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Restless (April 8, 2000) Written by: Joss Whedon |
| Teaser |
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INT. BUFFY'S FOYER/DINING ROOM - NIGHT Buffy is at the door saying goodbye to Riley. Willow and Giles are in the dining room, Giles standing near enough to make conversation, not near enough to intrude.
You're sure you'll be all right.
Sure as I am of anything. Which is less and less, these days.
Cause I could be there in the morning --
It's just a debriefing. They're not gonna make me disappear, and they're not pinning anything on me. I got Graham and a lot of the guys testifying I'm the reason they're alive. I might actually get out of this with an honorable discharge.
In return for your silence, no doubt.
Oh yeah. Having the inside scoop on the administration's own Bay of Mutated Pigs is definitely an advantage.
Yeah, it's like you're blackmailing the government! (off Riley's look) In a patriotic way…
(to Buffy) I'll call you when it's over. They kiss. Xander and Joyce emerge from the kitchen. Xander has a bowl of popcorn, Joyce a tray of drinks and snacks.
Dinner is served! My very own recipe.
You pushed the button on the microwave marked 'popcorn'?
Actually, I pushed 'defrost.' But Joyce was there in the clinch.
You guys have fun tonight. (to Joyce) It was nice meeting you.
It was nice meeting you… finally. He smiles at Buffy, closes the door.
(to Buffy) Notice how pointedly I said 'finally?'
No… They move into INT. BUFFY'S LIVING ROOM - CONTINUING - NIGHT
Let the vidfest begin!
(to Joyce) You sure you don't want to join us?
(setting down the tray) No, you guys have your fun. I'm tired… I can't believe you guys aren't exhausted -- have you even slept since…
Still feel a bit too wired.
Yeah, that spell, that was powerful.
I don't think I could sleep.
Well, we got plenty of vid. And I'm putting in a preemptive bid for Apocalypse Now. Heh?
Did you get anything less Heart-of-Darknessy? As they talk, they settle. Buffy and Willow on the couch with blankets, Giles in an armchair, Xander on the floor with pillows, near the TV. Joyce leaves them and heads up the stairs.
Apocalypse Now is a gay romp! It's the feel good movie of whatever year it was!
(sternly) What else.
Don't worry, I got plenty of chick- and-British-guy-flicks too. These puppies'll last us all night. ANGLE: THE TV The FBI warning is on it. We move in, and up to a clocking reading 9:46. DISSOLVE TO: 9:53 REVERSE ANGLE: THE GANG Fast asleep, to a man. Buffy snores prodiguously. BLACK OUT.
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| Act One |
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INT. BUFFY'S LIVING ROOM - NIGHT We see our four passed out heroes. Camera moves slowly to WILLOW, to her sleeping face, and we DISSOLVE TO: INT. TARA'S DORM ROOM - DAY Though you can't tell if it's day or night -- the curtains are drawn and the room is lit only by the ambient glow of the Christmas lights. They are all we see at first, hanging out of focus as the camera finds Tara's face, in profile. She speaks almost in whisper, smiling thoughtfully. Lying on her stomach, on the bed.
I think it's strange… I mean I think I should worry, that we haven't found her name. CLOSE ON: WILLOW She is looking down at something, intent on it -- we don't know what it is, nor her relation to Tara in the room. She glances up briefly.
Who? Miss Kitty? ANGLE: THE KITTEN In the corner, in extreme slomo (120 frames per), attacks a red ball of string, framed before a gold pillow. ANGLE: TARA Also watches the kitten.
You'd think she would have told us her name by now.
She will. She's not all grown yet.
You're not worried?
I never worry here. I'm safe here.
You don't know everything about me…
Have you told me your real name?
(smiles) Oh, you know that… ANGLE: A CALLIGRAPHY BRUSH As Willow dips it into a well of ink. We see Willow's face as she moves the brush to where she is writing, very intent.
They will find out, you know. About you.
I don't have time to think about that. You know, I have all this homework to finish. And for the first time, we see the room in tableau: Tara lies naked under the covers, her back exposed and covered in fine writing; Willow dips her pen and continues the text to the small of Tara's back.
Are you gonna finish in time for class?
I can be late.
But you've never taken drama before. You might miss something important.
I don't want to leave here.
Why not? Willow moves to the window.
It's so bright… ANGLE: THE WINDOW As Willow pulls the curtain aside to reveal that outside is all DESERT. Light cuts Willow's face, races up Tara's back as she looks back towards the window as well.
And there's something out there… ANGLE: IN THE DESERT Something moves, briefly, out of focus. A human shape, in grey and dirty rags, moving like an animal. INT. UNIVERSITY HALL - DAY Willow walks along, lost in thought. Passes Oz and Xander, who have been talking.
Hey.
Hi, guys.
Heard you're taking Drama.
Uh huh.
Tough course.
You took it?
Oh, I've been here forever. She comes to a bank of lockers that are incongruously placed in the wall, starts her combination.
So, whatchya been doing? Doing spells? (to Oz) She does spells with Tara.
I heard about that. The school BELL rings. Willow becomes a little unnerved by it.
I'm gonna be late. She gives up on her combination, hurries away. We hold on Xander and Oz, watching her go.
(sheepish) Sometimes I think about two women doing a spell… and then I do a spell by myself. INT. BACKSTAGE - DAY Willow enters into a whirl of activity -- the place is crammed with students in costume, obviously getting ready for an imminent production. To one side, at the back of the stage, is a bright, lemon-yellow backdrop, a painted sunrise. On the opposite side, at the front of the stage, is an enormous red curtain, which separates them from the audience. A girl dressed as a 20's FLAPPER is sticking her head through the middle to peek at the audience. Pinspots highlight portions of the stage, colored lights occasionally sweeping across the throng. It's disorienting, particularly to Willow, who wades in tentatively, looking for some kind of guidance. The first person she recognizes is HARMONY, who is dressed as a milkmaid, hair in braids.
Isn't this exciting? Our first production! Oh… She hugs Willow with gleeful camaraderie.
I can't wait 'til our scene! I love you! Don't step on my cues.
