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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. |
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| − | + | ''See [[Buffy the Vampire Slayer (film)/Original Script]] '' |
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| − | Buffy, the Vampire Slayer |
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| − | |||
| − | by |
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| − | |||
| − | Joss Whedon |
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| − | |||
| − | |||
| − | FADE IN: |
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| − | |||
| − | EXT. MEDIEVAL VILLAGE - JUST BEFORE SUNSET |
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| − | |||
| − | We see an Italian village at the height of the plague. Funeral |
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| − | processions, decrepit houses with their windows boarded up... |
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| − | the stench of death all around. |
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| − | |||
| − | TITLE: EUROPE. THE DARK AGES |
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| − | |||
| − | Through the filth a KNIGHT walks his horse. He is weary but |
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| − | not so dingy as his surrounding; a stranger in these parts. |
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| − | He comes to an inn, where a boy takes his horse round back. |
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| − | He enters the inn. |
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| − | |||
| − | INT. INN - SAME TIME |
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| − | |||
| − | The inn is dark and almost empty. A couple of patrons drink |
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| − | silently at tables. Behind the bar stands a slovenly BARMAID, |
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| − | dark-haired and lazy. She scratches at her shoulder, on which |
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| − | we see a birthmark. The knight approaches the bar, throws |
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| − | money down. |
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| − | |||
| − | KNIGHT |
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| − | A tankard of ale, wench. |
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| − | |||
| − | The barmaid pours him a cup of ale. He drinks deep, stands a |
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| − | moment. |
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| − | |||
| − | KNIGHT |
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| − | (continuing) |
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| − | Some plague we're having, huh? |
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| − | |||
| − | CUT TO: |
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| − | |||
| − | INT. INN - UPSTAIRS HALL/BEDROOM - NIGHT |
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| − | |||
| − | The barmaid leads the knight, by candlelight, upstairs to his |
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| − | room. The door opens inward. The knight stands in the doorway, |
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| − | places a hand on the barmaid's hip. She pauses a moment, then |
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| − | breaks free of his grasp, starts down the hall. He laughs a |
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| − | bit, resignedly, and closes the door. |
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| − | |||
| − | A VAMPIRE stands behind it. Not two feet from the knight, |
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| − | grinning at him. His eyes are skull-hollow and dancing in his |
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| − | head, his bloody smile full with teeth. His skin is gray, and |
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| − | peeling. The knight turns slowly and sees him. |
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| − | |||
| − | KNIGHT |
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| − | Oh, my god... |
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| − | |||
| − | The vampire licks his lips. |
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| − | |||
| − | He is on the knight in a second, pushing him backwards into |
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| − | the middle of the small room. The knight struggles but is no |
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| − | match for the vampire, who buries his face in the knight's |
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| − | neck. The knight screams. |
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| − | |||
| − | ANGLE ON DOOR |
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| − | |||
| − | It suddenly flies open, the lock shattered. |
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| − | |||
| − | The vampire turns like a frightened animal. In the doorway |
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| − | stands the barmaid, a SLAYER. In her hand is a wooden stake. |
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| − | |||
| − | The vampire drops the knight, who crabs backwards into a corner. |
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| − | The Slayer and the vampire come at each other. The Slayer |
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| − | spins and kicks; the vampire flies back. Snarling, he comes |
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| − | back at the slayer. They struggle; he slips free and is out |
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| − | the door. |
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| − | |||
| − | For a moment, the Slayer remains still, crouched on the floor. |
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| − | The knight watches her. She seems to be making a decision -- |
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| − | perhaps even knows what is going to happen. |
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| − | |||
| − | She runs at the window. |
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| − | |||
| − | CUT TO: |
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| − | |||
| − | EXT. IN FRONT OF THE INN - SAME TIME |
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| − | |||
| − | The vampire comes running out the front door. Before he is a |
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| − | few feet from the front of the inn, the Slayer SMASHES through |
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| − | the upstairs window and lands on him. They both hit the ground, |
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| − | and she plants the stake right in his heart. |
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| − | |||
| − | After a moment, we hear a voice: |
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| − | |||
| − | AMILYN (O.S.) |
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| − | The lord giveth, and the lord taketh |
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| − | away. Ashes, ashes... |
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| − | |||
| − | She looks up. |
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| − | |||
| − | AMILYN |
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| − | (continuing) |
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| − | ... All fall down |
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| − | |||
| − | There are ten or more vampires walking slowly toward her in |
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| − | the otherwise deserted street. At the front, maybe ten feet |
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| − | away, is AMILYN. |
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| − | |||
| − | Amilyn is a grinning jackal, a servant to the Vampire-King. |
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| − | His garb is a rotted approximation of a courtier's livery. He |
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| − | ambles toward the Slayer, giggling, as she stands. |
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| − | |||
| − | Behind her is LOTHOS, the Vampire-King. His skin is deep white, |
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| − | and smooth. He wears a long coat -- his dress is not of any |
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| − | era. He is practically upon her before he speaks. |
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| − | |||
| − | LOTHOS |
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| − | You must forgive Amilyn. He tends |
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| − | to drool before supper. |
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| − | |||
| − | She turns. He smiles, almost lovingly. |
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| − | |||
| − | SLAYER |
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| − | Lothos... |
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| − | |||
| − | LOTHOS |
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| − | You people will never learn. |
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| − | |||
| − | She swings at him but he grabs her arm. Amilyn laughs |
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| − | obnoxiously. Lothos grabs the back of the Slayer's head, brings |
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| − | her to him in a loving embrace. |
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| − | |||
| − | LOTHOS |
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| − | (continuing) |
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| − | We can't be stopped. This is our |
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| − | world now. |
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| − | |||
| − | He pulls her head back swiftly, snapping her spine as her head |
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| − | hits the back of her legs. Lightning flashes. |
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| − | |||
| − | CUT TO: |
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| − | |||
