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"Empty Places" Written by: Drew Z. Greenberg
March 3, 2003 (WHITE) |
| Teaser |
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EXT. SUNNYDALE STREET - DAY
People are finally getting the hell out of Sunnydale.
WE MOVE THROUGH THE CHAOS: the street is crowded with cars, overstuffed
with worldly possessions. People scurrying away on foot, suitcases in
hand. A MOTHER yells at her CHILDREN to hurry up, a SHOP OWNER puts a
"closed" sign in the window and runs from his store.
We get to BUFFY, walking through the street, watching all this. She
deftly STEPS out of the way as a YOUNG COUPLE wheels a suitcase around
her.
It's the fall of Saigon.
And from amidst the chaos, we hear.
(calling) Hey, you! Buffy looks over, SMILES as she sees CLEM in the driver's seat of a cute, shiny VW NEW BEETLE. As she walks to him:
Can you believe this mishegas? BUFFY CLEM BUFFY CLEM Buffy manages a weak smile...
Maybe... maybe you should just get out of town this time. BUFFY But she's not moving. After a beat:
You take care of yourself, okay? She nods. Nothing more to say. He drives away, and Buffy watches him go. Then she waves slowly, as we ARM UP, seeing the street, the town, as the chaos continues all around Buffy, a lone figure standing still.
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| Act One |
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EXT. POLICE STATION - DAY
More of the evacuation madness. An entire family drives away on the
back of a flatbed truck, people running around them on foot...
WILLOW and GILES stand just outside the entrance to the station,
talking to a YOUNG POLICE OFFICER who holds a thick manila file folder. He
hands the folder to Giles.
Thank you, officer. I appreciate your help. YOUNG POLICE OFFICER WILLOW YOUNG POLICE OFFICER Willow looks at the officer intently.
(deliberately) I'm with the Inspector. YOUNG POLICE OFFICER They're interrupted by a commotion nearby. Two officers, DUNCAN and MUNROE, struggle to bring in a CRAZY SUNNYDALE CITIZEN. We pick up this group on their way into the station:
A single step! A single step and it is upon us! It is nigh! From beneath you it -- Munroe CUFFS the guy. And Duncan SHOVES the guy into the station.
Freakin' nutcase. ANGLE ON: Willow and Giles wince at the activity. They still stand with the Young Officer.
(re: cuffing/shoving) Ow. YOUNG POLICE OFFICER WILLOW The Officer looks at her again. Trying to focus.
And you're... wait... Giles pulls Willow away.
We really ought to go catch that flight back to... Interpol... Willow and Giles walk away.
(softly to Giles) Good idea. My control was fading. What's up with them? GILES WILLOW ANGLE ON: the Young Officer looking after them. He's joined by Munroe and Duncan.
Who was that? YOUNG POLICE OFFICER Changing the subject, Duncan holds up a sheet of teletype paper, showing it to the Young Officer.
You get one 'a these yet? YOUNG POLICE OFFICER MUNROE YOUNG POLICE OFFICER INT. HOSPITAL - DAY XANDER in bed, but propped up. Still has that BANDAGE over his eye socket, but he's awake now. WILLOW sits at his bedside. Buffy's there, too, sitting a bit away from the bed.
...and that you should expect to see some bruising when you remove the bandage. Bruising around the... area. The, uh, musculature and bone structure took a heavy hit. XANDER BUFFY XANDER BUFFY Xander turns, looks at Buffy.
Great. They share a look. A nod. He gets it. Buffy stands, picks up Willow's file from the nightstand.
Okay, I think you're all caught up. (re: folder) Thanks for this, Willow. Great work. Willow definitely doesn't get it.
Oh, but I thought we were gonna -- there were gonna be card games... BUFFY WILLOW XANDER Buffy smiles at him, turns, and leaves.
So, you're stuck with me then, huh, let's get us some cherry-flavored off- brand gelatin, and then I think we're gonna be ready for a rousing game of -- XANDER WILLOW XANDER WILLOW XANDER WILLOW She gets quiet, her smile still pasted on her face. A beat. Another beat. She can't talk. Still smiling, tears start welling up in her eyes.
Willow. Silence. She can't quite regain control.
Please. Don't. And we see... he's holding it together, but just barely. He doesn't want her to push him over. She nods, collects herself. Nods again. And they sit in total silence for a beat... INT. SUMMERS' HOUSE - BASEMENT - DAY ANYA stands in front of the room, a little stiff, holding a VERY THICK STACK OF NOTE CARDS. Mid-lecture.
