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Episode # 7ABB17 "Lies My Parents Told Me" Written by: David Fury & Drew
Goddard
February 10, 2003 (WHITE) |
| Teaser |
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UNDER BLACK, we HEAR a CLAP of THUNDER...
FADE UP:
EXT. NEW YORK CITY SKY/SKYLINE - ESTABLISHING - NIGHT
ON STORM CLOUDS in a NIGHT SKY as RAIN pours down, and LIGHTNING
FLASHES. TILT DOWN to reveal the unmistakable cityscape of Manhattan,
broken by the tops of trees.
TITLE: NEW YORK CITY, 1977.
A FLASH of lightning WHITES us into
EXT. CENTRAL PARK - 1977 - FLASHBACK
A BIRD'S EYE VIEW, amid the downpour, of a battle being waged between
two combatants whom we'll soon learn are NIKKI, the Vampire Slayer (in her
BLACK DUSTER), and 70's punk (not the same outfit as train in "Fool For
Love) SPIKE (in VAMPFACE). We see large stones, sidewalk railings, trash
cans and some benches, behind one of which we may notice a shape. NIKKI
runs and double kicks Spike in the chest, knocking him down as we
CUT IN to see SPIKE splash down onto the pavement and roll up onto his
feet. Grinning, impressed.
Well, all right! Got the moves, don't you? Gonna ride you hard before I put you away, luv. NIKKI She charges him, launching another attack. As they fight... CUT TO SOMEONE'S POV of the battle - peering between the slats of a park bench. NEW ANGLE TO REVEAL four year-old ROBIN (one day to be "Principal") WOOD, crouched behind the bench, next to a trash can, peering out at the two large-than-life warriors. His eyes wide with fear. ON NIKKI and SPIKE in their pas de deux. After a few moves, Nikki tries to throw another punch. Spike dodges it and twists her arm behind her back. He wraps his other arm around her throat and pulls her close to him. CLOSE ON ROBIN, panicking, he restlessly shifts, knocking into the trash receptacle next to him. SPIKE, distracted, glances over at the noise. NIKKI uses the opportunity to butt him with the back of her head and break free. As Spike staggers back... NIKKI somersaults to her feet, reaches into her coat, pulls out a stake and throws it at him. SPIKE catches the stake in mid-air.
Tsk, tsk, tsk. Taken me a long time to track you down. Don't really want to end the dance so soon, do you, Nikki? Music's just startin', in'it? As he turns to go, he tosses the stake aside. ON THE STAKE as it clatters to the ground. Tilt up to see it's settled near Robin.
(turning back again) Oh, and... Love the coat. He moves off into the darkness. ON NIKKI, watching him go for a moment before she hears:
Mama? He turns her attention toward ROBIN, who emerges from behind the bench, looking small and scared. Nikki goes and crouches next to him as she straightens the hood on his rain slicker.
Did real good, baby boy. Stayed down just like Mama told you. ROBIN NIKKI ROBIN Nikki takes that in. Looks back where Spike headed off, then, after a beat.
Yeah, I know you do, baby. But... Remember, Robin honey... what we talked about... Always gotta work the mission. Robin looks away.
Look at me. You know I love you. But I got a job to do. The mission's what matters. Right? Robin nods.
That's my baby. C'mon. She stands, takes his hand, and they walk off a bit before ROBIN pulls free of her grasp, turns and runs back to retrieve THE STAKE, lying on the ground. As he picks it up...
(calling out to him) Robin! A FLASH of lightning and we're in... EXT. ALLEY - PRESENT - NIGHT Grown-up ROBIN WOOD, whips around, holding a jagged piece of a crushed wooden crate (an impromptu stake) as A LARGE VAMP throws a punch at him. Wood ducks it, then spins with a roundhouse kick that connects and whips the vamp's head back - but it snaps back and tackles Wood, the two of them falling into a WIDE SHOT in which we see BUFFY, in the background, squaring off with her own LARGE VAMP (#2) and SPIKE (wearing the DUSTER) in a brawl with another VAMP (#3) who wields a broken, rust, old shovel. Wood continues his assault on VAMP #1. He glances over at BUFFY, working over her vamp pretty well, though he is strong and matches her moves. ON SPIKE, having a bit easier time of it. He pounds his vamp (#3) back, and with a kick sends him flying into a dumpster, slipping to the ground. ON VAMP #3, dazed but recovering, looks up as Spike appears over him with the shovel and JABS it into the vamp's throat (out of frame), essentially decapitating him as we HEAR an off-screen dusting.
