Announcement

**Heather** · 29-07-07, 11:32 PM

ACT I

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

ANDY dodges a blow and drops to the floor. We do not see who her attacker is until she kicks his legs out from beneath him. Having fallen to the floor, SPIKE glares at her coldly.

SPIKE: You do realize that I don't want to do this, right?

ANDY: Whiny baby. Toughen up.

With an unexpected thrust of her ankle, ANDY kicks SPIKE in the jaw and he slides backwards on the wooden floor. The camera's shot on the room widens to reveal a group of girls watching in awe. In the middle of the group is NATALIE ? hand to her mouth and eyes halfway open.

NATALIE: I really don't need to see this just to learn how to fight.

ANDY punches SPIKE and turns to NATALIE.

ANDY: You might not, but they do.

SPIKE takes advantage of her lack of attention towards him and tackles ANDY to the floor. Swiftly, ANDY lifts her legs and throws SPIKE through the air as she tucks into a backwards summersault. SPIKE flips before landing on his feet, crouched and ready to attack again. ANDY gets a running leap into the air and spins with her foot thrown outwards. SPIKE catches her by the ankle and turns quickly before tossing ANDY into the wall.

SPIKE: Are we done now?

ANDY gets to her feet and shakes her head.

ANDY: Not quite.

She charges him again and he braces himself for the attack. ANDY, however, flips into the air as the shot turns into a slow-mo. She tucks her legs up underneath her as she flies over SPIKE's head. He turns around ? the shot still a slow-mo ? as she lands on her feet. With a quick punch, ANDY sends SPIKE sliding across the hard floor and the scene returns to normal speed. NATALIE winces.

NATALIE: Ouch. Was that necessary?

ANDY cartwheels over to SPIKE and lets her foot land across his neck ? pinning him to the floor.

ANDY: I think we're done now.

She grins at him and looks towards the group of girls who are watching.

ANDY (Cont'd): I think we're done with this bit of the lesson. You can go for now.

She smiles at them and they hurry off. SPIKE, however, grabs ANDY and pulls her down. She lands on top of him. Rolling over, he straddles her and gently grabs her by the throat.

SPIKE: I don't think we're done yet.

ANDY: You like being on top, huh?

ANDY forces the palm of her hand up into SPIKE's ribcage and he falls to the floor. ANDY slings one leg over his waist and sits on him.

ANDY (Cont'd): Now are we done?

BUFFY (OS): Having fun?

ANDY turns her head around and sees BUFFY, arms folded, staring at them with an eyebrow raised. ANDY grins childishly.

ANDY: But of course!

ANDY stands up and steps over SPIKE. He props himself upwards on his elbows.

BUFFY: Willow went with Brett to the library.

ANDY: They couldn't find anything on the internet?

BUFFY: No. Apparently there are too many ?Elizabeth Holloway's to get a narrow search through.

ANDY: Dammit.

SPIKE: What if we confront her directly?

BUFFY: It'd be too dangerous.

ANDY: We need to know exactly who we're up against before we make a move. Better yet, we need to know what she is before she makes a move.

SPIKE: Then the research club'll have to speed up its work.

ANDY: Exactly my point.

ANDY starts to head towards her office and passes BUFFY.

ANDY (Cont'd): I want to know how to kill her. And fast.

She enters the office.

CUT TO:

INT. LIBRARY ? READING AREA ? DAY

WILLOW rocks back and forth on the floor with piles of newspapers before her. Scanning the headlines, some read "Deaths of Major Corporation Leaders" and "Gale to Become Holloway." Lounging on a small couch is BRETT, who is reading an older article.

WILLOW: This isn't anything we don't know. (Beat) Are you sure you don't know anything else for us to use?

BRETT shakes his head.

BRETT: If I knew anything more about Elizabeth, we wouldn't need to be in this library right now. At least, I hope that that's the case.

A glare from the woman at the front desk forces BRETT to sit up right on the couch. He folds up the newspaper and tosses it on the floor.

WILLOW: Didn't you say that Andy was a cop?

BRETT nods.

BRETT: Why?

WILLOW: Does she have any friends that still work at the police station? Maybe, if she does, they could help us out by doing a general database check on her.

BRETT: I don't see why they wouldn't. But I'm not sure if she has connections with them anymore. She's been off the force for five years now.

WILLOW: We can hope, can't we?

WILLOW moves a newspaper from her lap to the piles and stands up.

WILLOW (Cont'd): Everything else is useless.

BRETT: What if we talked to Lynn?

WILLOW looks at him, confused.

WILLOW: Who's Lynn?

BRETT: Elizabeth's mom.

WILLOW: The woman who's taking over Gale Enterprises?

BRETT: Yeah, because of Elizabeth's killing of her stepdad and stepbrother.

WILLOW raises an eyebrow.

WILLOW: That's just weird.

BRETT: Not when you really think about it. She was just doing the best for her gold digger of a mother.

WILLOW laughs.

WILLOW: A bad woman with even worse intentions.

BRETT: Exactly.

He stands up and grabs a pile of newspapers from the couch. BRETT then leads WILLOW towards the front desk to return the papers. The woman accepts them and walks towards the backroom as the two move away from the desk.

WILLOW: What about the Slayers? The ones that went missing a few weeks ago. Did you ever find them?

BRETT: We didn't have any leads. It's not like they were from around here and we don't even know why they left.

WILLOW: Did you know any of them?

BRETT hangs his head for a minute while he thinks.

BRETT: No, not really. But Natalie did. What are you thinking?

WILLOW: I'm thinking that we could track down that one person and hope that she leads us to the other girls. How well did Natalie know her?

BRETT: Not sure but I've seen them have some conversations.

