Announcement

**Heather** · 29-07-07, 11:05 PM

ACT I

FADE IN

INT. APARTMENT ? LIVING ROOM ? DAY

ANDY, NATALIE, and BRETT are sitting in the living room ? ANDY and NATALIE on two chairs, BRETT on the couch. ANDY's holding a cup of coffee while NATALIE looks at her, concerned.

NATALIE: How did he die?

ANDY sips from the cup and then shrugs.

ANDY: I don't know, neither does his wife. It's just so sad and unreal.

BRETT: When was the last time you talked to him?

ANDY: I don't know. Maybe a year? (Beat) Probably longer. Ever since I got fired we kind of rarely emailed each other.

NATALIE: When are the services?

ANDY: Saturday at noon.

NATALIE: I'll come with you, in case you want someone to get annoying people who flock to you away. And to hold you up incase you break down. (Beat) Though I'm not good at funerals myself. But I'll try.

ANDY: You don't have to come.

NATALIE: You're right, I don't. I want to come.

ANDY smiles.

ANDY: Thanks.

BRETT: And what about me? The boy who can't be left alone?

ANDY: You'll be out of the house, trust me.

NATALIE stands up and takes ANDY's empty cup towards the kitchen.

NATALIE: We should really go out looking for a place. The Slayers could start arriving at any minute.

BRETT: Sounds fine with me.

ANDY: I'll get ready, then.

ANDY stands up and BRETT does the same. NATALIE crosses the living room and enters her bedroom and the door shuts behind her. ANDY then disappears down the hall and into her room. BRETT approaches the bathroom that's located less than halfway down the hall that ANDY took and reaches toward the bottom of his shirt, slowly pulling it up.

CUT TO:

INT. APARTMENT ? BATHROOM ? DAY

BRETT throws his shirt on the ground and turns on the sink. He bends over and opens a cabinet to retrieve his clothes, which he then places on the counter. As BRETT looks back up over the sink, he jumps at the sight of a face in the mirror. The face is nearly smoldered off with charred skin and lips burned shut. Its eyes glow before rolling up into it's head. It moans, holds up a hand at the mirror, and BRETT turns around. He sees nothing behind him. The mirror then catches fire from the top to the bottom. He turns around to face the glass and sees nothing but a flaming mirror. The smoke alarm goes off and the door burst open.

ANDY: What the hell happened?

BRETT looks at her, dumbfounded.

CUT TO:

EXT. NEW YORK CITY ? DAY

ELIZABETH and LYNN are walking down the sidewalk, carrying shopping bags in their hands. ELIZABETH is decked out in pants and a tank top with sunglasses resting just above her forehead. LYNN, however, is more dressed up: clad in khaki pants and a denim jacket covering a white shirt with sunglasses covering her eyes.

LYNN: It's been too long.

ELIZABETH: What do you mean?

LYNN: Since we did something like this. Your work usually got in the way of our outings. It's aggravating for a mother, you know? (Beat) Of course you don't. You don't have kids.

ELIZABETH: I'm sorry, mom. I just get so caught up in work that there isn't much time for me to do what I want.

LYNN: Then quit!

ELIZABETH stops and looks at LYNN, one eyebrow raised.

ELIZABETH: Excuse me? I need a way to get money!

LYNN: Go to your father! Hell, that's what I did when I had financial troubles.

ELIZABETH: That was also the moment you told him that I was his kid. (Beat) Which was a lie.

LYNN steps closer to ELIZABETH and wraps an arm around her waist.

LYNN: You are my daughter. And unfortunately that makes you his daughter too.

ELIZABETH: You two got a divorce before you adopted me.

LYNN: Wrong. We were separated. And I still got his signature on the papers because I thought we could reconcile. (Beat) I was wrong.

ELIZABETH: I can't leave my job. It's all I've got besides my family.

LYNN: And what about that Gregory guy?

ELIZABETH grins.

ELIZABETH: He's nothing serious.

LYNN laughs and pulls her daughter closer as they continue their walk.

LYNN: That's my girl.

The two keep on moving forward.

CUT TO:

EXT. WAREHOUSE DISTRICT ? LOT 27 - DAY

A black car pulls up in front of a large warehouse, followed by a blue vehicle. The doors to the black car open and NATALIE, BRETT, and ANDY exit. The blue vehicle's driver's door is pushed forward and a real-estate agent, GINA KRONE, steps onto the pavement. She's a beautiful young woman in her late twenties with brown hair and tall frame. She ducks into the car, bending over, and BRETT leans to the side to look at her. GINA then reappears holding a tan bag and a clipboard. She smiles at them and slams the door shut. The next step she takes causes her to trip over a large piece of wood situated just the side of the tire. BRETT runs over and catches her as she falls. They look at each other and BRETT smiles.

GINA: Wow this is cheesy.

BRETT's smile fades and helps GINA back to her feet. She dusts off her jacket and looks back at ANDY and the group.

GINA (Cont'd): Okay. So on top of my bad driving I can barely walk. (Beat) Sorry, bad day.

ANDY: It's alright. We've all had some of those.

NATALIE: So is this the place?

GINA: Yes, actually. It may look a little beat up on the exterior, but the inside's gorgeous.

GINA leads them towards the doors, which she unlocks and then slides open. They step inside.

CUT TO:

INT. WAREHOUSE DISTRICT ? LOT 72 ? DAY

GINA flips a switch to the left of the door and the overhead lights flicker on. She then takes a few steps into the building. ANDY looks down at her feet and we see wood floors. The both sides of them are walls with doors that lead into numerous rooms and a stairwell that leads to top floor. GINA stops when she gets to the center of the room and turns to face them. NATALIE's eyebrows rise, appreciating what she sees.

GINA: There are ten rooms, all of which are pretty large, that branch off of this?Place. (Beat) Okay and I suck at warehouses.

ANDY smiles.

ANDY: You don't sell warehouses very often, do you?

GINA shakes her head.

