Announcement

**Heather** · 30-07-07, 02:01 AM

ACT I

FADE IN

FLASHBACK

INT. THE PLAZA HOTEL ? ROYAL SUITE ? NIGHT

The year "2000" appears on the screen. The suite is extremely elegant, with large windows, fancy furniture, and numerous other luxurious items. The curtains to the windows are all open, revealing a magnificent view of the New York skyline as snow falls in the city. At a long table, BRETT and URBAN are playing poker with CARTER as the dealer. Between the two of them is a large pile of money.

BRETT: All in.

BRETT slides the remaining sum of money before him into the pot. URBAN grins.

CARTER: Show ?em, bitches.

URBAN turns over his two cards first.

CARTER (Cont'd): Two pair of nines and jacks. (To Brett) What you got?

BRETT grins and throws his cards down on the table, seemingly at a loss.

BRETT (Grinning at Urban): You suck at life.

CARTER flips BRETT's cards over?and we see a king and queen card, forming a royal flush with the jack and ace cards already in the dealer's hands.

BRETT (Cont'd): And at poker.

BRETT reaches out and pulls the winning pot towards him. URBAN shakes his head and puts both arms behind his head, stretching.

URBAN: You're cheating. There's no possible way you got this good over night.

BRETT: Not overnight, over years.

URBAN: Same thing.

BRETT: Not from where I'm standing. You were good and now you suck. I used to suck and now I'm the best.

BRETT holds up both of his hands moving them up and down like a balance. URBAN grabs a watch out of his remaining pot and throws it at BRETT. BRETT laughs.

URBAN: Besides, you're sitting.

BRETT: Doesn't mean I'm not right.

CARTER tosses the cards on the table and leans back in his chair.

CARTER: You two sure you're not related?

URBAN: We're brothas from another motha, foo'.

CARTER: Don't act black, bitch. You can't pull it off.

BRETT (Mock-dreamy): I blame our parents. If they hadn't pushed us out of the house we never would've found that twenty dollar bill and fought over it in the street.

URBAN: Then you got hit by the car and I bought myself and two lovely ladies sodas from the Quickie Mart.

BRETT: You were six. What action do you seriously think you were getting?

URBAN: Whole lot more than you've ever been.

BRETT picks up the silver watch URBAN threw at him earlier and stares it.

BRETT: Rolex?

URBAN: Valentino.

BRETT: Never heard of it.

URBAN: That's because it's Rolex, dumbass.

BRETT pulls him arm back and beams the watch at URBAN, who ducks to the side. The watch continues flying past URBAN and smashes into a framed painting on the wall behind him. The glass shatters and the watch falls to the floor.

BRETT: You're paying for that.

A cell phone rings. CARTER stands up and pushes his chair in, pulling the ringing phone from his pocket.

CARTER: Excuse me ladies, I have to take this.

He leaves the room and we hear a door open and slam closed. From another hallway comes ELIZABETH.

ELIZABETH: What was that about?

URBAN: Who knows? Carter's probably snagged himself a chick or whatever. Don't worry about it.

ELIZABETH shakes her head and points towards the broken picture.

ELIZABETH: Do I need to worry about the broken Van Gough hanging the wall?

BRETT: Not really. Only the glass is broken. The painting itself is fine. (Beat) I think.

ELIZABETH: You think?

BRETT: Even if the paint is chipped, it doesn't matter.

ELIZABETH: How do you figured?

BRETT walks over to the painting and stares at it for a moment, running his finger over a large scratch in the paint that was caused by the watch.

BRETT: It's a fake.

He turns around.

BRETT (Cont'd): Why do you think it was so easy to steal, anyway? The security was so thin on this sucker that there's no way it's not fake. We'll find the real thing and get that on the wall instead.

URBAN: We really need a new place. I'm getting tired of this freakin' hotel.

He leans back in his chair and puts his feet up on the table.

ELIZABETH: But what if the cops come looking? They'll track the paintings here and the hotel will be suspected of being involved in the theft.

URBAN: Yeah, then they'll call up our names and we'll get tossed in the slammer.

BRETT: No, they'll get Suzanne and Michel Loisele, two French immigrants who are staying in this hotel with his brothers until they can find a flight back home to France. (Beat) We're in the clear.

ELIZABETH: Until my money runs out. Then we're screwed.

URBAN: We'll steal some more, then.

BRETT: It's not like that.

URBAN: Yeah, whatever.

BRETT: No, not whatever. We steal the artifacts, not the money. We break that agreement and you-know-who'll be hightailing us out of the country and probably right into our graves. (Beat) Hopefully in that order because I at least want the chance to live.

BRETT walks towards the window and leans against the ledge just beneath the glass.

BRETT (Cont'd): We don't need a new place. What we need is a new job.

URBAN shakes his head, disagreeing, and ELIZABETH looks down at the ground. BRETT turns and looks out at the skyline and traffic below.

END OF FLASHBACK

FLASH TO:

INT. NEW YORK GENERAL ? WAITING ROOM ? NIGHT

ANDY is sitting in a chair with NATALIE and ISOBEL on either side of her. FAITH is pacing the floor in front of her.

NATALIE: Maybe they're just running a few more tests. That's normal, right?

ISOBEL nods.

ISOBEL: It's perfectly normal. Doctors want the best diagnosis before they take action.

FAITH: Obviously. Don't wanna be cuttin' a sucker open when they don't need to be.

ISOBEL: Umm?Sure.

ANDY remains staring at the floor.

NATALIE: It's going to be alright. Everything'll be alright. You know that. We all know that.

ANDY doesn't respond. She simply stares. The metal doors leading back into the ER swing open and a doctor, a different one than before, heads out. He looks around, looking for someone, and spots ANDY and company sitting near the wall. He approaches them.

DOCTOR: Are you ladies here with Brett Stewart?
NATALIE nods but when she speaks, she shows no emotion.

NATALIE: Yeah, yeah we are. How is he?

DOCTOR: We're still running tests at the moment but I'll be sure to let you know when we do know his condition. By the way, I'm Devyn Cormon, head of Neurology at New York General.

NATALIE: Neurology?

ISOBEL: The study of the brain.

NATALIE glares at ISOBEL.

NATALIE: I know what it is, thank you very much. I am just wondering why a neurologist is in charge of Brett's care.

She looks at ANDY, who is still staring at the ground.

NATALIE (Cont'd): And I know Andy is, too.

DEVYN: Well, I've taken over the care for Mister Stewart because what we do know is that a large sum of blood has moved from his body to his head.

ISOBEL: A hematoma? He has a hematoma in his head?

DEVYN: So far, yes. That's what the CT scans have shown in the cranial cavity.

ISOBEL: So you'll do a craniotomy, right? Remove the blood in a neurosurgical matter?

DEVYN: Well?

ANDY: Shut up.

The group turns and looks at ANDY, who is still staring at the floor.

ANDY (Cont'd): Just?Shut up with the big words that none of us really understand. Say it so a monkey can understand it because right now not all of us are up to the standards you doctors may think we're at.

DEVYN nods, admittedly taken back by ANDY's outburst.

DEVYN: Of course. (Beat) The build up of blood in Mister Stewart's brain isn't pressing against the skull as in most cases. Instead, it is inside the brain, causing it to enlarge and apply pressure against the skull. Simply doing a surgery to drain the blood out is not an option considering how deep the condition goes. We'd need to surgically cut into the brain stem and drain it that way.

NATALIE: Then why can't you just do that? Just do it.

DEVYN: The mortality rate for a procedure of that difficulty isn't very high. The chances of a full recovery alone are drastically low compared to most.

FAITH: I think it's safe to say that we'll take those chances, bud.

NATALIE looks down at ANDY and frowns. ANDY seems to be in complete shock, still, propping her head up with the palms of her hands and her eyes wide with fear.

DEVYN: We would need consent from a relative before we undergo the operation.

NATALIE: None of us here are directly family.

