|
"Touched" Written by: Rebecca Rand Kirshner
March 21, 2003 (WHITE) | ||||||
| Teaser | ||||||
|
INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT
The middle of the night, only hours after Buffy was kicked out. FAITH
sits with XANDER, WILLOW, DAWN, GILES, ANYA, PRINCIPAL WOOD and the
Potentials (KENNEDY, RONA, AMANDA, VI, CARIDAD and 20 EXTRA POTENTIALS).
(Note: Rona needs to be able to be shot separately. So she's probably
behind a few people. Visible when necessary, but not conspicuous when
she's gone.)
Everyone is still wound-up and tense. Faith, looking frazzled, is
trying to get control of the chaotic group.
Okay, you guys, let's not freak out. KENNEDY ANGLE ON some of the potentials, including Vi, looking scared, vulnerable.
(to Kennedy; re: scared Potentials) Maybe you don't have to be so blunt about the losing of the necks -- ANYA XANDER GILES AMANDA
When I was involved with Model UN, we found Parliamentary Procedure to be a total life saver. For example, once, when I was Uruguay -- ANGLE ON Giles and Dawn sitting next to each other. They catch each other's eyes. As the debate continues around them:
(quietly; to Dawn) She's going to be okay. It's -- it's all for the best. DAWN Giles gives a little sympathetic shrug.
Everything's going to be alright. DAWN Dawn and Giles share another look: this is hard. All this plays over:
I hear what you're saying but --
Why don't we-- RONA DAWN FAITH They all look to Faith. It's quiet. Her voice calms them.
(quiet) It's been a long night and I don't know about you, but I'm wiped. Why don't we all catch some sleep and figure all this out in the morning? KENNEDY FAITH Vi nods emphatically.
Frankly? Our situation blows. But we've got to stay cool. That's the only way we're going to get through this. Can everyone handle that? A few affirmative ad-libs. Voices are more relaxed; the hysteria is over.
(calming down) Yeah... yeah. We'll get some rest and tomorrow, this won't seem so -- Suddenly, all the LIGHTS IN THE HOUSE GO OUT.
AAAAaaaa! And the hysteria returns. The rest of the scene should play out in as close to TOTAL DARKNESS as possible. Otherwise it's going to seem lame that they're freaking out. All this is overlappy too - keeping up the chaotic mood.
Vi, be quiet-- VI
I'll check the fuse box. FAITH RONA FAITH A beat of silence.
(worried) I think I'm freaking out. EXT. SUNNYDALE STREET - NIGHT BUFFY, all alone in the dark. Her face placid, detached. She walks down the middle of the street. The street lights are out. Doors are left open, houses abandoned. Maybe a family is packing their belongings into their car and getting the hell out of Dodge. Buffy chooses a small house. Walks up to the door. CRACK! INT. SMALL HOUSE - ENTRYWAY/KITCHENETTE - CONTINUTNG The door swings open as Buffy (having broken the lock with an unseen shoulder slam) enters. The house is dark. Buffy takes a couple steps in, her face still blank. A floorboard CREAKS. Suddenly:
Don't move! Buffy doesn't flinch. She turns ambivalently towards the voice. Now illuminated by the moonlight, we can see a MIDDLE-AGED MAN with a shotgun aimed at Buffy's head. His hands are shaking. His bulging eyes belie sleep-deprivation and paranoia.
Get out of my house. Buffy looks at him apathetically.
Hey. And then, incredibly quick, she easily seizes the gun. Which she tosses out of the way, on to the couch.
I thought this place'd be empty. Everyone else has left town. You know, you really should leave. MIDDLE-AGED MAN BUFFY He takes a side-ways step towards the door but then pauses: she can't be serious?
It's not your house. It's not your town. Not anymore. As Buffy turns towards the kitchen, the man starts to exit. BUFFY opens the refrigerator (no light goes on). And, holding the gun absentmindedly, she looks for something to eat.
Hey, do you have any Tab?
| ||||||
| Act One | ||||||
|
INT. GILROY MISSION - SECRET ROOM - DAY
The same small dark room from scene 28 in "Empty Places." Bare except
for a few tapestries on the wall. Dark except for a thin band of sunlight
let in from an out of frame window. Just something to indicate that it's
day and provide some cool lighting.
ANDREW lies on his stomach, his chin resting in his hands, lazily
swinging his legs back and forth.
All right...I spy with my little eye something that begins with ... "T" -- SPIKE SPIKE sits slumped against a wall, his head in his hands. Bored out of his mind.
