Announcement

**Heather** · 30-07-07, 01:54 AM

ACT I

FADE IN

EXT. NEW YORK CITY ? TIMES SQUARE ? EVENING

The MAN cuts the wire and the timer on the bomb stops. NATALIE tries to stop herself from crying, now that the worst is over, but she finds herself sobbing even harder. The man closes his eyes, panting and wiping sweat from his brow.

MAN: It's?It's alright. Try and calm down.

NATALIE remains wide eyed staring at nothing and shaking. She feels numb. The MAN rests a hand over her's and she yanks her hand away, briefly glancing down at him before staring at the ground.

MAN (Cont'd): Are you alright?

NATALIE glares at him coldly.

NATALIE (Slowly): A bomb?a bomb was strapped to my waist.

The MAN looks away quickly and nods.

MAN: Right?I meant: Are you hurt?

NATALIE glares at him again. The MAN stands up and tries to look NATALIE in the eyes.

MAN (Cont'd): My office is right down the street. There are people who can help you.

NATALIE doesn't respond. She doesn't even appear to have heard him?yet she did.

NATALIE (Slowly): Who are you?

Tears roll down her face again. The MAN reaches to his belt and pulls out a small black wallet. He flips it open and we see an FBI identification card and a badge.

MAN: I'm Agent Troy Griffin. I work for the FBI.

NATALIE stares back down at the ground again, this time a single tear rolls across her cheek. She's trying to take in the entire situation.

TROY: Just come with me. We can get you the appropriate medical attention if you just come with me. Please.

He slowly reaches out to hold NATALIE's hand. NATALIE looks down at him, her breaths rough and short. Slowly and shakily, she takes TROY's hand and he slowly begins to walk with her away from Times Square and through the crowd of shocked and scared onlookers.

CUT TO:

EXT. BAR ? RUINS ? NIGHT

ANDY is still laying in the rubble and debris of the explosion, covered by large blocks of concrete and flaming pieces of wood. Blood is gushing from the whole in her shoulder and the cuts on her face stand out amongst the ash and dirt. The sounds of sirens are heard in the distance. Ever so slowly, ANDY's eyes flutter open and she looks around. She doesn't move at all, not even her fingers. Blood drips from the side of her mouth as she opens it slightly to take in a breath. She ends up coughing, having inhaled smoke and ash. The sirens get louder and the flashing lights of ambulances and firetrucks reflect off broken glass and brighten up the rubble. She blinks briefly and shuts her eyes again, her breaths shallow. Her breathing begins to slow until it ultimately stops. ANDY's head rolls slowly to the side?

FLASH TO:

INT. BAR ? COUNTERTOP ? EVENING

Everything is blurry, distorted, and bright. The camera pans around and we see the bar's customers partying and having a generally good time. The camera continues to pan until we find ANDY, seemingly glowing brighter than everybody else, standing in the doorway watching. She turns around and looks out towards the door. We see that her body is still lying in the flaming debris from the explosion though this chunk of the bar is in perfectly good condition as it was before. ANDY reaches up and touches her shoulder, pulling away a bloody hand. She closes her eyes and takes a deep breath, limping farther into the bar.

Sitting at the counter, drinking a beer, she finds herself ? PAST ANDY ? from a few hours before. The bartender cleans the countertop in front of PAST ANDY and then gives her another bottle of beer. She looks at it and pops it open. The current ANDY's attention turns towards a woman, wearing all black, answering a cell phone in a dark corner of the room. Suddenly, all the sound cuts out and we only hear the woman on the phone.

WOMAN: I understand. Yes. I'll get right on it.

She snaps the phone closed and glances around, cautiously, before pushing through the swinging door and into the kitchen. ANDY follows. She watches from around the corner as the WOMAN subtly opens her cell phone again and punches in a series of numbers. There is now a ticking sound ripping through the silence. ANDY steps inside the kitchen a little more and finds a black box ticking down towards ?0.' As the WOMAN turns around, everything seems to fall back into slow motion except for ANDY. The WOMAN begins to walk towards the door, and towards ANDY, but she walks, her dark clothes and sunglasses seem to disintegrate into nothingness, leaving a trail of smoke and ash behind her as she walks. Underneath, she is wearing all white. The camera pans up and we see that it is PAIGE SANTOS underneath the dark disguise. In a flash, her disguise is back on her body, time resumes, and sound is returned to the scene.

ANDY whirls around and reaches to try and stop PAIGE but her hand merely passes right through her.

ANDY: Hey! Hello? Dammit.

PAIGE disappears into thin air, leaving ANDY's illusion behind, as she exits the bar. ANDY looks down at her body from a distance and hangs her head, shaking it slowly. She takes a deep breath and turns around?

And the bomb explodes.

The entire bar is consumed in white light from the explosion.

FADE TO:

INT. AMBULENCE ? STRETCHER ? NIGHT

We fade in to find ANDY's eyes opening slowly. She's in a moving ambulance. Everything in the ambulance seems harsh and bright at first before gradually returning to normal. ANDY has a neck brace on and a PARAMEDIC is attaching her to a heart monitor. The PARAMEDIC notices that she has woken up and puts a hand over her's.

PARAMEDIC: It's going to be alright. Just try not to move.

ANDY looks down as far as she can to find her arm resting a pool of her own blood. The PARAMEDIC notices this and quickly grabs more gauze and bandages to put over the wound.

PARAMEDIC (Cont'd): Dammit?

ANDY: W-what h-happened?

The PARAMEDIC pounds on the window dividing them from the driver.

PARAMEDIC: Hurry up! She's bleeding real bad back here.

DRIVER: I'm goin' as fast as I can.

PARAMEDIC (To Andy): Just try and relax. We're almost there.

ANDY's eyes slowly begin to close as the monitor flat-lines?

FLASH TO:

EXT. SLAYER CENTRAL ? RIVER- NIGHT

Everything is, again, blurry, distorted, and bright. ANDY's eyes flash open and she finds herself floating in the water. Abruptly, she panics, not knowing what to do or if she'll have enough breath to keep herself alive. She tries to swim but she can't. It's then that she spots someone trying to swim up towards the water's surface but they can't. There arm is slashed open and blood pours out into the water. They turn to look at the wound and it's then that ANDY sees that the person is BRETT. ANDY gasps for breath, swallowing a vast amount of water in the process, and her eyes close.

FADE TO:

INT. HOSPITAL ? ROOM ? NIGHT

Everything is black and silent at first. The scene slowly fades into view as a DOCTOR shocks ANDY with a set of paddles, though there is no sound but the heart monitor. There still isn't a heartbeat. The DOCTOR says something that remains unheard and rubs the paddles together before shocking ANDY yet again?.

