Announcement

**Heather** · 30-07-07, 02:20 AM

ACT I

FADE IN

INT. MAGNOLIA FORD ? STUDY ? NIGHT

AMY enters the study, limping slightly. In the background and out of focus, the ghost of TARA appears. She is wearing the same white clothes as she was before the nights events unfolded (in 2.03 "Wicked").

TARA: You just made a huge mistake.

AMY: Maybe.

TARA: No, you did. First you summoned me and now you've turned Willow? You are messing with magic that is beyond your level and you know that.

AMY: I didn't turn Willow. I unleashed her. Took away the barriers separating her true power from the stuff she's using now.

TARA: What are you talking about?

AMY turns around and looks at TARA, smiling slightly.

AMY: You really don't get it, do you? The power Willow had when she was a big dark super-witch?It's something you can't get rid of. Once you get a taste of the real deal, you're stuck with it. You can't go back. You can't quit that kind of mojo. Trust me.

TARA: That's not true. She got help and got rid of that side of her.

AMY: Actually, it is. The rehab Willow went through took just fine, but she didn't get rid of it. She contained it; locked it up in the back of her mind with a couple magical barriers that the Coven put in her noggin.

TARA shakes her head in disbelief and folds her arms across her chest.

AMY (Cont'd): I didn't turn Willow evil. I turned evil Willow loose.

The two fall silent, momentarily, on that grave note.

TARA: Can you turn her back?

AMY: Pardon?

TARA: Can you but the barriers back? Bring back the real Willow?

AMY: Tara, Tara, Tara?This is the real Willow. It's just not the one you're used to.

TARA: Can you turn her back?

AMY: Maybe.

TARA: M-maybe?

AMY: It's out of my hands now. How Willow uses her powers is all up to her. Now, I won't say that I have no influence over her now that she's all?veiny. But still. I don't know if I can put the barriers back.

TARA: You can't do it?

AMY: I dunno. Like I said, it's all out of my hands now. Everything's up to Willow.

TARA: Then why am I still here?

AMY: I never said that I didn't still need you.

TARA: You've crossed the line, Amy.

AMY: I crossed the line a long while ago.

TARA looks down at the ground and fades away. AMY looks at her wounds in a mirror.

CUT TO:

EXT. NEW YORK CITY ? STREET ? NIGHT

ELIZABETH is walking down the street by herself. With her white outfit, she seems to glow against the darkness of the night. A blur races up alongside of her and we see that it is AURORA. She's wearing jeans and a white halter-top. On the side of her shirt is a yellow stain from an unknown substance.

ELIZABETH: Please don't tell me that those are your good clothes.

In the background, we see alleys between buildings as the two women walk down the sidewalk. In the alleys, vampires and demons attack people. The victims scream for help but ELIZABETH and AURORA seemingly don't pay any attention to them.

AURORA: One of the kids threw up.

ELIZABETH: I can see that. And so will the client.

AURORA: I thought she was blind?

ELIZABETH: Yes, but she still has her sense of smell.

AURORA: And I'm sure the perfume you showered in won't bother her at all, right? A little tip from me to you: smelling good and being clean are two different things.

One of the people in the alley scream and AURORA glances over in their direction. She rolls her eyes.

ELIZABETH: You will stand outside, understand?

AURORA: No.

ELIZABETH: Well it's actually really simple. There's a door and you stand on the other side of it.

AURORA: No, I'm not standing outside.

ELIZABETH: Yes you will.

AURORA: You don't give me orders.

ELIZABETH: I do tonight, understand?

The two fall silent as they walk. They stop walking outside a small restaurant. AURORA glances inside the window but there's only darkness.

ELIZABETH (Cont'd): They better be in there.

AURORA: I'll scan the place.

ELIZABETH: No. I will go in, I will look around, and I will do my job if they are in there.

AURORA rolls her eyes and clenches her jaw. ELIZABETH fixes her jacket and flashes AURORA a sly smile. She then makes her way up the steps, opens the door, and enters the dark restaurant. AURORA holds up her thumb and index finger to form a gun and "fires" it in ELIZABETH's direction. She looks back to the street and begins to do her job.

CUT TO:

INT. GIOVANNI'S ITALIAN CUISINE ? SEATING AREA ? NIGHT

ELIZABETH folds her arms across her chest, disappointed. The place is empty. The chairs are all turned up. She looks around?and stops. The clicking of a gun being cocked is heard. From the darkness, a silver gun shines in the moonlight as it is pressed against the back of ELIZABETH's head. The camera pans around so the moonlight hits the man holding the gun, making him visible. He is dark-skinned, tall, and muscular.

MAN: Who are you?

ELIZABETH: Elizabeth Holloway. I work for Celestial Center.

MAN: You're not the man we asked for.

ELIZABETH: The man you asked for no longer works for the company. So you can see how filling your request has been made impossible.

MAN: Miss Brandy only has relations with Gregory Carlisle. If he isn't here, you're not getting any closer to her.

ELIZABETH closes her eyes and slowly turns around so the gun is on her forehead.

ELIZABETH: I can get Mister Carlisle here in only a matter of seconds, if you'd like. I just need to step outside and to do that, you need to move.

The MAN clearly does not trust her but he lowers his gun and steps out of the way. ELIZABETH nods and steps outside.

CUT TO:

EXT. GIOVANNI'S ITALIAN CUISINE ? STREET ? NIGHT

ELIZABETH walks down the steps as AURORA turns to look at her.

AURORA: Not there?

ELIZABETH: No, they're in there. They just don't want to speak with me.

AURORA: So no deal?

ELIZABETH: No, there's going to be a deal.

AURORA: Then who's gonna talk to them?

ELIZABETH smiles as her skin begins to change, she grows slightly, her hair recedes to a shorter cut while changing color and her facial features are now that of GREGORY CARLISLE. She smiles. As she starts to talk, her voice is the same but fades into the deeper, British accented voice of GREG.

GREG/ELIZABETH: They'll talk to me.

AURORA nods to herself as GREG/ELIZABETH turns and heads back into the restaurant.

CUT TO:

INT. GIOVANNI'S ITALIAN CUISINE ? SEATING AREA ? NIGHT

GREG/ELIZABETH enters the dark establishment and the MAN turns to look him over.

MAN: That was fast.

GREG/ELIZABETH: I travel quickly.

MAN: You have do not have any weapons, correct?

GREG/ELIZABETH: I am hardly that stupid.

The MAN nods.

MAN: This way.

He leads GREG/ELIZABETH back towards the kitchen.

CUT TO:

INT. GIOVANNI'S ITALIAN CUISINE ? KITCHEN - NIGHT

Sitting in a chair at the back of the fully lit kitchen is a young blonde woman, dressed in a pretty pink dress and her eyes closed. Standing next to her is a tall brunette, who appears to be a few years older than the other woman. They are MISS BRANDY and MISS JOANNE, respectively. GREG/ELIZABETH and the MAN enter the kitchen and MISS JOANNE looks up. When either of the women speak, they have a strong British accent.

MISS JOANNE: Gregory Carlisle?

GREG/ELIZABETH: Indeed.

MISS JOANNE: You're late.

GREG/ELIZABETH: Forgive me.

MISS BRANDY: Forgiveness is an overrated hag. (To Greg/Elizabeth) Forget Joanne; her bark is worse than her bite. It's a pleasure to meet you, Mister Carlisle.

GREG/ELIZABETH: The pleasure is all mine.

MISS BRANDY smiles, her eyes still closed.

MISS BRANDY: I would shake your hand but seeing as I haven't the slightest clue as to where you are in the room, I think we should leave it with simple pleasantries.

She opens her eyes and we see that her eyes are foggy; clearly she has cataracts that cause her blindness. MISS JOANNE looks over at the MAN standing near the entrance.

MISS JOANNE: Please guard the door, Halo. We don't want anyone interrupting our meeting, do we?