(impressed) Hey... good one. How did you-- SPIKE ANDREW SPIKE ANDREW SPIKE Andrew waits a few beats. And then:
Rock paper scissors? He looks at Spike hopefully. Spike stares back.
(quiet and cold) What is wrong with you? Don't you understand what's happening here? ANDREW Spike slams the ground next to him with his fist...
And ev'ry minute we're stuck here, the Slayer's back there, facing hell know's what... ANDREW SPIKE ANDREW SPIKE ANDREW His eyes scan the barren room.
I spy with my little eye something that begins with a..."Y". Spike looks around. There's nothing that begins with a "Y".
A "Y"? There's nothing here that-- ANDREW SPIKE INT. SUMMERS' HOUSE - BASEMENT - DAY Basically everyone in the house is there sitting in a circle: Faith, Xander (with new eye-patch), Willow, Dawn, Giles, Anya, Principal Wood, Kennedy, Caridad, Amanda, Vi, plus 20- 30 extras. The room is lit with battery-powered emergency lamps. The "Big Board" is behind them and there are some fighting dummies nearby: we want the sense that this is command central. Faith is overwhelmed; trying to maintain control of a very large group of scared and confused people:
So what do we know? XANDER CARIDAD VI ANYA Vi looks at her, stunned. Anya pats her on the back.
And then you'll die. KENNEDY FAITH Kennedy is hurt that Faith cut her off. Faith looks to the group at large, ignoring Kennedy.
We know we've got a lot of enemies. We'll start there. KENNEDY FAITH DAWN XANDER ANYA DAWN FAITH GILES FAITH KENNEDY XANDER FAITH DAWN PRINCIPAL WOOD KENNEDY FAITH KENNEDY Willow puts her hand on Kennedy's arm, telling her to take it easy.
(quietly to Kennedy) Sweetie. You're pushing too hard. KENNEDY FAITH Faith stands, finally taking on the mantle of leadership.
Look, you guys, I'm not Buffy. I'm not the one who's been on your asses all this time. But I'm not one of you anymore, either. I'm your leader. I didn't ask to do this. And honestly? I didn't want to. But now I'm in charge. Which means I go first and I make the rules and the rest of you follow after me, is that clear? So back the hell off, Kennedy and let me do my job. Kennedy looks at her, stunned.
Alright? KENNEDY FAITH Off Kennedy's pissed-off look: INT. N.D. (VINEYARD - SECRET CHAMBER) - NIGHT A dark space underground (lit with a few torches). BRINGERS are toiling at some unclear task. We see FOUR but might assume there are many more: Two work with some kind of ELECTRIC SAW that throw up sparks; and two use long HAMMERS, beating repetitively although it's not clear at what. The CAMERA PULLS BACK REVEALING CALEB AND BUFFY... or really THE FIRST in the guise of Buffy: their backs silhouetted against the light of the Bringers' fire. They look like devils watching the tortured labor in hell.
I'd hoped you'd give me some better news. CALEB Caleb and The First remain side by side for a beat. Silent. ANGLE ON Buffy/First and Caleb from the front.
Is this going to do anything? Or is all of this just to make the Bringers sweat? (then) Do the Bringers sweat? CALEB BUFFY/FIRST CALEB BUFFY/FIRST Buffy/First turns, walks away, toward us, speaking to Caleb without even looking at him. Caleb doesn't turn, doesn't watch her go. He keeps his eyes on the work
before him. We PULL AROUND...
... to see a small, quiet SMILE curl his lips.
EXT. SUNNYDALE ALLEY - NIGHT
Dark, desolate. A lone figure walks through the alley. As she gets
closer, we recognize Kennedy. She scuffs her feet along the pavement,
gives an absent-minded, pissed-off kick to a garbage can. She looks like
she's in her own world, still wounded by the public scolding she got from
Faith. In another word: schmuck-bait.
Suddenly, THREE BRINGERS race out from the darkness. The first one
there, BRINGER #1, grabs Kennedy from behind. She falls to her knees. The
Bringer's knife glints in the moonlight. Then the knife is at her throat
and
WHIIIZZZ! ZWOOP...
BRINGER #2 staggers back, away from Kennedy... pulled by some unseen
force. Its knife clatters to the cement. And then we see...
Giles, yanking the Bringer back by a lasso he just threw 'round its
neck.
BRINGER #2 lunges at Kennedy, but BOOF! Caridad emerges from the
darkness and gives it a mighty KICK in the temple.
Amanda and an Extra Potential appear out of the darkness too. They each
get a couple good blows in on Bringer #3 and then the Extra stabs it in
the gut. It crumples down dead.
Kennedy picks up Bringer #1's knife. Bringer #2 tackles Kennedy to the
ground. She struggles under the Bringer. Its hands are around her neck.