And ANDY's heart starts beating.

The DOCTOR takes a deep breath and puts the paddles back on the cart. ANDY's eyes open for a moment before snapping back closed again.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

We see a pair of bare legs struggling to walk across the room. The camera pans up and we see that it is SPIKE. He is clutching at his throat, not able to breathe. He gasps and gasps, his other hand resting over his heart to feel it beat. SPIKE collapses to the floor, taking in deep breaths as best as he can. His eyes remain wide and wild, still shocked that he is breathing in the first place. He clenches his fist together tightly and begins to control his breaths, taking them in shallowly.

SPIKE glances down to see that he is still, in fact, naked and lying in the middle of the concrete floor. Carefully, he picks himself up off the ground and stumbles at first before gradually making his way towards a room along the wall ? BRETT's room. He pushes open the door and enters.

CUT TO:

INT. SLAYER CENTRAL ? BRETT'S ROOM ? NIGHT

SPIKE pulls open the closet and pulls a white shirt and khaki pants off of their hangers. He pulls on the clothes and keeps breathing as best as he can. He turns around slowly and looks at his own reflection in a mirror for the first time in centuries. SPIKE smiles.

CUT TO:

INT. HOSPITAL ? FAITH'S ROOM ? NIGHT

FAITH is clicking the remote, constantly changing the channel until deciding to stick with the nightly news. BUFFY is curled up on a chair next to the bed.

FAITH: No porn. How do men survive in the hospital?

BUFFY rolls her eyes and takes the remote. She is about the change the channel when she sees the Breaking News. A shot of the TV shows that it is about the series of shocking events ? including the bar explosion, the mysterious blonde woman in Times Square with a bomb on her waste, and the kidnapping at the store.

BUFFY: As if this night couldn't get any weirder?

She turns up the volume.

NEWSCASTER (On TV): Fire Department Officials have title the explosion a "mere coincidence" due to its coincidence with the attempted bombing in Times Square and the local kidnapping.

Images of the rubble at the bar appear on screen as firefighters dowse the scene with water. Another image on the TV screen is a picture of a blonde woman in a torn dress and a bomb strapped around her waist. Her face is turned away.

NEWSCASTER (On TV): The NYPD is reportedly working with the FBI in an attempt to catch the culprits behind this recent slew of crimes. More on these events, and more, at 11:00.

BUFFY simply stares at the TV screen as the original program on the TV comes back on, but she isn't watching the TV show. Out of focus and blurry, FAITH sits up slightly in bed.

FAITH: Where did you say Dawn went?

BUFFY's facial expression turns to complete horror.

CUT TO:

INT. HOSPITAL ? HALLWAY ? NIGHT

BUFFY rushes out of FAITH's room and takes off down the hallway. The camera stays stationary and we see FAITH staring out the door.

CUT TO:

INT. HOSPITAL ? EMERGENCY ROOM ? NIGHT

BUFFY speeds past the emergency room?but stops. She turns slowly and what she sees in the ER confirms her worst fears. Lying on a stretcher, with a flock of nurses and doctors tending to her, is WILLOW. BUFFY, still horrified, shoves through the doors and into the ER and she begins to panic. Nurses try to stop her but she won't be stopped.

BUFFY: N-no?No?Will? Willow?

DOCTOR (To Buffy): Miss, you need to stay outside?

BUFFY: Willow?! Where is she?

DOCTOR (To a Nurse): Get her outside?

BUFFY: Where is Dawn? Willow? Where is she?

NURSE: Miss, come with me?

The NURSE touches BUFFY's arm but BUFFY yanks away and glares at her, wide eyed and with a tear rolling down her cheek.

BUFFY (Through gritted teeth): Don't you dare touch me?

NURSE: You cannot be in here. You have to leave?

The NURSE grabs BUFFY's arm?and BUFFY freaks. With all her strength, BUFFY throws the NURSE backwards, causing her to smash into a metal tray. Another nurse tries to restrain BUFFY but it's too late. BUFFY has already disappeared out the door.

CUT TO:

EXT. HOSPITAL ? PARKING LOT ? NIGHT

BUFFY dashes out of the hospital, runs deep into the parking lot, and stops. She bows over and vomits on the pavement.

CUT TO:

EXT. SLAYER CENTRAL ? RIVER ? NIGHT

BRETT breaks the surface of the water, though he remains unconscious. He continues to float along the river. A dock slowly comes into the scene. BRETT drifts on the water before smashing into the wooden poll keeping the dock upright. His body rolls over. The camera gets a shot of the deck as a man, presumably homeless due to his ratty clothing, kneels down, reaches into the water, and pulls BRETT up onto the deck. The sound fades out as the man turns and waves his hands in the air to get someone's attention. Someone at the end of the dock pulls out a cell phone as a young woman covers her mouth with her hand as she gapes at the sight in awe. The camera continues to pull upwards.

CUT TO BLACK

END OF ACT I

**Heather** · 30-07-07, 01:54 AM

ACT II

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

SPIKE continues to breathe in halting gasps though they are less jagged than before. He collapses onto the couch and holds his chest, smiling like a giddy child. The front door slides open and SEAN and ISOBEL enter. SEAN has a black bag slung over his shoulder and ISOBEL is pulling along a rolling suitcase.

SEAN: Spike, where is everybody?

SPIKE opens his mouth to speak but he, oddly, cannot. He keeps trying.

SPIKE (Muttering): I-I-I d-unn-dunno.

ISOBEL: Are you alright? (To Sean) I don't think he's alright!

SEAN: Spike, what's going on?

SPIKE (Muttering): I-I'm b-b-breathing?

SEAN squints, concentrating and trying to make sense of what SPIKE said.

ISOBEL: Did I just hear him right?

SEAN: What are you talking about?

SPIKE demonstrates his new ability and takes a deep breath in. He coughs.

ISOBEL: Oh my?

SEAN drops his duffle bag on the ground and runs over to SPIKE's side, dropping to his knees. He grabs SPIKE's arm and rests two fingers on SPIKE's wrist. There's a moment of silence.

SEAN: This?T-This can't be happening?I?What did you do?

SPIKE glares at SEAN. SEAN simply continues to mumble to himself.

ISOBEL: Did what I think happened really happen??

SEAN throws his arm out and jabs his pointer finger towards the office.

SEAN: Go find anything and everything you can on the Shanshu Prophecy.

