pulling on the chains, his arms shaking slightly. There are several large crosses burned into his chest, shoulders and back, and three smaller ones burned into his face – one on each cheek and one in the middle of his forehead.
SPIKE
It’s a good look for you, mate.
It’s a shame we vampires can’t see our
reflections. I think you’d be quite
impressed with how you look at the moment.
ANGEL
(breathlessly)
Spike…you can’t blame me for Drusilla.
SPIKE
Oh, I think I can.
Spike picks up a fork-like instrument off the table.
ANGEL
You were the one who let her get
away from you.
SPIKE
(explodes)
You were the one who was rogering her
while I was stuck in that bloody
wheelchair!
Spike strides up to Angel until their faces are only inches apart. The two stare at each other until Spike steps back.
CUT TO…
SCENE 24
INT - ANGEL’S APARTMENT - DAY
Paris is curled up in an arm chair. She is holding a silver necklace that belongs to Angel. She looks up and sees Wesley and Cordelia standing by the stairs looking at her.
PARIS
(nervously)
What is it?
CORDELIA
We need to talk to you.
PARIS
Is it Angel?
WESLEY
It’s about the mark on your shoulder.
Off Angel.
CUT TO…
SCENE 25
INT - THE FACTORY - DAY
Spike is slowly circling Angel. He’s studying the fork in his hand.
SPIKE
You know, I had a lovely little chat with the
Buffster recently. Told me all about the new
love in your life. I kinda got the feeling she
didn’t like her that much.
CLOSE UP - There’s a look of contempt in Angel’s eyes but he remains silent.
Spike stops in front of Angel and casually runs the tip of one of the tines across Angel’s left breast, just drawing blood.
SPIKE
(bitterly)
I should have smelt it when I first saw you.
Your heart stinks of love. How’d you like it if
I went and rogered your sweet little Paris?
Angel wrenches the chains trying to get to Spike.
ANGEL
(controlled anger)
You touch her and I’ll kill you.
Spike looks at the chains.
SPIKE
(taunting)
Could be a little difficult right now, mate.
Maybe I’ll pay her a visit after I kill you.
You know, pay my condolences.
Offer her a shoulder to cry on.
ANGEL
(agitated)
Stay the hell away from her!
Spike laughs then runs the fork down Angel’s chest, ripping the flesh. Angel stifles a yell as pain masks his face.
CUT TO…
SCENE 26
INT - ANGEL’S APARTMENT - DAY
Paris is still seated in the arm chair and grimaces in pain as Wesley and Cordelia take a seat on the couch.
PARIS
(strained)
You found out what it means,
didn’t you?
WESLEY
Yes.
Beat.
PARIS
Do I have to guess or are you going
to tell me?
WESLEY
It’s called the Mark Of Visceria. It dates
back over a thousand years. The person
who is given the mark becomes The Chosen
One, or as the demons call her: The
Receiver Of Demons. The Receiver acts
as a beacon, if you will, for demons.
PARIS
(standing up)
What are you saying, Wesley?
WESLEY
Demons are drawn to the mark when they
are more evil than normal. That evil
is drawn to the mark and the demon
possesses the Receiver.
CORDELIA
The excess evil kind of lets The Receiver
know what the demon’s planning to do.
She then has a chance to try and stop
the demon from carrying out it’s plan.
PARIS
So, that’s why Spike possessed me?
Because he’s going to kill Angel?
WESLEY
It certainly looks that way. Yes.
PARIS
Why me?
WESLEY
I don’t know.
CORDELIA
It’s kind of like Buffy.
No one knows why she’s the Slayer.
PARIS
Why’d I go cold?
WESLEY
Given that demons have no body temperature
to speak of, that aspect transfers to you
when they enter your body. The greater
the evil, the greater the drop in
temperature.
PARIS
I had to fight Spike out of me.
WESLEY
The weaker demons will leave your body
voluntarily. Most will stay in you until
you can cast them out. The bigger the
evil, the harder it is to cast out.
But every demon leaves something of them
with you. An aspect, if you will.
PARIS
(freaked)
An aspect? Like what?
WESLEY
Usually a strength or a weakness.
Sometimes both.
