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Becoming, Part Two (March 13, 1998) Written by: Joss Whedon |
| Teaser |
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INT. LIBRARY - NIGHT (SECONDS AFTER RECAP) A SECOND COP joins the first, also draws his weapon.
Back away from the girl! Put your hands up and back away slowly!
But, I didn't --
Do it now! She does, as the first cop moves to Kendra, checks her vitals.
This one's dead.
What about up there? ANGLE: XANDER is visible lying on the balcony.
Xander! She starts for him, breaking away from second cop, but First Cop grabs her, throws her back.
Get her out of here!
(re: Xander) See if he's okay! Second Cop takes her and roughly pushes her through the doors to INT. HALL - CONTINUOUS - NIGHT As they come out we see Snyder arriving with two OTHER COPS.
You'd do well to keep your mouth shut, missy.
I didn't do anything!
Why do I find that so very hard to believe?
(to the other cops) In there. (as they go inside,) You know this girl?
Buffy Summers. If there's trouble, she's behind it.
You stupid little troll, you have no idea --
Attitude problem. Serious.
Please, see if the others are okay. . .
That's enough. He spins her around, takes out his cuffs.
You have the right to remain silent. Anything you say -- She rears back and Pruitts the son of a bitch into unconsciousness. She takes off, Snyder shrinking against the wall -
I'm just a civil servant. . . -- the other cops coming out, guns drawn -- ANGLE: BUFFY runs through the double doors --
Stop! ANGLE: THE FIRST COP running after her, stopping, firing -- -- a bullet smashing the window in one of the doors, just missing Buffy as she takes off out of the building. The cop speaks into his walkie as the other takes off after Buffy.
All units, we have a fugitive on foot at the high school, homicide suspect, female, blonde, approximately sixteen years old, suspect is very dangerous -- BLACK OUT.
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| Act One |
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INT. HOSPITAL CORRIDOR - NIGHT It is fairly busy as Buffy walks in, keeping her head down. She has on an overcoat and hat, nothing too obvious. She searches around a bit, looking from room to room. A hand reaches out and grabs her. She spins to see:
Xander! She hugs him, tightly. Lets go and looks at him.
I didn't know if you were okay. The cops -
Yeah, I heard them chase you out. I was just coming out of it. Shows a cast on his wrist.
Souvenir.
Well, what about the others? Are they -- He grabs her in another embrace as two cops walk by. Lets go as they leave.
Okay, that was about equal parts protecting me and copping a feel, right? He doesn't smile. Dread suffuses her.
What is it? INT. HOSPITAL ROOM - A FEW MOMENTS LATER - NIGHT Willow lies unconscious in bed, hooked up to machines. Buffy approaches, distraught -- Xander behind her.
The doctor said it was. . . head trauma. . . she could wake up any time, but the longer it takes. . . the less likely it is.
I shouldn't have let her try to do the curse. Angel must have known. Buffy doesn't speak. She runs her hand along Willow's forehead. After a moment she looks around her.
Where are her folks?
With relatives, in Phoenix. I called them. They're getting a plane back.
Does Oz know?
Man, I didn't even think. I'll call him. Cordelia enters, tentatively. Xander spots her.
Hey! He crosses to her with a big relieved hug and kiss.
You're not hurt?
I ran. I think I made it through three counties before I realized noone was chasing me. Not real brave.
It was the right thing to do.
Did Giles keep up with you? She looks at the two of them.
I didn't see Giles.
(to Xander) You mean he's not here?
No. Off Buffy's inevitable conclusion. INT. MANSION - NIGHT Giles is on the floor, just beginning to come to. He looks around, trying to focus. Angel is lying on his stomach, face near Giles', smiling.
Hi, Rupert. Giles rears back into a sitting position, looking about him. He is still very groggy. Spike is sitting behind Angel. Two VAMPS flank Giles, a bit behind him. Angel stands, as Giles attempts to.
I wasn't sure you were gonna wake up. You had me worried.
What do you want?
I want to torture you. I used to love it, and it's been a long time. I mean, the last time I tortured someone they didn't even have chainsaws. The two vamps move a step closer to Giles as he finally gets to his feet, eyes widening in fear. He looks to the side and his gaze locks on something at the other end of the room. ANGLE: THE STATUE OF ACATHLA Stands alone, several feet away.
(turns to look) Oh, yeah, Acathla. He's an even harder guy to wake up than you are. I performed the ritual, said all the right phrases, blood on my hand. . . Got nothing. Big donut hole for my troubles. I figure you know the ritual; you're pretty up on these things, you could probably tell me what I'm doing wrong. But honestly, I sort of hope you don't. . . (turning back to Giles) . . . 'cause I really wanna torture you. Giles looks right at Angel, shitscared. Then he suddenly SLAMS his elbow into one of the vamps faces, knocking him back. The other vamp comes at him and Giles hurls him into Angel, takes off for the door. He makes it as far as the door and Drusilla steps in through it, grabbing Giles by the throat. Easily walking him back as he chokes. She hands him back to the two vamps. Angel comes up to him, smiling as ever.
