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Before I get into the story commentary, I want to explain why I did this. There are a couple of reasons. First, I wanted to post something new for all of the people who have read my season 8 and have asked for something more. I have ideas for a more proper continuation (not a whole season, sorry), but that's still in early stages and I wanted to put something up quicker. As for the subject, I just thought it'd be neat to check up on Giles. We've seen him on the show for many years, but there were never any "Fool For Love", or "Selfless" type of episodes for him. He's not a century old, but there's a lot of story there. It was harder than I expected to tie together all of what we do know and map the evolution of the character. Harder still was naming the episode, but I thought that this title fit well enough. Anyway, thanks for reading and I hope you enjoy it! If not, feel free to say so on my own message board. I could use the traffic.
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TEASER
OVER BLACK
The SOUND OF A MUSIC BOX can be heard. Slow pings and dings
that make up a soft, sweet, innocent, yet not too complicated
melody.
FADE IN:
EXT. ITALIAN ROAD - DAY
The music continues.
This road is old. The buildings are old. The LITTLE GIRL
that is walking down the road isn't so old. She's about five
or six years old. Dark hair. Dark eyes. Her coloring would
suggest that her parents are of different races (black and
white).
She walks down the street, happily waving a flower in the
air and watching the petals blow in the wind.
PAN OVER to REVEAL RUPERT GILES standing a short distance
down the street, watching this girl play. His expression is
blank. He is standing next to a small shop which sells music
boxes. This would be where the music comes from.
The girl turns around.
LITTLE GIRL
Mommy, hurry up!
The girl starts to run back in the direction from which she
came.
Giles continues to watch for a moment before his eyes drift
downward. Whatever his interest, it's been satisfied. He
turns and walks away.
FADE TO WHITE:
OVER WHITE:
The MUSIC BEGINS TO FADE as another sound takes it's place.
This is the SOUND OF A HEART MONITOR. The heart that it's
monitoring is calm and steady.
FADE IN:
INT. HOSPITAL ROOM - 2004 - DAY
CLOSE ON: GILES
Resting on the only bed in the room. His eyes are closed and
his head is tilted slightly to one side. To the world, it
may appear that he is asleep, but the world would be wrong.
2.
PULL BACK to slowly REVEAL that there are many tubes leading
to and from Giles. Three or four from the spot on his stomach
where Ethan stabbed him, one or two from his hands. These
clear plastic tubes have different colored liquids traveling
through them. One of these tubes leads to an i.v. bag. The
others run under the bed, or up to the ceiling.
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Obviously, this is way over the top for a normal hospital scene. The image in my head for this was partly inspired by seeing "Sin City", but I really just wanted it to be a somewhat overly dramatic image of his recovery process (explained away by mystical means of course).
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Around his neck, Giles is wearing a small burlap pouch. Around
his wrists are different types of beads. On the window behind
him, several bird feathers hang by thin threads. This is
not your normal hospital room.
GILES (V.O.)
What goes through a man's mind as he
sits in a hospital bed with his eyes
closed? Between painful breaths,
and the sometimes useless attempts
at holding down what little food he
can manage to swallow in the first
place?
Giles opens his eyes and turns his head toward the window.
As he tries to look at the sunlight, he cringes in pain and
puts a hand on his wound.
GILES (V.O.) (CONT'D)
Between the nurses coming in to check
his vitals and mark the charts, the
doctors coming to read the charts
and nod their heads, and the shamans
coming to burn their herbs and sing
their chants?
(beat)
Two months. The length of time it
takes to recover from a stab wound
to the gut when the knife has been
dipped in Sabre Venom. At first it
seems like any other stab wound.
Painful. Bloody. Still, you push
through and get the job done.
(beat)
An hour or so later is when the poison
kicks in. Your body begins to tingle,
seeming like a symptom of the cut
itself at first. Loss of blood, or
what have you. When the blood coming
from the wound starts to turn black,
you know something isn't normal.
INT. AMBULANCE - TWO MONTHS EARLIER - DAY
It's the Night Of Morel Divineh. Giles is on the gourney,
breathing heavily as two EMTs work on him.
EMT ONE
What the hell is this? The blood's
black, man.
3.
EMT TWO
I don't give a damn what color it
is, just keep working.
GILES
Oh, God. What is this?
EMT TWO
You're gonna be okay. We're almost
at the hospital.
GILES
Something's wrong.
EMT ONE
He's going into shock.
EMT TWO
Sir, you've been stabbed. We're taking
you to the hospital.
GILES
No. You don't under--
Giles can't finish his sentence before he screams in pain.
The second EMT injects him with a pain killer. As he does
this, the other EMT looks at Giles' arm. It's covered in
black veins and blisters.
EMT ONE
This has to be some kind of outbreak.
Did you see all those girls back
there?
EMT TWO
They didn't look like this.
EMT ONE
But they were dead. Almost every
single one of them.
Before the other EMT can answer, the amulance slams into
something, causing the EMTs to fall.
EMT TWO
What the...?
The doors open and the EMTs look back. Outside of the
ambulance, TWO MORE EMTs are standing.
EMT THREE
We got this one.
EMT TWO
Who the hell are you?
The new EMTs start to move toward Giles.
4.
EMT THREE
You don't need to know that, so I'm
not gonna tell you.
EMT TWO
You think you're just gonna walk out
of here with this man?
EMT THREE
Yup.
The fourth EMT injects Giles with something. Giles falls
asleep.
INT. HOSPITAL ROOM - 2004 - DAY
Giles is still in his bed. He looks away from the window and
closes his eyes again, keeping his hand on his stomach.
FADE TO BLACK:
END OF TEASER
5.
ACT ONE
FADE IN:
INT. HOSPITAL ROOM - 2004 - DAY
Giles is now staring up at the ceiling with a blank expression
on his face.
GILES (V.O.)
They say that when you're near death,
your life flashes before your eyes.
That's not true. When you're near
death, the only thing that flashes
before your eyes is the light's
reflection in the pen knife that's
sticking out of your gut. In fact,
it's only after you've begun your
recovery that you have the time to
consider the things that have happened
in your life. The things you've done.
Things you could have done
differently.
(beat)
What you plan to do once you're well.
EXT. LONDON STREET - 1973 - DAY
The street is full of PEOPLE, going about their everyday
lives. Cars rushing by on the street, men and women walking
to work, mothers with children. You get the idea.
We PAN OVER over to the sidewalk to REVEAL YOUNG GILES (known
as RIPPER from now on) wearing a leather jacket and taking a
swig of wine directly from the bottle as he walks down the
street. He passes it to a young lady, DIEDRE PAGE who takes
a sip of her own.
RIPPER
That's the last time I leave it to
Ethan to get the drinks.
DIEDRE
Does the job just fine for me.
She lowers the bottle and kisses Ripper. He smiles at her.
RIPPER
I can see that.
YOUNG ETHAN (O.S.)
Besides, I laced the wine with a few
of my favorite herbs. Anything
stronger and you'd be floating right
about now.
6.
YOUNG ETHAN catches up to Ripper, smiling. Diedre giggles as
she runs her fingers through Ripper's hair.
DIEDRE
Can you feel it?
RIPPER
(smiling)
Don't feel a... thing.
Ripper squints his eyes a little, then looks at his hand as
he waves it in front of his face. He finds this very
interesting.
RIPPER (CONT'D)
That's rather strange. I seem to
have misplaced my car keys.
(beat)
I mean, fingers.
He feels his pocket.
RIPPER (CONT'D)
Though, come to think of it...
DIEDRE
We're walking. You don't have car
keys.
RIPPER
Right. I knew that.
Young Ethan laughs.
YOUNG ETHAN
So, what's the plan for tonight?
Call old man Winters out of his house
and turn him into a duck?
RIPPER
Give it up, man. Just relax and stop
trying so bloody hard.
Ripper turns to Diedre and looks her in the eyes.
RIPPER (CONT'D)
What do you wanna do?
DIEDRE
I don't know. You're the one with
all those thoughts and ideas. I'm
sure you can think of something.
