2002-02-19T13:58:00.000Z

Written by Jocelyn Rose

Teaser

INT. BAR - NIGHT

It's not a bar we've been in before - it's upmarket, dark and intimate. ANGEL and PSYCHE are sitting in a booth. Two people trying very hard to pretend they're not attracted to one another. As you do.

ANGEL
So, I guess it's my turn
for the talk now, is it?

PSYCHE
What do you mean?

ANGEL
I mean, you've had one of
these heart-to-hearts with
each of the others.
I was wondering when
you would get around to
me. I was getting sort
of envious.

PSYCHE
It's not like that.

Pause

ANGEL
No?
So what is it like then?

He leans back in his seat, raises his eyebrows at her. A beat.

ANGEL
Hmm?

PSYCHE
You're not making this
very easy.

ANGEL
Good. I'm not meaning to.

PSYCHE
OK, then, this is the thing.
(a beat)
I'm in love with you.

ANGEL
Oh, that's...
(a snort of laughter)
I'm not available.

PSYCHE
I'm not talking about sex.

ANGEL
Good, 'cause I don't...

PSYCHE
I know that. I know
what you don't do.
Been there.
Read the book.

ANGEL
You've...what book?

PSYCHE
And by the way,
let me tell you something:
sex? Not the be-all and
end-all. Believe me.
And I'm speaking as
a professional here.
(a beat)
Former professional.

ANGEL
What?

We're not surprised he's surprised. It's not only what she's saying, it's how she's saying it...Who died and made her Raj Persaud?

PSYCHE
And you: you're a great
example. What do you
do? Can't have sex so,
what, you run out?
Great move. And what
does she do? Why, she
goes for the opposite,
of course. All sex.
Nothing but sex.
Nothing with feeling,
nothing with compassion,
nothing with support,
nothing with caring.
(she snorts)
Well, I know which I'd
prefer. Anyway.

Pause

ANGEL
But you...offered yourself
to me.

PSYCHE
(duh)
Oh yeah. Like I thought
you'd accept.

Pause

ANGEL
(weakly)
Er...what book?

PSYCHE
Oh, come on. Prophecies?
(a beat)
Scrolls? Where some
clever bloke's written down
what's going to happen?

ANGEL
You're saying you've read
the Scroll of Aberjian?

PSYCHE
Sweetheart, I've read more
scrolls than you've had
hot dinners.
(a beat. So, she is English.)
Liquid refreshment excepted.

ANGEL
So you know what's going
to happen?

PSYCHE
Yep.

ANGEL
OK, what's going to happen?

PSYCHE
I'm going to betray you.

END OF TEASER

Act One

INT. CORDELIA'S APARTMENT - NIGHT

Cordelia, Angel, Wesley and Gunn: a council of war.

CORDELIA
OK, but in that case
what I'm wondering is:
why the vision?
Why would the Powers
That Be want you to
save her?

She's talking to Angel, but he doesn't respond.

WESLEY
(slowly)
So that the prophecy
would be fulfilled.

Pause.

GUNN
We're talking what,
predestination here?
As in: man is just a helpless
slave to his destiny?

CORDELIA
And woman.

GUNN
(oh all right)
...humans are just helpless slaves to...

CORDELIA
And vampires.

GUNN
(exhales)
All I'm sayin',
in the whole 'predestination
versus free will' debate,
I tend to hang with the
free-will guys.
(off their looks)
What?

WESLEY
I doubt that the Powers
That Be would agree
with you, however.

ANGEL
Whether or not
you believe in destiny
isn't the issue, though, Gunn...

GUNN
C'mon, man, you're not
saying you go with the
mumbo-jumbo, are you?

CORDELIA
(what? Where's he been?)
Answers on a postcard please.

ANGEL
I - wouldn't say I was
entirely...mumbo-jumbo proof...

WESLEY
The issue is that Psyche
believes it.

CORDELIA
Well, she's the one
that I can't believe!
After all we've been
to each other!
(off their looks)
We went shopping together!

WESLEY
But you can't blame her for it.

CORDELIA
Whoa? Yes I can?

WESLEY
It wouldn't make sense.

GUNN
Sense? Hey, man, that's
Cordelia you're talking to.

WESLEY
Well, but you see that would
be like how the early
Christians felt about
Judas. They hated him,
because he betrayed
Jesus. But they also believed
that it was all predestined.
That is, Judas had no
choice but to do it. It was
what he was there to
do. So it's not logical to
hate him for it.

CORDELIA
Hallo? Logic? Something
I so didn't relate to in
high school.
(a beat)
Or even stay awake for.

GUNN
(I rest my case)
Seems to me, whether
we're gonna be blamin'
her or not, it would
be kind of helpful to
have a line on what she's
thinkin' of doin'.

