Darth Masq, Sith Lord of Philosophy (![[info]](http://p-stat.livejournal.com/img/userinfo.gif){kind=small} masqthephlsphr) wrote in ![[info]](http://p-stat.livejournal.com/img/community.gif){kind=small} orlon_window,@ 2004-10-10 11:24:00 |
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| Current mood: |  avoidy |
For Nothing, Part 1 (Air date Nov. 03, 2004)
| For Nothing Part 1 (October 09, 2004) Written by: Masquerade |
| Teaser |
EXT. A COMMERCIAL AREA OF LOS ANGELES - NIGHT - ESTABLISHING
We start with a LONG SHOT and PAN ALONG the street. It's an older neighborhood, a bit run down. Some of the buildings have metal security gates in the window.
Then -
INTO THE FRAME comes Connor, slinking along the sidewalk, avoiding the pools of light cast by the overhead street lamps. His hair is longer than we normally see it, his frame is thinner.
SLOW ZOOM IN on CONNOR. As we get closer, we see a stake jammed into the back pocket of his jeans. He's looking around, breathing the air in. He's tracking something. His expression is uncertain, anxious.
Suddenly, Connor hears the CLATTER OF FOOTFALLS. He ducks into a doorway, then slowly tilts his head out so he can see down the street. CLOSE-UP on the dead seriousness in his eyes as he re-locates what he has been tracking.
His POV - AN INTERSECTION about thirty meters up the street from where Connor is hiding. A YOUNG BLONDE TEENAGED GIRL WITH BOOKS IN HER ARMS is walking hastily across the intersection, trying to get where she's going as fast as she can. She reaches the sidewalk and the entrance to an ALLEY. With a quick glance around herself, she cuts down the alley.
Connor slips out his hiding place and follows her with the silence of a prowling cat.
BLACK OUT.
The theme song plays as we see images of
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 |
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CONNOR REILLY walking to classes, killing a vampire
Vincent Kartheiser
FAITH THE VAMPIRE SLAYER, fighting in the SLAYER TRAINING ROOM with Connor
and REPORTER AIDEN WALSH, pulling his CAMERA away from his face.
Sean Maher
Jon Abrahams
Katie Stuart
Indigo
Randall Slavin
Adrienne Brett
INT. A PSYCHOTHERAPIST'S OFFICE - DAY - ESTABLISHING
PANNING in a 180-degree arc through the room, we first see a desk with manila folders on it next to a door. Then an armchair and an end table with diplomas on the wall above. Seated in the armchair is a THERAPIST in slacks and a sweater, her salt-and-pepper hair pulled back behind her head. She has a pad of paper in her lap.
Finally, we PULL AROUND to CONNOR, slouched on the sofa. He is subdued, one hand on the arm of the sofa, the other on the cushion beside him. His eyes, which have faint dark circles under them, take in the room slowly.
SUPER LEGEND: July 2004
Your parents tell me you've been
having trouble lately. Staying in a lot.
Having nightmares. They say there's been
some inappropriate outbursts.
CLOSE-UP on Connor. He blinks as if he is noticing the therapist for the first time. He shrugs. He sits up a little, and sets a foot on his knee.
It's nothing, I just--I had a rough
semester at school.
(he shakes his head)
I took it out on them. I shouldn't have.
THERAPIST
As I understand it, your grade point average
in high school was 3.75.
You graduated in the top ten percent of
your class.
CONNOR
Yeah.
THERAPIST
And yet you're finding college difficult.
Connor becomes suddenly very interested in scraping some dirt off his shoe.
Yeah, well, it's Stanford.
THERAPIST
I'm also told you broke up with your
girlfriend recently.
Connor looks up at her.
Tracy's going to Cornell. I'm at Stanford.
We...decided it was probably better if we
started seeing other people.
THERAPIST
Does that bother you?
CONNOR
(shrugs again)
Not as much as I thought it would.
The therapist gives him a long look.
