SCENE 1
INT - GUNN’S APARTMENT - NIGHT
BEDROOM - TIGHT ANGLE - Paris opens her eyes and looks directly up at…
PARIS’ POV - Cordelia.
CLOSE UP - of Paris’ confused and pained face. Tears well in her eyes.
PARIS
Cordy?
CORDELIA
(hard)
Are you still evil?
ANGLE - Paris shakes her head slowly.
PARIS
No.
ANGLE - Cordelia breathes a sigh of relief.
CORDELIA
Thank, God.
ANGLE - Paris turns her head slightly and looks over at…
ANGLE - Gunn then Wesley then Lindsey.
CLOSE UP - Paris frowns a little, silently trying to figure out why Lindsey’s there.
WESLEY
Hello, Paris.
PARIS
Hi, Wesley.
ANGLE - Paris then looks at Angel through teary eyes.
PARIS
Angel?
ANGEL
Yeah.
PARIS
(small)
What did we do?
ANGEL
Sshhh. It wasn’t us;
it was the demon.
PARIS
(emotional)
But everything we did…
ANGEL
Sshhh.
(turns head)
Can you undo these chains, Wes?
ANGLE - Wesley hesitates for a moment then nods. He takes a key from his trouser pocket as he steps towards the bed. He reaches down and…
TIGHT ANGLE - slides the key into the padlock that secures the chains.
ANGLE - When the chains are loosened, Angel frees himself then helps free Paris.
WIDER - Angel gets to his feet then takes Paris’ hand as she slides across the bed. When she’s on her feet, he moves to hug her.
PARIS’ POV - she looks at Lindsey and…
CLOSE UP - something registers in her mind. Her eyes widen and…
WIDER - she pushes away from Angel.
WIDE ANGLE - She turns then runs out of the bedroom.
SITTING AREA - Angel comes out of the bedroom and sees Paris go…
ANGLE - out the sliding door and move to her right.
CORRIDOR - ANGLE - Angel races after her as Wesley comes out of the bedroom.
WESLEY
Angel…
Off Wesley as he looks at Gunn who steps up next to him.
HARD CUT TO…
SCENE 2
EXT - ANGEL INVESTIGATIONS BUILDING - STREET - NIGHT
ANGLE - Paris pulls the front door to the building open and races outside.
WIDE ANGLE - Without hesitation, she leaps the steps that lead down to the sidewalk. She’s oblivious to the strange looks from passers-by.
REVERSE ANGLE - On the other side of the street we see Angel’s black convertible parked near the corner. She runs across the street, traffic swerving and braking to miss her.
ANGLE - One car comes close to hitting her as it screeches to a stop. But Paris keeps running without breaking stride.
ANGLE - Angel comes out of the building and stops at the top of the stairs. He looks down at the…
WIDE ANGLE - chaos Paris has created.
ANGEL’S POV - WIDE - he sees Paris jump into his car and start it up.
WIDE ANGLE - Angel leaps down the stairs just as…
WIDE ANGLE - Paris takes off around the corner and down the street.
ANGLE - Angel stops on the sidewalk and…
ANGEL’S POV - watches his wife and car disappear.
SCENE 3
INT - GUNN’S APARTMENT - KITCHEN - NIGHT
ANGLE - Cordelia is in the kitchen going through the motions of making tea.
ANGLE - Wesley, Gunn and Lindsey sit around the kitchen table.
LINDSEY
There’s a girl.
CORDELIA
What girl?
ANGLE - Cordelia whirls around and glares at Lindsey.
LINDSEY
The Receiver.
WIDE ANGLE - Those two words gets everyone’s attention.
WESLEY
You saw The Receiver?
LINDSEY
Yeah.
WESLEY
Are you sure?
LINDSEY
Yeah.
GUNN
When?
LINDSEY
I’ve been locked in a cell with her
since Friday night.
CORDELIA
(holds up hand)
Woh…wait a minute. You were
locked up with another woman?
LINDSEY
Nothing happened, Cordy.
WESLEY
What’s her name?
LINDSEY
Charlotte, but she prefers Charlie.
She’s eighteen…blonde hair, blue eyes,
hails from Bismarck, North Dakota.
CLOSE UP - Cordelia is hating this girl already.
WESLEY
How long had she been in this cell
before Paris and Angelus put you
in with her?
ANGLE - Cordelia fills the mugs with hot water.
LINDSEY
About a week or so.
WIDE ANGLE - Cordelia puts the mugs on the table then sits down next to Lindsey.
GUNN
And she’s The Receiver?
LINDSEY
Yeah.
ANGLE - Cordelia slowly moves her hand across the table top and wraps her fingers around Lindsey’s. He looks at her and wraps his fingers around hers.
GUNN
So how’d Paris and Angelus end
up finding her?
LINDSEY
She told me that they saved her from
the demon that made her The Receiver,
then they locked her up in the cell.
CORDELIA
Why?
LINDSEY
All Paris told her was that it was to
keep her safe. Apparently they were
planning on using her for something,
but I have no idea what.
GUNN
Where is she?
LINDSEY
I don’t know.
CORDELIA
That’s why they had you wearing that
hood on your head, isn’t it? So you’d
have no idea where you were being held.
LINDSEY
Yeah. All I can tell you is that she’s
maybe twenty minutes from here.
ANGLE - Angel enters the apartment via the sliding door. He’s alone. As he wanders over to the kitchen…
ANGEL
She’s gone. She took the car and -
CORDELIA
Where is she?
ANGEL
That’s what I’m trying to tell you.
CORDELIA
Not Paris, you doofus. Charlie.
ANGEL
Who?
LINDSEY
The Receiver. You know, the girl
you locked me in a cell with.
ANGEL
Oh, right. She’s in the basement of
an old apartment building on Franklin.
ANGLE - Angel sits down at the end of the table nearest the fridge. He hangs his head in shame.
WESLEY
Why were you keeping her prisoner?
ANGEL
To protect her from the Senior Partners.
GUNN
They want her?
ANGEL
The Senior Partners feed on Receivers.
That’s where they get their strength from.
Paris and I…Angelus…came up with a
theory that The Receiver could possibly
be used to destroy the Senior Partners.
WESLEY
How?
ANGEL
We hadn’t quite figured that part out yet.
We were going to hold on to The Receiver
until we’d figured out exactly how to use her.
GUNN
If you two were all evil and everything,
why’d you want to kill the evil Senior
Partners?
ANGEL
Revenge.
LINDSEY
For what?
ANGEL
Everything Wolfram And Hard had
ever done to us.
WESLEY
Just revenge?
ANGEL
There was another reason, but Paris
wouldn’t tell me what it was.
CORDELIA
Take a wild guess.
ANGEL
If I had to guess, I’d say she wanted to
kill the Senior Partners, bring down
Wolfram And Hart and rule the
demon underworld with me.
