Announcement

**Heather** · 30-07-07, 12:01 AM

ACT I

FLASHES OF New York appear on the screen ? blending multiple sceneries. It comes to focus outside of a vehicle store.

CUT TO:

INT. JIMMY'S AUTOMOTIVES ? DISPLAY ROOM ? DAY

We find ANDY, NATALIE, and BRETT standing with JIMMY in a section of the display room where motorcycles are located.

ANDY (To Natalie): Oh I like that one!

ANDY points to a black and red bike a few feet before them. JIMMY guides the group over to it.

NATALIE: Why are you telling me? I'll probably just go and trash it like I did your car when mine's in the shop again.

ANDY: Nuh-uh missy, you don't have a motorcycle license. No joy riding for you.

BRETT: Why do you need a motorcycle, anyway? Couldn't you have gone for that nice and cheap convertible over there?

BRETT points his thumb in the direction of the cars. ANDY glares over her shoulder at him.

ANDY: I need a motorcycle to get out of the apartment really fast so I'm not stuck with you awake in it.

BRETT: Hey, you invited me to live with you.

JIMMY turns and interrupts the conversation.

JIMMY: Pardon me for interrupting. This beauty is one of the top notch bikes on the market. We've sold at least ten of them and only have two left in stock. (Beat) They're running for nearly three fifty up front for a years' worth of owning it.

NATALIE turns around and grabs BRETT by the shirt to walk away from ANDY and JIMMY.

JIMMY (Cont'd): Though it's only fifty five dollars a month if you choose to pay periodically. There's roughly an eighty dollar difference with the upfront payment and the periodic payments.

ANDY (Hesitant): Can I find you in a few minutes? I have to talk to my friends about this.

JIMMY: Sure! I'll be in my office waiting.

ANDY nods in thanks before heading off towards her friends.

NATALIE: How much is it?

ANDY: Three hundred upfront or fifty five periodically.

NATALIE: We can hardly afford hot water and electricity! How are you going to pay for a motorcycle?

BRETT: Slaying vampires isn't exactly a paying job, you've said it yourself.

ANDY: I've got my ways.

She turns and goes to walk back to JIMMY, who didn't move from his original place and is watching them. She approaches him smiling and, from NATALIE's perspective, we see him guide her into his office.

NATALIE: How can she pay for a motorcycle and not hot water or electricity?

BRETT: Maybe she steals money when she claims to be patrolling?

NATALIE rolls her eyes and exits the building through the front door. Unwillingly, BRETT follows.

CUT TO:

INT. JIMMY'S AUTOMOTIVES ? JIMMY'S OFFICE ? DAY

ANDY signs a contract three times before placing the pen down and sliding the paper across the desk to JIMMY ? who instantly begins to type the information up on the computer.

JIMMY: Will you want to drive out with the bike? Or do you want it delivered?

ANDY: I'll leave with it.

CUT TO:

EXT. JIMMY'S AUTOMOTIVES - DAY

NATALIE and BRETT wait outside of the building. BRETT leans against the brick wall while NATALIE paces the sidewalk.

NATALIE: This is ridiculous! She can't really pay for that bike.

BRETT: What's ridiculous is you dwelling on it. She'll figure out a way to pay for it.

There's a rumbling around the corner of the building. BRETT leans off the wall for a moment to look down the alley before jerking backwards as ANDY rides out of the alleyway on her new motorcycle and out into the street, zooming away from them.

BRETT (Cont'd): Now we should be worried for her sanity, not her purse.

CUT TO:

EXT. NEW YORK CITY ? AFTERNOON

Shots of ANDY riding her new motorcycle.

CUT TO:

EXT. NEW YORK CITY ?AFTERNOON

ANDY rides down a rather deserted street. She slowly rolls through, being cautious due to the shadiness of her current location. Broken car windows, fires in garbage cans, and many homeless people living on the streets. There's a shrill, blood curdling scream and a gun shot. A door to a nearby building bursts open and a man holding a gun flies out and into the street before ANDY. ANDY pulls the breaks quickly and watches a young WOMAN storm out of the building. The WOMAN glares at ANDY before picking the man up again and throwing him onto the sidewalk.

ANDY: Hey! What do you think you're doing?

ANDY climbs off her bike and chases after the WOMAN, but the girl spins around and hits ANDY upwards in the jaw, sending her through the air and smashing into a brick wall. ANDY watches helplessly as the WOMAN continues across the street as a car zooms towards her.

ANDY (Cont'd): Get out of the way!

The WOMAN stops, but isn't safe from the car, and it hits her. She's killed on impact before she lands and rolls on the ground, bleeding from her mouth and nose. The car continues to speed away from the accident. ANDY scrambles to her feet and dashes towards the dead body. She reaches to feel for a pulse, breathing heavy, before pulling away, looking upset. Her eyes move towards the building behind her.

CUT TO:

INT. BUILDING ? OFFICE ? AFTERNOON

A man, SEAN CAINSBRIDGE, snaps a picture of ANDY through the window he's looking out of. He shuts the blinds and walks towards what looks to be a kitchen.

CUT TO:

INT. BUILDING ? KITCHEN ? AFTERNOON

SEAN steps inside and flips a switch, the lights instantly turn on. He walks to the opposite side of the room and picks up a phone, which he quickly punches in a number. The phone rings for a moment on the other end before someone answers. SAMUEL CAINSBRIDGE is on the other end.

SAMUEL: Hello?

SEAN: It's me, Sean.

SAMUEL: I knew that, but why are you calling me so late in the day?

SEAN: Isobel's dead. She got the slayer distracted with a vampire attack and led her outside.

SAMUEL: Where's her body?

SEAN: It's still in the street, but don't worry about any kind of exposure: the Office is set up in an empty part of the city.

SAMUEL: Even still, get her out of the street. The Woman has people to revive a freshly killed body. That's probably why She murdered Isobel in the first place.