Spike! He looks at her as she gestures with a glance toward Wood. Spike looks over to see WOOD, now on the receiving end of some blows delivered by Vamp #1, though he manages to get in a few licks himself. ON WOOD, as Vamp #1 sweeps the legs out from under him. He goes down. VAMP #1 looms over WOOD and is about to strike when... POOF! He's DUSTED. Reveal SPIKE standing behind him with the splintered end of the shovel's handle. He steps in to Wood, grabs his arm and pulls him to his feet.
Little tip, mate. The stake's your friend, don't be afraid to use it. Wood just stares at him as Spike turns to go, then stops, sensing something's on Wood's mind.
What? Wood shakes his head slightly, Spike eyes him for a moment, then moves off toward Buffy. ON WOOD, watching him go with a stony glare.
(quietly) Just waiting for my moment... TILT DOWN to his hand to see him squeezing the stake so tightly, blood has begun to trickle out of his clenched fist.
BLACK OUT.
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| Act One |
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EXT. SUNNYDALE HIGH SCHOOL - ESTABLISHING -
NEXT DAY
Stock of backpack-laden kids arriving for a new day of school.
INT. SUNNYDALE HIGH - PRINCIPAL WOOD'S OFFICE - DAY
ON WOOD, peering out of the blinds, watching them arrive. His hand's
bandaged.
Situation still normal. Wood turns to see Buffy entering. Behind her we see an active outer office and student traffic milling about the hallways as PAINTERS roll paint over the graffitied walls and a CUSTODIAN scrapes dried brain matter off the window.
Or as normal as this school ever sees. WOOD BUFFY WOOD Buffy considers that, then shakes her head skeptically.
I saw an army of Ubervamps. In my vision. An army was going to rise up from the Hellmouth. From that Seal. To think I stopped The First... It can't be that easy. WOOD BUFFY Wood moves to her, looking at her warmly.
Y'know, you're something else, Miss Summers. I've been watching you. When we're out patrolling. You're... (then) You remind me of... He stops himself. Buffy looks at him, understanding.
Your mother? WOOD BUFFY They share a smile, standing close for a moment, then...
Ah, maybe you're right. Maybe everything's fine. GILES (O.S.) Wood and Buffy turn to see GILES, standing in the doorway.
A total catastrophe. BUFFY GILES WOOD GILES BUFFY GILES As that declaration hangs there, Giles looks at Wood.
We should go before the school board. WOOD GILES BUFFY GILES Buffy and Wood share a look.
(to Giles) Did you bring back more Potentials? GILES BUFFY GILES WOOD GILES BUFFY GILES BUFFY GILES WOOD BUFFY WOOD GILES BUFFY WOOD BUFFY WOOD Buffy just looks at him.
Sorry. GILES BUFFY GILES BUFFY WOOD GILES EXT. SUMMERS' HOME - ESTABLISHING - AFTERNOON INT. SUMMERS' HOME - LIVING ROOM - AFTERNOON ON ANDREW, entering from the foyer and finding KENNEDY, RONA, MOLLY and a couple of other Potentials, milling about in quiet, frustrated, discussion.
...It's not right. We're all a part of this. Whatever's happening, we should know-- ANDREW They stop talking and look at him.
Wait. Are you guys planning a surprise party for me? KENNEDY ANDREW RONA MOLLY ANDREW KENNEDY ANDREW He makes a move toward the basement as ANYA enters from there.
You don't want to go down there. Andrew looks back at the Potentials, then for their benefit, makes a stand.
As a matter of fact, Anya, I do. We're all a part of this. Whatever's happening, we have a right to know. (to others) Don't we, girls? ANYA Andrew's forceful facade melts.
I see. You mean, the one that makes him Hulk-out, smash through walls and... rip into my throat? ANYA ANDREW INT. SUMMERS' HOME - BASEMENT - MEANWHILE ON SPIKE being shackled to the wall by XANDER.
(muttering to himself) Couldn't have put the chains back up a week ago... no, we have to wait 'til "pretending time's" over to work on Spike... SPIKE XANDER ON BUFFY, standing across from Spike. Along with GILES, WILLOW scanning a book), DAWN and WOOD. Spike looks over at Wood.
(testy) What you doin' here? Came to see the show? WOOD SPIKE GILES He holds up a small odd-shaped stone.
We need to put this in your brain. Spike stares at the peach-pit sized stone.
(no way) Bugger that. GILES DAWN GILES SPIKE Giles turns to Willow, holding the box out to her.