YOUNG ETHAN
I read about this trick once. See,
you take a costume of some sort--
7.
RIPPER
I'm not playing dress-up.
YOUNG ETHAN
Then what do you want to do? You're
not offering a lot of suggestions
here.
Ripper thinks for a moment.
RIPPER
Are you sure I don't have car keys?
DIEDRE
You don't have a car.
RIPPER
Right. I knew that.
(beat)
What were we talking about?
DIEDRE
Plans for tonight.
RIPPER
Of course.
As they walk, a MIDDLE-AGED WOMAN passes, carrying a grocery
bag. Ripper reaches into it and pulls out an apple without
skipping a beat in his stride. The woman stops and turns in
his direction.
MIDDLE-AGED WOMAN
Stop! Get back here!
(then)
Thief! You'll rot for this! Mark my
words!
Ripper turns and glances at the woman and then looks at
Diedre.
RIPPER
What's she yelling about?
Diedre shrugs.
YOUNG ETHAN
So, about tonight?
They continue to walk. As they pass a small shop, we see TWO
MEN standing in the doorway, watching Ripper. These men are
dressed in very fine suits.
INT. LONDON MUSEUM - GILES' OFFICE - 1992 - DAY
Giles is hunched over his desk, studying an old clay pot
that has some symbols on it.
8.
He looks over to a reference book, then picks up a magnifying
glass and looks at the pot again.
At this point, Giles is wearing a tweed suit, complete with
vest. Very stuffy looking.
He writes something in a notebook and continues studying the
piece.
DANIEL (O.S.)
Ancient, no doubt. Perhaps used in
some archaic ritual to hold the blood
of the sacrifice?
Giles looks up and sees DANIEL HEWITT standing in the doorway.
Daniel wears a perfectly cut suit, and glasses. He's holding
an old leatherbound book.
Giles puts the pot down.
GILES
Actually, it's supposed to be a two
hundred year old decorative piece.
DANIEL
Supposed?
GILES
It's a fake. Not a very good one.
DANIEL
So, is this what you do with your
days now? Study the reproductions of
rather tacky "knickknacks"?
GILES
I do more than that.
DANIEL
I'm sure you do.
GILES
Is there a reason for you being here,
or have you simply come to annoy me?
DANIEL
You've been neglecting your duties
to the Council.
GILES
The Council put me in this job. I
assume they want me to keep it.
DANIEL
This job was given to you so that
you might keep an eye on the items
that come in and out of this museum.
9.
GILES
And I have been.
Daniel opens his book and puts it in front of Giles. He points
to a picture in it.
DANIEL
Does this look familiar?
Giles studies the picture.
GILES
The Scroll Of Tan-zhe. Said to contain
some rather potent incantations.
DANIEL
To put it mildly.
(beat)
Since you seem to know what this
object is, one must wonder why you've
failed to alert the Council of it's
present location.
GILES
Present location?
(beat)
Here?
DANIEL
Surprised?
Giles doesn't answer. Daniel turns to walk out.
DANIEL (CONT'D)
You might want to look into it. Make
sure it's never seen by the public.
GILES
I know how to do my job.
Daniel smiles.
DANIEL
Of course you do.
Soon, Daniel is gone. Giles is left alone. He looks at the
picture again.
GILES
Prat.
Giles closes the book and looks around the room for something
to hit. Being a museum, there aren't a lot of options here.
10.
INT. MUSEUM - HALLWAY - 1992 - DAY
Giles is making his way down the hallway, holding Daniel's
book in his hand. As he walks, a younger man, ANTHONY walks
past him. Giles turns around.
GILES
Anthony.
Anthony stops and turns.
ANTHONY
Sir?
GILES
Have you seen Mr. Wells? He doesn't
seem to be in his office.
ANTHONY
I think he's out to lunch, sir.
(beat)
That is-- I mean, he's on his break.
I didn't mean that he was...
Nevermind, sir.
GILES
Right. Tell him to come see me when
he gets the chance.
ANTHONY
I will, sir.
Giles turns and continues on his path. Again, his mind begins
to wander off. He doesn't notice another middle-aged man
begin to walk beside him. This man, HENRY, just walks along
with Giles without saying a word.
Finally, Giles notices him and jumps a little.
GILES
Good lord.
HENRY
I've been called worse.
GILES
Must you sneak up like that?
HENRY
I wasn't sneaking. I was walking
normally. Sneaking would be if I
were walking like this...
Henry begins to walk a little sneakier. He switches back to
normal walking.
11.
HENRY (CONT'D)
That's sneaky.
GILES
Right. No more coffee for you then.
HENRY
Never would have touched the stuff
if it weren't for you.
GILES
Funny. Did you want something?
HENRY
Just to say hello, and to invite you
to dinner tonight. Lucy's having
some friends over and I'm trying to
even out the party.
GILES
I'm a little busy tonight.
HENRY
You're a little busy every night.
(beat)
You work in a museum, not MI-5. Take
a rest. The world won't come to an
end if you don't translate an ancient
onion soup recipe from the back of a
clay pot.
GILES
If only my job were that simple.
HENRY
Make it that simple. I need some
support here or I'll be slaughtered
by endless talk of shoe straps and
fabric patterns.
(beat)
Eight o'clock?
Giles thinks for a second.
HENRY (CONT'D)
Good then. Eight it is. See you then.
GILES
But--
HENRY
Eight o'clock!
Henry walks off. Giles takes a deep breath.
12.
EXT. LONDON STREET - 1973 - DAY
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In this scene, all of Ripper's friends were named by watching "The Dark Age" except for Shannon. She wouldn't have been listed in "The Dark Age" for a very good reason which you see later in the script.
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Ripper (with a cigarette behing his ear), Young Ethan, Diedre
and three others (THOMAS, PHILIP, and SHANNON) are walking
down the street. Their attitude makes them seem not just
like rebellious youngsters, but like they actually think
they're above everyone else. They look dangerous enough to
cause one WOMAN to pull her YOUNG CHILD close to her as they
pass.
As he passes, Thomas looks the woman in the eyes and makes a
face at her.
THOMAS
Boo!
The woman moves back, not wanting to be too close to any of
these people. Thomas and Shannon laugh at this.
From ahead of Ripper, the two men in suits make their way
down the street. Ripper notices them and keeps his eyes on
them as they pass. Their eyes stay on him. They're not
intimidated. It's almost as though Ripper and these men are
challenging each other.
One of the Watchers shakes his head slightly, as though to
say "stupid kid". Ripper reacts to this by grabbing the
cigarette from behind his ear and popping it into his mouth.
As he does this, the Watchers take note of his Eyghon tattoo.
Ripper sees them looking at it, and quickly puts his arm
down.
The Watchers pass and don't look back. Ripper keeps walking
for a few moments, and then turns back to get a quick look
at them.
DIEDRE
Friends of yours?
Ripper doesn't respond for a moment. His eyes shift downward
for a moment. After a beat, he looks back to Diedre.
RIPPER
I'll catch up.
He breaks away from the group and walks in the direction of
the two men.
INT. BOOK STORE - 1973 - DAY
The two men walk into the store, causing a bell above the
door to JINGLE. They walk to the counter. There is an OLD
SHOPKEEPER behind the counter.
MAN IN SUIT 1
We're here to pick up an order.
13.
OLD SHOPKEEPER
Name?
MAN IN SUIT 1
Harrison Hartford.
OLD SHOPKEEPER
One moment.
The shopkeeper walks into a back room. As he does this, the
first man in the suit (I'll just call him HARRISON from now
on) turns to look at some other books. As he does, he's
shocked to see Ripper standing behind him.
When Harrison gasps, the other man turns and sees Ripper.
HARRISON
What are you doing in here?
RIPPER
Following you. Threatening you.
HARRISON
It would be wise not to.
RIPPER
What? Council gonna get me?
HARRISON
Rather flippant, aren't you?
RIPPER
Tell the Council that I've seen their
men on the street. I know they're
following me. I've already told them
to shove off. They'd be wise to
listen.
