Becoming, Part One
(March 9, 1998)
Written by: Joss Whedon
ANGLE: A COBBLESTONE STREET
Seen from directly above at night, moonlight raking across the cobbles. It may be difficult to tell exactly what we're looking at for a moment. Over this still image, a voice:
Here's the thing. There's moment
in your life that make you. That set
the course of who you're gonna be.
Sometimes they're little, subtle
moments. Sometimes. . . they're
not. I'll show you what I mean.
At that moment a man on horseback rides below us through frame and the camera arms down to reveal:
GALWAY STREET - NIGHT
Title reads: GALWAY, 1753
The street is near deserted, a couple of BEGGARS and DRUNKS.
A pair of well heeled YOUNG GENTLEMEN are pushed out of a doorway, someone inside growling about deadbeats. One of the gents turns back, laughing. He is Angel.
We'll come back when we've
found a bit more cash money.
Keep the girls warm.
(to his friend)
Come on. We'll sneak in and
take some of my father's silver.
He'll never miss it. Eats with
his hands, the pig.
His friend falls down, drunkenly unconscious.
Or why don't you rest here.
ANGLE: A LADY of considerable means, heading alone into a dark alley. He starts after her.
EXT. ALLEY - CONTINUOUS - NIGHT
He comes in a few paces behind her.
So I'd ask myself, what is a lady
of your station doing alone in an
alley with the reputation that this one has?
She turns slightly, a knowing smile playing across her lips. Those of us who know her, know her as Darla.
Maybe she's lonely.
In that case I would offer
myself as escort. To protect
you from harm, and to while
away the dull hours.
You're very gracious.
It's often been said.
Are you certain you're
up to the challenge?
Has a challenge been made, then?
He approaches her slowly, still with a smile.
My lady, you will find that with
the exception of an honest day's
work there is no challenge
I am not prepared to face.
(reaches her, peers)
God, but you're a pretty thing.
Where are you from?
Never been anywhere, myself.
Always wanted to see the world, but. . .
I could show you.
Could you, then?
Things you've never seen.
Never even heard of.
It is. And frightening.
I'm not afraid. Show me.
Show me your world.
She moves even closer to him, the sexual energy fair peaking between them as she touches his breast with her little hand.
Close your eyes.
She changes to vampface and bites down, hard.
His eyes fly open. He is locked -- can't even struggle. Arms about her, body jerking with pain.
She lets go and he collapses to his knees. She swoops down onto hers. Takes her finger and draws her fingernail across her chest. Draws blood.
She takes him and holds his head to her breast. Makes him drink. He does, with increasing hunger.
We see the two of them from afar, on their knees, Darla feeding Angel in perfect silence.
EXT. GRAVEYARD - NIGHT (THE PRESENT)
A speeding VAN wipes the frame with a roar of its motor to take us to the present day.
Angel watches something from afar. His eyes are filled with the serenity of Evil; the garrulous boy of the flashback is long gone. He is watching:
As she battles two, count 'em, two vamps. One she throws as the other comes at her. She spars with the second vamp as the first circles silently around to her back. Buffy is well in control of the situation, very focussed.
Come on. Ooh, nice try.
She easily parries another blow.
Now that was just sloppy.
If you're not even gonna try, then. . .
She hammers him -- pulls out a stake. Just as the first vamp attacks from the rear she slams the stake home in his chest (yes, she doesn't look behind her). The second vamp stops, worried.
I want you to give Angel
a message for me. Tell him
I'm done waiting. I'm taking
the fight to him. You got that?
Do you want me to write it down?
Fury crosses the vampire's face -- he lunges -- and Buffy stakes his sorry ass. He dusts just like the first one.
All right, I'll tell him myself.
She goes over to a spot nearby and helps up a groggy Xander.
I'm good, don't worry about me. . .
You know, you don't have to patrol with me.
Hey, I had that guy under
control until he resorted to fisticuffs.
(he shakes his head)
What is that: five vampires in three nights?
But no Angel.
You really that anxious
to come up against him?
I just want it over with.
I hear that.
We better get back. I haven't
even started studying for finals.
Oh, yeah, finals. Why
didn't you let me die?
Look on the bright side.
It'll all be over soon.
They walk off together.
Watches as they go.
Yes, my love. It will.
INT. MUSEUM ROOM - DAY
We see a collection of articles for archeology and preservation. A MUSEUM WORKER takes a brush, starts brushing dirt off something we can't see. Another works beside him. Supervising them both is DOUG PERREN, museum curator.
(to a worker)
Careful. Concentrate on this area.
Through the door well behind them enters Giles, looking about.
Doug turns, approaches him.
Thank you for coming.
Not at all. I'm flattered to be asked.
Well, I talked to Lou Tabor
at the Washington Institute,
he said we had the best
authority on obscure relics
right here in Sunnydale.
He may have exaggerated
slightly. Is this the. . .
He indicates the object we've still yet to see.
That's our baby. Construction
crew dug it up just outside
of town, you know they're
putting up those high-rises.
They start toward it, slowly, the camera circling them.
I know there were Spanish
settlers here from way back,
we've found plenty of artifacts.
But whatever's written on this. . .
well, it ain't Spanish.
And the camera finally comes all the way around to reveal the artifact in question.
