kennedy1x03 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
KENNEDY (V.O.)
Previously on "Kennedy"….
FADE IN:
INT. WOLFRAM AND HART DUNGEON - NIGHT
We fade in on a pool of water. Standing at the waters edge
is GARRETT. At his feet, her head underwater, is KENNEDY.
She is struggling, but is unable to break free, as
Garrett's hands are wrapped firmly around her neck, holding
her underwater.
At last Kennedy's struggles cease, and the body lies still.
Garrett keeps his hands there several moments longer.
GARRETT
(mumbling)
Never underestimate a Slayer!
Finally Garrett does remove his hands, and at that moment,
off the corpse of Kennedy, we:
CUT TO:
INT. APARTMENT - DAY
Kennedy sits bolt upright in her bed, bathed in sweat.
KENNEDY
What the?!
Kennedy pulls back the covers, looking around the
tastefully furnished bedroom. She slips out of bed, pulls
on a pair of slippers, and turns on a light located on a
bedside table, filling the room with wavering shadows.
Kennedy runs her hand along the surface of the table, as if
to reassure herself that she's really here.
She walks to the window, and fondles the material of the
curtain, rubbing it along her cheek, again to reassure
herself that "I am here". She then pulls up the blinds,
and opens the window, banishing most (but not all) of the
shadows from the room.
She looks out the window.
CUT TO:
EXT. APARTMENT COMPLEX - DAY
We are on the sidewalk of a bustling suburban city. There
are no particularly identifying marks to the city: this
could be any city, anywhere.
Both sides of the street are lined with brownstone
apartment complexes, and our attention is drawn to one on
the third floor, with an open window. We see Kennedy
looking out, taking in the area.
CUT BACK TO:
INT. APARTMENT - CONTINUOUS
Kennedy pulls her head back in, but leaves the window open.
She speaks, more to break the silence than anything else.
KENNEDY
Where the hell am I? And how did
I get here?
Kennedy's stomach rumbles audibly, and she realizes she has
no idea when she last ate.
KENNEDY (cont'd)
Let's just hope there's food to
be had in the fridge!
Kennedy heads to the only door leading out of the room, and
heads down the hall, coming out into an elegantly-furnished
living room. It is filled with top-of-the-line electronic
components, including a projection TV that takes up one
corner of the room.
Several open doors lead out of this room, and Kennedy heads
towards the nearest.
CUT TO:
INT. APARTMENT KITCHEN - DAY
Kennedy enters the kitchen, only to find a tall MAN
standing by the white enamel stove, cooking eggs!
Wordlessly, Kennedy LUNGES forward, grabbing the man by the
throat. Though he's taller than she is, she still manages
to lift him so that his feet are dangling inches off the
ground.
KENNEDY
Who are you?
She SQUEEZES, causing the man to drop the spatula he was
holding, which clatters to the ground. The man begins to
gasp for breath as his windpipe constricts.
KENNEDY (cont'd)
And don't lie to me! I'm not
much with the patience right now.
The man raises both his hands in surrender, still gasping.
JOE
You can call me Joe. And I mean
you no harm!
Kennedy relaxes her grip, but doesn't release him.
KENNEDY
Go on. What are you doing here,
and how did you get here?
(beat)
For that matter, where is "here"?
JOE
I'm a messenger from The Powers
That Be. They sent me here. It
seems we have a lot to discuss,
Kennedy.
Stunned, Kennedy releases Joe, who bends down to pick up
the spatula. He turns, rinsing it off in the sink, before
turning back to the eggs that are cooking on the stove.
KENNEDY
(weakly)
The Powers That Be know my name?
They've taken an interest in ME?
I thought they were only
interested in.. y'know...
Champions. Like Buffy.
Unseen by Kennedy, Joe smiles.
JOE
Your name has been bantered
around quite a bit of late, as a
matter of fact.
Joe walks to the cabinet, pulling out two plates and two
forks, and distributes the eggs evenly. He passes one
plate to Kennedy who takes it numbly.
JOE (cont'd)
I've got something to show you,
Kennedy.
Joe stretched out his hand, a clear crystal case that
contains a DVD appears in it. We see that the DVD is
titled "DIMENSIONAL HISTORY, VOLUME I".
JOE (cont'd)
I think you'll find this most..
enlightening. Shall we?
Plate in hand, Joe motions for Kennedy to the living room.
As she exits, he follows close behind, closing the door
behind him. Off the closed door, we:
FADE OUT.