Okay. Where do we start? Ooh. Fingers. INT. BUFFY'S FOYER - NIGHT Joyce is there, talking to a police officer, DETECTIVE STEIN. Another comes down from upstairs holding a picture of Buffy.
There's been some terrible mistake.
And you have no idea where your daughter is?
No, I -- Detective Stein takes the picture, looks at it.
Do you always let your daughter stay out this late?
No. She goes out; I can't always keep track, but. . . (remembering) She said she was going to her friend Willow's house. Maybe she slept over.
Is that Willow Rosenberg?
Yes. . .
(to the other) Second victim.
What. . . ?
Does your daughter have a history of violence, Ms Summers?
Well. . . she's had some fights, but. . .
You call us, okay? If she decides to stop by. It'd be best if she just comes in. They let themselves out. INT. GILES' APARTMENT - NIGHT The door is slightly ajar as Buffy enters, calling out:
Giles? Giles! Whistler comes in from the bathroom.
I don't think he's here. Buffy stops, eyeing him suspiciously.
Who are you?
Whistler.
What are you doing here?
Waiting for you.
Why?
'Cause I need a date for the prom. My mother says I may attend, but no fondling. Buffy pushes him against the wall. Her gesture is casual, but he hits pretty hard.
(incredibly calm) I have lost friends tonight, and I may lose more. If you have information worth hearing then I am grateful for it. If you want to make jokes then I will pull out your ribcage and wear it as a hat.
Hello to the imagery. Very nice. He moves away from her, straightening his outfit.
You know, it wasn't supposed to go down like this. Nobody saw you coming. I figured this for Angel's big day, but I thought he was here to stop Acathla, not bring him forth. But you two made with the smootchies and now he's a creep again. She hates to hear that. It takes her down a peg.
We didn't know. . .
Hey, not here to judge. Body like yours - I'd pretty much give up my soul for a shot at that, too. But it took Angel off the roster. Which puts you on the spots in a big way. What are you gonna do? What are you prepared to do?
Whatever I have to.
Or maybe I should ask, what are you prepared to give up? She stares at him.
You don't have anything useful to tell me, do you? What are you, some immortal demon sent down to even the score between good and evil?
Wow. Good guess.
Why don't you try getting off your immortal ass and fighting evil once in a while? 'Cause I'm tired of doing this by myself.
(serious) In the end, you're always by yourself. You're all you got -- That's the point.
Spare me. She walks out. He follows a bit, telling her:
The sword isn't enough. You gotta be ready. (she's gone) You gotta know how to use it! He stops, unsatisfied with the conversation.
Man, this is gonna be close. . . EXT. STREET - NIGHT Buffy crosses a street, moving quickly and keeping to herself. Suddenly she is nailed by a pair of headlights which go on accompanied by the flashing of police lights. Before Buffy can react the cop is out of his car, gun drawn. He steps up, never taking his eyes off her.
Hold it! Right there. Hands above your head. Do it! He starts moving forward -- then hears something, spins -- and is knocked so hard he flips over onto the hood of the squad car, unconscious. Buffy stares into the glare of the headlights as a figure steps out.
Hello, love. BLACK OUT.
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| Act Two |
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EXT. STREET - NIGHT (SECONDS LATER) Buffy lunges at Spike, starts pummelling him. He takes a couple of hits then knocks her back with one. As she gets up again, whipping out a stake:
Will you hold on for a second? She doesn't look like she's gonna. He backs off a couple of paces, putting up his hands.
Hey! White flag here! I quit!
Let me clear this up for you. We're mortal enemies. We don't get "time-outs."
You wanna go around, pet, I'll have a gay old time of it. You wanna stop Angel, well, then, we gotta play it a bit differently.
What are you talking about?
I'm talking about your ex, love. I'm talking about putting him in the bloody ground. A beat.
This has got to be the lamest trick you guys have ever thought up.
He's got your watcher. Right now he's probably torturing him. That stops her.
What do you want?
I told you. I wanna stop Angel. (smiles) I wanna save the world.
Okay. You do remember that you're a vampire, right?
We like to talk big, vampires do. "I'm gonna destroy the world," -- just tough guy talk, strutting around with your friends over a pint of blood. As he speaks, he sits on the hood of the car. Pulls a cig and a lighter from the unconscious cop's breast pocket, and lights himself a smoke.
Truth is, I like this world. You got dog racing, Manchester United, "Love Boat," and you got people. Billions of people walking around like Happy Meals with legs. It's all right here. But then someone comes along with a vision. With a real passion for destruction. Angel could pull it off. Goodbye Piccadilly, farewell Leicester bloody Square, you see what I'm saying?