It looks not unlike a tomb or sarcophagus, a big block of dusty stone carved all over with demonic runes. (It may appear first as more of an obelisk -- it looks solid, not like something's inside.) It stands nearly ten feet tall, and four deep. The two workers are brushing the dust from the cracks between the letters.
Giles comes very close, staring at it.
No. Not Spanish.
(still scanning it)
A few. . . none I'd care to
share until I can verify. . .
Have you dated this?
We won't have the results
for a couple of days. I'm
gonna go out on a limb and say "old".
Yes, this predates any settlements
we've ever read about.
He looks along the side, finds a faint line running up it. He motions to one of the workers to hand him a brush.
He brushes away a bit of dust. Find a crack.
You haven't tried to open it, I assume.
Giles points to a crack he has found. Doug looks at it.
I'll be damned. I figured it was solid.
What do you think's in there?
I don't know.
I guess we won't find out till we open it.
If I could ask. . . wait. Let me
work on translating this text.
It might give us some indication
as to what we'll find inside.
You don't want to be surprised?
As a rule, no.
All right. You're the expert.
I'm pretty damn curious, though.
Yes. Yes, so am I.
He stares at it.
INT. CAFETERIA - DAY
We are CLOSE ON a couple of fish sticks (wielded by Xander) in a heated recap of last night's fight. One of them is holding a stake (a toothpick) and one has an opened ketchup pack held to it.
Toothpick Fishstick says:
You can't sneak up on me!!
Tell Angel I'm gonna kill him -
no -- wait -- I'm gonna kill you! Die! Die!
Toothpick stabs ketchup pack -- and Xander squeezes the ketchup pack to signify blood spurting.
Ketchup pack falls dead and we widen to see Xander conclude his drama. At the table are Cordy, Willow, sitting on the lap of Oz, and Buffy.
Is that it?
ANGLE: THE FISHSTICKS
as Xander has them take a little bow.
Yeah, that's just exactly how it happened.
I thought it was riveting.
I was a little unclear about
some of the themes.
The theme is, Angel's too much
of a coward to take me on face to face.
The other theme was "Buy American,"
but it got kind of buried.
Are you sure you're ready to fight Angel?
Can everybody stop asking me that?
Yeah I'm ready. Also willing, also able.
It's the one test I might actually pass.
Don't say that. You're gonna pass
everything. I'm gonna get you
through this semester if I have to sweat blood.
Do you think you're likely to?
'Cause I'd like to be elsewhere.
It was only metaphor blood.
I think you'd sweat cute blood.
Sixth period, after my computer class,
we'll rock on Chemistry.
I'm ready to rock.
You're the best, Will. Thanks.
Boy, Willow, you've really gotten
the teaching bug. Taking over that
computer class, tutoring. . .
I love it. I really do.
I think it's great to do that BEFORE
you go out and fail in the real world.
'Cause then it's not like falling back
on something, it's like falling. . . well, forward.
And almost sixty five percent of
that was actual compliment.
Is that a personal best?
Gee, Xander, what are you gonna
teach when you fail in life?
I will teach. . .
. . . the language of love.
He reaches for her, but she shrinks back.
Don't touch me! You have fish hands!
He moves his hands toward her face.
Come, let me caress you. . .
She laughs, batting away his hands.
Principal Snyder appears, looking grim as usual. He clears his throat and everyone stops.
That's enough of that.
And you. Are we having a chair shortage?
I haven't read anything about -- Oh! I get it.
She jumps off Oz's lap, sits in her own chair.
These public displays of affection
are not acceptable in my school.
This isn't an orgy, people. It's a classroom.
(is he nuts?)
Yeah, where they teach lunch. . .
Do you have something to say?
This is a cafeteria. I'm pretty sure.
Always with the wisecracks.
One day you're gonna go too far.
Or I could go with the classroom theory. . .
Just give me a reason to kick you out, Summers.
Just give me a reason.
He stalks off.
How about, 'cause you're a tiny
impotent Nazi with a bug up his
butt the size of an emu?
Sums it up.
Now 'lunch' I could actually teach.
I can see that.
"Baloney. It's not a toy. Let's put
it on the bread - The rye bread!
Careful!" Lunch teacher.
Do you want to come by tonight,
do some cramming?
Maybe. . . I do have to patrol.
Again? Do you really expect
Angel to turn up tonight?
No, I don't expect him to.
And that's when he usually does.
EXT. LONDON CHURCH - DAY (1860) - STOCK
A title reads: LONDON, 1860
INT. CONFESSIONAL - MOMENTS LATER - DAY
A poor but pious GIRL walks. If we see past the sanity, we might recognize Drusilla. She stops, crosses herself, and goes into the confessional.
ANGLE: THE WINDOW
opens between her and the priest. We see her through the latticework screen.
Bless me, father, for I have sinned.
It has been two days since my last confession.
ANGLE: THE OTHER SIDE OF THE CONFESSIONAL
Has Angel in it, holding the body of a dead priest. He says nothing.
Uh, uh, two days? That's not very long.
You must sin a great deal to be back so soon.
Oh, father. . . I'm so afraid.
She is near tears. Angel finds himself both amused by his impromptu gig and strangely moved by the girl.
Hush, child. The Lord is very
forgiving. Tell me your sins.
I had. . . I've been seeing again, father.
Didn't try to, I swear! But yesterday
the men were going to work in the mine
and I had a terrible fright, my stomach
all tied up and I saw a horrible crash,
men screaming in the dark. . .my mum
said to keep my peace, it didn't mean
nothing but this morning they had a
cave in. Two men died.