END TEASER.
ACT I
FADE IN:
INT. APARTMENT - DAY
Kennedy and Joe sit on the couch, finishing their plates of
food. At last, they place their dishes on the nearby
coffee table. Joe stands, crystal DVD case in hand.
JOE
It's about time we got down to
business, don't you think?
He walks to the DVD player, flicking it on and inserting
the DVD into the player. He then returns to the sofa,
picking up the remote control, and turning on the TV, which
flickers to life, illuminating the room.
KENNEDY
(sarcastic)
So, the Powers That Be want me to
watch a movie?
JOE
(ignoring Kennedy's
remark)
Oh, good. It's starting.
We PAN to the television, ending with an ECU of what's
going on the TV screen. (Note that there's NO SOUND
emanating from the screen throughout the following scenes).
CUT TO:
EXT. CASTLE - NIGHT
We are outside a tall castle. Expect for a few superficial
differences, it is nearly an exact duplicate of the modern
day Buckingham Palace. As we watch, a small band of
figures in hooded robes and cloaks sneaks up the palace,
effortlessly scaling the walls.
JOE (V.O.)
London. An elite band of highly
skilled Vampires sent by the
Wolf, Ram, and Hart break into
Buckingham Palace.
Once at the top, the band remove their hoods, revealing
they're all in vamp face. They brutally massacre the
guards, before descending into the palace proper.
CUT TO:
INT. BEDROOM - NIGHT
The Vamps surround a frightened, older WOMAN who's laying
on an elaborate four-poster bed. As one they advance,
pulling the curtains that surround the bed closed behind
them. In silhouette, we see the lead Vamp leaning in and
BITING the old woman, who howls in agony (soundlessly).
JOE (V.O.)
In one fell swoop, this band
"turned" Queen Victoria…
We see (still in silhouette), the lead Vamp raise his arm,
using his other hand to slice open his wrist. We see him
lower the dripping arm towards the motionless body of the
Queen. He presses his hand to her mouth, and the body
JERKS spasmodically.
JOE (V.O)
...and destabilized the entire
Empire in the process.
CUT TO:
INT. WATCHERS' CHAMBERS - DAY
We see a band of older men (perhaps three dozen), clad in
stuffy clothes (robes, wigs, some in tweed suits). They
are gathered around a round table littered with papers,
maps, and photos.
We can see that prominent among the mess is: (A) a picture
of Queen Victoria, smiling and waving to the camera, (B) an
old-time heraldic device bearing the symbol of the Wolf,
the Ram, and the Hart, and (C) a picture of Samantha in
full Vamp face.
JOE (V.O.)
Needless to say, the Watcher's
Council quickly got wind of the
situation. And, as was sadly
expected, they could not come to
any kind of a consensus on the
situation.
The men seem to be arguing bitterly, though there still is
no sound. Approximately half of the crowd seems to be in
support of MR. GILES, a younger, idealistic Watcher, while
the other half seems to be in support of MR. TRAVERS, a
much older, conservatively dressed gentleman with a bushy
mustache.
CUT TO:
INT. THRONE ROOM - NIGHT
We see the Queen (looking much more regal and composed than
when we last saw her) sitting on her throne, gesturing
peremptorily, and issuing (soundless) orders to her
servants, who scatter about, doing her bidding. In the
background of the scene, we see a shadowy figure lurking,
nodding in satisfaction.
Finally, the room empties, and the Queen sits, alone, in
the dimly lit chamber.
JOE (V.O.)
Then, the unexpected happened!
Late one night, under the cover
of darkness, Mr. Giles gathered
some of his confidants in the
Council, and made a daring
strike!
In the corners of the room, we see a dozen men, and one
young woman sneaking through the Throne Room. The Queen
seems not to notice them.
As one, the band lunges forward, only to find most of the
Watchers being caught up in a net that drops suddenly from
the ceiling! Giles, the Slayer, and the other few
remaining continue their attack on the Queen, each wielding
pointed stakes.
The small band is no match for the powers of the Vampire
Queen, however. Effortlessly, the Queen parries the
attacks of the ill prepared attackers, before striking back
with her own fangs and claws in a flurry of blows. Soon,
it's just Giles and the Slayer left, standing over the
fallen bodies of their comrades.
The Queen BACKHANDS Giles, sending him flying into a far
wall, where he slumps semiconscious, and watches as the
newly activated Slayer fights for her life in a losing
battle.
