kennedy1x01 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
FADE IN:
EXT. WOLFRAM & HART FORTRESS - NIGHT
A massive stone fortress - there is a village around the
base of the fortress.
The fortress and the village are suffering through a nasty
storm.
A lightning bolt crackles down - hits one of the thatched
houses in the village, the thatch erupts into flames ...
and the flames jump to a nearby house - and another, and -
chaos is ensuing as people flee their houses in panic.
- a figure is watching the chaos from a window high on a
tower in the fortress. He's tall, muscular, dark haired -
this is GARRETT.
INT. WOLFRAM & HART FORTRESS - NEXT
GARRETT turns - the room is both luxurious and basic at the
same time. Stone floor, richly coloured drapes on the walls,
and a luxurious bed on which a naked tall, dark haired woman
is reclining.
The woman is SAMANTHA.
SAMANTHA
Does their pain sooth you?
GARRETT
It soothes me greatly, Samantha. We
are near our goal - one more girl
to die and the dawn of a new age
will be here.
(beat, suddenly - he
VAMPS)
I'm hungry -
SAMANTHA
I'm sure one of the villagers will
be happy to oblige.
GARRETT
I'm sure.
(beat)
But you, on the other hand, have
work to do. Find me that last
girl - and bring her to me. I
want to tear her heart out, drink
her blood and end the age of the
vampire slayer once and for all!
SAMANTHA runs her tongue across GARRETT'S cheek before they
kiss passionately -
SMASH CUT TO:
BLACK
KENNEDY (V.O.)
Listen close. This was the deal -
into each generation, one child was
born with the strength and skill to
hunt vampires, to stop the spread
of their evil -
FADE IN ON:
INT. CAVERN - DAY
KENNEDY jumps down through the opening and she hurls the
scythe towards BUFFY.
KENNEDY
Buffy! Catch!
ANGLE ON: the scythe as it twirls through the air.
BUFFY catches the scythe without even looking back -
dispatches two vampires.
KENNEDY (V.O.) (cont'd)
Now this is where things got
complicated:
INT. SUNNYDALE HIGH - WOOD'S OFFICE - NEXT
WILLOW suddenly tenses up, eyes wide, as light begins to fill
the room. We do a series of quick dissolves, moving in on
her:
WILLOW
Oh.
WILLOW (cont'd)
My.
WILLOW(cont'd)
Goddess.
KENNEDY falls back, slammed by something unseen.
INT. THE CAVERN - NEXT
SLOW MOTION TABLEAU:
The battle. BUFFY in the foreground, axe swinging through an
already dusting vamp, a war cry bursting from her mouth.
FAITH beside her, kicking the face of another vamp. In mid
air in the background, a vamp and a slayer LEAP at each
other, above the heads of the warring crowd.
There is nothing here to see but the sprawling, brawling mob.
BUFFY (V.O.)
In every generation, one slayer
is born because a bunch of guys
that dies thousands of years made
up that rule. I say we change the
rules, I say my power should be
our power. Every girl who could
have the power, will have the
power. Who can stand up, will
stand up. Every one of you.
Slayers. Every one of us. The
line will no longer move through
me, it will move through all of
us -
KENNEDY (V.O.)
See. Told you it got complicated.
Will used the energy of the
scythe to turn every single
potential into a Slayer. Pretty
nifty idea, huh? Well, I was one
of those potentials who got
turned into a Slayer.
(beat)
Kennedy, the Vampire Slayer.
Cool, right? Sure - until you
die.
INT. SUMMERS RESIDENCE - UPSTAIRS HALLWAY - NIGHT
DAWN is standing right behind KENNEDY, her eyes glowing a
demonic RED. She looks at KENNEDY with a more than sinister
look - it's evil.
DAWN
You have seen it.
KENNEDY
Dawn?
DAWN
They cannot know.
KENNEDY
What -
DAWN swiftly brings the axe up from out of view and SWINGS it
at KENNEDY, implanting it in her chest. KENNEDY screams,
falling back onto the floor.
The camera pans up to the wall where we see the shadows of
DAWN plunging the axe into the body on the floor, blood
splattering over the white walls.
KENNEDY (V.O.) (cont'd)
But then again, I didn't die - at
least, not in your usual way.
Sure, there was a body and a
funeral. But me?
INT. DEMON PUB - DAY
A quaint pub - stone floor, wooden tables and chairs, drapes
on the walls and a long bar manned by a GROTESQUE DEMON.