WIDE ANGLE - everyone’s silent for a few moments as they all take that in. Angel looks at Lindsey.
ANGEL
So…you’re working for both sides
now, huh?
LINDSEY
Yeah.
ANGEL
Heard about you quitting Wolfram
And Hart. They promise you a
new hand if you went back?
LINDSEY
Yeah.
ANGEL
And you’re able to pull this off?
Being a double agent?
LINDSEY
I’ve been doing alright so far.
ANGEL
And how do I know you’re not going to
change sides again like you did the
last time we worked together?
LINDSEY
You don’t.
ANGEL
Well, when you go to work tomorrow,
don’t tell them what happened here
tonight. Paris and I are still evil
and you have no idea where we are.
LINDSEY
Fine.
WESLEY
Not to spoil your little male bonding
session, Angel, but I think we should
go and get this girl.
ANGEL
Yeah. Cordy, take care of -
LINDSEY
Take Cordy with you.
CORDELIA
What? Why?
LINDSEY
I told Charlie about you.
(to Angel)
If she sees you…
ANGEL
You’re right. Cordy…
CORDELIA
Give me a minute. Okay?
ANGEL
Yeah.
(to Gunn)
Is your truck here?
GUNN
Yeah. Round back.
ANGLE - Gunn hands Angel the keys.
ANGEL
(to Cordy)
I’ll wait for you outside.
WIDE ANGLE - Angel starts to leave and Wesley gets up and follows him.
ANGLE - Cordelia and Lindsey move closer to each other and start talking softly.
ANGLE - Wesley joins Angel near the sliding door.
WESLEY
Angel…are you alright?
ANGEL
I’ll let you know.
ANGLE - Angel tries to leave but…
WESLEY
Angel…
ANGEL
What?
WESLEY
Lindsey’s proven himself to us more
than once. Give him a chance…
for Cordelia’s sake.
CLOSE UP - Angel considers this then nods.
WIDER - Angel leaves the apartment via the sliding door.
TIME CUT TO…
SCENE 4
EXT - STREETS - GUNN’S TRUCK - NIGHT
WIDE ANGLE - Gunn’s truck speeds along the street.
INT - TRUCK - Angel is driving and Cordelia sits beside him, staring out the window. There’s a definitive tense silence in the vehicle.
ANGEL
So…you and Lindsey, huh?
I never would’ve picked him for you.
CORDELIA
I know. Maybe that’s why I’m
with him.
ANGEL
What, you just woke up one morning
and decided ‘hey, let’s start sleeping
with Lindsey and really piss Angel off?’
CORDELIA
Maybe.
ANGEL
(mumbles)
Maybe.
(then)
Look, Cordy, I know you love the guy,
and I’m not going to pretend to
understand your feelings for him,
but be careful. Okay?
CORDELIA
This coming from the guy who beat
him up earlier tonight.
ANGEL
That wasn’t me.
CORDELIA
Besides, how do you know what my
feelings for Lindsey are?
ANGEL
I can sense it. Smell it. Plus, I
could hear the two of you talking
before we left.
CLOSE UP - Cordelia glares at Angel.
CORDELIA
You heard us?
ANGEL
Don’t worry. I’ve heard couples say
stuff way more vomit-worthy…darlin’.
ANGLE - Cordelia swings her hand around and whacks Angel hard on the arm.
WIDE ANGLE - off the truck as it moves out of frame.
DISSOLVE TO…
SCENE 5
EXT - ABANDONED APARTMENT BUILDING - NIGHT
WIDE ANGLE - the truck pulls up outside the building.
ANGLE - Angel gets out of the vehicle then…
ANGLE - Cordelia follows suit.
WIDE ANGLE - Together they move towards the front entrance of the building.
TIME CUT TO…
SCENE 6
INT - ABANDONED APARTMENT BUILDING - BASEMENT - NIGHT
ANGLE - We HEAR a key in the lock, then the door to the basement opens. Angel appears in the doorway then steps into the room. He stops suddenly and…
ANGLE - Cordelia almost runs into the back of him. When she stands beside him, she looks at the cell.
PULL BACK - to reveal the cell door open and the cell empty.
BLACK OUT
SCENE 7
INT - ABANDONED APARTMENT BUILDING - BASEMENT - NIGHT
ANGLE - Angel moves forwards and picks up one of the padlocks that is on the floor near the open cell door.
TIGHT - on the padlock. There’s no sign of forced entry.
ANGLE - as Angel straightens, Cordelia moves up along side him.
CORDELIA
Where is she?
ANGEL
Paris must have let her out.
CORDELIA
You said that the cell was to protect
the girl from the Senior Partners.
Why would Paris let her out?
ANGEL
Guilt.
CORDELIA
No kidding.
ANGEL
Paris wasn’t exactly nice to Charlie.
CORDELIA
Well, unless you know where Charlie
lives…
ANGEL
I don’t.
ANGLE - Cordelia steps forward and goes to wrap her fingers around one of the bars of the cell. She is immediately forced back by the barrier that still surrounds the cell.
CORDELIA
Woh. What the hell was that?
ANGEL
Mystical prohibitive barrier. Paris
and I created it so no one except Paris,
me and whoever was bound to the
cell could come and go from it.
CORDELIA
So Paris did let her out.
ANGEL
Yeah. Let’s head back to the
office. Maybe Paris went back there.
CORDELIA
Yeah.
WIDE ANGLE - Angel turns to leave the room as Cordelia takes one last look at the cell, a disgusted look on her face.
DISSOLVE TO…
SCENE 8
INT - GUNN’S APARTMENT - NIGHT
BATHROOM - ANGLE - We are looking at the reflection in the mirror as Lindsey checks his facial injuries. He winces a little as he gently touches a large bruise that’s started forming on his cheek.
ANGLE - He steps back then turns and moves out of the bathroom.
BACKGROUND - Lindsey moves across the apartment to the kitchen where…
FOREGROUND - Gunn opens up a pizza box.
KITCHEN - ANGLE - Gunn and Wesley take a slice each and start eating. As Lindsey approaches the table…
GUNN
Better grab a slice while there’s still
some left.
ANGLE - Lindsey sits down opposite Wesley and takes a slice of pizza from the box.
WESLEY
What else can you tell us about Charlie?
LINDSEY
Not much. She has two jobs; one
at a convenience store and another at
Kwik Copy, but I don’t know where.
WESLEY
In the time you spent with her, was she
possessed by any demons?
LINDSEY
Yeah. Earlier today. She didn’t
know which demon it was, but she knew
it was evil. It really shook her up.
ANGLE - The sliding door opens and Angel and Cordelia walk in.
CORDELIA
Well that was a huge waste of…
(smells and sees…)
…pizza.