SEAN: That's not all; there was someone else there when Isobel was killed.

SAMUEL: Who was it? A Slayer?

SEAN: She was older than the other Slayers we've been training; I don't know who she was.

SAMUEL: I'll have my assistant fax you pictures of the oldest Slayers still lurking around.

SEAN looks down the counter and we see a machine a moment before we hear it begin to beep. A few seconds later, a three pieces of black and white paper emerge. SEAN reaches for it and looks down at the paper. Over his shoulder we see ANDY's face inked on one page, FAITH's on another, and BUFFY's on the last.

SEAN: It's the first one. She was here. Sullivan, at least that's what it says her name is.

SAMUEL: You should get back to Headquarters. Quentin will want a full review of what happened today. Not to mention you should really get out of there before She sends demons to retrieve the body. (Beat) Be quick and be safe.

SEAN: I will, Dad.

SEAN hangs up the phone and looks towards the backdoor that leads out into an alley. Swiftly, he moves into the next room and begins to pack up his belongings, which are spread around the table, into a black duffle bag. Once he's done with this, he slings the bag over his shoulder and makes for the backdoor. A high pitched scream, coming from outside, makes him stop in his tracks to look to his left. There's no one there, but the screaming keeps coming.

He looks back towards the kitchen and jumps. Standing two feet in front of him is a DEMON ? brown skin with dark green patches, yellow eyes, and one brown horn extends from the forehead and curls back over its head. The DEMON cocks it's head to the side and surveys SEAN ? who begins to panic. Startling SEAN, it lets out a blood curdling scream. SEAN stumbles backwards onto the table. The DEMON raises a fist and thrusts it down; SEAN rolls out of the way and runs down the hallway and up the stairs.

CUT TO:

INT. BUILDING ? SECOND FLOOR HALLWAY ? AFTERNOON

SEAN dashes down the hallway as we hear another scream coming from the DEMON. Running into a room to the left of him, he slams the door shut.

CUT TO:

INT. BUILDING ? BEDROOM ? AFTERNOON

SEAN leans against the door, panting with his eyes closed. There's another scream from in the hallway. His eyes roll to his right and we see another door that's rattling. A fourth shriek comes from behind the door, and then stops. SEAN tenses. The door behind him instantly is blown inwards and he's buried underneath splinters of wood on the bed. The DEMON stands in the doorway. SEAN rolls across the bed and falls onto the floor on the far side of the room. He reaches under the bed and pulls out a small dagger before standing.

SEAN: What? Do you wanna kill me?

He raises the blade.

SEAN (Cont'd): You'll have to catch me first.

Unexpectedly, he dashes through the other door which leads into a bathroom and then flows out into a hallway that takes him back down the stairs and onto the first floor.

CUT TO:

INT. BUILDING ? KITCHEN ? AFTERNOON

SEAN grabs his bag off the shattered remains of the table and runs through the kitchen and out the backdoor that takes him into the back alley.

CUT TO:

EXT. BUILDING ? ALLEY ? AFTERNOON

SEAN stumbles out into the backstreet and runs towards the main street, looking back over his shoulder at the door. He rolls his head around and we see ANDY standing right in front of him. SEAN runs into her hands ? which she's holding out in front of her.

ANDY: Whoa, whoa, whoa! You keep running like that, you'll trip and fall and the mean demon will eat you. (Beat) What happened?

SEAN hesitantly looks back towards the backdoor and returns his gaze on ANDY.

SEAN: That demon, it was sent by the Queen. You need to kill it.

ANDY: Wait, I need to kill it? Why did it come after you anyway?

SEAN: I was that girl's (Beat ? pointing at the dead woman in the street) Watcher. She was a Slayer; a new one ? unlike you, who's been doing this for a few years now apparently.

ANDY: She was a Slayer? You were her Watcher? (Beat) Aren't you are little young and?not English to be her Watcher?

SEAN: We need to get out of here, now!

The backdoor is blown outwards and another high pitched scream comes from the doorway. ANDY moves out of the way and pushes SEAN out of the alley. SEAN hurries, but drops some papers from his bag. ANDY turns back towards the DEMON.

ANDY: Oh, don't you look mean and ugly? What's your special trick? Screaming? I've seen better.

She gets a running leap up into the air and plants a foot into the DEMON's chest. The creature simply grabs ANDY by the ankle and flings her into the building's wall. She collapses to the ground. The DEMON speaks in a deep, dark voice.

DEMON: I don't have time for this.

ANDY lifts herself off the ground that's now littered with brick debris.

ANDY: You talk too? What else is there about you that'll make me go ?wow?'

The DEMON glares at ANDY and cocks its head back to the side. It charges ANDY and she throws up her hands. She throws several punches and drops to the ground to dodge a hit from the DEMON, which instead smashes part of the wall back into the building. ANDY stands and is blocked from our vision by the DEMON. There's a loud bang. We pan down the DEMON's back until we see a hole in the center of it oozing green blood.

ANDY (Cont'd): That was rude. What happened to asking for the girl's permission before you start attacking her?

We hear ANDY kick the DEMON and see it fly away from her as we pan to the side to see its body smash into the opposite wall. ANDY, holding a gun, steps away from the wall she was pressed against and walks towards the exit of the alley as she spots the papers SEAN dropped during his exit. She hunches over and grabs them. ANDY quickly looks over them and stops on the third piece of notebook paper. We see the words on it as ANDY reads it aloud.

ANDY (Cont'd): ?Watchers Council' (Beat) ?New York Branch?'

Her forehead wrinkles as she rereads the paper silently.

FADE TO BLACK

END OF ACT I

**Heather** · 30-07-07, 12:02 AM

ACT II

FADE IN

INT. APARTMENT ? LIVING ROOM ? NIGHT

ANDY's pacing across the living room while BRETT sits on the couch and NATALIE is opposite him in a chair. BRETT is reviewing the pages ANDY gathered from the ground back in the alley.