WILLOW: Maybe that'll be enough.

They leave the library.

CUT TO:

INT. GALE ENTERPRISES ? LYNN'S OFFICE ? AFTERNOON

LYNN is sitting behind a dark wooden desk with paperwork before her. She's reviewing it silently when the door opens and ELIZABETH enters. LYNN jumps to her feet and runs over to hug her daughter.

ELIZABETH: You definitely don't seem mournful.

LYNN: Why should I? I've got an entire company at my fingertips and billions of dollars at my disposal.

ELIZABETH: Now, mommy, what did I say about the greedy personality?

LYNN laughs and sits ELIZABETH down in a chair on the other side of her desk. LYNN sits on the edge of the tabletop and looks at her daughter, arms folded. Her gaze moves towards the doorway where we see MARIONO standing.

LYNN: Who is that?

ELIZABETH turns in her seat and looks at MARIONO ? who's facing the hallway.

ELIZABETH: Mariono Bosca. My bosses wanted me to be safe so they hired me a bodyguard after Waylon and dear old dad were murdered.

LYNN: At least you're important enough to keep alive, right?

ELIZABETH laughs.

LYNN (Cont'd): That's not a funny thing to be laughing about.

ELIZABETH: I know but it's just so ironic.

LYNN has a confused expression on her face.

ELIZABETH: I hate my colleagues with every bone in my body. You know that as well as I do. Just a few weeks ago I quit and got rehired again.

LYNN: And I don't see where you're going with this.

ELIZABETH: I'm saying that they're treating me like an executive when I'm so damn flip-floppy.

LYNN: And being spoiled is a bad thing? What have you done with my daughter?

ELIZABETH laughs.

ELIZABETH: Spoiling is great but not when it's so suspicious.

LYNN: Do you feel guilty?

ELIZABETH shakes her head.

ELIZABETH: No, not at all. It's just weird that they're doing all this now.

LYNN: Maybe they have something in store for you? Or maybe they just like you? I wouldn't know. You haven't introduced me to any of your coworkers except for your ex-boyfriend Brett.

ELIZABETH puts a hand to her forehead and closes her eyes.

ELIZABETH: That was different.

LYNN: Was it? You worked with him and loved him.

ELIZABETH: I didn't love him.

LYNN's eyes widen in fake surprise.

LYNN: Are you kidding me? I saw how you looked at him and especially how he looked back. I know what love looks like.

ELIZABETH: So do I. Lord knows I've seen you make a mockery of love enough times.

ELIZABETH grins.

LYNN: I'm a terrible person now, but I loved your father until he died.

ELIZABETH: Then you became a moocher?

LYNN: Yeah, I did.

ELIZABETH: I'm sorry. I shouldn't have started this whole conversation.

LYNN: No, you should've. You need to vent once and while.

ELIZABETH: Not to you!

LYNN: Of course to me! It's not like you're capable enough to keep a diary or anything. Even if your life is crazy enough to write a thousand paged novel.

ELIZABETH: If only you knew.

LYNN: Why don't we go get coffee or something?

ELIZABETH shakes her head.

ELIZABETH: The big rule is that Mariono was assigned to protect me and that I can't go anywhere with anyone. I have to be alone.

LYNN: Yippee.

ELIZABETH: I feel like a hermit.

LYNN: But a safe hermit.

ELIZABETH smiles.

ELIZABETH: Of course.

ELIZABETH gets to her feet and hugs LYNN again.

LYNN motions towards the door.

LYNN: Get going then. I'll call you tonight. (Beat) Are you allowed to answer the phone with Mariono around or is your work still being so restricting?

ELIZABETH: Of course I can. I'll talk to you then.

She waves goodbye to LYNN and leaves with MARIONO.

CUT TO:

EXT. GALE ENTERPRISES ? STREET ? AFTERNOON

MARIONO opens the door for ELIZABETH and the two step onto the sidewalk. A limo is waiting for them at the curb but MARIONO doesn't open the door.

MARIONO: I take it that your mother doesn't know about your job?

ELIZABETH: Are you that blunt?

MARIONO: There is no need to take out your anger on me. Besides, you hired me.

ELIZABETH: No, as far as everyone else is concerned, my boss hired you to protect me from the monster who murdered my dear brother and father. Get that through your head. (Beat) And open the door already.

MARIONO glares at her coldly before pulling the limo door's handle. ELIZABETH slides in and MARIONO takes a deep breath before following. The door shuts behind them.

CUT TO:

INT. LIMO ? BACK ? AFTERNOON

ELIZABETH is looking out the dimmed windows while MARIONO puts on his seatbelt.

INTRUDER (OS): Much good a seatbelt's gonna do.

The camera spins around to reveal the intruder as ANGEL.

ANGEL (Cont'd): Miss me?

MARIONO reaches for his belt while ELIZABETH looks at him, shocked.

FADE TO BLACK

END OF ACT I

**Heather** · 29-07-07, 11:33 PM

ACT II

INT. LIMO ? BACK ? AFTERNOON

ANGEL, sitting with arms folded and one leg over his knee, stares at MARIONO as he grabs his gun. ELIZABETH is still glaring at him.

ELIZABETH: How did you get in here? Isn't it a little too bright out for your sensitive skin?

ANGEL laughs.

ANGEL: I take it that you didn't expect one of your hits to not be dead.

ELIZABETH: I saw you die.

ANGEL: You saw someone die. Bulky over here told you to kill the wrong person.

ANGEL grins at MARIONO as ELIZABETH recalls the events.

ELIZABETH: I think you need to get out of here right now.

ANGEL: I can't. I'll burn.

ELIZABETH: And you expect me to care?

ANGEL looks at the gun MARIONO has aimed at his head.