ANGLE - Cordelia quickly moves towards the food.
GUNN
Why?
CORDELIA
It looks like Paris let the girl go.
WESLEY
(to Angel)
Guilty conscience?
ANGEL
Yeah.
GUNN
Any idea where Paris is?
ANGEL
She could be anywhere. I’m going
to head out and see if I can find her.
GUNN
I’ll go with you.
ANGEL
No offence, Gunn, but I move
faster alone.
ANGLE - on Gunn who’s a little deflated.
ANGLE - Angel turns and heads back towards the sliding door.
WESLEY
Angel?
ANGEL
(turning)
Yeah?
WESLEY
The keys to Gunn’s truck?
ANGLE - Angel digs into his pocket and tosses them to…
ANGLE - Wesley who catches them.
ANGLE - Angel leaves.
ANGLE - Wesley looks at Cordelia and Lindsey.
WESLEY
I’ll take you two home if you want.
CORDELIA
Thanks, Wes.
WESLEY
See you tomorrow, Charles.
ANGLE - Lindsey takes an extra slice of pizza then gets up from the table. As they eat, Lindsey and Cordelia follow Wesley to the sliding door.
ANGLE - Gunn stands alone in the kitchen, a slice of pizza drooping over the end of his fingers.
DISSOLVE TO…
SCENE 9
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
WIDE ANGLE - Cordelia closes the front door behind her as Lindsey steps into the living room. He looks around as…
CORDELIA
Are you sure it’s safe for you here?
LINDSEY
For a little while, yeah. Paris told
Lyle that I had a new girlfriend called
Patience and -
CORDELIA
Patience? What kind of a lame-ass
name is that?
LINDSEY
(shrugs)
Who knows? Anyway, she told him
that I’d been mugged last night
and wouldn’t be in today.
CORDELIA
(concludes)
So that’s why Angelus beat the crap
out of you.
LINDSEY
Yeah.
ANGLE - Cordelia looks up at Lindsey.
CORDELIA
So, now that you’re all dirty and grimy
and, I have to say it, a little on the stinky
side, you wanna take that bubble bath
with me now?
LINDSEY
(smiles)
I thought you’d never ask.
ANGLE - Cordelia smiles and…
WIDER - takes Lindsey’s hand in hers. He follows her towards the bathroom.
CUT TO…
SCENE 10
EXT - STREETS - NIGHT
MUSIC - "Here" by VAST (starting about a minute into the song).
ANGLE - Angel is walking the streets, searching for Paris. He looks around, peers down alleys, stares across the street.
DISSOLVE TO…
SCENE 11
EXT - BLUFF - NIGHT
ANGEL’S POV - looking to the right up the coast then out at the black Pacific Ocean, then looking down the coast.
ANGLE - as a light breeze blows, Angel is a lonely figure on top of the bluff.
DISSOLVE TO…
SCENE 12
INT - HOUSE - BASEMENT - NIGHT
ANGLE - Angel kicks open a door and peers inside the room.
ANGEL’S POV - he looks around the room that he and Paris saved Charlie from the Vlanturian demon in.
ANGLE - Angel turns and leaves.
DISSOLVE TO…
SCENE 13
INT - EXCALIBAR - NIGHT
WIDE ANGLE - we see the various vampires and demons that frequent the club.
CLOSE IN - Angel is hassling a demon. The demon looks like he just stepped out of the seventies. He is wearing plaid flares, and an orange polyester shirt with the wide collar.
ANGLE - Angel is right in the demon’s noduled face demanding answers.
ANGLE - another demon of similar appearance grabs Angel’s arm and tries to pull him off the seventies demon. Angel pushes the offending demon aside then backs off from seventies demon.
CLOSE UP - Angel looks frustrated as he turns away from the camera and leaves.
DISSOLVE TO…
SCENE 14
INT / EXT - ANGEL INVESTIGATIONS - ROOFTOP - PRE DAWN
INT - ANGEL’S POV - he climbs the stairs and sees the inside of the door. He reaches out and pushes the door open. As he steps outside, we see he’s on the roof of Angel Investigations; a place Paris would often come to think.
EXT - ANGLE - Angel moves towards the waist-high brick wall and looks out at the city lights.
CLOSE UP - of Angel; his thoughts are heavy with memories; his worried eyes searching the city for his wife. This is Angel at his broody best.
DISSOLVE TO…
SCENE 15
INT - GUNN’S APARTMENT - PRE DAWN
ANGLE - Angel pulls the sliding door shut and makes his way past the bedroom and kitchen. He looks to his left.
ANGEL’S POV - he sees Gunn sound asleep in the bed.
ANGLE - Angel moves into the living room and…
ANGLE - sits down on the couch. After a moment or two, he lies down and gets comfortable before he stares up at the ceiling and broods.
MUSIC - fades out as…
TIME CUT TO…
SCENE 16
INT - GUNN’S APARTMENT - DAY
BEDROOM - ANGLE - Gunn throws back the bedcovers and gets to his feet. He’s wearing a pair of black boxers and little else.
ANGLE - He comes out of the bedroom and moves straight into…
KITCHEN - ANGLE - the kitchen. He reaches for the kettle, fills it from the tap then puts it on the stove. He gets a mug and coffee jar from the shelf and a teaspoon from the sink. He drops one and a half spoons of coffee into the mug then puts the coffee jar back on the shelf. Gunn turns and heads for the door to the living room.
ANGLE - As Gunn comes out of the kitchen he sees Angel lying on the couch (in the same position as we last saw him).
GUNN
Hey. I didn’t hear you come in.
ANGLE - Angel sits up with a groan and throws his legs to the side.
ANGEL
I didn’t want to wake you.
GUNN
Hey, it’s your place, Angel. I just
moved in here ‘cause I had nowhere
else to crash after my boys decided
they didn’t want me around no more.
But now that you’re back, I’ll find
somewhere else to -
ANGEL
No rush, okay?
GUNN
Don’t you and Paris have a crib?
ANGEL
Not since Wolfram And Hart decided
to demolish the place we had in
Santa Monica.
GUNN
Yeah. Heard about that. None of us
could quite believe how you managed
to get away in broad daylight.
ANGEL
We were prepared and very lucky.
O.C. the kettle whistle blows noisily.
GUNN
You want a coffee?
ANGEL
I’ll have tea if you’ve got some.
GUNN
With Wesley around, I’ve always got tea.
ANGLE - Gunn disappears back into the kitchen and the kettle ceases whistling.
ANGLE - Angel gets up off the couch and moves into the kitchen.
ANGLE - As he makes the beverages…
GUNN
I’m guessing you didn’t find Paris?
ANGEL
No. She’ll come back when she’s
ready.
ANGLE - Gunn goes quiet as he places the mug on the table for Angel. Angel takes a seat at the end of the table nearest the fridge.
