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m (Reverted edits by CaptainGrantCampbell (talk | block) to last version by Thesmallprint84)
(Original Script)
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Contrary to popular belief Buffy does not burn down the gym at the climax of the film. That element existed in Joss Whedon's original script but was not incorporated into the final production. In the Buffyverse it is his script, not the film, that is considered canon; thus the references in the television program to Buffy having burnt it down.
 
Contrary to popular belief Buffy does not burn down the gym at the climax of the film. That element existed in Joss Whedon's original script but was not incorporated into the final production. In the Buffyverse it is his script, not the film, that is considered canon; thus the references in the television program to Buffy having burnt it down.
   
==Original Script==
+
''See [[Buffy the Vampire Slayer (film)/Original Script]] ''
Buffy, the Vampire Slayer
 
 
by
 
 
Joss Whedon
 
 
 
FADE IN:
 
 
EXT. MEDIEVAL VILLAGE - JUST BEFORE SUNSET
 
 
We see an Italian village at the height of the plague. Funeral
 
processions, decrepit houses with their windows boarded up...
 
the stench of death all around.
 
 
TITLE: EUROPE. THE DARK AGES
 
 
Through the filth a KNIGHT walks his horse. He is weary but
 
not so dingy as his surrounding; a stranger in these parts.
 
He comes to an inn, where a boy takes his horse round back.
 
He enters the inn.
 
 
INT. INN - SAME TIME
 
 
The inn is dark and almost empty. A couple of patrons drink
 
silently at tables. Behind the bar stands a slovenly BARMAID,
 
dark-haired and lazy. She scratches at her shoulder, on which
 
we see a birthmark. The knight approaches the bar, throws
 
money down.
 
 
KNIGHT
 
A tankard of ale, wench.
 
 
The barmaid pours him a cup of ale. He drinks deep, stands a
 
moment.
 
 
KNIGHT
 
(continuing)
 
Some plague we're having, huh?
 
 
CUT TO:
 
 
INT. INN - UPSTAIRS HALL/BEDROOM - NIGHT
 
 
The barmaid leads the knight, by candlelight, upstairs to his
 
room. The door opens inward. The knight stands in the doorway,
 
places a hand on the barmaid's hip. She pauses a moment, then
 
breaks free of his grasp, starts down the hall. He laughs a
 
bit, resignedly, and closes the door.
 
 
A VAMPIRE stands behind it. Not two feet from the knight,
 
grinning at him. His eyes are skull-hollow and dancing in his
 
head, his bloody smile full with teeth. His skin is gray, and
 
peeling. The knight turns slowly and sees him.
 
 
KNIGHT
 
Oh, my god...
 
 
The vampire licks his lips.
 
 
He is on the knight in a second, pushing him backwards into
 
the middle of the small room. The knight struggles but is no
 
match for the vampire, who buries his face in the knight's
 
neck. The knight screams.
 
 
ANGLE ON DOOR
 
 
It suddenly flies open, the lock shattered.
 
 
The vampire turns like a frightened animal. In the doorway
 
stands the barmaid, a SLAYER. In her hand is a wooden stake.
 
 
The vampire drops the knight, who crabs backwards into a corner.
 
The Slayer and the vampire come at each other. The Slayer
 
spins and kicks; the vampire flies back. Snarling, he comes
 
back at the slayer. They struggle; he slips free and is out
 
the door.
 
 
For a moment, the Slayer remains still, crouched on the floor.
 
The knight watches her. She seems to be making a decision --
 
perhaps even knows what is going to happen.
 
 
She runs at the window.
 
 
CUT TO:
 
 
EXT. IN FRONT OF THE INN - SAME TIME
 
 
The vampire comes running out the front door. Before he is a
 
few feet from the front of the inn, the Slayer SMASHES through
 
the upstairs window and lands on him. They both hit the ground,
 
and she plants the stake right in his heart.
 
 
After a moment, we hear a voice:
 
 
AMILYN (O.S.)
 
The lord giveth, and the lord taketh
 
away. Ashes, ashes...
 
 
She looks up.
 
 
AMILYN
 
(continuing)
 
... All fall down
 
 
There are ten or more vampires walking slowly toward her in
 
the otherwise deserted street. At the front, maybe ten feet
 
away, is AMILYN.
 
 
Amilyn is a grinning jackal, a servant to the Vampire-King.
 
His garb is a rotted approximation of a courtier's livery. He
 
ambles toward the Slayer, giggling, as she stands.
 
 
Behind her is LOTHOS, the Vampire-King. His skin is deep white,
 
and smooth. He wears a long coat -- his dress is not of any
 
era. He is practically upon her before he speaks.
 
 
LOTHOS
 
You must forgive Amilyn. He tends
 
to drool before supper.
 
 
She turns. He smiles, almost lovingly.
 
 
SLAYER
 
Lothos...
 
 
LOTHOS
 
You people will never learn.
 
 
She swings at him but he grabs her arm. Amilyn laughs
 
obnoxiously. Lothos grabs the back of the Slayer's head, brings
 
her to him in a loving embrace.
 
 
LOTHOS
 
(continuing)
 
We can't be stopped. This is our
 
world now.
 
 
He pulls her head back swiftly, snapping her spine as her head
 
hits the back of her legs. Lightning flashes.
 
 
CUT TO:
 
 
INT. ENGLISH CASTLE - NIGHT
 
 
Lightning flashes outside the window. It is torrenting rain.
 
An old MAN speaks to a hysterical GIRL of sixteen or so. They
 
are both obviously noble of birth.
 
 
GIRL
 
I can't!
 
 
MAN
 
You know you must. There is only
 
one. Now you are that one. It is
 
time.
 
 
GIRL
 
Why? Why me?
 
 
MAN
 
She has died. You are the next to
 
be called. Why do you think you
 
were sent to me? Trained as you
 
were? You bear the mark.
 
 
He pulls aside her blouse to reveal a birthmark on her shoulder,
 
identical to the barmaid's.
 
 
MAN
 
(continuing)
 
The mark of the Coven.
 
 
GIRL
 
I don't understand.
 
 
MAN
 
Ever since Adam and Eve first left
 
the garden, he followed: the serpent.
 
Satan. He sends his legion in the
 
shape of men, to feed on us, to
 
breed his Hell on our earth. They
 
are a plague upon us.
 
 
The man unravels a satchel of cloth. From it he pulls an
 
elaborately carved wooden stake.
 
 
MAN
 
(continuing)
 
But as long as there have been
 
vampire, there has been the Coven;
 
the line of Slayers. Ones with the
 
strength and the skill to kill them,
 
to find them where they gather and
 
stop the swell of their numbers.
 
One dies, the next is called.
 
 
GIRL
 
I'm just a girl.
 
 
MAN
 
You are much more.
 
 
He hands her the stake. She feels the fit.
 
 
MAN
 
(continuing)
 
One dies, the next is called...
 
 
As she grips the stake more tightly, an awareness and sense of
 
power sees to fill her. She lifts the stake over her head.
 
 
CLOSEUP - A HAND
 
 
The hand is lifted high, but it is not the girl's. It holds
 
not a stake, but a pom-pom.
 
 
EXT. HEMERY HIGH FOOTBALL FIELD - WIDER SHOT - DAY
 
 
Opening CREDITS OVER:
 
 
A football game in progress. The stands are pretty full, the
 
crowd enthusiastic. The hemery football stadium is just that;
 
a real stadium, not just makeshift stands on grass.
 
 
On the sidelines are the Hemery cheerleaders, led by BUFFY.
 
She is blonde (in nature as in name), pretty, and very
 
gracefully athletic. She obviously enjoys what she is doing,
 
and she's good at it.
 
 
With her on the squad are JENNIFER and NICOLE, two of her best
 
friends. Beside them the COACH, yelling at the players. The
 
scoreboard reads HEMERY VS. SETON.
 
 
On the field are JEFFREY, wide receiver (and Buffy's boyfriend),
 
ANDY, quarterback, and GRUELLER, the huge left tackle.
 
 
Buffy and the crowd wince as Andy is sacked for a nine-yard
 
loss.
 
 
COACH
 
Come on, do the play! The one
 
where... the one from the book!
 
Where you make it go forward!
 
 
The players huddle.
 
 
ANDY
 
All right, guys, come on!
 
 
He hits Grueller's helmet.
 
 
ANDY
 
(continuing)
 
Grueller! Fill that hole! They
 
were all over me! Okay. Let's run
 
twenty-two. Grueller, close the
 
pocket, watch out for thirty-five.
 
Thompson, run the post, right, wide
 
out. Jeffrey, go up the middle and
 
run around like a chicken.
 
 
They clap and break. As they line up, Jeffrey looks over at
 
Buffy. She smiles at him. He winks, very suave.
 
 
BUFFY AND CHEERLEADERS
 
Jeffrey! Jeffrey!
 
He's our man!
 
If he can't do it
 
We don't want it!
 
 
On the hike, Andy drops back and looks for a receiver. Jeffrey
 
runs in circles like an idiot (and not unlike a chicken), waving
 
his arms until Andy sails him the ball and he breaks for a
 
touchdown.
 
 
The crowd goes wild -- particularly Buffy, who does an
 
impressive standing backflip. Nicole looks at her, impressed.
 
Buffy smiles at her, giddy.
 
 
COACH
 
(looking around)
 
Is that good? Was that a good thing?
 
 
CUT TO:
 
 
INT. THE MALL - AFTERNOON
 
 
The mall is typically busy. Buffy, Nicole, Jennifer and
 
KIMBERLY can bee seen making their way through it. They are
 
all dressed very similarly: bright colors, a lot of white and
 
pink. Not trashy, but mainstream and uninspired. Esprit.
 
All of them carry shopping bags; they've done a good days work.
 
 
TITLE: CALIFORNIA. THE LITE AGES
 
 
The girls pass by stores, vaguely window shopping.
 
 
BUFFY
 
Mr. Howard is so heinous. He's
 
always giving me a hard time. I
 
get a C-plus on the test and he
 
tells me, 'You have no sense of
 
history.' I have no sense of
 
history? He wears a brown tie.
 
 
NICOLE
 
You got a C-plus? I can't believe
 
I cheated off you.
 
 
BUFFY
 
Excuse me for not knowing about El
 
Salvador. Like I'm ever going to
 
Spain anyway. Ooh!
 
 
A dress on a rack outside a store has caught her eye. She
 
takes it and holds it in front of her.
 
 
BUFFY
 
(continuing)
 
Mmmm. Wouldn't I look just edible
 
and nutritious in this?
 
 
Kimberly and Jennifer catch up to them.
 
 
KIMBERLY
 
Guys, what's the sitch? I'm bored.
 
 
BUFFY
 
(modeling the dress for
 
Kimberly))
 
What do you think?
 
 
KIMBERLY
 
Please. It's so '91.
 
 
GIRL
 
Oh.
 
 
Buffy puts it back.
 
 
KIMBERLY
 
What are we doing?
 
 
BUFFY
 
Why don't we see a movie?
 
 
KIMBERLY
 
Well, where?
 
 
JENNIFER
 
Omniplex?
 
 
NICOLE
 
Nee sitch. No way.
 
 
BUFFY
 
No THX.
 
 
NICOLE
 
They don't even have Dolby.
 
 
KIMBERLY
 
Beverly Center.
 
 
BUFFY
 
Please. They show previews for
 
foreign movies.
 
 
NICOLE
 
AMC?
 
 
KIMBERLY/BUFFY
 
Bogus corn!
 
 
KIMBERLY
 
Totally stale. And the ushers are
 
like, the acne patrol. We're
 
thinking Pavilion. Sitch?
 
 
BUFFY
 
Sounds toasty. We're going Pavilion.
 
 
JENNIFER
 
Excellent.
 
 
BUFFY
 
What's playing there?
 
 
A stranger, walking the other way, bumps into Buffy, doesn't
 
stop. A man of about fifty, he is dressed shabbily, in a
 
wrinkled black suit and a black shirt. He somewhat resembles
 
a priest.
 
 
BUFFY
 
(continuing)
 
Excuse much! Not rude or anything.
 
 
KIMBERLY
 
(calling back)
 
Nice ensemble!
 
 
NICOLE
 
What a homeless.
 
 
The girls continue walking. The man stops, turns to stare
 
after them. His look is intense, slightly worried, his face
 
somewhat haggard. Intelligence shines through his eyes. He
 
holds himself stiffly, arms close to him, almost as if he
 
expected something to strike at him.
 
 
This is MERRICK. He pulls a picture out of his coat pocket,
 
looks at it. Looks at them.
 
 
INT. MOVIE THEATER - DAY
 
 
The film is in progress. This has no effect on the girls,
 
however, as they continue to talk ceaselessly. They all have
 
diet sodas.
 
 
NICOLE
 
(to Buffy)
 
So, is Jeffrey really spending the
 
night at your house?
 
 
BUFFY
 
That's the plan.
 
 
NICOLE
 
Good enough!
 
 
JENNIFER
 
Your parents are always going away
 
for the weekend. You're so lucky.
 
 
BUFFY
 
(maybe not)
 
Yeah, I guess.
 
 
JENNIFER
 
My mom doesn't go anywhere. She
 
even does the shopping network.
 
I'm gonna die a virgin.
 
 
KIMBERLY
 
What did Jeffrey's dad say?
 
 
BUFFY
 
'Just remember you're in training,
 
son'
 
 
NICOLE
 
Oh, God.
 
 
KIMBERLY
 
He is so bald.
 
 
Seated a few rows behind the girls are PIKE and BENNY. The
 
are fairly punked out, (and not currently attending high
 
school). Pike is long and lean, has short hair spiked and a
 
taste for long coats and black. Benny is somewhat stockier,
 
opts for a shaved head and suspenders. Doc Martins for both.
 
Benny is clearly the more belligerent of the two -- when Pike
 
speaks, it's with surprising wit and reserve. Sometimes.
 
 
PIKE
 
Will you guys shut up, please?
 
 
BUFFY
 
It could happen.
 
 
Pike and Benny throw popcorn at her.
 
 
PIKE
 
Booo!
 
 
BENNY
 
Suck!
 
 
PIKE
 
Wrong answer! No prize.
 
 
NICOLE
 
God! Take a chill lozenge.
 
 
KIMBERLY
 
Like we don't have rights too?
 
 
BUFFY
 
Ignore them.
 
 
BENNY
 
I can't believe these people. We
 
paid money to see this.
 
 
PIKE
 
No, we didn't.
 
 
BENNY
 
Oh, yeah. But I still want to know
 
what happens.
 
 
BUFFY
 
Everyone get horribly killed except
 
the blonde girl in the nightie, who
 
finally kills the monster with a
 
machete but it's not really dead.
 
 
The boys stare at her.
 
 
JENNIFER
 
Oh, my God. Is that true?
 
 
BUFFY
 
Probably. What movie is this?
 
 
CUT TO:
 
 
ANGLE - THE MOON
 
 
Fat and yellow, behind the clouds. We hear a long HOWL.
 
 
EXT. THE MOVIE THEATER - NIGHT
 
 
Jeffrey pulls into the parking lot in his BMW convertible.
 
Grueller, howling, sits in the back behind Jeffrey and Andy.
 
They park and hop out, head toward the entrance.
 
 
GRUELLER
 
Look at that moon! It's huge!
 
Come on, guys, we gotta do something
 
tonight. Party.
 
 
ANDY
 
You know, if you would spend more
 
time at home sleeping, you would
 
spend less time on the field,
 
sucking.
 
 
JEFFREY
 
You were a bone out there today.
 
Anyway, I'm booked. Gonna spend
 
some quality time with the little
 
woman.
 
 
ANDY AND GRUELLER
 
(coughing it into their
 
hands)
 
Pussy-whipped. Pussy-whipped.
 
 
JEFFREY
 
You guys are pathetic.
 
 
GRUELLER
 
Later for you, then. I'm blowing.
 
Andy, you coming?
 
 
ANDY
 
No, I'll hitch a ride with Jeffrey.
 
 
GRUELLER
 
Okay. Later.
 
 
ANDY
 
Headbutt!
 
 
Andy and Grueller bring their foreheads together with
 
painstaking slowness, grimacing, and barely tap heads.
 
 
ANDY
 
(continuing)
 
Later.
 
 
Grueller walks off, head through a park.
 
 
At the same time, Pike and Benny emerge from the theater.
 
They pass Andy and Jeffrey and the two pairs circle each other,
 
almost growling, eyes locked, before Pike and Benny turn and
 
walk off, not quite in the direction Grueller took. Buffy,
 
Kimberly, Jennifer and Nicole come out right after. Buffy
 
heads straight for Jeffrey and they kiss massively.
 
 
BUFFY
 
Nice game.
 
 
ANDY
 
Jeffrey, I don't mean to sound sexist
 
or anything, but can I borrow her?
 
 
BUFFY
 
Andy!
 
 
JEFFREY
 
No way. You'd get her dirty.
 
(off her look)
 
He would, honey. He's an animal.
 