The man, HALO TUNDE, nods silently and walks towards the door.

MISS JOANNE (Cont'd): I understand that Celestial Center would like to buy our company. Is that right?

GREG/ELIZABETH: We don't want to buy your company; we simply want to merge with it.

MISS BRANDY: And what would a global organization like Celestial Center want with a minor manufacturer like ours?

GREG/ELIZABETH: To promote your minor manufacture. Of course, we are asking for a share of your resources in exchange.

MISS JOANNE: I don't understand. What good are our resources to you?

GREG/ELIZABETH: That will remain confidential until it is necessary to be discussed, I'm afraid.

MISS JOANNE: Then there is no deal.

MISS BRANDY slaps MISS JOANNE in the thigh, still sitting with her legs crossed in a proper fashion.

MISS BRANDY: Oh shut it, you. Not everyone is out to get us. Just Russia.

She laughs at her own joke while the other two remain quiet.

MISS BRANDY (Cont'd): If we take your offer, however, we would like to read over and have full rights to edit the final contract.

GREG/ELIZABETH: That is perfectly understandable. I will call my people now?

MISS BRANDY: Not yet. We have some conditions that must be discussed.

GREG/ELIZABETH nods and smiles slightly, hiding impatience. MISS JOANNE reaches for a briefcase resting on one of the metal countertops and opens it, pulling out an envelope. She hands it to GREG/ELIZABETH.

MISS BRANDY (Cont'd): Let's start on page one, shall we?

She smiles as MISS JOANNE hands her a copy in Brail.

CUT TO:

INT. THE ANNEX ? 1670 ? NIGHT

NATALIE is sitting cross-legged on the floor, searching through the pockets of a suit coat and pants. She pulls out a wallet, a cell phone, a badge, and a couple receipts but nothing else. In the background, we see LOISELLE dragging a now half-naked and dead TROY into a closet at the back of the apartment.

NATALIE: He shops at Walmart and eats at KFC.

LOISELLE: What?

NATALIE: That's as much information as I can get from his pockets. He's got a couple credit cards, no cash, and a driver's license. The only conclusion I'm drawing here is that he has a really bad sense of style.

LOISELLE: What about the driver's license?

NATALIE opens the wallet again and looks at the plastic card. She shrugs.

NATALIE: He's older than I expected and was born in Nantucket. Which I am so gonna have nightmares about now?

LOISELLE: What about his car?

NATALIE: We walked here.

LOISELLE: And his office?

NATALIE: Nothing suspicious in plain sight but you never know. I could probably get in and have a look around if I tried hard enough.

LOISELLE: Let's go.

She grabs a leather jacket off the floor and quickly leaves the apartment. NATALIE looks around, lagging just a moment behind LOISELLE's train of thought. She smiles when she understands where they're going and rushes after her.

CUT TO:

INT. FBI HEADQUARTERS ? LOBBY ? NIGHT

NATALIE breezes into the lobby, heading straight for the security desk. Her hair is now pulled back to hide the messy condition it is really in and she has new makeup on. She smiles at the SECURITY GUARD.

NATALIE: Hey Big Boy. Did Troy Griffin come back here a half hour ago?

The SECURITY GUARD looks over a clipboard full of signatures.

SECURITY GUARD: Not according to this list, ma'am.

NATALIE puts on an act of surprise.

NATALIE: You're kidding me! He told me to meet him back in his office a half hour ago. Of course I'm late because of traffic?and who drives this late at night? Seriously! It's a freakin' Monday night people! Sleep! Don't drive! Oh my god! What if they were sleeping while they were driving?

The SECURITY GUARD looks away, annoyed by NATALIE's rambling.

NATALIE (Cont'd): Maybe Troy was in an accident. Do you think Troy was in an accident? I don't think he was in an accident. Maybe he was in an accident?

SECURITY GUARD: Just sign in and you can go up.

NATALIE stops rambling and flashes a big smile at the guard, signing the clipboard in the process.

NATALIE: Why thank you, Big Boy!

She hurries towards the elevators and hits the up arrow.

SECURITY GUARD: You know where the office is?

NATALIE: Of course!

She enters an elevator and presses a button inside. The doors close.

CUT TO:

INT. FBI HEADQUARTERS ? CORRIDOR ? NIGHT

NATALIE comes out of the elevator and walks quickly down the hall towards a set of double glass doors. The doors open as an employee leaves the office. As they shut behind the person, NATALIE rushes to try and catch them before they close completely?but fails. She kicks the door angrily and reaches into her back pocket, pulling out TROY's wallet. She pulls three plastic keycards out and puts the wallet back. Quickly, she swipes each of the cards until one finally unlocks the door. She pulls it open and dashes inside.

CUT TO:

INT. FBI HEADQUARTERS ? OFFICES ? NIGHT

NATALIE runs through the cubicles and towards the back of the office space, where she finds TROY's office ? doors closed and locked with all the lights out inside. She takes the remaining two keycards and swipes both until the door unlocks. She enters.

CUT TO:

INT. FBI HEADQUARTERS ? TROY'S OFFICE ? NIGHT

NATALIE turns on a light and begins to search the room, opening drawers and files. She stands in the center of the room, turning in a circle ? searching for something. She gets an idea and reaches out to one of the pictures hanging on the walls. She takes it off its hook and finds a metal safe. It has a combo lock, however. And she huffs.

NATALIE: "Charlie's Angels" totally makes this look so much easier.

She puts the picture on the floor and moves to the desk, looking for the combination. As she reaches for a small notecard holder, she accidentally knocks a ceramic lighthouse to the floor. It smashes to pieces?

And a folded up piece of paper falls out. NATALIE spots the paper, unfolds it, and finds a set of numbers.

NATALIE (Cont'd): Bingo.

Faster than before, she moves back to the safe and enters the combination. It unlocks. She pulls the door open and looks inside. Within the safe she finds folders thick with documents, a gun, and a cell phone. She pulls everything out and puts it on the desk. She moves the gun to the side, flips open the phone, and begins to look for information. She goes to the voicemail.

VOICEMAIL (Recording): This message will be deleted from your mailbox in 2 days.

The message plays. It's a man, with a Portuguese accent.

MAN (On the Message): The captives are in our custody on Azores, as planned. We're expecting your arrival a week from today. If that has changed, please contact us.

The message ends. NATALIE shuts the phone, shrugging. She looks through the documents now. Skimming all the pages until she comes to one specific folder. It's marked "D.S." She opens it ? though we don't see the contents.

NATALIE: Oh my god?

The camera pans around so we get a shot of the contents from over her shoulder. It's a picture of DAWN, along with an in-depth biographical background. A phone rings and NATALIE snaps out of her trance. She answers her phone quickly to stop the ringing.

LOISELLE (On the Phone): Did you find anything?

NATALIE: Azores. They're on the Azores islands. And they have captives.

She closes up the documents.

CUT TO:

EXT. FBI HEADQUARTERS ? PARKING GARAGE ? NIGHT

LOISELLE is sitting inside her car, wearing sunglasses even though it is dark out. She nods.

LOISELLE: I'll make the arrangements now.

She starts the car.

CUT TO:

INT. FBI HEADQUARTERS ? TROY'S OFFICE ? NIGHT

NATALIE puts the folders in her bag, along with TROY's phone. The gun is now left on the desk. She picks it up.

LOISELLE (Cont'd): Meet me out front.

She lines goes dead and NATALIE hangs up. She stares at the gun and wraps her hand around it, finger touching the trigger. She then puts it in her bag along with the other items and leaves.

CUT TO:

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

ANDY is leaning against the door jam, watching how DOCTOR DEVYN CORMON examines BRETT's comatose form. Her attention then turns to BRETT. She looks down at the ground, overwhelmed by sudden sadness.

DEVYN: His heart rate has increased since I was last in here.