KENNEDY is sat at the bar - the patronage of the pub is
almost exclusively populated by GROTESQUE DEMONS.
KENNEDY fingers her drink.
KENNEDY
Take a look for yourself, I'm one
hundred percent alive - at least
I was the last time I checked.
And if I was dead, would I be sat
right here?
A nearby patron VAMPS and growls:
KENNEDY (cont'd)
Oh, right.
KENNEDY puts her AXE on the bar - the patron nervously eyes
the AXE up, downs his drink in one fluid motion, he stands
and exits.
KENNEDY looks at the AXE - identical to the one ULITHIOS used
to kill her.
KENNEDY (cont'd)
You know what, Toto. I don't
think we're in Kansas anymore -
BLACK OUT:
END TEASER
ACT ONE
FADE IN:
EXT. PASTORAL COUNTRYSIDE - DAY
Blue skies, green hills, the lush and verdant countryside in
all of its glory - the birds are singing and we can hear the
gentle rush of a small river.
We move over the hills to the small river - the sunlight
reflects off the water. An apple core hurtles into the water,
sinks, then surfaces and bobs in place before being swept
away by the gentle current.
And then a pair of feet plunge into the water - we pull back
and reveal they belong to our heroine, KENNEDY.
The sunlight reflects off her raven hair - she lies back on
the grass.
KENNEDY
This is all very Louis Armstrong -
The placidity of the scene is broken - by the sound of some
sort of explosion. KENNEDY shoots upright, grabs her boots
and runs to the top of a nearby hill -
A column of smoke has erupted from a nearby farm - there are
some people moving about.
KENNEDY grabs her axe - and begins running, taking numerous
deep breaths. She vaults over a dry clad stone wall and -
EXT. DERRINGER HOMESTEAD - NEXT
A two story stone house rising above a few single story
buildings in a farm yard - there are horses in a stable,
chickens and ducks in the yard, and sheep and cows dot the
surrounding hills.
A grain cellar that previously towered over the rest of the
farm is now a towering inferno - a column of smoke rising
from it.
There are several demons moving about in the courtyard - all
of the same variety: green skin, scales, muscle bound, with
jutting tusks and a crest of spikes running from the forehead
backwards.
Two are standing over the bloodied corpses of a middle aged
man and woman - a slice from the claw of one of the demons
disembowels the woman and it lifts her entrails into the air
and growls in pride.
It drops the entrails into its mouth and begins to chew -
- we move away from the scene, past the house and the sounds
of furniture being thrown around and objects being shattered
that erupt from within.
In a second we come to rest on the stables - there are seven
individual bays, but only three are noticeably occupied. Two
of the others have open doors and the final two are bolted -
A horse neighs - and we slip inside that particular stable,
the stable is clean and there is hay on the floor and oats in
a bag.
SUDDENLY we can hear someone breathing - the camera tilts up
to reveal a sixteen year old girl, possible Mediterranean
ancestry and close-to-frumpy good looks.
This is MOIRA.
MOIRA is balanced on a beam above the stable door - she takes
a deep breath.
The door opens - she drops down without even looking and
slams the entrant into the floor. The two roll in the hay on
the floor and the horse chomps at his bit and shuffles on its
feet -
MOIRA pushes the intruder away from her - revealing KENNEDY.
The two women take a deep breath - sizing each other up for a
second.
MOIRA
You're with them.
KENNEDY
With who?
MOIRA
Them.
KENNEDY
Who?
MOIRA
The ones who murdered my parents,
the ones who blew the grain cellar
up, the ones who are, even now,
looking for me to kill me!
KENNEDY
(deadpan)
Oh, them.
MOIRA
Yes, them.
KENNEDY
No, I'm not with them.
MOIRA
Sure.
KENNEDY
Look. If, as you said, they're
looking for you to kill you, then
do you honestly think that if I was
working for them we'd still be
stood here talking?
MOIRA
Good point.
(beat)
I'm Moira Derringer.
KENNEDY sticks her hand out - and MOIRA gingerly takes it,
the two women shake hands and smile at each other.
KENNEDY
I'm Kennedy.
MOIRA
Surname?
KENNEDY
(deadpan)
No surname. Just - Kennedy.
MOIRA
Mysterious.
KENNEDY
So I've been told.