ANGEL: I hope those are wooden bullets.

MARIONO fires off a shot and it grazes ANGEL's left arm. ANGEL grabs at it, applying pressure. He then kicks MARIONO in the chest and darts for the door. He throws his leather jacket up over his head and runs out of the limo. ELIZABETH pushes MARIONO out of the doorway and follows ANGEL.

CUT TO:

EXT. STREET ? LIMO ? AFTERNOON

ELIZABETH chases after the hooded ANGEL, pushing several passersbys out of the way. They dash down the street before ANGEL cuts left and runs towards the brick wall. ELIZABETH, however, is right behind him and reaches to her belt to retrieve a small knife. She throws it at him and it stabs ANGEL in the leg. He struggles to continue over the wall.

ELIZABETH: You're not getting away this time.

ELIZABETH charges the wall and leaps upwards, surprisingly landing at the top of the brick structure. ANGEL looks up at her in shock.

ELIZABETH (Cont'd): Surprise!

She kicks him in the face and ANGEL falls back down the twenty foot drop. She jumps down and lands with a leg on either side of his body. Looking down at him, ELIZABETH smiles and reaches to pull his jacket from his face.

ELIZABETH (Cont'd): You can't hide forever.

The camera gets a shot of ANGEL's left arm and we see no wound or blood. ELIZABETH doesn't notice this. She pulls the jacket from ANGEL's body and we see that it is not ANGEL. In the OTHER MAN's hand is a black purse ? presumably stolen.

OTHER MAN: Please don't hurt me!

ELIZABETH moans and looks up towards the street.

CUT TO:

EXT. STREET ? SIDEWALK ? AFTERNOON

ANGEL runs down the street, jacket over his head, and disappears around the corner.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? EVENING

A shot of the small clock at the bottom of the computer screen shows that it's "6:45 PM." Panning out from the computer shows that it displays a news article with "Kaas Responsible for 20 Deaths in Riot." The shot then shows the entire room and we see NATALIE behind the desk. She runs a hand through her hair and takes a deep breath. The door opens and she gasps. ANDY, BRETT, and WILLOW enter.

NATALIE: Jeez, knock much?

ANDY: Not before entering my own office.

ANDY grins.

ANDY (Cont'd): Find anything?

NATALIE: Would I be dubbed a naysayer if I were to say no?

ANDY: Of course.

NATALIE: Thank god because a "Yaysayer" so doesn't roll off the tongue.

BRETT: Well at least we're all equally unsuccessful.

NATALIE: Strike one with the connection at the police station?

ANDY: Actually, I'm heading down there in a few minutes. Gotta love a girl with connections, huh?

ANDY grins and sits on the edge of her desk. WILLOW leans against one of the chairs.

WILLOW: And I found a tracking spell in one of the books I brought from Rome. Convenience packing is the greatest.

ANDY: How fast can you get it cast?

WILLOW: Well, with the added time of shopping and figuring out how to say these wondrous Wiccan words, I'd guesstimate tomorrow morning.

BRETT sits in the other chair and looks up at WILLOW

BRETT: Window of Opportunity?

WILLOW: Most definitely.

NATALIE: Window of what?

BRETT: Most spells work best during certain Windows of Opportunity like sunset or sunrise.

WILLOW: And there are the median times like midnight and noon but the spells aren't strongest then.

ANDY: Ah-huh. Fascinating lesson.

NATALIE lets out a brief laugh.

NATALIE: Shouldn't you be leaving?

ANDY: I should, I should. But in my absence I expect you all to sob miserably while still getting some major case cracking done. I expect hard information by the time I get back. (Beat) And that sounds completely inappropriate in my small, small mind.

ANDY stands and leaves through the door. NATALIE sighs again and turns towards the computer.

NATALIE: Let's get the work gang.

BRETT rubs his eyes as WILLOW rolls hers.

CUT TO:

INT. ELIZABETH'S CONDO ? LIVING ROOM ? EVENING

ELIZABETH sits on the couch, sipping a martini. The front door opens and MARIONO enters. She doesn't look towards him or make any acknowledgement of him at all.

ELIZABETH: About time you showed up. Where were you? Out gathering yourself?

MARIONO: So to speak.

ELIZABETH: You know what happens next, don't you? God I hope you do since I hate spelling it out for people.

She gets to her feet and turns to face MARIONO.

MARIONO: Where's your gun?

ELIZABETH: Did you think I'd kill you? No, as much as I'd want to kill you, it'd be way too suspicious. I'm firing you.

MARIONO: That's a better circumstance.

ELIZABETH: What are you implying?

MARIONO: I'm implying that I never wanted to be your bodyguard in the first place. I took the job only for the money and nothing more. I couldn't care less about your safety.

ELIZABETH: Is that why you failed to kill the Vampire earlier today? Better yet, is that why you let him in the limo in the first place?

MARIONO looks at her, surprised.

ELIZABETH (Cont'd): I talked to the driver. You can never trust the help.

MARIONO: What happens now?

ELIZABETH walks over towards the front door and opens it.

ELIZABETH: You leave my apartment and pray that we never cross paths ever again in your lifetime.

MARIONO nods understandably and leaves through the open door. ELIZABETH slams it shut and smashes her glass against the wall. She casually runs a hand through her hair, grabs her coat, and leaves.

CUT TO:

INT. NYPD POLICE STATION ? MISSING PERSONS ? NIGHT

The door to the office opens and ANDY steps inside. The lights are dimmed and the blinds to the window are lowered ? casting the room into semi-darkness. ANDY's eyes then fall on an arch of roses resting on the edge of the desk. ANDY reaches over and smells one of the roses as the door opens. In the doorway is GRANT MORRISON, ANDY's age with short-cut, dark hair and light skin. He's wearing a white button-down shirt and black pants. Overall, he is extremely good looking.

