Announcement

**Heather** · 30-07-07, 02:13 AM

ACT I

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

48 HOURS EARLIER

WILLOW is sitting cross-legged on the blue mats in the center of the room. Two candles, one to her left and the other to her right, begin to levitate off the ground and rotate around her in a steady circle. There's a loud bang and the candles fall, lighting the mats on fire. WILLOW scrambles to her feet.

WILLOW: Oh! Oh! Oh! Umm?Oh god!

She closes her eyes and holds up both hands, whispering something under her breath. There's a gust of air and the flames go out instantly. WILLOW shivers.

ANDY (OS): Was something burning?

WILLOW spins around and sees ANDY entering the room via her office.

ANDY (Cont'd): Why is it so cold in here?

WILLOW: Door was open. I shut it.

ANDY: Doesn't explain the smoke, though.

ANDY spots the candles, knocked over on the mats. She nods to herself.

ANDY (Cont'd): Good girl. Cleaning up after yourself.

WILLOW: That's how I was raised. And I was just?I dunno. Practicing. I've been in a Wiccan Funk lately. But this is small stuff?Nothing big or wonderful.

ANDY: Willow the Wonder Worker just rolls off the tongue, though.

WILLOW smiles and ANDY looks around.

ANDY (Cont'd): Where is everybody?

WILLOW: Natalie went out, Buffy's at the library with Faith, and Sean, Isobel, and Spike?They just disappeared. Where are you off to?

ANDY: What?

WILLOW motions towards ANDY.

WILLOW: You're wearing a jacket. And you've got sunglasses in your hand.

ANDY: Oh?Right. Just zoned out for a minute. I-I was just gonna go?out. No exact destination just?out.

WILLOW nods and sits down on the mats again.

WILLOW: I'm sure you can call Natalie and meet up with her. She probably didn't go too far.

ANDY looks down at the ground and shuffles her feet.

ANDY: Yeah, I'm not too sure about that.

WILLOW: Huh? Why wouldn't you?

ANDY shrugs.

ANDY: Nat's just been very?frigid lately.

WILLOW: Did you talk to her about it?

ANDY grins.

ANDY: No, Dr. Laura, I have not. She's been too distant. (Beat) I'm not gonna worry about it. She's probably just dealing with everything in her own way.

WILLOW: Yeah, sure she is.

ANDY and WILLOW fall into an awkward silence, not sure who should speak next or what to say next. ANDY nods faintly and puts her sunglasses on.

ANDY: So?I'm gonna go. Call me if you need anything while I'm out.

WILLOW: Will do.

She smiles comfortingly at ANDY as ANDY leaves the warehouse. WILLOW's attention then turns back to the knocked over candle. She frowns slightly and looks out the stained-glass window.

CUT TO:

EXT. MAGNOLIA FORD - GARDENS ? DAY

A brunette woman stands with her back to the camera. She holds out a hand towards a rose bush and the petals slowly begin to blacken and wilt. She turns around, smiling. Her name is SASHA OLIN, mid-twenties with looks that kill.

SASHA: You think we coulda picked an even bigger Mary Poppins rip off to meet at? Where are the dancing cartoons when you need them?

A blonde standing a few feet ahead of her laughs. She is LENA COHEN.

LENA: You break tree-huggers' hearts.

DOUG BARON, again in his mid-twenties, approaches the two girls.

DOUG: Where's Caesar?

SASHA: Speak of the cartoon animals; here's one now!

DOUG: Well I'll be damned; a whore can learn new tricks. I'm sure John'll love what you've got up your sleeves?well?skirt, technically.

SASHA: It's Jean.

DOUG: Of course. Pepe Le Pew.

LENA grins and glances down at her watch, beginning to fidget.

LENA: Blood sugar's low. Who's got chocolate?

SASHA: You're on a diet.

LENA fakes a gasp.

LENA (Firmly): I don't care.

DOUG: You two are pathetic.

WOMAN (OS): I definitely agree.

A woman appears next to DOUG. It is AMY MADISON.

AMY: For starters, diets are for people without our little knacks for magic. (To Lena) Second, you could've just summoned chocolate. Lord knows you're more than capable of doing that.

SASHA and LENA look away, avoiding eye contact with AMY.

DOUG (To Amy): And you are...?

AMY: Amy Madison.

DOUG: You're kidding me.

AMY looks him in the eyes and smiles.

AMY: Not really. Were you expecting someone tall, maybe old, with wart and a conical hat? (Beat) C'mon now, stereotypes are for the average person. You're not average.

She turns around in a full circle, surveying the garden.

AMY (cont'd): Is everyone else invisible? Or playing hide and seek?

LENA: They're all inside.

AMY: And what are you doing outside?

SASHA: Breathing.

AMY stalks off towards the large, moss and vine covered mansion ahead of them.

AMY (Over her shoulder): Breathe inside.

She opens a door and disappears inside. SASHA, LENA, and DOUG follow reluctantly.

CUT TO:

INT. MAGNOLIA FORD ? STUDY ? DAY

There is a large group of witches; predominately women but with a couple men. They are of all races with different styles and social standards, as evident by their clothing and where they are located in the room (IE: sitting in a chair, sitting on the floor, standing, kneeling, etc.).

AMY enters the study, pushing both doors wide open for a much bigger entrance than she likely deserves. The open windows suddenly slide shut as she passes them, the curtains drawing themselves, too. AMY turns around, the pupils of her eyes expanded to block out any other color. Slowly, her eyes fade back to normal as she speaks. LEAN, SASHA, and DOUG sneak in the back of the room.

AMY: My name is Amy Madison. And I'm the only person in this room that you will care about for the next few months. Is that understood? You will be devoted to me and my mission. Our mission, actually. Because if I don't get what I want, I promise that you won't get what you want.

A book suddenly flies off a nearby shelf and into AMY's hand. She tosses it to the young, dark-skinned girl kneeling in front of her.

DARK-SKINNED GIRL: What am I supposed to do with this?

AMY: Why, since you asked so nicely, you're gonna find me a spell. A good one.

DARK-SKINNED GIRL: What kinda spell?

AMY: One to summon a spirit. (Beat) And keep it here.

CUT TO:

INT. FBI HEADQUARTERS ? TROY'S OFFICE ? EVENING

NATALIE is sitting behind TROY's desk, sifting through a stack of papers. There are some documents, photographs, and various other things in the pile. TROY enters the room and tosses another packet of papers on the desk.

TROY: Those are traffic camera images. Taken the moment Loiselle sped through a red light.

NATALIE opens the packet and shakes her head, disappointed and aggravated by what she sees.

NATALIE: I don't even know who this woman is.

TROY shakes his head and slips his hands into his pocket.

TROY: There's absolutely no file on her whatsoever. No age, race, occupation?Nothing.

NATALIE: She's a ghost.

TROY: Pretty much but it's evident that she isn't dead.

NATALIE huffs and puts both hands on either side of her head.