PARIS
(scared)
What if I can’t cast a demon out?
WESLEY
The longer a demon stays in you, the worse it
gets. It takes longer to recover.
If you can’t drive the demon out, it will
eventually kill you.
Paris looks at Wesley, stunned.
PARIS
And if it does?
WESLEY
If a demon kills you, the strength from the
mark is transferred to it. Once that
happens, the demon becomes ten times more
powerful than it already is. A demon knows
the risks of possessing the Receiver, but if
the demon is able to kill The Receiver, the
risk is worth it.
PARIS
So if a really evil demon possesses me and
kills me, it becomes, what, invincible?
WESLEY
Something like that.
PARIS
How do I get rid of the mark?
(panicking)
There must be some way to get rid of it.
CORDELIA
(sadly)
There’s only one way.
PARIS
(anxious)
What is it?
WESLEY
Only one person has the Mark Of Visceria at
any given time. The next person is given
the mark when the previous person loses it.
PARIS
(almost frantic)
How do I lose it, Wesley?
(looks to Cordelia)
Cordelia?
CORDELIA
(grimly)
When you die.
PARIS
(voice cracks)
Die?
Beat.
PARIS
So, what, I’m stuck with it until some
demon kills me or I die of old age?
CORDELIA
In a nutshell. Yeah.
Paris turns her back to her friends, her face full of panic and consumed with thought. She turns back around.
PARIS
If demons can come to me, can I
go to them?
WESLEY
It doesn’t work that way, Paris.
PARIS
Can I kill it when it’s inside me?
WESLEY
No. But if you come face to face with the
same exact demon that possessed you, you
have the strength and knowledge to kill it.
PARIS
The same exact demon?
WESLEY
Yes. But you can’t use weapons.
PARIS
(stunned)
No weapons? What do I use then?
CORDELIA
Your body.
PARIS
My body?
WESLEY
Hand-to-hand combat only. Once you
kill the demon that has possessed you,
you’ll be free of it forever.
Beat.
PARIS
I have to find Spike.
Off Paris who looks at Wesley and Cordelia.
DISSOLVE TO…
SCENE 27
INT - THE FACTORY - DAY
Strips of flesh have been torn away while others hang off Angel’s bloody body. Angel battles to stay conscious, fighting the pain that ravages his weakened body.
Spike puts the bloody fork on the table and picks up four stakes. He moves slowly towards Angel, a sadistic smile on his face.
SPIKE
How’re you holding up, mate?
You’re not pooping out on me, are you?
ANGEL
(strained)
You know I won’t, Spike. I’ve been
to Hell, remember? Nothing you do
can compare to what was done to me there.
SPIKE
Really? Care to make a small
wager on that?
Spike draws his arm back then drives one of the stakes into Angel’s right breast. Angel growls in pain as he looks at the stake sticking out of his chest.
SPIKE
How does that compare? Huh?
Spike then drives a stake into Angel’s left side.
ANGEL
Aargh!
Off Angel.
CUT TO…
SCENE 28
INT - ANGEL’S APARTMENT - DAY
Cordelia is pacing the floor in the living room.
CORDELIA
Spike could be holding Angel anywhere
within a hundred miles of here.
Paris puts a hand to her left side and winces in pain.
PARIS
(strained)
Oh, God.
WESLEY
(concerned)
Paris, what is it?
PARIS
(breathlessly)
He’s in so much pain.
CORDELIA
(to Paris)
You’re just getting freakier by the minute,
aren’t you?
PARIS
I never used to be like this.
Cordelia suddenly grabs her head and starts screaming in pain. Wesley grabs her and guides her to the couch.
INTERCUT - A factory
INTERCUT - Spike with a stake in his hand
INTERCUT - Angel chained up
INTERCUT - Spanish writing
Cordelia stops groaning and looks up at Paris.
PARIS
What’d you see?
CORDELIA
Angel…with Spike.
WESLEY
Where?
CORDELIA
In a factory in East L.A.
I don’t know where exactly.
Paris moves towards the sliding door.
WESLEY
Paris? What are you doing?
PARIS
I’m going to find them.
CORDELIA
You can’t go alone.
WESLEY
I’m going with you.
