TEASER
FADE IN:
INT. BUFFY'S HOUSE - LIVING ROOM - DAY
DAWN and SHELLY walk into the house, carrying their backpacks.
Dawn looks around.
DAWN
Hello?
(beat)
Willow? Xander? Anyone?
She looks back to Shelly.
DAWN (CONT'D)
Guess they're not here.
They head toward the kitchen.
INT. BUFFY'S HOUSE - KITCHEN - DAY
Dawn enters the kitchen, with Shelly close behind.
DAWN
Soda?
SHELLY
Sure. Got diet?
DAWN
Think so.
She goes to the fridge and grabs two sodas, tossing one to
Shelly. As she takes a sip, Dawn notices a crumpled piece of
paper on the counter, and picks it up. It's Willow's note.
She reads it.
DAWN (CONT'D)
Why are people constantly going out
of town when I'm in school? You'd
think they could at least wait and
say goodbye.
SHELLY
Someone left?
DAWN
Willow went to help Buffy with
something in Florida.
SHELLY
Wow. Sounds kinda cool. Your sister's
job must be really neat.
2.
DAWN
Yeah, but do they ever need my help
on these big vacation trips?
SHELLY
Didn't you say that you spent most
of the summer in Europe?
DAWN
Well... Yeah. You do know that you're
supposed to be on my side, right?
SHELLY
Sorry.
Dawn leads the way out of the kitchen, back to the dining
room. Shelly follows.
INT. BUFFY'S HOUSE - DINING ROOM - CONTINUOUS - DAY
DAWN
(calling out)
Xander? You home?
(beat)
Or in this state, at least?
She pulls up a chair and sits down. Shelly sits next to her.
Dawn notices that Willow's laptop is gone.
DAWN (CONT'D)
I guess we won't be using the computer
to help research our paper.
SHELLY
I have one at home. My mom's. I'll
see if she'll let me use it tonight.
DAWN
Wanna go there now?
SHELLY
Now wouldn't be a good time. She
plays one of those internet role
playing games all day. She won't be
off of the computer until my dad
comes home and they get into their
nightly fight.
DAWN
I know how that goes. I was a kid
when my parents got divorced.
SHELLY
I don't think it's that bad. The
computer just makes her kinda cranky.
Willow ever get like that?
3.
DAWN
(ponders a beat)
I'll just leave that at "yuh-huh".
Shelly looks around the room and notices the boxes that Xander
pulled out of the basement, lined against the wall.
She sets down her soda and goes to them.
SHELLY
What's this stuff?
DAWN
Just some things we found in the
basement. We're trying to sort out
what goes back to the city and what
stays with the house.
SHELLY
Find anything interesting?
DAWN
There was a pretty bottle, but it
kinda shattered into a million pieces.
SHELLY
So much for making your fortune
selling it on Ebay. Can I look?
DAWN
Yeah. If you find any incriminating
daguerreotypes, pass them this way.
SHELLY
Okay, I don't know what that means.
DAWN
It's like a picture, but old.
SHELLY
Oh.
Shelly opens a box and starts going through the things inside.
It's just old papers and files.
SHELLY (CONT'D)
This one's all boring stuff.
DAWN
Probably city. Check another one.
Shelly opens another box and looks through it.
SHELLY
Much cooler. This has a bunch of old
stuff.
4.
She pulls out a necklace and looks at it.
SHELLY (CONT'D)
This probably belonged to the woman
who first lived here.
She sets it down and keeps looking.
DAWN
A lot of things I wouldn't mind asking
those people about this place.
SHELLY
Like what?
DAWN
(beat)
Y'know... Why there's no Chinese
restaurant. Stuff like that.
Shelly's not really listening anymore. She smiles and pulls
out a leather-bound book.
SHELLY
Check this out.
She opens it and looks at the first page. She laughs.
SHELLY (CONT'D)
Speaking of the weird role playing
games.
Dawn gets up and walks over to where Shelly is.
DAWN
What?
SHELLY
Look at the title. I guess the guy
must have been writing a book or
something.
Dawn picks up the book and looks at what's written on the
first page.
ANGLE ON : THE BOOK
The first page reads "THE DIARY OF RICHARD ACKER, WATCHER"
DAWN
(barely a whisper)
The Diary Of Richard Acker... Watcher.
Dawn runs her hand over the writing, trying to understand
what this is doing here.
FADE TO BLACK:
5.
END OF TEASER
6.
ACT ONE
FADE IN:
INT. BUFFY'S HOUSE - DINING ROOM - DAY
Dawn and Shelly are sitting at the table now. Shelly's looking
over a few more knickknacks that she found in the box, while
Dawn is still looking at the book.
SHELLY
"Richard Acker, Watcher". Sounds
like the guy was trying to be the
James Bond of his day or something.
DAWN
(blankly)
Yeah.
Shelly puts down whatever she's playing with and looks at
Dawn with a smile.
SHELLY
Let's read it.
DAWN
What?
SHELLY
It'll be cool. We'll get a first
hand account at what would-be writers
were like in the day.
DAWN
I don't know if we should.
SHELLY
I don't think he'd mind. Even if he
would, he's been dead for quite a
while now. It's not like he could do
anything to us.
DAWN
You never know.
Dawn thinks about it.
SHELLY
C'mon.
Finally, Dawn decides.
DAWN
Fine.
She opens to the first page of actual writing, and begins to
read.
7.
DAWN (CONT'D)
September 4, 1898.
(beat)
"I have arrived in America, on my
way to Morristown, New Jersey, where
I will take over the training of
Isabelle Baker. Though this will be
my first time training a potential
Slayer on my own, I feel fully
confident that I am up to the task.
(beat)
Following the death of her previous
Watcher, I expect to be met with
resistance at first, however I don't
predict it will last long."
SHELLY
Sounds English.
Dawn doesn't pay attention. She just keeps reading.
DAWN
"Isabelle's last Watcher, Mrs.
Magdeline Winters had worked with
the girl for several years...
DISOLVE TO:
INT. BAKER BARN - DAY
We find ISABELLE, AGE 7, and her father, PETER (early 30's)
together. Peter is milking a cow, and Isabelle is standing
nearby, watching.
DAWN (V.O.)
...since the girl was seven years
old. It had taken the Council that
long to locate the girl..."
As Dawn continues to talk, the VOICE SLOWLY CHANGES to that
of Richard Acker. An Englishman.
RICHARD (V.O.)
...being that she was in America,
and was only the fourth such case.
The girl resided at the same farm
that I will soon travel to, with her
parents, Peter and Morgan Baker.
None of them were aware at just how
special Isabelle would be."
There's a KNOCK on the barn door. Isabelle and Peter both
look up. They see MRS. WINTERS (40's, very proper, also
English) standing at the door, holding a bag.
Words appear on the screen. They read : "MORRISTOWN, NEW
JERSEY, 1889"
8.
MRS. WINTERS
Excuse me. Is this the Baker farm?
PETER
I should hope so. 'Else I'm milking
the wrong cow.