A beat as she collects herself.
(it pours out:)
My mum says I'm cursed.
My seeing things is an affront
to the Lord. That only He's
supposed to see anything before
it happens. But I don't mean to,
Father, I swear. I try to be pure
in His sight and I do my penance,
I don't want to be an evil thing.
Hush, child. The Lord has a plan
for all creatures. Even a devil child like you.
A devil. . .
Yes, you're a spawn of Satan, all the
hail Mary's in the world aren't going
to help. The Lord will use you and then
smite you down, he's like that.
She is crying.
What can I do?
Fulfill his plan for you, child. Be evil.
Perform evil works. Attack the less
fortunate. You can start small: laugh
at a cripple. You'll feel better. Just give in.
No. . . I want to be good. . . I want to be pure. . .
We all do, at first. World doesn't work that way.
Father, I beg you. . . help me.
Very well. Uh, ten Our Fathers
and an act of contrition.
Does that sound good?
Yes, Father, thank you.
The pleasure was mine.
(she starts to go)
Oh, and my child?
God is watching you.
INT. GARDEN\MANSION - NIGHT (PRESENT DAY)
Drusilla wanders into the garden from outside, crazy and evil, the way we know her and love her. Looking at the night.
Spike is there to greet her.
Nice walk, pet?
I met an old man. I didn't like him.
He got stuck in my teeth.
And then the moon started whispering
to me. All sorts of dreadful things.
It's a naughty moon.
What did it say?
He enters the garden from inside.
Oh, look who's awake.
What did the moon tell you?
Did you have a vision?
Is something coming?
Oh yes. . . something terrible.
At the museum. A tomb.
With a surprise inside.
He puts his hand to her head.
You can see all that in your head?
No, you ninny, she read it
in the morning paper.
He holds the paper up. Angel looks at Dru, who smiles apologetically. Angel takes the paper, scans it. He is obviously excited by what he sees.
Oh, my. . .
ANGLE: THE PAPER
has a picture of the artifact on the front page.
Dru comes up behind Angel, looks over his shoulder.
Is that what's been whispering to me?
Oh yeah. Don't worry though.
Soon it'll stop.
He looks at both of them, triumphant.
Soon it'll scream.
INT. COMPUTER CLASS - DAY
CLOSE ON: BUFFY'S PENCIL
as she taps it on her chem book.
She is staring at the book, and at her own notebook. She is tiny and helpless.
This doesn't make sense!
Well, sure it does, see. . .
(looks at Buffy's work)
Oh, no, that doesn't make any sense.
It is. But at least you know that!
So you're learning.
(as Willow looks at her work)
Oh well. It doesn't matter. I mean,
in the real world when am I ever
gonna need to use chemistry, math,
history or the English language?
Oh, I see your problem.
I'm a moron?
Will you stop that? You're not stupid.
You've just had a lot on your mind.
You can do all of this real easily but
if you're just gonna give up then
don't waste my time.
Wow. You really are a good teacher.
Good pep talk?
I got the pep.
Okay. Look at this. It's a covalent
bond -- which means these two atoms
are linked by this one electron. You
know, basic linkage. Hydrogen, Nitrogen, Chlorine. . .
ANGLE: BUFFY'S PENCIL
As she places it on her book -- it rolls off and falls into:
ANGLE: THE SPACE BETWEEN THE DESK AND THE CABINET
where it lands right next to the infamous yellow disk.
Oh. Hold it.
She reaches in and grabs the pencil - her fingers almost brushing the disk -- but just missing it.
She pulls the pencil out, straightens up.
Okay. I'm learn girl.
Well, you see --
Whoah. Deja vu.
The thing with the pencil -
I have a perfect memory of
being exactly like --
She bends down again with the pencil -- and this time she sees the disk.
She reaches in and grabs the disk. Holds it up.
I think you dropped this.
It's not mine. It might be
something of Ms. Calendar's.
They look at each other. Willow pops it in the computer. They wait to see it come up on the screen.
This feels kind of morbid.
Well, I've gone through most
of her files already.
Does that make this less
morbid or you really morbid?
I had to -- to teach the class.
Relax. I'm making with the funny.
What does that say, "restoration"?
It's one of her spells, I think.
You know, she wasn't a practicing
witch, but she did dabble in --
Buffy is reading, her eyes getting steadily wider. Willow concentrates on the screen. Gets it.
The camera pushes in on Buffy, as Willow continues:
Buffy says nothing.
EXT. RUMANIAN WOODS - NIGHT (1898)
We heard funereal chanting, some sobbing, as the camera moves (looking straight down) over the body of a beautiful GYPSY GIRL. She has been laid out in a funeral gown. A couple of women in shawls kneel by her, keening with grief.
ANGLE: A GYPSY WOMAN
Sits in a shawl, with a painted mark on her forehead. She speaks in very low Rumanian, waving her hands over an Orb of Thesulah. As she speaks, it begins to glow.
Nici mort nici al fiintei te invoc, spirit al trécerii
Reda trupului ce separa omul de animal
Cu ajutorul acestui magic glob de cristal
(Not dead, nor not of the living. Spirits of the interregnum,
I call. Restore to the corporal vessel that which separates us
from beast. Use this orb as your guide.)
