TEASER
FADE IN:
EXT. WOODS - NIGHT
We PUSH THROUGH the woods, moving from tree to tree as though
hiding behind them. The sound of HEAVY BREATHING fills the
air.
We hear the voice of Richard Acker.
RICHARD (V.O.)
You're the Slayer. You were created
for greatness.
EXT. MAIN STREET - NIGHT
We quickly move down the empty street. There are a few cars
parked on the side of the road, but nobody in sight.
LIGHTNING FLASHES.
There's a SCREAM. Another voice.
ISABELLE (V.O.)
I'm the Slayer. This is what I was
meant to do.
INT. BUFFY'S HOUSE - LIVING ROOM - NIGHT
The house is so dark that it's hard to make out anything in
the room.
BUFFY stands in the center of the room, somehow perfectly
visible. She looks around.
BUFFY
Hello? Is anybody here?
Around her, the ROOM FLASHES. She finds herself in what seems
to be the distant past, and then back in her own version of
the room.
RICHARD (V.O.)
Into each generation, a Slayer is
born. One girl in all the world. A
chosen one. One born with the strength
and skill to hunt the vampires. To
stop the spread of their evil, to
diminish their forces, and to drive
them back to hell.
Buffy looks around again.
BUFFY
Is that how that goes?
2.
Buffy walks out of the living room.
INT. BUFFY'S HOUSE - DINING ROOM - CONTINUOUS - NIGHT
Buffy walks into the dining room. The FLASHES CONTINUE.
Buffy tries to make out the images of the past.
BUFFY
What is this?
She thinks about that question for a second.
BUFFY (CONT'D)
Okay, stupid question.
She turns around and finds herself face to face with ISABELLE.
Buffy gasps.
ISABELLE
We are what we do.
BUFFY
Who are you?
ISABELLE
You know who I am.
BUFFY
You're the Slayer from the diary.
Isabelle.
No response.
BUFFY (CONT'D)
I don't suppose you'd sit down and
have nice conversation with me?
Isabelle winces in pain. Her FACE BEGINS TO MELT.
BUFFY (CONT'D)
Guess not.
Isabelle BURSTS INTO FLAMES. She screams in pain.
Buffy looks around the room and sees a vase that is full of
flowers and water. She grabs it, tosses out the flowers and
pours the water on Isabelle. The fire goes out. Isabelle is
burnt and wet, but otherwise fine.
BUFFY (CONT'D)
Are you okay?
ISABELLE
It's not me that you should worry
about.
3.
BUFFY
Then who should I be worrying about?
ISABELLE
Everyone.
BUFFY
Could you be a little more specific?
'Cause I've saved the world a few
times now and I find that it's really
a lot easier if I know who I'm
supposed to be saving and who I'm
supposed to be killing. It makes for
a much more organized--
Buffy can't finish her sentence before...
CUT TO:
INT. BUFFY'S HOUSE - LIVING ROOM - NIGHT
Buffy wakes up from her dream. She's on the couch, with an
infomercial playing on the TV in front of her.
She looks around the room, but finds herself alone. She puts
her head back down on the arm of the couch and thinks about
the dream.
FADE TO BLACK:
END OF TEASER
4.
ACT ONE
FADE IN:
INT. BUFFY'S HOUSE - LIVING ROOM - NIGHT
Buffy is now sitting up on the couch, drinking a bottle of
water. The TV is still on. She looks at the clock. It's 11:15
pm.
She turns off the TV and decides to head upstairs.
INT. BUFFY'S HOUSE - BUFFY'S ROOM - NIGHT
Buffy walks into her room, and looks at Dawn's bed. It's
empty. Buffy sits on her bed, and looks at the phone on her
nightstand. The aswering machine that's attached to it is
blinking with one message indicated. Buffy pushes the button.
DAWN (V.O.)
Hey, Buffy, it's me. Just calling to
let you know that I'll be sleeping
over at Shelly's tonight. Big tests
make for much studying. See ya.
(beat)
Oh. Willow said she'd be late too.
Bye.
The message ends. Buffy lays down on her bed, without getting
under the covers. She slowly drifts to sleep.
EXT. DIRT ROAD - DAY
Buffy finds herself on the side of a dirt road. She looks
around, confused. It's a bright, sunny day. Far different
than the darkness that she just left.
As she looks down at herself, she sees that SHE IS TRANSPARENT
(and will be until further notice).
BUFFY
That can't be good.
She hears a CLIP-CLOP of horse feet on the dirt road, and
looks up.
Isabelle and RICHARD are making their way down the dirt road
in their wagon. Buffy recognizes Isabelle, but Isabelle
doesn't look at her this time.
BUFFY (CONT'D)
You?
Buffy is SUDDENLY IN THE WAGON, behind the others. She can
now hear what they're saying.
5.
ISABELLE
We've been running for so long,
Richard. Will it ever stop?
RICHARD
We knew what we would be getting
ourselves into when we decided to go
through with this.
ISABELLE
I know.
(beat)
I'm so tired. I'm tired of running.
RICHARD
I don't know what else to do.
ISABELLE
Sometimes, I have dreams that we
have a house and children, and we're
just like everyone else.
RICHARD
But we're not.
ISABELLE
(looks down)
I know.
Richard sees that Isabelle is upset. He puts a hand on her
shoulder.
RICHARD
You deserve better than this.
ISABELLE
We both do.
(beat)
I don't understand why we should
have to run from the Council. Who
put them in charge?
RICHARD
It's the way things have always
worked.
ISABELLE
It's not right.
BUFFY
Ya-ya.
ISABELLE
Do you think that there's a chance
for us? That all of this will end,
and we can finally stop running?
6.
RICHARD
Maybe. Someday.
EXT. WOODED AREA - DAY
The wagon is stopped near a small clearing. Isabelle and
Richard are setting up camp for the night. Buffy is standing
next to Isabelle, watching her prepare dinner.
BUFFY
You can change things. You have the
power.
Isabelle obviously doesn't respond.
RICHARD
I'm going to head into town. We could
use some supplies.
ISABELLE
I need flour. Butter too, if you can
afford it.
RICHARD
I'll try.
Richard walks to Isabelle. She turns to him, and they look
at each other for a moment. Finally, she hugs him. Both of
them know that the other feels like crap, and all they can
do to help is just hold each other.
RICHARD (CONT'D)
You know I love you, right?
She nods. Richard kisses her, and then walks away. He gets
onto the wagon, and Isabelle watches as he leaves.
Once she's sure he's gone, Isabelle finds a rock to sit on,
and breaks into tears.
Buffy watches Isabelle, feeling her pain. She knows that she
can't do anything to help, and it's not a feeling that she
likes.
Isabelle looks into the distance.
ISABELLE
I just want it to be over. I want
things to be easy.
(beat)
I want a home.
She sits in silence for a few more seconds.
7.