BRETT: I don't exactly remember ever hearing about the Watcher's Council breaking into branches.

NATALIE: Okay, right now I'm just sitting here acting like I know what you're both talking about and now I really want to know. (Beat) What are Watchers?

ANDY: Watchers are English guys with glasses and fancy attitudes who basically help the Slayers and guide them.

NATALIE: Why don't you have one?

ANDY hesitantly pauses, obviously keeping something from NATALIE. BRETT looks to her.

ANDY: I don't know. I guess the Council didn't like me?

BRETT looks at her, confused and disbelieving.

BRETT: Yeah? (Beat) We should probably go to this address. Maybe they'll have some answers for us?

ANDY: It's too late to go now. We'll leave in the morning.

NATALIE stands up.

NATALIE: Well this was an eventful day, now wasn't it? I'm off to bed.

ANDY nods in her direction and starts to walk towards her own room when BRETT grabs her arm.

BRETT: You had a Watcher. Every Slayer, no matter who she is, has a Watcher.

ANDY: It's a long story that I really don't want to share. (Beat ? looking down at BRETT's hand) Now let go of me and return to your couch.

ANDY jerks free and storms off to her bedroom, leaving BRETT looking in her direction.

CUT TO:

INT. APARTMENT ? NATALIE'S BEDROOM ? NIGHT

NATALIE, changed into different clothes, throws her old ones into a basket and opens her closet. She enters it and comes back out holding a briefcase. Turning, NATALIE sets it on her bed and unzips the cover, which opens to reveal a laptop. She opens the cover to the device and turns it own, impatiently drumming her fingers on the side. The screen comes to life and she opens an internet window before typing in a website address. The screen changes to local newspaper directory. NATALIE reads aloud as she types in her search.

NATALIE: ?Andrea Sullivan.' (Beat) Here's hoping for something useful.

She hits enter and the page changes, again, to a list of articles featuring the name. She clicks and reads through a few of them before finally finding the one she wants, titled "Fortune Left to Businessman's Daughter." She begins to read through it and we see her scrolling stop abruptly. We pan to the back of the computer as NATALIE's head lifts, her eyes wide with shock.

CUT TO:

EXT. WATCHER'S COUNCIL ? MORNING

ANDY, BRETT, and NATALIE stand in front of a large, stone building ? two eagles are constructed in such a way that they're standing on their legs and their wings are out forward, touching at the tips and forming an archway over the sidewalk that leads up to a flight of stairs. At the top of the stairs, a pair of glass doors is the beginning of thousands of windowpanes. The trio simply stares up in awe.

ANDY: We could do this all day, but we really need to get inside this place.

ANDY leads the way under the arch and up the steps with BRETT trailing behind NATALIE. ANDY opens one of the doors and enters.

CUT TO:

INT. WATCHER'S COUNCIL ? LOBBY ? MORNING

ANDY enters a large, silver colored room with black and white tiling on the floor. Metal desks and chairs are situated around the room. Overall, the room is very new-age and modern. The other two enter after her.

NATALIE: Wow! (To Andy) I thought you said that Watchers were fancy Englishmen?

BRETT: I think this is modern fancy.

NATALIE looks towards a conference room's pair of metallic doors that open. Two, young and good looking, WATCHERS exit and walk past NATALIE ? who's jaw drops.

NATALIE: My, Watchers, how much they've changed. (Beat) Can I stay here while you two do the fun investigating stuff?

ANDY: But you said at the house that you wanted to come with us to find out about the demon and the Queen.

NATALIE: I changed my mind.

BRETT: But-

NATALIE (Cutting him off and rolling her eyes): I said I changed my mind.

ANDY looks at NATALIE, thrown by her outburst.

ANDY: Okay then, we'll?be?somewhere in here. Keep your cell phone on incase something comes up.

NATALIE nods. ANDY and BRETT walk off towards the secretary's desk across the lobby. They step up to her and she turns to face them.

SECRETARY: Good morning! How can I help you?

ANDY: I was hoping I could talk to whoever's in charge around this place. Maybe a head Watcher or somebody similar? (Beat) Do you guys have a President or something?

The SECRETARY laughs.

SECRETARY: Samuel Cainsbridge is considered to be the director, of sorts, for the Watchers in the New York Branch. (Beat ? retrieving a clipboard) If you'll sign in, I can fit you into his schedule.

BRETT: How long will the wait be before we get to see him?

BRETT signs the paper first before handing the pen over to ANDY. The SECRETARY types something into the computer and looks up to them, again.

SECRETARY: I can get you in within the next half hour. He's in a meeting currently and won't want to be disturbed.

ANDY: Thanks, I appreciate it.

SECRETARY: You can wait in the top floor's waiting room for him. His personal secretary will call you in when he's ready to see you.

ANDY nods and the two walk away from the counter. The SECRETARY, in the distance behind them, looks down at the clipboard and her mouth opens. She turns and calls over another WORKER. ANDY and BRETT disappear off screen as the fuss behind the counter continues.

CUT TO:

INT. WATCHER'S COUNCIL ? ELEVATOR ? MORNING

ANDY and BRETT are alone in the elevator as they ride the long distance to the top floor. They're silent until BRETT starts a conversation.

BRETT: Why's Natalie so pissy lately?

ANDY: You try being tortured for a night and we'll see how you feel a week later.

BRETT: She's fine to you, though. And it's me she's attacking because of what happened.

ANDY: So is this how you guys are nowadays? (Beat ? turning to look at NATALIE) One minute you're all grieving and the next you're shrugging off the fact that you played a major role in what happened. Psshht! And you say women have major mood swings.

BRETT: I said I was sorry.

ANDY: And she said that she wasn't accepting your apology. (Beat) Am I the only one who listens around here?

BRETT: Can you say something to her though? Something to get her not mad at me?

ANDY: Why? Or should I be afraid to be asking that question?

BRETT: I have to live with her ?