EXT. ANOTHER PART OF THE WOODS - CONTINUOUS - NIGHT
Angel stumbles into frame, trying to get away from something. He drops to his knees, in obvious pain. Gets up and tries to run again.
EXT. RUMANIAN WOODS - CONTINUOUS - NIGHT
ANGLE: THE GYPSY WOMAN
As she finishes her incantation, the glow envelops the orb, which disappears.
EXT. ANOTHER PART OF THE WOODS - CONTINUOUS - NIGHT
Drops to the ground again, momentarily unconscious.
CLOSE ON: HIS EYES
As they glow briefly.
He gets to his knees, groggy and bewildered, as an old GYPSY MAN approaches.
It hurts, yes? Good. It will hurt more.
Where am I?
You don't remember. Everything
you've done. For a hundred years.
In a moment you will. The face of
everyone you have killed - our
daughter's face -- they will haunt
you and you will know what true
Killed? I don't. . .
And then it hits him.
Oh. . . no. . . no. . .
We see the two of them from a distance, the old man standing over the kneeling Angel, as Angel begins to scream.
INT. LIBRARY - AFTERNOON
Xander, Cordelia and Giles are facing Buffy and Willow. Buffy holds a few sheets of printout in her hand. Everybody is quiet.
What are you saying?
The curse. This is it.
She holds up the sheaf of paper. Giles steps forward, takes it, examines it.
It looks like Ms. Calendar was trying
to replicate the original curse. To restore
Angel's soul again.
She said it couldn't be done.
Well, she tried anyway. And it looks
like it might have worked.
So he killed her. Before she could
tell anyone about it. What a prince.
Well, this is good, right? I mean,
we can curse him again.
It's not that simple. This points
he way, but the ritual itself
requires a rather more advanced
knowledge of the black arts
than I can claim.
Well, I. . . I've been going through
her files and reading up and. . . I've
been sort of checking out the black
arts. Just for fun -- or, educational fun.
I might be able to work this.
Willow, performing this kind of ritual,
channeling such potent majicks through
yourself -- it will open a door you may
not be able to close.
Will, I don't want you putting yourself in danger.
And I don't want danger. "No" to danger.
But I might be the best person to do this.
HI! For those of you who have just
tuned in, everyone here is a crazy
person. This spell might restore
Angel's humanity? Well, here's
an interesting angle: Who cares?
Is that right?
Xander, let's not lose perspective here --
I'm perspective guy! Angel is a killer.
It's not that simple.
What, come back home, all is forgiven?
I can't believe you people!
Xander has a point --
(turning on Cordy)
You know just once I wish you would
support me and I realize right now
that you were and I'm embarrassed
so I'm gonna get back to the point
which is that Angel needs to die.
Curing Angel was apparently Jenny's last wish --
Yeah, well, Jenny's dead.
Giles moves forward like he might actually strike Xander.
Don't you speak of her in that insolent --
Can't you see what I'm saying --
All right, stop it!
What do you want to do?
I don't know. . . What happened
to Angel wasn't his fault. . .
What happened to Ms. Calendar is.
You can paint this however you want.
Way I see it you want to forget all about
Ms Calendar's murder so you can have
your boyfriend back.
Buffy doesn't reply. She just turns and leaves the room, too distraught to deal (but not crying). Willow glares at Xander, who returns her gaze firmly.
Wow. Even I know that was insensitive.
(staring Willow down)
Am I wrong?
Willow doesn't answer.
INT. MUSEUM ROOM - NIGHT
Doug Perren is at his desk, working late. He is pooled in the light of his desk lamp. The object sits at the other end of the room, mostly in shadow.
He hears something. Whispers? They drift past him, ethereal, unintelligible.
He stops working, rises. Looks around him.
(after a beat)
Danny? That you?
ANGLE: THE ARTIFACT
As we approach it, moving inexorably toward the darkness.
Doug reaches it, holds his hand slowly out. Touches it. The whispers grow louder. He moves his hand away and they subside. Puts it back and they grow.
He steps closer to the artifact -- and Drusilla appears behind him in vampface. Takes a great honking bite out of his neck, hand over his mouth as he thrashes and strains.
Angel, flanked by HENCHVAMPS, strides in, eyes on the artifact.
Let's see. . . I'll have one of these.
(points at it)
The vamps throw ropes over it, securing it.
Be careful. I don't want this thing cracked.
Your weak imitations of life depend on it.
(to Dru, re: Doug)
Save me some.
INT. BUFFY'S BEDROOM - NIGHT
Buffy is on the phone with Willow. As she talks, she loads her bag with weapons and crosses from her dresser.
Yeah, I'll do a couple of sweeps,
then I'll stop by.
Yeah, Xander was pretty much being a. . .
Willow. Where'd you learn that word?
My god. You kiss your mother with that mouth?
I don't know. I don't know what I want.
She sees something in the drawer, stops.
Okay. I'll see you in a while.
She hangs up, picks up the thing in the drawer. It is
ANGLE: ANGEL'S CLADDAGH RING
Buffy looks at it, silently.
INT. UPSTAIRS HALL - MINUTES LATER (NIGHT)
Buffy is on her way downstairs when Joyce stops her.
Where are you going?
Oh. Uh, to Willow's. To Study.
Got two finals tomorrow.
All right. Make sure you two study.
Don't talk about boys all night.
Oh, we don't like boys. I mean,
while we're studying. We like
boys. Some boys. . .