ISOBEL stands still for a minute before reluctantly leaving, casting a surprised look at SPIKE. SEAN rests a hand on SPIKE's chest and feels his heartbeat directly.

SEAN (Cont'd): Try and breathe.

SPIKE takes a deep breath in but his chest doesn't move at all.

SEAN (Cont'd): Again.

The second time, SPIKE's chest rises only slightly and he wheezes out air, coughing.

SEAN (Cont'd): Something's wrong with your lungs?S-something?(Yelling) Isobel?

ISOBEL pokes her head out of the office.

SEAN (Cont'd): Collapsed lungs. What do you know about them?

ISOBEL keeps her page in the book she's holding with her finger and looks up at the ceiling.

ISOBEL (Rambling): Pneumothorax. It's a when the lung sinks in and isn't sending out carbon dioxide after breathing in oxygen. If it's not treated, it can and will lead to death.

SEAN processes all of this information and looks back up at ISOBEL.

SEAN: Call 911. Now.

ISOBEL: But what about the Shanshu??

SEAN: Just do it!

ISOBEL nods and disappears back into the office. SEAN turns back to SPIKE.

SEAN: You're a freakin' mystical miracle, my friend.

SPIKE continues to gasp for breath but manages to speak?

SPIKE: D-don't b-bloody sodomize m-me, W-Wanker?

SPIKE falls unconscious and he stops breathing.

SEAN: Dammit. Isobel! Hurry up!

SEAN shakes SPIKE to get him to regain consciousness and begins to perform CPR.

CUT TO:

INT. HOSPITAL ? ROOM ? NIGHT

ANDY is lying in the hospital bed, unconscious. Slowly she comes to, looking around the room curiously. She appears to be lost, not sure where she is or how she got there. In an attempt to move her wounded arm, she winces in pain. Cautiously, yet in pain, ANDY sits herself up, eyes closed and jaw locked. Her eyelids open?and her eyes roll back into her head. We don't hear it, but we see the heart monitor flat line in the background, though ANDY remains sitting upwards.

FLASH TO:

INT. CELESTIAL CENTER ? CONFERENCE ROOM ? NIGHT

ANDY is sitting in a leather chair. Her eyes open and she takes in her surroundings, figuring out exactly where she is. She looks in front of her and sees who else is in the room with her: LYNN. LYNN is seated at the far end of the table, reviewing, rewriting, and signing paperwork. Anger flares in ANDY's eyes but she remains in control of herself and her emotions. There's a knock on the door.

LYNN: Come in.

The door opens and ELIZABETH slips inside. LYNN looks up and removes her reading glasses from her face. She smiles faintly.

LYNN (Cont'd): You don't need to knock, honey.

ELIZABETH: Just a bad habit, I guess. How're you? Power mad yet?

LYNN laughs.

LYNN: Hardly. This?This place is nothing like I expected.

ELIZABETH: We knew there would be resistance. A new leader taking over a big agency doesn't bode well for most people.

LYNN: We'll have to work on that, though.

ELIZABETH: And we will.

LYNN: Where's Aurora?

ELIZABETH props herself up on the back of a chair near her mother.

ELIZABETH: She's at the orphanage, making sure we held up our end of the bargain. She'll be back though. Can't keep her out of the picture for long.

LYNN: Good. We need her if we're gonna keep people in line.

ELIZABETH: That'll only work if she doesn't join the resistance.

LYNN: She won't.

ELIZABETH: Can you guarantee that?

LYNN: As a matter of fact, I can. (Beat) How is the clean-up coming?

ELIZABETH smiles.

ELIZABETH: Two Slayers and the witch are in the hospital and the girl's in our custody.

LYNN: Any casualties?

ELIZABETH: None that we can tell. Price was saved before the bomb could blow...

LYNN: Who helped her?

ELIZABETH shrugs.

ELIZABETH: We're still looking into it.

LYNN: Look harder and faster. (Beat) What else?

ELIZABETH: The vampire's disappeared off our radar?

LYNN: What does that mean?

ELIZABETH: It means that the Fallout didn't follow through as they were told. Someone or something interfered before we could make our move.

LYNN: Get Aurora to pick up the pieces, then. What about your lover?

ELIZABETH: Excuse me?

LYNN: Brett Stewart.

ELIZABETH rolls her eyes. ANDY begins to stand up.

LYNN (Cont'd): Don't let your emotions cloud your judgment, Elizabeth.

ELIZABETH: Don't you think I know that by now?

LYNN: Then tell me what I want to know.

ELIZABETH sighs and closes her eyes for a moment.

ELIZABETH: The bomb took out the truck and a civilian passerby?

ANDY's eyes widen in fear and anger.

LYNN: Anything else?

ELIZABETH avoids eye contact with her mother. ANDY begins to walk towards the other end of the table and stops a few feet away from ELIZABETH.

ELIZABETH: We're not entirely sure of his current whereabouts but there were no remains in the truck after the explosion.

LYNN: We need to find him.

ELIZABETH: I know.

LYNN: Don't feel guilty. It's not your fault he didn't keep up with our deal. He brought this upon himself.

ELIZABETH nods solemnly.

LYNN: What about Andy?

ANDY listens more intently.

ELIZABETH: She's in the hospital along with Faith. Internal bleeding, a broken arm, and loss of blood. There's mention of chronic heart failure on her charts, but the doctors can't find a cause for that seeing as her heart is in perfect condition.

LYNN remains silent for a moment.

LYNN: Is it possible to push her a little closer to the edge?

ELIZABETH: What do you mean?

LYNN: To induce the heart failures.

ELIZABETH: Why would we do that? To kill her?

LYNN: No, to find out if this a natural occurrence or a mystical one.

ELIZABETH: I'll look into it with great pleasure.

LYNN: Don't kill her, yet. We still need her alive.

ELIZABETH: I'm not making any promises.

ELIZABETH turns to leave...and ANDY throws a punch.

FLASH TO:

INT. HOSPITAL ? ROOM ? NIGHT

ANDY's eyes roll back to normal and she gasps for breath as nurses dash into the room and help her lie back on the bed. She looks around the room, panicked, and catches a glimpse of a single pair of glowing, red eyes in a shadowy corner of the room. Her eyes widen in fear.

CUT TO:

INT. HOSPITAL ? WILLOW'S ROOM ? NIGHT

WILLOW, a fresh bandage on her forehead, is lying in bed, wide awake. There's a knock at the door and WILLOW looks up to find BUFFY, arms folded across her chest and a tear rolling down her cheek, entering the room.

WILLOW (Weakly): Buffy?

