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CHOSEN Episode 2.07 "The Magnolia Covenant"

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  • CHOSEN Episode 2.07 "The Magnolia Covenant"

    Episode 2.07 "The Magnolia Covenant"
    Written by: Me
    Produced by: Me
    Edited by: Lex

    *Disclaimer: This is the fine print. The universe that "Chosen" takes place in was created by Joss Whedon and structured by his TV children "Buffy the Vampire Slayer" and "Angel." Those two shows and this universe/Buffyverse is property of Joss Whedon, Mutant Enemy, Sandollar Television, Kuzui Entertainment, 20th Century Fox Television, and the WB and UPN television networks. All characters that are not directly from the Buffyverse are all property of me. Ask before using.

    ~ ~ ~




    Slowly, white words fade into view on the screen. They read "NINE MONTHS AGO?"

    CUT TO:


    We get an aerial shot of a dark green hummer roll down a barely visible, sandy road in the middle of the desert. A location fades into view in the middle of the screen: "MOJAVE DESERT, SOUTHERN CALIFORNIA." After a moment, the words fade away.

    There is absolutely nothing around the road but sand and the occasional cactus. As the camera moves, we slowly see a monstrous shadow up ahead of the hummer. As the car keeps moving, the camera follows; eventually we see what has created this monstrous shadow.

    It's a military base.

    In the bottom corner of the screen, more words fade into view: "FORT IRWIN." The hummer pulls to a stop in front of the fort. We see the doors open and two men step out of the car from either side. They're both dressed in military attire and one is holding a briefcase. The front door to the fort opens and they enter the building.

    CUT TO:


    We see a man staring through a window at a young woman comatosed and restrained to a bed. The man's badge reads "DR. IAN DAVIS." There's a knock at the door and he turns around. We see the man with the briefcase standing in the doorway.

    MAN: I hope you're ready for us.

    DR. DAVIS: Yes, of course.

    The man with the briefcase enters and is followed by another man: RILEY FINN. The man with the briefcase introduces the doctor to RILEY.

    MAN: Dr. Davis, this is Sergeant Riley Finn. He's flown in from Washington to oversee Patient V.

    DR. DAVIS: Of course. It's a pleasure to meet you, Sergeant Finn.

    RILEY: Likewise.

    The two shake hands.

    RILEY (Cont'd): Lieutenant James and I have some information that you might find useful, Dr. Davis.

    RILEY gestures towards the briefcase in the man's, LIEUTENANT JAMES, hands. JAMES nods and puts the briefcase down on a desk. He opens it and hands DR. DAVIS a folder. DR. DAVIS opens it and scans over the contents. He shakes his head.

    DR. DAVIS: I'm sorry to disappoint you, but we already have this information in our records.

    He looks up and hands the folder back to JAMES.

    RILEY: Dr. Davis, you know as well as I do that it seems impossible for someone to survive a cave in like the one over two years ago but that doesn't change the fact that she did survive. The information in that briefcase can explain it all. What you already know is just a taste of something much bigger than a medical mystery.

    DR. DAVIS folds his arms across his chest.

    DR. DAVIS: Then what is it, Sergeant Finn?

    RILEY smiles and laughs.

    RILEY: Promise not to laugh?

    DR. DAVIS: Of course.

    JAMES hands DR. DAVIS another folder. DR. DAVIS opens the folder and looks over the contents, ruffling his brow in confusion and shaking his head in disbelief.

    RILEY: It's magic.

    His smile fades away as DR. DAVIS turns and looks at the patient lying on the bed.

    CUT TO:


    The camera slowly pans up the bed, starting at the feet. Slowly, we see more details that prove that Patient V is a young woman. She's wearing a white gown and the white restraints on her wrists, ankles, and abdomen are secured tightly. We begin to see light brown hair resting on her shoulders?and then we see who Patient V is.


    She is disfigured like we saw her in episode 2.03 "Wicked." Her eyes are closed as she lies seemingly peacefully in a coma.

    DR. DAVIS (OS): But?She's just a girl. H-how is this possible?

    RILEY (OS): Like I said?

    AMY's eyelids flutter slightly.

    RILEY (OS ? Cont'd): Magic.

    Her eyes open and we see her pupils enlarge to fill her entire eye. She begins to struggle with the restraints, trying to break free. She screams.

    AMY's awake.




    Jennifer Garner as Andrea "Andy" Sullivan
    Maggie Grace as Natalie Price
    Ryan Reynolds as Brett Stewart
    Aubrey Dollar as Elizabeth Holloway
    Milo Ventimiglia as Urban McGrath
    Jessica Alba as Aurora Newhart
    Dina Meyer as Lynn Holloway
    Eliza Dushku as Faith Lehane
    And Alyson Hannigan as Willow Rosenberg

    Special Guest Stars:

    Elizabeth Anne Allen as Amy Madison
    Marc Blucas as Riley Finn

    Guest Starring:

    Sophia Bush as Sasha Olin
    Rachel McAdams as Lena Cohen
    Ian Somerhalder as Doug Baron
    Marsha Thomason as Magnolia

    **CHOSEN is officially affiliated with RAVEN, created by Alex (Magnetic Divine) and Travis (DigitalLeonardo), SORCERESS OF CRIMSON FALLS, created by Travis (DigitalLeonardo), SHADOW STALKER, created by Lex, ROGUE REDEMPTION, created by Amber (Artemis), BROKEN DESTINY, created by Joe (EndersWrath), and BUFFYVERSE SEASONS BY ALEX, created by Alex.
    wittyCOMEBACK: updated 10/2/10!


  • #2
    ACT I



    "Fall Behind Me" by the Donnas begins to play.

    We see the busy traffic, flashing lets, and generally splendorous traits that attract many people to the city. Words fade in on the screen: "LAS VEGAS." The camera zooms in on one specific woman strutting through the human traffic on the sidewalk. Slowly panning around her, we see that it's SASHA OLIN, dolled up and dressed to kill. She pushes past people to keep moving. Some turn around to give her a dirty look but others resort to using crude phrases to describe how impolite she is.

    SASHA ignores them and keeps on walking. She knows where she's going and she knows that she's not gonna let anybody stop her. She looks up at a monstrous hotel that towers over the strip. She smiles.

    This is her destination.

    She walks up the sidewalk and towards the front doors of the hotel/casino. The camera pans up and we see the large, glowing sign showcasing the name of the hotel: The Spade.

    CUT TO:


    We see flashes of people gambling, drinking, and generally having fun in the casino before the camera focuses on SASHA as she makes her way towards a roulette table. She comes up behind a good looking man; slipping her arm around his waist, she turns him towards her and kisses him. As she does so, her lips glow faintly. She pulls away and smiles at the guy who smiles back.

    SASHA (Innocently): Can I have your money?

    The guy smiles and nods, pushing the chips on the roulette table over towards SASHA.

    SASHA (Cont'd): Thank you!

    She turns towards the table and takes three chips, aka three hundred dollars, off one of the multiple stacks and puts it on the closest number to her ? a 7. The dealer at the table looks at her curiously but shrugs and turns to the wheel. He spins it and slips the ball into the wheel as it spins. SASHA glances over at the guy who is still staring at her, seemingly awe-struck.

    SASHA (Cont'd): You can leave now.

    The man turns and walks away from the table. SASHA watches the ball roll around the roulette wheel and, as it slows, she rubs her temple with two fingers. The ball slips into the slot numbered as "7."

    DEALER: Number 7's a winner!

    SASHA smiles as the chips on the table are pushed over to her. She leans over the table to pull the chips closer to her and rests her elbows on the edge, comfortably. An older man on the opposite side of the table looks at her revealed cleavage. SASHA notices and smiles up at him. She spots a waitress walking up with a tray of drinks behind him and winks at the older man. Suddenly, the waitress trips and spills the drinks all over the man are back.

    In the distance behind SASHA, we see a security guard watching curiously. Suddenly, a voice comes over his earpiece and he listens to it.

    Back at the table, SASHA pushes all her chips onto number 7 again.

    SASHA: I'm feeling lucky tonight!

    The dealer spins the wheel after other people place their bets and slips the ball in. After a moment of spinning, the ball coincidently falls into the 7 spot. SASHA screeches with excitement and dances with excitement.

    We see flashes of SASHA as she continues to use magic to win more and more money.

    A hand rests on SASHA's shoulder and she glances back at the security guard who was behind her before.

    GUARD: Will you come with me, Miss?

    SASHA sighs.

    SASHA: What about my chips?

    The guard leans in close to her ear to whisper something.

    GUARD: We both know they're not yours.

    SASHA bites her lip and looks him up and down.

    SASHA: Fine.

    The guard puts a hand on her back and gently pushes her towards the elevators along the back wall of the casino. They enter one, the guard hits a button, and the doors slide shut. All the while, SASHA grins. Her plan is in motion.

    "Fall Behind Me" by the Donnas comes to close.

    CUT TO:


    AMY stands in the corner, facing a sea of charts and diagrams pinned to the wall. Her back is facing the camera as we zoom in on her. Suddenly, she turns, panic-stricken and shaking. She takes a step back into the corner and her back hits the wall.

    There's a knock at the door.

    AMY slowly slides to the ground, wrapping herself up in foetal position. She's scared. She's traumatized from waking up somewhere she's never seen before. No matter who is on the other side of that door, she doesn't want them coming in.

