Get It Done Transcript
Buffy Episode 7x15 (#137)
"Get It Done" Transcript
Written by Douglas Petrie
Original U.S. Air Date: February 18th, 2003
RECAP:
GILES (V.O.)
Previously on Buffy the Vampire Slayer:
1 EXT. CITY STREET IN ISTANBUL, TURKEY - NIGHT
A dark-haired girl is held down by two hooded figures, as a third figure raises an arched, shiny, silver dagger and thrusts it down at her.
Cut to:
2 INT. DINING ROOM AT BUFFY'S HOUSE - DAY
A magical explosion occurs. Red light surrounds Willow and then enters her body through her nostrils. She throws her head back and a demonic apparition (huge, with two horns on its head and glowy red eyes) escapes her mouth, lunging toward Buffy.
Cut to:
3 INT. DINING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy walks in, and everyone turns to look.
BUFFY
(solemn) Evil. (resolute) They want an apocalypse? Oh, we'll give 'em one. 'Cause we just became an army.
Cut to:
4 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Anya and Dawn are sitting on the couch. Xander's sitting in a cushy chair, propping his feet up on the coffee table. Andrew's sitting on the floor between Xander and the fireplace.
ANYA
Look, I'm not saying it's a happy scenario, but we're dealing with a big bad that can be any dead person it wants.
Cut to:
5 INT. KITCHEN AT BUFFY'S HOUSE - DAY
Andrew's backed into a corner by the new microwave talking to Jonathan/First.
ANDREW
What do you want from me, Jonathan slash The First?
JONATHAN/FIRST
I have an assignment for you.
ANDREW
You want me to hurt the girls?
JONATHAN/FIRST
The girls must die.
Cut to:
6 INT. BUFFY'S HOUSE - DAY
Buffy opens the front door to leave but sees Giles standing there on her front porch when she opens it. Buffy goes to hug Giles but is cut off when three girls she's never met walk right into her house.
MOLLY
(in a Cockney British accent) Nice place. Bit of a mess. (walks inside the house)
Cut to:
7 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Dawn's standing in front of the three girls Giles brought with him. The three girls are lined up against the wall, and Dawn's inspecting them, arms crossed in front of her.
DAWN
They're all slayers?
GILES
Potential slayers. Waiting for one to be called. There were many more like them all over the world, but, um, now there's just a handful, and they're all on their way to Sunnydale.
Cut to:
8 EXT. SUNNYDALE BUS STATION - NIGHT
A charter bus opens its doors, and a couple of people walk down the steps to exit the vehicle. The last person to exit is a young African-American girl, wearing denim overalls and carrying a backpack. She looks around.
Cut to:
9 INT. WILLOW'S ROOM AT BUFFY'S HOUSE - NIGHT
Willow walks into her bedroom, and Kennedy waits at the door. The mood is very awkward.
WILLOW
Glad we talked.
KENNEDY
In the spirit of air clearing...
WILLOW
Yeah?
KENNEDY
I feel like I need to be honest about something.
Kennedy kisses Willow slowly and passionately.
Cut to:
10 INT. UNDERGROUND CAVE - NIGHT
Still shackled to the rocky cave wall, Spike sees someone walking toward him. Buffy approaches him slowly and cuts him loose from his tethers. He collapses forward and braces himself with his hand on her shoulder. When he touches her and realizes she's real, he smiles and squints, searching her face intently. She looks into his eyes, tapping an emotional connection between them.
BUFFY (V.O.)
(turns to face Giles) Spike has a soul now. That's what's gonna stop him from hurting people.
Cut to:
11 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Giles comes into Buffy's room to talk to her.
GILES
Buffy...
BUFFY
He can be a good man, Giles. I feel it.
Cut to:
12 EXT. ALLEY IN SUNNYDALE - NIGHT
Buffy realizes that Principal Wood is also fighting off vampires. Without her help. Principal Wood overpowers one of the vampires and stakes him. Then knocks the last one to the ground, staking him too. He flips the stake in his hand, then returns it to his belt holster as he walks back to Buffy.
PRINCIPAL WOOD
I guess we should talk.
Cut to:
13 INT. ROMANTIC FRENCH RESTAURANT - NIGHT
Buffy and Principal Wood are sitting across from each other at a small table in a very elegant, romantic restaurant.
BUFFY
How? How do you know about slayers?
PRINCIPAL WOOD
My mother was one. She was killed when I was four.
BUFFY
(nervously) Um, something got her... a demon—?
PRINCIPAL WOOD
A vampire.
Cut to:
14 INT. PRINCIPAL WOOD'S CAR - NIGHT
Principal Wood is driving the car, with Buffy as a passenger and Spike in the back seat. Buffy's very tense and uncomfortable looking, and Spike's crouched down in the corner of the back seat.
PRINCIPAL WOOD
So, how do you two know each other?
BUFFY
(answering too fast) He works with me. Uh, you know, in the struggle against evil.
Cut to:
15 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Buffy and Lissa are fighting when Spike enters the room. Lissa starts whaling on Spike. She kicks Buffy away, knocking her to the ground. She pushes Spike down and starts strangling him, bringing forth Spike's vampire facade. Principal Wood sees Spike's face change.
PRINCIPAL WOOD
He's a vampire.
Cut to:
16 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's sitting on the couch alone in the living room. Spike walks in and sits next to her.
SPIKE
I should move out.
BUFFY
No, you have to stay.
SPIKE
You've got another demon fighter now.
BUFFY
That's not why I need you here.
SPIKE
Why's that then?
BUFFY
'Cause I'm not ready for you to not be here.
Cut to:
17 INT. BATHROOM AT PRINCIPAL WOOD'S PLACE - NIGHT
Principal Wood is talking to the First in the form of his mother.
PRINCIPAL WOOD
You're not my mother.
NIKKI/FIRST
Would you like to know who killed me? (Principal Wood stops in his tracks) You met him. You know him. You fought at his side.
FLASHBACK: A very punk Spike is fighting with a young black woman in a New York subway car. He overpowers her, and, straddling her on the floor, he breaks her neck. Then he takes her leather duster and puts it on. (from episode 5x07 "Fool For Love")
PRINCIPAL WOOD
Spike.
Fade to black.
End Recap.
The Start Of Episode
PROLOGUE:
18 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's walking around the house, checking on the slayers-in-training as they sleep—the floor is crowded with them in their sleeping bags. Buffy bends down to pick up a large, thick book labeled "Greek," and she puts it on the desk before turning out the light.
Cut to:
19 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT
Buffy goes upstairs to check on more potentials in Willow's room. Kennedy's sleeping in the bed with Willow, and several more girls are in sleeping bags on the floor. Buffy hears crying from the hallway and goes to investigate. In the corner at the end of the hall, Chloe is sitting on the floor, huddled up with her knees to her chest, sobbing.
BUFFY
Chloe? It is Chloe, right?
Chloe looks up at Buffy, but before she can answer, the First Slayer tackles Buffy from the side, pushing her down the stairs. The First Slayer lands on top of Buffy.
FIRST SLAYER
(snarling, raspy) It's not enough.
Cut to:
20 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy gasps as she wakes from the dream, alarmed. She looks around the room and sees the girls are there and safe. She furrows her brow as she contemplates what just happened.
Cut to:
Opening Credits.
ACT I:
21 EXT. ALLEY IN SUNNYDALE - NIGHT
Anya and Spike are walking together down an alley side by side.
ANYA
I'm a bright girl, good education, quick on the uptake. So, tell me, why in the name of almighty Grothnar would I let myself become human again?
SPIKE
You're really talking to the wrong fella.
ANYA
I mean, sure, the vengeance demon gig has some downsides...
SPIKE
All jobs do.
ANYA
But being human? Ugh! You're always icky on the inside, disgusting on the outside.
SPIKE
(stops, turns to look at her) Your outside's not so bad.
ANYA
(blushes) You know, the only thing worse than being human is being trapped inside a house full of humans.
SPIKE
Preaching to the choir, luv.
ANYA
I mean, it's like we live in slayer central. I swear, if Buffy rooms or boards one more of the potential girls, I'm gonna call a—I'm gonna call a health inspector.
SPIKE
I like my plan better. Get up, get out, get drunk. Repeat as needed. It's just more elegant. (starts walking again)
ANYA
(puts her arm through his) Thanks for having me along.
SPIKE
(looks at Anya's arm through his) Don't mention it.
ANYA
At first, I thought... it's weird. Is Spike asking me out on a date? 'Cause that would just be...(unlaces her arm from his) nuts. (laughs nervously)
SPIKE
Right. I'm just out for the alcohol.
ANYA
Right there with you, scooter. (puts her hands in her pockets) Tonight, I plan to drink you under the table.
SPIKE
You're on, then.
ANYA
Good. (shrugs) Of course, once you're down there, I could join you. Kidding. I like my sex on top of the table.
SPIKE
(looks up to the sky) Would you let it go? You're like a dog with a bone!
ANYA
So what?
SPIKE
It's my bone. Just drop it.
ANYA
OK. OK. I wasn't proposing. Time goes by, girl gets hungry. You should know.
SPIKE
(rolls his eyes) Oh, thank God.
ANYA
What?
SPIKE
Demon.
ANYA
(with a demon standing behind her) Huh?
DEMON
(pushing Anya to the ground) D'Hoffryn says you die.
SPIKE
Of course, he does.
Spike kicks the demon between the legs, causing it to double over. Then Spike punches it in the head, knocking the demon to the ground. Spike looks at Anya, then back at the demon, and decides to flee the scene. He grabs Anya by the arm, pulling her hastily to her feet.
ANYA
Oh, hey!
Spike and Anya run down the alley, away from the demon.
Cut to:
22 INT. BUFFY'S CUBICLE AT SUNNYDALE HIGH - DAY
Buffy's sitting at her desk, and Principal Wood's standing behind her with his arms crossed. They are both facing the same direction.
BUFFY
This may mean more than you think.
PRINCIPAL WOOD
Is that so?
Show that Principal Wood and Buffy are talking to two young boys who have bruises and ripped shirts.
PRINCIPAL WOOD
Because I think what we have here is a couple of chuckle-heads who thought that a cafeteria fistfight would impress. I'm not impressed. Buffy, are you impressed? (Buffy purses her lips and shakes her head disapprovingly) Still, I'm gonna cut you guys some slack this time. (makes a gesture toward the door with his thumb, the kids leave, to Buffy) Third fight this week, and it's just getting worse. (closes window blinds, walks to the front of Buffy's desk) Plus, a rise in vandalism. Three students missing. Tell me something, Buffy, in your professional opinion— (listens to the kids rough-housing in the hallway outside) it's started, hasn't it? (closes another set of window blinds)
BUFFY
The hellmouth has begun its semi-annual percolation. Usually, it blows around May.
PRINCIPAL WOOD
Was it like this before? I mean, it just seems to me as if things are getting bad faster than we thought.
BUFFY
We're a little ahead of schedule.
PRINCIPAL WOOD
I can't say I'm too surprised. I knew I signed on for something, but, Buffy, I'm just a guy. Granted, a cool and sexy vampire-fighting guy, but still.
BUFFY
(smiles) Don't forget "snappy dresser."
PRINCIPAL WOOD
(smiles) Mm. Thank you. But this is gonna get bigger than me.
BUFFY
Yeah, it is.
PRINCIPAL WOOD
That's why I've decided to give you this.
Principal Wood reaches down under Buffy's desk and pulls up a large leather duffel bag, setting it on her desk with a clunk.
BUFFY
What is it?
PRINCIPAL WOOD
An emergency kit. This bag belonged to my mother.
BUFFY
A slayer keepsake. I-I couldn't.
PRINCIPAL WOOD
Well, you have to. Technically, it should have been passed down directly to you through the years, but after my mother died... I guess I just couldn't part with it.
BUFFY
Wow!
PRINCIPAL WOOD
I don't know what's inside, exactly, but I know it has something to do with her power. Well, your power now.
BUFFY
I-I don't know what to say.
PRINCIPAL WOOD
Try saying, "Thank you, Principal Wood."
BUFFY
Thank you, Principal Wood.
PRINCIPAL WOOD
(grins) Ah, call me Robin. Now, I'd like to see where you work.