ISABELLE (CONT'D)
I gave my life for him, and I'd do
it again in a second, but sometimes
I just wish that things were back to
the way they were. Sometimes I even
wish that I was never chosen.
BUFFY
I've been there.
Buffy turns away from Isabelle and looks at the trees.
BUFFY (CONT'D)
I remember when I was a kid, trees
were just pretty things growing out
of the ground. Now, I look at them
and see weapons. "This branch is
pointy." "This branch would be good
for a stake."
(beat)
It's hard to see the pretty anymore.
Buffy doesn't actually expect a response. She just keeps
looking at the trees.
ISABELLE
How are we expected to live like
this?
BUFFY
The question of the century. Hell,
that's the question I've been asking
in two different centuries.
ISABELLE
Let me know if you ever find an
answer.
Buffy looks at Isabelle, shocked.
BUFFY
Did you just respond to me?
ISABELLE
Shouldn't I?
BUFFY
But I'm all see-through. Doesn't
that usually mean that you can't see
me?
ISABELLE
I'm not sure how to respond to that.
BUFFY
I guess this is probably one of those
weird Slayer dream things, right?
8.
Isabelle shrugs.
ISABELLE
So, is it always like this? Are we
always going to be running from the
Council.
BUFFY
You mean you, or just Slayers in
general?
ISABELLE
In general.
BUFFY
Well, there was a few months where
the Council wasn't really an issue.
They kinda got blown up.
Isabelle lets that sink in.
ISABELLE
Is it wrong of me to not be upset by
that?
BUFFY
It's hard to take death as seriously
once you've been there yourself.
ISABELLE
You've died?
BUFFY
Yup.
(beat)
Actually, I liked it so much the
first time that I went back for
seconds.
ISABELLE
You died twice?
BUFFY
Yeah.
ISABELLE
(beat)
Did you have the nightmares after?
Buffy looks down, uncomfortable.
BUFFY
Yeah. More after the second time
than the first.
9.
ISABELLE
Sometimes I'd wake up, and my heart
would be pounding. In my dreams, I
wasn't able to do anything. I was
weak.
BUFFY
(distant)
Powerless.
ISABELLE
Yes.
BUFFY
I guess death'll make you feel that
way.
Buffy sits next to Isabelle.
BUFFY (CONT'D)
So, what happened?
ISABELLE
To me?
BUFFY
Yeah. I mean, after you died and
ran. How did Richard's diary end up
in my house?
A CLASH OF THUNDER rips through the air. Buffy looks up,
just in time to see it start raining. The RAIN PASSES THROUGH
BUFFY, but soaks Isabelle.
Buffy looks down at herself.
BUFFY (CONT'D)
I guess this is the up side to not
actually being here.
Isabelle lets the rain wash over her face. She feels the
coolness of it on her skin.
ISABELLE
I haven't felt rain for such a long
time.
BUFFY
Please, tell me.
Isabelle looks at Buffy, and smiles. She puts a hand on
Buffy's shoulder.
ISABELLE
See.
10.
A sudden energy comes over Buffy. The breath is knocked out
of her. Her eyes widen.
Soon, Buffy is PULLED INTO ISABELLE'S BODY.
Once Buffy is in there, we can only see Isabelle. She looks
around, and feels the rain one last time.
EXT. WOODED AREA - DAY
Isabelle is sitting on the same rock, but the scene has
changed. It is sunny. She is taking in the sun, and the air
around her. The calm.
Richard pulls up in the wagon, and jumps to the ground. He
goes to her, carrying a sack of flour.
RICHARD
I could only get three pounds.
ISABELLE
That's fine.
She takes it from him. He sits next to her.
RICHARD
I was looking around town today.
It's small, but charming in a rustic,
American sort of way.
Isabelle doesn't respond.
RICHARD (CONT'D)
I can't remember the last time we
slept in a real bed.
ISABELLE
Eight months ago. The McDaniels, in
Arizona.
RICHARD
Right. Anyway, I noticed that there
was a boarding house, not too far
from town. It looked nice. I thought
we might stay there tomorrow.
Isabelle lights up.
ISABELLE
Are you joking?
RICHARD
No.
She hugs him.
11.
ISABELLE
A real bed! Walls.
RICHARD
I hear they even have ceilings.
ISABELLE
I love you.
RICHARD
Because of the boarding house?
ISABELLE
Because of you. You always know just
what to do and when to do it.
Isabelle stands up and starts to walk away.
RICHARD
Where are you going?
ISABELLE
You do still want to eat tonight,
don't you?
RICHARD
I don't know.
(beat)
I thought we might wait until tomorrow
and eat the complimentary roast beef
dinner.
Isabelle's smile grows even bigger. She drops the flour, and
dives through the air, onto Richard. They fall to the ground,
and out of our view.
RICHARD (O.S.) (CONT'D)
Ow.
INT. BOARDING HOUSE - DINING ROOM - NIGHT
Isabelle and Richard are sitting at a table, along with four
other people. MRS. HAVERTY (older woman), the owner of the
house, sits at the head of the table.
JONATHAN and MARGRET MILLER (married couple, in their 30's)
sit opposite Isabelle and Richard.
HARRY GREUMAN (scruffy man, in his 20's) sits on the other
end of the table.
All are eating.
ISABELLE
The food is wonderful, Mrs. Haverty.
12.
MRS. HAVERTY
Thank you, dear. I'm glad you like
it.
MARGRET
You must give me the recipe for these
rolls.
MRS. HAVERTY
Oh, I couldn't dream of it. That
recipe has been a family secret for
sixty years. My mother gave it to
me.
MARGRET
I understand. My mother passed down
a whole book of family recipes.
MRS. HAVERTY
I suppose that most families have
their traditions.
MARGRET
(to Isabelle)
Did you mother pass down any recipes?
ISABELLE
(beat)
I don't speak much with my parents.
MARGRET
That's too bad.
JONATHAN
(to Richard)
How about you, Richard?
RICHARD
(chewing)
Hmm?
JONATHAN
You're from England, right? It must
be hard to keep in touch with your
family.
RICHARD
Extremely.
HARRY
Bet they're not too happy 'bout you
marrying a Yank.
Richard doesn't know how to respond.
13.
HARRY (CONT'D)
(to the rest of the
diners)
From what I hear, they don't much
like us over there. Still sore about
the War of Independance, I guess.
MRS. HAVERTY
Is that true?
ISABELLE
That was quite a while ago.
RICHARD
Yes, most of us have been over that
war for quite a while now.
HARRY
If you say so.
The room falls into silence as they continue to eat. Isabelle
keeps an eye on Harry.
EXT. BOARDING HOUSE - PORCH/FRONT YARD - NIGHT
Isabelle is sitting in a rocking chair on the front porch.
She can't help but notice that Harry is in the front yard,
talking with another MAN, but she ignores it, and just enjoys
being in an actual chair.
