Announcement

**Heather** · 30-07-07, 02:24 AM

ACT I

FADE IN

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

SEAN is lying dead on the ground, a bullet lodged in a bloody wound on his forehead. NIKKI turns away and walks towards the group. JORDAN squats down beside SPIKE. She grabs him by the chin with one hand and pulls his face towards her's, staring him in directly in the eyes. As she does so, her irises begin to glow a deep orange color.

JORDAN: Stand against that wall and don't move.

She stays squatting while SPIKE stands up, walks over to the wall behind CAMERON and NIKKI, and presses himself flush up against it. JORDAN stands up completely, her eyes still glowing.

JORDAN (Cont'd): Now you are going to tell us the truth. And if you don't, you will take that gun (Motioning to the one in SEAN's lifeless hand) and shoot yourself in the head.

CAMERON: Are you sure this is going to work?

JORDAN's eyes stop glowing and she stares at CAMERON.

JORDAN: I'm the best at what I do.

She turns back to face SPIKE, eyes suddenly glowing once more.

JORDAN (To Spike): Tell where Willow Rosenberg is.

SPIKE looks at her, seemingly standing up straighter. When he responds, it is monotone ? almost as if he were a robot.

SPIKE: I do not know where Willow Rosenberg is.

CAMERON: I'd love to see how bad a job everyone else does if you're the best there is.

NIKKI: How do we know if he's telling the truth?

JORDAN: He's telling the truth. I'm sure of it.

Her eyes return to normal. CAMERON shakes her head.

CAMERON: This is bull. C'mon, Nikki. You know it is, don't deny it.

JORDAN: What would you prefer we do? Use your sources to track Willow back to where she was last?

CAMERON: It's a better start than this is, that's for sure.

NIKKI stalks up to SPIKE while the other two bicker. She stares him in the eyes though he doesn't do the same. Swiftly, she knees him in the groin. SPIKE instantly snaps out of his trance and falls to the floor, moaning in pain.

SPIKE: Bloody hell!

He looks up at the three women. JORDAN and CAMERON both turn to face him. NIKKI kicks him in the stomach, hard.

NIKKI: Where is Willow Rosenberg?

SPIKE: Hell if I know!

NIKKI glances back at her fellow two interns.

NIKKI: Does that answer your question?

ANDY (OS): Do you wanna answer a few of mine?

The group turns to see ANDY and URBAN standing in the doorway.

ANDY (Cont'd): I say we start with who the hell are you and what are you doing in my warehouse?

NIKKI raises her gun on ANDY. ANDY expertly dives to the floor while URBAN backs out of Slayer Central. Sliding across the floor, ANDY tackles NIKKI. CAMERON and JORDAN watch from a distance, enthralled by the fight. NIKKI rolls herself so she straddles ANDY. She punches her twice before ANDY flips backwards, kicking NIKKI off of her. ANDY is now on her feet. She spins and kicks NIKKI upwards in the chin.

URBAN reenters the room with a long metal rod in his hands. He swings at JORDAN, who bends backwards, dodging the blow. URBAN hits the wall, unable to stop the momentum. JORDAN drops to the ground and kicks one leg out from beneath URBAN, causing him to fall to the ground in a split. CAMERON gets a running start from several yards away, jumps into the air, and kicks URBAN square in the chest. He slides backwards across the floor. He moans and winces as he attempts to sit up.

ANDY jumps into the air, kicking NIKKI with both feet. She goes in to make another strike but NIKKI is too fast. She lashes out, hitting ANDY in the cheek. She goes to throw another hit but ANDY wraps her arm around NIKKI's and pulls her in close. Swiftly, she head butts NIKKI, releases her, and kicks her in the stomach.

As CAMERON moves in on URBAN, he grabs the pole off the ground and smashes it into her knee. She collapses to the ground. JORDAN strikes but her attempt is futile. As she goes to punch URBAN, he swings the rod and blocks the hit by smashing her in the shoulder.

ANDY kicks NIKKI's gun up off the ground and into the air, expertly catching it. She cocks the gun and aims it on NIKKI.

ANDY (Cont'd): So how ?bout them answers?

NIKKI: Shove the badass act.

ANDY: Oo, sorry. Close but no cigar. Witty comebacks definitely aren't what I'm looking for.

ANDY fires the gun, grazing NIKKI's left shoulder.

ANDY (Cont'd): Care to try again?

URBAN walks over to ANDY's side. As he does so, JORDAN rises to her feet behind him. He spins around to face her but she holds up both her hands, surrendering. She helps CAMERON to her feet.

JORDAN: We're leaving.

ANDY: Funny, I don't think so.

ANDY looks over at JORDAN, whose eyes are glowing.

JORDAN: No, we're leaving. You are going to let us leave and you will not follow us.

URBAN is already standing stiff, under JORDAN's spell. ANDY slowly stiffens like URBAN and soon the two are standing perfectly still. NIKKI follows her fellow interns out of Slayer Central, stopping briefly to look at an unconscious SPIKE. They leave, sliding the door shut behind them. The camera cuts to a distant, aerial shot of the main room, showing ANDY and URBAN standing in a trance, SPIKE lying on the ground, and the dead bodies of ISOBEL and SEAN.

CUT TO:

INT. MAGNOLIA FORD ? STUDY ? NIGHT

Someone is sitting in the chair behind the desk, turned away from the camera. There's a knock on the door and DOUG enters the study.

DOUG: Amy?

The person in the chair doesn't move though we now know that it is AMY.

AMY: What?

DOUG: Just checking to see if you were still alive.

AMY: Unfortunately.

DOUG: Are you sure you're alright?

AMY: I am fine. Please leave.

DOUG bites his lip, turns, and leaves. The door swings shut behind him. The camera pans towards AMY, rotating around the chair to give us a full-frontal view of her. She appears to have been crying, the scars on her disfigured face still visible. She wipes away a tear and closes her eyes. Suddenly, they open again and we see that they are different: they're completely black.

CUT TO:

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

DAWN is sitting against the wall with the hole in it. When she speaks, she's whispering.

DAWN: How long have you been in here?

The camera pans down to the hole.

NATALIE (OS): I have no idea. They keep pulling me out of this cell and putting things in my head and I just?I am totally lost.

DAWN: Putting things in your head? Like needles? Oh my god, did they lobotomize you? ?Cause lobotomies sound fun in theory but must suck in real life.

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? MORNING

NATALIE stifles a laugh. She's lying on her back, looking up at the ceiling.

NATALIE: No. It's something different. Like?Brainwashing? I dunno.

DAWN (OS): Brainwashing? What kind of things are they saying?

NATALIE: I'm not sure. It's like?they put these images or videos in my mind. They're of like?somebody else who looks just like me living my life. But?But it isn't me.

DAWN (OS): What have you seen?

NATALIE: Everything. Me getting thrown out of a van with a bomb on my waist?Brett in the hospital?Andy having a mental breakdown?the FBI?Some French chick named Loiselle who is really freakin' badass?

DAWN (OS): Do you think any of it's real?

NATALIE: I dunno. I don't know they'll ever tell me, either. (Beat) I just really miss my clothes.

DAWN (OS): You have the white jumpsuit, too?

NATALIE: Oh yeah?I look like a celibate.

CUT TO:

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

DAWN lies down on her stomach, looking through the hole. She see's NATALIE's face but that's it.

DAWN: You look good, though.

Through the hole, we see NATALIE roll onto her side.

NATALIE (OS): Flattery won't get you out of here. Trust me. You wouldn't believe the beasts I've flirted with just to get better clothes.

DAWN: They haven't been treating me so bad. Which is totally weird. I swear it's like: "Hey! You're our prisoner! Want a cookie?"

NATALIE (OS): You're getting the decent treatment then.

DAWN: You haven't been so lucky?

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? MORNING

NATALIE: If you count daily sessions with a brainwasher as "lucky," then yes. I'm a regular ol' leprechaun. (Beat) I just can't wait until Andy finds out about this. Or your sister, for that matter. This is so all out war.