BUFFY
Uh, here, actually. (touches her desk) Uh, th-this is my desk, and, uh, (holds up her pencil holder) these are my pencils...
PRINCIPAL WOOD
No, where you do your other work.
Cut to:
23 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Buffy and Principal Wood walk through the front door to Buffy's house.
BUFFY
So, all the potential slayers—who seem to keep popping up from, like, every corner of the earth— (shuts the door) were getting killed.
PRINCIPAL WOOD
By the First.
BUFFY
Agents of. We thought the Council could protect them, but, unfortunately, no one was protecting the Council, and all their watchers were killed. Word got out, and they've all been coming here since.
PRINCIPAL WOOD
Well, there's nothing like the end of the world to bring people together.
BUFFY
It's heartwarming. Anyway, this is, uh, it. Command central.
ANDREW
(storms into the room wearing a white apron and a red and white checked oven mitt on each hand) Where the hell have you been? (crosses arms) This funnel cake is kicking my ass.
PRINCIPAL WOOD
Yeah, I hear they're tricky.
BUFFY
Robin Wood, this is...Andrew.
PRINCIPAL WOOD
(offers his hand) It's a pleasure. (shakes hands with Andrew)
BUFFY
Andrew is our—actually, he's our hostage.
ANDREW
I like to think of myself more as a (makes quote marks in the air with his mitted hands) "guestage."
PRINCIPAL WOOD
(to Buffy) So, you—you hold him here against his will?
BUFFY
Well, he was evil, and people got killed, and now he...bakes. It's a thing.
PRINCIPAL WOOD
Oh.
ANDREW
Could we try to just keep our secret headquarters a little bit secret? Keep bringing people in, they're gonna see everything. They'll see the big board.
BUFFY
Andrew, we don't have a big board.
ANDREW
(runs to fetch a white dry-erase board from behind the chair) I, uh, made it myself.
The board is approximately 2' x 4', and is labeled: SUNNYDALE "BIG BOARD". Using every color of marker, the board features a hand-drawn map of Sunnydale, with representations of trees, cemeteries, railroad tracks, and the street grid.
PRINCIPAL WOOD
Oh, I wouldn't have guessed.
ANDREW
(pointing to the board) Uh, this is us. And this represents the First in various incarnations. And, uh, there's no pattern to the naked eye yet, but the instant one emerges, yours truly is on it. (Buffy and Wood look at each other, then walk away; Andrew calls after them) Where do we put our receipts?
Cut to:
24 EXT. BACKYARD AT BUFFY'S HOUSE - DAY
Buffy leads Principal Wood out to the back porch.
BUFFY
You'll have to forgive Andrew. Or not. Your call. We do have a lot more working for us than just the, uh, big board.
PRINCIPAL WOOD
So, I see.
Pan out to show that the potential slayers are training in the backyard, being led by Kennedy.
POTENTIALS
Huh!
KENNEDY
(hands on her hips) Punch block combo!
POTENTIALS
Huh!
KENNEDY
Cross block kick!
POTENTIALS
Huh!
KENNEDY
Chamber your energy. Punch block combo! (Chloe does the moves incorrectly, and Kennedy notices, walking up to her) Hold it! What the hell do you call that, potential? Try that in the field, you are dead. Drop, and give me 20.
CHLOE
20 what?
KENNEDY
(in her face) Push-ups, maggot! (Chloe drops to do push-ups; Kennedy turns toward Buffy and Wood, still scowling, then suddenly grinning and giddy) I love this job! Did you see that? I called that girl "maggot." (to Wood) Hi. (hands on her hips again) Who the hell are you?
BUFFY
An ally.
KENNEDY
So, what do you think? My girls ready to kick some ass, or what?
PRINCIPAL WOOD
Looking strong.
KENNEDY
But...?
PRINCIPAL WOOD
Well, I'm just not sure the First has an ass that you can actually, you know, kick.
KENNEDY
(smirks) Guess we'll see.
AMANDA
(waving) Principal Wood, hi! It's so weird seeing you outside of school.
KENNEDY
(to Amanda) What are you waving at, potential? Attention!
POTENTIALS
Huh!
KENNEDY
Rising sun. Begin. (they continue their training as Buffy and Wood talk)
BUFFY
You're right, it's not enough.
PRINCIPAL WOOD
That's not what I said, Buffy. It's an impressive group of recruits.
BUFFY
They're not recruits. Recruits are...recruited. These girls were chosen.
PRINCIPAL WOOD
You're doing the best you can with what you've got.
BUFFY
They're not all gonna make it. Some will die, and nothing I can do will stop that.
Willow walks out the back door onto the porch, arms full of weapons. She freezes when she sees Principal Wood.
WILLOW
Oh, hi. Hey. Well, Buffy, I—I see that our preparation for the school-pep-dance-cheer-drill contest are coming along. (to the potentials) Bring it on!
BUFFY
It's OK, I filled him in on everything.
WILLOW
(lets out a sigh of relief) Oh, thank God! If I had to explain all these weapons, I had nothing. (puts down the weapons)
PRINCIPAL WOOD
Buffy tells me you have been, um—oh, how shall I put it—experimenting. (Willow's eyes grow wide; she casts a "you said what?" glance at Buffy) With the magicks.
WILLOW
(laughs nervously) Oh! Yeah. Oh, nothing too heavy, though. Just the lighter, safer stuff. Uh, if Kennedy asks, her pointy stuff's right there. See you inside. (to Buffy) So much cooler than Snyder.
PRINCIPAL WOOD
She really almost destroyed the world?
BUFFY
(nods) Yep.
PRINCIPAL WOOD
Remind me not to make her crabby.
BUFFY
It might be better if you did.
PRINCIPAL WOOD
How's that work?
BUFFY
Oh, I don't know. It's just—the First is coming, and then look at us: the army. We've got a bunch of fighters with nothing to hit, a Wicca who won't-a, and the brains of our operation wears oven mitts.
PRINCIPAL WOOD
Hm. Well, you're redefining the job, Buffy, and that takes guts. This isn't your full arsenal anyway. Show me the vampire.
Cut to:
25 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Anya and Spike are talking in the basement.
ANYA
But you just let him go.
SPIKE
After saving your life.
ANYA
For now. That was one of D'Hoffryn's killers, Spike. He won't stop coming 'til he kills me.
SPIKE
Yet here you are, walking, talking, annoying.
ANYA
But you fought like such a wimpire, what with the lifting and the running. Why not just kill him?
Buffy and Principal Wood walk downstairs into the basement while Anya and Spike are talking.
SPIKE
Anya, think. I fight, demon boy gets lucky, I get knocked out, you get killed. True? (Anya thinks, starts to speak, and rolls her eyes) We both know the safest and sanest way of saving your life was to keep you with me, away from danger. (Anya grunts, shakes her head, and walks away) No need to thank me. I'm just the one who beat him off. (looks at Buffy) Repelled him would perhaps be the better phrase. (Buffy nods) Demon.
BUFFY
Figured.
PRINCIPAL WOOD
(from across the room, not facing Spike) I hope we're not intruding.
SPIKE
Not a bit. And just what brings our good principal to this neck of the gloom?
BUFFY
I'm showing him our operation. Us.
SPIKE
Fine by me. (nods) Big fight against evil coming up. The more good guys we've got, the longer we'll all live.
PRINCIPAL WOOD
(still not facing Spike) Is that what you are? A good guy?
SPIKE
(turns from Buffy toward Wood) I haven't heard any complaints. Well, I have heard a few complaints over the years, but then I just killed whoever spoke up, and that was pretty much that. (Woods turns to face Spike)
BUFFY
He's joking.
PRINCIPAL WOOD
(glaring at Spike) No, he's not.
SPIKE
(looking at Wood) No, I'm not. (softly) But...that's the old me I'm talking about.
PRINCIPAL WOOD
Why don't you tell me about that?
SPIKE
Not much to tell. I've changed.
PRINCIPAL WOOD
Oh, now that you have a soul. (nods)
SPIKE
Yeah. That was a big deal. Very... private. (hurt, to Buffy) What, are you just telling everyone now?
PRINCIPAL WOOD
Oh, come on, Spike. Don't blame Buffy. I asked. (walks toward Spike)
SPIKE
(walks toward Wood) Right, the educator. (facing each other now, only a few feet apart) Yeah, I went to great lengths. Lots of trouble, and now I'm unique. Well, more or less. Got myself a soul, whatever that means.
PRINCIPAL WOOD
And how's that working out for you?
SPIKE
In progress.
PRINCIPAL WOOD
Well, you've had some time. You've been in Sunnydale, what...?
SPIKE
Years.
PRINCIPAL WOOD
How many?
SPIKE
A few.
PRINCIPAL WOOD
Before that?
SPIKE
Around. (Spike's gritting his teeth, huffing, and pursing his lips as Wood needles him)
BUFFY
(stepping up, nearly in between them) I think we'd better get back upstairs.
SPIKE
(staring at Wood, talking cockily in his face) Right. Give him the full tour. You don't want to miss a look at her weapons' chest.
Buffy walks upstairs; Wood follows.
Cut to:
25 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Buffy's setting up sleeping bags and pillows in Dawn's room while talking to Dawn.
DAWN
So, I took a look inside that emergency bag of Principal Wood's.
BUFFY
And?
DAWN
Smelled weird. Kinda like Grandma's closet, but worse.
BUFFY
I didn't know what was possible. Anything we could use?
DAWN
Trinkets, weapons, one very large textbook. (picks up the book, flips through it) Translation's gonna be a bitch, but... Do you know that ancient Sumerians do not speak English?
BUFFY
(scoffs) They're worse than the French. Anything else?
DAWN
Uh, yeah. A box. A big, fat, unopenable box. I'm betting whatever the big deal about this emergency bag is, you'll find it in the box. (puts the book down)
BUFFY
Good. Keep on it. (walks out of the room) Don't you have any real homework?
DAWN
(following Buffy) Oh, you mean, like, schoolwork?
BUFFY
Yes.
DAWN
Well, I've got a system. It's called flunking out. (giggles) No, just kidding. I'm paying someone to do my work. (squeals) I'm kidding. I love to see your eyeballs change color when you think I'm gonna flunk out of— (gasps)
Dawn has followed Buffy down the hall into another bedroom where they find Chloe hung from a bed sheet from the ceiling.
Fade to black.
ACT II:
26 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Resume. Buffy and Dawn are staring, stunned, as Chloe's body hangs from the ceiling by a bed sheet twisted around her neck. Kennedy, Rona, and Amanda come out of the bedroom across the hall and join Buffy and Dawn.
KENNEDY
What happened? We heard— (gasps and covers her mouth)
BUFFY
Dawn, get a knife. We're cutting her down.
CHLOE/FIRST
(from out of nowhere, Chloe/First appears, standing beside Chloe's hanging body) Good thinking. But, on the other hand, why rush? Up or down, I'll still be dead.
BUFFY
You're not Chloe.
CHLOE/FIRST
Yeah, well, neither is she, anymore. Now, she's just Chloe's body.
KENNEDY
What did you do to her?
CHLOE/FIRST
Nothing! We just talked all night. Well, I did most of the talking, but Chloe is...I'm sorry, was a good listener. 'Til she hanged herself. (to Kennedy) Like when you called her maggot—she really heard that.
BUFFY
Don't listen to it, any of you. It's the First.
CHLOE/FIRST
Oh, let 'em. The only reason why Chloe offed herself is 'cause she knew what you're not getting. I'm coming, you're going. All this—it's almost over.
BUFFY
We'll be here.
CHLOE/FIRST
All of you? But wait. I thought— (changing her voice to sound like Buffy) They're not all gonna make it. Some will die, and there's nothing I can do that will stop it. (in Chloe's voice now) Hey, I didn't say it. But I'll be seeing all of you. One by one. TTFN. (disappears in a flash of light)
BUFFY
What's TTFN?
RONA
It's "ta ta for now." It's what Tigger says when he leaves.
AMANDA
Chloe loved Winnie the Pooh.
BUFFY
Dawn, where's that knife?
Cut to:
27 EXT. FIELD SOMEWHERE IN SUNNYDALE - NIGHT
Someone's digging in the earth with a shovel. It's Buffy, digging in an empty field near a tree. She digs, wiping her brow, then continues digging.