NATALIE: This is ridiculous. The Holloway's have to be connected to her somehow. It just doesn't make sense otherwise.

TROY: Is there anything you haven't told me?

NATALIE: Like what?

TROY: Like why a ghost would want to kidnap and strap a bomb to you?

NATALIE: I have no idea. I've already said that multiple times. The only explanation is that Lynn and, or, Elizabeth Holloway hired her!

TROY sits down in one of the chairs across from the desk.

TROY: Listen, I know you may think that they're the guilty party here, but there are other possibilities and, right now, it's looking like those other possibilities are the right things to be thinking about at the moment.

NATALIE looks down at the image of LOISELLE again.

NATALIE: You are a hundred percent sure that this is the same woman who is registered to that black van.

TROY: Hundred percent.

NATALIE: And there's no way to find her?

TROY: Not through the government, no.

NATALIE stands up, folding the image into a smaller and square and slipping it into her pocket.

NATALIE: Then let's hope that there's another way.

She begins to head for the door.

TROY: Where are you going?

NATALIE: To do my own digging.

She leaves and the door slams shut in her wake.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? EVENING

WILLOW is sitting behind the desk, reading a book. Her cell phone rings and she quickly answers it.

WILLOW: Hello?

NATALIE (On the Phone): Hey, it's Natalie.

WILLOW: Oh, hey there! What's up?

CUT TO:

EXT. FBI HEADQUARTERS ? STREET ? EVENING

NATALIE is on the phone, walking down the sidewalk.

NATALIE: Listen, I need you to do me favor that'll stay between you and me. Can you do that?

WILLOW (On the Phone): Of course. What is it?

NATALIE: I need you to find someone.

WILLOW (On the Phone): Oh?Well, who do you want me to find?

NATALIE: Her name is Loiselle.

NATALIE begins to walk at a faster pace as the sidewalks begin to crowd around her. Eventually, she is lost in the mob of people.

CUT TO:

EXT. ESTATE ? SIDEWALK ? NIGHT

"The Prayer" by Bloc Party is playing throughout the scenes.

The music is blasting from inside the house, lights flashing in the windows. We can see people dancing in the windows. A group of young men are crowding the sidewalk, smoking and drinking. A woman steps in front of the camera and starts walking towards the house. She's wearing a black leather jacket, her dark hair falling down over shoulders, and both hands slipped in her back pockets. Quickly, the camera whirls around her to give us a full frontal view of this woman.

It is ANDY.

She pushes through the guys, two of whom whistle suggestively. She looks back at them over her shoulder and raises her eyebrow in a "You don't have a chance" fashion. This only brings about more whistling and incomprehensible hollering. She enters the house.

CUT TO:

INT. ESTATE ? FOYER ? NIGHT

Lord give me grace and dancing feet
And the power to impress
Lord give me grace and dancing feet
Let me outshine the moon.

ANDY moves through a mob of dancing partiers, glancing around as if she's trying to find someone. We see one of her hands slip towards her belt and wrap around the handle of her gun. Everyone seems oblivious to her existence. A hand touches her shoulder and ANDY spins around quickly. Staring back at her is a good looking young man.

YOUNG MAN: Hey, don't I know you?

ANDY: Oh um?

The YOUNG MAN snaps his fingers.

YOUNG MAN: Oh! Oh! Bio with Mr. Crippler! Last semester! Remember? You probably don't remember. Most people don't remember that class. I guess I'm just a freak or something?

Is it so wrong to crave recognition?
Second best, runner-up
Is it so wrong to want rewarding?
To want more than is given to you?
Than is given to you.

ANDY appears to be getting nervous and decides to play along.

ANDY: Of course I remember! How could I forget? Tom, right??

She looks around nervously when something breaks in the background.

YOUNG MAN: Close, it's Bobby. Actually, most people don't remember me. It's kinda sad?

ANDY: I'm sure it is.

A woman screams somewhere in the house. ANDY does a full 360 turn as the YOUNG MAN continues to ramble on. She looks to the stairs. Someone is already running up them. She decides to follow. The YOUNG MAN watches her, baffled.

YOUNG MAN: It was nice seeing ya!

He shrugs and turns to talk to another girl standing next to him.

CUT TO:

INT. ESTATE ? SECOND FLOOR ? NIGHT

Tonight make me unstoppable
And I will charm, I will slice
I will dazzle them with my wit
Tonight make me unstoppable
And I will charm, I will slice
I will dazzle, I will outshine them all.

ANDY charges onto the second floor and down the hallway as more screaming comes from one of the rooms. Her gun is off its holster on her belt and gripped tightly in her right hand. She turns the corner and presses herself up against a wall as someone is thrown up into the air and into the hallway. She aims her gun at him and her eyes widen slightly.

It is URBAN.

ANDY: Do I know you?

More screaming brings ANDY back to focus on the situation at hand. She races into the room and takes aim on a hairless demon with long talons. She fires, killing one before it can take the life of a YOUNG WOMAN. ANDY gets to her side quickly.

Standing on the packed dance floor
Our bodies thrown in time
Silent on the weekdays
Tonight I claim what's mine.

YOUNG WOMAN: Look out!

ANDY twists around and fires three shots into another demon as it runs towards her. URBAN enters the room quickly and looks out the window.

URBAN: There're more of them outside.

He turns to ANDY.

URBAN (Cont'd): Somethin' tells me this wasn't just a random attack.

ANDY: What are they?

URBAN: Cranial Demons. They feed of human brains. Real nasty sons of bitches.

ANDY: We need to get her and everyone else out of here?

The two windows in the room shatter as two more cranial demons enter the room. ANDY grabs the girl by the arm and races out of the room, with URBAN right behind them. Suddenly, he stops running and pulls two daggers from under his jacket. He hurls them through the air and into both of the demon's necks. More demons begin to flood the room. He takes off after ANDY.

CUT TO:

INT. ESTATE ? FOYER ? NIGHT

Tonight make me unstoppable
And I will charm, I will slice
I will dazzle them with my wit
Tonight make me unstoppable
And I will charm, I will slice
I will dazzle, I will outshine them all.

ANDY, still pulling the girl by the arm, is running at full speed. She raises her gun to the ceiling and fires several shots into the air. The partiers scream with fear as some dash towards the exits.

ANDY (Yelling over the music): Everyone needs to get out, now!

She shoots the gun into the air a couple more times and by the end of the second shot, everyone has left. She then pulls the girl towards the front door as URBAN catches up with them.

URBAN: That was fast.

ANDY: Are they following us?

URBAN: They're following us.

YOUNG WOMAN: What is going on?!

At least seven cranial demons are at the top of the stairs now as two more run towards ANDY, URBAN, and the YOUNG WOMAN.

YOUNG WOMAN (Cont'd): Oh my god!

ANDY yanks the girl towards the door and the three of them start to escape?Only to stop dead in their tracks as the YOUNG MAN, the one talking to ANDY earlier, is behead by another cranial demon. The YOUNG WOMAN screams his name as ANDY raises her gun yet again.