Wesley moves towards the door.
DISSOLVE TO…
SCENE 29
INT - THE FACTORY - NIGHT
Angel is shaking in pain. Spike has driven two more stakes into his body; one in his left shoulder and one in his right thigh. Spike picks up a long lighter from the table then approaches Angel as he flicks the lighter on and off.
SPIKE
You know, it’s getting a little nippy
in here. Would you like me to warm it
up a little for you?
Angel’s head lolls forward, his eyes barely open.
ANGEL
(wearily)
Whatever you’re gonna do, Spike,
just do it.
SPIKE
Oh, I will.
Spike twists the stake that’s embedded in Angel’s chest, but Angel is too weak to do anything but grimace in pain.
SPIKE
You want to hear something funny, Angel?
ANGEL
Not really.
SPIKE
I think…I think I’m actually going to
miss you after you’re gone.
ANGEL
(flatly)
Likewise.
Spike lights the lighter and holds it underneath Angel’s upper left arm. As the flame begins to burn his flesh, Angel starts thrashing about to get away from the fire.
DISSOLVE TO…
SCENE 30
EXT - SOMEWHERE IN EAST L.A. - NIGHT
Wesley is driving Angel’s black convertible while Paris looks at every factory they pass.
WESLEY
I wish Cordelia’s vision had been a little
clearer. Spike could be holding Angel
anywhere around here.
PARIS
We’re getting closer.
WESLEY
You sense him?
PARIS
Yeah.
(pointing)
Turn left up here.
OVERHEAD - Wesley directs the car into a street.
CUT TO…
SCENE 31
INT - THE FACTORY - NIGHT
Spike is holding the lighter to Angel’s right side as Angel jerks at the chains, trying not to cry out in pain.
SPIKE
Come on, Angel. Scream like the big
girl you are. I know you want to.
Off Angel’s face.
CUT TO…
SCENE 32
EXT - THE FACTORY - NIGHT
Paris sees a factory up ahead on the right.
PARIS
That’s it.
Wesley pulls up outside the building and looks at it.
WESLEY
(doubtful)
Are you sure?
PARIS
Yeah.
WESLEY
So, how do you want to approach this?
PARIS
(nervously)
You get Angel while I distract Spike.
WESLEY
And how are you going to do that?
PARIS
I. Don’t. Know.
Wesley and Paris exit the car and move towards the building.
CONTINUOUS…
SCENE 33
INT - THE FACTORY - NIGHT
Wesley and Paris move down a corridor and hear laughter.
SPIKE (O.C)
(laughing)
Come on, you big poof. I want to hear
you scream. It’ll be music to my ears.
Wesley and Paris round a corner and see what is happening.
WESLEY
(low / stunned)
Oh, my God.
PARIS
(whispers breathlessly)
Angel.
When Paris sees Spike emerge from behind Angel, she feels something go through her. She suddenly feels confident and powerful. Before Wesley can react, Paris moves forward into the large room.
PARIS
(low / even)
Hello, Spike.
Spike turns off the lighter and looks to see who’s interrupted his fun and games. Angel is barely conscious.
SPIKE
(flabbergasted)
You!
Off Spike.
BLACK OUT
SCENE 34
INT - THE FACTORY - NIGHT
Paris looks at Spike.
PARIS
I didn’t really appreciate you possessing
me yesterday, Spike. It completely
ruined the day I had planned.
SPIKE
You gotta admit though, it was one
helluva fight.
PARIS
Well, considering it was my first one
and I had no idea what the hell was going
on, yeah, I guess it was.
Paris slowly moves forward and to the right so as to draw Spike away from Angel.
SPIKE
So, what are you doing here?
You here to save this…
(motions with the lighter to Angel)
…piece of crap, or are you here to kill me?
Paris does not take her eyes off Spike.
PARIS
Actually…both.
BACKGROUND - Wesley moves cautiously towards Angel.
SPIKE
I see you brought the cavalry.
(looking past Paris)
And where’s the lovely Cordelia?
Just as Wesley reaches him, Angel looks up at Paris.
ANGEL
(weakly)
Paris…he’ll kill you.
SPIKE
Paris?
