Announcement

**Heather** · 30-07-07, 01:12 AM

ACT I

FADE IN

INT. HOTEL ? ROOFTOP ? MORNING

The sun is just rising on the horizon as we find WILLOW standing alone with her arms folded across her chest. Her eyes are closed and her hair blows freely in the wind, as does the scarf wrapped around her neck. She's lost in thought, as displayed by her facial expressions. Her eyes snap open and her hand flies towards her pocket. WILLOW pulls out a cell phone. She pulls up her virtual phone book menu and finds the name "BRETT" ? which is listed before "BUFFY" and after "ANDY." She puts the phone to her ear and we hear the dial tone.

WILLOW: C'mon Brett. Pick up.

We here BRETT's voice on the other end.

BRETT (OS): Hey?

WILLOW: Brett...

BRETT (OS): You've reached me at a really bad time right now. Leave a message after the beep.

There's a beep and WILLOW slams the phone down and shoves it in her pocket. She paces the rooftop slowly before running a hand through her hair and racing towards the stairwell that leads down into the building.

CUT TO:

EXT. SLAYER CENTRAL ? PARKING LOT ? MORNING

A white car pulls up and parks right in front of the warehouse. WILLOW gets out of the vehicle and walks to the door, which she opens and enters.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? MORNING

WILLOW hurries inside and slides the door shut telekinetically, with a brief flick of her hand, as she moves away from it. No one is in the room.

WILLOW: Hello? Is anyone here?

The office door opens and FAITH leads NATALIE out of the room. WILLOW freezes where she stands and locks eye contact with NATALIE. FAITH notices the exchange.

FAITH: There some issues between the two of you?

NATALIE looks away and laughs.

NATALIE: Yeah right.

WILLOW remains motionless and silent. FAITH whistles and waves a hand in front of WILLOW's face.

FAITH: You alive in there?

WILLOW blinks and shakes her head, one hand wiping at her eyes.

WILLOW: Yeah, I'm fine. (Beat) Where's Brett? I really have to talk to him.

FAITH: He left with Andy.

WILLOW: And Buffy?

FAITH: Still out with Spike. They think they found something that'll help out with the Queen situation.

NATALIE: What "Queen situation?"

WILLOW visibly notes NATALIE's reaction and wrinkles her brow.

FAITH: Do I need to hire you two a shrink? I swear, one more weird look and I'll get Dr. Phil here in a sec.

NATALIE: No, Dr. Phil isn't needed. (Her gaze shifts to Natalie) There is not a problem.

WILLOW rips her eyes away from NATALIE and looks at FAITH.

WILLOW: I'll have my cell. Call me if something comes up. If anything comes up.

WILLOW heads away from the group and back towards the door, leaving FAITH looking confused.

FAITH: What is up with that chick?

NATALIE's eyes widen and a sly grin pulls across her face. She lies in response.

NATALIE: I have no idea.

FAITH shrugs it off and leaves the scene. NATALIE glances in both directions before following WILLOW out of Slayer Central with a good distance between them.

CUT TO:

INT. CAF? ? TABLE ? DAY

We pan through the patrons of the coffee shop, all of which are sipping from their mugs of caffeinated substance. ANDY and BRETT are sitting at a table, and they look like they are waiting for their drinks to arrive. ANDY looks around.

ANDY: This is nice.

BRETT: Yeah, I've always liked this place. Especially when I'm with you.

ANDY smiles and blushes. Suddenly, the waitress comes to their table and sets a cup in front of each of them. The waitress smiles.

WAITRESS: Enjoy.

She then walks away, leaving ANDY and BRETT alone once again. After a few moments of them taking sips from their drinks, BRETT speaks up.

BRETT: You know, I was thinking-

ANDY: Were you now?

She smiles mischievously and then takes another sip of her drink. BRETT smiles as well.

BRETT: Anyways, as I was saying...I was thinking about us.

ANDY: What about us?

BRETT: Maybe we could tell the others. Instead of hiding everything from them.

ANDY looks down at her drink and stares at it.

BRETT: (cont'd) I mean, I understand that it would interfere with the big battle with the Queen...or might interfere. (pause) That's the thing. The interfering thing isn't a definite. Just a possibility.

ANDY: I know that. But I'd rather be safe than sorry. I don't want this distracting us. (pause) And that doesn't make much sense 'cause it'll distract us anyway...

There is silence for several moments. Suddenly, BRETT speaks up.

BRETT: About the whole "saving the world" thing...

ANDY: Yeah?

BRETT: Well...(pause) Never mind, you'll think that it's stupid.

ANDY: No, I won't. I never think you're stupid. (beat) Unless you're acting like an idiot.

He gives her a look.

ANDY: (cont'd) Which is very rare.

She gives him a look to let him know that she's kidding about the "idiot" bit.

ANDY: (cont'd) You were saying?

BRETT: When I'm around you, I tend to feel...well, weak.

ANDY frowns.

ANDY: Wait...emotionally or physically? 'Cause ya know, emotionally is so much more romantic.

BRETT: Physically.

ANDY: Oh...

BRETT: It's just that you're so much stronger than me, and I feel like I can't really help in situations...I can never save you.

ANDY looks a bit confused.

BRETT: (cont'd) Not that you can't defend yourself, but it's nice feeling like the hero some of the time.

ANDY: You know...I could have someone that's not very strong mock-kidnap me. And then you could save me! Would that make ya feel better?

She laughs a bit. BRETT smiles as well.

BRETT: Nah, no need to do that. Wanna know why?

ANDY: Okay- why?

BRETT: Because I love you, no matter what.

She blushes once again and smiles.

BRETT: (cont'd) And whether you're super strong or as weak as a mouse, I'll always support you-100 percent. Got it?

ANDY nods.

ANDY: Aye, aye captain!

BRETT chuckles. ANDY leans over the table and kisses BRETT lightly on the lips.

ANDY: I love you too.

CUT TO:

INT. CAF? ? BACKROOM ? DAY

We see the door to the backroom partially open. In the doorway is a shadowy figure of a man who is wearing a long trench coat and a hat. We don't see any facial features or anything. Just a silhouette. The camera turns slowly to follow his gaze, which turns out to be locked onto BRETT and ANDY. He then turns and leaves. The door swings back and forth before coming to a close.

CUT TO:

EXT. NEW YORK CITY ? STREETS ? DAY

We see a white car driving down the empty road. As it passes an intersection, a black car pulls out and turns to follow it.

CUT TO:

EXT. NEW YORK CITY ? WILLOW'S CAR ? DAY

WILLOW is driving the white car. She visually remains lost in thought as she drives down the empty street. She grabs her phone from the passenger seat and flips it open with one handed. As she starts to dial a number, a civilian walks out into the crosswalk. Panicked, WILLOW grabs the wheel and swerves out of the way, dropping her phone in the process.

WILLOW: Damn it!

Quickly, she pulls the car over on the side of the road and grabs her phone from the floor. There's a knock on her window and WILLOW slowly glances through the glass. Outside is NATALIE, her face appears serious.

NATALIE: We need to talk.

She stands perfectly still, staring down into the car with a grin spreading across her face. The camera pans up the building where WILLOW is parked in front of until we see a sign that says "Goldbloom Jewelry and Other Things."

FLASH TO:

FLASHBACK

EXT. GOLDBLOOM JEWELRY ? STREET ? DAY

The coloring is bluish and the picture is slightly blurred ? identifying the scene as a flashback. We see the same "Goldbloom Jewelry and Other Things" sign before panning down towards the street again. The door to the building opens and MARCIA PRICE exits the building. She is wearing all black, her hair hanging down, and her face is contorted with sadness. MARCIA walks around a small gray car and opens the driver's door. She slips inside.