ANDY (Cutting him off): No you don't. You could live on the streets, fighting for your own life, while still finding time to sell hot dogs at the corner just a yard from your cardboard box.

BRETT: I do have to with you two.

ANDY: Then it's a hard knock life. Go with it.

The elevator ?dings' and the doors slide open ? they've reached their floor, as indicated by the light in the shape of the floor number above the elevator's doors. ANDY and BRETT step out of the transportation device and onto the floor.

CUT TO:

INT. WATCHER'S COUNCIL ? TOP FLOOR LOBBY ? MORNING

ANDY and BRETT turn a corner and enter the lobby. A black leather couch and matching chairs are set up around a glass coffee table. Opposite them is a metal desk with a glass counter and behind it sits CAINSBRIDGE'S SECRETARY, a man in his early twenties with blonde hair and light skin.

ANDY (Whispering to Brett): I'm gonna go make friendly with some Watchers, if you know what I mean.

BRETT (Whispering to Andy): What if they call us in?

ANDY (Whispering): You'll know what to do. I'll be back in a few minutes.

ANDY swerves off down another hallway away from BRETT just as he approaches the desk.

BRETT: Sorry about that, she has to go to the bathroom. (Beat)

Off BRETT grinning.

CUT TO:

INT. WATCHER'S COUNCIL ? LOBBY ? MORNING

NATALIE looks over towards the elevators before making her move out the doors that are situated behind her. She rushes out the doors and onto the sidewalk.

CUT TO:

EXT. WATCHER'S COUNCIL ? MORNING

NATALIE hurries under the archway and down the sidewalk. She stiffly looks at her watch as she continues away from the building she should be in. NATALIE crosses the street and walks towards another skyscraper. She pushes through the doors and enters.

CUT TO:

INT. BANK ? MORNING

NATALIE crosses the room and approaches the front desk where a dark skinned woman in glasses has her hands folded and waits for her.

BANKER: Good morning. What can I do for you?

NATALIE: I called and setup an appointment with Mr. Burton last night and am here to fill the slot.

BANKER: Okay, not a problem. You can take the elevator to the fifth floor and he should be waiting for you.

NATALIE: Thank you.

NATALIE walks towards the elevators and enters once the doors open and the crowd inside exits.

CUT TO:

INT. BANK ? FITH FLOOR ? MORNING

NATALIE exits the elevator and quickly walks towards the office door labeled "Cory Burton" before opening the door and entering, shutting it behind her.

CUT TO:

INT. WATCHER'S COUNCIL ? TOP FLOOR CORRIDOR ? MORNING

ANDY looks over her shoulder while hurrying down the hallway, unsure what she's looking for exactly. Quickly, she makes her way towards two sets of metal doors ? one of which is partially open. She presses herself against the wall and slowly looks in through the crack. She sees SAMUEL CAINSBRIDGE, late 40's, bald, pacing a large office and talking to someone who ANDY, nor the audience, can see, but has a British accent and sounds older than SAMUEL. She begins to eavesdrop on the conversation.

SAMUEL: We cannot let the Queen continue collecting them. It's dangerous and stupid to standby and not take action.

MAN: We don't have the force to attack Her, nor do we have enough information to make a move or threaten to attack. We wouldn't be considered a threat.

SAMUEL: Then how do you propose we learn more about whoever she is? We can't send in any agents without risking exposure. If we do that we'll risk everyone's lives. It's too much.

MAN: We'll need more time to consider all possibilities.

SAMUEL (Aggravated): But we don't have time!

WORKER (OS): Hey! What do you think you're doing?

ANDY jerks her head around, throwing off her balance against the wall from the surprise and quick movement she made, causing her to fall into the door and she rolls into the office backwards. She stops after slamming into the long metal table. Shyly, ANDY peeks over the edge of the table and sees SAMUEL and the MAN staring down at her.

ANDY: Crap?

FADE TO BLACK

END OF ACT II

**Heather** · 30-07-07, 12:02 AM

ACT III

FADE IN

INT. WATCHER'S COUNCIL ? CAINSBRIDGE'S OFFICE ? MORNING

ANDY slowly stands up from the floor, flushed with embarrassment and avoiding eye contact with the WORKER, the MAN, or SAMUEL. The MAN nods and leaves through one of the side doors other than the one ANDY fell through.

ANDY: Yeah I can explain this whole little situation.

SAMUEL: You better. And would you mine telling me who you are, while you're at it?

ANDY brushes a stray strand of hair from her face and lets out an airy laugh.

ANDY: I'm Andrea Sullivan and I'm here with the guy who's standing out in the lobby over there.

The WORKER starts to fidget. SAMUEL glares at him.

SAMUEL (To Andy): Hold that thought. (To the Worker) What is it?

The WORKER hands over a folder he was holding.

WORKER: She's actually the reason I'm here. Lisa, the secretary in the main lobby, actually called me over to look? (Looking at Andy) her up in the Database because she recognized the name. (Beat) She's a Slayer.

SAMUEL (To Andy): Tell me why you're here again, Miss Sullivan.

There's a knock on the door and BRETT enters. He looks to ANDY, shocked.

BRETT: Hello. (Beat) Clearly I'm interrupting something. I'll wait outside.

SAMUEL: No you won't. (Beat ? motioning to a chair) Sit down. Both of you.

ANDY sits along with BRETT and begins to explain why they're at the Council.

ANDY: Yesterday, I witnessed the death of a new Slayer. I was there when it happened. Then there was a demon attack, mention of the same Queen that I've had contact with, and a really messy fight that got my jeans stained with demon blood. (Beat) Does that satisfy your craving for an explanation?

SAMUEL: You were there when Isobel was killed?

ANDY: Yes, I was. And now I'm here to find out what you know about the Queen and why she had the girl killed.

SAMUEL looks to the WORKER.

SAMUEL (To the Worker): You can leave now.

The WORKER leaves.

BRETT: So what have you got to tell us?