...so we know that a battle is coming. Ubervamps galore. We pull back to reveal ANDREW standing up there, too, next to a large EASEL with a stack of large posterboard cards on it. Andrew writes: "Ubervamp." Andrew does a little Vanna White with the card.
And we know the ubervamps are hard to kill. Andrew starts to write: "Hard to kill."
(slowly as he writes) ...Hard...to... We see Anya's audience: KENNEDY, RONA (her arm in a sling), AMANDA (also still bruised and bandaged), and about FIFTEEN EXTRA POTENTIALS. Sitting on the floor, on the washer and dryer, on whatever's around -- trying to squeeze in. Uncomfortable They're sad, bewildered, pissed... still not over last week. Anya starts up again, interrupting Andrew.
But I've been out talking to my old contacts, and they've provided some surprising bits of news. Yay for them. No one really brightens at this, except maybe Andrew, who keeps writing as Anya talks.
Ubervamps can, for example, be staked. Right in the heart -- zing- poof -- like regular vamps. We didn't know that. (beat) Of course, there's an incredibly strong sternum on these guys, so it's like driving a wooden stake through solid steel... but you're all super strong, right? KENNEDY ANYA Andrew is drawing a sun on the board.
Also, stay away from their teeth and the claws they use to shred flesh... RONA KENNEDY ANYA AMANDA Everyone stops and looks at her.
Nothing works. Nothing will. Anya begins shuffling through her note cards...
Right, well... She stops. Looks up.
Look. I know you're upset. She puts down the note cards.
I, myself, would very much like to be sitting at the bedside of my one-eyed ex-fiancé right now rather than killing time with you people in this overcrowded and, might I add, increasingly ripe-smelling basement, and I would be if not for a certain awkward discussion he and I recently had right over there on that cot immediately following some exciting and unexpected break-up sex. The THREE GIRLS on the cot slowly, gingerly SLIDE off and onto the floor.
I need to give him space. So I'm doing what I can do. Contributing what I can. And so are all of you. You still need to have all this information. We can't stop just because something else is trying to kill you too! She looks almost... sympathetically at the girls. Andrew looks quite moved.
Now, I've got more information on the ubervamps, so perk up those ears. They're primal, not like your more... (modestly) Evolved, intuitive and attractive demons. These guys are all instinct, so don't bother with the logic, or, you know, pleading for your life... INT. SUMMERS' HOUSE - KITCHEN - DAY FAITH sitting on the counter. Eating chips, looking out the window... it's been a long time since she got to do this. Kennedy approaches from behind.
Got enough to share? FAITH She hands the bag over, looks around, sees Kennedy there.
Shouldn't you be down at Hogwarts? Kennedy takes some chips, comes around to face Faith. Hands back the bag.
Probably. Faith grins.
All right, playin' hooky. Score one for the boarding school brat. Anya's technique is probably a little different than what you're used to. AMANDA (O.S.) Faith and Kennedy look over to see Amanda come upstairs, too.
'Cause I really hope I don't have to study all that. FAITH KENNEDY FAITH AMANDA KENNEDY Before Faith can respond:
Hey! Who's here? INT. SUMMERS' HOUSE - DINING ROOM/FOYER - CONTINUOUS Faith, Amanda and Kennedy come in from the kitchen to find Buffy coming in the front door with Willow's folder. DAWN comes down the stairs.
Buffy! How's Xander? BUFFY FAITH BUFFY She drops the file on the dining room table.
We figure, you know, what with Caleb's overt religiosity thing, we wanna learn more about him, we should try finding out maybe where he's been. FAITH BUFFY DAWN BUFFY DAWN BUFFY She settles in at the table.
Hey, now what was Xander's mood like, you know, exactly? 'Cause yesterday he seemed more resigned than morose, so I was wondering if he's trending upward still. Buffy concentrates very hard on the papers in front of her.
Oh, and you were gonna talk to his doctor about the meds, right, because it seemed like -- Buffy doesn't look up. Obviously a painful subject for her.
Or, we could maybe talk about this later. BUFFY FAITH DAWN She goes upstairs.
Okay. So we're looking for anything that looks like Caleb, his church, his ring... KENNEDY Buffy gets very quiet again: another hit. Kennedy sees it on her face.
I didn't -- that was stupid. I don't know why I said that -- BUFFY She gets up, moves toward the door.