URBAN: This isn't good.

ANDY backs away from the door slowly, gun still raised, as the cranial demons advance from both sides.

The song ends.

CUT TO:

INT. MAGNOLIA FORD ? BASEMENT ? NIGHT

AMY enters the basement, dressed in a black tanktop with a plunging neckline and holding a lit candle in her hand and a ceremonial dagger in the other. The same people who were up in the study earlier are down here with her. We see LENA, SASHA, and DOUG among them. The DARK-SKINNED GIRL hands AMY a thick, leather-bound book that is already opened to a specific page.

AMY: You're confident that this will work?

DARK-SKINNED GIRL: Obviously.

AMY: Will you bet your life on it?

DARK-SKINNED GIRL: I tested it myself and it worked perfectly fine.

AMY: Is that a yes?

The DARK-SKINNED GIRL backs off and AMY grins, moving to the center of the room. There, on the floor, is a necklace.

AMY (Cont'd): This is her's?

SASHA: Hundred percent.

AMY: Finally, full confidence.

AMY sets the candle down and picks up the necklace. She closes it in her fist and turns the knife around so the tip is pointing towards her. She glances back over her shoulder towards the other witches.

AMY (Cont'd): For your own safety, I would back off. There might be some fireworks.

She turns back to the candle and her eyes are suddenly completely black.

AMY (Cont'd): Spirit of the Dead, keeper of souls, we ask that you commune with us. Heed our call. Grant our wish. We beg of thee.

AMY drags the tip of the knife across the center of her chest, wincing only slightly. She then opens her fist and rests her palm and the necklace directly over the fresh cut.

AMY (Cont'd): Bring to us the lost. Connect with us the missing. Bind us with the dead.

The flame on the candle is blown out by a mysterious breeze. And there is silence for several moments.

AMY (Cont'd): Someone get the freakin' lights, already.

The lights turn on and we see that her eyes are back to normal. AMY holds out the necklace to someone in front of her, but we don't see who it is.

AMY (Cont'd ? To the mystery person): I believe this is yours?

She tosses it on the ground and the camera turns to reveal who the mystery spirit is.

It is TARA MACLAY.

END OF ACT I

**Heather** · 30-07-07, 02:15 AM

ACT II

FADE IN

INT. ESTATE ? FOYER ? NIGHT

URBAN throws a punch and knocks out one of the cranial demons blocking the front door. The other, however, strikes back, and cuts URBAN's cheek with a talon. ANDY fires at the demon, killing it, and drags the girl and URBAN into the dining room to their left. The cranial demons follow them.

ANDY rips open the kitchen door and pushes the girl inside, followed by URBAN. As the cranial demons get closer, she slams the door shut and we hear a lock click.

CUT TO:

INT. ESTATE ? KITCHEN ? NIGHT

ANDY turns around and looks around the kitchen. The YOUNG WOMAN is sobbing. URBAN is applying pressure to his wound. The cranial demons are pounding and scratching on the door.

ANDY: I can't keep wasting bullets. I don't have enough left to take them all out.

URBAN: They've gotta have knives in here somewhere.

YOUNG WOMAN: Oh my god!

ANDY: How long will that door hold?

URBAN: It's wood. They've got claws?

ANDY: I see your point.

YOUNG WOMAN: B-Bobby's?They?They killed him! They killed Bobby! Oh my god!

ANDY and URBAN turn and around and watch as the YOUNG WOMAN takes a seat at a table, shaking. ANDY moves towards her, holstering her gun.

ANDY: What's your name?

YOUNG WOMAN: K-Krissy. It's Krissy.

ANDY: What was this party, exactly?

KRISSY: It was just a bunch of med students. We were going to party all night?We?Oh my god.

ANDY looks back over her shoulder at URBAN.

ANDY: You know these demons, right? Why would they attack here?

URBAN: Aside from the large amount of part goers? No clue.

ANDY: They're targeting her, though. Like they know who she is or something. Is that possible?

URBAN: I don't know.

ANDY: Dammit.

URBAN: You do know me, by the way.

ANDY: What?

URBAN: You asked me if we know each other. We met at the hospital.

ANDY: Ok and that helps us?how?

URBAN: I'm Urban.

ANDY: Ok, and if your name scares these guys away, then thank you for telling me.

Suddenly, a clawed-hand punches through the door. KRISSY screams and ANDY pulls her gun off her belt. She fires a bullet through the new hole in the door.

ANDY (Cont'd): Any ideas, Urban?

URBAN: Not at the moment, no.

He turns towards the cabinets and begins to rip each one open, searching for something to fend off the demons. He finds two bottles of alcohol and hands them to ANDY.

ANDY: What are these for?

URBAN pulls a lighter from his pocket. ANDY nods in approval and opens both bottles, moving towards the door. She then begins to poor the alcohol all along the floor and the door. She keeps the bottles with her and backs away as another hand breaks through the wooden door.

ANDY (Cont'd): Let's do this.

She puts the bottles down and pulls her gun from her belt, taking aim. URBAN lights his lighter. And the doors burst open. Swiftly, URBAN throws his lighter into the alcohol, which quickly sparks a fire on the floor and up the door. The cranial demons let out high-pitched screams as they are engulfed in flames. ANDY fires shots into each of the demons who aren't already dead, killing them.

URBAN then hurries and searches for a fire extinguisher. He finds one and sprays it over the flames, putting them out.

URBAN: Let's go.

ANDY takes KRISSY by the hand and the three of them rush out of the kitchen. In the hallway, URBAN snaps one of the cranial demon's necks with the fire extinguisher, dropping it as he runs.

CUT TO:

INT. MAGNOLIA FORD ? BASEMENT ? NIGHT

AMY and the ghost of TARA are now alone in the basement, everyone else having left.

TARA: You can't do this, Amy. You know you can't.

AMY: Why not?

TARA: It defies the natural order of things. I don't belong here.

AMY: Relax, I didn't bring you back from the dead permanently. It's just a vacation.

TARA: That doesn't matter. I need to leave?

AMY: No. No you don't. You need to stay here.

TARA: Why?

AMY: Because I need your help.

TARA: What makes you think I'll help you? Don't you remember what happened the last time you got involved in everyone's lives? In Willow's life?

AMY: Of course I do.

TARA: Then you're crazy to think I'll help you.

AMY: You're bound to me. You can't leave until I say you can leave. So even if you don't approve of what I'm doing, you're going to join me anyway.

TARA looks away from AMY.

AMY (Cont'd): It sucks that we got off on the wrong foot to start with. This would be a lot easier if you actually liked me.

TARA: I have no reason to like you. I never did.

AMY: Willow liked me.

TARA: Willow was confused. She was lost.

AMY: But she didn't go running to you, did she? She came to me. To a friend.

TARA: And you got her addicted to magics. I would hardly consider that friendship. You made her sick?

AMY: She wasn't sick. She was powerful.