GINA: No, I tend to drift into the whole apartment scene. Warehouses aren't that popular.

NATALIE: Can we go look around?

GINA: Sure! I'll just be waiting here, I guess.

NATALIE pulls BRETT, who's still smiling slightly at GINA, towards one side of the warehouse. ANDY just walks towards the other side of the room ? where a large, stained glass window is put. She looks at it. GINA turns towards her.

GINA (Cont'd): It's beautiful, isn't it? I'm sure the view's gorgeous. Especially since this lot is right on the river.

ANDY nods and her gaze drifts onto the wooden flooring. A red stain is on the wooden flooring and it slowly fades into view. The stain isn't really there, rather ANDY is imagining it.

CRIMINAL (OS): So this is what happens now?

ANDY turns and?

FLASH TO FLASHBACK

INT. WAREHOUSE ? DAY

It's just a moment after ANDY shot the CRIMINAL a few years earlier. He's lying on the floor, blood oozing out of the wound in his chest. It pools to his side. ANDY steps forward, eyes wide and gun still raised. Her finger isn't touching the trigger; rather it's wrapped tightly around the grip along with the rest of her hand.

CRIMINAL (Cont'd): I see the bright light and? (Beat ? coughing) Go straight to hell? Where my two hundred dollars for passing "Go?"

He coughs loudly and gasps for breath. ANDY drops her gun on the floor and it clatters against the stone loudly. She races over to the CRIMINAL and rips the lower portion of her jacket off. ANDY presses it onto the CRIMINAL's wound and applies pressure. Removing one hand, she reaches for her cell phone and punches in three numbers ? "9-1-1."

ANDY: I need an ambulance! Someone was shot!

OPERATOR: We'll send one there now, ma'am. Just apply pressure to the wound and wait.

ANDY: Damn it! I am! Just get someone here immediately!

OPERATOR: Just calm down, ma'am?

ANDY hangs up and throws her phone onto the floor behind her. It skids and then stops. She pushes onto the wound and looks toward the stained glass window.

END OF FLASHBACK

FLASH TO:

INT. WAREHOUSE DISTRICT ? LOT 72 ? DAY

ANDY blinks at the window and then turns around. NATALIE and BRETT exit one of the rooms that are off to the side. They approach GINA and ANDY.

GINA: The stairs on both sides of the warehouse lead up to the balcony. The balcony, as you can see, wraps around the building and there are six rooms ? three on each side ? that lead off the upstairs.

NATALIE: The rooms are huge. Definitely enough to fit what we need.

BRETT: And if the ones upstairs are the same size, then we'll have more than enough space. (Beat) I say we take it.

ANDY: How does this all work? I've never bought a warehouse before so you'll have to forgive me.

GINA: No problem ? like I said: I don't think I've ever sold one of them. I believe you just sign the papers, give me a check with the upfront money, and you get the place officially after the check cashes. Though you can have the keys early if you want.

ANDY: That's it? Wow! Glad you don't need any fingers or toes.

GINA laughs. She then sits down on the floor and sets the clipboard out in front of her. There are forms clipped onto it and a pen latched to the side. ANDY sits cross legged in front of GINA and takes the pen to start filling out the paperwork.

GINA: So what are you all planning on doing with this place, if you don't mind me asking?

NATALIE: We're kind of opening up a school.

BRETT: Of sorts.

GINA: So you're teachers?

ANDY: Not quite. It's more of a program for young girls to come.

GINA: So it's like the YMCA?

NATALIE: Yeah? It's like that?

BRETT: And we don't know when it's going to get opened officially or when people will start showing up.

GINA smiles at BRETT.

GINA: Trust me when I say that this will all be done quickly and painlessly.

ANDY signs the last line on the paper and places the pen back down on the clipboard.

ANDY: And it looks like that part of the task is done.

She then reaches into her pocket and retrieves a checkbook. She opens it and starts to fill out the lines. She then signs that paper and rips it from the checkbook to hand to GINA ? who accepts it and attaches it to the clipboard.

GINA: Excellent! And the whole background check thing is through since you three seem to have spotless records.

NATALIE: Wait, you did the background check already? Before we even looked at the place?

GINA hesitates.

GINA: Yeah! Of course I did! Once you made the appointment, I did the usual gig to make sure I wasn't dealing with criminals.

GINA and ANDY stand. They shake hands and GINA pulls a set of keys from her purse and she hands them to ANDY. ANDY accepts them and stuffs the key ring into her pocket.

GINA (Cont'd): Pleasure doing business with you, Andrea Sullivan. We'll be in touch.

BRETT: I'll walk you to your car.

He heads off with GINA. NATALIE shoots him a dirty look. GINA and BRETT then disappear after exiting the warehouse.

CUT TO:

EXT. WAREHOUSE DISTRICT ? LOT 27 ? AFTERNOON

BRETT slides the door shut after GINA steps outside. They walk towards her car.

GINA: I've got a boyfriend you know. A very big, strong, jealous boyfriend.

BRETT: Why am I not surprised?

GINA: But a little date wouldn't hurt, now would it?

BRETT: I didn't ask you.

GINA: So you don't want to go out with me?

BRETT: I didn't say that either.

GINA: So then you can pick me up from work tonight. I get out at 6:30. Be there.

BRETT: Will do.

BRETT opens her car door and GINA steps inside. She shuts it and rolls down her window.

GINA: I like Italian food.

She winks at him and puts the car into reverse.

BRETT stuffs one hand into his pocket and waves with the other. GINA's car then disappears into the distance. He turns around and jumps backwards at the site of the same burnt creature as in the bathroom, but this time its right in front of him and breathing hot breath into his face. BRETT throws a punch at the FIRE CREATURE but it leans backwards, dodging the hit. The creature flicks it's wrist towards BRETT and large ball of fire strikes him in the stomach, knocking him up into the air and flying towards the street.

FIRE CREATURE: Job done.