    The door starts to open.

    She throws up her hand and the door slams back shut.

    RILEY (OS): Amy, I'm not going to hurt you. Please let me in.

    AMY (Whispering): No?No?

    RILEY (OS): I just want to talk to you. Please. Let me in.

    AMY (Screaming): I said no!

    The air reverberates in the room as anything glass shatters and anything that isn't permanently attached to something is blown into the opposite wall. The only things left intact are the bed, a couple desks, and the large window ? which must be made of another material. She begins to cry and lowers her hand. Instantly, RILEY is able to open the door and enter the room. He looks around at the mess and frowns, silently shutting the door behind him.

    AMY (Shakily): Stay?away?from me?

    RILEY stops moving, standing a good distance away from AMY. He holds up both his hands to show that he doesn't have anything that will hurt her and that he truly does just want to talk.

    RILEY: Amy?

    He pauses, trying to figure out what to say. Though his mouth never moves, we hear what he is thinking?and so does AMY.

    RILEY (In His Head): I know what you're going through?

    AMY: So you've woken up somewhere you've never been before, missing a huge chunk of your life, and totally confused, too? (Beat) Yeah, I'd say you were lying?

    RILEY looks down at the floor, realizing that she heard what he was thinking, and they both fall into silence.

    AMY (Cont'd): Was I a rat again? I-is this like?a-a vet or something?

    RILEY: No.

    AMY: Then where am I?

    RILEY looks up at her, coming to the conclusion that now is the time that she will start seeking answers.

    RILEY: You're in a military base in the Mojave Desert.

    AMY: Why? (Beat) Did someone Patty Hearst me?? Do you think I'm a terrorist or something?

    RILEY: No.

    AMY: Then why am I in a military base in the Mojave Desert?

    RILEY: You were found in the remains of Sunnydale. You and a man. Both of you were?surrounded in an energy sphere and in a state of suspended animation. When we found you, you were both on the verge of dying. The government took you here to watch you. (Beat) That was in May of 2003?Nearly three years ago.

    AMY closes her eyes and looks down at the floor.

    AMY: 3 years gone?Again. Peachy. (Beat) Who was the man?

    RILEY looks at her curiously.

    RILEY: We were hoping you could tell us that. He was disfigured beyond recognition. There was honestly no way to identify him. You were protecting him and, thus, we assumed you knew who he was.

    AMY: I don't even remember being in Sunnydale in May 2003. I left before the big apocalypse went down?

    RILEY: Then there are a lot of questions left unanswered. For you and for us.

    AMY: What do you expect me to do? Whip up some memories for you? Trust me, if I had any of the answers, I'd share them.

    She puts a hand to her head as she stumbles slightly. RILEY moves towards her but she holds up her hand to stop him.

    AMY (Cont'd): I'm fine. Just go. I need to lie down.

    RILEY turns and heads back to the door.

    RILEY: If you need anything, just ask.

    He leaves and AMY looks down at a piece of broken mirror on the floor. She sees her reflection and looks away, ashamed of her new disfigured appearance.

    And then she gets an idea.

    She holds her hand out over the shard of mirror and concentrates on it. It shakes for a moment but otherwise doesn't move. She sighs and closes her eyes this time; the shard lifts off the ground. It levitates in front of her. She opens her eyes and smiles, proud of her third display of controlled power.

    AMY: Velius arx specialis.

    A breeze sweeps through the room, blowing AMY's hair back. The camera pans behind AMY, the back of her head blocking the shard momentarily?and then we stop panning. Over her shoulder, we see the piece of broken mirror.

    And in its reflection we see the face of the AMY MADISON we've known all along: her scars are gone, completely hidden, and she looks as good as new. She turns quickly and the shard drops to the ground, shattering on impact.

    CUT TO:


    We see DOUG BARON sitting with his head in his hands. Words appear on the screen: "HACKBERRY, ARIZONA." A brunette girl comes up to the booth and puts a beer next to his head before sitting down opposite him.

    DOUG: Michelle, please tell me this is some strong-ass beer?

    MICHELLE, the blonde, takes a swig from the beer she gave him. She shrugs.

    MICHELLE: Strong enough for me. But it might be too much for your pretty body to handle.

    She smiles at him, though he can't see her. He reaches out for the bottle and gropes around the table until he finds it. He lifts his head and takes a drink.

    MICHELLE: You do know that we're gonna have to talk about what happened eventually, right?

    DOUG: Eventually?But not now.

    MICHELLE rolls her eyes and glances over at a rather large man sitting at the opposite end of the room, staring at her. She grimaces and looks out the window to her left. DOUG looks behind him to see who MICHELLE was looking at.

    DOUG (Cont'd): I think he thinks you're sexy.

    MICHELLE: Shut up.

    DOUG: Should I go and get his number for you? That way you can leave me and live a life of cross-country trucking?

    MICHELLE: I doubt it's as much fun as running across the country to get away from the cops?

    DOUG laughs and shakes his head.

    DOUG: Definitely not.

    MICHELLE looks down and notices that the bowl of pretzels in the center of the table is left with nothing but crumbs.

    MICHELLE: You need something to eat; otherwise the beer now will be making a reappearance later.

    She stands up and goes over to the bar, the empty bowl in hand. At the bar, she's standing next to the obese man who was checking her out from a distance. We see the man saying something to MICHELLE but can't hear it ? the music is drowning it out. She looks at him, disgusted, and takes the refilled bowl back to the table. She slips into the booth and rolls her eyes, jaw locked with anger. DOUG looks up at her, a look of concern becoming quickly apparent on his face.

    DOUG: What's wrong?

    MICHELLE: That skuzzy, trailer-trash trucker-man tried to hit on me and instead came off as someone who really wants a sexual harassment suit slapped in his face.

    DOUG: Excuse me?

    MICHELLE: He complimented my?curves.

    DOUG's eyes widen and he turns to stare at the guy. It's obvious that he's getting angry ? whether it's the alcohol causing it or true emotion we don't know but his fury explodes as he stands up from the booth and storms over to the bar.

    DOUG: Are you seriously trying to get in my girl's pants?

    TRUCKER: Your girl? With an ass like that, she should belong to no man, bud.

    DOUG let's a smug grin slip across his face as he snatches up a beer bottle and smashes it over the TRUCKER's head. MICHELLE screams and hurries over to the fight. When the TRUCKER recovers, he lashes out and punches DOUG in the gut, forcing him to double over in pain. The large man pins DOUG to the bar and grips him by the neck. The BARKEEPER comes out from the backroom, shotgun in hand. He's yelling but, again, the music is preventing us from hearing anything he yells ? yet we know it's vain. DOUG knees the TRUCKER in the groin and gains the upper hand. With his back to the BARKEEPER and the rest of the bar, DOUG places his palm in the center of the larger man's chest and, suddenly, his eyes go black.

    DOUG: You must not be into religion, huh? The whole coveting another man's woman, thing must've just passed you by.

    He then gets right in the TRUCKER's face and speaks through gritted teeth.

    DOUG (Cont'd): I hope the lesson finally sunk in.

    MICHELLE's seemingly overheard what he said and isn't found of his use of the past tense. Her eyes widen and her jaw drops, she moves to interfere but before she can even take one step it's all over. DOUG's body suddenly tenses up as we see the TRUCKER's eyes gloss over and blood drips out of his left nostril. Instantly, he collapses. Just as fast the large man died, DOUG recovers and his eyes return to normal. He takes a deep breath and stumbles backwards. He looks around ? dazed and confused. He then sees the dead TRUCKER and apparently seems just as shocked as everyone else. Without moving or looking away from the body, he coldly says just three words.

    DOUG: Time to go.

    MICHELLE takes him by the arm and gently pulls him out the door. The BARKEEPER picks up a phone and dials 911.

    CUT TO:


    DOUG and MICHELLE race over to their truck, conveniently parked only a few parking spots away from the front doors. With DOUG in the driver's seat and MICHELLE in the passenger's seat, the two race out onto the street and out into the Arizona desert night.

    CUT TO:


    We get an aerial shot of a dark road. A few cars drive in either direction but otherwise it's deserted. On the side of the road we see a blonde woman, a bag slung over her shoulder. The words "BARSTOW, CALIFORNIA." It's then that we zoom in slowly and see the blonde woman is LENA COHEN. A truck is coming up behind her and she hears it, turning to walk backwards so she can face the driver with her thumb out. She's hitchhiking. And she's not having much luck, either. She swears under her breath as she steps onto the sidewalk in front of a rest stop. She enters the bathroom to wash up and, after a few moments, exits ? now much cleaner than she was before. As she heads back towards the road, LENA spots a good-looking, muscular, young man leaning against an old but highly well-kept Mustang. The young man smiles at her and she returns the gesture.

    YOUNG MAN: Where ya headed?

    LENA (Exhausted): Pretty much anywhere but here.

    The young man laughs and motions towards his car.

    YOUNG MAN: My name's Gil and I can take you as far North as you like.

    LENA: Oo?On a trip to Vegas? Or Canada?

    GIL: Vegas would be fine but I am in the mood for some good bacon?

    LENA laughs and nods, heading towards his car.

    LENA: Thank you.

    GIL: No problem. I need the company, anyway. Got tired of talking to myself back in Mexico.

    He laughs at his own joke and LENA simply nods as she enters the car. GIL slips into the passenger seat and pulls out onto the road.