TARA: With dark magic.

AMY: What's the difference?

TARA seems shocked to hear those words come out of AMY's mouth.

AMY (Cont'd): Magic is magic. Power's power. It doesn't matter what you call it; it's all the same thing.

TARA: And what do you want now? Power?

AMY: No, this time I don't want power. What I want requires power, which is why I've summoned you, but I don't want power at all.

TARA: I don't believe that.

AMY: I'm not surprised. But it doesn't matter. How many times will I have to tell you that I don't need your approval? You're in this now and you're not getting out of it.

TARA walks towards AMY.

TARA: I will not.

AMY: Tara, darling, you're under my control. Understand that.

TARA: I'll fight it.

AMY: You can't.

TARA: I'll try.

With that, TARA's ghost disappears. AMY grins slightly and heads up the stairs.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

WILLOW and FAITH are waiting in the middle of the main room, wearing pajamas and drinking coffee. FAITH is fiddling with a stake; WILLOW is staring down into her mug. The doors slide open and ANDY enters with KRISSY by her side.

ANDY: Sorry to wake you up.

WILLOW: No it's no biggie.

FAITH looks at the girl and then back at the open door.

FAITH: If they want her dead, we probably shouldn't leave the door open.

NATALIE (OS): Who's throwing the party?

She walks out onto the balcony and looks down at the floor.

ANDY: Sleeping beauty awakens.

NATALIE: Aw, Andy, honey, did you bring home a stray?

URBAN enters through the front door and slides it shut behind him. NATALIE moves down the stairs slowly.

ANDY: Two, actually.

NATALIE: Of course.

URBAN: Didn't expect it to take that long.

ANDY: You seriously need a new car.

URBAN: It's rustic.

ANDY: It's a death trap on wheels.

FAITH: So who is this?

ANDY turns towards URBAN and shakes her head slightly.

ANDY: This is Urban McGrath.

FAITH: And the girl's the one we're protecting.

ANDY: Indeed.

FAITH: So what are we dealing with? All I got was "Demons."

NATALIE: Demons? Again? Can't we get just a few weeks off?

ANDY: Not everything hibernates.

NATALIE rolls her eyes.

NATALIE: You know what I mean.

FAITH: My question's still out there.

URBAN (To Faith, and anyone listening): They're cranial demons. Long claws. They use ?em to slice open human heads and then eat their brains.

FAITH: That's a new one.

ANDY (To Natalie): Where have you been lately?

NATALIE: Busy. I've been busy.

WILLOW: Why do they want her, though?

URBAN: We're not sure.

WILLOW: But they were definitely following her? They wanted her?

KRISSY: I think I need to sit down?

She walks over to the couch as the conversation continues.

ANDY (To Natalie): Busy with what?

NATALIE: Personal issues.

FAITH: Are they gonna know to come here?

URBAN: Maybe.

FAITH: Maybe?

URBAN: They're not stupid. But I'm not sure if they're capable of actually tracking someone down like that.

ANDY (To Natalie): Personal issues? What kind of personal issues?

NATALIE: Can we not fight about this right now?

ANDY: I'm not fighting.

NATALIE: You're arguing.

ANDY: Am not.

NATALIE: Are too.

WILLOW: Can we save the bickering for later, please?

ANDY huffs and looks away while NATALIE looks up at the ceiling.

WILLOW (Cont'd): Let's put these issues aside. We have to keep this girl safe.

FAITH (To Urban): So these suckers literally eat brains?

URBAN: Yeah.

FAITH: That's sick.

KRISSY stands up and heads for the door. WILLOW hurries to cut her off.

WILLOW: Where are you going? You can't leave.

KRISSY: I can't stay here! I don't know you people! You could be freaky kidnappers!

NATALIE: If we were kidnappers you'd kinda be kidnapped right now and wouldn't escape.

KRISSY glares at her.

WILLOW: You're not safe anywhere else but here. We can protect you.

KRISSY: Those things?They killed Bobby. They tore apart that house!

ANDY: Which is all the more reason for you to stay here.

KRISSY: How do you see that?

ANDY: Because it shows you exactly what they are capable of doing to you if they find you.

There is silence.

ANDY (Cont'd): Now, I know you're scared. You should be. But we need you to cooperate with us one hundred percent, alright? We're gonna get to the bottom of this and we're gonna keep you safe. No matter what.

KRISSY begins to cry and WILLOW looks over at ANDY, not sure what to do.

ANDY (Cont'd): She can take my bed.

NATALIE: Where are you gonna sleep?

ANDY: I'm not going to. I'm going to patrol.

URBAN: I'll go with you.

NATALIE: I'm sorry, but who is he again?

ANDY sighs and motions in URBAN's direction.

ANDY: He's?I don't know exactly.

NATALIE: But you trust him?

ANDY looks at URBAN.

ANDY: Not completely.

URBAN rolls his eyes.

ANDY (Cont'd): But I trust him enough.

He looks up at her and smiles faintly.

CUT TO:

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

ANDY is sitting at BRETT's bedside, newspaper in her lap and a cup of coffee in her hand. BRETT's hair has grown back some since the surgery. He is connected to multiple machines to monitor is status. Not looking up from her newspaper, ANDY talks to BRETT like he will respond.

ANDY: Your little buddy Urban's a pain in my ass. Have I told you that yet? Seriously. If you gonna patrol, you should do it right. Not go running off willy-nilly with a couple knives.

ANDY folds her newspaper and looks at him.

ANDY (Cont'd): But he does get me curious. I don't really know what your life was like before we met. I don't know if I want to know. But I kind of like having a someone who really knows you around. It feels like you're actually there.

She shakes her head and puts the newspaper on the end table beside BRETT's bed.

ANDY (Cont'd): I should go. I'll leave the paper here in case you want some light reading, should you mysteriously wake up.

She stands up and kisses him on the forehead, holding his hand gently.

ANDY (Cont'd): I love you.

She smiles and pats his hand before leaving.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? MORNING

ANDY shuts the door to BRETT's room behind her. She glances down at her watch as she walks?and walks directly into an OLD MAN in a wheelchair.

ANDY: Oh my god!

ANDY realizes what she ran into.

ANDY (Cont'd): I'm so sorry! I cannot believe I just did that!

The OLD MAN coughs and looks up at her.

OLD MAN: Of course you didn't.

He begins to roll off. Once his back is towards her, she glares at him briefly.

OLD MAN (Cont'd): Wipe that look off your face, missy. It's not cute.

ANDY twirls around and stares at him.

ANDY: Excuse me?

The OLD MAN is still rolling himself away and down the hallway.

OLD MAN: No man will marry your sorry ass if my first impression of you is correct.

ANDY: Do I know you?

OLD MAN: Lord no.

ANDY: Then please stop talking to me.

She turns and starts off down the hallway. The OLD MAN turns his wheelchair around, too, and starts to follow her.

OLD MAN: Now hold on, little miss?

ANDY keeps walking.