 
CUT TO:
 
 
EXT. THE PARK - SAME TIME
 
 
Grueller walks through the trees, enters an enclosed clearing
 
of grass. He hears something, stops. Maybe his name, maybe
 
just the BUSHES RUSTLING. He looks about him, hesitantly.
 
Starts forward, stops again.
 
 
GRUELLER
 
Yo! Who is that? Don't mess with
 
me man, I'll rip your head off.
 
 
Nothing.
 
 
GRUELLER
 
(continuing)
 
Come on, come out here. Let's see
 
what you got.
 
 
RUSTLING. No one.
 
 
GRUELLER
 
(continuing)
 
Forget this.
 
 
He turns on his heel, ready to drop all show and bolt. WALLY
 
BESSEL is right behind him.
 
 
Wally is a ninth grader, small, nerdy, and recently undead.
 
In marked contrast to the older vampire in the prologue, Wally
 
is freshly undead. He still has fat on his face; in fact, he
 
looks almost normal from afar. But his inhuman eyes and his
 
uncommon pallor mark him as a vampire. And the way he speaks
 
is unearthly. Hollow, almost detached; repeating phrases
 
sometimes almost as though he had never heard them before.
 
 
He smiles at Grueller.
 
 
GRUELLER
 
(continuing)
 
Bessel! What are you doing here?
 
 
WALLY
 
Hi, Grueller.
 
 
GRUELLER
 
What are you grinning at? You think
 
I was scared?
 
 
WALLY
 
Could be.
 
 
GRUELLER
 
You think so?
 
 
WALLY
 
Could be.
 
 
Grueller grabs Wally by his shirt collar and readily hoists
 
his small body up, Wally's feet dangling two feet off the
 
ground.
 
 
GRUELLER
 
Listen, you little worm. I could
 
beat your head to a pulp for you,
 
just like I did last year, you got
 
that? You got that?
 
 
WALLY
 
(repeating)
 
Got that.
 
 
GRUELLER
 
Good.
 
 
He lets Wally go. Wally remains two feet in the air.
 
Grueller's eyes go wide.
 
 
GRUELLER
 
(continuing)
 
What the...
 
 
Wally smiles even more broadly, quietly hissing. He has long
 
fangs, made somehow more grotesque by the fact that he also
 
has braces.
 
 
Wally's hands vise onto Grueller's head, lightning quick.
 
Grueller screams.
 
 
ANGLE - PIKE AND BENNY
 
 
Crossing a street, turning and listening.
 
 
ANGLE - JEFFREY'S CAR
 
 
Speeding by, everyone packed into it. Andy howls back at
 
Grueller, mistaking his intent. He settles back. The girls
 
are looking at him.
 
 
ANDY
 
It's um... you had to be there.
 
 
In the front seat next to Jeffrey, Buffy winces slightly.
 
 
JEFFREY
 
You okay?
 
 
BUFFY
 
I... yeah, I'm okay. I'm fine.
 
 
ANGLE - THE FULL MOON
 
 
CUT TO:
 
 
INT. BUFFY'S LIVING ROOM - ANGLE ON TV - NIGHT
 
 
We see another full moon, this one on the TV screen. "Dracula"
 
is on, Lugosi's original.
 
 
The lights are off in the living room as Jeffrey enters from
 
the kitchen, sits down on the couch holding a bag of munchies.
 
Buffy is still in the kitchen, making popcorn. Jeffrey flicks
 
the remote, changes channels.
 
 
ANGLE - THE TV
 
 
The movie is replaced by the local news, in mid-broadcast. A
 
NEWSCASTER sits at his deck, a super of a teenage girl behind
 
him.
 
 
NEWSCASTER
 
-- The fourth such disappearance in
 
less than two months. The sheriff
 
was not available for comment, but
 
a police spokesman issued a
 
statement, saying that the situation
 
is not out of hand...
 
 
CUT TO:
 
 
INT. KITCHEN - SAME TIME
 
 
Buffy's FATHER walks purposefully into the kitchen holding a
 
suitcase that he plops by the front door. He crosses out again
 
as Buffy's MOM crosses in, also with luggage.
 
 
BUFFY'S DAD
 
We're gonna be late. I knew it.
 
 
BUFFY'S MOM
 
(to Buffy, but not looking
 
at her)
 
Now, we'll be back on Sunday,
 
number's on the fridge, don't drive
 
the Jaguar and tell Consuela my
 
underwear does not go in the
 
dishwasher.
 
 
She's already out again by the end of this, as dad comes back
 
in.
 
 
BUFFY'S DAD
 
Have fun be good stay away from the
 
Jag.
 
 
BUFFY
 
I know.
 
 
And he's out the back, mom entering on his heels.
 
 
BUFFY'S MOM
 
Well, that's everything. Kiss noise.
 
 
She actually makes a kiss noise at her daughter.
 
 
BUFFY
 
'Bye.
 
 
Buffy's mom heads out the door as Buffy heads into the living
 
room.
 
 
INT. LIVING ROOM - SAME TIME
 
 
BUFFY'S MOM
 
(calling out)
 
Bye-bye, Bobby!
 
 
JEFFREY
 
Bye!
 
(to Buffy)
 
They think my name's Bobby?
 
 
BUFFY
 
Well... it's possible they think my
 
name's Bobby.
 
 
JEFFREY
 
Real 'quality-timers,' Hugh.
 
 
BUFFY
 
Something like that.
 
 
JEFFREY
 
Hey, it works for me. If they want
 
to leave you alone in the house,
 
all helpless and vulnerable...
 
 
Buffy sits, squints disapprovingly at the screen. She has a
 
bag of microwave lite popcorn and is spraying diet butter
 
substitute on it.
 
 
BUFFY
 
What show is this?
 
 
JEFFREY
 
It's the news, Buffy.
 
 
BUFFY
 
Oh. Who's in it?
 
(off his look)
 
I know what it is. It's what's on
 
instead of the movie.
 
 
JEFFREY
 
I just want to see the basketball
 
scores. It's important.
 
 
BUFFY
 
(over a handful of popcorn)
 
Mmmnkay.
 
 
Jeffrey leans in toward her.
 
 
JEFFREY
 
Of course, there are... other
 
considerations...
 
 
He starts kissing her about the face and neck. She leans
 
submissively back on the couch as he works his way on top of
 
her. He gives her a long kiss on the mouth, then works over
 
to her ear. As he is burrowing about in there, Buffy sneaks
 
another handful of popcorn into her mouth.
 
 
She leans back, by accident, on the remote.
 
 
ANGLE - THE TV
 
 
"Dracula" reappears.
 
 
CUT TO:
 
 
INT. 18TH CENTURY CHINESE WHOREHOUSE - NIGHT
 
 
Not, by any stretch, an upscale joint. Dark, cramped, and
 
scummy. A young Chinese Whore sits on a bed, wearing little
 
enough that we can see the telltale birthmark on her shoulder.
 
A repulsive British SAILOR is dressing, his business finished.
 
Looking disgusted, he throws his payment on the bed. For some
 
reason, the bed is littered with popcorn.
 
 
SAILOR
 
You never touched my heart.
 
 
He leaves. Alone, the Girl hears a NOISE in the dark corner,
 
a wet RUSTLING. Slowly she gets up to see. Approaches...
 
 
It is a pool of blood. She stares at it, terrified. A hand
 
reaches out of it.
 
 
She runs out into the hall, but it leads nowhere but a dead
 
end. Standing there, waiting for her, is Lothos. He smiles
 
at her and we see she is now Buffy.
 
 
LOTHOS
 
Soon.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - BEDROOM - EARLY MORNING
 
 
Buffy is thrashing in bed. Jeffrey is holding her by the
 
shoulders and shaking her.
 
 
JEFFREY
 
Buffy! Hey, what's the sitch?!?
 
Wake up!
 
 
She wakes, grasping, her eyes melting into focus on Jeffrey's
 
face.
 
 
BUFFY
 
Oh, wow. Oh, wow. Oh, wow.
 
 
JEFFREY
 
You were having a nightmare.
 
 
He settles back down, his arms around her, and almost instantly
 
begins to fall asleep again.
 
 
JEFFREY
 
(continuing)
 
What'd you dream about?
 
 
BUFFY
 
Nothing.
 
 
JEFFREY
 
Come on, what was it?
 
 
BUFFY
 
Nothing. It was just a dream.
 
 
CUT TO:
 
 
INT. LOTHOS' CHAMBER - SAME TIME
 
 
Dark, cavernous -- walls hewn from rock, lit torches clamped
 
to them. Cold stone floor and in the foreground, a dark pool
 
of blood. A HUM, possibly a chant, fills the air.
 
 
A figure steps up to the pool, his back to the CAMERA, and
 
kneels before it. He holds his hand over the surface of the
 
blood. As he speaks, his voice an urgent hiss, we TRACK AROUND
 
him, see that it is Amilyn.
 
 
AMILYN
 
You have brought us here, and we
 
thrive. We thrive. You will awake
 
in a new world. Just as I promised,
 
untold splendor, rubies dripping
 
from our lips. Just as we said.
 
 
CLOSEUP - AMILYN'S HAND
 
 
A hand shoots out of the pool and grabs Amilyn's. Amilyn leans
 
over and fervently kisses it.
 
 
AMILYN
 
(continuing)
 
Soon...
 
 
CUT TO:
 
 
EXT. SCHOOL YARD - DAY
 
 
Buffy sits with Nicole, Jennifer, Kimberly and CASSANDRA.
 
Cassandra is not quite in the same league as the other girls --
 
for one thing, she studies. She's not as glamorous, nor a
 
vacuous.
 
 
BUFFY
 
The environment.
 
 
They consider this a moment.
 
 
NICOLE
 
The homelesses?
 
 
KIMBERLY
 
Oh, please.
 
 
JENNIFER
 
Are there any good sicknesses that
 
aren't too depressing?
 
 
BUFFY
 
Guys. The environment. I'm telling
 
you, it's totally key. The earth
 
is in terrible shape, we could al
 
die, and besides, Sting's doing it.
 
 
KIMBERLY
 
I thought he was doing Indians.
 
 
Jeffrey and Andy arrive, sit. Jeffrey straddles Buffy from
 
behind, wrapping his arms around her. She snuggles in his
 
grasp.
 
 
JEFFREY
 
Hey there.
 
 
BUFFY
 
Hi.
 
 
JENNIFER
 
(shyly)
 
Hi, Jeffrey.
 
 
ANDY
 
Whatchya guys doing?
 
 
NICOLE
 
The winter dance. We need to come
 
up with a theme.
 
 
JEFFREY
 
The senior dance? How about...
 
'Our Friend, the Beer?'
 
 
ANDY
 
'Putting Out for Fun and Profit'...
 
possible thought...
 
 
KIMBERLY
 
Try new Clue-flakes.
 
 
BUFFY
 
It has to be, like a socially
 
conscious theme.
 
 
CASSANDRA
 
(reading from a memo)
 
'One that reflects the students'
 
growing awareness of and involvement
 
in the world around them.'
 
 
JEFFREY|ANDY
 
Downer.
 
 
BUFFY
 
I still say the environment. That's
 
my suggestion.
 
 
CASSANDRA
 
It is a pretty crucial subject.
 
 
BUFFY
 
See, Cassandra likes it. Cassandra's
 
my friend.
 
 
ANDY
 
I like it. Can I be your friend?
 
 
JEFFREY
 
Stay away from my thang.
 
(to Buffy)
 
Sorry, honey. 'Thing.'
 
 
NICOLE
 
Environment. That's cool with me.
 
 
KIMBERLY
 
Okay.
 
 
CASSANDRA
 
So, what are the most immediate
 
threats to the world environment
 
right now?
 
 
Cassandra has paper and pen, is poised to make a list of
 
suggestions. The other all look at each other uncomfortably.
 
Cassandra obviously knows the answer, but regards her friends
 
silently, waiting to see what the come up with.
 
 
JEFFREY
 
Well, um... litter?
 
 
ANDY
 
Litter, yeah!
 
 
Everyone but Cassandra is impressed by this.
 
 
JEFFREY
 
(to Cassandra)
 
Write that down.
 
 
JENNIFER
 
Okay, what else?
 
 
NICOLE
 
Forest fires?
 
 
ANDY
 
Communism?
 
 
BUFFY
 
Bugs.
 
 
CASSANDRA
 
(helpfully)
 
Okay, guys, how about the ozone
 
layer?
 
 
KIMBERLY
 
Oh, yeah!
 
 
NICOLE
 
Right!
 
 
BUFFY
 
We gotta get rid of that! That's
 
right.
 
 
GARY MURRAY, a well meaning but pompous little administrator,
 
come up to the kids. He's kind of like Charlie Brown: you
 
always say his whole name.
 
 
GARY MURRAY
 
I don't suppose you kids heard the
 
first bell, did you? The first
 
bell was saying, 'Start going to
 
class, it's time to go to class.'
 
In about thirty seconds the second
 
bell is going to be saying, 'Already
 
be in class.'
 
 
JEFFREY
 
We're having a very important
 
discussion here.
 
 
GARY MURRAY
 
Why do I have trouble believing
 
you?
 
 
JEFFREY
 
Something from your childhood, maybe?
 
 
GARY MURRAY
 
Button it, Kramer. Classes are
 
starting. Be there or beware.
 
 
Gary Murray walks off.
 
 
ANDY
 
Man has a complex.
 
 
BUFFY
 
He's got a... What do you call it?
 
A Napoleonic Code.
 
 
JENNIFER
 
It's 'cause he's so tiny.
 
 
ANDY
 
Yes, but what he lacks in height he
 
makes up in shortness.
 
 
They get up and start heading to class.
 
 
KIMBERLY
 
Let's meet tonight, okay?
 
 
BUFFY
 
Where?
 
 
KIMBERLY
 
Cafe Blase.
 
 
NICOLE
 
Cool. We can figure decorations
 
and stuff.
 
 
BUFFY
 
Cassandra, you gotta come, too.
 
 
CASSANDRA
 
Can't. History report. The Normans
 
and the Saxons.
 
 
BUFFY
 
Bogutude. Blow it off.
 
 
CASSANDRA
 
I really can't. Besides, it's pretty
 
interesting.
 
 
BUFFY
 
(not harshly)
 
You're weird and I'm afraid of you.
 
Seriously, Cassandra, there's a lot
 
cooler things you could be doing
 
than your homework.
 
 
CASSANDRA
 
Like what?
 
 
BUFFY
 
Like my homework.
 
 
Buffy smiles, trots off.
 
 
CUT TO:
 
 
EXT. THE CITY - NIGHT
 
 
We see SHOTS of the deserted city at night. It's a small,
 
upscale town. Suburban streets, businesses, and a few more
 
depressed areas, boarded up houses. No one is out. TREES
 
RUSTLE, shadows flicker, but the curling mist is the only
 
visible presence.
 
 
CUT TO:
 
 
INT. CAFE BLASE - NIGHT
 
 
A classic faux-Fifties L.A. diner. Pictures of Frankie and
 
Annette, bright lights, those same tired Fifties standards
 
playing on the JUKEBOX. Buffy, Kimberly, Jennifer and Nicole
 
are sitting at the end of the counter, at the corner.
 
 
KIMBERLY
 
I don't see why we have to invite
 
everyone.
 
 
BUFFY
 
Kimberly, it's the senior dance.
 
 
NICOLE
 
If we don't invite all the seniors
 
we can't use the school funds, you
 
know that.
 
 
KIMBERLY
 
Can't they make exceptions? Maryanne
 
Heinel? She's such a scud. Can't
 
we have a Maryanne clause?
 
 
NICOLE
 
Well, look who's here.
 
 
GIRLS' POV
 
 
Pike and Benny have entered the diner, quite drunk. As they
 
pass the jukebox, Benny gives it a kick and the music stops.
 
A few people look up, annoyed, as they approach the counter.
 
 
WAITRESS
 
Hey!
 
 
BENNY
 
The Fifties are over.
 
 
PIKE
 
(earnestly)
 
We have to learn to let go.
 
 
WAITRESS
 
Don't give me any trouble, okay?
 
 
PIKE
 
No trouble. We just want to eat.
 
 
They sit next to Buffy and begin pooling their money on the
 
counter. It comes to about $2.50, heavy with pennies.
 
 
PIKE
 
(continuing)
 
Come on, come on, fork up the scub.
 
 
BENNY
 
That's it, man. That's the whole
 
story.
 
 
PIKE
 
We're looking at a dog, possible
 
coffee...
 
 
He digs and produces a quarter from his pocket.
 
 
PIKE
 
(continuing)
 
It's coffee.
 
 
BENNY
 
Amazing!
 
 
KIMBERLY
 
(to the other girls)
 
Smell of booze much.
 
 
NICOLE
 
Nice much.
 
 
PIKE
 
(to the waitress)
 
Can we have a hot dog, please, medium
 
rare, and a cup of joe?
 
 
BUFFY
 
You guys are thrashed.
 
 
JENNIFER
 
(to Buffy)
 
What are you talking to them for?
 
 
BENNY
 
(to Buffy)
 
What did you say?
 
 
PIKE
 
Yeah, we're drunk. We're the Drunks.
 
What's your name?
 