DAWN (OS): Natalie?

NATALIE: Yeah?

CUT TO:

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

DAWN: Do you think we're gonna get out of here? Do you think we'll see them again?

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? MORNING

NATALIE frowns and rolls onto her back again, staring up at the ceiling.

NATALIE: I?I have faith in Andy and Buffy and everyone. I believe that we're here because we're meant to be. I just?I have faith. I think that's all that matters.

DAWN (OS): Yeah?

CUT TO:

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

DAWN rolls onto her back.

DAWN: That's all that matters.

She closes her eyes for a minute, enjoying the silence.

DAWN (Cont'd): Hey Natalie?

There's only silence.

DAWN (Cont'd): Natalie? Yoo-hoo? You didn't fall asleep on me, did ya?

She rolls onto her stomach to look through the hole. Only this time she doesn't see NATALIE.

DAWN (Cont'd): Natalie?

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? MORNING

There's a hand over NATALIE's mouth as a large guard grabs her, dragging her out of the room. Her screams are muffled and her attempts to break free are futile. The guard kicks the door shut behind him.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? NIGHT

BUFFY and FAITH are seated on the couch. BUFFY is staring at the open laptop in her lap while FAITH thumbs through a thick packet of paper. BUFFY huffs and slams the laptop down on the coffee table in front of her.

FAITH: What's wrong now?

BUFFY runs a hand through her dark hair, frowning and tense.

BUFFY: I was never good at the computer stuff. Willow was always good at the computer stuff. I was never good at the computer stuff.

She leans her head against couch and sighs. FAITH grabs her cell phone from her pocket and holds it out to BUFFY.

FAITH: Call Willow.

BUFFY: I can't do that.

FAITH: Yeah, it's not so tough. Besides, I ain't geek enough to work that thing.

BUFFY closes her eyes and takes FAITH's phone, dialing a number and holding it to her ear.

WILLOW (On the Phone): Hello?

BUFFY: Will, it's Buffy. I need to ask you a favor.

She folds her legs up beneath her on the couch.

CUT TO:

INT. O'REILY PUB ? BOOTH ? NIGHT

WILLOW is sitting in the back of the pub in a large booth. It's dark. She's clearly been drinking ? as noted by the multiple bottles of beer in front of her and the half-full mug.

WILLOW: Hey Buff?Umm?It depends on the favor, honestly?

BUFFY (OS): I need you to look up modern uses of invisibility. The books Sean gave us are all about medieval witchcraft and oldies stuff.

WILLOW rubs her eyes.

WILLOW: Modern invisibility?I don't have my laptop with?

The table in front of WILLOW disappears. Everything on top of the table remains suspended in thin air but the table itself is gone.

WILLOW (Cont'd): Me?Buffy, can you hold on for just a sec?

She puts the phone down next to her on the seat and touches the air where the table once was. She discovers that there is something solid there. The table didn't leave the booth, rather is simply went invisible.

WILLOW (Cont'd): Oh my? (To the table, whispering) Come back! Come back table! C'mon!

The table fades back into visibility. WILLOW sighs with relief, looking around to see if anyone noticed her unintentional magic trick. She picks up the phone again and puts it to her ear.

WILLOW (Cont'd): What were you saying?

BUFFY (On the phone): I need you to look up modern uses of invisibility. Specifically people or groups of people.

WILLOW's eyes brighten as she gets an idea. Her eyes suddenly glow white.

WILLOW: Modern groups of people who practice invisibility.

White light emanates from the palm of WILLOW's hand. Suddenly, the light takes the shape of a set of images. The first is of an African tribe with the name "R'muknik Tribe" beneath it. The second is of Asian women with Japanese writing beneath it. The last is of a fair skinned man fading in and out of view with the name "The Agenda" underneath it.

WILLOW (Cont'd): Buffy?

BUFFY (On the Phone): Still here?

WILLOW (Cont'd): I've narrowed it down to "the R'muknik Tribe", some freaky deaky Japanese women, or "The Agenda".

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? NIGHT

BUFFY sits up straighter.

BUFFY: What? You just said you didn't have your laptop with you?

WILLOW (On the Phone): That's a very long story...And I am far too drunk to share it with you tonight?

BUFFY: Willow, where are you?

CUT TO:

INT. O'REILY PUB ? BOOTH ? NIGHT

WILLOW shrugs to herself.

WILLOW: I dunno. There are some funny men in kilts behind the bar and I feel the odd urge to do an Irish jig but that's about all that I can tell you?

She looks around, suddenly realizing that she's lost.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? NIGHT

BUFFY rubs her forehead.

BUFFY: Ok, call me if you need a ride home.

WILLOW (On the Phone): I don't think that'll be a problem?

BUFFY: Ok fine. Thank you for doing whatever it is you did.

WILLOW (On the Phone): No biggie. Bye-bye Buffy.

The line goes dead. BUFFY shakes her head and snaps the phone shut.

FAITH: What'd she say?

BUFFY: It's either some tribe that has a name like "Ermuknik" or Japanese women or "The Agenda." Don't ask me, I'm not the one who pulled those groups out of thin air.

FAITH: It's a start.

BUFFY grabs the laptop off the table and puts it back in her lap. She begins typing.

BUFFY: Here's to hoping it's enough.

She closes her eyes momentarily, takes a deep breath, and begins typing.

CUT TO:

INT. THE AGENDA'S COMPOUND ? PSYCHOLOGIST OFFICE ? MORNING

The camera pans across the room, slowing momentarily to show us a nameplate on a desk that says "DR. MONTOYA, M.D." and stops when we see NATALIE. She is bound to an overstuffed chair. She is tense and furious. A dark-skinned woman enters the room, sitting in a chair opposite NATALIE. She has a clipboard in her hands. Presumably, this is DR. MONTOYA.

NATALIE: Brainwashing time, right?

DR. MONTOYA: You know this isn't about brainwashing you, Natalie. We're just helping you catch up with the world.

NATALIE glares at her with glassy eyes.

NATALIE: Catch up with the world? You don't think I'm modern enough? Oh please, I was the first person of my generation to discover Hollister. I think I'm very modern as it is.

DR. MONTOYA: That's not what I mean.

NATALIE: Then tell me what you do mean. I'd love to be let in on this whole gag.

DR. MONTOYA rests her clipboard down on an end table beside her chair.

DR. MONTOYA: While you have been held here at this compound, we have sent a double in your place. An exact duplicate of you to live your life while you can't live it for yourself.

NATALIE: You cloned me?

DR. MONTOYA: In a sense, yes. But it's to help you and to cover up your disappearance. Nobody has noticed that you aren't you yet.

NATALIE: So you're keeping me up to date with what my double has been doing?

DR. MONTOYA nods.

DR. MONTOYA: This is simply a precaution. When we put you back into your normal lifestyle, you won't remember ever being here. And we want to make sure you don't ever suspect that there was foul play.

NATALIE shakes her head.

NATALIE: Why did you just tell me all that? I've been kidnapped before and those guys were a whole lot less open with their devious plans.

DR. MONTOYA: Because, like I said, you won't be leaving this island with any memory of this conversation.

NATALIE looks up at the ceiling and stifles a laugh.

NATALIE: Un-freaking-believable. (Beat) Why do you need me anyway? Why did you kidnap me?

DR. MONTOYA picks up her clipboard again and shakes her head.

DR. MONTOYA: I'm afraid I'm not at liberty to share that with you, Natalie.

She looks up at the door behind NATALIE's chair. The guard from earlier enters the room. He's holding a folded up cloth. He walks over to DR. MONTOYA's side and lays the cloth out on the end table, beginning to unfold it.

NATALIE: Time for the fun part, right?

DR. MONTOYA: Just relax.

The last fold is unfolded and we see a syringe and a small vile of white liquid. DR. MONTOYA picks up the syringe and pokes it into the vile, filling the needle with the liquid. She stands up and walks over to NATALIE. NATALIE begins to panic, she tries to pull away, her eyes wide with fear.