OLD MAN (Cont'd): You don't just end conversations like that.

ANDY hits the down button and waits for an elevator.

OLD MAN (Cont'd): I'm talkin' to you, missy.

ANDY looks back over her shoulder at him.

ANDY: First of all, I don't know you. You don't know me. Obviously. Second of all, I apologized for running into you and your wheelchair. You don't have a reason to bite my head off. Third of all, I am not a "little miss" or "missy." Got it?

The elevator doors open and ANDY enters. The OLD MAN is glaring back at her.

ANDY (Cont'd): Oh wipe that look off your face.

She waves at the OLD MAN before the door slides shut.

FLASH TO:

INT. NEW YORK GENERAL ? HALLWAY ? MORNING

The OLD MAN is sitting in his wheelchair, exactly where he was originally. His eyes are completely white?and roll back to normal. He looks to his left and we see ANDY leaving BRETT's room, looking down at her watch without looking where she's going. The entire situation with ANDY running into the OLD MAN's wheelchair never happened.

It was a vision.

The OLD MAN quickly rolls himself out of ANDY's path before she can ever run into him. Unlike before, she simply breezes past, hits the elevator button, and enters.

OLD MAN: Good luck.

ANDY looks at him curiously as the elevator doors slide shut.

CUT TO:

INT. UNKNOWN LOCATION ? CELL ? DAY

DAWN is curled up in a ball on the cot, sleeping. A horn sounds, echoing all through the cell. The sound seems to be coming from outside the window. DAWN jolts forwards, awake. The slot by the door opens and a tray of food is slid into the room. It looks like a generic lunch: half of a sandwich, a small bowl of carrots, and a mini-carton of milk. DAWN simply glares at it.

She glances to the right. A folded piece of paper is lying there. She reaches down and picks it up, unfolding it. A small stub of a pencil falls onto the cot and she grabs it. With the paper against the wall for a hard surface, DAWN begins to write. Over her shoulder, we can read what she writes: "Your mysterious-ness really sucks. Ugh. Got a sandwich again. Is it any good?" She gets off the bed, folds the paper once, slips the pencil inside, and folds the note down into a tiny square. She then slips it through a hole in the wall and into the room next to her's. But when she reaches her hand in, she pulls out another note. She opens it. It reads: "Sandwiches are good. Trust me." DAWN laughs and picks up another pencil, again it was with the note inside a fold, to write a response.

CUT TO BLACK.

END OF ACT II

**Heather** · 30-07-07, 02:16 AM

ACT III

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? DAY

WILLOW and KRISSY are sitting on the couch, deep in conversation.

KRISSY: So I was just sitting in the lab?

WILLOW: New York General has a research lab?

KRISSY: Yeah. It's small compared to some of the others in the city but it works. Anyway, so I'm sitting there and Bobby walks up to me and just asks me to marry him. Flat out. Just out of the blue.

She begins to frown and looks down.

KRISSY (Cont'd): That was just a couple weeks ago. We were just so excited that we kinda slacked off from our work. Too distracted to do anything productive. Apparently there was some really big case we needed to look in to but?we didn't do it. So he took the blame and he got fired.

WILLOW: Oh wow.

KRISSY: Yeah. I guess he loved me more than he loved his job.

WILLOW: He sounds like a good man.

KRISSY: He was a great man. And was even better with a microscope. I swear he saw things that everyone else would've missed. (Beat) I have a picture in my wallet?

She reaches into her back pocket, looking for her wallet. She doesn't find it.

KRISSY (Cont'd): Oh god.

WILLOW: What is it?

KRISSY: My wallet. I don't have my wallet.

WILLOW: Oh?well it's ok. It's not like you have to pay or anything?

KRISSY: No, that's not the point. I need to have my wallet.

WILLOW: Why?

KRISSY: I have something in it. Something really important. I need my wallet.

WILLOW: Do you know where it is?

KRISSY puts both hands to her forehead and thinks.

KRISSY: It should be at my house.

WILLOW: Oh?

KRISSY: We have to go get it.

WILLOW: I don't think we should go on an adventure just yet.

KRISSY: You don't understand. I need my wallet.

WILLOW seems to processing everything in her head; running through scenarios and whatnot of what could or couldn't happen if they left.

WILLOW: Krissy, we'll be putting your life in danger.

KRISSY: I don't care.

WILLOW: Well I do. We all do.

KRISSY: I'm going. I don't need you to approve.

She stands up and rushes towards the front door. WILLOW shakes her head and follows KRISSY. WILLOW grabs her jacket from a shelf by the door and slips it on.

WILLOW: We need to do this quickly, alright?

KRISSY: Trust me, I know.

The two leave the warehouse, the door sliding shut behind them.

CUT TO:

EXT. THE ANNEX ? HALLWAY ? EVENING

We find NATALIE and TROY walking quickly down a long hallway. The building they are in is called "The Annex." It looks like an abandoned office building.

TROY: How do you know she's here?

NATALIE: You really don't want me to answer that.

TROY: Why not?

NATALIE: ?Cause you won't believe me.

TROY: Try me.

NATALIE: I'd rather not.

She pulls a paper from her pocket and scans it quickly. She stops in front of one of the doors; "1670" is displayed with gold numbers on the door.

NATALIE (Cont'd): This is it. (Beat) You do have a gun, right?

TROY: You thought I'd go into this unarmed?

NATALIE: I was just checking.

The two stand in front of the door, silent. NATALIE huffs.

NATALIE (Cont'd): Aren't you gonna bust it down or something?

TROY: With what?

NATALIE: Your imaginary battering ram.

TROY rolls his eyes and holds his arm out, a motion to tell NATALIE to stand back. She does and he swiftly kicks the door. Nothing happens.

NATALIE (Cont'd): God you're lame.

TROY slams the door again with his foot and it flies open. He raises his gun and the two enter the room.

CUT TO:

INT. THE ANNEX ? 1670 ? EVENING

The room looks ransacked. Furniture is overturned, papers are ripped and scattered about the floor, clothing and other items are hanging from places they probably shouldn't be hanging from, and other damage is done. TROY leads NATALIE further into the room, though both of them scan the place in different directions.

NATALIE: Do you think someone knew we were coming?

TROY shakes his head.

TROY: No, this isn't a cover-up. Cover-up's aren't this messy.

NATALIE picks up a couple of papers from the floor and looks at them.

NATALIE: They're online receipts.

TROY: For what?

NATALIE holds out one of the bills to TROY.

NATALIE: Tiffany's for a 150 karat necklace. Dolce and Gabana isn't going poor, either. At least she has expensive taste for a woman living in? (Beat) These conditions.

TROY: That's helpful information and all, but maybe we should look for something more specific.

NATALIE: More specific than a credit card number?

NATALIE bends over and picks up another paper, looking it over.

NATALIE (Cont'd): And a list of phone numbers?

TROY: None of those may be real.

NATALIE wanders over to the desk and grabs three small booklets from an open drawer. They're passports. NATALIE looks them over.