DEVYN nods and tucks his clipboard under his arm.

DEVYN: I'll have the nurses pull up his record and find someone who will be able to give consent then. (Beat) Don't worry. If it means anything from an arrogant doctor like myself, I'm the best in the city. Brett Stewart's in good hands.

NATALIE nods and DEVYN leaves the group alone.

ISOBEL: It's getting late. We should probably be heading home.

ANDY: I'm not leaving.

NATALIE (To Faith and Isobel): You two should go. You don't have to say here.

FAITH shakes her head, one hand resting over her wound in her abdomen.

FAITH (To Natalie): No, you go. You can use the rest. Besides, I'm better off in the hospital incase I popped a few stitches today.

NATALIE: Are you sure?

FAITH: Yeah, go ahead.

NATALIE and ISOBEL start to leave but FAITH stops them. She pulls out a ring of keys from her pockets.

FAITH (Cont'd): Wait. I've still got your car keys.

NATALIE: Oh...Right. God we wouldn't have gotten far without those, right? Stupid stress.

ISOBEL: I'll drive home. Just in case?you know.

ISOBEL holds up one hand, pretending it's a car driving down a rode. She then cuts to the side and her hand drives off the imaginary rode. FAITH tosses her the keys.

FAITH: Go.

ISOBEL and NATALIE leave, though NATALIE stares back over her shoulder at ANDY, depressed to see her friend in such a condition.

FAITH (To Andy): You want anything?

ANDY doesn't respond and FAITH nods, sitting down next to her. ANDY's eyes close.

CUT TO:

EXT. NEW YORK GENERAL ? PARKING LOT ? MORNING

It's the next day. WILLOW walks out of the front doors with BUFFY by her side. BUFFY leads her towards their car.

WILLOW: I don't think I'm supposed to be walking this fast.

BUFFY: It doesn't matter.

WILLOW: What if I have a stroke or something because I'm walking this fast? Oo! Oo! What if I get a blood clot, huh? Walking like the Bionic Woman won't do much good if I have a stroke.

BUFFY and WILLOW get to their car and BUFFY hops inside the driver's side.

BUFFY: Just get in the car.

WILLOW shrugs and climbs inside.

CUT TO:

EXT. OCCULT BOOKSHOP ? ENTRANCE ? MORNING

WILLOW is standing perfectly still outside the occult bookstore. BUFFY locks the car doors and starts off towards the front door of the building.

WILLOW: You took me to a bookstore? An occult bookstore? I just got out of the hospital for a blow to the head and I'm already being brought to the heavy duty, mind-blowing juju?

BUFFY: We're not here for magic. We're here for research.

WILLOW: Oh, well that's different.

WILLOW follows BUFFY inside.

WILLOW (Cont'd): I'm still not happy about this surprise trip.

The door shuts behind them.

CUT TO:

INT. OCCULT BOOKSHOP ? STORE ? MORNING

A bell rings as BUFFY and WILLOW make there way into the store.

BUFFY: If it helps us find Dawn, then will you be happy?

WILLOW: Of course, Buffy.

BUFFY turns around and stares WILLOW in the eyes.

BUFFY: Then please stop whining and help me find books on invisibility.

WILLOW nods, smiling slightly, and walks off towards the book shelves.

STORE OWNER: Invisibility?

The old man walks towards BUFFY behind the counter.

STORE OWNER (Cont'd): Anything more specific I can help you find?

BUFFY: We're looking for a way that someone or something could be invisible on footage from a security camera.

The STORE OWNER rubs his forehead with the back of his hand and shrugs.

STORE OWNER: Was there an aura?

BUFFY: A what?

STORE OWNER: A glow or a distortion in the footage.

BUFFY looks up at the ceiling and folds her arms across her chest, thinking.

BUFFY: I honestly can't remember. Why?

STORE OWNER: If there wasn't an aura then that means that it was some form of mystic mojo. If there was an aura, then it means the invisibility was naturally performed.

BUFFY: What does that mean?

STORE OWNER: Basically, if someone can naturally make themselves invisible ? like a chameleon or a something or other ? then they give off an aura. It's faint but it's there and you can pick up on it on video recordings. If it was a spell or some dark magics being used to conceal someone, then there wouldn't be an aura. It'll make things a little bit more complicated.

BUFFY looks down at the ground and shakes her head, still trying to remember if there was an aura on the footage or not.

BUFFY: I'd have to see that footage again to figure out if there was an aura or not.

STORE OWNER: Do you have the tape on you?

BUFFY: No.

STORE OWNER: Then what are you still doing here?

The man raises an eyebrow and dusts off the counter. BUFFY scratches her nose and walks back towards the front door.

BUFFY: Willow, we're going.

WILLOW walks out from behind a tall shelving unit and follows her out the door.

WILLOW: Thank god. This place is in a serious funk. I dunno what I'd do if I saw one more misspelled Latin word on the binding of a book in that store?

The two leave the store.

WILLOW (OS): We seriously need a better supply of books. I miss the Magic Box.

The store owner shakes his head and disappears into the backroom as the door slams shut.

FLASH TO:

FLASHBACK

INT. THE PLAZA HOTEL ? ROYAL SUITE ? EVENING

There is mass chaos in the suite as URBAN, BRETT, CARTER, and ELIZABETH all pack up their belongings and try to salvage the artifacts that they can manage to carry or store. Police sirens are heard in the distance.

URBAN: Dammit! We don't have enough time!

CARTER: I ain't ready to get caught by no cops, you hear me? We have enough time.

BRETT looks around the room, searching for last minute items.

BRETT: We need to go. Now.

ELIZABETH: How? They've probably got cops swarming the hotel by now!

BRETT looks around the suite?and spots an air vent.

BRETT: There! The air vent.

URBAN: She may fit but we won't! You're crazy!

BRETT: You're not Jaba the Hut. That vent is huge. You'll fit. Carter, open it up.

CARTER: Whatever you say, boss.

He takes off towards the bent with a tool belt in hand. BRETT suddenly remembers something they're missing.

ELIZABETH: What is it?

BRETT: The Rose. We're missing the Rose.

BRETT dashes off into one of the bedrooms as CARTER begins to open up the air vent.

CUT TO:

INT. THE PLAZA HOTEL ? ROYAL SUITE BEDROOM ? EVENING

BRETT runs into the room and overturns a table in his way. Yanking open a drawer, he pulls out the precious Rose, the statue of said flower with red rubies on the stem. Suddenly, a loud banging is heard on the front door.

ELIZABETH (OS): We've got company!

BRETT hurries back into the main room.

CUT TO:

INT. THE PLAZA HOTEL ? ROYAL SUITE ? EVENING

CARTER is pulling the metal grating away from the air vent.

CARTER (Proud of his quick work): The Fallout as your service, ladies and gentlemen.

BRETT reenters the room. ELIZABETH has begun crawling inside, URBAN right behind her.

CARTER (Cont'd): Hurry up!

Suddenly, the door begins to be pounded on by something large and heavy, sending splinters of wood flying.

BRETT: Get out, now!

CARTER shakes his head, grabs a bag, and makes his way into the vent. BRETT slides to his knees, hands the Rose off to CARTER ? who is inside the vent - and slams the vent shut behind him. BRETT gets to his feet as the door is smashed open.

The police enter the hotel suite, covered in body armor and guns raised?Only to find no one in the suite. The place appears as though a tornado ripped through it but there is nobody inside.

HEAD OFFICE: Search the place. They couldn't have gotten far.

The camera pans towards the one window whose curtains are drawn. The glass panels are open just slightly, letting the window blow in with a faint howl. The camera continues to move towards the window.

CUT TO:

EXT. THE PLAZA HOTEL ? SUITE BALCONY ? EVENING

We get an aerial shot of the balcony as we find BRETT hanging onto the edge of the balcony with both hands. His breathing is rough, panicked. He begins to swing himself from front to back?and lets go. The momentum sends him underneath the balcony and down towards the next one, directly below. He lands, hard, on the balcony below and climbs in an already open window.