Willow... WILLOW She reads from the book and subtly waves her hand over the stone and incants [fake language, no need to look it up]:
Kun'ati belek sup'sion. Bok'vata im kele'beshus. Ta'li ta'li ek'vota. Mor'osh boota'ke... CLOSE ON THE STONE as it begins to unfurl, into a black, undulating leech-like creature. Everyone looks at it somewhat repulsed. ON SPIKE, eyeing the creature.
You've got to be joking. (to Giles) What now? In the ear? Up the nostrils? GILES SPIKE GILES Giles brings the box up to Spike's face. CLOSE ON SPIKE, tense, as the Prokaryote slithers out of the box and onto his cheek, quickly working it's way to his eye. There it begins to flatten out and worms its way into his eye socket. Spike JERKS as it enters him. He CRIES OUT in pain and thrashes a bit against his chains. The group makes various GASPS of revulsion.
Spike -- XANDER Buffy rushes to Spike's side, takes his hand. Tries to calm him. He thrashes as the Prokaryote vanishes into him.
Listen to me. It's okay. Spike? ON SPIKE, breathing hard, as he looks down, looking inward.
Yeah... BUFFY He nods, rattled.
How'm I suppose to know if this bug ugly's doin' its-- He stops as he's hit with a ray of sunlight, he looks up and around, somewhat amazed. Widen to see he's in... INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - DAY We ARC around Spike's shoulder to find WILLIAM (Spike's pre-vampire self) standing across from a frail, sickly, elderly woman, sitting on a large upholstered chair in the upscale, elegantly furnished parlor; a handkerchief is clutched in her hand. This is Spike's mother, ANNE.
(reading) "...her eyes, balls of honey/angel's' harps, her laugh/oh, lark, grant a sign/if crook'd be cupid's shaft..." CUT IN on ANNE as she listens raptly, a gentle smile on her face, her needle-point lying on the arm rest next to her. A pitcher of water and a glass on the end table beside her. ON WILLIAM, continuing to recite from a few sheets of parchment in his hands.
(reading) "Hark, the lark/her name it hath spake/'Cecily' it discharges/from 'twixt its wee beak." He pauses, then glances up at Anne, indicating he's finished. She stares at him a moment.
Oh, William... WILLIAM ANNE He eyes her skeptically, shaking his head. Then, enthusiastically pleased, he sits on the sofa beside her.
Honestly? You really think so, Mother? ANNE WILLIAM ANNE She's caught by surprise by a hacking cough, which ends as abruptly as it came. William reaches for her water glass to hand to her, but she waves him off.
I wonder though... WILLIAM ANNE WILLIAM ANNE He looks at her.
I have a woman in my life. ANNE WILLIAM Anne smiles, looks at him with love. Anne begins to COUGH. She covers her mouth with her handkerchief. William jumps to his feet and brings her the glass of water, helps her as she gasps it down, soothing her tortured throat. It's then he glances at INSERT - Blood stain on the handkerchief in her hand.
Shall I send a coach for Dr. Gull? ANNE WILLIAM He sits on the floor at his mother's feet, resting against her legs. Anne picks up her needle-point again and starts to resume her work as she sings. SLOW CREEP IN as Anne begins to sing, softly, sweetly...
(singing) EARLY ONE MORNING, JUST AS THE SUN WAS RISING, I HEARD A MAID SING IN THE VALLEY BELOW... CREEP IN on William, closing his eyes to listen to her. We move in tight on his eyes...
MATCH CUT TO:
INT. SUMMERS' HOME - BASEMENT - PRESENT - AFTERNOON TIGHT ON SPIKE'S eyes and brow as he MORPHS into vampface. His eyes open to find he's back in the basement, surrounded by the others (Buffy is still at his side, holding his hand). Before anyone realizes what's happening, Spike bursts up with animal fury. He hits Buffy, tossing her hard across the room. Spike lunges forward, SNARLING, held back by his chains. He struggles a bit, then violently picks up his cot and flings it across the room, hitting Dawn, knocking her to the ground.
Dawn! She goes to help Dawn as Buffy rights herself. She's about to take on Spike when he freezes, almost stunned. She hesitates. ON SPIKE as the Prokaryote slithers out of his eye, dropping off his face. CLOSE ON THE FLOOR as the Prokaryote hits and bounces to a stop, now stone again. ON SPIKE, no longer in vampface, appearing somewhat dazed. He looks over with shame and guilt at HIS POV - BUFFY, shaking off her injuries. DAWN, sitting up with a big, bleeding gash on her temple as Willow tends to her. WOOD watches, darkly intrigued.