NATALIE: How about these? Passports to France, America, and Japan. Not to mention the mug-shot that shows us what she looks like.

TROY: Now those might help.

NATALIE: It's sad that I do your job better than you do and all without getting my pretty clothes dirty, huh?

A gunshot rings out through the room and NATALIE's splattered with blood. The camera pans around and we see TROY fall to floor, a hole through his forehead. Standing behind him is LOISELLE. When she speaks, there is a thick French accent.

LOISELLE: You're looking for me?

NATALIE raises her hands, eyes wide with shock and fear. LOISELLE cocks the gun and aims at NATALIE.

CUT TO:

INT. NEW YORK GENERAL ? OLD MAN'S ROOM ? EVENING

The OLD MAN is sitting in his wheelchair, staring out the window. There's a knock at the door and we see ANDY standing just outside the room.

OLD MAN: What do you want?

ANDY: Why did you tell me "good luck" this morning?

The OLD MAN turns his wheelchair around so he can face ANDY.

OLD MAN: It's a tough world. Everyone needs a little luck sometimes.

ANDY nods and looks around the room. The OLD MAN continues to look at her curiously.

OLD MAN (Cont'd): Is that all or can I have my privacy back?

ANDY: I feel like I know you from somewhere. Do I know you or am I losing my mind?

OLD MAN: You haven't lost your mind yet, but I don't believe we know each other, no.

ANDY: Then I must be confusing you for someone else. Sorry.

OLD MAN: Don't be sorry. And don't think you're confused. Your mind doesn't play tricks on you, at least not from my experience.

ANDY: What do you mean?

OLD MAN: I mean exactly what I say. The mind is never wrong. When you think you know somebody, chances are you do infact know them. Maybe not from this lifetime, but from a past one or even from a future lifetime.

ANDY, seemingly not believing or agreeing with what the OLD MAN is saying, nods her head.

ANDY: That's definitely a possibility.

OLD MAN: Don't try to flatter me. You think I'm a lunatic. I don't blame you. I've gotten that more than once.

ANDY: I don't think you're a lunatic.

OLD MAN: Not yet, at least.

ANDY looks down at the floor.

ANDY: Honestly? I'm one of the best lunatic-spotters around. You don't know what a lunatic is until you walk a mile in my shoes.

OLD MAN: Given the fact that I can't walk, I'm glad to announce that I won't ever know your definition of a lunatic.

ANDY: Oh, I'm sorry. That was rude of me.

OLD MAN: No, no. You didn't mean it offensively.

ANDY: Well, I should leave you alone. I never really should've bothered you in the first place.

She turns to leave.

OLD MAN: Andrea Sullivan?

ANDY turns around?and sees that the OLD MAN's eyes are now white, seemingly glowing in the darkness of the hospital room. She rushes over to his side and puts a hand on his.

FLASH TO:

VISION

EXT. BUILDING ? ROOFTOP ? EVENING

The shot is blurred like a flashback but the coloring is different. The sunset in the evening sky is an intense orange color that overwhelms the enter vision. ANDY is standing in the center of the rooftop, the OLD MAN right next to her. ANDY looks around and we see smoke rising in the distance, buildings falling to the ground as walls of ash wash over New York City. The Statue of Liberty is in ruins, as are the bridges connecting the island to the rest of the state. On the far horizon is New Jersey, also in ruins. It looks as if an apocalypse has brought the entire world to ruins, literally.

ANDY turns around?and finds a black shadow grabbing a fully-awake BRETT by the throat. ANDY screams and runs towards them in slow-motion but the shadow raises a needle and stabs it into BRETT's neck. BRETT's eyes widen and he collapses right on the edge of the roof. The shadow turns around and white eyes stare back at ANDY. As ANDY charges towards the shadow, it leaps off the rooftop right before she reaches it. ANDY stands at the edge of the building and looks down, as a wave of nausea washes over her. The camera pans out over the edge of the rooftop to get an aerial shot of?

Dead bodies covering the streets below.

ANDY's eyes widen and the OLD MAN suddenly appears by her side. He grabs her hand.

END OF VISION

FLASH TO:

INT. NEW YORK GENERAL ? OLD MAN'S ROOM ? EVENING

ANDY's eyes are white, just like the OLD MAN's. Suddenly, her hand pulls away from his and they both come back to reality. Their eyes are normal again. ANDY is breathing heavily, her hand flying up to chest, right over her heart.

ANDY: W-what was that?

The OLD MAN turns his wheelchair around and rolls toward the window again.

OLD MAN: The beginning.

ANDY holds onto the edge of the bed to find her balance again as the OLD MAN just stares out at the city through the window pane.

CUT TO:

INT. UNKNOWN LOCATION ? CELL ? NIGHT

DAWN is sitting next to the hole in the wall where she regularly passes notes. She leans over onto her stomach and starts writing on a piece of paper?only to stop upon hearing the sound of struggling in the room next-door. She begins to panic and crumples up the paper in her hands and peaks through the hole. She sees a pair bare feet getting lifted off the ground by two black clad people. The bare-footed person's screams are muffled. A moment later, a door slams shut. DAWN sits up straight and puts her back against the wall. She's panting out of fear?

And the locks on her door click unlocked.

CUT TO:

EXT. MAGNOLIA FORD ? DRIVEWAY ? NIGHT

AMY walks out of the multi-car garage and down the driveway. TARA suddenly appears behind her.

TARA: Where are you going?

AMY: We're going on a field trip.

TARA: Where to?

AMY stops walking and turns around to face TARA.

AMY: To visit your girlfriend.

TARA: What do you want with her?

AMY: I want her help. I want her to use her power to help me. She's the strongest witch in this country and I need her on my side.

TARA: Willow isn't that strong. She's weaker than she was when you were influencing her.

AMY: There isn't as big of a change as you think, then. She can do things I can't do. Which isn't a very long list, of course.

TARA: You can't do this. Willow has no more control over magic than you do. She can't do what you want her to do.

AMY: Are you sure about that?

TARA looks away.

AMY (Cont'd): Why are you protecting her so much? You're dead. You mean nothing to her anymore. She moved on without you. Of course, the new chick's been dead for a month now but good ol' Will's never been better.

AMY gets right in TARA's face.

AMY (Cont'd): Now you are going to get out of my way and do only what I tell you to and say only what I want you to. Understand?

TARA stares AMY right in the eyes. AMY unlocks a car door and opens it.

AMY (Cont'd): I'll call you when I need you.

She gets inside the car, turns it on, and drives off down the street. A wind blows and TARA disappears into streaks of light on the wind.

CUT TO:

INT. OLD HOUSE ? KITCHEN ? NIGHT

KRISSY hurries downstairs, a duffle bag slung over her shoulder. WILLOW is seated at the kitchen table.

WILLOW: That bag fit in your wallet?

KRISSY: Actually, I figured I should grab everything I'll need while I'm here. It made sense.