Isabelle laughs. Mrs. Winters steps in, and extends a hand.
MRS. WINTERS
My name is Mrs. Winters. I'm here to
talk to you about your daughter.
PETER
Sorry. We don't have money for any
fancy schools or teachers.
MRS. WINTERS
I'm not trying to get your money, I
assure you.
Mrs. Winters hesitates. She doesn't want to say more around
Isabelle.
MRS. WINTERS (CONT'D)
I was wondering if I might speak
with you and your wife. In private.
PETER
She do something wrong?
ISABELLE, AGE 7
I didn't, Daddy. I promise.
MRS. WINTERS
No. I'm sure she's a wonderful girl.
I simply need to discuss some rather
important matters with you.
Peter looks back at Isabelle, then looks at Mrs. Winters.
PETER
Okay.
(to Isabelle)
Go play on your swing, sweetie. We're
gonna be in the house, talking.
INT. BAKER HOUSE - KITCHEN - DAY
Mrs. Winters and MORGAN BAKER (late 20's, plain) are sitting
at the kitchen table, while Peter is pacing behind his wife.
PETER
Are you joking?
MRS. WINTERS
I assure you, I'm most serious.
9.
Morgan laughs.
MORGAN
Vampires? Ma'am, I'm sorry, but I
think you should be locked away
somewhere.
MRS. WINTERS
I know how strange this must sound
to you--
PETER
That's putting it lightly.
MRS. WINTERS
But there's more.
PETER
About Isabelle?
MRS. WINTERS
Your daughter has a potentially
extraordinary future.
MORGAN
You're not going to tell us that our
daughter is a vampire?
MRS. WINTERS
Certainly not. What I'm trying to
tell you is that... In each
generation, there is one girl in the
entire world that possesses the
ability to fight these creatures.
PETER
And Issy is that girl?
MRS. WINTERS
Potentially. There are a number of
girls all over the world that may be
selected to be the Slayer. Your
daughter just happens to be one of
those girls with that potential.
MORGAN
Slayer?
PETER
Why don't you just choose some other
girl and leave us alone?
MRS. WINTERS
It doesn't work like that. We don't
choose the Slayer, we simply train
them. Guide them.
10.
MORGAN
Teach them to be the best possible
Slayer that they can be, if they are
chosen.
ANGLE ON : THE WINDOW
Young Isabelle is standing at the window, watching the adults
discuss her.
PETER (O.S.)
So what do you want from us?
MRS. WINTERS (O.S.)
I want you to allow me to train your
daughter. To prepare her for what
she may someday face.
MORGAN (O.S.)
Train her how?
INT. BAKER BARN - NIGHT
The barn has changed a little since we last saw it. Training
equipment has been set up. Throwing knives, swords, axes,
and other weapons now hang on the walls.
ISABELLE (now 17 years old) steps into view. She begins to
punch a hay-stuffed dummy.
Mrs. Winters (ten years older) watches her from nearby.
MRS. WINTERS
Stay focused, Isabelle. Don't let
your mind stray.
ISABELLE
I'm not.
Words appear on the screen : "TEN YEARS LATER"
MRS. WINTERS
You're not putting enough force behind
your punches. If you were fighting
an actual vampire, this would be
akin to kindly asking him to stake
himself.
ISABELLE
I'm doing my best.
MRS. WINTERS
I've seen your best. This is not it.
Isabelle pulls a stake from behind her back and stabs it
into the dummy's chest. She turns to Mrs. Winters.
11.
ISABELLE
See? Dead.
MRS. WINTERS
You're distracted.
ISABELLE
I'm not distracted.
MRS. WINTERS
You're thinking of your parents.
ISABELLE
Is that such a bad thing?
MRS. WINTERS
It could get you killed.
ISABELLE
I'm just wondering when they'll be
home. They've been gone for months.
MRS. WINTERS
Your grandfather is very sick. Your
parents will be home once the
situation has resolved itself.
ISABELLE
Meaning, when he dies.
MRS. WINTERS
I didn't say that.
ISABELLE
You mean that.
MRS. WINTERS
I'd prefer you didn't presume to
tell me what I mean.
ISABELLE
But you're always talking about death.
It's what you normally mean.
MRS. WINTERS
I'm simply trying to prepare you for
what's to come. A Slayer must be
prepared to kill her enemy.
ISABELLE
See? I told you. You always mean
death.
(beat)
I don't get what all the training is
for anyway. I haven't been called to
be a Slayer for ten years. Maybe
it's just not going to happen to me.
12.
MRS. WINTERS
Until I am told otherwise, we'll
continue our training.
ISABELLE
Yes, ma'am.
Mrs. Winters looks at a watch, which is pinned to her shirt.
MRS. WINTERS
It's getting late. We should eat.
ISABELLE
I'll start dinner.
MRS. WINTERS
Thank you. I'll be in shortly.
Isabelle leaves the barn, headed for the house. Once she's
gone, Mrs. Winters picks up a lantern and starts to gather
some of the training materials.
As she bends down to pick up a knife, she pauses. Without
picking up the knife, she straightens up again, and takes a
deep, strained breath. She tries to make her way to a chair,
but stumbles before she reaches it.
She drops the lantern, causing a fire to start on the barn
floor. Right near some hay.
She doesn't do anything about the fire. She's too busy
clutching her chest. Finally, she drops to the ground.
EXT. BAKER HOUSE - DAY
In the background, we can see the barn. It's burned to the
ground. It hasn't been rebuilt in the month that has passed.
RICHARD ACKER (20's, good looking, well dressed) makes his
way up to the house, carrying a bag.
He knocks on the door, still looking around at the area.
Soon, Isabelle comes and opens it. She looks at him.
ISABELLE
(softly)
Are you a Watcher?
RICHARD
I am.
ISABELLE
You're here to replace Mrs. Winters.
RICHARD
I'd never presume--
13.
ISABELLE
But you are, right? You're my new
Watcher.
RICHARD
Yes.
ISABELLE
You're young.
RICHARD
I assure you, I'm quite capable.
ISABELLE
I guess we won't have to worry about
heart attacks anytime soon.
Richard doesn't know how to respond.
RICHARD
I understand that you were close to
Mrs. Winters.
ISABELLE
As close as anyone could be, I guess.
She wasn't the warmest person. I
guess it's a Watcher thing.
RICHARD
Most think that it's best to keep it
professional.
ISABELLE
What do you think?
RICHARD
I think that there's a healthy balance
to be kept. One needn't be too closed
off.
Isabelle just nods. There's a long pause. Richard's not sure
what comes next.
RICHARD (CONT'D)
Are your parents home? I'd like to
meet them.
ISABELLE
They're out of town. My grandpa's
sick.
RICHARD
Oh. I'm sorry to hear that.
ISABELLE
He's been sick for a while.
(MORE)
14.
ISABELLE (CONT'D)
I got a letter last week, from Ohio.
They say he's doing better.
RICHARD
That's good.
ISABELLE
My grandpa lives in Vermont.
RICHARD
Oh.