CUT TO:

EXT. GOLDBLOOM JEWELRY ? PRICE'S CAR ? DAY

MARCIA shuts the door behind her. In the passenger seat is a young blonde girl, roughly 7 years old. She is YOUNG CHELSEA PRICE. MARCIA glances back and we see YOUNG NATALIE PRICE, no older than 5, sitting in the middle of the backseat without a seatbelt.

MARCIA: What did I tell you about wearing a seatbelt? I won't move this car until you put it on, understand?

YOUNG NATALIE pouts but ultimately gives in when she realizes her mother is serious. She buckles her seatbelt and slumps back in her seat.

YOUNG CHELSEA: I told her to put it on. She wouldn't listen.

MARCIA: You should have made her listen to you. Chels, you have to demand respect otherwise it won't be given to you. I thought you'd learned that by now.

YOUNG CHELSEA: I'm sorry, mother.

She lowers her head and avoids eye contact. MARCIA starts the car. The camera moves back to focus on YOUNG NATALIE, who pulls a silver necklace from her pocket briefly and puts it back.

CUT TO:

EXT. GOLDBLOOM JEWELRY ? STREET ? DAY

The Price's car drives off down the street and the camera remains stationary from a bird's eye view.

CUT TO:

EXT. HOSPITAL ? PARKING LOT ? DAY

The gray car pulls into a spot and the family exits the vehicle. They head towards the building and enter.

CUT TO:

INT. HOSPITAL ? HALLWAY ? DAY

The Price family makes their way down the hallway. MARCIA stops in front of a door and motions towards a bench opposite. YOUNG CHELSEA and YOUNG NATALIE both take seats next to each other.

MARCIA: Stay here.

She glances towards the nurses' desk a little way down the hall. The NURSE nods and MARCIA knocks quietly on the door. When there is no response, she opens the door and enters. The door is left open on a crack. YOUNG NATALIE's eyes drift over to the crack and we see what is going on inside the room through the gap between the door and the doorway. MARCIA is standing at the bedside of a man who appears her age. It is PETER PRICE, the girls' father and MARCIA's husband. He has wires connecting him to machines and an IV running a fluid into his body. When he speaks his voice is weak.

PETER: Hello, Marcie.

MARCIA: I told you not to call me that, Peter.

PETER lets out a hoarse laugh and coughs. MARCIA uncrosses her arms and rests a hand on PETER's shoulder.

MARCIA (Cont'd): I've gotten rid of almost everything we don't need. The jewelry, the paintings, everything.

PETER coughs again.

PETER: Is it enough?

MARCIA doesn't answer. She simply looks away and avoids the question.

MARCIA: We're trying, Peter.

A tear rolls down her cheek.

MARCIA (Cont'd): But it's just not enough.

PETER smiles.

PETER: That doesn't matter.

MARCIA: Yes it does.

PETER: No it doesn't. My family means the world to me. I can't allow my girls to give up everything they love for me. You and I both know that.

MARCIA: We still haven't called your parents yet?

PETER: Don't. I don't want to bring them into this.

MARCIA (Raises her voice): We have to bring them into this!

The camera pulls away from the crack in the door to show YOUNG NATALIE toying with something in her pocket. As her hand pulls out of the pocket, we see the silver necklace she had in the car. Her fingers run over the silver chain as everything around goes out of focus.

MARCIA (OS): I just don't know what to do anymore.

END FLASHBACK

FLASH TO:

EXT. NEW YORK CITY ? GOLDBLOOM JEWLERY ALLEYWAY ? DAY

NATALIE is toying with the silver chain of her necklace, which is revealed to be the one YOUNG NATALIE held in the flashback. As the camera zooms out slowly, we see that NATALIE is standing before WILLOW, who is pressed against the wall, glaring.

WILLOW: What do you want?

NATALIE: Oh honey, I know you know what I want.

WILLOW: I don't know what you're talking about.

NATALIE: Oh don't lie to yourself. That's just pathetic. Especially for someone of such high standards as yourself.

WILLOW: Leave me alone.

NATALIE sighs and folds her arms across her chest.

NATALIE: You know I can't do that, either. You certainly know a lot for someone who's acting so stupid.

WILLOW tears her glare off NATALIE and looks down at the ground.

WILLOW: You've lied to her. To Andy. To all of us. Why?

NATALIE laughs and unfolds her arms.

NATALIE: Why? Is that all you want to know? That stupid act is really getting to you, isn't it?

NATALIE strokes WILLOW's cheek with her hand. WILLOW's face contorts with anger. NATALIE pulls away.

NATALIE (Cont'd): You're so na?ve.

WILLOW: Touch me again and see what happens, bitch.

NATALIE: Is that a threat?

WILLOW: No. This is.

WILLOW throws her right hand up in the air and a blast of purple energy lifts NATALIE off the ground. Her other hand flies out towards NATALIE and a similar blast of magic strikes her in the shoulder ? sending her flying down the alley. WILLOW panics and runs. NATALIE sits up and grins.

CUT TO:

EXT. NEW YORK CITY ? STREET ? DAY

WILLOW runs down the street and pulls her phone from her pocket. She flips it open and dials a number as she continues moving at a fast speed, glancing back over her shoulder occasionally. BRETT answers on the other line.

BRETT (OS): Yeah?

WILLOW: Brett! Thank god!

BRETT (OS): What is it?

CUT TO:

INT. SLAYER CENTRAL ? BRETT'S ROOM ? DAY

BRETT is sitting shirtless on the edge of his bed with ANDY straddling his waist, kissing him. She occasionally tries to knock the phone out of his hands, but fails.

WILLOW (OS): It's Natalie. She's ? she's?

BRETT: What's wrong with Natalie?

ANDY sits up straight and looks at him curiously.

CUT TO:

EXT. NEW YORK CITY ? WILLOW'S CAR ? DAY

WILLOW throws open the driver's door and hurries into her car. She puts the keys in the ignition and turns the car on.

WILLOW: (into her cell phone) I need you to see something.

CUT TO:

INT. SLAYER CENTRAL ? NATALIE'S ROOM ? DAY

The door opens and BRETT leads ANDY inside. He hits the light switch and we can see the room in better detail.

ANDY: You've gotta be kidding me. You actually believe this?

BRETT: I don't know but I'm trusting Willow on this one.

ANDY steps in front of BRETT and places both hands on his chest.

ANDY: It's Natalie. We know Natalie. She's not an evil mastermind out to kill us all.

BRETT: I know it's Natalie but I've been betrayed before. We all have been betrayed before.

BRETT looks ANDY in the eyes and she steps out of the way. BRETT squats down and opens the bottom drawer of NATALIE's nightstand.

ANDY: Fine, but you're gonna be?

BRETT closes his eyes and shakes his head and pulls out a jewel-studded tiara.

ANDY (Cont'd): Oh my god.

BRETT stands up and drops the tiara out of shock. It shatters on impact.

FADE TO BLACK

END OF ACT I

**Heather** · 30-07-07, 01:13 AM

ACT II

FADE IN

INT. SLAYER CENTRAL ? NATALIE'S ROOM ? DAY

ANDY's hand is covering her mouth as she stumbles backwards. The broken tiara remains on the floor as BRETT moves away from the drawer.

BRETT: This?isn't right. She has to have an excuse. Maybe she has a crown fetish or something?

ANDY: This isn't a fetish. This is more than that.

BRETT: Now that I think about it, Willow can't be right about this tiara. I mean, Natalie probably has a perfectly reasonable explanation for keeping a tiara in her bottom drawer and for attacking Willow on the street, too.