Production? The flapper pulls her head back from the curtain -- it's BUFFY. Full outfit, short black bob and everything. Like Harmony, (and everyone else here save Will), she's almost TOO excited, almost like a commercial for being here.
Oh my god the place is packed. Everybody's here. (to Will, excited) Your whole family is in the front row -- and they look really angry!
There's a production?
Someone's got stage fright…
But isn't this the first class?
Well you showed up late or you'd have a better part! I'm cowboy guy! He is in fact, sporting a dude-ish cowboy getup just as doofy as his grin.
(to Will) Your costume is perfect. (conspiratorially) No one is ever gonna know the truth. You know, about you.
Find -- but -- costume?
Ooh, you're already in character. I should have done that.
But how come there's a -- I mean, I was given to understand that a drama class would have a, you know, drama class. We haven't even rehearsed --
Well maybe some people haven't…
(aside, to Harmony) I was on time so I got to be cowboy guy.
I just think it's really early to be putting on a play. I don't even know what -- (panics) This isn't Madam Butterfly, is it? I have a whole problem with Opera. Giles rushes in, clearly in charge of this production. Claps his hands and addresses the troupe.
All right, everyone, pay attention. In just a few moments that curtain will open on our very first production. Everyone Willow has ever met is in that audience, including all of us. That means we have to be perfect. Stay in character, remember your lines, and energy energy energy. Especially during the musical numbers. As he speaks, and Willow grows more and more unnerved, she notices ANGLE: THE FIGURE FROM THE DESERT Moving silently and quickly beyond the edge of the crowd. We see it only in glimpses, but slightly better than we did before. We won't catch all of this now, but: It's a woman. She appears to be in soiled rags, not unlike a mummy's. Black hair in coarse dreds -- through neglect, not fashion. Face painted in colored clay. Long, almost clawlike nails. We'll call her THE PRIMITIVE. She carries a long, jagged blade. (incredibly different from the blade carried by the villain in episode 22 of ANGEL, really I can't stress this enough.)
(whispers) Did you guys see --
Remember, acting isn't about behaving. It's about hiding. The audience wants to find you, they want to strip you naked and eat you alive so HIDE. Harmony has gone VAMP and is trying to bite Giles, craning at various angles to get a better purchase on his neck. He swats at her as at a buzzing insect as he continues:
Stop that. Costumes. Sets. The things, you know, things, you touch them and hold them --
Props?
No…
Props.
Yes. It's all about subterfuge. (to Harmony) That's very annoying. (to the company) So get out there, lie like dogs and have a wonderful time. If we can stay focussed, keep our heads and if Willow can stop stepping on everybody's cues I know this will be the best production of Death of a Salesman we've ever done. (to Harmony) Stop it. He bustles off and everyone begins talking at once: the nervous excitement of just-before-curtain. Willow looks around her, completely cut off from the energy -- a fact that is highlighted when all the SOUND DIES OUT, though everyone continues chattering. Willow makes her way slowly to the edge of the stage. She looks around, nervous about seeing the figure in rags again. She looks in the wings and sees: ANGLE: THE CHEESE MAN A skittish, balding, bespectacled little fellow in an old woolen suit. A voice not unlike Peter Lorre's. He says softly, conspiratorially:
I've made a little space for the cheese slices… TILT DOWN to see a row of American cheese slices on a small wooden table. Tilt back up as the cheese man smiles, hungry for approval. Willow looks back at the bustling (still silent) crowd, moves slowly toward the edge of the red curtain. There are in fact two curtains, both red, about two feet apart. Willow hesitates a moment, then moves slowly between them, the camera following her, curtains billowing past lens on either side as she is enveloped. BETWEEN THE CURTAINS She journeys a while in this intimate space -- it seems to go on a long while. Finally she finds Tara standing, waiting for her. They speak, voices low.
Things aren't going very well.
Well, NO. Drama class is just, I think they're really not doing things in the proper way, and now I'm in a play and my whole family's her and why is there a cowboy in Death of a Salesman anyway?
You don't understand yet, do you.
Is there something following me?
Yes.
Well what should I do? The play's gonna start soon and I don't know my lines!
The play's already started. That's not the point. ANGLE: ON STAGE We see the play in progress. We are wide, taking in the proscenium. It is lit old style, from below. To the right is a plush divan, the only set dressing. On it is draped Buffy, smoking from a cigarette holder with languid boredom. Harmony stands in the middle of the stage holding her milk pails on an old fashioned cross-beam-yoke-type-thing, look I can't remember what they're called, I'm not like joe dictionary, okay? Riley enters, from the left. Speaks, as they all do, in a big ol' stage voice.
Why hello, little lady. Can I hold those milk pails for you?
Why thank you, but they are not very heavy. Why have you come to our lonely small town, which has no post office and very few exports?
I've come looking for a man. (ominously, to the audience) A sales-man. ANGLE: WITHIN THE CURTAINS Tara and Willow continue to speak.
If they find out, you'll be punished. I can't help you with that.
But what's the… What's after me? Is it something I forgot to do? Was I supposed to --
Shhh… She looks around, worried. Willow does also. Things seem to be moving around them, indistinct whispers buzzing by their ears.
(whisper) What is that… She looks around -- and turns back to find Tara gone.
Tara? ANGLE: ON STAGE This time we are close on Buffy and Riley as Buffy spews a rapidfire, venomous monologue to the unfeeling cowboy man. In the background, Harmony is sitting on the divan in tears. A man (high school actor boy) in a black suit lies dead on the stage. Somehow, all of this is in focus.