GRANT: Aw shucks. They said they'd send me a pretty blonde girl to play dress up as a cop. But I guess a brunette ex-cop will do just fine.

ANDY grins.

ANDY: Grant Morrison. Long time no see.

GRANT: But not so long since we last talked, huh? God, those crazy telephones. What will they think of next?

GRANT sits down behind his desk.

ANDY: You haven't changed a bit, have you?

GRANT: God I hope not. I'm quite happy with my fit form.

ANDY: Gravity takes over eventually.

GRANT: Of course. I'm surprised we haven't jumped right to business yet.

ANDY sits down on the opposite side of the desk. She admires the roses. GRANT notices. His voice is now serious.

GRANT (Cont'd): You're such a predictable woman, you know?

ANDY: I am not predictable.

GRANT: Then I know you all too well. They're your favorite, aren't they? Red roses.

ANDY: You do know me too well.

She laughs.

GRANT: Take ?em. I set them up for you for memory's sake.

ANDY: Our first big date.

GRANT: Third.

ANDY: That's very stalkerish of you to remember all these nitty-gritty details.

GRANT: That skill comes with the job.

His attention turns towards the computer screen. He types something in and his gaze shifts back to ANDY.

GRANT (Cont'd): Who am I looking up?

ANDY: Two people, actually. The first one is Elizabeth Holloway.

GRANT starts to type.

GRANT: And who is this woman?

ANDY: If I told you then you would know too much about me.

GRANT smiles and looks at the results on the screen.

GRANT: Print out okay with you?

ANDY: That'd be best, yeah.

He clicks the mouse and the printer comes to life. A moment later, he hands several pages of paper to ANDY and points to the stapler.

GRANT: Staplers right there. Next one?

ANDY staples the papers.

ANDY: Kayla Kaas.

GRANT types and then clicks the mouse. The printer prints more pages and he hands them to ANDY. The stack of papers is much greater than before.

GRANT: Looks like you found a wild one with the name "Kayla Kaas."

ANDY: Great.

She examines the document on ELIZABETH.

ANDY (Cont'd): Wait, this isn't the Elizabeth Holloway I'm looking for.

GRANT types on the keyboard.

GRANT: I didn't spell the name wrong and there's only one Elizabeth Holloway.

ANDY: That's bizarre.

GRANT: Maybe you've got a case of illegal name changing?

ANDY: Is that even possible?

GRANT: No, not really. (Beat) Actually, not at all.

ANDY: I guess I'll just stick with what I've got then.

She stands and heads for the door.

GRANT: You don't want the roses?

ANDY turns slowly and picks one of them up.

ANDY: Thank you.

She smiles and he returns it. ANDY then leaves the office.

CUT TO:

EXT. NYPD POLICE STATION ? STREET ? NIGHT

ANDY steps out onto the sidewalk and heads towards her car ? which is parked right at the curb. She goes to open the door when a hand wraps tightly around her wrist. We then pan up to reveal ELIZABETH restraining ANDY.

ELIZABETH: Hey Slayer.

She grins at ANDY and pushes her away from the car. ANDY stumbles backwards as ELIZABETH comes closer.

ANDY: What are you doing here?

ELIZABETH: Preventing you from reading what's on those pages.

ANDY looks at her, confused.

ANDY: How do you know what's on here? Could just be nothing more than a shopping list.

ELIZABETH: From a police station? Please. I was on the other side of that door the entire time you were talking to Grant Morrison. That's his name, right? Kind of a strange man if you ask me.

ANDY: I didn't.

ELIZABETH: Thank god because I wouldn't have answered.

ANDY: What have you got to hide, Elizabeth? Did Grant find something you don't want me to know? Are you scared?

ELIZABETH: Don't be ridiculous, Andy. I lost all fear a very long time ago.

ANDY: Is that a metaphor or did you just get initiated into a great big gothic cult? Is that what Celestial Center really is? A cult?

ELIZABETH laughs and pushes ANDY into the alley.

CUT TO:

EXT. NYPD POLICE STATION ? ALLEY ? NIGHT

ELIZABETH glares at ANDY.

ELIZABETH: I'm a freelance agent now.

ANDY: Oh really? When did you learn that word?

ELIZABETH: If you give me the papers, we won't have to do this the violent way.

ANDY: And if I give you the papers, we'll still be back in that same pickle.

ELIZABETH: Big choice, huh?

ANDY: Very.

ANDY takes several steps closer and holds out the papers.

ANDY (Cont'd): They're yours.

ELIZABETH goes to grab them but ANDY kicks her feet out from beneath her. She then runs towards her car. ELIZABETH gets to her feet slowly and pulls a knife from her belt. Turning around she sees no one in the alley except herself.

ELIZABETH: Dammit.

She spins around again and races out of the alley.

FADE TO BLACK

END OF ACT II

**Heather** · 29-07-07, 11:34 PM

ACT III

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

NATALIE, BRETT, and WILLOW are sitting on the floor with the individual pages from the packet ANDY got on KAYLA KASS spread out on the floor.

BRETT: Three years in juvy, parents in jail? And a great big riot in Europe early this year.

NATALIE: Which I don't get. How could she be behind that riot if she was with us for so long now?

WILLOW: It's possible that the dates are off or maybe she used magic to start the riot from here?

NATALIE: It just doesn't make sense.

BRETT: There was a charge on her credit card this morning at 4:33 am.

NATALIE: Where?

BRETT: Just outside Mineola.

NATALIE: Long Island? Where could she hide a bunch of young girls on Long Island?