It is then consumed in fire that appears beneath him and works it's way upwards. The FIRE CREATURE then disappears completely, leaving behind only a small scorch mark. BRETT remains motionless in the street.

FADE TO BLACK

END OF ACT I

**Heather** · 29-07-07, 11:05 PM

ACT II

FADE IN

INT. NATALIE'S CAR ? AFTERNOON

BRETT wakes up, laying in the backseat of NATALIE's car. NATALIE is driving and ANDY sits in the front seat. BRETT moan and ANDY turns around to look at him.

ANDY: What happened to you? We come outside and your unconscious on the freakin' ground?

NATALIE: In the street, nonetheless.

ANDY: Yes, in the street. You could've gotten run over! What good would a squished pancake be when the Slayers start popping up?

NATALIE: He could be a paper weight?

ANDY: Not funny. (To Brett) What happened, for the second time?

BRETT tries to sit up but searing pain shoots up his chest and into his head. He then goes back to lying down.

BRETT: Some?creature blasted me into the street.

NATALIE: A creature? What kind of creature?

BRETT: I don't know. It was like a burnt human, but it could throw fire. That's how it blasted me into the street. (Beat) I saw it before in the bathroom earlier today?

ANDY: And that's how the mirror mysteriously caught fire?

BRETT: Yeah. We are heading back to the apartment, right? Not a hospital?

NATALIE: Of course we're not going to a hospital! How would we explain this beautiful situation?

ANDY looks at NATALIE sternly.

NATALIE (Cont'd): I'm driving, alright? I need some wisecracks to keep me entertained.

CUT TO:

INT. APARTMENT ? LIVING ROOM ? AFTERNOON

The front door bursts open and ANDY helps BRETT limp into the living room. She gets him to sit on the couch and NATALIE enters. NATALIE walks towards the couch and stands behind it.

ANDY: Now tell me where it hurts and I'll play doctor. (Beat) Just not in that sense.

BRETT places a hand to his chest and pulls it away quickly, shaking it like it was burned. ANDY then lifts a hand is places it between his ribcage. By reflex, she pulls away but then returns to touching the area on his chest.

ANDY (Cont'd): Get your shirt off. (To Natalie) Go get whatever you have in your bathroom. I'll get an icepack and whatever else I can find.

NATALIE nods and heads down the hallway and into her room. ANDY does the same, but in the opposite direction. BRETT takes a deep breath and hesitantly starts to slowly pull his t-shirt up over his head. The camera pans down and we see a nasty, brown burn inbetween his ribcage and extending down to his bellybutton. BRETT flinches and drops the shirt onto the floor. ANDY rounds the corner and drops some first aid supplies on the chair. She moves into the kitchen and opens the freezer to retrieve an already frozen icepack. ANDY then reenters the living room as NATALIE returns from her bathroom, holding a roll of gauze.

NATALIE: Who'd of thought that a Walgreen's sale on gauze would be handy?

She hands it to ANDY. BRETT lifts his arms as ANDY wraps the cloth around his chest, covering the burn. She wraps it around at least three times and then rips it off the roll. She grabs tape from the first aid supplies and secures the gauze to BRETT. ANDY hands the icepack over to him and he slowly lies down to relax on the couch with the frozen object laying over the burn.

ANDY: If the mean fire creature shows up again, just holler.

ANDY and NATALIE then head into ANDY's bedroom.

CUT TO:

INT. RESTAURANT ? TABLE ? AFTERNOON

ELIZABETH sits across from LYNN at a table set up in a nearly empty restaurant. They're both eating delicious lunches silently. LYNN glances at ELIZABETH.

LYNN: This is a day without work, Elizabeth. This is relaxation.

ELIZABETH looks at her adoptive mother curiously.

ELIZABETH: Okay, I knew that.

LYNN: Then you know how great it is to just do what you want all day! To be with your mother!

ELIZABETH: Mom, I'm?

LYNN: You're not quitting, I know. There's nothing I can say and nothing I will say to get you to change your mind. But I just want you to appreciate everything from today as it is: relaxing.

ELIZABETH: I know, Mom. But there isn't much I can do about my schedule. Things just pop up at any moment!

ELIZABETH's cell phone rings and she goes to her purse to grab it. She flips the cover open and looks at the number. The name reads "Gregory" and she gets to her feet.

LYNN: Let me guess: You need to take this call?

ELIZABETH: I'm sorry.

LYNN: Don't be. Go talk to whoever you need to talk to. I can wait.

ELIZABETH nods and walks off towards the back of the restaurant. LYNN sighs.

LYNN (Cont'd): I've already waited so long.

She then folds her arms and closes her eyes briefly.

CUT TO:

INT. RESTAURANT ? BATHROOM HALLWAY ? AFTERNOON

ELIZABETH turns the corner and walks down the hallway, pressing the button that answers the phone.

ELIZABETH (Angry): This better be good, lover.

GREG replies on the other line.

GREG: It should be for you at least. (Beat) How would you like to go out tonight? Just you and me without any interruptions.

ELIZABETH: It sounds good to me, but right now I'm with my mother. I can't just leave her.

GREG: Then don't. I'll pick you up later tonight.

ELIZABETH: Fine. I'll see you then.

She hangs up and puts the phone back into her pocket. A CUSTOMER dressed in a black and white suit rounds the corner and stops dead in his tracks, recognizing ELIZABETH.

CUSTOMER: Miss Elizabeth Holloway? Is that you?

ELIZABETH hangs her head to the side and looks at him.

CUSTOMER: Wow! This is amazing! I thought you died ten years ago! It's me! Tom!

ELIZABETH's jaw drops and she looks both ways before shoving the CUSTOMER into the Men's Bathroom.

CUT TO:

INT. RESTAURANT ? MEN'S BATHROOM ? AFTERNOON

The CUSTOMER slams into the tiled wall and slides to the floor. ELIZABETH drops to her knees and straddles him before grabbing the guy by his hair. The CUSTOMER starts to panic, breathing heavy.

ELIZABETH: Shh?