ANGEL
What’s on your mind, Gunn?
ANGLE - Gunn takes the chair facing the sink.
GUNN
Okay, I’m just gonna come out and
say this. I know she’s your wife
and everything, but as evil vamps go,
Paris scared the hell outta me.
ANGEL
She’s not evil anymore, Gunn.
GUNN
Yeah, I know, but…okay, I kinda knew
what to expect from Angelus ‘cause Wesley
told me. But Paris…she just seemed
to be on a whole other level of evil.
ANGEL
She does have a gift for it.
GUNN
So, you’re agreeing with me?
ANGEL
Yeah, I guess. Her mind worked
differently to Angelus but the same,
if that makes any sense.
GUNN
Absolutely none.
ANGEL
We’d both know what had to be done
or where we were going, but the ways
we’d get there would be different.
Things that would get Angelus all excited
for hours would normally bore Paris
after a few minutes.
GUNN
(cringing)
We’re not talking sex, are we?
ANGEL
Torture.
GUNN
Oh.
ANGEL
But then we’d torture each other…
ANGLE - Gunn holds up his hand to cut Angel off.
GUNN
I don’t wanna know.
ANGEL
Paris is more about the mental stimulation
rather than the physical. You should
see her when she’s coming up with a
plan, Wes. It’s amazing.
ANGLE - Gunn looks around and sees…
ANGLE - Wesley standing in the doorway.
WESLEY
How’d you - ? Never mind.
GUNN
How long have you been standing there?
WESLEY
Since ‘whole other level of evil’.
GUNN
That long, huh?
WIDE ANGLE - Wesley moves behind Angel to the counter and as he makes himself some tea…
WESLEY
So Paris was the brains and Angelus
the brawn?
ANGEL
Something like that, yeah. Although
she’s pretty strong in her own right.
WESLEY
I was wondering something when I got
home last night. Now that you’ve
got your soul back, do you still have the
power you gained from killing The Receiver?
ANGEL
Yeah.
(ashamed)
I really wish you hadn’t seen us that
night in the alley.
WESLEY
What’s done is done, Angel. I must
admit though that I thought Angelus and
Evil Paris would’ve tried to kill all of us.
ANGEL
I wanted to. Paris didn’t.
GUNN
Why not?
ANGEL
Because you made her laugh.
ANGLE - Gunn is surprised, as is…
ANGLE - Wesley.
WESLEY
I don’t know if we should consider
that a good thing or a bad.
ANGEL
Both. Evil Paris has a wacky sense
of humour…
(remembers)
kinda reminds me of Drusilla in a way.
GUNN
Now there was a wacky chick.
WIDE ANGLE - off the three guys.
DISSOLVE TO…
SCENE 17
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
WIDE ANGLE - Lindsey enters his office, briefcase in hand, and approaches his desk. Just as he sits down…
ANGLE - Holland walks in. He sees Lindsey’s face and is shocked.
HOLLAND
Good God, Lindsey.
That looks rather nasty.
LINDSEY
It looks worse than it is.
HOLLAND
I hope you reported the mugging
to the police.
LINDSEY
Actually, I didn’t. The guys wore
masks. I didn’t see their faces.
HOLLAND
How many were there?
LINDSEY
Four.
ANGLE - Holland nods.
HOLLAND
Well, if you need anything…
LINDSEY
I’m fine, Holland. I just have to be
a little more careful about where I walk
in the future.
(then)
How was your trip to New York?
HOLLAND
It went very well.
LINDSEY
I didn’t think you’d be back until this
afternoon.
HOLLAND
We covered everything quicker than
expected so I flew back Sunday night.
Uncomfortable beat.
HOLLAND
I didn’t realise you were dating
someone, Lindsey.
LINDSEY
Sorry?
HOLLAND
Lyle McInerney told me your girlfriend
called to tell him about you being
mugged.
LINDSEY
Oh, you must mean Patience.
HOLLAND
Strange name for a girl.
LINDSEY
Not for LA it isn’t.
HOLLAND
True.
LINDSEY
Anyway, she’s not my girlfriend per se.
She’s just a friend who happens to be
a girl. I was mugged not far from
her apartment so I went to her place
to get patched up.
HOLLAND
Where’s that?
LINDSEY
Hancock Park.
ANGLE - Holland nods, trying to determine if Lindsey’s lying or not.
HOLLAND
Well, I’ll let you catch up on the work
you missed yesterday. Glad to
see you’re alright, Lindsey.
LINDSEY
Thanks, Holland.
ANGLE - Holland starts to leave the office then stops and…
HOLLAND
Oh, any word on our two favourite
vampires?
LINDSEY
No, sir. They seem to have dropped
off the radar the last few days. If I
hear anything, you’ll be the first to know.
HOLLAND
Good.
ANGLE - Holland leaves the office.
ANGLE - Lindsey swivels around and faces the window, a relieved look on his face.
BLACK OUT
SCENE 18
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
ANGLE - Cordelia arrives at work. She walks through the door and stops when she sees…
ANGLE - Paris sitting at the computer. Paris glances up at her as…
CORDELIA
Hi. Where have you been?
PARIS
Around. I had to clear my head…
try and comprehend everything I’ve
done since…you know.
CORDELIA
Yeah. Have you seen Angel yet?
PARIS
I can’t.
CORDELIA
Why not?
PARIS
Every time I think of him, I’m reminded
of everything we did together. How I
was the one who turned him evil again.
CORDELIA
Yeah, you were, but now’s the time to
put all that behind you and start with
the good deeds again.
PARIS
Yeah.
CORDELIA
So, what are you looking at on the
computer?
PARIS
I’m going through the Wolfram And Hart
disks.
CLOSE UP - Alarm bells start ringing but Cordelia tries not to show it.
CORDELIA
Oh. Find anything interesting?
PARIS
Not really.
TIGHT - Paris takes a disk out of the CD-Rom drive and…
ANGLE - puts it back in its case. As she places it on top of the other disks…
CORDELIA
We went through all the disks and
couldn’t find anything more about your
involvement in the Apocalypse.
PARIS
About the most interesting thing was
the fact that there’s going to be seven
Senior Partners at the time of the Apocalypse.
Makes you wonder just who the other
three are going to be, doesn’t it?
CORDELIA
Well, now that you and Angel are on
the side of good again, I guess that
puts the two of you out of the running.
PARIS
Yeah.
(beat)
I’m sorry, Cordelia.
CORDELIA
For what?
PARIS
Everything. Especially hurting Lindsey.
CORDELIA
I don’t think it’s me you should be
apologising to, Paris.
PARIS
Yeah. I’ll apologise to him when I
see him next.
(then)
You’re happy with him, aren’t you?
CORDELIA
I am, yeah. I never thought I
could care this much about someone.