And then its hands lose their strength. She flips the beast over: it's
dead with Bringer #1's knife sticking out of its chest. Kennedy wrenches
out the blade and wipes it on her jeans.
CARIDAD Giles tosses the end of the rope to Kennedy. As:
She pulls it tight, deftly wraps the length around her arm. And leads
them out of the alley.
The little posse walks off into the moonlight.
| ||||||
| Act Two | ||||||
|
INT. SUMMERS' HOUSE - KITCHEN - NIGHT
The kitchen is lit with hurricane lights. Faith, Principal WOOD, Giles,
Xander, Willow and Kennedy troop up from the basement into the kitchen.
Where Anya, Dawn, Amanda and two Extra Potentials are hanging out. They
look expectantly at the basement crew:
Hey! So? GILES ANYA GILES WILLOW FAITH AMANDA As the basement crew joins the others around the counter:
Hey, whoa there sweet-cakes, missing body parts can look pretty awesome. (beat) But this was totally gross. DAWN Dawn looks up; she just remembered something.
I've been reading this old Turkish spell book. There's an old conjuration that the ancient Turks used to communicate with the dying -- WILLOW DAWN WILLOW FAITH ANDREW (O.S.) The SOUND of the front door slamming. As Spike appears through the dining room with Andrew behind him.
Spike. As he casts a look at Faith: Uh-oh, here we go.
Hey. Andrew enters, talking a mile-a-minute and making his way quickly towards the door to the living room.
Hi, everybody. I missed you guys a lot. Sorry we took so long getting back from our mission-mission but we had to wait out the sun and hey -- (re: Xander) Oh, cool... very Col. Nick Fury. You're lookin' good! XANDER ANDREW And with that he dashes off towards the bathroom.
He's a breath of fresh air, isn't he? (beat) Thank god I don't breathe. Silence. Everyone avoids looking at Spike.
So I think we got a lead. Where's Buffy? DAWN SPIKE Nobody answers.
What? She finally ran off and joined the circus? Always thought she'd be genius at the old knife throw -- (off their looks) Where is she? WILLOW SPIKE ANGLE on the group's shameful expressions.
Well, we all decided. SPIKE Spike paces for a moment, smiling strangely. And then:
(disgusted) You sad, sad, ungrateful traitors. Who do you think you are? WILLOW SPIKE GILES SPIKE Spike looks at all of them.
She's saved your lives, again and again. She's died for you. And this is how you thank her? This is how you -- Faith steps in front of Spike, cutting him off:
Hey, why don't you take it down a notch or two? The time for giving speeches is over, Bat-boy. He takes a step closer.
Is that right? FAITH SPIKE And POW! He punches Faith right in the jaw. He catches her off-guard and she falls back against the counter, surprised. Everyone else starts backing away: there's no stopping these two. As Faith touches her sore jaw, a smile spreads over her face.
You're pretty sweet on her, aren't you? And using the kitchen counter, Faith kicks up both legs at once, CRACKING Spike in the face.
Well, I think it's cute. SMACK! He hits her hard. She takes it and OOMPH! hits him back.
The way she's got you whipped. She KICKS HIM HARD, Bending him flying back into the INT. SUMMERS' HOUSE - DINING ROOM - CONTINUING Where he falls hard onto his back. Faith jumps on him, hitting him in the face. Again and Again. Brutal. Then Spike kicks back, throwing Faith off him. Now he's got the upper hand. He pushes her up against the wall. He's right in her face.
Finally got what you always wanted, didn't you? She stares in his eyes, angry. And then SLAM! He knocks her head back against the wall hard!
Where is she? FAITH She wrenches out of his grasp, KICKS him in the gut. And readies for his returning blow. Except he just throws up his hands, like 'screw it' and turns away from her. As he heads out, he looks back to the kitchen doorway. ANGLE ON all the others, watching. Unable to meet his eye. ANGLE ON Spike heading out the door. ANGLE ON the gang. Their expressions full of guilt and confusion. EXT SUMMERS' HOUSE - NIGHT Spike pauses at a crossroads. Breathes deeply. Closes his eyes. And turns left. INT. SUMMERS' HOUSE - BASEMENT - NIGHT CLOSE ON the Bringer, sitting awkwardly on the floor, its arms above its head, wrists manacled in Spike's old chains. Candles light the room.
PULL BACK TO REVEAL: Willow reading out of a spell book. Kennedy, Giles, Andrew, and Xander standing a bit behind her.
Willow closes the book. A long beat. Nothing happens.
(loud whisper) Maybe you should let me rough him up a little.