The camera lowers down so we can watch the events unroll through the open window. We see BRETT running across the suite and bursting out the front door, turning left and dashing towards an escape.

CUT TO:

EXT. THE PLAZA HOTEL ? ALLEY ? EVENING

The air vent grating opens up behind a garbage can and ELIZABETH crawls out first, followed by URBAN and CARTER. They get to their feet but stay ducked down low, just in case.

BRETT (OS): Hey there.

ELIZABETH's eyes widen as she looks up and finds BRETT sitting on another garbage can just a few feet away.

CARTER: How'd you get out of there?

BRETT: Air vents are your specialty, not mine.

BRETT grins as ELIZABETH makes her way over to him, hugging and kissing him.

END OF FLASHBACK

FLASH TO:

EXT. LAGUARDIA INTERNATION AIRPORT ? MAIN EXIT ? DAY

The airport is busy, cabs and taxis moving quickly towards the entrance. We see a pair of legs, wearing jeans and sneakers, along with a duffle bag being held by the same person's hand. The person whistles and a taxi pulls up in front of them. The camera pans up and we see the taxi driver.

TAXI DRIVER: You getting in or not? I'm busy.

The mysterious person opens the back door and tosses their duffle bag inside.

PERSON (OS): Yeah, obviously.

The camera pans up and we see that it is URBAN MCGRATH. He slips inside the back of the taxi and shuts the door behind him.

TAXI DRIVER: Where you going?

URBAN: New York General Hospital.

TAXI DRIVER: You got it.

The taxi drives off and away from the airport.

CUT TO BLACK

END OF ACT I

**Heather** · 30-07-07, 02:03 AM

ACT II

FADE IN

FLASHBACK

INT. SUBURBAN HOME ? BASEMENT ? DAY

We find BRETT and URBAN in a fully furnished basement. The floor is carpeted, a long leather couch wraps around a glass table, and a pool table is set up in the center of the room. The two men are hanging pictures on the empty, but painted, walls. We see the faux-Van Gough painting that was scratched by the watch at the Plaza Hotel but it is in a new frame. BRETT turns around and claps dust off his hands.

BRETT: This might just be the craziest idea we've ever had.

URBAN: That's what I said. Did anybody listen to me? No.

URBAN hammers a nail and hook into place and hangs a portrait of a bloody woman with a broken reflection in a shattered mirror.

BRETT: Yeah but nobody cares what you say.

URBAN nods and stifles a laugh.

URBAN: I think I'm starting to figure that out.

BRETT props himself up against the edge of the pool table and folds his arms across his chest.

BRETT: Don't take it personally. You should know by now that Elizabeth's tough and Carter's?Words can't describe Carter, can they?

URBAN: Gangsta Chic is too chick-like.

BRETT raises his eyebrows and laughs.

BRETT: You saying that?That's just creepy.

URBAN: Yeah, I figured.

He grins and leans his back against the wall. Suddenly, phones begin to ring throughout the house. BRETT and URBAN both pull cell phones from their pockets. They look at their phones curiously, seeing as the caller is titled "UNKNOWN."

URBAN (Cont'd): Do we answer?

BRETT: Only one way to find out.

He flips open his phone and answers the call. URBAN does the same.

BRETT (Cont'd ? Into the Phone): Hello?

VOICE RECORDING (On the Phone): Brett Stewart, you have been hand picked to fill an open position within Santiago Industries. We ask that you attend a formal introduction ceremony at building 451 on 42nd Street in Manhattan, New York on Tuesday, the fourth of January, at 7:00 pm, Eastern Time. Thank you for your time.

The line goes dead. BRETT flips his phone closed and shakes his head, baffled by the call. A moment later, URBAN does the same.

URBAN: Santiago Industries?

BRETT nods.

URBAN (Cont'd): You think it's a hit?

BRETT: No?No, it's a job.

URBAN: How do you know?

BRETT: Code. Employers use it over traceable phone lines. "Industries" means a job offer. Not a hit.

URBAN: Does your little code say anything about this "Santiago" thing?

BRETT closes his eyes in concentration. A moment later, he speaks.

BRETT: I?I don't think so. I think it's just a name. (Beat) What's today?

URBAN: Monday.

BRETT: Monday the?

He motions his hands for URBAN to continue.

URBAN: Monday the?Monday the third of January.

BRETT shakes his head and grins.

BRETT: And clearly it's a last minute thing.

URBAN: So we're going?

BRETT: We're going.

He starts up the stairs, leaving URBAN standing alone, confused.

CUT TO:

EXT. BUILDING 451 ? STREET ? NIGHT

A stretch limo pulls up outside a seemingly deserted building. The door opens and URBAN, CARTER, BRETT, and ELIZABETH climb out one by one. They stare at the building, thoroughly confused.

CARTER: This the place?

BRETT: This is the place.

URBAN: It doesn't look like the place.

BRETT: You never know.

URBAN: Oh, right: "Code." I think I know what "Santiago Industries" is code now for: ugly-ass trap. I'm not going in.

ELIZABETH: This does look?Suspicious. Why send a limo to formally bring us to an abandoned building in New York City? It just doesn't make sense no matter how you look at it.

BRETT: We said we were going so we're going. (Beat) Carter?

CARTER steps up beside BRETT.

CARTER (Whispers): I got it.

CARTER leads the group up the steps with BRETT entering last.

CUT TO:

INT. BUILDING 451 ? STAIRWELL ? NIGHT

The group enters a dark stairwell?and are attacked. From the darkness comes four pairs of arms, all grabbing at the group. There are muffled sounds of struggle for a few moments before ultimate silence.

CUT TO:

INT. UNKNOWN LOCATION ? LOFT ? NIGHT

BRETT comes to slowly, a large gash across his forehead. He is bound to a chair, as are ELIZABETH, CARTER, and URBAN ? who are lined up in a row next to him. A Hispanic man is standing before them with a crew of black-clad men in body armor, all of whom are holding large guns.

HISPANIC MAN: I'm sorry for causing such trouble. I didn't expect you to put up a fight.

CARTER: You grabbed me by the neck, bitch. You don't just walk away from that.

HISPANIC MAN: I can tell. (Beat) My name is Ramiro Santiago. You may call me Rami, if you'd please, but do not feel the need.

BRETT: You called us?why?

RAMI: I work for an agency, one beneath the global radar. It is called Celestial Center.

ELIZABETH: What is it like a black market?

RAMI laughs.

RAMI: Hardly. We deal with trades, sales, hits, apprehensions?Everything the government needs done but does not have the will to do themselves. We have been tracking the four you for the past six years.

BRETT: We weren't that reckless.

RAMI: Of course you weren't. It was highly difficult to even catch your trail to begin with. That just goes to show you how powerful Celestial Center is and how useful its resources are.

RAMI begins to pace the floor before the group.

RAMI (Cont'd): We would like to offer the four of you a place on our Special Tactics team. It is new to Celestial Center and we would like prominent figures leading us to success.

BRETT: So the whole, knocking us out and dragging us here wasn't to kill us? (To Urban) So match for it being a trap.

URBAN: Shut up.

RAMI: Of course it wasn't to kill you. It was exactly what the message said: a job offer. The question that stands now, however, is simply enough: Will you take the proposal?

The camera focuses on ELIZABETH and BRETT, leaving URBAN and CARTER out of focus and blurry.

END OF FLASHBACK

FLASH TO:

INT. NEW YORK GENERAL ? NURSES' STATION ? EVENING

ANDY is sitting at the far end of the waiting room, out of earshot. URBAN is standing at the nurses' station, filling out paperwork at the counter. He signs his name and puts the pen down, sliding the clipboard across the desk to a NURSE.

URBAN: Here. What happens now?