Cut to:
28 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Everyone in the house is gathered in the living room for a meeting. The mood is somber as everyone sits in silence, except for the soft sobbing sounds as they mourn Chloe's death. There are approximately ten potentials in the room, plus Willow, Dawn, Anya, Xander, and Spike. Buffy comes into the room carrying the shovel.
BUFFY
Is everyone here?
KENNEDY
(sighs) All accounted for.
BUFFY
Anyone want to say a few words about Chloe? (silence) Let me. (paces) Chloe was an idiot. Chloe was stupid. She was weak. And anyone in a rush to be the next dead body I bury, it's easy. Just...think of Chloe, and do what she did. And I'll find room for you next to her and Annabelle. I'm the slayer. The one with the power. And the First has me using that power to dig our graves. (throws down the shovel angrily) I've been carrying you—all of you—too far, too long. Ride's over.
KENNEDY
(stands) You're out of line!
WILLOW
No, she's not.
KENNEDY
(to Willow) You're gonna let her talk to you like that? Willow, she's not even the most powerful one in this room. With you here, she's not close.
BUFFY
You're new here, and you're wrong. Because I use the power that I have. The rest of you are just waiting for me.
XANDER
Well, yeah, but only because you kinda told us to. You're our leader, Buffy, as in "follow the."
BUFFY
Well, from now on, I'm your leader as in "do what I say."
XANDER
Ja wohl! But let's not try to forget, we're also your friends.
ANYA
I'm not.
BUFFY
Then why are you here? Aside from getting rescued, what is it that you do?
ANYA
I provide much-needed... sarcasm.
XANDER
(raises hand) Um, that would kinda be my job, actually.
BUFFY
You're here because you're scared.
XANDER
Same goes for everyone in this room.
BUFFY
Fine. Anya, all of you, be as scared as you'd like, just be useful while you're at it.
WILLOW
Come on, Buffy. You know everyone here's doing everything they can.
BUFFY
The First isn't impressed. It already knows us. It knows what we can do, and it's laughing. You want to surprise the enemy? Surprise yourselves. Force yourself to do what can't be done, or else we are not an army—we're just a bunch of girls waiting to be picked off and buried. (Spike stands and walks toward the door) Where are you going?
SPIKE
Out. Since I'm neither a girl, nor waiting. All this speechifying doesn't really apply to me, does it? (walks away)
BUFFY
(calls after him) Fine. Take a cell phone. That way, if I need someone to get weepy or whaled on, I can call you.
SPIKE
(turns to Buffy) If you've got something to say—
BUFFY
Just said it. You keep holding back, you might as well walk out that door.
SPIKE
Holding back? You're blind. I've been here, right in it—fighting, scrapping...
BUFFY
Since you got your soul back?
SPIKE
Well, as a matter of fact, I haven't quite been relishing the kill the way I used to.
BUFFY
You were a better fighter then.
SPIKE
I did this for you. The soul, the changes—it's what you wanted.
BUFFY
What I want is the Spike that's dangerous. The Spike that tried to kill me when we met.
SPIKE
(angrily) Oh, you don't know how close you are to bringing him out.
BUFFY
I'm nowhere near him. Dawn, get the potentials upstairs and break out that emergency kit.
DAWN
What are you gonna do?
BUFFY
I'm declaring an emergency. (walks out past Spike without acknowledging him)
Cut to:
29 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Principal Wood sets down the slayer's emergency kit next to Buffy.
BUFFY
We thought you'd want to be here.
PRINCIPAL WOOD
Yeah, you thought right.
DAWN
(Kennedy, Willow, Anya, and Xander go through the contents of the bag) That emergency bag's got some neat stuff in it. Weapons, charms, (holds up the book) advanced reading assignments.
XANDER
Yeah, cool stuff, but we've seen it all before.
ANYA
(points to the box) Well, not this, we haven't. What's inside it?
PRINCIPAL WOOD
Mm, I don't know. It hasn't been opened since— (Buffy breaks off the lock with her bare hands) Well, since now.
XANDER
(pulls out metal figures from the bag) Puppets. That's it! The First hates puppets! Now if we can just airlift Kermit, Fozzie the Bear, and Miss Piggy into town, the First'll be a-running.
WILLOW
Those are Muppets.
DAWN
(takes the figure from Xander) And these things are shadow-casters. You put them in motion, and they tell you a story. (references the book) It says you can't just watch, you have to see.
ANYA
What the hell does that mean?
XANDER
It's cryptic. I don't like it. Every time instructions get cryptic, someone gets hurt—usually me.
BUFFY
You can't just watch, you have to see? (to Principal Wood) See what?
DAWN
That's where all my fancy translating skills break down, but I think it's an origin myth. The story of the very first slayer.
BUFFY
I-I saw her.
PRINCIPAL WOOD
You saw the First Slayer?
BUFFY
The other night—in my dream. It's gotta mean something, right?
Cut to:
30 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
In the darkened room, Xander strikes a match and lights the wick at the center of a metal mechanical object. The light fills the room, revealing Dawn, who's holding a large book open in her arms.
DAWN
OK. According to this, I think—you put on those puppet guys one by one. They cast shadows and the shadows tell the story. First, there is the Earth.
Xander puts the first metal figure on the mechanical object. The light at the center casts a shadow of the figure on the wall. A tribal drumbeat can be heard in the background.
KENNEDY
What's that sound?
XANDER
OK, so far, so creepy.
DAWN
Hmm. OK. As Dawn narrates the story, Xander puts the corresponding shadow caster figure on the device. As Xander adds the figures to the shadow caster, sounds are also added to the magical soundtrack.
DAWN
Then, there came the demons.
A representation of a demon brings forth growling sounds.
DAWN
After demons, there came men.
A representation of men brings forth chanting that is added to the demon sounds.
DAWN
Men found a girl.
A representation of a girl brings forth a girl's scream.
DAWN
And the men took the girl to fight the demon—all demons. They—they chained her to the Earth.
A representation of a chain is added.
DAWN
And then—and I—I can't read this. Something about darkness.
The shadow-casting device starts spinning on its own.
BUFFY
What about darkness?
The shadow caster device is spinning, making shadows of the figures on the walls, but the shadows are animated, moving and acting out the story.
DAWN
It says you cannot be shown. You cannot just watch, but you must see. See for yourself, but only if you're willing to make the exchange.
XANDER
When did you get so good at Sumerian?
DAWN
It's not in Sumerian anymore. (the words on the pages of the book are magically changing into English)
Willow and Kennedy stand, alarmed, as the shadow casters tell a story of a demon attacking the chained girl. The device spins faster and faster as the shadows move up the walls. Suddenly, a bright blue light forms at the center of the device, growing in size until it forms a window of light. Buffy walks closer to investigate it.
XANDER
But what does it mean?
BUFFY
It means I have to go in there.
WILLOW
(panicky) No, it doesn't! Where does it say that? It doesn't say that!
PRINCIPAL WOOD
Buffy, you don't even know what you're exchanging. You don't know if you're ready yet.
BUFFY
That's the point.
WILLOW
No. Buffy, we don't know where you're going or how we'll get you back.
XANDER
Buffy, you can't.
WILLOW
How will we get you back?
BUFFY
Find a way. (jumps through the window of light; the portal closes behind her)
WILLOW
She's gone.
XANDER
Huh.
ANYA
What was that about an exchange?
There's a flash of light, and then a large, growling demon appears.
XANDER
Ah, this must be the exchange student.
The demon grabs Xander by the shirt collar and throws him across the room, breaking furniture as he lands.
Fade to black.
ACT III:
31 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Resume. The demon has thrown Xander to the ground. Anya, Kennedy, Willow, Spike, and Principal Wood are standing there in shock as the growling demon now turns its attention to them.
KENNEDY
Willow! Use your magic. Send him back!
WILLOW
Um, trying. Redi!
The demon backhands Willow, sending her across the room. Wood pulls out throwing stars and hurls them at the demon. Then he engages the demon in hand-to-hand combat until the demon finally pushes him to the ground.
KENNEDY
Weapons.
Dawn hands Kennedy a sword, while also taking one for herself. Kennedy charges at the demon, whaling on it with the sword; Dawn follows suit with her sword. The demon fights the girls, but they are no match for it. It punches Kennedy, sending her across the room. Just then, Spike jumps on the demon's back.
SPIKE
Get out of here—all of you. Unless you want to end up all dead and useless.
KENNEDY
(from the couch where she sits, injured) What are you gonna do?
SPIKE
What I do best.
Spike slams the demon's head into the wall, but it turns the tables on him, throwing him so hard into the ceiling that he breaks through it and lands on the floor upstairs. The demon breaks through the closed French doors, smashing glass as he leaves the house. Willow sits up where she'd fallen. Xander also tries to stand. Principal Wood helps Anya stand.
DAWN
(to Kennedy, who's inspecting her bloody hand) Are you injured?
KENNEDY
Just hurt. Don't make a case out of it. (to Xander and Willow) How 'bout you?
XANDER
I think we'll live.
ANYA
(looks at the ceiling) Except maybe Spike.
KENNEDY
Is getting thrown through the ceiling what he does best?
DAWN
(sighs) I'll go check on him.
ANYA
We've got bigger problems than that.
PRINCIPAL WOOD
Yeah, demon loose. No slayer.
WILLOW
We need Buffy.
XANDER
You gotta get her back. Looks like it's spell'o'clock.
ANYA
Which spell? I mean, didn't you see that thing? And you expect to reopen the portal without sending Willow off the deep end?
WILLOW
(frowns, nods) Thanks for your support.
ANYA
Well, it's true. We're going to have to find another way.
WILLOW
(shakes her head) There isn't, and Buffy knew it. I've got to get her back.
KENNEDY
We don't even know where she went.
Cut to:
32 EXT. DESERT - DAY
Buffy tumbles through the portal and finds herself in the desert. It looks like where she had gone once before with Giles on the spiritual retreat. The lighting is strange as if brightness and contrast have been turned super-high, giving the scene a supernatural feel.
BUFFY
Well, guess that worked.
She hears chanting nearby and goes to investigate.
Cut to:
33 INT. DOWNSTAIRS AT BUFFY'S HOUSE - NIGHT
Dawn's holding the book from the slayer's emergency kit. Willow, Kennedy, and Xander are gathered around her in the living room.
XANDER
Dawnie, what's the book say?
DAWN
Not much. Once Buffy left, it got a little tougher to read. (holds up the book to show the writing has changed)
WILLOW
Oh. (walks out of the room to the kitchen; the others follow)
KENNEDY
It's OK. We'll just start with what we know, and take it from there.
XANDER
Great, so far we know Jack about squat. Let's go from there.
KENNEDY
You've got the magic, use it.
WILLOW
I-I-I don't even know what magic to use.
KENNEDY
Why not just try all 32 flavors. Worst thing that happens is you go brunette.
WILLOW
(grabs first-aid kit from kitchen cabinet) That's not the worst thing that can happen. (attends to Kennedy's wounded hand)
ANYA
She's right. And you know we have a choice. We can risk Willow's life and the rest of our lives to get Buffy back, or we leave her out there.
PRINCIPAL WOOD
If we play it safe back here, Buffy could stay lost.
ANYA
You missed her "everyone sucks but me" speech. If she's so superior, let her find her own way back.
XANDER
Anya, the First is already up and running. Every second that Buffy's not here, is an opportunity for it to show up and rip us to pieces.
DAWN
Willow, how would you get Buffy back?
WILLOW
That's what I'm saying—I don't even know.
DAWN
OK, but if another witch was to do it, where would she start?
WILLOW
Uh, physics, principles, basic laws...
DAWN
Such as?
WILLOW
Uh, conservation of energies. You can't really create or destroy anything, only transfer.
Anya scoffs.
DAWN
I'm sorry, are you helping?
ANYA
No, but at least I'm not galloping off in the wrong direction.
WILLOW
Magic works off physics.
ANYA
Not without a catalyst. If you're talking about transferring energies, you need some kind of conduit.
WILLOW
Like a-a Kraken's tooth.
ANYA
Yeah, skin of Draconis, um, ground-up Baltic stones, something...
DAWN
OK. Good.
KENNEDY
Plus, we need an exchange, like you said. I'm thinking a slayer for a demon.
PRINCIPAL WOOD
Right. If we want Buffy back, then we have to find that demon and send it through.
