Announcement

**Heather** · 30-07-07, 01:19 AM

ACT I

FADE IN

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

WILLOW looks shocked after hearing what BUFFY just told her. BUFFY seems numb.

WILLOW: What? Why? We can't just leave here! Especially not now!

BUFFY: Andrew was attacked. The girls were there when it happened.

WILLOW: O-oh?What happened? How did it happen? Is anyone hurt?

BUFFY nods sadly.

BUFFY: They had to take Andrew to the hospital for intensive care. They don't know what's going on now, though. Doctors won't tell them. Almost everyone else is either missing or hurt.

WILLOW: Buffy, what happened?

BUFFY: Someone snuck into the estate. The Immortal's old place. They apparently just attacked.

WILLOW shakes her head.

WILLOW: Who? Who attacked them?

BUFFY: Dawn doesn't know. She?She said only Andrew and the Slayers were there that night. Dawn was with Giles when they came back to find what's left.

WILLOW: Kennedy. What about Kennedy? Is she hurt? Where is she?

BUFFY puts both hands on the side of her head, eyes becoming glassy as tears begin to form. She bursts out in anger.

BUFFY: Willow, just stop! I don't know the answers! I can't tell you what happened since I don't know what happened myself!

WILLOW backs down.

BUFFY (Cont'd): I'm sorry. I'm?I'm worried, I'm panicked, I'm pissed off. We have to go back to Rome to sort this out. They don't know the extent of what's going on. They need to be told.

WILLOW: But we can't leave here, Buffy. The Queen is here. In New York City. She's not in Rome.

BUFFY: But she's branching out. We've seen it already. I've experienced it already.

WILLOW looks down.

WILLOW: I'm not leaving. I can't leave. Andy and Faith need my help. I'm not going to abandon them in the middle of a major crisis.

BUFFY: I know. I don't want to leave either but Giles needs our help. He can't handle this on his own. He's already busy with the Watcher's Council and he doesn't have the power to prevent it from happening again.

WILLOW stares at BUFFY.

WILLOW: Buffy, we don't even have the power to prevent it from happening again.

BUFFY gazes up at the ceiling.

BUFFY: We have to try!

WILLOW: Haven't we tried enough here? What have we done successfully here?

BUFFY: I'm going. If you're not coming with me then whatever.

BUFFY turns and storms out of the room, leaving WILLOW alone and shocked.

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? NIGHT

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? MORNING

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? MORNING

FAITH and BRETT are standing in front of the couch where NATALIE and ANDY are sitting. They appear deep in discussion.

BRETT: So, wait. You're saying that they were hypnotizing you for over 12 weeks?

NATALIE: Back when they kidnapped me?The first time.

ANDY: Conveniently when we first heard of the Queen, if I recall correctly.

FAITH: I'm still tryin' to understand all this. So you were kidnapped, tortured and hypnotized by this British a**hole, convinced you were the Queen of the Slayers, and then?

ANDY has a double take.

ANDY: Wait what did you say?

FAITH: British a**hole.

ANDY: After that.

FAITH: She was convinced she was the Queen of the Slayers?

ANDY nods.

ANDY: Why are you calling her that?

FAITH: That's what the crazy chicks at the supermarket called her.

BRETT: You mean Pectus Malum, right?

NATALIE: No, I think she's talking about those evil produce women. Total bitches.

NATALIE rolls her eyes.

ANDY: Well at least we have a formal title for her now. (Beat) What else did this girls say to you? And why didn't you tell us the second you got back?

FAITH shrugs.

FAITH: I thought I did tell you.

BRETT: You didn't. I can vouch for that.

FAITH: I didn't find out much. Most of it was just about Pectus Malum. The Queen took over back during one of the apocalypses in California a few years back ? they didn't say which. The only end of the world fiesta I can think of was back when the sun was blocked out and that was?

BRETT: Four years ago.

The group looks at him, surprised that he knows this information.

BRETT (Cont'd): We got our hands dirty with it, too. Carry on.

FAITH closes her eyes to remember where she left off.

FAITH: So it was run by vampires until she took over four years ago. It's been her secondary base of operations since. Uh?She goes by Queen of the Slayers as a formal title. That's ?bout it.

ANDY rests her head in her hands.

ANDY: So the Queen's been at it for four years. And she rules over Slayers. I admit that the last part isn't that surprising considering what we've seen so far. (Beat) But?

NATALIE: Four years? Why is she choosing now to strike? I mean, every Potential was turned into a Slayer three years ago. Why didn't she attack then when the girls weren't already used to their power?

BRETT starts to pace.

BRETT: Maybe that's what she wants. Maybe she wants them used to their power.

FAITH: But why? They'd be able to fight back.

ANDY: They wouldn't. She's got all of them convinced that she's the good guy in this whole shabang. They wouldn't fight back. And since they're not a threat, she could use their power.

NATALIE: More like abuse their power.

BRETT runs a hand through his hair.

BRETT: It's all about power. It's always about power. She has to be getting something out of this. Vengeance, control, general satisfaction?

ANDY: What could she possibly get out of this aside from a big title and having people fear her? This can't all be about arrogance. (To Natalie) You don't happen to remember why the Queen does what she does?

FAITH: Better yet, who the Queen is?

NATALIE shakes her head.

NATALIE: I remember everything and there's nothing in those memories that can answer either of those questions.

ANDY: Of course, because heaven forbid something was easy for once.

BRETT: We still have to investigate the theory that Dianna Preston is behind this.

FAITH: Who now?

BRETT stops pacing.

BRETT: She's the new President of Celestial Center or something like that. I don't really know the specifics. My sources lately are very fuzzy for some weird reason.

FAITH nods.

NATALIE: So what's the next step here?

Everyone is silent, lost in thought.

CUT TO:

INT. HOTEL ? HALLWAY ? EVENING

SPIKE exits room 843 wearing a black leather jacket and sunglasses. He starts off down the hallway. He enters an elevator and hits one of the buttons ? presumably to go to the garage. As the doors close, SPIKE spots a brown haired girl passing down the hallway. The doors close completely for a moment before opening again. SPIKE rushes out of the elevator and down the hall, following the brunette.

SPIKE: Dawn? Dawn!

The girl either doesn't hear SPIKE or is ignoring him. Unexpectedly, a door opens a maid comes out, pushing a large cart with cleaning supplies stacked up on top of it. SPIKE runs into the cart, pushes it aside, and keeps on running after the brunette. The maid mumbles under her breath. SPIKE takes off to the right, planning to cut off the girl. He's running now, pace having picked up when he turned the corner. He stops running and uses his momentum to slide out in front of the girl. SPIKE holds up both hands and sizes the girl up. It's not DAWN, rather it's KENNEDY. KENNEDY appears shocked to see him.

KENNEDY: Spike? Wow. Long time no see. How've ya been, big guy?

SPIKE wrinkles his brow and continues to stare at her.

SPIKE: I thought you were Dawn.

KENNEDY: That's kinda insulting. You're not even happy to see me?

SPIKE: Bloody hell. What're you doing here?

KENNEDY places both hands on her hips.

KENNEDY: Buffy didn't tell you? (Beat) That's a surprise. I'd imagine she tells you everything?

SPIKE: Shut up, will you? (Beat) Again, what are you doing here?

KENNEDY: Dawn and I came here to tell Buffy about what happened in Rome. (Beat) She did tell you about that, right?

SPIKE nods.

KENNEDY (Cont'd): Giles figured Dawn would be better off out of the danger zone and sent me to go with her in case something goes wrong.

SPIKE: The bloody wanker didn't send her out of the danger zone; he sent her into it.

KENNEDY stands up straight.

KENNEDY: Excuse me?

DAWN (OS): Kennedy? Where did you go? Giles will not be happy to hear that my bodyguard did not pull a Frank?

DAWN turns the corner and stops dead in her tracks when she sees SPIKE.

DAWN (Cont'd): Farmer. Oh my god, Spike!

She dashes over and hugs SPIKE. SPIKE looks down at her, smiling.

SPIKE: How are you, ?lil bit? Are you alright?

KENNEDY rolls her eyes and backs off as DAWN pulls away from SPIKE, smiling.

DAWN: I didn't believe them when they said you were alive. It just seemed so weird. But obviously you're not dead since you're all fleshy.

DAWN slaps SPIKE on the stomach.

DAWN (Cont'd): But, yeah I'm fine. Just a little wonky after everything that's happened.

KENNEDY waves her hands to get their attention.

KENNEDY: Okay, topic change. Where's Buffy? We need to talk to her.

SPIKE: She's at the warehouse with Red.

KENNEDY: Willow? She's with Willow?

SPIKE nods.

DAWN (To Kennedy): Whoa girl! Buffy told us not to leave the hotel.

SPIKE: Then where were you going?

DAWN: Huh?