BLACK OUT.
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| Act Two |
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INT. SUMMERS' HOUSE - LIVING ROOM -
AFTERNOON
Willow tends to Dawn's head injury on the couch. Xander, Andrew, Anya,
Kennedy and Rona look on.
(touching Dawn) Does that hurt? DAWN ANDREW XANDER Andrew seriously thinks about this.
In the movie or in real life? XANDER ANDREW DAWN THE PHONE RINGS, Andrew moves off to answer it as Willow dabs Dawn's wound again.
Ow. WILLOW DAWN WILLOW KENNEDY RONA ANYA Off Willow and Xander's looks, Anya changes on a dime:
But... forgiveness makes us human. Bladeeblahdeeblah. Andrew re-enters.
Willow. Call for you. From L.A. Somebody named Fred. (confidentially) Guy sounds kinda effeminate. INT. SUMMERS' HOME - BASEMENT - AFTERNOON Spike is agitated, thought slightly dazed. His arms are still chained. Buffy, Giles and Wood look on.
Get me out of these sodding things already! I'm fine. BUFFY SPIKE GILES SPIKE WOOD SPIKE Wood tenses at that. The group doesn't notice.
It was her favorite. She used to sing it to me. (self-conscious) When I was a baby. GILES SPIKE He looks to Buffy, changing the subject.
Shouldn't you be checking on Dawn? Clocked the niblet pretty fierce. BUFFY GILES SPIKE GILES SPIKE They stand there at an impasse for a few moments. Then, Buffy moves to Spike.
What are you doing? BUFFY GILES He takes her and pulls her to the side. They speak in hushed whispers, out of Spike's earshot.
Giles, this is pointless. He doesn't know anything. Your prophylactic stone didn't work. GILES Wood appears next to him.
So the trigger's still working? GILES As Wood takes that in, he looks over at HIS POV - SPIKE, lost in thought, oblivious to their conversation. ANGLE ON SPIKE as he jerks his left arm, straining against the shackle, then suddenly looks at his hand. CLOSE ON IT as a feminine hand slides over his palm. SPIKE looks up as INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT DRUSILLA pulls WILLIAM up to his feet, from the sofa, and they dance, twirling about, laughing as they kiss.
Ooh, such a pretty house you have, sweet Willy. Smells of daffodils and viscera. WILLIAM DRUSILLA She sweeps over to the couch. Sits down seductively.
Shall we give it a proper good-bye? WILLIAM He plops down next to her, pulling her to his lap and they kiss, passionately.
Oh, Dru... we'll bring the world to its knees... DRUSILLA WILLIAM DRUSILLA WILLIAM DRUSILLA WILLIAM DRUSILLA He grins at what he perceives as a joke. Before he can respond...
William? He looks to see Anne at the entrance to the parlor, in her bed clothes, leaning on her WALKING STICK. Startled, William leaps off the couch like a guilty teenager.
Mother... ANNE William crosses to her, almost swaggering.
You needn't have worried, Mother. You never have to worry about anything again. Something... has happened. I've changed. Anne, eyeing his disheveled appearance.
What have you been doing? I don't-- (re: Drusilla) Who... Who is this woman? DRUSILLA ANNE WILLIAM Anne stares at him, bewildered.
Are you drunk? WILLIAM William reaches out to touch her, but she recoils.
What are you talking about? Why are you acting so strange... WILLIAM DRUSILLA WILLIAM ANNE WILLIAM He reaches out and holds her.
We'll be together forever. ON ANNE as we hear William MORPH.
William... ON WILLIAM, in VAMPFACE, holding his mother (she cannot see his face).
(softly) It only hurts for a moment. He SINKS his teeth deep into her neck. We hold for a beat on the two of them, Spike and his mother, over which we hear:
INT. SUMMERS' HOME - BASEMENT - PRESENT - AFTERNOON ON SPIKE as he jerks out of his flashback. He looks over at WILLOW standing on the stairs, addressing Buffy, still standing with Giles and Wood.
Just got a phone call. I gotta take off for a little while, maybe a day or so... BUFFY WILLOW Buffy looks at her a moment, then glances at Spike.
Could use a little of that... (shrugs) Okay. Guess now's as good a time as we're likely to see for a while. Just hurry back. WILLOW Willow heads back upstairs. Buffy starts off toward Spike, talks (out of earshot) with him. Giles watches her with displeasure.