ANDY: What does that mean?

DEVYN: It means that his heart is still working, which means his brain is still working. It's a good thing.

ANDY nods to herself.

ANDY: Thank you.

DEVYN smiles faintly and leaves the room. ANDY walks over to BRETT's side and rests a hand over his. She kisses him on the forehead. Suddenly, there's a knock on the door. ANDY turns around and sees the OLD MAN in the doorway.

OLD MAN: Would you like to see something spiffy?

ANDY looks unsure of the OLD MAN's intentions but follows him out of the room.

CUT TO:

INT. NEW YORK GENERAL ? ROOM 696 ? MORNING

ANDY and the OLD MAN come to a room some way down the hall. The OLD MAN knocks on the doorframe. Someone moans from inside.

OLD MAN: Jerry? Jerry, lemme in. Lemme in, Jerry.

JERRY: No! I'm not a peepshow.

ANDY looks at the OLD MAN, still confused.

OLD MAN: You're not a peepshow, Jerry.

He looks up at ANDY raises an eyebrow as if to say "Of course you are." ANDY rolls her eyes

JERRY: If I become a peepshow, it's on your head.

A man in a hospital gown appears and opens the door wide enough for the two to enter. It's JERRY. He's old but with dyed black hair. His eyes are jaundice and his skin is wrinkly. But the most peculiar thing about the man is on his forehead.

As if branded to his skin is an upside-down crucifix.

ANDY stares in awe.

OLD MAN: Actually, it's on your head.

JERRY slams the door shut in their faces. The two are silent for a moment.

ANDY: He has a tattoo of a crucifix?

The OLD MAN goes to speak but the door flies open. JERRY is standing in the doorway, angry.

JERRY: Of course not! I'm not one of them freaky-deaky Satanists!

The OLD MAN looks up at ANDY.

OLD MAN: It appeared after mass in the hospital chapel.

ANDY ruffles her brow and shakes her head in wonder. JERRY notices this and clenches his jaw.

JERRY: I'm not a peepshow!

He slams the door shut yet again.

CUT TO:

INT. CELESTIAL CENTER ? DINING HALL ? MORNING

LYNN stands with her back to the camera, admiring the work being down to prepare for what looks to be a massive party. A PARTY PLANNER comes over to her, holding a clipboard.

PARTY PLANNER: Excuse me, Miss Holloway?

LYNN glances over at the PARTY PLANNER before returning her attention to the decorating.

PARTY PLANNER (Cont'd): We've got all the decorations in the building. Now it's just a matter of getting them in place for tonight.

LYNN nods. The PARTY PLANNER tries to follow her line of sight, but fails to see anything.

LYNN: I used to do this. Plan parties. I made big money from it as a young woman. I would spend weeks on one party because I was too excited to set things down. And when the soiree finally happened, everything was ten times better than in my head. Because I was good at it.

PARTY PLANNER: I'd love to have seen one of the parties you've organized. I'm sure they were extravagant.

She turns and looks at the PARTY PLANNER.

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

The PARTY PLANNER nods, turning and leaving LYNN on the stage. LYNN folds her arms across her chest and smiles. ELIZABETH steps out onto the stage. LYNN notices her and opens her arms wide for a hug, a loving smile spreading across her face.

LYNN (Cont'd): It's about time you came into work. I was worried something went wrong last night! (Beat) Nothing went wrong, did it?

ELIZABETH hugs her mother and smiles back

ELIZABETH: Of course nothing went wrong. I just had to spend two hours going over a contract. But you have to suffer for the craft, right? How's the party planning going?

LYNN shakes her head.

LYNN: How does it look like it's going? The planner's full of herself. She couldn't plan a party to save her life, I swear.

ELIZABETH: I noticed. (Beat ? looking at the tables before her) The tablecloths are black.

LYNN: I know.

ELIZABETH: Why are the tablecloths black?

LYNN: Because the planner's full of herself.

A smug smile creeps across her face. ELIZABETH hands LYNN a manila folder.

LYNN (Cont'd): What's this?

She opens the folder and looks at the contents.

ELIZABETH: You will never guess who had a wild night on the town last night.

The camera gets a shot from over LYNN's shoulder and we see a black and white image, from what appears to be a security camera in the occult shop, of WILLOW glancing up at the camera, unconscious bodies scattered all around her.

LYNN: Willow Rosenberg??

ELIZABETH: I know. I was just as shocked as you.

LYNN: How'd this happen? And when?

ELIZABETH: Last night, apparently. Ever heard of Amy Madison?

LYNN shakes her head.

ELIZABETH (Cont'd): We had her on our radar a few years ago. She came to our San Francisco offices looking for help controlling her addiction to magic. She recovered fully but with a special bonus.

LYNN: What would that be?

ELIZABETH: A void. We created a void in the back of her mind where she can store the magic she isn't using and recycle it for late use. I doubt she even knows it exists, but it's definitely there. I flew out and oversaw the whole procedure. We then let her return to Sunnydale where she joined a local Coven on a college campus. She's some Wicca.

LYNN: So Amy Madison did this? She turned Miss Rosenberg evil? How is that possible?

ELIZABETH: We're not sure. But we do know that this isn't the first time. The last time Rosenberg went wicked, she flayed the man who killed her girlfriend and nearly destroyed the world.

LYNN: Charming.

ELIZABETH: I definitely thought so.

LYNN: We can't let her run around causing chaos in the city. We just can't do that, can we? (Beat) Bring her in.

ELIZABETH nods and LYNN closes the folder, handing it back to her daughter. She then turns back to the party decorating on the dining hall floor and smiles faintly. She now has something to look forward to: a new addition to her army.

CUT TO BLACK

END OF ACT I

**Heather** · 30-07-07, 02:21 AM

ACT II

FADE IN

INT. NEW YORK GENERAL ? NURSES' STATION ? MORNING

The nurses' station is quiet this morning. Some are sipping coffee while others type away at the computers before them. The waiting room is empty except for one person: URBAN. He enters the waiting room and stops, halfway to the front desk. He rubs his forehead and finishes the short walk to the desk. A friendly NURSE looks up and smiles at him.

NURSE: Good morning, sir. May I help you?

URBAN: Uh?yeah. I'm here to see Brett Stewart.

NURSE: Ok, well just sign in and you'll be on your way.

URBAN nods and signs a clipboard. He steps in front of a small digital camera. The flash of the camera fills the screen.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? MORNING

In slow motion. Urban walks down the hallway. He turns towards one of the doors, opens it, and enters.

CUT TO:

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

In normal time. URBAN closes the door behind him?and freezes.

Standing at BRETT's bedside is ELIZABETH. She doesn't even look up at URBAN.

ELIZABETH: It's been a while, hasn't it?

It's more a statement, rather than a question. URBAN seems shocked to see her.

URBAN: Some years. Nothing big. How've you been?

ELIZABETH: Fine. You?

URBAN: Been better. You change much?

ELIZABETH: Nope. You?

URBAN: Of course not.

ELIZABETH: Are we done here?

URBAN: Probably.

The two are silent. ELIZABETH huffs and looks up at URBAN for the first time since he entered the room.

ELIZABETH: You have bangs.

URBAN: It appears that way.

ELIZABETH: When did you get bangs?

URBAN: Just recently.

ELIZABETH: Oh.

The two are quiet again.

URBAN: Your hair's still red.

ELIZABETH: Indeed.

URBAN: You're still super bitchy.

ELIZABETH: And you're still obnoxious, so I think we're even. Don't you agree?

URBAN: What are you doing here, Liz?

ELIZABETH: Don't call me Liz.

URBAN: I'll call you whatever the hell I wanna call you. Can you answer my question now? Or do you wanna dance around it a little more? I'm alright with the latter option; I learned to tango when I was in Spain.

ELIZABETH: I am visiting a friend. Just like you are.

