Announcement

**Heather** · 30-07-07, 01:29 AM

ACT I

FADE IN

INT. MANHATTAN PIER ? DOCKS ? MORNING

We see a black stretch limo pull up in front of the docks and the driver exits the vehicle, moving towards the back of the car to let out the occupants. Photographers that are on either side of the bridge that leads towards a large cruise liner get eager to take pictures.

The first to exit the limo is a young woman, roughly in her early thirties with long black hair. She's dressed in a fancy white gown with a black ribbon looped around her waist. Her name is SHEILA LEE-BRICKSFIELD. SHEILA takes a few steps forward and an older man, in his late fifties with gray hair, gets out of the limo behind her. He is ZACHARIAH BRICKSFIELD, hot shot corporate executive. The limo driver then leads the two up the bridge as photographers snap their picture.

At the top of the bridge, ZACHARIAH turns around and faces the reporters and photographers. SHEILA simply takes a few steps back when ZACHARIAH is handed a microphone. Dramatically, he raises both hands up in the air, ushering applause, before lowering the microphone to his mouth.

ZACHARIAH: I want to thank each and every one of you for coming out here today. This moment will go down in the history of Finely International. This yacht isn't just a something to float out in the water; it's the monument that honors my promotion to the third Executive position within the company.

The crowd applauses and SHEILA smiles waving down at the photographers as they take her picture.

ZACHARIAH (Cont'd): This day will not be forgotten by me or by Finely International. Thank you and good day.

ZACHARIAH hands the microphone to the person who gave it to him and waves at the crowd. He then turns around and leads SHEILA inside the cruise liner.

CUT TO:

INT. CRUISE LINER ? LOUNGE - MORNING

ZACHARIAH takes off his coat and hands it to a BUTLER. SHEILA nods at the young man and he heads off towards a closet.

ZACHARIAH: God this place is amazing. (To Sheila) Remind me to get a representative to make the rest of my speeches for me. I hate public speaking.

SHEILA: Yet you took this marvelous promotion. Sometimes I swear I don't know you.

ZACHARIAH: Yes and you were drafted into this marriage without having your own say.

SHEILA glares at him and sits down, not showing any attention towards what ZACHARIAH said to her. ZACHARIAH wanders around the large lounge the goes to a small bar where he pours himself a drink as he speaks.

ZACHARIAH (Cont'd): I know things have been rough recently but we'll get through them.

He looks up?but SHEILA is gone. She is no longer seated on the couch but a fresh crease is still visible on the seat.

ZACHARIAH (Cont'd): Sheila? Where did you go? (Calling the BUTLER) Christopher!

There's a loud bang heard from outside the lounger and the limp body of the BUTLER flies into the room. He slides across the floor and stops a yard from ZACHARIAH's feet. ZACHARIAH panics and crouches down behind the bar. He pulls open a drawer and retrieves a handgun, which he loads and keeps it raised as he stands up.

A quick glance around shows that no one else in the room. He takes the opportunity and dashes towards the door several feet to his right. As ZACHARIAH rounds the corner he stops dead in his tracks. Standing in the doorway is a beautiful woman wearing a black leather outfit. Her name is AURORA. What disturbs ZACHARIAH more is that the woman is holding SHEILA by the back of the neck with a knife pressed against her throat.

ZACHARIAH: Oh no. Who are you? What do you...

AURORA: Shut your pie hole, Bricksfield, or Sheila here gets roughed up.

ZACHARIAH gulps and steps away from AURORA.

AURORA (Cont'd): Why I'm here is none of your business. If it was, you'd already know my reasons, wouldn't you? I am here for one reason and for one reason only and that one reason will never enter your ears, understand?

ZACHARIAH nods slowly. AURORA grins.

AURORA (Cont'd): Good. Now I can move our business together along.

AURORA quickly slices the dagger across SHEILA's throat and she crumbles to the floor, bleeding to death. AURORA grins.

CUT TO:

EXT. CRUISE LINER ? BOARDING DECK ? MORNING

AURORA prowls off the boat and down onto the pier. She takes off her sunglasses and looks down at them. There's a small drop of blood in the corner of a lens. She wipes it off and breezes past the last team of news reporters who glances at her, confused as to why she was on the ship in the first place. AURORA continues walking, ignoring them, and disappears in a sudden blur.

CUT TO:

INT. CRUISE LINER ? LOUNGE ? MORNING

The BUTLER slowly wakes up and looks around. He spots SHEILA's dead and bloody body and begins to panic. Gradually, he stands up and takes a glance around the room before discovering the gruesome sight before him. Pinned to the wall is ZACHARIAH with a large cut running across his forehead and another along his throat. His blood drips onto the floor and the BUTLER yells.

BUTLER: Help! Somebody help me!

The BUTLER rushes out of the lounge, leaving the two dead bodies behind.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? EVENING

NATALIE stares at the TV screen, fully concentrating on the newscaster delivering information on a breaking news story.

NEWSCASTER (On TV): The bodies of Mister Zachariah Bricksfield and Missus Sheila Lee-Bricksfield were discovered by their recently hired butler, Christopher Jennings. Jennings was apparently knocked unconscious during the attacks and woke up moments after the Bricksfields were murdered.

NATALIE winces and sips from a coffee cup.

NEWSCASTER (On TV; Cont'd): Having recently been promoted to the third executive position within Finely International, company officials have yet to release their new plans in the construction of a satellite that was originally going to be launched at the end of the year. Stay tuned to Channel 13 as more information becomes available.

NATALIE grabs the remote and turns off the TV and glances down at the yellow notepad before her. She grabs her pen and jots down notes on what she heard on the news. After doing so, she circles the name "Zachariah Bricksfield" a few times and places the pen down. She spins the chair to the left and pulls up an internet window on the computer before typing the name "Zachariah Bricksfield" into a search engine. Hitting enter, NATALIE sits back and waits for results.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM - EVENING

NATALIE rushes out of the office, notepad in hand, and towards the couch where SPIKE is watching ANDY and FAITH train. FAITH throws a punch, ANDY dodges then kicks, and FAITH jumps up to dodge the attack. NATALIE waves the pad in the air for attention.

NATALIE: Hello? Xena 1 and Xena 2!

NATALIE doesn't get noticed by the two slayers. Aggravated, she throws the notepad down the floor, causing a loud noise to echo through the main room. Everybody turns to stare at NATALIE. She glances around and ushers for the younger Slayers to keep training. ANDY wipes her forehead.

ANDY: Yes, Nat?

NATALIE: An executive at Finely International and his wife were murdered this morning.

BRETT: Fun fact.

NATALIE glares at him.

NATALIE: You don't see how any of this is related to anything we've dealt with recently? (Huffs) Remember a few months ago when Elizabeth was on a killing spree and killed off her stepdad and her stepbrother? Yeah, they were big shots in a major company.

ANDY: Where are you going with this?

FAITH: I thought the face changing chick was dead.

BRETT: She is. Andy killed her.

SPIKE stands up.

SPIKE: Not everybody stays dead, you know. I'm a walking example of it.

ANDY: No. How could she still be alive? I stabbed her, I watched her die. Elizabeth is gone.

NATALIE: I still think that this is worth looking into. I mean, the guy was pinned upside down on the wall of his cruise liner with a cut across his forehead and his throat. His wife, who he cleared robbed straight from her cradle, had her throat slashed. It's very vicious. Especially when it happened on a boat that had more security than the Empire State Building does.

ANDY sighs and looks down at the ground.

FAITH: I think it's worth it.

BRETT nods, agreeing with FAITH.

ANDY: Fine. Worst case scenario, we stop a killer who isn't Elizabeth.

BRETT: And we don't have to worry about having this warehouse being watched every moment of the day. The van's gone.

FAITH: Seriously?

BRETT (To Natalie): You actually haven't blabbed on about what I said yet?

NATALIE shakes her head.

NATALIE: I've been a good girl.

BRETT (To the groups): The guy was a fake. He showed me his warrant and when I saw it I knew it was total baloney.

NATALIE: Heh?You said baloney? (Beat) What? Carry on.

BRETT: Anyway, so the morning after you guys found the girls and Spike, the van was gone.

ANDY (To Spike): How're the bullet wounds?

SPIKE: Healing nicely. I should be fine by nightfall. How're the emotional wounds?