| − | INT. ENGLISH CASTLE - NIGHT |
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| − | |||
| − | Lightning flashes outside the window. It is torrenting rain. |
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| − | An old MAN speaks to a hysterical GIRL of sixteen or so. They |
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| − | are both obviously noble of birth. |
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| − | |||
| − | GIRL |
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| − | I can't! |
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| − | |||
| − | MAN |
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| − | You know you must. There is only |
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| − | one. Now you are that one. It is |
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| − | time. |
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| − | |||
| − | GIRL |
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| − | Why? Why me? |
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| − | |||
| − | MAN |
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| − | She has died. You are the next to |
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| − | be called. Why do you think you |
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| − | were sent to me? Trained as you |
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| − | were? You bear the mark. |
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| − | |||
| − | He pulls aside her blouse to reveal a birthmark on her shoulder, |
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| − | identical to the barmaid's. |
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| − | |||
| − | MAN |
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| − | (continuing) |
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| − | The mark of the Coven. |
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| − | |||
| − | GIRL |
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| − | I don't understand. |
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| − | |||
| − | MAN |
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| − | Ever since Adam and Eve first left |
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| − | the garden, he followed: the serpent. |
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| − | Satan. He sends his legion in the |
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| − | shape of men, to feed on us, to |
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| − | breed his Hell on our earth. They |
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| − | are a plague upon us. |
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| − | |||
| − | The man unravels a satchel of cloth. From it he pulls an |
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| − | elaborately carved wooden stake. |
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| − | |||
| − | MAN |
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| − | (continuing) |
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| − | But as long as there have been |
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| − | vampire, there has been the Coven; |
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| − | the line of Slayers. Ones with the |
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| − | strength and the skill to kill them, |
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| − | to find them where they gather and |
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| − | stop the swell of their numbers. |
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| − | One dies, the next is called. |
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| − | |||
| − | GIRL |
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| − | I'm just a girl. |
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| − | |||
| − | MAN |
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| − | You are much more. |
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| − | |||
| − | He hands her the stake. She feels the fit. |
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| − | |||
| − | MAN |
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| − | (continuing) |
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| − | One dies, the next is called... |
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| − | |||
| − | As she grips the stake more tightly, an awareness and sense of |
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| − | power sees to fill her. She lifts the stake over her head. |
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| − | |||
| − | CLOSEUP - A HAND |
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| − | |||
| − | The hand is lifted high, but it is not the girl's. It holds |
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| − | not a stake, but a pom-pom. |
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| − | |||
| − | EXT. HEMERY HIGH FOOTBALL FIELD - WIDER SHOT - DAY |
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| − | |||
| − | Opening CREDITS OVER: |
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| − | |||
| − | A football game in progress. The stands are pretty full, the |
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| − | crowd enthusiastic. The hemery football stadium is just that; |
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| − | a real stadium, not just makeshift stands on grass. |
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| − | |||
| − | On the sidelines are the Hemery cheerleaders, led by BUFFY. |
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| − | She is blonde (in nature as in name), pretty, and very |
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| − | gracefully athletic. She obviously enjoys what she is doing, |
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| − | and she's good at it. |
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| − | |||
| − | With her on the squad are JENNIFER and NICOLE, two of her best |
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| − | friends. Beside them the COACH, yelling at the players. The |
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| − | scoreboard reads HEMERY VS. SETON. |
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| − | |||
| − | On the field are JEFFREY, wide receiver (and Buffy's boyfriend), |
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| − | ANDY, quarterback, and GRUELLER, the huge left tackle. |
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| − | |||
| − | Buffy and the crowd wince as Andy is sacked for a nine-yard |
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| − | loss. |
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| − | |||
| − | COACH |
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| − | Come on, do the play! The one |
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| − | where... the one from the book! |
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| − | Where you make it go forward! |
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| − | |||
| − | The players huddle. |
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| − | |||
| − | ANDY |
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| − | All right, guys, come on! |
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| − | |||
| − | He hits Grueller's helmet. |
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| − | |||
| − | ANDY |
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| − | (continuing) |
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| − | Grueller! Fill that hole! They |
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| − | were all over me! Okay. Let's run |
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| − | twenty-two. Grueller, close the |
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| − | pocket, watch out for thirty-five. |
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| − | Thompson, run the post, right, wide |
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| − | out. Jeffrey, go up the middle and |
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| − | run around like a chicken. |
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| − | |||
| − | They clap and break. As they line up, Jeffrey looks over at |
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| − | Buffy. She smiles at him. He winks, very suave. |
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| − | |||
| − | BUFFY AND CHEERLEADERS |
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| − | Jeffrey! Jeffrey! |
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| − | He's our man! |
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| − | If he can't do it |
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| − | We don't want it! |
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| − | |||
| − | On the hike, Andy drops back and looks for a receiver. Jeffrey |
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| − | runs in circles like an idiot (and not unlike a chicken), waving |
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| − | his arms until Andy sails him the ball and he breaks for a |
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| − | touchdown. |
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| − | |||
| − | The crowd goes wild -- particularly Buffy, who does an |
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| − | impressive standing backflip. Nicole looks at her, impressed. |
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| − | Buffy smiles at her, giddy. |
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| − | |||
| − | COACH |
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| − | (looking around) |
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| − | Is that good? Was that a good thing? |
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| − | |||
| − | CUT TO: |
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| − | |||
| − | INT. THE MALL - AFTERNOON |
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| − | |||
| − | The mall is typically busy. Buffy, Nicole, Jennifer and |
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| − | KIMBERLY can bee seen making their way through it. They are |
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| − | all dressed very similarly: bright colors, a lot of white and |