URBAN: You don't belong here.

ELIZABETH: Funny, neither do you.

URBAN: I hear you and Brett haven't been together in years.

ELIZABETH: I hear you've been helping Andy Sullivan.

URBAN: What does that have to do with anything?

ELIZABETH: That depends on what the next words are that come out of your mouth.

URBAN glares at her and shakes his head.

ELIZABETH (Cont'd): Brett's in the hospital. I am visiting Brett while he's in the hospital. Even if we're not together, I have every right to care about his wellbeing.

URBAN: Does Andy know about these visits?

ELIZABETH: No.

URBAN: Do you ever expect her to find out?

ELIZABETH: I'm sure she will, eventually. And I'm sure all hell will break loose when she does. But there's nothing I can do about that.

URBAN: You plan on leaving anytime soon, Liz?

ELIZABETH: Do you?

URBAN shakes his head and starts to leave. As he does, ELIZABETH looks up at him one last time.

ELIZABETH (Cont'd): Oh, and Urban? Welcome back.

URBAN looks back over his shoulder at her.

URBAN: Just like old times, Liz.

ELIZABETH: No, this time's better.

The two are emotionless and URBAN leaves. ELIZABETH stares at the empty doorway as the door slowly closes.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? MORNING

URBAN turns the corner and breezes down the bright white hallway.

ANDY (OS): Urban?

URBAN turns around and sees ANDY leaning against the wall, cell phone pressed to her ear. She snaps it shut and starts towards him.

ANDY (Cont'd): Are you busy, by any chance?

URBAN: It depends on what favor you've gonna ask of me.

ANDY: I need a little help with case.

URBAN: You take cases now?

ANDY: Are you in or not?

URBAN: I'm in.

She nods and he follows her back down another hallway.

CUT TO:

INT. AIRPORT ? SECURITY POST ? MORNING

In slow-motion. NATALIE and LOISELLE approach the security post. NATALIE puts her bag on the desktop and it is run through an x-ray scanner. She steps through the metal detectors, not setting off any alarm. She comes out the other side, grabs her bag, and starts off down the hallway as LOISELLE passes under the metal detectors.

CUT TO:

INT. AIRPORT ? GATE ? MORNING

In normal time. NATALIE and LOISELLE are walking down the hallway. There is never a completely shot of them as people cut in front of the camera, blocking any view. But we can hear them.

NATALIE: I've always wanted to go to Europe but definitely not under these conditions.

LOISELLE: I have to make a call.

NATALIE: Would you care to share with the Peanut Gallery who you're calling?

LOISELLE gives NATALIE a look, telling NATALIE exactly what the answer is: No.

NATALIE (Cont'd): Stupid question.

LOISELLE hands NATALIE her small black bag and turns away, walking towards a payphone. NATALIE looks around and spots their gate. She carries both bags over to two empty seats, plops the bags on the other chair, and sits down. She looks around at people around her, drumming her fingers on her thighs. She crosses one leg over the other and sighs. A baby begins to cry behind her and she glances back over at the child. Her attention then turns to the security post some distance up the hallway. She tilts her head slightly to the side with curiosity.

The security workers are talking to a man wearing a black, SWAT-team uniform. He takes off his helmet and tucks it under his arm. He has a large scar running diagonally across his left eye from his hairline to his chin, crossing over his mouth. He glances in NATALIE's direction?and maintains eye contact.

She stares back at him?and makes a stunning realization.

FLASH TO:

FLASHBACK

EXT. SLAYER CENTRAL ? PARKING LOT ? EVENING

The scene is in black and white, slightly blurry like a normal flashback. NATALIE is walking towards her car as a black van swerves in front of her. The doors open and she is pulled inside, screaming.
.
FLASH TO:

INT. BLACK VAN ? BACK ? EVENING

NATALIE is bound and gagged as the bomb is strapped to her waist. She looks up, crying, and sees the same man as in the airport. The same scar crossing his left eye and mouth. When he speaks, his voice is distorted.

SCARRED MAN: Hello, Child. I am the Operative and but I know you won't remember a thing, I promise, so I'll spare us both the lengthy conversation and cut to the chase?

THE OPERATIVE smiles faintly. Suddenly a black bag is pulled over NATALIE's head and her screams are muffled. The scene goes black.

END OF FLASHBACK

FLASH TO:

INT. AIRPORT ? GATE ? MORNING

NATALIE's eyes widen, her jaw clenches and she tears her attention away from THE OPERATIVE. She stands up slowly, grabbing both the bags off the chair next to her, and walks calmly across the hallway towards LOISELLE. She hangs up the phone and turns around to look at NATALIE curiously.

LOISELLE: What is it?

NATALIE (Quietly): They're here.

LOISELLE: Who's here?

NATALIE: The people who kidnapped me. They're here. They're at security.

LOISELLE: Are you sure?

NATALIE nods, having an issue swallowing.

LOISELLE (Cont'd): Did they see you?

NATALIE nods again. LOISELLE takes a deep breath and looks in the direction opposite the security post.

LOISELLE (Cont'd): Go.

NATALIE: Go where?

LOISELLE takes her bag from NATALIE and pushes her in the back.

LOISELLE: Go. Now.

NATALIE begins to walk, calmly, down the hallway. At security, THE OPERATIVE watches her. He looks back over his shoulder and a group of men dressed in the same outfits as him appear. LOISELLE doesn't follow NATALIE, though. She stays at the pay phone. The horde of men pushes through security and briskly follows NATALIE down the hall. She looks back over her shoulder, greatly panicked and on the verge of tears. She keeps walking, however.

Back at the pay phone, LOISELLE looks out into the hallway at THE OPERATIVE?and is caught. He spots her and cocks his head to the side.

THE OPERATIVE: Well I'll be damned.

LOISELLE runs.

Up ahead, NATALIE glances back and sees LOISELLE running towards her. She motions with her hand for NATALIE to run, too. NATALIE complies and takes off. The SWAT team chases them.

The two women push through the crowds of people, desperately trying to escape. We see LOISELLE reach to her belt for her gun?but it isn't there. They run faster. Suddenly, LOISELLE pulls NATALIE by the arm and the two cut to the left, speeding down a different, more crowded hallway. Soon, they disappear in the mob of people.

The SWAT team turns and corner and discovers their defeat. The two women have been lost in a sea of people. THE OPERATIVE looks to the team members on either side of him.

THE OPERATIVE: Find them.

The team takes off in different directions.

CUT TO:

EXT. AIRPORT ? RUNWAY ? MORNING

LOISELLE and NATALIE dash down a high flight of stairs and onto the paved runway. LOISELLE pulls a cell phone out of her bag and dials a number. She talks fast with whoever is on the other end.

LOISELLE: I need an extraction, now. 7, possibly 8, Agenda members found us. The Operative was with them. I need an alternate route to Azores.

She nods to herself as they run, listening to the person on the other end.

LOISELLE (Cont'd): Ok. I'll meet you there.

She snaps the phone shut.

NATALIE: Now what?

LOISELLE: There's been a change of plans. We're taking a smaller plane to Azores.

The camera remains stationary as the two run across the runway.

CUT TO:

INT. NEW YORK GENERAL ? ROOM 696 ? MORNING

URBAN and ANDY are standing outside the room, leaning against the wall.

URBAN: So it just appeared on his head?

ANDY: He left church on Sunday and found it on his head once he got back to his room. He couldn't get it off with anything. His doctors have no idea what it is.

URBAN: Huh. You think it's a hex?

ANDY: A hex, a curse, a cruel joke?I dunno.

URBAN: Why do you wanna look into it?

ANDY shrugs and looks down at the ground.

ANDY: I'm bored and this seems somewhat entertaining and ironic. And nothing quenches the need for action like some good ol' fashion irony.

URBAN nods and looks towards the closed door.

