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Once More, With Feeling September 18, 2001 (WHITE) Written & Directed by: Joss Whedon | ||||||||||||
| Teaser | ||||||||||||
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There is NO TEASER. There is a
previously, and then the main title. Time permitting, we might have
a Chris Beck Orchestral version of the theme and do old fashioned hero
shots, where the actors just smile or look glamorous over their credits.
Or we might not. Anyhoo, no teaser, so on with it then.
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| Act One | ||||||||||||
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There will be an OVERTURE that runs the
length of the opening credits. We see various wordless scenes of scooby
life that all contain the common thread of Buffy going through her day
with a singular lack of involvement. Though people may speak, we will not
hear dialogue. We start with the episode title:
ONCE MORE, WITH FEELING
And as it fades out we tilt down to see an old fashioned alarm clock
ringing, shaking about. (Probably the only noise we'll hear.) It's set for
7:00. Widen to see
INT. BUFFY'S BEDROOM - MORNING
Buffy. Lying in bed, just looking at the clock. She takes it, looks at
it -- never bothering to turn it off.
INT. UPSTAIRS SUMMERS HOUSE - MORNING
We Brumman about the upstairs as the girls go about their morning
routine. Start on the hall as Buffy comes slowly out of her room, headed
for the bathroom -- but Dawn races in before her, slamming the door. Buffy
just stands there -- as Willow, already dressed, comes briskly from
downstairs to grab some books from the bedroom. We see Tara in there,
making the bed -- Willow kisses her on the cheek as she exits.
Tara moves her pillow to find a small weed-like flower under her
pillow. She looks at it, puzzled, then smells it and smiles, interpreting
it as a romantic gesture. She is twirling it in her fingers as she enters
the bathroom, opening the door to find Dawn just finishing brushing her
teeth. Tara moves to leave but Dawn indicates come in, she's just leaving,
she races out, Buffy still waiting in the hall - and Tara shuts the
bathroom door in Buffy's face, never even seeing her. A beat, and Buffy
turns and goes back into her room, crawls back into bed.
INT. THE MAGIC BOX - AFTERNOON
Much movement in here as well -- customers mill about as Giles takes an
item from Dawn, reshelving it and giving her a stern look.
Anya is looking at a bridal magazine, Xander, Willow and Tara are in
research mode. Willow and Tara make notes, while Buffy also writes
intently in a loose-leaf pad.
Come around to see that she has colored the entire page black, and is
just filling in the last little bit.
Giles appears in front of her with a serious looking axe and a hopeful
smile. Buffy smiles back -- politely, and gets up pulling off her outer
shirt or sweater to reveal training clothes beneath. As they enter the
training room, we go up to see a clock above it saying 4:30.
EXT. GRAVEYARD - NIGHT
Buffy walks through the unusually blue night, looking around her as the
overture finishes and she begins to sing:
EVERY SINGLE NIGHT THE SAME ARRANGEMENT I GO OUT AND FIGHT THE FIGHT STILL I ALWAYS FEEL THIS STRANGE ESTRANGEMENT NOTHING HERE IS REAL NOTHING HERE IS RIGHT I'VE BEEN MAKING SHOWS OF TRADING BLOWS JUST HOPING NO ONE KNOWS THAT I'VE BEEN She is attacked by a vamp, and fights with him in a rote (and unusually synchronized) style --
GOING THROUGH THE MOTIONS WALKING THROUGH THE PART NOTHING SEEMS TO PENETRATE MY HEART -- this last as she stake the vamp in the heart. He dusts as she moves on, finding two more VAMPS and a DEMON who is ritualistically sacrificing a HANDSOME YOUNG VICTIM MAN who is tied to a tree.
I WAS ALWAYS BRAVE AND KIND OF RIGHTEOUS NOW I FIND I'M WAVERING CRAWL OUT OF YOUR GRAVE YOU FIND THIS FIGHT JUST DOESN'T MEAN A THING -- socking a vamp, whose head whips toward camera --
SHE AIN'T GOT THAT SWING -- He drives his elbow back into her face, sending her flying back to the ground.
THANKS FOR NOTICING As she's getting up, the two vamps and the Demon march into frame, singing. As they continue, she kicks up, grabs the demon's sword and kills a vamp (off screen), knocking the other down then stabbing the demon fatally --
SHE DOES PRETTY WELL WITH FIENDS FROM HELL BUT LATELY WE CAN TELL THAT SHE'S JUST GOING THROUGH THE MOTIONS FAKING IT SOMEHOW DEMON He drops dead, as Buffy cuts the young man loose without even looking at him. We see now that he is handsome indeed.