Soon, Harry leaves his friend, and walks onto the porch.
Before he can go into the house, Isabelle speaks to him.
ISABELLE
Beautiful night, isn't it?
HARRY
I suppose.
Harry is about to continue on into the house, but Isabelle
speaks again.
ISABELLE
When I was a little girl, I used to
love sitting outside at night.
HARRY
That's nice.
ISABELLE
It's a nice house Mrs. Haverty has
too. I'm glad that such a warm woman
has a place like this to call home.
And that she opens her home to
everyone who needs it.
14.
Isabelle looks above the front door and sees a painted sign
that reads "To All Who Need Shelter, Welcome".
ISABELLE (CONT'D)
A woman like her is sure to end up
in Heaven.
HARRY
Is there a reason for this talk?
Isabelle stands up.
ISABELLE
Yes, there is.
(beat)
Mrs. Haverty opened her home to me,
and I don't think I could live with
myself if something bad were to happen
to her.
HARRY
I'll be sure to keep an eye out for
prowlers.
ISABELLE
And vampires? What about them?
Harry doesn't respond, he just looks Isabelle up and down.
Scoping her out.
HARRY
Slayer.
ISABELLE
You made a mistake in coming here,
Mr. Greuman.
Isabelle pulls a stake. Harry looks at it.
HARRY
I think you're the one that made the
mistake.
Harry raises a hand, as though he is about to pet Isabelle
on the cheek. She hits his hand away.
He VAMPS OUT.
HARRY (CONT'D)
I think I might like to keep you
around. You'd get a kick out of
eternal life.
ISABELLE
I don't think you're qualified to
make that remark.
15.
She raises her stake. Harry grabs her arm, keeping the stake
in the air.
Isabelle knees Harry in the gut. When he doubles over, she
swings around and grabs his head under her free arm. She
twists it, snapping his neck. He drops to the ground, not
moving.
Isabelle leans down.
ISABELLE (CONT'D)
Goodnight, Mr. Greuman.
With that, Isabelle raises her stake, and stabs it through
Harry's back. She pulls it back out, just as HARRY TURNS TO
DUST.
Isabelle stands back up as Richard walks out the front door.
RICHARD
That was very dangerous, Isabelle.
ISABELLE
I'm the Slayer. He wasn't a very big
threat.
RICHARD
That's not what I meant.
Richard looks around.
RICHARD (CONT'D)
Someone might have seen you.
ISABELLE
I couldn't let him get away.
RICHARD
You could have led him away from
such a public area.
ISABELLE
(beat)
I'm sorry.
Richard softens, and puts a hand on her face.
RICHARD
I only mean to keep you safe.
ISABELLE
I know that.
RICHARD
I had to watch you die once. I don't
fancy the thought of seeing it happen
again.
16.
He kisses her.
RICHARD (CONT'D)
Let's go inside.
They go into the house.
ANGLE ON : THE YARD
After they're gone, the man that Harry was talking to steps
out of the shadows. He's been watching them.
FADE TO BLACK:
END OF ACT ONE
17.
ACT TWO
INT. VAMPIRE HOUSE - NIGHT
The house is big and nice. It is decorated in the finest
furnishings.
The man (known as Rip from now on) that was watching Isabelle
and Richard walks into the house.
Corpses are scattered around the house. Some older than
others.
VAMPIRES are sitting in the chairs, drinking blood from wine
glasses. Having a fun time.
In one chair, a vampire named SANDERS (30's in look. Nicely
dressed) is sitting, drinking a glass of absinthe. Rip goes
to him.
SANDERS
Do you bring word from Harry?
RIP
Harry is dead.
SANDERS
Yes, well... Aren't we all?
RIP
I mean, he's been staked. By the
Slayer.
SANDERS
I thought the Slayer was in China.
RIP
She is.
SANDERS
Okay, now I'm confused. Explain
yourself.
RIP
This Slayer is rogue. She's traveling
with an Englishman.
SANDERS
So she's either got incredibly bad
taste, or she's gone insane.
RIP
I heard them talking, just after she
killed Harry.
SANDERS
I thought I killed Harry.
18.
RIP
I mean, when she staked him.
SANDERS
Oh. Right. Go on.
RIP
They said something. I'm not sure
how, but the Slayer has been dead,
and returned to the living. She's
been restored.
Sanders stands up and drops his glass. His buzz is gone.
SANDERS
Once?
RIP
Yes.
Sanders thinks.
SANDERS
This doesn't mean anything.
RIP
But--
SANDERS
Coincidence. It's bound to happen
sooner or later, right?
RIP
But what if it's not?
Sanders looks Rip in the eyes.
SANDERS
That is the question, isn't it? What
if it's not?
Sanders sits back down to think this through.
INT. BOARDING HOUSE - BEDROOM - DAY
Isabelle is asleep in bed. Richard is watching her from a
nearby chair. He's already dressed.
Isabelle begins to stir, and finally opens her eyes. She
sees him, and smiles.
ISABELLE
How long have you been watching me?
RICHARD
Not long. Only an hour or so.
19.
ISABELLE
Am I really that interesting?
RICHARD
I could watch you for days.
ISABELLE
I feel like I could sleep for days
on this bed. What time is it?
RICHARD
A little after nine.
ISABELLE
So late? Why didn't you wake me?
RICHARD
You don't often get the chance to
sleep late. I thought it'd be nice
for you.
(beat)
Of course, I only just realized that
you've missed breakfast and will
have to go hungry until we find
something to eat later on.
ISABELLE
Do we really have to leave this place?
RICHARD
You know that we do.
ISABELLE
I keep wishing the answer will change.
RICHARD
Perhaps someday, it will.
ISABELLE
But not today.
RICHARD
I'm sorry.
Richard stands up and walks toward the door.
ISABELLE
Richard.
He stops and looks at her.
ISABELLE (CONT'D)
I love you.
He looks at her for a moment.
20.
RICHARD
But is it worth it?
He opens the door and walks out, leaving Isabelle alone. She
thinks about what he said, trying to figure out a way to
make it better.
EXT. BOARDING HOUSE - PORCH - DAY
Richard is standing on the porch, looking at the world around
him. Isabelle walks out of the house, dressed and ready to
leave.
She walks to him and takes his hand. She leans in close and
whispers in his ear.
ISABELLE
Yes.
She continues to walk off of the porch, and away from the
house.
Richard feels a little better. He follows her.
INT. VAMPIRE HOUSE - DAY
Sanders is pacing back and forth as Rip sits in one of the
chairs, watching him.
SANDERS
We need to stay with her. We need to
watch her.
RIP
But it's day. They're probably gone
by now.
SANDERS
Then we'll follow them.
RIP
How?
SANDERS
We'll find their tracks. We'll sniff
them out with our keen sense of smell.
(beat)
Then again, we could just ask someone
which direction they went.