PARIS
You trust him?
CORDELIA
I do.
O.C we HEAR the sound of the elevator ascending.
ANGLE - the elevator stops and Gunn and Wesley step out of it. They see Cordelia and Paris.
WESLEY
Paris…I didn’t realise you were here.
PARIS
I’ve been here for a while, Wes.
WESLEY
(eyeing the disks)
You’ve been through the disks I see.
PARIS
Yeah.
CORDELIA
She didn’t find anything though.
WESLEY
Oh?
PARIS
I’m done with them, and unless Angel
wants to go through them, you can
lock them away again.
WESLEY
Right.
ANGLE - Wesley steps towards the desk and picks the disks up.
GUNN
So, where’d you go after you took
off last night?
PARIS
You mean after I let The Receiver go?
GUNN
Yeah.
PARIS
Nowhere in particular.
WESLEY
So you just let the girl go?
PARIS
Yeah.
WESLEY
Why would you do that when the
Senior Partners are after her?
CLOSE UP - Paris considers what Wesley is saying, then realises…
PARIS
I messed up, didn’t I?
CORDELIA
Well, duh!
PARIS
I’m sorry. I guess I was just so
wracked with guilt that I just wanted to
let her go after everything I’d put her
through. I’ll go out when it’s
dark and try to find her.
ANGLE - Wesley nods.
WESLEY
Apart from The Receiver, how are
you coping now that you have a soul?
PARIS
I don’t know if I am, Wes. Does it
seem like I’m coping ‘cause I can’t
really tell?
CORDELIA
Well, you do seem to be a little more
gabby than usual.
GUNN
You seem to be doing alright.
WESLEY
Give it time, Paris.
PARIS
Yeah.
Beat.
GUNN
He’s downstairs.
ANGLE - Paris nods then stands up. She silently moves into Wesley’s office and to the stairs. When she’s gone…
ANGLE - Cordelia looks at Wesley and Gunn.
CORDELIA
Okay, is it just me or does she seem
different?
GUNN
Can’t be easy after what she and
Angelus did.
WESLEY
She does seem different but that may
well be because she’s now a vampire
with a soul. She’s just trying to
make the transition.
CORDELIA
(unconvinced)
Yeah, I guess.
Off Cordelia.
DISSOLVE TO…
SCENE 19
INT - GUNN’S APARTMENT - KITCHEN - DAY
WIDE ANGLE - Angel is sitting in the same chair near the refrigerator. There’s a fresh steaming cup of tea in front of him. As he takes a sip, Paris appears in the doorway behind him. As she looks at him…
ANGEL
Are you okay?
PARIS
I don’t know.
Paris steps forward and sits down to his right.
PARIS
You?
ANGEL
I’m repulsed by everything we did.
Other than that I’m fine.
PARIS
So it’s not just me then.
ANGEL
Where’d you go last night?
PARIS
I let the girl go.
(off Angel’s scowl)
I know…not the smartest thing I’ve
ever done.
ANGEL
If the Senior Partners find her…
PARIS
I know. I’ll track her down when
the sun goes down.
ANGLE - Angel nods. There’s a long silence as Angel stares down into his mug.
ANGEL
Did you find out what your involvement
is in the Apocalypse?
PARIS
Yeah. Scary stuff.
ANGEL
Evil?
PARIS
Yeah. I can understand why
Cordelia and the others didn’t want me
knowing about it before last night.
The evil me would have been jumping
up and down with joy.
ANGEL
So, really evil then.
PARIS
The personification of it.
ANGEL
Oh.
(then, looking up)
We can’t allow that to happen.
PARIS
I know.
ANGEL
We can’t allow ourselves to be put in
a position where we turn evil again.
PARIS
I know.
ANGEL
Which means we can’t…
PARIS
(softly)
I know. That’s probably worse
than the memories of all the suffering
and death we caused. That we
can’t be together again. Ever.
ANGEL
Yeah.
WIDE ANGLE - Angel stands up and empties his mug in the sink. Angel places his hands on the edge of the sink and hangs his head. Paris watches him for a moment then stands up and moves around the table.
ANGLE - Paris looks down at his hand and…
CLOSE UP - places hers on top of his.
CLOSE UP - Angel closes his eyes for a moment then opens them and looks at her.
PARIS
(sadly)
Now that I can’t have you, I want
you more than ever.
ANGEL
Me, too.
ANGLE - they lock their fingers for a few moments then turn into each other. Angel wraps his arms around Paris and they embrace. When they part a little, they look at each other and kiss.
DISSOLVE TO…
SCENE 20
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
ANGLE - Lindsey is staring at the computer monitor. He frowns then looks at a file folder on his desk. He glances at the screen again then types something. He glances in annoyance when his phone rings, and he snatches it up.
LINDSEY
Lindsey McDonald.
(listens, surprised)
Send her up.
ANGLE - Lindsey hangs up the phone as another frown begins to crease his brow.
TIME CUT TO…
SCENE 21
INT - WOLFRAM & HART - LINDSEY’S OFFICE - DAY
ANGLE - On the office door as there’s a KNOCK on it.
ANGLE - Lindsey looks from the file he’s been working on.
LINDSEY
Yes?
ANGLE - Lindsey stands up as we HEAR the door open.
LINDSEY
(surprised)
Hi.
ANGLE - Charlie stands in the doorway.
CHARLIE
Hi.
WIDE ANGLE - As Lindsey moves around his desk and Charlie steps deeper into the office…
LINDSEY
What are you doing here?
CHARLIE
I need your help.
LINDSEY
(hushed)
You know you shouldn’t be here.
CHARLIE
I didn’t know where else to go.
BACKGROUND - Lyle suddenly appears behind Charlie.
LINDSEY
(startled)
Lyle.
CLOSE UP - Lindsey glances at Charlie who…
CLOSE UP - blinks in acknowledgement.
LYLE
Sorry to interrupt, but I need a hand
with that Warner deposition.
LINDSEY
Oh…right.
ANGLE - Charlie turns around and looks up at Lyle.
CHARLIE
(smiles)
Hi. You’re the one I spoke to
on the phone yesterday, aren’t you?
ANGLE - Lyle is a little surprised to see her.
LYLE
Yeah. Hi. Patience, right?
CHARLIE
(smiles)
And you’re Lyle. Hi.
ANGLE - Charlie and Lyle shake hands.
LINDSEY
Patience…
ANGLE - Charlie turns to face Lindsey who is moving back to his desk.
CHARLIE
Hi.
ANGLE - Lindsey writes something down on a yellow Post-It note then turns back to Charlie. As he holds out the note…
LINDSEY
Here’s that address you needed.
They should be able to help you.
ANGLE - Charlie takes the note, glances at it then looks back up at Lindsey.
CHARLIE
Thanks, Lindsey.