(stunned)
You’re Paris?
PARIS
That’s right.
Spike looks from Paris to Angel who now has one arm free.
SPIKE
I’m very disappointed in you, Angelus.
You never told me your girlfriend here
was The Receiver.
PARIS
(deadpan)
Must’ve slipped his mind.
Wesley frees Angel’s other arm and struggles to keep Angel from collapsing to the floor.
PARIS
(firmly)
Wesley, take Angel and go out
to the car.
ANGEL
(weakly)
Paris.
WESLEY
I’m not leaving you alone with him.
PARIS
(firmly)
Wesley, go.
Wesley half carries-half drags Angel’s tortured body towards the exit as Paris moves closer to Spike.
SPIKE
(a little nervous)
So…I guess this is the part where
you kill me? Huh?
Paris stops moving when she’s about two feet from a stationary Spike.
PARIS
You’re scared.
SPIKE
(feigning confidence)
No, I’m not.
PARIS
I feel the fear in you.
Paris raises her hand and touches the left side of his face. She smiles.
PARIS
(calm)
Relax, Spike. I’m not going to kill you.
SPIKE
(stammers)
You’re not?
PARIS
No. You want to know why?
SPIKE
Why?
PARIS
You know what it’s like to be in love.
To still be in love.
Spike is almost hypnotised by her voice.
PARIS
You tortured Angel because you heard your
lover was dead. Am I right?
SPIKE
(softly)
Yeah.
PARIS
But she’s not, Spike.
SPIKE
(confused)
What?
PARIS
Drusilla’s alive. She’s looking for you.
Searching. Wanting you to find her so you
can be together again.
Spike stares at Paris, bewildered, stunned.
PARIS
Find her, Spike. Be with her.
SPIKE
(longing)
I’ve missed her so much.
PARIS
(whispers)
I know.
SPIKE
I’ll go.
PARIS
You’ll go. But if you come anywhere near
Angel or this city again, Spike, I will kill you.
And Drusilla.
(slowly)
Do I make myself perfectly clear?
SPIKE
(obediently)
Yeah. Yeah. I’m leaving.
You’ll never hear from me again.
PARIS
Good boy.
Paris turns and walks towards the exit as Spike puts both hands to his head.
DISSOLVE TO…
SCENE 35
INT - ANGEL’S APARMENT - NIGHT
Angel is carried into the apartment; Wesley taking his shoulders, Paris the feet. They take him into the bedroom and carefully lie him on the bed. (The stake in Angel’s shoulder has already been removed).
WESLEY
I’ll get some bandages.
PARIS
Just go, Wesley.
WESLEY
But –
PARIS
(looking up at him)
Please.
WESLEY
Are you sure?
PARIS
(implores)
Please, Wesley.
WESLEY
(relents)
Alright.
Wesley turns and slowly leaves the bedroom as Paris focuses on Angel who is barely conscious.
ANGEL
(whispers)
Paris.
PARIS
(softly)
I’m here.
(then)
I need to pull these stakes out.
Okay?
Angel nods weakly and closes his eyes prepare himself. Paris wraps both hands around the stake that’s embedded in Angel’s chest. She takes a deep but shaky breath and pulls the stake out.
ANGEL
(howls)
Aargh!
Wesley stops dead in his tracks at the foot of the stairs.
CLOSE UP – he closes his eyes, a pained look on his face.
He takes a deep breath and starts climbing the stairs, but is frozen again when…
ANGEL (O.C)
(howls)
Aargh!
WESLEY
(whispers)
Dear God.
Paris drops the bloody stake on the floor then grabs the one stuck in Angel’s thigh.
ANGEL
(howls)
Aargh!
The pain becomes too much and he passes out.
CONTINUOUS…
SCENE 36
INT - ANGEL INVESTIGATIONS - NIGHT
Cordelia meets Wesley as he comes up the stairs from the apartment.
CORDELIA
(freaked)
Was that Angel I heard?
WESLEY
(shaken)
Yes. Yes, it was.
CORDELIA
He sounded like a wild animal.
What happened?
WESLEY
Spike tortured him.
CORDELIA
(softly)
How bad?
Wesley sits down in front of Angel’s desk.