KENNEDY
It matter if it's dead or alive?
SPIKE
(standing in the doorway now) I vote dead. The slayer's counting on you, Willow. Get cracking on that portal, and don't be stingy with the mojo. The demon's mine.
KENNEDY
Hate to say it, (makes quotes with her hands) "Big Bad," but you look like you can barely stand. We're trained. And the only thing we know for sure about this demon is it kicked your ass.
SPIKE
(smirks) It did, at that. (walks toward the door)
PRINCIPAL WOOD
Where are you going?
SPIKE
Something I need. (leaves through the kitchen door)
Cut to:
34 EXT. DESERT - DAY
Buffy walks up to a group of three men dressed in tribal fashion, each holding a tall staff and wearing different colored headdresses.
BUFFY
Hello? I'm Buffy. I'm the slayer.
The men are speaking some unrecognizeable language.
RED HAT SHADOW MAN
SUBTITLE: We know who you are.
BLACK HAT SHADOW MAN
SUBTITLE: And we know why you're here.
BROWN HAT SHADOW MAN
SUBTITLE: We've been waiting.
BUFFY
(nods) Good. That's good then. Um, you know, I know we have bigger issues to deal with, but how'd I understand anything you guys just said? (they look at each other and stand, not answering) Oh, I know, ancient magicks. I just thought it was neat.
RED HAT SHADOW MAN
SUBTITLE: (the three men start circling Buffy) We have been here since the beginning.
BLACK HAT SHADOW MAN
SUBTITLE: Now, we are almost at the end.
BUFFY
The neat of it just left. End of what?
BROWN HAT SHADOW MAN
SUBTITLE: You are the hellmouth's last guardian.
BUFFY
Latest. You mean latest guardian.
RED HAT SHADOW MAN
SUBTITLE: No.
BUFFY
OK, um, I have a First to fight, OK. So just tell me what I need to know. I came to learn.
RED HAT SHADOW MAN
SUBTITLE: We cannot give you knowledge. Only power.
BUFFY
You know what I think? I'm not really here at all. None of this is actually happening. This is like a play. Like some shadow-play. Some non-reality re-enactment hologramy—
One of the men hits Buffy, knocking her over—she falls to the ground.
Cut to:
35 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow's pouring green sand from a bag, creating a circle with the sand. Kennedy, Dawn, Xander and Anya are also in the room.
KENNEDY
And this is gonna help us how?
DAWN
The sand forms a circle. The circle acts as a barrier. And the barrier contains the portal.
KENNEDY
Now what? We hold hands and chant kumbaya or something?
WILLOW
(hands the bag of sand to Kennedy) Maybe. 'Til we get the magicks up and running, I'm kinda working on my best guess here.
XANDER
Will, maybe we should wait.
KENNEDY
For what?
XANDER
Spike—to see if he can bring back that demon.
WILLOW
No, I don't think we should wait right now. Opening a portal this size could take days.
KENNEDY
Better get started.
WILLOW
(holds her hands in fists and shifts her weight from one foot to another) I think I might pee my pants.
KENNEDY
You can do it—the magicks, not the pants thing.
WILLOW
OK. (breathes deeply, then sits down in the middle of the circle) Via temporis, iam clamo ad te, via spatii te jubeo aperire. Aperi! (nothing happens; Willow turns to Dawn) Dawnie, you'd better put on some coffee. This could take awhile—
Willow's interrupted by a flash of light. Energy radiates through the room, knocking everyone down. Willow's eyes turn black, and she screams like a banshee.
Cut to:
36 EXT. CAVE IN DESERT - DAY
Buffy's groggy and disoriented as she regains consciousness. She's sitting on the ground.
BUFFY
What is this?
Buffy stands only to find she is shackled at the wrists and chained to the ground. She struggles against the chains. The three men are standing in front of her in a circle.
BROWN HAT SHADOW MAN
SUBTITLE: We are at the beginning. The source of your strength. The well of the slayer's power.
RED HAT SHADOW MAN
SUBTITLE: This is why we have brought you here.
BUFFY
I thought I brought me here. Listen, you guys. I'm already the slayer, bursting with power. Really don't need any more.
RED HAT SHADOW MAN
SUBTITLE: The First Slayer did not talk so much.
Buffy pulls on her chains again. The men start tapping their staves against the ground, rhythmically. The man in the red hat fetches a box and brings it to the center of the circle, where he takes off the box top.
RED HAT SHADOW MAN
SUBTITLE: Herein lies your truest strength.
BLACK HAT SHADOW MAN
SUBTITLE: The energy of the demon. Its spirit.
BROWN HAT SHADOW MAN
SUBTITLE: Its heart.
BUFFY
This is how you—
RED HAT SHADOW MAN
SUBTITLE: Created the slayer? (nods) Yes.
Black smoke comes out of the box in long tentacles; it seems sentient as it dances around the circle. The men keep tapping their staves rhythmically.
BROWN HAT SHADOW MAN
SUBTITLE: It must become one with you.
BUFFY
No! (struggles against her chains)
RED HAT SHADOW MAN
SUBTITLE: This will make you ready for the fight.
BUFFY
By making me less human?
RED HAT SHADOW MAN
SUBTITLE: This is how it was then. How it must be now.
BLACK HAT SHADOW MAN
SUBTITLE: This is all there is.
Buffy struggles against her restraints in vain as the black smoke comes toward her, entering her body through her nose and ears.
Fade to black.
ACT IV:
37 EXT. CAVE IN DESERT - DAY
Resume. Buffy's screaming as the black smoke tries to enter her body. The men just stand there, watching. The smoke can't get in through her head while she's screaming, so it rises to the ceiling of the cave and comes back down to her, encircling her hips. Still, she resists.
BUFFY
(through gritted teeth) Make this stop!
RED HAT SHADOW MAN
SUBTITLE: This is what you came for.
BUFFY
No, this isn't the way.
RED HAT SHADOW MAN
SUBTITLE: Do not fight this.
The black smoke heads toward Buffy again.
Cut to:
38 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Spike's in the school basement, rifling through boxes until he finally finds what he's looking for—his old leather duster. He holds it up, shakes it out, and puts it on. He walks out with his characteristic swagger from before he got the soul.
Cut to:
39 INT. HALLWAY AT SUNNYDALE HIGH - NIGHT
Wearing the duster, Spike walks down the hallway toward the exit. He passes Principal Wood, who's standing in a doorway.
PRINCIPAL WOOD
Where you going?
SPIKE
(without missing a beat) Got a job.
PRINCIPAL WOOD
Nice coat. Where'd you get it?
SPIKE
(walks by Wood without looking at him or stopping) New York.
Wood watches Spike walk away.
Cut to:
40 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow's sitting in the circle, black-eyed, and performing magic. The others behind her stand up from where they had fallen earlier.
WILLOW
Via, concursus, tempus, spatium, audi me ut imperio. Screw it! Mighty forces, I suck at Latin, OK? But that's not the issue. I'm the one in charge, and I'm telling you open up, portal, now!
XANDER
It's not happening, Will.
KENNEDY
Give her time. She's getting it.
XANDER
Or something's getting her. Will, think you better back up a little.
WILLOW
No!
Willow's arms thrust back behind her, sending magic toward Anya and Kennedy, who immediately freeze. Enveloped in magic, they are lifted from the ground momentarily by Willow, who's pulling power from the two women, through her, to create the portal. The portal opens up in front of her in the shape of a large window of light. Noticing that Willow's hair turned black as she channeled Anya and Kennedy's energy, Xander enters the circle, lifting Willow up by her arms. As he carries her out of the circle, her hair goes back to red. Kennedy seems upset as she realizes what just happened.
Cut to:
41 EXT. ALLEY IN SUNNYDALE - NIGHT
In vamp visage, wearing his leather duster, Spike's fighting the demon from the portal.
SPIKE
Oh, come on now, Nancy. Call yourself a demon? I thought you were up for a proper fight. (the demon punches Spike, knocking him down) Now we're talking.
Spike stands and tackles the demon, head-butting it. The demon then punches Spike repeatedly, ultimately pinning him against a wall. Spike then pushes the demon's head away, and kicks it across the alley.
SPIKE
(laughing maniacally) Yeah!
Cut to:
42 EXT. CAVE IN DESERT - DAY
Buffy's still chained to the ground as she stands, addressing the three men who put her there.
BUFFY
You think I came all this way to get knocked up by some demon dust? I can't fight this. I know that now. But you guys? You're just men. (rips her chains out of the ground) Just the men who did this...to her. Whoever that girl was before she was the First Slayer.
RED HAT SHADOW MAN
SUBTITLE: You don't understand.
BUFFY
No, you don't understand! You violated that girl, made her kill for you because you're weak, you're pathetic, and you obviously have nothing to show me.
Buffy uses the chains that are still shackled to her hands as weapons. She swings the chains, at the legs of one man, and the staff of the other. She knocks them down, but they get up again. A fight ensues.
Cut to:
43 EXT. ALLEY IN SUNNYDALE - NIGHT
Spike and the demon are still fighting. The demon has Spike pinned to a wall again, but this time, Spike grabs the demon's head and twists, snapping its neck. Spike throws the demon to the ground in front of him.
SPIKE
(in vamp visage, Spike takes out a cigarette and puts it in his mouth) I don't know your feelings, big guy, but to me, a tussle like that... (strikes a match on the demon's ear, brings the match up to his cigarette; Spike's now in human face) is good for the soul. (Spike lights his cigarette and takes a puff)
Cut to:
44 EXT. DESERT - DAY
After defeating two of the men, Buffy walks up to the man in the red hat, holding a staff. She breaks it, and the demon smoke disappears.
BUFFY
I knew it. It's always the staff.
RED HAT SHADOW MAN
SUBTITLE: We offered you power.
BUFFY
(sarcastically) Tell me something I don't know.
RED HAT SHADOW MAN
SUBTITLE: As you wish. (holds his hand to Buffy's head)
Cut to:
45 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Spike brings the body of the demon he killed back to Buffy's house, carrying it to the portal.
Cut to:
46 EXT. CAVE IN DESERT - DAY
The Red Hat Shadow Man is still holding his hand to Buffy's head.
Cut to:
47 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Spike throws the demon's body into the portal.
Cut to:
48 EXT. CAVE IN DESERT - DAY
Buffy's face is full of concern as she stares at the Red Hat Shadow Man.
Fade to white.
49 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy is back in her living room now. An exhausted bunch awaits her—Anya, Dawn, Spike, Kennedy, Xander, and Willow. They all stare at each other in silence and in shock for a moment.
Cut to:
50 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT
Kennedy's walking down the hallway when Willow comes up behind her.
WILLOW
Hey. You OK? You've been kinda quiet since...
KENNEDY
You sucked the life out of me?
WILLOW
Yeah, since then. Look, it's important that you know what I am, what I'm like when I'm like that.
KENNEDY
I thought it would be... I don't know—cool somehow. It just hurt.
WILLOW
I'm really sorry. It's just, you were the most powerful person nearby, and—well, that's—that's how it works. That's how I work.
KENNEDY
I got that. You told me. I'll see you in the morning. (goes into her room and closes the door)
Cut to:
51 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Willow opens the door to Buffy's room. Buffy's sitting on her bed, curled up, looking introspective and worried.
WILLOW
How you doing?
BUFFY
Thanks for bringing me back. Again.
WILLOW
(walks to the bed) Well, that's what I do. (sits on the edge of the bed)
BUFFY
I was hard on you guys today.
WILLOW
Aw, it's all right. You needed to be. Although, Twinkies and kisses—also peachy motivational tools. You OK?
BUFFY
I think I made a mistake.
WILLOW
What?
BUFFY
Those men that I met—you know, the shadow men? They offered me more power, but I didn't like the loophole.
WILLOW
So, you turned it down? It's OK, Buffy. We'll get by. We always do.
BUFFY
I don't know. They showed me...
WILLOW
Showed you what?
BUFFY
That the First Slayer was right—it isn't enough.
WILLOW
Why, Buffy? What did you see? What did they show you?
Cut to:
52 INT. CAVE - NIGHT
A Turok-Han growls with a battle cry. There are many more behind it, jumping around with weapons. Pan out to show there are thousands upon thousands of Turok-Han forming an army somewhere underground.