Richard is once again lacking words.
ISABELLE
I guess it's hard to have a potential
Slayer for a daughter sometimes.
RICHARD
I'm sure there's a good reason.
ISABELLE
Yeah. Maybe they just needed to get
away for a while.
Richard looks at his watch.
ISABELLE (CONT'D)
Come on in. I'll set you up in Mrs.
Winters' old room.
RICHARD
I don't want to impose.
ISABELLE
I think it's your job to impose.
He enters the house. She closes the door behind him.
INT. BAKER HOUSE - KITCHEN - NIGHT
Isabelle and Richard are sitting at the table, eating dinner.
ISABELLE
Sorry. I'm not much of a cook. Never
could pick up on it.
RICHARD
Actually, I quite enjoy it.
ISABELLE
I never knew they let madmen into
the Council.
RICHARD
It reminds me of my mother's cooking.
15.
ISABELLE
Did she like to kill people?
RICHARD
She's a Watcher, like myself. She
never had much time for cooking, so
when she did, it usually turned out
very similar to this.
ISABELLE
So who did the cooking?
RICHARD
Mercy, our cook.
ISABELLE
Oh. The Council pays well.
RICHARD
They fancy the finer points in life.
ISABELLE
You won't find those out here.
RICHARD
I imagine.
ISABELLE
So what else can you tell me about
your childhood?
RICHARD
I don't think there's much to tell,
really. I led a very normal childhood.
I went to boarding school from the
age of eight. Which isn't to say
that my parents didn't participate
in my youth. They were teachers.
ISABELLE
Really? What did they teach?
RICHARD
My mother taught demonology. My
father, weapons handling.
ISABELLE
And you call this normal?
Richard smiles. There's a pause as Isabelle's mind gets back
to business.
ISABELLE (CONT'D)
So, when do we start training?
FADE TO BLACK:
16.
END OF ACT ONE
17.
ACT TWO
FADE IN:
EXT. BAKER HOUSE - FRONT YARD - DAY
Isabelle is practicing her flips, as Richard watches. He's
testing her to see where she needs work. He writes his
findings on a piece of paper.
RICHARD (V.O.)
Over the course of the next week,
tests were conducted to help me better
judge the amount of work that the
girl would need. I found that her
previous Watcher had done a remarkable
job. For one without the powers of
the Slayer, this girl possessed a
great amount of skill. Something
which would soon be needed.
ISABELLE
How many more flips do I need to do?
RICHARD
Not many more.
ISABELLE
Good.
Isabelle does a flip, landing near Richard.
ISABELLE (CONT'D)
Because I'm getting a little dizzy.
RICHARD
Then we'll move on to weapons. How
far along were you in your training,
before Mrs. Winters passed away?
ISABELLE
I don't know. Far, I guess.
RICHARD
What weapon?
ISABELLE
Well, I have the stake down. I've
worked with swords since I was ten.
Throwing knives since I was eleven.
The ax since I was twelve.
(beat)
Learned to use a gun when I was nine.
RICHARD
A gun?
(MORE)
18.
RICHARD (CONT'D)
One doesn't usually find that
particular weapon on a Slayer's
training roster.
ISABELLE
Mrs. Winters didn't teach me. Daddy
did.
RICHARD
Oh. Well, I'm afraid that a gun
doesn't come in very handy where
demons are concerned.
ISABELLE
Can't hurt to know how.
RICHARD
True enough. Have you used a crossbow?
ISABELLE
Yeah.
RICHARD
Do you know of any weapons that you
haven't used yet?
ISABELLE
Mrs. Winters told me about these
throwing star things in Asia. I
haven't seen one of those.
RICHARD
Yes, well... I don't have one either.
ISABELLE
So I guess I've got them all.
RICHARD
I suppose you do. Which means that
we'll need to work on their usage. A
Slayer must make the weapon a part
of her body. It must move like a
part of her very being. You--
Before he can finish the sentence, a MAN'S VOICE can be heard
yelling in the distance.
MAN'S VOICE (O.S.)
Do you honestly think you can get
away with this?!
Isabelle and Richard look into the distance.
ISABELLE
That's Willy Newman, and Jess Harlow.
19.
RICHARD
What are they doing?
ANGLE ON : THE MEN
WILLY NEWMAN (the man we heard) and JESS HARLOW are both in
their 20's. Strong men. At first, they're a good fifteen
feet away from each other. Soon, however, Jess charges at
Willy and dives on top of him.
JESS
You son of a bitch! You don't deserve
a girl like her!
ISABELLE
(to Richard)
I haven't got a clue. They're supposed
to be best friends.
Jess pulls out a revolver and aims it at Willy.
RICHARD
I can't say that's very friendly at
all.
Isabelle and Richard run toward Jess and Willy.
ISABELLE
(shouting)
Jess! Put down the gun!
JESS
(shouting back)
After what he did to me?
ISABELLE
Is it worth killing him over?
JESS
That's why I'm killing him.
ISABELLE
Think about this, Jess. Do you want
to be a murderer.
JESS
Not really.
ISABELLE
Do you want to go to jail?
JESS
No.
ISABELLE
Then why are you doing this?
20.
JESS
He looked at my Jenny.
Isabelle and Richard finally get to Jess and Willy.
RICHARD
All of this because the man looked
at your wife?
ISABELLE
(to Richard)
He's not married.
(to Jess)
Who's Jenny?
JESS
A girl I saw in town. Real pretty.
WILLY
You don't own her. You're not even
courting her.
JESS
You knew I liked her.
WILLY
You like half the girls you see.
Hell, you even had a thing for
Isabelle here, before the rumors
started around town.
ISABELLE
Rumors?
RICHARD
Might we put the gun away, gentlemen?
I'm sure we can talk this through.
WILLY
(to Isabelle)
Who's he?
ISABELLE
A friend of mine. A very smart friend.
You should both listen to him.
WILLY
Tell that to Jess. He's the one with
the gun pointed at my head.
RICHARD
Jess, you don't sound like the sort
of fellow who would kill someone.
JESS
I'm not. Usually.
21.
ISABELLE
So why now?
JESS
Because I'm really upset with him.
ISABELLE
So you're going to kill your best
friend over a girl that neither of
you have ever even spoken to?
JESS
(beat)
Yeah.
Isabelle rolls her eyes. She looks to Richard.
ISABELLE
Wanna see how well I've trained?
Quickly, she kicks Jess' arm. The GUN GOES OFF, but misses
everyone (unless there happens to be a very unlucky person
that we can't see down the road). Isabelle elbows Jess in
the gut, grabs his hand, and twists. The gun drops to the
ground.
JESS
Ow!
WILLY
How'd you do that?
Isabelle pushes Jess to the ground. She and Richard look at
him.
ISABELLE
You'll be glad I didn't let you kill
him.
JESS
I wouldn't count on it.
ISABELLE
Trust me. Once you cool off a little,
you'll be best friends again.
WILLY
I seriously doubt that.
Isabelle and Richard turn and see that Willy has picked up
the gun and is aiming it at Jess.