Uh, sort of?
Why don't you put that stake down?
'Cause of the whole 'not believing you' issue. You might not be down with Angel but why would you ever come to me? He doesn't really want to answer that, but he knows he has to. He grinds out his cig on the car.
I want Dru back. I want it like it was, before he came back. (disgusted) The way she acts around him. . .
Oh, you're pathetic! Instinctively, he punches her in the face. She punches him equally hard then continues talking as if neither of them had moved.
I've got friends in the hospital - people have died --
I wasn't in on that raiding party --
(not stopping) -- and I may lose more of them, the whole world could be sucked into Hell and you need my help 'cause your girlfriend's a big ho? Let me take this opportunity to not care.
I can't fight them both alone and neither can you! She punches him again. But it seems to be her final outburst. She comes down a bit, glaring at him.
You're a killer.
And I'm all you got. A beat, and she puts her stake away.
All right. Talk. The cop on the hood of the car groans. Spike turns to him.
Let me just kill this guy -- Buffy clears her throat. Spike turns back.
Oh. Right.
Come on. Let's get inside. They take off for her house. INT. HOSPITAL ROOM - NIGHT Willow still lies unconscious. Xander sits by her bed, Cordelia in a chair nearby. She gets up, crosses to him.
She's gonna be okay.
Yeah. . .
Do you want some coffee?
I don't want to leave, she might --
I'll get it.
Thanks -- She goes. Xander turns back to Willow, holds her hand.
Come on, Will. . . (He takes a moment, continues) Look, you don't have a choice here. You gotta wake up. I need you, Will. How am I gonna pass trig? Who am I gonna call every night to talk about what we did all day? You're my best friend, you've always. . . He leans in close.
I love you. ANGLE: HER HAND squeezes his. He looks at it, at her, as her head moves slightly. Eyes flutter. He leans in, with feverish hope --
Willow?
Oz? Xander takes a hit for a moment, then forgets about himself. She's awake.
Oz. . . . ?
I'm here. He is just entering the room. Xander stands, makes way for Oz to come to the bed.
She's just waking up. . .
(to Willow) Hey, baby. . .
Hi. . . (Sees Xander) Hi Xander. . .
Hi. (to Oz) I'm gonna get a doctor. He goes.
(to Willow) How do you feel?
(very weakly) My head feels big. Is it big?
No, it's head-sized. He kisses her on her headsized head.
Is everybody else okay? INT. MANSION SIDE ROOM - NIGHT A small, bare room. Giles is tied to a chair, his jacket and tie off and his sleeves rolled up. Blood has run down his forehead and out of his nose (a tasteful amount) and one of his hands is bloody and crooked from creative finger breaking. Angel paces in front of him, having fun.
Rupert, buddy, I'm here to tell you I'm impressed. How're you holding up?
Never. . . better. . .
Glad to hear it. He squats down in front of Giles. We see only to their shoulders as Angel reaches out.
Now. Tell me when it hurts. It's not clear what he does, but Giles goes white with pain. EXT. BUFFY'S FRONT LAWN - NIGHT Buffy and Spike make their way toward the house. Joyce pulls up in her car.
Buffy!
Mom. . . Joyce jumps out, good 'n' frantic.
Buffy where have you been? Are you okay? The police were here. Are you okay? I went looking for you.
Mom, let's go inside --
Who is this man? (to Spike) Who are you? (to Buffy) Are you okay?
MOM. Joyce stops.
I'm okay. I was. . . busy. . . doing something. And this is Spike, and he was doing it too.
Doing what? Buffy, terrible things have happened. What were you doing?
What, your mum doesn't know? Buffy glares at him.
Know what?
That, uh, that, uh, I'm in a rock band. She gets similar looks from both Joyce and Spike.
Yes, a rock band, with Spike here. . . .
(helping) Right, she plays the. . . triangle --
-- drums --
Drums, yeah, she's hell on the old skins, you know.
And what do you do?
Well, I sing.
Why don't we go inside now and talk about it. Buffy and Spike start inside. Joyce takes a moment, then starts to follow.
Well, I'm not sure how I feel about this. . . Buffy is almost at the porch --
(to Spike) You think she's buying it? -- when a VAMPIRE leaps from the bushes. It's one of Angel's henchmen, and he blows past the two of them -- -- right into Joyce. She gets a good look at his face and she yelps with fear. He roars. Buffy grabs him before he can untangle himself from Joyce. She hurls him toward Spike, who decks him solidly, knocks him back to Buffy who kicks him, whips out a stake and dusts him. Joyce is completely wide eyed. Spike goes up to Buffy, casually looking at the spot where the vampire was.
One of Angel's boys.
Must have been watching me. Or you.
He won't get the chance to tattle on us now.