I really didn't mean to -- BUFFY KENNEDY BUFFY She leaves. Kennedy and Amanda head back to the basement, and Faith stands there alone. INT. SUNNYALE HIGH SCHOOL - HALLWAY - DAY We're in the dark (no lights), deserted hallway. It's silent and still when a SHAFT OF LIGHT hits the floor. Someone's thrown open the front door. It's Buffy. She enters, walks the length of the hallway, aware of the emptiness, that creepy feeling of a place that should be crowded but just isn't. She keeps walking, gets to INT. SUNNYDALE HIGH SCHOOL - BUFFY'S OFFICE - CONTINUOUS Buffy enters, walks to her desk. Doesn't turn on the lights. Total silence. She sits down at her desk, looks at her things. Doesn't move. Sees a FRAMED PICTURE of herself with Xander and Willow (from Season One, if possible), picks it up. Stares at it. Finally, something inside breaks: frustration, anger, guilt, it comes to the surface, and, just as it's about to spill over, just as she's ABOUT TO CRY:
Aw, now, look. Things don't go exactly your way, so here come the waterworks. Buffy looks up slowly, recognizing the voice before she ever even sees CALEB standing in front of her. This guy gets a special kind of HATE from her.
Ain't that just like a woman?
BLACK OUT.
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| Act Two |
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INT. SUNNNYDALE HIGH SCHOOL - BUFFY'S OFFICE
- DAY
Buffy stands, pissed off. Ready to kill. And also... afraid.
Get out of here. CALEB He moves toward her desk. Real casual. Looks around.
This here's a... public school, ain't it? Kinda deserted. (shrugs) Only just, I suppose. Folks work so hard at keeping the Lord out, and look what happens in return. God abandons you. (grins) Not that He could do much good now, anyway. As Buffy slowly, stealthily reaches for her desk drawer:
Ah, ah. I wouldn't were I you, swee' pea. Fightin' back didn't do you much good last time, did it? He grins, moves closer to her.
And how is poor, sweet Xander? Let him know he's in my prayers. And any time he's willing... (wiggling his thumb) ... I'm ready to finish the job. BUFFY Caleb suddenly, violently SHOVES Buffy's desk, tipping it on its side and out of the way. Nothing between them now.
(threatening) Mind your manners. (shift) I believe I did warn you once. He walks toward her. Closing in.
You're angry. Frustrated. Scared. (beat) I like that in a girl. He's right in her face now. Leaning in. Taunting her.
You oughta just relax a little. Look at where you are -- history is gonna look back at you, at me... at this place. And they're gonna see the glory. Great things are happening now. Right here. This school, the seal, it's all part of the great, sweeping tide of change. He grins at her.
And you're gonna be a part of it. Now why would you wanna miss that? And, more importantly... His grin fades, he becomes deadly serious. Threatening.
Why would you wanna get in its way? Buffy's pressed up against the wall now, nowhere to go. She leans in, too. And smiles.
Just ornery, I guess. And then she PUNCHES Caleb in the face. He recoils, backs up, and Buffy swings a leg around to KICK him in the chest. Before she can connect, he GRABS her foot, SPILLS her to the ground. He stands over her:
I knew you'd be a wild one. She kicks at his ankles, but he simply steps aside. He grabs her, drags her up till she's off the ground, eye-to-eye with him.
I'm gonna find such sweet pleasure in taming you. And he TOSSES her clean through the window. She SLAMS against the OPPOSITE WALL in the hallway outside, puts a HUGE HOLE in it and CRUMPLES to the floor. Unconscious. INT. SUNNYDALE HIGH SCHOOL - HALLWAY - CONTINUOUS As Caleb exits, striding down the hallway, leaving her there:
See you soon, little lady. INT. SUMMERS' HOUSE- KITCHEN - NIGHT
Show me what you have. We see Giles and Dawn around the center island. The file is there, opened, pages spread out. Among them: reports, press clippings and photographs.
Not much. Most of these places were hit by run-of-the-mill vandalism. Basic B-and-E, money stolen, sometimes colorful language painted on the doors. (looking up) Did you notice how I just kinda threw B-and-E in there? It's a law enforcement term. GILES DAWN She slides a PHOTO to Giles as Andrew enters.
Um, Mr. Giles? Faith stole the last meatball-and-mozzarella flavored Hot Pocket out of the freezer even though I had called dibs on it. GILES DAWN GILES DAWN Andrew stands at the open freezer.
Yup. See, the post-it's still there, "Andrew's, please do not eat," but the box is empty now. GILES DAWN GILES He exits to the living room, Dawn and Andrew following: INT. SUMMERS' HOUSE - LIVING ROOM - CONTINUOUS Giles and Dawn enter, go to the desk against the wall. EIGHT POTENTIAL EXTRAS and Amanda sit about the room, quiet, depressed, though we don't focus on them yet. As Andrew speaks, Giles opens the desk drawer, pulls out a magnifying glass and closely examines the police photo.