As she's talking, she shifts and two crosses fall out of her bag. Joyce bends down to get them, looks at them.
You know, it's funny. I've just
been kind of. . . religious. Lately.
Oh. Well, you know your father and
I are both agnostic, we always thought
you should decide for yourself.
Well, I'm learning. . . sort of searching.
Well, that's good.
Joyce hands her the crosses. Not sure what to say.
She starts to go.
Get a ride back if you come home late.
EXT. STREET - NIGHT
Buffy walks along.
She comes to a row of tall hedges. Stops, turning. Did she hear something?
Someone BURSTS out from between the hedges right behind her. She spins, takes an attack stance.
You know, polite people call before
they jump out of the bushes and attack you.
Is the person facing her. She smiles.
Just wanted to test your reflexes.
Would you like to test my face-punching?
'Cause I think you'll find it's improved.
I was on my way to your house.
Saw you walking. Couldn't help myself.
Which begs the question and don't
think I'm not glad to see you but
why are you here? Wait. Let me
guess. Your Watcher has informed
you that a very dark power is about
to rise in Sunnydale.
That's about it.
Great. Did he give you any idea
of what this dark power is?
INT. MANSION - NIGHT
As the artifact hits the floor with a rounding thud, kicking up dust.
Angel regards it with excitement, Spike and Dru flanking him.
It's a big rock. I can't wait to tell my friends.
They don't have a rock this big.
Spike, boy, you never did learn your history.
Let's have a lesson, then.
Acathla, the demon, came forth
to swallow the world. It was killed
by a virtuous knight who pierced
the demon's heart before it could
draw breath to perform the act. Acathla
turned to stone, as demons sometimes
do, and was buried where neither man
nor demon would be wont to look. Unless
of course they're putting up low rent housing. Boys?
Inside is the very stone demon of which Angel spoke, his face in a horrible grimace, a stone sword sticking out of his chest.
Oooh, he fills my head. . .
I can't hear anything else. . .
Angel approaches Acathla slowly, reverently.
Let me guess. Someone pulls out the sword --
Someone worthy. . .
-- the demon wakes up and wackiness ensues.
He will swallow the world.
And every creature living on this
planet will go to Hell. My friends,
we're about to make history. . .
(turning back to them)
. . . end.
INT. LIBRARY - NIGHT
Giles emerges from his office, joining Buffy, Kendra and Willow in the library. Kendra is putting her bag on the table (not: her bag should be long and go over her shoulder like a quiver -- her sword is contained therein.)
I've just been on the phone with
the museum. The artifact in question
is missing. And the curator has been
And we're sure this thing
was the Tomb of Alfalfa?
Acathla. And yes, the information
Kendra's Watcher has provided seems conclusive.
Okay, can somebody explain the
whole 'he will suck the world into
Hell' thing? That's the part I'm not loving.
The demon universe exists in a
dimension separate from our own.
With one breath Acathla will create
a vortex, a kind of whirlpool that
will pull everything on Earth into
that dimension, where any non-demon
life will suffer horrible, eternal torment.
So that would be the literal kind
of sucking into Hell. Neat.
You think Angelus and the others
are responsible for the theft of the tomb?
I'd bet folding money on it.
I can't believe you dated him.
(off her look)
I mean, he's got to be stopped.
We don't know where they are.
They moved after Giles torched their house.
You did? Good for you.
It was nothing, really.
Willow. . . I think you should try
to do the curse. Bring Angel back.
I tend to side with your friend Xander
on this one. Angel should be eliminated.
I'll fight him. If I have to, I'll kill him.
But if I lose, or I don't find him in time. . .
Willow might be our only hope.
I don't want to be only hope. I crumble
under pressure. Let's have another hope.
She pulls a sword from her bag.
Blessed by the knight who first slew the Demon.
If all else fails, this might stop it.
Let's hope all else doesn't fail.
How close are you to figuring
out the ritual for the curse?
I need a day, maybe. And I need
an Orb of Thesulah, whatever that is.
Spirit vault for the Rituals
of the Undead. I've got one.
I've been using it as a paperweight.
This means I can't help you
study for tomorrow's finals.
I'll wing it. Of course, if we
go to Hell by then I won't have to take them.
Or maybe I'll be taking them forever. . .
Well, Angel has a ritual of his own
to perform before he can remove the
sword and awake Acathla. With any
luck, that may take some time as well.
INT. MANSION SIDE ROOM - NIGHT
Spike is alone, pacing, thinking. We hear chanting from behind the door. Then:
He beelines for the chair, gets in just before she enters the room.
Spike, sweetie, the fun's about to begin.
It is? Seems more to me like
the fun's about to end.
Don't be all gloomy.
Darling, if this works, everything changes.
Think about it. In this world, we can be
kings. In the next. . .
My Spikey's getting cold feet. Don't you
worry about the next world. You'll always
have me. . .
She doesn't answer. A SCREAM emerges from the main room -- that of a young man.
Oh! The blood ritual! To cleanse
Angel. Let's go and see.
Well, if there's blood. . .
They go out into:
INT. MANSION - NIGHT
In the main chamber, where the statue stands free of its casing at one end.
At the other, Angel waits as two vampires bring the young man before him. Angel looks at him, eyes glowing in reverent reverie.
I will drink. . . the blood will wash in me,
over me and I will be cleansed, I will be
worthy to free Acathla.
(to Spike and Dru)
Bear witness, as I ascend.