NURSE: He will go into surgery as soon as Doctor Cormon can schedule him in. The past few days have been busy, but I'm sure he'll be in the OR by tonight.

URBAN: Thanks. Should I?Should I wait here or?something?

NURSE: If you'd like.

URBAN: Thanks.

URBAN picks up his duffle bag from the floor and starts towards the waiting room.

NURSE: I'm sure your brother will be happy that you're here.

URBAN nods and glances back over his shoulder.

URBAN: I'm sure he is.

He sits down and pulls a book out of his duffle bag, beginning to read. ANDY looks over at him and returns her attention to the ground.

CUT TO:

INT. SLAYER CENTRAL ? NATALIE'S ROOM ? EVENING

NATALIE is lying on her bed, looking as if she is trying to sleep but remains wide awake. Her cell phone rings. She rolls over onto her other side and reaches out to grab it off the end table. The caller ID reads "Griffin." She answers.

NATALIE: Hello?

TROY (On the Phone): Natalie Price?

NATALIE: Obviously.

NATALIE sits up in her bed.

CUT TO:

EXT. FBI HEADQUARTERS ? STREET ? EVENING

TROY is walking out of the FBI headquarters as he's on the phone.

TROY: Sorry, I wasn't sure if this was the right phone number.

NATALIE (On the Phone): How can I help you, Mister Griffin?

TROY: First off, call me Troy. Secondly, I have some news that might mean something to you.

NATALIE (On the Phone): And what would that be, Mister Griffin?

TROY stifles a laugh and crosses the street.

TROY: The FBI found surveillance footage from the other day.

NATALIE (On the Phone): Good for them.

TROY: From the footage, we were able to find the license plate number, make, and model of the van of your kidnappers. I've got my people running the plates now.

TROY cuts a left and crosses the street again.

CUT TO:

INT. SLAYER CENTRAL ? NATALIE'S ROOM ? EVENING

NATALIE swings her legs out and sits on the edge of the bed.

NATALIE: I already know who's responsible for my kidnapping and my?attempted bombing.

TROY (On the Phone): We'd still like to clarify that information you've provided us with. That way we don't get a lawsuit when trying to lock up the Holloway women.

NATALIE: And this is your way of making sure I'm not lying? To make sure I'm not really in on this whole terrorist plot against the city?

TROY (On the Phone): That's not it at all.

NATALIE: Listen, Mister Griffin, I'm not Patty Hearst. I wasn't kidnapped and convinced to join a radical plot with bombs galore. I was kidnapped, knocked unconscious, and tossed out into Times Square with a bomb around my waist. End of story.

TROY (On the Phone): Yes, I know that.

NATALIE: Then convince "your people" that what I'm telling you is the truth. You may believe me, but they probably don't.

TROY (On the Phone): It doesn't matter what they think.

NATALIE: It matters to me.

NATALIE stands up and heads towards the closet.

CUT TO:

EXT. NEW YORK CITY ? STREETS ? EVENING

TROY is heading towards a parking structure.

TROY: Alright, I'll call them and make sure they know that you're not under suspicion.

NATALIE (On the Phone): Thank you.

TROY: For now, I want you to keep your phone with you at all times. That way I can call you when my People get back to me.

NATALIE (On the Phone): Will do.

TROY enters the parking structure and heads towards an elevator nearby. He hits the up arrow.

TROY: Good. I'll be in touch.

NATALIE (On the Phone): Thank you for calling, Troy.

TROY smiles and enters the elevator, hanging up his phone.

CUT TO:

INT. SLAYER CENTRAL ? NATALIE'S ROOM ? EVENING

NATALIE now has a pillow in her hands while walking back over to her bed before tossing it down on top of her other one. She then climbs onto her bed and rolls up into a ball, still wide awake.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? NIGHT

FAITH and ANDY are walking down the hallway, coming from the waiting room ? which we see in the background. Out of focus behind them, we see WILLOW walking down the hallway after them.

WILLOW: H-hey!

FAITH looks back over her shoulder.

WILLOW (Cont'd): I was looking all over! I tried to call Andy's cell phone and she didn't answer. And Natalie said you guys were still at the hospital and?

WILLOW sees ANDY not bothering to look back at her.

WILLOW (Cont'd): Oh?Andy, honey?A-Andy, I'm so sorry.

ANDY: I'm gonna go to the bathroom.

WILLOW and FAITH stop following her and ANDY turns right, entering the bathroom. WILLOW closes her eyes and rubs her forehead.

WILLOW: I-I wasn't thinking.

FAITH: Don't worry about it.

WILLOW: That was?That was just so stupid of me. I can't believe I did that.

FAITH: Just don't worry about it. She doesn't want us to worry about her.

WILLOW: How do you know?

FAITH: I just do.

FAITH leans against the wall. WILLOW frowns.

CUT TO:

INT. NEW YORK GENERAL ? WOMEN'S BATHROOM ? NIGHT

The bathroom is empty as ANDY enters. She looks around, frowning. She opens one of the stall doors and goes inside.

She holds her stomach with one hand while the other lifts the lid of the toilet seat. She vomits.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? NIGHT

WILLOW is pacing in front of FAITH.

WILLOW: W-well?What did the doctor's say?

FAITH: As far as we know, they're still waiting for a relative to show up and approve surgery. I dunno if Andy's heard somethin' else.

WILLOW: A-and it's something with his head? With blood in his head? How is there blood in his head?

FAITH: Hell if I know.

WILLOW takes a deep breath and continues to pace.

CUT TO:

INT. NEW YORK GENERAL ? WOMEN'S BATHROOM ? NIGHT

ANDY walks out of the stall and goes to the sink. She turns on a faucet and cups her hands, filling them up with water. She puts the water in her mouth and swishes it around before spitting it out. She then washes her hands and walks over to dry them off.

Suddenly, ANDY's overcome with anger. She hits the side of the paper towel dispenser and it flies off the wall and smashes into a stall door, denting it. ANDY kicks the wall, shattering tiles into splinters.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? NIGHT

The loud noises come from inside the bathroom and WILLOW stops pacing to turn around and look at the door. FAITH stares, curiously, at the door. The two quickly head into the bathroom.

CUT TO:

INT. NEW YORK GENERAL ? WOMEN'S BATHROOM ? NIGHT

FAITH and WILLOW rush into the bathroom as ANDY turns around, her fist bleeding. She's completely lost in tears, sobbing. They run over and WILLOW takes ANDY into her arms. Slowly the two sink to the floor as FAITH drops to her knees beside them.

WILLOW: Andy, honey?

ANDY: He's not gonna wake up. H-He's not gonna wake up. I know it. I just know it.

FAITH: You don't know that.

ANDY: He was fine. He was just?He was gonna prove to me that he still loved me. He still loved me and now?now he's in a coma with blood in his head and I'm on a public bathroom floor crying. T-this is stupid. This is just so stupid.

WILLOW: It's not stupid, honey?

ANDY wipes her eyes but continues to cry.

ANDY: I don't know what I'll do without him. I-I don't think I'll be able to do anything without him. I love him. I shouldn't but I do. A-and?And... This is my fault.

WILLOW: It's not your fault.

ANDY: N-No?No it is. I dragged him into this mess. If?If he hadn't ever been with me?If he had stayed where he was, this never would've happened. Lynn never would've hurt him. T-This?This is my fault.

WILLOW runs a hand through ANDY's hair as ANDY clings to her arm.

ANDY (Cont'd): I shouldn't still love him?I shouldn't.

FAITH rests a hand on ANDY's shoulder. ANDY continues to sob.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH is sitting behind her desk, staring the Rose statue before her. The door to her office opens without notice and DIANNA enters. ELIZABETH doesn't even look up at her.

ELIZABETH: I told you to knock.

DIANNA: I told you that I do not care.

ELIZABETH laughs slight and raises an eyebrow.

ELIZABETH: How rebellious of you. Refusing to knock?What's next? Bright pink hair?