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| − | pink. Not trashy, but mainstream and uninspired. Esprit. |
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| − | All of them carry shopping bags; they've done a good days work. |
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| − | |||
| − | TITLE: CALIFORNIA. THE LITE AGES |
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| − | |||
| − | The girls pass by stores, vaguely window shopping. |
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| − | |||
| − | BUFFY |
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| − | Mr. Howard is so heinous. He's |
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| − | always giving me a hard time. I |
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| − | get a C-plus on the test and he |
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| − | tells me, 'You have no sense of |
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| − | history.' I have no sense of |
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| − | history? He wears a brown tie. |
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| − | |||
| − | NICOLE |
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| − | You got a C-plus? I can't believe |
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| − | I cheated off you. |
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| − | |||
| − | BUFFY |
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| − | Excuse me for not knowing about El |
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| − | Salvador. Like I'm ever going to |
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| − | Spain anyway. Ooh! |
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| − | |||
| − | A dress on a rack outside a store has caught her eye. She |
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| − | takes it and holds it in front of her. |
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| − | |||
| − | BUFFY |
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| − | (continuing) |
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| − | Mmmm. Wouldn't I look just edible |
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| − | and nutritious in this? |
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| − | |||
| − | Kimberly and Jennifer catch up to them. |
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| − | |||
| − | KIMBERLY |
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| − | Guys, what's the sitch? I'm bored. |
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| − | |||
| − | BUFFY |
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| − | (modeling the dress for |
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| − | Kimberly)) |
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| − | What do you think? |
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| − | |||
| − | KIMBERLY |
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| − | Please. It's so '91. |
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| − | |||
| − | GIRL |
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| − | Oh. |
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| − | |||
| − | Buffy puts it back. |
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| − | |||
| − | KIMBERLY |
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| − | What are we doing? |
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| − | |||
| − | BUFFY |
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| − | Why don't we see a movie? |
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| − | |||
| − | KIMBERLY |
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| − | Well, where? |
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| − | |||
| − | JENNIFER |
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| − | Omniplex? |
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| − | |||
| − | NICOLE |
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| − | Nee sitch. No way. |
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| − | |||
| − | BUFFY |
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| − | No THX. |
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| − | |||
| − | NICOLE |
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| − | They don't even have Dolby. |
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| − | |||
| − | KIMBERLY |
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| − | Beverly Center. |
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| − | |||
| − | BUFFY |
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| − | Please. They show previews for |
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| − | foreign movies. |
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| − | |||
| − | NICOLE |
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| − | AMC? |
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| − | |||
| − | KIMBERLY/BUFFY |
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| − | Bogus corn! |
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| − | |||
| − | KIMBERLY |
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| − | Totally stale. And the ushers are |
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| − | like, the acne patrol. We're |
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| − | thinking Pavilion. Sitch? |
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| − | |||
| − | BUFFY |
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| − | Sounds toasty. We're going Pavilion. |
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| − | |||
| − | JENNIFER |
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| − | Excellent. |
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| − | |||
| − | BUFFY |
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| − | What's playing there? |
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| − | |||
| − | A stranger, walking the other way, bumps into Buffy, doesn't |
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| − | stop. A man of about fifty, he is dressed shabbily, in a |
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| − | wrinkled black suit and a black shirt. He somewhat resembles |
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| − | a priest. |
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| − | |||
| − | BUFFY |
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| − | (continuing) |
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| − | Excuse much! Not rude or anything. |
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| − | |||
| − | KIMBERLY |
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| − | (calling back) |
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| − | Nice ensemble! |
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| − | |||
| − | NICOLE |
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| − | What a homeless. |
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| − | |||
| − | The girls continue walking. The man stops, turns to stare |
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| − | after them. His look is intense, slightly worried, his face |
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| − | somewhat haggard. Intelligence shines through his eyes. He |
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| − | holds himself stiffly, arms close to him, almost as if he |
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| − | expected something to strike at him. |
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| − | |||
| − | This is MERRICK. He pulls a picture out of his coat pocket, |
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| − | looks at it. Looks at them. |
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| − | |||
| − | INT. MOVIE THEATER - DAY |
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| − | |||
| − | The film is in progress. This has no effect on the girls, |
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| − | however, as they continue to talk ceaselessly. They all have |
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| − | diet sodas. |
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| − | |||
| − | NICOLE |
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| − | (to Buffy) |
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| − | So, is Jeffrey really spending the |
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| − | night at your house? |
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| − | |||
| − | BUFFY |
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| − | That's the plan. |
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| − | |||
| − | NICOLE |
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| − | Good enough! |
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| − | |||
| − | JENNIFER |
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| − | Your parents are always going away |
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| − | for the weekend. You're so lucky. |
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| − | |||
| − | BUFFY |
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| − | (maybe not) |
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| − | Yeah, I guess. |
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| − | |||
| − | JENNIFER |
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| − | My mom doesn't go anywhere. She |
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| − | even does the shopping network. |
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| − | I'm gonna die a virgin. |
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| − | |||
| − | KIMBERLY |
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| − | What did Jeffrey's dad say? |
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| − | |||
| − | BUFFY |
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| − | 'Just remember you're in training, |
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| − | son' |
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| − | |||
| − | NICOLE |
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| − | Oh, God. |
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| − | |||
| − | KIMBERLY |
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| − | He is so bald. |
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| − | |||