Cut to:
Closing credits.
"Get It Done" Transcript
Written by Douglas Petrie
Original U.S. Air Date: February 18th, 2003
RECAP:
GILES (V.O.)
Previously on Buffy the Vampire Slayer:
1 EXT. CITY STREET IN ISTANBUL, TURKEY - NIGHT
A dark-haired girl is held down by two hooded figures, as a third figure raises an arched, shiny, silver dagger and thrusts it down at her.
Cut to:
2 INT. DINING ROOM AT BUFFY'S HOUSE - DAY
A magical explosion occurs. Red light surrounds Willow and then enters her body through her nostrils. She throws her head back and a demonic apparition (huge, with two horns on its head and glowy red eyes) escapes her mouth, lunging toward Buffy.
Cut to:
3 INT. DINING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy walks in, and everyone turns to look.
BUFFY
(solemn) Evil. (resolute) They want an apocalypse? Oh, we'll give 'em one. 'Cause we just became an army.
Cut to:
4 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Anya and Dawn are sitting on the couch. Xander's sitting in a cushy chair, propping his feet up on the coffee table. Andrew's sitting on the floor between Xander and the fireplace.
ANYA
Look, I'm not saying it's a happy scenario, but we're dealing with a big bad that can be any dead person it wants.
Cut to:
5 INT. KITCHEN AT BUFFY'S HOUSE - DAY
Andrew's backed into a corner by the new microwave talking to Jonathan/First.
ANDREW
What do you want from me, Jonathan slash The First?
JONATHAN/FIRST
I have an assignment for you.
ANDREW
You want me to hurt the girls?
JONATHAN/FIRST
The girls must die.
Cut to:
6 INT. BUFFY'S HOUSE - DAY
Buffy opens the front door to leave but sees Giles standing there on her front porch when she opens it. Buffy goes to hug Giles but is cut off when three girls she's never met walk right into her house.
MOLLY
(in a Cockney British accent) Nice place. Bit of a mess. (walks inside the house)
Cut to:
7 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Dawn's standing in front of the three girls Giles brought with him. The three girls are lined up against the wall, and Dawn's inspecting them, arms crossed in front of her.
DAWN
They're all slayers?
GILES
Potential slayers. Waiting for one to be called. There were many more like them all over the world, but, um, now there's just a handful, and they're all on their way to Sunnydale.
Cut to:
8 EXT. SUNNYDALE BUS STATION - NIGHT
A charter bus opens its doors, and a couple of people walk down the steps to exit the vehicle. The last person to exit is a young African-American girl, wearing denim overalls and carrying a backpack. She looks around.
Cut to:
9 INT. WILLOW'S ROOM AT BUFFY'S HOUSE - NIGHT
Willow walks into her bedroom, and Kennedy waits at the door. The mood is very awkward.
WILLOW
Glad we talked.
KENNEDY
In the spirit of air clearing...
WILLOW
Yeah?
KENNEDY
I feel like I need to be honest about something.
Kennedy kisses Willow slowly and passionately.
Cut to:
10 INT. UNDERGROUND CAVE - NIGHT
Still shackled to the rocky cave wall, Spike sees someone walking toward him. Buffy approaches him slowly and cuts him loose from his tethers. He collapses forward and braces himself with his hand on her shoulder. When he touches her and realizes she's real, he smiles and squints, searching her face intently. She looks into his eyes, tapping an emotional connection between them.
BUFFY (V.O.)
(turns to face Giles) Spike has a soul now. That's what's gonna stop him from hurting people.
Cut to:
11 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Giles comes into Buffy's room to talk to her.
GILES
Buffy...
BUFFY
He can be a good man, Giles. I feel it.
Cut to:
12 EXT. ALLEY IN SUNNYDALE - NIGHT
Buffy realizes that Principal Wood is also fighting off vampires. Without her help. Principal Wood overpowers one of the vampires and stakes him. Then knocks the last one to the ground, staking him too. He flips the stake in his hand, then returns it to his belt holster as he walks back to Buffy.
PRINCIPAL WOOD
I guess we should talk.
Cut to:
13 INT. ROMANTIC FRENCH RESTAURANT - NIGHT
Buffy and Principal Wood are sitting across from each other at a small table in a very elegant, romantic restaurant.
BUFFY
How? How do you know about slayers?
PRINCIPAL WOOD
My mother was one. She was killed when I was four.
BUFFY
(nervously) Um, something got her... a demon—?
PRINCIPAL WOOD
A vampire.
Cut to:
14 INT. PRINCIPAL WOOD'S CAR - NIGHT
Principal Wood is driving the car, with Buffy as a passenger and Spike in the back seat. Buffy's very tense and uncomfortable looking, and Spike's crouched down in the corner of the back seat.
PRINCIPAL WOOD
So, how do you two know each other?
BUFFY
(answering too fast) He works with me. Uh, you know, in the struggle against evil.
Cut to:
15 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Buffy and Lissa are fighting when Spike enters the room. Lissa starts whaling on Spike. She kicks Buffy away, knocking her to the ground. She pushes Spike down and starts strangling him, bringing forth Spike's vampire facade. Principal Wood sees Spike's face change.
PRINCIPAL WOOD
He's a vampire.
Cut to:
16 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's sitting on the couch alone in the living room. Spike walks in and sits next to her.
SPIKE
I should move out.
BUFFY
No, you have to stay.
SPIKE
You've got another demon fighter now.
BUFFY
That's not why I need you here.
SPIKE
Why's that then?
BUFFY
'Cause I'm not ready for you to not be here.
Cut to:
17 INT. BATHROOM AT PRINCIPAL WOOD'S PLACE - NIGHT
Principal Wood is talking to the First in the form of his mother.
PRINCIPAL WOOD
You're not my mother.
NIKKI/FIRST
Would you like to know who killed me? (Principal Wood stops in his tracks) You met him. You know him. You fought at his side.
FLASHBACK: A very punk Spike is fighting with a young black woman in a New York subway car. He overpowers her, and, straddling her on the floor, he breaks her neck. Then he takes her leather duster and puts it on. (from episode 5x07 "Fool For Love")
PRINCIPAL WOOD
Spike.
Fade to black.
End Recap.
The Start Of Episode
PROLOGUE:
18 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's walking around the house, checking on the slayers-in-training as they sleep—the floor is crowded with them in their sleeping bags. Buffy bends down to pick up a large, thick book labeled "Greek," and she puts it on the desk before turning out the light.
Cut to:
19 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT
Buffy goes upstairs to check on more potentials in Willow's room. Kennedy's sleeping in the bed with Willow, and several more girls are in sleeping bags on the floor. Buffy hears crying from the hallway and goes to investigate. In the corner at the end of the hall, Chloe is sitting on the floor, huddled up with her knees to her chest, sobbing.
BUFFY
Chloe? It is Chloe, right?
Chloe looks up at Buffy, but before she can answer, the First Slayer tackles Buffy from the side, pushing her down the stairs. The First Slayer lands on top of Buffy.
FIRST SLAYER
(snarling, raspy) It's not enough.
Cut to:
20 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy gasps as she wakes from the dream, alarmed. She looks around the room and sees the girls are there and safe. She furrows her brow as she contemplates what just happened.
Cut to:
Opening Credits.
ACT I:
21 EXT. ALLEY IN SUNNYDALE - NIGHT
Anya and Spike are walking together down an alley side by side.
ANYA
I'm a bright girl, good education, quick on the uptake. So, tell me, why in the name of almighty Grothnar would I let myself become human again?
SPIKE
You're really talking to the wrong fella.
ANYA
I mean, sure, the vengeance demon gig has some downsides...
SPIKE
All jobs do.
ANYA
But being human? Ugh! You're always icky on the inside, disgusting on the outside.
SPIKE
(stops, turns to look at her) Your outside's not so bad.
ANYA
(blushes) You know, the only thing worse than being human is being trapped inside a house full of humans.
SPIKE
Preaching to the choir, luv.
ANYA
I mean, it's like we live in slayer central. I swear, if Buffy rooms or boards one more of the potential girls, I'm gonna call a—I'm gonna call a health inspector.
SPIKE
I like my plan better. Get up, get out, get drunk. Repeat as needed. It's just more elegant. (starts walking again)
ANYA
(puts her arm through his) Thanks for having me along.
SPIKE
(looks at Anya's arm through his) Don't mention it.
ANYA
At first, I thought... it's weird. Is Spike asking me out on a date? 'Cause that would just be...(unlaces her arm from his) nuts. (laughs nervously)
SPIKE
Right. I'm just out for the alcohol.
ANYA
Right there with you, scooter. (puts her hands in her pockets) Tonight, I plan to drink you under the table.
SPIKE
You're on, then.
ANYA
Good. (shrugs) Of course, once you're down there, I could join you. Kidding. I like my sex on top of the table.
SPIKE
(looks up to the sky) Would you let it go? You're like a dog with a bone!
ANYA
So what?
SPIKE
It's my bone. Just drop it.
ANYA
OK. OK. I wasn't proposing. Time goes by, girl gets hungry. You should know.
SPIKE
(rolls his eyes) Oh, thank God.
ANYA
What?
SPIKE
Demon.
ANYA
(with a demon standing behind her) Huh?
DEMON
(pushing Anya to the ground) D'Hoffryn says you die.
SPIKE
Of course, he does.
Spike kicks the demon between the legs, causing it to double over. Then Spike punches it in the head, knocking the demon to the ground. Spike looks at Anya, then back at the demon, and decides to flee the scene. He grabs Anya by the arm, pulling her hastily to her feet.
ANYA
Oh, hey!
Spike and Anya run down the alley, away from the demon.
Cut to:
22 INT. BUFFY'S CUBICLE AT SUNNYDALE HIGH - DAY
Buffy's sitting at her desk, and Principal Wood's standing behind her with his arms crossed. They are both facing the same direction.
BUFFY
This may mean more than you think.
PRINCIPAL WOOD
Is that so?
Show that Principal Wood and Buffy are talking to two young boys who have bruises and ripped shirts.
PRINCIPAL WOOD
Because I think what we have here is a couple of chuckle-heads who thought that a cafeteria fistfight would impress. I'm not impressed. Buffy, are you impressed? (Buffy purses her lips and shakes her head disapprovingly) Still, I'm gonna cut you guys some slack this time. (makes a gesture toward the door with his thumb, the kids leave, to Buffy) Third fight this week, and it's just getting worse. (closes window blinds, walks to the front of Buffy's desk) Plus, a rise in vandalism. Three students missing. Tell me something, Buffy, in your professional opinion— (listens to the kids rough-housing in the hallway outside) it's started, hasn't it? (closes another set of window blinds)
BUFFY
The hellmouth has begun its semi-annual percolation. Usually, it blows around May.
PRINCIPAL WOOD
Was it like this before? I mean, it just seems to me as if things are getting bad faster than we thought.
BUFFY
We're a little ahead of schedule.
PRINCIPAL WOOD
I can't say I'm too surprised. I knew I signed on for something, but, Buffy, I'm just a guy. Granted, a cool and sexy vampire-fighting guy, but still.
BUFFY
(smiles) Don't forget "snappy dresser."
PRINCIPAL WOOD
(smiles) Mm. Thank you. But this is gonna get bigger than me.
BUFFY
Yeah, it is.
PRINCIPAL WOOD
That's why I've decided to give you this.
Principal Wood reaches down under Buffy's desk and pulls up a large leather duffel bag, setting it on her desk with a clunk.
BUFFY
What is it?
PRINCIPAL WOOD
An emergency kit. This bag belonged to my mother.
BUFFY
A slayer keepsake. I-I couldn't.
PRINCIPAL WOOD
Well, you have to. Technically, it should have been passed down directly to you through the years, but after my mother died... I guess I just couldn't part with it.
BUFFY
Wow!
PRINCIPAL WOOD
I don't know what's inside, exactly, but I know it has something to do with her power. Well, your power now.
BUFFY
I-I don't know what to say.
PRINCIPAL WOOD
Try saying, "Thank you, Principal Wood."
BUFFY
Thank you, Principal Wood.
PRINCIPAL WOOD
(grins) Ah, call me Robin. Now, I'd like to see where you work.
BUFFY
Uh, here, actually. (touches her desk) Uh, th-this is my desk, and, uh, (holds up her pencil holder) these are my pencils...
