by
Bard
Editor
Bleu Gato
Buffy the Vampire Slayer is copyright 20th Century Fox Film Corporation . All original content of Buffy the Vampire Slayer is copyrighted by the author and is not to be used or modified without permission. All rights reserved.
Contact: bard@xena2.com
Blog: www.xena2.com/blog
TEASER
FADE IN:
INT. WHIPS CELLAR – XANDER'S CELL – FRIDAY/NEAR DAWN
Xander comes to and quickly when the door opens. Groping blindly, he grabs the metal bucket in easy reach and attacks Angel when he enters the cell. Angel smoothly avoids his clumsy lunge and clamps onto Xander's forearm with an iron grip.
Angel casually takes the bucket and casts it aside. It hits the ground with a clang and rolls to a stop.
Angel, returning the arm to its owner, calmly
ANGEL
I'm a friend of Buffy's.
Xander, massaging the feeling back into the numb limb, surprised
XANDER
Angel?
ANGEL
Fallen and minus the wings.
Xander, sarcastically antagonistic
XANDER
Bringing the funny; no wonder she crushes on you. The yaks never stop, until the bitter, sour tears of divorce. Trust me, you don't want her.
ANGEL
You done?
Xander, firmly
XANDER
No. You can't have Buffy.
Angel, amused
ANGEL
Oh? Why not?
XANDER
She and Willow belong together.
ANGEL
Why don't we let her decide?
Xander, with feigned sincerity and a fake smile
XANDER
May the best girl win.
ANGEL
You do want to be rescued?
Xander slaps his forehead.
Xander, talking to himself out loud
XANDER
Come on Xander, get it together. First we escape, then we insult. Sheesh.
Pause.
Xander, gesturing towards the open door, exaggerating cynically
XANDER
Right … with the escaping … not being here … gone.
Angel stands there, unmoving.
Xander, impatiently
XANDER
Well?
Angel, patiently
ANGEL
Vampire. Brothel.
Xander, a tad slow on the uptake, puzzled
XANDER
Huh?
Angel, deadpan
ANGEL
Emphasis on vampire. Emphasis on it not being dawn.
XANDER
Regular comedian we have here.
ANGEL
You this dense always?
Xander, pushing past Angel, irritated
XANDER
I don't like you.
Angel stops Xander with a hand on his shoulder.
Angel, evenly
ANGEL
Let me explain this part; slowly. We have: prostitutes in every flavor, some high, vampires, of every stripe, likewise, and barrels of aged humans on tap. You want to walk out there and become a free meal, an abused orifice, or bottled spirit - go ahead.
Xander, focusing on the worst outcome first, stuttering
XANDER
P-p-p-pickled people?!
ANGEL
Dark enchantment; blood stays intact, rest dissolves into enriching essence.
Xander shivers.
Xander, touching the long scar on his face, scared
XANDER
The blonde, psycho vintner?
ANGEL
Darla runs the place for the Master; there are few homeless or runaways in Sunnydale.
XANDER
What do I do?
ANGEL
I unlocked the doors. Hide till daylight and then run for it.
Angel lets Xander go and walks out of the cell.
Angel, looking back, serious
ANGEL
It's Friday and they are delivering fresh barrels. Don't be here.
Angel closes the door, but does not lock or bar it.
CUT TO:
EXT. SUNNYDALE HIGH – BEHIND WOODSHOP – EARLY MORNING
As part of his daily routine, Flutie inspects the school grounds. Motoring briskly, he slows down when he notices an unmarked van parked behind the woodshop. Its back doors are open and so is the emergency exit to the building. Frowning, he quickens his steps.
Coming around the van doors, he faces the contents of the vehicle. Apparently, that includes the occupant.
Flutie, outraged
FLUTIE
Who are you?! What is the meaning of …?
A large, meaty paw grabs his front and pulls him into the van. The last thing visible is Flutie's feet, up in the air, and then a lone shoe drops to the pavement. There is a sound of a body being slammed roughly against the walls, with the corresponding shake of the vehicle. Once; THUD. Twice; THUD. Then silence.
Drawn by the voice and the noise, a SHOP TEACHER walks outside and looks inside the van. He is a short, wiry man in his forties, with a crew haircut, heavy work boots, jeans, and a long sleeved shirt.
SHOP TEACHER, reproachful
SHOP TEACHER
Natalie, did you play nice?
Gruff, yet clearly female voice answers him.
NATALIE
Human little broken. Natalie sorry. Mr. Hall mad?
HALL
Babe, you did good; you will finally get a reward tonight.
Natalie, her tone betraying her need, openly pleading by last word
NATALIE
Promise. Wait. Wait. Wait. No wait. Want. Now?
Hall, checking his phone with practiced motion, agreeably
HALL
First class at nine, plenty of time; spare a few minutes. Sure, baby.
Hall disappears in the van and things quickly heat up, by the sounds of things. Intense make out session begins inside, interspaced with Natalie's grunts and Hall's murmured, whispered endearments. After a short while, just as things are getting interesting, the lovers are suddenly interrupted by a groan of pain. Few seconds later …
Flutie, breaking the mood temporarily, disgusted
FLUTIE
You people are sick! Think about the children! Carrying on in broad day…
Natalie, furious
NATALIE
Meat!
Something strikes flesh THUMP, someone flattens some wooden objects CRASH, and then, presumably, that someone hits the wall THUNK.