WILL I STAY THIS WAY FOREVER SLEEPWALK THROUGH MY LIFE'S ENDEAVOR HANDSOME YOUNG VICTIM MAN BUFFY The last vamp picks himself up and comes for her, getting staked pretty quickly --
I CAN'T EVEN SEE IF THIS IS REALLY ME AND I JUST WANT TO BE Close on the vamp as he dusts, revealing Buffy's close-up:
ALIVE A long shot arms up away from her, the handsome young victim man walking away unnoticed, the vampire's dust swirling past camera in the breeze as the last note rings out and we cut to THE BELL in the door of INT. THE MAGIC BOX - DAY As Buffy enters to find the gang (minus Dawn and Spike) gathered about. Giles and Anya are going over her ledgers, Tara and Willow off in the corner stocking jars. They're very touchy and giggly, basking in each other this morning. (Tara and Willow, not the other two.) Xander sits at the table with a bunch of pastries, choosing one.
Good morning, Buffy. WILLOW BUFFY TARA BUFFY She crosses to the seated Xander, drops her bag on the table. Xander plays with food, holding a long glazed cruller and a powdered donut. The cruller speaks:
"Respect the cruller. And tame the donut!" ANYA Buffy, still standing, tries to broach a subject she's not entirely comfortable with.
So, uh... no research? Nothing going on? Monsters, or whatnot? General murmurs of no, not really, not so much...
Good. Good. That's uh... so, did anybody, um... last night, did anybody, oh... burst into song? Everybody stops. The couples exchange looks.
Merciful Zeus.
We were talking, and then... It was like... BUFFY GILES ANYA BUFFY XANDER ANYA XANDER ANYA XANDER GILES BUFFY XANDER They are gathering around at this point.
We should look into it. WILLOW TARA XANDER GILES WILLOW XANDER WILLOW/ANYA/TARA Xander stands, urgent.
IT COULD BE WITCHES SOME EVIL WITCHES -- As he turns to see Willow and Tara glaring at him --
(sheepishly) WHICH IS RIDICULOUS 'CAUSE WITCHES THEY WERE PERSECUTED WICCA GOOD AND LOVE THE EARTH AND WOMAN POWER I'LL BE OVER HERE ANYA ANGLE: EVERYBODY ELSE. Stares at Anya. There is the sound of crickets.
I'VE GOT A -- Anya interrupts with a heavy metal wail, the orchestration backing her changing just as abruptly.
BUNNIES AREN'T JUST CUTE LIKE EVERYBODY SUPPOSES THEY GOT THEM HOPPY LEGS AND TWITCHY LITTLE NOSES AND WHAT'S WITH ALL THE CARROTS WHAT DO THEY NEED SUCH GOOD EYESIGHT FOR ANYWAY BUNNIES, BUNNIES IT MUST BE BUNNIES Slight beat. The music returns to the previous sound.
OR MAYBE MIDGETS WILLOW GILES/WILLOW BUFFY Giles looks up at this, perturbed. But Buffy takes the song, explaining:
WHAT CAN'T WE FACE IF WE'RE TOGETHER WHAT'S IN THIS PLACE THAT WE CAN'T WEATHER APOCALYPSE WE'VE ALL BEEN THERE THE SAME OLD TRIPS WHY SHOULD WE CARE The group joins in, not getting the undercurrent.
WHAT CAN'T WE DO IF WE GET IN IT WE'LL WORK IT THROUGH WITHIN A MINUTE WE HAVE TO TRY WE KNOW WE'LL PAY THE PRICE IT'S DO OR DIE BUFFY She gives a wry smile to Giles, who is won over and joins in, singing over the group.
WHAT CAN'T WE FACE IF WE'RE TOGETHER GILES GROUP GILES GROUP ANYA The number is over. There is a long pause.
See okay that was disturbing. WILLOW BUFFY GILES BUFFY ANYA A beat. Buffy goes to the front door, opens it. EXT. STREET OUTSIDE THE MAGIC BOX - CONTINUING We see a big smiling close up of a MAN as the camera pulls back and up -- it's the end of a huge production number. The man is holding a dry-cleaned shirt still on the hanger and in plastic.
THEY GOT THE MUSTARD OUT Behind him, others fan out similar shirts of varying colors, a few finishing dance moves in the background -- and Buffy herself, very tiny in the corner of the frame, watching.
THEY GOT THE MUSTARD OUT! INT. THE MAGIC BOX - CONTINUING Buffy shuts the door.
It's not just us. INT. THE MAGIC BOX - AFTERNOON The bell rings again as Dawn enters, excited. The group is at the books. Willow and Tara are still in their own love bubble. Buffy's not working that hard.
Oh my god you will never believe what happened at school today. BUFFY DAWN ANYA Deflated, Dawn joins them.
So, you guys too, huh? As they talk, Dawn wanders over to the counter, where a beautiful small TALISMAN on a chain is sitting, almost hidden away by other junk.
So, what'd you sing about? DAWN She pockets the talisman, unseen. Willow is whispering in Tara's ear with a wicked smile. Tara suppresses her own, puts on serious face as she says:
That's right! The, the volume! The text! GILES WILLOW TARA WILLOW XANDER TARA WILLOW GILES WILLOW TARA EXT. PARK - AFTERNOON Willow and Tara head for the house, taking a scenic shortcut beneath some trees.
Do we have any books at all at home? WILLOW TARA In fact, a couple of good looking college types are giving Tara the once over as they pass at a bit of a distance.
