SCENE 1
INT - ANGEL INVESTIGATIONS - INNER OFFICE - NIGHT
Cordelia switches off the computer monitor then makes sure the answering machine is on. She picks up her bag then walks to the inter-office door and stands in the doorway. Angel is at his desk reading a book.
CORDELIA
Do you know when Paris’ll be back?
ANGEL
No.
CORDELIA
Well, she hasn’t been in all week.
Is she sick or something?
ANGEL
I don’t know, Cordelia.
CORDELIA
Maybe I’ll go and see her before work in the
morning. You know, see if she’s okay.
ANGEL
Fine.
CORDELIA
So, I might be a bit late.
ANGEL
Uh huh.
CORDELIA
Okay. Well…see you tomorrow.
ANGEL
Night.
Cordelia leaves the office. When Angel hears the front door close, he puts the book down on the desk. He stands up and moves towards the stairs.
CUT TO…
SCENE 2
EXT / INT - CORDELIA'S APARTMENT - NIGHT
Cordelia turns the corner and walks along the corridor as she searches her bag for her keys. She unlocks the door and enters the apartment as Dennis (the ghost) turns the lights on for her.
CORDELIA
Thanks, Dennis.
Cordelia closes the door then moves towards the couch. She puts her bag down then looks at her answering machine.
ANGLE – of answering machine, which shows no messages.
CORDELIA
(wearily)
Great. What’s the use of having an
agent if he doesn’t do his job?
Cordelia looks towards the door when she hears a knock. She moves back to the door and opens it. There’s a man and a woman standing there.
MR CHASE
(smiles)
Hi, honey.
CORDELIA
(surprised)
Dad? Mom?
CLOSE UP of Cordelia’s stunned face.
CUT TO…
SCENE 3
EXT - PARIS’ APARTMENT BUILDING - NIGHT
Angel walks down the alley between the two buildings.
ANGEL’S POV – as he approaches the bedroom window. He sees that the blind is drawn and there’s no light on.
CLOSE UP – of Angel’s face that shows signs of regret and concern.
Angel turns, with hands jammed into his coat pockets, and walks slowly back down the alley.
BLACK OUT
SCENE 4
INT - CORDELIA’S APARTMENT - LIVING ROOM - NIGHT
Cordelia steps aside as her parents enter the apartment. She closes the door then sees her parents looking around the room.
MRS CHASE
This is a lovely place, Cordy.
CORDELIA
Thanks.
(then)
What are you doing here?
MR CHASE
Can’t parents visit their daughter
any more?
MRS CHASE
It’s been such a long time since we’ve
seen you, so we thought we’d pay you a
surprise visit.
CORDELIA
Well, I’m surprised. In fact, if I
woke up in the morning with my head sewn
to the carpet, I wouldn’t be more surprised
than I am right now.
Mr Chase frowns at Cordelia’s comment.
CORDELIA
You could’ve called, you know.
MR CHASE
If we did that, it wouldn’t be a surprise.
Would it?
Mr Chase wanders over to the couch and sits down.
CORDELIA
I guess not.
Mrs Chase sits down next to her husband while Cordelia sits in an arm chair.
CORDELIA
So, how long are you here for?
MR CHASE
Five or six days.
CORDELIA
(smiling / uncomfortable)
Five or six days.
Cordelia squirms a little in her seat.
MR CHASE
Is that going to be a problem?
CORDELIA
Problem? No, it’s good to see you.
So, where are you staying?
MRS CHASE
(tentatively)
Money’s still rather tight at the
moment but…
CORDELIA
(with dread)
You want to stay here, don’t you?
MRS CHASE
If it’s not too much trouble, dear.
CORDELIA
It’s no trouble, mom.
Mrs Chase smiles as a brief ‘Oh God’ looks hits Cordelia’s face then she forces a smile.
CUT TO…
SCENE 5
INT - GROCERY STORE - NIGHT
DOLLY – along an aisle then we see Paris enter the aisle. She’s carrying a shopping basket that has several items in it. She takes a bottle of orange juice off the shelf and puts it in the basket. She moves into the next aisle and picks up a loaf of bread then a jar of peanut butter. She frowns as she tries to think if there’s anything else she needs, but there isn’t.
She moves down the aisle to the register. There’s a young Asian man behind the counter.
PARIS
Hi Xian.
XIAN
(smiles)
Miss Paris. How you are tonight?
PARIS
I’m okay.
Xian takes the items out of the basket and starts ringing them up.
XIAN
What you do this weekend?
PARIS
I’m just going to have a quiet weekend.
At least that’s the plan. And you?
XIAN
I work.
PARIS
That’s too bad.
Xian packs the paper bag as Paris opens up her wallet.
PARIS
What’s the damage?
XIAN
Nine-seventy-six.
Paris hands over ten dollars and Xian gives her the change.
PARIS
Thanks. Goodnight.
XIAN
Goodnight.
Paris puts her wallet in the paper bag then picks it up and moves towards the door.
CUT TO…
SCENE 6
EXT - PARIS’ APARTMENT BUILDING - NIGHT
WIDE SHOT – we see the black Plymouth parked about fifty feet down the street from Paris’ building. The roof of the car is up.
ZOOM IN – we see Angel sitting behind the wheel, his eyes alert, as he looks ahead then behind him for any sign of Paris.
BACKGROUND – there’s a song playing on the radio, the sound down low.
CUT TO…
SCENE 7
INT - CORDELIA’S APARTMENT - DINING ROOM - NIGHT
Cordelia and her parents are sitting around the dining table eating some Chinese take-out.
MRS CHASE
So, have you done any more commercials?
CORDELIA
I had an audition last Friday, but I
haven’t heard back yet. Which means I
didn’t get it. But I did a cracker commercial
a few weeks ago.
MRS CHASE
Really? I don’t think we’ve seen it.
CORDELIA
That’s because it doesn’t start airing until
Monday, mom.
MR CHASE
You’re not trying for any TV or movie roles?
CORDELIA
My agent’s been looking at scripts, but he
hasn’t found anything he thinks I’m suitable for.
Plus, it’s been pretty busy at work, so there’s
really no time for larger roles.
MR CHASE
It’s good that you’re busy, Cordelia.
CORDELIA
Yeah, but it really puts a major crimp in
my social life.
MRS CHASE
I didn’t realise working for a detective
would keep you so busy.
CORDELIA
This is L.A., mom. Home of the seedy
underbelly. You wouldn’t believe some
of the cases we’ve worked on.
MR CHASE
You’ll have to tell us about them.
CORDELIA
(quickly)
I can’t.
(off Mr Chase’s surprised look)
It’s the whole client confidentiality agreement
thing. We can’t discuss any of the
cases we work on.
MR CHASE
Maybe while we’re here we could come
and see where you work.
Cordelia almost chokes on some rice.
CORDELIA
You want to see where I work?
MRS CHASE
(patting husband’s arm)
What a good idea, love.
CORDELIA
(slightly panicked)
Why would you want to see where I work?
MR CHASE
Curiosity. Plus I’d like to meet your boss.
CORDELIA
(cringing)
You would?
MR CHASE
What’s his name again?