 
BUFFY
 
Buffy.
 
 
BENNY
 
Figures.
 
 
PIKE
 
Do people ever call you 'Buffy the
 
Buffalo?' I'm just wondering.
 
 
Buffy gives him a look.
 
 
PIKE
 
(continuing)
 
They don't. You kind of wish they
 
would, though.
 
 
KIMBERLY
 
Wit-tay.
 
 
PIKE
 
I'm sorry. I'm Pike. This is Benny.
 
 
KIMBERLY
 
Pike isn't a name. It's a fish.
 
 
PIKE
 
Hey, wait a minute...
 
 
BENNY
 
You're the guys from the movie!
 
 
PIKE
 
(good naturedly)
 
We hate you guys!
 
 
The girls all make sad noises, real sarcastic.
 
 
PIKE
 
(continuing)
 
You guys were way rude. It was
 
shocking.
 
 
NICOLE
 
You just snuck in anyway.
 
 
PIKE
 
So you have to ruin the movie for
 
us? You know, other people have
 
feelings, too.
 
 
KIMBERLY
 
I am so sure.
 
 
The waitress brings the hot dog. Benny takes it out of the bun
 
and holds it over his crotch, phallus-like.
 
 
BENNY
 
Hey, Buffy, you hungry? I got
 
something for you...
 
 
The other girls look down and shriek. Buffy looks at Benny,
 
looks at him in the eye.
 
 
ANGLE - BUFFY'S HAND
 
 
It closes silently around the knife at her place.
 
 
Buffy is still looking at Benny, she seems to be hypnotizing
 
him, and maybe even herself. The NOISE in the diner seems to
 
FADE AWAY for a moment. Buffy shifts slightly, almost a twitch,
 
and the spell is broken. The SOUND RETURNS, Buffy looks away,
 
letting go of the knife exactly where it was.
 
 
Benny looks down. His hot dog has been sliced neatly down to
 
about an inch. He is shocked.
 
 
BENNY
 
(continuing)
 
Hey! She wasted my dog!
 
 
PIKE
 
(smiling)
 
Bummer metaphor.
 
 
Buffy looks off, a little surprised herself.
 
 
CUT TO:
 
 
EXT. STREET - NIGHT
 
 
Pike and Benny have left the diner and are walking down the
 
street. Pike produces a bottle of Mezcal from his coat pocket
 
and takes a swig, hands it to Benny. They continue to pass it
 
back and forth.
 
 
BENNY
 
Rich bitches. They're a plague.
 
They've gotta be stopped.
 
 
PIKE
 
You didn't like them.
 
 
BENNY
 
They're all the same! They're so
 
stuck up, they're just... they're
 
not even human. I hate them.
 
 
PIKE
 
Would you sleep with them?
 
 
BENNY
 
Yes. Definitely. Definitely.
 
Please, God.
 
 
PIKE
 
Well, there it is, isn't it? You
 
don't even like them, and you'd
 
sleep with them. What's that all
 
about?
 
 
BENNY
 
I got a news flash, man, another
 
shot of this and I'll have sex with
 
you.
 
 
PIKE
 
Oh, yeah, and then you'll never
 
call me.
 
 
They continue walking. A shadowy figure appears behind them,
 
following.
 
 
CUT TO:
 
 
INT. DINER - NIGHT
 
 
The girls have all finished their sundaes.
 
 
NICOLE
 
Come one, that was so weird.
 
 
BUFFY
 
(uncomfortable)
 
What, it's not weird. I just cut
 
the stupid hot dog in half.
 
 
KIMBERLY
 
I can't believe they still ate it.
 
 
JENNIFER
 
(to Buffy)
 
Where'd you learn how to do that?
 
 
BUFFY
 
I didn't learn... I just... it's
 
not a big deal.
 
 
KIMBERLY
 
Buffy, I'm gonna tell Jeffrey you
 
were playing with another man's
 
Hebrew National.
 
 
BUFFY
 
(annoyed)
 
Get a boob job.
 
 
NICOLE
 
It's like when we took gymnastics
 
in eighth grade.
 
 
Buffy makes a face. She doesn't want to hear this story. We
 
HOLD on her as Nicole tells it.
 
 
JENNIFER
 
What happened?
 
 
NICOLE
 
Buffy was on the uneven parallels --
 
she was really good; coach said she
 
could have been in the Olympics --
 
but she was doing a routine,
 
spinning, and the beam broke.
 
 
JENNIFER
 
You're kidding.
 
 
NICOLE
 
Snapped. Buffy was, you know, on
 
the upswing, and I swear to God she
 
went across the room. Perm over
 
heels.
 
 
JENNIFER
 
Oh, my God! Ouch! No wonder you
 
quit.
 
 
NICOLE
 
Well, that's the thing. She landed
 
on her feet. Didn't even sprain a
 
toe. And I go up to her and she
 
turns and looks at me and she's
 
like this --
 
 
She makes a hyper-intense face. The others laugh.
 
 
NICOLE
 
(continuing)
 
-- like she's gonna kill me.
 
 
BUFFY
 
I was just scared is all.
 
 
NICOLE
 
No. It was mondo bizarro.
 
 
KIMBERLY
 
Buffy, the ape-woman.
 
 
NICOLE
 
Seriously, Buffy. That look was
 
way twisted. What were you thinking
 
about?
 
 
CUT TO:
 
 
EXT. STREET - NIGHT
 
 
Perhaps in answer, we see the same shadowy figure moving behind
 
Pike and Benny as they continue to walk home. They're really
 
bombed now. They are somewhere in the hills now, and they
 
come to the edge of a steep incline overlooking the valley. A
 
waist-high concrete wall is built into the side of the earth.
 
They stand below a thick, green tree.
 
 
PIKE
 
I'll have it running in a week.
 
It's be beauty. It just needs new
 
shocks, you know, break pads, an
 
engine, and some wheels. It'll be
 
totally cherry.
 
 
Pike finishes the bottle, eats the worm, and chucks the BOTTLE
 
over the side. There is a moment before they hear it SHATTER.
 
 
BENNY
 
When you get your car together,
 
man, let's bail.
 
 
PIKE
 
You think? Split?
 
 
BENNY
 
Utterly. Let's bail this town.
 
It's getting... I don't know. Let's
 
go somewhere where there aren't any
 
rich bitches.
 
 
PIKE
 
Our own world, where we could live
 
and grow beans. Hundreds of beans.
 
 
Benny wavers, catches hold of Pike.
 
 
BENNY
 
I think I'm gonna ralph.
 
 
He leans over the side of the wall, hangs his head down.
 
 
PIKE
 
Don't worry, Benny. I'm here for
 
you.
 
 
Pike falls over backwards.
 
 
PIKE
 
(continuing)
 
I'm here for you, Ralph.
 
 
Pike passes out.
 
 
CLOSEUP - BENNY
 
 
Still waiting to throw up. The figure approaches slowly from
 
behind him. The figure is a few feet away from him when a
 
hand shoots down from above and grabs Benny's face.
 
 
ANGLE - IN THE TREE
 
 
Amilyn sits on a low branch, pulls Benny up to face him. Amilyn
 
has changed his manner of dress drastically. He wears a
 
motorcycle jacket and sunglasses. His hair is punked out.
 
Benny is in shock, as Amilyn holds him easily by his shirt
 
collar.
 
 
AMILYN
 
You wanna go for a ride?
 
 
Amilyn leans back -- all the way back, falling back out of the
 
tree and pulling Benny with him. We see them fall out past
 
the wall just as the shadowy figure reaches it.
 
 
It is Merrick, the man from the mall. He runs to the side of
 
the wall, looks over. The two are already lost in the dark
 
mist. Merrick turns around, looks about him. He digs in his
 
pockets, pulls out a cross and a stake, holds them tightly.
 
While digging he pulls out an old, stained picture, lays it on
 
the railing. Stake and cross in hand, he stands by Pike looking
 
out at the night.
 
 
ANGLE - THE PICTURE
 
 
It is a ten year old girl about to blow out the candles on her
 
birthday cake. The cake reads, "Happy Birthday, Buffy".
 
 
CUT TO:
 
 
EXT. FOOTBALL FIELD - AFTERNOON
 
 
Buffy, Nicole and Jennifer and another cheerleader are
 
practicing.
 
 
JENNIFER
 
What was the step after... The one
 
from Thursday. I never learned it
 
right, I don't think.
 
 
Buffy shows her. They do it together for a minute.
 
 
BUFFY
 
That is so cool.
 
 
NICOLE
 
Thank you very much.
 
 
BUFFY
 
Nobody is even gonna look at the
 
game.
 
 
JENNIFER
 
Hey, I was thinking, for the dance,
 
what about a big sign that says
 
'Don't Tread On Me'. You know, and
 
a picture of the earth.
 
 
BUFFY
 
Don't tread on the earth?
 
 
NICOLE
 
I don't get it.
 
 
BUFFY
 
How do you not tread on the earth?
 
I mean, you kind of have to.
 
 
JENNIFER
 
I never thought of that.
 
 
NICOLE
 
I gotta bail. You coming?
 
 
BUFFY
 
You guys blow. I'm waiting on
 
Cassandra. She's gonna help me
 
with my history.
 
 
NICOLE
 
Cassandra's really smart.
 
 
BUFFY
 
Yeah... She's okay, though.
 
 
NICOLE
 
I guess.
 
 
JEFFREY
 
Are you going out with Jeffrey
 
tonight?
 
 
BUFFY
 
Jealous?
 
 
Jennifer laughs, uncomfortably.
 
 
BUFFY
 
(continuing)
 
Don't worry, Jennifer. Someday
 
your prince will come.
 
 
NICOLE
 
Yeah, just make sure you do first.
 
Let's go, guys.
 
 
BUFFY
 
B'bye.
 
 
The other girls leave. Buffy is alone on the empty field.
 
She looks around her. She starts doing a routine, tentatively.
 
Then she runs toward the middle of the field and jumps, flies
 
into an extraordinary series of gymnastic flips and cartwheels.
 
She rolls into one final flip, a huge one, and lands, a perfect
 
ten, about three inches from Merrick.
 
 
She screams in surprise, steps back.
 
 
BUFFY
 
(continuing)
 
God, where the hell did you come
 
from? You scared me to death.
 
 
MERRICK
 
I'm sorry. That was impressive.
 
The... tumbling.
 
 
His accent is clipped -- British.
 
 
BUFFY
 
What? Oh. I used to do gymnastics.
 
Are you looking for someone?
 
 
MERRICK
 
I'm looking for you, actually.
 
 
BUFFY
 
Am I in trouble or something?
 
 
MERRICK
 
Not at all. My name is Merrick. I
 
was sent to find you some time ago.
 
I should have found you much sooner
 
but there were... complications.
 
You should have been taught,
 
prepared.
 
 
BUFFY
 
What are you talking about?
 
 
MERRICK
 
I've searched the entire world for
 
you, Buffy.
 
 
BUFFY
 
Why?
 
 
MERRICK
 
To bring you... your birthright.
 
 
BUFFY
 
My birthright? You mean, like a
 
trust fund?
 
 
Merrick looks at her.
 
 
BUFFY
 
(continuing)
 
I had a trust fund my great-
 
grandfather, or maybe it was an
 
inheritance, 'cause he's dead, and
 
I spent it on shoes.
 
 
MERRICK
 
You must come with me. It's much
 
too late already. You must come
 
with me to the graveyard.
 
 
BUFFY
 
Wait a minute. My birthright is in
 
the graveyard? Later not.
 
 
MERRICK
 
Wait!
 
 
BUFFY
 
You're one of those skanky old men
 
that, like, attack girls and stuff.
 
Forget you. My, um, my boyfriend
 
is gonna be here in about thirty
 
seconds, and he's way testy.
 
 
MERRICK
 
You don't understand. You have
 
been chosen.
 
 
BUFFY
 
Chosen to go to the graveyard? Why
 
don't you just take the first runner
 
up, okay?
 
 
MERRICK
 
You must believe me. You must come
 
with me while there's still time.
 
 
BUFFY
 
Time to do what?
 
 
MERRICK
 
To stop the killing. To stop the
 
vampires.
 
 
BUFFY
 
Let me get this straight. You're
 
like, this greasy bum, and I have
 
to go to the graveyard with you
 
'cause I'm chosen, and there's
 
vampires.
 
 
MERRICK
 
Yes.
 
 
BUFFY
 
Does Elvis talk to you? Tell you
 
to do things? Do you see spots?
 
 
MERRICK
 
I don't have time for your prattling.
 
I have proof. You bear the mark.
 
 
He steps forward and pulls the neck of Buffy's shirt aside,
 
revealing her shoulder.
 
 
MERRICK
 
(continuing)
 
The mark of the Coven! The --
 
where's the mark?
 
 
There is no birthmark on her shoulder. He looks at the other
 
one.
 
 
MERRICK
 
(continuing)
 
The mark of the -- wait a minute.
 
 
Buffy pushes his hand off her.
 
 
BUFFY
 
You mean that big hairy mole? Excuse
 
me: eeyuu. I had it removed.
 
And, like, knowing about my big old
 
mole isn't proof of anything except
 
that it's way past medication time.
 
 
She starts to walk away.
 
 
BUFFY
 
(continuing)
 
Just stay away from me, okay?
 
 
MERRICK
 
Did you ever dream that you were
 
someone else?
 
 
Buffy stops. This obviously registers with her.
 
 
BUFFY
 
Everybody does.
 
 
MERRICK
 
In the past. A girl. Maybe... A
 
Magyar peasant. An Indian princess.
 
A slave.
 
 
The last one hits the mark.
 
 
BUFFY
 
I was a slave.
 
 
MERRICK
 
In Virginia.
 
 
BUFFY
 
I don't know. It was... There was
 
a big gram or something. And there's
 
one, I'm like a prostitute...
 
 
MERRICK
 
China.
 
 
BUFFY
 
Oh, my God. I never told anybody
 
about this. I remember the one
 
about the peasant, too. God, there's
 
a bunch. Is this, like channeling
 
or something.
 
 
Merrick rolls his eyes.
 
 
BUFFY
 
(continuing)
 
I had a dream once where I was...
 
There was like, knights in it, and
 
I worked in this bar. And I... was
 
fighting. I'm always fighting.
 
And there's a guy... He's not always
 
there, but he's horrible, all white,
 
and he's always... trying to kill
 
me.
 
 
MERRICK
 
Lothos.
 
 
The name has an obvious effect on the girl.
 
 
BUFFY
 
How do you know all this?
 
 
MERRICK
 
I have to show you.
 
 
CUT TO:
 
 
ANGLE - THE SUN
 
 
Thick and orange, sinking beyond the hills.
 
 
EXT. GRAVEYARD - SUNSET
 
 
Merrick leads Buffy, searching for a particular grave.
 
 
BUFFY
 
I can't believe I'm doing this. I
 
can't believe I'm in a graveyard
 
with a strange man hunting for
 
vampires on a school night.
 
 
MERRICK
 
Why didn't you ever tell anybody
 
about your dreams?
 
 
BUFFY
 
Oh, yeah, tell everyone I'm crazy.
 
Beauty ida.
 
 
Buffy stops, winces slightly.
 
 
BUFFY
 
(continuing)
 
Ow.
 
 
MERRICK
 
Cramps?
 
 
BUFFY
 
None of your business. God.
 
 
MERRICK
 
This is it.
 
 
Buffy is standing on a freshly dug grave. The headstone reads:
 
"ROBERT BERMAN, 1972 - 1990. GOD IS AT HIS HEELS".
 
 
MERRICK
 
(continuing)
 
Robert Berman was killed three days
 
ago. The body was found in the
 
bushes out by the canal. Extensive
 
tissue damage -- tearing -- at the
 
neck and shoulders. Coroner thinks
 
it's a dog. You sit her.
 
 
He points out a plot of ground about eight feet from the foot
 
of the grave. Buffy sits and leans against another stone.
 
 
Merrick reaches into his jacket, pulls out a stake and a cross,
 
hands the cross to Buffy.
 
 
BUFFY
 
Wait a minute.
 
 
MERRICK
 
Just for protection. You won't
 
have to do anything. I just need
 
you to watch.
 
 
BUFFY
 
All right. What do we do now?
 
 
MERRICK
 
We wait for Robert to wake up.
 
 
Merrick goes over to the other headstone, crouches by it.
 
 
BUFFY
 
Do you have any gum?
 
 
ANGLE - SUNSET
 
 
The last red glimmer disappears behind the hills.
 
 
CUT TO:
 
 
EXT. OUTSIDE THE SCHOOL - SAME TIME
 
 
Cassandra stands waiting for Buffy. The sun is down, darkness
 
increasing. She looks at her watch and gives up, heads for
 
her car. Her key in the door, she hears a RUSTLING behind
 
her. Looks slowly around.
 
 
CUT TO:
 
 
EXT. GRAVEYARD - SAME TIME
 
 
Buffy sits fidgeting. Playing with her fingernails. Merrick
 
stays in the position, listening.
 