ANDY: Where is she?

BRETT: Who? Willow?

ANDY: Natalie. Where is she?

BRETT: I don't know. I'd imagine she'd be wherever Willow is. But what do you plan on doing? Knocking her around a bit?

ANDY turns and starts to head out of the room.

ANDY: If that's what it comes to, then yes.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

ANDY is followed by BRETT as she walks across the balcony and down the stairs to the floor.

BRETT: Don't you think you're overreacting? I mean, physically attacking her is a little extreme without hearing her side of the story.

ANDY: Screw her side of the story.

BRETT: You're being irrational.

ANDY whirls around and stares BRETT in the eyes.

ANDY: I am not being irrational. She's betrayed us all. She's betrayed me. She's come in here and pretended to be my best friend. She's pretended to be the closest thing to a sister I could ever dream of. Now I find out everything is fake? Now I find out that I'm the puppet and she's pulling my strings? Because I trusted her, all of these girls' lives are in danger! I am not being irrational.

BRETT looks at her, speechless, as she turns back around and heads towards the office. FAITH exits the office and heads for the door. She is holding a black leather duffle bag.

ANDY (Cont'd): And where in god's name do you think you're going?

FAITH: To market, to market.

ANDY: Excuse me?

FAITH drops the duffle bag on the ground.

FAITH: Am I supposed to be staying here and doing some more important than burning down an evil Black Market?

ANDY: I'm still not hearing things right. You are walking back into the trap that almost got us killed?

FAITH: No, I'm walking to the mouth of the trap that almost killed us so I can destroy the market and at least try to stop the Queen.

ANDY lets out one laugh.

ANDY: We're half way there.

FAITH: I'm confused.

BRETT steps inbetween the two Slayers.

BRETT: Andy's venting.

FAITH: Why is she venting?

ANDY: Andy is not venting. Andy is pissed off. Andy is showing her pissyness through this.

ANDY waves a hand in front of her face.

FAITH: I'm still confused.

BRETT (To Andy): Don't you think we should go about this rationally? Remember excuses? Yeah, she might have one.

ANDY: We've been over this so many times now. It gets old.

FAITH starts to leave.

ANDY (Cont'd): Where are you going?

FAITH: I'm going to the same place I said I was going to before.

ANDY grabs FAITH by the arm.

ANDY: No, you are not.

FAITH: Yes, I am.

FAITH yanks her arm free, picks up her duffel bag, and heads for the door.

ANDY: If you get killed then don't expect me to be at your funeral!

As FAITH slides open the door, WILLOW runs inside the warehouse, pushing FAITH out of the way.

FAITH: Excuse you.

WILLOW: I can't imagine she's very far behind.

FAITH stops and turns around.

FAITH: The confusion thing? Yeah, it's back again. Someone gonna explain this to a girl?

ANDY, BRETT, and WILLOW exchange glances.

CUT TO:

EXT. SLAYER CENTRAL ? PARKING LOT ? DAY

We see a black van parked at the far end of the parking lot, right on the edge of the street. It is presumably the NYPD's surveillance vehicle but there is no marking on the truck to prove that. NATALIE's car pulls up and parks a few yards from the doors to Slayer Central. She exits the vehicle and casually shuts the door behind her as she casually walks up to the building. She reaches out and opens the door.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

The camera is positioned on the doorway where NATALIE stands, one eyebrow raised as she slides the door shut behind her.

NATALIE: What's going on?

The camera spins around and we see BRETT throwing a punch at FAITH, who dodges it skillfully. They both look at NATALIE and stand up straight. BRETT dusts off his jeans while FAITH places her hands on her hips.

FAITH: Nothin' much. How ?bout with you?

NATALIE: I'm so rich with excitement that even Donald Trump would envy me. (Beat ? looking around) Where's Andy?

BRETT: Not sure. Why?

NATALIE: Just curious.

Out of the camera's focus, ANDY drops down from a higher location and straightens up behind NATALIE. The camera then slips to the side to bring ANDY into focus. Swiftly, ANDY raises her fist and snaps it down on the back of NATALIE's neck. NATALIE falls to the floor, unconscious.

ANDY: Curious my ass.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? DAY

NATALIE slowly comes to. When she awakens, she discovers that she is bound to a chair. She tests the strength of the ropes by wiggling her arms. She huffs.

ANDY (OS): Don't bother.

She slowly walks into the scene, arms folded across her chest and a stern look on her face.

ANDY (Cont'd): You're not getting out of that chair. Not until I'm through with you.

NATALIE: What are you talking about? Have you gone insane?

ANDY: Don't play stupid with me, Natalie.

NATALIE: What happened to ?Nat?'

ANDY's voice darkens as she grows even more serious and angered.

ANDY: You tell me.

NATALIE rolls her head back.

NATALIE: You've lost it. You've completely lost it. You go and tie me to a chair for no real reason and then start acting like you don't know me. That's just scary, Andy. Seriously.

ANDY: I don't know you. At least, not this you. You're not the same Natalie Price I saved in that alley. You're not the same girl I moved in with because you needed to pay the rent.

NATALIE teasingly gasps, mocking ANDY's serious tone.

NATALIE: Or worse! I've been abducted by Tom Cruise and turned into a whacky scientologist convinced that I'm the spawn of an intergalactic warlord who's out to conquer the universe. (Beat) Either that or Spock got a hold of me?

ANDY slaps NATALIE across the face, not holding back.

BRETT (OS): Andy! What are you doing?

BRETT steps out of the shadows and grabs ANDY by the arms. She shakes herself free.

ANDY: Stay out of this.

BRETT: I can't.

ANDY: You can and you will.

She turns around and stares him in the eyes.

ANDY (Cont'd): Now back away.

BRETT nods and steps so he is partially in the darkness and yet close enough to interfere again if necessary. ANDY glares at NATALIE, who's grinning as blood trickles from her lip.

NATALIE: You made me bite my lip.

ANDY: Oh honey, I'm just getting started.

NATALIE: I don't get what your problem is. You knock me out, tie me down, and then slap me silly without explaining to me why!

ANDY: You know damn well why! You've lied to me. You've lied to everybody.

NATALIE: I do not know what you're talking ab-

ANDY: Shut it unless you want to get hit again. I'm not gonna listen to your excuses or your lame explanations. Willow found it. She found your crown. Brett and I saw it. Unless you can give me a logical explanation behind why you're keeping a crown in the bottom drawer of your nightstand, I don't want to hear you speak another word to me.

NATALIE keeps her gaze locked on ANDY's eyes.

ANDY (Cont'd): I trusted you. I cared for you. I loved you. You were like the sister I never had. I knew that if I needed to I could go to you for anything. Anything at all. Now I find out that that was all a lie? That everything was fake? That Natalie Price that I once knew was just an alias to hide your real intentions? Tell me I'm wrong. Tell me that I'm misinterpreting everything because I don't want to be right. I don't want to be told that the friendship I've built with Natalie Price was just a ploy for you to get inside information and for you to betray me. Tell me that I'm wrong.

NATALIE: I can't do that.

ANDY takes a deep breath, holding back tears.

ANDY: Then tell me why.

NATALIE: Afraid I can't do that either. It'd kinda ruin the whole "Oh I've got a secret plan!" thing I've got going.

ANDY: Who are you kidding? Whatever you have up your sleeves isn't gonna cut it.

NATALIE: Funny you should say that.

NATALIE raises a hand, which is surprisingly freed from the restraints, to reveal that she is holding a knife.

NATALIE (Cont'd): Thank god I brought my trusty knife to kill Willow with.