DIANNA: Your new interns are here.

ELIZABETH: Really? Why wasn't I informed that you had selected such fine pieces of work for me so quickly?

DIANNA: I'm looking at the best interest for this agency. Whether you're informed or not doesn't matter. Getting good help at a fast rate is the best thing for the agency, trust me.

ELIZABETH shakes her head.

ELIZABETH: But I don't trust you. Just like you don't trust me. It's like?the miracle of birth. Messy, painful?gory? but necessary to keep life moving. (Beat) Send them in one by one, please. Thank you very much.

DIANNA turns and heads back out the door. The door opens and a woman enters, NIKKI FORD.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? A LITTLE BIT LATER

It is a little bit later. The door opens and CAMERON NORMANDY enters the office.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? LATER

It's later, after when CAMERON entered the office. This time, JORDAN RAYNE enters.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

We cut back to the first scene. NIKKI sits down across from ELIZABETH.

ELIZABETH: You are who exactly?

The corner of NIKKI's lips curl into a faint smile.

NIKKI: Nikki Ford.

The smile fades.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? A LITTLE BIT LATER

CAMERON sits down in the same seat NIKKI was in.

ELIZABETH: And you are?

CAMERON: My name is Cameron Normandy.

She shows no emotion whatsoever.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? LATER

JORDAN now sits down in the same seat as CAMERON.

ELIZABETH: Who are you?

JORDAN: I'm Jordan Rayne. It's a pleasure to meet you.

JORDAN holds out her hand for ELIZABETH to shake. ELIZABETH simply stares at it.

ELIZABETH: Alright, first question?

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH stares at NIKKI.

ELIZABETH: What do you do for a living?

NIKKI: I'm a cop with the NYPD.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? A LITTLE BIT LATER

CAMERON: I'm the Editor of 911 Magazine.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? LATER

JORDAN: I run an underground trade ring.

ELIZABETH: Trading what?

JORDAN: The usual. Drugs, weapons, mystical crap?The usual.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH: Do you have any special abilities or talents I should know about?

NIKKI: I have perfect aim with any kind of weapon.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? A LITTLE BIT LATER

CAMERON: I'm a 7th degree black belt.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? LATER

JORDAN: I have amazing people skills.

JORDAN leans across the desk and her eyes glow orange.

JORDAN (Cont'd): Literally.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH: Have you ever killed someone?

NIKKI: I have perfect aim. What do you think?

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? A LITTLE BIT LATER

CAMERON: Snapped a guy's neck with one kick to his jaw.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? LATER

JORDAN: No need to, I've got people to do it for me.

CUT TO:

INT. CELESTIAL CENTER ? OUTSIDE ELIZABETH'S OFFICE ? NIGHT

It is after all three meetings. JORDAN leaves ELIZABETH's office and sits down with NIKI and CAMERON. ELIZABETH steps out of her office and makes her way over to DIANNA's cubicle across the hall.

ELIZABETH: You've got good taste.

DIANNA: Don't I?

ELIZABETH: I'll take all three.

DIANNA: I knew you would.

ELIZABETH turns and reenters her office while DIANNA grins.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? NIGHT

ELIZABETH walks towards her desk but remains out of focus as the camera focuses on the Rose.

FLASH TO:

FLASHBACK

INT. ELIZABETH'S CONDO ? BEDROOM ? NIGHT

The year "2001" appears on the screen. ELIZABETH is lying under the blankets, clearly not wearing any clothes but covered by the sheets. BRETT runs into the room, carrying a bottle of champagne and also not wearing any clothes. He tosses the bottle onto the bed and runs to the other side, slipping under the covers.

BRETT: My god it's freezing in here.

ELIZABETH: It's not my fault the heat's broken.

BRETT: What's up with that anyway? This is supposed to be a high style, fancy condo and they go and break the heat just a few days after we move in?

ELIZABETH picks up the bottle of champagne.

ELIZABETH: This is for what, exactly?

BRETT: To celebrate.

He grabs the bottle from ELIZABETH and begins to rip off the gold wrapping around the top of the bottle.

ELIZABETH: To celebrate what?

BRETT stops and looks around. He drops the bottle on the bed and rolls over, the top part of his body disappearing over the edge of the bed. ELIZABETH cracks up laughing.

ELIZABETH (Cont'd): What are you doing?

BRETT comes back up over the edge of the bed and sits up straight, holding a box wrapped in teal wrapping paper.

BRETT: You'd never believe how tough it was to find teal wrapping paper. Trust me. You won't.

ELIZABETH: What's in the box?

BRETT hands it to ELIZABETH.

BRETT: Open it and find out.

She looks at him curiously, but still smiling, and begins to open the box. She tears the wrapping paper off and lifts the lid?and she sees the Rose statue inside, looking better than ever.

BRETT (Cont'd): I had an old friend restore it. Don't worry, he won't tell the cops. He's a good guy.

ELIZABETH picks it up?and something falls out from beneath.

ELIZABETH: Oh god!

BRETT: What did you do? Did you break it already?

BRETT reaches in and pulls out a gold, diamond ring. He smiles.

BRETT (Cont'd): Oh wait?You didn't.

ELIZABETH: B-Brett?

BRETT: Let's cut to the chase since neither of us like the cheesy speech about how much we love each other and how it's time and how it's right and all that crap. (Beat) Marry me.

ELIZABETH puts the Rose back down in the box and puts it down on the floor. She takes the ring from BRETT's hand and stares it?

Before slipping it onto her ring finger.

BRETT's smile grows larger than before and ELIZABETH kisses him, smiling just as much. BRETT grabs the Champaign bottle off the bed and pops the lid?spraying champagne and foam everywhere. He quick snaps the lid back on.

BRETT: Probably shouldn't have dropped it so many times, huh?

ELIZABETH takes the bottle from BRETT's hands and throws it on the floor. She climbs on top of him and they kiss. The camera pans away from the bed and we see the broken champagne bottle on the floor and a new stain forming on the carpet.

CUT TO BLACK

END OF ACT II

**Heather** · 30-07-07, 02:04 AM

ACT III

FADE IN

FLASHBACK

INT. LYNN'S APARTMENT ? KITCHEN ? NIGHT

LYNN is stirring a spoon in some sauce in a pot on the stove. ELIZABETH is sitting on the counter and BRETT is drinking beer at the table across the counter.

ELIZABETH: So we're sitting there and this guy just comes barreling across the restaurant and right into our waiter, who ? of course ? was carrying our dinner that we've been waiting on for?oh?an hour?

BRETT: Two hours. It was two hours. I checked that it was two hours.

ELIZABETH: Two hours. We were waiting for two hours and now our food just went all over the floor because this guy knocked our waiter over. It was probably the worst date we've ever been.

The three of them are laughing.

LYNN: And I missed it? I always seem to miss the fun stuff, don't I?

ELIZABETH: It's not your fault. The Devil Incarnate took you to France. You shouldn't feel bad when you're in Paris.

LYNN puts the spoon down and covers the pot with a lid.

LYNN: Speaking of the Devil Incarnate? (Beat) I broke our deal.

ELIZABETH begins to smile.

ELIZABETH: What do you mean?

LYNN: We're getting a divorce. I sprung it on him in Paris while we were eating at a caf? just beneath the Eiffel Tower.

ELIZABETH mock gasps.

ELIZABETH: You cold-hearted bitch! I knew you were an evil mother all along; I was just too scared to call you on it!

The two laugh. BRETT starts to tear the label off his beer bottle.

LYNN: I'm a regular Faye Dunaway.

BRETT starts to get slightly agitated.

ELIZABETH: Should I start calling you Mommy Dearest, too?

LYNN: Or I'll hit you with a hanger!

The two continue to laugh. BRETT cracks.

BRETT: We're getting married.

The laughter dies off and the two women stare at BRETT.

BRETT (Cont'd): Elizabeth and I. We're getting married.