See, it's not the Hot Pocket itself that matters, even though it had the new-and-improved thicker tomato sauce, it's just the fundamental lack of respect. Giles stands up, turns, looks at Andrew. Calm. Vaguely threatening.
Shhhhhh. Pay attention. He hands the magnifying glass to Dawn.
(to Dawn) What do you see? She starts examining the photo.
What am I looking for? GILES A beat as Dawn bends in closer.
It's not a knothole. We see what she sees: Caleb's mark.
Amanda, would you go down to the basement and get Spike? Amanda slowly gets up, nods, leaves the room. Giles and Dawn look around.
These poor girls. And we see now the extent of the depression that's hit the girls in the room. They sit either alone or in twos. Some speak in low, sad whispers, one or two simply stare out the window. They are all depressed.
Maybe this will help. If this does get us closer to Caleb. Faith enters, popping the last of the Hot Pocket in her mouth.
Sounded like there was news. Andrew, wide-eyed, stares at Faith, seething. She barely notices him. SPIKE enters with Amanda.
What's up... Rupert? GILES SPIKE GILES As Spike looks at the photo:
Ah. Looks like our boy was here. (looking up) You want me to go check it out? GILES SPIKE GILES ANDREW GILES SPIKE/ANDREW DAWN ANDREW GILES SPIKE GILES Without looking, Giles gives Andrew a small shove. Spike glowers at Giles, then storms off. Andrew picks up the file papers, including the photo.
He's gonna need these... And he follows Spike out. Dawn turns to Amanda.
So, see? That's something, right? We'll have some news soon. AMANDA She moves back into the room. Dawn, Giles and Faith take in the scene.
Maybe. Meantime, the "troops" here gotta sit and stew, feeling crappier by the minute. DAWN FAITH
CUT TO:
INT. BRONZE - NIGHT ALL POTENTIALS (Kennedy, Amanda plus about THIRTY EXTRAS, including the fifteen we saw earlier). Dawn is there, too. They're drinking, they're dancing, they're playing pool... they're laughing. The music is speed-y, the lights are sweeping. This is totally our party (maybe a couple of DRUNKS at the bar, but otherwise, just us). Except, of course, the BAND.
So what kind of band plays during an apocalypse? DAWN The girls are scattered about the place: at the pool table, at the bar, on the dance floor... Which is where we see Faith. Dancing like... well, like she's been locked away in prison for three years. The girls are relaxed. Letting go. Having fun. They're just girls again. INT. SUMMERS' HOUSE - FOYER/DINING ROOM - NIGHT The front door opens, and Buffy enters. She's looked better. Caleb's fight left some marks: a bruise, some scrapes. She even moves stiffly, like there's some pain still. She looks around.
Guys? How's it -- She turns, sees Giles at the dining room table. Waiting.
-- going? Giles stands, comes to Buffy, concerned.
My god. What... BUFFY GILES BUFFY Giles sits again, facing her. There's an awkward beat of silence. Buffy makes the first move, trying to get past it:
How'd the police files work out? Was there anything helpful in there? Giles brightens at the brief detente. Ready to work.
Oh, yes, very much so, I think. Evidence that Caleb may have made inroads up north. BUFFY GILES Oops.
Oh. Buffy settles, takes a beat. Cautious.
So, is this a mission from which you intend Spike to return alive? GILES Another beat, then:
And, again, I ask the question... GILES BUFFY GILES BUFFY GILES BUFFY She stands, moves to the stairs.
Buffy -- BUFFY GILES BUFFY GILES Buffy stares at Giles for another beat. Quiet. Then she nods, turns to the front door and leaves. INT. VINEYARD - WINE CELLAR - NIGHT Caleb enters, pleased with himself.
Know what I figured out tonight? He stands alone, speaking into the shadows.
Every high school from one end of this country to the other smells exactly alike. THE FIRST AS BUFFY steps out of the shadows, moves toward Caleb. He grins.
Now why do you suppose that is? BUFFY/FIRST CALEB BUFFY/FIRST CALEB His hand passes right through The First. The First smiles.
Excellent. CALEB BUFFY/FIRST Off The First's happy smile: INT./EXT. BRONZE - NIGHT Inside The Bronze: as our girls dance and dance and dance, we make our way through the crowd. We soon see we're following: The same uniformed cops from the earlier scene, including Munroe and Duncan. We shouldn't see it yet, but they should have BLACK TAPE on their BADGES, covering the badge numbers. They fight their way through the crowd, single-minded, stopping at... Faith. She looks up, kind of GRINS at them. Like she was expecting this. Keeps dancing. Dawn and some of the girls nearby.