WILLOW: Is there a high school?

BRETT: Where isn't there a high school? Aren't they cleaning up those caverns?

NATALIE: Work there stopped?

WILLOW: Stopped when?

NATALIE stands up and puts both hands to her forehead. WILLOW looks to BRETT, baffled.

NATALIE: Work on the caverns stopped the day before the girls went missing.

WILLOW: So those caves are connected to the missing Slayers.

BRETT: That makes sense. I'd say it's a mighty big coincidence if they aren't connected.

NATALIE: Does this mean that we just found where the girls?

BRETT: I think we did.

NATALIE: I think I'm gonna pass out.

WILLOW: Should I get a pillow?

NATALIE: I was joking.

NATALIE shakes her head and closes her eyes.

BRETT: This is huge.

NATALIE: This is massive.

WILLOW: I don't get it.

BRETT looks to WILLOW and smiles, gently.

BRETT: We just found the girls that left the safe confines of this warehouse to go somewhere else where they could be picked off one by one by the Queen.

NATALIE: Where do you think they'd plan on going to avoid being killed?

WILLOW's eyes widen.

WILLOW: Oh my.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY sits behind the desk, FAITH is in an overstuffed chair, and BUFFY is pacing the room. FAITH is reviewing the document on ELIZABETH that ANDY got from the police station.

FAITH: This chick is dead. Has been for over twenty years.

ANDY: That's my point.

FAITH: How could this chick be dead yet be alive?

BUFFY: Stolen identity. I said this an hour ago.

ANDY: And an hour ago we didn't have much of this packet read now did we?

BUFFY rolls her eyes.

BUFFY: It still doesn't change the fact that this Elizabeth girl isn't who she says she is.

ANDY: This makes it even more important to find out all that we can about her and kill her.

FAITH: Now we're pro-making the first move?

ANDY: Do you have any other ideas?

FAITH: Not really.

BUFFY stops pacing and takes the papers from FAITH and reviews them.

BUFFY: It says something here about a bodyguard.

ANDY: What about him?

BUFFY: What if we found him and forced him to tell all about Elizabeth?

FAITH: That could work. But how do we find him?

FAITH and BUFFY both look to ANDY.

ANDY: I think I've pulled too many favors from my police force buddies.

BUFFY: Even if this could put an end to fighting with Elizabeth?

ANDY looks towards the ground and shuffles her feet.

ANDY: I'll call Grant and ask him to look into this guy. He might be able to find a recent charge on his credit card or something.

FAITH: Now we just wait?

BUFFY: Now we wait.

ANDY reaches for the phone and punches in a number. The door to the office opens and NATALIE stands in the doorway. BUFFY and FAITH look towards her.

FAITH: Yeah?

NATALIE: Some guy just showed up asking for? (To Faith) you.

FAITH: Who is it?

NATALIE steps aside and ANGEL enters the office.

NATALIE: Some guy named Angel. (To Angel) That is your name, right?

ANGEL nods and his gaze moves from FAITH to BUFFY.

CUT TO:

INT. HOT HEELS LOUNGE ? TABLE ? NIGHT

We pan through the night club and see men dining at other tables with scantily clad women serving them. Music with deep bass plays loudly. The camera then finds MARIONO seated at one of the booths with a young, woman in bunny ears seated on his lap.

BUNNY WOMAN: I've missed you, sugar.

MARIONO: That's good to know.

He smiles and kisses her on the lips. A man who's out of the scene clears his throat and taps on the table. MARIONO pulls away and both of them look to see THOMAS RUBIK standing behind him.

THOMAS: This is a formal meeting, I assume?

MARIONO looks from him to the BUNNY WOMAN and nods. She gets off his lap and he hands her his credit card.

BUNNY WOMAN: The usual?

MARIONO nods again and she leaves.

MARIONO: Let's talk business.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANGEL, FAITH, and BUFFY sit on the mats with NATALIE, BRETT, and WILLOW as they discuss a topic that we come in in the middle of.

FAITH: You've been runnin' too?

ANGEL: I had to. The Senior Partners lost both Spike and Illyria after the Watcher's Council hired them but I was still there. They hired a hit woman to kill me.

BUFFY: I take it she failed.

ANGEL nods.

WILLOW: Thank heavens, too.

ANGEL: She's still after me too.

BRETT: Was this assassin red headed, late-twenties, and attractive?

ANGEL: Yeah, do you know her?

NATALIE: Of course we do. (To Brett) Is anything a coincidence around here or does everything have to be connected?

The door to the office opens and ANDY rushes out. She snaps her cell phone shut and stops at the edge of the group. ANGEL catches her eye and she smiles. He smiles back.

ANDY: Sorry to interrupt a reunion but Mariono just made a charge on his credit card.

NATALIE: Where?

ANDY: The Hot Heels Lounge.

BRETT: Oh! I know that place!

All eyes then turn on him.

BRETT (Cont'd): I've been there a few times?

ANDY: I say that only a few of us go.

BUFFY: And who would that be?

ANDY: I'd assume you, Faith, Angel, and myself but we need somebody who's strong to stay behind in case something happens.

BRETT: I'll go.

ANDY: And we might need a superhumanly strong team to go in case something happens there.

BUFFY: I can stay here then. I need a night off anyway.

FAITH: Then who will go in your place?

The doors to the warehouse slide open and SPIKE enters with a line of girls behind him.

SPIKE: Bedrooms are on the left ? top and bottom ? bathrooms are right there and that's all for tonight. I suggest you get some sleep.

He motions as he talks and the young Slayers leave his side in a large cluster. SPIKE turns and sees ANGEL.

SPIKE (Sarcastic): You're alive! Thanks heavens I can continue living!