She pulls back and places both hands on the side of his head. Swiftly, she snaps his neck and his body goes limp. ELIZABETH stands up; dusting the knees of her pants off and exits the bathroom.

CUT TO:

INT. RESTAURANT ? TABLE ? AFTERNOON

LYNN, hands still folded and her eyes fixated with something out the window before her, snaps back to see ELIZABETH walking back to the table. ELIZABETH sits back in her chair and starts to finish eating.

LYNN: You're not leaving?

ELIZABETH wipes her mouth.

ELIZABETH: Nope.

She smiles at LYNN and continues to eat. LYNN nods at her daughter and begins to eat again, too.

CUT TO:

INT. APARTMENT ? BATHROOM ? EVENING

BRETT looks, into the mirror, ? which is burnt all along the edges- at his bandages. His black, long-sleeved shirt unbuttoned and hanging on his shoulders. He cautiously touches the burn tenderly and then starts to button up his clothes. He runs a brush through his hair and gets his hand wet to slick it up at the front. He then exits the bathroom and walks down the hallway.

CUT TO:

INT. APARTMENT ? LIVING ROOM ? EVNING

NATALIE is in the kitchen cooking something on the stove. She looks at BRETT, surprised that he's all dressed up.

NATALIE: Going somewhere?

BRETT: Yes I am. With Gina.

NATALIE: The real-estate agent lady? Wow! I'm surprised you actually scored a dinner date with her! Good on you!

BRETT slowly sits on the couch and puts on his shoes. He stands up once more and goes towards the door, grabbing a set of keys from the table.

BRETT: You don't mind me taking your car, do you?

NATALIE: If it comes back badly bruised or if it doesn't come back at all, you're a dead man.

BRETT: I'll be back later tonight.

He exits the apartment. NATALIE continues cooking on the stove and begins to hum the tune of an Italian song you'd hear at a restaurant.

CUT TO:

EXT. REAL ESTATE AGENCY ? EVENING

The song NATALIE was humming then fades into the full song which plays during the scene. GINA exits the building and walks down a short flight of steps to meet BRETT on the sidewalk. She dressed in an elegant red dress and holds out her hand, which BRETT takes to walk her towards the car. He opens the door and GINA sits down in the seat. BRETT shuts the door, smiles, and walks around to get into the driver's seat. The car starts and drives out of the parking lot.

CUT TO:

EXT. CONDO ? EVENING

The Italian song is still playing in the background as GREG knocks on the door. He's dressed in a black suit, standing tall and holding a single rose. The door opens and ELIZABETH steps into the hallway, wearing a white dress. GREG hands her the rose, she takes it, and they make their way down the hallway and into the elevator.

CUT TO:

EXT. ITALIAN RESTAURANT ? EVENING

The Italian song continues to play during the scene. NATALIE's black car pulls up to the restaurant and BRETT exits. He then walks around to open GINA's door, which he opens and she steps out of. The couple then approaches the restaurant, open the door, and enter.

CUT TO:

EXT. ITALIAN RESTAURANT ? EVENING

Again, the Italian song plays in the background. A black limo pulls into the parking lot of the same restaurant that BRETT and GINA are at. GREG and ELIZABETH exit the vehicle and walk up towards the building. The limo drives out of the scene. ELIZABETH holds out her hand and GREG takes it into his.

CUT TO:

INT. APARTMENT ? KITCHEN ? EVENING

Song still playing, NATALIE holds a pan and tosses the contents up into the air, professionally catching them back in the pan. ANDY sits at a table within the kitchen laughing at her. NATALIE spins around and throws a mushroom at ANDY ? who runs towards the sink to spray water at her friend.

CUT TO:

INT. ITALIAN RESTAURANT ? BOOTH ? EVENING

Song still playing, BRETT and GINA are seated at a booth towards the back of the restaurant. They are surveying their menus curiously. GINA moves a hand out from beneath her menu and places it over BRETT. He lowers his menu and looks at her, smiling.

CUT TO:

INT. ITALIAN RESTAURANT ? EVENING

Song still playing, A waitress walks GREG and ELIZABETH through the restaurant, guiding them to their table. ELIZABETH sees BRETT and GINA at a table not too far from them and realizes that the waitress is taking them right towards the other couple. She pulls GREG back and takes him out of the building. The waitress turns around to see no one behind her after finding the table.

CUT TO:

EXT. ITALIAN RESTAURANT ? EVENING

Song still playing, ELIZABETH and GREG quickly leave the eatery and GREG whistles for the limo, which pulls around and the couple get inside of it. The doors shut with a slam and the vehicle quickly zooms off.

CUT TO:

INT. HOTEL ? ROOM ? EVENING

The Italian song slowly begins to rise in volume as the door bursts open and ELIZABETH and GREG stumble inside, kissing furiously. She begins to take off his jacket and then his shirt as GREG unzips her dress. The two collapse onto the bed.

CUT TO:

EXT. APARTMENT ? EVENING

The Italian song reaches the climax and we see, through a sniper's eye scope, ANDY and NATALIE in the kitchen of their apartment. The red circle with the two lines intersecting in the center is placed on ANDY's back. The song then swells to a loud point.

FADE TO BLACK

There's a gunshot and the song comes to an end.

END OF ACT II

**Heather** · 29-07-07, 11:06 PM

ACT III

FADE IN

INT. APARTMENT ? KITCHEN ? EVENING

ANDY stands up and starts to walk out of the kitchen when the bullet shatters the glass she left behind. NATALIE jumps to the floor and ANDY rolls behind the wall and into the living room - away from the now partially shattered window.

ANDY: Get behind the counter, now!

NATALIE scurries across the tile and leans against the wooden cabinet.

NATALIE: Who the hell is shooting at us?

ANDY: Let's find out, shall we? Stay there!

NATALIE: Like I'd move around while some crazy guy's trying to kill us? Moving targets are hard to hit, but they're still targets!