RICHARD
Bloody hell.
Isabelle tries to stop Willy, but isn't fast enough. He shoots
the gun, killing Jess.
22.
ISABELLE
No!
Isabelle grabs Willy's arm and tries to get the gun away
from him. The gun goes off again as they fight. Isabelle
falls to the ground.
RICHARD
Isabelle!
Willy falls to the ground too. Not from being shot, but
because of something else.
Richard rushes to Isabelle and helps her sit up.
ISABELLE
I'm okay. It's just a scratch.
Richard looks at her arm and sees that it's bleeding.
RICHARD
We need to get you to a doctor.
Isabelle looks over at Willy.
ISABELLE
Hold on.
Richard looks over and sees that Willy is on the ground.
He's confused. Tears running down his face.
A BLUE CLOUD rises out of him.
RICHARD
What is that?
A RED CLOUD rises out of Jess' body. The two clouds fly toward
each other. They seem to battle a little in the air, twirling
around each other before finally flying off into the distance.
Isabelle looks at Willy. He is looking at Jess, in shock.
INT. BAKER HOUSE - KITCHEN - NIGHT
Richard is pouring a cup of tea for Isabelle. Her arm is
bandaged.
ISABELLE
Something wasn't right there. Those
men have been friends since they
were children.
RICHARD
What do you suspect?
ISABELLE
You're the Watcher. You tell me.
23.
RICHARD
It would require more research than
I'm prepared to do at the moment.
ISABELLE
You have to have some idea. You took
all of those demonology classes from
your father.
RICHARD
Mother.
ISABELLE
My point stands.
Richard thinks for a moment.
RICHARD
We'd have to look at all possible
angles.
ISABELLE
Okay, so?
RICHARD
A spell, perhaps. Some kind of
possession.
ISABELLE
These things are real?
RICHARD
You should know that.
ISABELLE
I thought it was just vampires.
RICHARD
There's much more out there. I'm
surprised that Mrs. Winters never
taught you about them.
ISABELLE
She focused more on the "vampire
Slayer" aspect.
RICHARD
If we're going to truely figure out
this problem, we'll need to research
it more.
ISABELLE
How?
RICHARD
By taking a trip.
(MORE)
24.
RICHARD (CONT'D)
There's a museum located in New York.
They have a collection of books that
might be helpful to us.
ISABELLE
So you're going to New York?
RICHARD
We are, yes.
ISABELLE
We? Shouldn't someone stay here,
incase this happens again?
RICHARD
And how do you plan to stop this
from happening again if you don't
know what we're facing?
ISABELLE
I just thought I'd figure it out
somehow.
RICHARD
Yes, well... As sound as that
philosophy is, I say that you're
coming with me.
INT. MUSEUM - BACK OFFICE - DAY
Isabelle and Richard are shown into the office by a MUSEUM
WORKER.
RICHARD
(to the museum worker)
Thank you. I think we can find our
way from here.
The worker nods and leaves them alone.
ISABELLE
Find our way? I think we're already
here.
She gestures to the many bookcases that line the walls. All
filled with old looking books.
ISABELLE (CONT'D)
Where do we begin?
RICHARD
If they have it, I'd like to find a
copy of the Morharder Letters. He
wrote quite a bit about spiritual
entities and the like.
25.
ISABELLE
I imagine he was quite popular at
social gatherings.
RICHARD
(pointing)
You can look along that wall. I'll
start on the opposite side. Look for
anything that might be of some use.
They head to their sides of the room. Isabelle pulls out a
book and looks through it.
ISABELLE
You know, we could always call for
the actual Slayer.
RICHARD
And it would take her a little over
a month and a half to get here.
(beat)
That's after she got our request, of
course.
ISABELLE
Oh. In that case, I guess we can
deal with it ourselves.
DISOLVE TO:
INT. MUSEUM - BACK OFFICE - NIGHT
It's not the same night. We can tell by the fact that they're
wearing different clothes and look like they're about to
pass out from exhaustion.
RICHARD (V.O.)
Over the course of the next several
days, we read through the books that
were stored in the back room of the
museum. Though we made some progress,
the job was not as fast-paced as
Isabelle would have expected after
her years of training. I fear that
our lack of rest had managed to get
to both of us, and the result was
not one which I believe the Watcher's
Council would smile upon.
ISABELLE
My eyes are about to leave their
sockets and attack me with sharp
rods if I don't stop reading.
RICHARD
We haven't found what we need yet.
26.
ISABELLE
I need a rest. I'm not even sure
that my legs work anymore.
RICHARD
Once we've found the source of our
problem, we can rest. Until then,
who knows what is happening in
Morristown without us? People could
be dying.
Isabelle closes her book.
ISABELLE
I don't think I'll be much help to
them if I can't see straight. I'm
going for a walk.
RICHARD
I didn't give you permission to leave.
As your Watcher--
ISABELLE
If you want to stop me, then try it.
I'd rather you didn't.
Isabelle walks out of the office. Richard thinks for a moment,
and then follows her.
EXT. NEW YORK STREET - NIGHT
Isabelle walks out of the museum and starts to walk down the
street. It's cold, so she is wearing a heavy jacket.
Richard rushes after her.
RICHARD
Isabelle!
ISABELLE
You came to stop me?
RICHARD
Well, no. Actually, I thought you
might be right. We could both use a
rest.
ISABELLE
Wow. I actually won an argument with
a Watcher. This has to be a special
occasion for potential Slayers all
over the world.
RICHARD
You merely stated your case, and I
came to agree. You don't have to get
carried away with it.
27.
ISABELLE
Fine. I'll be a gracious winner and
stop gloating.
RICHARD
I think we passed "gracious" quite a
while ago.
ISABELLE
You haven't known me long enough to
know that this is gracious for me.
As they continue to walk, they both take in the view of the
city around them.
ISABELLE (CONT'D)
It's amazing isn't it? All of these
buildings standing where it was once
just empty land.
RICHARD
Says quite a bit for man. I'm not
sure it says very good things, but
it says quite a bit.
ISABELLE
You don't like the city?
RICHARD
It's fine, I suppose. As cities go.
I've just come to prefer the quiet
comfort of less populated areas.
ISABELLE
Must come from all of your years
sharing a dorm with all those other
Watcher children.
RICHARD
Perhaps.
Isabelle sees a GROUP OF CHILDREN playing in the street. She
watches them.
ISABELLE
Do you ever regret it?
RICHARD
What's that?
ISABELLE
Becoming a Watcher. Do you regret
it?
RICHARD
I didn't have much choice in the
matter.
28.
ISABELLE
But if you could choose to change
things, do you think you'd ever just
want to be a normal child?
RICHARD
Normal is different for each person.
To those children in the street,
their lives might be as abnormal as
yours is to you.
ISABELLE
Unless those children have been in
training to become the one girl in
all the world who is capable of
stopping the powers of Hell from
taking over the planet, I think it's
safe to say that my life is slightly
less normal.
RICHARD
You have a point.