ANGLE ON THE BRINGER. No movement.
I don't know, you guys; that should have worked. GILES ANDREW XANDER ANDREW KENNEDY XANDER GILES He looks at the Bringer. He looks at Andrew. They get it: Andrew is serving as a conduit for the Bringer. They all turn to look at Andrew:
I am only a fragment of The We. We work as one to serve The First. Willow faces Andrew and then the Bringer.
Okay, well, what are you, "The We", doing for The First? ANDREW/BRINGER Kennedy gets right in the Bringer's face. She pulls the Bringer's knife from her belt and points it threateningly, just touching the point of it to the Bringer's neck. Next to Kennedy, Willow is uncomfortable about Kennedy's aggression; she looks anxiously at Kennedy.
(to the Bringer) How? Tell me exactly what the Bringers are doing. GILES ANDREW/BRINGER Giles holds out his hand to Kennedy, asking for the knife.
Kennedy? She passes it over.
We attend to the needs of infinite Evil. We exterminate girls and destroy the legacy of Slayer. We build an arsenal beneath the dirt. We obey the commands of our teacher Caleb. We protect -- XANDER ANDREW/BRINGER ANYA ANDREW/BRINGER And suddenly, Giles SLASHES the Bringer's knife across its throat! The Bringer GASPS, sucks air through its wound for a moment and dies.
What the bananas! They turn to Andrew who's clutching at his throat.
(glaring at Giles) Okay, it is so lucky for you that didn't just magically decapitate me. GILES ON GILES as they all troop up the stairs. Andrew last.
Xander, if you'll grab some maps we can start narrowing this down. We need subterranean space with an area large enough for an armory. ANDREW INT. SMALL HOUSE - BEDROOM - NIGHT Buffy lies on the stranger's bed, atop the unmade sheets. The only light is moonlight coming in the window. Next to her is the shotgun. KNOCK, KNOCK. Someone at the front door. Buffy doesn't react. Another KNOCK. Then the SOUND of the door CREAKING open... And FOOTSTEPS approaching. The footsteps stop.
There you are. Slowly, Buffy turns and sees, in the doorway: Spike. She looks at him blankly. As he strides in, full of energy.
Do you realize I could just walk in here, no invite needed? This town really is theirs now, isn't it? He and Buffy exchange a look:
I heard. I was over there. That bitch. Buffy shakes her head. But Spike continues.
She's all smiles and reformation when you're on your feet; minute you're down? She's all about the kicking, isn't that right? Makes me want to-- BUFFY (tired) Spike doesn't budge; he's excited by his news.
No, this'll change your tune. I came here 'cause I got somethin' to tell you: You're right. You've been right since the beginning. He looks at her triumphantly. Buffy looks back, blankly.
Caleb is protecting something from you. And I think you were spot on all the way; I think it's at the vineyard. He looks at her expectantly.
So? (waiting for reaction) You were right. Buffy. Buffy shakes her head.
I don't feel very right. They blame me for stuff, and honestly? I can't say they're wrong. Spike crouches down by the bed.
You're not foolin' me. BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE Off Spike's intense look: INT. SUMMERS' HOUSE - BUFFY'S BEDROOM - NIGHT Giles talks to Faith in the doorway to her (Buffy's old) bedroom. Giles shows a section of an open map to an exhausted Faith.
Sewer tunnel on the North side's closest, so guess we'll start there. GILES FAITH GILES FAITH GILES Faith smiles a small grateful smile. Then turns, heading into the bedroom. Takes a few steps... And finds herself face to face with:
I'd say better than 'fine'. I'd say you're doing a bang-up job. Faith is totally rattled, but trying not to show it.
Get out. MAYOR WILKINS/FIRST FAITH MAYOR WILKINS/FIRST He paces a bit.
You see, I am part of "The First," as you kids call it, but I'm also me. Richard Wilkins the Third. Late mayor - and founder - of Sunnydale. She remains quiet, trying hard not to let him get to her.
Here. I'll prove it to you. Ask me a question only I would know the answer to. Something like... where did I hide the moon pies in my office, or who was my favorite character in Little Women. (realizing something) Actually... we never got that far, did we? (beat) Meg. He throws his hands up in a "can you believe it!" gesture.
I know! Most people guess Beth. But Meg was such a proper young lady. (thinks) Remember when Jo burned her hair? FAITH MAYOR WILKINS/FIRST FAITH MAYOR WILKINS/FIRST FAITH MAYOR WILKINS/FIRST Faith doesn't say anything.