Buffy. . . what's going on? Buffy goes to her mom, takes a deep breath.
Mom. . . I'm a vampire slayer. Off Joyce's reaction -- BLACK OUT.
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| Act Three |
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INT. HOSPITAL ROOM - NIGHT Willow on the phone with Buffy.
I'm okay, Buffy, really. I mean, I don't feel good, but I'm awake and I know my name and who's president and how many fingers so they don't think my brain got mushed at all. INTERCUT WITH: INT. BUFFY'S KITCHEN/HOSPITAL ROOM - CONTINUOUS - NIGHT Buffy is alone in the kitchen.
Thank God. . . I'm sorry I can't be there.
I know. I'm sorry I didn't get to cure Angel.
Don't be. I just think it wasn't meant to happen. I know I'm never gonna get Angel back the way he was and, you know, it makes it easier.
I guess. . . Any luck finding Giles?
Yes. I got a lucky break.
What?
You wouldn't believe me if I told you. INT. BUFFY'S LIVING ROOM - CONTINUOUS - NIGHT Joyce sits in the living room with Spike. They both are silent and uncomfortable, like it's Sunday and he's come a' courtin'. Joyce has a glass of bourbon in her hands, which shakes only slightly. INT. BUFFY'S KITCHEN/HOSPITAL ROOM - CONTINUOUS - NIGHT (still INTERCUT with the hospital room, as Xander takes the phone)
Xander! Angel and the others are holed up outside town. You know that funky looking mansion you showed me one time?
On Crawford street. Sure. That makes sense. What's the drill?
I'm gonna hit the place come daybreak. I just need to get something first. INT. HOSPITAL ROOM/BUFFY'S KITCHEN - CONTINUOUS - NIGHT
You'll need backup.
No. You stay there. I'm covered.
Do you -- He pitches his voice low so the others won't hear --
-- do you think Giles is still alive?
I think so. I just wish he was here to tell me what to do. INT. BUFFY'S LIVING ROOM - CONTINUOUS - NIGHT Another awkward beat. Joyce is pretty much just shell-shocked into politeness. After a bit:
Um, have we met?
You hit me with an axe one time. (imitating her) "Get the Hell away from my daughter!". . .
Oh. So. . . do you live here in town? Before Spike can even reply to this inane comment, Buffy enters. He and Joyce rise.
Is Willow all right?
She's fine. (to Spike) Talk to me. What's the deal?
Simple. I help you kill Angel, you let me and Dru skip town.
Angel? Your boyfriend?
Forget about Drusilla. She doesn't walk.
There's no deal without Dru!
She killed Kendra.
(genuinely proud) Dru bagged a slayer? She didn't tell me! Good for her! (off Buffy's look) Well, not from your perspective, I suppose. . .
I can't believe I invited you in my house.
(to Buffy) So you didn't kill that girl?
Of course not!
Did she explode like those men outside?
She was a slayer, Mom.
Like what you are?
(to Buffy) Look, this deal works one way only. Full stop. Me and Dru for Angel.
Honey, are you sure you're a slayer?
I'll take her out of the country. You'll never hear from us again, I bloody well hope.
All right. Get back to the mansion. Make sure Giles is all right.
I mean, have you tried not being a slayer?
Mom. . . (to Spike) Be ready to back me up when I make my move.
Right.
If Giles dies, she dies. He glares at her, then exits.
It's 'cause you didn't have a strong father figure, isn't it? Isn't it?
It's just fate, Mom. I'm the Slayer. Accept it.
We should call the police.
We're not calling the police.
Well, now that we know that you're innocent. . .
What, did you think I was guilty? Feeling the love in this room, jeez.
I didn't think that. . . I just, now we have proof.
We have my word, Mom. Not proof. Joyce crosses into -- INT. BUFFY'S KITCHEN - CONTINUOUS - NIGHT -- Buffy following.
I'm sure they'll understand --
You get them involved, you'll get them killed.
You wouldn't hurt them, honey.
Mom, I'm a slayer, not a postal worker. The cops just can't handle demons. I have to do it.
Do what?
I'm gonna need Kendra's sword.
Sword? Buffy, what's happening?
(impatiently) Just have another drink, okay?
Don't you talk to me like that! She hurls her glass to the floor, shattering it.
You can't just drop something like this on me and pretend it's nothing!
I'm sorry, I don't have time --
No! I'm tired of "I don't have time" and "You wouldn't understand." I am your mother and you are going to make time to explain yourself. Buffy is a little cowed, though she still carries her impatient undertone.
I told you. I'm a vampire slayer.
Well, I don't accept that!
Open your eyes, Mom! What do you think has been going on for the last two years? The fights, the weird occurrences - how many times have you washed blood out of my clothes, you still haven't figured it out?
Well, it stops now.