HARRISON
You give yourself too much credit,
Mr. Giles. Those men aren't following
you because the Council has ordered
them to. They're merely babysitting
you as a favor to your father.
Ripper doesn't respond.
HARRISON (CONT'D)
That's right. You're treading in
dangerous waters. You should stop
your games now before you do draw
the attention of the Council. I highly
doubt that they'd be as... subtle as
your father has been.
14.
Ripper's gaze doesn't weaken. He takes a step closer to
Harrison, causing Harrison to step backward and bump into
the counter.
RIPPER
Tell my father that I don't need a
nanny.
Ripper grins ever so slightly and leans forward. He places
the bell that once hung above the door on the counter, then
turns and walks out of the store.
Harrison turns to the other Watcher.
HARRISON
Stupid kid.
EXT. FIELD - 1973 - NIGHT
A camp fire is burning, and LOUD ROCK MUSIC is playing. Ripper
and his gang are gathered around. Thomas and Shannon close
together, and Diedre closer to Ripper.
Ripper's thumbing through an old book of spells and rituals
while Diedre reads over his shoulder.
Diedre smiles and points at the book.
DIEDRE
That's gross. Can you really do that?
RIPPER
If I wanted.
Ripper looks at Diedre.
RIPPER (CONT'D)
Anyone in particular you'd want to
try it on?
Ripper then casts a very pointed look toward Ethan who just
smiles sarcastically.
DIEDRE
Wouldn't mind seeing it work on my
father. After what he did to us,
it'd serve him right.
PHILIP
You and half of London, from what I
hear.
Ripper doesn't look at Philip. He just keeps reading his
book.
Diedre doesn't like the fact that Ripper did nothing. She
gets up and walks away.
15.
PHILIP (CONT'D)
Oh, like it wasn't true.
Philip grabs a bottle of whiskey and takes a sip. Ripper
extends a hand and grabs the bottle. He starts to pour it in
Philip's lap. Philip quickly catches him and pulls the bottle
away.
PHILIP (CONT'D)
What's that for?
(beat)
You'd think the little princess would
be used to it by now.
RIPPER closes his book and walks away from the fire, leaving
them all behind. We STAY ON RIPPER.
RIPPER
Aduro.
From O.S., we hear PHILIP SCREAM. Ripper doesn't turn. He
walks to where Diedre is. She's looking out into the distance.
RIPPER (CONT'D)
Need to stick up for yourself more.
DIEDRE
I'm tired of having to defend myself.
I shouldn't have to.
RIPPER
The world's not gonna go easy on you
because of what you've been through.
You need to take control of your own
life.
DIEDRE
Like you?
RIPPER
If you don't want my help, I'd be
more than happy to leave.
DIEDRE
And you want to what? Teach me to be
strong? To fight?
RIPPER
I'm not a bloody professor.
Ripper holds up the book.
RIPPER (CONT'D)
But I do know a thing or two about
power.
16.
Diedre thinks for a moment. She then takes the book and opens
it.
DIEDRE
You can show me how to use this?
Show me how to...
(reads)
Make a man's blood turn to fire and
burn him alive?
Ripper grins.
Philip walks over to them with his head down. He pauses for
a moment before speaking. Finally, he looks at Diedre.
PHILIP
I just wanted to say that I- uh- I'm
sorry for what I said earlier. It
was wrong of me.
Diedre looks at Philip for a moment, then back to Ripper.
She laughs.
INT. HENRY'S APARTMENT - 1992 - NIGHT
There's a KNOCK on the door. Henry walks to it and opens it.
Giles is standing outside with a bottle of wine.
HENRY
Rupert! Glad you made it.
(leans closer)
Finally someone else who doesn't
know the difference between Versace
and Calvin Klein.
Giles smiles awkwardly.
GILES
Glad I could be of some service.
He holds up the bottle of wine.
GILES (CONT'D)
I brought wine.
Henry grabs the bottle.
HENRY
Wonderful. Come in. Take your jacket
off. We can't wear tweed all the
time, can we?
GILES
Most of it, I'm afraid.
Henry turns to the rest of the room.
17.
HENRY
Victoria, look who's here! It's my
friend from work. Rupert Giles.
Henry leads the way into the well decorated apartment. They
join the small gathering of five women and one other man.
These women are VICTORIA (Henry's wife), SALENE, DORY, MARG,
and OLIVIA.
Olivia, of course, we already know from her episodes in season
4. The rest, like Olivia, are beautiful women with fashion
sense and charm.
The man in the room is DOLPH. He's also in the fashion
industry, but his tastes are limited to mostly black clothes.
Victoria walks to Giles and extends a hand.
VICTORIA
It's nice to meet you, Rupert. I was
beginning to think that all of my
husband's friends were made up.
Giles smiles.
GILES
No doubt, most of them probably are.
HENRY
Hey! You're supposed to be on my
team.
Giles takes Victoria's hand and shakes it. Victoria then
turns to the rest of the room.
VICTORIA
These are some of my friends from
work.
(pointing)
Salene, Dory, Marg and Olivia for
the ladies. Dolph for the man in
black over there.
Giles nods and smiles.
GILES
Hello.
MARG
So, you work at the museum too?
GILES
Yes.
HENRY
Rupert's the curator.
18.
VICTORIA
Lovely. What's that mean, exactly?
It sounds very important.
GILES
A lot of reading and writing, mostly.
HENRY
He underestimates himself. He's the
man that keeps everything in order
and makes sure we don't end up
displaying some common replica instead
of an actual artifact. He reads and
writes about a dozen languages.
GILES
Five, really.
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I know it seems like it should be more than five, but this is the number used in an early Buffy episode.
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Victoria smiles.
VICTORIA
Wonderful.
She then turns back to her group.
VICTORIA (CONT'D)
Did you see the fabric that Audra
bought last week? What are we supposed
to do with that?
DOLPH
We could always use it for table
linins.
The women giggle.
DORY
Except it would take away the appitite
of anyone who sat down.
SALENE
I honestly don't know why that girl
is still working.
Giles and Henry walk toward the kitchen.
INT. HENRY'S APARTMENT - KITCHEN - 1992 - NIGHT
The two men walk into the room, closing the door behind them.
HENRY
Way to wow the crowd, Rupert.
GILES
I was only telling them the truth.
19.
HENRY
You could have embellished a little.
(beat)
Though, I suppose it wouldn't do
very much good. Unless you were some
rippling mass of male model, those
women probably wouldn't care if you
were the Prime Minister himself.
Henry holds up the bottle of wine.
HENRY (CONT'D)
At least we have something to drink
until the food is ready.
Henry looks around for a corkscrew. He doesn't find it.
HENRY (CONT'D)
You don't happen to see the corkscrew
anywhere around here, would you?
Giles looks around.
GILES
No.
HENRY
I know I took it out for the cooking
wine.
(then)
I bet Vicky has it. Be right back.
Henry walks out of the room. Giles is left alone for a few
moments, just looking around the kitchen. Nothing better to
do.
After some time, the kitchen door opens again.
GILES
Find it?
Olivia walks into the room. Giles straightens up.
GILES (CONT'D)
I'm sorry. I thought you were Henry.
OLIVIA
I get that a lot.
Olivia walks to a chair and sits down.
OLIVIA (CONT'D)
I hope you don't mind my hiding out
in here. I don't really fancy the
idea of shoptalk right now.
20.
GILES
Of course.
There's a long beat. Giles has no idea what to say. Olivia
is waiting for him to say it with a slight grin on her face.
OLIVIA
You don't get out much, do you?
GILES
Me? I do alright. I have my book
readings, and my fund-raisers...
(then)
I was one of the original members of
Pink Floyd, you know?
Olivia smiles.
GILES (CONT'D)
(giving in)
It has been a while. Is it that
obvious?
OLIVIA
Afraid so.
The kitchen door opens and Henry walks back into the room.
HENRY
Sorry. The corkscrew was in the
bedroom.