(looking at the man)
As I become.
He changes to vampface. Bites.
EXT. NEW YORK STREET - NIGHT (1996)
A title reads: MANHATTAN, 1996
It's a dark, grimy district -- not many people out, and none with too much money.
We pick up a HOMELESS MAN moving along in the shadows. He stops at a group of garbage cans, sees:
ANGLE: A RAT
Scurrying among them.
The man makes a dive for the rat, but it gets away and he lands in a clatter among the cans. We see that is it Angel. He looks utterly lost and destitute -- not entirely sane, even.
He sits, defeated as another figure approaches him. WHISTLER is young in appearance, and wearing a bad suit over a loud shirt. He looks like a bottom-ranked mafioso. His manner, like his outfit, is loud and grating.
God, are you disgusting.
Angel starts, not used to being talked to. He starts to crawl back into the shadows.
This is really an unforgettable smell.
This is the stench of death you're
giving off here. And the look says
crazy homeless guy, it's not good.
Get away from me.
What are you gonna do, bite me?
Oh, horrors! A Vampire!
Angel stops, staring at him.
Oh, but you're not gonna bite me
'cause of your poor tortured soul,
it's so sad, a vampire with a soul,
how poignant. I may physically
vomit right here.
Who are you?
Let's take a walk. Come on.
He starts to help Angel up. Angel is clearly weak. As he gets to his feet a respectable PASSERBY stares at the pair.
(to the passerby)
What? Yes, he's my lover,
you mustn't judge us!
The passerby scurries off.
God, I hate people.
EXT. A NEARBY STREET - MINUTES LATER - NIGHT
The two are walking together. Whistler's doing most of the talking.
What are you eating, like a rat once
a month? You're skin and bones here.
Butcher shops are throwing away more
blood in a day than you could stand.
Good blood. You lived in the world
a little bit you'd know that.
I want to know who you are.
Whistler stops, faces him.
And I want to know who you are.
You already do.
Not yet. I'm looking to find out.
'Cause you could go either way here.
I don't understand you.
Nobody understands me. It's my curse.
He walks a few feet away, to a SABRETT VENDOR.
(to the vendor)
There are three kinds of people that
no one understands. Geniuses,
madmen, and guys that mumble.
My name is Whistler. Anyway,
lately it is. My real name is hard
to pronounce unless you're a dolphin.
He pays, takes a big bite out of his dog.
You're not a vampire.
A demon, technically. But I'm not
a bad guy -- not all demons are dedicated
to the destruction of all life. Someone has
to maintain balance, you know. Good and
evil can't exist without each other, blah
blah blah. I'm not like a good fairy or anything,
I'm just trying to make it all balance -- do I
come off defensive?
What did you mean, I could go either way?
I mean you could become an even
more useless rodent than you are
right now, or you could become. . .
someone. A person. Someone to be counted.
I just want to be left alone.
You've been alone for what, ninety years?
And what an impressive package you are.
The stink guy.
You don't know what I have to
deal with. What I've done.
You're annoying me! The self pity
thing is not gonna bring in the chicks.
It's a bore.
What do you want from me?
I want you to see something. It's happening
very soon, we'd need to leave now. You see,
and then you tell me what you want to do.
Where is it?
EXT. LOS ANGELES HIGH SCHOOL - DAY (1996)
Title: LOS ANGELES, 1996
We see Angel in the shadows (or indoors, depending on location) looking out into the bright sunlit courtyard. We see, as he does:
Walking along with her FRIENDS, talking. She is all of fifteen, completely carefree and not a little superficial.
So, I'm like, "Dad, you want me
to go to the dance in an outfit I've
already worn? Why do you hate me?"
Is Tyler taking you?
Oh my god! Where were you when
I got over Tyler? He's of the past.
Tyler would have to crawl on his
hands and knees to get me to go
to the dance with him. Which he's
actually supposed to do after practice,
so I'm gonna wait.
Okay. See you later.
They go, Buffy saying to each one:
Call me. Call me. Call me.
They all go and Buffy sits. She has waited for a moment when a MAN approaches her in a dark, rumpled suit. He looks vaguely nervous, and deadly serious. His name is MERRICK.
Yeah? Hi. What?
I need to speak with you.
You're not from Macy's, are you?
'Cause I meant to pay for that lipstick. . .
There isn't much time. You must
come with me. Your destiny awaits.
I don't have a destiny. I'm destiny-free. Really.
Yes, you have. You are the chosen one.
You alone can stop them.
Buffy stares at him for a good long while, a polite smile playing on her lips, trying to come up with a response. Finally she breaks down into:
EXT. GRAVEYARD - NIGHT (1996)
Buffy crashes into frame, wide-eyed and terrified, a VAMPIRE right on top of her.
It snarls and snaps, trying to bite her. She throws it off.
She goes scrambling for a stake on her hands and knees --
Oh god oh god oh god --
She comes up with it as the vampire charges her again -- she instinctively flips it onto its back.
Collecting herself, she drops down and plunges the stake into its chest, pulling it out again. The vampire screams, but nothing happens.
Ooh, that's not the heart. . .
She tries again, and the vampire's dying rasp tells her she's hit home.
ANGLE: THE VAMPIRE
Explodes into dust.
She starts back from this unexpected effect, stays panting on the grass. We see a pair of legs come into the frame near her.
You see? You see your power?