Unexpectedly, NATALIE flips forward and throws the chair over her head, smashing it down on ANDY ? who crumbles to the floor. NATALIE stands up straight and towards over ANDY as BRETT hurries out of the corner.

NATALIE (Cont'd): You really need to fix your evil radar ?cause it really sucks.

With that, NATALIE kicks ANDY across the face and heads for the door as BRETT attacks her. He throws a punch and she dodges it before kicking him in the stomach. Spinning around, she brings the knife down across his chest, slicing through his shirt and skin. BRETT drops to his knees, clutching his wound.

NATALIE (Cont'd): Don't bother fighting back.

NATALIE then stumbles backwards as her hands fly up to grip her temples. She moans and shakes her head, refocusing on the room. BRETT simply stares up at her, confused. Before leaving, NATALIE kicks BRETT in the center of the cut and he falls back on the ground. She leaves without a scratch.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

The door to the office flies open and FAITH, who is standing guard right in front of the doorway, is sent sliding across the floor. NATALIE stands behind where she stood, lowering her foot ? having just kicked FAITH in the back.

FAITH (Yelling): Willow!

WILLOW comes dashing out of one of the backrooms on the opposite side of the warehouse. She spots NATALIE, who is heading for the door.

WILLOW: Oh no you don't! Commotio!

She flicks her wrist at NATALIE who is hit with a blast of blue energy. NATALIE flies through the air and slams into the door. Slowly she rises off the ground and grabs her knife from the floor. She throws it at WILLOW and sprints for the door handle. Distracted, WILLOW throws up her hand a yellow magical shield forms before her. The dagger hits the shield and falls to the floor. When she looks back towards where NATALIE was, she isn't there and the door is wide open.

WILLOW: Great.

She kneels down and picks up the knife, gripping it by the handle.

FLASH TO:

FLASHBACK

EXT. WEDDING RECEPTION ? GAZEBO ? DAY

A female hand cuts a piece of cake and grabs it with a napkin. The camera pans out to reveal that it is a grownup CHELSEA PRICE who is holding the cake and is dressed in an elegant white wedding gown. To her left is NATALIE, whose hair is a longer than it is in present day. NATALIE is wearing a similar pink bridesmaid's dress and she's holding a bouquet of flowers. To CHELSEA's right is her new husband, KYLE. He's a young, brown-haired man who's smiling happily.

NATALIE: Oh c'mon you wimp! Don't grab it with a napkin!

There's a stir of laughter around NATALIE and CHELSEA. CHELSEA shoots a glare at NATALIE, who grins in response. CHELSEA then turns back to KYLE and pulls a small piece off her slice of cake. She puts it in KYLE's mouth and he eats it.

NATALIE (Cont'd): You're too clean?

CHELSEA spins around.

CHELSEA: Will you shut up!

The two laugh and KYLE takes the cake from CHELSEA. She glances back at KYLE, surprised that he took her cake.

CHELSEA: Hey!

KYLE: This is actually pretty good.

CHELSEA: It better be.

They smile at each other and NATALIE pokes her head inbetween them.

NATALIE: Can you two like?scoot the love shack over a few yards? I'd like some cake.

CHELSEA rolls her eyes and gently pushes KYLE towards their table.

CHELSEA: Everybody have some cake!

The crowd cheers playfully and NATALIE cuts into the cake. KYLE sits down in his chair and CHELSEA stands by her seat, staring at the crowd. A moment later, NATALIE walks up to her, holding her slice of cake on a plate. NATALIE takes a bite and motions CHELSEA away from the table.

NATALIE: Can I talk to you for a minute?

CHELSEA nods and blows a kiss at KYLE before following her sister towards a corner of the gazebo where the table of gifts is located.

NATALIE: He's here you know. Dad. You don't need to worry about him missing your wedding.

CHELSEA: I know. I just wish he could've been here in person, you know? Have you heard from mom?

NATALIE: Pssht, yeah right. Her business trips seem all too important for her. Italy was calling her this time. I'm not surprised, though. She never makes it to anywhere important for us. Never did, never will.

CHELSEA: Don't say that. That's not true.

NATALIE: Isn't it? You practically raised me since dad had the heart attack. She was never there. Not for our soccer games, not for our proms, not even for your wedding.

CHELSEA: Maybe so, but you don't know that she didn't want to be here.

NATALIE laughs.

NATALIE: Yeah right. If she wanted to be here?hell, if she wanted to be anywhere for us she would've been there no matter what.

CHELSEA: You underestimate her.

NATALIE reaches towards the gift table and grabs a small, horizontal box from the top of the pile.

CHELSEA (Cont'd): Um, excuse me! What do you think you're doing?

NATALIE: Stealing back my gift to you?

CHELSEA: Very funny. Now put it back.

NATALIE: No, I want you to open it. Now.

CHELSEA huffs and takes the box from NATALIE. She begins to open it.

CHELSEA: If something sprays out at me, I swear I'll-

She opens the box completely and sees a beautiful silver necklace in a black case. It's the same necklace that YOUNG NATALIE had in the previous flashback.

CHELSEA (Cont'd): It's? (Beat) Wait, its mom's. How did you get mom's necklace? She sold this years ago!

NATALIE: Well, she thought she sold it. I've had it ever since the Price family went bankrupt. I figured you should have it since you're the real mother compared to mom.

CHELSEA: So you stole this?

NATALIE: No! Of course not! I simply took it out of mom's jewelry box when she wasn't looking! Two totally different things.

They laugh and CHELSEA hugs NATALIE. NATALIE spots a young man who's sitting alone at the opposite side of the gazebo. She perks up and pulls away from her sister.

NATALIE (Cont'd): Who is that hunk of man-meat?

CHELSEA: God that term sounds so disgusting.

CHELSEA glances over her shoulder at the young man and then looks back at NATALIE, grinning.

CHELSEA (Cont'd): He's Brad Michaels. Kyle works with him at the hospital. Why?

NATALIE: ?Cause mama likey?

CHELSEA: Oh my god!

CHELSEA slips her arm around NATALIE and the two walk back to the table. The camera remains stationary before slowly focusing on a chair that is resting upside down on a table.

END FLASHBACK

FLASH TO:

INT. THE SHED ? ENTRYWAY ? EVENING

There's a knock on the doors and they are opened by a shadowy figure and NATALIE breezes inside.

NATALIE: They know. They know everything dammit.

NATALIE walks onto the dance floor, where the lights are lit, and throws her purse on the bar. The figure keeps to the shadows and doesn't reveal themselves.

NATALIE (Cont'd): It was the stupid witch. She found the tiara and told them. Now Andy wants me dead. (Beat) Do you know what to do now? Do you remember the plan for incase we're exposed?

The figure steps out of the shadows slowly.

FIGURE: Of course I do. I was the one who created such a plan.

The figure comes into the light completely to reveal him to be GREG.

GREG: I know just what to do.

He lets a sly grin creep across his face.

FADE TO BLACK

END OF ACT II

**Heather** · 30-07-07, 01:14 AM

ACT III

FADE IN

INT. THE SHED ? DANCE FLOOR ? EVENING

NATALIE jumps up and sits on the bar after sliding two stools down the counter. She cross her legs and leans back on her hands. GREG continues to move into the light and gets closer to NATALIE.

GREG: The backup plan will be difficult to follow through, however. You understand that, correct? It'll be a strenuous time for both of us.

NATALIE: Yeah, I get that. But I can't have the Slayers coming after me. Not now. Everything is so close to being completed.

GREG: I understand entirely. (Beat) Do you have the crown with you now?

NATALIE shakes her head.

GREG (Cont'd): Well that makes things a little more difficult.