What are they looking at? WILLOW TARA WILLOW TARA She starts feebly after them, Willow grabbing her arm and spinning her back to her.
Do I have to fight to keep you? 'Cause I'm not large with the butch. TARA WILLOW TARA She walks into a pool of sunlight, looking around her.
NOW I'M BATHED IN LIGHT SOMETHING JUST ISN'T RIGHT (turning to Willow) AM I UNDER YOUR SPELL HOW ELSE CAN IT BE ANYONE WOULD NOTICE ME IT'S MAGIC I CAN TELL HOW YOU SET ME FREE BROUGHT ME OUT SO EASILY She takes Willow by the hand and they walk, moving in sync; flowing, dancing movement as they make their way through the park.
I SAW A WORLD ENCHANTED SPIRITS AND CHARMS IN THE AIR She traces her hand through the air, leaving a fairy-dust trail of light.
I ALWAYS TOOK FOR GRANTED I WAS THE ONLY ONE THERE Willow does the same -- and her light trail is more spectacular still.
BUT YOUR POWER SHONE BRIGHTER THAN ANY I'VE KNOWN AM I UNDER YOUR SPELL NOTHING I CAN DO YOU JUST TOOK MY SOUL WITH YOU YOU WORKED YOUR CHARM SO WELL FINALLY I KNEW EVERYTHING I DREAMED WAS TRUE YOU MAKE ME BELIEVE Willow takes her, spins her -- and we are suddenly in INT. WILLOW AND TARA'S BEDROOM - AFTERNOON As they are still spinning, slowing, settling on the bed, coming close to each other, close enough to kiss...
THE MOON TO THE TIDE I CAN FEEL YOU INSIDE AM I UNDER YOUR SPELL SURGING LIKE THE SEA PULLED TO YOU SO HELPLESSLY Tara throws herself back onto the heap of pillows. We stay close on her as Willow moves over her, then back out of frame...
I BREAK WITH EVERY SWELL LOST IN ECSTASY SPREAD BENEATH MY WILLOW TREE And we are still tight on her as she rises slowly from the bed, up into midair, floating...
YOU MAKE ME COMPLETE YOU MAKE ME COMPLETE YOU MAKE ME COMPLETE
SMASH CUT TO:
INT. THE MAGIC BOX - AFTERNOON The music cuts off abruptly as we see Xander say:
I bet they're not even working. BUFFY XANDER GILES XANDER BUFFY DAWN XANDER/BUFFY DAWN
SMASH CUT TO:
EXT. ALLEY - NIGHT A man is dancing, a frenetic little tapdance that he clearly has been doing for hours -- he is sweaty and panicking, but, Red Shoe-like (the ballet not the diaries), he can't stop. He is breathing heavily, like he's going to have a heart attack -- but still with the fake smile on his face, selling it. He continues dancing. He begins to smoke. And IGNITES, spontaneously burning down to ash and bone remnant. As his burning corpse falls, we see a pair of feet standing by it. Arm up behind a figure, a man nattily dressed in a retro kind of a suit, almost a zoot suit, coming up behind his head to see that he is no man at all. Definitely demon, though we see almost nothing of his face in the darkness. No one knows his name, but we will call him SWEET. He looks down at the smoking corpse, smiles.
That's entertainment...
BLACK OUT.
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| Act Two | ||||||||||||
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INT. XANDER AND ANYA'S BEDROOM - MORNING
They are just sitting up from waking. Their jammies have a forties
retro feel to them -- her with the sexy little slip (or shorts and
camisole), him with silk jammies that actually match. He tries to rub the
sleep from his eyes.
You want some breakfast, baby? ANYA XANDER ANYA XANDER They kiss.
Or I can do an omelette -- you know I've almost got that pan flipping thing down, there was just that one... incident, and the fire marshall was much less -- As he continues, Anya gazes at him affectionately, his voice fades out as she turns and ADDRESSES THE CAMERA as she sings:
THIS IS THE MAN THAT I PLAN TO ENTANGLE -- ISN'T HE FINE MY CLAIM TO FAME WAS TO MAIM AND TO MANGLE -- VENGEANCE WAS MINE BUT I'M OUT OF THE BIZ THE NAME I MADE I'LL TRADE FOR HIS THE ONLY TROUBLE IS... I'LL NEVER TELL. Now she starts talking -- but we don't hear 'cause Xander begins, also looking (sometimes) at the camera.
SHE IS THE ONE, SHE'S SUCH WONDERFUL FUN SUCH PASSION AND GRACE WARM IN THE NIGHT WHEN I'M RIGHT IN HER TIGHT (catches himself) --EMBRACE, TIGHT EMBRACE He embraces her enthusiastically. She wriggles out of his grasp, standing as he continues...
I'LL NEVER LET HER GO THE LOVE WE'VE KNOWN CAN ONLY GROW THERE'S JUST ONE THING THAT -- NO I'LL NEVER TELL XANDER/ANYA That last note is entirely discordant. They ignore it, not saying anything, moving into INT. XANDER AND ANYA'S LIVING ROOM - CONTINUING They go about their business, Xander heading for the kitchen while Anya retrieves and flips through the paper.