RIP
They'd have a day's worth of travel
on us.
SANDERS
But they'll stop at night. We can
catch up.
21.
ANOTHER VAMPIRE walks into the room, licking his fingers.
Sanders turns to him.
SANDERS (CONT'D)
Pack our bags. We're moving on.
The vampire nods and starts to walk away.
SANDERS (CONT'D)
Oh, and take some of the valuables
too. Maybe crack the safe.
(to Rip)
Might as well take what we can, right?
The other vampire leaves the room.
SANDERS (CONT'D)
It's a shame that we'll have to leave
this place. It's been good to us.
The owners of this house were very
loved. Every time someone comes to
see if they're alright, I can't help
but get all worked up. The blood
here is so different. I swear, these
people must put butter in everything
they eat.
EXT. ROAD - DAY
Isabelle and Richard are once again in their wagon, riding
down the road. The area is surrounded by trees.
Isabelle stares at the road, daydreaming. Richard keeps his
mind on the journey.
EXT. WOODY AREA - DAY
Different from the wooded are we saw earlier.
Isabelle and Richard have once again stopped to set up camp.
Isabelle is collecting her cooking gear while Richard collects
wood for a fire.
Isabelle looks up.
ISABELLE
Do you think it'll rain tonight?
RICHARD
I don't think so.
ISABELLE
It's cloudy.
RICHARD
True. The clouds just don't seem
heavy to me.
22.
ISABELLE
They do to me.
Richard smiles.
RICHARD
Then I suppose we'll see who's right.
Isabelle smiles back.
ISABELLE
I guess we will.
They go back to their tasks.
ISABELLE (CONT'D)
Where are we?
RICHARD
I'm not sure, exactly.
ISABELLE
I don't even have a general idea.
I've completely lost track of where
we are, and what direction we're
going.
RICHARD
We're somewhere in Oregon, I imagine.
ISABELLE
Oregon? That's far. We've gone across
the entire country.
RICHARD
Yes.
ISABELLE
Do you know what month it is?
RICHARD
You've lost track of that too?
ISABELLE
No. I was just asking if you knew
what month it was.
RICHARD
It's July, isn't it?
ISABELLE
Yes.
She sits on the back of the wagon.
23.
ISABELLE (CONT'D)
People are getting ready for
Independance Day. Baking pies.
Planning picnics. There's a fair
back home.
RICHARD
Sounds like a wonderful event.
ISABELLE
It is. Old Mr. Hanson always plays
the fiddle--
RICHARD
Violin.
ISABELLE
Fiddle. It's only a violin when he's
playing Christmas music. The rest of
the time, it's a fiddle.
RICHARD
Interesting.
ISABELLE
Anyway, he'd play the fiddle while
Mr. Wiggins plays the guitar.
Sometimes Mrs. Hanson sings, depending
on how much she's been drinking.
RICHARD
Lovely.
ISABELLE
(English accent)
Quite.
RICHARD
You mock me?
ISABELLE
(still with the accent)
Mock you? Whatever do you mean? I
haven't the slightest idea what you're
talking about.
RICHARD
(bad American accent)
Well then, I guess I'll just have to
play along.
ISABELLE
Okay, that's just bad.
Richard goes to her.
24.
RICHARD
Teach me.
ISABELLE
You're the Watcher. Aren't you
supposed to be the one teaching me?
RICHARD
You be the Watcher for a while.
She kisses him.
ISABELLE
Again?
EXT. ROAD - NIGHT
Sanders and Rip lead a team of vampires as they make their
way down the road. The two are on horseback while the others
are struggling to carry bags and trunks as they travel by
foot.
SANDERS
I love a night like this, don't you?
RIP
It's pretty. The moon. The stars.
The gentle breeze.
SANDERS
Are you ever going to get to the
part about us killing a lot of people?
RIP
Oh. Right.
SANDERS
If you're going to leave a small
town, there's really no need to leave
anyone alive, is there?
RIP
You said that earlier.
SANDERS
Did I?
RIP
Right before we killed most of the
people. Remember?
SANDERS
Of course. I hardly think I can be
expected to keep a clear mind on a
night like this.
25.
RIP
The moon is beautiful, isn't it?
SANDERS
Oh, move on already. I was talking
about us going to kill a Slayer. Why
are you so obsessed with the moon?
Are you a werewolf?
RIP
No. I just--
SANDERS
Think about it. We get to kill her.
Drink from her.
RIP
Not drain her.
SANDERS
I know the plan. I made the plan,
remember?
(beat)
She's a very special little girl.
RIP
Full of potential.
SANDERS
I dislike that word. "Potential".
It's clumsy. It's sour. I like words
that roll off the tongue.
RIP
Sorry. I didn't mean to--
Sanders puts up a hand and stops his horse. Rip and the other
vampires stop too.
RIP (CONT'D)
What is it?
Sanders smells the air.
SANDERS
Do you smell that?
Rip smells. He enjoys the smell.
RIP
Flowers. I love the smell of flowers
on a night like this.
SANDERS
My goodness, man! Would you stop
with it, already?!
26.
RIP
Sorry.
SANDERS
I was talking about the other smell.
Rip smells again.
RIP
People?
SANDERS
People.
RIP
So?
SANDERS
Do you see any towns around here?
Rip looks around.
SANDERS (CONT'D)
No. No, there are no towns around
here. Which means...
RIP
Which means that...
SANDERS
You're not following me at all, are
you?
RIP
No. Sorry. I was just trying to go
along with it.
SANDERS
(rolls eyes)
It means that the Slayer and her
little playmate are somewhere nearby.
(beat)
They really didn't travel far, did
they?
EXT. WOODY AREA - NIGHT
Isabelle and Richard are asleep on the ground. All is calm
and peaceful.
There's a SNAP in the bushes. The sound of a twig breaking.
Isabelle's eyes shoot open. She leans up.
Richard opens his eyes.
RICHARD
What is it?
27.
ISABELLE
I heard a noise.
RICHARD
We're outdoors. There are many noises.
Isabelle calms down.
ISABELLE
You're right. I guess my Slayer senses
make me paranoid.
She lays back down.
SANDERS (O.S.)
I wouldn't say that.
Isabelle and Richard both jump to their feet. Isabelle assumes
a fighting stance. Richard doesn't know quite what to do.
Sanders calmly walks out of the bushes in human face. Isabelle
and Richard keep their eyes on him.
SANDERS (CONT'D)
Judging from your poses, I assume
that you're a Slayer, and he's a
Watcher.
RICHARD
Judging from your words, I assume
you're a vampire.
SANDERS
Clever. I like that. Almost makes
one forget about the skirmishes
between our countries.
ISABELLE
You'd have been smart to stay away
from here.
SANDERS
Why is that?
ISABELLE
My people tend to kill your people.
SANDERS
Right. Of course.