Connor's fingers tap rhythmically against his thigh, keeping time with the CLOCK on the wall.
Why don't you tell me about the car
accident you were involved in back in April.
CONNOR
(not looking up at her)
It wasn't an accident.
(he frowns slightly)
I mean it was. I was hit by a van.
It was a hit-and-run.
THERAPIST
A "hit and run" doesn't sound like an accident.
It sounds frightening.
Connor's expression is sober, brooding.
I was fine. I wasn't hurt.
Connor sighs and finally meets her gaze. He gestures at the room with his hands.
Look, I know my parents think I should
be here, but it's pointless. I'm fine.
Or I will be, once I have the summer
to relax.
The therapist considers him again, then leans forward, her eyes intent.
Connor, even though I talk to your parents,
I have an ethical and professional obligation
not to repeat what is said in here to anyone,
even to them.
If there's something that you want to talk
about, you can.
(she pauses)
Whether you're...struggling to figure out
who you are, or perhaps...feeling out of
touch with what's going on around you....
Whatever it is.
Connor smiles politely. The very picture of a healthy, well-adjusted kid.
I think they worry too much about me.
A little stress and they get all freaked out.
There really isn't anything to talk about.
The therapist gazes at him. She looks troubled.
I don't think what your parents described
to me can be called "a little stress."
Connor exhales again. His hand fidgets on the arm of the chair. He stares at it.
Look. There are...things on my mind,
but talking about them wouldn't--
(he looks up at her, an image of calm sincerity)
My parents are blowing what happened all
out of proportion.
Believe me, the best thing for me is to
just get things back to normal.
Finish my summer internship, and go
back to Stanford in September.
The therapist sits back, absorbing that. The ticking of the clock is the only noise in the room for several long seconds.
Finally, she picks up the pad of paper in her lap and sets it on the table beside her chair.
Well, you're an adult, so the decision
to come here has to be yours.
(she reaches for some papers on the end table)
But I'm going to give you my card, and a
pamphlet I want you to read through,
O.K.?
CONNOR
O.K.
The therapist hands him the card and the pamphlet, which Connor barely glances at before folding the pamphlet and stuffing both into his back pocket.
EXT. UCLA CAMPUS AERIAL SHOT - PRESENT DAY - ESTABLISHING
EXT. MURPHY SCULPTURE GARDEN - DAY
The garden is park-like, with concrete paths that meander through oaks, pines, cedar, and dogwood trees. Scattered on the grass amongst the trees are dozens of FINE ART SCULPTURES in wood and metal and stone, some a little weathered from being outside. We see students cutting across the grass and down the paths on their way from here to there, most of them oblivious to the beauty of art and nature.
ANGLE - Through the trees we can see a concrete bench that circles around an abstract metal sculpture. CONNOR is sitting on the bench, working intently on something he has in his lap.
DAVE enters THE FRAME, approaching Connor from his left.
CLOSE-UP on Connor. He has a PENCIL in his hand, and he is scribbling awkwardly on a PIECE OF NOTEBOOK PAPER.
Hey.
Connor looks up. He stops what he's doing.
(looking around)
I don't think I've ever been over here.
Except walking through a few times.
CONNOR
(casually)
There's supposed to be stuff around here
by famous artists.
"Twentieth Century Masters" or something.
DAVE
Really? Where?
Connor shrugs. He stares at the sculpture in front of him.
CUT TO a pleasantly curling abstract metal sculpture.
I don't know. I wouldn't recognize
their names, anyway.
DAVE
(staring around)
It mostly looks like a bunch of naked people
and geometrical shapes to me.
(then back down at Connor)
So what are you doing here?
Connor taps his pencil on his notebook. He frowns.
(embarrassed)
At the moment?
Trying to draw this sculpture.
Dave chuckles.
Ah, you decided to take that "Artistic"
result from your career test literally.
Connor sets the pencil down.
Yeah, and I discovered that I can't draw
for crap.