But what else could I expect from a bunch of low rent, no account hoodlums like you -- hoodlums! Yes. I mean you and your friends, your whole sex, throw 'em all in the sea for all I care, throw 'em in and wait for the bubbles. Men, with your groping and spitting, all groin no brain three billion of ya passin' around the same worn out urge. Men. With your… sales. ANGLE: INSIDER THE CURTAIN Willow looks around, concerned at Tara's absence. The whispers continue around her…
Tara… Okay, this really isn't fair -- The sentence is not out before a blade SHOOTS through the curtain right in front of Willow's face. It is the ancient, bloodcrusted blade of the Primitive. Willow jerks back with a startled scream as the blade is withdrawn, plunged again just as close. She turns to flee the way she came -- but the blade shoots out in front of her again. This time it pulls down, tears the curtain as an arm reaches in, swiping the blade at Willow. Fingernails rip down another part of the curtain and the second arm claws at Willow, tries to grasp her, Willow backs away but the knife slices through her flailing hand, a deep gash on her palm as she stumbles, collapses into herself, crying out, waiting to be cut, to be carved. A hand GRABS her, and she screams again -- taking a good moment before she realizes it's not the Primitive. She looks up to see Buffy, back in normal Buffy garb (and hair), reaching through one of the slashes in the curtain.
Willow!
Buffy, oh, God…
Come on. Willow rises shakily, steps through the curtain, Buffy holding onto her hand. Buffy looks around, tensed for action. They are standing in front of the curtain, but as they creep forward we see they are now in INT. HIGH SCHOOL CLASSROOM - DUSK The classroom is empty, lit by the last orange shafts of day. The curtain stands at the back, so Buffy and Willow move slowly to the front, ever alert, speaking in whispers.
Stay low. Moving between desks. Buffy leads. She is all business, eyes front -- almost brusque in her Slayerness.
What did it look like?
I don't know. I don't know why it's after me.
Well you must have done something…
No! I never do anything! I'm very seldom naughty. I just came to class, and then the play was starting… They've reached the front of the class. Buffy turns to Willow, really regards her for the first time.
Play's long over. What are you still doing in costume?
Okay, still having to explain wherein this is just my outfit.
Willow, everybody already knows. Take it off.
No… No, I need it…
Oh, for God's sake just take it OFF. And so saying, she grabs at an out-of-frame Willow, shoving her to the front of the class and ripping the outfit from her. Buffy stands, Will's outfit in hand, looking the girl over.
That's better. REVERSE ON: WILLOW As we saw her once, a long time ago. Long, slightly duller red hair. Plain grey frock that embodies the softer side of you know what. (Uh, Sears, just in case you don't.) A hapless, almost sick expression of embarrassment. She stands by the teacher's desk, looking at herself. REVERSE ON: THE CLASSROOM The curtain is gone from the back of the class. Buffy stands at the front, looking at camera with disinterested contempt.
Well, that's a little more realistic. She sits behind a desk and we see the class is in fact filled. Among the students, all of whom eye us with contempt, are Xander, Harmony, Anya, Oz and Tara. Oz and Tara lean in close to each other, as though they've been whispering for some time.
See? Is everybody very clear on this now?
(laughing) Oh my god! It's like a tragedy!
(to Tara) I tried to warn you… Tara smirks, leans back in to Oz.
It's exactly like a greek tragedy. There should only be greeks. Willow tries to stand up straight, tries to get on with class. She is holding a sheaf of loose-leaf papers.
(reciting) My book report. This summer, I read The Lion, the Witch and the Wardrobe…
(to the ceiling) Oh, who CARES….?
This book has many themes. One of the first -- It LEAPS into frame, knocking Willow to the ground. No one even reacts (of course) as Willow thrashes, fighting for her life against the Primitive. It hasn't its knife this time, just struggles to hold the panicked girl down.
Help! Help me! ANGLE: THE CLASS Does nothing. CLOSE ON: WILLOW As a gnarled and filthy hand closes around her throat. The head is lowered to hers -- we see its mouth open, dirty brown teeth as its mouth closes over Willow's -- then we hear a great RUSH OF AIR as the life is sucked out of Willow, her eyes widen and her skin goes sallow, gaunt, the lifeforce sucked out of her -- INT. BUFFY'S LIVING ROOM - NIGHT -- and she lies, unwakening, gasping for air, choking, dying in her sleep. BLACK OUT.
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| Act Two |
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INT. BUFFY'S LIVING ROOM - NIGHT We are still on Willow, gasping, convulsing slightly. Pan over to find Xander sleeping. He jerks his head awake.
I'm awake! I'm good. Did I miss anything? WIDEN to reveal Buffy and Giles are wide awake, Buffy munching on popcorn as they watch what's on TV.
Nothing much at all, really.
Bunch of massacring. Xander turns his attention to the TV. ANGLE: ON THE TV Is the movie. Vietnam flick. It consists of a haggard SOLDIER marching in front of a rear-screen-projection jungle.
We've got to keep going, men! We've got to take that hill. (keeps walking) Damn this war! (walks) Men? Oh my god, what's happened to my MEN!!!
I have to say, I really feel Apocalypse Now is over-rated.
(staring, puzzled, at the screen) No, no… it gets better… I remember that it gets better…
You want some corn?
Butter flavor?
New car smell.
Cool. He reaches for the bowl as she holds it out. His posture puts him right by Willow -- he looks at her gasping.
What's her deal?
Big faker. Xander takes a handful, eats as he watches the flick.
I'm beginning to understand this now. It's all about the journey, isn't it?
Well, thanks for making me have to pee. He gets up, heads upstairs.
You don't need any help, right?
I got a system. Camera FOLLOWS him up the staircase. INT. BUFFY'S HOUSE - UPSTAIRS - CONTINUING - NIGHT Xander crests the stairs, is heading for the bathroom when he hears something, turns to look. Behind him is Joyce's bedroom. It's dark, and it's from that dark that Joyce emerges, wearing a burnished red silk robe. Her hair is carelessly tousled, her expression warm, a little sleepy. She looks, well, kinda sexy.
Hey.
Hey, Joyce. Mrs. Summers. He moves towards her -- he will continue to do so, slowly, throughout their exchange.
We're not making too much noise down there, are we?
Oh, no. Anyway, they all left a while ago.
Oh. I should probably catch up.
(smiles) I've heard that before. She leans in the doorway, the opening of her gown sliding up her leg. Xander notices this, and it gives him pause -- but both he and Joyce are very calm. Comfortable.
I move pretty fast. You know, a man's always after…
Conquest?
I'm a conquistador.
What about comfort?