NATALIE: Stay away from me! Don't!

DR. MONTOYA: Just relax, Natalie.

She tilts NATALIE's head to the side and pokes the needle into the side of NATALIE's neck. Her eyes widen with pain as DR. MONTOYA injects the liquid into her body.

FLASH TO:

NATALIE'S MEMORIES

INT. THE ANNEX ? 1670 ? EVENING

The scene is blurry and the colors are emphasized greatly. We find NATALIE, wearing her white jumpsuit, standing in the corner of the room as the door opens. TROY and PAST-NATALIE enter the room. It's the same scene from episode 2.03 "Wicked." The talk but we don't hear what they're saying. They walk around for a few moments. We see LOISELLE come out from a closet and shoot TROY in the back of the head. PAST-NATALIE holds up her hands as LOISELLE takes aim on her.

NATALIE backs away from the scene as it unfolds, heading towards the door. She opens it and steps outside. She begins to run down the hall towards the large window at the very end. Suddenly, she hits an invisible barrier and collapses to the ground. She tries to lift herself up off her feet but can't. She finds herself pushed down again. The lights suddenly go out in the hallway as two shadows wrap their hands around NATALIE's arms. They begin to pull her back down the hallway towards room 1670 and towards the memory. She screams, cutting through the otherwise silent scene, as she's dragged back to the memory.

The shadows pull her into 1670 again and the door slams shut behind her.

CUT TO BLACK

END OF ACT I

**Heather** · 30-07-07, 02:26 AM

ACT II

FADE IN

INT. THE AGENDA'S COMPOUND ? PSYCHOLOGIST OFFICE ? MORNING

NATALIE's head is resting on her right shoulder, her eyes wide open. DR. MONTOYA is now sitting behind her desk, typing away on her computer, while the guard watches NATALIE's catatonic state.

FLASH TO:

NATALIE'S MEMORIES

INT. AIRPORT ? GATE ? MORNING

NATALIE watches as PAST-NATALIE walks over to LOISELLE, talking by the payphones. She stares curiously as PAST-NATALIE starts to walk away from LOISELLE and down the hallway. That's when NATALIE notices the black clad men and THE OPERATIVE following her. Suddenly the two are running.

FADE TO:

INT. AIRPORT ? HALLWAY ? MORNING

PAST-NATALIE and LOISELLE take off down a different, crowded hallway, losing the SWAT team in the traffic. NATALIE simply watches.

FADE TO:

EXT. AIRPORT ? RUNWAY ? MORNING

PAST-NATALIE and LOISELLE are now running across the runway as NATALIE walks after them.

FADE TO:

EXT. AIRPORT ? CAR ? MORNING

PAST-NATALIE and LOISELLE enter a black car as NATALIE finds herself already inside and waiting for them. The car takes off.

FADE TO:

INT. AIRPLANE ? PASSENGER'S SEATS ? DAY

LOISELLE is talking to PAST-NATALIE. NATALIE is standing a couple feet away, listening closely. NATALIE smiles at what she hears.

FADE TO:

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

PAST-NATALIE and LOISELLE run through the palm trees with our NATALIE following close behind, watching curiously. PAST-NATALIE looks down at a broken palm leaf beneath her foot and the two start running. NATALIE's eyes widen as she spots TROY standing in the trees just beside her. He slowly follows them, as does NATALIE.

TROY and NATALIE come out on the sand, following PAST-NATALIE as she runs. NATALIE spots a knife in TROY's hand. He pulls his arm back and throws the blade through the air and it plunges into PAST-NATALIE's back. She stops running, looks down, and turns around. As if instantly, TROY is standing behind her and pulling the knife out of her back. He blows her a kiss and slices her throat. NATALIE looks away, unable to watch her double get murdered. Suddenly, sound floods the scene as TROY grabs a walkie-talkie from his belt.

TROY: The Double is down. I repeat, the Double is down. The Ghost is on the island. Find her.

He stands over PAST-NATALIE's body and puts the walkie-talkie back on its hook. NATALIE looks down at her arms and sees the two shadows holding her yet again. Suddenly, she's pulled backwards through the sand.

END OF NATALIE'S MEMORIES

FLASH TO:

INT. THE AGENDA'S COMPOUND ? PSYCHOLOGIST OFFICE ? MORNING

NATALIE suddenly comes to, blinking. She sits up and looks around the room. The guard looks over at DR. MONTOYA, who stands up from her desk and walks over to their side.

DR. MONTOYA: What did you see?

NATALIE smiles faintly.

NATALIE: I saw the reason why I have faith?

DR. MONTOYA looks at her curiously as NATALIE makes direct eye contact with her confidently.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

SPIKE is sitting in on the edge of the desk as ANDY dabs away the blood from SPIKE's cut lip. He's holding an icepack to his stomach.

SPIKE: And who the hell were they? Coming in here and killing the Watchers and torturing me? It's ridiculous! I mean c'mon already!

ANDY looks up at him, her face seems saddened.

ANDY: And they just shot Sean and Isobel?

SPIKE nods, wincing with pain.

SPIKE: Isobel went down first. Then Sean got the bullet through his head. Damn shame. They didn't deserve to die just yet.

ANDY: No. They definitely didn't.

She tosses the bloody gauze into the garbage can and closes the first aid kit. URBAN enters the office.

URBAN: I?Uhh?The bodies are out back under the only tarp I could find. But we really need to get rid of them soon?

ANDY nods, still visibly shaken by the unexpected deaths.

ANDY: Y-yeah, of course. We have to give them a proper funeral, though. I can't just dump their bodies in the river.

URBAN nods.

URBAN: I get that.

SPIKE stares at URBAN oddly.

SPIKE: Who are you?

He looks to ANDY and points towards URBAN.

SPIKE (Cont'd): Who is he?

ANDY looks up at URBAN and sighs.

ANDY: Urban McGrath. He's an old friend of Brett's who's in town while Brett's in the hospital.

SPIKE: What kind of a name is Urban?

URBAN: You're kiddin' me, right? This coming from a guy named Spike?

SPIKE: At least mine's a bloody nickname.

URBAN rolls his eyes and paces the room. ANDY reaches to her pocket and pulls out her cell phone.

ANDY (To Spike): Have you seen Natalie lately?

SPIKE shakes his head.

SPIKE: Nope. I thought it was odd at first but I figured she was at the hospital with you.

ANDY rubs her eyes and flips open her phone, dialing a number.

ANDY: I haven't heard from her in a few days. Then again, I haven't been back here at all recently.

She waits, listening to the dial tone on the phone.

NATALIE (Answering Machine): Hey, fools. It's Natalie. Leaving the message at the beepy thingy.

There's a beep.

ANDY: Hey Nat, it's Andy. I'm just wondering where you're at. I haven't heard from you in days and Spike says you haven't been back to the warehouse in a while, too. Call me back as soon as you get this. I'm getting worried.

She hangs up and puts the phone back in her pocket. URBAN turns on the TV in the corner of the room and puts on the news. He squats down in front of it. The first thing we see on the TV is a shot of New York General Hospital.

NEWSCASTER (On the TV): The sudden rise in patients at New York General Hospital has overwhelmed the employees and the citizens of New York City. Of the many comatose patients' families, all of them agree that this situation must be an epidemic that needs to be controlled. It is unknown at this time what the exact symptoms are that the patients are facing.

URBAN looks back at ANDY, who's lost in curious thought.

URBAN: "An epidemic?"

Both ANDY and URBAN are clearly on the same train of thought ? and it worries them.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? NIGHT

FAITH pops open a beer beneath her shirt and takes a drink from it before turning the laptop around on the couch so BUFFY can see it.

FAITH: My money's on the Agenda.

BUFFY reads through the page.

BUFFY: "A terrorist cell responsible for numerous displays of extreme nationalism and radicalism?They say that they are acting upon ?The people's best interest' and that the United States of America has ?isolated itself from the world and that must be fixed.'" (Beat) Why do you think it's them?