ANDY shakes her head and laughs.

ANDY: I'm not going to be as lucky as you.

FAITH raises her eyebrows and shakes her head.

FAITH: We gonna like hug now or somethin'?

ANDY: Oh god I hope not. (Beat) So where do we start with this?case? Is that really the best name for it?

SPIKE: Good enough.

NATALIE glances over her notepad and finds something.

NATALIE: Oh! Okay, so I searched this guy in that people searcher thingy Willow managed to hack into and found out some interesting stuff.

She stops talking and the group stares at her to continue.

BRETT: And??

NATALIE: Zachariah Bricksfield and Sheila Lee-Bricksfield did a ton of charity work at an orphanage in New York City. At the time he rivaled with Colston Corp's CEO.

SPIKE: So you believe that the CEO wanted Bricksfield dead because he was in the limelight? Bloody blokes nowadays.

ANDY starts to walk towards the office, with the group behind her.

ANDY: So we'll start at the orphanage. (To Natalie) Got an address?

NATALIE: Umm?Well, I've got two addresses. I wasn't entirely sure which one they both volunteered at.

ANDY: Okay, so we'll split up and go from there.

They head into the office, leaving the door open behind them.

CUT TO:

INT. NEWHART ORPHANAGE ? LOBBY ? EVENING

ANDY, NATALIE, and SPIKE enter the Newhart Orphanage. We see that night has fallen outside as the door closes behind them. ANDY approaches the front desk and hits a small bell on the counter.

ANDY: Excuse me? Is anyone here?

NATALIE: How come Brett and Faith got to go across the city towards Central Park while we get stuck in the dumpy part of the?

A young woman enters the room via a side door behind the counter. We see that it is AURORA, the same woman from before except she now wears casual clothing with her hair pulled back instead of hanging loose and wild.

AURORA: Good evening. How may I help you folks?

ANDY: Um?This is gonna be kind of a weird question. Did a man named Zachariah Bricksfield happen to donate money and volunteer at this orphanage by any chance?

AURORA: Are you with the cops?

NATALIE turns her head and laughs. ANDY and SPIKE both glare at her. ANDY nods, lying.

ANDY: Yeah, we're investigating what happened this morning and believe we might have a lead.

AURORA: Your lead is this orphanage? There's no way that Mister Bricksfield's murder is connected to us.

ANDY: I'm sorry; I don't believe you told us your name.

AURORA: I'm Aurora. Aurora Newhart.

ANDY shakes AURORA's hand.

ANDY: Nice to meet you Miss Newhart but we do have some questions.

NATALIE turns to SPIKE and whispers to him.

NATALIE (To Spike): We have questions?

SPIKE ignores her and glances around the lobby of the orphanage. NATALIE shrugs. The camera focuses on SPIKE now.

AURORA (OS): Then you ask those questions in my office. It's this way.

NATALIE taps SPIKE on the shoulder.

NATALIE: You coming?

SPIKE shakes his head.

SPIKE: I'll wait out here. Don't need to be part of the boring stuff.

NATALIE: Fine. I'm going with them.

NATALIE turns and walks into the office behind ANDY and AURORA. SPIKE continues to look around the lobby, staring at the pictures on the wall, at the furniture, at the various items that align the tabletops and whatnot. He closes his eyes and rubs his forehead.

FLASH TO:

FLASHBACK

INT. RUNDOWN CONDO ? BEDROOM ? NIGHT

The room is extremely dirty except for the bed, which remains in top shape with new red sheets on it. The windows are covered with wooden boards and black cloth. The camera rotates around so we can see through the bedroom door. SPIKE enters the next room, wet and holding a bundle of blankets in the crook of his arm. He places it down and looks around the condo.

SPIKE: Dru? Oh Dru? Come on out, love. I've got a surprise for you.

SPIKE looks into the bedroom and wanders inside. From out of the shadows, DRUSILLA stalks towards SPIKE, swaying slightly from side to side.

DRU: A gift? Mummy has yet to deserve such an offer.

SPIKE: If you don't want it I could always give it back.

DRU throws out her hand and strokes SPIKE's arm.

DRU: No thank you. Mummy needs a gift. The stars. They hurt and cry. Mummy cannot continue to hear such awful, awful things of them.

SPIKE: Then here's to hoping my present makes you slightly more cheerful.

DRU leans forward and cups her hand around SPIKE's left cheek. She smiles and stares into his eyes.

DRU: Did William steal something for mummy? Naughty, naughty boy. Tsk, tsk.

SPIKE kisses DRU and leads her into the other room and they stand over where SPIKE left the bundle of blankets. DRU reaches out and runs her finger along the top of the baby's head. She smiles, closes her eyes, and sways back and forth as she speaks calmly.

DRU: Like a little butterfly? (Suddenly vicious and swiping her hand through the air) Snatched out of the air.

SPIKE: Yes, Dru.

DRU smiles and opens her eyes. SPIKE kisses her on the cheek and wraps his arms around her waist.

DRU: I'm going to be a real mummy!

DRU closes her eyes again and sways back and forth with SPIKE.

END OF FLASHBACK

FLASH TO:

EXT. NEWHART ORPHANAGE ? PARKING LOT ? NIGHT

ANDY, NATALIE, and SPIKE breeze out of the orphanage and into the parking lot. Night has officially fallen so everyone walks with ease.

ANDY: So that's one dead end. (To Natalie) You did call Brett and Faith, right?

NATALIE nods and flashes her cell phone.

NATALIE: Of course I did.

SPIKE remains quiet the entire distance to the car. NATALIE opens the driver's door and enters the vehicle while ANDY stays outside to confront SPIKE about his silence.

ANDY: What are you thinking?

SPIKE snaps back to reality.

SPIKE: Nothing.

ANDY: Did you huff any weird fear vibes off the girl?

SPIKE: Did I what??

ANDY: Smell fear in her blood or something like that. Can't you guys do that?

SPIKE ruffles his brow and stares at her. ANDY shrugs.

ANDY (Cont'd): Fine, whatever.

She then ducks down and gets into the car. SPIKE remains outside.

SPIKE: I'm gonna walk back.

ANDY: Suit yourself.

ANDY shuts her door and NATALIE starts the car. SPIKE steps back and the car drives off down the street. SPIKE sniffs the air and walks in the opposite direction of NATALIE and ANDY's car.

CUT TO:

INT. NEWHART ORPHANAGE ? OFFICE ? NIGHT

AURORA rushes around the office, opening drawers and pulling out knives and a black outfit. She quickly changes into the clothes, slips the knives onto her belt, and looks around the room. In the next instant, she's a blur and the door opens and closes quickly as the blur leaves the building.

CUT TO:

INT. COLSTON CORP ? LOBBY ? NIGHT

The blur that is AURORA appears in the center of a glamorous lobby, complete with a massive dome skylight and a fountain just below it. Across the lobby is a guard making his rounds. AURORA disappears in a blur again, only to appear directly behind the guard in a split second. Swiftly, she snaps his neck and catches his body before it hits the floor. Standing up straight once more, AURORA disappears again.

CUT TO:

INT. COLSTON CORP ? CEO'S OFFICE ? NIGHT

The doors to the office are blown open and AURORA stands in the doorway. She looks around the room, searching for someone but nowhere is there. She becomes aggravated and steps inside the room, taking one last look around before facing the doorway again.

AURORA: Looks like our original plan didn't work.

From the shadows of the hallway, the BUTLER from the Bricksfield Cruise Liner steps into the office, folding his arms across his chest.

BUTLER: We'll get him tomorrow, I'm sure. Besides?

The camera pans behind AURORA, removing the BUTLER from the scene momentarily. But when the camera comes out from behind AURORA, the BUTLER is gone. Standing in his place is ELIZABETH.

ELIZABETH: I believe a celebration is in order for our accomplishments.

She takes a few more steps forward then stops, grinning like a child.

FADE TO BLACK

END OF ACT I

**Heather** · 30-07-07, 01:30 AM

ACT II

FADE IN

INT. COLSTON CORP ? CEO'S OFFICE ? NIGHT

AURORA is now sitting in the large, leather office chair behind the wide oak desk which is centered with the window behind it. ELIZABETH paces around the office, however, running her finger along the tops of books, around a globe, and up and down trophies.