WESLEY
Yes, and it's odd,
because although I admit
I struggled over that
translation, I don't remember
seeing anything about a
betrayal of Angel in the
Scroll of Aberjian...

GUNN
So maybe we didn't
have the whole scroll?

WESLEY
Well, you can't really have
missing bits from a scroll.
You would see the join.

ANGEL
So maybe what we
had was a copy
(a beat)
and the copyist had
missed that bit out.

Pause.

ANGEL
For some reason.

Pause.

GUNN
(trying to be cheerful)
Hey, but that would
freak 'em out at Wolfram
and Hart, wouldn't it?
Not the real deal?
After all that effort?

No-one is amused. They look at each other.

WESLEY
Well, we can try and
find out. In the meantime
we must continue to be
vigilant. Remember,
she can turn herself
into anything she likes...

ANGEL
Or anybody.

CORDELIA
(looking round)
Are you sure she couldn't
be in here?
(peering at Gunn)

GUNN
Hey!

ANGEL
No. That's OK.
I'd be able to smell her.

Cut to:

INT. JUDY'S ROOM, HYPERION HOTEL - NIGHT

Psyche, standing on a chair, is putting sealant round the edge of the door. She gets down, checks the door is locked, takes the key out of the lock, puts sealant in the keyhole. The camera pans, and goes in on the windowsill. The window is open.

Cut to:

The same, with the light slightly changed to show it is later. There is a large white owl on the sill. (Obligatory Harry Potter reference.) As we watch it takes off and flies away into the night.

END OF ACT ONE

Act Two

INT. SOMEWHERE - NIGHT

It doesn't matter where this is as all we're going to see is Psyche's face in extreme closeup alternating with a Powers-That-Be representation of some kind - maybe a faraway face speaking through mist. The voice is remote, metallic. It might all be happening in Psyche's head.

PSYCHE
I have come to ask
to be relieved of my
assignment.

VOICE
That is not permitted.
You know that.
It is a matter of destiny.

PSYCHE
I am no longer capable
of the task.

VOICE
Are you afraid?

PSYCHE
No.

VOICE
We hear that
you have allowed your
emotions to become
involved. Is that true?

PSYCHE
(no emotion now though)
Yes.
(a beat)
I request trial by combat.

VOICE
That is not...usual.

PSYCHE
Nevertheless, I request it.

VOICE
Do you understand
that if you fail, your
consciousness will be
terminated and your duty
undertaken by another?

Pause.

PSYCHE
And if I succeed?

VOICE
You will not succeed.

Big whoosh and crash as we

Cut to:

INT. ANONYMOUS BEDROOM SOMEWHERE (NOT THE HOTEL) - NIGHT

Close up of PSYCHE's head on a pillow, from the side. She's lying on her back. The room is dark but her skin glows pale. A sheen of sweat, her eyes closed. We can hear her breathing.

ANGEL slides up the bed into shot, behind her. He is in shadow but we can see he is looking at her..

PSYCHE
I could do the same
for you.

ANGEL
No.

Her eyes open, but she doesn't look at him.

PSYCHE
What, you don't
want me to?

ANGEL
I do want you to.
But I can't risk it.

PSYCHE
So you think she might
not be the only one?

Pause.

ANGEL
I don't know.

Pause.

PSYCHE
But you can't risk it.

Pause.

PSYCHE
It's all right. I really don't
want to risk it, either.

Pause.

PSYCHE
OK, let's try something.
Give me your ring.

ANGEL
What?

PSYCHE
The Claddagh ring.
Give it to me.

Pause. Angel looks down at the ring on his hand.

Another pause. Then slowly he takes it off. Psyche holds up her left hand and Angel slides the ring on to her finger. The ring flashes.

Psyche sighs.

PSYCHE
This has been a test,
you know.

Pause.

ANGEL
Did I pass?

PSYCHE
You passed, yes.
(she smiles)
But this wasn't about you.
(a beat)
I failed.

She turns towards him, looking at him for the first time.

Blackout.

EXT. SOMEWHERE - NIGHT

(Again, this can be anywhere. It's not a place that we've seen before, or will need to see again.)

Psyche's face in extreme closeup. She puts on a red mask which, as the camera pulls away, we see is a red helmet. The camera pulls away more and we see she is in armour, also red, booted and gloved. She draws her sword. She is an angel. (NB not necessarily with wings, as these tend to get in the way during swordfights.)

Then we see her opponent, an angel in gold.

They fight, with many sparks and much smoke and scary music. They are well matched. Finally, the gold angel's sword slashes at Psyche's legs: she jumps, but while she is in the air a gold-gloved hand pulls her off line and we

Cut to:

Psyche's face in closeup as the point of a sword comes upwards out of her mouth. A cloud of blood in slow-motion. Psyche's eyes widen, then fix.

The camera pulls back to show Psyche's body, with the sword still in place, lying on the bed in Judy's room. Her arms are outstretched. The helmet, the armour and the gloves fade but the sword remains.