WILLOW smiles faintly and nods.

WILLOW: We need to go.

KRISSY: Right.

As they start to leave, KRISSY dashes over towards the corner of the kitchen. WILLOW rolls her eyes and walks over to her.

WILLOW: What are you doing?

KRISSY is going through drawers.

KRISSY: Help me find a cell-phone. It'll be in one of these drawers.

WILLOW: Why?

KRISSY: It was Bobby's. If work calls him, I need to be able to answer.

WILLOW: You're sure he didn't have it on him?

KRISSY: Bobby had his work phone and his home phone. He left his work phone here. I'm positive.

WILLOW begins to open and close drawers.

KRISSY (Cont'd): Got it.

WILLOW looks up?just as a metal rod flies through the air and into KRISSY's forehead. The pole rips through her head and into the cabinet behind her. WILLOW screams and turns around. Standing on the other side of the kitchen is AMY.

AMY: Why, hey there Willow! How's it going?

AMY fires a blast of magic at WILLOW, hitting her square in the chest and causing her to smash into the cabinets. WILLOW collapses to the floor. Slowly, WILLOW pushes herself up off the ground, blood dripping from the corner of her mouth.

AMY (Cont'd): It's been a long time, hasn't it?

AMY pulls her hand back as an orb of energy forms in the center of her palm.

CUT TO BLACK

END OF ACT III

**Heather** · 30-07-07, 02:17 AM

ACT IV

FADE IN

INT. OLD HOUSE ? KITCHEN ? NIGHT

The camera is stationary on KRISSY's dead body; eyes wide, mouth opened, blood pouring from her forehead.

AMY (OS): I don't wanna have to hurt you, Willow. So let's just make this go as smoothly as possible, ok?

WILLOW (OS): What do you want?

The camera pans around and we find WILLOW slowly rising to her feet while AMY keeps the energy ball in the palm of her hand.

AMY: If I told you now, you wouldn't help me on your own terms.

WILLOW: So you think killing her convinced me that you're a better person now?

AMY: Definitely not. What do you think I'm stupid?

WILLOW: Actually, yeah. I do.

AMY: Well you and Tara certainly do have a lot more in common nowadays than you ever did, huh?

WILLOW: What is that supposed to mean?

AMY extends her arm outwards and her eyes turn black. Wind begins to blow and the ghost of TARA materializes next to AMY. WILLOW stares in awe.

WILLOW (Cont'd): T-Tara?

TARA walks towards WILLOW.

TARA: Willow?

She holds out her hand to touch WILLOW's cheek but, knowing that she isn't corporeal, she let's her hand hover as close as possible. AMY remains out of focus in the background. A tear rolls down WILLOW's cheek and she smiles. TARA smiles back at her.

AMY: I'm sorry to cut this reunion short but we have more important issues to discuss.

WILLOW and TARA turn to glare at AMY. But their anger quickly turns to fear. Black smoke swirls around AMY's hand and it quickly forms the shape of a gun. WILLOW sees that it is the same gun that WARREN used to kill TARA. AMY raises it on TARA.

TARA: You can't kill me Amy.

AMY: No, but I can make you hurt like hell.

TARA turns around and she looks WILLOW right in the eyes. AMY fires the gun and blood splatters across WILLOW's face. TARA looks down at the wound on her chest and her clothes instantly flash back to the ones she wore when she was killed.

FLASH TO:

INT. THE SUMMERS' HOUSE ? WILLOW'S ROOM ? DAY

We find AMY, WILLOW, and TARA in the very room in BUFFY SUMMERS' house where everything went wrong years ago.

AMY (Cont'd): The worst moment of your life, wasn't it? The last time you were ever perfectly happy. The last time you were truly in love.

WILLOW reaches out to catch TARA as she falls?and succeeds. TARA falls right into WILLOW's waiting arms.

WILLOW (To Tara): T-Tara?Baby?? Baby c'mon. C'mon. Fight this. You can fight this.

AMY: Tara's dead, Willow. She's dead. The one person you ever truly loved, the one person who loved you more than anything, is dead. Forever.

WILLOW (To Tara): Baby..?

AMY: Nobody will ever love you like she did. Nobody will ever care about you like she did. How does it feel to be completely alone?

WILLOW, starting to cry, glares at AMY.

WILLOW: Get us out of here?

AMY (Ignoring Willow): How does it feel...-

WILLOW: Let her move on, Amy?

AMY (Still ignoring Willow): ...To be a worthless piece of sh?-

WILLOW's eyes darken. She screams and dark energy slams into AMY.

FLASH TO:

INT. OLD HOUSE ? KITCHEN ? NIGHT

AMY flies through the air and lands hard on the floor. WILLOW stands up?and we see that the WILLOW we know is gone. Standing in the kitchen of the house is someone different. Someone wicked. Her hair is slowly turning black as her anger and power from deep inside her mind is unleashed. The drawers and cabinets in the kitchen open and slam shut as chairs, the table, and various items levitate into the air. AMY sits up off the floor and smiles.

AMY: That's my girl.

WILLOW is now completely changed. The wicked WILLOW is back.

CUT TO:

INT. THE ANNEX ? 1670 ? NIGHT

NATALIE is tied to a chair, LOISELLE standing no more than a yard away with the gun aimed at her head. TROY's dead body is still lying in his own blood on the floor.

LOISELLE: Natalie Price. Tell me how I know that name.

NATALIE gulps and takes a deep breath, clearly fearing for her life.

NATALIE: Well, I think you were involved in my kidnapping and attempted murder.

LOISELLE: You're the bomb girl?

NATALIE: If you'd like to call me that, then go right ahead.

LOISELLE wanders around the chair so she stands in front of NATALIE.

NATALIE (Cont'd): Why?-

LOISELLE: Shut up. I'm asking the questions.

NATALIE nods in agreement and shuts her mouth. LOISELLE gestures towards TROY's dead body.

LOISELLE (Cont'd): That man there?Who does he work for?

NATALIE glances down at TROY.

NATALIE: The FBI.

LOISELLE: Of course. And you? You work for the FBI, too?

NATALIE: No. I actually don't really have a job. I'm an ex-waitress who just got caught up with some bad stuff somewhere down the line?

LOISELLE: Shut up.

NATALIE: Ok.

NATALIE looks down at the ground.

LOISELLE: Who knows about this place?

NATALIE (Lying): Aside from me and him?No one.

LOISELLE: Are you sure?

NATALIE: Definitely.

LOISELLE: Are you sure that that man worked for the FBI?

NATALIE: Unless he was lying to me.

LOISELLE: The last time I saw that man was two months ago in Paris.

NATALIE is clearly shocked to hear this.

NATALIE: Wait, you know him?

LOISELLE: I knew him, yes?But he didn't work for the FBI.

NATALIE: Then how did you know him?

LOISELLE: He was an agent in a terrorist cell called the Agenda.

She lowers her gun and NATALIE stares at her in disbelief.