(sotto) Mr. Giles... Giles stops and turns toward him.
D'you have a moment? Giles watches the pair exit upstairs, then nods.
What's on your mind? WOOD GILES WOOD GILES WOOD Giles squints at him.
I'm not sure I-- WOOD GILES WOOD Giles stares at him, understanding Wood's meaning.
Buffy would never allow it. WOOD GILES WOOD GILES WOOD GILES He stops as a realization hits him, and stares at Wood.
You're Nikki Wood's son. WOOD GILES WOOD A beat as Giles sizes him up.
Does Buffy know this? WOOD GILES WOOD PUSH IN as WOOD brings home his case.
I'm talking about what needs to be done. For the greater good. You know I'm right. SLOW PUSH IN on Giles, processing this. Then:
What... exactly are you proposing? WOOD GILES looks at him for a long time. INT. SUMMERS' HOME - KITCHEN/HALLWAY - AFTERNOON Wood crosses into frame outside the kitchen. He glances into the kitchen and sees Spike rummaging through the freezer. He turns to look down the hallway to where Giles is talking to Buffy in the foyer. We can't hear them, but Buffy is clearly skeptical of whatever Giles is telling her. Wood watches for a moment, then casually walks into the kitchen. Spike pulls a bottle of whiskey from deep in the back.
After this afternoon, I could use a drink myself. And I didn't have insects rummaging around in my brain. Spike takes a long drink straight from the bottle and then offers it to Wood, who accepts. He takes a small drink. The two pass it back and forth for the duration of the scene.
Been talking to Giles. He has some things he needs to talk to Buffy about -- Slayer/Watcher-type things, I guess... SPIKE WOOD SPIKE WOOD SPIKE WOOD SPIKE WOOD EXT. CEMETERY - NIGHT Buffy and Giles walk through the graveyard.
I dunno, Giles. Is this really primo time for a training session? GILES BUFFY GILES They come to a stop near a fresh grave.
In case you haven't noticed, our plates are kinda full right now. Plus, not sure how I feel about Robin looking after Spike at his place. GILES BUFFY BUFFY GILES BUFFY GILES Behind them, a HAND breaks through the ground. They turn and look at it.
While we work on the basics. EXT. WOOD'S GARAGE - MEANWHILE Wood and Spike (wearing his duster) approach the padlocked side door of Wood's garage.
Live in a garage? Wood starts unlocking the padlock.
This is just my work room. Kind of my... sanctuary. He unlocks the door, starts to open it.
Little place to unwind, huh... Wood enters, followed by Spike. INT. WOOD'S GARAGE - CONTINUOUS Darkness. We barely make out Spike entering as Wood hangs back.
Hard day's principal-ing got you down, need a place to cut loose, let down your hair... (beat) So to speak. Wood shuts the door. We're in darkness. We hear a ch-chunk as he locks the door behind him.
(friendly) Something like that... Wood switches on the light. The walls of the garage are covered in CROSSES.
What the bloody hell's this? WOOD As he talks, Wood walks over to a COMPUTER WORKSTATION in the corner of the garage. Nearby is a BOOKCASE filled with books.
Stay away from the walls. You'll be all right. Spike looks around the room.
Bit much, in'it? (eyeing Wood) What's your story, Wood? Wood's back is to Spike. He hits a key on his computer and the screen comes to life. He types as he talks (we don't see what he's typing). Spike's spider sense is starting to tingle.
No story, really. Trying to do what's right, make a difference. Wood looks over his shoulder.
How 'bout you? What kind of man are you, Spike? SPIKE WOOD Wood looks at the computer again. Seems satisfied with what he's looking at. He pulls open a large drawer that's part of the workbench the computer sits on. Carefully laid-out weapons line the drawer -- knives, swords. And two ARM BRACES.
You strike me as the type of guy who careens through life completely oblivious to the damage he's doing to everyone around him. SPIKE WOOD Wood looks over his shoulder, makes eye contact.
Ever since you killed my mother. ON SPIKE - Spike's on his guard now, watching Wood closely, though not seeing any imminent threat.
Killed a lot of people's mothers. Wood turns back around.
Oh, you'd remember mine... As he talks, he fastens the metal braces onto his arms. One runs the length of his forearm, with a brass-knuckle-type extension at the hand and a studded spike at the base of the elbow. The other brace is smaller -- it fills over the hand like a wrist protector.
She was a Slayer. Spike tenses up, ready to fight.
So, that's it, is it? Brought me here to kill me? He turns and faces Spike.