Natalie, contrite
NATALIE
Human lot broken. Natalie really sorry.
HALL
I like when you get creatively assertive.
Someone's clothes get ripped.
HALL
Up to a point.
More hurried kissing.
NATALIE
Love?
Hall, slightly bored
HALL
Sure, sure.
A text notification goes off on the cell from inside the van, CHING.
HALL
Going to overtime.
Someone is thrown on the floor, THUMP.
Hall, slightly alarmed, somewhat out of breath
HALL
Okay, bad choice of words. Down on the passion, sugar; I still have to work today.
Grunt from Natalie followed by more fabric torn apart.
Natalie, growling
NATALIE
Mr. Hall!
HALL
Well put.
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
INTRODUCTION
On the screen, various images of Buffy and the Scooby Gang appear and a voice reads the passage.
BUFFY VOICE-OVER
Into every generation she is born; one girl in the entire world, a Chosen one. She alone will wield the strength and the skill to fight against the vampires, the demons, and the forces of darkness; to stop the spread of their evil and the swell of their numbers. She is the Slayer.
CUT TO:
INT. WHIPS – HALLWAY – EARLY MORNING
Xander sneaks down the corridor, lined with numerous doors. The décor is pure bordello and it would be wise not to linger but this is Xander.
Stopping near the end, he makes sure that no one is watching and then tries the closest door. Xander's eyes open wide as the door swings open and he impulsively takes a step forward.
At that exact moment, from around the corner, Natalie lumbers forth in all her seven foot glory. Xander, busy admiring the interior, does not notice. Not until a hand taps his shoulder. He turns.
XANDER'S POV
Facing him is a wall of human flesh. His eyes travel upwards, linger on the large chest, and continue upwards to Natalie's face, which breaks into a wide grin.
BACK TO SCENE
NATALIE
Human toy. Natalie play.
Xander makes the fatal mistake of backing right into the room, sealing his fate. Natalie follows him inside and closes the door.
CUT TO:
INT. WHIPS – WHITE ROOM – EARLY MORNING
The room is done entirely in white and the furniture is upholstered with white leather. The main feature is the enormous bed, which can accommodate Natalie and leave room for two more of her.
Xander, trembling
XANDER
Don't kill me.
Natalie, happy
NATALIE
No kill. You new. You free. Give sex.
Xander, begging
XANDER
On second thought, kill me.
Natalie goes past him and sits on the bed heavily. She starts crying. Xander takes a step towards the door and stops. He comes back and sits next to her.
Xander, quietly
XANDER
I'm sorry.
Natalie, sniffling, haltingly
NATALIE
Darla says free. Free no sex. Free not want. Free call freak. Free laugh. Natalie hurt.
Xander gets up and retrieves some tissues; her brings them back and hands to Natalie.
Natalie, after wiping her face and blowing her nose, outpouring, sadly
NATALIE
Mr. Hall sex. Say love. Not love. Not feel. Lie. Only need. Used. Okay. Not okay. Natalie want … want …
Xander, placing a hand on Natalie's oversized thigh, sympathetically
XANDER
They make fun of you, call you loser; mocking with their eyes and expressions even when words are left unspoken.
Natalie looks at Xander and nods in shared understanding. He stands up and moves in front of her. She watches him warily, afraid of being wounded again.
Xander, shy and sweet
XANDER
Can I … um, kiss you?
NATALIE
Want?
Xander, throat dry, wiping his sweating hands on his pants, nervous
XANDER
Very much.
Natalie, vulnerable
NATALIE
Hurt?
Xander, softly
XANDER
I won't hurt you.
Pause.
Xander, confessing
XANDER
I am scared too.
Natalie closes her eyes, giving him trust and permission. Capacity to love comes in all shapes and sizes.
CUT TO:
INT. SUNNYDALE HIGH – HALLWAY – LATE MORNING
Xander is making his way thru throng of STUDENTS when a voice catches his attention.
Hall, making a beeline for Xander, over the noise in the corridor
HALL
Xander!
Xander stops and waits for Hall to reach him, seeing how the STUDENTS part for the teacher but not him.
Xander, woodshop and its teacher being the highlight of school, respectfully
XANDER
Yes Mr. Hall?
Hall, proudly
HALL
There is my best student. I got an outside project this afternoon; you interested? You get credit for time, not that you need it.
Xander, enthusiastically
XANDER
Are you kidding?! I murder for your class.
Pause.
Xander, disconcerted
XANDER
That sounded better in my head.
Hall, dismissing it
HALL
No sweat, I appreciate it. With your help I will survive the deadline.
XANDER
Uh, survive?
Hall, grinning
HALL
The line was this morning; the dead arrives Saturday.
XANDER
Yikes, that is some customer.
Pause.
XANDER
Is that even legal?
HALL
You live in Sunnydale; you tell me.
Xander, eagerly
XANDER
I will be there.
HALL
It's long, arduous work.
Xander, shrugging
XANDER
Beats Doublemeat Palace and home.
CUT TO:
INT. SUNNYDALE HIGH – LIBRARY – NOON
It is gloom and doom in the library. Giles is pretending to read and Buffy and Willow are slumped in the seats, dejectedly staring at the walls and ceiling.
The door opens, Xander walks in, and everything changes.
In a blink, Willow attaches herself to Xander like a human octopus; with a running start, no less.
Willow, mauling Xander, crying happy tears
WILLOW
XANDER!!!