CORDELIA
Angel. That’s why it’s called Angel
Investigations.
MR CHASE
(nodding)
Right.
(then)
What sort of a name is Angel?
Is he Mexican?
CORDELIA
Irish.
MRS CHASE
Really?
CORDELIA
Angel’s kind of like a nickname.
MR CHASE
(jokes)
What is he? A guardian angel?
CORDELIA
Something like that, yeah.
MRS CHASE
How about we go with you in the morning?
Then we could maybe meet up for lunch.
CORDELIA
(reluctantly)
I guess. But I’ve got to go see
someone before work.
MR CHASE
Who?
CORDELIA
The girl who works with me has been
sick all week. I wanted to check on her.
MRS CHASE
That’s nice of you, dear.
Cordelia smiles then stuffs her mouth with rice.
CUT TO…
SCENE 8
EXT - STREET SCENE - NEAR PARIS' BUILDING - NIGHT
Paris is walking slowly along the sidewalk. She switches the paper bag to her left arm. There’s a hint of sadness and loneliness on her face as she gazes ahead of her.
BACKGROUND – A black van with dark windows is coming up the dimly lit street behind her. The van approaches Paris and it slows down when Paris reaches the corner. The driver’s window is rolled down.
MAN
Excuse me, miss.
Paris stops on the corner, as does the van. She looks warily at the rather handsome driver.
MAN
I seem to be a bit lost. I’m trying
to find the Santa Monica Freeway.
PARIS
You’re quite a way from it.
MAN
I’d really appreciate it if you could
tell me how to get to it.
PARIS
Sure.
CONTINUOUS…
SCENE 9
EXT - STREET SCENE - NEAR PARIS' BUILDING - NIGHT
Angel peers through the windshield and frowns slightly as what he sees a hundred feet away.
ANGEL’S POV – he can see the front half of the van. He watches Paris seemingly giving the driver directions of some sort.
ANGEL (O.C)
(mutters)
Where’s he going? Timbuktu?
ANGEL’S POV – He sees Paris snap her head to look behind her, then he sees two men grab her. She drops the bag of groceries.
PARIS
(screams)
Aargh!
ANGEL (O.C)
(urgently)
Paris
ANGEL’S POV - One of the men clamps a hand over Paris’ mouth as the side door of the van slides open. The two men push Paris into the van then jump in as Angel starts up the Plymouth.
Angel puts the car in gear as the van takes off down the street, the sliding door slamming shut. Angel plants his foot, the tyres screeching. He speeds to the intersection then swings the car to the left and gives chase.
CUT TO…
SCENE 10
INT - CORDELIA'S APARTMENT - LIVING ROOM - NIGHT
Mr Chase carries a suitcase into the apartment then closes the door. He moves towards the kitchen where Cordelia and her mother are doing the dishes.
MR CHASE
Where would you like us to sleep?
Cordelia looks at her father and thinks for a moment.
CORDELIA
Could you hold for a moment?
CORDELIA
You can have my room, I guess.
MRS CHASE
Are you sure?
CORDELIA
Yeah. I can sleep on the couch.
It wouldn’t be the first one I’ve slept on.
(off Mr Chase’s widening eyes / cringing)
That came out wrong. Didn’t it?
MR CHASE
I think an explanation is in order, young lady.
CORDELIA
Well, working for a P.I. requires some
night work. You know, research and stuff.
Sometimes I crash on the couch at work.
It’s no biggie. Really.
MR CHASE
Don’t go making a habit of it.
CORDELIA
(dutifully)
I won’t, dad.
Mrs Chase puts the last of the dishes away then stands beside Cordelia.
MRS CHASE
So, what time will you be leaving in
the morning?
CORDELIA
I don’t know. About nine.
MR CHASE
Won’t you be late for work?
CORDELIA
It’s cool, dad. Angel knows I’ll be
late in the morning.
MR CHASE
(surprised)
And he allows this?
CORDELIA
Yeah.
(then)
I need to get a few things from my room.
Cordelia moves out of the kitchen towards her bedroom. Mrs Chase steps up to her husband and puts and hand on his arm.
MRS CHASE
Don’t be too hard on her, dear.
MR CHASE
I’m just looking out for her.
MRS CHASE
I know. But she’s not a little girl anymore.
She has her own life now whether we like it
or not. And she must enjoy her job if she’s
putting in so many hours. Angel sounds like
he’s a nice enough man if he allows Cordy
some flexibility with her hours.
MR CHASE
(grumbles)
I won’t be happy until I’ve met him
face-to-face.
MRS CHASE
I know. Just don’t go making your mind
up about him until you’ve met him.
Cordelia emerges with a pillow and a blanket in her arms. She puts them down on the table.
CORDELIA
The bedroom's all yours.
Mr Chase picks up the suitcase and steps towards his daughter.
MR CHASE
Goodnight.
CORDELIA
Goodnight, dad.
Mr Chase moves towards the bedroom as Mrs Chase steps up to her daughter.
MRS CHASE
He worries about you.
CORDELIA
I know, but I’m not six years old anymore, mom.
I am capable of looking after myself.
MRS CHASE
I know, love. But you’ll always be his
little girl.
CORDELIA
I know. &bnsp; But could you tell him to
lighten up a bit?
MRS CHASE
(smiles)
I will. Goodnight, love.
CORDELIA
Goodnight, mom.
Mrs Chase retires for the night.
Cordelia turns off the kitchen light then picks up the pillow and blanket. She moves to the couch then sits down, elbows on knees. She runs her fingers through her hair.
CORDELIA
(low)
A week with my parents…I can think of
a couple of other forms of torture I’d
rather endure.
(wearily)
Oh, God.
Dennis (the ghost) switches off the lights.
CORDELIA
(low)
Dennis…you’d better be on your best behaviour
while they’re here. Okay? The last
thing I need is for you to freak them out.
Dennis closes the drapes behind the couch.
CORDELIA
(low)
Thanks, Dennis.
Off Cordelia.
CUT TO…
SCENE 11
EXT - STREETS OF HOLLYWOOD HILLS - NIGHT
OVERHEAD SHOT – The van is about a hundred and fifty yards ahead of the Plymouth as the vehicles speed along the narrow streets of the Hollywood Hills.
ANGEL’S POV - he sees the van round a corner then a sedan pulls out of a driveway in front of him. Angel slams on the brakes and screeches to a halt as the sedan turns towards him. As the sedan slowly passes him, the driver waves an apology.
REVERSE - Angel gives the driver an angry glare.
Angel puts the car back in gear and starts off again. He rounds the corner but doesn’t see the van. He continues along the same street and quickly realises he’s lost the van. As Angel slams the steering wheel with the butt of his hand…
ANGEL
Damn it!
Off a frustrated Angel.
SCENE 12
EXT - PARIS' APARTMENT BUILDING - DAY
Cordelia gets out of the car and walks across the street to the tenement. She stands in front of Paris’ apartment door and knocks. She waits a moment then knocks again, but there’s no answer.
CORDELIA
Paris, it’s Cordelia.
(then, knocking)
Paris!
She waits a few moments, then walks out of the building. She gazes towards the front window but the drapes are drawn.