No. I don't want to kill you, Spike. I know you're different now. Changed. That you've got a soul. (shaking his head) I don't want to kill you. (beat) I want to kill the monster who took my mother from me. He reaches down and hits a key on his computer. "Early One Morning" begins to play out of his surround-sound speakers. Spike looks around, tenses. A look of fear crosses his face right before he MORPHS into vampface.
(matter of fact) Oh. There he is.
BLACK OUT.
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| Act Three |
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INT. LONDON TOWNHOUSE - 1880 - FLASHBACK -
NIGHT
CLOSE ON the door in the foyer as William enters, he crosses into the
parlor, which seems darker now, the lighting sparse. He looks over at the
sofa.
HIS POV - Anna is gone, though blood stains remain on the upholstery
where she'd lain.
ON WILLIAM, looking around. Sees her walking stick propped up by the
fireplace. He calls out:
Mother...? With that, he suddenly hears a music box, playing "Early One Morning." He turns toward the darkness from which it emanates. Anne crosses into the light, smiling, holding the music box.
Hello, William. Her sickly shuffle's gone -- she moves at a steady gait. Her hair's down and her face has a healthy flush. She still bears the neck wounds of William's bite. ON WILLIAM, he grins at the sight of Anne's robust self.
Look at you... ANNE WILLIAM She focuses on the music box, almost dreamily.
Am I? I suppose I have you to thank for that, don't I? (looks up at him) How ever will I repay you? WILLIAM ANNE WILLIAM ANNE Her eyes drift as she smiles to herself. She places the music box down and closes it.
First we'll feast. And then the night is yours. The theater perhaps. Dancing... Tell me, what's your pleasure? ANNE William's face falls. What? A cruel smile breaks out on Anne's face.
"The lark hath spake from twixt its wee beak." You honestly thought I could bear an eternity listening to that twaddle? INT. WOOD'S GARAGE - PRESENT - NIGHT CRACK! WOOD lands a hard punch across Spike's face. Though somewhat disoriented from the memories rushing through his brain, a feral Spike SNARLS and moves to strike back at Wood.
That's right, dog. Bite back. Wood deflects Spike's attack and jabs Spike in the jaw with his studded elbow. INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT Anne slowly moves about the townhouse, drinking everything in. William watches her, frightened and confused.
I do feel extraordinary. It's as though I've been given new eyes. I see everything. Understand... (her eyes land on him) Everything. WILLIAM ANNE WILLIAM ANNE WILLIAM ANNE OMITTED OMITTED INT. WOOD'S GARAGE - PRESENT - NIGHT CRACK! Wood slams Spike right in the face. He SLAMS Spike back against the cross-laden wall with one braced arm across his throat, the other pummeling him in the midsection. Smoke rises as Spike burns, howling. INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT William now backs away from Anne - shaking his head.
God, how I prayed you'd find a woman to release me. But you scarcely showed an interest. Who could compare to your doddering, housebound mum? A captive audience for your witless prattle? INT. WOOD'S GARAGE - PRESENT - NIGHT Wood presses Spike's face against the crosses. His cheek sizzles and burns. Spike shoves Wood off him, sending him sailing.
(snarling) NNOOO!! He lunges at Wood. INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT William steps in to Anne.
Whatever I was... That's not who I am anymore. ANNE INT. WOOD'S GARAGE - PRESENT - NIGHT CRACK! Wood kicks Spike hard in the face, blasting him back. SPIKE slams back into the bookcase, breaking shelves. Wood looms over him and starts to pound him with punishing blows to the face.
Hurts, don't it? This what it felt like? (punches him) When you beat the life out of her? (punch) Toyed with her? (punch) Before you snapped her neck?! One last hard punch that takes us to EXT. CEMETERY - MEANWHILE CRASH! A NEW VAMP flies into frame, smashing into a large tree. Before he can recover, BUFFY's on him. She grabs his lapels and flips him onto his back. She straddles him, whips out her stake, about to finish him off, when:
Don't kill him yet. Buffy stops short. She and the New Vamp look over at him.
What? Why not? GILES Buffy and the Vamp share a look. She shrugs, elbows the Vamp in the face then rolls off of him. As they square off again:
Would you let this vampire live if it meant saving the world? BUFFY VAMP BUFFY GILES BUFFY VAMP BUFFY She slams him with a right cross. They trade blows as she and Giles talk.
And would you let him kill me, if it meant the same? The Vamp hesitates, looking at Giles.