FAITH: Their MO seems like it fits. The Japanese group focuses on torturin' men. And the R'muknik tribe is too scattered to do somethin' as organized as a kidnapping.

BUFFY scrolls down the page, skimming through the information.

BUFFY: They do seem like the people who would do this. (Beat) And they apparently have a base of operations in Manhattan.

She looks up at FAITH.

BUFFY (Cont'd): I think we've found ourselves a lead. How about we pay the Agenda a little visit?

FAITH grins.

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? DAY

NATALIE is lying on her bed, her eyes closed by she isn't sleeping. DAWN is talking to her through the wall.

DAWN (OS): So they flat out told you why they were doing that stuff to you?

NATALIE: Yeah, I was just as shocked as you are. But she said I won't remember anything about this island once I get off this island.

CUT TO:

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

DAWN: So she said that you'd be getting out of here?

NATALIE (OS): Yeah. I'm not getting my hopes up though. I don't think she realized that my double work her way back here and got herself killed.

DAWN: But that's good that she came back, right? That means that Frenchy can help us escape?

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? DAY

NATALIE sits up, leaning against the wall.

NATALIE: That's what I was thinking. In one of the memories I had, I was on a plane with her and she told me something. She told me how to contact her if we did get separated. First she told me to hide and she told me do a birdcall. Which is really weird but she said that if she hears it, she'll find me.

DAWN (OS): A bird call? What is she a freaky bird lady?

NATALIE shrugs to herself and looks out the window above her bed.

NATALIE: I dunno but it's worth a shot, right?

DAWN (OS): Can you even mock a birdcall? Isn't like a certain talent or something??

CUT TO:

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

DAWN: I mean, what kind of bird did she say to sound like?

Through the wall, we hear NATALIE making a birdcall.

DAWN (Cont'd): Wow you're good?

NATALIE (OS): You wouldn't believe the amount of useless skills I have.

DAWN: Ok, do it. Call Loiselle with your almighty birdy-ness.

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? DAY

NATALIE: No. We'll wait until it's dark out. That way Loiselle can hide better and have less chances of getting caught.

DAWN (OS): Right, ok. So much better than my idea of throwing her out into the open.

NATALIE laughs.

NATALIE: Don't worry; my double was doing a lot of spy work with this lady. I'm just trying to be like her?or me?

CUT TO:

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

DAWN giggles to herself.

DAWN: Hey Natalie?

NATALIE (OS): Yeah?

DAWN: Thanks.

NATALIE (OS): For what?

DAWN: For being locked up in the cell next to me.

The two crack up laughing.

NATALIE (OS): We're gonna get out of here. We're gonna make it.

CUT TO:

INT. THE AGENDA'S COMPOUND ? NATALIE'S CELL ? DAY

NATALIE nods, smiling with assurance.

NATALIE: We're gonna make it.

She leans her head back against the wall.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANDY is pacing the floor, phone to her ear.

ANDY: Hey Natalie? Pick up your phone, dammit. This isn't funny, this isn't cute, and this isn't anything good. Just pick up your phone now so I can know where you're at. Please? (Beat) Just call me back right away.

She hangs up, and moans.

URBAN (OS): You really care about her, don't you?

ANDY: She's as close to a real family member as I'm ever going to get. Yeah, I really care about her.

She turns around and walks back towards URBAN, who is leaning against the wall just outside the office.

URBAN: Good. I know what you mean.

ANDY: You don't have a family?

URBAN: None that care about me. That's why Brett and I hit off so well when we first met. We were like long lost brothers who finally got reunited after years apart. We were practically attached at the hip.

ANDY: What happened?

URBAN sighs and looks down at the ground.

URBAN: You know?I really don't know. The job happened. He took a promotion at Celestial Center after a good friend of ours, our partner, got murdered by our boss' orders. I was just so against it that I couldn't stand being around him. So I left. Packed my bags and went on a world tour.

ANDY: And then this happened?

URBAN nods.

URBAN: Yeah. Then this happened.

The two are silent.

URBAN: You love him?

ANDY smiles and looks around the room. She shrugs.

ANDY: I think so. Despite everything we've been through I just?I can't stop caring about him.

URBAN smiles.

URBAN: Good. You seem like his type.

ANDY: His type?

URBAN: Yeah?You're the kind of girl Brett would've gone out with before?well?

She finishes his sentence.

ANDY: Before Elizabeth.

URBAN: Yeah. Before Elizabeth. I never liked her. Never did. I could tolerate her but I didn't think she was right for Brett. She was too wrapped up in the job. Too frigid?

ANDY: Too bitchy, sadistic, and evil.

URBAN laughs.

URBAN: That too.

ANDY unfolds her arms from across her chest runs a hand through her hair.

ANDY: Natalie and Brett?They're both my anchors. They keep me grounded and sane. They might drive me up the wall sometimes but?I don't know where I'd be without them. That's why I can't lose Brett and that's why I want Natalie to call me back so I can know where she?

She winces with pain. She holds a hand to her chest as her eyes widen.

URBAN: Andy?? Andy!

He rushes over to her and catches her before she falls. He lowers her to the ground and holds her in his arms. Suddenly, ANDY's eyes glaze over.

FLASH TO:

VISION

INT. THE AGENDA'S COMPOUND ? DUNGEON ? NIGHT

The shot is blurred like a flashback but the coloring is different. This time it's almost faded to black and white but not completely. ANDY finds herself at the end of a hallway, jail cells to either side of her. She begins to walk forwards when someone races past her. It's NATALIE.

ANDY: Natalie?

NATALIE keeps running but slides to a stop in front of a specific cell. ANDY approaches the door and watches as NATALIE unlocks it and pushes it open. A dark-haired French woman exits the cell.

NATALIE: Wow they really tucked you away in here!

The French Woman and NATALIE take off running down the hall, away from ANDY.

FLASH TO:

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

ANDY is now standing in the sand staring right at DAWN. DAWN appears distracted and looks back over her shoulder before taking off running forward. ANDY turns and watches as the sand explodes around DAWN, but she keeps running. Abruptly, a mine explodes and DAWN is blasted back into a stone wall of the Compound. She falls to the ground, bleeding, as sand is blow up all around her. The scene goes white.

END OF VISION

FLASH TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

ANDY's eyes fade back to normal and she gasps for breath. URBAN removes two fingers from her neck.

URBAN: Your heart stopped! It just stopped completely!

ANDY pants and closes her eyes momentarily. She opens them and shrugs weakly.

ANDY: It happens.

She shakes her head softly and URBAN gradually helps her to her feet.

CUT TO BLACK

END OF ACT II

**Heather** · 30-07-07, 02:27 AM

ACT III

FADE IN

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

The sun sets on the horizon as LOISELLE rises from her hiding spot in the bushes. She looks around and wraps her fingers around the handle of her gun. She presses herself up against a wall of the Compound and moves slowly. From out of nowhere, she hears something. It's a birdcall. LOISELLE smiles and begins to move towards the sound, faster this time.

CUT TO:

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

NATALIE is kneeling on her bed, making the birdcall out through the barred window. Both DAWN and NATALIE whisper when they talk.

DAWN (OS): Is it working?

NATALIE: I don't know! I just started doing it! Give her a few minutes. Besides, we don't even know how big this island is. She could be anywhere?

LOISELLE (OS ? Softly): Natalie??

NATALIE presses her face up against the bars on her window.

NATALIE: Loiselle! I'm right here! Just?Just listen to my voice and?.

LOISELLE is now standing outside the window.

NATALIE (Cont'd): You'll find me! Oh thank god, you found me!

DAWN (OS): ?Us!' She found ?us!'

LOISELLE: Who else is in there?

NATALIE: That captive the Clone told you about? Yeah, she's in the cell to my left. We have to get her out of here, too.

LOISELLE: The Clone?

NATALIE: Yeah, there was another me but I remember everything she did because?Because it's a long story that doesn't need to be shared right now. Can you get us out of here?