She nearly killed you, Faith. FAITH MAYOR WILKINS/FIRST Off Faith's look, we:
BLACK OUT.
| ||||||
| Act Three | ||||||
|
INT. SMALL HOUSE - BEDROOM - NIGHT
Buffy sits on the bed. Spike stands before her, incredulous.
"No"? BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY She looks at him.
I've been thinking a lot. SPIKE BUFFY She stands, upset.
You know what? I'm still making excuses. I've always cut myself off, I've always... Being the slayer made me different, but it's my fault I stayed that way. People try to connect to me but I just... I slip away. A beat.
You should know. SPIKE BUFFY Now he stands.
You think that's all it was? BUFFY SPIKE She drops down onto the bed, looking wearily up at him.
Fine. The stage is yours. Cheer me up. SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE He moves to touch her face. Misinterpreting, she turns away, but he puts his hand to her cheek, urges her to...
Look at me. I'm not asking you for anything. When I tell you that I love you, it's not because I want you, or 'cause I can't have you -- it has nothing to do with me. I love what you are, what you do, how you try... I've seen your strength, and your kindness, I've seen the best and the worst of you and I understand with perfect clarity exactly what you are. You are a hell of a woman. She is silently crying. He can only smile at her kindly, containing his own emotions.
You're the one, Buffy. BUFFY SPIKE She smiles a little.
Now you get some rest. He stands, heads out.
I'll check in before first light, you can decide how you want -- BUFFY Her voice is very quiet. He turns.
Could you... stay here? A beat.
Sure. He peels off his coat as he moves to an armchair, starts throwing clothes off it.
That diabolical torture device the Comfy Chair. Do me fine -- BUFFY They look at each other. No more words. After a moment he comes slowly to her and they lie together, wrapped in each others' arms, her head on his chest.
It all comes down to love. INT. SUMMERS' HOUSE - BUFFY'S BEDROOM - NIGHT Faith and the Mayor/First face off.
Deep down, you've always wanted Buffy to accept you -- to love you, even. Why do you think that is? FAITH MAYOR WILKINS/FIRST FAITH MAYOR WILKINS/FIRST FAITH MAYOR WILKINS/FIRST And with that, he disappears. Faith stands for a bit, trying to process, slightly in shock. Then a hand on her arm makes her start.
Faith? Faith turns to find Wood standing behind her. She shakes his hand off, moves away.
Shouldn't sneak up like that. Almost took your head off. WOOD FAITH WOOD Faith tries to drop it - but she still looks shaken.
Nothing. Forget it. (then) What's up? PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH PRINCIPAL WOOD Faith takes this in. Relents.
Sorry; I don't know what I'm doing, I'm just -- PRINCIPAL WOOD He starts to head out.
It was The First. He turns back. Looks at her. Then enters the room and closes the door. Faith looks at him, vulnerable.
You're really in the game now. First doesn't show unless it thinks you matter. FAITH They sit down on the bed side by side. She holds up a shaking hand.
Man, look at that. My hand is shaking. That really got me, I mean, demons, vampires, women in the penitentiary system, none of those make me freak. PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH They share a smile. But Faith is obviously still freaked.
So, who was it -- The First? FAITH PRINCIPAL WOOD FAITH PRINCIPAL WOOD Faith hears the hurt in his voice, looks into his eyes.
Sorry. PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH PRINCIPAL WOOD They share an intense look. They get each other. Get the need in each other.
Hitting things and a whole lotta Jack D dulls it some. PRINCIPAL WOOD Faith reads him loud and clear. A smile. Then -
When it came to you, did The First tell you the truth? PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH PRINCIPAL WOOD FAITH A beat.
So, tomorrow -- FAITH She puts a hand on his arm. Lets the touch linger there for a moment.
Been awhile. Am I out of line? PRINCIPAL WOOD She stops his mouth with a kiss. Holding his face between her hands. Kissing him hard. He responds and she presses him back down onto the mattress. Her lips on his. Her legs straddling him. Coming up for breath:
Touch me. And they're kissing more. Deep and hard. He's got his hands up the back of her t-shirt moving along the bare skin of her back. She's on top of him, trying to pull his t-shirt over his head. INT. SUMMERS' HOUSE - WILLOW'S ROOM - NIGHT Willow enters the room, dressed in a tank top and pajama shorts. She is distracted, looking at one of Giles' maps.
Okay guys, Giles said that Faith said that we should be ready to go early in the -- She looks up. Sees that the only person in the room is Kennedy, wearing a pretty nightgown and lying under the sheets, one leg seductively revealed. Candles are on either side of the bed.
What happened to the girls? Kennedy looks at Willow from under her eyelashes.