    CUT TO:


    The two appear to have been driving for a little bit. LENA is half asleep, staring out the window, and GIL is focusing on the road.

    GIL: So, Lena?Where are you from?

    LENA: Los Angeles. And please, dear God, do not make a cheesy "angel"-related pickup line.

    GIL: OK then.

    He looks down at the dashboard and then back out the front window.

    GIL (Cont'd): We should pull over. The car's almost out of gas.

    The car pulls off onto the side of the road and GIL turns it off.

    GIL (Cont'd): Can you give me a hand and get the gas out of the trunk?

    LENA nods in response and leaves the car at the same time as GIL. The two head towards the back of the car. GIL hands her the keys and she opens the trunk while he opens the cover to the gasoline tank. LENA lifts the heavy red jug out of the back and squats down to put it on the ground at GIL's feet. As she stands back up, GIL smiles at her.

    LENA (Nervous): What?

    GIL: Nothing. You lift things really well.

    LENA smiles and gets close to his face.

    LENA: Aw, sugar?gotta tell you one thing before our little journey takes us an inch further: you're not getting' any.

    She shrugs and giggles to play up her "innocence." As she turns away, GIL grabs her by the wrist and spins her around.

    GIL: I get what I want.

    Forcefully, he pushes her against the car and lifts her right leg up around his waist while his free hand undoes his pants. LENA screams but there's nobody around to hear her. Not a single car's headlights can be seen coming from either direction. She stares GIL in the eyes as she fights to break free but his grip on her is too tight.

    GIL (Cont'd): Shhh?You're a screamer, huh?

    He backhands her across the face and she spits blood out down onto his crotch.

    GIL (Cont'd): Little bitch?

    "Down Boy" by the Yeah Yeah Yeahs begins to play ? only the instrumental parts.

    When he looks back at LENA's face, he freezes. Something's different. Something's changed. Something's very, very wrong.

    Her eyes have gone pitch black, seemingly disappeared completely into the night. Dark veins fade onto her cheeks and forehead but her hair doesn't darken. Her face has fallen into a blank, cold, emotionless dark void. The LENA from before is gone. This girl before GIL is no longer a victim?

    She's the victimizer.
    Suddenly, a gust of window blows from behind LENA as she effortlessly lifts her arms out of GIL's hold and he flies backwards onto the road. With a wave of her hand, a large gash rips across GIL's upper thigh and then another and another. The young man becomes immobile solely because the pain is far too much to handle.

    LENA (Hollow): In some cultures, men who try to rape a woman are castrated so they can never have sex again. Did you hear about the woman who bit her husband's penis off because she was pissed at him?

    She flicks her wrist upwards and GIL hovers in the air only a few feet in front of her. He begins to move closer to her, the distance between the two getting smaller.

    LENA (Cont'd): Hell hath no fury?

    the same
    not begin
    not give up
    in a better way

    Suddenly, GIL screams in pain?fear?confusion?His face contorts as his body is mutilated by a young woman who barely moved a muscle. LENA lifts her chin slightly and GIL flips backwards, landing face down on the road. She turns her head and looks down the road; there's a car moving towards them but it isn't moving fast enough for her liking. She snaps her fingers and it is now moving much faster than before. GIL is struggling to get to his feet, in shock and not realizing that there's a speeding car barrelling towards him.

    again, washed the stain
    off his bed
    not to split him up

    LENA (Cont'd): Oh Gil, darling? Just one more thing: I got tired of talking to you back in Barstow.

    He glances back at her, confused?and the car strikes him. He flies over the roof and rolls along the ground behind the vehicle as it drives on. LENA spots GIL's car keys that were dropped during the fight and holds her hand out over them. They instantly fly up into her palm and she catches them.

    LENA (Cont'd): Goodbye, Gil. Thanks for the ride.

    She sits down in the driver's seat and starts the car.

    I'll stand for the sake of my friend
    I will see him there
    well, I will see him there

    She rolls down the window and we see that her face has returned to normal except for her dark eyes and she blows a kiss out at GIL?and he instantly catches fire.

    count me down
    Down, boy

    She laughs and rolls the window back up before driving off down the road, leaving GIL to burn to death in the desert.

    "Down Boy" by the Yeah Yeah Yeahs comes to a close.

    CUT TO:


    AMY is sitting cross-legged in the center of her room. The lights go out and the entire room is cast into darkness but AMY doesn't mind ? she was the one who turned them off. She smiles to herself. And the door to her room begins to rattle on its hinges.

    CUT TO:


    We find RILEY walking down the hall with DR. DAVIS in mid-conversation when the lights go out. There's a faint hum as backup generators kick in a fainter lights turn on along the hall.

    DR. DAVIS: Power outage?

    RILEY: Amy?

    He turns and takes off running down the hall, pulling a tranq-gun from his belt. He rounds the corner and faces the rattling door to AMY's room. He reaches out to the handle as DR. DAVIS catches up?

    And it is blown outwards.

    RILEY crashes into the wall, pinned to the ground by the metal door. DR. DAVIS appears to have been pierced through the chest by a piece of flying shrapnel created by the small explosion and has fallen unconscious. RILEY looks up to find AMY standing over him. She lowers herself into a squat over RILEY's lap and strokes the side of his face.

    AMY: I must say: your version of a cage is so much more boring than Willow's. At least she gave me a wheel to run in. That's your loss.

    AMY smiles and stands up.

    AMY (Cont'd): Oh well.

    She then turns and walks casually down the hall.

    RILEY (Yelling): Amy! Amy! Don't do this! Amy, we can help you!

    AMY, still walking away from him, waves her hand in his direction.

    AMY: Shut up.

    Suddenly, RILEY's voice has been taken away. He yells but doesn't make a sound.

    CUT TO:


    AMY comes face to face with a group of soldiers with guns aimed on her. She grins and shrugs.

    AMY: You guys are such a horrible welcome wagon. First you lock me up and now you're going to shoot me? Really? That's not cool.

    One by one, AMY blasts the soldiers out of her way and through the surrounding walls. Those who manage to fire their guns get the favor returned when AMY simply deflects the bullets with ease and sends them flying back towards the soldiers. In less than a minute, the path is cleared and AMY calmly breezes out towards the doors. The camera stops moving and we see AMY telekinetically open the doors as she exits. Outside, we see two military caravans parked and at least a dozen soldiers ready to open fire on AMY but she doesn't flinch and keeps on walking. The doors slam shut behind her.


    We hear guns firing and a single explosion followed by metal crunching and glass breaking.

    Amy has escaped.

    wittyCOMEBACK: updated 10/2/10!



    • #3
      ACT II

      FADE IN


      We find LENA driving the stolen Mustang with the windows open and the breeze blowing through her hair. She doesn't have any music playing; she enjoys the silence. She stares blankly out the front window as she continues to drive.

      And then the wind stops.

      The car is still moving, the windows still open, but there is no breeze. LENA looks around, baffled by this impossible occurrence. But she knows that she should know better than to be surprised by things like this. She pulls the car over to the side of the road, leaves the keys in the ignition, and steps out of the car.

      Standing on the side of the road, she turns slowly in a circle, looking around. And as she turns a full 360, she raises an eyebrow.

      The car is gone.

      AMY (OS): Thanks for the car.

      LENA smiles and nods, turning back towards the road to see the Mustang back in the street but with someone else behind the wheel ? AMY.

      LENA: That's one hell of a trick you just pulled.

      AMY: What can I say? I've got skill.

      LENA grins.

      LENA: Honey, so do I.

      She raises a hand and the passenger car door opens and AMY is blasted out onto the side of the road by an invisible force. The car keys fly out of the ignition, out the window, and into LENA's open hand.

      LENA (Cont'd): If you had asked politely for a ride, I would've given you one.

      AMY stands up and walks around the car.

      AMY: And then murdered me and taken everything I have ? which isn't a lot; I'm not fond of material items nowadays. How am I to know whether you're on the up and up or not?

      LENA: I stole this car from a rapist. Personally, I'd say that that puts me on the up and up.

      AMY looks her up and down and closes her eyes.

      AMY: You've got some strong mojo brewing inside you?

      LENA: Says the woman who made wind stop?

      AMY (Ignoring Lena): But it's drenched with blood.

      She opens her eyes and cocks her head to the side.

      AMY (Cont'd): The wind thing was just an illusion. So was stealing the car. The real trick was being able to project myself into the backseat, when I first saw you driving up the road, so I could...convince you to get out of the car. That was the hard part.

      LENA: You're good.

      AMY: No. I'm great. But it's nice to get some recognition for once. I guess you haven't met Willow.

      LENA: Who?

      AMY: Nothing. Can you give me a ride or not?

      LENA looks up. There are only a few clouds hovering in the dark blue sky.

      LENA: That depends: where are you headed?

      AMY: Somewhere I can get my composer back. Juice up a bit.

      LENA looks back at AMY and bites her lip.

      LENA: There're some people in Barstow that might be able to help you out. But that means that I'll have to go back to where I came from. (Beat) What do I get out of it?

      AMY: The satisfaction of knowing that you helped poor, little me out?

      LENA: I love the sound of that but that just won't cut it.

      AMY: Fine. Then what is it that you want, exactly?

      Silence falls between the two of them as LENA thinks it over. Does she even know what she wants? What could make her life easier? Better? Then she realizes the one thing that might:

      LENA: Power.