(beat)
Let's try this another way. Instead
of you killing me, how about I kill
you?
ISABELLE
Call me old fashioned, but I rather
like the normal way.
28.
SANDERS
Okay. Then how about this?
The other vampires (about ten) emerge from the bushes,
surrounding Isabelle and Richard.
Sanders VAMPS OUT.
SANDERS (CONT'D)
Instead of you killing me, how about
I kill you?
(beat)
Damn. Did I already say that?
Sanders shrugs it off and attacks Isabelle. She spin-kicks
him in the face, sending him to the ground.
The other vampires attack in full force, except for Rip. He
goes to Sanders, to check on him.
SANDERS (CONT'D)
(to Rip)
Forget me, get the girl!
Rip turns around and tries to find a good time to jump into
the fight. The other vampires have Isabelle and Richard
working.
Richard grabs a rock, and starts fighting off vampires. Three
of them go at him. He quickly finds himself overpowered. He
backs himself against a tree and swings his rock. He hits
one of them in the head, but the other two grab him. They
hold him by the arms, and one of them bites his neck.
As Isabelle deals with the other seven vamps, she sees what's
happening.
ISABELLE
Richard!
Isabelle grabs one of her attackers by the arm, and swings
him around. She throws him, hitting four others and knocking
them to the ground.
She tries to move toward Richard, but two others grab her
arms and hold her back as the remaining vampire steps in
front of her. Without taking her focus off of Richard, she
jumps, kicking the vampire in front of her with both legs.
He falls backward. When she lands, she pulls the other two
vamps together, slamming them into each other. They drop.
Isabelle steps over them, and goes to Richard. She kicks one
of the vampires off of him, and grabs the other one. She
throws him back, just in time to knock down the vampires
that are just getting up from the ground.
Richard falls to his knees. Isabelle kneels next to him.
29.
ISABELLE (CONT'D)
Are you alright?
RICHARD
I'll be fine. Go. Fight.
She kisses him on the head, and stands back up. She turns
around and faces the entire group of vampires with a look
that would scare the crap out of any sane being.
Without looking, she reaches over, and grabs the branch of a
nearby tree. She rips it off of the tree and then breaks it
into two conveniently pointed stakes.
Two of the vampires run away, in opposite directions.
Sanders and Rip stand behind the remaining eight. The eight
are now standing in one grouping.
Isabelle closes her eyes and takes a deep, calming breath.
She opens them again, and immediately flips her way into the
center of the vampire grouping. Right as she lands, she stakes
three of the vampires. They TURN TO DUST.
She grabs onto another and uses him as support as she kicks
another out of the way, and then throws her support vamp
onto another, causing both of them to fall to the ground.
ANGLE ON : SANDERS AND RIP
They are still watching.
RIP
We should do something.
SANDERS
Right. We should. You take the left,
and I'll take the right. We'll close
in on her.
Rip nods and heads to the left. Sanders stays put.
ANGLE ON : ISABELLE
She stakes another vampire, which POOFS. As his (or her)
cloud of dust still lingers in the air, Isabelle reaches
through it to stake another vampire that is charging at her.
He also POOFS.
Besides Rip and Sanders, three vampires remain.
As Rip is about to close in on Isabelle, he notices Sanders
slowly start to back away. Rip stops his attack, and keeps
his eye on Sanders.
Isabelle avoids a punch, and recovers with a stake to her
attacker's heart.
30.
The vampire POOFS, taking the stake with it.
The last two vampires attack at once. Isabelle jumps toward
and kicks herself off of a tree, and lands a kick to one of
the vampires' face. The vampire goes down.
While that vampire is out of the way, Isabelle turns her
attention to her other attacker. The vampire grabs her and
slams her into the tree. He punches her in the face. She
doesn't flinch.
As he tries to punch again, she grabs his hand with her free
hand, and stakes him with her other. The stake POOFS with
the vamp.
Isabelle looks back to the last vampire on the ground. She
walks to him. She notices something on his lips.
ANGLE ON : THE VAMP
There is blood on his lips and teeth. Not his own.
Isabelle looks back to Richard, who has his hand on his neck.
She then turns back to the vampire. She grabs him by the
neck and picks him up. She slams him back to the ground, Bam-
Bam style.
He grabs her collar and pulls her down, on top of him. He
tries to bite her, but she won't allow it. She struggles to
get her collar free, but he won't let go.
ANGLE ON : ISABELLE
She looks around for a weapon, and sees Richard's rock nearby.
She grabs it and raises it. With all of her remaining
strength, she smashes the rock as hard as she can into the
vampire's head. Though he is off-screen, we can HEAR THE
POOF.
Isabelle falls to the ground, no longer having the vampire
under her.
She stays there for a moment, and then looks around.
ISABELLE'S POV
The camp is empty, save for herself and Richard. Sanders and
Rip are both gone.
Isabelle goes back to Richard and helps him up.
ISABELLE
Are you okay?
RICHARD
I'm not bleeding as much as I thought
one would in this situation.
31.
ISABELLE
That's good. I have bandages in the
wagon. Let's get to it.
They walk to the wagon, which is parked just outside of their
camp area. Isabelle climbs onto it, and starts looking through
her bags.
Richard pulls himself onto the back of the wagon, and rests
for a moment. As he rests, he looks around the dark woods.
After a moment, he notices something, hidden in the bushes.
He hops off the wagon (not in a drunk way).
ISABELLE (CONT'D)
Where are you going?
RICHARD
I think I see something.
Richard goes into the bushes and finds what he's looking
for. It's one of the trunks that the vampires were carrying.
He drags it back to the wagon. It's hard to tell if he has
to drag it because it's heavy, or he's weak at the moment.
Either way, it's a struggle.
He gets back to the wagon, just as Isabelle is hopping down,
with bandages in her hand.
ISABELLE
Let me bandage your neck.
RICHARD
One moment.
Richard tries to open the trunk, but it's locked. He looks
to Isabelle.
RICHARD (CONT'D)
Could you?
ISABELLE
(beat)
Fine. But then I'm bandaging your
neck before you bleed to death.
She bends down and breaks the lock off of the trunk.
RICHARD
Thank you.
Richard opens the trunk. As he and Isabelle see the contents,
both of their jaws drop.
ISABELLE
Is that...?
32.
RICHARD
Yes.
ANGLE ON : THE TRUNK
It's filled with money, jewelry, and various silver and gold
objects.
FADE TO BLACK:
END OF ACT TWO
33.
ACT THREE
FADE IN:
EXT. SMALL TOWN - DAY
By small town, I mean that it's pretty much a store and the
framework for what will eventually be a town hall. It's a
cloudy, rainy day.
Isabelle walks down the dirt road, by herself. She's looking
around the place.
A man, WALTER (40's rugged type) comes up to her.
WALTER
Excuse me, ma'am?
Isabelle turns to him.