Xander, unsuccessfully trying to pry Willow loose, crying in distress
XANDER
Crushed pelvis, crushed pelvis!
Willow reluctantly releases Xander; she keeps one hand on him, afraid to let go. Buffy - who came over with Giles in a more restrained manner, unlike Willow's wild flight - gives Xander a careful hug. Giles pats him on the shoulder. Then three pairs of expectant eyes fix on Xander, demanding an explanation.
Xander, somberly
XANDER
A mixed had her way with me; repeatedly and then again.
The reactions are immediate.
Buffy, shouldering all the blame, hanging her head, guiltily
BUFFY
I'm sorry.
Willow, hand flying to her mouth, tears springing up, distressed
WILLOW
Oh no …
GILES
Uh … uh …
Giles removes his glasses and disappears into furious cleaning.
Xander, setting them all up, with a straight face
XANDER
Looking back, past the pain, humiliation, and girly screaming, I can say one thing with absolute certainty …
Pause.
Xander, holding a second longer for a dramatic effect before delivering triumphantly
XANDER
I scored!
Upset, Willow immediately punches Xander on the arm.
Xander starts on the Happy Snoopy Dance but quickly reconsiders due to limited mobility and glares. Only the Slayer appears unfazed.
Buffy, taking Xander's tweaking in stride, philosophically
BUFFY
Boys are strange.
Giles sets the glasses on his nose in a manner that shows his feelings. He does not need to say or do anything – the disapproval is plain in his expression and posture.
Willow, already forgiving, focusing on Xander's facial scar, gently
WILLOW
Darla?
Xander, lightly
XANDER
Nah, her thing is torment with children's songs and romantic clawing. Natalie, the brothel's bouncer did the deed and quite well. In fact …
Giles, interrupting, politely yet insistently
GILES
Uh, Xander, and I speak for everyone here: I think we have enough … um, details, thank you.
Buffy, counting off on her fingers, brightly
BUFFY
So: captured, imprisoned, tortured, seduced the beautiful yet dangerous assistant, found the doomsday device and sabotaged it, destroyed the villain's lair, escaped with the girl, and had ...
Giles, playing the spoiler role to a tee, sternly cutting in
GILES
We all know how the movie ends, Buffy.
BUFFY
And the wet blanket award goes to …
Xander, smiling
XANDER
Actually, run into Angel.
Buffy, taking the bait, interested
BUFFY
Do tell.
Xander, planting a seed of doubt, lying
XANDER
He was there for the cellar, with its blood wine. Chief ingredient: tasty, yummy humans and almost yours truly.
WILLOW
It's like ewww and gross has a baby and that baby had a baby with itself and that would still not be as wrong and demented as this.
Buffy, spreading her arms, palms up, in response to Willow, addressing the room
BUFFY
I got nothing.
Pause.
Buffy, to Giles, unhappy
BUFFY
Why would he … Giles?
GILES
It is an expensive delicacy but only vampires drink it; blood wine is an accurate label. It would make you sick, even if could stomach it. I suppose resale value is high enough to warrant the risk.
By silent agreement, the entire group makes its way towards the back.
Giles, to Xander, being less than charitable, with a whiff of disdain
GILES
Why did you come in today instead of calling sick? To school and given your lax, deplorable attitude towards all things books and learning.
BUFFY
Trust you to insert a moral lesson.
Xander, ending with a grin
XANDER
First day after suspension, no phone, and shop class. And I missed you guys.
Willow, resolutely
WILLOW
You were missed. There were tears and angst; it was a proper missing. There was a forecast of a grief front with a high chance of wailing and rending of clothing.
BUFFY
What she said. With the missing sprinkled with rejoicing.
Buffy and Willow approach and take the chairs; Giles hovers near them.
Xander, to Buffy and Willow, jumping up and sitting on the table surface, teasing
XANDER
If I knew about you tearing each other clothes off, I would have stayed away another day. And taken pictures.
Willow rises and punches him on the arm again.
XANDER
Hey, cripple here!
Pause.
Xander, to Willow, sulking
XANDER
You beat the manliness out of me.
BUFFY
Oh, I think that is long gone.
FADE OUT:
END OF ACT ONE
ACT TWO
FADE IN:
INT. SUNNYDALE HIGH – WOODSHOP – EARLY AFTERNOON
The interior is one large, open room. The only partitions are a corner walled off and a high, chain link enclosure, topped with razor wire. Inside are: lumber, tools, and supplies, plus a desk with a computer. Those occupy a third of available estate. Workstations and various machines are spread throughout the rest. In a bow to formal instruction, a blackboard is set on the front wall and chairs are scattered around it; nothing formal or neat, just a mass of them.
The working classroom's door opens and Xander walks in. The homemade chime mounted on it announces his entrance. In response, Hall pops out of the enclosed space and waves Xander over. He then disappears inside.
CUT TO:
INT. SUNNYDALE HIGH – WOODSHOP BACK ROOM – EARLY AFTERNOON
Xander enters and turns pale as he comes to a halt. The setup is cooper/metal shop; the iron hoops look mighty familiar, although without the symbols, and the weathered, white oak quarter logs awaiting turning into staves are too long for normal barrels.
Coming out of shock, Xander looks around and fixes on the progress already made. Some lumber is already cut to proper length, planed on the outside and slightly hollowed on the inside, giving a clue to the size and shape of the finished product. It's the nightmare come true; same barrel as the collection under Whips.