He picks the notebook up off his lap and holds it out to Dave. Dave takes it and looks at it.
CLOSE-UP of Connor's drawing of the sculpture, which is flat, awkward, and out of scale.
Dave hands it back to him. Connor unzips his book bag and shoves his notebook inside.
Have you given any thought during your
failed artistic experiment to where you
want to go to lunch?
Connor brings his feet over to the other side of the bench and stands up.
No.
DAVE
Well, since we're up here, how about
the North Campus Student Center?
CONNOR
Works for me.
The two head across the pavement together.
I have to take off at one-thirty, though.
I've got a thing I'm supposed to do.
DAVE
(intrigued)
Oh, right. Thursday afternoon.
What is this "thing," anyway?
EXT. L.A. SLAYER COUNCIL OFFICE BUILDING - DAY - ESTABLISHING
INT. TRAINING ROOM - DAY
A large room with a MIRROR that spans the far wall from floor to ceiling. Along the other walls are the Slayer's TRAINING EQUIPMENT, like free weights and punching bags.
CONNOR and FAITH stand facing each other on the blue mat closest to the mirror. Faith has her hands on her hips.
All right, I want you to show me what
you've got. I'm not going to hold back,
so you do whatever it takes.
CONNOR
(uncertainly)
Whatever it takes.
Before he even finishes the sentence, Faith lunges at him. Connor backs up fast. His arms flail. He loses his center of balance and FALLS BACK on the matt. He doesn't wait for Faith's next move, though. He brings his legs up, rolls back on his hands, and SPRINGS BACK UP to his feet.
Faith chuckles.
Not bad.
Connor smiles, but doesn't take his eyes off her. His posture is tense, his arms rigid at his sides.
Faith leaps at him again, raising her fist. Connor ducks to the side.
Faith grins and lowers her arm.
Fake out. Good reflexes.
Better than I'd expect from the Tin Man, anyway.
You gotta relax, dude.
Connor grins back and shakes out his arms. Then he looks at her quizzically.
Is this going to all be defensive?
Do I get to attack you?
FAITH
You aren't gonna get the chance.
Lightening fast, Faith steps in and KICKS HIM in the gut. Connor doubles over and stumbles back, but remains on his feet.
He takes a deep breath, then strikes the same pose again, tense, ready.
(eying her coolly)
That's what Rona said.
FAITH
(shrugging and grinning with attitude)
I'm not Rona.
Faith charges him again. Connor throws his weight back on one foot and KICKS AT HER, hard. With split-second reflexes, Faith GRABS HIS FOOT and FLINGS it into the air. Connor SAILS heels over head and lands on his back on the matt. His grunt echoes in the large room.
Instantly, he raises his legs to flip back up to his feet. A thick-souled Dr. Martin to the stomach SLAMS him back down. Connor grabs at it, struggling to throw Faith off him.
(her voice jolting as he struggles)
You know--how easy--a target--
you make yourself?
Faith eases off a bit but doesn't move her foot. Connor heaves himself up and grabs at her foot again. Faith pins him back down.
Don't make it easy.
She removes her foot.
Connor rises to his feet, looking sullen.
O.K., you're right. When I say "give me
whatever you got," I mean, don't let me
give the chance to attack you. Strike--
Connor strikes. Faith grabs his shoulder and YANKS HIM AROUND, then pulls him up hard, her arm tight around his neck. Connor wriggles against her, his hands gripping her arm.
--First.
(she tightens her arm)
O.K., listen. We're gonna try again.
And this time, I don't want to know
what's coming.
Connor goes slack and nods. He glances back at her. His fingers delicately brush her arm.
Faith releases him.
Connor turns instantly, his fist raised high. He slams it towards her face. Faith blocks the punch, leans to her right, and gives him a SWIFT KICK to the ribs from the left. Connor falls FAST and HARD onto his side.
He exhales audibly. Then grunts again as he slowly pushes himself up on one arm. He looks up at her, with that very pissed-off glint in his eye.