I’ll see you later then?
LINDSEY
Yeah.
ANGLE - Charlie turns and looks at Lyle.
CHARLIE
Nice to meet you, Lyle.
LYLE
You, too.
WIDE ANGLE - The two guys watch Charlie leave then Lyle looks at Lindsey.
LYLE
Cute. From the way she was on
the phone yesterday, she’s a lot
different in person. Isn’t she?
LINDSEY
Everyone says that about her.
Beat.
LYLE
You ready to go?
LINDSEY
Yeah.
WIDE ANGLE - Lindsey follows Lyle out of the office.
CUT TO…
SCENE 22
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
WIDE ANGLE - Wesley, Gunn and Cordelia are in Wesley’s office. Mid-conversation.
GUNN
Now that they’re back, I don’t know
where I’m going to go.
WESLEY
Do you have anything saved up?
GUNN
A little.
WESLEY
Can you afford a place of your own?
GUNN
Not even in the worst neighbourhood.
WESLEY
Well, I supposed you could stay at my
place until you can afford a place of
your own.
GUNN
I can’t ask you to put yourself out like
that, Wes.
CORDELIA
Like you’ve got somewhere else to go.
ANGEL (O.C)
I told you there was no rush to move
out, Gunn.
WIDE ANGLE - The three all look towards the stairs and see Angel and Paris standing there.
CORDELIA
How do you do that?
ANGEL
Do what?
CORDELIA
Sneak up on people without them
knowing.
ANGLE - Angel shrugs his answer then looks at Gunn.
ANGEL
Stay downstairs for as long as you
need to.
GUNN
You sure?
ANGEL
Yeah.
GUNN
Alright then.
(then)
Do I get to keep the bed?
ANGEL
It’s probably better if you do.
CORDELIA
(after a moment)
That’s right. You two can’t…
well…you know…without going all
psycho killer again. Can you?
Paris and Angel are silent.
CORDELIA
(cont’d, to Gunn)
So, it’s definitely better if you
take the bed.
WESLEY
Right. Well, now that that’s settled…
ANGLE - As Wesley starts to get up…
ANGEL
Stay there, Wes.
ANGLE - Wesley, in a half-sitting position, looks up at Angel.
ANGEL
(cont’d)
You’ve been running things since I’ve
been gone. You need to fill us
in on what we missed.
WESLEY
Right.
(sits down again)
Well, I guess firstly, David Nabbit
bought the building.
PARIS
This building?
WESLEY
Yes. In return for saving his
secretary from a Magnoni Demon, David
bought the building. We don’t
have to pay rent and he agreed to pay
all the bills as they come in. Any
business he throws our way is handled
for free.
ANGLE - Angel is somewhat surprised by David Nabbit’s generosity.
ANGEL
Has he given you any business?
GUNN
Not yet.
ANGLE - Angel nods.
WESLEY
Other than that, we’ve not done much
outside work.
GUNN
Well, there was that guy whose girlfriend
was killed.
CORDELIA
(to Angel & Paris)
By you two.
ANGLE - Paris and Angel look at each other.
PARIS
Hailie.
CORDELIA
Yeah.
ANGLE - Paris casts her eyes downwards in shame.
GUNN
I’m still having flashbacks of seeing
her at the end of that rope.
ANGEL
I wish you hadn’t seen that.
GUNN
Me, too.
CORDELIA
You two really should apologise to Jake.
PARIS
(low)
We would if he was alive.
ANGLE - Wesley, Gunn and Cordelia all look at Paris.
PARIS
(cont’d)
After we killed Hailie, we found Jake.
I turned him then used him to help us
get into the Manners house.
WESLEY
You killed Holland Manners’ family?
ANGEL
Yeah. We used Jake to befriend
Holland’s daughter and gain access to
the house. The night before we
killed the family, Paris turned Jake.
He killed the daughter while Paris and
I killed the son and mother.
PARIS
Then Angelus killed Jake.
WIDE ANGLE - Wesley, Gunn and Cordelia are silently horrified.
CORDELIA
Why?
PARIS
He didn't like the way Jake
looked at me.
CORDELIA
Oh.
Somewhat tense beat.
ANGEL
So, what else has happened?
WESLEY
Other than researching the Senior
Partners and trying to keep tabs on
the two of you, not a lot.
CORDELIA
You forgot about Buffy.
ANGEL
You already told me she died saving
the world.
CORDELIA
Yeah, well, she’s back.
PARIS
(stunned)
What?
CLOSE UP - Angel is also stunned.
WESLEY
Apparently Willow performed a spell
that brought Buffy back to life.
ANGEL
When?
WESLEY
Not long after we told you about
her death.
ANGLE - Paris looks at Angel who glances at her then looks away.
ANGLE - Paris turns away from Angel and steps towards the elevator. After a moment…
PARIS
Hello, Charlie.
WIDE ANGLE - everyone looks towards Paris who turns around. Everyone then faces the door as we see…
ANGLE - Charlie standing in the doorway between the offices.
BLACK OUT
SCENE 23
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
WIDE ANGLE - everyone, except Paris, is looking at Charlie. Charlie looks at everyone, stiffening a little when she looks at Paris and Angel.
ANGLE - Angel shifts uncomfortably.
ANGLE - Charlie settles her gaze on Cordelia.
CHARLIE
Are you Cordelia?
ANGLE - Cordelia gets to her feet.
CORDELIA
Yeah.
CHARLIE
Lindsey said I should come here.
CORDELIA
You saw Lindsey?
CHARLIE
Yeah.
ANGLE - Wesley stands and steps forward.
WESLEY
Hello, Charlie. I’m Wesley…
Wyndam-Pryce.
(indication)
And this is Charles Gunn.
ANGLE - Gunn smiles and nods.
GUNN
Hey.
CHARLIE
Hi.
ANGLE - Charlie glances at Paris and Angel.
ANGLE - Wesley notices the girl is uncomfortable.
WESLEY
Angel, perhaps you and Paris -
ANGLE - Angel gets the hint.
ANGEL
We’ll go downstairs.
WIDE ANGLE - Angel turns towards the stairs but Paris doesn’t move.
ANGEL
(prompts)
Paris…
ANGLE - Paris turns around and looks at Charlie for a brief moment, but it’s enough to…
ANGLE - make Charlie quickly look away.
ANGLE - Paris follows Angel downstairs.
CORDELIA
Why did you go to see Lindsey?
CHARLIE
I thought he could help me.
WESLEY
Help you with what?
WIDE ANGLE - Wesley sits back down as Charlie steps deeper into the office. Gunn offers her his chair.
CHARLIE
Thanks.
(once seated)
Since I was let go last night, I keep
getting these demon possession thingies.
WESLEY
That’s part of being a Receiver.