SPIKE: Before. You two looked like you were heading out.

KENNEDY: We were going to get food.

SPIKE: Makes sense. (Beat) Call Buffy's cell phone. She's bound to have it on her.

DAWN starts off down the hallway in the opposite direction.

DAWN (Calling back to them): I'll do that now.

She abruptly spins around and appears highly excited.

DAWN (Cont'd): I'm so glad you're here!

DAWN then turns the corner and disappears.

KENNEDY: I can't wait to be back home tomorrow.

SPIKE nods and starts walking away.

KENNEDY: (Cont'd) I take it Buffy told you she's leaving, too? Hence the brooding.

SPIKE stops and turns around.

SPIKE: First off, I do not brood. The other sodding twit does that. Secondly, what are you on? Buffy never said she was leaving.

KENNEDY: And that's strike two for her. (Beat ? serious tone) She and Willow are going back with Dawn and I. Back to Rome.

SPIKE seems to be taken back by this. He rubs his forehead and nods.

SPIKE: That makes sense considering what's happened.

KENNEDY folds her arms across her chest.

KENNEDY: If you're comin' with us, you're buying your own plane ticket.

SPIKE heads off down the hallway, disappearing from the scene.

KENNEDY (Cont'd): Nice seeing ya!

KENNEDY shrugs.

CUT TO:

INT. ELIZABETH'S CONDO ? LIVING ROOM ? EVENING

The door opens and LYNN enters, flipping a light switch in the process. The living room is suddenly brightened as the lights turn on. LYNN drops a handful of mail on a small table near the door and removes her sunglasses, placing them down as well. She continues to move into the living room, glancing at the untouched couch and dust-covered television. Her face falls with sadness.

GREG (OS): It's a shame, isn't it?

LYNN whirls around and to see GREG coming out of the kitchen and leaning against the doorway.

LYNN: How did you get in here?

GREG gets off the wall and looks around at the apartment.

GREG: I finally found the time to retrieve the items that are rightfully mine.

LYNN: I'm gonna ask you again and this time you're either going to answer me or get arrested, understand? How did you get in here?

GREG's attention returns to LYNN.

GREG: Oh yes, of course you're wondering that. There was a key. (Beat ? pointing towards the door) It was hidden behind the socket cover. (Beat) Not the smartest place for a small piece of metal, might I add.

LYNN: How did you know it was there?

GREG: I do believe I have a few questions of my own, Missus Holloway, and I hope you don't mind me asking them.

LYNN: You broke into my daughter's apartment. You don't get to ask the questions.

GREG ignores LYNN's remark and wanders around the living room, running a finger along the top of the couch.

GREG: Why are you keeping this place in tact? (Beat) Except for the television which I notice has become a magnet for dust. Elizabeth is dead. This condo will be sold to the highest buyer and her personal belongings will be stowed away in a storage facility until you are capable of selling them despite your grieving. There is no purpose for you to retrieve her mail. No meaning behind paying the electricity and water bills. Not anymore.

LYNN glares at GREG.

LYNN: My daughter is not dead.

GREG: You kid yourself, Missus Holloway. These hallucinations, or dreams as you would likely prefer to call them, are merely what you want to see.

LYNN: So you saw the body?

GREG stops walking and glances up at her.

GREG: Excuse me?

LYNN's voice is lowered, ripe with anger and sorrow.

LYNN: You saw her body? You saw her get killed? You have some real proof that Elizabeth isn't going to walk through that door again? That she isn't breathing at this very moment?

LYNN moves as she speaks to get right in GREG's face.

LYNN: Unless you can confirm that my daughter is dead, I don't think there is a reason for us to be having this conversation. Get out. Now.

GREG pulls away from LYNN and slowly makes his way to the door. LYNN never looks at him.

GREG: I hope you don't go mad the moment you realize your daughter isn't coming home. We both know that that's the only option now.

He opens the door and starts to leave.

LYNN: You kid yourself.

LYNN glares at GREG and he grins in response. He shuts the door behind him, leaving LYNN alone in the apartment.

CUT TO:

INT. SLAYER CENTRAL ? ANDY'S ROOM ? NIGHT

"Maybe Tomorrow" by Stereophonics plays in the background of the scenes. ANDY pulls on a black sweater over her blue tanktop and goes to the mirror where she pulls her hair back in a ponytail and ties it up.

I've been down and
I'm wondering why
These little black clouds
Keep walking around
With me
With me

ANDY then reaches into her black duffle bag and pulls out a wooden stake. She then turns off the lights and heads out the door.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

The camera pans down from the balcony as ANDY crosses it. We find FAITH leaving through the front door, slamming it shut behind her with only one hand.

It wastes time
And I'd rather be high
Think I'll walk me outside
And buy a rainbow smile
But be free
They're all free

Instead of following FAITH, ANDY goes into the office.

CUT TO:

EXT. CENTRAL PARK ? LAKE ? NIGHT

An OLDER WOMAN, in her late forties, walks onto a bridge that overlooks a flowing lake. She wraps her jacket tightly around her.

So maybe tomorrow
I'll find my way home
So maybe tomorrow
I'll find my way home

Off the bridge and in the shadows, we see two pairs of yellow eyes glow in the night as a couple of men hide behind the trees.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY is sitting behind her desk, sipping a cup of coffee. In front of her is NATALIE an BRETT, both are sipping coffee, too.

I look around at a beautiful life
Been the upper side of down
Been the inside of out
But we breathe
We breathe

ANDY glances down at the stake on the desk and puts her cup down. She grabs the stake and stands up.

CUT TO:

EXT. SLAYER CENTRAL ? PARKING LOT ? NIGHT

We see the same black van parked near the street as a taxi pulls into the parking lot.

I wanna breeze and an open mind
I wanna swim in the ocean
Wanna take my time for me
All me

It stops in front of the building and the backdoor opens.

CUT TO:

EXT. CENTRAL PARK ? GATEWAY ? NIGHT

FAITH strides up the pathway that leads into the park.

So maybe tomorrow
I'll find my way home
So maybe tomorrow
I'll find my way home
She continues moving deeper into the park, following the trail.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

There's a knocking on the door while both ANDY and NATALIE approach it to leave. ANDY stares at the visitor, her face displaying a great amount of shock.

VISITOR (OS): Hey sis.

So maybe tomorrow
I'll find my way home
So maybe tomorrow
I'll find my way home

The camera pans around to reveal the visitor to be JOHN SULLIVAN, his face scarred and his hair seems to be growing back after having been shaven. NATALIE glances from ANDY to JOHN while ANDY musters up the ability to speak.

ANDY: John?

JOHN smiles as ANDY's eyes water.

CUT TO:

INT. CENTRAL PARK ? LAKE ? NIGHT

The OLDER WOMAN screams as the vampires attack her. She's bleeding from a cut on her arm and her jacket is ripped, implying that there has been a struggle. FAITH rushes up onto the bridge and pulls one of the vampires off of her. The OLDER WOMAN reaches to her neck to check for a wound as FAITH stabs the vampire in the chest with her stake, dusting him.

So maybe tomorrow
I'll find my way home
So maybe tomorrow
I'll find my way home

The second vampire lunges at the OLDER WOMAN, but FAITH stops him by grabbing him by his shirt collar. FAITH shoves him up against the edge of the bridge and the OLDER WOMAN moves out of the way for safety. FAITH jams the stake into the vampire's heart and flips him over the edge. The vampire dusts before hitting the water.

OLDER WOMAN: Oh my god.

FAITH turns around and her eyes widen.

OLDER WOMAN (Cont'd): Faith?

The OLDER WOMAN is revealed to be ISABELLA LEHANE. The camera then pans to the side to reveal a third vampire standing behind ISABELLA.

FADE TO BLACK

END OF ACT I

**Heather** · 30-07-07, 01:19 AM

ACT II

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANDY remains in the doorway, staring blankly at JOHN. NATALIE motions for attention.

NATALIE: Hello? Yeah, I'm still standing here, clueless, and he's still standing outside and you're?you're in another world and I'm afraid you're gonna fall over or something. So I've got a bright idea: let's fix all of our situations right now.

She nods to her own comment, as though she's agreeing with herself.

NATALIE (Cont'd): Alright then. (To John) You're John, clearly. Who are you, John?

JOHN: I'm Andy's brother.

NATALIE: The missing soldier brother? (Beat ? shocked) Wow. This is certainly a Dr. Phil moment, now isn't it?

NATALIE stumbles back a few steps. JOHN's tone becomes furious.

JOHN: Missing brother? (To Andy) Who told you I was missing? I'm obviously not missing!

ANDY shakes her head, blinking to bringing herself back into focus. She rests her hands on the side of her head.

ANDY: Um?T-they?They called us years ago and told us that you were?Oh my god! This?This cannot be happening!

JOHN: Andy, I'm alive! I'm here!