Faith chuckles.
Oh, c'mon.
That was completely predictable.
Who trained you, anyway?
Connor stares at her, his brow knit. He opens his mouth, then closes it again. His eyes dart away.
(still scowling)
No one. I got "a natural talent," remember?
FAITH
Natural, but undisciplined.
(coldly)
C'mon. Get up.
Slowly, he rises to his feet again, eyeing her like he's sizing her up, or deciding something.
Yeah. C'mon.
Connor raises his arms and leaps at her. Faith scuttles back, ready to counter his lunge. Connor falls to one hand in front of her, cartwheels over and KICKS her in the face.
Faith face SNAPS BACK. She staggers sideways, clasping her jaw.
CLOSE-UP on Faith, blinking, disoriented. Slowly, her eyes focus again. She shifts her jaw around gingerly to make sure it's working, then peers over at Connor.
Connor's on his feet again, all grins, hands on his hips.
Then his eyes dip shyly. He shrugs.
You said "whatever it takes."
FAITH
(still a bit stunned)
Yeah. I did.
She glances over to the corner of the room, then back at Connor. She takes a step forward.
Let's see that again.
Connor shakes his head.
No way. You'll see it coming.
You'll kick my ass.
FAITH
And you'll what? Break in two?
She waves him forward and steps back.
C'mon.
Connor takes a deep breath. He eyes her uncertainly. Then he bolts forward.
Faith darts back, cutting over to the corner of the room. She grabs a weight bench that's been set up against the wall, turns, and THROWS IT in his path.
Connor's eyes go wide. He's got momentum; he can't stop. He LEAPS over it, sailing high. He lands on his feet on the other side.
Then he looks over at her, incensed.
What'd you do that for?!
Faith grins.
To "see what you've got."
She walks over and grabs the weight bench.
Man, that was what...three feet? Four?
She walks the weight bench back over where she found it.
How 'bout you show me how high you can jump.
CONNOR
(grumpy)
How 'bout we try me throwing things at you
for a while.
Faith shakes her head.
Nah.
I think we've done enough of the rough stuff
for today. It's time to move on to the mellow.
She turns her back on him and faces the mirror.
BLACK OUT.
EXT. A RUN-DOWN TENEMENT IN THE CRAPPY PART OF TOWN - DAY - ESTABLISHING
INT. AN INTERIOR HALLWAY - DAY
ANGLE - Looking down the hallway, which ends at an intersecting corridor. The walls are a nasty dirty dish water beige under erratically flickering florescent lights. AIDEN appears at the end of the hallway, walking purposefully. He knows where he's going, but he doesn't look especially happy about it. About halfway down the hall, he steps around something, gazing down with discomfort.
His POV - A WOMAN sits scrunched into herself, knees up, arms around her legs, rocking and moaning softly.
Aiden continues walking until he arrives at an apartment door of faded wood veneer. It's open just a crack. He pushes it open further to reveal -
THE CHAOS that somebody calls an OFFICE. There are SHELVES along every wall overflowing with BOOKS, scattered tables and desks, each holding a COMPUTER with rapidly changing displays, STACKS OF PAPER and yet more BOOKS on the tables, desks, a thread-bare couch and chairs.
At the center of all of this is an EMACIATED, WILD-EYED MAN WITH LONG, GRAY-STREAKED HAIR. He looks up from one of the computer displays, grins, and shifts his reading glasses up on his nose.
(jovially, in a British accent)
Ah, look who's here.
Aiden starts forward, glancing over at a chair as he passes it.
CUT TO a leather armchair. Sitting in it is a GENDER-AMBIGUOUS CREATURE WITH LONG WHITE HAIR, PALE SKIN, AND YELLOW EYES. Aiden does a double-take. The creature is reading from a parchment scroll it holds in its skeletal fingers. It gives Aiden only a passing glance as he walks by.
Aiden turns his attention back to Raleigh. He stops short of entering the area with the computers where Raleigh is holding court.