I'm a comfortador, also.
I do know the difference. I've learned about boys.
That's cool about you.
It's very late. Would you like to rest for a while? As she says it, the camera drifts off her,
into the room,
Um, yeah. I'd like you. I'm just going to the bathroom first. A moment before he breaks eye contact with her -- he's still drawn to her -- then he steps back, heads down the hall to the bathroom. LOW ANGLE PUSH IN ON JOYCE, affectionately watching him go.
Don't get lost… INT. BUFFY'S HOUSE - BATHROOM - CONTINUING - NIGHT He enters, shuts the door. Stands over the toilet, unzips his (out of frame) fly. A moment, and he turns toward camera. REVERSE ANGLE: OVER XANDER The bathroom turns out to be a large room in the Initiative. A group of some fifteen scientists and soldiers are standing politely, watching Xander as though he were a museum exhibit. A moment more.
Okay. I'm gonna find another bathroom. He says, zipping his fly back up. Camera leads him back into INT. BUFFY'S HOUSE - UPSTAIRS - CONTINUING - NIGHT Where he crosses the (now empty) hall and steps into Buffy's room, which turns out to be INT. XANDER'S BASEMENT - CONTINUING Only a couple of lights are on. Xander shuts the door behind him, starts across the room. About halfway, he stops. Hears something. Looks around. Nothing.
(calling out) I didn't order any vampires… He moves to the stairs, starts up. Stops. ANGLE: THE DOOR Something moves behind it. Scratches at it. Xander stares, clearly frightened. The doorknob turns -- but the door is locked. The knobs rattles as the person behind it begins to get frustrated.
That's not the way out… The person BANGS on the door. Once. Twice.
That's not the way out… And very carefully, so his feet don't creak the stairs, Xander backs off the staircase. He heads back to the door he came in by, throws it open and splits. EXT. PLAYGROUND - DAY Steadicamming towards the playground. Swings, carousel, sandbox. Buffy sits in the sand box, idly digging sand with a little plastic shovel. Giles and Spike (who is dressed in a tweedy suit kind of like Giles') sit on the swings. Xander joins the group, still a little thrown by his basement experience.
Hey. There you are.
You sure it's us you were looking for? She smiles secretively at Giles, who returns it. Xander is aware he's missed something.
Giles here is gonna teach me to be a Watcher. Says I got the stuff.
Spike's like a son to me….
Well, that's good. I was into that for a while, but I got other stuff going on. He indicates the nearby road, and we see: ANGLE: THE ICE CREAM TRUCK Where Xander is handing out ice cream to a few kids. XANDER In the park, watches himself in the truck. Says to the others:
Gotta have something. Gotta be always moving forward.
Like a shark.
A shark with feet. And much less… fins.
AND on land.
Very good… Xander looks down at Buffy in her sandbox. Worried.
Buffy, are you sure you want to play there? Pretty big sandbox. ANGLE: BUFFY Is in the same position and the same clothes, but now she is sitting in the actual desert.
I'm okay. It's not coming for me yet. Xander is still in the park -- so is Buffy, for the rest of the scene.
I just mean… You can't protect yourself from… some stuff.
I'm way ahead of you, big brother.
Brother? She looks at him, for the first time her air of superiority drains away. They hold a serious look for a moment. Giles and Spike are swinging higher, enjoying themselves.
Come on, put your back into it! A watcher scoffs at gravity! Xander looks at Buffy. From the ice cream truck, Xander looks at Xander. From his POV, we see the tableau of the four of them, Xander and Buffy not moving, Giles and Spike swinging as high as they dare. INT. ICE CREAM TRUCK - DAY A moment more of watching them, and Xander starts to the front of the truck. Anya sits in the passenger seat. The truck is ALREADY MOVING, the suburban streets going slowly by in the windows in what is pretty clearly REAR SCREEN PROJECTION. Xander gets into the driver's seat.
Do you know where you're going?
North. To the mountains. The highest peak, the one they call "100 percent scary plummeting death." The test of a man.
Do you know where you're going?
No.
I've been thinking about getting back into vengeance.
Is that right?
Well, you know I miss it, I'm so at loose ends since I quit and I think this is gonna be a very big year for vengeance.
I don't know…
I've been keeping close tabs on cultural trends -- a lot of Men being unfaithful -- very exciting things happening in the scorned women market. I don't wanna be left out.
Yeah, but, isn't vengeance kind of… depressing?
(petulant) You don't want me to have a hobby.
Not a vengeance hobby, no. It's dangerous. People can't just do anything they want. Society has rules, and borders, and an endzone. It doesn't matter if… Through the end of this, he's become aware of some giggling in the back of the truck. He looks back to see: ANGLE: WILLOW AND TARA Are standing in the back, dressed kinda trampy. Very close to each other, whispering and looking at Xander.
Do you mind? I'm talking to my demon.
Sorry.
We just think you're really interesting. They giggle a bit.
(bravado) Oh, I'm goin' places.
I'm way ahead of you.
Is that right?
Watch this. She and Tara move closer - ANGLE: XANDER We hold on Xander pushing in incredibly slowly, while the girls show him something. Whatever that may be, we hold on him for quite a long time, and he remains impressively calm. The girls, having (however marginally) separated, smile at Xander.
Do you wanna come in the back with us? They look to the further, darker back of the truck. Xander looks interested, then slightly perplexed. He looks over at Anya. She is still looking out at the road as she says.
Oh, go on.
I don't have to…
I'll be fine. I think I've figured out how to steer by gesturing emphatically. She does, waving the truck from drifting off the road, as Xander heads for the back of the truck. REAR OF ICE CREAM TRUCK ANGLE: XANDER is framed in the open back window of the ice cream truck. The rear-projected town drifts by as he pauses, then he heads to the back of the truck. He has to squeeze between a few crates and sundries. He keeps going. As he gets further back, he has to climb on top of things. The space gets smaller, gets darker. He's still moving back -- now's he squeezing through a space the size of an air vent. Finally the space widens, and he finds himself tumbling out and landing on the floor, the floor of: INT. XANDER'S BASEMENT - NIGHT He looks around him. A little pissed. No girls. He checks around the room… PUSH IN ON: THE UPSTAIRS DOOR As something big SLAMS against it. Camera dutches on Xander as he looks up, truly frightened. Trying for bravado, he cries:
I know what's up there! More pounding, Xander heads for the other door again, slowly, looking back. ANGLE: THE STAIRCASE As the door SLAMS open and a thick black shadow is thrown against the wall. Now Xander's terrified. He turns to go -- and bumps right into the CHEESE MAN. Xander starts back. The cheese man holds up a plate of American cheese.