He pats his chest for emphasis.

ANDY: I saw your body! I saw them lower you into the ground! I cleaned out your bedroom with dad! I grieved for years and I'm still haunted by the memory of hearing dad cry at your funeral! It's not simple enough for a "Guess what? I'm alive!" You just cannot do that! I saw your dead body!

ANDY looks away from JOHN, wiping the tears from her eyes. She's breathing heavily due to her outburst.

JOHN: What do you want me to say? I can't make up an excuse for what happened to you. I can't do anything about that. I'm sorry if all that I am capable of doing is telling you I'm alive. I really am.

The two siblings stand silently, avoiding eye contact. NATALIE raises an eyebrow.

NATALIE (To Andy): You thought John was dead? You told me he just went missing. (Beat) Wait a minute, who told you he was dead?

ANDY rubs her forehead.

ANDY: One of the generals from his troop.

NATALIE: But what if?

ANDY: No. He wasn't lying. We buried John.

NATALIE: Or you buried someone who looked like John.

JOHN interferes between the two.

JOHN: What are you talking about? How could you have buried someone who looked like me?

NATALIE sighs and turns to face JOHN.

NATALIE: John, do you believe in ghosts?

JOHN: What? Why? Yeah I guess?

NATALIE: Well this is nothing like that. This is worse. We're talking shapeshifting creatures that are bigger trouble than ghosts.

JOHN: Shapeshifting?

NATALIE: Yeah, it's only fair both of you go through a shocking discovery at the same time.

JOHN looks from NATALIE to ANDY.

JOHN: I don't believe this. (To Andy) You're into this kinda stuff? This satanic kinda stuff? What happened to sweet little office Andy?

NATALIE: Sweet little? Ha! That's a joke.

ANDY continues to avoid looking at JOHN.

ANDY: I'm not a satanist. John, there's more to me now than there was back when I last saw you. A lot of things have changed. I'm a different person.

JOHN: Then we'll need to get a campfire started because I'm toasting marshmallows during story hour. (Beat) Andy, what's going on?

ANDY glances up at JOHN.

CUT TO:

EXT. CENTRAL PARK ? LAKE ? NIGHT

FAITH faces ISABELLA as the vampire gets closer. Moving quickly, FAITH pushes her out of the way and kicks the vampire in the face. The vampire rolls backwards, using the momentum to somersault onto his feet again. The vampire leaps at FAITH but she is waiting for the attack. Her arm flies out at his stomach and the vampire is sent backwards into a tree. When the vampire stands up again, we see a branch sticking out of the right side of his chest.

VAMPIRE: Wrong side, Slayer.

ISABELLA: Slayer? Faith?

FAITH performs a roundhouse kick that knocks the vampire off its feet. She then turns her attention to ISABELLA.

FAITH: Shut up.

ISABELLA: Excuse me?

FAITH takes a few steps forward.

FAITH: I said to shut it. You don't get to ask me questions.

ISABELLA: Faith, I'm your mother!

FAITH glares at her and shakes her head.

FAITH: No you're not.

The vampire starts to push himself off the ground. FAITH, not even turning around to look and take aim, throws the stake down into the vampire's heart, causing him to burst into dust. She then angrily storms across the bridge and past her mother.

ISABELLA: Faith, stop it right now!

ISABELLA follows her daughter through the trees and onto the dirt trail. FAITH doesn't consider glancing back at her mother as she speaks, her voice confirming her rage.

FAITH: Are you dying?

ISABELLA: No.

FAITH: Are you hurt?

ISABELLA: Well, no, not really.

FAITH: Then stop stalkin' me and leave.

ISABELLA stops dead in tracks, visibly hurt by her daughter's words.

ISABELLA: You don't mean that.

FAITH stops and turns to face her mother, staring her dead in the eyes.

FAITH: Yeah, I do. (Beat) You were drunken whore. Every night was a different guy. Every hour was another bottle of vodka. Who knows what happened when I left but I'm definitely not itchin' to find out.

ISABELLA: Faith, honey, I've changed. I'm sober now. I have been for four years!

FAITH: You don't get to call me "honey."

ISABELLA slams her hands down at her side.

ISABELLA: You're still my daughter! I gave birth to you! I housed you!

FAITH moves closer to ISABELLA and hisses out her response.

FAITH: You scarred me, too. Still think you deserve a freakin' medal? Maybe some nice bling'll go with the new you.

FAITH pulls back and quickly moves away from her mother and down the trail.

ISABELLA: You kept your last name.

FAITH stops again.

ISABELLA (Cont'd): You could've changed it but you didn't. You could've been Faith Greenly or Faith Sandston but you didn't change it. You're still Faith Lehane.

FAITH locks her jaw and shakes her head, furious and disappointed with ISABELLA. ISABELLA looks down at the ground, depressed.

ISABELLA: I'm sorry.

She turns to walk away and screams. Standing right in front of her is another vampire, standing taller and looking stronger than the others. He growls and knocks ISABELLA over the head with his arm while catching her with his other arm. As he bends over to bite ISABELLA, a stake flies through the air and towards the big vampire. Prepared, he catches it, staring up at the person who threw it in the first place. It's FAITH, standing several yards away.

BIG VAMPIRE: A Slayer? Not so rare of a sight nowadays but it's still especially welcomed.

FAITH: Yo man, I don't wanna save her life but it's kinda my job. Let her go.

BIG VAMPIRE: A reluctant Slayer? Now that's a nasty situation.

The vampire tosses FAITH'S stake to the ground, still holding ISABELLA as she slowly comes to. Realizing the situation, ISABELLA starts to scream but the vampire clamps a hand over her mouth.

BIG VAMPIRE (Cont'd): Nuh-uh. No screaming. (To Faith) Here's my deal, I kill one of you and the other goes free.

FAITH: Not gonna happen, chump.

BIG VAMPIRE: Then you'll both die.

FAITH: I don't think it's gonna be that easy for you.

FAITH charges the BIG VAMPIRE, catching him off guard as she slides between his legs, grabbing the stake from the ground, and stands up behind him. Swiftly, she plunges the stake into left side of his back.

FAITH (Cont'd): It's a hell of a lot easier for me, though.

The vampire dusts and ISABELLA falls on the ground. She slowly pushes herself up but FAITH reaches out her hand to assist her. FAITH pulls her to her feet. ISABELLA looks at her, questioningly.

FAITH (Cont'd): You're my mother but not my mom. (Beat) Where are you staying?

ISABELLA: I actually don't have a place to stay, yet. I just got here this evening.

FAITH: Then where's all your stuff?

ISABELLA: I didn't bring any stuff. I thought I would drive out here for the evening and then drive back to my home upstate.

FAITH: You live upstate now?

ISABELLA: I told you I've changed.

ISABELLA smiles at FAITH.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

JOHN is sitting on the edge of the desk. NATALIE hands him a cup of coffee which he accepts, gratefully. ANDY and BRETT are sitting in the large chairs opposite the desk.

JOHN: So, let me get this straight just for the record. You're a?a vampire Slayer out to rid the world of evil, more specifically an evil monarch who's kidnapping Slayers and turning them against you and the other good slayers. (Pointing at Brett) You worked for an evil black ops agency that the government doesn't know about and? (Pointing at Natalie) You were you brainwashed into thinking you were this Queen of the Slayers and turned against everybody. (Beat) This puts the Brothers Grimm to shame.

ANDY: It's not some story. It's who I am. It's who we are.

JOHN: And it explains the shapeshifting demons theory you have.

BRETT raises his hand like a student in class.

BRETT: Can I just poke a tiny hole in that thought bubble? (Beat ? waiting for a response) Shapeshifters are rare beings. Elizabeth seemed to be one of those things that just pops up occasionally. The few others that there are tend to be in hiding and only come out when it's necessary. I doubt any of them would be hell-bent on disrupting the Sullivan family enough to come out of hiding.

The group stares at him and he shrugs.

BRETT (Cont'd): Just saying.

NATALIE: Well I still think it's something to look into as anything is a possibility in our lives.

The group is silent for a moment.

ANDY (To John): Do you have a hotel room?

JOHN shakes his head.

JOHN: No, not yet. I just got here. I didn't have much time to get a room.

ANDY: Then you'll stay here. Spike has been staying with Buffy and Willow lately so we have an open room again.

BRETT: Speaking of the other Slayer and the Wicca, where have they been?

NATALIE shuffles her feet, trying to find the right words to emphasize her thoughts.

NATALIE: Umm? I talked to Willow today. (Beat) She said Buffy's going home.

ANDY, surprised, takes a deep breath.

ANDY: Oh?Well isn't today a fun day for revelations. We'll do with this another time. Right now my priority is him.

ANDY looks at JOHN and smiles.

ANDY: I'm glad you're not dead.

JOHN laughs.