LYNN: O-oh?Oh! Well, congratulations. When did this happen?

LYNN looks at her daughter, surprised by the news. ELIZABETH is just as shocked by BRETT announcing it so randomly.

ELIZABETH: Umm?Just a few weeks ago, actually?

LYNN: Weeks? It's been weeks and I'm just finding out now?

LYNN laughs.

LYNN (Cont'd): Screw this! We're breaking out the fancy cheesecake!

She hurries over to the refrigerator and pulls out a box of cheesecake. ELIZABETH glares at BRETT who shrugs and mouths "I'm sorry."

ELIZABETH: You're still the first person to be told this. So?yeah it's been a while but at least you're the first person to know, right?

BRETT: Besides us, of course?

ELIZABETH: Well obviously besides us.

LYNN puts the cheesecake down and looks at her daughter, taking her by the hands

LYNN: Honey, I don't care. Honestly, I don't. I'm just happy that you're happy and that he's happy and that you'll be happy together.

A small tear rolls down her cheek as she smiles. She wipes it away.

LYNN (Cont'd): Wow?Umm?Big slice? Small slice?

BRETT: What about the pasta?

LYNN: Honey, if you're gonna be in this family then you're gonna have to get used to our dietary habits. Times like these, dessert always comes before dinner.

BRETT gets down off his stool and walks over to ELIZABETH. He slips his arms around her waist and she kisses him. The two smile.

BRETT: Big slice. Lots of celebration going on, then.

He and ELIZABETH kiss again as LYNN begins to cut the cake.

END OF FLASHBACK

FLASH TO:

INT. NEW YORK GENERAL ? WAITING ROOM ? EARLY MORNING

It's still dark, though it is the early hours of morning. URBAN is sleeping with his book on his lap. ANDY is still wide awake with WILLOW sprawled out and sleeping next to her. The doors to the OR open and DOCTOR DEVYN CORMON comes out wearing scrubs and a hat on his head. He's pulling gloves off his hands as he walks towards ANDY ? who looks thoroughly confused and worried.

DEVYN: Andrea Sullivan, right?

ANDY nods.

DEVYN (Cont'd): I'm just making sure.

ANDY: Is something wrong?

DEVYN shakes his head and puts his glove in his pocket.

DEVYN: No. We actually just came out of surgery now. Everything went?

ANDY: Wait, what? When did you get consent? Who gave you consent?

DEVYN looks around the waiting room and motions his hand towards sleeping URBAN.

DEVYN: Urban Stewart. He's Brett Stewart's brother.

ANDY: Brother??

DEVYN: He came in this evening and gave consent for the surgery. We managed to fit Brett in a few hours ago. (Beat) You didn't know?

His question is more of a statement. ANDY shakes her head.

ANDY: No, I-I didn't. (Beat) How did the surgery go?

DEVYN nods and looks back at ANDY.

DEVYN: We managed to drain the blood out successfully but it took longer than we thought. Right now Brett is still comatose but we're allowing for visitors. If you'd like to go in, you're welcome to. I know it's past visiting hours but, you have my permission.

He smiles at ANDY, but she stares at URBAN curiously.

ANDY: I just need a minute, thank you.

DEVYN: Of course. I'll be at the nurses' station when you're ready.

ANDY nods her thanks and DEVYN leaves. She then quickly walks towards URBAN. He remains sleeping. She plops down in the seat next to him and reaches out to steal the book from his lap?but he suddenly awakens, letting his free hand grab her by the wrist.

URBAN: Don't touch the book.

ANDY pulls her hand away.

ANDY: Who are you?

URBAN: I'm Urban Stewart. Why do you care?

ANDY: You're not his brother.

URBAN: Excuse me?

ANDY: You're not Brett's brother. He doesn't have a brother.

URBAN nods and smiles slightly.

URBAN: So you're the Elizabeth replacement?

ANDY glares at him.

ANDY: Excuse me?

URBAN: You're Brett's new girlfriend, right?

ANDY: I don't think that's any of your business. Now tell me who the hell you are before things get messy and I swear to god they will if you don't answer me.

ANDY stares URBAN in the eyes to prove how serious she is. URBAN gives.

URBAN: The name's Urban McGrath.

ANDY: Why are you here?

URBAN: I heard Brett was in the hospital and need surgery but the doctors needed consent. All of this came from a reliable source. I came here and said I was his brother. I showed them fake papers "proving" I'm his brother and they let me consent his surgery.

ANDY: How do you know Brett?

URBAN: Oh we go way back.

ANDY shakes her head and looks over at DEVYN, who is standing at the nurses' station like he said.

ANDY: Be here when I get back.

URBAN: Or what? You'll bite me ear off Mike Tyson-style?

ANDY stands up and glares at URBAN.

ANDY: You don't know what I'm capable of and I don't think you're ready to find out.

She turns and heads towards DEVYN. The camera remains stationary with URBAN as he watches DEVYN lead ANDY back into the recovery wing. In the background and out of focus, we see WILLOW wake up and sit up, looking around for ANDY.

CUT TO:

INT. NEW YORK GENERAL ? RECOVERY WING ? EARLY MORNING

The scene is in slow-motion as DEVYN leads ANDY down the hall towards BRETT's bedside. The hall appears abnormally white, almost glowing, as they walk. DEVYN stops and opens a door, ANDY enters.

CUT TO:

INT. NEW YORK GENERAL ? BRETT'S ROOM ? EARLY MORNING

The scene is in normal time now, no long in slow-motion. DEVYN shuts the door behind ANDY and leaves her alone with BRETT. She begins to cry, one hand covering her mouth, and she looks away. BRETT's head is shaved with a white bandage wrapped around it. He's hooked up to a heart monitor and a respirator, along with multiple IVs running into his arm.

ANDY: I'm so sorry?

She breaks down again, tears flowing down her cheeks. She leans against the wall and slowly slides down to the floor, hands covering her face as she cries.

ANDY (Cont'd): I'm so so sorry?This is?Th-this is all my fault. This n-never should've happened. (Beat) She's gonna pay for this, Brett. I won't let her get away with this, I swear I won't.

She begins to stand up shakily, still crying.

ANDY (Cont'd): I need you to know that I love you. I always have. I tried to convince myself that I should hate you for the pain you put me through but I can't. I-I can't hate you. B-but I wish I did. I wish I hated you so this was easier for me. So I could let you go but I can't do that. I can't let you go, Brett, and I won't. I love you. Baby, I love you.

She rests a hand over BRETT's and sits down on the edge of the bed.

ANDY (Cont'd): B-but please. Give me a reason? J-Just give me a reason to hate you?G-give me a reason not to hur-?Give me a reason not to hurt so much if you leave me. Please?

ANDY looks at BRETT directly for the first time since entering the room.

CUT TO BLACK

ANDY (VO): Just let me hate you.

FLASH TO:

FLASHBACK

INT. CELESTIAL CENTER ? CONFERENCE ROOM ? NIGHT

The time appears on the screen "Later in 2001." BRETT is sitting at one end of the desk, a laptop open before him. CARTER is in the chair to his right, ELIZABETH to his left, and URBAN at the far end opposite him. RAMI enters the room.

RAMI: Good. You are all here. We have a job for you to do.

RAMI, as usual, paces the floor behind ELIZABETH's chair.

RAMI (Cont'd): This mission is a little more complicated than most. It will require a great amount caution in order to not spark any suspicion from local authorities.

BRETT: What's the job?

RAMI: We have reason to believe that the NYPD has gained knowledge of Celestial Center. They have apprehended one of our agents and are, at this exact moment, looking for his partner. Our intel provided to us by a leak at the station, proves our fears. Thankfully, only one officer has been informed with information, and false information at that.

ELIZABETH: What do they know?

RAMI: That Santiago Industries was planning to merge with a smaller corporation tonight.

URBAN: What is that? Code?