AURORA: This is booked full.

AURORA points to the calendar lying across the desk before her. ELIZABETH glances over at her and the calendar but shrugs it off.

ELIZABETH: Doesn't matter. We'll manage to work in an appointment. The job must be done in order for everything to fall into place.

AURORA: Yeah well you're not the one killing the hits.

ELIZABETH laughs.

ELIZABETH: No but I am the one planning the hits and organizing it all and making everything work for you to be able to successfully do the job.

AURORA nods and lifts her feet up onto the desktop.

AURORA: Yeah, whatever. I still do the dirty work.

ELIZABETH: You keep thinking that.

AURORA stands up brushes off her pants.

AURORA: So when do I get paid?

ELIZABETH stops pacing and stares at her blankly.

ELIZABETH: Paid? Excuse me? This isn't about payment. This is about satisfaction.

AURORA laughs and turns to look out the window behind her.

AURORA: Do you like the city? No, let me rephrase that: Do you love this city? These buildings, the noises, the smells, the general atmosphere. Do you love it?

ELIZABETH: No matter how I answer this, I can see you twisting it around to insult me so I'm just gonna keep quiet and let you continue.

ELIZABETH nods and motions for her to continue.

AURORA: Imagine one giant hand reaching up from beneath you and pulling each and every beautiful skyscraper down into the dirt. Imagine that same hand smacking you across the face as it pulls the moon right out of the sky.

AURORA turns to face ELIZABETH.

AURORA (Cont'd): Now talk to me about satisfaction. I've gotten enough satisfaction just from killing off the first two targets. I'm over it. Now I only care about payment.

ELIZABETH: Well that attitude's gonna have to change really fast because I'm not gonna stand for it. You may be satisfied but I'm not. It doesn't matter how much you whine about wanting money, I'm not giving in and you can't just ditch me mid-stride. We're in this fulltime now.

AURORA: Now you're blackmailing me into staying on this task for free? Honey, that is not gonna go over well.

ELIZABETH: You have got to remember that we have a common interest here. That common interest is keeping this?partnership together. You attempt to break that bond and everything we've worked for will fall apart. Neither of us wants that.

AURORA doesn't respond and ELIZABETH continues.

ELIZABETH (Cont'd): So listen up, Speedy, your payment is a long way ahead of you. Our mission, however, is that very road you're walking on. Step off the pavement and you'll get run over by an oncoming semi and you can forget about that prize. Understand?

AURORA glares at ELIZABETH.

ELIZABETH (Cont'd): Now we've got a job to do and we're gonna do it really well, too, got it? (Beat) Whether you like it or not, we're gonna rip Celestial Center apart from the inside out.

The two women remain silent.

CUT TO:

INT. HOTEL ROOM 843 ? BALCONY ? MORNING

WILLOW is sitting cross-legged in the center of the balcony, eyes closed and arms folded across her chest. There's a knocking on the door and WILLOW opens her eyes and turns to see KENNEDY leaning in the doorway.

KENNEDY: You've been out here for two hours. Come inside.

WILLOW: No, I can't.

WILLOW turns back around and closes her eyes once more. KENNEDY steps out onto the balcony and crouches down next to WILLOW.

KENNEDY: Why not? You convinced you can win a world record for sitting out on a balcony for the longest amount of time?

WILLOW doesn't open her eyes but responds.

WILLOW: No. I'm focusing. I'm trying to center myself. I'm trying to let myself revolve around the world around me.

She falls silent?then kicks out her feet and huffs.

WILLOW (Cont'd): And it's total crap. I can't focus on the city. Not much is natural here. It's just steel. Lots and lots of steel and that's not earthy!

KENNEDY rubs WILLOW on the shoulder and sits down completely.

KENNEDY: Can I try and help any?

WILLOW: I'm not sure. Maybe?

KENNEDY reaches out and holds WILLOW's hands. WILLOW turns herself so she faces KENNEDY directly.

KENNEDY: What do I do?

WILLOW: Focus.

KENNEDY: On what?

WILLOW: The earth. Nature. Power. Just let it flow through you.

KENNEDY and WILLOW both take deep breaths and close their eyes, still holding hands. The wind around them slowly begins to pick up. KENNEDY notices this and tenses.

WILLOW (Cont'd): Relax.

KENNEDY relaxes slightly. The camera pans around the two girls as objects around the balcony begin to levitate off the ground. KENNEDY's eyes open slightly and she gasps at the sight. A table, chairs, a few of potted plants are floating around them, slowly rotating.

KENNEDY: Uh, Willow?

WILLOW keeps her eyes closed. Scared slightly, KENNEDY pulls away from WILLOW. The objects remain off the ground, though, and the wind is slowly beginning to blow harder.

KENNEDY (Cont'd): What's going on? Is this supposed to happen? Willow?

WILLOW's swaying slightly, hands still outstretched with her palms facing upwards. One of the potted plants comes into focus and we see it grow and its color intensifies. A flower even blossoms near the top of it. The same thing happens to the other potted plants. WILLOW smiles.

WILLOW: It's amazing. The?the energy. Why couldn't I feel it before?

The floating table and chairs come to a rest on the ground first, conveniently right where they belong. The plants then rest down in a triangle around WILLOW, continuing to grow and blossom. WILLOW opens her eyes. The blue iris in both eyes is glowing.

WILLOW (Cont'd): This is?This is?

WILLOW's eyes suddenly shut and she falls backwards on the balcony, just missing the potted plant behind her. KENNEDY rushes to her side.

KENNEDY: Willow? Will? Wake up!

KENNEDY runs a hand through WILLOW's hair. Slowly, WILLOW's eyes flutter open and she speaks weakly.

WILLOW: What a rush.

KENNEDY smiles as she holds WILLOW in her arms.

CUT TO:

INT. PECTUS MALUM ? CHAMBERS ? DAY

Despite the sunlight outside, the chambers at Pectus Malum are dark except for the torches that hang on the wall. The head of a demon then rolls across the floor and hits a wall with a thud. KRIS bends over and picks it up. Next to her is KAYLA.

KRIS: This is the last one. No more demons are lurking around this place.

KAYLA: I'd say the fire the damaged most of Pectus Malum was enough to kill some of the demons. It's a miracle this place is still standing.

JARED (OS): Don't rely too much on miracles.

KAYLA turns around and sees JARED SATYR and PAIGE approaching them.

JARED (Cont'd): There's no such thing.

KAYLA: No such thing as a miracle? Ye of little faith.

JARED: I don't need faith. I've been through several centuries without it. Why start now?

KRIS: Okay, excuse me but who are you?

PAIGE: Ha, she has manners. That's a really funny joke. So much for Rogue Slayers.

KAYLA: Rogue Slayers? What do you mean by that?

JARED glares at PAIGE.

JARED: She means nothing by that. We are here on business for the Queen.

KAYLA: The Queen? You work for the Queen and I don't know you?

JARED: I believe that that is correct.

KAYLA: What business do you have then? I'm not one for chit chat.

PAIGE: Clearly you're not. And what is even more evident is your lack of respect for your superiors.

KRIS: Superiors?

PAIGE: We're closer to the Queen than you are. You are her pawns. Nothing more?

KAYLA: Pawns? I'm the general here. I control these girls and when it comes to missions assigned by the Queen, I plan them. Now are we gonna cut to the chase anytime soon or should I get my chainsaw ready for some chopping?

The group stands silently. In the background, we see other Slayers moseying around the chambers doing different tasks that include training, cleaning, etc?etc..

JARED: The Queen has assigned a task for both us and the Slayers to complete.

KAYLA: What is this task, exactly?

PAIGE: A siege on the planetarium.

KRIS laughs.

KRIS: I'm sorry but this has got to be a joke.

JARED: It is not a joke.

KAYLA glances back at KRIS and her tone is serious.

KAYLA: It's not a joke.

KRIS: Oh. Sorry.

KRIS backs off slightly and JARED continues.

JARED: We're assuming that there are only four days left before the prophecy is said to unfold. One of the events prophesized is?

KAYLA: A meteor shower. It opens a window for the Queen to invoke us Slayers with even greater power than we have now.

PAIGE raises an eyebrow at this and JARED glances back at her. They play along.

JARED: Yes, that is correct. If the first event comes true, it is possible that everything else is too. The only way to make sure of this is to break into the planetarium and monitor the astrological events closely.