URBAN: I don't know much about hexes so I'm not sure if I can help you out that much.

ANDY: But you'll try?

URBAN: But I'll try.

ANDY: Ok, I'll go in first. He kinda knows me already and I'm not sure if he wants another visitor.

URBAN: Understandable.

ANDY nods and pushes herself off the wall with her foot. She takes a deep breath and knocks on the door.

JERRY (OS): Go away.

ANDY: Jerry? Hello, Jerry. My name is Andy. I was wondering if I could talk to you.

JERRY (OS): I already told you to go away.

ANDY: I know but I might be able to help you get rid of the mark if you just let me talk to you.

There's silence.

JERRY (OS): Come in.

ANDY looks back over her shoulder and gives URBAN a thumbs up. She then enters the room.

CUT TO:

INT. NEW YORK GENERAL ? ROOM 696 - MORNING

JERRY is lying in bed, his back facing ANDY. She shuts the door on a crack behind her and moves deeper into the room.

JERRY: What do you want?

ANDY: To help you.

JERRY: You really think you can help me? This?This mark isn't something you can get rid of. It's permanent. It's an omen and it's here for good.

ANDY: An omen? You think it's an omen?

JERRY: Yes, I do.

ANDY: And what is it an omen of?

JERRY: Evil.

He rolls over in his bed to face ANDY, sitting himself up.

JERRY (Cont'd): Do you believe in God?

ANDY: I'm not very religious.

JERRY: But do you believe in a higher power? That someone is pulling the strings? That one day that person will give up and just let everything come crashing down?

ANDY nods.

JERRY (Cont'd): This mark?It's an omen of that. Of the End.

ANDY: Why would you be the one to carry this omen, then?

JERRY shrugs.

JERRY: I haven't the slightest idea. Maybe it's just God's way of telling me my time is up but that I have one last important thing to do before I die?

The two seem to be at a loss for words.

JERRY (Cont'd): Do you still think you get rid of it?

ANDY looks down at the ground.

CUT TO:

INT. MAGNOLIA FORD ? BEDROOM ? DAY

The camera pans around the room. It's empty. The camera then focuses on a mirror. We see LENA COHEN enter the room through the open door via the mirror's reflection. She walks towards the glass and looks into it. She turns around?and jumps. Standing behind her is TARA.

LENA: What do you want?

TARA: Looking for you.

LENA: And why would you be looking for me?

TARA: I need your help.

LENA: You're kidding me.

TARA: No. I'm not. I need you to find a way to set me free.

LENA: Why the hell would I do that?

TARA: Because I know you know what Amy's doing is wrong. That she shouldn't be keeping me here. That I should be allowed to move on. And you can do that. You're a powerful witch. You can break Amy's spell?

LENA: And get killed in the process. I may not agree with what Amy's doing but I'm not willing to sacrifice myself just so you can find peace. It's about survival.

TARA: So you can live with yourself knowing that you defied what you believed in just so you can live?

LENA: Of course.

She turns her back on TARA.

TARA: You really do belong here, don't you?

LENA: What can I say? I'm one of them.

AMY (OS): Who are you talking to?

LENA looks up at AMY, who is standing in the doorway, arms folded across her chest. LENA whirls around and sees that TARA is gone.

AMY (Cont'd): Is there something you wanna tell me?

LENA looks back over her shoulder at AMY but never makes direct eye contact with her.

LENA: I think we have a problem.

AMY cocks her head to the side and smiles, somehow happy.

CUT TO:

EXT. NEW YORK CITY ? ROOFTOP ? EVENING

AURORA steps out of the stairwell and onto the rooftop. She looks around but doesn't seem to find what she's looking for. Reaching to her pocket, she pulls out a phone and dials a number quickly before holding it to her ear.

AURORA: She's not here.

ELIZABETH (On the Phone): That's impossible.

AURORA: Would you like to come here and see for yourself?

ELIZABETH (On the Phone): Fine. I'll send out a team to find her. Just get back here as soon as possible.

AURORA: Sure. By the way, do I need to get all dolled up for this party? Or am I gonna remain behind the scenes the entire time?

A bolt of purple lightning hits AURORA square in the back, sending her flying through the air and crashing back down onto the roof. WILLOW is seen standing right where AURORA was.

WILLOW: I take it my invitation to the party was lost in the mail?

She holds out her hand and AURORA's cell phone flies off the ground and into WILLOW's hand. She holds it to her ear.

WILLOW (Cont'd): Consider this my RSVP.

She vanishes in a storm of purple light and smoke. AURORA slowly pushes herself up off the ground, wincing in pain. She groans and scrambles to her feet.

CUT TO BLACK

END OF ACT II

**Heather** · 30-07-07, 02:22 AM

ACT III

FADE IN

EXT. CELESTIAL CENTER ? ENTRANCE ? NIGHT

The music being played inside can be heard outside. Limos pull up front, letting their passengers out. Crowds of people enter the building. Everyone is dressed in their best and they all appear to be excited and happy to be at this party.

CUT TO:

INT. CELESTIAL CENTER ? LOBBY ? NIGHT

The flow of people is thick as they all head towards the dining hall. We see ELIZABETH standing off to the side, greeting people as they walk past. She's wearing black pantsuit, her hair done-up in an unusually fancy fashion. In a blur, AURORA appears behind her. She's still wearing her jeans and t-shirt with her arms and face scratched.

ELIZABETH: It's about time you showed up.

She never turns her attention away from the crowd, still smiling and speaking to AURORA through her teeth. AURORA is far more conspicuous.

AURORA: What about the witch?

ELIZABETH: I've tightened security. Nobody's getting in without a proper scanning at the front door.

AURORA: She could just teleport inside.

ELIZABETH: No, she can't. The building's magic proof. Inside and out. Now you have to go get ready or be prepared to lose your job.

AURORA rolls her eyes and vanishes in a blur, yet again. ELIZABETH continues to greet more people.

CUT TO:

INT. CELESTIAL CENTER ? DINING HALL ? NIGHT

The music is even louder in the dining hall as guests take their seats. The room looks amazing, the decorating complete.

CUT TO:

INT. CELESTIAL CENTER ? BACKSTAGE ? NIGHT

LYNN stands right behind the blood red curtains, dressed in a beautiful white dress. Her arms are folded across her chest and she appears to be lost in thought. ELIZABETH walks up behind her.

ELIZABETH: It's almost show time.

LYNN smiles faintly.

LYNN: I'm having flashbacks to when I had you.

ELIZABETH: Why is that?

LYNN: I don't know. Just the entire concept of me entering a new stage of my life when I'm only 44 years old is mind-blowing. The last time I felt like this was when I was 18 and had you.

She looks at her daughter and shakes her head.

LYNN (Cont'd): Looking at you makes me feel so old.

ELIZABETH laughs.

ELIZABETH: Don't feel old. Feel proud. Most people in your position don't live past the age of 40.

LYNN: So I'm only beating the record by 4 years? How comforting.

ELIZABETH: Don't think like that. You won't die unless you have a say in the matter. And even then, you will give them hell.

She smiles and wraps her arm around her mother's shoulders. A MAN holding a walkie-talkie pokes his head out from around the curtain.

MAN: We're pulling the curtain in 20.

He disappears
.
LYNN: 20? 20 seconds?

ELIZABETH smiles.

ELIZABETH: Only 20 seconds left before you're officially named the new President of Celestial Center. (Beat) Try not to trip.

She turns and heads off the stage, leaving LYNN alone.

CUT TO:

INT. CELESTIAL CENTER ? STAGE ? NIGHT

ELIZABETH walks down the side steps and heads towards the back of the dining hall towards her seat. She smiles and nods in acknowledgement to a few people she passes. The music fades out as a voice comes over the speakers.

VOICE: Ladies and gentlemen, tonight we're all here to honor and celebrate the election of a new President of Celestial Center. And now is the time to bring out that very woman. Let's have round of applause for Lynn Holloway!