Hall, not noticing Xander's discomfort, amiably
HALL
It is challenging but for someone of your talent and skill: cake. You are one of the few rare students who actually want to be here; you proved that over the last year. Official school policy: lock the delinquents and troublemakers in shop and hope the carnivores eat each other. We golden, apprentice?
Xander basks in the warm glow of praise and visibly relaxes. He is no longer a mocked loser; Hall treats him like a winner and believes in him.
Xander, his chest swelling with pride, confidently
XANDER
One motivated carpenter on the job.
Pause.
Xander, seeing life beyond Doublemeat Palace, unable to believe, shakily
XANDER
You think …?
Hall, smiling
HALL
Journeyman by the time you graduate? References and help with trade certification? You keep the proper attitude and show dedication and I promise you: no silly hats in your future. Well, excepting Halloween.
There are sounds from the other side of STUDENTS arriving. Hall heads to the door and stops, with his hand on the handle.
HALL
I will take you on side jobs if the sacred act of cow and chicken coming together is not doing it for you anymore.
XANDER
I admit: the cult indoctrination video loses its pep after repeated viewings.
HALL
You in?
XANDER
I will take better future for $2000, Alex.
HALL
Good man.
CUT TO:
INT. SUNNYDALE – GILES' APARTMENT/LIVING ROOM – EVENING
Six MERCENARIES in black, complete with body armor and masks, lean on walls and furniture. Willow and Xander are on the couch and Giles is talking in low tones to the MERCENARIES' LEADER.
Buffy walks in, strolls to the couch and plops down between Willow and Xander, even thou there is hardly any space to fit. In retaliation, those two scoot to the sides and return armed. Buffy is pelted mercilessly with throw pillows as Giles and MERCENERIES' LEADER come over to face the three.
Giles fixes the teenagers with a warning look; much to Buffy's relief, weapons of feathery mayhem are put away. However, it is not over. Willow and Xander look at each other, grin, and then drape themselves over Buffy, squashing her. Showing no weakness, she bears the relegation to back support stoically. Giles can only shake his head and steps to the side, leaving MERCENARIES' LEADER the center of attention.
MERCENARIES' LEADER, all business
MERCENARIES' LEADER
Out target is the blood wine. We go hard half hour before daylight. Intelligence indicates three entrances to the basement: sewers, delivery vehicle ramp on the back, and from upstairs. Plans are uploaded to your tablets; study them.
Pause.
MERCENARIES' LEADER, staring directly at Willow, making her fidget
MERCENARIES' LEADER
The first is welded shut; Willow terminates the downed vampires while weapons hot team backs her. Watch the narrow space and fields of fire. Booby-trap and join with Giles when complete.
Pause.
MERCENARIES' LEADER, to Giles
MERCENARIES' LEADER
Second weapons hot team backs the Watcher and Angel, secures the cellar. Hold out until backup arrives. Lethal force authorized on humans. Take the DNA samples from barrels and set the fuel bomb timer when done.
Pause.
MERCENARIES' LEADER, still addressing Giles
MERCENARIES' LEADER
You going to call him?
Giles confirms nonverbally.
MERCENARIES' LEADER, shifting to Buffy
MERCENARIES' LEADER
Last team zaps; Slayer stakes. Idea is to cause a panic, clear the building.
Pause.
MERCENARIES' LEADER, looking around
MERCENARIES' LEADER
Everyone clear?
Acknowledgments from everyone, except Xander; he raises his hand, and then puts it down as if embarrassed by the sudden attention.
Xander, tad petulantly
XANDER
I did not hear my name.
MERCENARIES' LEADER
You get Natalie.
XANDER
Um, okay?
MERCENARIES' LEADER
Take her home, keep her busy.
Xander, working it out verbally
XANDER
How am I … I see.
Pause.
Xander, on board with the plan, thrilled
XANDER
I like that action!
Buffy struggles free of her human blanket, throwing in tickles for extra motivation to her captors. It works and they release her.
Xander, feigning outrage
XANDER
You sir, fight dirty.
That gets him a mischievous grin in return. Buffy then takes MERCENARIES' LEADER by the arm and steers him next to Giles. Grabbing the Watcher in similar manner, she takes them both to the kitchen for a private talk.
CUT TO:
INT. GILES' APARTMENT – KITCHEN – EVENING
Buffy comes in, dragging Giles and the MERCENARIES' LEADER with her. She stops once well inside the space and out of hearing of others.
Buffy, suspiciously
BUFFY
Why no permanent presence?
MERCENARIES' LEADER
Targets; we are not you. Watchers Council kept sending people and Hellmouth “return to sender” the bodies. A Watcher and strike team are not enough.
Pause.
MERCENARIES' LEADER, carefully
MERCENARIES' LEADER
Younger generation is different, lives are valued. You think Watchers are expandable; you should see our casualty rates. That is no longer acceptable and we adapt accordingly. Watcher rings, we answer, we do the job, and we leave. I am fine with that; I got family.
BUFFY
And the masks?
MERCENARIES' LEADER, compassionately
MERCENARIES' LEADER
If we are not good or lucky enough, I don't want our faces to haunt you.
Buffy, pushing for more, stubbornly
BUFFY
I want to know your name and what you are not telling me.
MERCENARIES' LEADER considers her request in silence and then nods agreement.
MERCENARIES' LEADER
I'm Lester. Off the record?