Uh... I'm cool with that. Buffy palms him in the head to regain his attention. The Vamp attacks again. Buffy casually fights back.
We've had this conversation before, Giles. When I told you I wouldn't sacrifice Dawn to stop Glory from destroying the world. GILES Buffy hesitates, as she realizes her answer.
If I have to. To save the world... (quietly) Yes. The Vamp spin kicks her in the head.
Ouch! Can I kill this guy yet? GILES Frustrated, Buffy starts wailing on the Vamp.
So you really do understand the difficult decisions you'll have to make. That any one of us is expendable in this war... BUFFY GILES BUFFY A beat as Giles watches Buffy and the Vamp trade blows.
And yet, there is Spike. Buffy pauses in her assault to look at him. The Vamp uses the opportunity to tackle her out of frame. INT. WOOD'S GARAGE - MEANWHILE ON WOOD, getting to his feet, breathing hard, staring down at SPIKE, propped up against the toppled bookcase, bruised and bloodied, lost in torrents of memory swimming around in his head. As he speaks, Wood strips his mother's coat from Spike's body.
Animal like you... Never cared for anyone but yourself... He folds the coat over his arm, lays it gently on the table.
No one else mattered... Just... all about the hunt... ON WOOD as he reaches over to a SMALL WOODEN CROSS mounted among the others on the wall and with a bit of effort, yanks it from its mooring. ON SPIKE, hearing voices in his head.
You want to run, don't you? INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT Anne has William backed against the fireplace again.
Scamper off and cry to your new little trollop. You think you'll be able to love her? You think you'll be able to touch her without feeling me? She grasps her walking stick...
All you ever wanted was to be back inside. And you finally got your wish, didn't you? Sank your teeth into me, an eternal kiss- WILLIAM Now she grows darkly seductive. Moving closer still.
You wanted your hands on me. Perhaps you'd like to finish what you started, hum? WILLIAM WILLIAM, terrified, pressed against the wall, on the verge of tears. He can't meet his mother's stare.
Come on Willy, have a go before we part. One to remember me by. WILLIAM Anne watches him squirm, a cruel smile on her face.
Just like this. This is what you wanted all along. WILLIAM ANNE WILLIAM Spike shoves her. Hard. She stumbles back. Grows cold.
Fine. Then gather up your tears and get out of my house. WILLIAM ANNE And as she says this, she grabs her walking stick and SWINGS. William, cowering, blocks the blow, catching the cane before it hits. As they struggle for possession of it, we hear a SNARL and he looks at ANNE, now in vampface, sneering at him.
There, there, precious. "It will only hurt for a moment." The walking stick slams against the mantle, snapping it in two. As William and Anne stay close, struggling...
I'm sorry... INT. WOOD'S GARAGE - PRESENT - NIGHT Wood hesitates.
What? SPIKE INT. LONDON TOWNHOUSE - 1880 - FLASHBACK - NIGHT William plunges the shard of the walking stick into his mother's chest. ON ANNE - She gasps and looks up at him, DEMORPHING back to her human face. For a moment, there's a glimmer of the kind, gentle loving woman she was before being turned. William registers this as the DUSTS and falls away... INT. WOOD'S GARAGE - PRESENT - NIGHT Wood raises the cross to plunge into Spike's heart, when suddenly SPIKE's hand flies up and grabs Wood's arm. ON SPIKE, who peers up, NO LONGER IN VAMPFACE. A look of revelation on his face. Without a word, he kicks Wood square in the chest, sending him reeling backward. As SPIKE jumps to his feet, resolved...
You think "sorry" is gonna make everything right? SPIKE Wood launches an attack on Spike, but this time he's having a hard time making contact as Spike deflects each blow. Spike swings around with a kick to Wood's head, dazing him.
I don't give a piss about your mum. She was a Slayer. I was a vampire. Wood attacks, Spike hits him again.
That's the way the game's played. WOOD Wood strikes back, again with little result. Spike unleashes a couple of punishing blows.
She knew what she was signing up for. WOOD SPIKE WOOD SPIKE Wood throws punches that Spike dodges and deflects.
You took my childhood... (punch) ...when you took her from me. (punch) She was all I had. She was my world. SPIKE Wood hesitates, wincing at that. Then comes at Spike again.
Shut up. You didn't know her. Spike ducks a swing, then pummels Wood, who's beaten to his knees.
I know Slayers. No matter how many people they got around them, they fight alone. Life of The Chosen One. Rest of us be damned. Your mum was no different. A weary and beaten Wood looks at Spike, with desperate defiance.