KAYLA: That makes sense.

JARED: I'm glad it does.

KAYLA: What will we have to do?

PAIGE: You're the general. You're the one who gets to plan it all.

PAIGE grins.

CUT TO:

INT. HOTEL ROOM 843 ? BUFFY'S BEDROOM ? DAY

SPIKE enters the bedroom, closing his cell phone while he does so. The curtains are drawn, blocking out any sunlight. SPIKE looks around, looking for BUFFY, and tosses the phone on the bed. We hear the sound a baby crying and SPIKE, panicked, looks around the room again. There is nothing there.

SPIKE: Bloody hell.

He rests a hand on his temple and rubs it slightly. He then sits down on the edge of the bed and we hear the baby crying again.

FLASH TO:

FLASHBACK

INT. RUNDOWN CONDO ? BEDROOM ? NIGHT

SPIKE dashes into the bedroom, holding the child, and slams the door shut behind them. He lays the baby down on the bed and turns around, suddenly wearing the face of a vampire. The baby is crying consistently, not stopping for a breath or anything. SPIKE moves towards the wall next to the door and pushes over a rotting, wooden dresser. It falls over and blocks the doorway. SPIKE faces the baby again.

SPIKE: Shh?Good baby. Be a good baby.

The baby continues to cry and we hear banging on the wooden door along with the yelling of demons and vampires. SPIKE leans against the door to try and keep it shut.

SPIKE (Cont'd): Why do they want you so badly, lil bit? Care to explain that to a fella?

The baby just whines in response and SPIKE closes his eyes and moans.

SPIKE (Cont'd): Oh just shut it already! Crying solves nothing!

A hand punches through the door just to the right of SPIKE's head. His eyes widen as the door is ripped off its hinges and he falls backwards. A stampede of demons storm the room as SPIKE slowly gets to his feet, still vamped out.

SPIKE (Cont'd): You want the bloody child? You can have her.

A large demon swoops the baby up in the crook of his arm and glares at SPIKE. A moment later, SPIKE lunges through the air, taking out the two vampires in front of the massive monster. Dropping to the floor, SPIKE kicks the legs out from beneath the large demon and it lets go of the baby. Swiftly, SPIKE rolls and picks up the child and runs out of the bedroom. The demon rolls onto its stomach and punches the floor, creating a large hole that slowly begins to spread across the floor.

CUT TO:

INT. RUNDOWN CONDO ? DOWNSTAIRS ? NIGHT

SPIKE dashes down the stairs with the crying baby in his arms. He is no longer vamped out; rather he is shushing the baby. A loud cracking noise is heard from above SPIKE and he looks upwards. No more than an instant later, the monstrous demon crashes through the ceiling and lands on its feet. Standing up straight, the demon towers over SPIKE and growls.

SPIKE (To the demon): Can you talk?

The monster lowers its head, still glaring at SPIKE, and speaks.

MONSTER: You show affection. For a vampire that is unexpected.

SPIKE: So you do talk. (Beat) Why do you want the child?

The MONSTER takes a few loud steps towards SPIKE.

MONSTER: It is marked. Forged by evil, branded by evil, destined for power. I merely work for someone bigger who wants the child for their own private purposes which are none of your concern.

SPIKE glances up and spots a large piece of wood dangling from the ceiling just above the monster. Thinking quickly, he attempts to distract the monster.

SPIKE: You're evil, right mate? Why work for someone else? Be your own big bad. Lord knows you're big enough to fill those shoes, literally.

MONSTER: Your antics do no distract me. I know my mission and only my mission. You, however, are preventing me from fulfilling it. Give me the child.

The wood snaps off the ceiling and plunges down into the monster's head, killing him instantly. The monster falls to the ground and we see DRUSILLA standing a few yards from the demon, swaying and crying. SPIKE looks down at the baby and pulls the blankets away from her. That's when he spots it. On the left shoulder of the child is a birthmark in the shape of a heart with a stake running diagonally through it. SPIKE stares at the mark in awe.

END OF FLASHBACK

FLASH TO:

INT. HOTEL ROOM 843 ? BUFFY'S BEDROOM ? DAY

SPIKE's eyes open abruptly and he sits upwards. He then changes from confused to slightly afraid. On the wall before him is the same heart with a stake through it only this time it's on fire. SPIKE gasps and in the next moment, it's gone. He rubs his eyes and looks around the room.

CUT TO:

INT. NEWHART ORPHANAGE ? BEDROOMS ? NIGHT

AURORA tucks in one of the children and turns off the light on her way out. She takes one last glance back into the room and smiles before shutting the door behind her. Standing just outside the door and in the hallway is ELIZABETH.

ELIZABETH: It's about time.

AURORA: It's not my fault I've got more than one job.

ELIZABETH: Then whose is it because I really want to march to their house and cut their legs off just to see if they move as slow as you do.

AURORA glares at ELIZABETH and the two head down the hallway and towards the office. AURORA opens the door, not holding it for ELIZABETH, and enters the office.

CUT TO:

INT. NEWHART ORPHANAGE ? OFFICE ? NIGHT

AURORA points to a seat.

AURORA: Sit there and wait if your little old legs can't handle standing.

She then disappears into a backroom. ELIZABETH opts to stand. A moment later, AURORA appears before her, dressed in another black outfit and slipping a set of knives onto her belt.

AURORA (Cont'd): Now was that so bad?

ELIZABETH: Can you not move that fast when doing all your wonderful chores? What good is using superspeed if not for personal gain.

AURORA: You clearly don't know me. I run a freakin' orphanage and you think I'm selfish?

ELIZABETH: You seem to kill people for selfish reasons, not worrying about the targets' families. So, yes I do.

AURORA disappears in a blur again, leaving ELIZABETH in her wake.

ELIZABETH (Cont'd): So be that way.

She walks out of office, alone.

CUT TO:

INT. COLSTON CORP ? LOBBY ? NIGHT

AURORA appears in the lobby, leaning against the wall opposite the fountain. She looks to her right and we see ELIZABETH standing right next to her.

AURORA (Whispering): How the hell did you get here so fast?

ELIZABETH puts a finger to her lips.

ELIZABETH (Whispering): I clicked my heels together and flapped my wings real hard. (Beat) I've found that birds fly faster than you run.

AURORA: Bitch.

ELIZABETH: Don't start insulting me?

ELIZABETH shifts out of focus and when everything becomes clear again, a GUARD is standing in her place.

GUARD: I just won't know when to stop.

AURORA: That power of yours? Yeah it's really creepin' me out.

GUARD: Just go get the target and we'll be on our way.

ELIZABETH/GUARD turns and stalks off towards an elevator. AURORA glances around briefly and disappears in a blur again.

CUT TO:

INT. COLSTON CORP ? CEO'S OFFICE ? NIGHT

MR. COLSTON stands up from behind his desk and closes his briefcase. One last look across his desk and he's heading for the door?only to be stopped by AURORA suddenly standing in the doorway, blocking him. The lights then go out instantly. We hear the sound of struggling and moaning until there's one loud bang. The lights suddenly come on again and AURORA wipes her hands off on a piece of cloth. The camera pans out and we see MR. COLSTON hanging upside down on the wall and that the cloth came from his jacket.

AURORA: How does it feel lookin' down from there?

She grabs him by the throat and thrust upwards, sending MR. COLSTON slamming into the ceiling above him and snapping his neck in the process. He falls to the ground, dead. The doors fly open and a GUARD stands just outside the office.

GUARD: Holy mother of?

A large sword is run through the GUARD's chest and he falls to the ground. Standing behind him is ELIZABETH, out of her guise.

ELIZABETH: Nice job.

AURORA ignores ELIZABETH and stares right past her.

ELIZABETH (Cont'd): It is not nice to ignore people.

ELIZABETH turns around and we now see CAROL GOODMEYER, wide eyed, shocked, and scared, standing at the end of the hall.

AURORA: Son of a bitch.

AURORA takes off down the hallway, pushing past ELIZABETH, as CAROL spins around and enters the elevator. The doors close as AURORA makes it to the end of the walkway.

ELIZABETH: It's not worth it now.

AURORA glances back over her shoulder at ELIZABETH.

AURORA: You're right. Not now. But I believe we've found our next target.