It doesn't stop! Do you think I chose to be like this? Do you know how lonely it is? How dangerous? I would love to be upstairs watching TV or gossiping about boys or god, even studying. But I have to save the world. Again.
No. This is insane. You need help.
I'm not crazy, Mom! What I need is for you to chill. I'll be back.
I'm not letting you out of this house.
You can't stop me. She tries to leave and Joyce grabs her arm -- Buffy flings her hand off -- Joyce tries to grab her again and Buffy pushes her hard against the wall. Goes to the door.
You walk out of this house, don't even think about coming back. A beat. Buffy leaves. INT. HOSPITAL ROOM - NIGHT A NURSE is just leaving, the kids waiting for her to go so they can talk freely.
So Buffy's going for the big showdown, huh? I wish we could help. You know, without dying. . .
I don't see how.
I want to try again.
Try what?
The curse. We never got to finish it. Maybe we can restore Angel's soul.
I don't like it. You're talking about messing with powerful magic, and you're weak.
I'm okay.
You don't look okay. Does she?
Listen to him. The hair is so flat, and, do you even use base?
Try to stay on topic here, honey.
What?
There's no use arguing with me. Do you see my resolve face? You've seen it before and you know what it means. (to Cordy) Just help me cast the spell and you can give me a complete makeover.
You're not just saying that?
We can help Buffy -- if we turn Angel back soon enough, we can stop him from ever awakening Acathla.
I pretty much missed out on some stuff, didn't I? 'Cause this is all making the kind of sense that's not.
Go with Cordy to the library and get my things. She'll fill you in.
Sure. I'll drive. He and Cordy exit.
Xander, you go to Buffy. Tell her what we're doing. Maybe she can stall.
But --
Resolve face. He's beat.
Be careful. He exits. INT. MANSION SIDE ROOM - DAYBREAK Not that we can tell in this dark room. Giles is still tied to the chair, looking even worse. Angel leans over from behind him.
You know I can stop the pain. You've been very brave, but it's over. You've given enough now let me make it stop.
Please. . .
Tell me what I need to know. Giles looks at him, a broken man.
To be worthy. . . you must perform the ritual. . . in a tutu. Angel stares at him in mounting fury. Giles musters what he can of a smile.
Pillock. Angel stands up abruptly.
All right, that's it. Someone get the chain saw.
Now now. . .
Don't let's lose our temper.
Keep out of it, Sit 'n' Spin.
You cut him up, you'll never get your answers.
(suspiciously) Exactly when did you become so level-headed?
Right about the time you became so pig-headed. You have your way with him, you'll never get to destroy the world. And I don't fancy spending the next month trying to get librarian out of the carpet. There are other ways.
Enlighten me.
(calls out) Drusilla. . . sweetheart. . . She enters the room, all smiles.
Do you want to play a game? INT. LIBRARY - NIGHT Buffy pushes away the police tape, enters the library. It's as she left it, sans people. She crosses over to Kendra's bag, picking it up off the floor. She puts it on the table, opens it.
You do know this is a crime scene, don't you? He is standing in the doorway, smiling smugly.
But then, you're a criminal, so that pretty much works out.
You know I didn't do it. The police will figure it out.
In case you didn't notice, the police in Sunnydale are deeply stupid. It doesn't matter anyway. Whatever they find, you've proved too much of a liability for this school. He steps up, breathing in the fresh air of a great morning.
These are the moments you want to savor. You wish time would stop so you can live them over and over again. You're expelled. Buffy lifts the sword out of the bag, looking at it. Snyder stops wanting to live this over and over. Buffy starts toward him.
You never ever got a single date when you were in high school, did you?
(it's true) Your point being. . . She passes him without comment, exits. After a moment, he pulls out his cell phone, speed-dials.
It's Snyder. Tell the Mayor I have good news. INT. MANSION SIDE ROOM - NIGHT Giles and Drusilla are alone. He is barely conscious. She finishes cleaning the blood off his face. Smiles at him.
Is that better? My poor boy. . . She runs her hand through his hair, closes her eyes.
Let's see what's inside. She clutches his head. After a bit, something runs through her body.
Of course. . . She lifts his chin up so he can look her straight in the eyes.
Look at me. . . be in me. . . She puts her hand over his eyes, shutting them.
See with your heart. ANGLE: GILES' POV As the hand is removed from his eyes, we see that it is JENNY CALENDAR that he sees.
Jenny. . .
Rupert.
Oh, God, Jenny, I thought I'd lost you. . .
Shhh. . . I'll never leave you. She holds him a moment. Moves then to untie him.
We have to get out of here. . .
Slowly. You're weak. . . He is freed, and puts his hand to her face.
It can't be you. . .
Did you tell Angel? About the ritual?
No. . . but we have to get him away from Acathla.
Why? Is he close to figuring it out?
Later. . . He tries to rise but can't.