PRINCIPAL WOOD
No, where you do your other work.
Cut to:
23 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Buffy and Principal Wood walk through the front door to Buffy's house.
BUFFY
So, all the potential slayers—who seem to keep popping up from, like, every corner of the earth— (shuts the door) were getting killed.
PRINCIPAL WOOD
By the First.
BUFFY
Agents of. We thought the Council could protect them, but, unfortunately, no one was protecting the Council, and all their watchers were killed. Word got out, and they've all been coming here since.
PRINCIPAL WOOD
Well, there's nothing like the end of the world to bring people together.
BUFFY
It's heartwarming. Anyway, this is, uh, it. Command central.
ANDREW
(storms into the room wearing a white apron and a red and white checked oven mitt on each hand) Where the hell have you been? (crosses arms) This funnel cake is kicking my ass.
PRINCIPAL WOOD
Yeah, I hear they're tricky.
BUFFY
Robin Wood, this is...Andrew.
PRINCIPAL WOOD
(offers his hand) It's a pleasure. (shakes hands with Andrew)
BUFFY
Andrew is our—actually, he's our hostage.
ANDREW
I like to think of myself more as a (makes quote marks in the air with his mitted hands) "guestage."
PRINCIPAL WOOD
(to Buffy) So, you—you hold him here against his will?
BUFFY
Well, he was evil, and people got killed, and now he...bakes. It's a thing.
PRINCIPAL WOOD
Oh.
ANDREW
Could we try to just keep our secret headquarters a little bit secret? Keep bringing people in, they're gonna see everything. They'll see the big board.
BUFFY
Andrew, we don't have a big board.
ANDREW
(runs to fetch a white dry-erase board from behind the chair) I, uh, made it myself.
The board is approximately 2' x 4', and is labeled: SUNNYDALE "BIG BOARD". Using every color of marker, the board features a hand-drawn map of Sunnydale, with representations of trees, cemeteries, railroad tracks, and the street grid.
PRINCIPAL WOOD
Oh, I wouldn't have guessed.
ANDREW
(pointing to the board) Uh, this is us. And this represents the First in various incarnations. And, uh, there's no pattern to the naked eye yet, but the instant one emerges, yours truly is on it. (Buffy and Wood look at each other, then walk away; Andrew calls after them) Where do we put our receipts?
Cut to:
24 EXT. BACKYARD AT BUFFY'S HOUSE - DAY
Buffy leads Principal Wood out to the back porch.
BUFFY
You'll have to forgive Andrew. Or not. Your call. We do have a lot more working for us than just the, uh, big board.
PRINCIPAL WOOD
So, I see.
Pan out to show that the potential slayers are training in the backyard, being led by Kennedy.
POTENTIALS
Huh!
KENNEDY
(hands on her hips) Punch block combo!
POTENTIALS
Huh!
KENNEDY
Cross block kick!
POTENTIALS
Huh!
KENNEDY
Chamber your energy. Punch block combo! (Chloe does the moves incorrectly, and Kennedy notices, walking up to her) Hold it! What the hell do you call that, potential? Try that in the field, you are dead. Drop, and give me 20.
CHLOE
20 what?
KENNEDY
(in her face) Push-ups, maggot! (Chloe drops to do push-ups; Kennedy turns toward Buffy and Wood, still scowling, then suddenly grinning and giddy) I love this job! Did you see that? I called that girl "maggot." (to Wood) Hi. (hands on her hips again) Who the hell are you?
BUFFY
An ally.
KENNEDY
So, what do you think? My girls ready to kick some ass, or what?
PRINCIPAL WOOD
Looking strong.
KENNEDY
But...?
PRINCIPAL WOOD
Well, I'm just not sure the First has an ass that you can actually, you know, kick.
KENNEDY
(smirks) Guess we'll see.
AMANDA
(waving) Principal Wood, hi! It's so weird seeing you outside of school.
KENNEDY
(to Amanda) What are you waving at, potential? Attention!
POTENTIALS
Huh!
KENNEDY
Rising sun. Begin. (they continue their training as Buffy and Wood talk)
BUFFY
You're right, it's not enough.
PRINCIPAL WOOD
That's not what I said, Buffy. It's an impressive group of recruits.
BUFFY
They're not recruits. Recruits are...recruited. These girls were chosen.
PRINCIPAL WOOD
You're doing the best you can with what you've got.
BUFFY
They're not all gonna make it. Some will die, and nothing I can do will stop that.
Willow walks out the back door onto the porch, arms full of weapons. She freezes when she sees Principal Wood.
WILLOW
Oh, hi. Hey. Well, Buffy, I—I see that our preparation for the school-pep-dance-cheer-drill contest are coming along. (to the potentials) Bring it on!
BUFFY
It's OK, I filled him in on everything.
WILLOW
(lets out a sigh of relief) Oh, thank God! If I had to explain all these weapons, I had nothing. (puts down the weapons)
PRINCIPAL WOOD
Buffy tells me you have been, um—oh, how shall I put it—experimenting. (Willow's eyes grow wide; she casts a "you said what?" glance at Buffy) With the magicks.
WILLOW
(laughs nervously) Oh! Yeah. Oh, nothing too heavy, though. Just the lighter, safer stuff. Uh, if Kennedy asks, her pointy stuff's right there. See you inside. (to Buffy) So much cooler than Snyder.
PRINCIPAL WOOD
She really almost destroyed the world?
BUFFY
(nods) Yep.
PRINCIPAL WOOD
Remind me not to make her crabby.
BUFFY
It might be better if you did.
PRINCIPAL WOOD
How's that work?
BUFFY
Oh, I don't know. It's just—the First is coming, and then look at us: the army. We've got a bunch of fighters with nothing to hit, a Wicca who won't-a, and the brains of our operation wears oven mitts.
PRINCIPAL WOOD
Hm. Well, you're redefining the job, Buffy, and that takes guts. This isn't your full arsenal anyway. Show me the vampire.
Cut to:
25 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Anya and Spike are talking in the basement.
ANYA
But you just let him go.
SPIKE
After saving your life.
ANYA
For now. That was one of D'Hoffryn's killers, Spike. He won't stop coming 'til he kills me.
SPIKE
Yet here you are, walking, talking, annoying.
ANYA
But you fought like such a wimpire, what with the lifting and the running. Why not just kill him?
Buffy and Principal Wood walk downstairs into the basement while Anya and Spike are talking.
SPIKE
Anya, think. I fight, demon boy gets lucky, I get knocked out, you get killed. True? (Anya thinks, starts to speak, and rolls her eyes) We both know the safest and sanest way of saving your life was to keep you with me, away from danger. (Anya grunts, shakes her head, and walks away) No need to thank me. I'm just the one who beat him off. (looks at Buffy) Repelled him would perhaps be the better phrase. (Buffy nods) Demon.
BUFFY
Figured.
PRINCIPAL WOOD
(from across the room, not facing Spike) I hope we're not intruding.
SPIKE
Not a bit. And just what brings our good principal to this neck of the gloom?
BUFFY
I'm showing him our operation. Us.
SPIKE
Fine by me. (nods) Big fight against evil coming up. The more good guys we've got, the longer we'll all live.
PRINCIPAL WOOD
(still not facing Spike) Is that what you are? A good guy?
SPIKE
(turns from Buffy toward Wood) I haven't heard any complaints. Well, I have heard a few complaints over the years, but then I just killed whoever spoke up, and that was pretty much that. (Woods turns to face Spike)
BUFFY
He's joking.
PRINCIPAL WOOD
(glaring at Spike) No, he's not.
SPIKE
(looking at Wood) No, I'm not. (softly) But...that's the old me I'm talking about.
PRINCIPAL WOOD
Why don't you tell me about that?
SPIKE
Not much to tell. I've changed.
PRINCIPAL WOOD
Oh, now that you have a soul. (nods)
SPIKE
Yeah. That was a big deal. Very... private. (hurt, to Buffy) What, are you just telling everyone now?
PRINCIPAL WOOD
Oh, come on, Spike. Don't blame Buffy. I asked. (walks toward Spike)
SPIKE
(walks toward Wood) Right, the educator. (facing each other now, only a few feet apart) Yeah, I went to great lengths. Lots of trouble, and now I'm unique. Well, more or less. Got myself a soul, whatever that means.
PRINCIPAL WOOD
And how's that working out for you?
SPIKE
In progress.
PRINCIPAL WOOD
Well, you've had some time. You've been in Sunnydale, what...?
SPIKE
Years.
PRINCIPAL WOOD
How many?
SPIKE
A few.
PRINCIPAL WOOD
Before that?
SPIKE
Around. (Spike's gritting his teeth, huffing, and pursing his lips as Wood needles him)
BUFFY
(stepping up, nearly in between them) I think we'd better get back upstairs.
SPIKE
(staring at Wood, talking cockily in his face) Right. Give him the full tour. You don't want to miss a look at her weapons' chest.
Buffy walks upstairs; Wood follows.
Cut to:
25 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Buffy's setting up sleeping bags and pillows in Dawn's room while talking to Dawn.
DAWN
So, I took a look inside that emergency bag of Principal Wood's.
BUFFY
And?
DAWN
Smelled weird. Kinda like Grandma's closet, but worse.
BUFFY
I didn't know what was possible. Anything we could use?
DAWN
Trinkets, weapons, one very large textbook. (picks up the book, flips through it) Translation's gonna be a bitch, but... Do you know that ancient Sumerians do not speak English?
BUFFY
(scoffs) They're worse than the French. Anything else?
DAWN
Uh, yeah. A box. A big, fat, unopenable box. I'm betting whatever the big deal about this emergency bag is, you'll find it in the box. (puts the book down)
BUFFY
Good. Keep on it. (walks out of the room) Don't you have any real homework?
DAWN
(following Buffy) Oh, you mean, like, schoolwork?
BUFFY
Yes.
DAWN
Well, I've got a system. It's called flunking out. (giggles) No, just kidding. I'm paying someone to do my work. (squeals) I'm kidding. I love to see your eyeballs change color when you think I'm gonna flunk out of— (gasps)
Dawn has followed Buffy down the hall into another bedroom where they find Chloe hung from a bed sheet from the ceiling.
Fade to black.
ACT II:
26 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Resume. Buffy and Dawn are staring, stunned, as Chloe's body hangs from the ceiling by a bed sheet twisted around her neck. Kennedy, Rona, and Amanda come out of the bedroom across the hall and join Buffy and Dawn.
KENNEDY
What happened? We heard— (gasps and covers her mouth)
BUFFY
Dawn, get a knife. We're cutting her down.
CHLOE/FIRST
(from out of nowhere, Chloe/First appears, standing beside Chloe's hanging body) Good thinking. But, on the other hand, why rush? Up or down, I'll still be dead.
BUFFY
You're not Chloe.
CHLOE/FIRST
Yeah, well, neither is she, anymore. Now, she's just Chloe's body.
KENNEDY
What did you do to her?
CHLOE/FIRST
Nothing! We just talked all night. Well, I did most of the talking, but Chloe is...I'm sorry, was a good listener. 'Til she hanged herself. (to Kennedy) Like when you called her maggot—she really heard that.
BUFFY
Don't listen to it, any of you. It's the First.
CHLOE/FIRST
Oh, let 'em. The only reason why Chloe offed herself is 'cause she knew what you're not getting. I'm coming, you're going. All this—it's almost over.
BUFFY
We'll be here.
CHLOE/FIRST
All of you? But wait. I thought— (changing her voice to sound like Buffy) They're not all gonna make it. Some will die, and there's nothing I can do that will stop it. (in Chloe's voice now) Hey, I didn't say it. But I'll be seeing all of you. One by one. TTFN. (disappears in a flash of light)
BUFFY
What's TTFN?
RONA
It's "ta ta for now." It's what Tigger says when he leaves.
AMANDA
Chloe loved Winnie the Pooh.
BUFFY
Dawn, where's that knife?
Cut to:
27 EXT. FIELD SOMEWHERE IN SUNNYDALE - NIGHT
Someone's digging in the earth with a shovel. It's Buffy, digging in an empty field near a tree. She digs, wiping her brow, then continues digging.