ANDY glares at NATALIE who slouches down against the floor and curls up, holding her legs to her body. ANDY gets into a crouching position and quickly moves across the floor towards the other side of the apartment. She presses against the door, just inches from the window. She throws the door open and waits a moment before dashing halfway down the stairs and then leaping down to the ground. She moves towards her car when a red laser moves across the ground in front of her. ANDY stops dead in her tracks, hidden in the shadows of the building but still could be seen and picked out by the laser. She follows the light to the rooftop of a building across the street.

ANDY: Easy does it.

The laser does a second sweep, this time moving closer. ANDY takes the opportunity to run around it when the red light goes back towards its starting point. ANDY moves across the street and down the alley between the building where the assailant is at. She pulls the fire-escape downwards and climbs up the ladder. The camera follows her with each time she reaches a landing. She then slows down after reaching the roof of the building. ANDY slowly crosses the building and reaches out to pull the assailant backwards by the neck.

ANDY (Cont'd): Curtains up.

She yanks the mask, which the assassin is wearing, off and throws it to the ground. She looks down, shocked. Over her shoulder we see that it is MICHAEL WILLIS holding the gun.

ANDY (Cont'd): Michael?

MICHAEL: Surprise.

ANDY: What?? Why did you try to kill me?

MICHAEL: Because you killed my wife.

ANDY's eyes widen. MICHAEL seizes the moment and head butts ANDY, causing her to release him. MICHAEL throws a punch towards her and catches her at the jaw. She rolls across the rooftop and then gets to her feet.

ANDY: I don't know why you would think that, Michael. I did not kill Helen. I didn't even know she died!

MICHAEL: Liar!

He swings a leg up to kick ANDY, but she grabs it in defense.

ANDY: Who told you that I killed your wife?

MICHAEL pushes his leg forward and does a backwards flip to get out of ANDY's tightening grip. Once freed, he drops the ground and knocks ANDY's legs out from beneath her. She falls and he smashes into her stomach with the bottom of his foot.

MICHAEL: No one needed to.

He grabs ANDY by the throat and lifts her off the ground, choking her.

MICHAEL (Cont'd): You think I killed that criminal to get you fired. Don't deny it. You knew it all along and you just didn't bother to do anything until a few months ago.

He dangles ANDY over the edge of the building.

MICHAEL (Cont'd): You killed my wife. You took from me the one person I love the most. You ruined me!

ANDY (Gasping): Michael?stop it!

MICHAEL spins and throws her towards the other side of the rooftop. She slams against the short wall that boxes the top of the building in. He then dashes down the fire escape, leaving an unconscious ANDY alone.

CUT TO:

INT. HOTEL ? ROOM ? MORNING

It's early in the morning, but the sun is still shining in through the shear curtains that cover the windows. We then see ELIZABETH lying on GREG's chest, asleep. GREG slowly stirs in his sleep, waking EZLIABETH up. GREG's eyes open and looks down at her.

GREG: Good morning.

ELIZABETH rolls over, off of GREG, and looks at the clock. It reads "7:15 am."

ELIZABETH: We should get moving.

GREG: We should. I'll be in the shower.

GREG moves out of the bed and walks towards the bathroom, shutting the door behind him. ELIZABETH smiles at him briefly and collapses back onto the pillow. Her phone rings from the table and she reaches over to grab it. She flips the cover open and puts it to her ear. The VOICE is on the other end.

VOICE: Miss Holloway, I'm afraid you made a terrible mistake.

ELIZABETH sits up.

ELIZABETH: And what mistake would that be?

VOICE: Yesterday you killed a man. The body was discovered by local officials and finger prints of yours were discovered on his jacket. (Beat) May I ask why you killed him?

ELIZABETH: Personal reasons.

VOICE: Personal reasons aren't good enough, nor are they enough to dictate the secrecy of this organization, Miss Holloway. Next time, contact me before you make a decision that could compromise our mission.

ELIZABETH: I will, sir.

VOICE: Tell Mister Carlisle to come in for work this morning along with you. We have matters to discuss.

The line goes dead and ELIZABETH snaps the phone closed. She places it back on the table beside the bed and falls back onto the pillows.

CUT TO:

EXT. HOTEL ? MORNING

GREG and ELIZABETH exit the hotel they were staying at, dressed in the same clothes as the night before.

GREG: The limo won't be here for another fifteen minutes at best.

ELIZABETH: Then we'll walk.

ELIZABETH starts walking along the sidewalk and GREG follows her. A mysterious figure reaches out of an alleyway and covers ELIZABETH's mouth, pulling her down the gap between the buildings. GREG runs after the captor to find the man slamming ELIZABETH against the wall and hitting her across the face. ELIZABETH scream is muffled beneath his hand as the man's fingers drift beneath her dress. GREG dashes over to the man and spins him around. It is revealed that he's the CUSTOMER from the restaurant that ELIZABETH and her mother were eating at. GREG punches the man in the gut and snaps his elbow down onto the CUSTOMER's neck. He falls to the ground.

GREG: Are you alright?

ELIZABETH: I'm fine.

She holds a hand to her cheek and GREG holds her close. Unexpectedly, GREG is thrown across the alley and into the wall. Standing where GREG was, is the CUSTOMER ? his eyes glowing a bright blue color. ELIZABETH looks towards the ground to see the same man lying on the ground. The one standing before her is duplication.

CUSTOMER: You're not Elizabeth!

He grabs ELIZABETH by the neck and pins her to the wall and starts to lift her body upwards. Startling ELIZABETH, the CUSTOMER's head is cleanly hit off and the body falls to the floor. Standing behind him is GREG, holding a bloody metal pole.

GREG: The only way to kill a Duplicator is to decapitate him.

ELIZABETH throws herself into GREG's arms. She looks over his shoulder at the, now officially, dead CUSTOMER coldly.

CUT TO:

INT. APARTMENT ? LIVING ROOM ? MORNING

The front door opens and BRETT, now dressed in different clothes, walks in.