These will not protect you… We hear footsteps on the stairs. The shadow moves. Xander moves as well, past the Cheese Man and out the damn door. INT. SCHOOL HALL - DAY Or possible night. Or possibly -- why is everything so GREEN? Flat, green light fills the entire place, not that Xander notices. He is too busy moving through the crowd (it's fairly busy in here), looking ahead, looking behind him. ANGLE: BEHIND HIM Hidden by the crowd, but visible in glimpses, the PRIMITIVE is following him. Xander pushes ahead until he sees Giles, moves to him.
Giles!
Xander! What are you doing here?
What's after me?
It's because of what we did. I know that.
What we did?
The others have all gone ahead. Now listen carefully. Your life may depend on what I am about to tell you. You need to get to -- And at this moment, as Giles continues to speak, he is suddenly DUBBED INTO FRENCH. We can see him talking, but we can't understand a word any more than Xander can, unless we speak French, in which case la di da aren't we intellectual, I'm not Joe DICTIONARY, all RIGHT?
(french dubbing over:) -- the house where we're all sleeping. All your friends are there having a wonderful time and getting on with their lives. The creature can't hurt you there.
What? Go where? I don't understand.
(still dubbed) Oh for God's sake, this is no time for your idiotic games! Anya rushes to them, worried. And dubbed.
(with the dubbing) Xander! You have to come with us now! Everybody's waiting for you!
(dubly) That's what I've been trying to tell him.
Honey, I don't -- I can't hear you… Anya grabs his arm, start dragging him.
(dubbage) It's not important. I'll take you there.
Well, wait. Where are we going? She just pulls, and Giles grabs an arm and pulls as well. Then a student starts helping. Then an Initiative soldier, Xander looking around confused, resisting as more and more students and soldiers grab hold of him, they hold him and turn him upside down, the camera also spinning upside down, he is calling out:
Hey! Let go! Hey! -- as they hold his legs, his head and arms dragging him on the ground, him calling for help that won't come. INT. KURTZ'S SLEEPING QUARTERS - NIGHT It's very dark. A fire burning in the background provides the only real illumination. A man lies on a cot in an alcove, almost entirely in blackness. Xander is led by an Initiative soldier with a rifle. He makes Xander get on his knees before the alcove, then retires into the background. If any of this seems familiar, it's because you've watched Apocalypse Now way too many times. If you haven't, you should -- as much as possible, this scene should resemble the first meeting between Willard and Kurtz. And though he will remain in darkness for a portion of the scene, and only be revealed in glimpses, it will be clear to some the moment he speaks that our "Kurtz" is PRINCIPAL SNYDER. He doesn't move, just lies there, his voice finally coming from the darkness:
Where you from, Harris?
Well, the basement, mostly.
Were you born there?
Possibly. Snyder sits up, face still mostly in darkness.
I walked by your guidance counselor's office one time, a bunch of you were sitting there, waiting to be… shepherded, to be guided. You and the other problems, glassy-eyed, slack-jawed, I remember it smelled like dead flowers. Like decay, and it hit me, yes, that's what it is; the hope of our nation's future is a bunch of mulch.
You know, I never got the chance to tell you how glad I was you were eaten by a snake. Snyder takes a shallow wooden bowl, dribbles water on the dome of his head as he continues.
Where are you heading?
Well, I'm supposed to meet Tara and Willow… and possibly Buffy's mom…
Do you know why they sent you here?
Not 'sent' so much as 'manhandled', but… no.
Your time is running out.
No, I'm in my prime. This is primetime. Snyder runs his hand over his head, slowly. Still looking down.
Are you a soldier?
I'm a comfortador. For the first time, Snyder really brings his face into the light, eyeing the boy with distant contempt.
You're neither. You're a whipping boy, raised by mongrels, and set on a sacrificial stone.
I'm getting a cramp… He hears something. Looks around, then
rises, slowly, backs EXT. GILES' COURTYARD - NIGHT He looks around, and we see: ANGLE: THE ENTRANCE The Primitive is just coming around the corner, walking on her knuckles like an ape. Xander watches a moment more, then we hear a panther's ROAR, and Xander -- (NOTE: This is the beginning of a rather epic steadicam shot) -- bails. He moves into: INT. GILES' APARTMENT - CONTINUING Where Giles, Buffy and Anya are all looking at a passed out and slightly convulsing Willow.
It's even more serious than I thought.
I can fight anything, right?
Maybe we should slap her. Xander doesn't stop, keeps going, looking behind him, into Giles' hall, turns the corner into Buffy's hall, students ignoring him as he starts to walk even faster, very worried, he's almost at Buffy and Willow's room when the Primitive leaps into the hall from Giles' hall, Xander ducks into INT. BUFFY AND WILLOW'S DORM ROOM - CONTINUING
Buffy? But no one is there, he's increasingly freaked, throws open Willow's closet door and bolts in, the CAMERA FOLLOWS HIM as he works further into the closet, it turns left, a narrow wooden corridor, Xander moves swiftly through it, still throwing looks back, the corridor winds a bit and finally opens out onto (you guessed it) INT. XANDER'S BASEMENT - CONTINUING You did guess it, didn't you? (the steadicam shot ends.) Xander looks around -- this is the worst. And the POUNDING on the door upstairs has gotten louder. Xander is compelled to move toward it, to the bottom of the stairs, to look up.
(whispers) That's not the way out… ANGLE: THE DOOR: BURSTS open, a silhouetted figure of a burly man standing on the entrance.
What the hell is wrong with you? You won't come upstairs?