(nervously)
How have you been, Raleigh.
RALEIGH
Much better since the phone got disconnected.
(he grins)
You wouldn't believe the number of people who
actually thought that story you wrote implying
a connection between me and that Councilwoman
Baker business was true.
AIDEN
(with a frown)
You were connected.
It's just no one believed she was doing
anything worth blackmailing her for.
RALEIGH
So you see? Everything's dandy then.
Her campaign to stamp out the use of inner city
children in ritual sacrifice continues undaunted.
He turns back to his chaos, grabbing a book off the top of a computer.
Aiden inches forward until he reaches a bookshelf to his right. He stares up at it. There are books there on black magic, economics, politics, prophecy. He fingers one particularly ancient-looking tome entitled, The Devandire Sibylline Codex.
Finally, he looks back at Raleigh, licking his lips nervously.
Now that was your ex-business associates who
represented her, wasn't it? Wolfram and Hart?
Kind of a kick in the pants to have them on
the opposite side.
Raleigh ignores him as he flips through the book.
I know you were an outside contractor of theirs
for a while.
What can you tell me about them?
RALEIGH
So we're buying today, are we?
AIDEN
I can pay.
Raleigh pauses, and stares into space, clutching his open book.
Right, then. Wolfram and Hart.
Largest, most powerful law firm in the city.
Had some trouble in the past couple years--
employee massacres, an incomprehensible
management policy that nearly put me out
of business last year.
(beat)
And now they're gone.
He goes back to flipping through his book.
(with a frustrated sigh)
I know all that. But what's the inside story?
What's their connection to the supernatural?
Raleigh starts laughing. He peers at Aiden over his glasses.
Good lord, lad, you really have nothing,
do you?
Aiden frowns like a guy who knows there's something he should know that he doesn't know and wishes he knew.
What's that supposed to mean?
Raleigh ignores him again.
Aiden steps forward. He takes a deep, nervous breath.
(eyes furtive)
O.K...here's the goods.
What if I told you I have a solid lead
...on who killed Diego Ortel?
Raleigh snorts.
I'd tell you that nobody gives a toss.
Aiden's face falls.
Raleigh stares into space again, frowning.
Or--that's not quite right, is it?
There are some people who care,
but they already know who offed him.
(he shrugs, looks back at his book)
Some human boy who runs with the...
(dubiously)
Slayers.
(flipping pages)
Anyway, the Ortels will kill him off and hopefully,
that'll be the last we'll hear of their "Family."
(he shakes his head)
A sorry lot, they are.
Actually buying his apocalyptic drivel in order
to give their pathetic unlives meaning.
He chuckles again, then looks over at Aiden.
You're always a day late and a dollar short,
aren't you? Might I suggest conventional journalism?
Aiden scowls, then glances over at the silent albino creature. It is still absorbed in the scroll. Aiden looks back at Raleigh.
What about an outfit called "Angel Investigations"?
Raleigh pokes his finger at the open page in his book. He sets the book down and starts typing something from it into one of his computers.
(undaunted)
Everything I read referred to it as a "detective agency,"
but the few business records I could find
made it sound more like a bodyguard-for-hire place.
Sort of like that old TV show, "The Equalizer"?
But there's got to be more to it if they could
just take over Wolfram and Hart like they did.
RALEIGH
Toss it in, lad. You got nothing, so I'm not
giving you anything. I'm not in this business
to do charity work.
Aiden slumps. He stands for a moment, staring around the room as if the books can give him answers. Finally, he turns and starts towards the door.
After a few steps, he stops and circles back around. He looks intrigued.
What's a "Slayer"?
Raleigh laughs again.
Good day, Mr. Walsh.
Aiden turns to go again, frustration written all over his face.
As he marches past the Albino, the creature's vacant yellow eyes follow him with new interest.
INT. SLAYER COUNCIL TRAINING ROOM - DAY
Faith is facing the mirror. With slow, liquid movements, she shifts her weight to her right foot, bending her knee, then raises her arms in front of herself as if to block an unseen opponent.