| − | Seated a few rows behind the girls are PIKE and BENNY. The |
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| − | are fairly punked out, (and not currently attending high |
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| − | school). Pike is long and lean, has short hair spiked and a |
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| − | taste for long coats and black. Benny is somewhat stockier, |
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| − | opts for a shaved head and suspenders. Doc Martins for both. |
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| − | Benny is clearly the more belligerent of the two -- when Pike |
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| − | speaks, it's with surprising wit and reserve. Sometimes. |
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| − | |||
| − | PIKE |
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| − | Will you guys shut up, please? |
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| − | |||
| − | BUFFY |
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| − | It could happen. |
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| − | |||
| − | Pike and Benny throw popcorn at her. |
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| − | |||
| − | PIKE |
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| − | Booo! |
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| − | |||
| − | BENNY |
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| − | Suck! |
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| − | |||
| − | PIKE |
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| − | Wrong answer! No prize. |
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| − | |||
| − | NICOLE |
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| − | God! Take a chill lozenge. |
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| − | |||
| − | KIMBERLY |
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| − | Like we don't have rights too? |
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| − | |||
| − | BUFFY |
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| − | Ignore them. |
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| − | |||
| − | BENNY |
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| − | I can't believe these people. We |
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| − | paid money to see this. |
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| − | |||
| − | PIKE |
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| − | No, we didn't. |
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| − | |||
| − | BENNY |
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| − | Oh, yeah. But I still want to know |
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| − | what happens. |
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| − | |||
| − | BUFFY |
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| − | Everyone get horribly killed except |
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| − | the blonde girl in the nightie, who |
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| − | finally kills the monster with a |
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| − | machete but it's not really dead. |
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| − | |||
| − | The boys stare at her. |
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| − | |||
| − | JENNIFER |
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| − | Oh, my God. Is that true? |
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| − | |||
| − | BUFFY |
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| − | Probably. What movie is this? |
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| − | |||
| − | CUT TO: |
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| − | |||
| − | ANGLE - THE MOON |
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| − | |||
| − | Fat and yellow, behind the clouds. We hear a long HOWL. |
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| − | |||
| − | EXT. THE MOVIE THEATER - NIGHT |
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| − | |||
| − | Jeffrey pulls into the parking lot in his BMW convertible. |
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| − | 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 |
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| − | 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 |
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| − | woman. |
||
| − | |||
| − | ANDY AND GRUELLER |
||
| − | (coughing it into their |
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| − | 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. |
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| − | |||
| − | 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. |
||
| − | |||
| − | BUFFY |
||
| − | I don't understand. |
||
| − | |||
| − | JEFFREY |
||
| − | Oh, come on, Buffy. You know what's |
||
| − | going on. It's not working out at |
||
| − | all. I've got to move on. I mean, |
||
| − | I've got needs, too. I told you |
||
| − | about all this. |
||
| − | |||
| − | BUFFY |
||
| − | No, you didn't. When? |
||
| − | |||
| − | JEFFREY |
||
| − | Didn't you get my message? |
||
| − | |||
| − | BUFFY |
||
| − | You broke up with my machine? |
||
| − | |||
| − | JEFFREY |
||
| − | You weren't home. Like always. |
||
| − | |||
| − | BUFFY |
||
| − | You left me a message? |
||
| − | |||
| − | JEFFREY |
||
| − | I'm out of here. Jenny. |
||
| − | |||
| − | At the mention of her name Jenny jumps, and in her haste to |
||
| − | get away, she bumps into Buffy's arm, spilling bright red punch |
||
| − | on Buffy's chest. She flees, Jeffrey in tow. They leave the |
||
| − | gym. Kimberly finds it all pretty funny. Nicole is silent. |
||
| − | |||
| − | Buffy turns away, toward the wall. A soft BALLAD come on over |
||
| − | the SPEAKERS. Tears are forming in Buffy's eyes, as she wipes |
||
| − | futilely at her dress. Finally she turns, looks toward the |
||
| − | door. |
||
| − | |||
| − | BUFFY'S POV |
||
| − | |||
| − | Pike is there, walking in on his own. He wears a leather jacket |
||
| − | and baggy old tux pants, accented by chains, earring and unlaced |
||
| − | Doc Martins. He looks great. |
||
| − | |||
| − | He walks directly toward Buffy, and does turn a few heads. |
||
| − | |||
| − | PIKE |
||
| − | I crashed your party. |
||
| − | |||
| − | BUFFY |
||
| − | Pretty shallow of you. |
||
| − | |||
| − | PIKE |
||
| − | That's me. |
||
| − | |||
| − | BUFFY |
||
| − | I'm glad you came. |
||
| − | |||
| − | PIKE |
||
| − | Yeah, you look like you're having a |
||
| − | swell time. |
||
| − | |||
| − | Pike picks up a glass of punch as he notices the stain on |
||
| − | Buffy's dress. He looks about him a bit, then without |
||
| − | hesitation dumps some punch on his lapel, matching stains. |
||
| − | Buffy smiles at him. |
||
| − | |||
| − | PIKE |
||
| − | (continuing) |
||
| − | Will I get the shit kicked out of |
||
| − | me if I ask you to dance? |
||
| − | |||
| − | BUFFY |
||
| − | I don't actually think Jeffrey's |
||
| − | gonna notice. |
||
| − | |||
| − | They begin slow dancing, not too close. |
||
| − | |||
| − | PIKE |
||
| − | Yeah, well, you're the one I'm afraid |
||
| − | of. |
||
| − | |||
| − | They dance for a while, closer and closer. |
||
| − | |||
| − | PIKE |
||
| − | (continuing; gee-whizzically) |
||
| − | You know, you're not like the other |
||
| − | girls. |
||
| − | |||
| − | Buffy pulls him closer, holds him, whispers almost weakly in |
||
| − | his ear. |
||
| − | |||
| − | BUFFY |
||
| − | Yes, I am. |
||
| − | |||
| − | We see couples dancing, kissing... Gary Murray watching them. |
||
| − | |||
| − | ANGLE - KIMBERLY |
||
| − | |||
| − | Sitting by the window with her bovine date, she watches Buffy |
||
| − | dance disdainfully. |
||
| − | |||
| − | KIMBERLY |
||
| − | I can't believe it. |
||
| − | |||
| − | The window SHATTERS by her head, a vampire's hand reaching for |
||
| − | her. She screams, starts back. |
||
| − | |||
| − | Other windows shatter, vampires appearing all around. A couple |
||
| − | of students run for the inner door but it is locked shut from |
||
| − | the other side. |
||
| − | |||
| − | Gradually the party stops as everybody becomes aware of the |
||
| − | situation. They vaguely herd to the middle of the room. |
||
| − | |||
| − | ANGLE - BUFFY AND PIKE |
||
| − | |||
| − | Looking around, assessing the situation. |
||
| − | |||
| − | ANGLE - OUTER DOOR |
||
| − | |||
| − | A STUDENT runs staggering in, blood spurting from his neck. |
||
| − | |||
| − | BLOODY STUDENT |
||
| − | They're out there! They're vampires! |
||
| − | God, help me! |
||
| − | |||
| − | He falls to the ground, a few feet in front of the doorway. |
||
| − | Nobody moves for a second. Then one of the students starts |
||
| − | toward the body. |
||
| − | |||
| − | BUFFY |
||
| − | Don't go near the door. |
||
| − | |||
| − | Buffy does instead, checking the lifeless body and listening |
||
| − | as a number of figures begin to lumber toward the door through |
||
| − | the mist. |
||
| − | |||
| − | Buffy steps back as three 17-year-old vampires come to the door. |
||
| − | |||
| − | 1ST VAMPIRE |
||
| − | It's party time. |
||
| − | |||
| − | BUFFY |
||
| − | Don't worry! They can't come in |
||
| − | here. They can't come in unless |
||
| − | they're invited. |
||
| − | |||
| − | KIMBERLY |
||
| − | I already invited them. |
||
| − | |||
| − | Everyone looks at her. |
||
| − | |||
| − | KIMBERLY |
||
| − | (continuing; defensively) |
||
| − | They're seniors! |
||
| − | |||
| − | Pike reaches into an inner pocket and pulls out a number of |
||
| − | small stakes he has made, hands them to Buffy. She opens her |
||
| − | purse. |
||
| − | |||
| − | ANGLE - INSIDE THE PURSE |
||
| − | |||
| − | Cosmetics, hair spray, etc. She fits the stakes in. |
||
| − | |||
| − | BUFFY |
||
| − | The first thing we should -- |
||
| − | |||
| − | 1ST VAMPIRE |
||
| − | Buffy... You wanna dance? |
||
| − | |||
| − | PIKE |
||
| − | (to Buffy) |
||
| − | Looks like you're busted. |
||
| − | |||
| − | 2ND VAMPIRE |
||
| − | We want her! We want Buffy. Send |
||
| − | her out. |
||
| − | |||
| − | 1ST VAMPIRE |
||
| − | Or we come in. |
||
| − | |||
| − | They fade back, almost out of sight. Pike looks out the window. |
||
| − | More are gathering. |
||
| − | |||