The crowd begins to clap. Among the guests are MISS BRANDY, MISS JOANNE, and HALO. MISS BRANDY is smiling. The curtains open and LYNN walks out from backstage and towards the microphone in the center of the platform. She's beaming with excitement and joy. She clears her throat and taps the microphone, testing it.

LYNN: This thing's on, right?

Everyone in the room laughs briefly.

LYNN (Cont'd): I'd like to thank each and every one of you for coming to this wonderful celebration. It truly is an honor to be standing before such prominent faces. I would go into a really long speech about what being chosen as the President of Celestial Center means to me but I'm sure you all could care less and just want to eat the fantastic chicken our chefs have prepared for you all so without further ado, let's bring out the dinner!

She holds up both her arms and the crowd begins to applaud yet again. She turns towards the side of the stage to leave...and the lights go out. The room is cast into total darkness as panic begins to spread in the room. The voice from before comes over the speakers again.

VOICE: Ladies and gentlemen, we're having some technically difficulties and ask that you please remain in your seats until the problem is fixed. Thank you.

There's a bright flash of light and, for a moment, the room is as clear and bright as day. But the light fades away. LYNN turns to face the opposite end of the dining hall. There, by the front doors, is a glowing orb of purple light. The guests in the dining hall notice it and begin to scream.

On the floor, ELIZABETH stands up from her seat and turns towards the light. She begins to walk towards it slowly, her hand traveling into her jacket pocket. We see her fingers wrap around the handle of a knife.

On the stage, LYNN is still staring at the light, motionless. Suddenly, a gust of wind blows through the room. Glasses shatter and decorative candles are blown out. LYNN's hair is blown back.

On the floor, ELIZABETH continues walking against the wind. The knife is out of her jacket now and down at her side. She holds up a hand to shield her eyes from the light.

CUT TO:

INT. CELESTIAL CENTER ? LOBBY ? NIGHT

AURORA comes out of the elevators and begins to walk towards the dining hall?and stops. She spots the glowing purple light in the doorway. She cocks her head to the side, curiously, and cautiously moves towards the doors. Her hand goes to her belt where a gun is holstered. She pulls it out, cocks it, and raises it on the light. The light begins to fade away and we see the dark silhouette of a figure. AURORA instantly realizes who it is and her jaw clenches. She takes off in a blur towards the doors.

CUT TO:

INT. CELESTIAL CENTER ? STAGE ? NIGHT

The light is continuing to fade as AURORA races into the room. Standing in front of ELIZABETH, she lowers her gun.

AURORA: You said she couldn't get in!

A bolt of lightning hits AURORA in the back and is sent sliding across the floor. ELIZABETH looks up and sees that the purple light is now almost gone completely and it is obvious who is standing in the doorway.

It is WILLOW, grinning.

WILLOW: What a party.

She flicks her hand to the side and ELIZABETH flies across the room, smashing into a wall and collapsing on the floor. WILLOW looks to the stage and spots LYNN. She begins to walk towards the stage but with each step, she begins to lift off the ground. Soon, she is levitating in the air and lands on the stage, right in front of LYNN.

WILLOW (Cont'd): I've brought you a gift, Lynn.

Her smile fades away. WILLOW pulls back her hand and pushes it forward forcefully. LYNN's legs are knocked out from beneath her and she slams to the floor. All the guests are screaming now, running towards the exits. WILLOW spins around and smiles again. Suddenly, all the doors slam shut right before anyone can escape. The partygoers pound on the wooden doors and push on the handles but have no luck.

They're all trapped.

WILLOW looks back towards LYNN, who is painfully lifting herself to her feet.

WILLOW (Cont'd): Let me help you with that.

She flicks her wrist upwards and LYNN is lifted into the air and thrown back against the wall behind the stage, pinned there against her will with her feet dangling a yard off the platform. LYNN struggles to speak through the pain.

LYNN: I was going to help you.

WILLOW: Do I look like I need any help?

LYNN: Just let them go. You only want to deal with me.

WILLOW's smile disappears.

WILLOW: Nobody's leaving here, I can promise you that.

LYNN: Why?

In the blink of an eye, WILLOW is suddenly standing face to face with LYNN.

WILLOW: Because I said so.

She holds out a finger, her nail hovering a good two inches away from LYNN's cheek, and drags it downwards. A deep line of blood forms as LYNN's face is scratched. She screams. WILLOW laughs.

CUT TO:

INT. MAGNOLIA FORD ? STUDY ? NIGHT

AMY has her feet up on the desk, lounging around with cheese stick in one hand. She peels off a string of cheese and dangles it above her mouth, eating it slowly. She holds out her free hand and snaps once. TARA suddenly appears in the center of the room. AMY swallows the string cheese and smiles and TARA.

AMY: I think we need to have a little talk.

TARA: About what? Are you coming to your senses?

AMY: Hardly. I'm a crazy witch. I don't expect to be coming to my senses anytime soon.

TARA: Then there's nothing to talk about, is there?

AMY: Actually, there is. We need to talk about you and your little cry for help.

TARA: I don't know what you're talking about.

AMY: Yeah, I think you do. You begged Lena to set you free. C'mon, Tara. If my lackeys are one thing, it's that they're loyal to me. Not to you. Not to anyone else. But to me.

TARA: How can you be so heartless? What happened to you, Amy?

AMY: Oh and that's the other thing. Your questions? Yeah, they've gotta stop. I'm tired of you looking for answers.

AMY stands up from behind the desk and walks towards TARA.

AMY (Cont'd): And if I find out that you've been going behind my back or if I hear you ask one more question, I promise that I'll send you to a place that makes summertime Sunnydale feel like an ice cube. Do you catch my drift?

TARA glares at AMY. AMY smiles.

AMY (Cont'd): I think you do.

She snaps her fingers and TARA disappears.

CUT TO:

INT. NEW YORK GENERAL ? WAITING ROOM ? NIGHT

ANDY is sitting across a small coffee table from URBAN, who is on the phone. Papers are spread out all over the tabletop, including pictures and reports of markings similar to JERRY's. URBAN hangs up his cell phone.

URBAN: We're in luck. Jerry's daughter, Carrie, moved to Manhattan when he was hospitalized back in March. I pulled a few strings and got her phone number.

ANDY: So you're gonna ask her on a date? Hate to burst your bubble but she might be a bit too old for you.

He ignores her.

URBAN: She's on her way here. Apparently she didn't know about this whole mark thing.

ANDY: How long do we have to wait for her?

URBAN: She said she lives ten minutes away from the hospital. But she could be here in five.

ANDY: Good.

URBAN picks up a couple papers.

URBAN: What are you we gonna tell her? Some of this stuff isn't the happiest boatload of sunshine an everyday person can accept.

ANDY: We'll tell her the truth. Slowly and with lots of extra cushy bumpers. But we'll tell her the truth.

URBAN: I'm not sure how well she'll take "Oh your dad's been cursed and a demonic spirit wants him dead."

ANDY: She'll take it as well as anybody else. (Beat) I hope.

The front doors to the hospital slide open and a middle-aged woman in a jogging suit hurries inside and heads to the front desk.

MIDDLE-AGED WOMAN: Excuse me! Excuse me? I got a call about my father?

ANDY and URBAN look up at her.

URBAN: Carrie Kent?

The woman turns around.

MIDDLE-AGED WOMAN: Yes. Yes that's me.

URBAN looks to ANDY who shrugs.

ANDY: She's in good shape?

The two of them stand up and head towards CARRIE to tell her the bad news.

CUT TO:

INT. CELESTIAL CENTER ? STAGE ? NIGHT

We get an aerial shot of the room, panning over the unconscious forms of all the partygoers. We come to the stage, where the camera levels out. Slumped against the wall, blood splattered across her white dress, is LYNN. She opens her eyes weakly. WILLOW is standing over twenty feet away from her, her attention focused on directly on LYNN.