Rest. Tell me what to do. . . There seems to be hesitation in his eyes. She comes in close to him, passion rising in her. Touching him.
It's all right. . . We'll be together. . . finally. . . we'll have everything we never got to have. . . Never got to feel. . . just tell me what to do.
Get Angel away from. . . Acathla. . .
Angel himself? He's the key. . .
His blood. He must not. . .
Shhh. . . She stops his mouth with a kiss. We're close on Giles kissing her - pull back and around to see it's Drusilla he's kissing, and that Spike and Angel are at the doorway. They turn to each other, Angel gleeful.
The blood. Of course. The Blood on my hands must be my own. I am the key that will open the door. My blood. My life. (suddenly matter of fact) Okay, kill him.
What if he's lying?
Yeah, good point. All right, don't kill him. You know, I like having you watch my back, kind of like old times. . . As he speaks, they look over at the other two (now out of the frame).
Uh, Drusilla. . .
Honey. . . ANGLE: DRUSILLA Is still hungrily making out with Giles
We are finished here, ducks. . . She pulls away from Giles, looking about her with sheepish pleasure.
Sorry. . . I was in the moment. Giles stares at them, his expression draining as he realizes what's happened. INT. GILES' APARTMENT - JUST BEFORE MORNING Buffy re-enters. The door is still open and Whistler is going through Giles' fridge.
What did you mean, "the sword isn't enough"?
You know, raiding an Englishman's fridge is like dating a nun. You're never gonna get the good stuff.
Tell me how to use it. He pulls out a bottle of Woodpecker cider, opens it. Comes into the living room as he replies.
Angel's the key. His blood will open the door to Hell. Acathla opens his big mouth, creates the vortex, then only Angel's blood'll close it. One blow. Send 'em both back to hell. But I strongly suggest you get there before that happens. The faster you kill Angel, the easier it'll be for you.
Don't worry about me.
It's all on the line here, kid.
I can deal. (looks at the sword, at him) I got nothing left to lose. She exits. He watches her go, genuine sadness suffusing his gaze.
Wrong, kid. You got one more thing. BLACK OUT.
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| Act Four |
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EXT. OUTSIDE THE MANSION - MORNING Yes, it's sunrise. Sue me. Buffy makes her way down a green and tangled hill. She is stopped by a noise, finds Xander coming from a slightly different direction.
Xander!
Calvary's here. Cavalry's a frightened guy with a rock, but it's here. He shows her his lame rock. She gives him a stake.
This is better. He loses the rock.
You're not here to fight. You get Giles out of there and run like Hell, understood? I can't protect you. I'm gonna be too busy killing. Buffy unwraps the sword for herself, dropping the blanket.
That's a new look for you.
It's a present for Angel. This ends it, Xander. I'm ready. Xander looks down, trying to decide what to do.
Willow. . . she said to tell you. . .
Tell me what? He waits, decides.
. . . kick his ass.
I'm gonna do a lot more than that. They head off for the mansion. INT. MANSION - MORNING Sunlight is just beginning to peek in at the very tops of the window cracks. Angel stands in the same place he was for the ceremony last time. Dru and Spike behind him. Acathla still stands in front of the fireplace, the two vamps flanking him.
(in Latin) Acathla. Mundatus sum. Pro te necavi. Sanguinem meum pro te effundam, quo me dignum esse demonstrem. (Acathla. I have been cleansed. I have killed for you. I will bleed for you and prove myself worthy.) INT. HOSPITAL ROOM - MORNING The door is shut. Cordelia has her herbs again, is not as put off by them -- she's all business. Willow is sitting up, has the orb in front of her. Oz has the book Giles was reading from.
Are we ready?
Stinky herbs are go.
Did I mention that I didn't take Latin?
You don't have to understand it. You just have to say it. I hope.
Right. (Reads slowly, in Latin) Quod perditum est, invenietur. (What was lost, shall be found.)
Not dead, nor not of the living. . . INT. MANSION - MORNING Drusilla steps up to Angel, hands him a knife. Spike sits a bit behind, watching with a cold eye. Angel smiles at Dru, takes the knife and cuts his palm with it. Dru ripples with a little sensual trill at Angel's pain.
(in English) Now, Acathla, you will be free. And so will we all. He takes a step forward -- and Buffy BURSTS IN through the doors from the garden. The vamp nearest her makes a move, and she beheads him so quickly and tastefully the others barely have time to gape. Buffy look at Angel, sword at the ready.
Hello, lover.
I don't have time for you.
You don't have a lot of time left.
Coming on kind of strong, don't you think? You're playing some deep odds here - do you really think you can take us all on?