BUFFY: I can't lose her. I-I can't lose her, Willow.

WILLOW begins to cry as she speaks.

WILLOW: I'm so sorry. I-I didn't even see it coming. I-I should've seen it coming!

BUFFY: W-What happened tonight?

WILLOW: It's all my fault. It's?I never should've left her alone.

BUFFY: Willow, tell me what happened.

WILLOW: We went into the dressing rooms t-to try on some clothes a-and?Dawn was screaming and?I woke up here. I'm so sorry, Buffy. I'm so, so sorry.

BUFFY sits on the edge of WILLOW's bed and holds her in her arms.

BUFFY: It's not your fault, Will. You couldn't have known. You couldn't have seen it coming. (Beat) I just have to find her. I have to find her, Will.

WILLOW: We'll find her, Buffy.

BUFFY rests her head on WILLOW's shoulder as the two cry.

CUT TO:

INT. UNKNOWN LOCATION ? LABORATORY ? NIGHT

DAWN is slammed down onto a steel table, sobbing and screaming. She kicks and punches at her attackers, all of whom are masked in surgical scrubs and masks.

ATTACKER: Restrain her.

The four other attackers strap DAWN's hands and legs down on the table though she continues to struggle and fight back.

DAWN: Stop it! Stop! Please! You're going to regret this!

The main ATTACKER slaps DAWN across the face.

ATTACKER: Shut up, little girl.

One of the other attackers hands the main ATTACKER a syringe and a small piece of rubber. The main ATTACKER tightly wraps the rubber strand around DAWN's arm and rubs the inside of her elbow with an antiseptic. He then takes the syringe and inserts the needle into DAWN's arm, drawing her blood into the syringe. He hands off the syringe to one of the other attackers and removes the rubber band from DAWN's arm. DAWN continues to scream for help.

ATTACKER: Sedate her.

He turns and leaves, removing his rubber gloves and mask once he's turned away from the camera.

CUT TO:

INT. HOSPITAL ? ROOM ? NIGHT

The nurses have left the room now and ANDY's eyes are darting around the room, panicked and searching for the mysterious pair of eyes in the shadows. The camera moves towards ANDY's right side, where she is concealing what looks to be a steel cane beneath the sheets.

Something dark, consumed in shadows, flashes across the screen. ANDY gasps and searches the darkness for the creature. The black flash moves again, but doesn't make it very far. ANDY swipes out the cane and hits the creature right in the neck, sending it crashing to the floor. She then pins it to the floor with the end of the walking stick. It is then that we get our first glimpse of the MYSTIC, wrapped in black cloth like a mummy with only red, glowing eyes visible.

ANDY: You have ten seconds before I kill you and you get sent back to Celestial Center as shish kabob, understand?

The MYSTIC doesn't respond.

ANDY (Cont'd): What are you?

The MYSTIC, again, doesn't respond. ANDY pushes down harder on it's chest. It whimpers faintly.

ANDY (Cont'd): Five seconds.

MYSTIC: I am a Mystic. A master of dark forces.

ANDY: You were sent by Lynn Holloway, right? By the Queen?

The MYSTIC nods.

ANDY (Cont'd): Then you're gonna do me a favor.

ANDY rests the end of the cane on the MYSTIC's throat.

CUT TO:

INT. HOSPITAL ? HALLWAY ? NIGHT

The scene takes place in slow-motion. We see the door to ANDY's room opened on a crack. There's a faint red glow, a quick sound of something cracking, and the door opens. ANDY walks out of the hospital room, tossing the cane on the ground, where we see the MYSTIC lying on the floor, dead. The camera swivels to the side and we see ANDY, still wearing the hospital gown stalking down the hallway in slow-motion, as she removes the bloody bandage from her left shoulder.

CUT TO BLACK

END OF ACT II

**Heather** · 30-07-07, 01:55 AM

ACT III

FADE IN

INT. HOSPITAL ? BRETT'S ROOM ? NIGHT

BRETT is lying on a hospital bed, unconscious. He is hooked up to a heart monitor; his burns and bleeding arm are all bandaged. ELIZABETH enters the room, seemingly depressed. She rests a hand on the edge of BRETT's bed and closes her eyes.

ELIZABETH: You never should've gotten caught up in all of this. It's not your fault. It's?It's just who you are. I'm sorry.

ELIZABETH sits down on the edge of the bed and looks down at the ground.

ELIZABETH (Cont'd): We can make things right again, Brett. I can make things right again. Trust me. We just need time and?and everything will be alright again. Like they were.

She takes a deep breath to keep herself from breaking down and crying.

ELIZABETH (Cont'd): I didn't want you involved. I didn't want you to get hurt. I want you to know that. I need you to know that.

She looks over at BRETT.

ELIZABETH (Cont'd): I still love you. I'll always love you. And I'm gonna fix this.

She stands up and takes a few steps closer to BRETT. Gently, she kisses him on the forehead once and again on the lips. She then heads towards the doorway, glancing towards the shadow-filled corner next to the door.

ELIZABETH (Cont'd): Do your job.

A pair of red eyes appear in the darkness as another MYSTIC steps out of the shadows and moves towards BRETT's side. ELIZABETH exits the room and shuts the door behind her.

CUT TO:

INT. FBI HEADQUARTERS ? TROY'S OFFICE ? NIGHT

NATALIE is sitting in a chair opposite TROY's desk, sipping from a cup of coffee and wearing an FBI jacket over her ripped dress. TROY enters his office and rests a hand on NATALIE's shoulder. NATALIE jumps, having not heard him reenter the room.

TROY: I'm sorry. I didn't mean to startle you.

NATALIE closes her eyes and shakes her head.

NATALIE: N-no, it's alright. I'm just a little?jumpy.

TROY: That's very understandable given the situation.

NATALIE looks down into her coffee cup.

TROY (Cont'd): Can I get you anything else? Anything at all?

NATALIE: I don't think sanity is on that list, is it?

TROY shakes his head.

NATALIE (Cont'd): Then, no. The coffee and jacket are enough.

TROY nods and the two sit in silence for a moment.

TROY: We're gonna need your statements some point soon. Not now, of course, but?soon. The media's already having a field day with this and it's only been 6 hours.

NATALIE looks up from her coffee cup and gazes out the window.

NATALIE: I know.

TROY: Just let me know when you're ready to talk, okay?

NATALIE nods.

NATALIE: I'll do that.

She looks back down into her coffee cup and TROY stands up to leave.

NATALIE (Cont'd): Don't go.

TROY stops and turns around. NATALIE looks back over her shoulder.