Was wonderin' what was takin' you boys so long. Where you been? MUNROE FAITH One of the cops gets behind Faith, grabs her wrists.
Hey! MUNROE AT THE BAR On Kennedy and Amanda as they look over to see Faith being held on the dance floor.
What's that? AMANDA ON THE DANCE FLOOR
You are under arrest. You have the right to remain silent. Anything you say can and will be used against you in a court of law. FAITH MUNROE As Munroe speaks, Faith's expression changes. Something very bad is happening... she looks at Munroe's uniform, his badge... ...and it is HERE that we see the black tape. On ALL of their badges. Amanda and Kennedy approach.
What's going on? DAWN MUNROE KENNEDY The cops TAKE OUT THEIR GUNS. This ends discussion. The Potentials all stand back, stunned. Munroe TOSSES a large, non-regulation machine gun to Duncan. They NOD to each other, and Duncan turns, faces the crowd. Stands guard at the door as we go with Munroe and the other cops dragging Faith outside. Munroe and the other cops pull her back toward the door; guns still out, pointed at the girls. We follow them to the entrance. EXT. BRONZE - NIGHT Faith gets hauled outside.
I'm telling you now - I'm not going back to jail. The cops let go of Faith just long enough for her to turn back to the door. From the inside, Duncan SLAMS the door shut, trapping Faith outside with the cops.
Who said anything about jail? She turns, faces them, just as Munroe and the other cops all lift their GUNS, all aiming right at her heart.
BLACKOUT.
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| Act Three |
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EXT. BRONZE NIGHT
Where we left off. The cops train their guns on Faith and...
Before they can fire, she launches herself at the cops. She attacks
them with a flurry of vicious moves. She's intent on disarming them -- she
knocks the guns from their hands as fast as she can with a series of kicks
and punches.
As she knocks the final gun away, she turns and WHACK! Munroe smacks
her across the face with his billy club. She drops to the ground.
The other cops pull their clubs and descend on her. They begin to BEAT
FAITH mercilessly.
INT. BRONZE - NIGHT
Amanda, Kennedy and Dawn circled around Duncan, who still guards the
door with his very large gun.
Stay back. This doesn't concern you. DAWN DUNCAN EXT. BRONZE - NIGHT The cops beat Faith with their clubs. She's on the ground, taking it... Then she shoots out a leg, swipes one of the cops off his feet. She jumps up, ramming her knee hard into the face of the second cop. The third cop rushes her, she spins and SLAMS him against the brick wall. She turns to face Munroe. As the first cop gets to his feet behind her, she raises her fist, not even looking, and smashes him in the face. He goes down again. Faith and Munroe CIRCLE each other... INT. BRONZE - NIGHT The girls, now joined by some of the potential extras, still around Duncan.
Trust me. Best thing you can do is wait here. DAWN Duncan raises his gun and FIRES it into one of the hanging lamp globes. It explodes all over the dance floor. Startled, Dawn stops. All the girls duck and cover their heads. The music stops playing, the lights stop sweeping.
Best thing you can do. Is wait. Here. EXT. BRONZE - NIGHT Faith and Munroe totally going at it. The fight is scrappy, vicious. Punches, head slams to the pavement, knees to the stomach... it's a dirty fight. And Faith is winning. Till the other three cops, staggering a little, grab her from behind and pull her off Munroe. INT. BRONZE - NIGHT The girls still surround Duncan.
You're gonna have to shoot us all to stop us. DUNCAN But the girls are crowding in, getting in his face.
No. DUNCAN KENNEDY Duncan turns towards her, ready to inflict pain, and as he does so Kennedy lightning-fast grabs the barrel of the gun and RAMS the butt of it into his jaw. He reels back, swings at Kennedy, knocking the gun flying. She rushes at him and as he meets her CRACK! Amanda hits Duncan from behind with a pool cue. He goes flying. As Amanda approaches him, pool cue in hand:
We are. EXT. BRONZE - NIGHT The four cops have Faith on the ground, beating her, kicking her. She screams, but the fight is going out of her... INT./EXT. BRONZE - NIGHT All the girls close enough JUMP on Duncan, feral, angry. Kicking, punching, moving him away from the door. The action carries Dawn, Duncan and the extra potentials back toward the center of the Bronze. As this happens -- Amanda and Kennedy THROW the door open. They rush outside, shove two of the cops off Faith. It's a brawl again. Faith, bloodied, watches as Munroe and the remaining cop go to help the others attacked by Amanda and Kennedy. Faith smiles, gets to her feet... ...and kicks Munroe in the head. Kennedy knees her cop in the stomach, pulls his own club from his hand and SMASHES him on the back with it. He goes down. Amanda shoves her cop backward, sending him falling backward over a small stack of CRATES. She stands over him, puts a foot on his chest. Grins. Drops another crate on his face.