(beat)
Anyway - you seem to have a little
vermin problem that I might be able
to help you with. But first, a
little problem that my journalism
teacher used to call the 'Five W's'
- who, what, why, when and where.
(beat)
Who are they, what do they want,
why do they want it, when did they
get here and where exactly are we.
MOIRA
They - they're demons.
KENNEDY
I think even Stevie Wonder could
tell that.
MOIRA
Stevie Wonder?
KENNEDY
Doesn't matter.
MOIRA
They're demons - they work for a
group we know as Wolfram and Hart
and they're here to kill me.
KENNEDY
Woah, woah, woah. Wolfram and Hart?
MOIRA
Yes - they're our overlords.
KENNEDY
Yup, definitely NOT in Kansas
anymore. I've heard of Wolfram and
Hart, they're dangerous people -
but why would they want to kill
you?
MOIRA
I'm important - a thorn in their
plans. You wouldn't understand.
KENNEDY
I'm a lot more perceptive than
people give me credit for - try me.
MOIRA
You see - I'm what they call a
slayer. One girl is born -
KENNEDY's head whips round - speaks at the same time as
MOIRA.
KENNEDY
- into each generation, one child
with the strength and the skill
to hunt vampires, to stop the
spread of their evil -
MOIRA
- into each generation, one child
with the strength and the skill
to hunt vampires, to stop the
spread of their evil -
KENNEDY smiles as MOIRA realizes she's echoing her words -
and a second later:
KENNEDY
I'm a slayer too, though not from
round here. Don't ask me quite yet,
I'm not even sure why I'm here -
MOIRA
But, there's only supposed to be
one of us.
KENNEDY
As I said, not from round here,
kid.
MOIRA
Don't call me kid. Call me Moira.
KENNEDY
Okay - where do you keep the
weapons, Moira? I believe we've got
some demon ass to whoop.
MOIRA
Whoop?
KENNEDY
It means to -
(sighs)
I'll explain later.
KENNEDY turns and heads out of the stable and into the
farmyard itself - she is soon spotted by one of the demons
who charges her, lets loose and unholy growl and -
TIME FREEZES.
- time runs rapidly backwards, through the scene with Kennedy
and Moira in the stable, across the yard and back to the
demon eating and disemboweling the middle aged women, then:
SMASH CUT TO:
BLACK
Beat.
SUPER: Earlier.
INT. DERRINGER FARMHOUSE / MOIRA'S ROOM - MORNING
A wrought iron bed in the centre of the room with simple
cloth covers, a wooden bedside cabinet, dresser and wardrobe
around the room and an iron bedpan peeking out from under the
bed itself.
MOIRA is on the bed, she is wearing a pair of grimy dungarees
and a pair of muddy boots and is smeared in grease - she has
her eyes closed and, apart from the mess, looks incredibly
placid.
The bedroom door creeks open - and the middle aged woman we
saw earlier pokes her head into the room.
WOMAN
Moira.
MOIRA
Yes, Mamma.
MRS. DERRINGER
It's time to bring the sheep in
from the hill. And when you get
back, you need to practice your
hand-to-hand combat techniques with
-
MOIRA
But I don't wanna.
MRS. DERRINGER
Regardless, you shall.
MOIRA
I shan't.
MRS. DERRINGER
Don't make me come over there,
young lady. It is an honor to be
chosen -
MOIRA
For the past two weeks it has been
nothing but milking the cows,
fetching the sheep and then
learning how to fight demons and
zombies - I want my life to be back
to normal again.
MRS. DERRINGER
You weren't meant to be normal.
Moira Elspeth Derringer, you were
always meant to be special.
MOIRA rolls her eyes.
MOIRA
Sentimental bullshit, Mamma.
MRS. DERRINGER
Where did you learn language like
that, Moira?
MOIRA
From Mister Wallace.
MRS. DERRINGER
Well, I - whilst you're up on the
hills, I'll be having a stern word
with Mister Wallace about The
language he's using in front of
you.
MOIRA smiles.
MOIRA
Yes, Mamma.
MRS. DERRINGER
Now - go and get the sheep in from
the hill.
MOIRA sighs - she knows she's not going to win the argument,
so she sits up and adjusts her dungarees.
MOIRA
Yes, Mamma.
EXT. NEARBY HILL - NEXT
A repeat of the idyllic pastoral scene we saw earlier - but
this time we're surrounded by a vast number of sheep and
lambs that bleat and frolic.