      AMY smiles; she's starting to like this girl more and more. The sun is beginning to rise on the horizon between the two witches.

      CUT TO:


      SASHA is seated in a leather chair opposite a long, wooden desk. Aside from a silent security guard standing at the door, she is alone. And she's getting sick of it.

      SASHA: Ya know, I've been sitting here for two hours and it was fun for the first ten minutes but now it's old.

      She turns in her chair and stares at the guard.

      SASHA (Cont'd): Really old.

      SECURITY GUARD: Mr. McDowell will be in to see you soon, miss.

      SASHA: That's just not good enough for me.

      She smiles and holds up her hand. A bolt of lightning blasts out of her palm and hits the guard in the center of his chest. SASHA stands up and walks to the other side of the desk. She pulls the computer's keyboard towards her and types something in - a name: "OLIN, MIKAEL." She hits enter and the computer screen is taken over by a list of files that feature that very name.

      SASHA opens one, scans it, and closes it ? the file didn't have what she was looking for. She continues to do this until she opens the fifth file. It appears to be a biography of sorts with general personal information ? name, birthday, birthplace, parents, etc? - along with several other, more unusual, pieces of information ? most of which seem to deal with health and reference a certain, unnamed virus.

      SASHA scrolls further down the file and finds the one thing she was looking for. It's the person's current location ? an address in Barstow, California. She hits the print button and the printer comes to life. Within a moment, the file has been printed out. SASHA folds it up and puts it in her pocket. She then heads towards the doors to the office and rubs the security guard's, who is unconscious and slumped against them, head.

      SASHA: Thanks hun.

      She smiles and opens one of the doors, strutting out into the hallway and away from her previous place of captivity but towards her new destination ? the place where she'll find MIKAEL OLIN: Barstow, California.

      CUT TO:


      DOUG's truck is speeding down the highway. MICHELLE is sleeping in the passenger seat and DOUG's mind seems to be elsewhere ? back at the bar.

      FLASH TO:



      The TRUCKER has DOUG pinned to the bar again and DOUG knees him in the groin to get free. A voice in DOUG's head then speaks up. Repeating the same thing over and over again so fast that we can barely make out what it's saying at all.

      VOICE (OS): Kill him.

      Suddenly, DOUG's eyes go black and his palm is in the center of the TRUCKER's chest ? right over his heart.

      VOICE (OS): Do it. Do it now. Kill him. Don't let him live. Don't make that mistake again. Don't let him take your girl again.

      Behind the trucker, we see another DOUG appear. It's his conscience. Only he can see it, only he can hear it. Only he can be influenced by it.

      DOUG'S CONSCIENCE: You either kill him now and run or stay and get caught by the cops for killing your brother back in Phoenix and lose any chance of living the life you deserve to live. What's it gonna be, Doug?

      Suddenly, the a black plume of what appears to be a gas-like substance flows from out of the TRUCKER's chest and into DOUG's palm and, within a matter of moments, the TRUCKER is dead on the ground.

      DOUG'S CONSCIENCE: Good choice.

      A smug grin pulls at the corner of his conscience's mouth.


      FLASH TO:


      DOUG rubs his eyes with one of his hands. He's exhausted and it shows. He's disturbed by what he's done ? both at the Hackberry Bar and back in Phoenix where he killed his brother. He closes his eyes for just a moment?

      And another car slams into the passenger side of their truck.


      We hear tires skidding and metal being bent and torn while glass shatters. Then there is silence.

      FADE IN


      DOUG is hanging upside down when he comes to. He moans and slowly looks towards the passenger side of the truck?and his eyes widen. MICHELLE is bloody and motionless.

      DOUG (Weakly): Michelle?Michelle, wake up?

      He struggles to move one of his arms but manages to do so and goes to feel MICHELLE's pulse. He frowns, bordering on tears. There was no pulse. She's dead. He strokes her hair and closes his eyes. Slowly, he reaches up towards his seatbelt and unfastens it. He drops down onto the ground and winces with pain. He closes his eyes and he wills the driver's side door flies off and into the street. Carefully, he crawls out of the wrecked truck and stumbles as he stands up.

      There's a young woman standing nearby who snaps her cell phone closed.

      WOMAN: Oh my god! Are you alright? Just stay still! I called 911!

      In the distance, we hear sirens getting louder, getting closer. DOUG begins to panic. He limps down the street, a blood-covered mess. The voice from the flashback returns, the clips of what its saying playing as quickly as before.

      VOICE (OS): Disappear. Just disappear.

      WOMAN: Where are you going?

      As DOUG walks, he begins to fade away. He begins to disappear. And, in no time at all, he is completely invisible.

      CUT TO:


      SASHA is sitting in the waiting area with a magazine open in her lap and her oversized sunglasses still resting on her nose. A man appears on opposite side of the room, smiling.

      MAN: My name is Jerry Field. I'm a lawyer here at Field and Kline. How can I help you, Miss??

      SASHA: Olin. My name's Sasha Olin. And you can help me by taking me to my son.

      FIELD: I'm sorry?

      SASHA gives him a cold smile and holds up her hand to reveal that a swirling ball of lightning and energy is hovering in her palm.

      SASHA: I think you heard me the first time.

      FIELD tenses up.

      CUT TO:


      FIELD leads SASHA down a flight of metal stairs and into a completely different section of the building ? the basement. Unlike the floors above it, the basement has slick metal walls and tiled floors with green beams of light creating a net of sorts to keep intruders out. Before the two step onto the main floor, FIELD opens a small box on the wall and punches in a code, the green lasers crisscrossing the hallway turn off instantly with a faint hum. They then continue the walk down the hall. SASHA keeps the energy ball swirling in her palm as a safety precaution but FIELD's trembling hardly makes her worry.

      FIELD: Last I checked, the boy was being held in isolation in here.

      He types in another set of numbers on a keypad placed beside a door and opens it for SASHA. Before he can close her inside, she slams her hand against the door and looks back over her shoulder.

      SASHA: Don't you dare?

      She ruffles her brow slightly, concentrating, and FIELD flies back across the hall and hits a wall, instantly falling unconscious. SASHA then continues walking deeper into the room.

      CUT TO:


      The room is practically empty except for a desk that's covered with various papers. SASHA is suddenly overwhelmed with too many emotions at once: confusion, fear, sadness, frustration?fury. She begins to sift through the papers on the desk one by one, searching for a clue as to where MIKAEL OLIN, where her son, has been taken. And she finds one paper that gets her interest: it's a release form signed by KENNETH DAVIS, MD. She doesn't seem to recognize this name but knows that this man will know where her son is.

      A loud bang comes from above her. SASHA jumps at first, not expecting the sound, and looks out of the room to make sure FIELD is still unconscious. Once she sees that he is, SASHA heads out of the room and back upstairs to find the source of the sound.

      CUT TO:


      The doors to the building have been blasted open. SASHA comes out of the basement and looks around, only to see nobody in the room. Cautiously, she walks around the reception desk and freezes.

      Lying on the ground, bloody and barely conscious, is DOUG BARON. He looks up at her and moans.

      DOUG: Help?me?

      SASHA: How the hell did you get in here? I sealed those doors shut myself?

      Then she realizes how he did: magic. DOUG's eyes close momentarily and SASHA rolls hers before dropping to her knees beside him. She places her hand on DOUG's forehead and, when she blinks, her eyes turn pitch black. A warm glow emanates from her hand and into DOUG's body. We see a large gash on DOUG's forehead heal and another across his chest closes, too. Within a matter of moments, DOUG is completely healed ? though obviously still covered in blood. SASHA's eyes return to normal and DOUG looks up at her.

      DOUG: Thank you.

      SASHA stands up and looks down at him.

      SASHA (Emotionlessly): You now owe me.

      She drops the release form down in front of DOUG.

      SASHA (Cont'd): Help me find this man.

      He appears confused but looks up at SASHA and nods, agreeing to help her.

      CUT TO:


      AMY and LENA get out of the stolen Mustang and AMY looks around.

      AMY: So this is Barstow? A little drab for my tastes. Totally makes Sunnydale look like a fun little demonic petting zoo instead of a?demonic petting zoo.

      LENA: I've only spent a month here and that was enough for me. It never gets any more interesting.

      They walk up to the front door and LENA rings the doorbell.

      AMY: This woman's a Seer?

      LENA: Yeah. She sees anything and everything.

      AMY: So she can help me?

      LENA: God, I hope so.

      The front door opens and we see a dark skinned woman standing in the doorway, dressed in a rather eccentric outfit with a variety of flashy colors and fabrics.

      LENA: Magnolia?Long time no see.

      The woman, MAGNOLIA, smiles at LENA and motions inside.

      AMY (Whispering to Lena): She's quite talkative, too?

      MAGNOLIA shuts the door behind them.

      CUT TO:


      MAGNOLIA leads the two witches into her living room and sits down in a large chair opposite a leather couch. There's a long glass table between both seats and candles are lit all around the room.

      MAGNOLIA: Have a seat.

      The two witches comply and sit on the couch.

      MAGNOLIA (Cont'd): Who is your friend, Lena?

      AMY: My name's Amy?

      MAGNOLIA nods.

      MAGNOLIA: Amy Madison?Haven't heard that name in awhile.

      AMY looks at her, baffled by why she would've heard her name before.

      MAGNOLIA (Cont'd): I've had a few people asking about you.