That was kinda cool. Faith slams Munroe back, whips around, punches the last cop in the head, he goes down, then, shockingly fast, she's on Munroe, pressing him to the wall. She gets in his face, grins at him. Grabs at something out of frame, pulls her hand up. We see she's got his club. And she's pressing it into his neck. Amanda and Kennedy come over, stand behind her.
You know, when you've been locked up in prison for three years, you end up forgetting how good some things feel. Till you get out. Munroe quivers a little.
But then it all comes rushing back. KENNEDY FAITH Faith drops the club, grabs Munroe's head and SLAMS it into the brick wall behind him. He slumps to the ground.
I'm sorry. Did that hurt? BUFFY (O.S.) Faith, Kennedy and Amanda turn around, see Buffy has approached. Also, Dawn, Rona and the other girls have begun spilling out of The Bronze's door.
What are you doing? Faith stands, turns to face Buffy.
Just blowing off steam. Well, it started out that way. BUFFY DAWN BUFFY As the girls file away, Buffy moves closer to Faith.
What is this? FAITH BUFFY FAITH BUFFY FAITH BUFFY FAITH BUFFY FAITH BUFFY She turns, walks away. Heading home. Then:
What about the vineyard? Buffy stops. Turns back.
What? FAITH Buffy SLUGS Faith in the jaw. Hard. Faith goes down. Doesn't fight back. Just stares up at Buffy from the pavement for a beat. Buffy turns and walks away, leaving Faith there. EXT. MOTORCYCLE - NIGHT On the road. The wheels spinning, the engine racing, we pan up to see Spike, as we have so many times before, a rebel with a bike. And behind him, holding on: Andrew. Preferably wearing Dawn's helmet from "Bargaining" if possible. They ride in total silence for a beat or two, seemingly just focusing on the road. Then:
You sure you don't wanna just stop and pick up some burgers or something? You know, road trip food -- SPIKE ANDREW They drive in silence for another beat.
I bet even covert operatives eat curly fries, they're really good. More awkward silence. Then:
Not as good as those onion blossom things. ANDREW SPIKE ANDREW SPIKE ANDREW SPIKE ANDREW They keep driving... EXT. SUMMERS' HOUSE - FRONT PORCH - NIGHT Faith stands on the porch, looking out into the street. Smoking. Clearly trying to cool off. WOOD approaches from the street, climbs the steps.
Big meeting started yet? FAITH WOOD FAITH WOOD FAITH He doesn't go inside. He stays.
(re: her bruises) Someone banged you up pretty good. FAITH WOOD FAITH Faith looks up, sees HIS bruises.
Someone banged you up pretty good, too. WOOD They wait a beat. Silence. Then:
So someone who thinks she's a cop, huh? You're not gonna hafta, like, ice her now or something, are you? Faith raises an eyebrow.
I... don't know a lot about how prison works. Faith kinda smiles at the dorkiness.
I'm not gonna kill her. Wanted to. But didn't. And, by the way, bully for me, since no one else said it. WOOD FAITH Wood studies her for a beat.
She told me about you. FAITH WOOD FAITH He studies her for a beat, watching. Then:
And? FAITH WOOD FAITH WOOD FAITH WOOD FAITH WOOD She turns, looks at him.
What kinda things? He's doesn't get it.
Just... things. Faith nods. Looks at him some more. Studying. Then, suddenly:
You live around here, right? He's caught off guard: huh?
(flustered) Uhhh, no, I, I mean, center of town, really, but... FAITH WOOD She moves a little closer, nothing too obvious, but enough to make him kind of nervous.
Yeah. I noticed. Interesting. Long way to walk. Especially place like Sunnydale. WOOD FAITH WOOD Faith stands back. Nods. Smiles.
Just sayin', maybe you got bigger issues than what's wrong with B. (beat) I read people, too. As Wood stands there, mouth more than a little agape, headlights sweep over them. Car in the driveway.
Xander's home. INT. GILROY MISSION - CORRIDOR - NIGHT This place is dark. Shadowy. Arched doorways, brick walkways. Heavy doors. Crosses. Emerging from the shadows, Spike and Andrew step cautiously down the hall.
No one's here. These kinda places make me feel funny inside. SPIKE How 'bout that. You and me got something else in common after all. As they keep walking:
This one time, when I was in Sunday School, I woke up late, so my mom made me skip breakfast, and I was really hungry, so I told the teacher I had to go to the bathroom, but I really broke into the supply cabinet and ate a whole package of communion wafers. Spike smiles to himself.