JOHN: Good thing to know for whenever you end up pissed at me for some reason.

ANDY grins.

JOHN (Cont'd): There is a shower here, right? I'm seriously rank.

NATALIE: Okay eww.

JOHN laughs again and stands up.

BRETT: We have a few, actually. I'll take you to your room.

BRETT stands up and grabs one of JOHN's bags and JOHN does the same. They leave the office and NATALIE and ANDY are alone.

NATALIE: I'm sorry, Andy.

ANDY looks up at her.

ANDY: Sorry for what?

NATALIE: I'm sorry about how screwed up today has been. I couldn't even imagine what I would do if I was in your place.

ANDY stands up and stands next to NATALIE, slipping her arm around NATALIE's shoulders.

ANDY: And thankfully you may never know what it's like. (Beat) Though you seriously never know nowadays.

They laugh together and quiet down. The camera starts to pull away from them.

NATALIE: Your brother's kinda hot.

ANDY pulls her arm away and stares at NATALIE.

ANDY: Excuse me?

NATALIE: Wrong thing to say, wasn't it?

ANDY: Completely.

NATALIE laughs but ANDY remains serious.

CUT TO:

INT. HOTEL ROOM 843 ? BUFFY'S ROOM ? NIGHT

BUFFY is sitting cross-legged on her bed and DAWN is lying down with her head in BUFFY's lap. BUFFY is gently running a brush through her sister's hair while DAWN holds the remote in her hand and is laughing at the TV.

BUFFY: Stay still or I'll rip your hair out on accident. And I don't think the Lex Luthor look will go well with you. Only Kevin Spacey can really work it nowadays.

DAWN: Baldness is sexy.

BUFFY stops brushing DAWN's hair and looks down at her.

DAWN (Cont'd): Oh just get back to the brushing. It's not like I'd have a shot with Michael Rosenbaum anyway.

BUFFY shakes her head and continues brushing her sister's hair.

BUFFY: You're right. Older men are out of your league and if I catch you with one then things really won't go over well?

DAWN: Buffy?

BUFFY: Yes?

DAWN sits up and faces BUFFY.

DAWN: What happens now?

BUFFY ruffles her brow, confused.

DAWN (Cont'd): We were fine for so long. Things were great and happy and all. Now there's another baddie in town and it just seems like all that is crushed, you know?

BUFFY nods.

BUFFY: I know, Dawnie. It's gonna be hard, I know. But things will get back to normal soon. This Queen won't be around much longer, I can promise you that.

DAWN looks down at the bed.

DAWN: I don't think we should leave.

BUFFY: Why? We're needed in Rome. Faith and Andy can handle things here.

DAWN: Giles and the Watcher's Council have more resources than the Slayers do.

BUFFY looks her sister in the eyes.

BUFFY: What is this about, Dawnie?

DAWN: I wanna be a part of this. I don't wanna sit on the sidelines like I will if we go back to Rome. I wanna be a part of this. My friends were taken by the Queen. I'm a part of this now.

BUFFY: Dawn, you'll be safer?

DAWN: I don't wanna be safe, Buffy. I know it's hard but can you understand that for me? What if Willow or Xander were taken by the Queen? You would want to get them back, right? I want to get my best friends back. I need to be a part of this fight.

BUFFY puts the brush on the end table and turns off the TV.

BUFFY: I think we should talk about this in the morning. I think jetlag is gonna effect this conversation at some point.

DAWN nods, getting of the bed and heading into the other room.

DAWN: Goodnight, Buffy.

BUFFY: Goodnight, Dawnie.

SPIKE brushes past DAWN as he enters BUFFY's room and sits down next to BUFFY.

SPIKE: ?Lil bit's getting irritable, is she?

BUFFY: You were listening?

SPIKE ignores BUFFY's question, knowing it was more of a statement than anything.

SPIKE: She's a big girl now. She can handle herself and you know that. I think you're just afraid to accept it.

BUFFY looks away but SPIKE gently rests a hand on her cheek and her hand cover's his.

SPIKE (Cont'd): You can protect her. I know you can. You're Buffy Summers. You define the word bodyguard.

BUFFY smiles and SPIKE kisses her on the forehead.

BUFFY: Are you going out again?

SPIKE shakes his head.

SPIKE: I'm staying here tonight.

BUFFY smiles at him.

CUT TO:

INT. ELIZABETH'S CONDO ? KITCHEN ? NIGHT

LYNN finishes washing her hands in the sink and dries them with a paper towel. She then puts a pot and a pan away in one of the cabinets, having just washed them. After that, she makes her way towards the refrigerator and pulls out a bottle of water. She opens it and takes a sip while heading around the counter and into the dining room. LYNN notices something as walks. She turns and sees a cabinet opposite the table. She can see a stack of manila envelopes through the glass doors.

LYNN: Please forgive me, Elizabeth.

LYNN closes her eyes and lets curiosity get the best of her. She places the bottle of water down on the table and reaches out to open the cabinet. LYNN then grabs the envelopes and places them on the table. Sitting down, she begins to open the first envelope and looks at the contents. At the top of each piece of paper is a label with Celestial Center running through the center of the company's logo. She glances over the paperwork, brow ruffles with confusion, and moves onto the next envelope. She finds similar papers in the second and then the third, as well.

LYNN opens the fourth envelope and gasps. Over her shoulder we see that the papers detail the actions of DIANNA PRESTON, as marked at the top of the page along with the Celestial Center seal. LYNN reviews them but is too freaked out to continue. She jumps to her feet and backs away slowly, having just uncovered ELIZABETH's secret job at Celestial Center.

FADE TO BLACK

END OF ACT II

**Heather** · 30-07-07, 01:20 AM

ACT III

FADE IN

INT. SLAYER CENTRAL ? SPIKE'S ROOM ? NIGHT

NATALIE enters the room, holding a stack of towels and a blanket. The lights are all on though the room appears untouched. She sees JOHN's bags on the bed but that is the only sign that life had been in this room recently. She drops the items on the bed next to JOHN's bags and turns to leave, only to stop dead in her tracks. Standing only a few inches from her is JOHN, still wet from his shower and wearing a towel. NATALIE gasps.

NATALIE: Oh?um?Sorry. Kinda intruding in here, aren't I? Well I just brought some towels and a blanket incase it gets cold ?cause we kinda don't know whether Spike ever got cold since he's kinda dead.

JOHN moves away from NATALIE. He runs a hand through his wet hair and unzips his duffle bag.

JOHN: He's a vampire, right?

NATALIE nods, smiling slightly now that JOHN can't see her face. She doesn't ever turn to face him.

NATALIE: Yeah. He's a vampire.

The camera remains fixed on NATALIE, now glancing up at the ceiling. We see the towel that was wrapped around JOHN's waist land on the bed behind NATALIE and she fights back giddy laughter.

JOHN: So I got stuck in a dead man's room, huh? I'm not surprised. I always seemed to get the short end of the stick out of the entire family.

NATALIE: Oh really? I've been in that situation before, too.

JOHN walks around the bed to stand next to NATALIE. He stares up at the ceiling to see what she's looking at when NATALIE doesn't notice he's now next to her.

JOHN: Got pants on now.

NATALIE shakes her head and returns to focus. She looks down at JOHN to see if he was telling the truth but catches herself and quickly looks away again. She laughs.

NATALIE: Well isn't this mighty embarrassing.

JOHN: I'm the one who walked in wearing a towel.

NATALIE: Were you looking at yourself while you were wearing the towel? (Beat) I so should stop talking right now.

They laugh and NATALIE rubs her forehead. At that moment she notices the tattoos on each of JOHN's arms. On each bicep, a pair of thick, thorny vines loop around his arm in black ink with one above the other. All together there are four ? two on each arm. Inbetween the two vines on either arm is a set of archaic symbols that appear to be an alternate take on Chinese writing.

NATALIE (Cont'd): What are they?

JOHN: Huh?

He looks genuinely confused at her question. NATALIE motions towards his tattoos.

NATALIE: What do they mean? Usually people don't get crazy writings on their arms if they mean nothing to them.

They laugh. JOHN smiles and nods.

JOHN: True, very very true. Uh?I'm not entirely sure what they mean.

NATALIE: It was a drunken experience, huh? God I just hate those. (Beat ? thinking he thinks she's serious) I'm totally joking.

They laugh again.

JOHN: I figured. You don't seem like the naughty kind of girl.

NATALIE: Oh you so haven't seen my naughty. (Beat) And at this moment I remembered my whole "Not talking anymore" schpiel I was on.

JOHN: Right, you were brainwashed. Totally ups your naughty points.

NATALIE rolls her eyes and changes the topic.

NATALIE: So, how ?bout those tattoos?

JOHN stretches out his left arm and runs his finger along the lower vine.

JOHN: It looks like gibberish to most people but it does mean something.