AURORA grins.

FADE TO BLACK

END OF ACT II

**Heather** · 30-07-07, 01:31 AM

ACT III

FADE IN

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

The lights are all off as the phone rings. It continues to ring for several moments and no one comes down to answer it. As the phone goes to the answering machine, ANDY stumbles into the office and flips on the light, rubbing her eyes. She reaches for the phone and the person hangs up. She moans.

ANDY: Mother f?

The phone rings again and ANDY quickly snatches it up.

ANDY (Cont'd): Hello?

CAROL GOODMEYER's voice is heard on the other line. She sounds shaky and nervous.

CAROL (OS): Andrea Sullivan?

ANDY: Mrs. Goodmeyer? How are you?

CAROL (OS): I'm terribly sorry to be calling so late but...

ANDY sits down and turns on the TV with her free hand. She sees a breaking news story and perks up. A newscaster is covering the murder of Colston Corp's CEO, MR. COLSTON.

CUT TO:

INT. GOODMEYER RESIDENCE ? BATHROOM ? NIGHT

CAROL is sitting in the bathroom with her back against the wall. She appears to have been crying.

CAROL: I just didn't know what to do.

ANDY (OS): What's wrong?

CAROL: I told you how much Charles trusted you. You know that because of him I trust you. I know you handled the situation with Michael months ago.

CAROL wipes her eyes.

CAROL (Cont'd): That's why I need you to help me again. I saw something tonight. I saw a man get killed and I'm afraid that I'm not safe anymore.

She starts crying again.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY sits up straight and listens intently to CAROL. She mutes the TV.

ANDY: W-what do you want me to do? Carol, you need to take this to the police.

CAROL (OS): I don't?I don't trust them like I trust you.

ANDY: Okay but what do you want me to do?

CAROL (OS): I'm going to be in meetings all day at Colston Corp because of what happened?

ANDY: Wait, you saw Mr. Colston get murdered?

ANDY's eyes widen.

CUT TO:

INT. GOODMEYER RESIDENCE ? BATHROOM ? NIGHT

CAROL slowly stands up and looks at her watch. We see that it's 4:50 am.

CAROL: I didn't know what to do!

ANDY (OS): It's?It's alright. Did you see who did it?

CAROL: Not very well. Everything was so jumbled. But I could probably point them out if I see them again. That's why I need you to come with me tomorrow.

ANDY (OS): Where do you need me to go with you?

CAROL: To the opening of Colston Corp's first official power plant. It's a huge party but I don't have anyone to go with. I'll be by myself all night and I'm afraid that the people who killed Mr. Colston will come after me.

CAROL slowly heads into her bedroom and closes the curtains.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY seems taken back by what CAROL has just told her.

ANDY: Oh?Oh okay. I guess I could go. But I'm not sure what you think I can do.

CAROL (OS): You can protect me. I know you can and I need you to. Please come. You can bring someone if you'd like. It's a big party and there will be a lot of people but, like I said, I'll be alone most of the night and I'm just afraid.

ANDY nods to herself.

ANDY: You said it's tomorrow.

CAROL (OS): Yes, tomorrow at seven o'clock but I'm getting there earlier. At six maybe?

ANDY: Okay I'll be there.

CAROL (OS): Thank you so much. I'm so sorry to drag you into this.

ANDY: It's alright. I'm glad you did. Goodnight.

CAROL (OS): Goodnight.

She hangs up and ANDY puts the phone down. ANDY turns the volume back on as the news story changes. The newscaster is now presenting information about a local jail break. The image of KAYLA KAAS appears on the screen. ANDY's eyes widen.

ANDY: This night could not get any better.

The camera zooms in on the picture of KAYLA and ANDY rubs her forehead.

CUT TO:

INT. PECTUS MALUM ? CHAMBERS ? NIGHT

KAYLA is pacing the floor, lost in thought. KRIS is seated at a round table with JARED.

KAYLA: We'll have to wait until nightfall. That's the logical way to do this.

KRIS: Yeah, really really late would be smartest. Especially now that your breakout has made evening news.

JARED: The added publicity is not going to go over well, might I add.

KAYLA: I'd prefer it if your interjections were useful in the slightest. Thank you.

KAYLA runs a hand through her hair.

KAYLA (Cont'd): What if we plant a bogey in the planetarium?

JARED: A bogey?

KAYLA: Someone who is disguised as a worker. Like a maintenance worker or a security guard. They could monitor the screens and not be noticed.

JARED: That could work.

KAYLA: Of course it would work. Especially if we do it right.

KRIS appears to be running the idea through her head.

KRIS: How would we do that? I mean, won't people realize that the bogey isn't a real worker? I mean, they'll have 2 days to figure it out.

JARED: She is right.

KAYLA huffs.

KAYLA: I know she is. Shame we don't know a shape shifter.

JARED: Yes, they're very hard to catch.

KAYLA stops walking and her eyes brighten up.

KAYLA: We get an inside man to help us.

KRIS: How??

KAYLA: Blackmail.

KAYLA begins to grin.

KAYLA (Cont'd): It's simple. We threaten one of the higher ranking security guards into supporting our bogey. That way if someone questions the bogey's identity, we'll have someone who can shrug it off and not make it an issue.

JARED: Then we'll need to be researching this idea, won't we? We only have one more day before all of this will need to begin moving.

KRIS: Why do we only have one more day?

KAYLA: Because the prophecy is not completely specific. It narrows the event down to one day but it can happen at any point in that one day.

KRIS nods.

KRIS: Right. That makes perfect sense.

She rolls her eyes.

JARED: You don't believe in the prophecy?

KRIS: No, I believe in realism. Here we are planning a huge siege on one of the biggest planetariums just so we can access a telescope to see if what some crypt keeper said will come true.

JARED: Realism? You call suddenly gaining unbelievable power realism?

KRIS: That's different.

JARED: You were destined, much like the other girls who became Vampire Slayers like you did. That destiny came from some "crypt keeper." It was a prophecy. The life you're living now is not realism.

KRIS hangs her head pays no attention to JARED.

JARED (Cont'd): Now let's continue.

KAYLA begins to pace again and KRIS remains silent.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? MORNING

WILLOW is sitting in the middle of the living room floor. Through the double glass doors that lead out to the balcony we see that it is raining ? hence she is inside at the moment. On the couch is KENNEDY and standing a few feet in front of the television is SPIKE.

SPIKE: I do not get the purpose of this bloody exercise.

WILLOW: I'm trying to get my control back. Magic has been ripping right through me and let me tell you, it does not feel good in the end.

SPIKE: It sounds like a load of bullocks to me.

WILLOW laughs and closes her eyes.

KENNEDY: Of course it does Spike, but you volunteered to do this.

SPIKE: I did not!

KENNEDY: Well you were drafted into doing this. It's just as important.

KENNEDY grins and SPIKE rolls his eyes and huffs.

SPIKE: When does it start?

WILLOW's eyes fly open, fully black now, and she raises her hands. A bolt of blue energy blasts out of each palm and strikes SPIKE in either shoulder. He crashes into the TV and crumbles to the floor.

FLASH TO:

FLASHBACK

INT. RUNDOWN CONDO ? LIVING ROOM ? NIGHT

DRUSILLA slowly lowers herself onto the floor, sobbing.

DRU: My baby...My baby is ruined.

SPIKE walks over to comfort her. But she shrugs him off.

DRU (Cont'd): Mummy is not happy. Spike has disappointed Mummy. Letting someone brand baby. (Glaring at Spike) Baby is ruined!

SPIKE: The child is not ruined, Dru. She's marked for greatness.

DRU: I don't want greatness. I just want baby to be happy. The stars?they cry more for baby.

DRU pretends to be holding the baby in her arms and rocks her arms back and forth. SPIKE, not knowing what to say, lies to DRU in order to get her to quiet down.

SPIKE: I'm sorry I didn't stop the baby from being branded.

DRU, continuing to cry, ignores SPIKE.

DRU: It's all your fault!

DRU lies down on the floor and covers her face with her hands, crying. SPIKE sighs and stands up. He then walks across the living room towards the baby, who is sleeping on the table. SPIKE runs a finger over the baby's cheek and it coos, quietly.

SPIKE: You're not ruined, lil bit. You're gonna be powerful one day.