WILLOW: You know, you're a whole lot stronger than I imagined. Considering you kept your identity a mystery for well over a year and needed to hurt little girls just to feel strong, I'm surprised you've held out this long.

In the shadows, we see a blur. Neither WILLOW nor LYNN notices it. WILLOW extends her hand outwards and LYNN is lifted off the ground, lightning beginning to swirl around her neck.

WILLOW (Cont'd): See this right here? A spiffy little trick I picked up from a man in a magic shop just last night. He was a sly little man. Shame he tried to shoot me, otherwise he might still be doing his magic show tonight.

The blur appears again, this time closer to WILLOW. It then takes the shape of AURORA. WILLOW smiles and spins around, lightning firing out of her free hand. The bolts send AURORA spinning through the air.

WILLOW (Cont'd): Lynn, darling, you know what I want. Just tell me where it is before I have to take this one step further.

LYNN moans.

LYNN (Weakly): Fine?

WILLOW: Thank you.

She lowers her hand and LYNN falls to the ground. LYNN begins to cough, struggling to breathe.

WILLOW: Where's the Power, your Majesty?

LYNN: Ask my daughter.

WILLOW grins faintly.

WILLOW: You sly, sly woman. Where is the lovely Elizabeth, huh?

She turns to face the dining hall, searching for ELIZABETH in the crowd of unconscious forms.

WILLOW (Cont'd): Elizabeth? Elizabeth, dearest, your Mommy's given you up to me. I really think you should come out and play now before I kill her.

We hear glass shatter somewhere in the dining hall. WILLOW's eyes widen and in the blink of an eye, she's gone.

On the floor, she reappears at the opposite end of the dining hall, staring at a broken window. Her face contorts with anger and she vanishes in a flash of purple light.

CUT TO:

INT. CELESTIAL CENTER ? HALLWAY ? NIGHT

ELIZABETH is running for her life down the corridor. Up ahead, a purple light appears in the darkness. Her eyes widen and she cuts sharply to the right, hurrying down a different hallway. She reaches into her jacket and pulls out two throwing stars, one for each hand. She closes her eyes for a moment, spins around while dropping to her knees, and throws the throwing stars out into the darkness.

There's only silence, except for her heavy panting. The sound of something whizzing towards her is heard and ELIZABETH's eyes widen in fear. She spots the two throwing stars slicing back through the air right back at her. The first one cuts her across the side of her neck while the second one is lodged in her right shoulder.

From out of the shadows comes WILLOW, her eyes completely black again. Slowly they fade back to normal.

WILLOW: Mommy tells me that you know where that pretty Power is. Do you wanna show it to me?

She grabs ELIZABETH by the hair and pulls her to her feet, pushing her down the hallway.

CUT TO:

EXT. THE AGENDA'S COMPOUND ? DOCK ? NIGHT

It's early morning, at the earliest 2:00 am. A small raft pulls up to the docks. Inside, we find LOISELLE and NATALIE, both dressed in black. LOISELLE turns to NATALIE.

LOISELLE: Do you know how to fire a gun?

NATALIE: I've seen it done a lot but I'm not entirely sure if I can hit the side of a barn.

LOISELLE sighs and hands a gun to NATALIE.

LOISELLE: Fire it only if you need to. Stay as close to me as possible. If we get separated, hide.

NATALIE's beginning to panic.

NATALIE: Don't we get walkie-talkies or something? What about those awesome and unstylish earpieces or molar-mics? I want a molar-mic.

LOISELLE: Just trust me. You'll be fine if you do what I tell you. Understand? Stay out of sight.

She cocks her gun and climbs up onto the dock. She then reaches out and helps NATALIE up, too.

CUT TO:

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

NATALIE and LOISELLE covertly move along the beach towards the large stone building that is the Agenda's Compound ? the terrorist cell's base of operations. The two head into a thicket of palm trees, avoiding any form of light. As they move through the trees, something snaps. They freeze up. NATALIE looks down and spots her foot on top of a broken branch.

LOISELLE (Whispering): Go.

The two take off, rushing through the trees. NATALIE is falling behind and ultimately loses LOISELLE in the trees. She panics and stops running looking around for a place to hide. She dashes towards a small gap between a shed and the building. She stops running, her eyes wide with an unknown emotion. She looks down.

The point of a sharp knife is jutting out between her ribcage.

The knife is pulled out of NATALIE and she stumbles forward, turning around. Standing behind her is TROY. He blows her a kiss and slices her throat with the knife.

CUT TO BLACK

END OF ACT III

**Heather** · 30-07-07, 02:22 AM

ACT IV

FADE IN

INT. CELESTIAL CENTER ? RELICS VAULT ? NIGHT

ELIZABETH and WILLOW stand outside a large metal door that protects the Celestial Center relics vault. WILLOW flicks her wrist at ELIZABETH, sending her smashing into the wall.

WILLOW: Thank you.

She holds out both her hands and the vault door begins to rattle. It doesn't come off its hinges instantly, rather it takes several moments. WILLOW closes her eyes to concentrate her magic, her arms shaking from the extra effort needed to remove the vault door. She's draining, running low on magic. Eventually, the door falls off the wall and onto the ground. She steps inside.

WILLOW looks around, searching for any obvious artifact that could harness a large amount of power. Most of the items inside are scrolls or vases with the occasional ancient weapon thrown into the mix and a sarcophagus pressed against the back of the vault.

WILLOW (Cont'd): Where is it, Elizabeth?

She turns around and glares at ELIZABETH, who is still lying on the ground. She's staring right back at WILLOW.

ELIZABETH: It's right in front of you.

WILLOW turns around and glances around the vault?and spots it. There's a dagger hanging on the back wall of the vault in a glass case. It's the same dagger AURORA used to drain the power from the power tube in episode 1.16 "The Message." WILLOW smiles and holds out her hand. The glass shatters and the dagger flies into her hand.

WILLOW: Finally, someone who I could actually work with.

She places the point of the dagger on her chest, right above her heart, and closes her eyes. Suddenly, they snap back open. Her pupils dilate until they fill her entire eye. Light flows from the dagger and into WILLOW, creating a vibrant, white aura around her. The light slowly fades away and WILLOW sways back and forth, overwhelmed by this potent magic she's taken.

WILLOW (Cont'd): Those Prophecies were right?This is the good stuff?

She closes her eyes, taking deep breaths. The camera pans around in a full circle and as it comes back to face WILLOW head on, we find ELIZABETH standing right behind her.

ELIZABETH: I'm glad you like it.

She holds out her hand, revealing a round pendant clenched in her palm. WILLOW turns around and pendant glows red. WILLOW slowly begins to glow the same color as ELIZABETH chants in Latin.

ELIZABETH (Cont'd): Tempero potentia atqui averto benevolentia.

She chants the spell repeatedly as WILLOW and the pendant both glow brighter and brighter. Wind begins to roar around them as WILLOW screams.

ELIZABETH (Yelling at the top of her lungs): Change back you son of bitch!

Soon, the entire vault is consumed in red light.

CUT TO:

INT. CELESTIAL CENTER ? STAGE ? NIGHT

LYNN looks towards the front doors as they are consumed in red light. AURORA struggles to lift herself up, spitting blood onto the stage.

AURORA: What is that?

LYNN: Our last resort.

LYNN closes her eyes as the dining hall is filled with the red light. Suddenly, the light disappears and everything is cast back into darkness.

CUT TO:

INT. CELESTIAL CENTER ? VAULT ? NIGHT

ELIZABETH is still standing in the vault, her eyes closed and head hanging. She's breathing heavily. The camera pans over her shoulder and we see WILLOW lying on the floor, her black hair is slowly fading back to its normal red color and the dark veins on her face vanishing. Her eyes open and she looks around. She spots ELIZABETH and gets to her feet.