Giles and Olivia share a questioning look. Henry only now
realizes that Olivia is there.
HENRY (CONT'D)
Olivia. I thought you were--
OLIVIA
In the other room. Right.
Olivia stands up.
OLIVIA (CONT'D)
I just came to make sure Rupert wasn't
lonely.
She starts to walk out of the kitchen. As she walks by, she
gives another smile to Giles.
Once she's gone, Henry looks to Giles.
HENRY
What was that?
GILES
What was what?
21.
HENRY
"What?" That! She was flirting with
you, man.
GILES
That's insane. She was just trying
to get away from her work for a few
moments, that's all.
HENRY
Right. If you say so.
Henry turns around to open the bottle of wine. While he's
not looking, Giles gives more thought to the idea that Olivia
might be flirting. He doesn't hate the idea.
|
Factoid : According to the Internet Movie Database, Phina Oruche who plays Olivia was born in 1979. This would make her about 13 years old in 1992, and make Giles a huge perv. However, she seemed to be written older on the show, so I made her older in the script.
|
FADE TO BLACK:
END OF ACT ONE
22.
ACT TWO
FADE IN:
INT. LONDON MUSEUM - GILES' OFFICE - 1992 - DAY
The office is dark when Giles walks into it. He closes the
door behind him and turns on the light. It's only now that
we see Daniel sitting in one of Giles' visitor chairs.
DANIEL
Good morning, Mr. Giles.
GILES
(sarcastic)
Make yourself comfortable.
DANIEL
I assume you've looked into our scroll
issues?
GILES
It's being taken care of.
DANIEL
Good.
GILES
If that's all you came for, feel
free to leave.
DANIEL
My. We are brazen this morning, aren't
we? I assume we had fun at our little
party last night.
Giles looks at him. He's not ammused.
GILES
You're watching me?
DANIEL
You seem surprised. I really don't
know why. It's right there in the
job title, isn't it?
GILES
You have no right.
DANIEL
We have every right, Mr. Giles. Don't
forget, you work for us. We haven't
forgotten your rather colorful past.
GILES
That doesn't mean that you can just--
23.
DANIEL
It won't work, you know. You've tried
to escape it before and you couldn't.
What makes you think that you have
the power now?
GILES
I don't know what you're talking
about.
DANIEL
Your responsibility. Your duties as
Watcher. You may have fooled the
others on the Council, but you haven't
fooled me. You're still the same
person you were twenty years ago.
You want to ignore the world around
you. You want to pretend that it can
all go away, but we both know that's
not possible.
(beat)
You will never be one of them, Mr.
Giles. You will always see what they
don't. The demons. The vampires.
It's for that reason that you will
never be able to live a normal life.
Accept your world for what it is.
Daniel stands up.
DANIEL (CONT'D)
You'll be happier for it. I promise.
Daniel walks out of the office, leaving Giles alone. Once
he's gone, Giles sits at his desk.
GILES
Prat.
EXT. PARK - 1992 - DAY
Giles walks along the sidewalk until he comes to a bench. He
sits, places a small paper bag on his lap and just looks around
the area, taking in the fresh air.
OLIVIA (O.S.)
Well, look who I've found.
Giles looks up and sees Olivia standing over him. He
recognizes her right away.
GILES
Oh. Hello.
OLIVIA
Rupert, right?
24.
GILES
Yes.
(beat)
Please, have a seat.
OLIVIA
Thank you.
Olivia sits.
OLIVIA (CONT'D)
I hope I'm not interrupting anything
important. I just happened to be out
here following you and thought that
I might say hello.
GILES
That's- um- Very nice of you.
OLIVIA
Why is it that men never seem to mind
my stalking them? I'd think it'd be
more scary.
GILES
I imagine it would be if you looked
a little less like you do.
OLIVIA
Really? I find that comment both
degrading and offensive. How dare
you objectify me like that.
Giles is thrown.
GILES
Oh, well... I mean...
OLIVIA
Relax, Rupert. I'm teasing.
GILES
Right. Thank you.
Olivia smiles.
OLIVIA
You're cute when you're about to
have a heart attack.
(beat)
So, you looked deep in thought before
I got here. I hope it's nothing too
depressing.
GILES
No. No, it's just work.
25.
OLIVIA
The museum, right? Curator.
GILES
(beat)
Yes.
OLIVIA
There was a beat in there.
GILES
A what?
OLIVIA
A beat. It's what they put in movie
scripts when they want the actor to
take a thoughtful pause.
Fourth wall... broken! Gahhhhhh!
|
For any that don't know, the fourth wall is what comes between the story and the audience. It's the invisible wall that the characters see, but we do not. To break the fourth wall here would be to create an awkward moment in which the audience is reminded that this is simply a script.
|
Giles shifts uneasily.
OLIVIA (CONT'D)
If you don't want to talk about it,
that's okay.
GILES
Thank you.
Olivia settles into her seat.
OLIVIA
So, what are we looking at?
GILES
Nothing in particular. I was just
getting some air.
OLIVIA
Right.
(beat)
I come here sometimes for inspiration.
I watch the people go about their
lives and make some sketches.
GILES
You draw then?
OLIVIA
Mm-hmm. Design, really. Clothes. I'm
hoping to open a shop someday, but I
doubt it'll happen.
GILES
I don't think I could handle the
stress of my own shop. The customers
would probably drive me crazy.
26.
There's a long beat.
GILES (CONT'D)
Are you hungry? I have a sandwich.
You could have half.
OLIVIA
Sure. As long as it's not liver.
Can't stand the stuff.
GILES
No liver.
Giles takes a sandwich out of his bag and gives Olivia half.
She smiles a "thank you" and then takes a bite.
There they sit, just enjoying good company and lunch.
EXT. PUB - 1974 - NIGHT
Ripper and Diedre are sitting at a table, just hanging out.
RIPPER
So I told the whole lot of them to
piss off.
|
I don't care what you say. Ripper is nothing like Spike in this script! He's not!
|
He laughs at his own joke.
DIEDRE
Did they?
RIPPER
'Course they did.
Diedre laughs.
DIEDRE
Should we get out of here? We're
supposed to meet the others at the
field.
RIPPER
They can wait.
Ripper stands up.
RIPPER (CONT'D)
Be right back.
Ripper gets up and walks toward the bathroom. Diedre looks
around with nothing better to do.
She turns her head and sees a TOUGH LOOKING GUY standing on
the other side of the room, watching her. This bothers her a
little.
27.
INT. PUB - 1974 - MOMENTS LATER
Ripper walks out of the bathroom and looks to his table where
he sees Diedre now standing up. The tough looking guy is
standing in front of her, pestering her.
Ripper watches this for a moment.
TOUGH LOOKING GUY
I saw the one you were with. Girl
like you should have a real man to
latch onto.
DIEDRE
The one I was with could break you
in half.
The tough guy chuckles.
TOUGH LOOKING GUY
Leather don't make the man.
DIEDRE
Neither do three pints and a dozen
jiggers. Now, I've told you to back
away from me. You'd be well advised
to listen.
TOUGH LOOKING GUY
Well, I'm hard of hearing.
RIPPER
The lady said to back away.
The tough guy looks at Ripper.
RIPPER (CONT'D)
But I'd love it if you didn't listen.
Tough guy laughs. Diedre backs away, knowing what's going to
happen. She can't say she didn't warn the guy.
Tough guy takes a step toward Ripper. Ripper smiles.
TOUGH LOOKING GUY
I hope you like the taste of your
own blood.
RIPPER
Ooh. Big words from the small man.
Tough guy swings at Ripper. Ripper dodges it. As the tough
guy tries to recover, Ripper nudges him. Tough guy falls
onto a table.
28.
RIPPER (CONT'D)
See that? It's what you call off-
balance.
Tough guy gets up and charges at Ripper. As he swings, Ripper
steps back, keeping his eyes on the tough guy. Getting a
handle on his next move. Tough guy misses him, of course,
but comes charging again.
Ripper avoids a couple more swings before taking one of his
own, hitting the tough guy in the gut. Tough guy doesn't
double over. Ripper shakes his hand a little.