Giles, realizing that he can't affect the failed course of
action, picks himself up and limps away, unwilling to see
the demise of the Slayer at the hands of the Queen.
CUT TO:
EXT. FOREST PLATEAU - NIGHT
Mr. Giles, in his tattered suit, stands at the top of a
plateau, overlooking the countryside. Looming over
everything is the palace, garishly lit, even at this late
hour, a symbol of all that was now wrong with the empire.
JOE (V.O.)
Mr. Giles had been utterly
defeated, but his formidable will
had not yet been broken. He swore
that the might of the Vampire
nation would be broken, or he
would die trying.
Giles shakes his fist at the sky, muttering his (soundless)
oath, and curls his first in anger, before turning and
heading into the forest.
CUT TO:
INT. WATCHERS' CHAMBERS - NIGHT
The Watchers stands around the same table, though the band
is noticeably smaller by perhaps a dozen people, including
Mr. Giles. A look of sadness is in the faces of those
assembled, and Mr. Travers is making sweeping gestures,
with none left to oppose him.
JOE (V.O.)
With the Watchers disheartened by
Mr. Giles' defeat...
CUT TO:
INT. THRONE ROOM - NIGHT
We again see the Queen sitting on her throne, once more
gesturing peremptorily, and issuing (soundless) orders to
her servants, who scatter about, doing her bidding. In the
background of the scene, we see a shadowy figure lurking,
nodding in satisfaction.
JOE (V.O.)
... and Queen Victoria literally
at their beck and call, the
Vampires finally had a means to
find what they'd long coveted.
And find it they did.
The Queen, laughing, holds aloft a singular ring topped by
a clear gem.
JOE (V.O.) (cont'd)
The legendary Gem of Amara. The
gem that would let Vampires walk
unscathed through the light of
the day, cured of all their
weaknesses.
CUT TO:
INT. ALCHEMIST LAIR - DAY
A hunched over OLD MAN stands in the lair, surrounded by
all sorts of vials, beakers, cauldron,
and alembics. In his hand, he holds the Gem of Amara,
which winks faintly in the firelit room.
JOE (V.O.)
But they didn't intend for the
Gem to be used on just one
Vampire, though. Oh no, their
intentions were far more dire in
scope!
The old man shuffles to the nearest cauldron and HURLS the
Gem into the bubbling concoction within. The concoction
FLASHES brightly, causing the old man to shield his eyes.
He then produces a long-handled wooden spoon, and stirs the
liquid, muttering over it.
JOE (V.O.) (cont'd)
Using ancient alchemical secrets
long thought lost, they managed
to distill the essence of the Gem
into a serum, though it appeared
dissolving the Gem nullified a
few of its properties.
KENNEDY (V.O.)
Like the fact that they can be
staked.
JOE
Among other things.
The old man dips a ladle into the liquid, spooning the
liquid into a vial. He turns to a nearby table laden with
wooden stoppers and vials. Reaching down, he picks up a
wooden stopper, and stops the vial, placing it in a tray
designed to hold multiple beakers. He turns, picking up
another vial from his work-bench, and repeats the process.
CUT TO:
INT. THRONE ROOM - DAY
We are back in the throne room, which is exactly as we last
saw it, with one difference: the front door leading outside
is open, and sunlight streams into the entryway of the
Throne Room. The Queen still sits atop her throne, as
regal as can be. Before her stretches a line of Vampires.
At her side is the old man, a bag at his side.
The Queen gestures, and the old man hands her a vial. Vial
in hand, the Queen motions to the first Vampire in line,
who sketches a bow, and stands before the Queen.
She proffers the vial to him, and he opens it, gulping the
liquid down.
An expectant look on her face, the Queen motions towards
the sunlit entryway. The Vampire unhesitatingly heads
towards the entryway, though he FLINCHES as he steps into
the sun. But...nothing! He doesn't go up in flames!
Indeed he appears completely unharmed!
JOE (V.O.)
But they weren't content to let
one Vampire have this power. No,
they made enough draughts for the
entire Vampire nation!
With a grim smile, the Queen gestures again, and the
process repeats itself.
CUT TO:
EXT. "LONDON" - DAY (MONTAGE)
We see scenes of chaos erupting throughout the Empire.
JOE (V.O.)
Needless to say, cured of their
allergy to sunlight, the Vampires
were allowed to run amuck during
the day. Their first mission? To
eradicate the Watchers Council
that had long plagued them, as
fleas plague a dog.