Buffy, placing a hand over her heart, dramatically pledging
BUFFY
My lips are sealed … I always wanted to say that.
LESTER
We are a message.
Pause.
Lester, importantly
LESTER
When Council asks …
Buffy, teasing
BUFFY
I am not breeding a new race in your secret research facility under Thames to start the dawn of a new order.
Lester, shaking his head
LESTER
You crazy Americans …
Pause.
Lester, adding with a smile
LESTER
And the lab is on an island, on top of an unstable volcano.
Buffy, practically dancing with excitement, eagerly playing along
BUFFY
Ooh, ooh! Shark tank? Piranhas? Alligators? Really vicious puddles?
Lester, slowing down his speech and lowering the tone, polite and refined
LESTER
Sorry, budget cuts my dear. All we could afford is goldfish and train them to swarm and tickle. We sure hope you swallow one and choke to death.
Buffy starts laughing and Lester joins her. Soon, the two howl hysterically, feeding off each other; Giles cracks a pained smile at the antics as others look on to see what is happening. The laughing fit looks like it could last a while.
CUT TO:
INT. GILES' APARTMENT – KITCHEN – EVENING
Buffy, Giles, and Lester return to the living room and gather by the couch.
Lester, stepping apart, to MERCENARIES
LESTER
Crash where you are, lads.
Bodies hit the floor and try to find a comfortable position to rest.
Giles, taking his cue from Lester
GILES
Buffy, Willow: take my bedroom.
One of the MERCENARIES hands Lester a large sports bag and he reaches inside and hands a black outfit to surprised Willow and Buffy. In addition, Willow gets a stab vest.
LESTER
The vest is modified to absorb impact. Now you look the part.
Buffy, ebulliently
BUFFY
I'm going commando!
All activity seizes and all eyes end up on Buffy.
Willow, softly
WILLOW
Buffy, I don't think it means what you think it means.
Buffy, playing it cool, innocently
BUFFY
Kicking gum and chewing ass?
WILLOW
In the buff.
BUFF
Don't scoff at the element of surprise.
Xander, piping in
XANDER
I don't think we have enough stripper cakes.
Dead silence; not so much as a chuckle. There is however, a cough and someone clears their throat; both are jarring in the ensuing silence.
Xander, in quicksand and digging furiously, lamely
XANDER
Because of the giant … and jumping out … come on, it's funny!
Buffy, handing him her cell
BUFFY
Xander, P.T. Barnum. He demands you put the clown down and back away.
Xander silently mouths “May I?” and Buffy nods confirmation. He takes her phone and realizes he is behind a comeback.
Xander, fishing for a clever retort, throwing out the first that pops into his head
XANDER
Luddite!
Puzzled glances answer him.
Xander, looking at Willow, dispirited
XANDER
No?
Willow, shaking her head
WILLOW
No. You want Puritan.
Giles, taking mercy on the boy, gently
GILES
Go home, Xander.
Lester, taking out a piece of paper and handing it to Xander
LESTER
Her landline.
CUT TO:
EXT. GILES' APARTMENT – ENTRY DOOR – EVENING
Xander nervously paces in front of Giles' place. He stops, takes out the phone then puts it back. Another round of steps and repeat; this time he dials the number before his courage departs him.
Xander, talking so fast the individual words nearly run together, rushing out
XANDER
I need to see you tonight.
CUT TO:
INT. XANDER'S HOUSE – LIVING ROOM – LATE EVENING
The TV coldly illuminates the cans on the floor and Jessica passed out on the couch. Xander, who arrived with Natalie, continues to his mother; she waits, shifting uncomfortably on her feet.
In a procedure done countless times, Xander checks Jessica and then turns her on her side. He gets a threadbare blanket and covers his mother. Placing a kiss on her temple, he steps back and goes to turn off the TV. Silence and shadows appear, broken by Jessica's labored breathing and street lights.
Xander moves back to Natalie and takes her hand.
Natalie, eyes firmly fixed on Jessica, concerned
NATALIE
Worry?
Xander, tearing up, inevitability and acceptance of it in his voice
XANDER
One day I will find her dead.
NATALIE
Father?
Xander, bitterly
XANDER
Him too.
Pause.
XANDER
It will be a Snoopy Dance kind of day.
Xander pulls Natalie along and she lets him lead her to the kitchen; she keeps looking back at the fitfully snoring figure on the couch the entire time.
CUT TO:
INT. XANDER'S HOUSE – BASEMENT – LATE EVENING
Xander and Natalie walk down the stairs, he normally, she hunched over. They get to the landing and stop; looking at the undersized mattress, they start giggling.
Natalie, joking
NATALIE
Small.
Xander, lightly
XANDER
I been called worse.
Natalie, placing her hand on his chest, touching his heart in every sense
NATALIE
Big.
Xander, afraid to tell Natalie the truth, timidly half asking, half pleading
XANDER
Stay till morning?
Natalie, trying to make sense of her feelings, unsure
NATALIE
Like Xander. No. Not like. Love?
Xander, avoiding discussion of their feelings, pushing the physical because it is easier
XANDER
Let's.
Natalie buys it. They come together in a kiss and stumble back towards the bed; unwilling to part yet impatient to get started on the night's activities.