The baby coos again and falls back asleep. SPIKE walks towards the door and leaves DRUSILLA sobbing on the floor.

END OF FLASHBACK

FLASH TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? MORNING

SPIKE comes to and rubs his head. WILLOW and KENNEDY are both leaning over him.

SPIKE: God! What is this a bloody tea party?

WILLOW and KENNEDY back off and SPIKE sits up.

KENNEDY: You were knocked out. Willow knocked you out. It was so cool.

WILLOW glares at KENNEDY.

WILLOW: I didn't mean to knock him out. I didn't even mean to send him flying like that. It just?happened! (Beat) But at least I didn't pass out which is totally cool.

WILLOW and KENNEDY grin like children and SPIKE glances at them with disgust.

SPIKE: I'm done helping you two dimwits for today.

WILLOW: Fine, fun-sucker.

SPIKE heads into the next bedroom, leaving WILLOW and KENNEDY in the living room.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? MORNING

BRETT, FAITH, and ANDY are all seated on the couch at the far end of the main room. They're reading through old newspapers and printed out documents. The office door opens and NATALIE stalks across the room, wearing a beautiful gold, strapless dress.

NATALIE: What do you think?

None of them look up at NATALIE.

ANDY: Gorgeous.

BRETT: It's nice.

FAITH: I only broke out of jail once and that was a state penitentiary. This girl's a total rookie.

NATALIE: See, I think it might be too whorish. Ugh?

NATALIE briskly moves back across the main room and into the office, shutting the door behind her. BRETT looks up from his papers.

BRETT: I'm starting to want to go to this gala with you now.

ANDY: I'm sure Natalie has a dress that fits you.

BRETT: I'm sure I'd be able to pick a dress out faster than it takes her to.

FAITH stares at him.

FAITH: You've gotta be kiddin' me.

BRETT: No, that's my secret pastime. I find cross-dressing sexy.

ANDY: I was a guy for one wild night. (Beat) Now I know what it's like to have a penis in your pants all day long.

There's an awkward silence between the three of them.

BRETT: We're joking.

FAITH: I'm praying to god you are.

The office door opens again and NATALIE breezes over to them, now wearing a slinky blue dress.

NATALIE: This is pretty isn't it?

ANDY nods.

BRETT: Very.

He sighs and looks down at the papers in his lap again.

FAITH: Okay, I'm not gonna lie. This is freakin' ridiculous. Pick a damn dress and be done with it. If I have to sit through ten more try-on's I swear I'll?

NATALIE: Kill another person?

NATALIE glares at FAITH.

NATALIE (Cont'd): This is my first big party in like?ever. I want to look gorgeous incase I meet someone famous.

ANDY: Yes because Orlando Bloom has such big interest in power plants.

BRETT: I could make a terribly cheesy joke about Mister Bloom, his acting ability, and a power plant right now but I fail to have the enthusiasm.

NATALIE storms off again, taking off her shoes as she walks. ANDY perks up as she spots something on the paperwork.

ANDY: I found something?That has me slightly scared.

BRETT: What is it?

ANDY looks up at FAITH and BRETT.

ANDY: Most of these Slayers that work for the Queen are orphans. The most notable Annie is Kayla Kaas ? Miss Breakout herself. The scary part is where she was adopted from.

FAITH (Unenthused): Suspense is killing me.

ANDY: Newhart Orphanage. The second scary part is who adopted her.

FAITH (Unenthused): I'm six feet under.

ANDY: Dianna Preston's husband, Carlen Kaas.

BRETT: Dianna's married?

ANDY: Well, was married according to this.

BRETT: That's bizarre indeed.

The office door opens and NATALIE walks over to the couch and sits down on the floor. She is now wearing jeans and a t-shirt.

NATALIE: I'm going with the black one.

FAITH: Thank god.

FAITH tosses the papers in her hand down on the floor and stands up.

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? AFTERNOON

CUT TO:

STOCK IMAGES ? NEW YORK CITY ? NIGHT

CUT TO:

INT. COLSTON CORP GALA ? PARTY ? NIGHT

The camera pans across the party from ceiling level until we see the main entrance. The camera then zooms in as ANDY and NATALIE enter the party and head down the stairs towards the big bash.

ANDY: Isn't this all hip and happening?

NATALIE glares at her.

NATALIE: You just ruined this entire experience for me in one moment. God I hate you. (Beat) I'm gonna find a table. You find me.

NATALIE breezes off into the crowd, leaving ANDY alone. ANDY looks around and spots CAROL in the middle of a large conversation. CAROL locks eyes with ANDY and hurries over to her.

CAROL: You don't know how grateful I am. Thank you so much, Andrea.

ANDY hugs CAROL.

ANDY: You're welcome. I'm glad you called me. And I'm flattered you called me. If glattered or flad were words, I'd use one of them right now.

CAROL smiles and pulls away from ANDY.

CAROL: Do you have a table?

ANDY nods and motions towards the large crowd.

ANDY: I'm hoping my friend found one.

CAROL: Oh I'm glad you brought somebody with you. That way I won't feel bad if you get bored.

She laughs weakly. ANDY looks around the party but stops when she sees something or someone up on the large stage. The camera pans around and we see AURORA, wearing her black outfit, scanning the crowd. ANDY, confused, continues to watch at her curiously but is taken back when AURORA disappears from the stage in a blur and reappears on a balcony on the far side of the party.

ANDY: Oh my god.

CAROL looks at her, confused, but ANDY gawks in horror.

FADE TO BLACK

END OF ACT III

**Heather** · 30-07-07, 01:32 AM

ACT IV

FADE IN

INT. COLSTON CORP GALA ? PARTY ? NIGHT

We fade in right where we left off with ANDY staring up at AURORA with disbelief. CAROL, still dumbfounded, looks around the party to see what ANDY is looking at.

CAROL: What's wrong, Andrea?

ANDY's attention snaps back to CAROL.

ANDY: The person who you saw last night. You said you'd recognize them?

CAROL: Yes, yes of course. Why? Oh no, are they here?

ANDY turns and subtly points up at the balcony where AURORA is. CAROL glances up and spots AURORA. She gasps and doesn't say a word.

ANDY: I'll take that as a yes. (Beat) I need you to stay with a large crowd of people. She won't attack if you're in public. She can't attack if you're in public. Promise me that you won't go anywhere in this party alone.

CAROL nods.

CAROL: I promise.

ANDY: Good.

ANDY then turns and takes off, pushing through the crowd and letting her eyes dart around in an attempt to find NATALIE. A few moments later, she finds NATALIE sitting at a large table next to a good looking young man. They appear deep in conversation until ANDY approaches them.

NATALIE: Oh c'mon! Already?

ANDY: I think so and we have to hurry. Literally.

NATALIE sighs and turns to face the young man.

NATALIE: I'm sorry Leo but I have to go.

YOUNG MAN: My name's Rocco.

NATALIE: Yeah, whatever.

She stands up and runs through the crowd with ANDY. As they reach the door, a blur in the air blows past them and out into the parking lot.

ANDY: Uh-oh.

NATALIE: What uh-oh?

ANDY: How could she know we're going after her?

NATALIE: She?

ANDY grabs NATALIE by the hand and runs out through the parking lot and towards their car.

CUT TO:

STOCK IMAGES ? NEW YORK CITY STEETS ? NIGHT

CUT TO:

INT. NATALIE'S CAR ? FRONT SEAT ? NIGHT

ANDY is driving the car with NATALIE in the passenger's seat. They appear to be speeding down the nearly empty streets.

NATALIE: You're a cop and yet you speed?

ANDY: All the cool kids are doing it.

NATALIE: Watch out you lunatic!

ANDY swerves the car into the next lane and cuts off the car in front of her.

NATALIE (Cont'd): Whoever gave you a license must've been really stupid?Or blind?Or deaf because there must've been a lot of honking during the test.

ANDY doesn't take her eyes off the street before her.

ANDY: Will you shut up? You're like a little kid! Now get your freakin' cell phone and call Brett or Faith or somebody for god's sake!

NATALIE rolls her eyes and reaches into her purse to retrieve her phone.

NATALIE: Where are we going anyway? This chick could miles ahead of us by now!

ANDY: I'm just taking a gamble here, okay? I'm not sure where she is, I'll admit that, but I have a slight idea and I'm praying that my idea is right.