NATALIE: Like I said, Andy found it. No doubt she destroyed it.

GREG: How unfortunate. We'll work around that, I assume.

NATALIE laughs.

NATALIE: Of course we will. How hard is it to replace to a freakin' crown?

GREG: Considering the quality of the tiara, I imagine it will be rather expensive.

NATALIE: If we need it so badly then we'll pay the cost no matter what.

GREG: You seem to forget that I'm the one who will be paying for the expenses.

NATALIE: No. I remember damn well.

GREG sighs and heads over to a table where a black briefcase is sitting with its cover opened.

GREG: I believe it is time for another dose, then.

NATALIE: And why is that?

GREG: Your attitude doesn't appeal to me.

NATALIE laughs once again and rolls her eyes.

NATALIE: I think you've forgotten who I am.

GREG glances over his shoulder at NATALIE as he pulls something out of his briefcase.

GREG: No, you've forgotten who you are.

NATALIE: I'm Natalie Price. See, I haven't forgotten who I am, dumbass.

GREG turns around to reveal that he is holding a long dagger with a large red jewel embedded in the handle.

GREG: That is exactly my point.

NATALIE spots the dagger and her eyes widen.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? EVENING

ANDY slowly wakes up and pushes herself off the ground, struggling to get to her feet. Behind her, BRETT is helped up off the ground by FAITH. WILLOW is sitting behind the desk, NATALIE's knife in hand as she types away at the computer.

ANDY: This is freakin' ridiculous.

FAITH sits BRETT down in a chair and glances over at her.

FAITH: Good evening, miss-sleeps-a-lot.

ANDY: Okay, you know what? She hit me with a freakin' chair!

BRETT: Can you just save the sniping for later?

WILLOW: Umm?Can I ask how she escaped? Oh and who supplied her with this sharp choppy-choppy object?

WILLOW holds up the knife.

ANDY: Umm?She said she brought it to kill you. I have no idea where she was hiding it. I would've found it if it was in any of the obvious spots. I mean, I did tie her down to the chair.

FAITH: And she did cut herself out of the chair you tied her to?

ANDY: Oh will you just?

BRETT: Shut up! Both of you!

ANDY and FAITH glare BRETT, who winces with pain as he tries to shrug.

BRETT (Cont'd): Can someone please get the jumbo band-aids?

FAITH heads out of the office. WILLOW returns to focusing on the computer screen.

ANDY (To Willow): What are you doing?

WILLOW: Research.

ANDY looks at the knife again.

ANDY: On how to cut bread?

WILLOW rolls her eyes at ANDY and returns her focus to the computer.

WILLOW: No, on Natalie Price.

BRETT winces again as he shifts to look at WILLOW.

BRETT: What are you looking up on her?

WILLOW: Anything that'll explain who she really is.

ANDY: Finally! Someone agrees that that's not the real Natalie Price.

BRETT: Now I'm starting to agree, too.

BRETT's face is remorseful and saddened. WILLOW perks up a bit in her seat.

WILLOW: I found something!

ANDY winces as she walks behind the desk to get a look at the screen and reviews what is displayed briefly.

ANDY: I see nothing vital.

WILLOW: It's a private investigator-heaven. There has to be something useful or at least something to steer us in the right direction.

ANDY: Fine. You do the research. I'll do the physical searching and try and find where Natalie is hiding out.

FAITH comes back into the office holding a first aid kit.

ANDY (Cont'd): Why look at that naughty nurse!

FAITH shoots ANDY a dirty look and drops the first aid kit on the table next to BRETT.

FAITH: Now I'm going to the black market.

ANDY: Can't that wait?

FAITH: I can make it useful. I'll try to find something on this whole Natalie-ordeal. You okay with that?

ANDY sighs and places her hand on her forehead.

ANDY: Fine! But keep that funeral comment in mind.

FAITH grins and heads back out of the office. BRETT winces as he reaches for the first aid kit.

BRETT: And I'll?ow?I'll just be here patching myself back together again while you all do the fun stuff.

ANDY: It's just a scratch.

BRETT: A scratch? No, this is a slice. Still starts with an ?s' but is of a totally different blood-drawing family.

ANDY grabs the first aid kit and opens it, grabbing gauze and tape. BRETT pulls apart his shirt at the cut and ANDY pushes gauze against the bleeding cut.

BRETT (Cont'd): Who's the naughty nurse now?

He grins at ANDY, who smiles back. WILLOW notices the exchange and raises an eyebrow before returning back to the computer. She smiles and bounces in her chair.

WILLOW: Oo! Oo! I think I found something!

ANDY glances over her shoulder at WILLOW.

ANDY: You're gonna have to continue talking, hun.

WILLOW: Natalie's had an unusually high amount of trips to the hospital.

ANDY: I'm missing your point by a mile.

ANDY continues to apply pressure to BRETT's wound.

BRETT: Celestial?ow! Celestial Center had a health division that branched into certain hospitals in the US. Ow! Can't you be a little bit gentler?

ANDY grins devilishly.

BRETT (Cont'd): What hospitals was she admitted to?

WILLOW: No, she wasn't only admitted to hospitals. This shows a record of times she's signed in and visited a hospital. But all of them were to Manhattan General Hospital. She's been there quite a few times in the past two decades.

ANDY looks back at WILLOW, confused.

ANDY: Wait, Natalie told me that she lived on the east coast for a while. How could she be going to Manhattan General from the other side of the country?

BRETT: She's lied to us already, Andy.

ANDY nods admittedly.

WILLOW: I'll try and look into Celestial Center's operations in the hospitals. Maybe that'll help?

ANDY: And hopefully Faith can find something and bring it back to us alive.

ANDY puts the last piece of tape on BRETT's bandage and pulls away, shutting the first aid kit with her free hand. WILLOW starts typing away again and BRETT slowly gets to his feet. ANDY remains seated, staring off in thought.

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? EVENING

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? NIGHT

CUT TO:

EXT. PECTUS MALUM ? GATES ? NIGHT

FAITH pulls up in front of the gates on ANDY's motorcycle with a black bag slung over her shoulders. She pulls off the red helmet and shakes her hair out. She gets off the motorcycle, rests the helmet on the seat, and opens the bag to pull out a crossbow. We see that more arrows are in the bottom of the bag as she zips it up. Her free hand then reaches into her pocket to double check that she has her lighter. She stares up at the open gates; the lock is busted off and has scorch marks among the bars. FAITH then makes her way into Pectus Malum, weapon firmly in her grip.

CUT TO:

INT. PECTUS MALUM ? MARKETPLACE ? NIGHT

FAITH has the crossbow slightly raised as she walks through the market. The occasionally stops at a select few deserted booths/carts to find something to help with NATALIE's case but moves along rather quickly. She hears a loud bang that echoes through the market and spins around, firing an arrow at the source of the sound. The arrow shatters a bottle on the cart opposite her. However, there is nothing there. FAITH turns back around to focus on the cart she was searching...Only to see SUMMER, the evil blonde Slayer from "Better Days," standing right in her face.

SUMMER: Why hello there!

SUMMER punches FAITH across the jaw, causing her to stumble backwards. FAITH takes another step backwards to find her balance only to be struck by a blast of orange energy. FAITH flies forward and slides through the dirt, letting go of the crossbow. PAIGE stands behind where FAITH stood. ELLA leaps out from the cart where FAITH had fired the first arrow at and walks over to PAIGE's side. SUMMER does the same thing. FAITH slowly pushes herself up off the ground and gets into a crouching position, now facing the three attackers.

FAITH: How ironic, the three little pigs. Where's your big bad wolf?

PAIGE: Oh he's out of town. I can take a message, though.