SAMUEL: Nothing that would be specifically of interest for you.

ANDY: I heard you say that this has happened before. That, shockingly enough, interests me.

SAMUEL: It's been happening for several months now. Somebody going by the "Queen" started abducting Slayers and we've never seen any of them again. How did the Queen contact you?

ANDY: I was patrolling and a vampire gave us a calling card, saying that she was offering me a job before some battle happens.

SAMUEL: Have you heard from her since?

ANDY: No, actually. It's been a week. But I have a feeling that she understands I'm not going to be helping her out. Especially now.

SAMUEL: Who's your Watcher? Why didn't he fill a full report out on what happened? This could've helped us a lot earlier.

ANDY looks to the ground. SAMUEL takes ANDY's silence as an opportunity to look into her file. He raises an eyebrow while reading and closes it quickly.

SAMUEL (Cont'd): When was the last time you made contact with him?

ANDY: The last time? Three weeks after he came to me. Then he just left.

SAMUEL: So you've been without a Watcher since?

ANDY: Pretty much.

SAMUEL: Do you know why he left?

ANDY: Never found out. There was a letter in my mailbox a week after he disappeared and that was that. All he said was that something unexpected came up and that he had to leave.

SAMUEL: The reason he left was because a Slayer, Buffy Summers, ? the Slayer you replaced ? was resurrected. It was unexpected by everyone and caused a bit of chaos within the Council. That's why your Watcher had to leave. He had to take care of the situation.

ANDY: What are you saying?

SAMUEL: Your Watcher was reassigned to you after Miss Summers died, but when she was revived, he returned to her.

ANDY: Are you saying Rupert Giles was Buffy's Watcher?

Off ANDY's shocked look.

CUT TO:

INT. BANK ? BURTON'S OFFICE ? DAY

NATALIE sits opposite CORY BURTON, separated by a wooden desk. BURTON has his hands folded and is reviewing a small card with his glasses on his face. The card is a driver's license. He hands it back across the table to NATALIE.

BURTON: Thank you, Miss Sullivan.

NATALIE (Lying): Call me Andy, please.

BURTON: Okay then, (Beat ? hesitant) Andy, I think we can officially get the process of freeing your father's account now, if you'd like.

NATALIE: That'd be great, actually.

NATALIE looks down at the diver's license. We see it is an exact duplicate of ANDY's license, except with a picture of NATALIE in place of ANDY's. She grins, slightly, and puts it in her pocket. BURTON slides a few documents over to NATALIE.

BURTON: If you'll just sign these documents where they're marked, we'll be almost on our way through the process.

NATALIE: How long until my account will be opened?

BURTON: I would say it could take up to a day, though we'll call you once the account is officially opened.

NATALIE finishes filling out the document. She hands the papers and the pen over to BURTON, who accepts them and places them to the right side of the desk.

NATALIE: Thank you so much, Mister Burton!

BURTON shakes NATALIE's hand as they stand up.

BURTON: Please, call me Cory.

NATALIE giggles slightly and leaves the office.

CUT TO:

EXT. BANK ? DAY

NATALIE exits the bank and walks, happily and quickly, back to the Watcher's Council. She's smiling, happy at her recent accomplishment, but we see some regret in her smile, too. She looks at her watch and sees that a good amount of time has passed since she left the Council. She crosses the street and stops instantly when she spots a black limo pulling up in front of the building. NATALIE reaches to her back pocket for her cell phone, pulls it out and dials a number via speed dial. We hear ANDY's voicemail message.

ANDY (Voicemail): Sorry! I'm not available at the moment, please leave me a message and I'll get back to you once I'm done being busy.

There's a beep and NATALIE begins.

NATALIE (Hurried and nervous): Andy! I think they're here.

We see GREG exit one side of the car and then walk around to help ELIZABETH out of her door. NATALIE begins to panic.

CUT TO:

INT. WATCHER'S COUNCIL ? CAINSBRIDGE'S OFFICE ? DAY

ANDY is standing up now, pacing back and forth in the office while BRETT sits relaxed in his chair with a puzzled look on his face as he tries to get everything straight in his head. ANDY's phone, which is out on the table, is flashing. The screen reads "I.C.E. Natalie." No one notices it. SAMUEL sits behind his desk, reviewing ANDY's file.

ANDY (Breaking the silence): So Buffy sacrificed herself, and that activated me.

SAMUEL sits up and interrupts ANDY.

SAMUEL: Actually, the jury's still hung on that one. According to your file, the England Branch was under the impression that Buffy lost the ability to activate another Slayer when she died the first time. So when she sacrificed her life, it's possible that you shouldn't have been activated.

ANDY: This is too much. You are forcing me to bring up the Watcher that abandoned me and to accept the possibility that I shouldn't even be what I am!

SAMUEL: Why are you so hell bent on not bringing up Rupert Giles? What happened between the two of you that made you feel this way?

ANDY shakes her head and stops pacing before throwing her arms up, making motions with them to emphasize what she's saying.

ANDY: He left me to fend for my own! He was so irresponsible that I was forced to be alone and to learn all of the stuff I needed to learn by myself! I was afraid. For my friends, for my family, and for my own life. Rupert Giles wasn't a Watcher. He didn't serve the purpose that he was originally supposed to fulfill. When Buffy died, he was forced to come to me and when she came back to life, he left me like I was never even a Slayer.

ANDY collapses back into the chair, tears starting to roll down her face.

SAMUEL: To defend Mister Giles, he had no choice. His original assignment was to Buffy Summers and when she was resurrected, he had to return to her. He left everything he had in Sunnydale when she died and came to England, only to be reassigned to you. It's a messy web, Andrea, and everyone will get screwed because of it.

BRETT notices the phone flashing on the table.

BRETT: Uhh Andy ?

SAMUEL (Interrupting Brett): Now there are so many Slayers in the world. Too many Slayers. The Watcher's Council had to divide into ten major branches just so that there could be some form of structure in the places the most heavily populated with them.