| − | GARY MURRAY |
||
| − | All right, everybody stay calm. |
||
| − | (to Buffy) |
||
| − | What's going on? |
||
| − | |||
| − | PIKE |
||
| − | Looks bad, Buffy. |
||
| − | |||
| − | SENIOR GIRL |
||
| − | Send her out. |
||
| − | |||
| − | BUFFY |
||
| − | What? |
||
| − | |||
| − | KIMBERLY |
||
| − | They'll kill us! She's the one |
||
| − | they're mad at. |
||
| − | |||
| − | SENIOR BOY |
||
| − | Yeah! Send her out! |
||
| − | |||
| − | GARY MURRAY |
||
| − | Everybody be quiet! |
||
| − | |||
| − | ANDY |
||
| − | What, are you kidding? They'll |
||
| − | kill her! |
||
| − | |||
| − | KIMBERLY |
||
| − | They'll kill us! |
||
| − | |||
| − | PIKE |
||
| − | (moving toward Kimberly, |
||
| − | fist raised) |
||
| − | You want some punch? |
||
| − | |||
| − | GARY MURRAY |
||
| − | I got detention slips here, I'm not |
||
| − | afraid to use them... |
||
| − | |||
| − | But other students have picked up the cry, are clamoring to |
||
| − | sacrifice Buffy. Pike crosses to his bag, sitting by the door. |
||
| − | |||
| − | Two guys move toward Buffy, Andy intervenes. Pike steps in |
||
| − | front of Buffy, holding his custom made cartridge-load crossbow. |
||
| − | Trains it on the others. They quiet down. |
||
| − | |||
| − | PIKE |
||
| − | There's gotta be a back way out of |
||
| − | here, or something. |
||
| − | |||
| − | Buffy looks at the partygoers. Her friends. They stare back |
||
| − | at her, scared, angry. She looks out the door. Back at her |
||
| − | friends. |
||
| − | |||
| − | BUFFY |
||
| − | I'm going out the front. |
||
| − | |||
| − | PIKE |
||
| − | Are you nuts, Buffy? There's a |
||
| − | hundred of them out there. They'll |
||
| − | rip us apart. |
||
| − | |||
| − | BUFFY |
||
| − | You're staying here. |
||
| − | (before he can speak) |
||
| − | Some of them might not come after |
||
| − | me. If they don't this place is |
||
| − | gonna turn into a total stain. |
||
| − | |||
| − | PIKE |
||
| − | You say that like it's a bad thing. |
||
| − | |||
| − | ANDY |
||
| − | Buffy, this is crazy. What do these |
||
| − | guys want? |
||
| − | |||
| − | BUFFY |
||
| − | Andy, start breaking up some chairs. |
||
| − | You'll need weapons. |
||
| − | |||
| − | Andy looks at her a moment, moves off. Buffy goes to Pike's |
||
| − | bag, starts pulling out stakes. |
||
| − | |||
| − | BUFFY |
||
| − | (continuing) |
||
| − | Good thing one of us was prepared. |
||
| − | |||
| − | PIKE |
||
| − | Buffy, there's no way you're going |
||
| − | out there alone. |
||
| − | |||
| − | Buffy stands up. She kisses Pike very hard on the lips. |
||
| − | |||
| − | BUFFY |
||
| − | Don't piss me off. |
||
| − | |||
| − | She kneels down, begins to rip the hem of her dress. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. OUTSIDE THE GYM - NIGHT |
||
| − | |||
| − | We see the doorway to the gym. A mist has risen around the |
||
| − | entire house, swirling about the feet of the undead who stand |
||
| − | clustered about it. Some have keen and eager expressions, |
||
| − | some vacant, half-conscious with bloodlust. They wait. |
||
| − | |||
| − | A figure appears in the doorway, walking slowly out. Buffy. |
||
| − | Her torn dress now comes to just above her knees. She wears |
||
| − | Pike's leather jacket over it. She wears her purse strapped |
||
| − | across her chest under the jacket. In one hand she holds his |
||
| − | crossbow; in her other hand is a cross. As she steps further |
||
| − | away from the doorway, the vampires slowly begin to close around |
||
| − | her. |
||
| − | |||
| − | The door shuts behind her. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | Kimberly and some of the others are anxiously barricading the |
||
| − | door. Pike looks out the window after Buffy. |
||
| − | |||
| − | PIKE |
||
| − | (to himself) |
||
| − | Come on, move. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. THE GYM - SAME TIME |
||
| − | |||
| − | The vampires move closer and closer. They circle her. She |
||
| − | waits, apprehensive. When they are about eight feet from her |
||
| − | she whips out a bottle of Perrier. She sprays it all around, |
||
| − | searing the inner circle. Screaming, they clutch their faces. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | PIKE |
||
| − | Yes! |
||
| − | |||
| − | Others are watching as well. Andy comes up with some chair- |
||
| − | made stakes, hands some to Pike. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. THE GYM - SAME TIME |
||
| − | |||
| − | Buffy is defending herself in an astounding blur of gymnastics |
||
| − | and martial arts. Leaping, throwing kicks, punches, and the |
||
| − | odd stake, she manages to scatter them enough to make a run |
||
| − | for it. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | Everyone is watching through the windows as the vampires follow |
||
| − | after Buffy. |
||
| − | |||
| − | KIMBERLY |
||
| − | It's okay! I think they're going |
||
| − | after her! |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. THE GYM - SAME TIME |
||
| − | |||
| − | Almost as if it heard that, one of the vampires turns toward |
||
| − | the gym, grinning hugely. It and at least half the others |
||
| − | turn back toward the easy pickings inside. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | PIKE |
||
| − | (to Kimberly) |
||
| − | I'll bet you feel stupid. |
||
| − | |||
| − | GARY MURRAY |
||
| − | Let's get away from these windows! |
||
| − | Find something to cover them with. |
||
| − | |||
| − | Students start mobilizing. |
||
| − | |||
| − | PIKE |
||
| − | Bring round the table. |
||
| − | |||
| − | NICOLE |
||
| − | There's nails and stuff we used to |
||
| − | put everything up. |
||
| − | |||
| − | PIKE |
||
| − | Get 'em. |
||
| − | |||
| − | Andy and some others drag a table forward. Pike helps hoist |
||
| − | it up against the window. He looks one last time outside, |
||
| − | then covers it up. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. CAMPUS LAWN - SAME TIME |
||
| − | |||
| − | Buffy runs. She heads toward the nearby cluster of school |
||
| − | buildings. Close behind are the undead. She passes a line of |
||
| − | parked cars. |
||
| − | |||
| − | ANGLE - CAR |
||
| − | |||
| − | Jeffrey and Jennifer are in the back of his parked BMW, making |
||
| − | heated, clumsy love. We can see them through the window. |
||
| − | |||
| − | JENNIFER |
||
| − | Oh, yes! Yes! |
||
| − | |||
| − | JEFFREY |
||
| − | Oh, baby! |
||
| − | |||
| − | JENNIFER |
||
| − | Make me a woman! Yes! Make me a |
||
| − | woman! |
||
| − | |||
| − | As they are spouting this nonsense, Buffy zooms IN and OUT OF |
||
| − | the FRAME behind the car. After a second she walks back INTO |
||
| − | the FRAME, staring at the two of them. |
||
| − | |||
| − | BUFFY |
||
| − | (pissed) |
||
| − | That was quick! |
||
| − | (looking up) |
||
| − | Oops! |
||
| − | |||
| − | She books out again, the horde on her heels. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. JEFFREY'S CAR - SAME TIME |
||
| − | |||
| − | Jeffrey looks up and out the window. |
||
| − | |||
| − | JEFFREY |
||
| − | Buffy? |
||
| − | |||
| − | JENNIFER |
||
| − | (whining) |
||
| − | Jeffrey! |
||
| − | |||
| − | JEFFREY'S POV |
||
| − | |||
| − | Vampires swarm about the car in pursuit of Buffy. |
||
| − | |||
| − | Jeffrey goes wide-eyed at the sight. Starts climbing off |
||
| − | Jennifer and into the driver's seat. |
||
| − | |||
| − | JEFFREY |
||
| − | (terrified) |
||
| − | Well, I'm done. Are you done? |
||
| − | |||
| − | JENNIFER |
||
| − | No -- |
||
| − | |||
| − | JEFFREY |
||
| − | Okay, let's go. |
||
| − | |||
| − | JENNIFER |
||
| − | But -- |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. THE CAR - SAME TIME |
||
| − | |||
| − | The car roars off. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | Windows and the boards covering them begin to smash inward. A |
||
| − | student pounding in nails is caught, pulled out the window. A |
||
| − | vampire crawling in is spiked by Pike. Another makes it in |
||
| − | and is smashed on the head repeatedly by Andy. It staggers, |
||
| − | smilingly, and turns toward him. |
||
| − | |||
| − | PIKE |
||
| − | The heart! Stab them in the heart! |
||
| − | |||
| − | Andy manages to shove the two-by-four in its heart just as it |
||
| − | gets its fingers around his throat. |
||
| − | |||
| − | Kimberly screams. One of them has hold of her, starts pulling |
||
| − | her out the window. Nicole runs to her, starts pulling the |
||
| − | vampire's hands off her. Suddenly, the vampire grabs Nicole |
||
| − | instead. Off balance, she is almost out the window before |
||
| − | Kimberly can react, and all Kim can do is scream. Andy and |
||
| − | Pike make it to the window too late; Nicole is pulled out, and |
||
| − | they swarm over her. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. TUNNELS - SAME TIME |
||
| − | |||
| − | A vampire catches up to Buffy. She shoots the last crossbow |
||
| − | shaft at it. Shucks the bow away as another reaches her. She |
||
| − | wrestles with it, fights it off but doesn't kill it. Moves on |
||
| − | as more approach. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - SAME TIME |
||
| − | |||
| − | Students are still holding most of them at the windows. One |
||
| − | or two have gotten in. |
||
| − | |||
| − | ANGLE - THE RECORD PLAYER |
||
| − | |||
| − | A junior vampire has snuck behind it and is going through the |
||
| − | records. He stops, finding one he likes, and starts to put it |
||
| − | on. MUSIC: "Teen Angel". It wafts over the carnage in the |
||
| − | gym, lending it a surreal and dreamy quality. |
||
| − | |||
| − | Hearing the music, another vampire grabs Kimberly and starts |
||
| − | dancing with her. She screams a lot. |
||
| − | |||
| − | It's about to plant one on her neck when Pike stabs it in the |
||
| − | back. Pike turns from the dying vampire and is face to face |
||
| − | with Benny. |
||
| − | |||
| − | Pike is frozen for a moment. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. OUTSIDE SCHOOL BUILDING - SAME TIME |
||
| − | |||
| − | Buffy approaches the nearest building to the gym. The vampires |
||
| − | are several feet behind her, some twenty of them. |
||
| − | |||
| − | The door is locked. She smashes it in with her shoulder. |
||
| − | Runs inside. |
||
| − | |||
| − | A few vampires are about to follow Buffy into the building |
||