No, I don't. Spike rises behind Angel, hoisting a nasty looking iron poker. He SLAMS it into the back of Angel's head. Angel goes flying face first onto the ground as Spike moves forward, hits him again. ANGLE: DRUSILLA looks at Spike aghast. Buffy makes for Angel -- and is hit from behind by Vamp Two. Her sword goes flying out of her hand and she stops to spar with the vamp. ANGLE: SPIKE is still wailing on Angel --
Painful, isn't it? -- when Dru tackles him from the side and they both go flying. ANGLE: XANDER during the melee, he sneaks in from the garden, moving quietly around the perimeter of the hall towards Giles' room. ANGLE: BUFFY spars with the vamp. ANGLE: SPIKE AND DRU come up facing each other. She's righteously pissed.
I don't want to hurt you, baby. . . She grabs his throat and slams him against the wall. Instinctively, he knocks her arm away and decks her as hard as he can.
Doesn't mean I won't. . . INT. MANSION SIDE ROOM - CONTINUOUS - MORNING Xander comes in, finds Giles tied to the chair, goes to him.
Giles. Giles!
Xander?
Can you walk?
You're not real. . .
I am too real! Let's go!
It's a trick! They get inside my head, make me see what I want.
Then why would they make you see me? Beat.
Right. Let's go. They start out. INT. MANSION - CONTINUOUS - MORNING Xander helps Giles toward the exit. They make it out to the garden and are gone. ANGLE: DRUSILLA throws Spike to the ground, hissing with anger. ANGLE: ANGEL pulls himself painfully up and stumbles toward Acathla. ANGLE: BUFFY Pulls out a stake and kills the vamp. She turns to look for Angel, sees: ANGLE: ANGEL reaches the statue. Buffy dives for her sword, grabs it and heads for Angel. Angel grabs the sword handle. As before, light fills the room, stopping Buffy in her tracks as Angel is momentarily transported with electric bliss. He pulls the sword free. ANGLE: DRUSILLA stops to look, gleeful.
Oooh, here it comes. . . Spike rises up behind her and gets her in a chokehold. ANGLE BUFFY AND ANGEL As they square off, swords at the ready. Like Dru said: here it comes.
You almost made it, Buf.
It's not over yet.
My boy Acathla's about to wake up. You're going to Hell.
Save me a seat. And she comes at him, fast, hard, and it's swordfight time. Their blades are a blur of metal as they work at each other, driving back, forward, circling each other. . . Angel draws first blood, on Buffy's arm. INT. HOSPITAL ROOM - CONTINUOUS - MORNING Willow continues the ritual.
Gods, bind him, cast his heart from the demon. . . realm. . . return his. . . She is breathing heavily, the words coming slowly, with difficulty. Perspiration beads her face.
I call on. . . I. . .
Willow?
Are you okay? ANGLE: BIRDS EYE VIEW OF WILLOW As her head snaps back, leaving her staring almost directly in camera, her whole body tensing -- -- and her head snaps back down, she starts to shake and she begins speaking the rest of the ritual rapidly, powerfully, and in Rumanian.
Te implor Doamne, nu ignora accasta rugaminte! Lasa orbita sa fie vasul care-I va transporta sufletul la el! (I call on you, Gods, do not ignore this supplication! Let the orb be the vessel to carry his soul to him!)
(to Cordy) Is this a good thing?
(to Willow, not knowing what to say) Hey! Speak English!
Este scris, aceasta putere este dreptul poporuil meu de a conduce. . . (It is written, this power is my people's right to wield. . . ) ANGLE: THE ORB Begins to glow. EXT. THE GARDEN - CONTINUOUS - MORNING For a moment it's quiet. The sun is high enough to hit half of the staircase, the rest is still dark. Buffy comes tumbling out, Angel behind her. He's definitely winning. He knocks the sword from her grasp, kicks her into a corner. INT. MANSION - CONTINUOUS - MORNING ANGLE: ACATHLA The camera moves in at him as he begins to shake slightly, and we hear a humming sound. ANGLE: SPIKE AND DRU Dru is sinking into unconsciousness, Spike never loosening his grip on her neck. As she fades, he kisses her cheek.
I wish there was another way. . . He picks her up and starts for the exit near the doors to the garden. Pauses long enough to see: ANGLE: THE GARDEN As Angel approaches Buffy, sword in hand.
God, he's going to kill her. . . After a moment of intense worry, he shrugs, takes off. Angel approaches Buffy. She tries to move from the corner, but he moves with her. She's boxed in. He plays the sword near her face, loving this.
That's everything, huh? No weapons, no friends. No hope. Take all that away and what's left? Buffy stares at him, his words hitting home. She looks exhausted, and terribly sad. She shuts her eyes. He lunges, shooting his arm out, the sword straight at her face. Without opening her eyes she slams her palms together over the blade, stopping it an inch from her face. She opens her eyes.