ANDY stars blankly at him as BRETT holds the flashing cell phone in his hand.

SAMUEL (Cont'd - his tone rising until it peaks at frustration): That leaves many of them unprotected. And that leaves them fearing for the lives of the ones they love. They don't know what to do. They won't know what to do. Somebody needs to step up and protect these girls. If you felt so bad when you were abandoned, then make sure it doesn't happen to them.

As SAMUEL finishes, ANDY is left speechless. BRETT tries to hand the phone to her, but is ignored.

SAMUEL (Cont'd ? now calm): You've got so much potential, Miss Sullivan. Now you need to guts to do something with it.

Blood splatters across the walls and ANDY and BRETT jump backwards. SAMUEL's body falls to the floor in a pool of the crimson substance, revealing ELIZABETH standing just behind where he stood. She holds a bloody sword, looking at it curiously.

ELIZABETH: He certainly is a bleeder, now isn't he? I love his whole rant. It was really moving, you know? I might just drop all my evil ways and become a Slayer's mentor. You know how good I'd feel? (Beat) I'd rather die.

ANDY, still in tears, stands up as her face contorts in anger and disbelief. She gets into a steady and balanced stance.

ELIZABETH (Cont'd): I see you've met my darling Brett! Isn't he just to die for? I used to do anything for that man. (Beat ? sighing) And then he left me for you. (To Brett) I always knew you had that kinky love for women stronger than you are. You're too afraid to wear the pants in a relationship. You'd rather be the one controlled than the controller.

ANDY kicks ELIZABETH in the stomach, knocking her back into a mirror hanging on the wall. ANDY uses the gap between the heel and the foot part of her boot to pin ELIZABETH against the wall by her neck.

ANDY: So this is the bitch who kidnapped and tortured Natalie, huh? I thought you'd have been prettier from the way Brett describes you. Not to mention that your insults simply don't?insult. (Beat) What big baddie like you doesn't know how to come up with a good insult? It's nearly impossible!

ELIZABETH (Gasping for breath): You've forgotten that I'm the one holding all the cards here, hun. I've got the sword and I've got your roomie. Again, might I add?

GREG walks in with a bound and gagged NATALIE. He throws her into the empty chair next to BRETT, who quickly moves to try and free her. GREG notices and throws a sharp weapon towards BRETT ? which slices through his jacket and cuts deeply into his skin.

GREG: Touch her again and the next blade will slice your throat instead. (To Andy) You should let her go now. Especially if you want to keep your friends alive.

ANDY hesitantly complies and lowers her foot. ELIZABETH holds a hand to her throat and takes in dramatic, deep breaths.

ELIZABETH: That actually hurt, bitch!

ELIZABETH tightens her grip on the crimson stained sword and raises it.

ELIZABETH (Cont'd): But I'm sure that this will hurt a hell of a lot more.

There's a clicking noise and the camera pans to ELIZABETH's left to reveal SEAN standing behind her with a gun raised to the level of her head. ELIZABETH turns her head slightly to look over her shoulder at SEAN.

SEAN: Who are you and what are you doing here?

ELIZABETH spins around quickly and lets the gun rest on her forehead. She grins.

ELIZABETH: Who? Me? I'm your father's killer and soon to be yours. (Beat) Unless you bleed as much as he did, because then I'll let Greg here do it for me.

ANDY: Leave him alone.

ELIZABETH glances back at ANDY, still grinning.

ELIZABETH: Why? Because he's an innocent little boy? He's probably alerted the security team already. And for that, he shall die. (Beat) Besides, what are you gonna do with your friend's lives at stake?

ANDY backs down. Behind her, we see GREG with a smug grin on his face as he watches ANDY stand down to ELIZABETH. BRETT notices his lack of attention towards him and NATALIE and takes advantage. He kicks his leg out from under the chair and hits GREG in the knees. GREG falls to the floor. ELIZABETH turns to see what's going on and ANDY throws a punch that hits her in the jaw. Another kick sends ELIZABETH stumbling back into the wall and she drops the sword. ANDY raises her foot to pin her to the wall.

ANDY: Major d?j? vu, huh?

ELIZABETH: Not quite.

ELIZABETH throws her free arm up and stabs ANDY in the neck with a needle. ANDY releases her and starts to sway back and forth while reaching for the wound. Through ANDY's perspective, the world begins to become distorted and grows to become extremely bright. The light grows and grows until the screen is completely white.

END OF ACT III

**Heather** · 30-07-07, 12:03 AM

ACT IV

FADE IN

INT. WATCHER'S COUNCIL ? CAINSBRIDGE'S OFFICE ? DAY

ANDY lays unconscious on the floor. GREG struggles to his feet and ELIZABETH looks down at the syringe in her hands.

ELIZABETH: It's time to go, lover. You can play later.

She starts to leave but SEAN keeps the gun raised on her.

BRETT: I don't think he's gonna let you out of this room and I'm certainly not going to let this bastard leave, either.

BRETT kicks GREG in the back of the head and he falls to the ground. BRETT than kneels next to him and reaches into GREG's pocket to pull out a knife.

BRETT (Cont'd): Thanks.

He cracks GREG over the head with his fist and stands up to free NATALIE. BRETT peels off the tape covering her mouth first.

NATALIE: They saw me downstairs and caught me.

ELIZABETH: Shut up, girl. Reviewing what happened for Brett doesn't matter. What's done is done and you were just too weak to help yourself.

BRETT cuts the last rope binding NATALIE's arms and she stands up to stretch, but flinches at a pain in her wrists. BRETT looks to her to see if she's okay and NATALIE nods briefly and walks over to GREG. She gets to her knees and pulls his head back by his hair. She whispers into his ear.

NATALIE: I would kill you if I had a knife in my hands. (Beat) But now I realize that I'm not like you. I hope karma comes to bite you in the ass someday real soon.