NATALIE: Did you find her?

BRETT: No.

NATALIE: She still hasn't called.

She holds her hands to her head.

NATALIE (Cont'd): Where could she be? You don't think that whoever was trying to kill the both of us got her, do you?

BRETT: No. Andy's smart enough to avoid getting killed. She's probably somewhere else. Probably looking for the guy who shot the gun.

CUT TO:

EXT. GRAVEYARD ? MORNING

ANDY stands at the back of the group of mourners at CHARLES GOODMEYER's funeral. She's wearing the same clothes as the night before and has a small bruise on her cheek. We see, over her shoulder, that CAROL GOODMEYER is sitting in a small chair, completely emotionless. She has a cast on her left hand and is dressed in all black. Slow music starts playing and she stands to walk towards the casket. A moment later, it lowers slowly and she turns to leave the burial ground. The mourners leave with her. ANDY limps after CAROL. And reaches to place a hand on her shoulder and CAROL turns around.

CAROL: Yes?

ANDY: I'm Andrea Sullivan. We talked on the phone the other night?

CAROL looks away and then nods.

CAROL: Yes, thank you for coming.

She turns and starts to walk towards the parking lot. ANDY looks at her, confused.

CUT TO:

INT. APARTMENT ? LIVING ROOM ? NOON

The front door, once again, opens and ANDY walks in. NATALIE and BRETT, both sitting on the couch, leap to their feet.

NATALIE: Oh my god, Andy! Are you alright? What happened?

ANDY: I'm fine.

BRETT: Where were you?

ANDY: I was at Charles' funeral.

NATALIE: Okay, but what happened to you?

ANDY: It was Michael.

BRETT: The guy you said got you fired because he was jealous of you?

ANDY: Yeah, him. He fired the gun and then knocked me out. I didn't wake up until a few hours before the funeral and walked there.

NATALIE: So you didn't stop him?

ANDY: No. But he's won't hurt either of you.

NATALIE: Then why did he fire at both of us?

ANDY: He was aiming for me. To get revenge.

BRETT: For what?

ANDY: For killing his wife.

BRETT: You killed his wife?

ANDY: Of course not. But I don't know why he thinks I did. I never would've hurt Helen.

NATALIE: Well, in slightly happier news, we figured out what type of demon the thing that is hunting Brett is.

ANDY: That doesn't make me feel better. More like overwhelmed.

BRETT: Good to know my safety is low priority for you.

NATALIE: It's a Hunter Demon.

ANDY: Boy, that's original.

NATALIE rolls her eyes.

NATALIE: It's a demon that preys on the hunted. It burns the victims to death once it finds the person. There are a ton of demons, but they're generally spread out by country, according to random gibberish of statistics.

ANDY: Obviously Brett's hunted by Celestial Center. So that explains why it came after him in the first place. Though it doesn't explain why Brett isn't dead.

BRETT: We figure that it's because Celestial Center has lost interest in me or because the demon thought I was dead after it burned me.

ANDY: That makes some sense. (Beat) So these things go after anyone who's being hunted?

NATALIE: Yes. I said that already.

ANDY: Could it come after me?

NATALIE: Maybe. But it's probably so caught up with another one of its prey that it wouldn't have time to focus on attacking you.

ANDY: I hope you're right.

CUT TO:

INT. CELESTIAL CENTER ? CONFERENCE ROOM ? AFTERNOON

ELIZABETH and GREG sit across from each other at the long wooden table in the middle of the conference room. They're both silent, looking at each other in different ways: ELIZABETH looks at him in thanks, while GREG looks as if he's trying to figure her out. The phone rings and ELIZABETH jumps to answer it.

VOICE: Good afternoon, Mister Carlisle and Miss Holloway.

GREG: Good afternoon.

VOICE: I trust that you are both doing well after the events this morning? I am terribly sorry that we did not realize that the man was a Duplicator.

ELIZABETH: I'm fine, thanks. What is this meeting about?

VOICE: I have called you two in so that I could deliver this news as personally as possible.

GREG: And what news would that be?

VOICE: I have hired a second president, myself being the first, of Celestial Center to care for it in my absence.

ELIZABETH: Excuse me? I thought we were in control of the organization when you weren't available? When did this change?

VOICE: On the contrary, it was never that way, Miss Holloway. Mister Carlisle and yourself are the vice presidents of Celestial Center. You control only what is given to you. You have been given the New York Branch.

GREG: When did Celestial Center branch out? I don't recall being told this?

ELIZABETH: Oddly, neither do I.

VOICE: The moment that the Slayer located in New York City chose to take the other, new Slayers into her custody was when I decided it was time we took more ground.

ELIZABETH: When will this guy be here?

VOICE: Very shortly, Miss Holloway.

The line goes dead.

FADE TO BLACK

END OF ACT III

**Heather** · 29-07-07, 11:07 PM

ACT IV

FADE IN

INT. APARTMENT ? LIVING ROOM ? AFTERNOON

NATALIE is typing away on her laptop while ANDY flips through a book that's resting in her lap.

ANDY: Can people who aren't witches use magic? ?Cause if not, then we're screwed. And, of course, I would be wasting my time doing this.

BRETT: Anyone can cast a spell. It's the powerful mojo that needs the extra boost that witches have. But they're just practiced spell casters. It'll work, trust me.

NATALIE: Bingo!

ANDY: You found his address?

NATALIE: More than that, actually! I've got his freakin' biography.

ANDY: Does it say how Helen got killed?

NATALIE scans the page quickly and answers.

NATALIE: A severe burn...

BRETT: Let me guess what you're going to say next, shall I? ?To the chest?'

NATALIE: Correct.

ANDY: Wait, that means she was killed by the Hunter Demon? This means she was being hunted by someone else.

NATALIE: Which means we've got a whole ?nutha mystery to solve. One thing's for sure: This life is never boring.

BRETT: Where does Michael live? It has to have his address if it says how his wife died.