Cordelia walks back to the car and gets in the back seat.
MRS CHASE
She’s not home?
CORDELIA
No.
MR CHASE
Maybe she’s at work.
CORDELIA
Yeah.
Mr Chase starts up the car and pulls away from the kerb.
CUT TO…
SCENE 13
INT - ANGEL INVESTIGATIONS – OUTER OFFICE - DAY
Wesley is sitting on the office couch reading the paper when Cordelia walks in.
CORDELIA
Hey.
WESLEY
Good morning.
Cordelia puts her bag down on her desk then turns and looks at Wesley.
CORDELIA
What do you think Hell is like?
WESLEY
(taken aback)
Excuse me?
CORDELIA
Because it couldn’t be any worse than
my life at the moment.
WESLEY
Has something hap-
Did you have a vision?
CORDELIA
I wish. My parents decided to pay
me a surprise visit, didn’t they?
And you’ll never guess where they’re staying
for the next week. My place!
WESLEY
(innocently)
And that’s a bad thing?
CORDELIA
Duh! But that’s not the best part.
Guess who’s decided to come and see
where their precious daughter works?
WESLEY
(horrified)
They’re coming here?
CORDELIA
You didn’t become a Watcher because
of your good looks, did you?
WESLEY
When?
CORDELIA
They’re parking the –
MR CHASE
(walking in)
So, this is it, huh?
Wesley stands up as Mr Chase stands just inside the door and looks at the office.
CORDELIA
Yep. This is it.
MR CHASE
It’s a little on the small side.
CORDELIA
It’s okay. Plus it’s cheap.
MRS CHASE
I like it. It has character.
Wesley nudges Cordelia’s arm.
CORDELIA
Mom, dad. This is Wesley Wyndam-Pryce.
He works here, too.
Wesley extends his hand, which Mr Chase takes.
WESLEY
It’s a pleasure to meet you, sir.
MR CHASE
(nods)
Cordelia didn’t mention you were British.
CORDELIA
(innocently)
Didn’t I?
WESLEY
I’m sure it was just an oversight on Cordelia’s
part.
MR CHASE
I’m sure you’re right.
Wesley smiles at Mrs Chase who smiles back.
WESLEY
(nods)
Mrs Chase.
MRS CHASE
Mr Pryce.
WESLEY
Please, call me Wesley.
CORDELIA
(to Wesley)
Is Paris around?
WESLEY
No. Why? Have you talked to her?
CORDELIA
No. I went by her place earlier but she
wasn’t there.
WESLEY
Oh.
MR CHASE
(looking around)
So, where’s this Angel fellow?
CORDELIA
Yeah, Wesley. Where is he?
WESLEY
He’s –
Wesley hears the elevator and motions towards the inner office.
CORDELIA
Here he is, dad.
Cordelia stands between her parents as Angel ascends in the elevator.
CLOSE UP – of Angel’s stormy face.
Cordelia takes one look at Angel’s face then looks at Wesley. They both have an ‘uh oh’ look on their faces. Angel yanks back the cage door and sees the crowd in the outer office.
CORDELIA
Well, you’ve certainly looked better.
ANGEL
(gruffly)
I’ve been up all night.
CORDELIA
But that’s norm- Oh.
(then)
Angel, these are my parents.
Mom, dad, this is Angel.
Angel nods courteously.
MRS CHASE
It’s good to finally meet you…Angel.
ANGEL
Likewise.
Angel proceeds to pour himself a cup of coffee.
MR CHASE
So, Angel, do you have a last name?
ANGEL
No.
CORDELIA
He’s like a rock star or the Pope.
Angel takes a sip of the coffee, wishing Cordelia’s parents would leave.
MR CHASE
You seem awfully young to be a private
investigator.
CORDELIA
Like everyone in this town, dad, he looks
younger than he actually is.
MR CHASE
I gather you’re happy that my little girl’s
working for you.
CORDELIA
(scolds)
Dad.
ANGEL
Yeah.
MRS CHASE
Cordy, honey. You should tell Angel
about your friend.
CORDELIA
Friend? Oh, you mean Paris.
Right.
ANGEL
(quickly)
Have you seen her?
CORDELIA
No. I stopped by her place this morning,
but she either wasn’t home or she –
ANGEL
(dark)
She was taken.
WESLEY
Taken?
CORDELIA
You mean as in…in…kidnapped?
ANGEL
Yeah.
Angel puts the coffee down and moves into his office.
MRS CHASE
Honey.
CORDELIA
Mom. Why don’t you and Dad go out
and do the touristy thing? I’ll see you
tonight when I get home.
MRS CHASE
Are you sure?
CORDELIA
Positive. Go. Have a great time.
MRS CHASE
Okay, then.
Mrs Chase kisses her daughter’s cheek then moves towards the door.
CORDELIA
It’s time for the work thing, dad.
MR CHASE
Right. Be careful.
CORDELIA
I will.
Mr Chase glances at Angel who’s pacing in his office.
MR CHASE
(low)
I don’t trust him.
CORDELIA
But I do. Now go. Please.
I’ll see you later.
MR CHASE
(nods)
Wesley.
WESLEY
(smiles)
Nice to meet you.
Mr and Mrs Chase reluctantly leave the office, then Wesley and Cordelia enter Angel’s office.
WESLEY
How do you know Paris was kidnapped?
ANGEL
(agitated)
Because I saw it happen.
CORDELIA
(exasperated)
And you didn’t think to stop it?
ANGEL
It all happened so quick.
WESLEY
Do you know who took her?
ANGEL
(dark)
Vampires.
CORDELIA
(softly)
Oh, God.
WESLEY
Where did it happen?
ANGEL
(low)
Near her apartment. I gave chase but
lost them in the hills.
WESLEY
Ahh…Angel…what were you doing at
Paris’ home?
ANGEL
I was just…driving around.
CORDELIA
You were checking up on her, weren’t you?
ANGEL
Cordelia…
WESLEY
Angel, Paris hasn’t been at work since the
night we burned down that house. When
you weren’t here when we returned, Paris went
downstairs to see if you were there, but we
never saw her leave. Did something happen –
ANGEL
(low)
I told her.
CORDELIA
Told her what?
ANGEL
Everything.
WESLEY
You told her you’re a vampire.
ANGEL
(softly)
Yeah.
CORDELIA
Oh, boy. She didn’t take it too well,
did she?
ANGEL
(looking at her)
What do you think?
Off Angel's dark face.
TIME CUT TO…
SCENE 14
INT - ANGEL INVESTIGATIONS - OUTER OFFICE - DAY
Wesley spreads a Los Angeles map out on Cordelia’s desk.
ANGEL
(pointing to a spot)
I lost the van around here.
WESLEY
Beechwood Canyon.
CORDELIA
So, that’s where we start looking.
ANGEL
They knew I was following them.
They took me all through the hills.
(frustrated)
They could be anywhere.
KATE (O.C)
Who could?
The three look up at the detective.
ANGEL
(surprised)
Kate.
Kate steps into the office, holding a package.
KATE
Who could be anywhere?
CORDELIA
We’ve lost a client.
KATE
Oh.
(ref: package)
This was behind the front door.