As his finger passes a symbol, he says its meaning.

JOHN (Cont'd): Eternity, Duplicity, Flesh, Heart, Spark.

NATALIE: It even sounds like gibberish for a sentence! What compelled you to get those?

JOHN grins.

JOHN: They looked pretty.

NATALIE: They do, don't they?

NATALIE touches the symbols on JOHN's arm brief and pulls away. She looks away quickly but finds herself slowly making eye contact with JOHN. They smile.

NATALIE (Cont'd): I should really go?

JOHN: Yeah, yeah. Of course.

NATALIE nods and walks towards the door. As she leaves, JOHN speaks.

JOHN (Cont'd): You naughty, naughty girl.

NATALIE whirls around and glares at him, jaw dropped slightly. The two start laughing again and she leaves. JOHN turns around and we see a tattoo on the back of his neck. It is the picture of a crimson heart with a sharp black stake through it. He then pulls on a shirt, covering the tattoo.

CUT TO:

INT. HOTEL ROOM 843 ? DINING ROOM ? NIGHT

There's a knock on the door and DAWN answers it. ANDY is on the other side, looking at DAWN strangely.

ANDY: Who are you?

DAWN: I'm Dawn Summers. Buffy's sister??

ANDY nods, dismissing DAWN.

ANDY: Where's your sister, then?

DAWN turns away and shouts towards another room in the suite.

DAWN: Buffy! Buffy? You have a visitor?!

ANDY barges past DAWN and towards BUFFY's room.

DAWN (Cont'd): God I love New Yorkers.

DAWN slams the door shut and heads back to where she came from.

CUT TO:

INT. HOTEL ROOM 843 ? BUFFY'S ROOM ? NIGHT

ANDY barges into BUFFY's room to find SPIKE holding her in the crook of his arm. The two are watching TV under the blankets. ANDY looks shocked at this.

ANDY: Okay am I totally missing something?

BUFFY glares at her and stands up.

BUFFY: What do you think you're doing?

ANDY: Oh honey, I can go on for a long time asking you the same thing.

SPIKE: What's going on?

ANDY (To Buffy): Can I please speak to you outside?

ANDY motions towards the other room. BUFFY pushes past ANDY and into the next room. Instead of going to the front door, she opens up both double glass doors and steps out onto the balcony that looks out over a pool nearly 8 stories below. ANDY slams the door shut behind her.

CUT TO:

EXT. HOTEL ROOM 843 ? BALCONY ? NIGHT

The wind is blowing roughly through the night, causing both of women's hair to fly up uncontrollably but they don't realize it is happening.

BUFFY: What is this about?

ANDY: Okay first off, I may be out of line coming here without even making nice to your little sister who I just met, but that's beside the point. You are the one that's out of line.

BUFFY: You're not answering my question.

ANDY: You're leaving? You're going back to Rome right when all of this crap with the Queen is building up? What? Are you afraid? I thought you were almighty Buffy, she who sacrifices herself to save the world! Now you're running away from the battle this time?

BUFFY looks over the railing.

ANDY (Cont'd): You're not answering my question.

BUFFY glares back at ANDY.

BUFFY: You barge in here unannounced and start questioning me? You have no idea what's happened! You have no idea why I've considered leaving!

ANDY: Then explain it to me and make it nice and clear ?cause my head is still spinning from finding my brother on my doorstep.

BUFFY: They were attacked. Everyone in Rome who was at the estate was attacked and most of the girls were taken. My friends were hurt. Now do you think I'm out of line in considering going back to Rome?

ANDY looks down at the ground.

ANDY: It's already happened. People are already hurt. People are already missing. There's nothing we can do to change that. Nothing you do will make things right. The Queen has gone global, we know that already. Now it's just personal for you. But what do you plan on doing by going back to Rome?

BUFFY walks over the railing and stares down at the unoccupied pool, thinking.

ANDY (Cont'd): Comforting your friends while the Queen continues to attack people here in New York? She doesn't strike twice in the same place. We've seen that. You going back to Rome would be useless to everyone. Useless and selfish.

BUFFY quietly responds, nearly whispering.

BUFFY: I'm not going.

With that, she breezes past ANDY and back into the hotel suite. ANDY appears speechless.

BUFFY (Cont'd): You can let yourself out.

BUFFY disappears from the scene and ANDY closes her eyes, mad at herself for having had such an outburst with BUFFY.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

BRETT is staring outside, leaning against the doorway. NATALIE is across from him, leaning against the door itself. NATALIE appears to be talking but BRETT isn't listening; his attention is fixed on the surveillance van. Though when he speaks, NATALIE doesn't listen to him either.

NATALIE: And he has these tattoos that are totally cool but really weird looking. He told me the meanings of them everything but it all seems like a bunch of blah blah blah to me.

BRETT: I wonder if they saw John when he showed up. What if they start asking questions about why he isn't dead?

NATALIE: But oh my god his body? He just came in wearing a towel!

BRETT: We could be screwed over because of him now. Dammit? (Beat) Wait, what did you just say?

NATALIE: He was half naked in a towel?

BRETT: Were you flirting with Andy's brother?

NATALIE shakes her head and rolls her eyes.

NATALIE: Of course not! That'd be just?weird.

BRETT: I think you were. (Mocking) "Oh those tattoos!"

BRETT mockingly bats his eyelashes and NATALIE kicks him in the shin.

NATALIE: Shut up! The tattoos kick ass.

BRETT: You didn't need to kick? (Beat ? seeing movement inside the van) me. Someone's in there.

NATALIE: In where? The van? And here I thought it was your spiffy new car!

BRETT starts to head out the door.

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

BRETT: To have a word with them.

NATALIE shuts her eyes and rubs her forehead before taking a step into the warehouse and shutting the door behind her.

NATALIE: We are so screwed.

The door then shuts completely.

CUT TO:

EXT. SLAYER CENTRAL ? PARKING LOT ? NIGHT

BRETT quickly moves across the pavement and towards the black surveillance van. He appears furious. Once he reaches the van, he pounds his fist on the darkened window on the driver's side of the vehicle. There is no sign of life inside the van.

BRETT: I know someone's in there. I saw you move and I saw the lights on. Now can't we just talk for a minute?

The window rolls down slowly and we see a man, wearing all black, on the other side. His name is JACK, mid thirties, bald.

BRETT (Cont'd): That's more like it.

JACK: How can I help you?

BRETT: You can start by showing me your warrant. Then you can start by explaining to me why we're being watched twenty four hours a day, seven days a week for the past three weeks. (Beat) Then we'll go from there.

JACK opens the glove compartment and pulls out a folded piece of legal sized paper. BRETT takes the document and looks it over. He hands it back to JACK.

BRETT: Next?

JACK: I do not think you're at liberty to be questioning the local authority's decision to put this warehouse under surveillance seeing as you're suspected of assisting in the murder of a young woman.

BRETT: That's what this is about? You've been lurking out in the corner of this parking lot because you think we killed her? I was under the impression that our names were cleared with Lynn Holloway paid bail to get Andy Sullivan and Buffy Summers out of jail. Is that not what happened?

JACK: I do not need to answer your questions. I do not know what goes on in the police station every day of the week. I'm just following my orders.

BRETT leans in closer to JACK and hisses out his response.

BRETT: Then take my orders and get the answers to my questions because that warrant doesn't explain a thing.

He pulls back and bangs on the side of the van.

BRETT (Cont'd): Besides, you really need to work on the discreet stakeout routine. Shall I fetch you some donuts and coffee?

BRETT starts back for the warehouse and glances back over his shoulder.

BRETT (Cont'd): Oh and come to the door when you've got those answers. I shouldn't have to come to you for them.

BRETT walks up to the front door to the warehouse and slides it open, glaring back at JACK before shutting the door.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

NATALIE is waiting for BRETT on the other side of the door, arms folded across her chest.

NATALIE: Are we gonna get arrested now because you verbally attacked a police officer?

BRETT: That wasn't a police officer.

NATALIE: It wasn't? Oh no. We have a stalker don't we?

BRETT walks past NATALIE and towards the office.

BRETT: No, not a stalker. Just a fake with a forged warrant.

NATALIE's eyes widen and she hurries into the office behind BRETT.

CUT TO:

INT. HOTEL VERDE ? ROOM 327 ? NIGHT

FAITH is filling a glass with water from the faucet while ISABELLA sits down on the bed. When ISABELLA speaks, her voice is soft and sad.

ISABELLA: So that's why it was so hard to find you? Because you're wanted by the cops.

FAITH: It's not as bad as it sounds. Thought it was back in Cleveland but things got better.

ISABELLA: And you've been comatose twice?

FAITH nods and hands ISABELLA the glass of water.

ISABELLA (Cont'd): Makes me think about what would've happened had I been there for you. Would you still be this Slayer thing you called yourself? Would?would your life not be so screwed up?