CUT TO:
INT. XANDER'S HOUSE – BASEMENT – SATURDAY/EARLY MORNING
Xander comes to and groggily reaches for Natalie. Not finding her, he frowns and then opens his eyes. Realizing he is alone, he jumps out of bed. Dressed in boxers and barefoot, he runs up the basement stairs. Once on top, Xander barges thru the door with such force that it slams open against a kitchen wall. His passed out parents don't react; no surprise there.
CUT TO:
EXT. XANDER'S HOUSE – SIDEWALK – EARLY MORNING
The neighborhood is blighted by boarded houses and occupied yet dilapidated homes. Xander's is one of the latter. The sidewalks are dangerously cracked and overgrown. The street is full of potholes. Garbage is everywhere except in the trash containers.
Those, broken and full of bullet holes litter the lawns and sidewalks. There is plenty of graffiti.
Xander runs outside in his underwear, hoping to spot the van and stop its departure. Unfortunately, it is gone and there is no sign of it. An OLD MAN walking the dog gives Xander a dirty look and crosses the street to avoid passing closer.
Xander does not care about him, anyone else, or his own state of undress. He takes a few faltering steps and sits on the ground, eyes locked on the spot where the vehicle was last night. Sensing an opportunity for furthering his misery, fate activates the sprinklers, drenching him; Xander does not react or appear to care. His whole world revolves around what is missing from it and what it means. Natalie went back to the brothel.
FADE OUT:
END OF ACT THREE
ACT FOUR
FADE IN:
INT. WHIPS – LOBBY – EARLIER THIS SATURDAY/HALF HOUR TO DAWN
Two six plus foot tall HUMAN GORILLAS flank the entrance door. The lobby has a wraparound bar, lining the two walls in L shape. Few PROSTITUTES chat across the empty seats, left so to make the customers feel free to approach the working woman of their choice. The atmosphere is cozy, the music low and romantic, and the soft cushions on barstools inviting. The PROSTITUES are all wearing expensive lingerie and black seems to be the predominant color; no doubt a preference of the usual clientele. A discrete, well camouflaged exit leads into the pleasurable bowels of the building. The female BARTENDER in a tuxedo, working the counter, completes the picture. The overall appearance of the place exudes class.
The peace does not last. The main door flies inwards, the victim of Buffy's kick. She is thru it and on the HUMAN GORILLAS in a flash. They don't stand a chance, out cold before they can react. Behind Buffy, Lester and two MERCENARIES follow. All four are wearing black outfits with full face masks. The men have armored vests.
The PROSITUTES shriek and take off, running past Buffy and out the front entrance. Buffy is already heading inside and ignores them. However, the BARTENDER has other ideas and she brings up a shotgun in response to the invasion.
Before the BARTENDER can get a shot off, electricity from a Taser reaches out and touches her. She drops like a stone, breaking things on the way down.
Lester, to MERCENARIES, them being on tight schedule, tersely and urgently
LESTER
Throw her outside.
The two MERCENARIES quickly move to carry out his orders.
Buffy and Lester take position near the door leading further into the building while the men pick up the BARTENDER none too gently and take her out of danger.
Buffy, her eyes salivating over the Taser, trying to play it cool, nonchalantly
BUFFY
Nice toy. Work on vampires?
LESTER
Slows them down, but pisses them to no end.
Pause.
Lester, smiling
LESTER
I will leave you a couple with a case of ammo. Word of advice: don't pull out during drinking games.
BUFFY
Good to know, hard to resist.
CUT TO:
INT. WHIPS – SEWER ACCESS – PREDAWN
The room is stacked on both sides with half century of junk. A narrow hallway leads to it and the passage hardly widens when inside. A steel door with a green exit sign presumably leads to the sewers. It is being welded to the metal frame by a MERCENARY #1. MERCENARY #2 faces towards the cellar, auto shotgun in hand. Next to him, Willow stands with a stake and hammer in her hand.
Suddenly, sounds of suppressed gunfire erupt ahead. A VAMPIRE comes sprinting, moving so fast the humans appear to be in slow motion. He is upon MERCENARY #2 in the blink of an eye. Before Willow even can scream, the barrel roars with fire and the VAMPIRE is thrown back violently. The second round follows, then a third and fourth. It takes one more from advancing MERCENARY #2 before the VAMPIRE goes down.
Willow stands frozen, her mouth open and nothing coming out.
MERCENARY #2
Willow!
Willow snaps free and runs to the fallen VAMPIRE. With shaking hands she places the stake over his heart and hesitates, hammer raised and poised to fall. The temporarily stunned yet fast recovering VAMPIRE takes his eyes off MERCENARY #2 and directs his hatred at Willow. He hisses and grabs her throat.
The threatening action and the surge of resulting adrenaline shatter Willow's paralysis and she brings the tool down hard, dusting the VAMPIRE before it can snap her throat. Then the pent-up emotions pour out of her in tears.
MERCENARY #2, putting his hand on Willow's shoulder, supportively
MERCENARY #2
You were scared, you pushed it down, and you did what you were trained to do.
WILLOW
What now?
MERCENARY #2, taking the hand away, confidently
MERCENARY #2
Back up and be ready to do it again. You won't hesitate the second time.
Sniffling and wiping at her nose with the back of her right hand, Willows gets up and heads back to MERCENARY #1. When she walks, her posture is straighter and her stride more determined. Life makes or breaks.
CUT TO:
INT. WHIPS – CELLAR – PREDAWN
The cell doors are open. Few piles of dust mark the passing of unlucky vampires. The door eventually leading to the upstairs is off its hinges and in pieces. MERCENARY #3 is setting up a fuel bomb, while MERCENARY #4 and Giles are watching the door. Angel leans against the barrels.