| − | when a hand is suddenly raised before them, stopping them. |
||
| − | Slowly they start fading back. |
||
| − | |||
| − | It is Amilyn. He smiles at the other vampires, and raises his |
||
| − | fingers to his lips. |
||
| − | |||
| − | Shhhh.... |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE GYM - CLOSEUP ON A TABLE - SAME TIME |
||
| − | |||
| − | Pike is slammed down onto it, Benny's face inches from his. |
||
| − | "Teen Angel" has been replaced by some hard rock. |
||
| − | |||
| − | BENNY |
||
| − | Isn't this great, Pike? Isn't it |
||
| − | great? Finally got those bitches |
||
| − | on the run. |
||
| − | |||
| − | He hoists Pike up and backhands him in the jaw, sends him flying |
||
| − | against a wall. Pike shakes his head as Benny comes at him |
||
| − | again, no longer smiling. |
||
| − | |||
| − | BENNY |
||
| − | (continuing) |
||
| − | Of course I'm angry! I leave you |
||
| − | alone for five minutes, and look |
||
| − | who you're hanging out with! |
||
| − | |||
| − | He turns suddenly and grabs a girl, yells in her face. |
||
| − | |||
| − | BENNY |
||
| − | (continuing) |
||
| − | I don't want girls with good taste; |
||
| − | I want a girl that tastes good! |
||
| − | |||
| − | She faints and he drops her, turns back to Pike. Pike is |
||
| − | getting shakily to his feet. Blood trickles down his forehead. |
||
| − | |||
| − | BENNY |
||
| − | (continuing) |
||
| − | I was gonna change you, man. I was |
||
| − | gonna give you life! Do you know |
||
| − | what that means? |
||
| − | |||
| − | ANGLE - ANOTHER WINDOW |
||
| − | |||
| − | Gary Murray, yelling orders at student, holding a board against |
||
| − | a window as vampires pound on it. The exposed part of the |
||
| − | window above him shatters, raining glass on his head. |
||
| − | |||
| − | ANGLE - THE PHOTO SETUP |
||
| − | |||
| − | A vampire is clutching a helpless girl as another vampire takes |
||
| − | their picture with an Instamatic. He expresses confusion and |
||
| − | dismay when his image does not come out in the photo. |
||
| − | |||
| − | ANGLE - PIKE AND BENNY |
||
| − | |||
| − | Pike is backing away from Benny, who is approaching him. Pike |
||
| − | passes an overturned table, the stubs of its broken legs |
||
| − | sticking up at the ceiling. |
||
| − | |||
| − | BENNY |
||
| − | Never die. Never get kicked around, |
||
| − | never get busted. |
||
| − | |||
| − | Benny grabs him with hateful force. His fingers dig into Pike's |
||
| − | arms enough to draw blood. |
||
| − | |||
| − | BENNY |
||
| − | (continuing) |
||
| − | It means never having to say you're |
||
| − | sorry! And you blow it all off for |
||
| − | that slut?! What about my needs?! |
||
| − | |||
| − | Pike suddenly grabs Benny, holds him tightly in a brotherly |
||
| − | embrace. Benny is thrown slightly by this. |
||
| − | |||
| − | Still holding him, Pike pitches onto the table, driving the |
||
| − | leg-shard through Benny's back. Pike still holds Benny as he |
||
| − | twitches and screams, dying. Finally, he lets go, gets up. |
||
| − | He looks a little dazed, a little lost. A window shattering |
||
| − | far behind him pulls his eyes back into focus, and he goes to |
||
| − | help. |
||
| − | |||
| − | ANGLE - KIMBERLY |
||
| − | |||
| − | Sitting by a wall, tiny and silent amid the carnage. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. HALL - SAME TIME |
||
| − | |||
| − | Buffy moves quickly along, crouching near a window and peering |
||
| − | out. Nothing. She looks about her, waiting for an attack. |
||
| − | She checks her purse. |
||
| − | |||
| − | ANGLE - BUFFY'S PURSE |
||
| − | |||
| − | Cosmetics and hair spray. A small cross. No stakes left. |
||
| − | |||
| − | Muttering under her breath, she moves swiftly into a classroom. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. CLASSROOM - SAME TIME |
||
| − | |||
| − | Still moving cautiously, she heads for the window and pulls |
||
| − | down the shade. She crouches behind the teacher's desk and |
||
| − | pulls the chair down to her, laying it on its side. |
||
| − | |||
| − | BUFFY |
||
| − | (cattily, to herself) |
||
| − | 'Ooh, make me a woman, Jeffrey... |
||
| − | oh, Jeffrey, you're so atheletical... |
||
| − | I love you...' |
||
| − | |||
| − | She slams her elbow down on the chair leg -- very controlled, |
||
| − | efficient motion -- and snaps it off. Looks around to see if |
||
| − | anyone is around to hear as she picks up the leg, now a weapon. |
||
| − | |||
| − | She goes softly to the door, peers cautiously out. |
||
| − | |||
| − | CLOSEUP - BUFFY |
||
| − | |||
| − | Looking out. Amilyn's face appears right next to her, also |
||
| − | looking out. |
||
| − | |||
| − | AMILYN |
||
| − | All clear? |
||
| − | |||
| − | Buffy screams, turns, and Amilyn decks her, sends her flying |
||
| − | back into the classroom. The stake flies out of her hand. It |
||
| − | lands on a desk by the window. |
||
| − | |||
| − | Buffy does not land nearly as well, crashing into a pile of |
||
| − | desks and twisting her leg badly. Amilyn laughs repulsively, |
||
| − | advancing. |
||
| − | |||
| − | AMILYN |
||
| − | Pleased to meet you! Won't you |
||
| − | guess my -- |
||
| − | (kicks her hard) |
||
| − | -- name? |
||
| − | |||
| − | BUFFY |
||
| − | (defiantly, through the |
||
| − | pain) |
||
| − | It wouldn't be 'Dick,' would it? |
||
| − | |||
| − | He kicks her again. |
||
| − | |||
| − | BUFFY |
||
| − | (continuing) |
||
| − | 'Lefty'? |
||
| − | |||
| − | AMILYN |
||
| − | You're a fool, bloodbag. Die a |
||
| − | fool and go to hell! |
||
| − | |||
| − | He grabs her by the neck with his one arm and pins her against |
||
| − | the wall in the corner. She reaches for the stake but it is |
||
| − | just out of reach. He is squeezing the life out of her, his |
||
| − | face inches from hers. |
||
| − | |||
| − | AMILYN |
||
| − | (continuing) |
||
| − | The chosen one. You're just another |
||
| − | bloodbag -- not even fit to die for |
||
| − | the Master. When will you ever |
||
| − | learn? |
||
| − | |||
| − | Buffy looks about for succor. |
||
| − | |||
| − | ANGLE - THE WINDOW SHADE |
||
| − | |||
| − | Buffy eyes the bottom of the shade, the pull dangling aimlessly. |
||
| − | |||
| − | BUFFY |
||
| − | (with difficulty) |
||
| − | I do know... one thing... |
||
| − | |||
| − | AMILYN |
||
| − | What? |
||
| − | |||
| − | BUFFY |
||
| − | I know... what time sunrise is. |
||
| − | |||
| − | She pulls down hard on the shade pull and lets go. |
||
| − | |||
| − | AMILYN |
||
| − | No! |
||
| − | |||
| − | He turns in horror, letting go of Buffy, trying to catch the |
||
| − | shade. The instant he releases her, Buffy grabs the stake and |
||
| − | in one swift motion, buries it in Amilyn's back. |
||
| − | |||
| − | The shade goes up, flapping loudly as it spins. It is still |
||
| − | pitch black out. Amilyn stares, wide-eyed and silent, at the |
||
| − | night as he dies. |
||
| − | |||
| − | BUFFY |
||
| − | It's in about four hours, Dick. |
||
| − | |||
| − | Amilyn spins, dying rage in his eyes. He grabs her. His |
||
| − | strength is formidable even as his body begins to smoke. |
||
| − | Suddenly screaming, he forces her over suddenly with such power |
||
| − | that the two of them go crashing through the floorboards. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - SAME TIME |
||
| − | |||
| − | The two of them fall through the ceiling directly into the |
||
| − | blood pool. |
||
| − | |||
| − | Amilyn's body surfaces first, now just a husk. |
||
| − | |||
| − | Buffy pops up from the waist-deep blood, soaked and wounded. |
||
| − | She stays a moment, breathing hard. Suddenly her eyes go wide. |
||
| − | |||
| − | BUFFY |
||
| − | Oh, god, no... not yet... |
||
| − | |||
| − | Lothos rises from the pool, smiling. Buffy is clearly paralyzed |
||
| − | by fear. |
||
| − | |||
| − | LOTHOS |
||
| − | I knew you'd come. |
||
| − | |||
| − | He moves toward her. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing) |
||
| − | You knew it, too, didn't you? All |
||
| − | your life, dreaming... waiting to |
||
| − | feed me. |
||
| − | |||
| − | Buffy is suddenly galvanized into action. She throws a few |
||
| − | punches at Lothos, but he takes them without flinching. She |
||
| − | grabs at the stake in what remains of Amilyn's chest. Lightning |
||
| − | quick, Lothos closes his hand around hers and squeezes till the |
||
| − | stake splinters and she screams with pain. He knocks her back |
||
| − | on her ass. |
||
| − | |||
| − | She starts moving backward, away from him, but it is hard enough |
||
| − | for her to make her way through the thick gore. Lothos |
||
| − | contemplates Amilyn's corpse, and his face darkens. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing) |
||
| − | Ah, my fool is dead. He was |
||
| − | careless, always. Still, I'll pull |
||
| − | out your tongue for that. |
||
| − | (coming toward her) |
||
| − | Don't you understand? I've killed |
||
| − | you a dozen times. Your life is |
||
| − | not a blink of my eye, not a single |
||
| − | breath. I have lived in the shadows, |
||
| − | in the pulsing filth behind men's |
||
| − | eyes. A thousand years, and more. |
||
| − | I have conversed with the worms |
||
| − | that fed on my corpse and I have |
||
| − | bathed in the blood of emperors. |
||
| − | |||
| − | BUFFY |
||
| − | (breaking the spell) |
||
| − | Have you ever thrown up in the front |
||
| − | row of a Richard Marx concert? |
||
| − | |||
| − | LOTHOS |
||
| − | What? |
||
| − | |||
| − | And she is up, turning to run. He is thrown momentarily by |
||
| − | her insolence. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - THE BOILER ROOM - SAME TIME |
||
| − | |||
| − | But he is on her the moment she emerges from the chamber, |
||
| − | grabbing her by the hair and throwing her to the ground. |
||
| − | |||
| − | LOTHOS |
||
| − | You waste time. That is a sin. |
||
| − | |||
| − | He kneels over her prostrate body. She is reaching frantically |
||
| − | into her purse. He runs his hand along her body, a gesture |
||
| − | both lustful and disdainful. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing) |
||
| − | You're even weaker than the others. |
||
| − | |||
| − | BUFFY |
||
| − | I think you've forgotten something. |
||
| − | |||
| − | She pulls out a small cross, holds it in front of him. He |
||
| − | snarls at it, then grabs it, his hand around her. The cross |