NATALIE writes the address down on a piece of paper and hands it over to ANDY.

NATALIE: What's scary is that it isn't far from here.

ANDY closes the book and puts it aside.

ANDY: Look up where the Goodmeyer's live.

NATALIE starts typing.

NATALIE: And why am I doing this?

ANDY: Carol was acting really weird. Practically emotionless.

BRETT: She was probably just grieving.

ANDY: I still want to check it out.

NATALIE writes down another address and hands it to ANDY.

NATALIE: I assume that you're sending us to Michael's place while you check out the Goodmeyer's?

ANDY: Exactly what I was thinking.

She looks at BRETT. He holds up both hands.

BRETT: I won't let anyone lay a hand on her, trust me.

ANDY: I was actually going to tell you to watch your back and to not get yourself killed by the Hunter Demon if he tries to kill you again.

She looks at NATALIE.

ANDY (Cont'd): But I'm sure Natalie will keep you safe.

BRETT shakes his head and stands up. ANDY and NATALIE do the same.

BRETT: That's cold. Very, very cold.

NATALIE: It's the damn truth.

NATALIE grins at BRETT

CUT TO:

EXT. THE WILLIS RESIDENCE ? NIGHT

NATALIE stands behind BRETT, who is jimmying the lock to the door. The lights inside aren't on and it is impossible to see anything inside the building.

NATALIE: Can't you do this any faster?

BRETT: Lock picking is a skill that very few acquire. I'm one of the lucky few.

NATALIE: Yes, well use your manly skill to get the job done. (Beat) I didn't mean it like that.

BRETT: Yeah I know.

The front door swings open and BRETT pulls back.

BRETT (Cont'd): And the manly man has the door officially opened. After you.

NATALIE makes a mocking face at BRETT and enters.

CUT TO:

INT. THE WILLIS RESIDENCE ? LIVING ROOM - NIGHT

NATALIE nearly trips over something on the floor. She regains her balance and runs a hand along the wall to get a feel for her surroundings and also searching for a light switch.

NATALIE: Jeez! Does this guy not have any lights?

BRETT: Go towards the back over there. You can get moonlight through the windows.

NATALIE nods and makes her way towards the kitchen.

CUT TO:

INT. THE WILLIS RESIDENCE ? KITCHEN ? NIGHT

NATALIE reaches both hands out and his touching the walls. We hear fumbling of some sort and NATALIE's nearly invisible form falls out of view. The lights turn on and NATALIE reappears.

NATALIE: I'm good.

NATALIE looks down at the ground and jumps back. It's a large black bag.

NATALIE (Cont'd): Dear god! What is that?

BRETT kneels down and nudges it. He then begins to unzip the bag.

BRETT: It's just clothes. Looks like our guy was planning to head somewhere.

He reads the tag that's wrapped around the handle.

BRETT (Cont'd): Like Vegas.

NATALIE: So he planned to kill Andy and then flee to state and fly halfway across the country? Nice plan.

There's a small roaring sound and the room behind NATALIE glows orange.

BRETT: Is the kitchen on fire?

NATALIE spins around and is grabbed by the shoulders by the HUNTER DEMON ? aka, the Fire Creature. NATALIE screams.

HUNTER DEMON: Where is he?

BRETT: Natalie! Duck!

BRETT reaches to his pocket and NATALIE lowers her head. A knife, from BRETT's hand, slices through the air and lands in the eye of the HUNTER DEMON. The creature howls and releases NATALIE, who dashes over to BRETT. The HUNTER DEMON slowly pulls the knife from his eye and smells the blade while whimpering like a dog. It smells the air and then turns on BRETT.

BRETT (Cont'd): Uh-oh. Let's get going now?

He tries to run with NATALIE but the burn on his chest makes him double over.

NATALIE: Get up! We need to get out of here before it kills us!

BRETT tries to move but collapses back onto the floor.

BRETT: Just go! It wants me, not you!

NATALIE stands up completely and turns around to face the HUNTER DEMON, which remains in the kitchen holding the knife.

NATALIE: What are my odds?

BRETT: Excuse me?

NATALIE: Of getting killed! What are my odds?

BRETT: You don't fight though!

NATALIE looks back at him and shrugs.

NATALIE: I do yoga, dammit.

Her head snaps back to glare at the HUNTER DEMON. Unexpectedly, NATALIE reaches towards the desk and grabs a flower vase, which she smashes over the creature's head.

BRETT: It'll fry you if you don't move!

NATALIE takes a step back and a ball of fire flies past right where she stood.

BRETT (Cont'd): Get the knife!

NATALIE: How?

BRETT: Kick it's hand!

NATALIE cautiously waits a moment before throwing her right leg up into the air and into the HUNTER DEMON's hand, forcing the knife upwards. She reached towards it and wrapped her fingers around the handle.

NATALIE: Now what?

BRETT: Kill it!

NATALIE: Ewww?.

She swings the knife through the air and it penetrates the HUNTER DEMON's back. It throws its head up into the air and screams, spinning around to hit NATALIE in the chin, causing her to smash into the wall. She slides to the floor and looks up, watching the creature get consumed in flames and then ultimately disappearing. NATALIE sighs.

CUT TO:

EXT. GOODMEYER HOUSE ? NIGHT

ANDY steps off her motorcycle and walks up the front steps to the GOODMEYER's home. The curtains covering the large, front window open slightly and we see CAROL's face peering out. They close once more and the front door flies open. CAROL stands in the doorway.

CAROL: Hurry!

ANDY looks at her, confused. She enters the house quickly.

CUT TO:

INT. GOODMEYER HOUSE ? DINING ROOM ? NIGIHT

The house is practically all a tan color, with blue furniture to bring in the rare amount of color. ANDY looks around and is dragged, by CAROL, down the stairs and into a basement.

CUT TO:

INT. GOODMEYER HOSUE ? BASEMENT ? NIGHT

CAROL shuts the door to the basement behind them. ANDY shifts uncomfortably.