Cut to:
28 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Everyone in the house is gathered in the living room for a meeting. The mood is somber as everyone sits in silence, except for the soft sobbing sounds as they mourn Chloe's death. There are approximately ten potentials in the room, plus Willow, Dawn, Anya, Xander, and Spike. Buffy comes into the room carrying the shovel.
BUFFY
Is everyone here?
KENNEDY
(sighs) All accounted for.
BUFFY
Anyone want to say a few words about Chloe? (silence) Let me. (paces) Chloe was an idiot. Chloe was stupid. She was weak. And anyone in a rush to be the next dead body I bury, it's easy. Just...think of Chloe, and do what she did. And I'll find room for you next to her and Annabelle. I'm the slayer. The one with the power. And the First has me using that power to dig our graves. (throws down the shovel angrily) I've been carrying you—all of you—too far, too long. Ride's over.
KENNEDY
(stands) You're out of line!
WILLOW
No, she's not.
KENNEDY
(to Willow) You're gonna let her talk to you like that? Willow, she's not even the most powerful one in this room. With you here, she's not close.
BUFFY
You're new here, and you're wrong. Because I use the power that I have. The rest of you are just waiting for me.
XANDER
Well, yeah, but only because you kinda told us to. You're our leader, Buffy, as in "follow the."
BUFFY
Well, from now on, I'm your leader as in "do what I say."
XANDER
Ja wohl! But let's not try to forget, we're also your friends.
ANYA
I'm not.
BUFFY
Then why are you here? Aside from getting rescued, what is it that you do?
ANYA
I provide much-needed... sarcasm.
XANDER
(raises hand) Um, that would kinda be my job, actually.
BUFFY
You're here because you're scared.
XANDER
Same goes for everyone in this room.
BUFFY
Fine. Anya, all of you, be as scared as you'd like, just be useful while you're at it.
WILLOW
Come on, Buffy. You know everyone here's doing everything they can.
BUFFY
The First isn't impressed. It already knows us. It knows what we can do, and it's laughing. You want to surprise the enemy? Surprise yourselves. Force yourself to do what can't be done, or else we are not an army—we're just a bunch of girls waiting to be picked off and buried. (Spike stands and walks toward the door) Where are you going?
SPIKE
Out. Since I'm neither a girl, nor waiting. All this speechifying doesn't really apply to me, does it? (walks away)
BUFFY
(calls after him) Fine. Take a cell phone. That way, if I need someone to get weepy or whaled on, I can call you.
SPIKE
(turns to Buffy) If you've got something to say—
BUFFY
Just said it. You keep holding back, you might as well walk out that door.
SPIKE
Holding back? You're blind. I've been here, right in it—fighting, scrapping...
BUFFY
Since you got your soul back?
SPIKE
Well, as a matter of fact, I haven't quite been relishing the kill the way I used to.
BUFFY
You were a better fighter then.
SPIKE
I did this for you. The soul, the changes—it's what you wanted.
BUFFY
What I want is the Spike that's dangerous. The Spike that tried to kill me when we met.
SPIKE
(angrily) Oh, you don't know how close you are to bringing him out.
BUFFY
I'm nowhere near him. Dawn, get the potentials upstairs and break out that emergency kit.
DAWN
What are you gonna do?
BUFFY
I'm declaring an emergency. (walks out past Spike without acknowledging him)
Cut to:
29 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Principal Wood sets down the slayer's emergency kit next to Buffy.
BUFFY
We thought you'd want to be here.
PRINCIPAL WOOD
Yeah, you thought right.
DAWN
(Kennedy, Willow, Anya, and Xander go through the contents of the bag) That emergency bag's got some neat stuff in it. Weapons, charms, (holds up the book) advanced reading assignments.
XANDER
Yeah, cool stuff, but we've seen it all before.
ANYA
(points to the box) Well, not this, we haven't. What's inside it?
PRINCIPAL WOOD
Mm, I don't know. It hasn't been opened since— (Buffy breaks off the lock with her bare hands) Well, since now.
XANDER
(pulls out metal figures from the bag) Puppets. That's it! The First hates puppets! Now if we can just airlift Kermit, Fozzie the Bear, and Miss Piggy into town, the First'll be a-running.
WILLOW
Those are Muppets.
DAWN
(takes the figure from Xander) And these things are shadow-casters. You put them in motion, and they tell you a story. (references the book) It says you can't just watch, you have to see.
ANYA
What the hell does that mean?
XANDER
It's cryptic. I don't like it. Every time instructions get cryptic, someone gets hurt—usually me.
BUFFY
You can't just watch, you have to see? (to Principal Wood) See what?
DAWN
That's where all my fancy translating skills break down, but I think it's an origin myth. The story of the very first slayer.
BUFFY
I-I saw her.
PRINCIPAL WOOD
You saw the First Slayer?
BUFFY
The other night—in my dream. It's gotta mean something, right?
Cut to:
30 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
In the darkened room, Xander strikes a match and lights the wick at the center of a metal mechanical object. The light fills the room, revealing Dawn, who's holding a large book open in her arms.
DAWN
OK. According to this, I think—you put on those puppet guys one by one. They cast shadows and the shadows tell the story. First, there is the Earth.
Xander puts the first metal figure on the mechanical object. The light at the center casts a shadow of the figure on the wall. A tribal drumbeat can be heard in the background.
KENNEDY
What's that sound?
XANDER
OK, so far, so creepy.
DAWN
Hmm. OK. As Dawn narrates the story, Xander puts the corresponding shadow caster figure on the device. As Xander adds the figures to the shadow caster, sounds are also added to the magical soundtrack.
DAWN
Then, there came the demons.
A representation of a demon brings forth growling sounds.
DAWN
After demons, there came men.
A representation of men brings forth chanting that is added to the demon sounds.
DAWN
Men found a girl.
A representation of a girl brings forth a girl's scream.
DAWN
And the men took the girl to fight the demon—all demons. They—they chained her to the Earth.
A representation of a chain is added.
DAWN
And then—and I—I can't read this. Something about darkness.
The shadow-casting device starts spinning on its own.
BUFFY
What about darkness?
The shadow caster device is spinning, making shadows of the figures on the walls, but the shadows are animated, moving and acting out the story.
DAWN
It says you cannot be shown. You cannot just watch, but you must see. See for yourself, but only if you're willing to make the exchange.
XANDER
When did you get so good at Sumerian?
DAWN
It's not in Sumerian anymore. (the words on the pages of the book are magically changing into English)
Willow and Kennedy stand, alarmed, as the shadow casters tell a story of a demon attacking the chained girl. The device spins faster and faster as the shadows move up the walls. Suddenly, a bright blue light forms at the center of the device, growing in size until it forms a window of light. Buffy walks closer to investigate it.
XANDER
But what does it mean?
BUFFY
It means I have to go in there.
WILLOW
(panicky) No, it doesn't! Where does it say that? It doesn't say that!
PRINCIPAL WOOD
Buffy, you don't even know what you're exchanging. You don't know if you're ready yet.
BUFFY
That's the point.
WILLOW
No. Buffy, we don't know where you're going or how we'll get you back.
XANDER
Buffy, you can't.
WILLOW
How will we get you back?
BUFFY
Find a way. (jumps through the window of light; the portal closes behind her)
WILLOW
She's gone.
XANDER
Huh.
ANYA
What was that about an exchange?
There's a flash of light, and then a large, growling demon appears.
XANDER
Ah, this must be the exchange student.
The demon grabs Xander by the shirt collar and throws him across the room, breaking furniture as he lands.
Fade to black.
ACT III:
31 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Resume. The demon has thrown Xander to the ground. Anya, Kennedy, Willow, Spike, and Principal Wood are standing there in shock as the growling demon now turns its attention to them.
KENNEDY
Willow! Use your magic. Send him back!
WILLOW
Um, trying. Redi!
The demon backhands Willow, sending her across the room. Wood pulls out throwing stars and hurls them at the demon. Then he engages the demon in hand-to-hand combat until the demon finally pushes him to the ground.
KENNEDY
Weapons.
Dawn hands Kennedy a sword, while also taking one for herself. Kennedy charges at the demon, whaling on it with the sword; Dawn follows suit with her sword. The demon fights the girls, but they are no match for it. It punches Kennedy, sending her across the room. Just then, Spike jumps on the demon's back.
SPIKE
Get out of here—all of you. Unless you want to end up all dead and useless.
KENNEDY
(from the couch where she sits, injured) What are you gonna do?
SPIKE
What I do best.
Spike slams the demon's head into the wall, but it turns the tables on him, throwing him so hard into the ceiling that he breaks through it and lands on the floor upstairs. The demon breaks through the closed French doors, smashing glass as he leaves the house. Willow sits up where she'd fallen. Xander also tries to stand. Principal Wood helps Anya stand.
DAWN
(to Kennedy, who's inspecting her bloody hand) Are you injured?
KENNEDY
Just hurt. Don't make a case out of it. (to Xander and Willow) How 'bout you?
XANDER
I think we'll live.
ANYA
(looks at the ceiling) Except maybe Spike.
KENNEDY
Is getting thrown through the ceiling what he does best?
DAWN
(sighs) I'll go check on him.
ANYA
We've got bigger problems than that.
PRINCIPAL WOOD
Yeah, demon loose. No slayer.
WILLOW
We need Buffy.
XANDER
You gotta get her back. Looks like it's spell'o'clock.
ANYA
Which spell? I mean, didn't you see that thing? And you expect to reopen the portal without sending Willow off the deep end?
WILLOW
(frowns, nods) Thanks for your support.
ANYA
Well, it's true. We're going to have to find another way.
WILLOW
(shakes her head) There isn't, and Buffy knew it. I've got to get her back.
KENNEDY
We don't even know where she went.
Cut to:
32 EXT. DESERT - DAY
Buffy tumbles through the portal and finds herself in the desert. It looks like where she had gone once before with Giles on the spiritual retreat. The lighting is strange as if brightness and contrast have been turned super-high, giving the scene a supernatural feel.
BUFFY
Well, guess that worked.
She hears chanting nearby and goes to investigate.
Cut to:
33 INT. DOWNSTAIRS AT BUFFY'S HOUSE - NIGHT
Dawn's holding the book from the slayer's emergency kit. Willow, Kennedy, and Xander are gathered around her in the living room.
XANDER
Dawnie, what's the book say?
DAWN
Not much. Once Buffy left, it got a little tougher to read. (holds up the book to show the writing has changed)
WILLOW
Oh. (walks out of the room to the kitchen; the others follow)
KENNEDY
It's OK. We'll just start with what we know, and take it from there.
XANDER
Great, so far we know Jack about squat. Let's go from there.
KENNEDY
You've got the magic, use it.
WILLOW
I-I-I don't even know what magic to use.
KENNEDY
Why not just try all 32 flavors. Worst thing that happens is you go brunette.
WILLOW
(grabs first-aid kit from kitchen cabinet) That's not the worst thing that can happen. (attends to Kennedy's wounded hand)
ANYA
She's right. And you know we have a choice. We can risk Willow's life and the rest of our lives to get Buffy back, or we leave her out there.
PRINCIPAL WOOD
If we play it safe back here, Buffy could stay lost.
ANYA
You missed her "everyone sucks but me" speech. If she's so superior, let her find her own way back.
XANDER
Anya, the First is already up and running. Every second that Buffy's not here, is an opportunity for it to show up and rip us to pieces.
DAWN
Willow, how would you get Buffy back?
WILLOW
That's what I'm saying—I don't even know.
DAWN
OK, but if another witch was to do it, where would she start?
WILLOW
Uh, physics, principles, basic laws...
DAWN
Such as?
WILLOW
Uh, conservation of energies. You can't really create or destroy anything, only transfer.
Anya scoffs.
DAWN
I'm sorry, are you helping?
ANYA
No, but at least I'm not galloping off in the wrong direction.
WILLOW
Magic works off physics.
ANYA
Not without a catalyst. If you're talking about transferring energies, you need some kind of conduit.
WILLOW
Like a-a Kraken's tooth.
ANYA
Yeah, skin of Draconis, um, ground-up Baltic stones, something...
DAWN
OK. Good.
KENNEDY
Plus, we need an exchange, like you said. I'm thinking a slayer for a demon.
PRINCIPAL WOOD
Right. If we want Buffy back, then we have to find that demon and send it through.
KENNEDY
It matter if it's dead or alive?