 
A low, almost inaudible MOAN come from under the ground. Buffy
 
sits up straight, holds the cross to her. The MOAN becomes
 
louder, almost a scream. The SOUND is followed by the SOUND
 
of FINGERS SCRAPPING wood -- of WOOD SPLINTERING -- of digging.
 
The moaning continues, becoming eerier, somewhat more
 
articulate.
 
 
Buffy and Merrick wait.
 
 
ANGLE - THE GRAVE
 
 
Finally, fingers break through the ground and hold stiff in
 
the open air. The moan becomes a triumphant HISS. The fingers
 
clutch at the ground.
 
 
ROBERT BERMAN pops halfway out of his grave like a jack-in-the-
 
box, his face dirty and dead-white. He sees Buffy in front of
 
him, and he bobs toward her with a crazy grin, stretching as
 
to a mother's tit.
 
 
Merrick drops down behind Robert and grabs him, raising the
 
stake. Buffy watches, immobilized.
 
 
A pair of arms shoot up from the ground right under Buffy.
 
They grab her and pull her to the ground. Next to her face,
 
the face of another vampire, a YOUNG WOMAN, emerges grinning
 
from the crumbling earth.
 
 
Buffy screams lustily, and struggles to break free.
 
 
Merrick is momentarily distracted by this, and Robert throws
 
him off, and pulls himself out of the grave. Merrick falls to
 
the ground, and his stake goes flying.
 
 
Buffy pulls herself out of the girl's grasp, starts running
 
away, but the girl grabs her. Buffy remembers the cross in
 
her hand, spins and holds it to the vampire's forehead. It
 
burns and the lady lets go, screaming and falling to the ground.
 
 
BUFFY
 
'Bye now.
 
 
Buffy runs.
 
 
ANGLE - MERRICK AND ROBERT
 
 
They are struggling, several feet away. Robert grabs Merrick
 
by the shoulders and picks him up, preparing to bite him. A
 
stake suddenly pops out of his chest, planted in his back by
 
Buffy. He falls and dies.
 
 
MERRICK
 
Where's the other one?
 
 
BUFFY
 
She --
 
 
It leaps at her, screaming. She throws it off, as Merrick
 
produces another stake and throws it to her. Buffy sticks it
 
in the vampire's heart. She dies, screaming, her face still
 
smoking, blood spurting onto Buffy.
 
 
Buffy looks at herself. At the blood.
 
 
CUT TO:
 
 
EXT. FRONT OF BUFFY'S HOUSE - NIGHT
 
 
Merrick walks Buffy to the door. She is silent, slow.
 
 
MERRICK
 
Go to school tomorrow. Try to act
 
normal. Don't let anyone know what's
 
happening. This is important.
 
When the vampires find out who you
 
are... you won't be hunting them
 
anymore.
 
 
BUFFY
 
All right.
 
 
He hands her a piece of paper.
 
 
MERRICK
 
Meet me at this address after school.
 
 
BUFFY
 
I have cheerleading squad.
 
 
MERRICK
 
Skip it.
 
 
Buffy nods. Merrick starts back down the path.
 
 
BUFFY
 
Merrick.
 
 
Merrick stops.
 
 
BUFFY
 
(continuing)
 
They can't come in, right? Unless
 
you invite them. Is that true?
 
 
MERRICK
 
It's true.
 
 
Merrick moves on. Buffy goes inside.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - FOYER - SAME TIME
 
 
Buffy shuts the door, turns to go up to her room. She is
 
startled by someone standing in her path. She almost screams.
 
 
It's her mother. She stands, arm akimbo, looking very
 
confrontational. Buffy looks a sight, and stands uncomfortably
 
in front of her mother for a moment.
 
 
BUFFY'S MOM
 
Do you know what time it is?
 
 
BUFFY
 
Uum... around ten?
 
 
Mom taps her watch, annoyed.
 
 
BUFFY'S MOM
 
I knew this thing was slow.
 
 
She crosses out of the room.
 
 
BUFFY'S MOM
 
(continuing)
 
You pay a fortune for something...
 
(calls out)
 
Honey, come on, we're gonna be late.
 
 
Her mother gone, Buffy lets out a small sigh -- of relief or
 
frustration, it is not clear. She heads upstairs.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - BATHROOM - NIGHT
 
 
Buffy stands at the sink, washing her shirt. She tries to get
 
the blood off with fierce intensity. She is near tears.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - BEDROOM - NIGHT
 
 
She sits in the middle of the bed in her pajamas, the blankets
 
pooled around her. She cannot sleep. Finally, she lies back
 
on the pillow.
 
 
Lothos is beside her.
 
 
CUT TO:
 
 
INT. SCHOOL HALL - DAY
 
 
Buffy walks through the hall slowly, obviously the worse for
 
last night's wear. Gary Murray comes up next to her, looking
 
at his watch pointedly: she's late for class. He moves on.
 
Jeffrey, going the other way, stops next to her.
 
 
JEFFREY
 
Hey, baby, how ya doing? You look
 
beat.
 
 
BUFFY
 
I do? I guess I do.
 
 
JEFFREY
 
Where were you last night? I called
 
your house like four times.
 
 
BUFFY
 
I went to sleep. I think I have
 
the flu or something.
 
 
Jeffrey backs away from her.
 
 
JEFFREY
 
I can't get sick. You know --
 
training and all. I'm gonna be
 
late.
 
 
BUFFY
 
'Bye.
 
 
Jeffrey moves off to class. Buffy walks on a bit. She bumps
 
into Nicole.
 
 
NICOLE
 
Hey, Buffers. You look thrashed.
 
 
BUFFY
 
Thanks.
 
 
NICOLE
 
You and Cassandra get anything done
 
last night?
 
 
Buffy looks confused for a moment, then remembers.
 
 
BUFFY
 
Oh. No. She never showed.
 
 
CUT TO:
 
 
INT. LOTHOS' CAVE - CLOSEUP OF CASSANDRA'S FACE
 
 
She is waking up, obviously from being knocked out. She blinks
 
stupidly, looks around. She is lying by a pool of what looks
 
to be dark water in a large cave. Torches burn around her.
 
 
She tries to get up and finds it difficult. She pulls herself
 
up to the side of the pool and splashes water on her face.
 
 
It's blood.
 
 
She starts, staring with growing horror at her hands. She
 
does not even see the figure rise from the pool at first.
 
 
It's Lothos. He wears no shirt, only white trousers and boots,
 
the style maybe Nineteenth Century. No blood seems to touch
 
him as he rises. He looks at Cassandra with an almost sleepy
 
lust.
 
 
LOTHOS
 
I find it restorative, sleeping in
 
the life-blood of so many. To feel
 
their souls coursing about me.
 
 
CASSANDRA
 
What's happening? What do you want?
 
 
LOTHOS
 
(smiling)
 
So very much.
 
 
CASSANDRA
 
My parents have money...
 
 
LOTHOS
 
Yes, I'm sure they do. This place
 
is everything you said it was,
 
Amilyn.
 
 
Cassandra turns. Amilyn stands behind her, grinning. He
 
hisses, bares his fangs at Cassandra.
 
 
CASSANDRA
 
What... are you?
 
 
LOTHOS
 
Are we so strange? So alien to
 
you? I've seen this culture, the
 
wealth, the greed, the waste...
 
it's truly heartwarming. The perfect
 
place to spread my empire. Honestly,
 
Eastern Europe was so dead, the
 
Communists just drained the blood
 
out of the place. It's livened up
 
a bit in the past few years, but
 
it's nothing compared to this....
 
this Mecca of consumption. The
 
city of Angels.
 
 
He steps right up to her.
 
 
LOTHOS
 
(continuing)
 
What are we? We are man, perfected.
 
We exist to consume.
 
 
On the world "to consume" we see Amilyn mouthing the words
 
with Lothos, his eyes to the ceiling. He's heard this a hundred
 
times.
 
 
AMILYN
 
So? Do we change this one, or do
 
we just drain her?
 
 
Cassandra pulls her gold card out of her wallet.
 
 
CASSANDRA
 
Here, look. My gold card. It's
 
your. I'll never report it.
 
 
Amilyn snatches it from her, looks it over.
 
 
LOTHOS
 
She has a certain quality, this
 
one...
 
 
Amilyn bites the card.
 
 
AMILYN
 
I don't think this is gold.
 
 
LOTHOS
 
Not as single-minded as the others,
 
not as sybaritic. Almost thoughtful.
 
She's useless.
 
 
CASSANDRA
 
No, wait. I can be dumb. Really.
 
Or mean, or whatever. I can learn.
 
I'm useful.
 
 
LOTHOS
 
Really?
 
 
CASSANDRA
 
Swear to God.
 
 
He rips out her throat, tearing at it with his teeth as blood
 
gushes around their faces and she wriggle, twists, dies. He
 
hurls her into the door and wipes blood from his mouth.
 
 
LOTHOS
 
I wish you wouldn't mention him...
 
 
Slowly Cassandra slides down the wall, her eyes glazing over.
 
As she descends we see, stenciled on the wall, "Hemery High
 
School. Maintenance Only."
 
 
CUT TO:
 
 
INT. WAREHOUSE - AFTERNOON
 
 
Grey, dusty and long since abandoned. Sunlight pours in through
 
the large windows, practically caked with dust. Old crates
 
are stacked here and there, bits of manikins leaning on one or
 
two. Merrick sits on a crate, reading the newspaper.
 
 
Buffy enters hesitantly, puts down her bookbag next to a pile
 
of Merrick's stuff, including a rolled-up sleeping bag. This
 
is definitely not her turf. She runs her finger along a crate,
 
picks up a world of dust. She holds up her finger at Merrick.
 
 
BUFFY
 
Fire the help. No kidding.
 
 
Merrick looks up at her.
 
 
MERRICK
 
It's not pretty, but it does suit
 
our purposes.
 
 
BUFFY
 
Our purposes.
 
 
She repeats it not with attitude, but a dull wonder at her
 
connection with this strange man. She crosses to him.
 
 
BUFFY
 
(continuing)
 
What, um... What do we do?
 
 
MERRICK
 
There's a great deal I have to show
 
you, I'm not even sure where to
 
start There's so little time.
 
 
BUFFY
 
Why do you keep saying that?
 
 
MERRICK
 
Do you know what a Vampire-King is?
 
 
BUFFY
 
A Vampire-King? You mean like
 
Dracula?
 
 
MERRICK
 
Oh, yes. And the man from your
 
dreams. Lothos.
 
 
BUFFY
 
Oh, him.
 
 
MERRICK
 
Yes. They travel about, usually
 
with one or two of their followers
 
to lay the groundwork. The vampires
 
find a community and they feed on
 
it, make it their own. You were
 
difficult to trace, and I think the
 
process has gone a lot further than
 
I'd anticipated. Usually this goads
 
a community into some kind of
 
paranoid frenzy. But for some
 
reason, nobody here seems to be
 
paying any attention.
 
 
BUFFY
 
(not paying attention)
 
What?
 
 
MERRICK
 
(annoyed)
 
We'll cover it later.
 
 
BUFFY
 
I still don't get how they happened
 
to come to my town. I mean, was I
 
born here because... because they
 
were coming here? That Lothos guy,
 
and his buddies?
 
 
MERRICK
 
In a way, yes. Your fate is
 
inexorably connected to them.
 
 
BUFFY
 
Great. First I have a birthright,
 
now I've got a fate. Hey, do I
 
have to take notes on this?
 
 
MERRICK
 
(put down his paper)
 
We're going to have the work hard.
 
You'll need some excuse for staying
 
out. For your parents.
 
 
Buffy laughs.
 
 
BUFFY
 
Not a pressing issue.
 
 
MERRICK
 
I tell you, the best thing I can do
 
right now is find out more about
 
you. What your strengths are, your
 
likes... Everything. What's your
 
best subject?
 
 
BUFFY
 
Uh... gym.
 
 
MERRICK
 
Yes, you used to do gymnastics.
 
But you stopped. Why?
 
 
BUFFY
 
Well, everybody says... it's just
 
kind of dorky. I mean, have you
 
ever seen a gymnast's legs? They're
 
like --
 
(indicating huge)
 
-- the mighty oak. It's not a look.
 
 
MERRICK
 
But you enjoyed it, yes?
 
 
BUFFY
 
Well... I do cheerleading now.
 
It's way cooler.
 
 
MERRICK
 
Cheerleading. For... sporting
 
events, yes?
 
 
BUFFY
 
Sporting events, yeah.
 
 
MERRICK
 
All right. Why don't you show me a
 
cheer?
 
 
BUFFY
 
Here?
 
 
MERRICK
 
Yes, yes. It would be interesting.
 
A nice cheer.
 
 
BUFFY
 
Okay.
 
 
Buffy starts, a bit awkwardly, doing a cheer.
 
 
BUFFY
 
(continuing)
 
Who we gonna beat?
 
 
MERRICK
 
(pathetically following her
 
motion)
 
Who we gonna beat?
 
 
BUFFY
 
(stops)
 
No -- you don't have to --
 
 
MERRICK
 
Oh. I thought... you lead me --
 
 
BUFFY
 
No. You don't do anything. I do
 
it.
 
 
MERRICK
 
Oh. Good.
 
 
She starts again.
 
 
BUFFY
 
Who we gonna beat?
 
Who do we defeat?
 
Who will we be pulverizing
 
Into cream of wheat?
 
 
Gradually, Buffy gets more into the cheer. The steps become
 
more complicated as she repeats the verse.
 
 
CLOSEUP - MERRICK'S HAND
 
 
We see a knife slip out of Merrick's sleeve. He palms it,
 
hands behind his back.
 
 
In the middle of her routine, he hurls it at her. She catches
 
it, reflexively, inches from her face. Stops dead. Then bursts
 
into tears. Merrick is thrown off by this reaction.
 
 
BUFFY
 
Oh, what the hell is wrong with
 
you? You threw a knife at my head!
 
 
MERRICK
 
I had to test you.
 
 
BUFFY
 
But you threw a knife at my head!
 
 
MERRICK
 
And you caught it! Only the chosen
 
one could have done that.
 
 
BUFFY
 
I don't want to be the chosen one,
 
okay? I don't want to spend the
 
rest of my life chasing after
 
vampires! I just want to graduate
 
from high school, go to Europe,
 
marry Charlie Sheen and die. It
 
may not sound too exciting to a
 
sconehead like you, but I think
 
it's swell. And then you come
 
along... and... and then I'm a
 
member of the hairy mole club, so
 
you throw things at me!
 
 
She is coming at him now. He begins to back up.
 
 
MERRICK
 
It was necessary.
 
 
BUFFY
 
(realizing)
 
Last night. You knew I was sitting
 
on a fresh grave, didn't you?
 
 
MERRICK
 
I don't think you understand the
 
full implications of --
 
 
Buffy punches him in the face. He goes flying a good ways,
 
lands on his back. His nose bleed merrily. Buffy stops.
 
 
BUFFY
 
Oh. Sorry.
 
 
MERRICK
 
(getting up)
 
Don't you see what's happening?
 
You're changing. You've got powers
 
you've only just begun to tap.
 
Physical, mental prowess you've
 
never dreamed of.
 
(pulling a handkerchief out
 
of his pocket)
 
God, this hurts. I've administered
 
a few shocks to your system to start
 
the adrenaline working. I'm sorry
 
I have to take so many shortcuts in
 
the training process.
 
 
BUFFY
 
Put your head back.
 
 
MERRICK
 
Two days ago, would you have even
 
hit me? Let alone so powerfully?
 
 
BUFFY
 
No... I guess I would have gotten
 
Jeffrey to hit you.
 
 
MERRICK
 
Exactly. You're changing. You're
 
becoming something extraordinarily
 
powerful.
 
 
Buffy looks at the knife in her hand. The MUSIC COMES UP and
 
we...
 
 
CUT TO:
 
 
A SERIES OF IMAGES AND INTERCUT SCENES
 
 
Buffy's period of training. Over the difficult course of it,
 
she is obviously becoming more self-possessed, more at ease.
 
Her style of dress loosens a bit: a little punkier. Stops
 
dying her hair blonde and her roots start showing. Accumulates
 
a few more holes in her ears.
 
 
EXT. THE WAREHOUSE - NIGHT
 
 
Buffy doing a series of gymnastic flips, swinging on vines,
 
etc.
 
 
CUT TO:
 
 
EXT. SCHOOL - DAY
 
 
Buffy arriving late for class.
 
 
CUT TO:
 
 
INT. BRENTANO'S - DAY
 
 
Buffy charging some books: Lawson's Treatis on Demonology,
 
Psychological Interpretations of Vampirism, The Book of the
 
Dead, and The Complete Garlic Cookbook.
 
 
CUT TO:
 
 
INT. WAREHOUSE - NIGHT
 
 
Merrick sits on a crate, reading the obituaries and circling
 
certain entries.
 
 
Buffy stands on her head, sweating with concentration. The
 
CAMERA TILTS up to reveal her feet. Between the toes of one
 
is a nail brush, with which she is very carefully painting her
 
toenails.
 