NATALIE stands up slowly and rubs one of her wrists. Then, unexpectedly, she snaps and thrusts her foot down on the back of GREG's neck.

NATALIE (Cont'd): That'll do, also.

BRETT looks at NATALIE, shocked at her actions. NATALIE shrugs and walks over to ELIZABETH. SEAN hesitantly lets NATALIE stand in the way of his aim, but ultimately allows for it. NATALIE stares ELIZABETH in the eyes.

NATALIE: I am not going to stand by and let you hurt Andy. She saved me and now I'm going to help save her.

ELIZABETH laughs.

ELIZABETH: And what makes you think she's even dying? We need her alive. I need her alive. Otherwise the plan we're hoping for will fall apart miserably. Andy's just?dreaming peacefully and there's nothing you can do about it.

FLASH TO:

EXT. DESERT ? SUNSET

ANDY is DREAMING. We find her in a desert, alone, walking through the sand. She approaches a patch of the sand lined with two rows of palm trees ? set a good fifty feet apart from one another. She passes the first row and is blown forwards from a rogue, but strong, gust of wind. The trees instantly begin to ignite in flames starting from the first tree and spreading down to the last. ANDY looks up and begins to panic.

She tries to crawl out of way, but she is blocked in by an invisible force that sends ANDY flying even further into the patch when she touches it. She sits up and jumps out of the way as the two burning palm trees in the center of each row collapse and rest the tops of each tree onto the other ? forming an arch of flaming trees. ANDY stares in awe just as a large flaming leaf falls to the ground. The fire grows to the height of a human and begins to take the shape of someone familiar to ANDY. It then completely transforms into ELIZABETH. She holds the same bloody sword as in real life and is grinning the same way, too, as she paces in a large circle around ANDY.

ELIZABETH: Awww! Is Warrior Girl a little knocked out? And here I thought you were stronger than that. I'm on devious badass. You know it, too. I kidnapped your friend and had my lover torture her just so I could trick you into joining my side of this war. But part of you knows that I'm not capable of being such a powerful creature like this Queen is. (Beat) Though you know there's someone else that's a hell of a lot more likely to play some role in all of this.

The camera pans around to focus on ANDY and gets ELIZABETH completely out of the scene.

BRETT (OS): You can't trust me, Andy.

The camera pans up again to reveal BRETT, in place of ELIZABETH, casually circling ANDY.

BRETT (Cont'd): I've only known you for a week and I'm already living in your house ? the one place you feel the safest. I could kill you while you sleep and there's nothing you can do about it. You don't know me, but I know an awful lot about you. And that haunts you the most. I know so much and it's enough to betray your trust. I can give in to the Queen and help her kill you just as easily as it was to get into your home.

The camera pans down again to focus on ANDY once more and BRETT is automatically out of the scene.

NATALIE (OS): Oh poor, poor Andy.

We pan up to show NATALIE is now circling ANDY.

NATALIE: You save my life and then five months later we're moving in together! Don't you think you should've gotten to know me a little better? Maybe you should've investigated my background a little to make sure that I'm safe and sane? We're so close, you know? Like sisters! What a shame it'd be if everything turns around so quickly and abruptly that you're left reeling over the evil stuff I've done. Andy, honey, you know I'm capable of so much and you'd be even surer of that fact if you just really get to know me. Watch your back, hun, because you really don't know what's coming.

The camera pans down once more to show ANDY, nearly in tears, raising her hands to brush her bangs from her face. One hand then rests over her mouth and she shakes her head in disbelief.

ENGLISHMAN (OS): Andrea, you need to get up! Fight this!

The camera pans up and reveals GILES crouched down in front of ANDY, reaching up to brush ANDY's hair away from her face. His hands stop on her shoulders and he looks into her eyes.

GILES: I had to leave you, we both know that. Buffy is my priority. She's my responsibility and is like a daughter to me. I didn't want to abandon you and to force you to train yourself and learn all that you could. It was a mistake. I know that now. But you cannot focus on my wrongdoing.

GILES squeeze's ANDY and uses one hand to lift her chin slightly.

GILES (Cont'd): Find the Slayers. Gather them, train them, and protect them. Don't make the same mistake I did and do not let them go through the same thing you did. (Beat) You need to keep them safe and you need to get them ready. The Queen is coming and she won't let anyone be safe. Promise me that you'll be there for them. Promise me you'll let them live.

ANDY nods slightly and GILES stands up.

GILES (Cont'd): Goodbye, Andrea. Be well.

There's a flash of light and the screen turns white.

FADE TO:

INT. WATCHER'S COUNCIL ? CAINSBRIDGE'S OFFICE ? DAY

ANDY sits upwards abruptly and looks around, gasping for breath. NATALIE pushes ELIZABETH out of the way and falls to her knees beside her friend. ANDY's sweating and stands up, leaving NATALIE on the floor looking at her confused. ANDY walks over to ELIZABETH and stares her in the eyes, her face expressionless. Her mouth than pulls upwards to become a sly smile.

ANDY: I just wanted to say thank you, Elizabeth. Without you stabbing me in the neck and injecting me with whatever it was you gave me, I wouldn't have come to the same conclusion that I just did.

ELIZABETH: And what would that be, my dear Slayer? That you truly have no idea what you're up against? Or that you're just as weak as everybody thinks?

ANDY: Actually, I concluded that you're the one that's officially screwed. I know what I have to do now, and none of it is good news for you.

ANDY looks to SEAN and makes a motion with her head that tells him to lower his gun. He complies slowly.

ANDY (Cont'd): For now, you should get out of my face and stay as far away from me as you can because I'm just getting started.

ELIZABETH steps away from ANDY and cocks her head to the side.

ELIZABETH: I'll be awaiting your first move, then.

She walks around NATALIE, who glares at her coldly, and helps GREG to his feet.

ELIZABETH (Cont'd): Trust me, we'll be in touch. (To Greg) Let's go, lover.