RAMI: Exactly and we can't risk the officer or the NYPD uncovering what the code means.

RAMI slides a manila folder down the table. BRETT opens it and looks it over.

BRETT: You want us to wipe out any trace of Santiago Industries in the NYPD's system, don't you?

RAMI: Not only that, we need the officer involved extracted so they are no longer a threat and the agent on the run must be taken care of. I trust you will figure out the best course of action for doing all of that, correct?

BRETT nods.

ELIZABETH: It'll be done before sunrise.

RAMI smiles and leaves. ELIZABETH turns to BRETT.

ELIZABETH: You want this one or should I take care of it?

BRETT slides a sheet of paper to CARTER and another down the table to URBAN.

BRETT: I've got this one. Carter, send an email to the officer. Make sure it's corrupted enough to take out the entire system.

CARTER: You got it, bitch.

He then grabs BRETT's laptop and begins typing.

BRETT: Urban, make the call. Get our contact in there to take out the agent before he gets caught.

URBAN nods and grabs the phone.

BRETT (Cont'd): Elizabeth, just sit there and look pretty on this one.

ELIZABETH shakes her head and leans across the table to kiss him.

ELIZABETH: You got it, bitch.

She then slinks back into her chair and watches. We focus on URBAN while he's on the phone.

URBAN: Falcon, you're on. Take out our guy and get out of there before you're compromised.

CUT TO:

INT. WAREHOUSE ? MAIN ROOM ? NIGHT

From the shadowy balcony we see CHARLES GOODMEYER raise a silenced handgun and fire. The camera pans out over the balcony and we see the CRIMINAL fall to the ground, bleeding, with ANDY standing over him. CHARLES leaves.

CUT TO:

INT. CELESTIAL CENTER ? CONFERENCE ROOM - NIGHT

The camera focuses on CARTER as he types up an email. We see that the "To:" line reads "[email protected]" The "From:" line, however, reads simply "Auricle." He sends the email.

CARTER: Letter bomb's sent.

BRETT: Good.

URBAN snaps the phone shut.

URBAN: Agent's taken care of.

BRETT: And we'll let the rest just fall into place.

CARTER closes the laptop and slides it back in front of BRETT while URBAN sighs and puts the phone down. ELIZABETH, however, leans across the table and dials a number into the phone. She hits speaker phone.

ELIZABETH: Rami, we're done here. Can you order us some Chinese?

She hangs up quickly and sits back in her seat, smiling at BRETT.

ELIZABETH (Cont'd): You did good. Very sleek and clean.

BRETT: Yeah?Yeah I did.

He smiles back at her.

CUT TO BLACK

END OF ACT III

**Heather** · 30-07-07, 02:05 AM

ACT IV

FADE IN

INT. NEW YORK GENERAL ? SPIKE'S ROOM ? MORNING

BUFFY is sitting at SPIKE's bedside, smiling at the sleeping man. She turns when she notices someone else in the room. She sees only SEAN, holding a few large, leather-bound books in his arms.

SEAN: It was a real hassle trying to convince the nurses that his name really was Spike. And without a last name too. Like Madonna.

BUFFY doesn't laugh. She stands up and grabs SEAN by the arm pulling him into the hallway.

BUFFY: Do you have the books?

SEAN holds the stack of books up a little higher.

SEAN: Obviously.

BUFFY: Don't get smart with me.

SEAN nods and hands the books to BUFFY.

SEAN: These are the books. Everything you could possibly need to know about the power to go invisible. Are you sure it was an aura on the security video, though?

BUFFY nods and looks at the book covers.

BUFFY: Yes, I'm a hundred percent positive. Willow even thought so, too, when I took her in to see the video at the store.

SEAN: How did you get in anyway?

BUFFY: I was Officer Trishelle Rodriguez and Willow was my trusty sidekick Becky. I borrowed Andy's old ID badge, too.

SEAN nods.

SEAN: I figured. Well, yeah. This is everything you'll ever need to know about invisibility.

BUFFY: Thank you. Thank you very much.

She looks up and nods at SEAN, smiling faintly.

BUFFY (Cont'd): I should probably go find Willow and show her these so we can get started.

SEAN: I hope you find your sister, Buffy.

BUFFY: Thank you.

She moves quickly down the hallway.

SEAN (Calling after her): If you need anything else, just let me know!

BUFFY turns the corner and disappears. SEAN nods to himself.

SEAN (Cont'd): Okay then.

He enters SPIKE's room.

SEAN (OS): How's humanity treating you, big guy?

The door shuts slightly.

FLASH TO:

FLASHBACK

EXT. CENTRAL PARK ? PATHWAY ? NIGHT

The year "2004" appears on the screen. We find BRETT walking down a pathway, wearing all black. One hand is barely touching his ear as he speaks into a speaker.

BRETT: Everything appears to be clear on my part. We're good to go.

ELIZABETH (On Speaker): Good. I'll send Carter in now.

There's a ruffling sound in the trees above him. BRETT continues to walk down the path, his hand casually moving down towards his belt. He pulls a silenced handgun from it's holster and grips it with both hands, moving cautiously slow. There ruffling sound is heard again in the tree branches directly behind BRETT. BRETT raises the gun and fires several shots into the tree. Nothing happens. BRETT puts a hand to his speaker.

BRETT: Scratch that. There's something in the trees.

ELIZABETH (On Speaker): It's too late now. Carter's moving in on the mark. Just try and keep them off of you and him. I'll tell Urban the same thing.

BRETT's hand moves back to gripping the handgun and he starts to move in a slight jog. The ruffling is heard in the trees up ahead and BRETT fires. Something falls to the ground. BRETT raises his gun, keeping it aimed on the thing on the ground, and moves towards it. He sees that it's a demon of some kind, with scaly yellow skin and pure black eyes. Its hands are large with long, extremely sharp talons on every finger. BRETT turns on the speaker again.

BRETT: We've got Cranial Demons.

ELIZABETH (On Speaker): You're kidding me.

BRETT: I don't kid about Cranial Demons.

ELIZABETH (On Speaker): Dammit. Get to Carter and try and stop the hit. It's probably a trap. We can't risk it.

BRETT: Got it.

BRETT turns off the speaker and runs down the path.

CUT TO:

EXT. CENTRAL PARK ? FOUNTAIN ? NIGHT

We see CARTER moving towards an old man sitting on a bench with his gun raised. The old man seems oblivious to the fact that someone is coming to kill him. In the background, we see BRETT running up the path.

BRETT (Shouting): Carter! Don't!

A two CRANIAL DEMONS drop from the trees. One attacks the old man, quickly using one talon to slice off the top of the man's head. The man falls down on the bench in a pool of his own blood. The other attacks CARTER. CARTER fires at the demon and kills it but another drops down, slicing off CARTER's head from behind. CARTER collapses to the ground, dead and lying in his blood. BRETT fires his gun at the demon that killed CARTER, killing it. As the other, the one who killed the old man, tries to escape, BRETT shoots it in the leg, causing it to fall to the ground. BRETT hurries over to it, grabs it by the neck, and pins it against a tree stump.

BRETT (Cont'd): Who sent you?!

The demon doesn't talk.

BRETT (Cont'd): Dammit! Who sent you?! If you don't tell me who you're working for, I swear to god I'll kill you the same way that you just killed my partner and I'll got on me is a gun and clean-cut nails! You figure it out!

CRANIAL DEMON: San?Santiago.

BRETT: You're lying.

CRANIAL DEMON: He hired us. To test the Tactical Team. To test you.

BRETT raises the gun on the CRANIAL DEMON and fires one bullet directly into its forehead. Out of focus, URBAN runs into the scene, staring down at the bloody mess that once was CARTER. BRETT turns around and walks towards him.

URBAN: W-what happened?

BRETT: We need to go now.

URBAN: What? No! We can't just leave?!

BRETT: Now, dammit! We need to leave now!

BRETT grabs URBAN by the forearm and pulls him down the pathway, running.