      AMY: Who??

      MAGNOLIA: Riley Finn.

      AMY locks her jaw, not wanting to have heard that name again.

      MAGNOLIA (Cont'd): He said you were comatose and wanted me to get inside your head to find out who the man's identity.

      LENA looks at AMY curiously.

      AMY: The man they said I was protecting??

      MAGNOLIA: Yes.

      AMY: And did you find out?

      MAGNOLIA opens her eyes and smiles warmly at AMY.

      MAGNOLIA: Yes. But I didn't tell Mr. Finn. (Beat) I knew you would be coming.

      She reaches towards a candle in the center of the table and moves it slightly so it's in the dead center of the glass.

      AMY: Well? Who is he?

      MAGNOLIA: His name is Ethan Rayne. Quite the bad boy in his day, if I may say so myself. Broke out of a magical rehabilitation facility just north of Vegas? (Beat ? closing her eyes to concentrate) With your help.

      AMY looks down at the ground, trying to remember?and then she does.

      FLASH TO:



      We only see flashes of these memories, all of them quick and violent. AMY is dressed in the same clothes that she wore the last time we saw her in Buffy the Vampire Slayer episode 7.13 "The Killer in Me." She's furious and committed to breaking ETHAN RAYNE out of containment. We see her magically bending a metal door in half and telekinetically throwing it across a room. She takes ETHAN by the hand and pulls him out of the cell. We then see her blasting those who try to stop her out of her path. Lastly, we see the two walk out of the facility without a scratch.


      FLASH TO:


      AMY's jaw is hanging slightly, surprised that she remembered all of that.

      AMY: I wanted his help?

      LENA looks at her.

      LENA: To do what?

      AMY: To get more power. To prove that I was just a great of a witch as?Willow. After I got him out of rehab, we left the country. (Beat ? remembering) Greece. We went to Greece. So he could help me. (To Magnolia) But how did I end up back in Sunnydale?

      MAGNOLIA closes her eyes again and the candle's flame

      MAGNOLIA: The Chaos Demon, Xepnia?

      AMY's eyes widen.

      FLASH TO:



      Again, we only see flashes of these memories. We see ETHAN wearing a robe and AMY kneeling before an alter. They seem to be taking part in a ceremony of some sort. We then see AMY rise up into the air, a red glow surrounding her body. She collapses back onto the ground and, when she looks up, her eyes have gone completely red. The earth begins to rumble as if an earthquake is the cause. Large boulders levitate off the ground and swirl.

      ETHAN (VO): Xepnia's child?may you have new life?

      AMY gets to her feet and turns to leave, with ETHAN following behind her.

      CUT TO:


      The flashbacks continue. We see AMY and ETHAN approaching the deserted school as the earth shakes beneath their feet. In the background behind them, we see a yellow school bus speeding away down the street. This sight confirms the date: the very day that Sunnydale turned into a crater ? Buffy the Vampire Slayer episode 7.22 "Chosen."

      AMY (VO): She's here.

      CUT TO:


      The walls begin to fall around them but they keep walking.

      ETHAN (VO): We need to leave.

      AMY (VO): Not until I find Rosenberg!

      And then the ground falls out beneath them. As they fall, AMY's eyes turn red like when they were in Greece. A sphere of red light forms around both AMY and ETHAN and they hover in the air as Sunnydale is wiped off the face of the earth around them. Rubble covers the sphere and, slowly, all light begins to get blocked. While we can still see, we see ETHAN extend one arm and touch AMY's stomach. His mouth is moving but we can't hear what he's saying. His hand glows red. And then they are cast into darkness.


      FLASH TO:


      AMY is clearly starting to feel the emotional impact of remembering all of these memories. She remembers how it felt to be buried alive and then to slip into a coma-like state. She remembers the overwhelming surge of power she felt in Greece.

      She remembers the incantation ETHAN said before the light was taken away.

      MAGNOLIA: You were in suspended animation ? frozen in time; you were still alive but your body didn't need anything to function ? only magic.

      LENA: So she basically fed off herself?

      MAGNOLIA: No, she fed off the demon inside her.

      AMY: What did he do to me? What did Ethan do to me when Sunnydale was crater-ized?

      MAGNOLIA closes her eyes but shakes her head.

      MAGNOLIA: I do not know.

      AMY is starting to cry from frustration, sadness, relief, and a myriad of other overwhelming emotions. She stands up and bursts out of the house. LENA watches with a faint look of concern on her face. She follows AMY.

      CUT TO:


      AMY is staring out at a field across the street, wiping her tears away.

      LENA: At least now you remember?

      AMY shakes her head.

      AMY: It's not enough.

      LENA: But that's all Magnolia can see. She can't tell you anymore than she already has.

      AMY: But there's somebody who can.

      She turns and stares at LENA, determined.

      AMY (Cont'd): And he's currently being held captive by the military at Fort Irwin.

      LENA: How do you expect to get in and out of a military base? You can't do it alone - even if you have some freaky demon inside you.

      AMY nods.

      AMY: I'm gonna need some reinforcements.

      She looks up at LENA and, for the first time in awhile, smiles. She knows exactly what she's going to do.


      wittyCOMEBACK: updated 10/2/10!



      • #4
        ACT III

        FADE IN


        The scene picks up just where it left off: AMY and LENA are standing together. LENA appears somewhat appalled by AMY's desire to break into a military base while AMY is starting to feel more confident than ever. She has a plan.

        LENA: You can't be serious.

        AMY: I don't think I've ever been more serious in my whole life.

        LENA: What are you going to do?

        AMY (Confidently): I'm gonna build a coven. And a damn powerful one at that.

        LENA: How?

        AMY is now thinking of an answer, of a solution to the current roadblock: How will she find witches to join her coven?

        AMY: Hey, I've got two powerful women at my disposal already. Together? Together we can find them all ? the best, the strongest?We could be unstoppable.

        LENA shakes her head, backing away.

        LENA: I never signed on to join your coven.

        AMY: You want power, don't you? Well this is how you're gonna get it. Feel free to back out now but you will always know that the blood that's gonna be spilled is on your hands, too.

        LENA freezes up, defensively.

        LENA (Coldly): I don't have a problem with getting my hands dirty.

        AMY: Then why stop now? You've already gotten me this far. Without you, I'd be stuck walking on the side of the road?or worse. I could be back in my cell at Fort Irwin, not remembering a thing about how I got there. For all of this: I have you to thank. And now I'm ready to pay you back for everything you've done for me?in full.

        AMY stares LENA directly in the eyes. LENA has every reason not to trust AMY ? especially since she hardly knows the woman ? but for some reason she is drawn to her. Drawn to her power. LENA knows that, somehow, AMY will help her become more powerful than she ever thought she could be.

        And so LENA nods in agreement.

        LENA: Fine. Let's do this.

        AMY: Then how about we round up some neighborhood Wiccans?

        She smiles, slips an arm around LENA's shoulders, and guides her inside, telekinetically shutting the door behind them.

        CUT TO:


        The camera pans along the floor and we see a few unconscious bodies on the ground. We then pan up and find SASHA flipping through a file folder in search of any information about DR. KENNETH DAVIS. She throws the folder against a wall in frustration. DOUG walks into the room, in the process of buttoning a work shirt ? the same one FIELD was wearing. As a matter of fact, DOUG's entire outfit has been swapped with FIELD, it seems, and the blood has been wiped off his skin. He finishes buttoning the shirt and sits down behind the computer.

        DOUG: So, what is this guy's name again?

        SASHA (Through her teeth): Kenneth Davis. He's a doctor.

        She pulls another folder out of a file cabinet and flips through it. DOUG begins to search through the computer databases for the man's name and can't seem to find anything, sighing in frustration.

        DOUG: Maybe it's a fake name?

        SASHA: It's not.

        She holds up a document and points a finger at two words that appear repeatedly on the page: KENNETH DAVIS.

        DOUG: That doesn't prove that this guy isn't a fake?

        SASHA: And what if the name is a fake? The person who signed the papers is and since he is, then we can find him.

        DOUG: How?

        SASHA: The same way you broke into this place. The same way I healed you. (Beat) Magic.

        She pulls a map out of the file cabinet and drops it on the floor, grinning.

        CUT TO:


        AMY, LENA, and MAGNOLIA are sitting in the same spots as they were before, but this time the glass coffee table is vandalized with dark black drawings directly on the glass and the candle has been replaced with black one. The sun is setting outside and the room is slowly being pulled into darkness, despite the glowing candles. MAGNOLIA places a map of California on the table.

        MAGNOLIA: We need to join hands.

        And so they do, forming a triangle above the map.

        CUT TO:


        DOUG and SASHA are sitting on the floor, opposite each other. Between them is a map of America. They then join hands and close their eyes.

        SASHA: Guardians of Secrets, we seek your guidance?

        The map begins to glow.

        CUT TO:


        The trio's map is glowing just like SASHA and DOUG's is and MAGNOLIA is reciting the same incantation as SASHA.

        MAGNOLIA: Help us find the ones we seek. The hidden. Those who may help us in our time of?

        A breeze begins to blow in a circle around them.

        CUT TO:


        The same breeze is blowing around SASHA and DOUG.

        SASHA: ?In our time of struggle. Let us find Kenneth Davis?

        The glowing light around the map shoots up into the air, creating a pillar of energy.