- The Watchers Headquarters EXPLODES in a ball of fiery
light: the few who make it out of the building are
screaming, wreathed in flames, and those few who survive
are quickly eradicated by waiting bands of Vampires.
JOE (V.O.) (cont'd)
Without the stabilizing influence
of the Council, society as it was
known soon collapsed, and mankind
was pushed back technologically.
- A village burning to the ground, people still trying to
escape.
- Young children being brutally slain, Vamps then
proceeding to suck the very life out of them
- Hearty young men being worked to death in the fields and
mines before becoming food for their masters.
- Vampires overrunning the Palace, lounging about idly in
the very throne room, while the Queen looks on, laughing.
- Museums being desecrated, shops being trashed.
- The latest technological masterpieces being smashed.
CUT TO:
EXT. COTTAGE - DAY
A small, unprepossessing cottage complete with wooden door
and thatched roof. A YOUNG WOMAN (mid to late teens)
swings a wooden axe, chopping firewood.
JOE (V.O.)
And the problem escalated from
there. The next logical step?
The complete eradication of the
slayer line.
Without warning, a gang of FIGURES emerge from the nearby
woods, setting upon the young woman.
The fight is not as one sided as it first appears: the
young woman is supremely strong and agile, but obviously
untrained in the arts of the warrior.
JOE (V.O.)
Mr. Giles, meanwhile had not been
idle. Indeed, he had found help
in the most unlikely of places.
The fight is almost swayed by the arrival of Giles and the
small band of villagers he leads, each wielding simple
weapons (hoes, pitchfork, torches, etc).
The fight rages for several long moments, and the Slayer
manages to deal some grievous wounds to her attackers, but
ultimately succumbs to the fangs and claws of the attacking
Vampires. Beaten again, Giles and the survivors of his
ragged band retreat again into the forest.
CUT TO:
EXT. EMPIRE - DAY (MONTAGE)
Again, we have a montage, as the Vampires continue trying
to eradicate the Slayer Line.
- A young woman (pre-teens) is set upon in a crowded
schoolroom. None of her classmates move to help.
- A young woman (early 20's), brutally savaged in her bed.
- A young woman (teens), working in a flower shop, her neck
broken, blood pooling in the broken husks of the flowers.
- A young woman (teens) on a date in a theatre: her
boyfriend turns VAMP FACE, sucking the blood out of her in
plain view.
JOE (V.O.)
There was an unprecedented, and
quite alarming 4,800 Slayers in
the last century alone!
- ANGELUS, whistling a happy tune, waits outside a church,
and a Nun steps out, he casually snaps her neck, and walk
off, leaving the body on the very steps of the church. Off
Angelus' smiling, vamped out face, we:
CUT TO:
INT. APARTMENT - DAY
Joe uses the remote to pause the DVD. He turns to look at
Kennedy.
JOE
I know this is a lot to take in
all at once. But your presence
here has caused some very
fundamental shifts in the fabric
of this reality, and we need you
to realize and accept that.
There's a BEAT, as Kennedy, in shock, and unsure what to
say, opens and closes her mouth jerkily.
JOE (cont'd)
(sighs)
I see this is going to be tougher
than I thought.
He accesses the menu of the DVD, and flips through screens
until he comes upon a picture of a young woman.
KENNEDY
Moira!
JOE
Indeed. Your friend, Moira. By
arriving when you did, and
defeating the demons as you did,
you allowed Moira to flourish,
and now she can begin to attain
her true calling.
Joe pauses, allowing this information to sink in.
JOE (CONT'D) (cont'd)
Let's watch some more, shall we?
He clicks the DVD back on, resuming the movie. Again we
PAN IN to an ECU of the TV screen.
CUT TO:
EXT. BARN AND FARMHOUSE - DAY
This barn and house look eerily familiar. Indeed, it is the
same location as we saw from the first episode. We see
flames licking from the corner of the barn, and several
DEMONS enter the scene, heading towards the farmhouse.
This time however, there's no Kennedy to be seen to save
the day.
JOE (V.O.)
But what if you hadn't been there
that day?
CUT TO:
INT. FARMHOUSE - DAY
The farmhouse is a mess. It has been completely ransacked.
Blood and fecal matter line the floors and walls, and the
furniture lies broken and thrown about the room. The
demons are brutally savaging the corpses of MR. WALLACE and
MRS. DERRINGER. Blood flies through the air, as well as
assorted body parts.
JOE (V.O.)
Not a pretty sight, is it?