LOISELLE looks at the bars and pulls on them.

LOISELLE: I have tools back in the boat.

NATALIE: Go get them! We need to get out of here as soon as possible. Trust me. Just go. Go!

LOISELLE nods and looks around before making a break for the trees. NATALIE slouches down against the wall beneath the window.

DAWN (OS): Are we gonna get out of her? Can she help us?

NATALIE closes her eyes.

NATALIE: God I hope so.

She bites her lip nervously.

CUT TO:

EXT. THE AGENDA'S COMPOUND ? DOCKS ? NIGHT

LOISELLE comes out of the trees and dashes towards the docks. Even though she's running rather quickly, her footsteps aren't heard. She lowers herself off the docks and into the boat she arrived on. Quickly, she opens a small compartment and pulls out a bag of tools.

And a flashlight is shined down on her.

She looks up but can't see who is shining the flashlight. We hear the cocking of a gun.

TROY (OS): Put your hands up and get up on the docks. Now.

LOISELLE stares nervously as she raises her hands in the air.

CUT TO:

INT. CAF? LA ROQUE ? TABLE ? EARLY MORNING

FAITH enters the caf?, dressed to kill in a revealing shirt and tight jeans. She's lifts her oversized sunglasses up onto the top of her head and looks over at a BALD MAN.

FAITH (Under her breath): Gotcha.

She walks towards the table, walking in a rather enticing manner. As she gets to the table, she runs her finger across the wood and up along the side of the BALD MAN's coffee cup.

FAITH (Cont'd): Hey there, cutie.

The BALD MAN stares up at her, smirking.

BALD MAN: Hello?

FAITH: My name's?Cindy. What's yours?

BALD MAN: Maury.

FAITH: That's a sexy name?

She tilts her head to the side and smiles, taking a dollop of whip cream off the top of the man's drink with her finger. She brings it to her mouth and licks her finger. He smiles at her.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? EARLY MORNING

The door bursts open and FAITH throws MAURY into the room. He lands on the floor, hard. From out of her bedroom comes BUFFY, arms folded across her chest with a sly smile stretching across her face.

BUFFY: Hola.

MAURY: Who the hell are you? You have no idea how big of a mistake you've just made!

FAITH: Dude, you groped my ass five times. That's an even bigger mistake.

BUFFY walks over to MAURY, who tries to crawl away. She steps on his back and kicks him over onto his back.

BUFFY: Won't you stay a while? Please? I have so much I want to talk to you about.

She smiles.

A matter of moments, MAURY is bound to a chair with BUFFY standing over him. FAITH is sitting on the couch watching BUFFY as she begins to pace around him.

BUFFY (Cont'd): You work for the Agenda, don't you? Don't lie. I already know what the right answer is.

MAURY looks up at her in disgust.

MAURY: Filthy whore?

BUFFY punches him across the face.

BUFFY: And that's the wrong answer.

She kneels down beside his chair and stares him in the eyes.

BUFFY (Cont'd): You're an agent for the Agenda. I know that. Guess what else I know? I know that you and your buddies kidnapped my sister and that you know where she is. (Beat) Tell me I'm wrong. Go ahead.

MAURY: I don't know what you're talking about?

BUFFY shakes her head and reaches out to the coffee table, grabbing a butcher's knife. She holds it up for MAURY to see. FAITH tenses up, surprised that BUFFY is going to such extremes.

BUFFY: Yes, you do. And you're going to tell me everything I want to know.

She runs the sharp tip of the blade across MAURY's thigh.

BUFFY (Cont'd): Or else you're going to lose something very precious to you?

The presses the knife down a tad bit hard once she reaches his groin. He winces with pain. FAITH sits up straighter.

FAITH: Buffy?

BUFFY (To Maury): Where are you keeping Dawn Summers?

MAURY: I don't know!

BUFFY: Wrong answer.

She forces the blade down into MAURY's groin and blood gushes out of the fresh wound. FAITH leaps off the couch and grabs BUFFY by the arm, pulling the knife out of MAURY's leg in the process. She pushes BUFFY up against the wall when she tries to fight back.

BUFFY (Cont'd): Let me go, Faith.

FAITH: You're goin' too far with this, B.

BUFFY: He knows where Dawn is. I am not going to let him lie to me.

FAITH: I know you're not.

BUFFY: Then let me go.

FAITH: No. I can't let you do this. This isn't you.

Tears begin to roll down BUFFY's cheeks.

BUFFY: I need to find my sister. I cannot lose her. I lost my mom, my dad's useless, and now my sister? My sister is being held captive by some godforsaken terrorist cell and the man who knows the answers to my questions is sitting in that room. I'm doing what I have to do.

FAITH: No. You can't do this.

BUFFY: I have to!

She pushes against FAITH, who pushes back even hard.

FAITH: I can't let you do this. Once you go through with it, you can't go back. Trust me. It'll be scarred into your head, B. You won't be able to sleep at night. You won't be able to live with yourself. Because that's who you are.

BUFFY stops fighting FAITH and closes her eyes, still crying.

FAITH (Cont'd): But that's not who I am?

She let's BUFFY go and turns back towards MAURY.

BUFFY: F-faith??

FAITH walks towards MAURY, still holding the knife.

FAITH: Stay there, B.

She is now standing a foot away from MAURY.

FAITH (Cont'd): I think I can handle this one.

She twirls around and kicks him across the face, causing the chair to tip over. FAITH drops to a squat and runs the blade down MAURY's arms.

FAITH (To Maury): You've gotta forgive my friend. She's not exactly informed about how to interrogate someone. Lucky for you, I'm here to do it for her.

She smiles. BUFFY leans against the wall, crying still.

FAITH (Cont'd): Where the hell is Dawn Summers?!

She plunges the knife into MAURY's hand and he screams.

FAITH (Screaming even louder): Where is she?!

Her face is lit with fury and violence while BUFFY's is dark with sadness and remorse.

CUT TO:

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

DAWN is frowning, softly hitting her head back against the wall repeatedly.

DAWN: She's not coming back?

NATALIE (OS): Don't say that.

DAWN: Oh c'mon, Natalie! It's got to have been at least two hours. She probably got caught?

NATALIE (OS): Don't say that!

The two are silent.

CUT TO:

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

NATALIE rubs her forehead.

NATALIE: I'm sorry. I usually don't snap like that.

DAWN (OS): Don't worry about it. You're right. We don't know what happened.

NATALIE looks out her window and shakes her head.

NATALIE: We need a new plan.

DAWN (OS): A new plan?

NATALIE: Yeah, something to us just incase Loiselle doesn't come back.

DAWN (OS): What kind of a plan?

NATALIE spots the pencil and the multiple sheets of paper lying on the floor near the hole in the wall. Her eyes brighten as she gets an idea.

NATALIE: I have an idea?

DAWN (OS): Care to share it with me?

NATALIE: The pencil and the paper. One of us could get injured and when the guard comes, we'll overpower him, steal his keys, and run for our lives.

CUT TO:

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

DAWN smiles.

DAWN: I like this plan?

NATALIE (OS): I'll be the one who gets hurt. I'm bigger and can probably take out the guard?

DAWN: No. I'll do it. Trust me, I've already been stabbed with a pencil before when I was twelve and I've had worse cuts on my body than a paper cut. I'll do it.

NATALIE (OS): Are you sure?

DAWN: Yeah?Yeah I'm very sure.

NATALIE (OS): Ok.

DAWN: Let's blow this joint?

She smiles and reaches through the hole for the pencil and paper.

CUT TO:

INT. GIOVANNI'S ITALIAN CUISINE ? RESTAURANT ? MORNING

AURORA enters the dark restaurant and heads towards the back. From out of the shadows comes HALO TUNDE. He wraps an hand around her wrist and pulls her back.

HALO: Who are you?

AURORA: Aurora Newhart and I work for Celestial Center. Now get your hand off me.