HE SNORES XANDER ANYA XANDER He pulls one from the fridge, displaying a green moldy horror.
I TALK -- HE BREEZES XANDER ANYA XANDER/ANYA XANDER ANYA XANDER XANDER/ANYA ANYA XANDER ANYA XANDER But Anya starts dancing excitedly to attract attention so he can't criticize her any further.
Look at me! I'm dancin' crazy! She continues, Xander stares at her with deadpan contempt -- and then joins in, the two of them in perfect sync with the crazy dancin'. As the music continues, he sweeps her into his arms and they do a few turns, getting closer and closer.. the resentment melting away...
YOU KNOW XANDER ANYA XANDER He instigates another dance break. Again, this one goes from frenetic to romantic, as the two of them settle down on either side of the table, looking at each other.
HE'S SWELL XANDER ANYA XANDER ANYA They get up, coming closer to each other.
I LIED I SAID IT'S EASY I'VE TRIED BUT THERE'S THESE FEARS I CAN'T QUELL XANDER ANYA XANDER ANYA XANDER ANYA XANDER XANDER /ANYA XANDER ANYA XANDER XANDER/ANYA They collapse onto the sofa, laughing in classic post-musical number style.
SMASH CUT TO:
EXT. STREET - DAY
It's a nightmare. It's a plague! ANYA XANDER They are walking with Giles, their attitudes in sharp contrast to what we saw in the living room. They are frantically pissed, talking over each other.
Giles, you gotta stop it. GILES ANYA XANDER GILES We don't hear what it is though Giles talks on, for as they talk they pass a number in progress: a YOUNG WOMAN trying to sing her way out of a parking ticket. The cop writes on, unimpressed as she pleads:
NO... IT ISN'T RIGHT, IT ISN'T FAIR THERE WAS NO PARKING ANYWHERE I THINK THAT HYDRANT WASN'T THERE She keeps singing, but the sound fades as we hear our gang again, having passed her...
As in, burnt up? Somebody set people on fire? That's nuts! ANYA GILES Three janitors with brooms dance cheerily by in the background. Our gang pays them no heed.
But we're sure the two things are related? Singing and dancing and burning and dying? GILES XANDER They stop, Giles quietly confiding in Xander.
I'm helping her as much as I can, but...
DISSOLVE TO:
INT. SPIKE'S CRYPT - EVENING The last rays of the sun are fading out as Buffy enters Spike's crypt. He's coming up the ladder as she shuts the door behind her. She has her usual lack of urgency.
The sun sets, and she appears. Come to serenade me? BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE Buffy senses the tension in him.
What's up? You're all bad moody. SPIKE BUFFY SPIKE He's as startled as she by the fact that he just sang two words. Is he really gonna...?
SO MANY YEARS AGO (speaks:) Bloody hell... (sings:) AND YOU CAN MAKE ME FEEL LIKE IT ISN'T SO BUT WHY YOU COME TO BE WITH ME I THINK I FINALLY KNOW He gives himself over to it, rounding on her as he continues:
YOU'RE SCARED ASHAMED OF WHAT YOU FEEL AND YOU CAN'T TELL THE ONES YOU LOVE YOU KNOW THEY COULDN'T DEAL BUT WHISPER IN A DEAD MAN'S EAR THAT DOESN'T MAKE IT REAL The music gets a little harder now, some rockosity...
THAT'S GREAT BUT I DON'T WANNA PLAY 'CAUSE BEING NEAR YOU TOUCHES ME MORE THAN I CAN SAY AND SINCE I'M ONLY DEAD TO YOU I'M SAYING STAY AWAY AND LET ME REST IN PEACE He flops onto the stone slab of the tomb as he sings the final phrase. Buffy is thrown by the request. But Spike is back up in a heartbeat, jumping off the tomb and circling her.
LET ME REST IN PEACE LET ME GET SOME SLEEP LET ME TAKE MY LOVE AND BURY IT IN A HOLE SIX FOOT DEEP I CAN LAY MY BODY DOWN BUT I CAN'T FIND MY SWEET RELEASE SO LET ME REST IN PEACE He drops to his knees in front of her, defiantly supplicant. And awfully close.
YOU KNOW YOU'VE GOT A WILLING SLAVE AND YOU JUST LOVE TO PLAY THE THOUGHT THAT YOU MIGHT MISBEHAVE (back up in her face) BUT TIL YOU DO I'M TELLING YOU STOP VISITING MY GRAVE AND LET ME REST IN PEACE He throws the door open with this last. EXT. GRAVEYARD - NIGHT ANGLE ON: A FUNERAL PROCESSION We see six men carrying a coffin toward an open grave where the priest and mourners wait. They are walking solemnly in time with the suddenly soft music. Spike sings as we see angles of the proceedings, and he is revealed walking with Buffy by the event.