Kate hands Cordelia the package.
CORDELIA
Thanks.
Cordelia dismisses the package and puts it down on the desk.
ANGEL
What are you doing here?
KATE
What happened to ‘hi, how are you?’
(off Angel’s silence)
Okay.
Kate takes a wallet out of her coat pocket.
KATE
A woman found this last night and turned
it in. Your card was inside.
CORDELIA
Who’s is it?
KATE
Someone called Paris O’Riordan.
We tried –
CORDELIA
(surprised)
Paris.
KATE
You know her?
WESLEY
She works here.
KATE
(sceptically)
Really? I didn’t know you were hiring.
WESLEY
She started several weeks ago.
She lost her wallet last night.
KATE
Is she here?
WESLEY
She’s out running some errands.
CORDELIA
Does it look like anything was taken?
KATE
Actually, no. It looks like all the money’s
there, or lack of it anyway.
CORDELIA
I’ll make sure she gets it back.
Kate silently hands the wallet to Cordelia.
KATE
I’d better head back to the station.
ANGEL
Before you go, I need a favour.
KATE
(dryly)
A favour.
ANGEL
Yeah.
Angel writes something on a piece of paper and hands it to her. She looks at it.
KATE
A plate?
ANGEL
I need you to run it for me.
It’s a black Dodge van.
I want to know if it was stolen or not.
KATE
Okay. I’ll run it and let you know
what comes up.
ANGEL
The sooner the better.
KATE
I’ll have it for you this afternoon.
Good luck finding your missing client.
ANGEL
Thanks.
Kate turns and leaves the office.
Cordelia puts the wallet on the desk then picks up the package and looks at it.
CORDELIA
(to Angel)
It’s addressed to you.
ANGEL
(low)
Open it.
Cordelia opens the package, reaches in and pulls out some fabric and a business sized envelope. Wesley takes the white fabric and unfolds it. It’s a white shirt splattered with blood.
WESLEY
(shocked)
Good Lord.
Cordelia opens the envelope and pulls out six Polaroid photos. She starts looking at them and gets paler with each one.
CORDELIA
(small)
I think I’m going to be –
She drops the photos to the floor, clamps a hand to her mouth and rushes for the bathroom.
Wesley picks up the Polaroids and looks at them.
WESLEY
(shakily)
Angel.
Wesley offers Angel the photos, which he takes.
ANGEL’S POV – he looks at the first Polaroid and sees a woman with long dark hair wearing a black knee length skirt and a white shirt. She is shackled and chained to a rock wall.
ANGEL’S POV – he looks at the second Polaroid and sees Paris’ bruised and bloodied face. Angel touches her face and closes his eyes for a moment.
ANGEL’S POV – he opens his eyes and looks at the third photo. It shows a bite mark on the left side of Paris’ neck. The next photo shows Paris’ swollen face covered with more bruises and dozens of small cuts. The next photo shows the left side of her neck, fresh blood trickling down from the bite mark. The last photo shows the right side of her neck with a trickle of blood.
The photos start shaking in Angel’s hands before he drops them on the desk.
WESLEY
(hesitantly)
Angel –
Angel whirls around and punches out two glass panels between the two offices. Wesley jumps slightly as the glass shatters and Angel storms into his office.
Wesley stands back from the door as Angel picks up a chair and hurls it against the wall. He grabs the phone, rips it from the wall then throws it across the room. With one motion, he clears the desktop, sending books and paper flying. Then with effortless ease he picks up his heavy desk and flips it upside down.
Cordelia comes out of the bathroom looking pale. She stands beside Wesley and sees the destruction of Angel’s office. Angel is standing by the window, hands pressed against the brick wall, head bowed.
CORDELIA
Angel.
ANGEL
(mutters)
I’m supposed to protect her, and I lost her.
How can I protect her when I don’t know
where she is?
WESLEY
(not confident)
Angel, we’ll find her.
ANGEL
(mutters)
It used to be so easy. Inflicting pain
and torture. I used to enjoy it so much.
I revelled in it. Everything was so clear…
so simple…
CORDELIA
(voice cracks)
Wesley.
ANGEL
(low)
What happened to that clarity? The pain
was so pure…so innocent…just like her…
Cordelia grabs hold of Wesley’s arm as a madness seems to envelope Angel.
DISSOLVE TO…
SCENE 15
INT - THE CAVE - DUSK
VAMP 2 is standing in front of Paris who is unconscious and still shackled. He slaps her several more times across the face, opening up several cuts.
VAMP 2
Wake up, little girl.
He slaps her again but she doesn’t awaken.
VAMP 3 (O.C)
Allow me.
VAMP 2 steps aside as VAMP 3 steps in front of Paris. He raises a hand and tosses salt into her face. Her eyes shoot open as her face contorts with pain.
PARIS
Aargh!
PATRICK (O.C)
(evil)
Ha ha ha.
PARIS
(cries)
It hurts.
PATRICK (O.C)
I know, my dear.
PARIS
(cries)
Please, stop it from hurting.
Stop hurting me.
PATRICK (O.C)
It’ll stop when I say it stops.
PARIS
(small)
No.
VAMP 3
Yes.
VAMP 3 pushes Paris head roughly to the left and drinks from her. Tears sting her face as she feels the vampire’s fangs in her.
PATRICK (O.C)
Enough!
Vamp 3 withdraws his fangs and pulls away from Paris. As he steps back smiling, Paris, severely weakened from loss of blood, passes out.
FADE TO BLACK
SCENE 16
INT - ANGEL INVESTIGATIONS - DAY
Angel is sitting on the floor, leaning against the wall under the window. His knees are drawn up, his forearms resting on his knees. He’s banging his head slightly against the wall.
Cordelia lets go of Wesley’s arm and tentatively steps into the office and towards Angel.
WESLEY
(warns)
Cordelia.
Cordelia kneels down beside Angel.
CORDELIA
(low)
You used to torture people -
ANGEL
(softly)
That was a long time ago.
CORDELIA
Not that long, Angel. Remember Jenny
Calendar and Giles?
(off Angel’s silence)
What are they going to do to her next?
And I want the truth.
ANGEL
(softly)
It’ll get worse.
Wesley slowly enters the office.
WESLEY
How much worse?
ANGEL
Remember what Faith did to you?
WESLEY
(uncomfortably)
I try not to.
ANGEL
That was nothing.
WESLEY
You know who’s doing this, don’t you?
ANGEL
I have a pretty good idea.
CORDELIA
Angel, what will they do to her?
ANGEL
The photos and the blood…it’s just
the beginning.
Off Cordelia as she looks at Wesley.
HARD CUT TO…
SCENE 17
EXT - AN ALLEY - DUBLIN - 1838 - NIGHT
A moustached Angelus is talking to a faceless Irishman.
ANGELUS
There are so many wonderful ways of
torturing, my boy. You can do it
quickly but it’s not as much fun. I prefer
a much slower and painful method of torture.
It’s just so much more…satisfying.
PATRICK (O.C)
(eagerly)
Will you teach me?
ANGELUS
All in good time, my boy.
In the meantime, watch and learn.
Angelus looks to his right.
ANGELUS’ POV – he sees a young peasant girl cowering in a corner of the alley.