FAITH: My life isn't screwed up. It's hard but it's not screwed up. I'm gettin' better at it, though. Everything seems to be fallin' into place.

FAITH sits on the second bed next to ISABELLA's.

FAITH (Cont'd): But you, you've cleaned up well. I've heard rehab's tough but you got through it okay.

ISABELLA smiles.

ISABELLA: Yeah, I did. (Beat) I have someone now, too. His name is Luke. I've decided to settle down.

FAITH: Good for you.

ISABELLA and FAITH are silent for a few moments until ISABELLA speaks.

ISABELLA: You do know that if I could change what happened I would, don't you?

FAITH: I hope I do. But there's nothing that can change what's happened.

FAITH stands up wanders over to the small TV stand where a pad of paper and a pen are situated. She jots down a phone number, rips the paper off the pad, and hands it to ISABELLA.

FAITH (Cont'd): I want you to call me before you leave tomorrow morning.

ISABELLA: I'd be honored to.

ISABELLA stands up walks towards the bathroom.

ISABELLA (Cont'd): I've just gotta wash up. Be here when I come out.

FAITH nods and ISABELLA goes into the bathroom.

CUT TO:

INT. HOTEL VERDE ROOM 327 ? BATHROOM ? NIGHT

ISABELLA locks the door behind her and turns on the lights. She flips on the faucet and lets the water run for a moment to get hot. She then cups her hands, fills them with water, and splashes the water on her face. Grabbing a towel, ISABELLA dries herself and tosses the towel on the counter.

Taking a deep breath, she reaches into her pocket and pulls out a small bottle of liquor with a hotel label on it. She opens the lid and swigs the alcohol. ISABELLA closes her eyes for a minute, puts the bottle down, and sits on the closed toilet seat. She hangs her head in her hands and sits silently as the water runs.

CUT TO:

INT. HOTEL VERDE ? ROOM 327 ? NIGHT

FAITH stands up and wanders over to ISABELLA's bed. She spots that the pillow is wrinkled and out of place and that the comforter on top of the bed is disheveled slightly. She goes to fix it but when her hand goes under the pillow, she feels something beneath it. Pulling the mystery item out, she sees that it's a second card key for the hotel room. Printed on the top are words that read "Access to Room Refrigerator."

FAITH takes the key and moves over to where the refrigerator is located. Kneeling down, she swipes the key and opens the door. Inside are two shelves full with bottles of a variety of alcohol. FAITH stands up, throws the card key on the bed, and glares at the bathroom door. She then storms out of the room, not bothering to shut the door completely in her wake.

CUT TO:

INT. HOTEL ? ROOM 844 ? NIGHT

DAWN and KENNEDY are sharing a different room next door to BUFFY and WILLOW's suite. The room isn't as big as the others' suite but it is still large. Wearing pajama bottoms and a t-shirt, DAWN crosses the living room and heads towards her bedroom. As she walks, she calls out to KENNEDY.

DAWN: I'm going to bed! Don't keep Leno on loud again! It makes me have nightmares of a giant butt-chin trying to eat me!

There is no reply. DAWN seems to find that odd and glances back towards KENNEDY's room where we see that the TV is still on. DAWN shrugs and enters her bedroom and lies down on the bed. She sighs, tired, and rolls onto her side, facing the large sliding door that leads out onto the balcony. Her eyes flutter and eventually close completely. As her eyes close, the scene?

CUT TO BLACK:

We hear DAWN's muffled screams though we only see a black screen.

DAWN (Muffled screams): Buffy! Help! Kennedy!

After a moment of screaming, there is silence.

FADE IN:

INT. SEWER TUNNELS ? CENTER TUNNEL ? NIGHT

The scene fades into view and we see a single dim light bulb dangling above DAWN's head as she comes to. She's groggy, bound, gagged, and having trouble seeing and the camera pans to the right as she turns her head slowly. There's a female figure sitting in a chair next to her with a bag over her head. Out of the darkness that is not lit by the lighting above DAWN, a hand reaches out and pulls the bag from the woman's head. DAWN gasps when she sees it is an unconscious KENNEDY. DAWN tries to scream again but the same pair of hands flies out and pulls the cloth gagging her tighter. The camera turns around so we see DAWN and the shadows from the front. The figure steps out of the shadows and we see who their captor is.

JOHN: Now, now. No screaming from the captives.

He grins.

FADE TO BLACK

END OF ACT III

**Heather** · 30-07-07, 01:22 AM

ACT IV

FADE IN

INT. HOTEL ? ROOM 844 ? MORNING

There's a knock on the door and we hear the sound of a key card being swiped from the outside. The door opens and WILLOW enters with BUFFY right behind her.

WILLOW: You really should've told me that Kennedy was here, too!

BUFFY: I thought you knew! I mean, they've been staying right next door for a day already.

WILLOW: Well I kinda didn't! (Calling for Kennedy) Kennedy? Baby?

BUFFY stops walking and looks around. There are no signs of activity in the hotel room. WILLOW wanders into one of the bedrooms, KENNEDY's bedroom, but BUFFY stays put.

BUFFY: Dawnie?

BUFFY cautiously walks into DAWN's bedroom and looks around. The bed looks untouched, TV is off, curtains closed, and DAWN's suitcase is closed. BUFFY exits the room and goes into the bathroom both girls share. The sink is dry, the towels perfectly in line, and both toothbrushes are dry.

BUFFY (Cont'd): Willow?

WILLOW strolls into the bathroom.

WILLOW: It's like they weren't even here last night or this morning. (Beat) What is it?

BUFFY: I don't think they were.

WILLOW's expression falls, now scared that the worst has happened. BUFFY pushes past her and out into the living room. Reaching to her belt, BUFFY pulls out her cell phone, which she flips open and speed dials a number. Instead of only hear the dial tone BUFFY hears a phone ringing from DAWN's bedroom. BUFFY snaps her's shut.

WILLOW: She doesn't have her cell phone.

BUFFY: Dawn never goes anywhere without it.

WILLOW: Oh no. What could've happened?

BUFFY: I'm not sure, but we can't stay here to try and figure it out.

WILLOW: How are we supposed to find out what happened? These rooms don't have security cameras in them, remember?

BUFFY: We'll find a way. We have to find a way.

BUFFY storms out of the apartment and WILLOW follows, glancing around slowly.

CUT TO:

EXT. CAF? ? OUTDOOR PAVILLION ? DAY

LYNN is led out a set of double doors and onto the pavilion where several tables are situated with open umbrellas shading them. The person in front of her is a young, blonde HOSTESS. She seats LYNN at an empty table near the gate that separates the pavilion from the street.

HOSTESS: Should I send your guest in when he arrives?

LYNN nods.

LYNN: That would be fine, thank you.

The HOSTESS places a menu in front of LYNN and walks away. LYNN glances down at the menu, opens it, and looks it over briefly before closing it again. She appears uncomfortable and fidgety.

GREG (OS): I take it that this meeting is simply for a cup of tea?

LYNN looks to her left and there, sitting at another table, is GREG, wearing dark sunglasses and a black and blue suit.

LYNN: Is this a safety precaution? Do you think I've got a knife in my purse or something?

GREG pushes his chair back from the table and stands up before making his way towards LYNN and sitting down in the seat opposite him.

GREG: I admit to having considered that option but you don't strike me as the murderous type. (Beat) Excluding the evident metaphoric financial murders that are completely different topics for another time.

LYNN grabs her menu again and opens it. Though she isn't reading it, she's using it to avoid looking at GREG. GREG doesn't bother using a distraction, rather he simply stares at the menu covering LYNN's face.

GREG (Cont'd): May I ask why you called me here? I am a busy man with a job, I'm sure you understand.

LYNN: I know. Your job seems like hell, too.

LYNN lowers the menu.

LYNN (Cont'd): Celestial Center. I don't know the whole deal behind the place; only a brief taste and it's not satisfying me. I know Elizabeth works there?

GREG holds up a hand.

GREG: Worked there.

LYNN continues, ignoring GREG.

LYNN: And I know you do, too. Now you? You're going to explain it all to me.

GREG: And why would I do that?

LYNN leans closer to GREG.

LYNN: Because if you don't, I'll scream and everyone will believe a corporate figure instead of a lowlife British man.

LYNN leans back in her chair and folds her arms across her chest. GREG grins.

GREG: Interesting proposition. (Beat) May I ask for what purpose my resources will be used?

LYNN: It's a maternal thing.

GREG continues beaming and nods.

GREG: I'd imagine it is. (Beat) But I will give you fair warning that if any of this information is made public, the problem will be removed. I hope you understand that.

LYNN nods.

GREG (Cont'd): Now I recommend we continue this conversation some less?public.

LYNN stands up, as does GREG, slings her purse over her arm, and leads him out of the caf? and out onto the street.