Cut to:

The golden angel, in closeup, removing her helmet. Psyche's face.

Blackout.

END OF ACT TWO

Act Three

INT. COFFEE SHOP - DAY

Psyche2 (as we'll call her) and Cordelia, with shopping.

CORDELIA
Don't think I haven't had
my chances. In high school
I was quite the Little Miss
Popularity - God! That seems
so long ago now!
(a beat)
But somehow, since I came
to LA there just hasn't...
I don't know...except for one guy,
and he...

PSYCHE2
And with your acting career,
does there ever...I don't
quite know how to put this...

CORDELIA
No! No. Certainly not.
(a beat)
Not that I would rule it
out entirely, you know.
Not if it was - the right part.

PSYCHE2
I understand. Cause, if that's
what it takes, you know...

CORDELIA
I totally agree. And it's not
only me, you know. Well,
you just have to look at Monroe.
It's pretty much a definite now that she
(a beat)
And look where it got her!
(well...)
Hmm - well - hey, I'm
sorry, you really relate to
Marilyn, right?

PSYCHE2
Oh yeah. Marilyn. Sure.
(not)

CORDELIA
But of course, I'm totally
more together than she was.
And luckily, about the president
thing? Well, the guy who's
president now - no way!

PSYCHE2
Oh, I know what you mean.
(Although she really doesn't)

GUNN (VO)
I have to tell you, I find
this shape-shifting stuff sorta
hard to deal with...

INT. ONE OF GUNN'S HANGOUTS - DAY

PSYCHE2
Yeah? But it's really cool,
you know? Haven't you
ever wanted to fly, or
swim like a, a dolphin?

GUNN
Yeah, I guess.

PSYCHE2
Or, say what you could do is,
change into a woman and
hear what's goin' down in the little
girls' room at the club?
Cause man, that is some hot
gossip. I'm tellin' you.

GUNN
A woman? Hey...

PSYCHE2
Yeah, but you see, the best thing?
No-one would know.

GUNN
I would know.

PSYCHE2 (VO)
I'm sorry, I couldn't possibly.

INT. HOTEL OFFICE - DAY

We're noticing that although Psyche2 doesn't do a lot of shapeshifting, what she does do is alter her style of speech to fit the person she's talking to. (But what she says is a bit awkward - she's not really in tune with people in the way Psyche1 was. A bit like Anya, really.) So here she is in stuffy-Brit mode, with Wesley.

PSYCHE2
I'm afraid I cannot discuss
the contents of individual
scrolls. It's a boundary issue.
You, as a scholar, surely
understand that.

WESLEY
(flattered)
Well, er - yes of course:
but I wondered if you would
be able to speak more generally...
these ancient texts, for instance:
would you say that they are often...
damaged or, or incomplete?

PSYCHE2
Very often. You must
recognise that these artefacts
are often old - immeasurably
old. They change hands
many times. They find
themselves in hostile
environments.
(NB she pronounces 'hostile' the American way)
Often spells are used to
reveal or hide them,
or even to pull them from
one dimension to another.
It is no wonder that the fabric
can become worn.

WESLEY
Is there any way of telling
the, er, provenance of such a document?

PSYCHE2
Why yes, indeed -
there is a simple spell.
If I may demonstrate...

She picks up a sheet that is lying on Wesley's desk.

WESLEY
NO! I mean, er...could
we try it with something a
little less...

He substitutes another document.

PSYCHE2
Are you doubting my
competence?

WESLEY
N - no, it's just...I'm
rather fond of that one.

Psyche2 gives him a look, then composes herself, closes her eyes, passes her hand over the document and speaks an incantation - not Latin, a more ancient language. The room fills with pink light. She opens her eyes, passes her hand in front of Wesley's face. Nothing. He's in a trance.

Psyche2 gets up, goes to the safe. Is about to make a pass in front of it to open it, when she notices it's open already. She exhales. Starts to rummage in the safe.

ANGEL (OS)
Wesley? Where are you?

Psyche2 straightens up, waves a hand, says a word and the pink light is gone. Wesley is rubbing his eyes. Angel comes in, doesn't see Psyche2 at first.

ANGEL
Wesley, I just got a call from
Gunn. He's got some trouble. You coming?

WESLEY
Yes! Sure!
(he's puzzled)

PSYCHE2
May I come?

ANGEL
Oh. Psyche. Er - hi.

PSYCHE2
Hi.

ANGEL
Um...sure. If you...

PSYCHE2
Oh, don't worry. I can
handle myself.

The understatement of this or any other millennium.

Cut to:

EXT. CAR PARK - NIGHT

A big mutha of a vampfight. We see Angel looking anxiously at Psyche2 a few times: expecting her to change into the stunt double, puzzled that she doesn't. But she's doing fine without. Gunn notices this.