CORDELIA
Wesley?
WESLEY
(slowly)
I’m surprised he’s still alive.
CORDELIA
(soft / closes eyes)
Oh, God. What did Spike do to him?
WESLEY
Burned him; cut him; ripped his flesh
to shreds. Staked him except in the
heart. Everything.
(shakes his head)
Beat.
CORDELIA
What about Spike?
WESLEY
Paris let him go.
CORDELIA
(exasperated)
She what?! Why?
WESLEY
She wouldn’t say.
CORDELIA
How the hell could she let that little
Cockney bastard go after what he did
to Angel?
WESLEY
I don’t know, Cordelia. All I do know is
that when she was talking to him, she was
a totally different person. It sent
chills up and down my spine.
CORDELIA
Maybe it’s to do with the Mark
Of Versace.
WESLEY
(correcting)
Visceria.
(then)
And I think you may be right.
Off Wesley.
CUT TO…
SCENE 37
INT - ANGEL’S APARTMENT - NIGHT
Paris finishes tending to Angel’s horrific wounds then gently pulls the bedcovers up to his waist. Every now and then he moves his head from side-to-side and groans in pain. Paris squeezes out a cloth and dabs it against his sweaty face.
DISSOLVE TO…
SCENE 38
INT - ANGEL’S APARTMENT - DAY
Wesley and Cordelia slowly enter the bedroom and find Paris sitting beside the bed staring at Angel. Cordelia gasps and raises her hands to her mouth when she sees Angel’s condition.
WESLEY
(gently)
Paris.
She doesn’t respond. Wesley takes a couple of steps forward and touches her shoulder.
WESLEY
Paris.
She looks up at him through tired eyes.
WESLEY
Has he woken?
Paris silently shakes her head and looks back at Angel.
WESLEY
Did you manage to get any sleep?
PARIS
(softly)
Can’t sleep.
Paris picks up the damp cloth and presses it gently against Angel’s sweaty face. He jerks his head to the left and groans in pain.
PARIS
(softly)
Sshhh. It’s okay.
CORDELIA
Can I get you anything?
Paris is silent.
CORDELIA
How about a cup of tea?
PARIS
(softly)
I’ll get it.
Paris stands up slowly then moves out of the bedroom.
CORDELIA
I’ve never seen Angel this bad.
Paris is leaning up against the kitchen table staring at the kettle on the unlit stove.
Angel starts thrashing his head about and growling in pain. As Cordelia watches on, Wesley steps closer to the bed and places both hands firmly on Angel’s shoulders.
ANGEL (O.C)
Grrr.
Paris closes her eyes and clamps her shaky hands over her ears.
CORDELIA
(protesting)
You’re hurting him, Wesley.
WESLEY
He’ll only end up hurting himself.
Despite being unconscious, Angel pushes Wesley away and growls. Paris appears in the doorway and looks from Angel to Wesley.
PARIS
(angrily)
What’d you do to him?
WESLEY
Nothing.
PARIS
Leave.
Paris moves into the room and sits on the edge of the bed.
WESLEY
He’ll hurt you if you’re not careful.
PARIS
(snaps her head around)
Just go.
Paris watches Wesley and Cordelia back out of the room then turns her attention to Angel who’s still thrashing his head about. Paris takes his hand and he begins to quieten down.
PARIS
Sshhh. It’s okay, Angel.
I’m here.
She touches her left hand to the right side of his face and his head stops moving.
PARIS
Sshhh.
Off Paris and Angel.
CUT TO…
SCENE 39
INT - ANGEL’S APARTMENT - DAY
Paris enters the bedroom carrying a warm glass of blood. She sets it down on the bedside table then sits down on the chair. She takes his hand in hers then touches his hair, stroking his forehead with her thumb.
PARIS
Angel, you have to wake up.
You need to drink.
Angel’s eyes flutter but do not open completely. Paris picks up the glass with her left hand and places her right hand under Angel’s head. She slowly raises his head and the glass to his lips, but he resists.
PARIS
Come on, Angel.
You have to drink.
Please.