Connor watches her from the corner of the room for a moment. Then curiosity gets the best of him and he walks over and positions himself on the mat a couple meters behind her, and begins to awkwardly imitate her.
She leans into another position, and he imitates that as well.
So what're we doing now?
FAITH
(with a look of concentration as she completes
her movement)
Tai Chi. "White crane spreads wings."
CONNOR
Cool. Martial arts.
FAITH
It's not about fighting,
it's about disciplining your body.
And your mind.
She slowly steps into another position.
(nonchalant)
O.K.
He struggles through the movement that she is doing fluidly.
Where'd you learn this anyway?
FAITH
I took a class. Several classes, actually.
Faith stops and stands up straight. Her eyes meet Connor's in the mirror. There is a hint of a mischievousness there.
But I originally got turned onto it by
a vampire.
Connor gives her the puzzled look she was fishing for.
I assume this was before you killed him.
FAITH
Oh, I didn't kill him.
(off Connor's frown)
I tried a few times, believe me.
And he tried killing me once.
Of course, that was when he didn't
have a soul.
There is a pause as Connor takes this in, then his eyes dip down.
(murmuring)
I remember.
FAITH
What's that?
CONNOR
Nothing.
Faith stretches out her limbs into a new, different movement, which Connor watches without imitating.
C'mon, give it a try.
Tai Chi is great for self-control.
CONNOR
I think I've had enough for today.
I have a paper to write.
He turns and walks across the mat towards the door. Faith watches after him, then follows.
Connor, wait!
INT. COUNCIL OFFICES HALLWAY - DAY
Connor is standing in the hall, waiting.
Stick around a minute.
I want to give you something.
Connor nods and heads into the locker room.
Faith walks down the hall to her office.
INT. FAITH'S OFFICE - DAY
SANDY, the mousy-haired Slayer from episode 3, is sitting at Faith's desk. She has a book open there.
When did this become the Library?
SANDY
I'm looking something up.
FAITH
Look it up in someone else's chair.
Sandy gets up and moves to a chair on the other side of the desk. She turns her book around to face her.
Faith picks up a padded yellow envelope lying on the desk. She reads the address, frowning.
(glancing up)
Oh--a messenger from Fed Ex delivered
that this morning. It's from the Museum
of Cultural History. It had this in it.
Sandy shows her a GOLD AMULET in the palm of her hand. Carved into it is a rune of a sun and three stars.
Faith puts down the envelope and picks up a letter on the desk beside it. She opens it.
The letter's from the Museum Curator.
Those big-wigs from the Council coming in
next week from Brazil or wherever?
They wanted to see the amulet,
so the Museum sent it over.
(she gazes at the amulet)
I hope they tell us what it does.
Just then, Connor appears at the door.
(to Sandy, with a glance at Connor)
It's a Slayer Council "Magical Consultation
and Inspection Team," and we're not their
only victims.
(grumbling)
Apparently.
Connor enters the room and walks over to Faith's desk.
You have something for me?
FAITH
Oh right.
Faith puts the letter back on the desk, then reaches up on the shelf behind her desk and pulls down a book.
Sandy picks up the letter and opens it.
According to this, the amulet supposedly
belonged to--
(reading)
"an old, powerful vampire. It came into
the hands of the Museum in 1988,
at which time it was determined that the vampire
in question had been missing for fifty years,
and was presumed dead."
Sandy starts leafing through the book on the desk rapidly with one hand, holding the amulet with the other.
Faith hands her own book to Connor.
This book has all the basic Tai Chi movements.
(she shrugs)
You can't learn Tai Chi from a book,
but take a look at it anyway.
Connor takes the book.
(mumbling)
Then what's the point?
Sandy jabs her finger in the page of the book.
Here it is!
See, I knew I'd seen it somewhere.
A sun and three stars.