RIPPER (CONT'D)
So you work out. Good to know.
He avoids another swing.
RIPPER (CONT'D)
Really just tells me that I have to
try a little harder.
Ripper is hit in the face.
RIPPER (CONT'D)
Bloody hell!
He puts a hand on his face.
RIPPER (CONT'D)
Keep doing that and you'll end up
hurting somebody.
Ripper puts his hands up and assumes a fighting stance. Tough
guy grins and comes at him again. Ripper avoids him and knees
him.
Tough guy doubles over this time. Ripper smiles. He shoves
tough guy again, sending him to the ground.
Diedre walks to Ripper.
DIEDRE
Told him you'd win.
RIPPER
Should probably still run before he
gets up.
DIEDRE
Right.
They hurry out of the pub.
29.
EXT. FIELD - 1974 - NIGHT
Ripper and Diedre make their way across the field. Diedre's
laughing.
DIEDRE
Couldn't you just set him on fire or
something?
RIPPER
What, and ruin my fun?
(beat)
Also, I couldn't remember the spell.
Ripper stops short. He looks up ahead and his face drops.
Diedre looks.
DIEDRE
Did they start without us?
RIPPER
Stupid...
Ripper starts to hurry across the field, toward a camp fire
that the rest of his gang is sitting around. When they get
closer, they see Shannon on the ground. She is breathing
heavily, and her eyes are black. Ethan, Thomas, and Philip
are watching her and smiling.
Ripper is not pleased.
RIPPER (CONT'D)
What the hell do you think you're
doing?
YOUNG ETHAN
Oh, relax. We know the spells just
as well as you do by this point.
Shannon starts to convulse. She SPEAKS WITH A DEEP, MANLY
VOICE.
SHANNON
Rupert Giles...
She laughs.
SHANNON (CONT'D)
Give us a kiss.
Ripper looks down at her. He sees a drop of blood under her
nose.
RIPPER
This isn't right.
(MORE)
30.
RIPPER (CONT'D)
(to Young Ethan)
You don't know what you're doing.
You don't have the training.
YOUNG ETHAN
I've done this as many times as you
have.
RIPPER
There's more to it than that, you
idiot!
Ripper looks down to Shannon, trying to think of his next
move.
RIPPER (CONT'D)
Oh, God.
Shannon laughs again.
SHANNON
Sorry, wrong number.
A DEEP SLASH rips into Shannon's face. Thomas and Philip
back off, stunned. Ethan just watches in shock. Diedre stays
behind Ripper.
DIEDRE
Help her!
RIPPER
I don't now how!
Ethan reaches toward the fire and grabs a small glass jar
that's sitting on the ground.
YOUNG ETHAN
I do.
Ripper looks up at him and his eyes widen.
RIPPER
No!
Ethan doesn't listen. He smashes the jar on the ground. A
YELLOW CLOUD rises out of Shannon's body and DISSOLVES in
the air. Shannon goes limp.
|
Thus explaing why she wouldn't be on the list of old friends that Giles makes in "The Dark Age"
|
Ripper stands in shock. His mouth is wide open at this point.
Diedre puts a hand over her mouth and starts to cry.
Ethan looks down at Shannon.
YOUNG ETHAN
What happened? Did it work? Did I
stop it?
31.
Ripper looks to Ethan, unable to respond.
DISSOLVE TO:
EXT. FIELD - 1974 - MORNING
Ripper is standing alone. The sun is just coming up and the
fire has gone out. He stands over Shannon's dead body.
An older man, ALFRED walks up to Ripper from behind. He stands
next to Ripper but says nothing.
Ripper doesn't look away from Shannon's body.
RIPPER
We'd done this a hundred times. I
never... How could I have been so
stupid?
Alfred says nothing. Ripper looks to him.
RIPPER (CONT'D)
Thank you for coming, Father.
He looks back to Shannon.
RIPPER (CONT'D)
I don't know what to do. I can't go
back. I can't pretend that this never
happened. I can't be who I've been.
(beat)
I honestly have no idea who I am
anymore.
Alfred puts a hand on his son's shoulder.
ALFRED
In the end, we are who we are, no
matter how much we may appear to
have changed. Never forget that.
No more words are spoken. The two of them just stand there.
|
Giles never does forget these words. He tells Willow the same thing when she's in England with him at the start of season 7.
|
INT. GILES' FLAT - 1993 - NIGHT
Giles and Olivia are sitting on the couch, drinking wine as
MELLOW MUSIC plays in the background. They're far more cozy
now than they were before. Olivia is chuckling.
OLIVIA
"Ripper"? Are you serious?
GILES
Of course I'm serious.
OLIVIA
You don't strike me as a "Ripper".
32.
GILES
Oh, I can be dangerous. I've been
known as something of a rebel in
certain circles.
OLIVIA
What, you didn't finish reading the
latest book club pick?
Giles smiles, but doesn't push the subject too much.
OLIVIA (CONT'D)
So, I've started looking at shop
space.
GILES
Really?
OLIVIA
Found this perfect little building
near home too.
GILES
So you're going through with it then?
OLIVIA
I wish. No, it's still in the dream
phase at the moment. I'm saving up
though. I should be able to afford
it by the time I'm ready to retire.
GILES
You could get a loan. Or borrow the
money from someone.
OLIVIA
I don't like the idea of loans. They
make me feel like I'm in league with
a crime lord or something like that.
GILES
An investor then?
OLIVIA
Maybe. I'd have to have a really
good pitch for them though.
GILES
I could always loan--
OLIVIA
No. Thank you, but no. I'll find
another way.
Giles nods his understanding and puts an arm around her.
33.
OLIVIA (CONT'D)
Enough about me for one night. Tell
me something about you.
GILES
There's nothing to say, really.
OLIVIA
There must be something. You never
tell me about your work.
GILES
That's because my work isn't very
interesting.
OLIVIA
Try me.
(beat)
What was that thing I saw in your
office last week? It looked like
some sort of old parchment.
GILES
That? Just some old scribblings. Not
even worthy of display.
Giles is obviously avoiding something, and Olivia knows it.
OLIVIA
Okay. You don't want to talk about
work.
She looks at her watch.
OLIVIA (CONT'D)
It's getting late.
She starts to get up.
GILES
Olivia, wait.
OLIVIA
I have an early day tomorrow.
Giles puts his drink down and tries to stop her.
GILES
You don't have to do this.
Olivia looks him in the eyes. She's not mad.
OLIVIA
I understand that there are things
that you don't want to tell me. I
don't mind that. Just don't try to
pretend it's not there.
34.
Olivia goes for the door. Giles thinks quickly.
GILES
Olivia, wait.
He stands up and looks at her dramatically.
GILES (CONT'D)
There are things in this world beyond
that which you see. There's a whole
other world of darkness and magic.
It's something that I've had to live
with my entire life, and I can't say
that I've always handled it very
well.
(beat)
I want to tell you everything, but
you have to believe me when I tell
you that you truly are better off
not knowing. I need you to trust me.
Olivia pauses and takes all of this in. Finally, she lets
out a laugh. She walks back to Giles and gives him a kiss on
the cheek.
OLIVIA
I really do have to be up early
tomorrow.
(beat)
G'night, Ripper.
Olivia lets herself out, leaving Giles alone. He stands in
silence for a moment.
GILES
That went well.
FADE TO BLACK:
END OF ACT TWO
35.
ACT THREE
FADE IN:
INT. HOSPITAL ROOM - 2004 - DAY
Giles remains in bed, looking up at the ceiling.
GILES (V.O.)
The number of tiles on the ceiling.
The times at which the nursing staff
change shifts. The exact angle at
which to push the button on the near-
ancient remote control in order to
get the television to turn on. These
are the things that you focus on at
first. Small, insignificant details
that serve to pass the time when
your mind is still accustomed to
going about it's daily rituals.
Giles puts a hand on his stomach and shifts slightly, cringing
with pain.