Abruptly, he straightens and heads for the back, sliding door. Giles looks at him inquisitively and Angel signals “I got this”. The Watcher returns to his guard of the front entrance. The MERCENARIES continue with their tasks.
The vampire is almost at the door when it glides open smoothly and rapidly, apparently pulled by someone with great strength. Angel comes face to face with very surprised Natalie and instinctively swings.
The powerful hit barely registers and she grabs him by the front of the jacket and sends him airborne with ease. Angel lands heavily on the blood wine barrel, shattering it.
Alarmingly, the cask does not spill red. In the ruin of staves and hoops, naked Flutie is suspended in a solid block of clear jell, barrel-shaped. He is quite dead. The disturbing thing is the tendrils of blood spreading like roots from all over his body. Right now they are very thin and long. Angels scrambles off the gelatinous coffin, but his assistance is no longer needed.
The MERCENARIES assume firing positions and aim their AK47s; twin clicks announce safeties off. Giles continues to watch the door, confident they have it covered between them and Angel.
Natalie, charging the MERCENARIES, furious
NATALIE
MEAT!!!
CUT TO:
INT. SEWERS – UNDER WHIPS – DAWN
Darla tries the metal door and it does not budge. Vamping out, she puts the ear to it and listens. Hearing something she does not like, she furiously unleashes on the sturdy metal door, which might as well be paper. The metal groans and gives under the determined bashing, until it barely hangs in there, showing the junk-packed room beyond. Figuring it about done, Darla lowers she shoulder and slams into it. The door gives, falling flat with a clang. Faster is the explosion of shaped charges, which tears thru the room, obliterating life and undead with equal enthusiasm.
CUT TO:
INT. SEWERS – UNDER WHIPS – DAWN
Angel emerges thru the dust and smoke suffusing the air, unperturbed. He stops at a first sign of blood trail and vamps out. Few deep sniffs later, he locks onto his prey. Taking out a stake, he takes off, hunting.
CUT TO:
INT. SEWERS – DEAD END – EARLY MORNING
Angel comes to a wooden door set in the wall at the end of the hallway. Transferring the stake to his left hand, he reaches for the handle and freezes. A bloody sign of a sun and three stars appears on the smooth surface and starts bleeding red. It is a warning and a territorial marker.
Angel withdraws his hand and turning around, quickly departs. Behind him, the symbols slowly fade.
CUT TO:
INT. SUNNYDALE – WINDOWLESS OFFICE – EARLY MORNING
The room is typical of an executive suite: large oak desk, comfortable leather chair, phone with large LCD screen, laptop, and filing cabinets. The walls are bare aside from a flat screen TV and there is no sunlight; all the lighting is artificial. There is no way to tell if the space is above or underground. The colors are light and cheery.
The Master is an elderly man in his fifties. He looks harmless, almost grandfatherly; his attire is a conservative yet modest cut of cloth. He is busy reading an old manuscript when someone knocks and after a few seconds enters without prompt.
Darla is a sight: apparel and flesh alike ripped by shrapnel and covered in dust, dirt, and dried blood. She approaches the desk and stands there, waiting for him to acknowledge her presence.
The Master raises his hand and there is a TV remote in it. He clicks the screen to life and it shows the words “special report” under the image of Whips, now a smoking shell of a ruin, belching darkness into the waking world. The volume is too low for human ears but evidently not for a vampire, as Darla looks to be listening intently. Having made his point, the Master clicks the appliance off.
Master, pronouncing the sentence, disappointment plain
MASTER
You failed.
Darla, ashamed
DARLA
Yes, Master.
Master, amiably but with a steel undertone
MASTER
The Council sent me a strike team. How thoughtful of them. I want you to be equally kind and return the generosity shown. Will you do that, Child?
DARLA
Yes, Master.
MASTER
We wouldn't want the Major think he runs this town, now would we?
DARLA
No, Master.
MASTER
See, you know your place.
Pause.
MASTER
Wait by the route out of town. When you hear me whisper, leap over the fence and attack.
He opens a drawer and takes out an object.
Master, tossing Darla a gold pocket watch, generously
MASTER
You have one minute of immunity to sunlight. Your reward for faithful service is half of it.
The Master returns to his manuscript.
Taking it as a dismissal, Darla bows low and start to leave.
Master, not looking up, conversationally
MASTER
Oh, and Darla?
DARLA
Yes, Master?
Master, smiling at her, kindly
MASTER
Wear something nice, say a dress. I am running a business here; good impressions are everything. I want the best for your funeral.
DARLA
Yes, Master.
CUT TO:
EXT. SUNNYDALE – OUTSIDE GILES' APARTMENT – MORNING
Buffy and Willow are shower fresh and changed back into their normal clothes. They are standing at the door to Giles' apartment, trying to figure out their next move.
Willow, yawning
WILLOW
Pooped.
Buffy, bursting with energy, practically skipping in place, eagerly
BUFFY
Espresso Pump?
Willow, doubtfully
WILLOW
When the powers of caffeine and sugar combine …
Buffy, supplying helpfully
BUFFY
Super witch?
Willow, theatrically
WILLOW
Hyper Willow! Able to study and research for hours!
BUFFY
Not another Giles in tweed skirt.
Willow, covering her eyes, disturbed
WILLOW
Projecting scary visual.