NATALIE dials a number on her phone and puts it to her ear. A moment later, she hangs up and dials another number.

NATALIE: Brett's phone is busy.

ANDY: That's bizarre.

NATALIE hangs up again.

NATALIE: Faith's is too.

ANDY: Go to the next option, then.

NATALIE dials one more number and WILLOW answers on the other line.

WILLOW (OS): Hello?

NATALIE: Willow? Willow! Where's Brett and Faith?

NATALIE looks nervously out the front window as ANDY swerves again.

CUT TO:

EXT. PECTUS MALUM ? GATES ? NIGHT

WILLOW is on her cell phone and next to her is BRETT and FAITH. They appear to be examining the rubble of the former black market.

WILLOW: We're at Pectus Malum. They figured that we could find something useful here for when we have to find the slayers. Why are you calling?

NATALIE (OS): We found the assassin. The one that's been killing the corporate head honchos.

WILLOW: Do you want us to meet you wherever you are?

WILLOW follows FAITH and BRETT as they move around the gates and closer to the rubble.

CUT TO:

INT. NATALIE'S CAR ? FRONT SEAT ? NIGHT

NATALIE looks at ANDY.

NATALIE: Should they meet us wherever we're going?

ANDY: No, we can probably handle whatever happens.

NATALIE turns back towards her phone and brings it back up to her ear.

NATALIE: No, we can probably handle whatever happens. Andy's words, not mine.

WILLOW (OS): Okay. Spike and Kennedy at the warehouse incase something happens there so if you need help you should probably call them.

NATALIE: Okay, will do.

WILLOW hangs up and NATALIE does the same.

NATALIE (Cont'd): So where are we going?

ANDY: To the orphanage.

ANDY steps on the gas and they speed ahead on the road.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

SPIKE is seated behind the desk with his feet up on the tabletop. The door is open and he has a perfect view out into the main room where KENNEDY and the young slayers are training. Slowly his eyes drift shut.

FLASH TO:

FLASHBACK

EXT. ORPHANAGE ? PARKING LOT ? NIGHT

SPIKE walks across the parking lot as a train runs by in the background. In his arms is the baby, wrapped tightly in a red blanket now. The noise from the train, however, wakes her up and she begins to cry. SPIKE rests a finger over the baby's lips.

SPIKE: Shh?Don't cry, lil bit.

The baby slowly quiets and SPIKE smiles down at her.

SPIKE (Cont'd): That's a good girl.

He looks up at the large orphanage before him and we see a sign hanging over the front porch. It reads "Newhart Orphanage" in large font. SPIKE takes a few steps up onto the porch and stops in front of the door. He smiles down at the baby and rests her down on the floor.

SPIKE (Cont'd): Be good.

With that, he rings the doorbell, rests a small note on the baby's chest, and waves down at her. The front door opens and SPIKE is gone. Standing in the doorway is MR. NEWHART and a few feet behind him is a YOUNG AURORA. MR. NEWHART spots the baby and looks around the porch as he picks her up off the ground. He grabs the note and reads it.

Around the corner of the porch, SPIKE watches all of this happen. He sees MR NEWHART take YOUNG AURORA and the baby inside. To see what happens next, SPIKE goes to the nearest window to look inside. We hear what is said indoors but it's muffled due to the glass. MRS. NEWHART comes downstairs, holding a young boy's hand.

MRS NEWHART: What is it, dear?

MR. NEWHART shows her the baby.

MR. NEWHART: I found this baby on the front porch. It had a note.

MR. NEWHART hands the letter to MRS. NEWHART who looks it over once and folds it.

MRS. NEWHART: I still don't understand why anyone would leave a young baby like that out on the porch all by itself.

MR. NEWHART: I know. But you get used to it over the years. (To Aurora) Aurora, honey, why don't you take Billy upstairs for your mother.

YOUNG AURORA nods and takes the young boy's hand and guides him back up the stairs for her mother. MRS. NEWHART crosses the room to look at the baby closer.

MRS. NEWHART: Another new addition. This place is becoming way too overcrowded!

MR. NEWHART: At least we don't have another Kayla in the Orphanage, right?

MRS. NEWHART smiles and BABY KAYLA coos. On the other side of the window, SPIKE turns and walks off into the night.

END OF FLASHBACK

FLASH TO:

EXT. PLANETARIUM ? BACK LOT ? NIGHT

KAYLA pulls up the sleeve of her sweatshirt to cover the birthmark that appears to be a heart with a stake through it. She then pulls on a pair of long gloves before turning to face JARED, PAIGE, and KRIS.

KAYLA: I assume everybody knows the plan?

PAIGE: This is the first time your assumptions have gotten you somewhere, isn't it?

KAYLA glares at her.

KAYLA: I take your uselessness as a ?yes.'

JARED: The plan is too simple not to remember.

KRIS looks around, panicked.

KRIS: When does the next guard make his rounds?

KAYLA looks at her watch.

KAYLA: Four minutes. This gives us four minutes to get inside, four minutes to reach the security booth, and four minutes to sway Mister Sheffield onto our side.

JARED: I hope that this works. Otherwise all of our lives are on the line.

KAYLA ignores JARED and pulls on a black ski mask.

KAYLA: Four minutes, people.

KAYLA starts towards the back door as KRIS, JARED, and PAIGE pull on their ski masks. KAYLA reaches for the door.

KAYLA (Cont'd): That's all we need.

She opens the door.

CUT TO:

INT. PLANETARIUM ? EXHIBITS ? NIGHT

KAYLA, JARED, KRIS, and PAIGE storm into the planetarium, walking quietly but not bothering to back off on using brutal force. Each guard they pass is taken out with a swift punch, kick, or blast of colored energy. The group reaches the opposite side of the room and walks out of the shot. The camera pans up into the air and we see a dozen unconscious guards scattered across the floor.

CUT TO:

INT. PLANETARIUM ? BREAK ROOM ? NIGHT

KAYLA opens the door and kicks a guard in the gut while JARED blasts another with a bolt of red energy. There is only one person left standing: MR. SHEFFIELD. KAYLA places a hand on either hip.

KAYLA: Hello, Mister Sheffield. How're you this evening?

MR. SHEFFIELD reaches for his belt to grab his gun but PAIGE is a step ahead. With a flick of her writs, an orange ball of light knocks his hand away from the weapon.

PAIGE: I wouldn't even think about it.

She glowers at MR. SHEFFIELD as KAYLA takes a step closer.

MR. SHEFFIELD: Who are you people? What do you want?

KAYLA: We're here to make you an offer. And as cliché as it sounds, you really shouldn't refuse it.

The camera pans out of the break room as KRIS kicks the door shut. A moment later, we here MR. SHEFFIELD scream with pain.

CUT TO:

INT. PLANETARIUM ? MONITOR ROOM ? NIGHT

We see a woman seated in one of several chairs that are located in front of a large set of computer screens.

KAYLA (OS): How does it feel?

The woman turns around and we see that it is PAIGE, her hair tied back in braids and a pair of glasses resting on her nose.

PAIGE: I feel like a true human and let me tell you how much that sucks.

The camera pans around and we see KAYLA, JARED, and KRIS blocking MR. SHEFFIELD from the door. His hand is wrapped heavily in cloth though we see blood trickling out from beneath the makeshift bandage.

JARED: You will live with it. It's only for a day, anyway.

KRIS: Besides, you get off the job once the big event happens.

PAIGE stares at KRIS fiercely. KAYLA turns to face MR. SHEFFIELD, who is whimpering incessantly.

KAYLA: You know what to do?

MR. SHEFFIELD nods.

KAYLA (Cont'd): Are you sure? You have to make everyone believe that you hired our friend here. If not, we will kill your family.

JARED: And don't think that we won't be watching your every move.

MR. SHEFFIELD looks down at the ground and shuffles his feet.

KAYLA: I'm glad everything's understood.

JARED pulls his hand back and blasts MR. SHEFFIELD with a blast of red energy. MR. SHEFFIELD is instantly knocked out and crumbles to the floor.

JARED: We need to get going. The guards will wake up soon.

KAYLA is the first to leave, followed by KRIS. JARED lingers behind and glances at PAIGE.

JARED (Cont'd): You know what to do.

Even though what he says is more of a statement, PAIGE responds.