ISABELLE
Yes?
WALTER
I noticed that you were out here by
yourself, and seeing as how you don't
look familiar, I was wondering if
you were lost.
ISABELLE
(smiles)
No. I'm just taking a walk. I'm going
to meet my husband soon. We're staying
at the Crane house.
WALTER
I know the Cranes. Nice people.
ISABELLE
Yes, they are.
(beat)
I love this area. It's beautiful.
WALTER
We like to think so. That's why we
decided to settle here.
ISABELLE
How many families are there?
WALTER
Only about ten, so far. Small ones,
mostly. There's an artist lady too.
She lives alone. That's why it's
taken us so long to build a town
hall.
34.
ISABELLE
Nobody to work on it?
WALTER
Nobody to fund it.
ISABELLE
That's a shame. I'm sure the town
will grow though.
WALTER
Hope so.
Richard walks out of the store and over to where Isabelle
and Walter are talking. His neck is healed by now.
RICHARD
Hello.
ISABELLE
Richard, I'd like you to meet a new
friend of mine.
(beat)
I don't think I caught your name.
WALTER
Walter. Walter Gimly.
Richard shakes Walter's hand.
RICHARD
It's good to meet you, Walter.
WALTER
You too.
RICHARD
(to Isabelle)
We really should get back to the
house. I have something to tell you.
ISABELLE
Of course.
(to Walter)
It was nice to meet you, Walter.
Walter nods. Richard and Isabelle walk away. Richard notices
the way Isabelle is looking at the area.
RICHARD
You like it here, don't you?
ISABELLE
I do. Much more than the desert. I
feel at home here, and I don't even
know the name of the town.
35.
RICHARD
Bear River.
ISABELLE
Oh.
RICHARD
It was named after a local legend.
As they walk, Isabelle watches the area near town hall.
ANGLE ON : TOWN HALL
In front of the hall, a HOODED WOMAN is carrying rods of
iron.
Richard notices the woman too.
RICHARD (CONT'D)
That must be the artist that I was
told about in the store.
ISABELLE
The one that lives alone.
(beat)
I wonder what those rods are for.
RICHARD
The store clerk told me that she's
making a lightning rod for the town
hall. It's supposed to be a very
beautiful design.
ISABELLE
I hear that they're having trouble
funding the town hall construction.
RICHARD
That's a shame.
INT. CRANE HOUSE - DAY
Isabelle and Richard walk into the house. It's small, but
cozy.
LUCY CRANE (30's, homely) walks in from the kitchen, holding
a BABY.
LUCY
Hello, Ackers.
ISABELLE
Hello, Mrs. Crane.
LUCY
I've told you to call me Lucy.
(MORE)
36.
LUCY (CONT'D)
(then)
Will you be joining us for dinner?
RICHARD
We wouldn't miss it.
LUCY
Lovely. It'll be ready in about an
hour. Now, if you'll excuse me, I've
got to put little Megan down for her
nap.
As Lucy walks past Richard and Isabelle, Isabelle smiles and
waves at the baby.
RICHARD
Shall we sit?
ISABELLE
We shall.
They go to a sitting area and take seats.
ISABELLE (CONT'D)
So, what was it that you wanted to
tell me?
RICHARD
Well, while I was at the store
earlier, I made a purchase.
ISABELLE
I hardly think that's news, dear.
RICHARD
What I mean to say is... For a while
now, I've been thinking about our
chances of settling down. After seeing
how much you loved Mrs. Haverty's
house, I haven't been able to think
of much else, actually. And then we
found a rather large sum of money.
(beat)
What I mean to say is, I've purchased
a plot of land.
ISABELLE
Are you serious?
RICHARD
I am. I've decided that we've run
long enough. We can't keep running
forever, and this is as good a place
as any to settle down.
A smile forms on Isabelle's lips and just keeps growing.
37.
ISABELLE
We have a home?
RICHARD
We will once it's built. At the
moment, there's only a small shack
on the property. I imagine that our
newfound wealth should make it
possible to build quite an impressive
home.
Isabelle jumps on top of Richard and hugs him. They both
laugh.
ISABELLE
We're home!
RICHARD
Yes.
(beat)
I should tell you that I've also
managed to be talked into making a
donation to our future town hall.
ISABELLE
We have a town hall!
RICHARD
(smiles)
Yes.
EXT. OLD BEAR RIVER STREET - DAY
Another two buildings have been added to the street (though
they're just being built now). The town hall has been
finished, and now stands proudly.
Isabelle and Richard walk down the street, holding onto each
other. Isabelle is glowing.
ISABELLE
Is today really the day?
RICHARD
You don't think we've waited long
enough?
ISABELLE
I never said that. It's just hard to
believe that our house is finally
ready.
(beat)
And even harder to believe that I
haven't even been inside yet.
RICHARD
I wanted it to be a surprise.
38.
ISABELLE
It was surprise enough when I saw
the outside. Do we really need a
house that big?
RICHARD
We must think about the future.
Children. Social gatherings.
ISABELLE
I hear that Walter plays the fiddle.
RICHARD
Violin.
ISABELLE
We aren't going to have this
discussion again, are we?
RICHARD
There wouldn't be enough time. We
have a new house to explore.
INT. BUFFY'S HOUSE - LIVING ROOM - DAY
Same house, different look. Some furniture is the same, but
the walls are a different color.
Isabelle walks into the house, her eyes covered by Richard's
hand.
RICHARD
Are you ready?
ISABELLE
I'm ready.
RICHARD
Then take a look at your new home.
He removes his hand. She looks around the place, and tears
come to her eyes.
ISABELLE
I can't believe this is mine. It's
beautiful.
Richard smiles. He likes that she likes it.
RICHARD
There's more to see. The kitchen.
The upstairs.
ISABELLE
I'd be happy if it was just this one
room.
39.
RICHARD
Yes, well... Let's not tell the
builders that, shall we?
Isabelle turns and sees the dining room.
ISABELLE
A dining room?
RICHARD
Of course. For our dinner parties.
ISABELLE
Just think, Richard. Someday, we
might be sitting at that very table
with our children and grandchildren,
eating Christmas dinner and laughing.
RICHARD
Or fighting.
ISABELLE
Either way. This house is our future.
She looks him in the eyes.
ISABELLE (CONT'D)
Thank you.
Richard smiles at her.
RICHARD
I want to show you something.
ISABELLE
What is it?
RICHARD
It took a long time to assemble, but
I finally got everything shipped
here.
He takes her hand and walks up the stairs.
RICHARD (CONT'D)
Well, almost everything. The
centerpiece of the room hasn't arrived
yet, but I expect it shortly.
EXT. OLD BEAR RIVER STREET - NIGHT
The street is quiet now. Not a person in sight.
Sanders and Rip walk up the road, looking around. Rip carries
a bag on his shoulder.
40.
RIP
Are we sure about this?