Looks like there's only one girl here. WILLOW KENNEDY Willow closes the door behind her.
That's nice. She goes over to the bed, sits on the edge near Kennedy, kisses her lightly on the lips.
Nice and necessary. Our foreplay was threatening to turn into twelve-play. She kisses Willow back. Then takes the map from Willow's hand and drops it to the floor. Pulling her close:
C'mere. Willow smiles and eases under the sheets, next to Kennedy. They snuggle and kiss some more. Then Willow turns away, lying on her side so that she and Kennedy are facing the same way. Kennedy kisses Willow's neck.
Something not right? WILLOW KENNEDY WILLOW Kennedy looks at Willow. Then gently pushes a strand of hair off her face.
(explaining) I'm scared if we... Then I'll... And then... KENNEDY WILLOW KENNEDY WILLOW KENNEDY WILLOW KENNEDY Willow looks at her.
Am I doing that thing? Am I pushing too hard? WILLOW KENNEDY Willow takes this in.
Yeah? KENNEDY WILLOW KENNEDY WILLOW And they start to kiss more passionately. Willow closes her eyes, abandoning herself to the moment, to Kennedy. INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT Candles give the room a glow. The room is packed with Potentials (around 20). Some are asleep in sleeping bags; some are awake, scared. The CAMERA CONTINUES through that alcove (where another Potential or two is sacked out on the floor) and into the: INT. SUMMERS' HOUSE - KITCHEN - CONTINUING Where Anya and Xander sit on the counter, talking. While they talk, they eat intermittent spoonfuls of ice cream straight from the container. They share a spoon.
(crabby) They could have a little respect, you know. XANDER Anya takes a bite of ice cream.
I mean, they should at least acknowledge the possibility that some people might not want to listen to an a cappella concert of moaning and groaning. He takes the spoon from her. Eats a bite.
Mmmmmm. ANYA He hands her back the spoon.
Little jealous, huh? ANYA Frustrated, she wrenches out a huge chunk of ice cream and shoves it in her mouth. INT. SMALL HOUSE - BEDROOM - NIGHT Buffy and Spike lie in each others' arms. Looking deep into each others' eyes. So close. Breathing each others' breath. Just holding each other. MONTAGE - Faith and Wood sexing. She's on top of him, sweaty. Her back is bare (the blankets strategically placed). He grabs her hair in two hands and pulls her close to him. They roll over so that he's on top (again, the blankets are key). They move together, grabbing at each other. Kissing, hard. - Willow and Kennedy in bed. Kennedy licks Willow's neck with her pierced tongue, while something happens under the covers that makes Willow's eyes go wide! - Xander and Anya on the kitchen floor, behind the counter, having sex. They're still clothed. She's on top, her skirt spread out conveniently. - Buffy and Spike. She is asleep in his arms. He is awake, watching her. He strokes her hair, infinitely gentle. And then leans down and presses his lips against her forehead.
I envy them. INT. - VINEYARD - NIGHT The Buffy-lookin' First talks with Caleb. She is looking into the darkness, him standing a ways behind.
Isn't that the strangest thing? CALEB BUPFY/FIRST CALEB BUFFY/FIRST CALEB BUFFY/ FIRST CALEB BUFFY/FIRST CALEB INT. SMALL HOUSE - BEDROOM - DAY Buffy wakes up in the pale dawn light. She blinks trying to orient herself in this strange house. Sees Spike, sleeping in her arms. So peaceful, like a child. She watches him. Just looking at him. INT. SUMMERS' HOUSE - LIVING ROOM - DAY Early morning. Everyone is dressed for action. We've a full house; some squatting down, some standing. We've got: Faith, Xander, Giles, Dawn, Principal Wood, Anya, Andrew, Vi, Rona, Amanda and a lot of Potentials (maybe 20). Kennedy is sitting right behind Willow, arms around her. Kite still intact. Everyone is listening to: Andrew, wearing a pith helmet.
So it turned out that all these stone tablets basically said the same thing. The First and Caleb are trying to protect something. We don't know exactly what, but it's something powerful and they don't want the Slayers to get it. I'm thinking it could be a weapon and if we are looking for an arsena -- FAITH ANDREW FAITH ANDREW FAITH She turns to Giles, Willow, Dawn and Xander.
I don't want you talking to her, getting in her way, or, for that matter, letting her know you're there. Just do a little recon. PRINCIPAL WOOD FAITH He's a bit taken aback, realizing he was a one-night stand.