CUT TO:

INT. CELESTIAL CENTER ? CONFERENCE ROOM ? NIGHT

BRETT is sitting at the end of the table, URBAN to his right, and ELIZABETH to his left. RAMI enters the office.

RAMI: May I ask what this meeting is about?

BRETT: Notice something different, Rami?

RAMI looks around.

RAMI: Where is Carter?

BRETT: You know damn well where Carter is. You hired the demons that killed him. The demons that cut off the top of his head. The demons that killed our hit.

RAMI shuts the door behind him.

RAMI: Carter's death was unintentional. It was merely a test to see how far the four of you have come. The demons responsible will be executed.

BRETT: I already killed them. There's a pretty bloody mess in Central Park tonight. You should probably get your people on it right away.

RAMI stands at the opposite end of the table, all three pairs of eyes glaring at him.

RAMI: Mister McGrath, would you mind leaving the room?

URBAN look from BRETT and ELIZABETH to RAMI. ELIZABETH motions her head towards the door. URBAN stands up and leaves, glaring at RAMI. The door shuts behind URBAN.

RAMI (Cont'd): I am promoting the two of you for the work you displayed tonight.

ELIZABETH: Excuse me?

BRETT: You're not seriously promoting us and expecting us to except after you killed our partner, are you? How diluted are you?

RAMI: Apparently very. (Beat) I am stepping down from my position as Vice President of Celestial Center. I want the two of you to take my place.

ELIZABETH: Why?

RAMI: Because it is what is best for the agency. My resignation has already been approved by the President of Celestial Center and your promotion will be made official once you accept the offer.

BRETT looks at ELIZABETH and the two look each other in the eyes, both of them trying to decide what to do. BRETT nods, knowing what ELIZABETH is thinking and wanting.

BRETT: We're not taking this offer from or doing it for you. We're taking it from the President of Celestial Center. Is that understood?

RAMI: You're accepting the promotion, I presume?

BRETT: We're accepting the promotion.

RAMI: Very well. Congratulations on your new positions. Do Celestial Center well.

RAMI turns to leave but stops.

RAMI (Cont'd): And I won't be able to attend your wedding next week. Nicaragua is calling my name and who am I to refuse. Goodbye, Miss Holloway and Mister Stewart. Tell Mister McGrath the same.

He leaves. URBAN reenters the office and shuts the door behind him.

URBAN: What was that all about?

BRETT: We just got promoted.

URBAN: And you took it?

BRETT: Yeah. Yeah we did.

URBAN: What the hell are you thinking? After what they did to Carter? All because they wanted to test us?

BRETT: It was just a test. Carter's death wasn't Celestial Center's fault.

URBAN: Who am I talking to? Brett Stewart's power-hungry alter ego?

BRETT: I'm still Brett Stewart, Urban. I've just changed.

URBAN: In more ways then one. You're not the same Brett Stewart I used to know. The Brett Stewart I used to know would've turned down that offer and never looked back.

URBAN turns to leave.

URBAN (Cont'd): And right now, that's exactly what I'm doing.

He opens the door to leave.

BRETT: Urban, where are you going?

URBAN: I dunno. But I'm sure as hell not staying here.

The door slams shut behind him. ELIZABETH's hand moves and rests over BRETT's.

END OF FLASHBACK

FLASH TO:

INT. NEW YORK GENERAL ? BRETT'S ROOM ? MORNING

BRETT's eyes suddenly open.

He is awake.

CUT TO:

INT. NEW YORK GENERAL ? WAITING ROOM ? MORNING

ANDY is sitting in the waiting room with NATALIE as DEVYN and several nurses race out of a lounge and into the recovery wing. ANDY gets to her feet and races off to follow them. NATALIE simply stands up and watches, confused as to what to do next.

CUT TO:

INT. NEW YORK GENERAL ? RECOVERY WING ? MORNING

ANDY dashes down the bright white hall after the crowd of nurses and DEVYN. She stops outside BRETT's room, looking in through the window. She sees BRETT awake, coughing and looking around, confused. She tries to get into the room but DEVYN stops her.

DEVYN: Andrea, you need to stay out right now.

ANDY: B-but he's awake! You can't keep me out of here! He's awake!

DEVYN: Just stay out of the room for right now, okay?

DEVYN looks to a nurse who gently takes ANDY by the arm and out into the hallway. The door shuts behind them. ANDY watches from the window with the nurse. DEVYN checks the heart monitor and shines a light in BRETT's eyes. We see DEVYN say something to BRETT but can't hear what it is. BRETT continues to cough and move in bed, trying to get out. DEVYN pushes BRETT back by the shoulder to try and get him to calm down. DEVYN shines a light in BRETT's eyes. ANDY is smiling, crying with happiness that BRETT is awake.

And BRETT's body goes still. His eyes slowly close and his body goes limp. He lies back in bed. The heart monitor is still going, proving that BRETT has relapsed back into his coma. The happy mood in the room quickly turns to a solemn tone. DEVYN shines a light in BRETT's eyes again and frowns. He turns around and looks out the window at ANDY, who breaks down sobbing. She walks backwards, right into the wall behind her slouches down on the ground, crying. The scene goes silent as the door opens and the nurses leave the room with DEVYN exiting last. He walks over to ANDY and rests a hand on her shoulder.

CUT TO:

INT. NEW YORK GENERAL ? MEDICAL LABS ? MORNING

The camera focuses on a vile of blood with the label "Brett Stewart" on it. A blur moves through the room, right past the vile, and when it passes the vile is gone.

CUT TO:

EXT. NEW YORK GENERAL ? ALLEY ? MORNING

The blur moves out of a back door and stops moving. We see that it is AURORA holding the vile of BRETT's blood. She looks down at it and nods to herself slightly. She then takes off in a super-speed blur.

FLASH TO:

FLASHBACK

INT. CHURCH ? AISLE ? DAY

BRETT in the aisle with LYNN fixing his tie. She smiles at him.

LYNN: I'm glad Elizabeth's getting married. I'm even more glad she's marrying you. Good taste, my daughter has.

BRETT laughs.

BRETT: Thank you.

LYNN: Don't worry about it. Just treat her well.

BRETT: I will.

LYNN heads towards her seat and BRETT walks to the end of the aisle, getting into place.

CUT TO:

INT. CELESTIAL CENTER ? RAMI SANTIAGO'S OFFICE ? DAY

RAMI is cleaning out his office when the door opens. ELIZABETH enters, wearing her beautiful white wedding gown. She raises a gun on RAMI and fires several shots into his head. He falls to the ground, dead. ELIZABETH starts to cry and backs out of the room. She starts to run.

CUT TO:

INT. CHURCH ? AISLE ? DAY

The music begins to play and BRETT looks down the aisle, waiting for ELIZABETH to walk towards him.

She never does.

CUT TO:

INT. CELESTIAL CENTER ? CONFERENCE ROOM ? DAY

ELIZABETH rushes into the conference room and dials a number on the phone. She hits speaker phone. We hear the VOICE of the President of Celestial Center, distorted and robotic, on the other end.

VOICE: Is it done?

CUT TO:

INT. CHURCH ? AISLE ? DAY

The people begin to whisper when ELIZABETH never walks down the aisle. BRETT frowns and looks at LYNN, who shakes her head and shrugs. She mouths "I'm sorry."

ELIZABETH (VO): It's done.

END OF FLASHBACK

FLASH TO:

INT. NEW YORK GENERAL ? BRETT'S ROOM ? MORNING

There is no sound at all as we focus on BRETT, lying comatose in the hospital bed with ANDY at his side.

ELIZABETH (VO): It's done.

ANDY kisses his hand as she cries.

CUT TO BLACK

END OF EPISODE

Announcement

CHOSEN Episode 2.02 "A Rush of Blood to the Head"

CHOSEN Episode 2.02 "A Rush of Blood to the Head"

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