Me. She jerks the sword back, knocking the hilt onto his face, kicking him solidly in the chest. EXT. MANSION GARAGE - CONTINUOUS - MORNING As Spike's car bursts out through the garage door, takes off down the road. The windows have all been blacked out except for enough space to see out of. INT. SPIKE'S CAR - CONTINUOUS - MORNING Dru is still passed out, sitting in the passenger seat. Spike drives with glum determination. INT. MANSION - CONTINUOUS Angel flies in, lands hard -- gets up again and she is on him, sword in hand, pounding at him, driving him back until they are right in front of Acathla. She knocks his sword out of his hand -- cutting him on the hand. He stands before her, spent, beaten. INT. HOSPITAL ROOM - CONTINUOUS - MORNING Willow is still rapt, calling out:
Asa sa fie! Acum! (Let it be so! Now!) ANGLE: THE ORB Glows and disappears, just as it did before. INT. MANSION - CONTINUOUS - MORNING Angel drops to his knees. Buffy swings her sword back, ready to cut off his head. Suddenly he cries out in pain, and she sees: CLOSE ON: HIS EYES They glow for a moment. He collapses on the floor. Buffy hesitates.
Oh. . . He looks up.
Buffy? He pulls himself up. She takes a step back, uncertain.
Buffy, what's going on? I don't remember. . . where are we? Her voice is very little when she speaks.
Angel?
(sees her cuts) You're hurt! He goes to her, takes her arm. Her swordarm hangs at her side, limp. He folds her into his arms.
God, I feel like I haven't seen you in months. . . Buffy, everything's so muddled. . . ANGLE: BUFFY'S FACE As he holds her. At first afraid, confused, but at the warmth of his touch, the overwhelming rush of his return, her eyes close and with her free arm she grips him to her.
Oh, Buffy. . . She opens her eyes, longing and hope in them. Then they see it. CLOSE ON ACATHLA The demon opens his mouth. Wide. We hear a low rumble, growing louder as the vortex (not unlike that Sliders thing) begins to emanate from his mouth. She grips Angel tighter, despair gutting her. ANGLE: BUFFY AND ANGEL Are framed in front of the growing vortex.
What's happening, Buffy?
Shhhhh. . . it doesn't matter. She pulls away to look at him. Kisses him passionately.
I love you.
I love you. . .
Close your eyes. Serenely compliant, he closes them. She kisses him softly. She steps back and thrusts the sword through his chest, directly into the chest of the demon. There is an unearthly roar. Angel's eyes open wide -- he looks down at himself impaled, at Buffy uncomprehendingly. Buffy can't speak -- she tries not to cry as she takes another step back. Angel reaches out to her -- and the vortex closes over him, sucks him into Hell. And is gone. ANGLE: ACATHLA His mouth closed once more. ANGLE: BUFFY Alone. INCREDIBLY POIGNANT SARAH MCLACHLAN SONG BEGINS OVER: EXT. BUFFY'S HOUSE - MORNING Buffy walks slowly up to it, stops on the sidewalk. Looks at the house for a while. INT. UPSTAIRS HALL - MORNING Joyce comes upstairs in her dressing gown. She sees the door to Buffy's room open, starts in.
Buffy? INT. BUFFY'S ROOM - CONTINUOUS - MORNING Joyce enters. The window is open, the curtains blowing in the breeze. Some of the drawers have been left open, clothes hanging out. There is a note on the bed. Joyce goes to it, picks it up. She reads it, and her eyes fill with tears. EXT. FRONT OF SCHOOL - MORNING Giles and Xander greet Oz, Cordelia and Willow. Oz pushes Willow in a wheelchair. Giles doesn't exactly look his best, either.
(to Willow) Are you sure you should be out of bed?
Look who's talking. . .
Any word?
You guys didn't see her either.
No.
But we know the world didn't end. 'Cause, check it out.
We went back to the mansion. It's empty, and Acathla is dormant.
I think the spell worked. I felt something go through me, it was powerful. Kind of scary.
Plus the orb did that cool glow thing.
Maybe it wasn't in time. If he did pull the sword out, and she had to kill him, maybe he was already dead when it happened.
Then she'd want to be alone, I guess.
Or maybe Angel was saved and they just want to be alone together.
Perhaps.
Well, she's bound to show up sooner or later. We still have school.
Yeah. She'll be here in a while. ANGLE: BUFFY is watching them from the far end of the big lawn triangle. She is dressed very plainly, for hard travelling. Has a bag over her shoulder. As she sees them head inside, she starts walking in the other direction. DISSOLVE TO: ANGLE: THE EDGE OF TOWN, PASSING BY (INT. BUS - DAY) Houses, fewer and fewer, as they whip by the window. ANGLE: BUFFY Seated on a bus, looking out the window as the light plays on her face. EXT. EDGE OF TOWN - DAY The bus races past camera and recedes in the distance, as the camera arms down, finally settling on a sign by the side of the road. NOW LEAVING SUNNYDALE COME BACK SOON BLACK OUT.
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