I'm sorry…
What are you, ashamed of us? You're mother's crying her guts out!
You don't understand… The figure stomps down the stairs toward him.
No, YOU don't understand! Life ends here, with us! You're not gonna change that. You haven't got the HEART. ANGLE: XANDER has backed against the wall, is not even looking at the approaching figure. On the last word a hand suddenly PLUNGES into XANDER's chest. Xander looks up into the eyes of the Primitive. ANGLE: XANDER'S CHEST As his heart is ripped out of it. INT. BUFFY'S LIVING ROOM - NIGHT Xander convulses like he's been shocked, but does not wake up. The camera holds on him a moment, then tilts up and moves deliberately towards Giles. BLACK OUT.
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| Act Three |
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INT. GILES' APARTMENT - NIGHT ANGLE: A POCKET WATCH Swings before us, catching the light. We hear voices, far off and echo-y:
You have to stop thinking. Let it wash over you.
(amused) You don't think it's a little old fashioned?
This is the way women and men have behaved since the beginning, before time. ANGLE: GILES AND BUFFY We are as far from them as we can be, they are a tableau within the apartment, all the furniture gone save the chair Buffy sits in, primly, erect.
Now look into the light. CLOSE ON: BUFFY As the light gambols about her eyes, and she laughs, playfully -- ANGLE: GILES' ARM As Buffy grabs it, pulls him along… EXT. GRAVEYARD/FAIR - NIGHT Buffy pulls him along, trying to get him to hurry. In her sundress, with her insistent attitude, she resembles nothing so much as a child. Giles' dress is casula, hip but not undadlike. The familial image is reinforced by the presence of OLIVIA, who is both pregnant and pushing an empty stroller.
Come on! Come on! They are walking through a graveyard, to be sure, but there is a bit of the state fair to it as well. Many standing crypts and caskets line the lane. Families occasionally pass them by, certain crypts have been set up as ring toss games and the like. It's not obtrusive (i.e. Not a Generic Scary Carnival Nightmare With Wide Angle Shots Of Carousel Horses Type Thing), there's just a comfortable level of incongruity. Buffy continues to pull, Giles good-naturedly to resist.
We're gonna miss all the good stuff!
Does she always want to train this badly?
It appears she never heard the fable about patience.
Which one is that?
(tries to think) You know, with the fox, and the… less patient fox.
Ooh! Here! Can I? Can I?
Yes, go ahead. She lets go of his hand, moves to a stand (of crypt-like stone) that has balls set up, three to a pile, and dummy mock up of a vampire that pops up and moves around at the back. Buffy takes a ball, waits. The dummy pops up and a tinny, recorded voice cries:
I'm a vampire! Buffy throws a ball, it goes wide.
Buffy, you have a sacred birthright to protect mankind. Don't stick out your elbow. She tries again, nails it. Looks to Giles for approval. He looks peevish.
I haven't got any treats… Buffy turns to the vendor, who hands her a cotton candy. She digs into it.
For God's sake, Rupert, go easy on the girl.
This is my business. Blood of the lamb and all that. (to Buffy) Now, you're gonna get that all over your face. Buffy turns -- and her face is caked with mud. She looks wild and primeval, breathing hard through her nose. (NOTE: This close-up will be filmed separately, when Buffy is all muddy in act four.)
(shocked, whispers) I know you… ANGLE: THE CRYPT at the end of the lane. Spike is leaning out of it, waving frantically at them.
(stage whisper) Come on! You're gonna miss everything! INT. SPIKE'S CRYPT - NIGHT Giles enters, Olivia (who is already there) trying to fold the stroller without much success. (Buffy is no longer present.)
Don't push me about, you know, I have a great deal to do. He is speaking to Spike, who stands before a group of tourists taking pictures, posing and making faces.
I've hired myself out as an attraction.
Sideshow freak?
At least it's showbiz… Olivia has failed to fold the stroller. She is sitting on the floor, crying, the misbent thing in her lap. Giles looks at her, unsure how to help, torn -- he must go. Asks Spike for advice:
What am I supposed to do with all of this?
Gotta make up your mind, Rupes. What are you wasting time for? Haven't you figured it all out yet with your enormous squishy frontal lobes?
(starting to walk) I still think Buffy should have killed you. He moves down through the crypt, not sure where he's heading. Passes the Cheese Man, who has slices of cheese on his head, including two with holes ripped out over his eyes.
I wear the cheese. It does not wear me. Giles stares at him a moment, then continues.
Honestly, you meet the most appalling sort of people… He continues walking and exits the crypt, camera leading him into: INT. THE BRONZE - CONTINUING It's busy, people bustling about in the usual fashion. Giles starts making his way through the crowd to the front. ANGLE: XANDER AND WILLOW Are sitting on the couch in Giles' living room -- except of course it's in the middle of the club, near the stage. They look worried, going through the books on Giles' coffee table. Camera moves up to find Giles coming from behind them. He reaches the living room set up, sits in a chair.
I'm sorry I'm so late. There's a great deal going on, all at once.
(peevish) Don't we know it. Only at death's door over here… Look at Xander! Xander opens his jacket to reveal a big wet bloodstain in the middle of his (ripped) T-shirt.
Got the sucking chest wound swinging… I promised Anya I'd be there for her big night. Now I'll probably be pushing up daisies in the sense of being in the ground underneath them and fertilizing the soil with my decomposition. Giles looks up at the stage and sees: ANGLE: ANYA Her big night appears to be a stand up routine. She stands at the mic in the spotlight, reading a joke (from a sheet of loose-leaf) that she seems to have no real understanding of.
Okay. A man walks into the office of a doctor. He is wearing on his head, a… there's a duck? Is that right?
You suck!
Quiet. You'll miss the humorous conclusion. Giles turns back to the others.
She seems to be doing quite well.
Do you even know this is your fault?
We have to think about the facts, Willow. I'm very busy. Have a gig myself, you know.
Something is trying to kill us. It's like some primal… some animal force.
That used to be us.