FOREGROUND – Angelus and Patrick move towards the girl as she screams.
PEASANT GIRL
(terrified)
Aargh!
Off the girl.
CUT TO…
SCENE 18
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Wesley takes a step closer to Angel.
ANGEL
Yeah.
CORDELIA
(shakily)
Will they kill her?
ANGEL
(low)
Eventually.
CORDELIA
Eventually?
ANGEL
She’s been tortured for nearly a day.
There’s still two more days to go.
CORDELIA
(freaked)
Two days? Of torture?
ANGEL
(dark)
They always beg for their lives, then they
beg to die, but death doesn’t come.
When it does, it’s a welcome relief.
CORDELIA
(low)
We have to find her, Angel. Now.
Off Angel and Cordelia.
CUT TO…
SCENE 19
INT - THE CAVE - DAY
CLOSE UP of Paris’ face. She’s still unconscious. A hand comes into view and grabs her face. She jerks awake and stares wide-eyed.
PATRICK (O.C)
I’m going to ask you something, my dear,
and for your sake, you’d better give me an
honest answer.
PARIS
(tightly)
And if I don’t?
PATRICK (O.C)
You’ll really wish you had.
(beat)
Tell me why you’re with Angelus.
PARIS
(tightly)
I don’t know anyone called Angelus.
Patrick punches Paris in the stomach and she lets out a grunt then grimaces in pain.
PATRICK (O.C)
Think hard, Paris.
PARIS
(tightly)
I don’t know who you’re talking about.
Patrick whips her across the face.
PATRICK (O.C)
Yes, you do. I’ve seen you with him.
I’ve seen him watching you.
PARIS
(horrified)
You’ve been watching me?
PATRICK (O.C)
I’ve been watching you for twenty years,
my dear.
PARIS
(whimpers)
Why?
PATRICK (O.C)
Why don’t you tell me why you’re with
Angelus?
PARIS
I’m not.
PATRICK (O.C)
Liar!
Patrick whips her across the face.
Off Paris' wounded face.
CUT TO…
SCENE 20
INT - ANGEL INVESTIGATIONS - INNER OFFICE - DAY
Cordelia hangs up the phone then wanders back into Angel’s office. Angel is now sitting on his chair, chin resting on his fists. Wesley is leaning against the wall opposite him.
CORDELIA
That was Kate. No luck with the van.
It was reported stolen last night.
ANGEL
(looking up)
Where?
CORDELIA
Los Feliz.
Cordelia picks up an overturned chair then sits down between the two men.
CORDELIA
So, what do we do now? I mean these
vamps could be holding Paris anywhere.
WESLEY
The only thing we can do is wait for
some sort of communication, other than
photos, that is.
ANGEL
(dark)
We won’t hear from them again.
WESLEY
Are you sure?
ANGEL
I’m surprised they sent the photos and shirt.
It’s not part of the ritual.
CORDELIA
It isn’t?
ANGEL
No.
Beat.
CORDELIA
What I don’t get is why they would take
Paris in the first place. I mean apart
from us, she doesn’t have any friends or
enemies that I know of.
ANGEL
(dark)
To get to me.
CORDELIA
You?
WESLEY
If they know where you are, why not come
here and see you face-to-face?
ANGEL
Because it doesn’t work that way, Wesley.
It’s a game.
CORDELIA
What sort of game?
ANGEL
One I don’t want to play.
CORDELIA
I don’t suppose we’re winning, are we?
Angel’s dark face is her answer.
CUT TO…
SCENE 21
INT - ANGEL'S APARTMENT - NIGHT
Angel steps out of the elevator and shuffles into the living room. He sits down on the couch and looks at Paris’ wallet in his hands.
ANGEL’S POV – he opens it and looks at the few contents: an ATM card, social security card, Angel’s business card, a phone number to contact should someone find the wallet, four dollar bills and some change. Angel closes the wallet and puts it down on the coffee table. He looks at it as he leans forward.
ANGEL
(despondently)
You exist about as much as I do.
After a moment, he rises and moves around the couch to the weapons cabinet. He takes out four stakes and a pair of wrist apparatus which he then takes into the bedroom.
CUT TO…
SCENE 22
INT - CORDELIA'S APARTMENT - NIGHT
Cordelia enters her apartment, closes the door and sees her parents already eating dinner.
MRS CHASE
Hi, honey.
CORDELIA
(wearily)
Hey.
MRS CHASE
You must be starving.
I’ll fix you a plate.
CORDELIA
Thanks.
Mrs Chase gets up from the table and moves into the kitchen. Cordelia sits down next to her father.
CORDELIA
So, what’d you guys do today?
MR CHASE
A bit of this, a bit of that.
(looks at her)
I don’t like Angel.
CORDELIA
You don’t know him, dad.
MR CHASE
I’ve seen all I need to.
Mrs Chase puts a plate down in front of Cordelia then sits back down.
CORDELIA
He’s not always like that, dad.
He’s actually a pretty nice guy once you
get to know him.
MR CHASE
I don’t want to get to know him.
And I don’t want you working for him.
CORDELIA
Well, that’s just too bad, because I’m
going to keep working for him until either he
doesn’t need me anymore or I get my big break.
I’m a big girl now…I can look after myself.
Tense beat.
MRS CHASE
Did you find your friend?
CORDELIA
What?
MRS CHASE
Paris. Did you find her?
CORDELIA
No. Not yet.
MRS CHASE
Angel seemed to be rather upset.
CORDELIA
He is. We all are.
MR CHASE
(mutters)
Office romances never work.
CORDELIA
(accusing)
And how would you know, dad?
MR CHASE
(shrugs)
I’ve seen it happen.
CORDELIA
Well, Paris and Angel aren’t seeing each
other. He cares about what happens to her;
to all of us. But no-one’s dating anyone.
It’s a sad fact but it’s true.
MR CHASE
(mutters)
I still don’t like him.
CORDELIA
Whatever.
Cordelia stabs a piece of carrot with her fork and shoves it in her mouth.
CUT TO…
SCENE 23
EXT - THE HOLLYWOOD HILLS - NIGHT
Angel is on the same street where he lost the van the previous night. He rounds the corner then turns right.
His eyes ever alert, he looks in the driveways for the van but doesn’t see it.
ANGEL
(mutters)
Where are you?
Angel stops the car at a T-junction and looks both ways. He finally decides to turn right.
CUT TO…
SCENE 24
INT - CORDELIA'S APARTMENT - NIGHT
Cordelia finishes her dinner then starts to clear the plates.
MRS CHASE
I’ll do that, sweetie.
CORDELIA
I’ve got it.
Cordelia stacks the dishes, picks them up and carries them into the kitchen. She puts them on the counter.
CORDELIA
Do either of you want coffee?
MR CHASE
Yeah.
MRS CHASE
Not for me.
As Cordelia opens the cupboard to get the mugs, a sharp pain hits her head.
CORDELIA
Oh, God. Not…
(hands to her head)
…now.
MR CHASE
(concerned)
Cordelia, are you alright?
CORDELIA
(tightly)
I’m…fine.