MOIRA stands on the crest of the hill, her long coat flapping
in the breeze and a stick in her hands - she beats the stick
on the ground and whistles to the sheep.
A chorus of bleating is fired back at her.
INT. DERRINGER FARMHOUSE / KITCHEN - NEXT
A simple kitchen - there is a large wooden bench in the
centre of the room, a rack hanging above it from which hang
pots and pans. There are doors leading to the rest of the
house, to the outside and into the pantry - all three doors
are open, revealing that the pantry is fully stocked and
letting a breeze move on through.
MRS. DERRINGER is working at the bench, there is a bowl in
front of her with dough in it and she is kneading the dough.
She has flour all over her face, her clothes and the bench.
MALE VOICE (O.S.)
Deidre?
MRS. DERRINGER
Come in, Mr. Wallace. I want to
have a word with you about the
things you've been saying to my
Moira -
MR. WALLACE enters - he is in his thirties, relatively
handsome, well built and rugged. He's dressed in a simple
black suit and has his hat under his arm as he steps into the
kitchen.
MRS. DERRINGER and MR. WALLACE exchange a smile - there is
obvious sexual chemistry between them.
MR. WALLACE
And what sort of things would they
be then? Wise words passed down
through the ages, or something more
- volatile?
MRS. DERRINGER
You know exactly what I'm talking
about.
MR. WALLACE
I claim total innocence.
MRS. DERRINGER
Moira may be a slayer, Mr. Wallace,
but she is also still a young lady
and I won't have you using profane
words in front of her.
(beat)
She's up on the hill bringing in
the sheep. You can begin her
training when she brings those
sheep in - mind you, I'll want to
see she's brought them all in.
MR. WALLACE
Worried about one little sheep,
Deidre?
MRS. DERRINGER
It's our livelihood, Mr. Wallace.
Without those sheep, you wouldn't
have your slayer. Ever since her
father died at the hands of the
demons, we've had to work twice as
hard to keep this farm running.
(beat)
As well you know.
MR. WALLACE
That's right, I do.
(off the pantry door)
May I help myself to a glass of
milk whilst I wait?
MRS. DERRINGER
Of course, Mr. Wallace. And there's
a slice of blackberry pie in there
too if you're feeling a wee bit
peckish.
MR. WALLACE
You know what, Deidre, I do believe
I am.
MR. WALLACE walks into the pantry where we see him picking up
a pitcher from the shelf and pouring himself a glass of milk -
he then turns to another shelf and reaches for -
SUDDENLY we hear a door crashing open - splintering as it
does.
EXT. NEARBY HILL - NEXT
MOIRA is sitting on the hill with the flock of sheep chewing
on the grass - she notices that there are several figures in
front of her house, that they're not human and that they're
breaking down the front door.
MOIRA
Momma! Mr. Wallace!
MOIRA starts towards the front of the house - and then,
thinking better of it, she changes direction and heads
towards the rear where the courtyard is.
INT. DERRINGER FARMHOUSE / KITCHEN - NEXT
MRS. DERRINGER looks from kneading her dough at the sound of
the door crashing open - and MR. WALLACE drops his glass of
milk and rushes to stand by MRS. DERRINGER.
MR. WALLACE
A knife, Deidre, if you will.
MRS. DERRINGER inches her hand across the bench and lays her
hand on a massive butchers knife - she slides it across the
bench into the reach of MR. WALLACE who hefts it, ready to
defend himself and MRS. DERRINGER.
MRS. DERRINGER reaches for a frying pan from the overhead
rack as the kitchen door splinters inwards - revealing one of
the green skinned, scaled, tusked demons.
MR. WALLACE (cont'd)
Get out, I command you.
The demon lets forth a roaring growl and vaults through the
air, over the table and knocks MR. WALLACE to the ground -
the butchers knife clatters to the floor and slides across
the tiled floor.
MRS. DERRINGER smacks the demon in the face with the frying
pan, but a swipe with its fist knocks her against the counter
and she hits the floor unconscious.
The demon growls -
EXT. DERRINGER HOMESTEAD - NEXT
A demon drags MRS. DERRINGER out of the house by her hair
while another demon drags MR. WALLACE out of the house by his
feet. The two adults are unconscious -
A third demon is climbing up the ladder attached to the grain
cellar - upon reaching the top, the demon opens the hatch and
peers inside only for grain to begin filtering out and
dropping to the ground below.