ANGEL: Don't be too sad to see me.

SPIKE: I can't be anymore depressed than I am. Why the tea party? Did I miss the cake already?

ANDY grins.

ANDY: You got here just in time, actually.

SPIKE's gaze shifts around the group.

CUT TO:

INT. HOT HEELS LOUNGE ? DANCE FLOOR ? NIGHT

The music plays even louder than before, drowning out any other sound that may interfere. The doors to the lounge open and the silhouette of two large bouncers stand to either side of the doorway. Two women, followed by two men, then enter. As they come into the light, we see ANDY, FAITH, ANGEL, and SPIKE dressed to kill. They wear clothes that make them seem as through they're at the club for fun rather than business. The group stops in the middle of the floor as the music dies down so we can hear them.

ANDY: Angel and I will take the left half of the club. You two cover the right side. If you see Mariono Bosca, apprehend him.

FAITH: Can we just knock him out?

ANDY: It's the same thing.

She nods at FAITH and winks. FAITH and SPIKE head away from her and ANGEL.

ANGEL: I guess it's just you and me.

ANDY: It is, it is. (Beat) I say we split up. We have better chances of finding him that way.

ANGEL: But if we stay together we'll be stronger and more efficient.

ANDY and ANGEL stare at each other for a moment before ANDY gives in.

ANDY: Fine. Lead the way.

ANGEL grabs ANDY's hand and slowly leads her towards the crowd of people.

ANGEL: Keep your eyes open and be discreet.

ANDY: I know how to look for somebody, thank you.

ANGEL smiles back at her and she rolls her eyes. After a few moments of walking through the crowd, ANDY stops and pulls ANGEL back a few steps.

ANDY (Cont'd): Found him.

She raises an eyebrow and gently jerks her head towards where MARIONO is sitting with THOMAS. The two have moved from their original booth to a couch that is set up in a long row against the wall. ANDY and ANGEL watch as THOMAS stands and shakes MARIONO's hand.

ANGEL: Time to make our move?

ANDY nods.

ANDY: Follow my lead this time, will you?

She pushes ANGEL so he turns to face her. She smiles.

ANDY (Cont'd): Remember to play along.

ANGEL looks at her, puzzled by what she means, before ANDY flings herself forward, knocks into ANGEL, and begins to kiss him passionately. Quickly, she pushes him towards a table just in front of MARIONO. ANGEL struggles to sit in the chair as ANDY continues to kiss him. She pulls back and sits across his lap. ANGEL looks at her with wide eyes. ANDY's hands travel down to her belt where we see the glint of a dagger. She then sprawls herself backwards across ANGEL's knees and looks up at MARIONO, grinning. He then cries out in pain as the camera lowers to reveal ANDY plunging the dagger into his foot.

ANDY (Cont'd): Hola.

Flipping backwards off ANGEL's lap, ANDY kicks MARIONO in the face and lands on her knees as MARIONO slams into the wall. ANDY stands and looks to ANGEL.

ANGEL: I'll get him, then.

He gets to his feet and slings a now unconscious MARIONO over his shoulder as ANDY leads the way towards the exit. They continue walking as they come across FAITH and SPIKE ? who are dancing together.

ANDY (Shocked): Hello!

FAITH stops dancing and glances at her.

FAITH: A girl can't have a little fun on the job?

ANDY: No, not really.

SPIKE: I see you've got a trophy?

ANGEL: We do. And what do you have?

SPIKE: I've had more fun than you did, that's for sure.

ANGEL looks to ANDY and they make eye contact. She smiles and he does the same before looking away.

ANDY: Let's get out of here. Second-hand smoke is killing me.

She then guides the three others out of the night club as the music gets louder again.

FADE TO BLACK

END OF ACT III

**Heather** · 29-07-07, 11:35 PM

ACT IV

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

The lights are all off except for one that remains lit over an empty metal chair. A moment later, MARIONO is shoved down onto the seat. His head hanging and his eyes closed. There's a bruise beneath his eye. The shot widens to reveal ANGEL and SPIKE standing before him.

SPIKE: Rise and shine, sweet pea. Got a long night ahead of you.

SPIKE grins and heads towards the office. ANGEL remains and pulls a roll of rope from behind his back. He then moves to tie MARIONO up.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY sits behind the desk with FAITH and BUFFY near her side. WILLOW, BRETT, and NATALIE, however, are near the door. We enter in the middle of a conversation.

ANDY: Are you saying you found the girls or not?

BRETT: We found the girls.

ANDY: And why can't we go get them?

WILLOW: Because we think that there's something more here. Something stronger than a group of superhuman girls.

BUFFY: Like what?

NATALIE sits down in a chair.

NATALIE: I don't think that now's a good time for that discussion. We'll save it for after Elizabeth is dealt with. Speaking of Elizabeth: What's the info you've gotten so far?

FAITH: Aside from macho man out there, nothing.

ANDY: Which is pissing me off.

BRETT: Aren't you going to interrogate him?

ANDY: Is it wrong for an ex-cop to say that she didn't think of interrogation?

BRETT: I'd say so, yes.

BUFFY: And how do we plan on extracting reliable information from Mariono?

The door to the office opens and SPIKE enters. ANGEL isn't far behind.

ANGEL: He's all tied up. I think we're good to go with whatever's planned.

ANDY: I guess now's the time to do the questioning thingy?

NATALIE nods.

NATALIE: We'll wait here.

ANDY: Someone come with me.

BRETT: Why?

ANDY: In case I screw up!

ANGEL opens the door for ANDY follows her out.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANDY and ANGEL leave the office and shut the door behind them. Where they walk remains darkened by shadows though we can barely make out their figures.