CUT TO:

EXT. CAF? ? STREET ? DAY

LYNN continues down the sidewalk ahead of GREG. Reaching into his pocket, GREG pulls out his cell phone he opens it, hits the keys, and closes it again.

LYNN: I assume you want to do this in a dark alley and everything?

GREG: That is certainly one of the many places I'd classify as "less public."

LYNN cuts a quick right and heads down an alley. She stops walking once she approaches the end of the pavement. With LYNN's back still turned to him, GREG comes up from behind LYNN and swiftly hits her over the neck with his arm. LYNN collapses to the ground, unconscious.

GREG (Cont'd): I am terribly sorry, Miss Holloway.

GREG reaches into his coat and pulls out a black bag. He then puts the bag over LYNN's head and picks her up over his shoulder. The sound of rushing wind is heard next to the two and a figure appears the shadows in the back corner of the alley swirl. The figure takes LYNN's unconscious form from GREG and teleports away again. GREG brushes off his jacket and exits the alley.

CUT TO:

INT. UNKNOWN LOCATION ? DARK ROOM ? DAY

The camera is moving roughly the only light parts of the scene are over contrasted and bright. In the flashes of the scene that we do see, LYNN is tied to a chair with the bag still over her head. She is stripped down to her bra but her pants remain on. An unseen figure makes his way over to LYNN and it is scene that he is holding a tattoo-needle in one hand a syringe in the other.

The figure stabs LYNN inbetween her shoulder blades on her back with the syringe, injecting a clear substance into her, and she screams. He pulls out the syringe, and turns on the tattoo-needle. In flashes of clips, he draws a small heart with a stake going through it in black ink over where he injected her. The figure pulls back and LYNN continues to scream.

CUT TO:

INT. SEWER TUNNELS ? TUNNEL ? DAY

SPIKE is crouching as he moves through the sewers, pressing his back to the wall. He's on the phone with BUFFY, whispering when he speaks.

SPIKE: There's nothing here. Just bloody rats and vampires.

BUFFY (OS): Keep looking. The tunnels are extensive and they can be anywhere.

SPIKE: Trust me, love, I'm looking everywhere I can.

He hears a low growling coming from somewhere behind him. The sound gets louder, almost as if it multiplied.

SPIKE (Cont'd): Bloody hell. I'll have to call you back.

SPIKE closes the phone and puts it in his pocket and turns around.

SPIKE (Cont'd): Alright, now?

He is instantly caught off guard as a fist smashes into his jaw. SPIKE is sent flying into the other wall, crumbling onto the wet floor. He quickly gets up and looks at his VAMPIRE attackers.

VAMPIRE 1: What do you think you're doing in our territory?

SPIKE: Your territory? Is that right?

VAMPIRE 2: You got a problem with that?

VAMPIRE 3: Sun's up, that means we're down here. Which means you shouldn't be.

SPIKE hangs his head, secretly searching for a weapon. He looks up, casually rolling his head from one side to the other, and spots a wooden beam inbetween a mess of wires above the vampires.

SPIKE: Then I guess we'll have to change that, now won't we?

SPIKE rolls his head to the other side and vamps out. He then charges the vampires, taking out the third on impact and moving in to kick the second in the stomach. Throwing his elbow back, he hits the first vampire square in the chest and he doubles over in pain. SPIKE raises his foot up above the first vampire's back and brings it down with full force, smashing the vampire into the ground. He then bends over, grabs him by the back of the shirt and throws him up into the ceiling and breaking free the wooden beam. Having broken wires, too, the vampire convulses as bolts of electricity run through his body. The pole falls to the ground with the first vampire and SPIKE picks up the weapon. Twirling the beam, he then jams it down into the first vampire's back and dusts him.

VAMPIRE 2: You're gonna regret that.

The second vampire lunges through the air, but SPIKE is ready for him. He snaps the beam in the direction of the vampire and the end pierces him in the chest. The second vampire falls to the ground in a pile of dust instantly. The third vampire warily backs away.

SPIKE: You wanna play the same game those blokes did?

The third vampire shakes his head and races past SPIKE and into the darkness.

SPIKE (Cont'd): Good choice.

He reaches into his pocket and pulls out his cell phone again. Flipping it open, he dials a number and BUFFY answers.

BUFFY (OS): Yeah?

SPIKE starts walking down the tunnel. He runs into an intersection.

SPIKE: Just had a run in with a couple of vampires.

BUFFY (OS): Are you okay?

SPIKE sniffs the air and takes a left down a tunnel. He continues and runs into another intersection.

SPIKE: I'm fine. I think I have a?

The butt of a hand gun hits up into SPIKE's jaw, sending him crashing into the ceiling. He lands, hard and with the cell phone still in hand.

BUFFY (OS): Spike? Spike! What's wrong? Spike, what happened?

SPIKE pulls the cell phone closer to him.

SPIKE: I think I've found them.

The camera pans up and we see JOHN holding a gun on SPIKE.

JOHN: C'mon now, buddy boy.

JOHN shoots SPIKE in the shoulder and starts to drag him off by the hands. SPIKE tries to get away from him by turning and kicking him, but JOHN then shoots him in the leg. SPIKE manages to yell something as he's taken away by JOHN.

SPIKE: Help!

SPIKE's voice fades off and the phone remains open on the tunnel's floor.

BUFFY (OS): Spike? Spike, what happened?

The line goes dead and the light on the phone turns off, casting the tunnel into total darkness.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? DAY

BUFFY hangs up the phone and looks around the room. We see WILLOW pacing the floor and ANDY and NATALIE sitting in the chairs. BRETT is leaning against the door.

WILLOW: What happened?

BUFFY: I?I have no idea. He said he thinks he found them and then he?

WILLOW: Buffy, what was he doing?

BUFFY: He was screaming for help. I heard a gun fire in the background. Oh my god. (Beat) How're we gonna find him?

ANDY (To Willow): Can't you do a tracking spell?

WILLOW: I tried that to find Dawn and Kennedy and it didn't work. It's like wherever they're being held is magically blocked.

NATALIE waves her hand in the air.

NATALIE: Here's a crazy notion that's dumb enough to work, why not track the cell phone? Then you'll find it and then hunt down Spike in the tunnels? (Beat) Okay, maybe it's just dumb.

WILLOW shrugs and looks at BUFFY.

WILLOW: It could work. Logically speaking. Time consuming, yes, but I think it's our only option.

BUFFY: Willow, just do it.

ANDY: I'll go with you two incase you need an extra pair of hands. Faith's been?out of it. Well, out of here actually. I didn't even see her come in last night.

BRETT: Neither did I.

NATALIE shakes her head and shrugs.

BUFFY: Okay, fine. You'll come with us.

ANDY (To Natalie and Brett): That means you two need to stay here incase this turns out to be a trap. If John comes downstairs then just tell him?(Beat) Tell him the truth.

NATALIE nods.

NATALIE: Aye, aye captain!

The group then falls silent.

CUT TO:

EXT. NYC SEWAGE FACILITY ? GATES ? DAY

WILLOW's rental car pulls up in front of the gates. WILLOW, BUFFY, and ANDY all get out, the Slayers brandishing weapons.

ANDY: I'm honestly surprised that that plan worked. Are we positive it's down this entrance?

WILLOW: We'll find out. The cell phone should be glowing when we find it.

BUFFY: What if it's not in the same spot as it was before?

WILLOW: Then we'll find it?? I'm not entirely sure of the details.

BUFFY, holding a sword, pulls on the metal gate in an attempt to open it. It doesn't budge. ANDY motions for BUFFY to back away and fires off two shots at the lock with one of her guns. Nothing happens.

ANDY: Maybe the flare gun will make things go kapooey?

ANDY raises the other gun in hands and shakes it. BUFFY shakes her head in response. They then turn to WILLOW ? whose eyes have gone completely black.

WILLOW (Cont'd): Stand back.

The two Slayers comply and WILLOW raises both hands towards the gate. Suddenly pulls both of her arms back over her head and the gate flies through the air and over the rental car, jutting into the ground near the street. WILLOW sways slightly and stumbles when she tries to walk. BUFFY rushes to help her stand up straight.

BUFFY: What's wrong?

WILLOW: I-I'm still kinda weak from restoring the powers. I have been but that was?that was a doozy.

BUFFY: Can you keep moving?

WILLOW nods.

WILLOW: I have to.

The two of them head down into the sewer tunnels and ANDY glances around cautiously before following.

CUT TO:

INT. SEWER TUNNELS ? TUNNEL ? DAY

A small glowing orb floats in the palm of WILLOW's hand as she leads the two Slayers through the dark tunnels. ANDY has her guns up and ready while BUFFY's sword is resting diagonally across her chest. WILLOW, however, is glancing from side to side ? searching for the cell phone. Her pace quickens when she sees a purple glow emanating from the next tunnel to their left. The Slayers follow just as fast. WILLOW bends over and picks up the cell phone with her free hand. She then turns around and shows it to BUFFY and ANDY.