FAITH: Not the one I was talkin' ?bout.

ELLA takes a step forward menacingly.

ELLA: You made a mistake coming back here, Slayer.

FAITH stands up, casually glancing at her crossbow ? which is caught right in the middle of the two opposing sides.

FAITH: Tell me what I need to know and I'll be on my way.

SUMMER: She was right. She said they'd show up here eventually, looking for answers.

ELLA: So what if She was right? What is that supposed to mean?

PAIGE: I say we kill her, plain and simple. She never said no to that.

FAITH rolls her eyes.

FAITH: Tell me who ?She' is and things'll move along a helluva lot faster.

SUMMER: I'm afraid you can't know that.

FAITH shrugs.

FAITH: Too bad.

She darts towards the group of girls and drops to her knees, snatching up the crossbow and taking aim on them.

FAITH (Cont'd): Now I suggest you start tellin' me what I need to know or else this is gonna get really messy.

FAITH's glowers at them.

CUT TO:

EXT. NEW YORK CITY ? STREETS ? NIGHT

NATALIE wanders the streets, alone amongst the crowd of people. She stares straight ahead, seemingly looking through the people in front of her. A car whizzes down the street. NATALIE's attention is then fully focused on the car as it draws near them. The scene becomes a slow-motion scene as the camera zooms in on the car's tires.

FLASH TO:

FLASHBACK

EXT. THE PRICE'S HOUSE ? DRIVEWAY ? NIGHT

The camera pulls away from the tires of a car as it rolls into the driveway. The camera then moves towards the front door as it opens. We see CHELSEA grinning as she peaks through the crack at who pulled up at their house.

CUT TO:

INT. THE PRICE'S HOUSE ? LIVING ROOM ? NIGHT

CHELSEA shuts the door and turns around to find NATALIE, dressed in a flashy white dress.

CHELSEA: He's here!

NATALIE: How do I look?

NATALIE poses and flaunts herself to CHELSEA.

CHELSEA: You look fabulous. I feel like I should be rambling on about something like "Chew with your mouth closed!" or "Use a condom!" or "Click it or ticket!"

NATALIE: Oh shut up.

KYLE comes out of the kitchen holding a bag of chips and a pack of beer.

KYLE: Come back with keys to a nice apartment, will you?

NATALIE slaps KYLE on the shoulder.

NATALIE: If he does what I think he's going to do tonight then I'll come back with something much more exciting than my own privacy.

KYLE laughs.

KYLE: Your own privacy? Give me a break?

CHELSEA walks up behind NATALIE and fixes her hair. NATALIE whines and slaps at her sister's arm.

NATALIE: Stop it! I have my hair perfectly fine!

CHELSEA: No you don't.

NATALIE: Well I have it how I want it.

CHELSEA: But you're missing something.

CHELSEA reaches into her pocket and retrieves the silver necklace NATALIE gave her at her wedding. She puts it around NATALIE's neck.

NATALIE: Why are you giving this back to me?

CHELSEA: Because you gave it to me and it brought my two years of a good marriage. Now I'm giving it to you with hopes that it gives you?a marriage.

NATALIE laughs and smiles.

NATALIE: Thank you, Chels.

The two hug before the doorbell rings and CHELSEA goes to answer it, smiling. She opens the door. BRAD MICHAELS, the man from CHELSEA's wedding, is on the other side, holding a bouquet of flowers.

CHELSEA: Hello, Brad. C'mon on?

NATALIE pushes past CHELSEA and out the door.

NATALIE: No need for that. Let's get going, shall we?

CHELSEA: Fine then! Enjoy your night out!

CHELSEA shakes her head and laughs, shutting the door behind her.

CUT TO:

INT. CALIENTE ? TABLE ? NIGHT

The camera moves through the people inside the Mexican restaurant until we see NATALIE, head propped up on her hands, and BRAD, doing the same as NATALIE, who are seated a small round table near the dance floor.

NATALIE: We look like freaks.

BRAD: We look like happy freaks.

NATALIE smiles and leans back in her seat.

NATALIE: Did you get the paperwork for the apartment?

BRAD smiles.

BRAD: For our apartment, you mean? I got the keys, too. I signed the paperwork on my lunch break.

NATALIE (Excited): Seriously?

BRAD nods.

BRAD: Seriously.

NATALIE: Oh my god!

She leans across the table and kisses BRAD.

BRAD: Did you tell your sister that you're moving out, yet?

NATALIE looks down at her glass of wine and changes the subject.

NATALIE: Can I see our pretty keys?

BRAD: You haven't, have you? (Beat ? sighing) No big deal. Just proves you don't love me.

BRAD reaches into his pocket and pulls something out, keeping it hidden in his palm. He reaches out across the table and places it near NATALIE's drink.

NATALIE: That must be one big set of keys if it's filling your whole?

BRAD lifts his hand to reveal and small black box. NATALIE's eyes widen.

NATALIE (Cont'd): That isn't a set of keys. I don't think that jingles, either?

BRAD gets out of his chair and kneels down next to NATALIE. He takes the box from next to NATALIE, opens it, and pulls out a beautiful gold ring.

BRAD: Natalie Price, I love you.

NATALIE, excited, moves her hand in a circling motion.

NATALIE: Skip the mushy-gooey stuff.

She laughs and smiles with BRAD.

BRAD: Will you marry me?

NATALIE: You're stupid if you think I would say no to you.

He slips the ring on her finger, gets up off his knees, and kisses her. BRAD goes back into his pocket and snatches a pair of silver keys that he drops on the table.

BRAD: You can even hold the keys.

NATALIE kisses him again.

CUT TO:

INT. BRAD'S CAR ? FRONT SEAT ? NIGHT

"I Know I Know I Know" by Tegan and Sara is playing in the background. NATALIE is sitting in the passenger's seat, admiring the ring on her finger. BRAD notices and smiles at her.

NATALIE: This is just too perfect.

BRAD: Too perfect? Is there such a thing?

NATALIE: There is so such a thing. I'm just waiting for something drastic to happen like on all the TV shows nowadays.

BRAD: Nothing drastic will happen. I promise. I won't let anything drastic happen to either of us.

NATALIE: What if some crazy car just hits us from out of nowhere?

BRAD laughs.

BRAD: I won't let that happen.

NATALIE: Good.

NATALIE smiles and kisses BRAD on the cheek as he turns his attention back to the road. She then returns to toying with her engagement ring as the music playing in the background gets louder.

CUT TO:

EXT. NEW YORK CITY ? GEORGE WASHINGTON BRIDGE ? NIGHT

We zoom out from BRAD's car as they get off the bridge and onto the highway. The camera follows the car from a distance while slowly zooming out as the music continues playing. A truck speeds onto the highway and smashes into the driver's side of BRAD's car, sending it rolling through the traffic and crashing into the divider. BRAD's car is completely upside down. The back end of the car catches fire as the camera stops moving right above the crash site.

CUT TO:

INT. BRAD'S CAR ? FRONT SEAT ? NIGHT

We see NATALIE's white dress, now splattered with blood and broken glass. The camera moves up until we see NATALIE's face, now cut and bleeding badly. Her eyes open slowly and she looks over to see BRAD, half way through the driver's window and covered in his own blood. He isn't wearing a seatbelt while NATALIE is. NATALIE loses consciousness and passes out. The music comes to an end.

FADE TO BLACK

END FLASHBACK

END OF ACT III

**Heather** · 30-07-07, 01:15 AM

ACT IV

FADE IN

EXT. SLAYER CENTRAL ? PARKING LOT ? NIGHT

The black surveillance van is still parked at the far end of the parking lot. There is still no visible activity anywhere around it. The camera pans around to show BRETT standing in the doorway to Slayer Central, staring the van.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANDY wanders up to BRETT and taps him on the shoulder.