ISABELLE
(beat)
When I was a little girl, before
Mrs. Winters came, I would play in
the snow. I'd build a snowman. I'd
wait until the pond was frozen over
and I'd slide around on the ice. It
was perfect.
RICHARD
But that changed.
ISABELLE
Mrs. Winters would take me out onto
the ice and we'd practice combat
procedures for winter.
(then, with an English
accent)
"You must be prepared for all
situations, Isabelle."
RICHARD
That's how Watchers are trained to
think.
ISABELLE
I know, but since then, I haven't
been able to look at the ice without
thinking of how I'd fight on it. The
only snowmen I build anymore are for
target practice.
RICHARD
You're not a child anymore.
29.
ISABELLE
I wish I was. The whole world looks
different now. The colors even seem
different than when I was a girl.
(beat)
I remember waking up late on a spring
morning, and eating my breakfast
outside as a cool breeze blew past.
The sun was shining, the birds were
singing. It was perfect. I didn't
have anything to think about that
day, except going to play with my
friends. Now, no matter how hard I
try, I can't have a moment like that.
They don't exist anymore.
RICHARD
As an adult, it's harder to clear
your mind and see nothing but the
beauty of the world.
ISABELLE
Sometimes, I imagine that Heaven is
that feeling I used to have as a
child. That peace.
Richard looks at the ground. Isabelle notices this.
ISABELLE (CONT'D)
You've never experienced that, have
you?
RICHARD
I was a child once.
ISABELLE
But not like I was. You were raised
to be a Watcher from birth. Your
whole life has been about demons and
fighting techniques. Have you ever
had a moment of pure peace?
RICHARD
I'm sure I must have.
ISABELLE
Do you remember it?
RICHARD
(beat)
No.
ISABELLE
I'm sorry.
She stops walking. He stops when he realizes that she's not
moving anymore. She turns and looks him in the eyes.
30.
ISABELLE (CONT'D)
I hope you feel it someday. Everyone
deserves to have that.
He can see that she honestly means that. As much as he wants
to continue walking, he can't pull himself out of the warmth
in her eyes.
RICHARD
(weakly)
Thank you.
Still, he doesn't look away. Nor does she. It's as if they're
seeing something for the first time.
Finally, he leans in and kisses her. At first, she pulls
back, but before long, she's kissing him too.
After a beat, he quickly pulls back. A look of regret on his
face.
RICHARD (CONT'D)
I can't.
ISABELLE
What?
RICHARD
This. This isn't allowed. It's not
right.
ISABELLE
Why?
RICHARD
Because. You're my student. I
shouldn't be kissing you.
ISABELLE
What good reason is there for that?
RICHARD
The Council forbids it.
ISABELLE
I said, good reason.
RICHARD
You should know that the Council has
rules against this sort of thing.
ISABELLE
Somehow, it never came up with my
last Watcher.
31.
RICHARD
Would you be serious for a moment?
We have to resolve this matter.
ISABELLE
If you regret what happened, then
there's nothing to resolve.
(beat)
Do you?
He looks at her.
ISABELLE (CONT'D)
Do you regret it?
He can't answer. Finally, he just walks away. Toward the
museum.
RICHARD
I expect you back in one hour.
And with that said, he is gone.
Isabelle stands alone, processing what's happened. Finally,
the frustration builds in her mind until she can't take it
anymore. She kicks a nearby street lamp post.
As she kicks it, the post breaks into two, and falls over.
Isabelle looks around, wondering if anyone saw what happened.
As she tries to play it cool, a realization comes over her.
She is the Slayer.
FADE TO BLACK:
END OF ACT TWO
32.
ACT THREE
FADE IN:
INT. MUSEUM - BACK OFFICE - NIGHT
Richard is sitting at a table, staring into space. A book is
opened in front of him, but he couldn't focus on it if his
life depended on it.
Isabelle rushes into the office.
ISABELLE
Richard.
He looks up at her and sees urgency in her eyes.
RICHARD
What's wrong? Has something happened?
ISABELLE
Yes, something's happened. I can't
think straight. I can't begin to
process what's happened.
RICHARD
Tell me. What's wrong?
She looks at him.
ISABELLE
I've been called.
RICHARD
By whom?
ISABELLE
"By whom?" I'm the Slayer, Richard.
I've been called to duty.
RICHARD
What? When?
ISABELLE
Just after you left.
RICHARD
How do you know?
ISABELLE
Trust me. A girl can tell these
things.
A thought comes over Isabelle. Suddenly, she is sad. She
takes a seat.
33.
ISABELLE (CONT'D)
She's dead, isn't she? The last
Slayer?
RICHARD
That's how it works. One Slayer dies
and another is activated.
Isabelle thinks about this for a moment.
ISABELLE
Do you know who she was?
RICHARD
I know little about her.
ISABELLE
What do you know?
RICHARD
I know that she had a reputation for
being extraordinary.
ISABELLE
That's it? This girl gives her whole
life to saving the world, and all we
know is that she was extraordinary?
RICHARD
The Council will make a record of
her. Publish her Watcher's Diary.
She'll not be forgotten.
ISABELLE
I guess. Will we know how she died?
RICHARD
I don't know.
Isabelle lets this settle a bit in her head. Finally, she
pulls a book closer to her, and opens it.
ISABELLE
We have work to do.
As she gets back to work, Richard watches her. He never
expected a Slayer to have this reaction to their activation.
Something he finds very interesting.
He looks back to his book and gets back to his research.
RICHARD (V.O.)
As I watched her return to her work,
I could see from the look on her
face that she was still caught in
the idea of one girl dying in order
(MORE)
34.
RICHARD (V.O.) (CONT'D)
to give her this power, which she'd
been waiting for her entire life.
Almost as though she felt a sense of
guilt over taking the power. I knew
that I would have to work on helping
her through this, but we had work to
do.
(beat)
We continued to research the demon
entities until finally, our searching
paid off.
DAWN (V.O.)
Blah, blah, blah.
FLASH TO:
EXT. MORRISTOWN STREET - DAY
Snow falling. Kids playing. A WOMAN chasing her HUSBAND with
a meat cleaver.
Isabelle chasing the woman
FLASH TO:
INT. ANGRY WOMAN'S HOUSE - NIGHT
Isabelle talking with the woman. We CAN'T HEAR THIS.
DAWN (V.O.)
Boring, boring, boring.
FLASH TO:
INT. ANGRY WOMAN'S HOUSE - NIGHT
More talking. BLUE CLOUD leaves the woman's body.
DAWN (V.O.)
Dirakon and Mobratet. Yadda, yadda,
yadda.
FLASH TO:
EXT. MORRISTOWN FIELD - NIGHT
Richard stands in the field, yelling something that WE CAN'T
HEAR. He holds two glass bottles. The RED AND BLUE CLOUDS
are pulled into the bottles. Richard seals them. These are,
of course, the same bottles that we saw in "Opposing Forces".
35.
DAWN (V.O.)
Probably could have used that a couple
weeks ago.