Angel takes in a small amount of the thick liquid then he VAMPS OUT. He growls as he swipes with his right hand, sending the glass flying out of Paris’ hand. It smashes at the end of the bed. Angel MORPHS back quickly, but there is an intermittent growl that sounds from the back of his throat.
Paris closes her eyes momentarily then with her thumb, wipes the blood from Angel’s lips. She stands up, then moves to the end of the bed and begins picking up the shards of glass with shaky hands.
Angel starts thrashing his head about again and growling. Paris cuts herself and drops the shards. She presses her bloody hands over her ears as the animal in Angel starts growling again. Paris stands up and steps back out of the bedroom as Angel continues to growl.
PARIS
(strained)
God, make him stop.
Please make him stop.
She eventually moves back to the bedroom and looks at Angel. Slowly she steps forward then kneels down beside the bed. She wipes her hands on her shirt then takes Angel’s left hand in hers and raises it to her lips, kissing it tenderly.
PARIS
(cracked / strained)
Please don’t leave me, Angel.
Angel ceases growling but is still moving his head about, a pained look etched on his face.
PARIS
Just when I found you, I don’t
want to lose you. I need you.
Paris puts her shaky hand on his hair and strokes his forehead softly as he stops moving his head.
PARIS
(soft / crying)
You can’t leave me, Angel. I love you.
I won’t let you leave me.
Suddenly, Angel throws his head back and….
ANGEL
(long, deep)
Aargh!
PARIS
(urgently)
Angel!
He is quiet.
PARIS
(cries)
Angel.
She rests her head on the edge of the bed, facing Angel, her body racked with sobs.
BLACK OUT
SCENE 40
INT - ANGEL’S APARTMENT - NIGHT
Angel is quiet, sleeping. Paris is lying on the bed beside him, her tired, red eyes fixed on a spot in the room. Her right hand holds Angel’s close to her face.
CLOSE UP - He moves his fingers slightly.
Paris shifts her gaze to his face and sees his eyes slowly open.
ANGEL
(weakly)
Paris?
PARIS
(whispers)
I’m here.
She props herself up on one elbow and looks at him.
PARIS
How do you feel?
ANGEL
Like I’ve been tortured.
(beat)
Spike?
PARIS
(softly)
I let him go.
ANGEL
(confused)
Why?
PARIS
Drusilla’s still alive. I told him to go find
her and never come back here again.
ANGEL
She’s alive?
PARIS
Yeah.
ANGEL
How…how do you…
PARIS
I don’t know. When I was face to face
with Spike, I somehow knew Drusilla was still
alive. I don’t even know who she
is, Angel.
ANGEL
(softly)
I sired her a long time ago.
PARIS
Did you love her?
ANGEL
(softly)
I was obsessed with her.
PARIS
(silently)
Oh.
There’s an uncomfortable silence.
ANGEL
(concerned)
Did I hurt you?
PARIS
You scared me, but…no, you
didn’t hurt me.
ANGEL
(confused)
I must’ve been dreaming.
PARIS
What else did you dream about?
ANGEL
I don’t…I don’t remember.
PARIS
It’s probably for the best.
Angel’s eyes dart back and forth.
PARIS
What is it?
ANGEL
I don’t know if…
PARIS
What?
ANGEL
Did you say you loved me?
Paris freezes momentarily with the shock that he had heard her.
PARIS
(nervous / soft)
I…It wasn’t a dream.
ANGEL
(surprised)
You love me?
PARIS
(barely audible)
Yes.
ANGEL
Me…me, too.
PARIS
(surprised)
You do?
ANGEL
I’ve loved you from the first
moment I saw you.
Paris closes her weary eyes.
PARIS
(softly)
No-one’s…no-one’s ever told me -
ANGEL
I know. But I’m telling you now.
I love you, Paris.
PARIS
I…I love you, too, Angel.
Despite the pain, Angel reaches over with his left hand and touches Paris’ right cheek as a tear rolls down it. He brushes it away then slowly pulls her face towards his. Their mouths meet in a nervous but tender first kiss.
When they part, Paris lays her head back down on the pillow, a nervous, uncertain look on her face.
Angel glances at her then gazes up at the ceiling, a ‘should I be doing this?’ look on his face.
FADE TO BLACK
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