ANDY: We're all gonna die from the pneumonia if you keep that freakin' door open any longer.

BRETT doesn't look at her; he is still focused on the van.

BRETT: They're being ridiculous. Putting this place under surveillance. Did they even have a warrant?

ANDY nods.

ANDY: They did. They flashed it to us when we got let out of jail.

BRETT: Yeah and that was almost two weeks ago. You'd think that they'd be convinced that there is nothing going on around here by now.

ANDY shrugs.

ANDY: They're just searching really deep in order to bust us. It's no big deal. We haven't given them any true reason to arrest us in the past few weeks so be happy with that. They'll be gone soon.

BRETT: I don't believe that.

ANDY pats him on the head.

ANDY: Listen to Andy like a good boy and you'll get a cookie.

BRETT doesn't smile. ANDY rolls her eyes.

ANDY (Cont'd): Fine, be like that. Willow thinks she's found something that might help but we need your help.

BRETT follows ANDY towards the office.

BRETT: Was that cookie just a figure of speech?

ANDY slaps him on the back and he winces with pain.

ANDY: Sorry.

They enter the office.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

WILLOW looks up from her computer as BRETT and ANDY enter the office.

BRETT: What did you find?

WILLOW: I found this nifty trick.

She turns the monitor around for BRETT and ANDY to see. They're not amused.

WILLOW (Cont'd): Okay then. I think I hit a lead with the Celestial Center-gone-doctor's thing. They weren't doctors at all. They didn't even research in medical hospitals.

ANDY: Where did they research, then?

WILLOW: Aha! That's the lead: they researched in mental hospitals. It was Project Psyche, according to their records?

BRETT: How did you access their records?

WILLOW: A magician never reveals her tricks.

ANDY gestures for her to continue.

ANDY: Keep it moving.

WILLOW nods.

WILLOW: Right. So Project Psyche dealt with hypnosis. The media thought that the government was trying to find a way to reverse mental illnesses such as paranoia, bipolar disorder, schizophrenia, etcetera, etcetera. But that was just on the surface. Celestial Center was apparently planning on using Project Psyche for their own private uses rather than for global benefits. (Beat) Here's the main part of our lead: guess who headed this project?

ANDY and BRETT shrug and exchange curious glances.

WILLOW (Cont'd): Dianna Preston.

BRETT: The new co-president of Celestial Center.

ANDY: So wait, our new theory is that Dianna is hypnotizing Natalie into believing she's the Queen? For what purposes?

BRETT's head tilts to the side and WILLOW's eyes widen as they both come to a realization.

BRETT: To protect herself from being found out.

WILLOW: Dianna could be the Queen.

ANDY sits down in a chair and rests both hands on the sides of her head.

ANDY: It makes sense. She's got all the resources, the intelligence, the strategies?The evilness.

BRETT: So she was using Natalie as a fake. A double. (Beat) That's evil, but it's smart.

WILLOW turns the monitor back around.

WILLOW: Okay, so I'm a little blank on the whole "What's next?" thing.

ANDY stands up again.

ANDY: We find Natalie and reverse this hypnosis.

She looks to WILLOW.

ANDY (Cont'd): How do we do that?

WILLOW returns to the computer and starts typing.

CUT TO:

INT. PECTUS MALUM ? MARKETPLACE ? NIGHT

Rain is starting to fall and FAITH is now standing, crossbow aimed at the three girls who are all crowded under an overhang just outside a small shack. FAITH remains in the rain, listening to the girls as they tell her what she needs to know.

SUMMER: The Queen runs this place. She bought it out from a group of demons back during the Los Angeles apocalypse.

ELLA: Every evil being wanted a part in that. This place would've been in shambles if it weren't for the Queen.

FAITH aims the crossbow at PAIGE when she doesn't speak.

FAITH: Your turn.

PAIGE: I'd rather not for my own safety.

FAITH: Suit yourself.

FAITH moves back to SUMMER.

SUMMER: Every move she makes is made through here, though no one's seen her in person. Not except for Jared Satyr. He's met the real one.

FAITH: What do you mean ?the real one?'

ELLA: We were told to play along with this blonde chick who thought she was the Queen of the Slayers, but she wasn't the real one. The real Queen is a mystery to everyone but Mister Satyr.

PAIGE backs away from the group and into the rain. FAITH points the crossbow at her, defensively.

PAIGE: You're both fools. She'll kill you for talking.

ELLA (About Faith): She'll kill you for not talking.

PAIGE: She doesn't know how to kill me.

PAIGE grins and faces FAITH.

PAIGE (Cont'd): Good luck getting your information when your sources are both dead in a few moments. Have a beautiful night, Slayer.

FAITH fires an arrow at PAIGE but she disappears in a vortex of orange light before the arrow makes contact with her. FAITH's attention snaps back to SUMMER and PAIGE as two bolts of red light strike each of them in the heart. FAITH whirls around and fires a few arrows in the direction of wear the attack came from but there is no one there. FAITH looks back at SUMMER and ELLA only to see their dead bodies slowly begin to burn from the killing wound and outwards.

FAITH (To the mystery attacker): I hope you're happy, whoever you are. You just messed with the wrong Slayer.

FAITH reloads the crossbow and pulls out her lighter, she lights the end of an arrow and fires it into the shack opposite her. The building catches fire instantly. She repeats the process and fires into every building before moving onto destroying the dead trees and lighting the grass aflame. Satisfied, FAITH heads towards the exit and leaves. The camera remains stationary, however, and we watch Pectus Malum begin to burn to the ground.

CUT TO:

EXT. THE SHED ? ENTRANCE ? NIGHT

It's now raining heavily in the city as we find ANDY and BRETT outside the Shed, picking the lock on the door.

BRETT: Hurry up!

ANDY: I'm an ex-cop who picked up her tricks through things we snatched off criminals. You cannot rush me.

BRETT shakes his head and goes back to watching to make sure no one is coming.

BRETT: Are you sure she's here?

ANDY: Pretty damn. It makes sense, too. In a kinda creepy ironic way.

We hear the door unlock and ANDY slowly opens it on a crack.

ANDY (Cont'd): Success!

BRETT: You know the plan?

ANDY nods.

ANDY: I go after Natalie, you distract Dianna, and then I find whatever is making Natalie believe she's the Queen.

BRETT stands up slowly and holds up his crossbow, ready to fight. ANDY gets to her feet, too.

BRETT: Ready?

ANDY: I'm so ready.

ANDY opens the door and the two enter the Shed silently, shutting the door behind them.

CUT TO:

INT. THE SHED ? ENTRYWAY - NIGHT

ANDY and BRETT slowly make their way into the club. ANDY throws out her arm and stops BRETT from moving. She points towards the man standing before NATALIE. He is holding a dagger with a red jewel in it.

BRETT (Whispering): Hypnosis object.

ANDY (Whispering): But that's not Dianna.

The man turns around to reveal himself to be GREG. BRETT grins.

BRETT (Whispering): This is gonna be much more fun, now.

ANDY (Whispering): Here we go.

CUT TO:

INT. THE SHED ? DANCE FLOOR - NIGHT

GREG polishes the red jewel on the dagger and places it back down in his briefcase.

GREG: Another dose done. I think that will be all for tonight.

NATALIE: Is the backup plan in action?

GREG: That it is?

GREG is pushed out of the way and he stumbles into a table. ANDY is revealed to now be standing where he stood, facing NATALIE, hands on her hips. NATALIE has her head titled to the side, defiantly while GREG scrambles to get to his feet.