HALO: I'm afraid that won't be possible. You do not have a scheduled meeting with Miss Brandy and Miss Joanne.

AURORA: I don't care. But I'm pretty sure they'd love to hear what I have to offer them. And I'm pretty sure they'd be really disappointed in you if you prevent them from making a killer deal.

She grins up at HALO who cautiously let's her go. A moment later, he's leading her to the kitchen.

CUT TO:

INT. GIOVANNI'S ITALIAN CUISINE ? KITCHEN ? MORNING

AURORA enters the kitchen with HALO right behind her. MISS JOANNE looks up at AURORA, surprised that they have a visitor. MISS BRANDY smiles softly from her seat.

MISS JOANNE: And who are you?

AURORA: My name is Aurora Newhart and I'm here to make you a deal.

MISS JOANNE: We are not interested in any deals.

MISS BRANDY slaps MISS JOANNE in the leg.

MISS BRANDY: Shut it, you. If the girl has an offer, then I'd love to hear her out. We don't have to take it if we simply listen to her. (Beat) Right?

AURORA: No, you don't have to take it. I just figured I'd offer up my services.

MISS JOANNE: Your services?

AURORA moves closer to the two women and leans against a counter, propped up with her hand.

AURORA: I work for Celestial Center right now. They have under a binding contract that I'm not very happy with at all. It's putting my life at risk and the kids at my orphanage at risk. I don't like that kind of threat hanging over my head everyday.

MISS JOANNE: So what do you want us to do?

AURORA: I want you to hire me under Celestial Center's radar. I will help you rip apart that agency.

MISS BRANDY: I'm confused. Why do we want to destroy Celestial Center? They're going to make us more money than we are currently making.

AURORA: Because they own you. Just like they own me. You're their pawns now and you have to do anything and everything they want. If we take them down, we'll all make more money than any of us could ever imagine and have unlimited supply of resources at our fingertips.

There's silence as MISS JOANNE and MISS BRANDY contemplate this offer. AURORA turns to leave but places a small business card on the counter as she goes.

AURORA (Cont'd): Don't make a decision yet. Think about it. And when you've made one, call me on that number. It's not bugged or traceable. Trust me. Have a nice day, ladies.

She pats HALO on the chest.

AURORA (Cont'd): B'bye buddy.

She smiles and leaves.

CUT TO:

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

DAWN screams with pain as she pushes the pencil through her pinky. She's sweating, sobbing, and bloody from the paper cuts on her wrist. There's a clicking sound as the door to her cell opens and a GUARD enters.

GUARD: What's going on here?

DAWN: The pencil?The pencil slipped?I didn't mean to?I didn't?

The GUARD kneels down next to her and looks at her arm. She pulls free, wincing with pain and pulls the pencil out of her finger. Swiftly, she catches the guy off guard and slices him across the forehead with the pencil. He stumbles back onto the floor and she painfully rises to her feet.

DAWN: Thanks for falling for that lovely display of Oscar-material acting?

She spins and kicks him across the face. He falls to the ground, unconscious. She reaches to his belt and grabs his keys, a small knife, and his gun. She moves to the door and looks both ways down the hallway, painfully touching her bloody arms. She then moves to NATALIE's cell door and unlocks it.

NATALIE (OS): Hurry!

DAWN: Shut up! You're not the one with the hole in your pinky!

She finally unlocks the door completely pushes it open. NATALIE hurries out and DAWN hands her the gun.

DAWN (Cont'd): You can fire that right?

NATALIE: What's with everyone asking me that lately?

DAWN hands her the keys, too.

NATALIE (Cont'd): Why do I have to hold these?

DAWN: If we get separated, you need to find Loiselle. You've seen more of this place than I have. Just trust me on this one.

NATALIE nods and the two tense up at the sound of footsteps.

NATALIE: Let's go!

They take off running in the opposite direction of the footsteps as a guard rounds the corner. The guard walks up to the open door of DAWN's cell and looks inside. He instantly grabs his walkie-talkie.

GUARD 2: The two POW's have escape. I repeat, the POW's have escaped. Initiate Lockdown.

He grabs his gun from its holster and cocks it running off down the hallway after NATALIE and DAWN.

Their escape now in motion.

CUT TO BLACK

END OF ACT III

**Heather** · 30-07-07, 02:28 AM

ACT IV

FADE IN

INT. THE AGENDA'S COMPOUND ? CORRIDOR ? NIGHT

NATALIE and DAWN speed down the hallway. NATALIE holds the gun tightly in her grip, finger laced around the trigger. DAWN has the knife in her fist, armed just as well. Suddenly, sirens are heard and red lights flash above their heads. The lights go dim. A VOICE is heard over an intercom system.

VOICE: Initiating Lockdown procedures.

NATALIE and DAWN run even faster towards a set of open doors at the end of the hallway. NATALIE is farther ahead than DAWN. She looks back over her shoulder at DAWN, who is running out of breath and slowing down.

NATALIE: Dawn!

Suddenly, a sliding door lowers from the ceiling several yards away from DAWN. She turns and stares at it in shock?as another lowers behind NATALIE, separating the two.

NATALIE (Cont'd): Oh god?

She looks to her left and takes off running in that direction towards a door labeled "Stairs."

On the other side of the sliding door, DAWN begins to pace. She's trapped, boxed in on all sides. She looks around, searching for an escape?and finds it. A foot down from the ceiling on one of the permanent walls is an air vent. She hurries towards it and kicks off her shoes, leaving her feet bare. She slowly begins to climb up the corner of the wall and grabs the air vent's metal grating to keep herself suspended. She pulls on it repeatedly but has no luck. That's when she grabs the knife. Quickly, she uses the knife to unscrew the bolts keeping the vent in place and has it loose enough to pull it right off the wall. The grating falls to the ground with a crash and DAWN disappears inside the vent.

CUT TO:

INT. THE AGENDA'S COMPOUND ? DUNGEON ? NIGHT

LOISELLE is sitting on the floor of her cell, head in her hands. Suddenly, the sirens sound as the Lockdown is initiated. She perks up and moves towards the metal bars of her cell door. She smiles.

LOISELLE: Unbelievable?

She begins to make the same birdcall NATALIE made to call her to the rescue.

CUT TO:

INT. THE AGENDA'S COMPOUND ? HALLWAY ? NIGHT

NATALIE opens the door of the stairwell slightly, surveying the hallway. It appears empty. She quickly slips out of the stairwell and moves quickly down the hall. She slows upon hearing a birdcall coming from the other direction. Her brow ruffles and she hurries off towards the sound, gun down at her side.

She comes upon another door, this one labeled "Authorized Personnel Only." She ignores the sign and tries to handle. It doesn't budge. She smashes the butt of the gun down on the metal handle but it doesn't do any good.

That's when we hear the cocking of a gun behind her.

The camera pans around and we see that it is TROY.

TROY: I've shot you once already. I'm not afraid to do it again.

NATALIE: Fine. You caught me.

She turns around slowly.

NATALIE (Cont'd): But I've gotta thank you for showing me this way of life. If it wasn't for you or for Loiselle, I would never have learned how to do this?

She drops to the ground and smashes the gun into TROY's knee. He collapses to the ground. She cocks her handgun and rests it against his forehead.

NATALIE: Give me your keys. I'm really not up for feeling what it's like to kill somebody tonight. (Beat) But I will if you force me to.

Her eyes are glassy and her jaw is clenched with anger as she pushes the gun harder up against his head. He smiles and drops his gun on the floor, reaching for the key ring on his belt. He unhooks it and hands it to NATALIE.

TROY: Good luck getting out of here alive.

NATALIE: Uh-huh?

She strikes him quickly across the head with the gun and he's rendered unconscious.

CUT TO:

INT. THE AGENDA'S COMPOUND ? AIR VENT ? NIGHT

DAWN is sweating as she crawls through the tight air vent. There's light coming from just a few feet away. She sees this and crawls faster towards the light to find that it is another metal grating. She smiles, grabs her knife, pokes her hand through the grating, and unscrews the bolts before kicking it open.