Cordelia slumps to the kitchen floor, pain etched on her face as her parents jump to their feet.
MRS CHASE
Cordelia!
INTERCUT - Paris is shackled and chained to a wall.
Her parents are on the floor beside Cordelia, looking on in horror.
INTERCUT - The entrance to a cave that is surround by bushes and trees.
MRS CHASE
(to Mr Chase)
What’s happening?
MR CHASE
Cordelia!
INTERCUT - Four vampires surrounding Paris, and one faceless figure.
Cordelia’s face relaxes a little but her breathing is heavy. She still has her hands clamped to her head as the pain slowly subsides.
MRS CHASE
We’re taking you to the hospital.
CORDELIA
(strained)
Dennis. Phone.
MR CHASE
Dennis? Who’s Dennis?
Cordelia reaches out and the cordless phone suddenly appears in her hand.
MRS CHASE
(startled)
Oh, my God.
MR CHASE
(demands)
Cordelia, what is going on here?
Ignoring her father, Cordelia punches in the number with her thumb as she slowly sits up and leans against the cupboard.
HARD CUT TO...
SCENE 25
EXT - THE STREETS - NIGHT - INTERCUT
Angel is driving along when his cell phone rings. He takes it out of his inside coat pocket and flips it open.
ANGEL
Yeah.
CORDELIA
It’s me. I just had a vision of Paris.
ANGEL
Where?
CORDELIA
In a cave in the south corner of Griffith Park.
ANGEL
Got it.
Angel hangs up and plants his foot on the gas as he drops the cell phone on the passenger seat.
HARD CUT TO...
SCENE 26
INT - CORDELIA'S APARTMENT - NIGHT
Cordelia switches off the phone as she slowly stands up.
MRS CHASE
Cordelia…
MR CHASE
What’s going on?
MRS CHASE
Are you alright?
CORDELIA
(irritated)
I’m fine, mom.
MR CHASE
What was all that about?
MRS CHASE
What’d you mean you had a vision?
CORDELIA
Just what I said. I had a vision.
Cordelia quickly moves out of the room and into the bathroom. Mr and Mrs Chase look at each other with concern.
HARD CUT TO...
SCENE 27
EXT - GRIFFITH PARK - NIGHT
Angel is driving through the park then screeches to a halt. He jumps out of the car, leaps over the guardrail, and races down the hill.
HARD CUT TO...
SCENE 28
INT - THE CAVE - NIGHT
Paris has more cuts on her chest, arms and shoulders. Her hoarse screams echo in the cave as the blade cuts into her flesh.
ANGLE - VAMP 2 runs the knife up Paris’ right leg, both of which have long since given way to weakness.
PARIS
(terror)
Aargh!
ANGLE – of the knife as it moves up above her knee.
Hearing someone coming, the shadowy figure stands up and steps away from the arm chair. Angel emerges from the darkness and sees the vampire cutting into Paris. He VAMPS OUT just before Paris passes out.
PATRICK
Well, look who finally decided to make
an appearance. It’s been a long
time, Angelus.
Angel looks at the obscured vampire and growls.
ANGEL
Yes, it has…Patrick.
CLOSE UP – of Patrick’s VAMP face.
BLACK OUT
SCENE 29
INT - THE CAVE - NIGHT
Angel stands just inside the chamber entrance.
ANGEL’S POV – he looks at Paris who is unconscious and bleeding, then he looks at the four vampires who are moving into position, and finally Patrick.
PATRICK
It’s good to see you again, Angelus.
How long’s it been? A hundred
and fifty years?
ANGEL
Give or take. I heard you’d been
killed in Prague.
PATRICK
Almost.
ANGEL
What are you doing here?
PATRICK
Paying back a long-standing debt.
ANGEL
Let the girl go. She has nothing to do
with this.
PATRICK
She has everything to do with this!
ANGEL
How? She wasn’t in Dublin.
PATRICK
Ah, but she’s here now. Isn’t she?
ANGEL
Look, I’m sorry for killing Elizabeth.
PATRICK
(bitterly)
You’re about a hundred and sixty years
too late with that apology.
Patrick motions to the four vampires who move towards Angel. Angel quickly reaches into his coat pocket, pulls out a stake and throws it. It lodges in VAMP 3’s chest and the vampire explodes into a cloud of dust.
VAMPS 1 & 4 come at Angel from either side. Angel sidekicks VAMP 4 in the stomach then quickly back kicks VAMP 1 in the chest. The two vampires quickly recover and rush Angel who flexes his wrists. Two stakes shoot out from the spring-loaded mechanisms and into his hands then he raises his arms. He grips the stakes and drives them into the chests of the two vampires and they explode simultaneously.
As Angel ratchets the stakes, VAMP 2 spins and catches Angel in the jaw with his heavy boot. Angel shakes off the blow and side kicks the vampire then spins and kicks him in the head. VAMP 2 staggers slightly, which gives Angel enough time to grab him and hurl him across the cave. VAMP 2 slams into the wall and drops to the ground. Angel rushes him but leaves himself open for a hard punch to the stomach. Angel punches him in the nose and breaks it. As the vampire growls in pain, Angel grips the stake and drives it home. VAMP 2 explodes into a cloud of dust.
ANGEL’S POV – he looks around the chamber but Patrick’s nowhere to be found.
ANGEL
(growls)
Damn it.
Angel turns his attention to Paris. Using his vampiric strength and rage, he rips the chains from the cave wall. As the near naked Paris starts to crumple to the floor, Angel gathers her up in his arms. He MORPHS back as he carries her out of the cave.
DISSOLVE TO…
SCENE 30
EXT - THE STREETS - ANGEL'S CAR - NIGHT - INTERCUT
CLOSE UP of Paris lying unconscious on the back seat of the convertible.
PAN UP to Angel who punches in the numbers on his cell phone as he speeds through the streets.
CORDELIA
Hello?
ANGEL
It’s me. Meet me at my place.
CORDELIA
You found her?
ANGEL
Yeah.
CORDELIA
How’s-
Angel switches off the phone and glances over his shoulder at Paris.
HARD CUT TO…
SCENE 31
INT - CORDELIA'S APARTMENT - NIGHT
Cordelia puts down the phone and picks up her bag.
MRS CHASE
(quickly)
Where are you going?
CORDELIA
Work.
MR CHASE
After what just happened…you are not
going anywhere until you tell us what’s
going on.
Cordelia moves towards the door but her father grabs her arm.
CORDELIA
(firmly)
Let me go, dad. My friends need me,
and I’m going whether you like it or not.
Cordelia wrenches her arm from her father’s grip, opens the door and leaves.
Mr Chase looks at his wife.
MRS CHASE
You know, she gets that stubborn
streak from you.
Off Mr Chase.
CUT TO…
SCENE 32
INT - ANGEL'S APARTMENT - NIGHT
Angel carries Paris into his bedroom and lays her down on the bed as Cordelia races down the stairs from the office. She moves into the bedroom and gasps in horror upon seeing Paris.
CORDELIA
Oh, God. Is she alive?
ANGEL
(softly)
Barely.
Angel moves to the closet and picks out a white shirt, then takes a pair of black boxer shorts from the bureau. He turns to Cordelia.