A stick of fizzing dynamite is thrown to the demon on the
grain cellar - the demon sticks it inside the grain cellar
and jumps down to the ground, landing on it's haunches like a
cat.
INT. DERRINGER FARMHOUSE / MOIRA'S ROOM - NEXT
A demon lumbers into the room, sniffs the air and looks
around the room. The demon grabs the metal frame of the bed
and tosses it up into the air - the bedclothes are scattered
over the room but the only things underneath the bed are a
pair of shoes and the iron bedpan.
The windows suddenly shatter in conjunction with the sound of
an explosion - the demon sniffs the air again and leaves the
room.
EXT. DERRINGER HOMESTEAD - NEXT
MOIRA hides behind a wall - a demon is on the other side of
the wall, but it moves off after a second and enters the
house using the backdoor.
MOIRA runs across the courtyard and into the stables -
- the camera tilts and moves with the demon through the back
door of the house, through the corridor, past the stairs and
out the front door.
Two of the demons are standing over the bloodied corpses of
MR. WALLACE and MRS. DERRINGER - a slice from the claw of one
of the demons disembowels MRS. DERRINGER and it lifts her
entrails into the air and growls in pride.
It drops the entrails into its mouth and begins to chew -
- a demon leans out of one of the first floor windows and
roars, causing the demons down below to look up at the demon
and prick their ears up.
The demons begin sniffing in unison - one of them gets down
on all fours and begins sniffing the ground, moving around
the side of the house and into the courtyard where it looks
up - and spots KENNEDY.
The demon lets forth an unholy growl, and:
BLACK OUT:
END ACT ONE
ACT TWO
FADE IN:
BLACK
Beat.
SUPER: TWO WEEKS EARLIER
EXT. PUBLIC HOUSE - NIGHT
A building constructed during the Tudor period - with black
wood beams and a white washed plaster exterior. A hand
painted sign is hanging above the door - there is no road
outside, just a muddy path. There's a water trough and a
railing to tie horses up at, there are a few horses tied up
at the railing - they stamp their feet and shake their heads
as we hear a clap of thunder and then lightning spiders
across the sky.
INT. PUBLIC HOUSE / BEDROOM - NIGHT
A single double four poster bed, covered in clean white
sheets, white pillows and a luxurious red wool quilt. There
is a door leading to a corridor across from the end of the
bed, a window to the left of the bed and a cabinet with a
washbasin to the right.
The bed is presently occupied and a YOUNG WOMAN and a YOUNG
MAN are standing over the figure - both of these people are
too plain to be considered attractive.
We cannot see the occupant of the bed.
YOUNG WOMAN
Who is she, Adam. Where did she
come from? It sounds awfully
strange she should just be in the
middle of the field!
ADAM
Don't look at me like that, Isobel.
I couldn't just leave here there in
the field - not with the weather
like it has been for the past few
days.
ISOBEL
And the fact that she has bewitched
you with her beauty has nothing to
do with it, I suppose.
ADAM
You are speaking nonsense, Isobel.
ISOBEL
That isn't what my mother said,
Adam. She is of the belief that
you've been making eyes at the
milkmaid at Delaney's farm. She
heard it from a reputable source!
ADAM
And which reputable source would
that be, eh?!?
ISOBEL
She heard it from old Mrs.. Delaney
herself.
ADAM
And old Mrs. Delaney is oh so
reliable when it comes to gossip -
have you forgotten the time she
swore she saw your father dancing
naked amongst the weeping willows
on the river bank?
ISOBEL
Have you been making eyes at the
milkmaid?
ADAM
I have not, Isobel. If you're a
sensible girl you will believe me.
Come on downstairs, it's time for
dinner - you can check on her after
we've eaten.
ISOBEL nods. ADAM opens the door and steps out into the
corridor which is illuminated by a single gas lamp. ISOBEL
follows him, but stops in the doorway and looks back at the
occupant of the bed - it's KENNEDY!
KENNEDY is sleeping in the bed - her chest moves slowly up
and down. Her hair is matted with mud, her face smeared with
mud and what skin we can see is exceedingly pale.
At the foot of the bed is a chest - and sitting on top of the
chest is the axe that ULITHIOS used to strike the fatal blow
to KENNEDY.
DISSOLVE TO:
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Script created with Final Draft by Final Draft, Inc.