CUT TO:

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

DAWN crawls out headfirst from the air vent and finds herself standing on a sandy beach. She looks around, suddenly lost.

DAWN: Ruh-roh...

She begins to walk slowly along the beach, not seeing the sign nailed to a tree reading "Beware: Mine Field" as she passes it.

CUT TO:

INT. THE AGENDA'S COMPOUND ? DUNGEON ? NIGHT

Suddenly, we have caught up with ANDY's vision from Act II. NATALIE runs down the hallway in the dungeon and towards the source of the birdcall. She slides to a halt when she sees LOISELLE inside one of the cells. Quickly, she unlocks the door and pushes it open. LOISELLE rushes out.

NATALIE: Wow, they really tucked you away in here!

The two take off down the hallway just like they did in ANDY's vision.

CUT TO:

EXT. THE AGENDA'S COMPOUND ? BEACH ? NIGHT

DAWN walks silently across the sand. She hears a noise in the trees behind her and she freezes up. Looking back over her shoulder, she sees that it's just a bird. That's when DAWN takes off running. And that's when the bombs start to explode. Sand flies up in pillars all around her as she tears across the sound, covering her eyes and screaming.

Just like in ANDY's vision, a bomb explodes too close to DAWN and she's sent flying through the air, smashing into a stone wall of the Compound. The wind is knocked out of her upon impact and she collapses to the ground, blood dripping from the corner of her lip where she accidentally bit it.

DAWN slowly pushes herself up, wincing with pain. Sand has gotten in her cuts and now her lip is bleeding and her back is killing her. But she still insists on running. This time she has a destination: a different set of docks than the ones in previous scenes. These docks are bigger.

And so are the boats.

CUT TO:

INT. CELESTIAL CENTER ? ELIZABETH'S OFFICE ? DAY

ELIZABETH throws a glass of wine against the wall and covers her eyes with her hand. LYNN is sitting in a chair behind her, sipping her wine calmly.

ELIZABETH: It's one simple mission and they screw it up. They get Sullivan involved. Dammit!

LYNN places her cup down on ELIZABETH's desk and crosses one leg over the other.

LYNN: Killing Willow Rosenberg isn't a simple mission. Especially now that she has the Power inside her.

ELIZABETH: But she can't control it. If I did one thing right that night, it was putting the blocks back in place inside her mind with the amulet.

LYNN: But the power's still there. She can still learn to harness it. She can still learn to fight back without turning herself wicked.

ELIZABETH looks away and LYNN stands up, moving closer to her daughter. She wraps an arm around her shoulders.

LYNN (Cont'd): Even with Andy involved, it makes no difference. These girls are talented. They may need some more practice, but they're talented.

ELIZABETH nods and rests her head on her mother's shoulder momentarily before pulling away and sitting behind her desk.

ELIZABETH: You're right. I wouldn't have hired them if I didn't know that you were right. (Beat) Thank you for reassuring me.

LYNN smiles.

LYNN: Anytime.

She picks up her glass and drains it of every last drop of wine.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

SPIKE is sitting behind the computer, scrolling down a page of news headlines on the internet. He clicks on one titled "Office of the Year Title Awarded to Officer Nikki Ford." He clicks on it out of curiosity and his eyes widen. There's a picture of NIKKI accepting a plaque from the governor. He realizes it's the same woman who attacked them earlier.

The same woman who killed SEAN and ISOBEL.

SPIKE looks up from the computer and grabs the phone, picking it up from the receiver and dialing a number. He waits until someone picks up.

SPIKE: I found the bloody whore.

ANDY (On the Phone): Who is she?

He stares at the computer screen angrily.

SPIKE (Cont'd): Her name is Nikki Ford. I think she deserves a little visit.

He grins.

CUT TO:

INT. THE AGENDA'S COMPOUND ? LOBBY ? NIGHT

LOISELLE and NATALIE dash down the hallway and towards the main entrance to the building, which is located in a large, open lobby. The doors slide down from the ceiling once they run beneath them. They're trapped in the lobby.

TROY (OS): That was exciting.

NATALIE turns and sees him standing against a wall.

TROY (Cont'd): I personally didn't think you'd make it this far. (To Loiselle) And you? Well, I'm not surprised you knew your way back here.

LOISELLE: Neither am I.

NATALIE turns to LOISELLE.

NATALIE: What is he talking about?

She looks genuinely confused and LOISELLE doesn't even look at her when she replies.

LOISELLE: I built this Compound ten years ago.

NATALIE: What?

LOISELLE: I was in the van when you were kidnapped. I helped the Operative put the bomb on your waist.

NATALIE backs away from her, her grip tightening around the handle of the gun.

LOISELLE (Cont'd): Natalie, I don't work for them anymore. When I found out that Troy was going to take you back here after the bomb incident, I quit. I saw their true intentions and quit. Trust me.

NATALIE's glassy eyes seem to harden with anger.

NATALIE: No?No?How am I supposed to trust you?

LOISELLE: I don't know. But you have to in order for both of us to get out of this building and off this island alive.

TROY: You should listen to her, Nat. If she's good for one thing, that's the truth.

He smiles slyly. NATALIE glares at him.

NATALIE: You don't get to call to me Nat.

TROY doesn't stop smiling even as NATALIE begins to stalk towards him, raising the gun on his forehead.

NATALIE (Cont'd): You are going to get me off this island. You are going to get Dawn Summers off this island. And if you don't, I swear to God I won't hesitate to pull this trigger again.

His smile fades away when he realizes that she's completely serious.

TROY: You wouldn't?

NATALIE: After the time I've spent here and the time I've apparently spent with you? I've changed. This is the new me. (Beat) And the new me isn't a wussy.

She pulls her hand back and strikes him in the jaw with the gun.

NATALIE (Yelling): Get us out of here!

A tear rolls down her cheek in anger.

CUT TO:

INT. THE AGENDA'S BOAT - CABIN ? NIGHT

DAWN kicks in the door to the boat's cabin and rushes inside, knife in her hand. She limps slightly but can run otherwise due to the adrenaline rushing through her body. She spots a phone hanging on the wall and quickly grabs it and dials a number. She's crying now, listening to the dial tone. Someone answers on the other line.

DAWN: Buffy? Buffy it's me!

She's smiling despite her tears.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? DAY

BUFFY turns away from FAITH and MAURY, the phone pressed against her ear.

BUFFY: D-Dawn??

FAITH, out of focus, turns and listens carefully while MAURY slouches in the chair, bloody and losing consciousness.

DAWN (On the Phone): Buffy! Oh my god!

BUFFY: Dawny, where are you?

She's staring off into space while she talks on the phone.

CUT TO:

INT. THE AGENDA'S BOAT ? CABIN ? NIGHT

DAWN's smiling, shaking slightly.

DAWN: I'm on an island. The Azores Islands. These people?They're holding me and Natalie captive but we're gonna come home now. We can come home now. We've escaped and we're free now. We're coming home.

She laughs as she cries.

CUT TO:

INT. HOTEL ROOM 843 ? LIVING ROOM ? DAY

BUFFY leans against the wall, closing her eyes.

DAWN (On the Phone): B-Buffy? Buffy, I'm coming home.

She sighs with relief. Relief from knowing that her sister is alive. Relief from hearing her sister's voice again.

CUT TO:

INT. THE AGENDA'S COMPOUND ? LOBBY ? NIGHT

NATALIE stands over TROY as he opens a drawer and pulls out a set of keys and two wallets, handing them to NATALIE. She opens the wallets. One is hers, the other is DAWN's.

TROY: The keys are for a boat parked on the docks right outside those doors. The airport is a few miles off the coast of Spain. (Beat) I'm sure Loiselle knows how to drive a boat.

LOISELLE glares at him.

NATALIE: You better not be lying to me again.

TROY shakes his head.

TROY: I'm not. I promise.

NATALIE stares him in the eyes before looking back at LOISELLE.