ANDY: Hey there, Natalie.

NATALIE smiles.

NATALIE: What, are you here to fight me? To make me turn good again?

ANDY shrugs.

ANDY: Well, to make you believe you're good again.

NATALIE: Oh c'mon, Andy. You know how this is gonna go. We'll fight, you'll hold back, and I'll come out on top while you end up on the floor.

ANDY: Oh, baby, this is gonna be so much better.

"No Sleep Tonight" by the Faders begins to play. ANDY launches herself through the air, tackling NATALIE. Expertly, NATALIE rolls backwards and kicks ANDY off of her. GREG starts to move towards the fight.

GREG: No! Don't!

BRETT (OS): Hey British Boy.

GREG spins around and the butt of a crossbow smashes into his face. BRETT is revealed to be holding the weapon.

By the bar, ANDY kicks at NATALIE, who dodges the attack and moves in to throw a punch. ANDY blocks the hit and kicks NATALIE in the stomach, sending her backwards a couple of steps. ANDY spins once and attempts to kick NATALIE while she's already down. NATALIE, however, drops to the ground and throws out her own foot, tripping ANDY. Both of them on the floor, NATALIE rolls onto her side and kicks ANDY in the face before pressing the underside of her shoes against ANDY's neck, trapping her on the ground.

NATALIE: You're so weak for a Slayer. I've trained better teenagers compared to you.

ANDY gasps for breath and NATALIE sits up slowly and applies more pressure on her airway.

ANDY: No, you didn't.

NATALIE forces her foot upwards, snapping ANDY's head backwards.

The camera moves back to BRETT as he hits GREG over the head with the crossbow.

BRETT: I've waited a long time to do this.

BRETT raises the crossbow on the back of GREG's head. GREG, however, attacks first and pulls a chair down off one of the high tables. It hits BRETT on the back and he stumbles backwards. GREG jumps to his feet and punches BRETT repeatedly.

The camera moves back to ANDY, still pinned to the floor, as she kicks NATALIE in the back of the neck with her free leg. NATALIE's leg is forced off of ANDY's neck and the slayer rolls over and pushes herself up onto her feet. With a running start, ANDY flips towards NATALIE ? who has just gotten back to her feet. NATALIE swings her leg out and kicks ANDY in the stomach, forcing her to slam into the bar. ANDY moans and does a simple back-flip up onto the bar. She grabs the pole that runs along the ceiling, where lights are attached, and swings outwards to kick NATALIE.

Back to BRETT as he dodges GREG's attacks. GREG swings his arm out and it strikes BRETT in the back of the neck. He then brings his knee up, allowing it to pound into BRETT's stomach. BRETT doubles over with pain and GREG smashes one of the chairs over his head.

Back to ANDY as she swings off the bar and flips through the air, landing on her feet. She twirls and goes to kick NATALIE but she dodges the attack. NATALIE punches, ANDY blocks, ANDY punches, NATALIE dodges. The two continue this pattern until ANDY rolls over the bar and onto the other side.

NATALIE: You can't hide on the other side of a freakin' bar.

On the other side of the bar, ANDY crouches down and runs along the counter until she reaches the opposite end. She then leaps over the bar and races towards the table where GREG's briefcase is located. NATALIE runs after her but fails to stop ANDY from opening the item and pulling out the red jeweled dagger. ANDY holds it out in front of her, threatening NATALIE.

ANDY: This isn't you, Natalie. Nat, listen to me. Please. This is for your own good.

NATALIE moves in to attack but ANDY reacts too quickly, smashing the red gem embedded in the dagger's handle on the tabletop. NATALIE screams and collapses into ANDY's arms.

The camera moves back to BRETT as he kicks GREG's legs out from beneath him. BRETT rolls to his feet and stands over GREG. He grabs his crossbow from the floor and takes aim on GREG.

BRETT: Stay the hell away from my friends.

BRETT fires an arrow at GREG but as the arrow makes contact with him he disappears in a poof of black smoke. BRETT stares at the ground, confused. The music comes to a close as he notices ANDY, who is now kneeling on the floor with NATALIE unconscious in her arms. He races over to them and slides across the floor on his knees.

BRETT (Cont'd): Is she alright? What happened?

ANDY strokes NATALIE's hair and gets out of her face. She looks up at BRETT.

ANDY: It was the dagger. We were right. Something about it screamed "Hypnosis Thingy."

BRETT: But she's fine, right?

ANDY: I hope so.

The three of them remain silently on the floor as the camera zooms out.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

NATALIE is sitting on the couch, legs curled up beneath her. ANDY walks into the scene and sits down beside her.

NATALIE: What do you think you're doing?

ANDY glares at her.

ANDY: Do I need to whoop your ass again, missy?

NATALIE: Psht, you so didn't whoop my ass. I gave in.

ANDY: Yeah, you gave in. That's it.

ANDY smiles and leans back. The two of them sit quietly, watching the young Slayers train with each other on the mats.

NATALIE: It's a shame.

ANDY: What is?

NATALIE: That they're so young. I keep thinking "What if they were older? What if they had lived a good chunk of their lives? Would this whole situation be less?unfortunate?"

ANDY: It's unfair, I know. But this Queen doesn't care.

NATALIE: That's exactly my point. This big bad is heartless. She's out to kill them for lord knows why and doesn't even consider who these girls are. They're daughters and friends and girlfriends and nieces and she just doesn't care. She uses people. Hell, I'd know better than anyone else. (Beat) She needs to be stopped. Andy, she needs to be killed. I don't care what it takes but if these girls are saved, if they can live their lives without the fear of some big bad tyrant murdering them in their sleep, things can be right again.

ANDY wraps her arm around NATALIE's shoulders and kisses her on the top of the head.

ANDY: We will. And when we do, I'll make sure you get the final shot at her. She hasn't seen the fury of Natalie Price. Not yet.

NATALIE weakly smiles and ANDY glances to her left to see BRETT smiling with his arms folded across his chest. He raises an eyebrow up and down a few times and heads up the stairs. ANDY slips her arm out from behind NATALIE and kisses her on the top of the head again. She stands up and starts towards the stairs.

NATALIE: Where are you going?

ANDY: Honey, beating up their best friend tires a girl.

ANDY makes her way upstairs and heads down the balcony towards her bedroom.

NATALIE: You so didn't beat me up!

ANDY laughs wildly and disappears into her room.

CUT TO:

INT. SLAYER CENTRAL ? ANDY'S ROOM ? DAY

We see that the door is open on a crack. The camera then moves upwards to show BRETT standing shirtless by the bed ? his bandage is replaced with a cleaner one. ANDY stands before him with her back to the camera.

BRETT: Nothing too wild. Still bleeding.

ANDY: Oh you wussy.

ANDY moves closer to him and kisses him, eyes closed. Unexpectedly, we hear the door slam open.

NATALIE (OS): A-hah!

ANDY spins around and both her and BRETT see NATALIE standing in the doorway, arm extended and finger pointing at the two of them.

NATALIE (Cont'd): Oh that's just disgusting.

She lowers her arm and laughs hysterically. NATALIE then races out of the room and out of the scene.

NATALIE (OS ? singing): Andy and Brett sitting in a tree K-I-S-S-I-N-G! First comes love then comes marriage then comes baby in the baby carriage?

Her voice fades out as she gains distance from the room. BRETT hangs his head and ANDY raises her hand to cover her eyes in shame.

FADE TO BLACK

ANDY (OS): Thank god she's back to normal?

END OF EPISODE

Announcement

CHOSEN Episode 1.12 "Natalie"

CHOSEN Episode 1.12 "Natalie"

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