CHARLIE
I know…Lindsey tried to explain it to
me. It’s just that since I’ve been
out, I’m getting possessed more often.
CLOSE UP - A crease appears in Wesley’s brow.
CORDELIA
Paris and Angelus created this mystical
‘stay out’ barrier around the cell Charlie
and Lindsey were in. Maybe the
demons couldn’t possess Charlie while
she was in the cell.
CHARLIE
But that’s just it. I was possessed
while I was in the cell. Several times.
GUNN
Maybe they were super strong demons
that were able to penetrate the barrier
and get inside Charlie.
WESLEY
Without knowing which spell was used
to create the barrier -
CHARLIE
They spoke in what I think was Latin.
WESLEY
No offence, Charlie, but that doesn’t
really help narrow it down.
CHARLIE
I just want to know if there’s any way
of stopping these demons from possessing
me ‘cause I really don’t know how
many more I can take.
WESLEY
There is no way of stopping them, Charlie.
Not to my knowledge anyway.
ANGLE - Charlie deflates a little.
WESLEY
(cont’d)
I know this may not be what you want
to hear, but it might be best if you talk
to Paris about this.
CHARLIE
Because she used to be a Receiver?
WESLEY
That and also because about eighteen
months ago, she was possessed by
multiple demons en masse.
CLOSE UP - Charlie’s eyes widen.
CORDELIA
If anyone can help you, it’s going
to be Paris.
ANGLE - Charlie does not really like the idea of being face-to-face with Paris again.
DISSOLVE TO…
SCENE 24
INT - GUNN’S APARTMENT - DAY
ANGLE - Angel is sitting on the couch, brooding. From under his heavy brow, he looks at…
ANGLE - Paris who is sitting on the steps opposite; her knee bouncing up and down.
ANGEL
You’re getting hungry, aren’t you?
PARIS
Yeah.
ANGEL
Maybe one of the others can go and
get some pig’s -
PARIS
You know I can’t stand that stuff, Angel.
WIDE ANGLE - As Paris stands up and stretches her back…
ANGEL
I’ll admit that’s it’s an acquired taste
but -
PARIS
(firm)
I’m not having pig’s blood, Angel.
ANGEL
How about cow’s blood?
That’s rather -
CLOSE UP - Paris glares at Angel who…
CLOSE UP - decides it’s best to stay quiet.
ANGLE - Paris begins pacing around the apartment, then…
PARIS
I need to get out of here.
ANGLE - Angel stands up as…
ANGLE - Paris heads for the tunnel access.
ANGEL
Where are you going?
PARIS
I don’t know.
ANGLE - As Paris opens the grate that leads to the tunnels…
ANGLE - Wesley, Gunn, Cordelia and Charlie descend in the elevator.
ANGLE - Angel grabs Paris’ arm to stop her from leaving. She turns around as…
ANGLE - the four exit the elevator.
WESLEY
Were you going somewhere?
PARIS
Apparently not.
CLOSE UP - Paris uses her foot to slam the grate shut, which…
ANGLE - makes Charlie flinch a little.
ANGEL
Do you need something?
WESLEY
Charlie needs to know if there’s a way
of reducing the frequency of the
possessions she’s having.
PARIS
How many have you had?
CHARLIE
Since you let me go last night, it
seems like I’m getting one every
couple of hours or so.
ANGLE - Paris goes into think mode.
GUNN
Cordy said there was some kind of
mystical barrier around the cell Charlie
was in, but she was still possessed.
PARIS
(distracted by thought)
Because the strongest demons and
vamps were able to penetrate it somehow.
That’s why she only had a handful of
possessions this past week.
CHARLIE
So why couldn’t that demon get in
the cell then?
GUNN
What demon?
ANGEL
One of the Senior Partners.
We weren’t able to figure that out.
CHARLIE
So how can I stop the possessions now?
PARIS
There’s only one way that’ll definitely
work, but you’ll never go for it.
CHARLIE
I’ll try anything.
PARIS
(stepping forward)
Even death?
CORDELIA
(admonishes)
Paris…
PARIS
What, Cordy? She asked the question
and I answered it.
(to Charlie)
You can’t pick and choose which demons
possess you or when. All you can
do is learn whatever you can from each
one and wait for the next one to come.
It sucks, I know, but that’s life as a Receiver.
Everyone is silent for a few moments.
CHARLIE
So, how do you deal with it?
PARIS
The best way you can.
ANGLE - Paris looks at Charlie to make sure she’s got the message. After a moment, Paris steps back and turns towards the tunnel access.
ANGEL
Paris…
PARIS
I have to go, Angel.
ANGLE - Paris opens the grate again and begins climbing down into the tunnel. She pulls the grate shut and disappears.
ANGLE - As Angel turns to face the others…
CORDELIA
What the hell is up with her?
ANGEL
She gets like this sometimes when
she’s hungry.
GUNN
She’s hungry?
ANGEL
She needs to feed the Receiver power.
CHARLIE
Me?
WESLEY
No. When a demon kills a Receiver,
they gain the Receiver’s power. In order
to maintain that power, the demon must
feed it.
CHARLIE
Oh.
Off Charlie.
CUT TO…
SCENE 25
INT - WOLFRAM & HART - CORRIDOR - NIGHT
ANGLE - Lindsey is walking along the corridor, briefcase in hand. When he comes to the bank of elevators, he…
CLOSE UP - presses the ‘down’ button.
ANGLE - A few moments later, there’s a DING and the doors open. Holland starts to step out but…
REVERSE ANGLE - sees Lindsey.
HOLLAND
Just the person I was coming to see.
LINDSEY
Can we talk on the way down?
ANGLE - Holland steps back into the elevator and Lindsey joins him. As the doors close…
INT - ANGLE - Lindsey is looking up at the floor numbers above the door.
HOLLAND
Who was that girl that came to see
you earlier today?
Lindsey is a little surprised that Holland knows about Charlie’s visit.
LINDSEY
That was Patience.
HOLLAND
Oh…the girl who called Lyle?
LINDSEY
Yes.
HOLLAND
Hmph.
LINDSEY
Why?
HOLLAND
I had a visit from one of the Senior
Partners. He said that the Receiver
had been in the building. Everyone’s
been accounted for with the exception
of your friend.
EXT - ANGLE - The elevator doors open and Lindsey steps out. He turns and looks at Holland as he steps out of the elevator.
LINDSEY
Patience isn’t the Receiver any more
than either of us, Holland.
As the elevator doors close…
HOLLAND
Are you sure of that?
LINDSEY
Positive.
(beat)
I’ll see you tomorrow, Holland.
HOLLAND
Yes, goodnight, Lindsey.
WIDE ANGLE - Lindsey turns and heads towards the front entrance (off camera). Holland is left wondering if Lindsey’s telling the truth.