Don't get linear on me now, man… ANGLE: ANYA
And the duck tells the doctor, "there's a man that's attached to my ass." Huge laughter from the crowd. Anya beams.
See, it was the duck and not the man that spoke. Applause. She heads off stage.
Rupert, if we don't know what we're fighting, I don't think we have a chance. He gets up as she is speaking and heads onto the stage. Straps on his acoustic guitar and, to great applause, sings:
(sings) It's strange. It's not like anything we've faced before, yet it seems familiar somehow. Of course! The spell we cast with Buffy must have released some primal evil, that's come back seeking… I'm not sure what. Willow, look through the Chronicles. Some reference to a warrior beast… Xander, help Willow and try not to bleed on my couch. We've got to warn Buffy. I tried her this morning but I only got her machine. Oh, wait… But the mic goes dead. All the noise stops but for a feedback hit. Disappointed AWWs from the crowd. Willow and Xander barely look up from their books. Giles takes off his guitar, looks down at the mic cord. He tugs at it, then gets on his backs and knees, following it, pulling himself along behind a stack of speeakers and equipment. The cord becomes tangled in another, and more, soon Giles is following a maze of entwined cable, still on his hands and knees, no one visible, just all this equipment around him, and all this… cable… ANGLE: THE CABLE As Giles' POCKET WATCH falls out of his pocket onto it. Giles stops. Weary dread on his face.
Well, that was obvious. WIDER ANGLE: The Primitive is perched on a speaker right behind him. We see her silhouetted by an indoor LIGHTNING FLASH. Blade in hand. Giles doesn't move as she creeps down behind him.
(quietly terrified) I know who you are. And I can defeat you. With my intellect. Cripple you with my thoughts. ANGLE: THE TOP OF HIS HEAD As she prepares to cut it open.
Of course you underestimate me. You couldn't know… EXTREME CLOSE ON: GILES' FACE as blood begins to wash down it from out of frame.
You never had a Watcher… FADE OUT: INT. BUFFY'S LIVING ROOM - NIGHT Giles takes in a gasping breath. His eyes do not open. BLACK OUT.
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| Act Four |
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INT. BUFFY'S LIVING ROOM - NIGHT Hey, it's Buffy's turn! Therefore, close on her as we hear:
(fierce whisper) Buffy, wake up! INT. BUFFY AND WILLOW'S DORM ROOM - MORNING Buffy wakes up in her dorm bed, looking over at: ANGLE: ANYA across the room in Willow's. She clutches at the covers, pulling them up to her chin in her fright.
Buffy, you have to wake up! Right away!
I'm not really in charge of these things…
Please wake up oh please!
(turning onto her back) I need my beauty sleep, okay, so stop -- ANGLE: BUFFY'S POV Right above her, hanging from the ceiling, face right near hers, is the Primitive. It ROARS in her face -- INT. BUFFY'S BEDROOM - MORNING Buffy WAKES suddenly -- it was only a bad dream… WIDEN to see she's in her bedroom at home. She has made a mess of the sheets in her nightmare. REVERSE ANGLE: BUFFY Looks at the mess of a bed from the doorway. We find TARA standing next to her. Tara is completely poised, quite -- clearly on top of whatever's going on here.
Faith and I just made that bed…
For who?
I thought you were here to tell me. The guys aren't here, are they? We were gonna hang out, watch movies.
You lost them.
No, I… I think they need me to find them. She looks at the clock by the bed: ANGLE: THE CLOCK reads 7:30. Buffy looks worried about the time.
It's so late…
Oh, that clock's completely wrong. She produces a deck of tarot cards, tries to hand it to Buffy.
Here.
I'm never gonna use those. Tara moves closer, whispers in Buffy's ear:
You think yhou know. What's to come, what you are… You really have no idea. ANGLE: THE BEDROOM The bed is made now. It's very still.
I gotta find the others.
Be back before dawn… Buffy leaves. INT. UNIVERSITY HALL - DAY Buffy walks through the hall, searching for her friends. She stops a passing student.
Have you seen my friends anywhere? (looking around) They wouldn't just disappear; they're my very good friends. The student just walks away. Buffy continues on, a bit peeved at the no response. A few feet on she stops, looking over at the wall. She moves to it and we see that a small hole has been broken through, showing a glimpse of the dark, cramped space behind. Inside that space is Joyce.
Mom?
Oh, hi, honey.
Mom, why are you living in the walls?
Oh, sweetie, no, I'm fine here. Don't worry about me.
It looks dirty.
Well, it seems that way to you… I made some lemonade, and I'm learning to play Mah Jong. You go find your friends.
I think they're in trouble-danger… Joyce laughs.
Sorry dear. Sorry. A mouse is playing with my knees.
I really don't think you should live in there.
Well, you could probably break through the wall… But Buffy has caught a glimpse of: ANGLE: XANDER - Rounding a corner. Buffy moves after him. INT. INITIATIVE - DAY We are quite wide in the bright white space. Riley and another man sit at opposite ends of the glass conference table. The other man some will recognize as ADAM, but he is entirely human. Riley wears his Sunday suit, Adam something similar. Buffy approaches slowly, from a distance.
Hey there, killer.
Riley! You're back!
I never left.
How did the debriefing go?
I told you not to worry about that! It went great. They made me Surgeon General.
Why didn't you come and tell me? We could have celebrated.
Oh, we're drawing up a plan for world domination. The key element? Coffee makers that think.
World domination. Is that a good?
Baby, we're the government. It's what we do.
She's uncomfortable with certain concepts. It's understandable. (to Buffy) Aggression is a natural human tendency. Though you and me come by it another way.
We're not demons.
Is that a fact?
Buffy, we've got important work here. A lot of filing, and giving things names.
(to Adam) What was yours?
Before Adam? Not a man among us can remember. A voice sounds on the intercom:
The demons have escaped. Please run for your lives. The lights go dimmer as Buffy looks at Riley, panicked. The men are all business.
This could be trouble.
We'd better make a fort.
I'll get the pillows. He exits as Buffy stands there, too frightened to speak up. We see a passel of demons approaching from behind, out of focus.