Yeah? Good on you, boy. ANDREW With a sudden, loud BANG, a side door slams open, and a DARK, HOODED FIGURE emerges, RUSHING the guys, tackling Andrew.
Spike! Spike leaps, throwing the hooded figure off of Andrew, who sits against the wall, catching his breath. Spike spins around to face the hooded figure just in time to see him swing a fist right into the side of Spike's head. Spike stumbles for a second, regains his footing: Andrew kicks out his feet, uses them to grab hold of the hooded figure's feet. Knocks him down. The hood comes off... Spike pounces, grabbing the figure by the neck, SLAMMING him, still on the floor, up against the wall. Pushing him into light. And we see his face for the first time. He's just a man. A middle-aged, terrified man. Eyes wide, breath fast. He wears a PRIEST'S COLLAR. And CALEB'S MARK burned into his cheek. The priest SHUTS his eyes in terror as Spike and Andrew recognize the mark... INT. SUMMERS' HOUSE - LIVING ROOM/FOYER - NIGHT The front door opens... Willow and Anya enter, followed by Xander. Still with bandages (not an eyepatch) over his eye. He steps inside, looks around. There's a hastily-drawn "Welcome Home" banner in the living room. And lots and lots of people staring back at him: GILES, DAWN, KENNEDY, RONA, AMANDA, the thirty extra potentials. (People arranged wherever they can fit a la "Get It Done.") Dawn RUSHES to Xander, bear hugs him, brings him into the room, followed by Willow and Anya, and then Faith and Wood. Xander's uncomfortable with the attention, but, despite himself, moved.
Oh god. KENNEDY XANDER AMANDA Xander opens his mouth to speak, but before he says anything:
Welcome home, Xand. Xander looks up, sees Buffy coming down the stairs. Brightens. Buffy looks around, sees Wood and Faith there.
I wanted you to be here for this, I think you're gonna be interested in what I found out. Giles is confused: no one told him about new info.
What's... what did you find out? BUFFY Willow looks up, catches Dawn looking back. They exchange a look, both concerned about where this is going...
I know that night was difficult. For all of us. But I've figured out some things about the place, and I realize now what we have to do. She looks around at the group, takes a beat. Then:
We're going back in.
BLACKOUT.
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| Act Four |
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INT. GILROY MISSION - NIGHT
Spike stands over the Priest who is still propped against the wall. The
Priest looks Spike in the eye.
Please. Do it quickly. And he closes his eyes, waiting for death. Spike does nothing. After a beat, the Priest opens his eyes.
You're not going to -- SPIKE Spike crouches down so that he's face to face with the Priest. Intimate, menacing.
Tell me about the tat. The Priest's hand goes to his cheek, covering the mark. He shakes his head, too terrified to talk.
Are you part of Caleb's faction-- PRIEST SPIKE PRIEST ANDREW Andrew now stands behind Spike, hands on his hips.
I'm Andrew. I'll be your "bad cop" this evening. You better start singing or my associate here-- SPIKE The priest lets out a small, bitter laugh.
You can't fight him. You can't stop him. You can only... run. ANDREW Spike shoots Andrew a look. Andrew shrugs like, "What?". Spike looks back at the Priest.
Talk. After a moment the Priest makes a decision. He stands.
I'll do better. I'll show you. They follow him around a corner. Where he picks up a lighted TORCH from a stand. And continues down the corridor. As he walks:
One night, some time ago, a man arrived at our doors. SPIKE PRIEST They've reached the end of the corridor. But the Priest pushes the wall and a secret room is revealed.
But he had come for something else. INT. GILROY MISSION - SECRET ROOM - NIGHT They enter. A small, dark room with framed tapestries on the wall.
He made his way here, to the inner sanctum. He was excited, talking the whole time... destiny, that sort of thing. We followed him here. SPIKE The Priest removes a small framed tapestry from the wall (about three-foot square). An archaic looking stone panel is revealed. Amid some patterns, words are carved in the stone (we can't read them yet).
(re: the tapestry) Behind this, he revealed something we didn't even know was here. Before our time. He touches the stone.
Neat. He turns to face Spike and Andrew.
He read it. And he didn't like what it said. His temper... he, he was like... He was not a friendly man. He was the purest evil I have ever seen. (touching his cheek) He heated his ring with a lighter, pressed it against me. And then I... ran. And hid. And listened to the others die. ANDREW The Priest looks at him sadly. Spike is looking at the stone tablet. Reading it.