ANDY: Can I ask why we're down here?

CAROL: Because if he finds out I talked to you, he'll kill me like he killed Charles. He's already shot me in the hand.

CAROL holds up the cast-covered hand.

ANDY: Who will kill you?

CAROL: Michael Willis. The man who is trying to kill you.

ANDY puts a hand to her mouth.

ANDY: H-he killed Charles?

CAROL starts to cry. She sits down onto the steps and wipes her eyes with her hand.

CAROL: I don't know why he did it. He came to our door and asked for Charles. He took out a gun and?

ANDY: Don't try and remember it all, you'll just bring up too much pain. Michael isn't like this. Something made him snap.

CAROL reaches into her pocket and pulls out an envelope. She stands up slowly, shaking, and hands it over to ANDY.

CAROL: I found this in Charles' phonebook. It's addressed to you and I figured that he was intending to send it.

ANDY looks down at it and rips the envelope open, pulling out a folded piece of paper. She unfolds it and begins to read. After a moment, ANDY puts a hand to her mouth.

ANDY: Oh my god.

CUT TO:

EXT. LOT 72 ? NIGHT

ANDY paces across the front of the newly bought warehouse, waiting for someone or something. She runs a hand through her hair and is taking deep breaths. Her phone rings and she answers it. NATALIE's on the other end.

NATALIE: We left a note on his front door. Hopefully he gets the message soon.

ANDY: Good. How's Brett?

NATALIE: He's fine. Though we still don't know why his burn starting acting up so suddenly.

ANDY: It probably has something to do with the demon being close to him. Speaking of which: Is it dead?

NATALIE: We don't know. Brett said that it disappears in flames normally, so he doesn't think its dead. But I have the feeling that the Hunter Demon's wounded pretty badly.

A car pulls up in the parking lot before ANDY. NATALIE and BRETT get out, approaching her. NATALIE closes her phone and looks around.

NATALIE (Cont'd): He's not here yet, is he?

ANDY: No. I've been watching this place for a while and there's no way he's lurking around.

There's a clicking sound and bullets shower the ground. NATALIE screams and the group quickly runs into the warehouse. ANDY pulls open the door for them and closes it behind her.

CUT TO:

INT. LOT 72 ? MAIN ROOM ? NIGHT

ANDY doesn't bother locking the door and slides across the wooden flooring, coming to a halt to pull to guns from her Bag of Death in the center of the floor. The guns are raised in her hands and they click. Silence then follows. The door slides open slowly and ANDY tightens her grip on the guns. MICHAEL's silhouette is standing in the middle of the doorway, standing there with his hands at his side.

MICHAEL: You make this way too easy, Andrea.

ANDY: Is that why you're still standing there and not bothering to kill me? Or is there something else? Some sort of pleasure you want to receive from blowing my head off?

NATALIE (Whispering to Andy): That's a terrible thing to say! Don't say that!

MICHAEL: You think this is vengeance? I've gone beyond revenge, Andrea. You ruined my life, now I'm going to ruin yours.

ANDY makes the guns click one more time.

ANDY: One more step and your miserable life won't be much of anything. (Beat) I did not kill Helen.

MICHAEL: Then who did?

ANDY pulls the letter from CHARLES out of her pocket and holds it so MICHAEL can see. MICHAEL steps into the light of the warehouse.

ANDY: It was something else entirely. A demon.

MICHAEL shakes his head.

MICHAEL: That's ridiculous. Do you hear yourself?

ANDY: Charles Goodmeyer was having an affair with your wife. When she broke it off with him, Charles began to pursue her.

She looks to BRETT and NATALIE.

ANDY (Cont'd): To hunt her. Because of that, a demon killed Helen.

MICHAEL: You're a liar! I knew Charles. He would not do that!

ANDY: And I know you didn't get me fired. It was Charles, too. He pinned the blame on you because he was jealous that Helen chose you over him. He thought you'd be the obvious suspect.

MICHAEL: But he loved you like a daughter? Your story doesn't make any sense, Andrea. Charles wouldn't do the things you're saying he did.

ANDY: He said that he wanted me safe. He wanted me off the force so that I couldn't get hurt. (Beat) He killed two birds with one stone.

There's a small roaring sound and the room behind the ANDY, NATALIE, and BRETT glows orange.

MICHAEL: What the hell is that?

HUNTER DEMON (OS): Your demise.

BRETT, NATALIE, and ANDY turn around to see the HUNTER DEMON. The creature raises its hand and throws a ball of fire at MICHAEL. The blast knocks him up into the air and his skin turns black upon the moment of impact. The fireball spins flies upwards before turning around completely and flying back towards the HUNTER DEMON. It makes contact with the fire creature and the demon's skin becomes completely black, before being burned away completely ? leaving only a skeleton on the floor.

BRETT: That was unexpected. What exactly just happened?

NATALIE: The Hunter Demon just became the hunted. (Beat ? looking to Andy) And Michael became the same thing.

ANDY runs over to MICHAEL and drops to her knees. Tears roll down her face. She reaches out to touch MICHAEL's corpse, but it combusts into flames, leaving behind a dark scorch mark. ANDY stands up.

ANDY (Coldly): I guess this place is officially dubbed Slayer Central.

She laughs briefly. NATALIE walks over to her and wraps both arms around ANDY.

ANDY (Cont'd): He didn't know. He was innocent and yet he died because of me.

NATALIE: Don't get yourself upset over this. It's not your fault.

BRETT looks past ANDY and NATALIE, but we don't see what he's looking at.

BRETT: This is private property, man. You really should leave.

ANDY and NATALIE turn around to see a peroxide-blonde man dressed all in black and a blue skinned woman dressed in a red outfit with blue streaks in her hair. Several young girls step into view. They vary in race, but the general age is around 17, 18, or 19.

SPIKE: I think these belong to you?

FADE TO BLACK

END OF EPISODE

SPECIAL GUEST STARS:
James Marsters as Spike
Amy Acker as Illyria

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