(she reads from her book)
"The Order of Aurelius. A powerful blood-line
of vampires dating back to the twelfth century."
(she wrinkles her nose)
Ugh, look at this guy.
Connor peers down at Sandy's book reflexively. On one page is text, with a picture of the sun-and-stars rune above it. On the other page is a painting of a bat-like, Nosferatu-looking, fruit-punch-mouth vampire. The caption below the painting reads, "The Master."
Faith sits down behind the desk.
Sandy, you wanna take that into the Library?
Sandy looks from Faith to Connor uncertainly, then stands up.
Sure.
She closes the book. Connor notices the title:
Vampires: A History.
Sandy takes the book and the amulet and leaves.
Faith draws one of her guest chairs around to the side of her desk.
(to Connor)
Have a seat.
Connor sits down, apprehension on his face. Faith looks at him.
I actually wanted to give you something else.
Advice.
Her solemn expression melts. She chuckles and shakes her head.
You know, I can't figure you out.
You tell me.... You tell me you don't want
to fight, and yet, you have, you do.
CONNOR
(shrugging)
It's not like I had a choice.
FAITH
Yeah. You got enemies. I get that.
That's not hard in this town.
She leans forward, elbows on her knees. She looks him directly in the eye.
But I've watched you fight.
And there's a part of you that feels
at home there.
Connor brow wrinkles. He frowns. His eyes slide from hers.
Now your style? It's spazzy. Reckless.
You're way too easy to provoke.
(back to solemn)
And there's a lot of anger in there.
Confusion.
CLOSE-UP on Connor. His eyes are still turned, staring.
You think nobody can tell.
But hey, I've been there, man, I know.
Faith places her fingertips on Connor's knee.
Look. I don't know what you are.
Maybe you've got the whole Slayer
thing in you, maybe you don't.
But you do have the fire in you....
The fight, just like a Slayer.
And even if you choose not to fight,
your body is a weapon, never forget that.
And what you're feeling inside isn't just
going to go away.
(beat)
You gotta tame it, channel it. Use it.
Or it's going to use you.
Connor's eyes are some place far away.
Finally -
(quietly)
What if I can't?
Faith studies his bewildered expression for a long moment.
You can. Trust me, I know.
Connor nods, but he doesn't look fully convinced.
Faith sits up and slaps his knee.
Enough with the lecture.
I'm makin' myself feel like an old lady.
I'll see you next Thursday.
Connor smiles and rises from his chair.
INT. THE SLAYER COUNCIL LIBRARY - DAY
A small rectangular room with built-in bookshelves and a long table. SANDY is seated at the far end, working at a computer.
RONA, Faith's "second-in-command" enters.
Get the information I asked for?
Sandy picks up a few sheets of paper and hands them to her.
Yep, "21st Century Investments."
RONA
Thanks.
She walks the papers over to Faith's office.
Faith is still seated at her desk, lost in thought.
Rona knocks.
Hey.
You know that paint store we've had under
surveillance? It checks out.
It's never open for business.
Blinds perpetually down. Plus, sewer access.
And the homeless won't go near it because
they're afraid of "the wrinklies."
There's been deaths in the vicinity.
(she smiles)
But the best part...we may be able to
predict when they're going to be there.
FAITH
(crossing her arms)
Are you thinking about another raid?
Rona gives her a guilty frown.
(sympathetically)
Hey.
It wasn't your fault, Rona. It was mine.
I shoulda seen that Meg wasn't ready.
She stands up.
We'll just have to train longer this time.
Come up with a solid plan.
She walks around her desk.
Show it to me.
RONA
The nest?
Now?
FAITH
Yeah, now.
Unless you have somewhere to be.
(with a determined look)
I want to use this.
She crosses to the door. Rona turns and follows her.
It's time we sent a message to
the demons in this town.
RONA
(voice fading as she walks down the hall)
Well, I think I can help you there.
According to what Sandy dug up....
BLACK OUT.
Part 2 (click here)