What does it say? SPIKE Off Spike and Andrew's confused reaction: INT. BUFFY'S HOUSE - LIVING ROOM/FOYER - NIGHT Right where we left everyone: in stunned silence. (That "Welcome Home" banner is still there in the background, by the way. Not in an obvious way. Just saying.)
Listen, I know what you're thinking, scary place where good guys go boom, I get it. I do. But I had a little visit today at the school from Caleb. DAWN BUFFY WOOD WILLOW ANYA BUFFY No response from the group.
Why doesn't he have someone there protecting it? Why is he camped out at the vineyard? The bad guys always go where the power is. If the Seal was so important to Caleb and The First, they'd be there right now. They're trying to shake us off the trail, it's a mislead. They're protecting the vineyard. They're protecting something at the vineyard. I say it's their power. A beat as she lets the room take this in.
And I say it's time we go take it away from them. Not a single person moves. Not a single person speaks. Until:
Or, in the alternative, how about we... don't. Buffy whips around, looks at Faith. Huh?
It's a neat theory, B. But I'm not going back in that place. Not without proof. And neither should you. (re: the Potentials) And neither should they. BUFFY WOOD Buffy turns to Wood, stung.
Maybe it'll end okay, the way you wanna play it. But maybe it won't. And right now... right now I don't think I want you playing the odds. Not with my coin. BUFFY FAITH GILES BUFFY GILES BUFFY GILES BUFFY WOOD Buffy turns to him. Annoyed.
You need to consider this. BUFFY GILES Now it's Willow and Xander's turn to look hurt.
(to Giles) Is this why you sent Spike away? To ambush me? RONA BUFFY RONA BUFFY Kennedy JUMPS UP, moves toward Buffy.
(seething/in Buffy's face) Well, that's how it feels to us! People are dying! We. Are dying. Willow jumps in between them, keeps Kennedy away from Buffy.
Back off, stop it. Buffy looks relieved for the support.
(to Kennedy/re: Buffy) It's not her fault. She's completely strung out. Whoops. There goes Buffy's relief.
I'm a who? I'm not -- WILLOW BUFFY Willow backs down. Clearly not convinced.
And I don't recall any of you complaining about the way we did things when we were winning. GILES BUFFY WILLOW BUFFY She looks around.
You need someone to lead you. ANYA BUFFY ANYA BUFFY ANYA BUFFY ANYA BUFFY XANDER BUFFY XANDER BUFFY That hangs in the air for a moment.
So how high does the price have to go before you start saying your way isn't right? BUFFY GILES BUFFY GILES BUFFY GILES BUFFY GILES BUFFY Buffy SWEEPS a vase (maybe something vaguely African, from Joyce's gallery) off the end table. It SMASHES to the floor. Giles and Buffy stare at each other for a beat.
(calmly) Do you see? You are not in the best place you have ever been. You're too raw. You need to take a break. BUFFY RONA BUFFY RONA Everyone turns to Faith, who seems startled.
Ka-wha? Whoa, whoa, whoa, so not what I meant, I'm not the in-charge chick, I just think B here needs to chill out for a bit, take a siesta maybe, but I'm not the one you want. But no one's turning away.
Maybe we need a vote. To see who wants Faith to have a turn in charge. BUFFY Total silence.
Guys? Willow and Xander not answering.
I don't... this isn't happening. WILLOW She looks at Xander. Maybe not able to finish this. He nods to her.
(barely able to say it) So maybe we should let someone else take the wheel until you do. XANDER Faith is shocked -- she didn't want this. Buffy just stares at Willow and Xander. Not sure this is real.
Guys. We have a chance to end this. All of us. I can't just stay here and watch Faith lead you off into some disaster. Dawn, silent till now, approaches Buffy and tenderly KISSES her on the cheek.
Then you can't stay here. Buffy -- and everyone -- is shocked.
Look, I love you, but you can't be a part of this. You can't be here. I don't think... I don't think you can face this at all. This one you have to sit out. Buffy is utterly devastated. The final betrayal.
I'm sorry. It's my house, too. Either you let Faith handle things... or you have to leave. Standoff. Buffy looks at Dawn, a little shocked. Looks to Willow and Xander and Giles... looks at the group. They're not backing down. Not one of them. Buffy turns and walks out the front door. EXT. BUFFY'S HOUSE - FRONT PORCH - CONTINUOUS Buffy walks out of the house, down the steps and into the street. The town is deserted, doors left open, belongings that didn't fit in cars strewn about. Everyone's left. And she's totally, utterly alone. She takes one last look at her house, the place that is no longer hers, then she turns and walks off into the night.
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