FLASH TO:
EXT. BAKER HOUSE - FRONT YARD - DAY
Isabelle and Richard, training. Hard work.
DAWN (V.O.)
Yawn, yawn, yawn.
FLASH TO:
INT. BAKER HOUSE - KITCHEN - NIGHT
DAWN (V.O.)
Ah-ha! Good part.
Isabelle and Richard are sitting at the table, eating dinner.
They're both very silent.
RICHARD (V.O.)
Though we'd managed to work together
since our incident in New York, there
remained an odd sense of distance
between us. We tried not to speak of
what happened, and put it behind us,
but that only served to make our
situation more awkward.
Isabelle looks up at Richard.
ISABELLE
This is insane.
RICHARD
What?
ISABELLE
"What?" This. Us. Sitting here as
though we're trying to ignore a giant
dancing demon in the room.
RICHARD
Dancing demon? Don't you think that's
a little far fetched?
ISABELLE
It's a figure of speech, and you
know it. We can't keep ignoring the
fact that it happened. We kissed.
RICHARD
I'm aware of what happened.
36.
ISABELLE
The kiss?
RICHARD
Yes.
ISABELLE
Say it.
RICHARD
What?
ISABELLE
Say it. I want to hear you say it.
We kissed.
RICHARD
I am perfectly capable of saying--
ISABELLE
Then do it.
RICHARD
We... We...
ISABELLE
C'mon. You can do it. One more word.
RICHARD
Kissed! We kissed! There, are you
happy now? I said it.
ISABELLE
It's about time.
(beat)
So what do you think we should do
about it?
RICHARD
I think we have other matters to
think about at the moment. You've
been activated, unless you've
forgotten.
ISABELLE
What's that got to do with it?
RICHARD
We have more to deal with now.
ISABELLE
What? I wake up. I take care of
animals. I train. I read. I cook and
eat. It's surprisingly similar to my
life before I was called, only now I
have to walk around town holding a
stake before I can go to bed.
37.
RICHARD
At some point, you'll be expected to
travel. To seek out the vampires.
ISABELLE
At some point, yes. Right now, I'm
just sitting here, wondering why
things have to be so strange between
us.
RICHARD
I agree. We should put it behind us.
There's no need for things to be
awkward.
ISABELLE
I don't want to put it behind us.
RICHARD
Which is why it's still awkward.
ISABELLE
Why? Why can't we just be like any
other couple?
Richard looks at Isabelle, wondering how she could think
such a thing.
RICHARD
Do you know what would happen to us
if we attempted to pursue a
relationship?
ISABELLE
From the look on your face, I'm
guessing that the words "Happily
ever after" aren't in the answer.
RICHARD
The Council would have both of our
heads on a platter. I would probably
be assigned to some remote part of
the world, where my only contact
with the rest of civilization would
be with a small tribe of cannibals.
You'd be assigned a new Watcher who
would be given the duty of teaching
you every detail of proper Slayer
conduct in the most uncomfortable
and sometimes quite humiliating ways
possible. I assure you, neither of
us would live happily ever after.
ISABELLE
So what are we supposed to do?
38.
RICHARD
Nothing. That's my point.
ISABELLE
Do you honestly believe that will
work? We can't simply ignore that
there's something between us.
Richard says nothing.
ISABELLE (CONT'D)
Try telling me that you don't feel
it.
He looks down.
RICHARD
I don't.
ISABELLE
Say that while looking in my eyes.
He looks away from her, but she forces him to look her in
the eyes.
ISABELLE (CONT'D)
Say it.
He can't. The more he looks into her eyes, the more he can't
deny it.
RICHARD
I can't.
ISABELLE
Because you know it's true?
RICHARD
It doesn't matter. Don't you see
that no matter how we feel toward
each other, we can't ever act upon
those feelings?
ISABELLE
I would rather pursue those feelings
and deal with the Council's wrath
than deny them and spend the rest of
my life knowing that we never even
tried.
(beat)
There has to be a way. We could run.
The Council wouldn't even know where
we were.
RICHARD
They'd know. They have specialists
that can track the Slayer.
39.
ISABELLE
And what if they find us? What can
they do to me? I am the Slayer. If
they try to get between us, I'll...
RICHARD
You'll what? Kill them?
ISABELLE
I didn't say that.
RICHARD
There is no way for us to do this.
If we run, they'll find us. No matter
what we did, they would make us pay
for it.
ISABELLE
There has to be a way. We can't just
give up. We have to think.
Richard runs his hands through his hair, trying to think.
ISABELLE (CONT'D)
I can't let this happen. I can't
lose the only thing in my life that's
felt normal since the day I found
out that I had a calling.
(beat)
I need you. I need you to keep me
sane.
Richard looks at her, and gently touches her cheek. Trying
to tell her that he feels the same way.
Suddenly, his eyes light up. He rushes out of the room.
ISABELLE (CONT'D)
Where are you going?
She follows him.
INT. BAKER HOUSE - LIVING ROOM - CONTINUOUS - NIGHT
Richard goes to a leather bag that is sitting on a chair.
ISABELLE
Richard, answer me. What are you
doing?
RICHARD
I think I have an idea.
ISABELLE
What?
40.
RICHARD
Let me check something.
He pulls out a notebook and thumbs through it's pages.
Finally, he sees what he's looking for.
RICHARD (CONT'D)
Ah-ha.
ISABELLE
Did you find it?
RICHARD
I believe so.
ISABELLE
Well, can you tell me now?
Richard walks to her, holding the book. He shows it to her
and points to the page.
RICHARD
See this?
ISABELLE
It's a name and a town.
RICHARD
Yes. I copied it while we were in
New York. I saw while we were
researching.
ISABELLE
Who is it?
RICHARD
He's a very powerful man. I believe
that he might be able to help us.
Richard thinks for a moment. He's suddenly very serious.
More so than usual.
RICHARD (CONT'D)
But this won't be easy. This could
get very dangerous.
ISABELLE
What do you mean? Tell me what you're
thinking.
Richard looks at her.
RICHARD (V.O.)
And so I explained my plan to her.
(MORE)
41.
RICHARD (V.O.) (CONT'D)
As I looked into my beloved's eyes,
I told her my plan and the risks
that it would entail. After hearing
me through, she decided that she
agreed with me, and that if this was
the only way we could be together,
then we must go through with it.
(beat)
And so, the next morning, we set out
once again. This time, to find the
man who would end Isabelle's life.
FADE TO BLACK:
END OF ACT THREE
42.
ACT FOUR
FADE IN:
EXT. BAKER HOUSE - DAY
Isabelle and Richard are packing up a wagon, preparing for a
long trip. Isabelle looks back at the house, taking a mental
picture.
Richard goes to her.
RICHARD
You know we can't ever come back.
ISABELLE
I know.
RICHARD
Will you miss it?
ISABELLE
I already miss what it once was to
me, but I won't miss what it's become.
She looks over at the burnt barn.
ISABELLE (CONT'D)
I've already lost everything that I
loved about this place.