||
| − | bursts into flame. He holds her hand onto it. |
||
| − | |||
| − | LOTHOS |
||
| − | This? This is your only weapon? |
||
| − | Your puny faith? |
||
| − | |||
| − | BUFFY |
||
| − | No... |
||
| − | |||
| − | With her other hand, Buffy holds up her hair spray. |
||
| − | |||
| − | BUFFY |
||
| − | (continuing) |
||
| − | ... my keen fashion sense. |
||
| − | |||
| − | She squeezes it at him, the spray catching fire form the cross |
||
| − | and whooshes a jet of flame right into his face. He screams, |
||
| − | letting her go and backing up. Hey, his head is on fire! |
||
| − | |||
| − | Buffy turns and hobbles away. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - SAME TIME |
||
| − | |||
| − | Lothos stumbles about, head all aflame, till he finally pitches |
||
| − | into the pool. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - HALL - SAME TIME |
||
| − | |||
| − | Buffy comes out of the boiler room and hobbles along, moving |
||
| − | as fast as she can. |
||
| − | |||
| − | BUFFY |
||
| − | This is the suckiest party I have |
||
| − | ever been to. It's not even a |
||
| − | contest. |
||
| − | |||
| − | She reaches a locked door that says "Gymnasium -- Authorized |
||
| − | Personnel Only". Puts her shoulder to it. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - CLOSEUP ON LOTHOS - SAME TIME |
||
| − | |||
| − | As he pulls himself out of the pool, we are treated to a good |
||
| − | look at his new head. It is charred and torn almost beyond |
||
| − | recognition. It is so inhuman looking, that we are almost |
||
| − | surprised when it screams! |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - HALL - SAME TIME |
||
| − | |||
| − | The SCREAM fills the hall. Buffy is still working on the heavy |
||
| − | metal door. She turns, wide-eyed, at the SOUND. |
||
| − | |||
| − | BUFFY |
||
| − | Oops. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. LOTHOS' CHAMBER - LOTHOS' POV - SAME TIME |
||
| − | |||
| − | We TRACK rapidly through the cave, through the boiler room, |
||
| − | the hall. We're moving much too fast to be running. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. GYM - SAME TIME |
||
| − | |||
| − | Buffy pulls herself up through a trap door in the corner. |
||
| − | Everything stops. For a moment there is silence. |
||
| − | |||
| − | Buffy gets shakily up. |
||
| − | |||
| − | KIMBERLY |
||
| − | Don't let her in! Don't let her |
||
| − | in! |
||
| − | |||
| − | Pike and the others see her. Pike and Andy run to her to help. |
||
| − | |||
| − | KIMBERLY |
||
| − | (continuing) |
||
| − | They'll kill us! Get her out! |
||
| − | |||
| − | Gary Murray stops in front of Kimberly, takes her face in his |
||
| − | hand and lightly pops the back of her head against the wall. |
||
| − | Cross-eyed, she slides back down into comatic silence. |
||
| − | |||
| − | PIKE |
||
| − | Are you okay? |
||
| − | |||
| − | BUFFY |
||
| − | Get away from me! |
||
| − | |||
| − | She pushes them away. Lothos crashes through the trap door |
||
| − | behind her, ugly and crazed. He picks her up, floating a good |
||
| − | two feet off the ground. |
||
| − | |||
| − | LOTHOS |
||
| − | You bitch! |
||
| − | |||
| − | He hurls her the length of the room. She hits a locker, which |
||
| − | opens, spilling out someone's notebook. The binder falls open, |
||
| − | inside it is a plastic pen case with pens and pencils within. |
||
| − | |||
| − | Buffy looks, by this time, like shit. She props herself up as |
||
| − | best she can, looks about her. There is nothing wooden, nothing |
||
| − | sharp, within reach. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing) |
||
| − | You would challenge me? |
||
| − | |||
| − | Andy charges Lothos from behind. Pike tries to stop him, but |
||
| − | is too late, as Lothos grabs him by the face without even |
||
| − | looking at him. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing; to Buffy) |
||
| − | I'll rip the flesh from your stinking |
||
| − | bones! |
||
| − | |||
| − | Squeeze Andy's head until we hear something crack. Lets him |
||
| − | drop. Looks around at the cowed students. |
||
| − | |||
| − | LOTHOS |
||
| − | (continuing) |
||
| − | I am a God! A God! |
||
| − | |||
| − | BUFFY |
||
| − | I am so sure. |
||
| − | |||
| − | Lothos roars. Furious, he charges Buffy, his feet just skimming |
||
| − | the ground, racing toward her, violently fast, upon her... |
||
| − | |||
| − | She spins, on her feet in a flash, one quick motion. She |
||
| − | thrusts her palm forward and stops him, cold, like Superman |
||
| − | stopping a train, palm at his chest. |
||
| − | |||
| − | Silence. Buffy looks directly into his eyes, the mad rictus |
||
| − | of his face. |
||
| − | |||
| − | Lothos stops, almost wide-eyed, as he looks down at his chest. |
||
| − | |||
| − | Sticking out of the middle of his chest is a small eraser, and |
||
| − | a #2. |
||
| − | |||
| − | He steps back, staring at Buffy. The expression on his horrible |
||
| − | face seems to have changed to one almost of respect. Her look |
||
| − | is unfathomable. |
||
| − | |||
| − | Lothos smiles, graciously. |
||
| − | |||
| − | LOTHOS |
||
| − | It doesn't... hurt... as much as I |
||
| − | had imagined. |
||
| − | |||
| − | He falls gently to the ground. He's dust before he hits it. |
||
| − | |||
| − | Silence. One by one the vampires, stricken, slip out into the |
||
| − | night. |
||
| − | |||
| − | ANGLE - PIKE |
||
| − | |||
| − | Kneeling by Andy's body. He gets up, and walks toward what's |
||
| − | left of Lothos, warily keeping his eye on the spot. In the |
||
| − | background we see Gary Murray, running out after a vampire. |
||
| − | |||
| − | GARY MURRAY |
||
| − | Just a minute, you! I'm not finished |
||
| − | with you! |
||
| − | |||
| − | Pike kneels by the pile of dust with a pencil in it. |
||
| − | |||
| − | Everybody is looking at Buffy. She stares back at the students |
||
| − | who cast her out. Turns and walks out. Pike follows her. |
||
| − | |||
| − | DISSOLVE TO: |
||
| − | |||
| − | EXT. THE SCHOOL - EARLY MORNING |
||
| − | |||
| − | We see the direct aftermath; the gym, police cars, people |
||
| − | helping the wounded. Over this is the voice of a reporter. |
||
| − | |||
| − | REPORTER (V.O.) |
||
| − | The death toll now reaches twelve |
||
| − | and a half in the tragedy of Hemery |
||
| − | High School. It was at the Senior |
||
| − | Prom five days ago that the school |
||
| − | was beset by a roving gang of crack- |
||
| − | crazed gunmen. Survivors say some |
||
| − | two hundred of the ruffians laid |
||
| − | the school gym under a kind of siege, |
||
| − | claiming several lives in the |
||
| − | process. Said one administrator, |
||
| − | 'Things here will never be the same.' |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. CAMPUS - DAY |
||
| − | |||
| − | Students walk, holding their books talking. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE CLASSROOMS - DAY |
||
| − | |||
| − | Students passing notes, yawning, falling asleep. |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | INT. THE MALL - DAY |
||
| − | |||
| − | Students window shopping, sucking on slurpies, laughing. |
||
| − | |||
| − | DISSOLVE TO: |
||
| − | |||
| − | ANGLE - A POOL |
||
| − | |||
| − | SHOT FROM ABOVE, the blue water FILLING THE SCREEN. Kimberly |
||
| − | dives gracefully into it, comes up on the other side. |
||
| − | |||
| − | EXT. KIMBERLY'S BACKYARD - DAY |
||
| − | |||
| − | Kim climbs out and joins Jeffrey, Jennifer and a boy and girl |
||
| − | we don't know. They are all in bathing gear, with fluorescent |
||
| − | zinc on their noses. |
||
| − | |||
| − | JENNIFER |
||
| − | She was even crazier after that. I |
||
| − | mean it, you wouldn't even have |
||
| − | recognized her. |
||
| − | |||
| − | KIMBERLY |
||
| − | Buffy? |
||
| − | |||
| − | Jennifer nods. Kimberly wrinkles her nose in distaste. |
||
| − | |||
| − | JENNIFER |
||
| − | She didn't even hardly talk to anyone |
||
| − | in school. All year. She didn't |
||
| − | even go to the prom. |
||
| − | |||
| − | JEFFREY |
||
| − | I heard she got straight A's. |
||
| − | |||
| − | Jennifer glares at him. |
||
| − | |||
| − | JEFFREY |
||
| − | (continuing) |
||
| − | That's what I heard. |
||
| − | |||
| − | KIMBERLY |
||
| − | The worst is, her parents -- this |
||
| − | is true -- her parents were gonna |
||
| − | send her to the Bahamas for |
||
| − | graduation, and she refused. True |
||
| − | story. She said she didn't want to |
||
| − | go. It is to vomit. |
||
| − | |||
| − | BOY |
||
| − | Well, where is she now? |
||
| − | |||
| − | CUT TO: |
||
| − | |||
| − | EXT. A COURTYARD - LATE EVENING |
||
| − | |||
| − | Buffy and Pike are walking up the elaborate stone drive toward |
||
| − | us. We can't really tell where they are, but there are trees, |
||
| − | hills in the background. |
||
| − | |||
| − | Buffy leads the way. She is confident, at ease. She wears a |
||
| − | large old sports jacket, a baseball cap pulled backward. Skirt |
||
| − | and sneakers. Casual, cool, but disarming. She carries a |
||
| − | knapsack. |
||
| − | |||
| − | PIKE |
||
| − | I didn't say it was a bad idea, I |
||
| − | just said the timing was off. We |
||
| − | could maybe wait till later. |
||
| − | |||
| − | BUFFY |
||
| − | Don't be such a fraidy-cat. |
||
| − | |||
| − | PIKE |
||
| − | Who's afraid? Besides me, I mean. |
||
| − | |||
| − | BUFFY |
||
| − | We've come all this way. We just |
||
| − | have to check it out. I got a hunch. |
||
| − | |||
| − | PIKE |
||
| − | You're the boss, boss. I just |
||
| − | thought maybe we should wait. |
||
| − | |||
| − | Buffy stops at a large, elaborately carved door. She turns to |
||
| − | Pike. |
||
| − | |||
| − | BUFFY |
||
| − | Trust me. |
||
| − | |||
| − | ANGLE - DOOR KNOCKER |
||
| − | |||
| − | Buffy grabs the large metal knocker, ringed through a gargoyle's |
||
| − | mouth. |
||
| − | |||
| − | And on the boom of the knocker, we see: |
||
| − | |||
| − | WIDER ANGLE - THE CASTLE |
||
| − | |||
| − | The castle. Archetypal, turreted, terrifying. Standing lonely |
||
| − | on the craggy hill, drenched in the light of the rising moon. |
||
| − | |||
| − | BLACK OUT. |
||
| − | |||
| − | THE END |
||
== Gallery == |
== Gallery == |
||
Revision as of 07:33, 16 June 2013
- ↳ Note: This article is about the film. For other uses, see Buffy.