I KNOW I SHOULD GO BUT I FOLLOW YOU LIKE A MAN POSSESSED THERE'S A TRAITOR HERE BENEATH MY BREAST AND IT HURTS ME MORE THAN YOU'VE EVER GUESSED IF MY HEART COULD BEAT IT WOULD BREAK MY CHEST BUT I CAN SEE YOU'RE UNIMPRESSED SO LEAVE ME BE LET ME REST IN PEACE He turns and jumps off a tombstone right onto the coffin the men are carrying. As the chorus continues, he throws himself flat on the coffin just as the lead men drop it and he back somersaults right into the midst of the mourners, frightening them all away by morphing into vampface as he sings:
LET ME GET SOME SLEEP LET ME TAKE MY LOVE AND BURY IT IN A HOLE SIX FOOT DEEP I CAN LAY MY BODY DOWN BUT I CAN'T FIND MY SWEET RELEASE At this point Buffy roughly grabs him away, he de-morphs and they spin, stumble and they both go tumbling into the grave. INT. GRAVE - CONTINUING She lands on top of him, aware of the closeness as he finishes:
SO LET ME REST IN PEACE WHY WON'T YOU LET ME REST IN PEACE A moment of that old charged sexuality, and Buffy pushes herself up -- EXT. GRAVEYARD - CONTINUING -- pushes so hard the she comes flying out of the grave and lands on her feet, takes off running. The mourners have mostly gone as Spike sticks his head out of the grave, looks with a forlorn, hesitant expression at the retreating Slayer.
So... you're not staying, then? INT. DAWN'S BEDROOM - NIGHT Dawn is dumping her bookbag contents on the bed as Tara pokes her head in.
Lotta homework? DAWN TARA DAWN TARA DAWN TARA DAWN TARA DAWN As Dawn is saying this, a horrible notion crosses Tara's mind. She pulls the little flowery herb from her pocket, looks at it.
Dawn, I... there's something I need at the shop. Will you be okay for a little while? DAWN TARA She's gone. Dawn's face falls slightly. A beat, and she pulls the necklace she swiped from the magic shop from her pocket and slowly puts it on, looking in the mirror.
(sings) DOES ANYBODY EVEN NOTICE She opens a drawer -- there are a bunch of clearly pilfered items in there.
DOES ANYBODY EVEN CARE -- She turns and SCREAMS at the horrible PUPPET HENCHMAN before her. Before she can move, two more surround her and throw a burlap sack over her head.
BLACK OUT.
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| Act Three | ||||||||||||
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INT. BRONZE - NIGHT
We are close on Dawn as she awakens, no longer in a sack. She lifts her
head up, looks around and discovers that she is on the pool table at the
Bronze, light, streaming down dramatically on her.
She starts to move -- and there is a deliberateness to her movement
that lets us know even before she hits the floor that this is a dance.
(Well, there's music, too. That helps.) Dawn dances almost classically,
her gestures just slightly exaggerating her very real distress.
She takes a few quick looks about her, then rushes for the door. It is
locked.
She heads for another exit -- and a henchman appears, also dancing.
Forcing her back. She turns and faces the second. They box her toward the
middle of the dance floor. She spins, then drops dramatically backwards,
caught one foot from the floor by the third henchman. He hoist her back
up, she turns, all three of them coming for her...
One grabs her arm and spins her around, throwing her towards the stage,
she goes down on her knees and slides, ends up right in front of a
staircase coming down from the middle of the stage, her head at eye-level
with a pair of very natty shoes.
That begin to tap.
He taps his way down the staircase and as Dawn rises and backs away
from him (the henchmen retreating into corners), we get a look first at
his bright blue suit, then for the first time, his face. Pure grinning
evil, but not a bad looking guy. A monster with style.
WHY'D YOU RUN AWAY DON'T YOU LIKE MY STYLE? On the last word he stamps his foot and his suit instantly changes color to bright burnished red.
WHY DON'T YOU COME AND PLAY I GUARANTEE A GREAT BIG SMILE And here he literally tears the smile off his face And holds it out to her. It begins to sing the next line before it disappears and we whip back to see it's on his face again.
I COME FROM THE IMAGINATION AND I'M HERE STRICTLY BY YOUR INVOCATION (unraveling a parchment that looks like an invitation) SO WHAT'D YOU SAY WHY DON'T WE DANCE A WHILE He does dance about her a bit as he continues. She doesn't join in, but her posture clearly shows she is still in the mode...
I'M THE HEART OF SWING I'M THE TWIST AND SHOUT WHEN YOU GOTTA SING WHEN YOU GOTTA LET IT OUT YOU CALL ME AND I COME A-RUNNIN' I TURN THE MUSIC ON -- I BRING THE FUN IN NOW WE'RE PARTYING -- THAT'S WHAT IT'S ALL ABOUT I KNOW WHAT YOU FEEL, GIRL I KNOW JUST WHAT YOU FEEL, GIRL He sways with Dawn, who finds herself somewhat drawn in by his power...
So, you're, like... a good demon? His laugh is as charming as it is unsettling.
Bringing... the fun in... SWEET He opens a conveniently placed door to let a smoking corpse fall at Dawn's feet.