He lets her take a moment to reflect, then Richard puts a
hand on her shoulder.
RICHARD
We should go.
They walk to, and get into (or would it be onto?) the wagon.
ISABELLE
Are we sure this man can help us?
RICHARD
I'm not sure of anything at this
point. I just think that if this is
to be done right, we'll need him, or
someone like him, to help us do it.
ISABELLE
Couldn't you do it alone?
RICHARD
I wouldn't try. I've heard rumors of
these practices, but I don't know
nearly enough about them to attempt
this on my own.
43.
Richard gets the horses moving. Isabelle looks back at the
house and the barn, remembering all that she once held dear.
ISABELLE
I just hope this works.
She turns to Richard and looks at him warmly.
ISABELLE (CONT'D)
And we can truely begin a new life
together.
INT. SMALL TOWN - DAY
The wagon rolls into the town. Some time has passed since
they left Morristown. They've done quite a bit of traveling.
There aren't many buildings there, only the basics, and- of
course- a bar. Isabelle looks around at the buildings.
ISABELLE
Are you sure this is the right town?
RICHARD
As sure as I can be.
ISABELLE
I expected it to be different somehow.
Bigger.
RICHARD
We don't want bigger. The Watcher's
Council has officers in every major
city. We must stay as hidden as we
possibly can.
ISABELLE
I know. This just seems so small.
Richard pulls the wagon to the side of the street and gets
out. He helps Isabelle to the ground too. She stretches.
ISABELLE (CONT'D)
At least we're finally out of that
wagon. One more day and I might have
saved us the trouble of finding...
What's his name?
RICHARD
Harrold Tinsdale.
Richard sees a WOMAN walking nearby. He goes to her.
RICHARD (CONT'D)
Excuse me. Do you know where I might
find a Harold Tinsdale?
44.
WOMAN
(shaking head)
I'm sorry.
She continues walking. Richard looks around and sees a MAN
across the street. He walks over to the man.
RICHARD
Excuse me, sir. Do you happen to
know a Mr. Harold Tinsdale?
MAN
Never heard of him.
RICHARD
Thank you.
Richard returns to Isabelle.
RICHARD (CONT'D)
You'd think that in a town this small,
people would know each other.
ISABELLE
Maybe we're in the wrong place?
RICHARD
Maybe.
Richard looks around and sees the bar.
RICHARD (CONT'D)
I think I'll go in there and ask
around.
ISABELLE
You want me to come?
RICHARD
You should probably wait outside. I
don't know what type of people would
be in a bar at this time of day.
ISABELLE
Are you forgetting that I'm the
Slayer? I don't think they'll be
hurting me in the near future.
RICHARD
If it's all the same... I'd rather
not draw attention to ourselves.
ISABELLE
Fine. I'll wait here.
RICHARD
I won't be long.
45.
Richard walks toward the bar.
INT. BAR - DAY
Richard walks into the bar and looks around. There aren't
many people in this dirty place, but there are a few PEOPLE.
There's a BAR TENDER behind the bar and a DRUNK MAN (mid
40's) sitting at it. There are a few other men around the
bar. Mostly off in their own worlds.
Richard walks to the bar and takes a seat. The bar tender
walks to him. He looks at Richard's nice clothes.
BAR TENDER
Don't see your kind in here very
often.
RICHARD
I'm not from around here.
BAR TENDER
I figured. What'll it be?
RICHARD
Actually, I'm not here to drink.
BAR TENDER
We don't have much by way of food.
RICHARD
I'm not here to eat either. I'm
looking for a man.
BAR TENDER
What man?
RICHARD
His name is Harold Tinsdale.
The bar tender thinks for a moment.
BAR TENDER
Never heard of him.
RICHARD
Are you sure?
BAR TENDER
I know most folks around here.
RICHARD
It's really very important that I
find him.
BAR TENDER
Listen, pal, I'm sorry I can't help
you, but I've never heard of him.
46.
RICHARD
Of course. I'm sorry.
Richard stops and thinks.
The drunk man at the bar stands up and runs out of the bar.
BAR TENDER
Hey! Get back here! You didn't pay!
Richard and the bar tender both head for the door.
EXT. BAR - CONTINUOUS - DAY
Richard and the bar tender exit the bar. They find Isabelle,
holding the drunk man by the collar. She smiles at them.
ISABELLE
You two lose something?
BAR TENDER
How?
Isabelle lets go of the drunk man.
ISABELLE
He's drunk. Wasn't much of a fight.
The bar tender goes to the drunk man.
BAR TENDER
What do you mean, running out like
that, Larry? You didn't pay.
When the drunk man speaks, it's with such a slur that one
can hardly tell that he has an English accent.
DRUNK MAN
I'm sorry. I didn't mean to.
The drunk man pulls out some money and hands it to the bar
tender. The bar tender takes it.
BAR TENDER
Okay then.
He nods to Isabelle and Richard, then heads back into the
bar.
Richard looks at the drunk man.
RICHARD
You ran.
DRUNK MAN
I just wanted to leave.
47.
RICHARD
You ran when I mentioned the name,
Harold Tinsdale.
DRUNK MAN
I did not.
RICHARD
I think you are Harold.
The drunk man looks up at him. He is Harold (which is how
I'll refer to him from now on).
HAROLD
I am not.
RICHARD
You are.
Harold gives it up.
HAROLD
What are you going to do with me?
He starts to cry.
HAROLD (CONT'D)
I left the Council. I left her behind.
You can't take anything else from
me.
RICHARD
I'm not here on behalf of the Council.
Richard looks to Isabelle.
RICHARD (CONT'D)
This is Isabelle. She's the Slayer.
Harold looks at Isabelle. When he sees her, he starts to cry
harder. It pains him to see a Slayer.
RICHARD (CONT'D)
We know about you. We know what
happened.
HAROLD
If you're not from the Council, why
are you here?
RICHARD
Because we need your help.
HAROLD
What can I do? I'm not part of that
world anymore.
48.
RICHARD
We need your help, not as a Watcher,
but as a doctor.
Harold looks up at Richard.
RICHARD (CONT'D)
We need help avoiding the Council's
tracking methods.
HAROLD
You can't escape them. They know
where the Slayer is.
RICHARD
Exactly my point. We need you to
create a new Slayer.
HAROLD
There can't be another. Not until
your girl dies.
Richard looks Harold in the eyes.
RICHARD
Yes. That's why we're here.
Harold is catching on. He looks back to Isabelle, then to
Richard again.
HAROLD
You want me to kill her?
RICHARD
And bring her back.
HAROLD
I can't. I won't do that. I'm a
doctor.
RICHARD
You're the only one that we can trust
with this. We have no other options.
HAROLD
I won't do it. I took an oath.
ISABELLE
Please.
Harold looks at Isabelle.
ISABELLE (CONT'D)
We need your help. This is the only
way for us.
49.
HAROLD
(beat)
I'm sorry.
Harold starts to walk away.
RICHARD
You loved her.
Harold stops.