After a few long, gruesome moments, the demons stand,
looking around the room. They are tall, scale-covered and
heavily muscled. Gnarled teeth protrude from their
jutting, dog-like faces, and their legs end in cloven
hooves.
DISSOLVE TO:
INT. BARN - DAY
More demons are hunting through the horse stables for more
prey. Satisfied that no one is present, they go to leave.
A COUGH from above halts one demon from departing. It
turns and sniffs the air. With a (soundless) snarl, it
LEAPS straight up, ripping Moira out of her hiding place.
She lands hard on the ground.
JOE
This is what would have happened
if you hadn't come along when you
did.
The demon reaches down, pulling Moira up roughly. Moira
struggles, but she's no match for the sheer power of the
demon. He lifts Moira high in the air. She struggles,
attempting to kick her captor, but to no avail. Her legs
are just too short.
With the demonic equivalent of a laugh, the monster PLUNGES
his hand into Moira's abdomen, and TWISTS. Soundlessly,
Moira screams, her face a rictus of agony. The creature
DIGS his claw in further, before PULLING it out completely,
taking Moira's intestines out with it.
They fall to the floor in a messy pile, and we see the
light of life leaving Moira's face, as she is FLUNG against
a wall, her lifeless body crumpled like a rag doll.
Off the delighted grin of the demons, we:
CUT TO:
INT. APARTMENT - DAY
CLOSE UP of Kennedy, tears streaming down her face.
KENNEDY
Make it stop.
She GRABS Joe by the shirt.
KENNEDY (cont'd)
Please, make it stop!
JOE
It's not pretty, is it?
(sympathetic)
But I can't make it stop. Only
you can.
Joe disentangles himself from Kennedy's numb grasp.
JOE (cont'd)
I'm obligated to show you the
rest, you know.
(beat)
Orders are orders.
KENNEDY
No! No way! I'm through with
this!
Kennedy gets up, and slams open the front door.. and STOPS.
We see...nothing. No corridor, no stairs, no windows, no
other doors. Simply a blank, featureless void.
JOE
(sadly)
There's nowhere to go, Kennedy.
Joe stands, taking Kennedy by the elbow, and leading her
back to the sofa.
JOE
Let's just finish this, and I
promise that things will look
different in the end. Ok?
Joe rewinds the DVD, letting it play once more a few
seconds later. Again, we PAN to a CLOSE UP of the TV
screen, and:
CUT TO:
INT. UNDERGROUND CAVERN - NIGHT
A roughly hewn underground cavern greets us. We see 13
robed figures gathered in a circle, hands linked together.
In the center of the circle is a basalt altar.
Standing at the head of the altar, in elaborately stitched
robes, bearing the symbol of the Wolf, the Ram, and the
Hart, is SAMANTHA, in full Vamp face. She wields an ornate
sacrificial dagger in her left hand, and is (soundlessly)
chanting.
JOE (V.O)
With the death of Moira, the
quest to eradicate the Slayer
line took on renewed fervor.
We see, manacled spread-eagled to the altar is a YOUNG
WOMAN of unknown ethnicity. She is struggling, but the
chains seem to not have an inch of give.
JOE (V.O.) (cont'd)
And on an otherwise ordinary day
not too long from now, the Slayer
line comes to an abrupt, ignoble
end.
Samantha PLUNGES the knife down, hitting the bound woman
square in the chest. Blood flies, and Samantha begins to
SAW through the chest of the bound Slayer, until she has
made a big enough hole to remove the heart.
Raising the heart over her head, Samantha lets out a
(soundless) yell, and FLINGS the heart into a nearby
brazier.
JOE (V.O.) (cont'd)
I guess that's the end.
BLACK OUT.
END ACT I
ACT II
FADE IN:
INT. APARTMENT - DAY
Joe stops the DVD player, pulling the out the disc, and
putting it back into its crystal case.
JOE (V.O.)
Of the first disc.
He holds out his hand, and a new case appears, with a DVD
in it labeled "DIMENSIONAL HISTORY, VOLUME II."
KENNEDY
Moira hasn't said a lot about the
dimensions past. Now I know why!
(beat; angry)
This is barbaric! How can you
people live like this?
Joe wiggles the new DVD in front of Kennedy.
JOE
Would you like to what's going on
now?
Before Kennedy can even answer, he inserts the new DVD.
The scene pulls in on the TV. This time, the TV scenes
have full sound.
CUT TO:
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Script created with Final Draft by Final Draft, Inc.