GILES (V.O.) (CONT'D)
Once you settle into your situation
you begin to see your life splayed
out before you like a dead frog,
waiting to be disected. You begin to
see the map of your life. How one
tiny event leads to another, and
eventually snowballs into something
much larger than you ever could have
imagined. The daily choices that we
make without a second thought come
back to you, and you realize that
had you not gone to that sandwich
shop, or purchased that book... If
only.
(beat)
Things could be so different.
EXT. LONDON STREET - 2001 - NIGHT
Giles makes his way down the street. His eyes are on the
ground and his thoughts are a million miles away. The world
could be falling apart around him and he probably wouldn't
notice.
Finally, he stops. He looks around and tries to figure out
exactly where he is. For a moment, he can't figure it out.
He's lost.
An OLD WOMAN carrying a shopping bag passes by him, nearly
bumping into him. He moves back to avoid her.
36.
As she continues to walk on, a TEENAGER grabs an apple from
her bag and keeps walking, toward Giles.
OLD WOMAN
Stop! Get back here.
As the teenager passes Giles, Giles grabs the apple. The
teenager turns to say something to him, but Giles looks him
squarely in the eye.
GILES
Keep walking.
The teenager backs down. He walks away. Giles walks to the
old woman and puts the apple in her bag.
GILES (CONT'D)
Here you go.
OLD WOMAN
Hmph!
The old woman walks away. Giles wonders for a moment why the
woman didn't give him so much as a "thank you", but it's not
important enough for him to dwell on. He turns around and
starts to walk in the other direction.
As he walks, he notices the figure of a WOMAN walking ahead
of him. The light seems to be playing tricks, so she always
seems to be in shadows. Still, something about her catches
Giles' eye. He begins to follow her.
The woman moves through the crowd of people and gets farther
and farther ahead of Giles. He struggles to keep up with her
as the flood of people seems to push him back.
The woman eventually enters a building. Giles rushes to reach
the building and then stops in front of it. He looks up at
it.
INT. APARTMENT BUILDING - HALLWAY - 2001 - NIGHT
Giles stands outside the door of one apartment, staring at
the door. He's trying to figure out how to go about this.
Finally, he knocks on the door. A moment passes and there is
no answer. He knocks again. Still, no answer. He knows she's
in there.
GILES
You're standing at the peep hole,
aren't you?
No reply.
37.
GILES (CONT'D)
If you are, would you please open
the door?
No response.
GILES (CONT'D)
I've tried calling you. Tried writing.
(beat)
I suppose you know that though.
(long beat)
Okay then. I'll just go away now.
Giles turns and starts to walk away. As he does, he hears a
RATTLING on the door. That sound a chain lock makes when
it's being unhooked. He turns around just in time to see the
door open.
Olivia stands in the doorway, keeping the door open only
enough to look at him and to let him see her.
OLIVIA
What are you doing here?
GILES
I saw you on the street. I thought
I'd say hello.
Olivia doesn't respond.
GILES (CONT'D)
Have I done something? Did I upset
you somehow? Because if so, I'm sure
that I didn't mean to.
OLIVIA
You didn't do anything, Rupert. I've
just been busy, that's all.
GILES
Too busy to answer the phone? To
read a letter?
OLIVIA
What do you want me to say? That
I've been avoiding you? I admit it,
I have.
GILES
Why?
OLIVIA
Are you serious?
(beat)
The last time I saw you, I had my
voice stolen by a group of demons
(MORE)
38.
OLIVIA (CONT'D)
that wanted to rip peoples' hearts
out.
GILES
I didn't cause that.
OLIVIA
I know.
(beat)
I know you didn't cause it. But I
also know that being around you means
being around that kind of danger and
I can't afford that right now. I'm
sorry.
GILES
So, that's it then?
OLIVIA
It has to be.
Giles tries to think of a good response to this, but none
come to mind. He has to admit to himself, she is probably
right in thinking all of this. He nods slightly, letting her
know that he understands.
She does feel bad for him.
OLIVIA (CONT'D)
I am sorry.
GILES
I know.
(beat)
I guess this is goodbye then.
Giles takes another moment, and then walks away. Olivia
watches him go. Once he's gone, she looks at the floor.
OLIVIA
Goodbye.
EXT. LONDON STREET - 2001 - NIGHT
Giles walks out of the building and onto the sidewalk. He
starts to walk away, but stops. He turns around to take one
last look. He looks up toward Olivia's window. After a moment,
he turns and starts to walk again.
ANGLE ON: OLIVIA'S WINDOW
We can see Olivia through her window, looking down toward
the street. After a few moments, she turns and bends over.
When she stands back up, it's obvious that she is holding a
SMALL CHILD.
39.
ANGLE ON : GILES
Across the street now, walking away. Something inside of him
tells him to stop. He thinks for a moment, and then turns
around. He looks up at Olivia's window again. When he does,
his mouth falls open.
EXT. ROADSIDE CAFE - 2005 - DAY
|
I'd originally planned to write this story as a short script with just a few scenes. Had my ego not gotten in the way of those plans, this is where that script would have begun and there wouldn't be so many timelines involved.
|
ANGLE ON : THE GROUND
Snow covers the entire area. There are tire tracks and
footprints all over the place, removing any feeling of beauty
that might be taken from looking at the snow.
A man's feet are seen, wearing boots. The man is just standing
there.
GILES (V.O.)
As you lie in your bed and you try
to put the pieces of your life's
puzzle together, your mind isn't
limited to those things which have
already come to pass. All of those
elements that form the pattern of
your world eventually begin to form
entirely new shapes. Once you look
at all that is wrong in life, you
begin to plan. Sometimes this means
tracking down someone you love, or
finally committing to that leather
jacket that you've been eyeing in
the store...
(beat)
Other times, it's just about revenge.
A cigarette drops to the ground near the man's feet and
SIZZLES into the show.
The man doesn't step on it. He walks away from it, toward
the cafe. As he walks, we REVEAL that this is Giles (as though
we didn't know). Though he's wearing a hat, we can see that
his hair is unusually long. He also has a decent amount of
stubble. This is not a clean, or well rested man.
He walks into the cafe.
INT. ROADSIDE CAFE - CONTINUOUS
Giles walks into the cafe and takes off his hat. He looks
around with a very determined expression on his face. Finally,
he spots what he is looking for and walks to one of the
tables. He sits down.
A WAITRESS walks up to the table.
40.
WAITRESS
I see we have a guest. What can I
get for you?
GILES
Two coffees. Black.
WAITRESS
You got it.
GILES
Thank you.
INT. ROADSIDE CAFE - MOMENTS LATER
We see the bathroom door now. It opens and a familiar face
steps out. It is ETHAN RAYNE. He starts to walk to his table,
but stops for a moment when he sees who is sitting there.
He smiles slightly and then continues. He sits across from
Giles.
ETHAN
Well, look who the cat dragged in.
(then)
And from the looks of it, the cat's
been hanging around the dumpster
again. Really should put an end to
that.
GILES
Hello, Ethan.
ETHAN
Ripper.
The waitress comes back to the table with two cups and sets
them on the table. She fills them with coffee.
WAITRESS
You boys need anything else, you let
me know.
GILES
Thank you.
The waitress walks away. Ethan looks at the coffee.
ETHAN
Not the type of drink I usually prefer
to share with an old friend, but
it'll do.
Ethan grabs a packet of sugar that's sitting on the table
and puts it into his coffee. As he stirs, he watches Giles.
41.
ETHAN (CONT'D)
Care for some sugar?
(beat)
And I mean that without even a little
bit of subtext.
GILES
No.
ETHAN
Right then. Onto business.
(beat)
What brings you to my neck of the
woods?
GILES
I'm planning on killing you today.
There's an awkward silence. Finally, Ethan speaks.
ETHAN
That was rather blunt, wasn't it?
(beat)
How did you find me?
GILES
It wasn't hard, really.
ETHAN
No, I imagine it wasn't. You with
your vast resources and all. I guess
you're pretty upset about that whole
stabbing incident. I can explain
that.