BUFFY
He could be kilt Scottish and Free Willy proud.
WILLOW
Ewww, worse.
Buffy and Willow laugh; Buffy links arms, pulling Willow along. They start walking.
Buffy, grinning
BUFFY
We going to call Xander and tease him mercilessly?
Willow, resolutely
WILLOW
You know it.
Pause.
Willow, frowning
WILLOW
What's with the energy girl and clinginess? Not that I am complaining; enjoying clingy Buffy very much here. In the best friend sense, not hands in wrong places way. Because that would send signals, good … bad, bad signals … done now.
Buffy, evasively
BUFFY
Slaying makes me bubbly. You mind?
WILLOW
To quote Xander: going to a happy place.
Buffy, mischievously
BUFFY
Dream fast.
Buffy increases the pace rapidly without releasing her hold on Willow's elbow and the witch becomes completely preoccupied with staying upright and not being dragged behind her friend like luggage.
CUT TO:
EXT. SUNNYDALE – MAPLE COURT STREET – MIDMORNING
The Main Street of Sunnydale stretches past downtown and exits the city proper among a cordon of cemeteries, small businesses, and churches, with an odd park or two rounding out the eclectic collection. Sunnydale is big on green cover, for obvious reasons. Way in the distance, on the east side of town, black smoke mourns the death of a brothel.
The traffic is light near the corner where Mouse leans against the building. He is holding a folded open magazine in one hand and a phone in the other. Spotting a GM white van few intersections over, Mouse dials.
MOUSE
I just picked them up, Master.
He leaves the line open and keeps watching.
CUT TO:
EXT. SUNNYDALE – MAPLE COURT CEMETERY – MIDMORNING
The door to the crypt opens and Darla walks out. She is wearing a fancy cream dress and is barefoot.
Darla, stopping and turning her pale face to towards the sun
DARLA
Sixty seconds. I remember the sun, the warmth, and the light.
Pause.
Darla, spreading her arms, thirstily drinking the rays, content
DARLA
I am happy.
Pause.
DARLA
Fifty seconds. I remember England, the colors of my youth.
Pause.
Darla, focusing on the small tree near her, reaching out and touching the leaves
DARLA
I see, touch it again.
Pause.
DARLA
Forty seconds. I remember Virginia Colony and the day I died.
Pause.
Darla, suffering coloring her voice
DARLA
I remember the night I rose.
Pause.
Darla, wistfully
DARLA
Thirty seconds. I remember what I became.
CUT TO:
EXT. SUNNYDALE – MAPLE COURT STREET – MIDMORNING
Following a distance behind a family sedan, the white van approaches the green-lighted intersection, going about 35-40 Mph.
Mouse, yelling into the line, animated
MOUSE
Go!
CUT TO:
EXT. SUNNYDALE – MAPLE COURT CEMETERY – MIDMORNING
Darla turns towards the wall separating her from her destiny.
Master, whispering on the breeze, barely audible
MASTER VOICE-OVER
Kill.
Darla, vamping out, determined and in control
DARLA
I have no regrets.
CUT TO:
EXT. SUNNYDALE – MAPLE COURT STREET – MIDMORNING
The DRIVER and Lester see Darla jump over the cemetery wall, wisps of light grey smoke surrounding her. She lands gracefully and explodes into the street at an angle, heading straight for them.
DRIVER, shocked
DRIVER
What the <BLEEP>?!
Lester pulls the wheel sharply to the right as Darla leaps onto the incoming car. The roof caves in on impact and glass explodes outwards. There are panicked screams from the FAMILY inside and the car swerves drunkenly. Darla is already gone, using the roof as the springboard to lunch headfirst into the van windshield.
The DRIVER dooms the strike team by stomping on the brake pedal when Lester twists the wheel. Rapidly slowed, the delay allows the now heavily smoking vampire to crash thru the windshield instead of eating the metal side. More fatally, it sends the MERCENARIES tumbling forward – the last place they want to be.
The van veers to the right and heads for the cemetery wall with a squeal of brakes and tires. Inside, Darla bursts into flames as she tears into the strike team. Few shots rings out, but it is futile. In close quarters, bunched up and against a half-insane with pain vampire, the MERCENARIES have no chance. Splattered blood and smoke quickly obscure the view of the slaughter.
The van rolls to a stop, the solid stones stopping its progress at last. Smoke pours from radiator and a horn goes off. Inside, there is a burst of flame and light and the few remaining – intact - windows explode outwards. Intense fire erupts inside the vehicle, ensuring no survivors.
Lone fire siren wails in the distance. On the street, PEDESTRIANS gawk at the sight in wonder and passing DRIVERS pull over and join them. In the distance, the somber column from Whips' pours into the sky, now joined by its smaller twin. The car that Darla squashed is farther down the road, where the shaken yet uninjured FAMILY is being helped out by few PEDESTRIANS.
CUT TO:
EXT. SUNNYDALE – MAPLE COURT STREET – MIDMORNING
Mouse rips his eyes from the wreckage of lives and turns his attention back to the phone.
Mouse, shaken yet hiding it well
MOUSE
It's done, Master.
Mouse hangs up and snaps a picture of the burning van. He then sends it.
His job done, Mouse tosses the disposable phone and the magazine into a trashcan and walks away. In the background, the fire rages out of control.
FADE OUT:
TO BE CONTINUED
END OF PART TWO