THAT'S THE PENALTY WHEN LIFE IS BUT A SONG He rounds on her now, all sweet menace.
YOU BROUGHT ME DOWN AND DOOMED THIS TOWN SO WHEN WE BLOW THIS SCENE BACK WE'LL GO TO MY KINGDOM BELOW AND YOU WILL BE MY QUEEN She's, well, a little thrown.
'CAUSE I KNOW WHAT YOU FEEL, GIRL DAWN SWEET DAWN But he's into his routine, not paying her much heed as he dances...
I CAN BRING WHOLE CITIES TO RUIN AND STILL HAVE TIME TO GET A SOFT SHOE IN DAWN SWEET DAWN He stops cold. Turns to her.
The Slayer? DAWN Sweet whips his head around to his henchmen.
Find her. Tell her... tell her everything. Just get her here. want to see the Slayer burn. (sings) NOW WE'RE PARTYING THAT'S WHAT IT'S ALL ABOUT INT. MAGIC BOX - TRAINING ROOM - NIGHT Buffy kicks a wooden plank in two. Giles is holding it.
Good. Good. BUFFY GILES BUFFY GILES BUFFY The remark is not lost on Giles. She goes to the wall to fetch the knives. He's in no hurry.
Have you, uh, spoken with Dawn at all about the incident at Halloween? BUFFY This one really registers. He stops, turns to look at her. She doesn't get it.
Right. BUFFY She finishes stretching.
Okay. I'm ready. He turns to get the knives, singing:
YOU'RE NOT READY FOR THE WORLD OUTSIDE YOU KEEP PRETENDING, BUT YOU JUST CAN'T HIDE I KNOW I SAID THAT I'D BE STANDING BY YOUR SIDE BUT I... As he continues, he takes a couple of knives, weighs them in his hand. He sings directly to Buffy and we realize now that she isn't hearing a word he says. She twists her neck, sets herself to deflect the knives. He hurls the first two as he sings:
YOUR PATH'S UNBEATEN, AND IT'S ALL UPHILL AND YOU CAN MEET IT, BUT YOU NEVER WILL AND I'M THE REASON THAT YOU'RE STANDING STILL BUT I.... And as he hits the chorus he hurls the last knife and it stops, Matrix-like, right in front of her face. She bats it away, but everything is moving at extreme slow motion -- except for Giles.
I WISH I COULD SAY THE RIGHT WORDS TO LEAD YOU THROUGH THIS LAND WISH I COULD PLAY THE FATHER AND TAKE YOU BY THE HAND WISH I COULD STAY BUT NOW I UNDERSTAND I'M STANDING IN THE WAY We see her continuing to train throughout the rest of the number -- practicing flying kicks, working the bag, always in extreme slo mo, while Giles circles her at regular speed, watching.
YOUR SISTER'S CRIES YOU WON'T HEAR AT ALL 'CAUSE YOU KNOW I'M HERE TO TAKE THAT CALL SO YOU JUST LIE THERE, WHEN YOU SHOULD BE STANDING TALL BUT I... I WISH I COULD LAY YOUR ARMS DOWN AND LET YOU REST AT LAST WISH I COULD SLAY YOUR DEMONS BUT NOW THAT TIME HAS PASSED WISH I COULD STAY WE START WITH STANDING FAST BUT I'M STANDING IN THE WAY I'M JUST STANDING IN THE WAY The number ends. Buffy turns to him.
Did you say something? He looks at her. INT. THE MAGIC BOX - CONTINUING - NIGHT Willow is heading into the cellar as Xander and Anya work behind the counter. There is unpleasant tension between the two of them. Tara enters, in a rush.
Hey. Tara barely nods, still moving, clearly wanting to avoid Willow. She moves quickly to the ladder, mounts it and starts looking for a book. Pulling one out, she flips through the pages til she finds: CLOSE ON: AN ILLUSTRATION of the little weed she has, which she now holds next to it. Below, the text: "Lethe's Bramble. Used for augmenting spells of forgetting and mind control." Willow emerges from the cellar with a book, stays at the front of the store. Tara looks at Willow, stricken. She sings, softly, and unnoticed:
I'M UNDER YOUR SPELL GOD, HOW CAN THIS BE PLAYING WITH MY MEMORY YOU KNOW I'VE BEEN THROUGH HELL WILLOW, DON'T YOU SEE THERE'LL BE NOTHING LEFT OF ME Buffy enters the shop, crosses to Willow and begins (unheard) talking to her. Giles follows her out entering frame below Tara on his first line:
AND IT'LL GRIEVE ME 'CAUSE I LOVE YOU SO BUT WE BOTH KNOW An they start toward their respective loved ones, singing soulfully, unheard by everyone, even each other.
WISH I COULD STAY WISH I COULD STAY WISH I COULD STAY WISH I COULD STAY The final note rings out just as the front door flies open and Spike shoves a henchman through.
Lookie lookie what I found. WILLOW TARA SPIKE He thrusts him forward again.