GILES
It's not the stabbing that needs
explaining.
ETHAN
Oh. You mean the "Morel Divineh"
debacle. Means to an end, really.
Didn't mean anything by it.
GILES
You really have no concept of what
you've caused.
ETHAN
I didn't cause anything.
GILES
Do you really believe that?
|
I know I'm not the only one who is growing tired of the word "really" in this scene.
|
42.
ETHAN
The Night Of Morel Divineh would
have happened with or without my
help. What I did, I did because I
needed to get out of prison.
Ethan takes a sip of coffee.
ETHAN (CONT'D)
It's not that I don't care about
killing all of those girls. It's
just that I don't care very much.
As Giles listens to this, he's not very surprised at what
he's hearing. He just lets Ethan ramble on.
ETHAN (CONT'D)
Anyway, water under the bridge at
this point. What I want to know is,
how did you manage to survive that
stabbing? I know I didn't forget to
dip the knife.
GILES
Vast resources.
ETHAN
Right. Probably had a team of witch
doctors working 'round the clock to
save your life.
(beat)
Same ones that tracked me down?
GILES
No. I managed that part myself.
ETHAN
Impressive.
GILES
Not really. You've never been very
good at being subtle. Makes a person
easy to find.
EXT. LONDON STREET - 2001 - NIGHT
Giles is still looking up at Olivia. She bounces the baby
around a little.
Giles looks away from the window and attempts to make sense
of this. Finally, he turns and walks away.
ANGLE ON : OLIVIA'S WINDOW
Olivia glances out the window. She sees him.
43.
EXT. PARK - 2001 - DAY
Giles is sitting on the bench once again, deep in thought.
Olivia walks up behind him.
OLIVIA
I don't suppose you have a sandwich
that we could split? I'm starving.
Giles looks up. He doesn't say anything.
OLIVIA (CONT'D)
I saw you on the street last night.
I imagine you saw me too.
GILES
I did.
OLIVIA
So you probably have some questions.
Giles doesn't respond.
OLIVIA (CONT'D)
Or not.
GILES
The child looked... How old is it?
OLIVIA
She's almost a year old now.
GILES
She?
Olivia nods.
GILES (CONT'D)
That means that you must have gotten
pregnant--
OLIVIA
Right around the last time I saw
you.
GILES
Why didn't you tell me?
OLIVIA
The same reasons that I gave you
last night.
GILES
If I'm the child's father, I deserved
to know. I could have helped.
44.
OLIVIA
I didn't want that.
(beat)
I thought about it. I thought about
finding you and letting you know and
becoming a family. I had so many
dreams that had the two of us living
in this perfect little dream house.
But it couldn't have worked.
GILES
Life isn't perfect, Olivia, but we
could have tried.
OLIVIA
Except that on the nights when I
wasn't dreaming about that perfect
house, I was having nightmares about
those monsters ripping out my baby's
heart.
(beat)
I care about you, Rupert. I just
can't expose my child to the world
that you live in.
GILES
Do you honestly believe that the
monsters go away if you shut your
eyes to them? They will always be
there.
OLIVIA
I know that. Still, I never seem to
see them when you're not around.
GILES
That's because...
OLIVIA
Because you seek them out.
GILES
That's my job.
OLIVIA
It's not just your job. It's who you
are. I couldn't ask you to turn your
back on that.
GILES
What makes you sure that I wouldn't?
OLIVIA
Because I know you. I know what kind
of man you are. You would never be
able to turn your back on Buffy or
the others. They're your family.
45.
Giles looks downward. There's a sudden flood of bad thoughts
that had somehow gotten pushed to the side. He takes a deep
breath.
Olivia knows that something isn't right.
OLIVIA (CONT'D)
What's wrong?
GILES
Buffy's dead.
Olivia's stunned.
FADE TO BLACK:
END OF ACT THREE
46.
ACT FOUR
FADE IN:
INT. ROADSIDE CAFE - 2005 - DAY
Giles and Ethan are still sitting.
ETHAN
As fun as this chat is, I really do
have other things to do.
GILES
Like what? Cause more trouble? Pull
your pranks, get your laughs and run
away without a second thought to the
people you've hurt?
ETHAN
That's the gist of it, yeah.
GILES
You're not leaving here that easily.
Ethan smiles.
ETHAN
Big talker. Seems that a little of
the old Ripper always manages to
come through in our conversations.
GILES
No, there's quite a bit of difference
between who I was and who I am.
ETHAN
What would those be?
GILES
I don't run from my responsibility.
ETHAN
Is that what I am?
GILES
That's exactly what you are. Just
like Eyghon, you're a monster that I
helped to set free in the world.
ETHAN
Difference is, you can kill Eyghon.
You can't kill me.
Giles doesn't respond.
47.
ETHAN (CONT'D)
I know you're trying to be scary
right now, but it's not working very
well. I know you. You're one of the
good guys. You wouldn't kill me
because I'm not worth it, or some
nonsense like that.
|
"You're not worth it" has to be one of the most annoying lines that a movie hero can speak at the end. Right up there with "I'm not like you."
|
GILES
You killed thousands of innocent
girls.
ETHAN
As much as I value your faith in my
abilities, there were a lot of other
elements that went into that event.
GILES
You honestly don't blame yourself
for any of it, do you?
ETHAN
I'm only as guilty of that crime as
you are of teaching me to use magic.
In a way, you might say that you're
to blame for all of this.
GILES
I've had enough of your games, Ethan.
I'm not here to talk in circles with
you.
Ethan takes another sip of his coffee and sits back.
ETHAN
Why are you here?
GILES
Because you took her away from me.
EXT. PARK - 2001 - DAY
Olivia is still processing the news of Buffy's death.
OLIVIA
Oh my God. Rupert, I'm so sorry. I
didn't know.
GILES
There's no reason why you should.
OLIVIA
Are you okay?
Giles thinks for a moment.
48.
GILES
I really haven't decided yet, to be
honest with you.
(beat)
I've been thinking about moving back
to England. There's not very much to
hold me back now, is there?
Olivia doesn't know what to say.
GILES (CONT'D)
I don't suppose this changes anything,
does it?
OLIVIA
With us?
(beat)
There's a lot of new information
here. I don't think that either one
of us is ready to make this type of
decision.
GILES
So, what do we do?
OLIVIA
I don't know.
(beat)
I guess we talk.
GILES
I won't abandon my child.
OLIVIA
I know. I never thought you would. I
think that's part of the reason why
I didn't tell you about her.
GILES
You should have.
Olivia responds with a nod. She knows that she should have.
GILES (CONT'D)
So, do you like Mexican?
OLIVIA
Mexicans?
Giles chuckles a little.
OLIVIA (CONT'D)
What? Did I say something funny?
49.
INT. ROADSIDE CAFE - 2005 - DAY
Ethan reacts to Giles' "you took her away from me" line. He
laughs.
ETHAN
I took her away?
GILES
You and those like you. Those content
to aid the forces of evil in this
world for some sort of personal gain.
ETHAN
It's called life, Ripper. It's what
we all do. Survival of the fittest.
GILES
This has nothing to do with survival.
You do the things you do because you
get a kick out of watching people
squirm.
ETHAN
I do rather like it, yes.
GILES
Because you're a small, unimportant
man.
ETHAN
You should make up your mind. First
I'm the root of all the world's woes
and now I'm nothing.
GILES
You use magic to make yourself seem
more powerful than you actually are.
Without it, you're nothing.
ETHAN
I disagree with that statement. I
happen to be one hell of a snappy
dresser.
GILES
Damnit, Ethan!
Giles realizes that that last bit was too loud and looks
around to see if anyone's watching. They're not. Ethan smiles
at this.
ETHAN
Gotta love the small town.
50.
GILES
I have spent my life trying to put
an end to evil. To help in putting a
stop to the suffering that demons
force upon us.
ETHAN
Not your entire life, as I recall.
GILES
We're not children anymore. That
excuse doesn't work.