SANDERS
We've waited months for this.
RIP
I know, but do you remember what she
did to the others?
SANDERS
Actually, no. I was busy running,
but I get your meaning. She's a
Slayer, and they're not usually easy
to kill.
RIP
So, maybe we shouldn't.
SANDERS
They're not easy to kill, but it
happens. Usually when they're young.
This fact leads me to believe that I
have as much chance as anyone.
RIP
But--
SANDERS
Enough!
Sanders stops walking and grabs Rip by the jacket.
SANDERS (CONT'D)
I have worked months to find the
Amulet of Morel Divineh. I will not
stop until I've put it to good use.
Sanders pulls an amulet out of his pocket and holds it up.
It's an intricately formed metal amulet, that's actually
quite nice to look at. He looks closely at the amulet.
SANDERS (CONT'D)
Do you see this, Rip?
Rip nods.
SANDERS (CONT'D)
It's so beautiful, isn't it?
He puts the amulet back into his pocket.
SANDERS (CONT'D)
It'd be a shame to let such a pretty
piece of metal go to waste.
(MORE)
41.
SANDERS (CONT'D)
(beat)
That's why we must find the Slayer,
and do our jobs. The benifits are
well worth the risk, wouldn't you
agree?
Rip nods again.
SANDERS (CONT'D)
Good. Then let's go kill that Slayer.
Sanders lets go of Rip and they start walking again.
FADE TO BLACK:
END OF ACT THREE
42.
ACT FOUR
FADE IN:
INT. BUFFY'S HOUSE - DINING ROOM - NIGHT
Still the past version of the room.
Isabelle and Richard are hosting TEN GUESTS for dinner.
Walter, and his wife, EMILY are there. As is Lucy, and her
husband, THOMAS.
Richard sits at the head of the table, raising his glass of
wine for a toast.
RICHARD
Dear friends, I thank you all for
coming tonight. In the months since
Isabelle and I arrived in Bear River,
you have all helped to make it a
home to us. We thank you for that.
Isabelle nods and raises her glass a bit higher.
RICHARD (CONT'D)
I would also like to thank my dear
wife for giving me a home. No matter
where we traveled, or where we slept,
I was always home when I was with
her. I'm happy to finally give that
feeling back to her.
The guests all raise their glasses and take sips. Richard
sips as he sits.
LUCY
Lovely toast, Richard.
THOMAS
Indeed.
RICHARD
Thank you.
Isabelle takes hold of Richard's hand. He looks over at her,
and they exchange looks of joy. They've come a long way.
WALTER
So where's the artist woman? I was
sure she'd be here tonight. I've
seen you speaking with her several
times, Richard.
ISABELLE
Really? Should I be jealous?
43.
RICHARD
Nothing to worry about, my dear.
I've simply taken an interest in her
work.
EMILY
Why do you call her "the artist
woman"? Don't you know her name?
WALTER
She keeps to herself, for the most
part. I don't actually know that
I've ever heard it.
ISABELLE
Have you, Richard?
RICHARD
You act as though you haven't spoken
with her too.
LUCY
Have you, Isabelle?
ISABELLE
Yes. She's a lovely young woman,
once you get her into a conversation.
A task which, I admit, isn't the
easiest to accomplish. She's traveled
nearly as much as we have.
EMILY
So, what's her name?
WALTER
Aren't artists supposed to enjoy
hearing other people talking about
them?
RICHARD
I think she also enjoys the level of
anonymity that she's been able to
keep.
ISABELLE
Something I think we can understand.
(off the puzzled looks
of her guests)
To some degree.
EMILY
Are you going to tell us?
Richard thinks about it for a moment.
44.
RICHARD
No. I don't believe I will. For two
reasons. First, I think that this
is something that should be left up
to the artist herself.
(he grins)
And the second reason is that I rather
enjoy seeing you all so puzzled over
a secret that I am in on.
LUCY
You're horrible.
(to Isabelle)
Did you know that he was so horrible
when you married him?
ISABELLE
Know? It was why I married him.
Everyone chuckles.
RICHARD
I think that now might be a good
time to reveal why I've been speaking
to the artist.
Richard stands up and goes into the kitchen.
ISABELLE
He's just been full of surprises
lately. Last month, he gave me a
silver cross with our initials
inscribed.
LUCY
I wonder what he's got up his sleeve.
Richard comes back into the room with a wooden box. He sets
it on the table and opens it. From the box, he reveals a
lovely iron door knocker.
RICHARD
It was a housewarming gift.
Isabelle hasn't seen this before.
EMILY
It's beautiful.
ISABELLE
Did she make this?
RICHARD
Yes.
45.
ISABELLE
I'll have to thank her when I get
the chance.
RICHARD
She regrets not being able to come
tonight, but she's very busy, working
on her latest creation.
Isabelle takes the door knocker in her own hands and looks
it over.
WALTER
Isn't that heavy?
Isabelle looks up. She lets the door knocker drop a little,
acting as though she's having trouble holding it.
ISABELLE
Quite heavy. Richard, would you take
it?
RICHARD
Of course.
Richard takes it, and puts it back in the box. Isabelle turns
back to her friends.
ISABELLE
Shall we have more wine?
Before anyone can respond, there's a KNOCK at the front door.
Isabelle and Richard look at each other.
ISABELLE (CONT'D)
I wonder who that could be.
EMILY
Perhaps your artist friend has come
to join us after all.
ISABELLE
I'll get it.
Isabelle gets up and goes to the front door.
EXT. BUFFY'S HOUSE - FRONT PORCH/LAWN - NIGHT
Isabelle opens the door and looks around. Nobody is standing
at the door.
ISABELLE
Hello?
RICHARD (O.S.)
Isabelle, who is it?
46.
ISABELLE
(calling back)
I'm not sure. Nobody's here.
VOICE (O.S.)
(whispered)
Help me. Please.
Isabelle hears the voice, and doesn't know what to think.
She steps out, onto the porch.
ISABELLE
Is somebody out here?
Hearing no response, she starts to head back into the house.
VOICE (O.S.)
Please. I've been attacked.
Isabelle turns and looks onto the lawn.
ISABELLE
Who's out there?
She walks down the steps, onto the lawn and starts to look
around.
Richard walks to the door and looks down at her.
RICHARD
Isabelle, who is it?
ISABELLE
I don't know. I heard a voice, but I
can't find anyone.
RICHARD
Come back inside.
Isabelle starts to walk toward the house, but suddenly stops.
A look of realization fills her face.
ISABELLE
Oh, God.
RICHARD
What is it?
She starts to turn around again, but before she makes it all
the way, an ARROW SHOOTS THROUGH HER CHEST. Her eyes widen
as she looks down at it.
After realizing what's happened, her eyes drift back up to
Richard, who is standing in the doorway, unable to process
what just happened.
47.