ANGEL
Could you clean her up and…
CORDELIA
(softly)
Of course.
Cordelia takes the clothing then Angel moves out of the bedroom, closing the doors behind him.
BACKGROUND – Wesley comes down the stairs.
FOREGROUND – Angel crosses to the kitchen and punches the brick pylon. He doesn’t feel any pain though his knuckles are split open.
Wesley stands at the foot of the stairs.
WESLEY
(softly)
Angel.
Angel tilts his head slightly then looks back down at the floor.
WESLEY
(softly)
Cordelia called to say you’d found Paris.
How is she?
Angel shakes his head once.
WESLEY
(softly)
What happened?
ANGEL
(low)
I killed four of them.
WESLEY
And the fifth?
ANGEL
(low)
Got away.
WESLEY
Do you know who it was?
ANGEL
Yeah.
WESLEY
Who?
ANGEL
(dark)
Someone from my past.
Wesley is not terribly surprised by Angel’s answer.
TIME CUT TO…
SCENE 33
INT - ANGEL'S APARTMENT - NIGHT
The bedroom door opens and a pale and shaken Cordelia slowly emerges holding a damp and bloody cloth. Angel turns to face her as Wesley gets up off the sofa.
CORDELIA
(slow/shocked to Angel)
I cleaned her up as best I could.
ANGEL
(softly)
Thank you.
CORDELIA
I can’t believe what they did to her.
She’s going to have so many scars…
inside and out. I would’ve begged
them to kill me.
WESLEY
(gently)
There must’ve been something willing
her to stay alive.
CORDELIA
(strained/shakily)
God, she’s been through so much.
She’s never…
Cordelia drops the cloth as she raises her shaky hands to her face and starts crying.
ANGEL
(softly to Wesley)
Could you take her home?
WESLEY
Of course.
Wesley puts an arm around Cordelia’s shoulders.
WESLEY
Come on.
Angel watches Wesley lead Cordelia up the stairs, then looks towards the bedroom. He moves to the door.
ANGEL’S POV – he sees Paris lying under the bedcovers.
He picks up a chair and sets it down beside the bed then sits down. He leans forward, elbows on knees, chin on his thumbs.
ANGEL’S POV - He looks at Paris’ swollen, bruised, mutilated face.
With a slightly shaky hand he reaches forward and shifts a lock of dark hair from her black eyes.
CUT TO…
SCENE 34
INT - THE CAVE - NIGHT
VAMP 4 is hitting Paris about the face. He then begins punching her in the ribs and stomach.
HARD CUT TO…
SCENE 35
INT - ANGEL’S APARTMENT - NIGHT
Angel watches as Paris reacts to being hit and punched. She moans as a pained look etches itself on her face.
PARIS
(mumbles)
No. No.
A tear escapes and rolls on to the pillow. She is quiet again, sleeping.
Angel exhales then sits back and looks up.
CUT TO…
SCENE 36
EXT / INT - CORDELIA’S APARTMENT - NIGHT
Wesley walks Cordelia to her apartment door.
WESLEY
Are you sure you’re okay?
CORDELIA
(shakily)
I can’t stop seeing what they did to
her, Wesley.
WESLEY
(softly)
Try and get some rest.
CORDELIA
That’s not going to happen.
WESLEY
Try. I’ll come by early and pick you up.
Cordelia nods slowly.
CORDELIA
Thanks, Wesley.
Wesley puts a hand on her shoulder then walks away.
Cordelia lets herself into the apartment. Mr and Mrs Chase get up off the couch, concern masking their faces.
MRS CHASE
Cordelia, are you okay?
CORDELIA
(sombrely)
I’m fine, mom.
MR CHASE
What’s going on? You’re having visions;
things are moving around by themselves;
you’re running off in the middle of the night…
CORDELIA
(strained)
Dad, please.
MR CHASE
What have you gotten yourself in to?
It’s not drugs, is it?
CORDELIA
No!
MR CHASE
Then what the hell is going on?
CORDELIA
I can’t tell you, dad.
MRS CHASE
Cordy, please.
Tell us what’s going on.
CORDELIA
(strained)
You’re asking me all these questions,
but the answers I have…you’re not ready
for them.
MR CORDELIA
Cordelia…
CORDELIA
(holds up hand)
Dad, please. I can’t.
MRS CHASE
(softly)
This is to do with that Paris girl, isn’t it?
Cordelia’s defences begin to crumble as she nods slowly.
MRS CHASE
Is she okay?
CORDELIA
(strained)
She’s a long way from okay, mom.
Cordelia breaks down. Mrs Chase moves towards her and wraps her arms around her daughter.
MRS CHASE
Sshhh. It’s okay, sweetie.
CORDELIA
None of this is okay, mom.
CUT TO…
SCENE 37
INT - THE CAVE - NIGHT
Patrick is standing in front of Paris and is playing with her hair.
PATRICK
Are you afraid of me?
PARIS
(cracked)
Yes.
PATRICK
You’d better get used to it, my dear.
PARIS
(small)
No.
PATRICK
I took a trip recently. To Texas.
Visited this lovely couple that owned a
ranch there. We chatted quite a bit
about you, right up until I killed
them that is.
PARIS
(small)
No.
PATRICK
After dinner, I wandered around the
house and then I found your bedroom.
And that was when I saw it.
Patrick reaches into his pocket then holds up a photo.
CLOSE UP – of a picture of mother, father and daughter in a park.
PATRICK
Look familiar?
Tears roll down Paris’ face.
PATRICK
How old were you? Six?
Your parents looked so familiar but I
couldn’t recall from where.
And then I remembered.
(leans in close / whispers)
I killed them.
PARIS
(small)
No.
PATRICK
Yes, Paris. I’ve been in your life for
over twenty years now. You just never
knew it. I’ll always be in your life.
You won’t know when…you won’t know where.
But I’ll be there, my dear.
Patrick grabs a handful of Paris’ hair and pulls her head to the right, then sinks his fangs into her neck.
HARD CUT TO…
SCENE 38
INT - ANGEL'S APARTMENT - NIGHT
Paris’ head snaps to the right and the puncture wounds in her neck begin to trickle blood.
Shocked at never having seen this before, Angel reaches forward and presses his hand to her neck. Paris snaps her head back to stop from being touched. Angel withdraws his hand and she is peaceful again.
ANGEL’S POV – he looks at Paris’ blood on his hand.
The scent and taste beckons him. Slowly, he raises his hand towards his mouth.
ANGEL
(angrily)
No.
He closes his eyes as he wipes his hand on his trousers.
DISSOLVE TO…
SCENE 39
INT - THE CAVE - NIGHT
Patrick is standing in front of Paris as VAMPS 2 & 4 release her from the shackles. When she is free, she collapses into Patrick’s awaiting arms. He then holds her at arms length.
PARIS
(whimpers)
Please, don’t hurt me. Please.
PATRICK
(menacing)
Oh, I think I hurt you.
He whips his hand across her face and she falls to the rocky ground. She cries out in pain.
PATRICK’S POV - he stands over her then lowers himself on top of her.