 
CUT TO:
 
 
INT. MELROSE CLOTHING STORE ("ROCK STAR") - NIGHT
 
 
Amilyn and a few of the old-world vampires are on a spree,
 
trying on various leather jackets. As they cavort, the CAMERA
 
TRACKS behind the counter, where we find the clerk, bloody and
 
dead, slumped on the floor.
 
 
CUT TO:
 
 
EXT. SCHOOL - DAY
 
 
Buffy kissing Jeffrey goodbye after school. A long, lingering
 
kiss, during which she pulls away, anxious to get going. She
 
starts off, comes back and plants a big ol' on his lips one
 
last time before splitting.
 
 
CUT TO:
 
 
EXT. MINIATURE GOLF COURSE - AFTERNOON
 
 
Merrick and Buffy are playing. Merrick tees off, shoots
 
horribly.
 
 
BUFFY
 
(as announcer)
 
Ooh, another embarrassment for the
 
teabag, while the chosen one is
 
still well under par.
 
 
MERRICK
 
Your turn.
 
 
Buffy positions herself.
 
 
BUFFY
 
What about bats? Do they turn into
 
bats?
 
 
MERRICK
 
No. No bats, no flying. They...
 
float, occasionally. Not really
 
flying.
 
 
BUFFY
 
Toasty. Were there ever any, like,
 
famous vampires?
 
 
MERRICK
 
Oh, several. Lucretia Borgia, Joseph
 
Mengele, Franklin Pangborn... are
 
any of those names familiar?
 
 
BUFFY
 
If I say 'no' does that make me a
 
bad person?
 
 
MERRICK
 
Good Lord. What do you study in
 
history?
 
 
BUFFY
 
My nails.
 
 
She gives a little 'isn't that funny' kind of laugh. He doesn't
 
respond.
 
 
MERRICK
 
All right. You've heard of the
 
emperor Caligula, perhaps? Or Jack
 
the Ripper?
 
 
BUFFY
 
They were vampires?
 
 
MERRICK
 
Same one.
 
 
BUFFY
 
Oh.
 
 
She considers this a moment. Tees off: another hole in one.
 
 
CUT TO:
 
 
EXT. WAREHOUSE (LATER)
 
 
Buffy and Merrick sparring, working their way in between the
 
"trees." She is his superior in speed and strength, but he
 
easily trips her up. She glares at him from the ground.
 
 
CUT TO:
 
 
INT. SCHOOL - DAY
 
 
Buffy late again. Gary Murray watches her from the hall,
 
shaking his head.
 
 
CUT TO:
 
 
EXT. ROADSIDE - EVENING
 
 
Two college-age guys stand hitchhiking. A red convertible
 
pulls up, with a beautiful blonde behind the wheel. The guys
 
look at each other -- all right! They can't see her teeth, or
 
the look in her eye.
 
 
CUT TO:
 
 
INT. CHURCH - AFTERNOON
 
 
Buffy walks in, looks around. She approaches a PRIEST.
 
 
BUFFY
 
Excuse me...
 
 
PRIEST
 
Yes, my child? Is something
 
troubling you?
 
 
BUFFY
 
Well, sort of.
 
 
PRIEST
 
Well, maybe I can help.
 
 
BUFFY
 
Yeah. Um... Could you bless these?
 
 
She holds up a six-pack of Perrier.
 
 
CUT TO:
 
 
INT. LOTHOS' CAVE - NIGHT
 
 
We see the entire cave, the still pool of blood, the torches
 
lit. At the far end sits Lothos. In his arms is the body of
 
a dead girl. Blood stains her neck and yet the image is poetic,
 
reminiscent of Michelangelo's "Pieta". They are both perfectly
 
still, her draped across his lap, he with his eyes far far
 
away. The silence holds.
 
 
Lothos belches massively.
 
 
CUT TO:
 
 
INT. WAREHOUSE - NIGHT
 
 
Merrick is lecturing Buffy. Buffy is sitting, doodling in an
 
open notebook, "uh-huh"ing and obviously not paying attention.
 
 
MERRICK
 
... Lothos was probably born in the
 
eleventh or twelfth century; he's
 
been difficult to trace. His power
 
has increased with age. It will be
 
a long while before you are ready
 
to face him. We'll be lucky if we
 
can get him to leave the area, to
 
lie low for awhile. That will
 
scatter the rest of them. Lothos
 
is...
 
 
He looks at Buffy, who is staring down at her notebook.
 
 
MERRICK
 
(continuing)
 
... is extremely powerful, but he
 
is still a vampire, and vulnerable
 
to the same...
 
 
He looks at her. Is she listening?
 
 
MERRICK
 
(continuing)
 
Daylight is still his enemy. The
 
stake can still find his heart.
 
 
Is she?
 
 
MERRICK
 
(continuing)
 
I have huge antlers growing out of
 
my buttocks.
 
 
Nope. No reaction, just another "Uh-huh."
 
 
ANGLE - BUFFY'S NOTEBOOK
 
 
Merrick slams a stake right through the middle of it. Buffy
 
screams, jumps back a good two feet and lands on her butt.
 
 
BUFFY
 
(angry)
 
What!?!
 
 
MERRICK
 
Try to pay attention.
 
 
CUT TO:
 
 
INT. WAREHOUSE - LATE LATE NIGHT
 
 
Merrick talking. Buffy drinking coffee, trying hard to stay
 
awake. Listening.
 
 
CUT TO:
 
 
INT. SCHOOL - DAY
 
 
Buffy in class, taking a test. Nicole leaning over, trying to
 
cheat off her when she falls forward onto the desk, asleep.
 
 
CUT TO:
 
 
INT. SCHOOL HALL - DAY
 
 
Buffy being ushered into Gary Murray's office.
 
 
CUT TO:
 
 
INT. GARY MURRAY'S OFFICE - DAY
 
 
Buffy sits in his chair. Gary moves about his desk, sitting
 
behind it, leaning on it, talking to her. A FLY BUZZES
 
annoyingly about his head.
 
 
GARY MURRAY
 
Well, I think we can safely say
 
that something's going on with you,
 
Buffy. Now, there's nothing to be
 
nervous about; you're not in any
 
trouble. I just hoped maybe we
 
could talk. Don't think of me as
 
Gary Murray, administrator. Think
 
of me as Gary Murray, party guy!
 
Happening dude who can talk to the
 
young. Me and you. It's open...
 
Tell me. It's drugs, isn't it?
 
 
CUT TO:
 
 
EXT. FOREST - AFTERNOON
 
 
Buffy stands under a tree, blindfolded. Merrick stands a ways
 
apart, watching. Buffy stands very still, neck craned, waiting.
 
 
Silently, a leaf falls. It wafts gently down. Buffy hurls a
 
knife at it with easy precision.
 
 
ANGLE - ANOTHER TREE
 
 
The knife stick deep into the trunk, the leaf perfectly pinned.
 
 
Merrick looks at it. Buffy smiles, knowing she has hit the
 
target. Blindfold still on, she turns toward Merrick and walks
 
into a branch, falls heavily backwards.
 
 
CUT TO:
 
 
INT. GARY MURRAY'S OFFICE - DAY
 
 
The same session, continuing. Buffy still sits, expressionless,
 
in the chair. The FLY still BUZZES.
 
 
GARY MURRAY
 
Hey, there's nothing to be afraid
 
of! I know where you're coming
 
from. Believe me. I'll tell you
 
the truth. I've had my drug
 
experiences, too. I did a lot -- I
 
did some acid in the Sixties. Well,
 
the late Seventies, actually. It
 
was at a Doobie Brother's concert.
 
 
CUT TO:
 
 
INT. THE MALL - DAY
 
 
Buffy at the mall with Kimberly, Nicole and Jennifer. For the
 
first time, we really see how she stands out against her
 
friends. She is wearing much more functional, cool garb, and
 
less makeup, while they still sport the same dainty shit from
 
the beginning.
 
 
They stop to look at some dresses. Something in the next store
 
catches Buffy's eye; she wanders off.
 
 
CUT TO:
 
 
INT. GARY MURRAY'S OFFICE - SAME TIME
 
 
Gary Murray is crouching on his desk. Buffy still sits. The
 
FLY still BUZZES.
 
 
As Gary talks, Buffy picks up a push pin from the table beside
 
her, holds it.
 
 
GARY MURRAY
 
... and I could see the music flowing
 
into me, it was bright red and
 
electric, and I felt like a big
 
toaster, and I thought, maybe I am
 
a toaster, we're all molecules, and
 
my friend Melissa, her head looked
 
like a big party balloon, and that
 
scared me, I started to freak out...
 
 
Buffy surreptitiously puts the push pin in her mouth.
 
 
CUT TO:
 
 
INT. THE MALL - DAY
 
 
The other girls are moving on from the dress shop, notice Buffy
 
is not with them. They spot her in the next shop, urge her to
 
come on. Buffy puts back the chain saw she was looking at,
 
follows them.
 
 
CUT TO:
 
 
INT. GARY MURRAY'S OFFICE - DAY
 
 
Buffy hasn't moved, or opened her mouth. The FLY BUZZES on.
 
Gary Murray now sits behind his desk.
 
 
GARY MURRAY
 
I guess you're surprised. Well,
 
you know, there's more to most people
 
than meets the eye. Everybody's
 
got a secret. I just want you to
 
know that you can always share your
 
secrets with me. What you say in
 
this office, it will stay in this
 
office. I'm your pal.
 
 
Buffy smiles at Gary. As he looks away for a second, Buffy
 
spits out the push pin. The BUZZING STOPS.
 
 
CUT TO:
 
 
INT. WAREHOUSE - NIGHT
 
 
Buffy sparring with Merrick again. She holds a stake. This
 
time she ends up pinning him, the stake at his solar plexus.
 
 
He moves the point to where his heart would be.
 
 
CUT TO:
 
 
INT. PIKE'S BEDROOM - NIGHT
 
 
The room is a shambles. Outside the first floor window, it is
 
dark night. "Help Yourself" by the Posies blasts from Pike's
 
STEREO. Pike lies on his bed.
 
 
Through the window we see Benny approach, slowly fading up to
 
the pane. He's floating, really. (He's a vampire.) He scrapes
 
his fingers on the glass.
 
 
BENNY
 
Pike...
 
 
Pike sits up, turns down the music. He goes to the window,
 
begins to try to open it. It's stuck.
 
 
PIKE
 
Benny, man, where you been? You
 
bailed on me, I passed out, man, I
 
almost did a Jimi Hendrix!
 
 
BENNY
 
Let me in.
 
 
PIKE
 
Hey, I'm trying, but this window is
 
burnt --
 
 
Pike gets a good look at Benny for the first time.
 
 
BENNY
 
Invite me in, Pike.
 
 
PIKE
 
Wait a minute. What's wrong with
 
you, man?
 
 
BENNY
 
I'm fine.
 
 
PIKE
 
You look like shit, Benny.
 
 
Benny grins, presses his slimy forehead against the glass.
 
 
BENNY
 
I... feel.... pretty.
 
 
PIKE
 
No offense, man, but I think you're
 
on something nasty. Why don't you
 
just go and cool out and I'll see
 
you in the morning or something.
 
 
BENNY
 
The sun! It burns! It burns!
 
 
He laughs at his impression, brown spittle caking the window.
 
 
BENNY
 
(continuing)
 
Let me in, Pike! I'm hungry!
 
 
PIKE
 
Get away from here.
 
 
BENNY
 
I'm hungry.
 
 
PIKE
 
I mean it.
 
 
Benny smiles, moves suddenly out of sight. Pike looks at the
 
window for a second, then bolts out of his room. He runs to
 
the front door, frantically hooks the chain. Benny appears at
 
the door's little window, banging and scraping the glass.
 
 
BENNY
 
I'm hungry! I'm hungry! I'm hungry!
 
 
Pike backs away.
 
 
CUT TO:
 
 
EXT. DESERTED STREET - NIGHT
 
 
Buffy walks slowly down the street, trying to appear nonchalant,
 
but looking about her a lot.
 
 
BUFFY
 
Sure is cold. What a dark night.
 
Nice night for a walk.
 
 
She whistles some, keeps walking.
 
 
BUFFY
 
(continuing)
 
'Feelings, la la la la feelings'...
 
Boy, I'm helpless.
 
 
She passes an alley and there is a RUSTLING amid the garbage
 
cans. She moves slowly down the alley toward the noise. She
 
is about halfway down when a rat scurries out from the cans
 
and down a drain.
 
 
BUFFY
 
(continuing)
 
Yeucch.
 
 
Behind her, another SOUND. She turns slowly. At the entrance
 
to the alley stands a vampire. They stare at each other, some
 
thirty feet away.
 
 
BUFFY
 
(continuing)
 
Hello...
 
 
She moves back a step. The vampire takes a step.
 
 
BUFFY
 
(continuing)
 
What do you want?
 
 
It floats rapidly at her, hissing. Buffy looks about her
 
frantically, trapped. It hits her at top speed and she
 
instantly rolls onto her back, flipping it and hurling it
 
against the wall at the end of the alley. As it hits, Buffy,
 
still rolling, produces a stake from her jacket and throws it
 
directly at its heart. The stake punctures the startled
 
creature's chest. Before he can so much as grab it, Buffy
 
throws a roundhouse kick, driving the stake all the way home
 
with her foot. The vampire screams, sinks to the ground.
 
 
Buffy turns, triumphant.
 
 
BUFFY
 
(continuing)
 
Toaster-caked him!
 
 
CLOSEUP - A STOPWATCH
 
 
A hand stops it. It is Merrick, who steps into the alley and
 
stares at Buffy.
 
 
CUT TO:
 
 
EXT. OUTSIDE THE WAREHOUSE - NIGHT
 
 
The two exit Merrick's car, an old Dodge Dart. As they talk,
 
they make their way into the warehouse. Buffy looks out for
 
trouble while Merrick unlocks the door. This is obviously
 
their routine.
 
 
MERRICK
 
He was slow. Very simple. They
 
won't all be that easy.
 
 
BUFFY
 
Fine.
 
 
MERRICK
 
And the alley was a mistake. Never
 
corner yourself like that. If they'd
 
come at you in force you'd be dead
 
now. One vampire is a lot easier
 
to kill then ten.
 
 
BUFFY
 
Does the world 'Duhh' mean anything
 
to you?
 
 
MERRICK
 
You felt a little sick, didn't you?
 
The cramps.
 
 
They enter the warehouse.
 
 
CUT TO:
 
 
INT. THE WAREHOUSE - SAME TIME
 
 
They unload their stuff as they argue.
 
 
BUFFY
 
Nice conversationalist! Yeah, I
 
felt 'em a little, but I ain't due
 
for two weeks since you're so excited
 
about the subject.
 
 
MERRICK
 
It's natural. A reaction to their
 
presence, to the... unnaturalness
 
of it. It's part of how you are
 
able to track them.
 
 
BUFFY
 
Oh, wonderful. My secret weapon is -
 
PMS. That's just great. Thanks
 
for telling me.
 
 
MERRICK
 
You'll get used to it. I'm more
 
worried about your tactical mistakes.
 
 
BUFFY
 
You are such a wet.
 
 
MERRICK
 
A what?
 
 
BUFFY
 
A wet! Didn't I just kill that
 
vampire? I think I did. I didn't
 
see you killing any vampires. You
 
were too busy playing 'Beat the
 
Clock'.
 
 
MERRICK
 
Don't start with me again.
 
 
BUFFY
 
Aren't I, like the chosen one? The
 
one and only? The Grand High Poobah
 
and doesn't that mean you have to
 
be nice to me? Like, ever?
 
 
MERRICK
 
Buffy...
 
 
BUFFY
 
And why are you always wearing black?
 
It's so down. It's totally not
 
your color. I don't think you have
 
a color.
 
 
MERRICK
 
What do you want? Encouragement?
 
(in bad American accent)
 
'Gosh, Buffy, you're so special, I
 
just want to give you a great big
 
hug, oh I'm just having a warm
 
fuzzy.'
 
 
BUFFY
 
Oh, fuck you!
 
 
Merrick turns on her.
 
 
MERRICK
 
Do you know how many girls I've
 
trained to be Slayers? Five. Five
 
properly prepared girls, girls who
 
faced their responsibilities, who
 
worked hard to become women overnight --
 
harder than you've ever worked in
 
your life -- and I saw them ripped
 
apart. Do you want to live? Do
 
you?
 
 
BUFFY
 
I...
 
 
MERRICK
 
What did you think, that being able
 
to jump about and hit people makes
 
you a Slayer?
 
 
Buffy looks at him a bit.
 
 
BUFFY
 
Five?
 
 
MERRICK
 
Five.
 
 
BUFFY
 
So, basically, I've got the life
 
expectancy of a zit, right?
 
 
MERRICK
 
Not if you're careful.
 
 
BUFFY
 
How can you keep doing this?
 
 
MERRICK
 
It's what I was raised to do. There
 
aren't many of us left, the Watchers.
 
 
BUFFY
 
Watchers?
 
 
MERRICK
 
There's a small village in Hampshire,
 
near Stonehenge...
 
(sees she doesn't know it)
 
... near a bunch of big rocks.
 