(to Faith) What are we looking for, I mean, is there some reason we should... spy on Buffy? FAITH She's lost in thought for a tiny second, then back:
Those of you who are coming with me to the arsenal, you know who you are. ANGLE on some of the Potentials, including Kennedy, Vi, Caridad and Amanda. Kennedy is holding hands with Willow. She pulls Willow's hand up to her lips and gives it a little kiss.
Everybody ready? Ad-lib affirmatives.
Then let's do this thing. Off Faith's intense expression: INT. SMALL HOUSE - BEDROOM - DAY Spike is just waking up. He opens his eyes part way, closes them, smiling softly to himself. Reaches over for Buffy... She's not there. There's a note on the pillow. Spike reaches for it. Unfolds it and begins to read. INT. VINEYARD - DAY Caleb and Buffy/First continue to talk. They walk down an aisle of barrels towards the staircase.
It shouldn't be long now. Prophesies say one thing but brute strength says another. We'll get it out. BUFFY/FIRST CALEB This strikes Buffy/First. She smiles at Caleb.
Yes. That's true. (then) Now rouse the Bringers, get them back to work -- Suddenly, something comes, THUMP, THUMP THUMPING down the stairs: A BRINGER. Dead as a doornail. It stops at Caleb's feet. Ceremonial knife has been stabbed deep in its gut. Before Caleb or The First can react to the dead Bringer:
Hey. They look up, and there, dramatically silhouetted at the top of the stairwell, is Buffy
I hear you've got something of mine.
| ||||||
| Act Four | ||||||
|
INT. VINEYARD CELLAR - DAY
Picking up where we left off. (Except we can't see Buffy/First.)
Buffy charges down the stairs. Light now streams down from above.
Buffy faces off with Caleb. She is tense, taut. He's all casual.
Well, if it ain't the prodigal Slayer... BUFFY Her eyes dart around the room looking for potential hiding places. There are lots. Caleb steps closer to her.
No you're not. I lay a hand on you and you're just a dead little girl. BUFFY At this he cocks back and WE GO INTO SLO-MO as Caleb THROWS ONE HELL OF A PUNCH, right at Buffy's jaw... it's one of his punches that ought to send her clear across the room. But as his fist approaches, Buffy leans back... bending far, far back, limbo-style... and his fist goes right over her head. She pivots, turning out of his way as Caleb staggers forward, his momentum unchecked. Caleb swings again at Buffy... this time she ducks and dives past him like a ballplayer making a head-first slide. Caleb turns around, angry. As Buffy gets to her feet. Turns. They face off, then... Caleb charges at her, crouches low, intending to SOCK HER IN THE GUT... but this time SHE JUMPS up, landing atop a barrel. OUT OF SLO-MO as Buffy runs along a row of barrels. She's agile as a cat burglar. She's scanning the room, again looking for the unknown thing she's seeking. Caleb chases from the ground. Then LUNGES at her ankles... MISSES... A pyramid of barrels comes crashing down on him. Wine flowing everywhere. Caleb emerges from the rubble. He looks around, confused: where's Buffy? Then he spots her: sitting atop a barrel happy as can be. But then whip-turns around and sees another Buffy behind him. From atop the barrel.
Caleb, this is getting embarrassing. Caleb lunges and misses Buffy. Hits the ground hard.
(to Buffy/First) Do you have to look like that? BUFFY/ FIRST CALEB BUFFY/FIRST And with that, Buffy/First disappears. Caleb turns on Buffy. Off her determined look: INT. SEWER - DAY TEN SMALL CIRCLES OF LIGHT, growing larger, larger... until it is clear that they're flashlight beams. Faith is at the forefront, a flashlight in one hand and a knife in the other. Behind her are NINE POTENTIALS (Rona, Caridad, Vi, Amanda, Kennedy and four extras). Each carries a flashlight and some kind of weapon. Water drips from overhead. It's dank and chilly. The girls move quietly, carefully. Amanda looks around, excited but nervous.
(an excited whisper) Do you think there's rats down here? This one summer my cousin and I dissected this dead rat we found in the basement. It was so creepy, oh boy -- KENNEDY They keep walking for a little bit. Silent, serious. Then:
Everybody stop. They come to a halt behind Faith.
I think we found it. They point their flashlights, where she's looking. ANGLE ON a glittering display of swords and axes about 20 feet away. Gleaming like a treasure trove in this murky tunnel. They've found the arsenal.
Look at all this. They walk towards the arsenal.
I don't get it. Why'd they abandon all this stuff? And suddenly, EIGHT BRINGERS swing down out of nowhere and attack with their special Bringer knives.