CUT TO:

INT. OLD HOUSE ? SECOND FLOOR ? NIGHT

AMY chases WILLOW up the stairs, firing blasts of magical energy after her. WILLOW whirls around, still running, and deflects the blasts with a wave of her hand while shooting bolts of lighting right back at her. Swiftly, she stops running and swirls around, delivering a roundhouse kick to AMY's head. AMY slams into the wall and strikes back at WILLOW with a magic-charged punch. WILLOW is forced up into the air as AMY hits her with more energy blasts.

As WILLOW crashes to the ground, she places her palm on the floor. Suddenly, it ignites with flames. AMY dives into a bedroom to her left to escape the fires. WILLOW stands up and the fire vanishes. She then dashes into the room next to her.

The wall explodes. WILLOW turns and looks through a huge hole, still smoking from the explosion, to see AMY grinning back at her. WILLOW fires a bolt of lighting at AMY, who merely deflects it.

AMY: I've learned a lot since we last saw each other.

Unexpectedly, AMY is gone. WILLOW turns around?and AMY is now standing directly behind her. AMY swiftly grabs WILLOW by the throat and throws her across the room. Sliding across the floor, WILLOW slams into the wall. She scrambles to her feet as AMY pulls back and fires a one giant energy ball at her. It hits WILLOW square in the chest and she crashes through the glass window behind her. AMY smiles.

CUT TO:

EXT. OLD HOUSE ? FRONT YARD ? NIGHT

WILLOW plummets from the second floor but before she hits the ground, she twists her body into an upright position?and stops falling. She's levitating ten feet off the ground. Slowly, she lowers herself to the ground and runs into house.

CUT TO:

INT. OLD HOUSE ? LIVING ROOM ? NIGHT

WILLOW is running through the house as AMY appears behind her. WILLOW glances back over her shoulder and the walls on either side of AMY erupt in flames. AMY shoots two fiery blasts that blow up the floor boards. She pulls her hand back and shoots several more blasts at WILLOW.

CUT TO:

INT. OLD HOUSE ? KITCHEN ? NIGHT

WILLOW slams through the doors of the kitchen and lifts herself up off the floor as AMY enters the kitchen. Quickly, WILLOW has herself pressed completely against the kitchen ceiling right above AMY's head. AMY stops running and looks around. She turns in a circle slowly. In the background, we see the blood splattered all along the cabinets and as AMY moves further into the room, we see KRISSY's dead body again.

AMY: I'm not losing this time. I refuse to lose this time, do you understand me?

She blasts fire towards another wall and it explodes. She continues to walk, slowly and confidently.

AMY (Cont'd): You know what she told me last time? She said you were weak. That you had no control over what's to come.

AMY stops. Turning and looking at KRISSY and then back towards the other side of the counter at a broken window.

AMY (Cont'd): Oh how right she was.

Suddenly, dark purple lightning strikes AMY square in the back and she flies forwards, spinning over the counter and smashing right through a table and to the floor. WILLOW swiftly lowers herself to the ground, her arm still extended after shooting AMY with the lightning.

WILLOW: Don't you dare talk about Tara.

AMY is getting to her feet as WILLOW strikes out at her with two blasts of magic. AMY is suddenly pinned to the wall as WILLOW raises her hand, palm facing AMY.

WILLOW (Cont'd): I should kill you right here for summoning her in the first place.

WILLOW pulls her freehand back and lashes out with it. Though she never makes direct contact with AMY, a large gash appears across AMY's cheek.

WILLOW (Cont'd): For disturbing her.

WILLOW lashes out again and a cut forms on AMY's neck.

WILLOW (Cont'd): For using her against me.

She pulls her hand back over her shoulder and quickly pushes it forwards towards AMY. AMY screams in pain as she is stabbed in the shoulder as if by an invisible blade. WILLOW takes a couple steps forward and grabs AMY by the jaw, pulling her face towards her so she can stare her in the eyes.

WILLOW (Cont'd): And now you're gonna pay.

WILLOW spins around, still holding AMY, and throws her across the room. AMY smashes through another wall.

CUT TO:

EXT. OLD HOUSE ? LAWN ? NIGHT

AMY slowly and painfully lifts herself up off the grass and looks inside the house?to find that WILLOW is gone. She smiles, weakly.

AMY: And she's back.

She grunts in pain and stands up. Slowly, AMY limps towards the dark street, bloodied but feeling better than she ever has before.

CUT TO:

INT. UNKNOWN LOCATION ? CELL ? NIGHT

DAWN is lying in the middle of the stone floor, wearing a new white jumpsuit. She's clean, the dirt on her face is gone and her hair is brushed. Slowly, DAWN comes to. She looks towards the hole in the wall and sees a paper sticking through it and into her room. DAWN reaches out and grabs the paper. She unrolls it and doesn't find a pencil to respond with. However, she continues to read it. Her eyes widen and DAWN sits up.

DAWN: Oh my god?

She keeps reading, though the camera moves towards the hole in the wall. We seemingly go through the hole and into the cell next-door.

CUT TO:

INT. UNKNOWN LOCATION - CELL NEXT-DOOR ? NIGHT

We come out of the hole on the other side and see a pair of bare legs. They're a woman's legs.

CUT TO:

INT. NEW YORK GENERAL ? RESEARCH LAB ? NIGHT

Sitting a lab bench is a dark-skinned woman. She's wearing a white lab coat, gloves, and protective glasses as she takes a sample of blood from a vile to her right. She puts one drop of the blood on a glass slide and puts it under a microscope. She removes her glasses and looks through the eyepiece. The camera pans to the right and focuses on the vile. We see "STEWART, BRETT" written on a label on the vile.

A MAN on the other side of the room takes off his lab coat and hangs it on a hook. He glances over at her as he leaves.

MAN: Clean up when you're done, alright Sheila? Don't be a Bobby.

The dark-skinned woman, SHEILA, looks up and laughs.

SHEILA: I'll clean up. Go. Your wife is probably waiting for you again.

MAN: You're probably right. Goodnight.

SHEILA: G'night.

The MAN leaves the lab and the door shuts behind him. SHEILA tosses the slide from the microscope in the garbage before putting a lid on the vile of blood. She stands up and picks it up. She begins to walk towards a large metal cabinet at the end of the lab table?and she trips on a stray wire. The vile smashes on the ground near a drain in the floor.

SHEILA (Cont'd): Dammit.

She kneels down and starts to clean up the mess?but cuts herself with a piece of broken glass. It slices through her glove and into the palm of her hand. She yelps with pain and clenches her jaw. She swears under her breath and tosses the broken glass into a garbage bin. She then moves towards a sink and peels off her gloves, dropping them in the sink. She then washes her hands.

The camera pans down towards the floor and towards the spilt blood and small splinters of glass on the floor as the blood drips down the drain.

CUT TO BLACK

END OF EPISODE

Announcement

CHOSEN Episode 2.03 "Wicked"

CHOSEN Episode 2.03 "Wicked"

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