HARD CUT TO…
SCENE 40
INT - ANGEL’S APARTMENT - NIGHT
Paris spreads her legs and lets out a number or sickening groans. Her face is contorted with pain and terror as tears stream down her face.
CLOSE UP – of Angel’s angry, pain-ridden face.
He grabs a handful of hair and stands up.
ANGEL’S POV - He watches Paris being violated in the worst way, her body being viciously ripped apart from the inside.
Angel turns away from her and starts moving around the room, listening to her painful, sickening groans. Angel turns and faces her.
She closes her legs then draws her knees up as she turns on to her left side. Her body is shaking and racked with sobs. All of a sudden, she reacts to being kicked in the stomach then the head. She is quiet again.
Angel sits back down and looks at her before dropping his head into his hands.
ANGEL
(softly)
I’m so sorry, Paris.
God, I’m sorry.
Angel’s shoulders begin to shake slightly.
DISSOLVE TO…
SCENE 41
INT - ANGEL’S APARTMENT - DAY
Cordelia and Wesley slowly enter the bedroom and look at Angel and Paris.
WESLEY
(whispers)
Good Lord.
Angel is sitting on the floor with his back to the door and his head resting on the edge of the bed. Wesley tentatively approaches him.
WESLEY
(gently)
Angel.
Angel glances over his shoulder then back at Paris.
WESLEY
How is she?
ANGEL
(strained)
She keeps reliving what happened.
WESLEY
Has she woken up yet?
Angel shakes his head slowly.
Suddenly, Paris snaps her head to the right. Angel kneels beside the bed as her neck wound begins to bleed again.
WESLEY
(shocked)
Dear God.
CORDELIA
(hand to mouth)
Oh, God.
Angel picks up the bloody cloth and attempts to wipe the blood away, but she prevents him.
WESLEY
Has this been happening all night?
Angel doesn’t answer.
WESLEY
Angel?
ANGEL
Leave.
CORDELIA
Angel…
ANGEL
(raised)
Go!
Cordelia and Wesley back out of the room.
CONTINUOUS…
SCENE 42
INT - ANGEL’S APARTMENT - DAY
Cordelia sits down on the sofa, head in hands.
CORDELIA
(shakily)
God, it’s bad enough she went through this
once. But to relive it over and over
again in her dreams… She’s going to
be in therapy until she’s fifty.
WESLEY
It’s going to take a long time before the
nightmares go away.
CORDELIA
Did you see Angel? He’s so…so…
WESLEY
Protective?
CORDELIA
(whispers)
Yeah.
WESLEY
He watched as she was taken from right
under his nose. I’d imagine he feels
responsible for everything she went through
in the past twenty-four hours.
CUT TO...
SCENE 43
INT - THE CAVE - NIGHT
VAMP 2 is cutting Paris’ legs with the knife.
CLOSE UP – as the knife moves up between her thighs.
CLOSE UP – of Paris’ teary eyes.
PARIS’ POV – she sees Angel enter the cave and VAMP OUT.
HARD CUT TO…
SCENE 44
INT - ANGEL’S APARTMENT - DAY
Paris throws her head back and lets out a horrific scream.
PARIS
Aargh!
Paris’ swollen eyes open as much as they can and she stares straight ahead, too afraid to move.
ANGEL
(urgently)
Paris. Can you hear me?
Paris is silent as Wesley and Cordelia rush into the room.
CORDELIA
(worried)
Paris.
Angel snaps his head around.
ANGEL
(growls)
Get the hell out of here.
Stunned, Wesley and Cordelia go back to the living room as Angel looks back at Paris.
ANGEL
(softly)
You’re safe now, Paris.
Angel touches her arm lightly.
PARIS
(pulling arm away)
Aargh!
Despite her injuries, Paris scampers off the bed and presses her back against the far corner of the room. Her body is trembling as tears roll down her scared face.
ANGEL
(standing up / softly)
I won’t hurt you, Paris.
He slowly moves around the bed but Paris leaps on to the bed and runs across it. She runs into the corner by the closet and looks for a way out as if she’s trapped.
ANGEL
(softly)
Paris, I’m not going to hurt you.
Paris turns around, her back pressed against the corner, terror on her face as Angel advances slowly, arms out from his sides.
ANGEL
(soft / soothing)
I’m not like them.
I won’t hurt you.
PARIS
(frantically)
Stay away from me!
Cordelia rushes to the doorway of the bedroom and Wesley soon joins her.
CORDELIA’S POV - Angel approaches a terrified Paris.
ANGEL
(soft/soothing)
I won’t hurt you, Paris.
You’re safe now.
PARIS
Get away from me!
When Angel is a couple of feet from her, Paris swings and catches him hard in the jaw. She then starts hitting him repeatedly in the chest, trying to drive him away from her. She tries to hit him again by he catches her bloodied wrists.
PARIS
(cries in pain)
Aargh.
She tries to free herself from Angel’s grip.
CORDELIA
Angel.
WESLEY
You’re hurting the poor girl.
PARIS
(frantic)
Let me go! Let go of me!
Let me go!
Angel manages to overpower her enough to wraps his arms around her as she begins to sob.
PARIS
(small / child-like)
Don’t hurt me no more. Please, don’t
hurt me. Don’t hurt me. Please.
Paris’ legs slowly give way and Angel follows her down to the floor. He holds her tight as she cries uncontrollably.
ANGEL
(whispers)
Sshhh. It’s okay. You’re safe now.
I’m here, my love. Sshhh.
Cordelia has tears running down her cheeks as she exhales shakily.
CORDELIA
(whispers)
Oh, God.
Wesley puts an arm around her shoulders and she rests her head against him.
BLACK OUT
SCENE 45
INT - ANGEL'S APARTMENT - DAY
Angel is sitting in a chair watching Paris sleeping relatively peacefully in his bed. Cordelia and Wesley slowly enter the room.
CORDELIA
How is she?
ANGEL
(wearily)
Sleeping.
WESLEY
You need to get some rest, Angel.
We can sit with her.
ANGEL
No.
CORDELIA
Angel, please.
Paris moves her left arm and groans in pain as she slowly opens her eyes. Sensing she’s not alone, she shifts her gaze and looks at Angel. It seems as if she doesn’t recognise him for a few moments.
PARIS
Angel?
ANGEL
Yeah, it’s me.
Paris looks around the room, a confused look on her face.
PARIS
(strained)
Where…where am I?
ANGEL
My bedroom.
Cordelia moves up behind Angel and Wesley beside him.
CORDELIA
Hey.
Paris looks at them for a moment.
PARIS
Cordelia? Wesley?
WESLEY
It’s good to have you back, Paris.
Angel turns his head slightly towards Wesley.
ANGEL
Could you give us a moment?
WESLEY
Of course.
CORDELIA
Yeah.
After Wesley and Cordelia leave the room, Angel looks down at Paris. He gently takes her hand and kisses it tenderly.
ANGEL
(soft/shaky)
I’ve never been as scared…I thought
I was going to lose you.
PARIS
(softly)
You saved me, Angel.
Paris looks at him through teary, swollen eyes.
PARIS
(softly)
Thank you for saving me.
PULL BACK – as Angel kisses Paris’ hand again.
FADE TO BLACK