That's where I was born. My father
 
taught me about the training, about
 
finding the Slayers, reading the
 
signs. There's a small cluster of
 
us, a few families, really... most
 
of the neighboring villagers think
 
we're just a bunch of harmless old
 
loonies. I thought so myself for a
 
time, when I was younger...
 
(stops himself)
 
I'm sorry. I'm not supposed to...
 
I shouldn't go on like this.
 
 
BUFFY
 
I wish you would.
 
 
MERRICK
 
It isn't important.
 
 
BUFFY
 
I'm curious, is all.
 
 
MERRICK
 
Buffy, don't... don't start thinking
 
of me as your friend. It interferes
 
with the work, and it...
 
 
BUFFY
 
And it makes it worse when I die,
 
right?
 
 
Silence.
 
 
BUFFY
 
(continuing)
 
Well, you know, I'm not gonna kick
 
so easy. I've got a few things the
 
other girls didn't have.
 
 
MERRICK
 
As for example, what?
 
 
BUFFY
 
Well... there's my keen fashion
 
sense, for one.
 
 
MERRICK
 
Vampires of the world, beware.
 
 
BUFFY
 
(impressed)
 
Merrick. You made a joke. Are you
 
okay, I mean, do you want to lie
 
down? I know it hurts the first
 
time.
 
 
In spite of himself, Merrick smiles.
 
 
CUT TO:
 
 
INT. SCHOOL HALL - DAY
 
 
Buffy, Nicole, Kimberly, and Jennifer are walking down the
 
hall.
 
 
JENNIFER
 
So they found Cassandra's body out
 
by the railway tunnels. Nobody's
 
saying anything, but they think she
 
was involved in something, like,
 
illegal or something. Like dealing.
 
 
KIMBERLY
 
Well, I hope so.
 
 
JENNIFER
 
Probably was. What do you suppose
 
she was doing out there.
 
 
BUFFY
 
Dying.
 
 
JENNIFER
 
Eeyuu.
 
 
Coming from the opposite direction are Jeffrey, Andy and some
 
of the other football players. They're suited up and heading
 
for the gym.
 
 
ANDY
 
... And they're having some memorial
 
service or something tomorrow. You
 
going?
 
 
JEFFREY
 
I don't know. Coach said I had to
 
work on my 'ab's.'
 
 
ANDY
 
Coach knows what abs are?
 
 
They pass Buffy. Andy stops and grabs her from behind.
 
 
ANDY
 
(continuing)
 
Got to get some!
 
 
Unthinkingly, Buffy flips Andy over and pins him against a
 
locker.
 
 
ANDY
 
(continuing)
 
Whoa! Whoa! I'm sorry. I'm sorry.
 
I don't actually need any right
 
now.
 
 
JEFFREY
 
(to Buffy)
 
What's with you?
 
 
BUFFY
 
Don't grab me, okay?
 
 
ANDY
 
Absolutely. I see now the error of
 
my mistake.
 
 
JEFFREY
 
Yeah, keep your mitts off my thang.
 
I'll pop you one.
 
(to Buffy)
 
Did he scare you?
 
 
Jeffrey puts his arm around Buffy but she shakes it off.
 
 
BUFFY
 
I can take care of myself, Jeffrey.
 
 
JEFFREY
 
So I noticed.
 
 
Buffy goes off by herself. Jeffrey watches her.
 
 
JEFFREY
 
(continuing)
 
Nice to feel needed.
 
 
ANDY
 
Let's move out!
 
 
JEFFREY
 
(rallying)
 
Yes!
 
 
The lads move off. We see Nicole, Kimberly and Jennifer, who
 
have been watching the whole exchange. Nicole and Kimberly
 
are obviously disdainful of Buffy's behavior. Jennifer is
 
feeling sorry for Jeffrey. Boy does she want him.
 
 
CUT TO:
 
 
INT. CLOTHING STORE - DAY
 
 
A mod, brightly lit store. A little hipper than your usual
 
mall fare, but not Melrose either. Bright colors reign. Buffy
 
is standing by a dressing stall, inspecting her fingernails,
 
talking to Merrick as he changes inside.
 
 
BUFFY
 
I mean, most of the time Jeffrey's
 
really sweet, but sometimes he gets
 
kind of... 'Me-Tarzan'ish, you know
 
what I mean? Lately it bugs me, I
 
guess.
 
(no response)
 
Merrick? Are you still breathing?
 
 
MERRICK (O.S.)
 
(from inside)
 
I can't work this.
 
 
BUFFY
 
We call them zippers. They're not
 
supposed to be a challenge.
 
 
MERRICK
 
But it's in the back. Why are we
 
wasting time with this, anyway?
 
 
BUFFY
 
Because you clash, Merrick. You
 
clash with everything. I mean you
 
might as well go around with a sign,
 
'Slayers trained here.' Honestly,
 
you look like something out of...
 
Pasadena.
 
 
MERRICK
 
My clothes have always been perfectly
 
serviceable.
 
 
BUFFY
 
Well, you're on my turf now. You're
 
just gonna have to trust me.
 
 
Merrick comes out of the booth. He wears multi-colored
 
parachute pants and an equally loud T-shirt. Buffy looks at
 
him -- he looks at himself.
 
 
MERRICK
 
I want to die.
 
 
BUFFY
 
(doesn't like it either)
 
Okay. The important thing is not
 
to panic.
 
 
CUT TO:
 
 
EXT. ZEPH'S AUTO REPAIR - LATE AFTERNOON
 
 
Pike is hurriedly working on a part in the hood of his beat-up
 
Dodge, which is filled with all his belongings. ZEPH stands
 
watching him. Zeph is about forty-five, greasy, good-natured.
 
Pike works for him.
 
 
PIKE
 
You said you'd have the part by
 
two! Christ, it's almost dark.
 
 
Pike finishes, slams the hood. He picks up a battered guitar
 
case and stuffs it into the car, shuts the door.
 
 
ZEPH
 
What nasty bug crawled up your bungus
 
and where the hell are you going?
 
 
PIKE
 
I'm leaving, man. I'm bailing town.
 
This place has gotten way too hairy.
 
 
ZEPH
 
Where am I gonna find another
 
mechanic stupid enough to work for
 
my money?
 
 
PIKE
 
Hey, have you seen Benny lately?
 
 
ZEPH
 
No... You want me to give him a
 
message?
 
 
PIKE
 
You should think about leaving,
 
too, man. Sell this place...
 
Something's going on here. I don't
 
know. Something real weird.
 
 
Pike gets in the car. It sputter, starts.
 
 
ZEPH
 
Ah, you'll be coming back.
 
 
PIKE
 
I don't think so.
 
 
ZEPH
 
All right. Take care of yourself.
 
 
PIKE
 
I am.
 
 
ZEPH
 
Hey. What should I do if I see
 
Benny?
 
 
PIKE
 
Run.
 
 
Pike peels out. Zeph watches him go.
 
 
ZEPH
 
That's my guitar...
 
 
ANGLE - THE SUN
 
 
burning down.
 
 
CUT TO:
 
 
INT. PIKE'S CAR - NIGHT
 
 
On the edge of town. The car has stalled at an intersection.
 
Pike is hunched over the wheel, his head down as he listens to
 
the rasping ENGINE.
 
 
PIKE
 
Come on, come on. Don't leave me,
 
baby. Come on, breathe.
 
 
Amilyn appears in the street in front of the car. Pike finally
 
hears the SCRAPING OF HIS FEET as he approaches the car. Pike
 
straightens up slowly, and as the rear view mirror comes INTO
 
THE FRAME, we see there are two more behind him. They are
 
both high-school age, fresh like Bessel and Benny. They all
 
approach, slowly.
 
 
Pike waits for a second, his hand on the key.
 
 
PIKE
 
(continuing)
 
This is for the money, baby. Make
 
me proud.
 
 
He turns the key again and the car ROARS to life. The
 
headlights trap the hungry scowl of the vampires as Pike pops
 
the car in reverse, smashing into the back two vampires. They
 
both go flying, hurt but not killed.
 
 
ANGLE - INSIDE THE CAR
 
 
Pike races at Amilyn, but he leaps up as Pike reaches him, and
 
Pike hears a THUD as Amilyn lands on the roof of his car.
 
Pike continues to bullet down the street as a hand suddenly
 
punches through the roof, grabbing at him. He fights off the
 
hand and tries to control the speeding car.
 
 
It can't be done: he goes off the road and into a park. The
 
car careens along.
 
 
ANGLE - ON TOP OF THE CAR
 
 
Amilyn ride it, laughing.
 
 
ANGLE - INSIDE THE CAR
 
 
Pike spots a tree with a low branch and heads for it. Still
 
fighting, he aims at the branch. It gets closer.
 
 
ANGLE - ON TOP OF THE CAR
 
 
Amilyn looks up.
 
 
ANGLE - INSIDE THE CAR
 
 
They pass under the branch and we hear a TEARING THUD. The
 
arm stiffens and falls into Pike's lap.
 
 
The car hits another tree dead on. Pike slams into the steering
 
wheel. The guitar case flies right through the windshield and
 
lands on the grass.
 
 
Pike pulls himself slowly from the car. He is bleeding, but
 
not badly. Just shaken. He hears a low, seething WAIL from a
 
few yards back and turns around. Amilyn is getting shakily to
 
his feet.
 
 
PIKE
 
Oh, give me a break.
 
 
Amilyn hisses at him, then turns and races away, snarling,
 
clutching what's left of his arm.
 
 
One of the other vampires nears him. Pike tries to run and
 
his knees buckle. He lands on them right next to the guitar
 
case. As the vampire nears, he pulls the guitar out of the
 
case and swings it, hitting the vampire in the head. He hits
 
him again. The vampire bats away the guitar and grabs Pike.
 
Brings his face to Pike's as Pike squirms.
 
 
A blasting kick in the head from Buffy. The vampire is flung
 
to one side, falls. He starts up at Buffy and she nails him
 
with a stake. Pike stares at her. She pulls a walkie-talkie
 
from her pocket.
 
 
BUFFY
 
(into walkie-talkie)
 
I'm on the east side, near the
 
playground... all right.
 
 
She puts the walkie-talkie back.
 
 
BUFFY
 
(continuing)
 
Hi.
 
 
PIKE
 
Hi there.
 
 
BUFFY
 
Is that your car?
 
 
PIKE
 
It was. I think it's pretty much
 
ready for the --
 
 
The last vampire hits Pike from behind. Without missing a
 
beat, Buffy picks up the guitar and snaps the neck off. She
 
and the vampire meet in the middle -- the creature barely moves
 
before she buries the guitar neck in its chest. It falls.
 
 
Merrick runs up. He is wearing black jeans and a windbreaker.
 
He is more modern than he was before, but subtly. He sees the
 
decaying bodies, one with a guitar sticking out of its chest.
 
 
MERRICK
 
Interesting.
 
 
BUFFY
 
I kind of had to improvise.
 
(to Pike)
 
Sorry about your guitar.
 
 
PIKE
 
That's okay. Umm, listen, I'm
 
not.... I have to fall down now.
 
 
Pike's eyes glaze over slightly as he collapses into Buffy's
 
arms.
 
 
CUT TO:
 
 
INT. BOILER ROOM - CLOSEUP ON AMILYN - NIGHT
 
 
Thrashing about the room in hysterics, screaming and snarling,
 
banging his one fist on the boiler tank. It booms hollowly.
 
Lothos grabs him, throws him up against the wall.
 
 
LOTHOS
 
What's wrong with you!?!
 
 
AMILYN
 
My arm! He took my fucking arm!
 
 
LOTHOS
 
Shut up! You let him have it!
 
 
Lothos lets Amilyn go. Amilyn still fumes, quietly.
 
 
LOTHOS
 
(continuing)
 
You reckless imbecile. This place
 
is ours for the taking and you let
 
yourself... twelve hundred years
 
old and you act like a child.
 
 
AMILYN
 
I had him in my grasp.
 
 
LOTHOS
 
Cheer up. You may still.
 
 
Only Lothos smiles at the joke. Amilyn raises his stump, looks
 
at it. The tattered end of his jacket covers the grossness of
 
it, but it still isn't good.
 
 
AMILYN
 
(forlornly)
 
I look horrible.
 
 
LOTHOS
 
The other two -- the new ones.
 
Where are they?
 
 
AMILYN
 
I don't know. But the boy, he
 
couldn't kill them.
 
 
LOTHOS
 
(thoughtfully)
 
No... Not a boy...
 
(gathers himself)
 
Find out if they're dead. And do
 
something about that arm. Honestly,
 
I don't know how you made it through
 
the Crusades.
 
 
He turns toward his chamber.
 
 
LOTHOS
 
(continuing)
 
Let me know about our little
 
recruits. I'll be in my chamber...
 
 
On his way through the door he passes a box on an oil drum.
 
He plucks a large kitten out of it.
 
 
LOTHOS
 
(continuing)
 
... having a snack.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - NIGHT
 
 
Buffy and Pike walk in, Pike still a bit unsteady on his feet.
 
 
BUFFY
 
How are you doing?
 
 
PIKE
 
Oh, I'm good. I'm good. Kind of
 
miss my knees, though.
 
 
BUFFY
 
You want some water or something?
 
 
PIKE
 
Water. Okay.
 
 
They move into the kitchen.
 
 
PIKE
 
(continuing)
 
Do you do this kind of thing a lot?
 
I mean, is this like a hobby?
 
 
BUFFY
 
Not exactly.
 
 
PIKE
 
They were vampires, weren't they?
 
 
BUFFY
 
Yeah.
 
 
PIKE
 
God! Unbelievable. Vampires.
 
 
Buffy hands Pike the water and they move back into the living
 
room. Pike curls up in an armchair by the window. Buffy begins
 
stripping off her bloody clothes, leaving on a tank-top and
 
jeans.
 
 
BUFFY
 
You had a car full of stuff. Were
 
you leaving?
 
 
PIKE
 
Yeah, I was bailing. I have a
 
friend, and he's really... well,
 
he's really vampire, I guess. Bad
 
scene.
 
 
BUFFY
 
Well, stay here tonight.
 
 
PIKE
 
Thanks. Tomorrow morning, I'm on a
 
bus. I'm gone.
 
 
BUFFY
 
Where are you gonna go?
 
 
PIKE
 
Well, I've always wanted to see
 
Oxnard.
 
 
As Buffy strips down to her tank top, she notices a gash on
 
her arm. It's not bleeding much any more, but it's fairly
 
impressive. Pike jumps up to help as she pats it down with
 
her shirt.
 
 
PIKE
 
(continuing)
 
Hey, jeez are you okay? You need a
 
hand?
 
 
BUFFY
 
It's nothing. It doesn't hurt.
 
 
Pike looks at her a moment as she wraps her shirt around it.
 
 
PIKE
 
(almost awed)
 
Who are you?
 
 
Buffy doesn't look up. The questions seems to upset her a
 
great deal. She even fights back tears.
 
 
PIKE
 
(continuing)
 
I'm sorry, I just mean... well you
 
seemed like such a flake. But, in
 
a good way! I can just keep talking
 
till you strike me dead, or...
 
 
Buffy smiles at this, though still upset. She sits down.
 
 
BUFFY
 
Things are kind of confusing.
 
 
PIKE
 
I'll back that up.
 
 
BUFFY
 
Three weeks ago all I thought about
 
was... well, I didn't actually think
 
about anything. I definitely didn't
 
expect this.
 
 
PIKE
 
I know. My guidance counselor never
 
mentioned anything about vampires.
 
'Prison' came up a few times, but
 
nothing about undead.
 
 
BUFFY
 
It's weird. I went back to my old
 
grade school once, to the playground --
 
I used to hang out there all the
 
time, playing on the swings and
 
stuff... I went back and it was so
 
tiny, the whole place. I couldn't
 
even fit on the swings. Everything
 
just looked so small.
 
(collects herself)
 
I'm sorry. I'm babbling.
 
 
PIKE
 
No, you're not.
 
 
But she stands anyway, head to the stairs.
 
 
BUFFY
 
I'm kinda beat. You can stay in my
 
mom's room if you want.
 
 
PIKE
 
I think I'll just hang out here.
 
Make sure the sun comes up and
 
everything.
 
 
BUFFY
 
You sure?
 
 
PIKE
 
Oh, I'll be fine. Got my chair,
 
got my window, I'm great.
 
 
BUFFY
 
Mmkay.
 
 
She starts up the stairs.
 
 
PIKE
 
Hey, Buffy...
 
 
BUFFY
 
Yeah?
 
 
PIKE
 
You know, you saved my life. And I
 
just wanted to say... I forgive you
 
for talking during the movie.
 
Almost.
 
 
She gives him a look, heads upstairs. He watches her go, looks
 
out the window.
 
 
CUT TO:
 
 
EXT. BUS TERMINAL
 
 
A bus is pulling out. We see Pike through the window, looking
 
comtemplative. He watches the terminal disappear.
 
 
PIKE'S POV
 
 
The streets move by. On one there is a Police Officer talking
 
to a hysterical Man. Next to them is a body, covered by a
 
sheet.
 