DISSOLVE TO…
SCENE 26
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - NIGHT
WIDE ANGLE - Cordelia, Gunn, Wesley, Angel and Charlie are convened in the outer office.
WESLEY
Now, are you sure you don’t want
to come and stay at my place?
CHARLIE
Yeah. I’ll be alright.
CORDELIA
You sure?
CHARLIE
Yeah, but I’ll stop by tomorrow if
that’s alright.
WESLEY
That’s fine.
ANGLE - Charlie turns to leave as Lindsey rushes in.
CHARLIE
(surprised)
Lindsey.
LINDSEY
Oh, good, you’re here.
CORDELIA
(freaking)
What are you doing here?
LINDSEY
We’ve got a problem.
WESLEY
What kind of problem?
LINDSEY
Holland knows that the Receiver was
at Wolfram And Hart today.
WESLEY
How?
ANGEL
(concludes)
The Senior Partners.
LINDSEY
Yeah.
ANGEL
What’d you tell him?
LINDSEY
Well, he thinks that Charlie’s this fictional
Patience girl that Paris made up, but I
told him that I was positive she was
not the Receiver.
CORDELIA
And he bought that?
LINDSEY
I’m not sure.
(to Angel)
I was thinking about that mystical barrier
thing you had around that cell. Could
it be done for a room or an apartment?
Before Angel can respond…
WESLEY
You want to confine Charlie to a space
to prevent the Senior Partners from
getting to her?
LINDSEY
Yeah, but only if Charlie’s okay with it.
WIDE ANGLE - everyone looks at Charlie.
CHARLIE
I don’t want to be locked up in
that cell again.
LINDSEY
You wouldn’t be in the cell, Charlie,
you’d be in a larger space.
ANGLE - As Charlie tries to decide…
LINDSEY
(cont’d, to Angel)
Can it be done?
ANGEL
I guess it could. We’d need a hell of
a lot of the powder that’s required to
bind the space though.
ANGLE - Lindsey looks at Charlie.
LINDSEY
It’s the only way to keep you safe from
the Senior Partners, Charlie, because
if they find you, they will kill you.
WIDE ANGLE - Charlie looks at everyone who nod in agreeance with Lindsey.
CHARLIE
(to Angel)
Are you sure it will -
CLOSE UP - Suddenly Charlie gasps and closes her eyes. She immediately starts shaking with cold and steam comes out of her mouth.
CORDELIA
Haven’t seen this in a while.
GUNN
(observes)
Big bad demon.
ANGLE - Charlie’s knees start to buckle and Angel uses his vamp speed to catch her before she hits the floor. After a moment, Charlie’s body lurches and she opens her eyes. She looks around then at Angel behind her.
ANGEL
(gently)
Sit down.
ANGLE - As Angel guides Charlie to the blue sofa…
WESLEY
Are you alright?
WIDE ANGLE - Charlie nods as she sits down.
GUNN
Which demon was it?
CHARLIE
(to Lindsey)
The same one from the other day.
LINDSEY
The really evil one?
CLOSE UP - Charlie nods.
ANGEL
Did you see it?
CLOSE UP - Charlie shakes her head.
CHARLIE
No. It stayed in the dark.
WESLEY
Did you learn anything from it?
CHARLIE
No. All I know is that it’s really evil.
(to Angel)
Do that barrier thing.
ANGEL
You sure?
CHARLIE
(nodding)
Yeah.
WESLEY
Do you have an apartment?
CHARLIE
I’m between places at the moment.
LINDSEY
Use mine.
CORDELIA
Lindsey…
LINDSEY
As long as Lyle thinks that ‘Patience’ is
my girlfriend, I can stay with you until
he thinks otherwise.
CLOSE UP - Cordelia nods her agreement.
WESLEY
Right, then. Angel, go and get
what’s needed for this spell and we’ll
meet you at Lindsey’s place.
ANGLE - Angel nods then leaves via the front door.
WESLEY
(cont’d)
Lindsey, take the girls with you.
I’ll go with Gunn.
CHARLIE
I need to get some stuff first.
LINDSEY
I’ll go with you.
CHARLIE
I’d rather go by myself. If you give
me the address, I’ll meet you there.
ANGLE - Lindsey nods then goes over to Cordy’s desk and writes the address down.
WESLEY
You should have someone go with you.
CHARLIE
I’ll be alright, Wesley.
ANGLE - Lindsey hands Charlie the address which she pockets.
CHARLIE
I’ll see you in a couple of hours.
ANGLE - Charlie leaves the office.
CORDELIA
We shouldn’t have let her go alone.
LINDSEY
She’s stronger than she thinks.
She’ll be alright.
Off Lindsey.
BLACK OUT
SCENE 27
INT - LINDSEY’S APARTMENT - LIVING ROOM - NIGHT
WIDE ANGLE - Wesley, Lindsey, Gunn and Cordelia are waiting in living room of Lindsey’s apartment.
CORDELIA
(impatiently)
Where are they?
ANGLE - Cordelia gets up off the couch and as she walks over to the window…
WESLEY
I don’t know. Angel could be
having trouble finding -
O.C. there’s a knock at the front door.
ANGLE - as Cordelia turns around…
CORDELIA
Finally!
ANGLE - Lindsey moves to the door and checks the peephole. He then opens the door.
ANGLE - It’s Angel with a paper bag and a thick book.
LINDSEY
(concerned)
Is Charlie with you?
WIDER - as Angel steps across the threshold…
ANGEL
She’s not here?
LINDSEY
No.
ANGLE - Lindsey looks out into the corridor and…
LINDSEY’S POV - sees that it’s empty.
WIDE ANGLE - Lindsey closes the door as Angel moves deeper into the apartment.
WESLEY
(to Angel)
Did you get everything?
ANGEL
Yeah.
ANGLE - Angel places the paper bag and book down on the coffee table.
ANGEL
Where is she?
GUNN
She went to get some stuff and was
going to meet us here. That
was over half an hour ago.
ANGEL
Do you know where she went?
CORDELIA
She didn’t…oh no…not…
LINDSEY
Cordy!
CORDELIA
(cont’d)
…now!
ANGLE - Cordelia clamps a hand to her head as the vision hits her.
INSERT - a set of vampire’s fangs
INSERT - blood trickling down the neck of a female
INSERT - a bright light travelling through the air
ANGLE - Angel is holding Cordelia up as the vision penetrates her mind.
CLOSE UP - When the vision passes and Cordelia opens her eyes, we see the concern in them.
WIDER - As Cordelia slowly sits down on the couch.
WESLEY
Cordelia…what did you see?
CORDELIA
(despondently)
Charlie.
CLOSE UP - Cordelia looks up at the men.
WIDE ANGLE - The look on Cordelia’s face tells them the meaning of her vision.
BLACK OUT