ANDY: Thanks.

ANGEL: For what?

ANDY: For coming out. I appreciate it.

ANGEL: It's not a big deal.

ANDY smiles.

ANDY: Have you done this before?

ANGEL: A few times.

ANDY: You be the good cop.

ANGEL: You're the bad cop?

ANDY and ANGEL near the edge of the shadows.

ANDY: Of course I am since the Naughty Nurse isn't an option.

ANGEL looks at her, eyes wide. ANDY grins. When she turns to look into the light ? and at MARIONO ? her facial expression has fallen into a solemn smirk. ANDY speaks loudly on purpose to intimidate MARIONO.

ANDY (Cont'd): I say we make him sing painfully. Pain is always good.

ANGEL plays along.

ANGEL: Don't be ridiculous. We can talk things out? (To Mariono) Can't we?

MARIONO raises his head and glares at them.

ANGEL (Cont'd): I'll let her loose on you if you don't cooperate. I'm the nice guy here. The good one.

MARIONO: No one's purely good.

The camera pans up to reveal young girls coming out and standing on the balcony that runs around the top level of the warehouse. Others line the walls on the bottom floor.

ANDY: What about Elizabeth? Are you telling me she's not a goody-goody? What a shocker there!

MARIONO: Is that what this is about? I don't work for her anymore.

ANGEL: What happened?

MARIONO: She fired me.

ANDY: Any idea why?

MARIONO: Yeah, but it wouldn't interest you in the slightest.

ANDY: I'm sure it will.

MARIONO: I doubt that.

ANGEL steps forward, but still remains in the shadows, and puts a hand out in front of both ANDY and MARIONO.

ANGEL (To Mariono): Remember what I said about turning her loose? You're one step closer to that.

ANDY: Listen, bucko, I don't have time for games here. Elizabeth is a threat to me, to you, to the other people in this warehouse, and lord knows who else. Unless you want to be held countable for the crimes Elizabeth has committed, I suggest you tell us what we need to know.

She moves into the light and folds her arms across her chest.

ANDY (Cont'd): Ready?

MARIONO hangs his head again and then rolls his neck. He quickly glances up at ANDY.

MARIONO: She's not human.

ANDY: Then what is she?

MARIONO: You don't wanna know.

ANGEL: I think she does.

MARIONO: Even if I told you, you wouldn't be able to do anything about it. You're better off fighting her like a normal human being.

ANDY: I'd rather take my chances with finding out what she is and trying to kill her. Even if it kills me.

MARIONO: Then you're a fool who deserves to die by her hands.

ANDY looks over her shoulder at ANGEL, who takes a few steps closer.

ANGEL: This good cop deal sucks.

ANGEL flings his arm downwards and a long blade extends from beneath his shirtsleeve.

ANGEL (Cont'd): Next time I'm the bad cop.

ANDY grins and glares back towards MARIONO.

ANDY: How ?bout now?

MARIONO: You're willing to take a human life to lose your own?

ANDY: I'm willing to do whatever it takes to kill Elizabeth. Even if it means taking myself down with her. But I'll be kicking and screaming the entire way.

MARIONO (Yelling): You can't stop her! You can't kill a Changeling!

ANDY stops and raises an eyebrow.

ANDY: A?what?

MARIONO: A skin walker, shape shifter, whatever you want to call her. She can turn into anybody she wants and make anyone or anything else look like whatever she wants. Elizabeth has more power than you could ever imagine.

ANGEL: Why can't we kill her? She should die like every other demon.

MARIONO: Not a Changeling. They don't evolve like humans do. They don't move on.

ANDY: And so they can't die.

MARIONO: Not unless it's by blood.

ANDY: I'm lost.

MARIONO: Blood to blood is the only way to counteract her Changeling blood. It'll mutate her into her true form and you can kill her from that point on.

ANDY: How do we get the blood that we need?

MARIONO: The family.

ANGEL: How do you know all this?

MARIONO: I took the time to research Holloway before she hired me. It doesn't hurt to be cautious.

ELIZABETH (OS): No it doesn't.

The camera spins around to reveal ELIZABETH stepping out of the shadows. She wraps her hand around the back of MARIONO's chair and throws it backwards through the air. The girls against the wall scream as MARIONO smashes through the concrete.

ANDY: How did you get in here?

ELIZABETH: I picked the locks.

She poses elegantly as her body transforms into that of a different, younger blonde girl.

ELIZABETH (Cont'd): It's not that hard to look like one of these girls. Not hard at all.

The office door flies open and the people from inside rush out. ELIZABETH snaps her fingers and she turns back into her normal self.

ANDY: How long have you been in here?

ELIZABETH: Physically? Since you left the police station, but I've always had a pawn in place.

Her gaze shifts from ANDY to BRETT. BRETT's eyes widen.

BRETT: What are you talking about?

ELIZABETH: Celestial Center has you bugged. When you quit, you didn't have your chip removed. I've heard all your conversations and have seen everything you've done since you left.

NATALIE: That's ridiculous.

ANDY spins around and looks at BRETT as the others do the same.

ELIZABETH: Is it? He's been nothing but a liability for you all since the moment he came into your lives. Suspicious, huh? Almost as if it was all planned.

BRETT: What are you talking about?

ELIZABETH: I'm talking about the fact that Celestial Center now has the location of the Queen pinned down. The war has begun and you're the catalyst.

BRETT puts both hands to his forward and moves back towards the office in shock. NATALIE runs over to his side with BUFFY. SPIKE and FAITH, however, go to stand by ANDY's side with ANGEL.

FAITH: I think you need to leave.

ELIZABETH: I was actually planning on doing so, ironically enough. You people make me feel all dirty and good.