|
The subject of this article is non-canonical. While created as part of licensed material, it has not been confirmed as part of the "real" Buffyverse continuity. |
 |
Buffy the Vampire Slayer is a 1992 comedy film about a "Valley Girl" cheerleader (Kristy Swanson) chosen by fate to fight and kill vampires. The film is a light parody which plays on the clichés of typical horror movies. The film also led to a much more popular TV series of the same name, starring Sarah Michelle Gellar, which was created and executive produced by screenwriter Joss Whedon. Whedon often detailed how the TV series was a much closer rendering of his vision than the movie, which was compromised by commercial concerns and differences in interpretation. Though the film is now considered a relatively minor chapter in the broader Buffy legacy, it was moderately successful and generally well received at the time of its release.
Cast
- Kristy Swanson as Buffy Summers
- Donald Sutherland as Merrick Jamison-Smythe
- Paul Reubens as Amilyn
- Rutger Hauer as Lothos
- Luke Perry as Oliver Pike
- Candy Clark as Joyce Summers
- James Paradise as Hank Summers
- Michelle Abrams as Jennifer Walkens
- Hilary Swank as Kimberly Hannah
- Paris Vaughan as Nicole Bobbittson
- David Arquette as Benny Jacks
- Randall Batinkoff as Jeffrey Kramer
- Andrew Lowery as Andy
- Sasha Jenson as Grueller
- Stephen Root as Gary Murray
- Natasha Gregson Wagner as Cassandra
- Marco DeCarlo as The Coach
- Liz Smith as Reporter
- Paul M. Lane as Robert Berman
- Bob Swanson as Referee
- Thomas Jane as Zeph (as Tom Janes)
- David Sherrill... Knight
- Toby Holguin ... Vampire Fan
- Eurlyne Epper ... Graveyard Woman (as Eurlyne Epper-Woldman)
- Andre Warren ... Newscaster
- Erika Dittner ... Cheerleader
- J.T. Cole ... Biker (as J. C. Cole)
- Michael Kopelow ... Student (as Michael S. Kopelow)
- Ricky Dean Logan ... Bloody Student
- Bobby Aldridge ... Vampire
- Amanda Anka ... Vampire
- Chino Binamo ... Vampire
- Al Goto ... Vampire
- Terry Jackson ... Vampire
- Mike Johnson ... Vampire
- Sarah Lee Jones ... Vampire
- Kim Robert Koscki ... Vampire (as Kim Robert Kosci)
- Clint Lilley ... Vampire
- Jimmy N. Roberts ... Vampire
- David Rowden ... Vampire
- Kenny Sacha... Vampire
- Ben Scott... Vampire (as Ben R. Scott)
- Kurtis Epper... Vampire (as Kurtis Epper Sanders)
- Sharon Schaffer... Vampire
- Lincoln Simonds... Vampire
rest of cast listed alphabetically:
- Ben Affleck... Basketball Player #10 (uncredited)
- Alexis Arquette... Vampire DJ (uncredited)
- Bryan Goeres... Basketball Player (uncredited)
- Ricki Lake... Charlotte (uncredited)
- Paul Pesco... Vampire (uncredited)
- Ben Schneider... Teacher Pouring Punch at Dance (uncredited)
- Seth Green as an Unidentified vampire (uncredited)
Synopsis
In every generation there is a Chosen One. She alone will stand against the vampires, the demons, and the forces of darkness. She is the Slayer.
Blonde, bouncy Buffy Summers (Kristy Swanson) is your typical popular cheerleader at Hemery High School in Los Angeles - her goal is to "marry Christian Slater and die". She is a care-free, popular girl, whose main concerns are shopping and spending time with her friends. But all that changes when she is approached by a strange man named Merrick, who informs her that she is The Slayer who has been chosen by fate to kill the vampires. Acting as her Watcher, he has been sent to train and guide her. At first she refuses to accept her duties, but eventually sees there is no other way. She admits that she has dreams of past Slayers and reluctantly acknowledges that she is the Chosen One. She runs into Pike (Luke Perry), who is seen as a loser in her school. He becomes the male version of the "damsel in distress", being rescued by Buffy many times.
After brief training, she is drawn into conflict with a local vampire king called Lothos (Rutger Hauer), who has killed a number of past Slayers, his sidekick, "Lefty" Amilyn (Paul Reubens), and their determined gang of bloodsuckers. Lothos kills Merrick, giving Buffy the motivation she needs. In a climactic battle set at the senior dance in her high school, Buffy defeats Lothos and his minions by being true to her own contemporary style and ignoring the conventions and limitations of previous Slayers.
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.
See Buffy the Vampire Slayer (film)/Original Script
Gallery
Variant Movie Poster
DVD variant Cover Art
Wal-Mart's Cover Variant
Behind the Scenes
- Pike, despite being a major character in the film, never appears in the TV series, nor is he even mentioned. He does however return in the Buffy comics.
- Besides Buffy herself, characters from the film who do go on to appear in the TV series include Merrick, who appears in a flashback in "Becoming," and Buffy's Mom (Candy Clark) & Dad (James Paradise), who both remain nameless in the film. Buffy's surname is never referred to in the film.
- Seth Green appeared as a vampire in a deleted scene which nonetheless featured on the original video cover. Along with Chi Muoi Lo, he is one of only two actors to appear in both the film and the television series.
- Ben Affleck and Ricki Lake appear in uncredited cameo roles as Basketball Player #10 and Charlotte, respectively (Affleck is the player who surrenders the ball to Greuller). Ben Affleck will later go on to make a cameo in the Angel episode 'Double or Nothing' as one of the diners in the cafe where Fred and Gunn argue.
- In the Buffy movie Buffy defines her life goals as 'Graduate, go to Europe, marry Christian Slater and die'. Through the Buffy the Vampire Slayer and Angel TV shows she achieves three out of four.
- If the 'Normal Again alternative' (that Buffy really is a mad girl in an asylum and being the Slayer is all in her head) is true then her delusion starts when she 'meets' Merrick at the mall in the Buffy movie and ends 7 years later when she regains her sanity again at the end of 'Chosen'.
- There are numerous differences in the mythology of the movie and the subsequent series. Vampires in the movie cannot transform into 'vamp-face', can fly or at least levitate and do not crumble into dust when killed. Buffy's ability to detect vampires gives her cramps and each Slayer has a distinctive birthmark, neither of which feature in the series. Merrick refers to being reincarnated but this seems to be unique to him as it is never referred to by other Watchers.
- In the course of the film Buffy slays 15 vampires. 'Robert Berman' has the dubious distinction of being her first ever vamp kill.
See Also
- Buffy the Vampire Slayer Soundtrack, the film's soundtrack release.
- The Origin, a "Year One" style comic adaptation bringing it closer into line with the Buffyverse established by the TV series.
- The upcoming theatrical reboot planned for 2012.
External Links
- Template:IMDb movie