        CUT TO:


        MAGNOLIA: Let us find our fellow witches.

        The same pillar of light appears but begins to separate into several, thinner streaks of energy over the map.

        LENA: Is it working?

        MAGNOLIA doesn't respond. AMY watches in awe, smiling slightly.

        CUT TO:


        The pillar of light has already thinned and, just as quickly as it appeared, disappears. DOUG stares at SASHA.

        DOUG: Was that supposed to happen?

        SASHA scans the map with her eyes?and then finds what she's looking for.

        SASHA: It definitely did.

        She grins and points at a scorch mark in the middle of the MOJAVE DESERT in southern California.

        SASHA (Cont'd): Gotcha.

        She grabs the map and begins to fold it up.

        CUT TO:


        The result of MAGNOLIA's locater spell is the same ? scattered randomly on the map are scorch marks, all of them varying in size and darkness. There appears to be at least fifty of them just in southern California.

        AMY: The scorch marks are the witches?

        MAGNOLIA nods.

        MAGNOLIA: The darker the burn, the stronger the witch.

        LENA leans forward on the couch to get a better view of the map. She points out a cluster of specific burn marks ? both are almost right on top of each other?and in Barstow, California.

        LENA: There are 5 marks in Barstow?

        AMY: Looks like we're not alone. The other two are?(Beat ? looking closer at the map) Just a mile or two from here. We need to get to them quickly in case they decide to skip out of the area.

        LENA: I'll go. You two should keep looking for more witches.

        AMY: How are you gonna find them?

        LENA: A good magician doesn't share her secrets.

        She stands up and heads for the door. AMY turns and faces MAGNOLIA.

        MAGNOLIA: I am doing this because we are bonded by power. I have no ulterior motives that should cause you to distrust me.

        AMY: I didn't even ask my question.

        MAGNOLIA: You didn't need to.

        AMY nods to herself and looks down at the map again.

        CUT TO:


        We see FIELD's unconscious body propped up in his chair now while DOUG is looking at the computer screen.

        DOUG: It'll take an hour to get to Fort Irwin.

        SASHA: Then let's go.

        DOUG: We don't even have a plan! How do you expect to break into a government facility, find this guy, and get your son back with just the two of us?

        SASHA: We'll find a way.

        She turns and begins to head out the door but someone is blocking her path.

        SASHA (Cont'd): Who the hell are you?

        DOUG looks over SASHA's shoulder?and we see that it's LENA.

        LENA: My name's Lena and you two were quite the pain in the ass to find.

        She smiles and takes a few steps into the office. LENA takes notice of FIELD and laughs.

        LENA (Cont'd): Well that's creative. Personally, I would've left him on the floor.

        SASHA: Can we help you?

        LENA turns and nods.

        LENA: Actually, you can. See, I'm here to make you an offer. One that you probably won't believe and then you'll try to kill me but, before you start hanging the streamers for that party, hear me out. (Beat) You might wanna sit down?

        DOUG: We don't.

        LENA: Well I do.

        She sits down in a chair and looks up at the two others.

        LENA (Cont'd): I've been sent by a woman who wants to build a coven?no, not a coven?the strongest coven this country has ever seen. A little locater spell showed us that you two had the most power in southern California and now I'm here to recruit you.

        SASHA: Excuse me?

        LENA: We want you in our coven. You both have talents that would be extremely useful to us and we have talents that will be extremely useful to you.

        DOUG looks at SASHA.

        DOUG: An army?

        LENA: Well?yeah. For the lack of a better term.

        DOUG: Who's this woman that sent you? Your leader; what's her name?

        LENA: Amy Madison. And she's not a leader of this coven. She's the creator of the coven but not the leader. It's gonna be a democracy type thing ? we'll all get our chances to take care of?personal issues. No leader, just power.

        LENA crosses her legs and rubs her forehead.

        LENA (Cont'd): So what do you say? Are you in?

        She stares at them, waiting for an answer. However, DOUG and SASHA seem to still be mulling everything they've just been told over and are nowhere near close to forming an answer to give her.

        CUT TO:


        AMY and MAGNOLIA are standing next to each other, their backs to the camera.

        AMY: We did it?

        The camera pans over their heads and we get an aerial shot of a large map of the United States sprawled out over the entire length of the dining room table. There are hundreds of burn marks in every state and countless of them are nearly black ? the strongest witches in the entire country. She looks over at MAGNOLIA and smiles.

        AMY (Cont'd): We found them.

        She laughs with relief, eyes wide with amazement. She knows where her fellow witches are?and now comes the hard part.

        CUT TO BLACK

        END OF ACT III
        wittyCOMEBACK: updated 10/2/10!



        • #5
          ACT IV

          FADE IN


          We see several people typing away on computers, staring at the display screens with mixed emotions ? frustration, confusion, amazement. It is unknown why they're experiencing these feelings but one thing's for certain: it can't be a good thing.
          We see white words fade onto the screen: "FOUR MONTHS AGO." This means that it has been 5 months since the last scene ? obviously something has happened. And we're about to find out what...
          One of the men stands up and turns to face a metal door as it slides open. In walks RILEY, dressed in a black suit and wearing an emotionless face.

          MAN: Agent Finn! I think you need to see something.

          RILEY looks at him curiously.

          CUT TO:


          RILEY is sitting in front of a computer as the MAN from before pulls something up on the screen. It appears to be a map with a glowing dot moving incessantly from place to place.

          MAN: Over the past 5 months, we've been tracking Amy Madison's movements with the beacon we implanted in her arm.

          RILEY: I know. Why are you showing me this?

          MAN: Because it's become impossible. She's moving erratically ? not staying in one place for longer than a day ? and there doesn't seem to be a pattern at all. She just keeps travelling from state to state. And when she's actually stationary, we can't narrow down her exact location. The tracking beacon's frequency is being scrambled somehow and we keep getting multiple different locations.

          RILEY: So, why tell me all of this now?

          MAN: Because we think she's moving back towards Fort Irwin. Her movements are getting closer and closer to our area and while the beacon's getting fuzzier and fuzzier each time she moves, it's looking pretty obvious...

          RILEY looks up at the MAN, finally catching on to what he's saying.

          RILEY: She's coming.

          He looks back at the computer screen and we see the glowing dot moving in what appears to be a circle around a red ?x' ? Fort Irwin.

          CUT TO:


          AMY is standing in the bathroom, wearing a sundress and staring at herself in the mirror. Slowly, scars begin to fade into view on the right side of her face. The glamour she put into place is wearing off. AMY begins to panic closes her eyes.

          CUT TO:


          AMY opens the bathroom door and steps out ? looking as good as new. We assume that she must have cast the glamour spell again. Standing in the hallway waiting for her is MAGNOLIA.

          MAGNOLIA: Your glamour looks very real.

          AMY is visibly surprised to hear those words come out of MAGNOLIA's mouth.

          AMY: Well, it should since, you know, it is real.

          MAGNOLIA: I won't tell.

          AMY: Thank you.

          She turns and heads into the bedroom and MAGNOLIA follows. In the room, LENA is sitting in a chair waiting. MAGNOLIA shuts the door behind them.

          LENA: It's kinda pathetic that we've only rounded up 25 witches in the span of five months.

          AMY: It's not pathetic; it's progress.

          LENA: It's hardly the super coven you had in mind.

          AMY sits down, cross-legged, in the center of the bed and MAGNOLIA leans against the door.

          AMY: We'll get there eventually. It just takes time. But we've gotten strong enough to take action.

          LENA: To take action?

          AMY remains silent, seemingly waiting for LENA to realize what she's talking about. And she does.

          LENA (Cont'd): Fort Irwin? You seriously think we're ready for that?

          AMY: Didn't you say that there're two others who want to go there just as much as I do?

          LENA: No, see you want to destroy the place. Doug Baron wants his criminal record wiped clean and Sasha Olin wants to find her son. There's a big different.

          AMY: We're ready.

          LENA stands up, clearly getting frustrated.

          LENA: We are not ready.

          AMY looks to MAGNOLIA for support.

          MAGNOLIA: From what I have seen, we have more than enough power to do what needs to be done.

          LENA: Are you sure?

          MAGNOLIA: As sure as I have ever been.

          LENA: So what? We go to war with the military?

          AMY shakes her head.

          AMY: No, we just pay them a visit.

          LENA: And how are we going to do that?

          She stares at AMY, waiting for an answer. And then she gets one.

          CUT TO:


          The place is empty except for a group of people listening intently to LENA, who is standing in front of them.

          LENA: In one week, we'll move in on Fort Irwin. We'll infiltrate their defenses, enter the building, and do what we need to do. No one will get hurt.

          DOUG: How do you know that?

          LENA: We just do.

          DOUG: And why should we even trust any of you? We haven't even seen this Amy Madison. She just locks herself up in that house. How are we supposed to believe that she's as powerful as you say she is?

          LENA: You just do.

          SASHA: I won't go unless I'm guaranteed that I'll find my son. I've spent 5 months just sitting around, waiting, when I could've been out getting my son back.

          LENA: And if you had left to do that, you wouldn't be in line to get a whole lot of power.

          SASHA: What power? I keep hearing about this power and I haven't even felt any of it.

          LENA takes a step forward and gets within a matter of inches from SASHA.