WILLOW: What did you do?

ELIZABETH: Unfortunately, I helped you. But only to save my own life.

WILLOW: I feel different.

ELIZABETH: You just absorbed the strongest magic this world has ever seen. You should feel different. And if I were you? I would make sure your darker half doesn't get let loose again. Or there will be hell to pay.

WILLOW stares at ELIZABETH.

ELIZABETH (Cont'd): If you're not out of this building within the next three minutes, I will gladly slit your throat.

WILLOW moves as fast as she can out of the vault and down the hallway. ELIZABETH leans against the wall and closes her eyes.

CUT TO:

INT. NEW YORK GENERAL ? ROOM 696 ? NIGHT

ANDY, URBAN, CARRIE, and JERRY are all together in the room. There are white candles placed in every corner of the room, all of them lit. In the center of the room ? which just so happens to be the end of JERRY's hospital bed ? is a pentagram constructed from incense and stones. In the middle of the pentagram is a black candle.

JERRY: So how does this hoodoo work, exactly?

ANDY looks to URBAN.

URBAN: Well?Basically, we summon the evil spirit to this room with the white candles. If all goes well, the black candle's flame should go black and send the spirit back to Hell. The pentagram will glow white if everything went well.

CARRIE: What if it doesn't work?

ANDY: Then we run for our lives. (Beat) Everybody ready?

The group doesn't appear ready but they form a circle, holding each other's hands.

URBAN: Close your eyes and concentrate on getting rid of this sucker.

They all do as they're told. The lights overhead begin to flicker. CARRIE screams.

CARRIE: Oh my god.

URBAN: Focus, Carrie.

She closes her eyes again. The lights go out all together. The flames on the white candles begin to rise until as a gust of wind swirls around the room. A black shadow appears in the wind, spinning around the four of them. It's the spirit. It moans. URBAN and ANDY open their eyes. The flame on the black candle doesn't change color and the pentagram doesn't glow. Suddenly, the wind stops and the spirit blasts through the door and out into the hallway.

URBAN (Cont'd): I was afraid of that.

He pulls out two crosses from his jacket, passing one to ANDY and keeping the other for himself.

ANDY: What do I do with this?

URBAN: Chase it back into the room.

ANDY nods.

ANDY: Oh?Of course. Duh.

The two race after the spirit. CARRIE keeps holding JERRY's hand, both of them deathly terrified.

CUT TO:

INT. NEW YORK GENERAL ? HALLWAY ? NIGHT

ANDY and URBAN run down the hallway, looking for the spirit. Behind them, on the opposite end of the hallway, the lights have gone out. The two stop running and turn and stare at the darkness.

ANDY: Oh no.

Suddenly, the darkness speeds towards them, the lights on the ceiling above it going out as it passes beneath them. ANDY and URBAN take off running away from the spirit. They cut down another hallway and turn to face the spirit as it rounds the corner. They both hold up their crosses. The spirit hisses. Both ANDY and URBAN move in closer to it, causing the spirit to be pushed back down the hallway. The two break out into a run, now chasing the spirit down the hallway.

They reach room 696 and the spirit moves back into the room. URBAN kicks the door shut once both of them enter the room. ANDY continues to force the spirit into the room and towards the black candle. The spirit continues to hiss as it is sucked into the flame of the candle. The wind picks up again. The flames on the white candles are blown out and the flame on the black candle turns black. The pentagram then begins to glow white. The wind stops blowing and the room falls silent.

ANDY: Well that was fun.

CARRIE: It worked. Oh my lord! It worked!

Everyone looks towards JERRY. The crucifix on his forehead is beginning to fade away. He touches the skin where it once was tenderly.

JERRY: Praise the lord! Thank you! Thank you so much!

ANDY smiles and URBAN nods. CARRIE hugs her father, both of the crying tears of happiness.

CUT TO:

INT. MAGNOLIA FORD ? BASEMENT ? NIGHT

AMY is sitting in the middle of the floor, a ring of circles around her. Her eyes are closed, her legs crossed, and her arms extended to either side of her. She's meditating. Her eyes snap open.

AMY: I'm surprised you found this place.

WILLOW walks down the stairs.

WILLOW: It was actually kinda easy. Just did a little backtracking. Plus, you signed the lease in your name so that made searching for you on the internet a lot easier. It just took a jiff.

AMY looks back over her shoulder at WILLOW.

AMY: How'd you get back to normal? I figured you'd be evil for a good few days.

WILLOW: You were wrong. And your plan definitely didn't go how you wanted.

AMY: Are you sure about that?

She stands up and faces WILLOW.

AMY (Cont'd): No wonder you and Tara were so perfect together. You both nag me and talk like you know me.

WILLOW: I do know you, Amy. Better than you think I do.

AMY: No. You're wrong. You don't know what happened to me. You don't know the person I've become. I'm not the Rat Girl like I used to be. You don't know me anymore.

WILLOW: I guess that's true. The Amy I knew wouldn't have done the things you've done the past few days. But that doesn't change anything. You made a really big mistake coming here.

AMY: Funny, I was just about to say the same thing to you.

AMY's hand snaps upwards and she fires a blast of orange energy at WILLOW. WILLOW waves her arm and a white shield protects her, deflecting the magical blast. She walks towards AMY as she fires more magic at her but WILLOW keeps deflecting it.

WILLOW: Your plan backfired.

She is now standing right in front of AMY.

WILLOW (Cont'd): Just let me help you.

She places a hand on either side of AMY's head. Her palms begin to glow white as her hair is blown back, the color fading into the same white color. The same thing happens with her eyes. Instead of them turning black, they turn white. AMY screams as the two are lifted off the ground.

WILLOW (Chanting): Hera, Queen of the Gods, heed my call in this hour! Break her spell. Bind her powers! Hera, heed my call!

AMY screams even louder. Suddenly, the two are blasted apart by white light. WILLOW lands on one side of the room, AMY lands on the other. Slowly, WILLOW's hair and eyes change back to normal as she stands up. Cautiously, WILLOW walks towards the other side of the room.

WILLOW (Cont'd): Amy?

AMY stands up, her back facing WILLOW. She tenderly touches her face and turns to face WILLOW. Her face is scarred, borderline deformed and unrecognizable. Deep, raised scars run up and down her cheeks and forehead. WILLOW is taken back by AMY's new appearance and nearly disgusted by it, as well.

WILLOW (Cont'd): Amy? Oh my god?

AMY: Y-you?You ruined me!

She holds up both her hands and blasts WILLOW with full force. WILLOW lands on the stairs and panics. She scrambles on her hands and feet up the stairs. AMY stands alone in the center of the basement. She looks down at the ground and screams.

CUT TO:

INT. THE AGENDA'S COMPOUND ? UNKNOWN ROOM ? NIGHT

We see NATALIE's dead body lying on a wooden table, her eyes closed, her throat sliced, and her clothes stripped from her body. TROY stands over her, smirking faintly. He tosses the bloody knife into a fire and nods. Two other men lift the platform with NATALIE on it and slide it into the fire. NATALIE's dead body burns as TROY turns and leaves.

INT. THE AGENDA'S COMPOUND ? DAWN'S CELL ? NIGHT

DAWN is lying in bed, sleeping. The camera pans from her bed across the room and down towards the hole in the wall near the floor. The camera seemingly goes through the hole and into the other room.

CUT TO:

INT. THE AGENDA'S COMPOUND ? CELL NEXT-DOOR ? NIGHT

The camera pans up off the ground and we see who the other prisoner is.

It's NATALIE, paper notes spread out across the bed as she writes a new one to DAWN.

CUT TO BLACK

END OF EPISODE

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CHOSEN Episode 2.04 "Crucifixion"

CHOSEN Episode 2.04 "Crucifixion"

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