Come on, then. Sing. Music swells as the camera moves in on the henchman, who takes a breath...
(quickly and flatly) My master has the Slayer's sister hostage at the Bronze because she summoned him and at midnight he's gonna take her to the underworld to be his Queen. GILES HENCHMAN Spike grabs him from behind --
If that's all you've got to say, then -- But he's flipped off by the henchman, who bolts out the still open door.
Strong. Someday he'll be a real boy... BUFFY TARA BUFFY XANDER GILES They all turn to him, surprised.
Uh, Dawn may have had the wrong idea in summoning this creature but I've seen some of these underworld child- bride deals and they never end well. Maybe once. WILLOW GILES SPIKE GILES WILLOW TARA Willow is surprised by the vehemence in her tone. So, in fact, is Tara, who backs down a bit...
I don't think that'll help. SPIKE BUFFY She doesn't say it with much snideness, but Spike takes it hard, looking embarrassedly about him.
Spikey sang a widdle song? ANYA XANDER SPIKE He exits. Buffy turns to Giles.
You're really not coming. GILES BUFFY GILES She looks around -- it's clear that everyone is going to back Giles up. A beat, and she leaves. EXT. STREET - NIGHT (Note: for the purposes of this number, once a location is referred too, it will not be indicated again, 'cause it's intercutty city.) Buffy walks to the Bronze, not particularly quickly. A few people dance by, very West Side Story/Absolute Beginners vibe -- fighting as much as dancing. There are some broken windows and a couple of trash fires. Low level chaos. Buffy stands before a trashfire and puts her hand slowly out toward the flame.
(sings) I TOUCH THE FIRE AND IT FREEZES ME I LOOK INTO IT AND IT'S BLACK WHY CAN'T I FEEL MY SKIN SHOULD CRACK AND PEEL I WANT THE FIRE BACK She starts off again...
NOW THROUGH THE SMOKE SHE CALLS TO ME TO MAKE MY WAY ACROSS THE FLAME TO SAVE THE DAY OR MAYBE MELT AWAY I GUESS IT'S ALL THE SAME SO I WILL WALK THROUGH THE FIRE 'CAUSE WHERE ELSE CAN I TURN I WILL WALK THROUGH THE FIRE AND LET IT -- EXT. ALLEY BEHIND THE MAGIC BOX - NIGHT He is sitting with a cig, feeling mizzy.
(sings) THE TORCH I BEAR IS SCORCHING ME AND BUFFY'S LAUGHING I'VE NO DOUBT I HOPE SHE FRIES I'M FREE IF THAT BITCH DIES (getting up) I'D BETTER HELP HER OUT And off he goes. INT. BRONZE - NIGHT Sweet sings to Dawn, who sits in a corner.
SHE'S GETTING WARM -- IT BUILDS IN HER SHE MAY JUST GO UP IN A FLASH AND WHEN SHE'S DONE HER FRIENDS CAN HAVE THE FUN OF SIFTING THROUGH THE ASH
AND SHE WILL WALK THROUGH THE FIRE AND LET IT INT. THE MAGIC BOX - NIGHT The gang is there, each privately (or publicly) unhappy.
WILL THIS DO A THING TO CHANGE HER AM I LEAVING DAWN IN DANGER IS MY SLAYER TOO FAR GONE TO CARE XANDER ANYA They all get up to go, heading for the door --
WE'LL SEE IT THROUGH IT'S WHAT WE'RE ALWAYS HERE TO DO SO WE WILL WALK THROUGH THE FIRE EXT. VARIOUS STREETS - NIGHT Buffy, Spike and the gang all get closer to the Bronze.
SO ONE BY ONE THEY TURN FROM ME I GUESS MY FRIENDS CAN'T FACE THE COLD TARA BUFFY
I THINK THIS LINE'S MOSTLY FILLER GILES BUFFY EXT. OUTSIDE THE BRONZE - NIGHT Is where Buffy ends up (alone) as they all sing:
AND WE ARE CAUGHT IN THE FIRE THE POINT OF NO RETURN SO WE WILL WALK THROUGH THE FIRE AND LET IT BURN LET IT BURN LET IT BURN LET IT BURN INT. BRONZE - NIGHT On the last note, Buffy KICKS the door of the Bronze off its hinges (or at least open -- that's a big door). EXTREME CLOSE UP: SWEET'S SMILE
Showtime...
BLACK OUT.
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| Act Four | ||||||||||||
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INT. BRONZE - NIGHT
Buffy walks slowly in to find Sweet seated on stage, Dawn on the floor
leaning up against his chair, almost like an exotic slavegirl.
The henchmen are in the shadows, surrounding Buffy, getting closer...
I love a good entrance. BUFFY He laughs.
You got a name? SWEET BUFFY DAWN BUFFY DAWN BUFFY SWEET BUFFY SWEET BUFFY He rises, starts down the steps as his henchmen get closer to Buffy.
Come now, is that really what you feel? Isn't life a miraculous thing? BUFFY She looks at the camera with an ironic, battleworn smile...