 
CUT TO:
 
 
EXT. OUTSIDE SCHOOL - MORNING
 
 
Buffy and Merrick are walking along the path to the steps of
 
the main building, arguing. Merrick is wearing casual
 
California gear, but again, very subdued.
 
 
MERRICK
 
There isn't time.
 
 
BUFFY
 
Make time, okay? You're the one
 
who told me to act normal. I've
 
missed three practices already. If
 
I'm not there for the Barber game
 
tomorrow everyone's gonna talk.
 
 
MERRICK
 
Another distraction. It's not right.
 
 
BUFFY
 
Why because it's not my fate? It's
 
not in the Book-of-All-
 
Knowledgefullness that I'm gonna be
 
cheerleading at the Barber game?
 
 
MERRICK
 
Sooner or later you're going to
 
have to accept it. Your fate.
 
 
BUFFY
 
I'm pretty much learning not to
 
accept anything anymore. Come on,
 
Merrick. Football. Afterwards we
 
can kill and kill until there is
 
nothing left.
 
 
MERRICK
 
All right.
 
 
BUFFY
 
Toasty. You should come; it's gonna
 
be a great game.
 
 
MERRICK
 
Oh, I'll be there all right. I'm
 
not letting you out of my sight.
 
Not till you're ready.
 
 
BUFFY
 
Try and be inconspicuous, okay?
 
Act like a fan.
 
 
MERRICK
 
(being a fan)
 
Football is my life.
 
 
BUFFY
 
You're learning. Slowly, incredibly
 
slowly, but you're learning.
 
 
She turns to go.
 
 
MERRICK
 
None of the other girls ever gave
 
me this much trouble.
 
 
BUFFY
 
And where are they now?
 
 
She smiles at him and runs up the steps, where Jeffrey is
 
waiting for her. He looks at the departing figure of Merrick.
 
 
JEFFREY
 
So that's your tutor, huh? What is
 
he, like, your boyfriend now?
 
 
BUFFY
 
Jeffrey. Projectile vomit.
 
 
They enter the building together.
 
 
CUT TO:
 
 
EXT. FOOTBALL FIELD - NIGHT
 
 
Right before the game. The scoreboard reads "Hemery vs Barber".
 
Fans fill the stands. We see Buffy with the other cheerleaders.
 
She's really into it, enjoying herself as they all rally the
 
crowd.
 
 
We see Merrick taking a seat. He is wearing another new outfit --
 
a letterman jacket and baseball cap. He has binoculars around
 
his neck. He takes his seat amidst the teens. Real
 
inconspicuous.
 
 
CUT TO:
 
 
INT. LOCKER ROOM - SAME TIME
 
 
The coach is giving players his pep talk.
 
 
COACH
 
Some people say winning is a state
 
of mind. Can't win out there if
 
you don't win --
 
(point to his head)
 
-- in here. I say, winning isn't a
 
state of mind. I say winning is
 
having more points. And how do we
 
get point? By putting the thing,
 
the ball over the.. in the place.
 
 
AMILYN
 
End zone.
 
 
COACH
 
Right. So I don't care about your
 
minds. Maybe you're tired. Maybe
 
you're worried about your grades.
 
Maybe you dog just died or you've
 
suddenly found that you're attracted
 
to other men. I don't care! 'Cause
 
we're a team. And there only on
 
thing that matters to a team. What
 
that?
 
 
TEAM
 
Winning!
 
 
COACH
 
And how do we win?
 
 
TEAM
 
By putting the thing in the place!!
 
 
COACH
 
So let's go!!
 
 
TEAM
 
Yeahh!!!!
 
 
They run out, full of fire. The coach turns to one player,
 
whose face we cannot see.
 
 
COACH
 
There you are! You missed practice
 
again. You're benched till the
 
fourth, um, the fourth part. Now
 
get out there.
 
 
Coach heads out. The player turns around, smiles after him.
 
It's Grueller.
 
 
CUT TO:
 
 
INT. STADIUM TUNNEL - SAME TIME
 
 
The players run out toward the field, yelling. The last of
 
them is Grueller. He floats behind them slowly, grinning and
 
speaking in a passionless voice, again as if he were repeating
 
words phonetically.
 
 
GRUELLER
 
Go team. Rah. Go team go.
 
 
CUT TO:
 
 
EXT. FOOTBALL FIELD (LATER)
 
 
Fourth quarter. The scoreboard read "Hemery: 17, Barber: 21".
 
Fifty seconds left.
 
 
CHEERLEADERS
 
Two! Four! Six! Eight!
 
Who do we emasculate!
 
Barber! Barber! Yay!!
 
 
On the sidelines, a player hobbles out and coach pushes Grueller
 
in. He passes Buffy and she winces slightly. It messes up
 
the routine and Nicole practically falls over her.
 
 
NICOLE
 
Buffy, Jesus! You know these steps.
 
 
BUFFY
 
Sorry.
 
 
Buffy starts cheering again as the players huddle.
 
 
ANGLE - MERRICK
 
 
He is watching Buffy through his binoculars. A TEEN nudges
 
him.
 
 
TEEN
 
Hey, can I borrow your binoculars,
 
man?
 
 
MERRICK
 
(without looking around)
 
No.
 
 
TEEN
 
You're checking out the cheerleaders.
 
All right. Buffy, man.
 
 
Merrick does turn.
 
 
MERRICK
 
What about her?
 
 
TEEN
 
Everybody knows about her, man.
 
 
MERRICK
 
Knows what about her?
 
 
The teen leans closer.
 
 
TEEN
 
She's had sex.
 
 
He nods at Merrick; "You know what I mean". Merrick turns
 
back.
 
 
MERRICK
 
I'm on the wrong bloody side.
 
 
ANGLE - THE FIELD
 
 
The players are lined up. Grueller, at left tackle, smiles at
 
the player facing him, growls. The player looks worried.
 
 
ANDY
 
Twenty-three! Thirty-two! Hike!
 
 
The players scramble as Andy hands off. The carrier gets a
 
few yards. When the pileup on the line of scrimmage peels
 
apart, the player that had been facing Grueller is unconscious.
 
 
As he is carted off the field, Grueller gleefully trots back
 
to the huddle.
 
 
ANGLE - BUFFY
 
 
Watching the game, a little perplexed.
 
 
ANGLE - THE STANDS
 
 
Merrick watches Buffy.
 
 
ANGLE - THE SIDELINES
 
 
The coach yells at the players.
 
 
COACH
 
Come on! Do the thing! Where you...
 
go towards the guy! Come one!
 
Throw the thing!
 
 
ANGLE - GRUELLER
 
 
Smiling, listening to Andy call the play.
 
 
ANGLE - ANOTHER SECTION IN THE STANDS
 
 
Kimberly sits, complaining to no one in particular.
 
 
KIMBERLY
 
What are they doing? The clock's
 
running out!
 
(shouts)
 
Throw the ball!
 
 
She sits back, turns to her neighbor.
 
 
KIMBERLY
 
Are they so brain-dead?
 
 
Her neighbor smiles at her. He is a vampire, and he speaks in
 
the same monotone that Grueller used. He waves a pennant.
 
 
VAMPIRE FAN
 
Rah.
 
 
ANGLE - THE FIELD
 
 
The players are lined up again. Grueller is drooling. The
 
other team is really worried about him now.
 
 
The snap. Andy drops back and lobs it to Jeffrey. Jeffrey is
 
way open. He catches it easily, looks behind him as he runs.
 
Barber players are rushing at him. And Grueller is coming at
 
him too, throwing other players right and left.
 
 
Jeffrey looks a little worried. He bolts down field, toward
 
the end zone, Grueller on his heels.
 
 
ANGLE - BUFFY
 
 
She sees something is definitely wrong.
 
 
BUFFY
 
Jeffrey...
 
 
In a flash, she races onto the field.
 
 
NICOLE
 
Buffy!
 
 
JENNIFER
 
What is she...
 
 
ANGLE - MERRICK
 
 
He stands, his eyes following Buffy.
 
 
ANGLE - KIMBERLY
 
 
She also sees Buffy.
 
 
KIMBERLY
 
Oh, wow. She's really lost it.
 
 
VAMPIRE FAN
 
Party hearty.
 
 
Everybody rises to their feet and cheers as Jeffrey makes it
 
to the end zone.
 
 
ANGLE - THE CLOCK
 
 
Two, one, zero.
 
 
ANGLE - THE FIELD
 
 
Grueller hits Jeffrey a second before he is enveloped by other
 
players. Grueller, hungry with bloodlust, is confused by the
 
exultant crowd, snarling at people.
 
 
Buffy races for the crowd. She sees Jeffrey is all right.
 
Grueller makes his way out of the throng and up into the stands
 
even as everyone else is rushing onto the field.
 
 
Jeffrey is triumphant. He sees Buffy running for him and raises
 
his arms. She passes him right by and continues after Grueller,
 
heads up the stands. He looks after her, confused, before he
 
is swamped again.
 
 
ANGLE - MERRICK
 
 
He tries to make his way through the crowd.
 
 
ANGLE - TOP OF THE STANDS
 
 
Grueller reaches them and leaps over the back. Buffy sees
 
him, runs up and without hesitation, dives off herself.
 
 
The stands reach some thirty feet off the ground. Buffy sails
 
down like a diver, grabs a branch about halfway down. She
 
swings like a gymnast and the branch snaps. Still holding the
 
broken branch, she completes a perfect flip and lands on her
 
feet.
 
 
The vampire fan is on the ground behind her, come for her and
 
without stopping or even turning she twirls the branch and
 
sinks the broken end in his heart.
 
 
She looks around for Grueller. He is booking out, already
 
several yards away..
 
 
Merrick appears at the top of the stands just in time to see
 
Buffy take off after Grueller.
 
 
MERRICK
 
Wait!
 
 
BUFFY
 
(calls as she runs)
 
He knows who I am!
 
 
She continues to race after Grueller.
 
 
ANGLE - MERRICK
 
 
Running back down the stands, making his way through the
 
dispersing crowd to the nearest exit.
 
 
CUT TO:
 
 
EXT. STREET - SAME TIME
 
 
Buffy is still following, but she can't keep up. She spot a
 
BIKER tooling along the street on a Harley. She comes up to
 
the side of the road and tentatively sticks her thumb out.
 
The biker smiles, stops in front of her.
 
 
ANGLE - THE BIKE
 
 
Ground level, behind the bike, we see its engine revving, smoke
 
puffing from twin pipes.
 
 
BIKER
 
Hey, babe. You want to get some
 
real power between your legs?
 
 
Buffy looks at the biker a moment.
 
 
ANGLE - THE BIKE
 
 
The same angle as before, ground level. Suddenly the biker's
 
body lands in front of CAMERA
 
 
CLOSEUP - WHEEL
 
 
spinning
 
 
CLOSEUP - HAND
 
 
revving the engine.
 
 
Buffy takes off at top speed.
 
 
BIKER
 
Dyke! You're a dyke! I'm telling
 
the world!
 
 
CUT TO:
 
 
EXT. CONSTRUCTION SITE (MOMENTS LATER)
 
 
A RUSTLING in the trees signifies Grueller's flight. Seconds
 
later, Buffy roars into view behind him. She navigates the
 
streets with less ease than determination.
 
 
Her eyes follow him off the road and she steers the bike on a
 
violently bumpy and erratic course through the site. She
 
finally hits a pile of bricks and is thrown headlong from the
 
bike. She hits the ground hard; she rolls into it but has
 
trouble getting up.
 
 
BUFFY'S POV
 
 
Grueller's smiling face appears over her.
 
 
GRUELLER
 
Fall down go boom have to see the
 
nurse.
 
 
BUFFY (O.S.)
 
Grueller, God, what did they do
 
you?
 
 
He brings his face right next to hers. His voice is no longer
 
passionless; it boils up from hell.
 
 
GRUELLER
 
They killed me.
 
 
RESUME SCENE
 
 
He grabs her and hauls her up.
 
 
BUFFY
 
No kidding.
 
 
She head-butts him with enormous force, sending him staggering
 
back. Before he can recover, she dives for a pile of discarded
 
lumber, chooses a nasty shard of wood.
 
 
She turns on Grueller, who is smiling again. There are two
 
more Vampires approaching her, surrounding her.
 
 
GRUELLER
 
The Master walks tonight. This is
 
his kingdom, now.
 
 
They rush her. She takes one on as the second hits her,
 
knocking her over. They all three swarm over her, meeting her
 
kicks with raking claws. The two hold her in front of Grueller.
 
 
GRUELLER
 
(continuing)
 
You know, Buffy, I've always wanted
 
you.
 
 
He smiles again and leans toward her neck.
 
 
The stake that pops out through his chest is as much a surprise
 
to him as it is to Buffy. He falls backward, shocked and dead.
 
Behind him stands Pike.
 
 
One of the other vampires stupidly goes after Pike, who runs
 
away. Buffy instantly flips the other one over onto Grueller,
 
impaling him as well.
 
 
Pike runs more or less in a circle, yelling, the vampire at
 
his heels.
 
 
PIKE
 
I didn't mean it! I didn't mean
 
it!
 
 
Wooden shard in hand, Buffy sprints toward them, jumps into a
 
series of flips. She lands with her legs around the vampire's
 
shoulders, plants the stake in its heart as they topple onto
 
Pike.
 
 
For a moment, Pike and Buffy lie on top of each other, breathing
 
hard. Then they get up awkwardly, embarrassed by their
 
touching, (and by their slight arousal).
 
 
BUFFY
 
I didn't expect to see you.
 
 
PIKE
 
I know.
 
 
BUFFY
 
Why'd you come back?
 
 
PIKE
 
I don't know. I kind of thought I
 
ought to be here. You know, this
 
isn't exactly the kind of thing you
 
can run away from.
 
 
BUFFY
 
Thanks.
 
 
PIKE
 
Besides, Oxnard sucks.
 
 
They start out of the site.
 
 
PIKE
 
(continuing)
 
Listen, I... I really do want to
 
help. I mean, these guys are dang
 
nasty, and somewhere my best friend
 
is out there, and I'd like to, I
 
don't know. Even the score. Do
 
some damage. I'm good with damage.
 
 
ANGLE - KIMBERLY'S CAR
 
 
She drives by, see Buffy with Pike. It's an eyebrow-raiser,
 
but she keeps driving.
 
 
BUFFY
 
Pike, I don't think you're up to
 
this.
 
 
PIKE
 
I think I could help. You gonna
 
tell me you don't need help?
 
 
CUT TO:
 
 
EXT. STREET - SAME TIME
 
 
Merrick runs up to the street where Buffy took the Harley. He
 
has shed the raccoon coat. The biker is still there, standing
 
in the road trying to thumb a ride.
 
 
MERRICK
 
Did you see a girl come by here?
 
 
BIKER
 
You don't mean, like, a cheerleader?
 
 
MERRICK
 
Yes.
 
 
BIKER
 
Yeah, I saw her. Bitch took my
 
wheels.
 
 
MERRICK
 
Wheels?
 
 
BIKER
 
My bike! She's a lesbian, too.
 
She told me.
 
 
MERRICK
 
Which way did she go?
 
 
BIKER
 
Down there.
 
 
He points. The CAMERA PANS with Merrick as he takes a step in
 
that direction, leaving the biker behind (and momentarily OUT
 
OF FRAME).
 
 
MERRICK
 
Idiot girl. Can't watch over her.
 
How long ago did --
 
 
The CAMERA PAN back with Merrick as he turns to the biker, but
 
in his place stands Lothos. Not five feet from Merrick.
 
 
MERRICK
 
Oh, my God.
 
 
ANGLE - THE BIKER
 
 
On his knees, Lothos' hand firmly locked around his throat.
 
He cannot move or breathe.
 
 
Merrick and Lothos look at each other a moment.
 
 
LOTHOS
 
It's a beautiful night. I have
 
never understood the human tendency
 
to equate darkness with emptiness.
 
To me the black is so thick with
 
life, like soil... like blood.
 
Darkness writhes under my eye.
 
 
He looks at the night. Merrick slowly reaches for a gun stuck
 
in the back of his pants as Lothos continues.
 
 
LOTHOS
 
(continuing)
 
I know who you are. She's out here,
 
as well, isn't she? Another Slayer.
 
Who is it this time? What offering
 
have you brought me?
 
 
EXT. ANOTHER STREET - ANGLE ON BUFFY - SAME TIME
 
 
She is crouching on the ground, holding her stomach and gritting
 
her teeth.
 
 
PIKE
 
Buffy? What's wrong?
 
 
BUFFY
 
Oh, God. It's him. I think it's
 
him.
 
 
PIKE
 
Who?
 
 
BUFFY
 
(not answering)
 
Merrick...
 
 
Buffy ups and runs in the direction of the noise. Calls back
 
to Pike.
 
 
BUFFY
 
(continuing)
 
Stay here.
 
 
She runs out of sight.
 
 
CUT TO:
 
 
EXT. STREET - ANGLE ON THE BIKER - SAME TIME
 
 
Lothos lets him go and he falls, dead.
 