She smirks devilishly and pulls a dagger from her belt. With a swift motion, she slashes the ropes away that bind MARIONO to the chair. He stands and rubs his wrists.

ELIZABETH (Cont'd): Goodnight, folks.

ELIZABETH starts to leave but ANDY stops her.

ANDY: What war?

ELIZABETH looks over her shoulder at ANDY.

ELIZABETH: What war? What else do you call the kidnapping of fifteen Slayers from right under your noses? (To Spike) Or the deaths of others all around the world? Or did the Watcher's Council not tell you that?

SPIKE: They did.

ELIZABETH: The Queen is relentless. She won't stop at just this warehouse. She wants it all.

ANDY: And how do you know this?

ELIZABETH: I have my sources.

FAITH: That's pretty suspicious.

ELIZABETH: I'm sure it is. I have no reason to deny accusations that I'm the Queen. If it instills enough fear in you, then I'm all for it.

ANDY: Why are you telling us this?

ELIZABETH turns around completely.

ELIZABETH: Because Celestial Center can't take down the Queen and her army alone. We'll need support. (Beat) And that's where you come in.

ANDY: I would never stand by your side.

ELIZABETH: Even if it means saving the lives of all these people? That's awfully selfish.

SPIKE: This army, you mentioned, what is it an army of?

ELIZABETH: Slayers.

ANDY puts a hand to her mouth in shock.

ELIZABETH: She's been recruiting them. The murders of the girls around the world are covers. She has mystical forces to resurrect freshly dead bodies. No one knows how many Slayers she has but we know it's a lot. That's why we need you.

ANDY: Slayer versus Slayer.

ELIZABETH winks.

ELIZABETH: About time you caught on. A bunch of humans with guns can't take them all down. That's why we need your army. (Beat) I think we'll be in touch. Brett knows how to contact me.

She smiles and drags MARIONO out of the warehouse. Everyone remains speechless and dumbstruck.

CUT TO:

EXT. SLAYER CENTRAL ? STREET ? NIGHT

ELIZABETH and MARIONO step out onto the pavement and walk over towards a red sportscar. ELIZABETH stops at the driver's door and MARIONO goes to the other side.

ELIZABETH: Did they get the information I told you to give?

MARIONO: They did. Perfect timing for your big arrival, too. I don't think we could've pulled it off without it.

ELIZABETH: That's good to hear.

MARIONO: Just one question: Why feed them these lies? Even if they were true, why would you want them to know how to kill you?

ELIZABETH opens her car door.

ELIZABETH: I have my reasons.

She slams the door shut behind her. MARIONO opens his door, ducks inside, and shuts his door. The car then drives off.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

NATALIE walks through the doorway to the office and closes the door behind her.

NATALIE: The girls are all in bed. They're freaked out.

WILLOW: I'm sure they are.

BUFFY: I think we all are. Do we take what Elizabeth said seriously? Or do we just work against her?

FAITH: I've met this girl twice before tonight and neither time gave me the idea that she's honest.

BRETT: She isn't. She's a conniving woman who won't stop until she has her way. There's some reason for her doing this. Something she's not telling us.

SPIKE: That much I can agree on. All of this is too upfront for a big bad.

ANDY remains speechless, standing in the corner of the office with her head against the wall. ANGEL sits behind her desk. NATALIE notices ANDY.

NATALIE: Are you alright?

ANDY: No, I'm not.

She turns around and we see her glassy eyes and partially wet cheeks. She wipes at them with her hand and blinks a few times.

ANDY (Cont'd): This is too much. Too much, too fast. (Beat) And when did we find out where the Queen was hiding? All you said was that we know where the girls are!

BRETT looks down at his feet.

BRETT: We didn't want to burden you.

ANDY: And I'm not burdened now? I appreciate your sympathy and the fact that you three were trying to spare me but finding out from Elizabeth is even worse.

WILLOW: We're sorry.

ANDY huffs and moans, running both hands through her hair.

ANDY: We can't play along with this. It's not right.

BUFFY: Then we'll work alone. Who says we can't take down the Queen without the help of Celestial Center? Slayer versus Slayer. You said it yourself.

ANDY: And that makes it so much worse.

ANGEL: I don't think we can worry about this now. It's been a long day. Too long of a day.

SPIKE: I cannot believe I'm saying this but he's right.

BRETT, NATALIE, and FAITH stand up. WILLOW and BUFFY then do the same with SPIKE.

NATALIE: I know I'm not getting any sleep tonight.

WILLOW: You're not alone.

They leave through the main door with NATALIE exiting last. She casts one last look at ANDY and nods at her, attempting to make her feel better, and then leaves. The door shuts behind her. ANGEL stands up and walks over to ANDY.

ANGEL: You were amazing out there. You held your ground which is the most important thing.

ANDY: How am I holding up now, huh?

She lets more tears roll down her face and ANGEL pulls her in close to hug her.

ANGEL: There's nothing I can say to make you feel better. There's nothing anyone could say. You just need to figure this out with everyone else's help. You can't do it on your own and you won't.

ANDY pulls away and looks up at him. A moment later, they are kissing as ANGEL pulls her close again. After a few moments, they pull apart.

ANDY: Are you leaving?

ANGEL: I should. Especially now that you have this to deal with. I can't let the Senior Partners bring more hell into your life.

ANDY: Thank you.

ANGEL smiles.

ANGEL: You're welcome.

ANDY: Will you come back?

ANGEL: Sooner than you think.

They exchange smiles and he leaves. ANDY is left alone in the darkness.

FADE TO BLACK

END OF EPISODE

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CHOSEN Episode 1.08 "Catalyst"

CHOSEN Episode 1.08 "Catalyst"

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