No wait… I have weapons… She reaches into her bag. INSERT: HER BAG is filled with mud. She sinks her hand into it, pulls it back. Drops to her knees in a panic, reaching into the bag and finding nothing but mud. She looks at it on her hands. Brings them to her face. Slowly, she starts covering her face in it, putting on more and more. The demons are long gone. She looks up at Riley, face now looking just a little like it was when Giles saw it. Animal. Riley backs away, a scolding look on his face.
If that's the way you want it baby, I guess you're on your on your own. Buffy watches him go. The light on her changes again, daylight streaming in from the side. She stands, heads toward it. ANGLE: BUFFY'S FEET As she walks, we see sand on the ground. Finally she's walking only on sand. ANGLE: HER FACE Is no longer muddy. The wall behind her gives way to rock, and finally we are EXT. DESERT - DAY Buffy walks past the Initiative wall and into the bright white desert, the flat, sandy vista spreading out forever. Camera arms up to find that Buffy stands atop a lone, large, sand dune. She looks around, worried.
(whispers) I'm never gonna find them here… ANGLE: TARA Appears opposite Buffy on the dune, walking toward her. She is dressed in Indian garb, midriff and skirt. Again, preternaturally calm.
Of course not. That's the reason you came. She stands a ways apart, the two of them regarding each other.
You're not in my dream.
(agreeing) I was borrowed. Someone has to speak for her.
Let her speak for herself. That's what's done in polite circles. As she says this, the Primitive appears right behind her. Buffy is aware of her, but does nothing. The Primitive circles her, slowly, sniffing her, assessing her. Buffy is rigid, the Primitive all angles and motion, finally ending up in front of Buffy. As this is happening, we cut between the two slayers as though they are conversing, though it is Tara who speaks for the Primitive.
(to the Primitive) Why do you follow me?
I don't.
Where are my friends?
You're asking the wrong questions.
(calm anger) Make her speak.
I have no speech. No name. I live in the action of death. The blood- cry, the penetrating wound. I am destruction. Absolute. Alone.
(realizing) The Slayer.
The first. The Primitive stands erect at that, facing Buffy with defiant pride. Buffy looks down, at her hand. Sees: INSERT: The deck of tarot cards that Tara had tried to hand her. The top card is actually a birds eye view of the four friends asleep in Buffy's living room (CGI insert).
I'm not alone. The Primitive growls, snaps her teeth at Buffy.
The slayer doesn't walk in the world.
I walk. I talk. I shop, I sneeze, I'm gonna be a fireman when the floods roll back. There's trees in the desert since you moved out, and I don't sleep on a bed of bones. Now give me back my friends. The Primitive struggles to contain her rage, finally spitting forth:
No… friends… just the kill… we are… alone. As she says this last, the Cheese Man leans into frame, dangling a couple of slices invitingly.
That's it. I'm waking up. The Primitive LEAPS into frame, knocking Buffy back out of it. And they fight, briefly, the Primitive strong with primal rage, Buffy more sophisticated, the martial artist. After a quick exchange Buffy comes up at the edge of the dune, saying:
It's over. The Primitive dives at her, tackling her and they both roll down the dune and we hard cut to: INT. BUFFY'S LIVING ROOM - NIGHT Buffy wakes up. Everything is the same as it was, except Buffy is lying in the middle of the floor. She raises herself, looks over at the gang -- they are still sleeping. Buffy is about to speak when the Primitive drops into frame right in her face and stabs her, bringing the knife down again and again… She stops. Buffy looks pretty bored. There is no blood on her.
Are you quite finished? She gets up, moves back to where she was sleeping. The Primitive stands, bewildered.
You just have to get over the whole primal power thing. You're not the source of me. She sits, makes herself comfy.
Also, in terms of hair care, you really want to say 'what kind of impression am I making in the workplace?' 'Cause that particular look -- And in midsentence: SMASH CUT TO: INT. BUFFY'S LIVING ROOM - NIGHT She wakes, for real -- gasping with the intensity of it. Looks about as the other four go through the same thing. They look at each other, overwhelmed. INT. BUFFY'S FOYER/DINING ROOM - NIGHT Buffy and the others sit around the table, Buffy nearest the foyer, Xander with his back to the kitchen. They all look a little tired… and wired.
The first slayer… wow.
Not big with the socialization.
Or the floss…
Somehow, our joining with Buffy and invoking the essence of the Slayer's power was an affront to the source of that power.
You know, you coulda brought that up before we did it.
I did! I said there could be dire consequences!
Yeah, but you say that about everything. Joyce enters from upstairs.
I'm guessing I missed some fun.
The spirit of the first Slayer tried to kill us in our dreams.
Oh. You want some hot chocolate? A chorus of:
Yes please -- that sounds nice -- thanks, yeah…
Xander? Xander turns to her and, suddenly remembering his dream, becomes quite uncomfortable.
Yes? What, Joyce -- dyeh, Buffy's mom?
Will you be my kitchen buddy again? Help me carry?
Yes. Sure. Buffy's mom. She exits. Giles looks at Buffy, who seems pensive.
You all right?
Yeah, I just… I think I might jump in the shower.
You do seem a bit…
Yeah. I guess… the first Slayer. I never really thought about… it was just intense. I guess you guys got a taste of that, huh?
Yeah, from now on, you keep your slayer friends out of my dreams, is that clear?
She's not good for the sleeping. Buffy rises, saying as she heads upstairs:
Yeah, well at least you all didn't dream about that guy with the cheese… She exits, leaving the others looking slowly up, at each other, very perturbed.
Don't know where the Hell that came from… INT. BUFFY'S UPSTAIRS HALL - CONTINUING Buffy reaches the top of the stairs, heads for the bathroom, stops, goes towards her room. INT. BUFFY'S BEDROOM - CONTINUING Buffy enters, stands in the doorway. The lights are off, but she can see okay. ANGLE: THE BED Quiet and neat. Buffy regards it, regards the room. We hear:
You think you know. What's to come, what you are… You haven't even begun. Buffy stands a moment longer, looking into the dark. She leaves. For a beat, we hold on the empty room. BLACK OUT.
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