NATALIE: You can drive a boat, too?

LOISELLE: Yes I can.

NATALIE (To Troy): Call off the Lockdown. Now. Tell your guards not to mess with us. We are leaving this island. And if we don't, you will severely regret it.

TROY glares at her and picks up the phone.

NATALIE and LOISELLE moves towards the doors as TROY talks into the phone. They push through and walk out onto the sidewalk and towards the docks.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

It's now late at night in New York City. BUFFY is sitting cross-legged on the couch with DAWN resting her head in her lap. DAWN's hair is wet, clearly having come out of the shower recently. She's wearing pajama pants and an oversized shirt, looking thoroughly exhausted. BUFFY, however, seems more collected and but tense. The door to the warehouse slides open. WILLOW enters the main room and looks around before spotting BUFFY on the couch. She shuts the door behind her and moves over towards them. She's wearing the same clothes as when we last saw her and her hair is messed. It takes her a moment to realize DAWN is in the room, too.

WILLOW: D-Dawny?? Dawny? Oh my?

DAWN sits up and WILLOW drops to her knees in front of the couch, hugging her. DAWN squeals with happiness.

DAWN: I love coming home after a long time away. Everybody makes me feel so special?

BUFFY: Don't plan on leaving my sight for the next decade, missy.

WILLOW notices the bandages on DAWN's arms and hand.

WILLOW: Oh sweetie?What happened?

DAWN shakes her head, shrugging it off as nothing.

DAWN: It was how we got off the island?

WILLOW: Wait, we?

She looks to BUFFY, who nods in response.

BUFFY: Natalie was there.

WILLOW: No, Natalie was here?

DAWN: Trust me, it's a way long story that I'm way too tired to tell.

WILLOW strokes DAWN's hair once and stands up, smiling.

WILLOW: Tell me tomorrow when we go get breakfast. All three of us. My treat. Oo! How do pancakes sound?

DAWN smiles softly and looks away from WILLOW. WILLOW ruffles her brow and looks to BUFFY.

WILLOW (Cont'd): We don't have to get pancakes?We could get waffles, too?.O-or French toast?

BUFFY: It's not the breakfast.

WILLOW: Then what is it?

BUFFY: Will?We're leaving. Dawn and I. We're going back to Rome. Spike said he'll come, too. But we won't be here when you wake up.

WILLOW is clearly shocked to hear this news.

WILLOW: Oh?Oh?I understand?No, that makes perfect sense?I'm not surprised at all?

BUFFY: Come with us, Willow.

WILLOW's starting to get emotional now. She shakes her head, looking up at BUFFY with watery eyes.

WILLOW: I-I can't. I can't leave.

BUFFY: Why not? Our home isn't here Willow. We've been living out of a hotel. Our home is there. In Rome.

WILLOW takes a moment to process her answer.

WILLOW: Amy?Amy's here.

BUFFY's jaw clenches.

BUFFY: What?

WILLOW: Amy's here a-and she?She did something to me and when I tried to bind her powers it?It backfired. I don't know what happened. I hurt her?

She starts to cry.

BUFFY: Willow?

WILLOW: No. I can't leave. I have to fix this I have to help Amy get better?

BUFFY: That's not your responsibility. She's a bad person?

WILLOW: No?She just needs help! (Beat) Y-you go. You three go back to Rome. I'll stay. I?I need to stay. Just go. I can fly out there anytime I want to?J-just?Just go?

BUFFY stands up and hugs WILLOW tightly.

BUFFY: You know I love you, Will.

WILLOW cries softly on BUFFY's shoulder. DAWN stands up and hugs WILLOW.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

NATALIE is lounging in one of the overstuffed chairs. ANDY is finishing up braiding her hair. URBAN is sitting in the other chair, reading a book.

NATALIE: Stop braiding my hair! I'm just gonna straighten it when it dries.

ANDY: No, you won't. You say that but you never do. You're too lazy.

NATALIE: Pft, life as a POW has totally hardened me and made me a lot less lazy. Trust me. You shoulda seen the way I was running. You'd have been proud of me.

She rolls her head back over the arm of the chair to look at ANDY and smiles. ANDY smiles back.

ANDY: I am proud of you. You made it out of there alive.

NATALIE: Oh please. I can escape a terrorist's fortress any day of the week if I had to.

ANDY: I'm sure you would have.

ANDY puts a hair-tie around the end of the second, and last, braid and stands up.

ANDY (Cont'd): There. I'm done, girly.

NATALIE smiles up at her.

NATALIE (Childishly): Thank you, Andy?

ANDY: Yeah, yeah. Now go to bed.

NATALIE sticks her tongue out playfully and struggles to get out of the chair from her position but she manages.

NATALIE: G'night, my fellow ass-kickers.

She curtsies and leaves the office. URBAN smiles and shuts his book. ANDY looks over at him.

ANDY: What are you smiling at?

URBAN taps the book on the cover.

URBAN: The book. I'm smiling at the book.

ANDY: Uh-huh?

She moves towards the desk and sits down, turning on the TV.

URBAN: Hey, I'm a lone wolf. I live a solitary lifestyle.

ANDY: Keep telling yourself that.

URBAN laughs and stands up.

URBAN: Goodnight, Andrea Sullivan.

ANDY: Where are you going?

URBAN stops walking and looks back over his shoulder.

URBAN: I got myself a hotel room with the buckets of money I'm hiding under my shirt.

A smug look crosses his face and he waves goodbye. ANDY shakes her head and laughs.

CUT TO:

INT. SLAYER CENTRAL ? MAIN ROOM ? NIGHT

BUFFY, DAWN, and WILLOW have left. The room is empty except for URBAN and NATALIE, who has standing on the first step of the stairs leading to the second floor. She's smiling at him. He notices and can't help himself from smiling back.

NATALIE: I wanted to thank you.

URBAN: For what?

NATALIE: For keeping Andy sane. For helping her over the past few days. For just?for being there. I appreciate it.

URBAN nods.

URBAN: Yeah?She's pretty cool.

NATALIE laughs.

NATALIE: She is pretty cool, isn't she?

URBAN's smile widens as he heads for the door.

URBAN: Goodnight.

He slides open the door.

NATALIE: You're not leaving, are you? The city? You're not running off somewhere yet, right?

He stops walking and looks back at her.

URBAN: I'm not going anywhere.

She smiles at him and rolls her eyes.

NATALIE: G'night, silly boy.

She turns and heads up the stairs. URBAN watches, smiling. Before she enters one of the rooms, she shouts back at him.

NATALIE (Cont'd): Stop looking at my ass, already.

She enters the room, smiles back at him, and shuts the door. URBAN laughs.

CUT TO:

INT. SLAYER CENTRAL ? OFFICE ? NIGHT

ANDY lifts her feet up on the desk, flipping through the channels. She stops on the news. They're playing a segment on the sudden influx of coma victims in Manhattan, by the looks of it. A hand rests on her shoulder, though ANDY doesn't notice.

It's Brett's hand.

He's standing over her, smiling.

BRETT: You'll get through this, Andy.

He kisses her on the top of the head.

BRETT (Cont'd): I love you.

He remains standing by her side while she remains oblivious to his presence.

CUT TO:

INT. APARTMENT ? KITCHEN ? NIGHT

The sink is still running, a cup half-full with water resting on the counter nearby. There's smudged red lipstick on the rim. Someone was drinking from it. The camera pans down to the floor and moves through the house and towards the living room.

CUT TO:

INT. APARTMENT ? LIVING ROOM ? NIGHT

We see a body of a woman, wearing the same red lipstick as on the glass, sprawled out on the floor. A few feet away from her is a man, not moving. The camera begins to pan up and we see that the house is intact. It hasn't been attacked by anything.

A Cranial Demon appears in front of the camera, growling.

CUT TO BLACK

END OF EPISODE

Announcement

CHOSEN Episode 2.05 "Prisoners of War"

CHOSEN Episode 2.05 "Prisoners of War"

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