          LENA: If you don't stay with the coven, you'll be out on your own. You will try to get your son back and you will die in the process. You're not strong enough to do it alone and we're not strong enough to do it without all of you. We need each other. And in the long run, it'll all pay off. You'll have your son back, (to Doug) you'll be a free man, and the rest of us will be a part of something bigger. Don't you think that's worth it?

          LENA turns and begins to walk towards the door.

          LENA (Cont'd): You all have a choice to make. And if you're going to stay with the Magnolia Covenant, then meet at the house in one week at sunrise.

          She then leaves the restaurant and silence falls over the entire room. SASHA remains standing in the middle of the room while everyone else either leaves the bar after her or takes a seat to think and process all of this. She reaches into her pocket and pulls out her wallet. She opens it and stares at a picture of a young boy who appears to be around 3 or 4. It's her son. She looks towards the door, with tears in her eyes and nods.

          She's made her choice.

          CUT TO:


          RILEY is staring out the large window in his office. Granted, all he can see is desert land and rolling, sandy hills. Something is distracting him. Fear? Concern? Frustration? There's a knock on his door and RILEY turns around to see the same MAN as in the previous scene.

          RILEY: Yes?

          The MAN moves deeper into the room and places his laptop down on the table.

          MAN: We think she's coming. Now.

          He opens his laptop and RILEY sees that the glowing beacon is now moving directly on top of Fort Irwin. Suddenly, the MAN is thrown across the room, spinning and slamming through the concrete wall. RILEY looks up?and is face to face with AMY, eyes completely black as magic flows through her.

          AMY: I'm already here.

          She flicks her wrist in RILEY's direction and he flies into the wall behind him, his head crashing through the window. Bloodied, he struggles to lift himself up off the ground. AMY turns the laptop around and looks at it, disgusted.

          AMY (Cont'd): Are you tracking me like an animal now? How?

          AMY holds out her hand and a small piece of metal appears in the palm of her hand.

          AMY (Cont'd): Oh, with this?

          RILEY (Weakly): Amy?

          AMY: No. I talk, ok? You were going to keep me here like a lab rat, weren't you? An experiment of yours. But, no. I busted myself out of here and when I did, I got the answers I was looking for and now you're going to give me some more.

          AMY grabs the desk by one of its legs and throws it across the room so that there is nothing blocking the path between her and RILEY. She slowly moves closer to him, like a predator on the prowl.

          AMY (Cont'd): Where is Ethan Rayne?

          RILEY: Who?

          AMY: The man I was protecting. The man you're holding captive right now. Where is he? I need to talk to him.

          RILEY: He's in the medical ward. He's in an induced coma to prevent him from flat-lining as we speak. You wake him up and he'll die.

          AMY: I wake him up and he can tell me what I need to know before he dies. (Beat) What room?

          RILEY: Thirty.

          AMY: Thank you.

          She smiles, wickedly, and blasts RILEY with a bolt of lightning before leaving the office.

          CUT TO:


          SASHA storms down the hall, blasting anybody who gets in her way with powerful energy. As she turns the corner, she approaches a desk where a nurse is sitting. The nurse looks up at her in fear and SASHA holds up her hand in a wave.

          SASHA: Hey there.

          She clenches her fist and the nurse begins to choke.

          SASHA (Cont'd): Where is Doctor Kenneth Davis?

          She unclenches her fist and the nurse speaks.

          NURSE: Down the hall. Room twelve.

          SASHA: Thank you.

          She waves her hand and the nurse flies into the wall behind the desk, instantly being knocked unconscious. SASHA walks down the hallway, focused on her mission. She then comes to room twelve ? marked by the roman numerals "XII" ? and pushes the door open, entering the room. There, she finds DR. DAVIS?and smiles.

          SASHA (Cont'd): I've been looking all over for you.

          He turns and meets SASHA's glare, seemingly shrinking in fear.

          SASHA (Cont'd): So you know who I am?

          DR. DAVIS stumbles backwards into the empty bed.

          DR. DAVIS: Sasha Olin?

          SASHA: Good. So, I'm assuming you know why I'm here, right?

          DR. DAVIS gulps and nods reluctantly.

          SASHA (Cont'd ? viciously, through her teeth): Where is my son?

          She tenses up, visibly on the verge of killing DR. DAVIS right there, on that very spot if he doesn't tell her what she wants to know.

          CUT TO:


          DOUG, followed closely by LENA, heads through rows of offices.

          DOUG: Where is their legal department?

          LENA: Down this hall, on the right.

          They turn the corner and push through one of the doors on their right.

          CUT TO:


          DOUG and LENA telekinetically fling soldiers who try to stop them out of their way and move deeper into the legal department until they come face to face with a short man at a very big desk.

          DOUG: Are you the head of the legal department?

          The SHORT MAN is trembling with fear.

          SHORT MAN: Y-yeah?yes.

          We see his hand slip under the desk to press a button to trigger the silent alarm?and LENA notices this, too.

          LENA: Don't bother. We severed this entire fort's communication with the outside world. You call anyone and they won't hear you, but they'll think everything's going fine and dandy anyway.

          DOUG: My name is Doug Baron and you're going to clear my criminal record. Now.

          The SHORT MAN looks from LENA to DOUG, back and forth.

          DOUG (Shouting): Now!

          The SHORT MAN drops into his seat and begins typing away at the computer.

          SHORT MAN: Douglas Baron? From Phoenix, Arizona?

          DOUG: Yeah.

          SHORT MAN: There's only one thing on your record ? the murder of Aaron Baron?

          DOUG: Get rid of it.

          The SHORT MAN continues typing on the computer. LENA looks at DOUG, curiously.

          LENA: Father?

          DOUG: Brother.

          SHORT MAN: It's done. I'm done. Your slate is clean, Doug?Mr. Baron?Sir.

          DOUG: Thank you.

          The SHORT MAN nods. DOUG and LENA turn and head out of the legal department while, in the background, we see the SHORT MAN slip down under his desk.

          LENA: Are we done here?

          DOUG: Yeah.

          LENA: Then let's go.

          They turn the corner and continue their journey out of Fort Irwin.

          CUT TO:


          AMY comes to a room thirty ? marked by the roman numerals "XXX" ? and enters the room. Lying on the bed is a greatly disfigured man. It's impossible to recognize him at all as ETHAN RAYNE yet AMY knows it's him. She moves closer to his bedside and places a hand on his forehead, closing her eyes as she does so. There's a faint glow as AMY's magic flows from her and into ETHAN's body. After a moment, ETHAN's eyes fly open and he breathes heavily, looking around ? panicked. The heart monitor on the side of his bed beeps rapidly. AMY takes his hand and he looks her in the eyes, a faint smile crossing his face.

          ETHAN (Whispering): Amy?

          AMY smiles and nods.

          AMY: I need your help. Please.

          She rests a hand on the side of his face.

          AMY (Cont'd): What happened in Sunnydale?

          ETHAN (Whispering): We?We returned to visit the witch?Willow. T-Then the earth?it swallowed us whole. You protected us both. You surrounded us with powerful magic and?and we were suspended in animation. (Beat ? taking a deep breath) The force field must have failed when we were rescued?and we were buried in the rocks until they dug us out.

          AMY: But happened when we were first trapped? You did something. A spell?a ritual?something. What was it? What has happened to me?

          ETHAN looks her in the eyes and moves closer to whisper the answer in her ear.

          The camera zooms out as he whispers the answer to her and we see RILEY leaning against the doorway, watching as AMY gets the answers she was looking for. Suddenly, ETHAN flat-lines and his head rolls to the side, lifeless. AMY turns around and we see that she is sobbing, overwhelmed by too many emotions to name.

          RILEY: Did you get your answers?

          Suddenly, there is one emotion that we can recognize on AMY's face: fury. And she's about to show RILEY exactly what she's made of.

          CUT TO:


          DR. DAVIS has a chart opened in front of him and he appears to be explaining the paperwork to SASHA, who stares at it with a confused look on her face.

          DR. DAVIS: After a week of being awake, he relapsed into a coma. The amount of blood that he had in his skull was putting too much pressure on his brain and it forced his body to shut down. We've been monitoring his condition since your husband brought him in.

          SASHA: He's not my husband.

          DR. DAVIS nods and turns the page in the chart.

          DR. DAVIS: We've spent the year that he's been under our care trying to figure out the structure of this virus and to create a vaccine but it's been mutating at an impossible rate. We actually had to shut down an entire wing of the hospital when we discovered a crack in the bottom of his room. (Beat) The twenty people on service that day are all dead.

          SASHA doesn't even seem to care about that. She continues to flip through the chart, looking for answers.

          DR. DAVIS: It's a miracle your son's even still alive. That's why we're spending so much time studying him. His body's ability to continue fighting the virus could allow us to find a cure.

          SASHA: Where are you keeping him?

          DR. DAVIS: After the incident in the hospital, we transferred him here until we could get another secure location.

          SASHA grabs him by the throat as her eyes go black.

          SASHA: Where is he?

          DR. DAVIS: New York City.

          SASHA puts the doctor down and backs away, her eyes reverting to normal. She grabs her son's medical chart off the bed and runs out of the room. DR. DAVIS rubs his neck, taking deep breaths, and closes his eyes.