 
LOTHOS
 
It doesn't really matter. The names,
 
the faces, they all melt together.
 
After a time, there really is no
 
difference. One more pathetic bitch,
 
begging for me to suck on her clotted
 
heart.
 
 
MERRICK
 
This one may surprise you.
 
 
CLOSEUP - THE GUN
 
 
Merrick holds it firm behind his back, finger on the trigger.
 
 
LOTHOS
 
I rather doubt it, if she was raised
 
here.
 
 
He laughs. He doesn't appear to have noticed the gun, but:
 
 
LOTHOS
 
(continuing)
 
Where is she? I can't wait to meet
 
her. Do you think she's ready to
 
face me? Or perhaps you can stop
 
me with that gun.
 
 
MERRICK
 
Perhaps.
 
 
Merrick looks out at the trees nearby.
 
 
MERRICK'S POV
 
 
Buffy appears, far away, between the trees.
 
 
Merrick looks at Lothos, afraid he will notice.
 
 
ANGLE - BUFFY
 
 
Approaching, stopping some twenty yards away. She looks about
 
her for a weapon.
 
 
LOTHOS
 
Look at you. You pathetic thing.
 
So small, so full of fury. After
 
you've served me for a hundred years,
 
I think you'll have a little more
 
perspective.
 
 
MERRICK
 
I don't think so.
 
 
Lothos rushes suddenly at Merrick, hissing, his feet just off
 
the ground. Merrick steps back, whips out the GUN, and SHOOTS
 
himself without hesitation in the head.
 
 
Buffy's eyes go wide.
 
 
Lothos growls, holding Merrick's spurting corpse.
 
 
A small, involuntary noise escapes Buffy.
 
 
CLOSEUP - LOTHOS
 
 
Even twenty yards away, he hears. He spins and stares, stares
 
at CAMERA. Listening.
 
 
Buffy walks slowly, silently backward, fading back into the
 
dark, terrified and shocked.
 
 
Lothos turns back and looks at Merrick dead in his hands.
 
Disgusted, he lets him drop.
 
 
LOTHOS
 
Fool.
 
 
He looks at the blood on his fingers. After a moment, he tastes
 
it.
 
 
CUT TO:
 
 
EXT. STREET (LATER)
 
 
Pike is standing by the trees where Buffy stood before, looking
 
out into the street.
 
 
PIKE'S POV
 
 
The same angle as Buffy's, before. Now Lothos is gone. Buffy
 
is kneeling quietly by Merrick, holding his head in her lap.
 
 
CUT TO:
 
 
EXT. A WOOD - JUST BEFORE DAWN
 
 
Through the dark mist Buffy appears, carrying Merrick's body
 
in her arms. She is alone. She does not stop.
 
 
CUT TO:
 
 
EXT. GRAVEYARD - MORNING
 
 
On the outskirts of the graveyard, Buffy finishes filling in
 
Merrick's grave under an old tree. She is still wearing her
 
cheerleader outfit, now caked with dirt. She stands at the
 
foot of the grave, tries to think of a prayer.
 
 
BUFFY
 
Ummm, our Father, Who art in Heaven,
 
duhmm... hallowed be Thy name.
 
Uhh, kingdom come, daily break, I
 
don't know. I don't even know if
 
you're religious. You probably
 
are. But you're dead, you know.
 
You're just totally dead. and...
 
 
She sits heavily on his grave.
 
 
BUFFY
 
(continuing)
 
... and I don't know what to do.
 
You were the one who... I don't
 
know if the training was over. I
 
don't even know if I passed. You're
 
so stupid! How could you be so
 
stupid? What am I supposed to do
 
without you? You son of a bitch!
 
 
She stops, looks down for a moment.
 
 
BUFFY
 
(continuing)
 
Amen.
 
 
CUT TO:
 
 
INT. ZEPH'S AUTO REPAIR - DAY
 
 
Pike is at work on a contraption. Built out of scraps and
 
parts, it is the beginnings of a cartridge-load crossbow.
 
Zeph watches, behind him.
 
 
ZEPH
 
Hah, I'd knew you'd be back. Didn't
 
I say you'd be back? Ha, ha, ha!
 
You're sitting in your old car saying
 
'Nope, I'm never coming back.'
 
Hee, Hee! Like you got anywhere to
 
go. 'I'm never coming back' But I
 
knew you would. Birds got to return
 
to the nest sooner or later. That's
 
what I said. Just like I told you...
 
 
Pike pays no attention to this babbling monologue. Over the
 
course of it he takes a slim, handmade wooden shaft, slightly
 
thicker than an arrow, and rubs it with garlic. He places it
 
in the crossbow, take aim in front of him. He fires into the
 
tire of a truck. The tire pops flat. Zeph cracks up.
 
 
ZEPH
 
(continuing)
 
Hah! Shot the damn tire, dumbass,
 
didn't even look, just going around
 
shooting things, popped it flat, ya
 
bonehead.
 
 
Pike, still not listening, continues to work.
 
 
CUT TO:
 
 
INT. GYM - DAY
 
 
We see a banner stretched across the central beam of the
 
ceiling. It reads "THE EARTH IS OUR HOME". A half dozen
 
inflatable globes dangle from the ceiling. Nicole and Kimberly
 
are stetting up the drinks table, unloading and stacking
 
hundreds of styrofoam cups. Jennifer crosses by them, carrying
 
an armful of plastic wrappings and containers.
 
 
JENNIFER
 
I got all the plastic stuff. What
 
should I do with it?
 
 
KIMBERLY
 
("you idiot")
 
Throw it out.
 
 
Jennifer crosses out as the two resume their conversation.
 
 
NICOLE
 
I really was way way too too.
 
 
KIMBERLY
 
Oh, please! When she ran onto the
 
field in the middle of the game?
 
Was that the most out-of-it thing
 
ever, or did I blink?
 
 
NICOLE
 
I'm, like, yelling at her, 'What
 
are you doing?' And she's going
 
'Jeffrey, Jeffrey!' Way mental.
 
 
They laugh. Jennifer is the first to see Buffy walk in, looking
 
cleaned-up but still ragged. They stop laughing.
 
 
JENNIFER
 
Hi, Buffy.
 
 
BUFFY
 
Hi, guys.
 
 
KIMBERLY
 
You were supposed to be here at
 
three.
 
 
BUFFY
 
I forgot.
 
 
KIMBERLY
 
Buffy, what is your sitch? You're
 
acting like The Thing From Another
 
Tax-Bracket; it's too weird.
 
 
BUFFY
 
Look, a lot's been going on. That's
 
what I wanted to tell you guys about.
 
I need to tell you. You see... a
 
while ago, I met this guy --
 
 
KIMBERLY
 
Oh my God you're having an affair.
 
 
NICOLE
 
Cool!
 
 
JENNIFER
 
Does Jeffrey know?
 
 
BUFFY
 
It's not that at all. This is an
 
old guy, he's like fifty.
 
 
KIMBERLY/NICOLE
 
Eeyuu.
 
 
BUFFY
 
No, no. Listen. Haven't you guys
 
noticed how weird things have gotten
 
around here? Like, people
 
disappearing, people turning up
 
dead...
 
 
NICOLE
 
What are you talking about?
 
 
KIMBERLY
 
Weird? You mean like you hanging
 
out with that homeless, Poke? I
 
saw you last night after the game.
 
 
BUFFY
 
Pike.
 
 
NICOLE
 
You're having a fling with him?
 
 
JENNIFER
 
He doesn't look fifty.
 
 
BUFFY
 
Guys. Guys! Reality pulled out of
 
here five minutes ago.
 
 
KIMBERLY
 
Oh, thank you very much.
 
 
NICOLE
 
Like you've got a grip.
 
 
KIMBERLY
 
You're so out of it. You've blown
 
off cheerleading, you've blown off
 
dance committee --
 
 
BUFFY
 
Excuse me for having something
 
important to do.
 
 
KIMBERLY
 
This isn't important? The earth is
 
our home.
 
 
BUFFY
 
Kimberly, it's a dance. It's a
 
stupid dance with a bunch of stupid
 
kids that I see every stupid day.
 
 
NICOLE
 
So, we're stupid now?
 
 
KIMBERLY
 
You know, just because you're having
 
full-on wiggans doesn't mean you
 
have to drag us into it. This isn't
 
just any dance. It happens ot be
 
the last dance of our last year.
 
 
NICOLE
 
Except for Prom.
 
 
KIMBERLY
 
Right.
 
 
JENNIFER
 
And Spring Fling.
 
 
KIMBERLY
 
Okay.
 
 
NICOLE
 
And the January Semi-formal --
 
 
KIMBERLY
 
Okay! Look, Buffy. You want to
 
play house with the unwashed masses,
 
that's fine. But personally, I
 
think you ought to spend a little
 
time prioritizing. I really do.
 
 
BUFFY
 
Listen to you. What language are
 
you speaking?
 
 
KIMBERLY
 
Get out of my facial.
 
 
She storms out.
 
 
NICOLE
 
Well, I guess you got what you came
 
for.
 
 
BUFFY
 
Nicole...
 
 
NICOLE
 
Later for it.
 
 
She also leaves, with Jennifer. Buffy stands alone in the
 
room, small amidst the streamers.
 
 
CUT TO:
 
 
INT. BUFFY'S KITCHEN - EVENING
 
 
Buffy stands at the sink, rinsing a glass for way too long,
 
staring. Her mother breezes THROUGH THE FRAME.
 
 
BUFFY'S MOM
 
Dinner's in the fridge, stay away
 
from the Jag, we'll be back by
 
twelve.
 
 
She stops, seems to notice something about Buffy.
 
 
BUFFY'S MOM
 
(continuing)
 
Buffy, honey?
 
 
BUFFY
 
(wanting to talk)
 
Yeah?
 
 
BUFFY'S MOM
 
Have you gained a few pounds? Maybe
 
it's that outfit...
 
 
BUFFY
 
Maybe.
 
 
BUFFY'S MOM
 
What's Bobby gonna say?
 
 
BUFFY
 
I don't know, Mom; I've never met
 
Bobby.
 
 
BUFFY'S MOM
 
(laughs)
 
Aren't we the chatty ones. Kiss
 
noise.
 
 
And she's out. Buffy looks at her clothes, herself.
 
 
CUT TO:
 
 
EXT. MALL PARKING LOT - NIGHT
 
 
Pike drives slowly between the cars. He sees Buffy walking
 
toward the mall. He pulls up by her, parks. Gets out of the
 
car.
 
 
PIKE
 
Buffy, hey, I've been looking all
 
over for you.
 
 
Buffy doesn't stop. He paces her.
 
 
PIKE
 
(continuing)
 
I been working on some stuff for
 
you. What'cha doing?
 
 
BUFFY
 
I'm going shopping. Don't try to
 
stop me.
 
 
PIKE
 
Cool. I could actually use a couple
 
of Allen wrenches. What do you
 
need?
 
 
BUFFY
 
A dress.
 
 
PIKE
 
Dress, huh? What for?
 
 
BUFFY
 
For the dance.
 
 
PIKE
 
Come again?
 
 
BUFFY
 
I'm going to the senior dance.
 
 
PIKE
 
(charades)
 
Second word... sounds like 'dance'.
 
 
She stops.
 
 
BUFFY
 
I'm going to the dance.
 
 
PIKE
 
What for?
 
 
BUFFY
 
In order to dance and to drink punch
 
and to be with my friends.
 
Comprende?
 
 
PIKE
 
I don't believe this. The world's
 
under attack by the legions of the
 
undead and you're going to a mixer?
 
 
BUFFY
 
It's not a mixer. It's the senior
 
dance. And it's important. You
 
wouldn't understand.
 
 
PIKE
 
You got that right. I thought you
 
wanted to kill vampires.
 
 
BUFFY
 
I don't want to kill anybody, and I
 
don't want to talk about it anymore.
 
 
PIKE
 
Listen, I know you're bummed about
 
your friend, and I'm really sorry...
 
 
BUFFY
 
(offhand, almost disdainful)
 
He did what he was supposed to.
 
 
PIKE
 
But, Buffy, you're the guy, the
 
chosen guy.
 
 
BUFFY
 
Right. I'm the chosen one. And I
 
choose to be shopping.
 
 
PIKE
 
I should have known.
 
 
Buffy raises her fist at him; he starts back, involuntarily.
 
 
BUFFY
 
Leave me alone.
 
 
PIKE
 
Benny was right. You guys are all
 
exactly the same.
 
 
Buffy walks away, leaving Pike alone.
 
 
PIKE
 
(continuing; calls after her)
 
I'm not disappointed, I'm just angry.
 
 
As Pike walks off, the camera TILTS UP the lamp post behind
 
them. Benny is perched upon it.
 
 
BUFFY
 
Buffy? Buffy?
 
 
CUT TO:
 
 
INT. BOILER ROOM - NIGHT
 
 
Vampires are gathered around. Lothos stands with Benny. Benny
 
is beaming.
 
 
LOTHOS
 
Buffy...
 
 
Lothos laughs, long and hard.
 
 
CUT TO:
 
 
INT. THE MALL - NIGHT
 
 
Buffy looks at dresses, most of them fairly tight and fairly
 
out there. She holds one in front of her, looks in a mirror.
 
 
CUT TO:
 
 
INT. ZEPH'S AUTO REPAIR - ANOTHER NIGHT
 
 
Pike sits, fiddling with his crossbow. Looks out the window,
 
discontented. Laid out next to him we see wooden shafts,
 
garlic, and a cross.
 
 
CUT TO:
 
 
INT. BUFFY'S HOUSE - BEDROOM - NIGHT
 
 
Buffy lays her dress on the bed. We cannot see exactly what
 
it looks like.
 
 
She stuffs some blood-stained clothes into a duffel bag along
 
with some stakes. She tosses the bag in the closet.
 
 
CUT TO:
 
 
EXT. THE GYM - PROM NIGHT
 
 
Dozens of limos pull up. Kids pour inside.
 
 
CUT TO:
 
 
INT. THE GYM - NIGHT
 
 
The party is underway. Streamers everywhere, tables by the
 
windows. Couples dance, a D.J spins the tunes. There is a
 
setup in one corner for taking prom pictures. The kids are
 
all very elegant and hip. Every shade of black is represented.
 
 
ANGLE - PUNCH BOWL
 
 
Nicole and Kimberly stand by the punch bowl, chatting. They
 
are both wearing slinky little black dresses.
 
 
ANGLE - THE DOOR
 
 
There are two: at one end, leading to the house (it's closed)
 
and one leading outside. Gary Murray stands by the outside
 
door, on guard, as students enter. He is looking disdainfully
 
at Andy and holding a flask he has confiscated.
 
 
ANDY
 
Well, it came with the tux.
 
 
Buffy enters the gym. She is wearing a long white strapless
 
gown. It is lovely, but very conservative for this crowd.
 
Over her shoulder is a purse that goes with the dress. She
 
enters hesitantly, looking around her for Jeffrey. She passes
 
Andy, who is moving away from Gary Murray.
 
 
ANDY
 
Buffy! Looking tasty.
 
 
BUFFY
 
Thanks. Have you seen Jeffrey?
 
 
But Andy has moved on. Buffy works her way through the crowd
 
to the punch bowl, sees Nicole and Kimberly. They stop
 
whispering real quick.
 
 
BUFFY
 
(continuing)
 
Hi, guys.
 
 
NICOLE
 
Hi.
 
 
BUFFY
 
Have you guys seen Jeffrey? The
 
limo never showed, I thought he
 
might be here.
 
 
Nicole and Kimberly look at each other significantly.
 
 
NICOLE
 
I haven't seen him tonight.
 
 
BUFFY
 
Oh.
 
 
She picks up a glass of punch.
 
 
BUFFY
 
(continuing)
 
I'm glad you guys are here. It's
 
good to see you.
 
 
KIMBERLY
 
(miss sarcasm)
 
Yeah, whoops I came.
 
 
BUFFY
 
(tries again)
 
You look way pretty, Kim.
 
 
KIMBERLY
 
I know. I like your little outfit.
 
 
NICOLE
 
It's amazing what you can do with a
 
parachute and some starch.
 
 
KIMBERLY
 
As long as there's room for three
 
in it. What, didn't you bring your
 
new friends?
 
 
Buffy is startled by this attack. Nicole giggles.
 
 
BUFFY
 
I guess you guys are mad at me.
 
I'm sorry. I've been really --
 
 
Jeffrey suddenly appears between them. Jennifer is on his
 
arm.
 
 
BUFFY
 
(continuing)
 
Jeffrey! There you are. I --
 
 
She stops, as everybody assesses the situation. Buffy is
 
shocked, doing a slow fade to hurt. Jeffrey is uncomfortable.
 
Jennifer is apoplectic with embarrassment. Kimberly is in
 
serious giggle, Nicole a bit more restrained, checking it out.
 
 
JEFFREY
 
Buffy, what are you doing here?
 
 
BUFFY
 
I thought we were meeting here.
 
 
JEFFREY
 
I'm here with Jenny.
 
 
-- who is practically hyperventilating, pulling at his arm
 
like a dog on a leash.