NATALIE (Cont'd): I think I'm ready.

TROY nods and sits down in the chair next to NATALIE's.

TROY: Where do you want to begin?

NATALIE continues to stare down into her coffee.

NATALIE: I was going out to meet my friend at a bar. We were supposed to just?I dunno, try and relax after everything that happened.

TROY: What happened?

NATALIE shakes her head.

NATALIE: I?I can't say.

TROY: Natalie, we're going to need the truth in order for us to put everything together.

NATALIE: You wouldn't believe me even if I did tell you.

TROY stares the wall beyond NATALIE and nods.

TROY: So you were going to a bar with your friend.

NATALIE nods.

NATALIE: She was already there. I called her to tell her that I was on my way but?I was going to my car when I got hit over the head. I didn't see who did it. The next thing I remember is being in a van while a big black belt was strapped around my waist... (Beat) You know the rest.

TROY: Who is this friend you were going to meet?

NATALIE: Andrea Sullivan. (Beat) You don't seriously think she could've had something to do with this, do you? That's just absolutely ridiculous.

TROY: Nowadays, you never know who you can trust, Natalie.

NATALIE: You don't know Andy like I do. We're like sisters. I know her better than anyone else and vice versa. She's not responsible for this. (Beat) I think I know who is, though.

TROY looks up at NATALIE, curious.

TROY: Who?

NATALIE: Lynn and Elizabeth Holloway.

TROY tries to piece things together in his head while NATALIE takes another sip of coffee.

CUT TO:

INT. SLAYER CENTRAL ? ANDY'S ROOM ? NIGHT

ANDY steps out of the bathroom, wearing a black tanktop and jeans. She's washing off the blood from her newly healed shoulder wound. She stops, looking at herself in a mirror. She slips the strap of her tanktop back onto her left shoulder and stares into the mirror. She nods faintly and walks back to the bathroom, tossing the bloody rag into the sink, and then leaves her room.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROM ? NIGHT

ANDY stalks down the catwalk suspended a good twenty feet above the floor. ISOBEL is seen leaving the office, stopping when she sees ANDY.

ISOBEL: Oh, dear. I had no idea you were back. I didn't even hear you come in.

ANDY: I didn't want to take chances.

ISOBEL: What do you mean?

ANDY: It's a long story. (Beat ? looking around) Is anybody else here?

ISOBEL shakes her head.

ISOBEL: Sean went with Spike to the hospital. His lung collapsed.

ANDY has a double take as she comes down the stairs.

ANDY: Wait, how did his lung collapse if he doesn't breathe?

ISOBEL: The Shanshu Prophecy. It kicked in, apparently. I didn't even believe it was real?But, then again, I'm not one for prophecies.

ANDY: And I'm not one of the people who knows what it is. Can you explain to me what this Shanshu thing?

ISOBEL: Oh! Oh of course! God, I can be so stupid sometimes. It's a prophecy, obviously, that says that one vampire with a soul will come into humanity by way of committing a great act in an apocalypse.

ANDY: What apocalypse did Spike part of?

ISOBEL: Sean thinks that last night was supposed to be the apocalypse, had the Queen?I mean Lynn?Well?Had she gotten control of the power from the three prophecies.

ANDY rubs her forehead and shakes her head.

ANDY: Then we've got a major problem.

ISOBEL: What would that be?

ANDY: She has that power.

ANDY moves towards her office, pushing past ISOBEL, who remains still and stunned.

ISOBEL: H-how is that possible?

ISOBEL realizes ANDY isn't still in the same room and hurries off to join her in the office.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY sits down at the computer as ISOBEL enters the office.

ISOBEL (Cont'd): How did she get that power? We stopped her, didn't we?

ANDY: No, no we didn't. She took over Celestial Center. Everything that happened last night was a ploy for her to get inside the agency and tear it apart.

ISOBEL: How do you know that? You don't know that! You can't!

ANDY slams her fist down on the desk.

ANDY: Dammit! Just listen to me! I saw it! I saw her and Elizabeth inside Celestial Center. I saw her giving orders. She has the power she was looking for. She has it all and now we're screwed.

Horror spreads across ISOBEL's face.

ISOBEL: Oh?Oh my?

ANDY: Yeah, that barely begins to cover have the things that went on tonight. Have the things I found out tonight that I never wanted to find out.

ISOBEL: How did you see them? Were you there? Were you inside Celestial Center?

ANDY: Kind of?I-I don't know what happened. Everything keeps?I don't know what's going on.

ANDY hits the computer monitor, furious.

ANDY (Cont'd): I just don't know what's going on and it's pissing me the hell off! I was in control of everything and now I?I don't even know what's going on in my own head! I'm seeing things I shouldn't ever be seeing, experiencing other people's lives and I?

ISOBEL rests a hand over ANDY's.

ANDY (Cont'd): Brett was right. He was right about Elizabeth. I-I should've believed him and took him seriously.

ISOBEL: What do you mean?

ANDY: He told me what Elizabeth and Aurora were planning. He knew they were going to overthrow Celestial Center. He knew Elizabeth wanted power. I should've listened to him.

MAN (OS): I'm not one to say "I told you so?"

ANDY looks towards the doorway and sees BRETT, fully healed and dressed in new, black clothes.

BRETT: But it's definitely on the tip of my tongue right now.

ANDY stands up slowly as BRETT walks into the room.

CUT TO:

INT. UNKNOWN LOCATION ? CELL ? NIGHT

DAWN is thrown into the center of an empty, stone cell. She moans as she tries to push herself up off the ground. The cell door slams shut and she looks up to see her surroundings. The door is solid stone, with a small square cut out near the floor. There's a tiny cot in the corner of the room with a thin mattress and a single sheet on it. There's one window, blocked off with a metal cage. A toilet is set up opposite the bed, too.

DAWN sits up, legs folded beneath her, and begins to cry. She punches the bed in anger and kicks at the toilet. She screams and falls back on the floor, balling herself up into fetal position.

DAWN (Faintly, through tears): Buffy?

She rocks back and forth?but stops. Underneath the bed is a yellowed piece of paper. Slowly and shakily, she reaches out to grab it. She sits up as she unfolds the paper. We don't see what is says but it's obvious that something is written on it. DAWN squints her eyes, taken back by either what the paper says or by the fact that there was, in fact, a piece of paper under the bed. She continues to read in silence.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH is unpacking boxes, moving her possessions into a new, elegant office. There is a shocking view out into New York City via a large window, taking over an entire wall of her office. Two shelving units are positioned on either side of the fogged glass door opposite her wide desk. Behind the desk are more shelves and a large portrait of a woman sitting on bloody ground and a mirror, featuring a broken reflection of the same woman. ELIZABETH places a statue of a rose, ornamented with deep red rubies lining the stem, at the top of her desk and tosses the box on the floor. The door opens and DIANNA enters.