          CUT TO:


          RILEY fires his gun at AMY, who is protecting herself with a yellow force field that flows around her like water. The bullets simply drop to the ground as they hit the shield and she advances on RILEY. He goes to shoot at her again?only to find that his gun is empty. He's wasted his bullets in a futile attempt to stop AMY. He throws the gun to the ground and AMY drops her shield. He punches her across the jaw and she stumbles backwards. He throws another hit and gets her right in the stomach. As he goes to punch her again, she catches his fist and twists it backwards with unnatural strength.

          AMY: That's not very nice, Mr. Finn. You could've really hurt someone.

          Still holding onto his fist, she spins and throws RILEY through the concrete wall and into the hallway. AMY stalks out of the room, her fury being transformed into magical energy that is causing the entire wing of the fort to begin to get destroyed. Glass is shattering; chunks of concrete are falling all around. In the background, we can see soldiers and other people running for safety outside of the building but AMY and RILEY remain in a showdown.

          AMY (Cont'd): You knew. You've known about me all along. You just didn't know what I knew about it all. You were going to use me!

          RILEY: The power in your body right now is too much for you to handle, Amy. It'll kill you!

          AMY shakes her head as black veins form along her face.

          AMY: No?No, it'll kill you. And that's what you wanted. You wanted to learn how to control the power that I have for your own selfish needs. I was going to be your weapon.

          AMY waves her hand and wires dangling from the ceiling shoot down and wrap around RILEY's wrists. They then pull him to his feet, restraining him and preventing him from attacking her as she walks right up to him.

          AMY (Cont'd): And now it's all backfired. I know the truth. And I know what needs to be done.

          RILEY: You don't know as much as you think you do?

          AMY places her hand on RILEY's chest and we see smoke coming from her palm as she burns RILEY. He screams.

          AMY: Oh really? I know that there's someone else out there who can help bring this whole?conspiracy to the ground. Someone else who can get enough power to make this entire world burn.

          RILEY: Don't do it Amy?Stay away from her!

          AMY: Why? Because you'll know that I'll win this battle? That I'll fill Willow up with so much magic that'll she'll literally explode? Or because you know that you'll be responsible for turning me loose in the first place? You and this entire government. Your plan will bite you in the ass and you won't even know it until it's too late. But don't worry: I'll spare you the pain of seeing the world end.

          AMY takes a step back and tilts her head to the side, smiling at RILEY.

          AMY (Cont'd): Consider it my gift in return for everything you've done for me. Thanks so much, Riley Finn! You're a gosh-darn swell guy! (Beat) And I'll be sure to see you in Hell.

          She snaps her fingers and flames begin to consume RILEY's body, starting in the center of his chest and then spreading to his entire body. AMY doesn't stick around to watch RILEY burn to death. Instead, she walks away from the scene and out of Fort Irwin as it crumbles behind her. As she walks away, we see her glamour fade for only a second and we see the disfigured version of Amy for a moment. No, not the disfigured Amy ? the new Amy. And she's not taking any prisoners.

          CUT TO:


          We see AMY sitting on the sofa, watching the news on TV. We see the remains of what appears to be Fort Irwin for a moment before cutting back to the news anchor.

          White words then fade onto the screen for a moment: "ONE MONTH AGO." It's been 3 months since the Magnolia Covenant attacked Fort Irwin.

          ANCHORMAN: The ongoing investigation into the mysterious destruction of Fort Irwin has come to close this evening as local government officials reached a dead end.

          AMY turns the TV off and rubs her forehead. MAGNOLIA enters the living room holding a full glass and LENA follows her. MAGNOLIA hands AMY the cup.

          MAGNOLIA: It's ginger ale. It'll help.

          AMY takes a sip and then holds the cup in her lap. LENA sits down on the couch next to her and MAGNOLIA takes her seat in the chair opposite them. They're in the same positions they were many months ago when they first met.

          LENA: We finished getting rid of any evidence at Fort Irwin last night.

          AMY: Yeah, I saw that.

          LENA: Figured you would be happy.

          AMY nods. The three of them fall silent.

          LENA: Amy... (Beat) What do we do now?

          AMY simply stares into her cup. She knows what they need to do. And MAGNOLIA does, as well.

          MAGNOLIA: I have a house there. The Magnolia Ford. Ignore the name; my parents called it that when I was born. You can move in and organize the coven there if you'd like. But I won't follow you there. My place is here, in California. But if you need my help, just call.

          AMY: Thank you.

          LENA shakes her head, thoroughly confused.

          LENA: I'm not following?

          AMY: There's something we need to take care of. An old friend we need to visit.

          LENA: Now we're taking care of friendly, personal matters?

          AMY: This will hardly be friendly?

          LENA: Then what are we going to do?

          AMY: We're gonna set the ball rolling. We're going to beat the government at their own game.

          LENA: So where are we going?

          AMY looks up at LENA.

          AMY: We're going to New York.

          She's emotionless, yet cold and calculating. She can already see how this will all play out and that she will be the winner of this deadly game. The old AMY MADISON we knew and loved before is gone and in her place is this new, vindictive being who will stop at nothing to accomplish her ultimate endgame. And hell will rain on earth.

          CUT TO:


          Only one white word appears on the screen: "NOW." It fades away with a flash of lightning that lights up the dark room. We see that the curtains are open and that someone is standing at the window, staring out into the stormy night.

          The camera zooms in slowly, panning to the side of the person, and we see that it is AMY ? still disfigured and scarred like when we last saw her. She dressed in all black, her body blending into the darkness. In her hand is a mirror. Slowly she holds it up so she can look at herself. In the reflection, we see her eyes go black. Dark veins appear across her face as she turns around.

          She begins to walk towards the door, her back to the camera. She flips a switch and the overhead lights come to life. Slowly, she turns around.

          And we see that AMY is bearing a very large, round stomach.

          AMY is pregnant.

          CUT TO BLACK

          END OF EPISODE
          wittyCOMEBACK: updated 10/2/10!



          • #6
            If you are so inclined as to leave me some lovely feedback, please do so HERE!
            **Please Keep Any Feedback in Spoiler Tags or with a Spoiler Warning, Thank You**

            It's Trivia Time (and LOTS of it)!

            -5 months have passed between 2.06's release and 2.07's release. SORRY! The hiatus was completely unintentional and I hope that this episode was worth the wait. The plan is for 2.08 to be released soon enough to continue the story but in the meantime, you all have this one to mull over.
            -So there you have it: this is how the Magnolia Covenant came to be and why they're in New York. More importantly, this is how Amy became so dark and twisty, or quite possibly evil.
            -Joss Whedon stole my idea, that scuzzy little bastard. It was always intended to introduce Amy into "Chosen" via Sunnydale's collapse and that she would be protecting someone. Granted, Joss opted for Warren and I went with Ethan AND Joss never gave us the twist that I did at the's still very similar. So just keep in mind that I did not ripoff Joss' Amy-storyline from Season 8. Just so you know...
            -The plan was to really develop the side-characters (Doug, Sasha, and Lena) and turn them into people the readers could enjoy. Personally, I had a lot of fun writing their backstories and throwing in the really gory, sadistic, violent elements. One thing you may notice is that both Doug and Sasha had very strong reasons to join Amy in her attack against Fort Irwin but Lena didn't. I did this on purpose: I wanted Lena to embody the Buffyverse's definition of "evil" - only caring about power and nothing else.
            -Riley's back...and gone again. I used Riley Finn in this episode to give his character a storyline - which he lacked since his brief appearence in Buffy the Vampire Slayer Season 6 - and I felt it was better than just throwing in a new, original character who would ultimately be killed by Amy. So there's that explanation.
            -For those confused about EXACTLY why Amy's in New York, here's a little breakdown: right now, she's harboring an extreme amount of power that she can't truly handle yet - it's making her...irrational and changing her into an evil person. She's always felt that Willow was too much of a goody-goody and didn't get to feel the guilt for her actions. And so she went to New York to turn Willow evil and get her to absorb a great amount of power (which was in Celestial Center) in order to ultimately reak havoc on earth when she loses control of it. But what Amy hasn't thought about is what will happen to her and HER uncontrollable power...How will that play out?
            -Ethan was thrown into the mix because it fits well with the final plot twist. I felt it ran well with his character and, hence, paired him up with Amy. This isn't the last we'll see of Ethan - although he most certainly is dead. We'll be seeing more flashbacks to explain how Amy and Ethan got thrown together and what EXACTLY they did in Greece very soon.
            -RANDOM TRIVIA FACE ALERT! The room that Ethan was locked in was purposely room 30 as a little nod to Buffy the Vampire Slayer: Season 8 "The Long Way Home," in which Ethan was being held in a cell number 30 and Buffy's clue about that was three X's ("XXX") - roman numerals. Just figured some people would appreciate that gesture to the comics.
            -RANDOM TRIVIA FACT ALERT! The character whose office Sasha was being held in at the casino, Mr. McDowell, was named after Malcom McDowell - the actor who played Mr. Linderman on "Heroes" who also ran casinos and was a notorious mobster who enjoyed controling people via debts. Sasha's little predicament in the episode was also a nod to Ali Larter's amazing character Niki, from the same show.
            -Lastly, this episode sets up a new possible explanation for the epidemic in New York City: Sasha's young son, Mikael Olin. This will most certainly be explored by season's end.
            -I hope you enjoyed this episode because I, for sure, loved writing it! Merry Christmas and Happy Holidays!
            the AFAs are here!
            Last edited by Heather; 27-12-07, 04:40 AM.
            wittyCOMEBACK: updated 10/2/10!