She says nothing, still staring at the spot where the vampire was.
Watching from the shadows.
EXT./INT. BUFFY'S BEDROOM IN L.A. (1996) - NIGHT
We see in from the outside. Buffy enters her bedroom, followed by Joyce.
Why didn't you call?
I'm sorry, Mom, I didn't know it was so late.
Tyler and I were talking.
That boy is irresponsible.
It's my fault.
You know we worry, that's all.
Dinner's in ten minutes.
Buffy moves into the bathroom, shutting the door behind her.
Watches, obviously feeling for her.
EXT. INT. BUFFY'S BATHROOM IN L.A. (1996) - NIGHT
We see her go to the sink, take off her jacket. Splash her face. She is very shaken. Over her silent actions we hear the voices of her parents:
Did she say where she was?
She was with Tyler.
I don't want her seeing him
You're over reacting, dear.
Don't do that! Don't talk to me
like I'm a kid.
I don't -- forget it.
Just because you can't discipline her,
I have to be the ogre.
I'm not having this conversation
again. All right?
Buffy stays in the bathroom, silent.
INT. TUNNEL - NIGHT
Angel jumps down at one end. At the other, Whistler waits. Angel slowly approaches him.
She's gonna have it tough, that Slayer.
She's just a kid. And the world is full
of big bad things.
I want to help her. I want to. . .
I want to become someone.
I want to help.
Jeez, look at you. She must be
prettier than the last Slayer.
(Angel looks down)
It's not gonna be easy. The more
you live in the world the more you
see how apart from it you are. And
this is dangerous work. Right now
you couldn't go three rounds
with a fruit fly.
I want to learn from you.
They start off together.
But I don't want to dress like you.
See? Again you're annoying me.
INT. MANSION - NIGHT (PRESENT DAY)
Angel lifts his face, blood on his mouth, from his victim. He walks slowly to the statue, the others watching him.
He looks at his hand. It too has blood on it.
Everything that I am, everything that
I have done, has led me here.
This night. This act.
(to the statue)
You will be free.
In a lightning-quick motion, he grabs the hilt of the sword.
White light fills the room.
INT. MANSION - NIGHT
The light still fills the room, along with a crackling energy -- that stops in an instant as Angel is thrown back to the floor. He seems to have gotten an enormous electrical shock, and his vampface is gone.
The sword is still in the statue. Angel looks at it, uncomprehending.
Someone wasn't worthy. . .
Angel rises, furious.
The ritual. There must be something
I missed. The incantations, the blood. . .
Dammit! I don't know. . .
This is so disappointing. What are we going to do?
He stops. Turns to them.
What we always do in a time of trouble.
Turn to an old friend. We'll have our
Armageddon, I swear.
He grabs an old vase from off a pedestal, rage and impatience seething in him, and hurls it against the wall.
INT. ENGLISH CLASS - MORNING
The morning sunlight brightly rakes the classroom. Buffy is seated, along with Xander and Willow and Cordy, amidst the other students. They are all taking their final exam, scribbling in their bluebooks. The room is silent.
The teacher sits at his desk, reading.
INT. HALLWAY - CONTINUOUS - DAY
The Camera dolly's behind a figure in the hall. She moves slowly, a shawl wrapped around her head, her clothes dark and shabby.
INT. CLASSROOM - CONTINUOUS - DAY
Buffy is frowning at her test when she hears:
Tonight. Sundown. In the graveyards.
Excuse me. . .
Buffy looks up. The woman is standing in the classroom -- speaks to Buffy --
You will come to him.
She pulls off her shawl, revealing her vamp visage, and moves toward Buffy, deliberately stepping into the sunlight. She begins to smoke. Kids start trying to move away. Buffy can't take her eyes off the vampire.
You will come to him or
more will die! Tonight!
Flames engulf her as kids scream and get out of there.
His hour is at hand!
And she's gone, flamed out. The classroom is nearly empty except for our principals. Buffy still hasn't moved.
INT. LIBRARY - JUST BEFORE SUNSET
The gang's all here (minus Oz, plus Kendra). Willow is deep in a pile of books.
She said more would die. I have to go.
And I should go with you.
I need you here. Just in case.
I'll be all right. As long as
Angel's fighting me he's
not doing this end of the
world ritual and that's good.
And with any luck. . . Willow?
What do you think?
I'm not sure. I just want to cross check --
We don't have time. If this is
gonna work I need it to work now.
I need maybe half an hour
once we're set up.
Which means you just have to
hold Angel off. Don't let him
close on you. If the curse succeeds,
Why don't you just wait here to
find out if it worked? See if he phones you?
I can't risk him killing more people.
What if he shows up with an army?
I'll run away.
A Slayer never runs aw --
(off their looks)
I'd better go.
Please be careful.
Buffy starts for the door. Kendra runs up to her, hands her a stake.
Here. In case the curse does not succeed. . .
This is my lucky stake. I have killed
many vampires with it.
(in a low voice)
I call it Mister Pointy.
You named your stake.
Remind me to get you a stuffed animal.
(Puts the stake in her jacket)
Watch your back.
EXT. GRAVEYARD - NIGHT
Buffy makes her way along in the dark. After a time:
She turns to face him. He stands some twenty feet away, grinning nonchalantly.
They begin circling each other, slowly.
I wasn't sure you'd come.
After your immolation-o-gram?