ELIZABETH: I didn't expect you to answer my call.

DIANNA: Don't think it'll happen very often.

ELIZABETH: Then we'll have quite the problem, wouldn't we?

DIANNA looks around the office. ELIZABETH grins.

ELIZABETH (Cont'd): Like it? I know, I know: It's much bigger than what you used to have. But change in power comes with change in style. I trust your cubicle is serving you well?

DIANNA glares at her, grinning to hide the fury.

DIANNA: It's absolutely wonderful.

ELIZABETH: Glad to hear it. You'll be seeing it quite a bit, trust me.

DIANNA stalks towards ELIZABETH's desk and glances at the rose.

DIANNA: That must have been expensive.

ELIZABETH: I wouldn't know. I didn't buy it.

DIANNA: Is there a reason you called me in here?

ELIZABETH: I just wanted you to see what you could've had a long time ago. I wanted you to see the office space I'm getting for doing the job you used to have. (Beat ? leaning in closer to DIANNA) I wanted you to look true success in the eyes.

DIANNA locks eye contact with ELIZABETH.

DIANNA: Don't think for one second that I will gain success for you now that you're my superior. That will never happen. Just because your giving orders doesn't change the fact that you are pathetic waste of life.

ELIZABETH: Actually, I think I'm giving orders because you were the pathetic waste of life. My mother doesn't need you. Miss Kaas didn't even need you. Why do you think I was the one doing most of the dirty work? Clearly she favored me.

DIANNA: Rather, your mother favors you because you are, in fact, her daughter.

ELIZABETH smiles.

ELIZABETH: You're right, I am her daughter.

ELIZABETH leans in close to DIANNA again.

ELIZABETH (Cont'd): But I'll do things she'd never even think about doing.

DIANNA continues to glare at ELIZABETH directly in the eyes.

DIANNA: What do you want?

ELIZABETH smiles faintly.

ELIZABETH: I'm tasking you. I need a few new helping hands around this place. I want you to find some eligible opportunities. I'll have someone deliver a package to your desk with the qualifications I'm looking for. Until then, I would like some coffee.

ELIZABETH stands up and grabs another box off the floor and puts it on her desk

ELIZABETH (Cont'd): You're my new assistant.

DIANNA's jaw locks in anger and she shakes her head, staring blankly at the ground. ELIZABETH continues to unpack.

CUT TO BLACK

END OF ACT III

**Heather** · 30-07-07, 01:56 AM

ACT IV

FADE IN

INT. HOSPITAL ? NURSE'S STATION ? MORNING

FAITH signs off the last of the papers attached to a clipboard and hands it back over the counter to a nurse. Another NURSE pulls a wheelchair up to FAITH.

NURSE: If you don't mind sitting in the wheelchair, we'll be on our way.

FAITH: Oh I mind.

NURSE: It's just precaution. The second you get to those doors, you're free.

FAITH rolls her eyes.

FAITH: If anybody asks? I didn't do this willingly.

She limps towards the wheelchair, hand clutching her side, and sits down. The NURSE smiles and pushes her towards the elevators.

NURSE: Nobody has to know.

The NURSE presses the down button outside the elevators and the two wait for one to open.

CUT TO:

INT. HOSPITAL ? FRONT HALLWAY ? MORNING

The NURSE wheels FAITH out of the elevator and down the main hallway towards the front entrance.

NURSE: Do you have a ride? Or should I call a taxi?

FAITH: I've got my own taxi.

The camera gets a shot out the sliding doors as the open and we see ANDY leaning against the side of NATALIE's car. She reaches towards the passenger's door and opens it.

FAITH: I can take it from here.

FAITH stands up, wincing in pain, and walks out of the hospital towards ANDY.

ANDY: You do know that I'm never gonna let you live that wheelchair down, right? It's definitely going in my scrapbook of "Faith's Infamy."

FAITH glares at ANDY.

FAITH: Bring it up again, and I swear to god I'll knife you right then and there.

She climbs into the passenger seat and ANDY slams the door shut, walking around the driver's side and getting in.

CUT TO:

INT. STORE ? ENTRANCE ? MORNING

The scene is in slow-motion as BUFFY pushes through the glass doors and enters the store. She's dress in a black and white pantsuit; her dark hair is pulled back in a bun, and a pair of sunglasses covering her eyes. She takes the glass off and looks around the store. The scene snaps back to normal time. A STORE ATTENDANT approaches BUFFY.

STORE ATTENDANT: Good morning! How may I help you?

BUFFY pulls a black leather wallet out of her pocket and flips it open, flashing a gold badge and ID card quickly in front of the other woman.

BUFFY (In a forced, New York accent): My name is Trishelle Rodriguez. I'm with the NYPD. I was hoping I could ask the fitting room attendant, the one who had a shift during the kidnapping, some questions, if you don't mind.

STORE ATTENDANT: Oh?No, of course you can. I mean?We'll do anything to help out. She's in the back, in the fitting rooms.

BUFFY: Thank you very much.

BUFFY hurries off towards the back of the store, cutting past customers. She flips back open the leather wallet and we see that the ID badge belongs to ANDY. BUFFY flips it closed again as she approaches the fitting rooms. There's the same young woman who found WILLOW on the floor standing at the same post as before.

BUFFY (Cont'd): Excuse me? I'm looking for the attendant who was on shift during the kidnapping. Would that be you, by any chance?

ATTENDANT: Y-yes, that's me. Who are you?

BUFFY: My name is Trishelle Rodriguez. I'm with the NYPD. You are??

ATTENDANT: Mylie Fronz, b-but I already answered questions.

BUFFY: I realize that, ma'am, but we're gonna need a little bit more information to complete the investigation.

MYLIE: Y-yeah, I understand.

BUFFY: Can you replay for me exactly what you remember from that day?

MYLIE: Umm?I?I was standing here, as usual, and?and the red-head woman and the girl came up to me with some shirts and pants and dresses and?Everything was just like normal. I opened up two of the dressing rooms and they went inside.

BUFFY: Did you hear anything? Any sounds of struggle?

MYLIE shakes her head.

MYLIE: N-no. I umm?I went to put some shirts away. When I came back, someone else gave me another shirt so I had to put that back on the hanger but?It was a while since I let them in there and?I turned around and I saw the red-head on the ground. I-I opened her door first and someone called 911. When I opened the other girl's dressing room, she was gone.