AND YOU CAN SING ALONG She sings -- and attacks the henchmen at the same time, punctuating each happy platitude with a gruelling blow.
WHERE THERE'S LIFE THERE'S HOPE EVERY DAY'S A GIFT WISHES CAN COME TRUE WHISTLE WHILE YOU WORK SO HARD ALL DAY TO BE LIKE OTHER GIRLS TO FIT INTO THIS GLITTERING WORLD She's finished them off, turns to Sweet -- ANGLE: THE GANG Enter, see the sitch. Giles takes command.
She needs backup. Tara. Anya. They go, while the other three circle around. But all Tara and Anya do is get behind Buffy and sing back up AAAAHHHs.
DON'T GIVE ME SONGS DON'T GIVE ME SONGS GIVE ME SOMETHING TO SING ABOUT I NEED SOMETHING TO SING ABOUT She notices the gang, splits her attention as she sings to everyone and no one:
LIFE'S A SHOW YOU DON'T GET TO REHEARSE AND EVERY SINGLE VERSE CAN MAKE IT THAT MUCH WORSE STILL MY FRIENDS DON'T KNOW WHY I IGNORE THE MILLION THINGS OR MORE I SHOULD BE DANCING FOR ALL THE JOYS LIFE SENDS FAMILY AND FRIENDS ALL THE TWISTS AND BENDS KNOWING THAT IT ENDS WELL THAT DEPENDS ON IF THEY LET YOU GO ON IF THEY KNOW ENOUGH TO KNOW THAT WHEN YOU'VE BOWED YOU LEAVE THE CROWD She's about to go into the chorus -- but the energy goes from her. She can hardly look at her friends. Tara and Anya have backed off. Spike enters, takes it all in, stonefaced.
THERE WAS NO PAIN NO FEAR, NO DOUBT TIL THEY PULLED ME OUT OF HEAVEN SO THAT'S MY REFRAIN I LIVE IN HELL 'CAUSE I WAS EXPELLED FROM HEAVEN I THINK I WAS IN HEAVEN She turns to Sweet, vehement --
SO GIVE ME SOMETHING TO SING ABOUT PLEASE GIVE ME SOMETHING... She starts dancing, giving herself up to it, faster and faster -- until she begins, literally, to smoke. She's spinning -- about to combust -- when she is physically stopped by Spike. He holds her arms for a moment as the smoke wafts around them, the danger past.
LIFE'S NOT A SONG LIFE ISN'T BLISS LIFE IS JUST THIS: IT'S LIVING YOU'LL GET ALONG THE PAIN THAT YOU FEEL YOU ONLY CAN HEAL BY LIVING YOU HAVE TO GO ON LIVING SO ONE OF US IS LIVING DAWN There is affection, but also toughness in the way she parrots Buffy's phrase back at her. ANGLE: WILLOW is quietly crying, overwhelmed by the implications of what she's done. Tara hovers, wanting to comfort her, but still in her own pain as well.
Now that was a showstopper. Not quite the fireworks I was looking for -- WILLOW There is such quiet vehemence in her voice -- and the look on her face is shared by pretty much everybody.
Hmm, I smell power. I guess the little missus and I should be on our way. GILES SWEET DAWN SWEET Dawn looks down at the necklace, realizes.
Oh! But -- no! I just -- this at the Magic Box... on the floor, and I was cleaning and I forgot to... But I didn't summon anything. SWEET GILES ANGLE: THE GROUP For a beat, we wait to see who did it. In the background, Xander raises his hand.
Xander? XANDER Sweet laughs. Big time.
And I think it worked out just fine. XANDER SWEET He disappears right at the last line, the final two words ringing out from emptiness. There is silence. The group all stand about, each of them more alone than they've ever been. Finally, tentatively, Dawn begins:
WHERE DO WE GO FROM HERE And others join in...
WHERE DO WE GO FROM HERE GILES TARA/GILES XANDER/ANYA GROUP (cont'd) At this point the beat picks up and the gang starts moving in sync, the big finish beginning... Spike moving with the group --
WHEN DOES "THE END" APPEAR WHEN DO THE TRUMPETS CHEER THE CURTAINS CLOSE ON A KISS -- GOD KNOWS WE CAN -- Suddenly, Spike realizes what he's doing.
Bugger this. And heads out as the rest continue...
-- TELL THE END IS NEAR WHERE DO WE GO FROM HERE EXT. OUTSIDE THE BRONZE - CONTINUING - NIGHT We can here music continue faintly from inside as Spike heads down the alley, stopped by:
Hey. He turns, uncertain of what she wants.
You should go back in. Finish the big group sing, get your KoombaYa- Ya's out. BUFFY SPIKE BUFFY SPIKE
They are moving closer as they sing, interrupting whatever thoughts they were going to finish with a sudden, passionate, kiss. The music (and who can blame it) swells, and we hear a final:
WHERE DO WE GO FROM HERE... And over the continuing kiss appear the words THE END (with the old style "A Twentieth Century Fox Television Release" beneath it). Curtains close as the music crescendos, ringing out as we
BLACK OUT.
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