Ethan stares at Giles for a moment, not saying anything. He
studies Giles' expression, and then sits up slightly.
ETHAN
I took her away from you. That's
what you said.
GILES
That's exactly what I said.
ETHAN
I took her away from you.
GILES
You killed thousands of girls, all
over the world. You allowed the demons
to get the upper hand. You have quite
possibly helped in the complete
destruction of human kind.
ETHAN
But that's not what you said.
Ethan leans closer to Giles.
ETHAN (CONT'D)
See, I don't think that this is about
all of that other nasty business. I
think that this is all about you.
(beat)
You claim that you're so selfless
and noble and that I am nothing more
than a petty, self-indulgent lunatic.
I think that you're no better. Your
girl is out there on her own, fighting
those demons without you. You can't
protect her. You can't even find
her, I'm betting. What's a poor ex-
librarian to do besides get angry?
Really, Ripper. Lashing out in anger
is hardly the mark of a well bred
man.
51.
INT. ENGLISH MANOR - 2001 - DAY
Giles walks into the manor just in time to catch the RINGING
TELEPHONE. He picks it up.
GILES
Hello?
(beat)
Willow?
(beat)
No, it's morning here. Is something
wrong?
He listens for a few moments before his face goes blank.
GILES (CONT'D)
Dear Lord.
(beat)
No, I just mean... Dear Lord. How is
this...
He holds the phone with his shoulder as he takes off his
glasses and wipes them with a handkerchief.
GILES (CONT'D)
(long beat)
I don't understand what you're telling
me. Slow down and start from the
beginning. How did this happen? What
did you do?
(beat)
Fine. Yes, I'll be there as soon as
possible. It might be a couple of
days before I can get away.
(beat)
I will. Goodbye.
Giles puts the phone down and looks down at his glasses
without putting them on. His situation has gotten even more
complicated.
EXT. OLIVIA'S APARTMENT BUILDING - 2001 - DAY
Giles is sitting on the front step, deep in thought. After a
moment, Olivia walks up to him. She's holding a shopping
bag.
OLIVIA
Rupert?
He looks up at her.
OLIVIA (CONT'D)
What's happened?
Giles stands up.
52.
GILES
I needed to talk to you.
(then)
Where's the baby?
OLIVIA
With my mother. What's wrong?
GILES
I received a call from Sunnydale
today. It was Willow.
Giles trails off. He doesn't know how to say this.
OLIVIA
Is someone hurt? Was there another
attack?
GILES
No- well, yes. They're fine. Everyone
is... alive.
OLIVIA
Then, what? Rupert, tell me why you're
acting like this.
Giles looks Olivia in the eyes.
INT. OLIVIA'S APARTMENT - 2001 - DAY
Olivia walks through the door and walks toward the kitchen.
Giles follows her, closing the door behind him.
GILES
I have to go back.
OLIVIA
I figured.
GILES
You understand?
OLIVIA
How could I not? You absolutely have
to go back, or else you'd just be an
amazingly large bastard.
Olivia walks back toward Giles.
OLIVIA (CONT'D)
If there's one thing you're not,
that'd be it.
Giles looks away from her.
53.
GILES
You know, this would almost be easier
if you were mad at me.
(beat)
My life does tend to have a somewhat
bad sense of timing.
OLIVIA
Look...
Olivia takes his hand.
OLIVIA (CONT'D)
We both have a lot of thinking to
do. There are a lot of decisions
that need to be made. You have to
think about what this will mean to
your life. Your situation is changing
now, and I don't want you to look
back on this and blame me for standing
in your way.
(beat)
It might do us some good to take the
time to sort things out. You'll be
back in a month or two. We'll talk
then.
GILES
Are you sure about this?
OLIVIA
Yes. Go. Decide where you're the
most needed and stay there.
Giles takes a deep breath.
EXT. OLIVIA'S APARTMENT BUILDING - 2001 - DAY
Giles walks out of the building and down the street.
PAN UP to show that Olivia is once again watching him from
her window.
INT. HOSPITAL ROOM - 2004 - DAY
Giles remains in his bed, looking up at the ceiling.
GILES (V.O.)
It's all about those key moments.
Which road do we take? How do we
want our lives to turn out?
(beat)
Of course, they rarely turn out the
way we expect them to, no matter
which decision we make.
(MORE)
54.
GILES (V.O.) (CONT'D)
And then there's the burning question
of whether or not the decision you've
made is based in fact, or merely
something that you've managed to
talk yourself into.
EXT. OLIVIA'S APARTMENT BUILDING - 2001 - DAY
Giles walks toward Olivia's apartment building. Time has
passed and he's now returning to her.
He walks to the front door, and pauses for a moment. After a
deep breath, he walks into the building.
GILES (V.O.)
Then again, the choice isn't always
yours to make.
INT. OLIVIA'S APARTMENT - 2001 - DAY
Giles stands in the doorway of the apartment, looking in. We
PULL BACK to REVEAL that the apartment is completely empty.
INT. ROADSIDE CAFE - 2005 - DAY
Ethan is still smiling smugly at Giles.
GILES
Because of you and those like you,
people have one more reason to live
in fear. I'm tired of letting you
get away with that. It ends now.
ETHAN
Do you believe that? Or is it just
something that you're trying to
convince yourself to be true?
GILES
Oh, I believe it.
Ethan wipes his mouth lightly with his napkin.
ETHAN
I honestly hope that you're able to
remain in that fantasy, because the
truth is that it never ends. Whatever
you may wish to do to me, there will
always be another waiting in line to
take my place on your most wanted
list.
(beat)
You've lost your girl forever and
you'll keep hunting until you kill
yourself doing it.
(MORE)
55.
ETHAN (CONT'D)
You're a changed man, and there's no
turning back from that now.
Ethan stands up and tosses a few coins on the table.
ETHAN (CONT'D)
As for me? I'm walking out of here.
GILES
You won't get far.
ETHAN
Haven't you learned by now that
there's nothing you can do to me?
Prison didn't work out so well. You
certainly can't kill me.
GILES
Your punishment has already been
decided. You see, while you were in
the bathroom, I slipped something
into your coffee. It's only a matter
of time now.
|
Another reference to a past episode. This is the same as a joke that Ethan made to Giles in "A New Man"
|
Ethan stops for a moment and looks at his coffee cup. After
a few seconds, he realizes something.
ETHAN
(smiles)
Nice try, but I was here when the
coffee was poured.
Ethan walks away from the table, leaving Giles still sitting.
After a moment, Giles stands up and puts a few dollars on
the table. He picks up the sugar packets that Ethan had used
in his coffee and slips them into his pocket before calmly
walking out of the cafe.
EXT. ROADSIDE CAFE - 2005 - DAY
Giles stands by the door of the cafe and watches Ethan walk
away.
Suddenly, Ethan stops. He turns back to Giles as STEAM RISES
from the melting snow around his feet.
ETHAN
Oh, you bastard.
Ethan begins to sweat and his breathing becomes heavier and
heavier. He looks at his hand.
56.
ANGLE ON : ETHAN'S HAND
It's red and covered with blisters. His veins seem to be
burning right through his skin.
ANGLE ON : GILES
He turns and walks away from the scene. Behind him, we can
hear ETHAN SCREAMING in pain.
DISOLVE TO:
INT. HOSPITAL ROOM - 2004 - DAY
Giles, again in bed, staring at the ceiling.
GILES (V.O.)
When you have a lot of time on your
hands, and nothing to do but think,
your mind wanders back to those
moments in your life that changed
everything. At some point, you begin
to take stock of those people that
have worked their way into your life.
Who they are and what they've meant
to you.
(beat)
Finally, your mind begins to wander
toward the future.
FADE TO BLACK:
OVER BLACK:
The soft SOUND OF A MUSIC BOX can once again be heard.
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Thanks again for reading my little scribblings. I hope that you enjoyed it and all of the boring blurbs in this commentary. I hope to be putting more up at some point in the future, so check back every so often for updates. Also, feel free to tell your friends about the site. I wouldn't mind. Really.
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