SPIKE
(standing in the doorway now) I vote dead. The slayer's counting on you, Willow. Get cracking on that portal, and don't be stingy with the mojo. The demon's mine.
KENNEDY
Hate to say it, (makes quotes with her hands) "Big Bad," but you look like you can barely stand. We're trained. And the only thing we know for sure about this demon is it kicked your ass.
SPIKE
(smirks) It did, at that. (walks toward the door)
PRINCIPAL WOOD
Where are you going?
SPIKE
Something I need. (leaves through the kitchen door)
Cut to:
34 EXT. DESERT - DAY
Buffy walks up to a group of three men dressed in tribal fashion, each holding a tall staff and wearing different colored headdresses.
BUFFY
Hello? I'm Buffy. I'm the slayer.
The men are speaking some unrecognizeable language.
RED HAT SHADOW MAN
SUBTITLE: We know who you are.
BLACK HAT SHADOW MAN
SUBTITLE: And we know why you're here.
BROWN HAT SHADOW MAN
SUBTITLE: We've been waiting.
BUFFY
(nods) Good. That's good then. Um, you know, I know we have bigger issues to deal with, but how'd I understand anything you guys just said? (they look at each other and stand, not answering) Oh, I know, ancient magicks. I just thought it was neat.
RED HAT SHADOW MAN
SUBTITLE: (the three men start circling Buffy) We have been here since the beginning.
BLACK HAT SHADOW MAN
SUBTITLE: Now, we are almost at the end.
BUFFY
The neat of it just left. End of what?
BROWN HAT SHADOW MAN
SUBTITLE: You are the hellmouth's last guardian.
BUFFY
Latest. You mean latest guardian.
RED HAT SHADOW MAN
SUBTITLE: No.
BUFFY
OK, um, I have a First to fight, OK. So just tell me what I need to know. I came to learn.
RED HAT SHADOW MAN
SUBTITLE: We cannot give you knowledge. Only power.
BUFFY
You know what I think? I'm not really here at all. None of this is actually happening. This is like a play. Like some shadow-play. Some non-reality re-enactment hologramy—
One of the men hits Buffy, knocking her over—she falls to the ground.
Cut to:
35 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow's pouring green sand from a bag, creating a circle with the sand. Kennedy, Dawn, Xander and Anya are also in the room.
KENNEDY
And this is gonna help us how?
DAWN
The sand forms a circle. The circle acts as a barrier. And the barrier contains the portal.
KENNEDY
Now what? We hold hands and chant kumbaya or something?
WILLOW
(hands the bag of sand to Kennedy) Maybe. 'Til we get the magicks up and running, I'm kinda working on my best guess here.
XANDER
Will, maybe we should wait.
KENNEDY
For what?
XANDER
Spike—to see if he can bring back that demon.
WILLOW
No, I don't think we should wait right now. Opening a portal this size could take days.
KENNEDY
Better get started.
WILLOW
(holds her hands in fists and shifts her weight from one foot to another) I think I might pee my pants.
KENNEDY
You can do it—the magicks, not the pants thing.
WILLOW
OK. (breathes deeply, then sits down in the middle of the circle) Via temporis, iam clamo ad te, via spatii te jubeo aperire. Aperi! (nothing happens; Willow turns to Dawn) Dawnie, you'd better put on some coffee. This could take awhile—
Willow's interrupted by a flash of light. Energy radiates through the room, knocking everyone down. Willow's eyes turn black, and she screams like a banshee.
Cut to:
36 EXT. CAVE IN DESERT - DAY
Buffy's groggy and disoriented as she regains consciousness. She's sitting on the ground.
BUFFY
What is this?
Buffy stands only to find she is shackled at the wrists and chained to the ground. She struggles against the chains. The three men are standing in front of her in a circle.
BROWN HAT SHADOW MAN
SUBTITLE: We are at the beginning. The source of your strength. The well of the slayer's power.
RED HAT SHADOW MAN
SUBTITLE: This is why we have brought you here.
BUFFY
I thought I brought me here. Listen, you guys. I'm already the slayer, bursting with power. Really don't need any more.
RED HAT SHADOW MAN
SUBTITLE: The First Slayer did not talk so much.
Buffy pulls on her chains again. The men start tapping their staves against the ground, rhythmically. The man in the red hat fetches a box and brings it to the center of the circle, where he takes off the box top.
RED HAT SHADOW MAN
SUBTITLE: Herein lies your truest strength.
BLACK HAT SHADOW MAN
SUBTITLE: The energy of the demon. Its spirit.
BROWN HAT SHADOW MAN
SUBTITLE: Its heart.
BUFFY
This is how you—
RED HAT SHADOW MAN
SUBTITLE: Created the slayer? (nods) Yes.
Black smoke comes out of the box in long tentacles; it seems sentient as it dances around the circle. The men keep tapping their staves rhythmically.
BROWN HAT SHADOW MAN
SUBTITLE: It must become one with you.
BUFFY
No! (struggles against her chains)
RED HAT SHADOW MAN
SUBTITLE: This will make you ready for the fight.
BUFFY
By making me less human?
RED HAT SHADOW MAN
SUBTITLE: This is how it was then. How it must be now.
BLACK HAT SHADOW MAN
SUBTITLE: This is all there is.
Buffy struggles against her restraints in vain as the black smoke comes toward her, entering her body through her nose and ears.
Fade to black.
ACT IV:
37 EXT. CAVE IN DESERT - DAY
Resume. Buffy's screaming as the black smoke tries to enter her body. The men just stand there, watching. The smoke can't get in through her head while she's screaming, so it rises to the ceiling of the cave and comes back down to her, encircling her hips. Still, she resists.
BUFFY
(through gritted teeth) Make this stop!
RED HAT SHADOW MAN
SUBTITLE: This is what you came for.
BUFFY
No, this isn't the way.
RED HAT SHADOW MAN
SUBTITLE: Do not fight this.
The black smoke heads toward Buffy again.
Cut to:
38 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Spike's in the school basement, rifling through boxes until he finally finds what he's looking for—his old leather duster. He holds it up, shakes it out, and puts it on. He walks out with his characteristic swagger from before he got the soul.
Cut to:
39 INT. HALLWAY AT SUNNYDALE HIGH - NIGHT
Wearing the duster, Spike walks down the hallway toward the exit. He passes Principal Wood, who's standing in a doorway.
PRINCIPAL WOOD
Where you going?
SPIKE
(without missing a beat) Got a job.
PRINCIPAL WOOD
Nice coat. Where'd you get it?
SPIKE
(walks by Wood without looking at him or stopping) New York.
Wood watches Spike walk away.
Cut to:
40 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow's sitting in the circle, black-eyed, and performing magic. The others behind her stand up from where they had fallen earlier.
WILLOW
Via, concursus, tempus, spatium, audi me ut imperio. Screw it! Mighty forces, I suck at Latin, OK? But that's not the issue. I'm the one in charge, and I'm telling you open up, portal, now!
XANDER
It's not happening, Will.
KENNEDY
Give her time. She's getting it.
XANDER
Or something's getting her. Will, think you better back up a little.
WILLOW
No!
Willow's arms thrust back behind her, sending magic toward Anya and Kennedy, who immediately freeze. Enveloped in magic, they are lifted from the ground momentarily by Willow, who's pulling power from the two women, through her, to create the portal. The portal opens up in front of her in the shape of a large window of light. Noticing that Willow's hair turned black as she channeled Anya and Kennedy's energy, Xander enters the circle, lifting Willow up by her arms. As he carries her out of the circle, her hair goes back to red. Kennedy seems upset as she realizes what just happened.
Cut to:
41 EXT. ALLEY IN SUNNYDALE - NIGHT
In vamp visage, wearing his leather duster, Spike's fighting the demon from the portal.
SPIKE
Oh, come on now, Nancy. Call yourself a demon? I thought you were up for a proper fight. (the demon punches Spike, knocking him down) Now we're talking.
Spike stands and tackles the demon, head-butting it. The demon then punches Spike repeatedly, ultimately pinning him against a wall. Spike then pushes the demon's head away, and kicks it across the alley.
SPIKE
(laughing maniacally) Yeah!
Cut to:
42 EXT. CAVE IN DESERT - DAY
Buffy's still chained to the ground as she stands, addressing the three men who put her there.
BUFFY
You think I came all this way to get knocked up by some demon dust? I can't fight this. I know that now. But you guys? You're just men. (rips her chains out of the ground) Just the men who did this...to her. Whoever that girl was before she was the First Slayer.
RED HAT SHADOW MAN
SUBTITLE: You don't understand.
BUFFY
No, you don't understand! You violated that girl, made her kill for you because you're weak, you're pathetic, and you obviously have nothing to show me.
Buffy uses the chains that are still shackled to her hands as weapons. She swings the chains, at the legs of one man, and the staff of the other. She knocks them down, but they get up again. A fight ensues.
Cut to:
43 EXT. ALLEY IN SUNNYDALE - NIGHT
Spike and the demon are still fighting. The demon has Spike pinned to a wall again, but this time, Spike grabs the demon's head and twists, snapping its neck. Spike throws the demon to the ground in front of him.
SPIKE
(in vamp visage, Spike takes out a cigarette and puts it in his mouth) I don't know your feelings, big guy, but to me, a tussle like that... (strikes a match on the demon's ear, brings the match up to his cigarette; Spike's now in human face) is good for the soul. (Spike lights his cigarette and takes a puff)
Cut to:
44 EXT. DESERT - DAY
After defeating two of the men, Buffy walks up to the man in the red hat, holding a staff. She breaks it, and the demon smoke disappears.
BUFFY
I knew it. It's always the staff.
RED HAT SHADOW MAN
SUBTITLE: We offered you power.
BUFFY
(sarcastically) Tell me something I don't know.
RED HAT SHADOW MAN
SUBTITLE: As you wish. (holds his hand to Buffy's head)
Cut to:
45 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Spike brings the body of the demon he killed back to Buffy's house, carrying it to the portal.
Cut to:
46 EXT. CAVE IN DESERT - DAY
The Red Hat Shadow Man is still holding his hand to Buffy's head.
Cut to:
47 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Spike throws the demon's body into the portal.
Cut to:
48 EXT. CAVE IN DESERT - DAY
Buffy's face is full of concern as she stares at the Red Hat Shadow Man.
Fade to white.
49 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Buffy is back in her living room now. An exhausted bunch awaits her—Anya, Dawn, Spike, Kennedy, Xander, and Willow. They all stare at each other in silence and in shock for a moment.
Cut to:
50 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT
Kennedy's walking down the hallway when Willow comes up behind her.
WILLOW
Hey. You OK? You've been kinda quiet since...
KENNEDY
You sucked the life out of me?
WILLOW
Yeah, since then. Look, it's important that you know what I am, what I'm like when I'm like that.
KENNEDY
I thought it would be... I don't know—cool somehow. It just hurt.
WILLOW
I'm really sorry. It's just, you were the most powerful person nearby, and—well, that's—that's how it works. That's how I work.
KENNEDY
I got that. You told me. I'll see you in the morning. (goes into her room and closes the door)
Cut to:
51 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Willow opens the door to Buffy's room. Buffy's sitting on her bed, curled up, looking introspective and worried.
WILLOW
How you doing?
BUFFY
Thanks for bringing me back. Again.
WILLOW
(walks to the bed) Well, that's what I do. (sits on the edge of the bed)
BUFFY
I was hard on you guys today.
WILLOW
Aw, it's all right. You needed to be. Although, Twinkies and kisses—also peachy motivational tools. You OK?
BUFFY
I think I made a mistake.
WILLOW
What?
BUFFY
Those men that I met—you know, the shadow men? They offered me more power, but I didn't like the loophole.
WILLOW
So, you turned it down? It's OK, Buffy. We'll get by. We always do.
BUFFY
I don't know. They showed me...
WILLOW
Showed you what?
BUFFY
That the First Slayer was right—it isn't enough.
WILLOW
Why, Buffy? What did you see? What did they show you?
Cut to:
52 INT. CAVE - NIGHT
A Turok-Han growls with a battle cry. There are many more behind it, jumping around with weapons. Pan out to show there are thousands upon thousands of Turok-Han forming an army somewhere underground.
Cut to:
Closing credits.