She opens a door and GREG limps out in front of her. ELIZABETH winks at ANDY and blows a kiss to BRETT. Shutting the door behind her, ELIZABETH leaves the scene. NATALIE gets to her feet and brushes the knees of her pants off.

BRETT (To Andy): What did she do to you?

NATALIE: Yeah, Andy, what happened?

ANDY turns away from them and starts to walk to the door, but stops and looks back over her shoulder at them.

ANDY: She showed me what I need to do.

BRETT: And what would that be, exactly?

ANDY turns around completely.

ANDY: We need to find them. As many of them as we can possibly gather and train them.

NATALIE: Who? Who do we need to find?

ANDY: Slayers. We can't let them be lost and afraid. They need to be trained and protected. (To Sean) Samuel said that there were ten Watcher's Council Branches in the most heavily populated areas with slayers. Is there anyway that the other branches can gather them for us and get the Slayers to us, here?

SEAN shrugs and wipes his eyes that are still wet with tears.

SEAN: It's possible, but you'll need to have it organized by the leader of the Watchers. Though that'll be difficult considering he's kind of been dead for the past 3 years and it's not that easy to get a spirit to pop in for something like this.

ANDY: We'll make sure that it gets done easily, alright? We need to get moving, but we'll need more help. The three of us and the Watcher's Council won't be enough to get this all ready and perfected.

NATALIE: Who do think will help us?

ANDY: I don't know, but we'll need to figure it out really fast. (To Sean) Arrange me a meeting with the head Watcher. Now.

SEAN nods and exits the room, not looking back at his dead father on the ground. ANDY looks at NATALIE and BRETT.

BRETT: We should get ready for overcrowding in the apartment, right? I have a feeling we'll have a lot more problems than running out of milk when this all starts.

NATALIE: The landlord's not going to be happy at all. As a matter of fact, we won't even be able to stay in the apartment. Well, not all of us at least.

ANDY: We'll figure something out, I promise.

NATALIE takes the opportunity to confess what she was doing earlier.

NATALIE: I actually wasn't waiting for you two down in the lobby. I left the building to go to the bank a few blocks away.

ANDY and BRETT look at her, confused.

NATALIE (Cont'd ? to Andy): I know your dad was a rich businessman and died ten years ago, leaving you all the money in his fortune.

ANDY starts to talk but NATALIE holds up a hand to silence her.

NATALIE (Cont'd): I, being the curious and concerned friend that I am, went to the bank this morning to open the account there that was left to you when your father passed away. (Beat) We can use the money to buy someplace bigger. A place where we can train these Slayers! Not to mention how your sudden urge to by a motorcycle worried me about our income that's being fed into the house. I can't exactly work a waitress job to support us all.

BRETT (To Andy): Is this true? If it is, you could support us all.

ANDY puts a hand over her eyes, lowers it, and nods.

ANDY: Yeah, it's true. He had a heart attack. My mom died when I was really young and I barely remember my brother since he went into the army a few years before my dad died and we didn't hear from him since. He gave it all to me in his will.

NATALIE: I'm sorry, Andy. I didn't know all that.

ANDY: There's a lot of things you don't know. There are a lot of things I don't know about you or Brett. But we'll need to figure things out if this job is going to work out.

BRETT: So are we gonna go house shopping tomorrow or something? If so, I'd rather stay home.

ANDY shakes her head.

ANDY: No, you're coming with us. I can't trust you yet. This has all happened so fast the last week and I haven't been thinking clearly. Like I said, I don't know you as well as I'd like to, nor do I trust you as much as I should.

BRETT shrugs and then nods. SEAN reappears in the doorway.

SEAN: Mr. Travers is waiting for you across the hall.

ANDY, BRETT, and NATALIE exit through the side door. SEAN is alone in the office. He looks down at his dead father and lowers his head in respect.

SEAN (Cont'd): Goodbye, dad.

CUT TO:

INT. WATCHER'S COUNCIL ? CONFERENCE ROOM ? AFTERNOON

A short, gray haired Englishman stands at the end of a long metal table, hands folded with his fingers laced through one another. The man is QUENTIN TRAVERS. ANDY, BRETT, and NATALIE enter through the front door.

QUENTIN: You may sit, if you'd like.

ANDY sits at the opposite end of the desk while BRETT and NATALIE stand in the corner of the room.

QUENTIN (Cont'd): Mister Sean Cainsbridge explained the events that played out in the room across the hall. I'm sorry the security team didn't do their job. I trust you are well again, Miss Sullivan?

ANDY: I'm better. (Beat) I'm sure you know why I'm here, too?

QUENTIN nods.

QUENTIN: Of course and I am here to get everything ready for you. (Beat) You do know that this will not be easy.

He looks at BRETT and NATALIE.

QUENTIN (Cont'd): For none of you will this be an easy choice or a task that will be so simple. What you are proposing is dangerous, yet extremely responsible. Are you completely sure that this is what you want to do with your power?

ANDY nods.

ANDY: This is what I have to do. You know as well as I do that the Queen is gonna hit us hard and without these Slayers all trained and prepared, we'll fall apart and likely die. Everyone will. I can't let that happen.

QUENTIN: Then it is done. I will let the other branches of the Watcher's Council know of your decision and they will begin gathering the Slayers as soon as possible. (Beat) I suggest you get ready. And fast.

ANDY stands and walks towards the door. She stops and turns around.

ANDY: Thank you, sir.

QUENTIN: You've very welcome, Miss Sullivan. I wish you good luck.

ANDY exits through the door, followed by BRETT and NATALIE. QUENTIN waves his hand and the lights turn off. We see him standing in the darkness alone before he slowly fades away.

FADE TO BLACK

END OF EPISODE

SPECIAL GUEST STAR: Anthony Stewart Head as Rupert Giles

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CHOSEN Episode 1.02 "Inferior"

CHOSEN Episode 1.02 "Inferior"

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