Maybe 'cause they didn't. The Bringers attack and immediately all the girls are engaged in fighting. INT. VINEYARD - DAY Caleb and Buffy continue to fight. Or rather, not fight. Caleb hasn't managed to hit Buffy yet. He's angry and starting to sweat. He swings with his right. She dodges. He jabs with his left. She dodges. He chases her. She runs backwards, until her back is up against a cement post. His face right in hers. CLOSE ON BUFFY as she looks back at him. INT. SEWER - SAME TIME CLOSE ON FAITH as she faces off with a Bringer. She POUNDS IT with her bare fists. Off the Bringer. INT. VINEYARD - SAME TIME Caleb, enjoying the fact that he's trapped Buffy up against this post. He takes another huge SWING... and she dodges... his MIGHTY PUNCH connects to the cement. The post starts to crumble. And his fist hurts like hell. Furious, he turns on her. And tries to grab her. She feigns left and he falls for it. She runs past him and jumps up on a pile of wine barrels. INT. SEWER - SAME TIME Faith running. Stabbing another Bringer in the back. She pushes the dead body out of the way revealing Rona, who was about to get it. ANGLE ON AMANDA shooting an arrow from her cross-bow. She MISSES. It CHARGES towards her. She doesn't have any more arrows. But screw it! She holds up her empty cross-bow and runs kamakazi-style straight at the Bringer, a crazy look on her face.
(battle - cry) AAAAAAaaaaaaa! ANGLE ON RONA and KENNEDY tag-teaming against a pair of Bringers. ANGLE ON FAITH as she spots another Bringer out of the corner of her eye. She turns. INT. VINEYARD - SAME TIME Just as Buffy turns. Facing Caleb just in time to see him yank a barrel out. But instead of falling, Buffy reaches up for a ceiling beam and swings herself to safety. Caleb looks at her from where he stands on the ground. He looks wretched, red-faced, angry.
You whore. BUFFY Furious, Caleb grabs another barrel. BUFFY'S POV: As Caleb removes the barrel, he reveals the small copper trap-door. ON CALEB as he throws the barrel, up towards Buffy. His aim is perfect. Buffy falls backwards... but her legs hold the beam like a trapeze, she flips herself in the air, landing on the ground. She's closer to the trap-door than Caleb. She runs towards it, sliding along the wine-drenched cement on her knees... pulling open the door... Caleb LUNGES at her... But it's too late, Buffy dives head-first down the trap-door. Caleb knocks over a barrel or two, crushing them and landing on top of the debris, on top of the trap-door. INT. VINEYARD - SECRET CHAMBER - A SECOND LATER Buffy tumbles alongside the ladder, landing in a heap on the cement floor. The walls are rough stone. INT. SEWER - NIGHT Silence. Everyone gets to their feet as they realize the battle is over. Eight dead Bringers on the ground.
Is that it? I mean, not that that wasn't fun but... eight Bringers? They walk through the weapons, examining them.
Isn't this supposed to be the Major Leagues? VI comes from around a corner.
There's not much here actually. Not really a full arsenal, more of just an -- AMANDA ON KENNEDY beyond the weapons, looking at something.
Yo, Faith. Check this out. Faith joins her, with the rest close behind. None of them have weapons anymore. Only three still carry flashlights. They walk into a smaller, more enclosed space. Call it the: INT. SEWER ANNEX - CONTINUING They continue walking into this strange space. The three beams sweep the space, revealing: They're walking on a metal grate about five feet wide. Below them is dark water. ON FAITH'S FACE, looking around... INT. VINEYARD - SECRET CHAMBER - SAME TIME ON BUFFY'S FACE, as she blinks, looks around.... INT. SEWER ANNEX - SAME TIME ON FAITH as Just then one of the flashlights illuminates a heavy metal box (just about the size that would hold the scythe). The beam passes. The beam goes back. Spotlighting the box. ANGLE ON FAITH as she steps towards the metal box. Her expression makes clear: she has found what she's been looking for. INT. VINEYARD - SECRET CHAMBER - SAME TIME Buffy is on her feet. Her expression is excited. She is looking at something amazing. The object of her quest. There, buried up to its hilt in stone... is ANGLE DOLLY IN on the SCYTHE. (Note: the stone should be blackened in places and chipped where the Bringers attempted to remove the scythe.) ANGLE ON BUFFY as her face takes on a look of recognition. And just a faint smile, but the first smile we've seen in a long time. INT. SEWER ANNEX - SAME TIME Faith smiling faintly as she races to the metal box. She SMASHES the lock off with her boot and kneels before it. She opens it... revealing: A BOMB. In a TIGHT SHOT as the timer counts down: 6, 5...
Everybody get down! And the countdown continues: 4, 3, 2....
BLACK OUT.
|