BUFFY nods and MYLIE looks down at the desk.

BUFFY: Is there a way for me to see the security footage for that evening?

MYLIE: You'd have to talk to the manager, but?yeah. Probably.

BUFFY: Thank you for your time, ma'am.

BUFFY turns and heads towards the front of the store again. She goes up to the same STORE ATTENDANT.

BUFFY (Cont'd): I'd like to speak to the manager, if you don't mind.

The STORE ATTENDANT nods.

CUT TO:

INT. STORE ? SECURITY ROOM ? MORNING

The MANAGER opens the door and BUFFY enters the room. There is already a security guard watching multiple screens of security footage.

MANAGER: I hope this helps you folks out. I feel absolutely terrible, as it is.

BUFFY (To the security guard): I'd like to see the footage of the dressing rooms from the other evening during the kidnapping, if you don't mind. Thank you.

The security guard nods, types the date into the computer, and pulls up a new set of footage.

BUFFY (Cont'd): Fast forward to the kidnapping, if you don't mind.

The security guard nods and fast forwards through the footage until we see a red-haired woman and younger brunette enter the dressing rooms.

BUFFY (Cont'd): Play from here.

The security guard stops fast forwarding and we watch the footage. WILLOW, the red-head, goes into one dressing room and DAWN, the brunette, goes into one right next-door. The two begin to try on their clothes?when DAWN is suddenly pulled upwards by something invisible on the security footage. It pulls her directly upwards, right into the air vent in the ceiling. WILLOW is knocked unconscious by another invisible being and she falls to the ground, bleeding.

BUFFY (Cont'd): Stop there.

MANAGER: I, personally, don't understand why we can't see who grabbed her. It?It just isn't logical.

BUFFY: There are multiple possibilities.

MANAGER: What about the family? Have they been notified about this?

BUFFY nods.

BUFFY: They've been notified, alright.

She turns and begins to leave, with the MANAGER right behind her.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? DAY

ANDY and BRETT are alone in the office, sitting opposite each other and separated by the desk. Both of them are silent and looking at things other than each other.

ANDY: The cold shoulder sucks.

BRETT: I can't say I don't agree.

ANDY: You were right, I was wrong.

BRETT: I know.

ANDY: You're not supposed to say "I know" after someone admits you're right.

BRETT: But it's the truth. I knew I was right.

ANDY: That's awfully cocky.

BRETT: So is telling me I'm wrong when I was on the inside.

ANDY: Yeah, apparently so deep on the inside that extracurricular activities with the teacher were in order.

BRETT: Nothing happened between me and Elizabeth, I swear.

ANDY: Then how are you out of the hospital if your truck exploded?

BRETT: I don't know.

ANDY: Well I do. Lynn and Elizabeth sent a Mystic to induce my heart failures. The Mystic healed my shoulder and it's highly probable that one healed your wounds, too.

BRETT: Wait, what heart failures?

ANDY: It's a long story.

BRETT: I've got time.

ANDY: Well I don't.

BRETT slams his hand down on the armrest of the chair.

BRETT: Dammit, Andy! You can't shut me out of your life completely!

ANDY: Why the hell not?

BRETT: Because I still love you! You know I still love you, Andy! Yet you're too afraid to admit that to yourself! You're too afraid to accept the fact that you still love me, too!

ANDY: I don't still love you.

BRETT: I know you do, Andy! You look me in the eyes and I can still see it! I can still see you in there, Andy! You know you love me and you know I love you, too! So what's the problem?

ANDY: The problem is that you lied to me! You betrayed everyone! You betrayed me! I can't just accept these emotions after that! I can't do that! I'll be betraying everyone just like you did!

BRETT: You'd hardly be betraying anyone.

ANDY: You sure about that?

BRETT: I'm positive.

ANDY looks down at the desk.

BRETT: Andy. Andy, just let me prove it to you. Let me prove to you that I'm the same man you fell in love with. Let me prove to you that I'm the same man who told you he loved you. Let me just prove everything to you.

ANDY briefly looks up at him and looks away.

ANDY: This is ridiculous.

BRETT: No, it's not. When you get back from Celestial Center?

ANDY: "If" I get back from Celestial Center?

BRETT: No, "when" you get back from Celestial Center, I'll prove to you that I still love you and you'll see for yourself that you still love me. Do you understand? I'm not letting our relationship slip off the edge because of this crap. We're a lot stronger than that, Andy. We're worth so much more than to just fall away. Our love isn't that weak. Do you understand me? We can get through this.

ANDY looks him in the eyes and he smiles. FAITH enters the office, wearing a leather jacket. ANDY's attention quickly snaps to FAITH.

ANDY: You ready?

FAITH: Five by five.

ANDY: That still makes no sense to me, I hope you know that.

FAITH: I hope you know I don't care.

FAITH grins at ANDY.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

The front door slides open and we see NATALIE entering the room. She's still wearing her white dress and the FBI jacket and is holding her purse in one hand. She slides the door shut behind her as ANDY rushes out of the office. Nearly in tears, ANDY tries to take NATALIE into her arms but NATALIE backs off, not letting ANDY touch her.

ANDY: I didn't know what happened to you. I thought you might be dead!

NATALIE: I-I'm fine. I'm just?I'm still kinda in shock.

NATALIE sees BRETT standing in the doorway of the office and frowns slightly.

ANDY: What happened? Where were you?

NATALIE: I was with Troy Griffin of the FBI. Hence the spiffy jacket.

ANDY: What? Why?

NATALIE: I had a bomb strapped to my waist in the middle of Times Square.

ANDY: Oh?

NATALIE: What about you?

ANDY: Brett's truck was blown up out back and I was nearly blown up at the bar.

NATALIE: Oh?

BRETT: Clearly the bad guy's have a fetish for things that go "boom."

NATALIE ignores BRETT and BRETT notices, looking down at the floor. FAITH comes out of the office, limping.

FAITH: Good to see you're still living.

NATALIE: Right back at ya.

FAITH looks at ANDY.

FAITH: Are you ready to go now?

ANDY: You kidding? I'm always ready.

NATALIE: Ready for what?

ANDY: We're going straight to the source of all this trouble.

NATALIE: You're kidding me.

FAITH: Oh no, she isn't.

NATALIE: Wait a minute?

The camera gets a wider shot of both FAITH and ANDY as they stand next to each other. FAITH slips off her leather jacket and slings it over an arm.