WILLOW: Found it.

ANDY: Now the tricky part: finding the girls and whoever took them.

WILLOW: Get down.

BUFFY and ANDY, confused, don't listen. BUFFY glances over her shoulder and sees a large gang of vampires moving toward them.

BUFFY: Willow, don't!

WILLOW doesn't listen; instead she pulls back her right hand, the one holding the glowing orb, and pushes the energy ball towards the group. BUFFY and ANDY both duck as it whizzes over their heads. One of the VAMPIRES catches the orb before it hits him and looks down at it.

VAMPIRE 4: Now this isn't so tough, huh?

WILLOW's eyes roll black again and she stares at the glowing orb.

WILLOW (To Andy and Buffy): Cover your eyes. (Spell in Latin) Bombus!

The orb explodes in a burst of pure light. Half of the vampires leap out of the way and to safety but the ones surrounding VAMPIRE 4 are incinerated and fall to dust. WILLOW sways again and collapses to the ground, unable to keep her balance. BUFFY hurries over to WILLOW's side.

BUFFY: Will, are you okay?

WILLOW motions weakly towards the vampires. BUFFY nods and stands up, swinging her sword with one hand as she walks.

BUFFY (Cont'd): Have any of you seen a teenage girl with brown hair come down in these parts recently?

The vampires laugh.

VAMPIRE 5: Like we'd tell you!

ANDY doesn't get up; instead she watches a smaller vampire approach and another and whisper in his ear. ANDY slowly stands up and races off after the vampire when he runs past her and down the tunnel. BUFFY stabs the reluctant vampire in the chest and he dusts.

BUFFY: Wrong answer.

The vampires back away as BUFFY twirls her sword again.

CUT TO:

INT. SEWER TUNNELS ? FEEDER TUNNEL ? DAY

ANDY, a few yards behind the running vampire, raises her gun and fires, shooting him in the shoulder. The vampire stops running and staggers momentarily while ANDY catches up to him. She simply taps him on the shoulder and spins him around.

ANDY: Hey boy!

She swiftly smacks him across the face and he falls to the ground.

ANDY (Cont'd): Next I'll be a helluva lot more forceful if you don't cooperate with me.

The vampire whimpers but keeps his eyes fixed on something off screen and behind ANDY.

ANDY (Cont'd): Where are you all keeping the two teenage girls?

The vampire glares up at ANDY and growls.

VAMPIRE 6: Right behind you.

ANDY glances back over her shoulder and sees a tunnel larger than the rest. There are two chairs with their backs to her but she can see long, dark hair on both girls. VAMPIRE 6 tries to get up and run away but ANDY raises her gun on him and fires, sending a bullet into the back of his head. She then cautiously makes her way into the tunnels.

CUT TO:

INT. SEWER TUNNELS ? CENTER TUNNEL ? DAY

ANDY looks around to make sure no one is in her way to stop her and hurries over DAWN and KENNEDY. As she walks away from the entrance to the tunnel, we see a male body, dressed all in black, hanging upside down on the wall next to the entrance. He remains out of focus, however. ANDY rushes over to the girls and removes the cloth that's gagging them.

DAWN: Oh my god! Thank god you're here!

KENNEDY: Where's Buffy and Willow?

ANDY: They're out in the tunnels dealing with vampires. Did vampires kidnap you?

DAWN: No, I don't think so. He looked human to me.

KENNEDY shakes her head and shrugs.

JOHN (OS): I'm definitely not a vampire.

ANDY tenses up and her eyes close. She doesn't look at JOHN as he walks out of the shadows. She doesn't have to.

JOHN (Cont'd): Andrea Sullivan. So that's the big deal about you? That's why you're involved in so many incriminating cases? You're a vampire Slayer? Brett Stewart works for Celestial Center and Natalie Price thought she was some "Queen of the Slayers?" (Beat) Thanks for spilling the beans for me.

ANDY shakes her head, still not looking at him. DAWN and KENNEDY loosen the ropes and stand up, backing away from ANDY and JOHN slowly.

ANDY (To the girls): Go find Buffy and Willow.

DAWN: What about Spike?

ANDY: What are you talking about?

JOHN: She's talking about that in the corner.

JOHN points towards the shadows and we see that the man hanging upside is SPIKE. We hear the clicking of a gun and ANDY spins around, gun now locked onto JOHN's forehead. She's fighting back tears of anger and sadness. DAWN and KENNEDY hurry towards SPIKE and work on freeing him. JOHN doesn't seem to care.

ANDY: Who are you?

JOHN: Me? You don't need to know who I am. John Sullivan is dead and I'm part of something bigger.

ANDY shakes her head again and continues to fight back the tears.

ANDY: Everything you said was a lie. That phone call we got years ago was real. (Suddenly furious) You bastard! Who are you working for?

JOHN takes a step closer and lets ANDY's gun rest on his forehead.

JOHN: You know who I'm working for.

He drops down as ANDY fires her handgun. Moving quickly, JOHN takes off down the tunnel and away from ANDY. She races after him, firing repeatedly. One of her shots strikes JOHN in the lower back but he keeps moving. ANDY, however, runs out of bullets quickly and shoves the gun onto her belt holster. She then raises the flare gun and fires. The bright flash of fiery red light grazes past JOHN's face and explodes before him. The entire tunnel is consumed in bright red light and smoke. ANDY moves into the smoke and finds JOHN lying on the ground nearly dead.

ANDY: I don't like it when people lie to me.

ANDY looks up and sees a pole running from either side of the tunnel. She reaches up and pulls it down, taking chunks of the wall along with it. She twirls it around briefly as a tear rolls down her cheek.

ANDY (Cont'd): Tell your boss to shove it.

She jams the pole down into JOHN but he doesn't scream, seemingly already dead. The camera pans around to get a front shot of ANDY as she pulls the pole out of JOHN. Turning away, ANDY slowly walks off, crying now. The camera pans down and JOHN's dead body rolls over slowly. We then see that the right side of his face has seemingly melted away and underneath is another charred face. It is the face of INSPECTOR TRAVIS DELANEY. The camera pans up over JOHN's/TRAVIS' dead body and we see two faces instead of one.

CUT TO:

INT. HOTEL VERDE ? ROOM 327 ? DAY

FAITH approaches the door and sees that it is already opened slightly. She walks in and sees the maid service cleaning the room. The maid stops vacuuming and turns to face FAITH.

MAID: Can I help you?

FAITH: Yeah, the woman who was in here?did she check out already?

The maid nods.

MAID: This morning. (Beat) Are you Faith?

FAITH: Yeah, why?

The maid grabs an envelope from the bed and hands it to FAITH.

MAID: I think she left it on the bed for you.

FAITH opens the envelope and pulls out a small note. She reads it silently and looks down at the floor. She then folds the letter and rips it in half, dumping the shreds into the garbage can.

MAID (Cont'd): Did you know her?

FAITH nods and walks out of room.

FAITH: I knew her all too well.

The maid looks confused and continues cleaning.

CUT TO:

EXT. NEW YORK CITY ? BROOKLYN BRIDGE ? DAY

We pan in on one of the windows on a bus driving across the Brooklyn Bridge. ISABELLA is sitting in the window seat on the bus staring out at the New York City skyline. The bus gets off the bridge and continues on its journey away from the city.

CUT TO:

INT. LYNN'S APARTMENT ? BEDROOM ? DAY

LYNN is lying on top of the covers of her bed, fully dressed and unconscious. Her alarm clock then sounds and LYNN wakes up slowly and rubs her yes with her hands. She glances at the clock and it reads "5:33 pm." LYNN moans and sits up slowly, wincing with pain as her back straightens. She then stands up and walks into her bathroom, slowly.

LYNN opens a cabinet and pulls out a towel, which she drapes over a chair near the shower. A moment later, she's in the shower and turning on the water. She lets the water run over her, wets her hair, and leans against the wall as the water rains down on her. A moment later, she's wrapping a towel around her body and stepping out of the shower. When she passes the mirror, she sees stops walking and stares at her back in the mirror. She turns around, back to the mirror, to get a better look. Inbetween her shoulder blades is a heart with stake going penetrating it. She gasps and reaches up to touch it.

The tattoo is raised in the center but other than that is simply black ink. LYNN appears thoroughly disgusted at the fact that it's on her body. She turns around, head hanging in shame. As she looks up, the disgust at her tattoo is replaced with shock.

Standing in the doorway is ELIZABETH, dressed in a black pantsuit and looking better than ever.

FADE TO BLACK

END OF EPISODE

Announcement

CHOSEN Episode 1.13 "Duplicity"

CHOSEN Episode 1.13 "Duplicity"

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