PAIGE: I do.

JARED grins and leaves. PAIGE simply spins around in her chair and faces the computer screen.

CUT TO:

EXT. NEWHART ORPHANAGE ? PORCH ? NIGHT

ANDY and NATALIE exit the car after it pulls up in front of the orphanage.

NATALIE: God this place looks empty. I mean, no lights are on.

ANDY: It's past midnight, Nat. Of course there aren't lights on.

NATALIE rolls her eyes and slams her door shut.

NATALIE: I'll check inside.

ANDY: No, you won't. What if she's in there?

NATALIE: Haven't I explained to you the art of being Natalie-fu? And here I thought you listened to me when I?

A blur strikes NATALIE in the side, sending her spinning through the air and landing hard on the porch. The blur stops and we see AURORA standing in its place.

NATALIE (Cont'd): I think I'll be safer inside.

She moans as she pushes herself up off the ground. AURORA pivots herself at the waist and glares at NATALIE.

AURORA: Don't go near those kids.

NATALIE: You're the killer here. I think you're much more dangerous than I will ever be.

ANDY (OS): Hey girly? Yeah, I'm over here.

AURORA spins around?and ANDY kicks her across the face. AURORA stumbles to the side as ANDY knocks over the back with another kick.

ANDY (Cont'd): You are so easy to distract.

ANDY spins, ready to throw another kick, but AURORA dodges the blow. She throws a punch of her own and strikes ANDY square in the chest. The wind knocked out of her, ANDY doubles over and AURORA smashes her over the back with her elbow. ANDY crumbles to the floor.

The camera pans over towards NATALIE, now up on her feet, as she quietly dashes for the front door and heads into the orphanage.

CUT TO:

INT. NEWHART ORPHANAGE ? LOBBY ? NIGHT

NATALIE looks around the dark room, not entirely sure what she's searching for. She then hears something fall from within AURORA's office. Cautiously, she heads towards the door that leads inside the next room.

CUT TO:

EXT. NEWHART ORPHANAGE ? PORCH ? NIGHT

AURORA throws ANDY across the parking lot and she lands on the roof of the car. With a running start, AURORA leaps through the air?only to be caught by ANDY. The two roll off the car and land on the ground, both face up. Quickly, ANDY brings her elbow down on AURORA's face and rolls backwards and onto her feet.

ANDY: I believe now is the time you spill the beans about why you killed those people. Then I have a witty comeback and then we're slap each other with our gloves and ultimately you end up dead, in a coma, or in jail.

AURORA, panting, stands up and faces ANDY.

AURORA: Vengeance.

ANDY: Vengeance? Oo! You've got me intrigued!

AURORA throws a punch but ANDY dodges and thrusts out her own fist, hitting AURORA across the jaw.

ANDY (Cont'd): Please continue with story time.

AURORA wipes a drip of blood from her mouth and laughs.

AURORA: You're a funny chick.

ANDY, unsure how to respond, ruffles her brow.

ANDY: Why thank you??

AURORA: It's an inside job. I'm part of an inside job. One that wants to tear down a major operation by cutting off the operation's affiliates.

ANDY: What operation?

AURORA: That's the part you don't find out.

A moment later, AURORA's gone and appears behind ANDY, choking her. ANDY gasps for breath.

AURORA (Cont'd): And this is the part when you die instead of me.

AURORA forces ANDY to her knees and continues to choke her.

CUT TO:

INT. NEWHART ORPHANAGE ? OFFICE - NIGHT

NATALIE opens the door and steps inside nervously. As she enters, the camera pans to the side of the doorway and we see ELIZABETH pressing herself against the wall a few feet from the door. NATALIE takes a few steps inside when ELIZABETH attacks. She throws out her foot and knocks NATALIE into the desk.

ELIZABETH: Hey girl. Remember me?

NATALIE rolls over and her jaw drops, shocked to see ELIZABETH standing before her, alive.

NATALIE: You-You're supposed to be?

ELIZABETH: Dead? Yeah I know. But it's not fun operating a grand scheme as a ghost.

NATALIE: H-how are you alive?

ELIZABETH smiles and flips on a light.

ELIZABETH: Deceit and betrayal. It gets people places.

ELIZABETH takes a few steps forward and NATALIE begins to panic.

CUT TO:

EXT. NEWHART ORPHANAGE ? PORCH ? NIGHT

AURORA still has ANDY under her control though it doesn't last long. Abruptly, ANDY thrusts her head back into AURORA's forehead and frees herself from her grip.

ANDY: I don't like it when people touch my neck.

She spins around and kicks AURORA again.

ANDY (Cont'd): Now who are you working for?

ANDY kicks AURORA again when she doesn't answer.

CUT TO:

INT. NEWHART ORPHANAGE ? OFFICE ? NIGHT

NATALIE stands up and stares ELIZABETH down.

ELIZABETH: What are you gonna do, sweetie? Threaten me with all-knowing fashion advice?

NATALIE raises a hand to reveal that she's holding a lighter with the initials "A.N." on the side.

NATALIE: I've got another idea.

She flicks the switch and a small flame appears on the end of the lighter. She stalks towards ELIZABETH, who slowly backs out of the office and into the lobby. NATALIE then leads her out the front doors.

NATALIE (Cont'd): What are you gonna do, sweetie?

NATALIE waves the lighter in front of ELIZABETH's face.

CUT TO:

EXT. NEWHART ORPHANAGE ? PORCH ? NIGHT

ELIZABETH, still walking backwards, stops right on the edge of the stairs.

ELIZABETH: The road ends here.

Quickly, ELIZABETH kicks the lighter out of NATALIE's hands, sending it out into the grass a few yards in front of the building. When it lands, a spark flies deeper into the grass and it catches fire. Both ELIZABETH and NATALIE turn to stare at the growing fire.

ANDY, oblivious to ELIZABETH and NATALIE, kicks AURORA once more.

ANDY: Who are you working for?

AURORA glares up at ANDY and glances over at ELIZABETH.

AURORA: Her.

ANDY's attention turns towards ELIZABETH. As the two make eye contact, the sound slowly fades out as the fire grows. Now completely silent, the scene turns into a slow-mo as AURORA runs out of the scene while NATALIE stumbles down the steps and towards ANDY. Halfway closer to ANDY, the sound cuts back in as the fire explodes. NATALIE, ANDY, and ELIZABETH are all sent flying backwards and to the ground as the camera pans up over the burning field. We see a highly intricate symbol in the grass ? the same symbol from 1.10 "Better Days" that was carved into the dead girl's back. The three women stand up again. NATALIE limps over to the car and quickly climbs inside while ANDY and ELIZABETH continue to keep eye contact.

NATALIE: Andy, hurry! Get inside!

ANDY, still staring at ELIZABETH, ducks into the vehicle, closes her door, and starts the engine. They then quickly speed off down the road. ELIZABETH faces the field and examines it in disbelief. The flames are dwindling out now, becoming only the smallest flicker. She sees the symbol charred into the grass and tilts her head to the side. AURORA appears next to her in a blur again.

AURORA: You idiot! Thank god I got all the kids out! If I wasn't here or if I didn't have this power, they'd all be?

ELIZABETH raises a hand in front of AURORA's face.

ELIZABETH: Shut up.

She continues to stare at the field as AURORA notices the symbol, too.

CUT TO:

EXT. SLAYER CENTRAL ? PARKING LOT ? NIGHT

ANDY and NATALIE park close to the building and get out of the car. ANDY is moving slowly, still in shock and disbelief, while NATALIE is seemingly in a hurry to get inside.

NATALIE: Can't you hurry up a little?

ANDY remains silent and trails behind NATALIE as they approach the large door to the warehouse. NATALIE reaches into her purse and grabs her keys. She slips them into the keyhole?and realizes that the door is already unlocked. ANDY suddenly looks panicked.

ANDY: What just happened?

NATALIE glances over her shoulder as she pulls open the door.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

We get a wide shot of the main room with NATALIE and ANDY both blurry due to them being out of focus.

NATALIE: I'm not sure. The door was just unlocked.

A small drop of blood falls from above and lands on the ground.

FADE TO BLACK

END OF EPISODE

Announcement

CHOSEN Episode 1.14 "Aurora"

CHOSEN Episode 1.14 "Aurora"

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