GUNN
Hey man! You should
bring your girlfriend more
often!

ANGEL
Girlfriend?
(he dusts a vamp)

GUNN
Yeah! She should give lessons!

Off Angel, looking a bit thoughtful,

Cut to:

Psyche2 doing a fancy roll down a windscreen on to the bonnet, springing off and doing a 2-vamp dusting.

ANGEL
Oh, those kind of lessons.

The fight continues till accidentally Psyche2 finds herself about to stake Angel. He grabs her hand.

PSYCHE2
(gasping)
Sorry...

They look at each other. They are very close. Psyche2 jerks back with a faint look of distaste, turns and is gone back to the fight.

Angel looks worried but

A high camera shot shows the fight is over, Angel, Psyche2, Wesley and Gunn standing each isolated and alone among the parked cars.

END OF ACT THREE

Act Four

EXT. STREET OUTSIDE HOTEL - NIGHT

Angel and Psyche are walking - she confident, unconcerned, he rather anxious, hunched, hands in pockets. They reach the bench where the other Psyche once fed the pigeons.

ANGEL
No pigeons now.

PSYCHE2
(giving him a look: what?)
No. It's night.

Angel looks at the sky.

ANGEL
But day is coming.

PSYCHE2
Yes. You need to go inside.

ANGEL
Yes.

Pause.

ANGEL
Are you coming?

PSYCHE2
No. Not now.

She walks briskly away, Angel looking after her.

INT. HOTEL FOYER - LATE AFTERNOON

Wesley is on the computer, Cordelia with some paperwork at the desk.

WESLEY
This keyboard is really filthy.

Pause.

WESLEY
(a bit louder)
This keyboard is really filthy.

CORDELIA
(not looking up)
Not in my job description.
(a beat; she looks up, frowns)
Not that I've got one.

WESLEY
I think it may be a health
hazard.

CORDELIA
Computer wipes are in the
drawer on the left.
(off his look)
Welcome to post-post feminism.

A crash as Gunn comes in fast through the outside door.

GUNN
Hey, guys, you got a problem.

WESLEY
Is it vampires?

GUNN
No. It looks more like flies.

CORDELIA
Flies?

GUNN
Yeah, there's a window
open up above and a cloud
of somethin' or other.
Might be bees.

CORDELIA
Oh god.

Flashback to Rm w/a Vu: Cordy v the cockroaches.

CORDELIA
We're going to need
the exterminator.
(starts to rummage in drawer)
(to Gunn)
What floor is it?

GUNN
Second.

WESLEY
What are you looking for?

CORDELIA
The passkey.

She finds it, starts for the stairs, stops when she notices the guys are behind her.

CORDELIA
Where are you going?

WESLEY
Well, just in case you
need backup...

Cordelia makes a disgusted noise, turns to go up, and bumps into Angel coming down.

ANGEL
What's up?

WESLEY
Apparently we have an infestation.

Blackout.

ANGEL (VO)
There's something
in the lock...

INT. HOTEL CORRIDOR - EVENING

Angel breaks down the door to Judy's room. They all recoil at the smell.

WESLEY
Oh, my god...

CORDELIA
Ew!

Angel enters the room; after a beat the others follow to find him looking down at Psyche's (much decomposed) body on the bed.

CORDELIA
But she's...This can't
be right! I saw her,
like...yesterday!
I was talking to her...

WESLEY
How long, do you think?

Angel shakes his head. He's upset but the others don't notice.

CORDELIA
We can get those
guys, the forensic guys?
they can work it out
- like on Silent Witness.
(or US equivalent)

GUNN
That's for humans...

WESLEY
This isn't important.
Let's focus here.
What's important is that
we've all of us
(looks round for confirmation)
seen her
(all nod)
recently.

ANGEL
Which means that
what we saw wasn't her.
(oh god: it is important...)

Pause.

CORDELIA
So are you saying
it's like a Slayer deal?
One dies, the next
is called? Was she
a Slayer?

ANGEL
Not exactly...

He leans down and pulls the sword from Psyche's body. (We don't see where the hilt was. Use your imagination, we're talking unrelieved sexual tension here.)

He raises the sword. A flash of white light.

ANGEL
It was the other creature
that killed her.

He lowers the sword, reverses it, kisses the hilt in salute and lays it along her body, warrior-style. As he draws her hands in to rest on the sword hilt, the Claddagh ring flashes.

ANGEL
And took her place.

He closes his eyes. Whew. At least that wasn't the Exterminating Angel he was giving head to...(Unless...Rings can be swapped over, you know. And if we're getting confused about which Psyche is which, that's perfectly fine - we're meant to be.)

Cut to:

Angel's hand in closeup taking the ring from Psyche's finger and putting it back on his own.

WESLEY (OS)
I think you may be going
to need that sword.

The End