NATALIE (Cont'd): You two weren't separated at birth by any chance, were you?

We see that FAITH and ANDY are both wearing the same black, lace tanktop, tight, dark blue jeans, and black boots. Even their hair is styled in the same, loose curls. ANDY raises an eyebrow.

CUT TO:

INT. CELESTIAL CENTER ? BACK STAIRWELL ? DAY

"Right Here, Right Now" by Fat Boy Slim plays in the background of every Celestial Center scene until stated otherwise.

In slow-motion, either FAITH/ANDY walks up a flight of stairs. We only see their back and cannot tell which of the two Slayers it is.

CUT TO:

INT. CELESTIAL CENTER ? BASEMENT ? DAY

Still in slow-motion, the metal grating from the sewer system is pushed up and out of the way as either ANDY/FAITH climbs up out of the sewers and onto the ground. Again, we cannot tell which of the Slayers it is.

CUT TO:

INT. CELESTIAL CENTER ? BACK HALLWAY ? DAY

In regular time (aka, no longer in slow-motion). Either FAITH/ANDY kicks open a metal door and enters a long hallway. She walks down the hall, calmly.

CUT TO:

INT. CELESTIAL CENTER ? BASEMENT ? DAY

Either ANDY/FAITH throws a security guard against a wall and he falls to ground, unconscious beside his partner who is knocked out, too. She makes her way upstairs.

CUT TO:

INT. CELESTIAL CENTER ? SECURITY PANEL ? DAY

The room is filled with computer monitors and security guards. One of which spots either FAITH/ANDY on a computer monitor. He grabs a walkie-talkie.

SECURITY GUARD: We have a security breach on the premises. Code Blue. Faith Lehane is on the premises.

The double doors to the office are busted open by a security guard being hurled against them. We see that is FAITH standing in the doorway.

FAITH: Why, hey there boys.

The guards attack.

CUT TO:

INT. CELESTIAL CENTER ? LYNN'S OFFICE ? DAY

LYNN and ELIZABETH are sitting opposite each other, drinking coffee and talking. Suddenly, the doors to the office are kicked open and ANDY enters.

ANDY: How's it going, girls?

"Right Here, Right Now" by Fat Boy Slim ends.

CUT TO:

INT. CELESTIAL CENTER ? SECURITY PANEL ? DAY

FAITH knocks out a guard and steals his baton, twirling it expertly and knocking several of the guards unconscious. She's wincing with pain while she fights, still clearly wounded in her abdomen. With her free hand she throws punches, while the she lets the other wield the baton to keep guards at bay. Swiftly, she uses the baton to smash a guard's head against the security panel. Just as quickly, she steals his baton, now holding two ? one in either hand. FAITH spins them between her fingers and swipes out, striking guards in the head left and right.

CUT TO:

INT. CELESTIAL CENTER ? LYNN'S OFFICE ? DAY

ANDY shuts the doors behind her and grabs a chair, positioning it just right to jam the doors shut.

LYNN: You're making a mistake by doing this.

ANDY: Oh, you're the one making the mistakes, Lynn.

ANDY turns around and glares directly at LYNN.

CUT TO:

INT. CELESTIAL CENTER ? SECURITY PANEL ? DAY

FAITH knocks out the last guard and stands in the center of a ring of unconscious men. She then tosses the weapons on the ground and leaves the office, limping.

CUT TO:

INT. CELESTIAL CENTER ? LYNN'S OFFICE ? DAY

ELIZABETH stands up. ANDY holds up a hand.

ANDY: Whoa now, hold your horses. I'm not here to fight.

ELIZABETH: Give me a break.

ANDY: I'm here to discuss.

LYNN: Discuss what, exactly?

ANDY: Why, our new Terms of Agreement, of course.

LYNN: I'm listening.

ANDY: Let me make it obvious that I better walk out of this building in one piece. Same goes for Faith.

ELIZABETH: Is that the first term?

ANDY: No, that's just a general rule. ?Cause if I don't leave here alive or in one piece, then there will be some serious hell to pay. (Beat) Understand?

LYNN nods, smiling.

LYNN: Fine. Now let's get down to business, please? I'm sure the security team isn't too happy with this scenario as it is?

ANDY: Oh no, they're taken care of. Faith made sure of that.

LYNN, still smiling, continues to nod.

LYNN: Of course she did.

ANDY: Now, here's the deal, Lynn.

The sound cuts out on the conversation as the camera pulls away from the scene. We watch ANDY sit down next to ELIZABETH and opposite LYNN. There is nodding done on everyone's behalves. ANDY and LYNN shake hands.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

NATALIE and ISOBEL are waiting in the main room; both are seated on the couch.

NATALIE: They made it out, right?

ISOBEL: I'm sure they did.

NATALIE: Yeah?Yeah, so am I.

The door slides open and FAITH and ANDY enter the warehouse. NATALIE flies out of her seat and runs over to them.

NATALIE (Cont'd): Thank god you're alive!

ANDY: Yeah, it went a lot smoother than we expected.

FAITH: Though I don't think I'll be able to walk for a few days?

ANDY: Toughen up, otherwise that wheelchair will come back to haunt you.

NATALIE (Interested): What wheelchair?

FAITH: Nothing.

ANDY: Where's Brett?

NATALIE: Why?

ANDY: Natalie, where is he?

NATALIE: He told me to tell you to go into the office. I wasn't gonna do it, just so you know.

ANDY nods, smiling.

ANDY: Thank you.

She turns and heads towards the office.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? DAY

ANDY enters the office and spots rose petals scattered across the desk. In the center is a folded piece of paper with her name written on it. She picks it up and reads it. It simply says "Meet me upstairs ? Brett." She nods and puts the note back down.

CUT TO:

INT. SLAYER CENTRAL ? ANDY'S ROOM ? DAY

ANDY opens the door and we see that the room is dark, only lit by candles scattered about the room on various surfaces. On the edge of the bed are three roses, two of which are propped up into a perfect arch over the third. She picks one up and smells it, smiling.

ANDY: Brett? Where are you? You know I'm not into the kinky hide and seek thing, right? Brett?

She opens the bathroom door and looks inside. The lights are off and no one is in there. ANDY turns around?and stops, staring at something with her eyes wide in fear and shock.

ANDY (Cont'd): Brett? Honey?

The camera pans down to the floor and we see BRETT, lying comatose on the ground.

CUT TO BLACK

END OF EPISODE

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CHOSEN Episode 2.01 "Arch of Roses" (Season Premier)

CHOSEN Episode 2.01 "Arch of Roses" (Season Premier)

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