Come on, I had to show. But
shouldn't you be destroying the
world right about now? Pulling
the sword out of Al Franken, or
whatever he's called?
There's time enough. I wanted to
say goodbye first. You are the one
thing in this dimension I will miss.
This is a beautiful moment we're
having here. Can we just fight, please?
I didn't come here to fight!
Gosh, I was hoping we could get
back together! What do you
think, do we have a shot?
She glares at him.
All right, we'll fight.
He lunges at her.
INT. LIBRARY - CONTINUOUS - NIGHT
Willow sits at the desk, the orb in front of her. Cordelia is waving a burning sage bush, not loving her task. Giles stands on Willow's other side, holding a volume. There are elaborate markings on the table and Willow has a painted mark on her forehead to match the Gypsy Woman's.
Xander stands up on the balcony, watching. Kendra guards the door.
Quod perditum est, invenietur.
(What was lost, shall be found.)
Not dead, nor not of the living.
Spirits of the interregnum, I call.
EXT. GRAVEYARD - CONTINUOUS - NIGHT
Buffy and Angel spar, Buffy still holding back. Buffy is thrown to the ground.
Come on, Willow.
INT. LIBRARY - CONTINUOUS - NIGHT
Let him know the pain of humanity,
gods -- reach your wizened hands to
me, give me the soul of --
As two vamps burst in behind him. He turns to fight --
as she turns, two more burst in behind her.
as he whips out a stake, makes for Vamp 1 as Vamp 2 comes down toward the ritual.
Kendra punches Vamp 3, sends him into the wall. Vamp 4 passes her.
As Vamps 2 and 4 converge in the middle, Cordy and Willow make for the stacks. Giles faces the vamps and they handily knock him down and out.
Vamp 1 grabs Xander's wrist, bends it. We hear it snap and Xander's eyes go wide.
Kendra spars with Vamp 3, knocking him out and going for Vamp 4, who stands over Giles.
Vamp 2 leaps onto the table, over the railing and slams into a bookcase, knocking it over on Willow. She falls very hard, instantly unconscious.
Xander falls to his knees, the stake dropping, Cordy tries to get out behind Vamp 1. He turns to get her and Xander rises, throws him into Vamp 2.
Cordy races out as Xander picks up the stake in his good hand.
ANGLE: THE DOOR
Drusilla wafts in, eyes alight.
throws Vamp 4 through the window to Giles' office as Vamp 3 hits her from behind.
EXT. GRAVEYARD - CONTINUOUS - NIGHT
A quick exchange of blows.
Is it me, or is your heart not in this?
He throws her back.
Maybe I'll just go home.
Destroy the world. . . sulk. . .
Buffy pulls out her stake.
I think Mister Pointy is gonna
have something to say about that.
Come on. Let's finish it. You and me.
Angel starts to laugh.
You never learn, do you?
Little miss ego. 'You and me.'
This wasn't about you. This
was never about you.
Her expression drains. She turns and bolts, Angel calling after her.
And you fall for it every single time!
INT. LIBRARY - CONTINUOUS - NIGHT
Vamp 1 knocks Xander unconscious, looks down at
who is fighting off the other vamps. She's getting tired.
The vamps back off. Kendra turns to face Dru. Dru drops her shawl, looking dreamily into the heavens.
Kendra lunges and Dru evades, slashes at Kendra with her fingernails. Draws blood.
EXT. STREET - CONTINUOUS - NIGHT
Buffy races full speed for the school.
INT. LIBRARY - CONTINUOUS - NIGHT
Kendra and Dru spar, Kendra getting in some good hits, Dru mostly weaving and giggling.
Finally Dru sees an opening and grabs Kendra's throat, pushes her against the wall. Kendra struggles, pulling at the arm.
CLOSE ON: DRUSILLA'S EYES
Boring into Kendra, hypnotizing her.
Look at me, Dearie. Be in
my eyes. Be in me.
CLOSE ON: KENDRA'S EYES
as the will goes out of them.
Dru steps back, letting go. Kendra stands still, swaying slightly.
EXT. STREET - NIGHT
INT. LIBRARY - CONTINUOUS - NIGHT
Dru pauses -- then slashes her fingers across Kendra's throat. Kendra's eyes widen -- she grabs her throat and blood wells out between her fingers.
(to the vamps)
Let's get what we came for, dears.
Two of the vamps bend down and lift up Giles -- start dragging him out.
INT. HALL/LOUNGE - LATER (NIGHT)
Buffy bursts into the lounge, running as fast as she can. As the camera follows her she goes into slow motion, all sound bleeding out of the sound track.
Bottom line is even if you see
'em coming, you're not ready
for the big moments. No one
asks for their life to change,
not really. But it does.
Buffy enters the --
INT. LIBRARY - CONTINUOUS - NIGHT
Sees the carnage.
She spots Kendra lying on the ground, goes to her, cradles her on her lap -- tries to stop the bleeding as Kendra dies right in front of her.
So, what, are we helpless? Puppets?
No. The big moments are gonna
come, can't help that. It's what
you do afterwards that counts.
That's when you find out who you are.
ANGLE: BUFFY AND KENDRA
We see them from behind, Buffy still holding Kendra's head in her lap, when a policeman's GUN comes into frame.
ANGLE: TWO COPS
are pointing their weapons, looking mighty tense.
Buffy whips her head around to see them.
Over the title: TO BE CONTINUED:
You'll see what I mean.