RICHARD (CONT'D)
You loved her, and they wouldn't
have it. You never even had the chance
to see if she felt the same about
you. They forced you into exile.
They forced you to give up your chance
at happiness.
HAROLD
I just wanted to see if she loved
me.
RICHARD
And because of them, you'll never
have the chance to find out.
Harold looks down.
ISABELLE
Please help us.
Harold looks up at the two of them. He thinks for a moment.
Finally, he nods.
HAROLD
I'll help you.
INT. HAROLD'S HOUSE - BEDROOM - NIGHT
Isabelle is sitting on the bed. Harold is sitting in a nearby
chair. He's sober now... or getting there.
Richard walks into the room with a cup of coffee. He gives
it to Harold. Harold sips.
HAROLD
You know the risk of doing something
like this, right?
ISABELLE
Of course.
RICHARD
If there were any way around this,
we'd take it. We just don't have any
other options.
50.
HAROLD
If anyone ever found out about this,
I'd lose my license.
RICHARD
We won't tell anyone.
HAROLD
If the Council ever found out about
this, they'd have us all killed.
(to Isabelle)
Well, at least the two of us who
aren't Slayers.
RICHARD
We're hoping that the Council won't
ever find out. We plan to run from
them. We want to find a place where
they'll never find us.
HAROLD
(chuckles)
Good luck. It would appear that they
always know where we are.
Isabelle and Richard exchange a look.
RICHARD
That's a problem that we'll have to
figure out another time. First things
first...
HAROLD
We can do this in the morning.
RICHARD
No. If they are tracking Isabelle,
then we must act quickly. Before
they realize what's happening. If we
can throw them off, we have a chance
of making this work.
HAROLD
You want me to do this tonight?
RICHARD
Please.
Harold thinks about it.
HAROLD
This is insanity.
ISABELLE
Welcome to our world.
Harold thinks a bit more.
51.
HAROLD
Fine. Fetch me my bag.
Richard goes out of the room. Isabelle looks at Harold.
ISABELLE
Thank you for helping us.
HAROLD
I don't know that I could live with
myself if I didn't.
(beat)
Are you really sure you want to do
this?
ISABELLE
I'm sure that I want to be with
Richard. If this is the only way for
us to be together, then I'm sure
that I want this.
HAROLD
And you realize that I might not be
able to pull this off?
ISABELLE
We have to try. I would rather die
trying to live than suffer every day
for the rest of my life.
HAROLD
(rolls eyes)
Kids. It's all story books with you.
ISABELLE
I'm not a kid. I haven't been a kid
for a very long time. I just happen
to believe that some things are worth
dying for.
Harold is about to respond when Richard comes back into the
room with a doctor's bag. He sets it on the bed.
HAROLD
This is insane.
RICHARD
You're not backing out?
HAROLD
No. I never said that.
RICHARD
Good. What do you need us to do?
52.
HAROLD
It's not terribly complex. I kill
the girl. There isn't a lot of
preparation.
ISABELLE
Should I lay back?
HAROLD
Unless you'd prefer to die sitting
up.
ISABELLE
I think I'll lay back. Seems more
proper somehow.
RICHARD
This is possibly the oddest discussion
I've ever taken part in.
Isabelle lays back. Harold takes a moment to think.
RICHARD (CONT'D)
Is something wrong?
HAROLD
I'm just trying to figure this all
out. Give me a moment.
ANGLE ON : RICHARD
As he watches Harold and Isabelle. A helpless expression
comes over him.
RICHARD (V.O.)
There was nothing for me to do but
stand by and wait.
EXT. HAROLD'S HOUSE - NIGHT
We can see the light on in the bedroom, but nothing else of
what is inside the house.
RICHARD (V.O.)
Soon, Harold began the work that
we'd asked him to do for us. I watched
helplessly as my Isabelle was put to
sleep, and as he stopped her heart.
It seemed like an eternity between
the time she closed her eyes and the
moment she stopped breathing. Every
breath that she took before the
horrible act echoed through my head
and resonated into my very soul.
(MORE)
53.
RICHARD (V.O.) (CONT'D)
Though that night is now behind me,
I still feel pained when I think of
those sounds. As they haunt me when
I try to sleep at night.
(beat)
Finally, his job was complete. Harold
had succeeded in killing Isabelle,
and took on the task of reviving
her. A concept that some years before
would have been laughed at by most
who weren't aware of an ancient
practice which was only just now
being recognized once again.
INT. HAROLD'S HOUSE - BEDROOM - NIGHT
Harold is leaning over Isabelle's now-dead body on the bed.
Richard is watching with a pained expression on his face.
Harold begins performing CPR on Isabelle. First the chest
compressions, and then breathing into her mouth.
HAROLD
(to self)
Please let this work. God, please
let this work.
Richard can't stand doing nothing, but he doesn't know what
else to do. He's shifting his weight, as though waiting to
jump into action, but there is no action for him to take on.
He must simply watch.
Harold continues the CPR. He's getting more and more worried.
HAROLD (CONT'D)
It's not working.
RICHARD
What?
HAROLD
I said, it's not working.
RICHARD
Do something.
HAROLD
I'm doing all that I can.
RICHARD
Do more!
Harold breaths into Isabelle's mouth once again, with no
response.
54.
HAROLD
We're running out of time.
Harold once again performs chest compressions.
RICHARD
What do you mean?
HAROLD
I mean that if she doesn't wake up
soon, she won't wake up at all.
Richard doesn't know how to respond. All he can do is go to
the side of the bed and take Isabelle's hand.
RICHARD
Come back.
Harold breaths into Isabelle's mouth once again. Finally,
she takes a breath.
Harold checks for a pulse. He lets out a sigh of relief.
HAROLD
She's alive.
Richard smiles.
HAROLD (CONT'D)
She'll need rest, but she's alive.
Harold moves away from Isabelle and plops into a chair.
Richard stays near her, holding her hand.
RICHARD (V.O.)
As I write this, I realize that it
must be my last entry into this diary,
for I am no longer a Watcher and all
that I write about, they must never
know. As I sit in the dark, watching
Isabelle rest, thoughts of what awaits
us enter my head. Soon, we'll be on
the move once again, trying to find
a new home that will provide us with
the protection we'll require. We'll
have a short amount of time before
the Watcher's Council will expect to
hear from me regarding the death of
Isabelle. After that, they will be
searching.
His voice FADES INTO DAWN'S.
DAWN (V.O.)
I know that as long as we're together,
we will be stronger than we could
(MORE)
55.
DAWN (V.O.) (CONT'D)
ever be alone, but I must still fear
what will happen if we're ever
discovered.
INT. BUFFY'S HOUSE - DINING ROOM - NIGHT
Dawn is sitting at the table, alone now. Empty soda cans are
on the table in front of her. Shelly has gone home.
She stares at the last page in the diary.
DAWN
(reading)
Richard Acker. Former Watcher.
She closes the book and rubs her eyes. Finally she looks at
her watch and stands up. She walks out of the room, leaving
the diary on the table.
FADE TO BLACK:
END OF SHOW
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