She... She loved me. SPIKE Wood lies broken and bloody on the floor, unable to respond. ON SPIKE, after a moment, letting the air settle.
Tell you a story. 'Bout a mother and a son. Like you, I loved my mum. So much so, I turned her into a vampire so we could be together forever. (beat) She said some nasty bits to me after I did that. Been weighing on me for quite some time... He paces, thinking it through.
But you helped me figure something out. You see, unlike you, I had a mother who loved me back. When I sired her, I set loose a demon and it tore into me... but that was the demon talking, not her. I realize that now. (pause) My mum loved me with all her heart. I was her world. He walks over to the computer. Hits a key. "Early One Morning" begins to play again. Spike listens, relaxed. Unaffected.
Nice little song you got there... He listens a bit more, then hits a key. Stops the music.
Thanks, doc. Cured me after all. He crosses over to Wood.
Got my own free will now. I'm not under The First, or anyone else's influence anymore. ON WOOD staring up at Spike looming over him.
Just wanted you to know that... ON SPIKE as he MORPHS into VAMPFACE.
...before I kill you. He grabs Wood's shirt, yanks him up and bites into him and we...
BLACK OUT.
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| Act Four |
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EXT. CEMETERY - NIGHT
WHAM! Buffy hits the Vampire who accepts the blows, wearily.
Spike is a liability, Buffy. He refuses to see that. And so do you. Angel left here because he knew how harmful your relationship with him was. Spike, on the other hand, lacks such self-awareness. BUFFY VAMP BUFFY She hits him hard.
You want Spike here even after what he's done to you in the past? BUFFY GILES BUFFY Giles pauses a moment, then:
So was Ben. Buffy stops cold. The Vamp launches at her and she WHIP-STAKES him to DUST.
Ben? GILES BUFFY GILES SLOW PUSH IN as he continues...
Glory was invincible, impossible to kill... Ben was not. So after you defeated her. After you left Ben lying there. Alive. I made a decision. One that you couldn't. BUFFY GILES Buffy's eyes go wide as she starts to put it together.
Oh god... You've been stalling me. Keeping me away-- GILES Buffy stares at him in shock, then turns and runs...
(calls after her) This is the way wars are won. OMITTED EXT. WOOD'S GARAGE - CONTINUOUS The side door swings open and Spike steps out into the night, pulling on his coat. He moves to walk away, then hesitates as he hears:
Spike! Buffy runs into frame, anxious. She sees his wounds, tries to touch his face, check him over.
Are you okay? He pushes her hands away. Leave me be.
What happened? He turns, pushes open the door behind him. It swings open to reveal Wood, battered and bloody, slumped against the wall. His head rolls as he regains consciousness. Though he's seen better days, he's clearly still alive.
(whispered) Oh my god... SPIKE She looks at him, begins to figure it out.
But that's all he gets. He turns, begins to walk away.
He so much as looks at me funny again... I'll kill him. Buffy watches him go, then turns toward the garage. INT. WOOD'S GARAGE - CONTINUOUS Buffy walks into the garage. Wood sees her, tries to get to his feet. She goes to his side to help him.
I lost my mom a couple years ago. I came home and found her dead on the couch. Wood wipes the blood from his mouth.
(softly) I'm sorry. BUFFY WOOD BUFFY WOOD BUFFY Wood looks down -- he can't bring himself to meet her gaze.
I have a mission: to win this war, save the world. I don't have time for your vendettas. She turns her back on him, begins to walk away.
The mission's what matters. And she leaves him. Alone. INT. SUMMERS' HOME - DAWN'S BEDROOM/HALLWAY - NIGHT Dawn, head bandaged, lies fast asleep in her bed. ANGLE ON BUFFY, sitting on the edge of the bed, looking at her. She brushes a strand of hair from her face, caresses her cheek, then rises and exits. INT. SUMMERS' HOME - HALLWAY/BUFFY'S BEDROOM - CONTINUOUS Buffy walks into the hall and moves toward her bedroom when:
Buffy... She glances back to see GILES at the other end of the hallway. BUFFY turns back and walks through the doorway to her room. Giles follows.
I understand your anger... but please believe me when I tell you we did what we did for the good of all -- BUFFY Giles processes this. Then:
That changes nothing. What I said to you before is still true. You need to learn -- BUFFY Buffy turns and addresses him face to face in her doorway.
I think you've taught me everything I need to know. And with that, she closes the door in his face.
BLACK OUT.
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