Isabelle drops to her knees, never taking her eyes from
Richard.
ISABELLE
(pained whisper)
Richard.
Richard finally starts to snap out of his daze.
RICHARD
Isabelle? No. Please, God, don't do
this to me.
He rushes down the steps, and drops to his knees next to
her. They lock eyes.
RICHARD (CONT'D)
You're going to be alright. I'll
make you better.
She weakly shakes her head.
ISABELLE
I'm not going to be alright.
Richard starts to cry.
RICHARD
Don't say that. You'll be fine. You'll
be back on your feet by next week.
She puts a hand on his cheek, as her own eyes begin to tear
up.
ISABELLE
No.
RICHARD
You can't die, Isabelle. I won't
allow it.
She smiles.
ISABELLE
I don't think we have a choice.
She coughs, causing blood to drip from her mouth. Richard
cries harder.
RICHARD
Please don't do this to me. Please.
ISABELLE
I'll never leave you.
Richard kisses her one last time. As he does, Isabelle goes
limp.
48.
ANGLE ON : BUFFY AND ISABELLE
Now standing behind Richard, watching him cry over Isabelle's
body. THIS ISABELLE IS TRANSPARENT, along with Buffy.
BUFFY
You died.
ISABELLE
It happens to the best of us.
(beat)
I couldn't keep my promise.
Behind them, Lucy appears at the door. She sees Richard and
Isabelle's body in the yard.
LUCY
Richard? What's happened?
Richard can't respond. Lucy realizes what's happened and
starts to cry. Soon, the porch fills with the other guests.
After they see what's happened, some of them rush to Richard's
side.
BUFFY
Which promise?
Isabelle walks around her own dead body to look at Richard.
ISABELLE
I haven't seen him since this
happened.
BUFFY
Why?
Isabelle doesn't respond.
BUFFY (CONT'D)
Isabelle, what happened?
Isabelle looks up at Buffy, and then looks past her. Buffy
turns around.
BUFFY's POV
Sanders stands just off the lawn, watching everything happen.
He is in VAMP FACE, holding a crossbow.
Richard looks up and sees the familiar vampire and stands
up.
The vampire walk away.
Richard begins to walk in Sanders' direction.
49.
WALTER
Richard? Where are you going?
Walter tries to grab Richard's arm, but Richard won't be
stopped.
EMILY
Who did this to her?
EXT. STREET - NIGHT
Richard walks down the street by himself. Isabelle's blood
is still on his hands. He leaves all signs of people behind
and finds himself by an empty field.
SANDERS (O.S.)
What do you think you're going to
do? Avenge her death?
Richard stops and turns toward the field. Sanders is waiting
for him there.
RICHARD
I plan to shove a piece of wood
through your chest.
SANDERS
Brave words from such an English
man.
(beat)
I met a man like you once. During
the war.
Sanders starts to walk toward Richard.
SANDERS (CONT'D)
I'd become a vampire, and he was an
English soldier. He did manage to
stab me with a knife, right before I
bit out a chunk of his neck.
(beat)
I was new. I didn't know that the
"chunk" method actually made the
blood flow less. Still, I like to
think that I did my part to win the
war for my country.
Sanders gets near Richard.
SANDERS (CONT'D)
I should get a medal, don't you think?
As long as it's not any kind of cross.
That might ruin my celebration.
Richard punches Sanders. Sanders ROARS and returns the
gesture. Richard falls to the ground.
50.
RICHARD
You will not walk away from this.
SANDERS
Do you think you have the power to
stop me?
Sanders walks to Richard and kicks him in the stomach. He
bends down and picks Richard up by the collar and begins
beating Richard's face.
He finally drops Richard, who falls to the ground, bloody.
SANDERS (CONT'D)
You know what's funny?
Sanders kicks Richard in the gut.
SANDERS (CONT'D)
Well, that. But something else too.
(beat)
The sound of the arrow as it pierced
your little wife's heart. Kind of a
squishing sound, but not really.
Maybe it was more of a "splat".
Richard starts breathing heavy. The rage is building.
SANDERS (CONT'D)
And then she falls to her knees and
tries to talk as all of that sweet
blood poured from her mouth. Was I
the only one who just wanted to give
her a big kiss?
(beat)
Don't worry though. We have plans
for your wife. As we speak, my friend
is taking her body. We're going to
do all kinds of fun things with it.
Sanders pats his pocket.
SANDERS (CONT'D)
You- on the other hand- we really
don't need at all.
Sanders bends down and extends a hand to Richard. Richard
doesn't take it. Sanders shrugs and punches Richard in the
face again.
SANDERS (CONT'D)
I think I'll kill you and then pay
your corpse- oops, I mean "wife" a
visit.
Sanders leans down close to Richard's face.
51.
SANDERS (CONT'D)
How does that sound?
Richard takes the opportunity. He punches Sanders in the
face and then leaps to his feet.
SANDERS (CONT'D)
Wow. You Watchers really do know how
to fight. Here, I always thought you
just pointed at something and the
Slayer killed it.
Richard goes to Sanders and throws a punch. Sanders blocks
it.
SANDERS (CONT'D)
I'm still faster than you.
Richard tries to throw another punch, but it's blocked again.
He throws one with his other fist. Sanders moves to block
again, but Richard grabs his arm and twists it. An attempt
to flip Sanders to the ground.
Instead, Sanders uses his strength to flip Richard to the
ground.
SANDERS (CONT'D)
Stronger too.
From the ground, Richard kicks Sanders in the face. Sanders
stumbles back. Richard gets back to his feet and goes to
Sanders. He punches Sanders in the face. As he tries to knee
Sanders in the gut, Sanders blocks him.
SANDERS (CONT'D)
I'll only allow so much.
Without warning, Richard kicks Sanders' legs out from under
him. Sanders falls to the ground.
ANGLE ON : SANDER'S POCKET
The amulet falls out.
Richard goes to Sanders and kicks him in the face. Sanders
grabs Richard's leg and tries to pull him down. Richard fights
with everything he has to stay standing, but it's pointless.
Sanders pulls him down and begins beating on him again.
SANDERS (CONT'D)
This...
(punch)
wears...
(punch)
thin.
52.
Richard seems out of it now. His face is even bloodier than
before. His eyebrow is split open, as are his lips. He is in
bad shape. His head is limp, but his eyes are open. He's
looking at something on the ground. The amulet.
SANDERS (CONT'D)
I think I'll just kill you now, before
any more of that blood is wasted.
Sanders moves to bite Richard's neck. As he does, Richard
pulls a small, wooden cross from his pocket and presses it
against Sanders' eye. Sanders leaps back, yelling with pain.
Richard quickly stumbles to his feet, grabs the amulet and
runs off.
Sanders gathers all of his strength to open his eyes and
sees that Richard is gone. He ROARS and looks around. Not
seeing Richard, he just starts running back toward the street.
EXT. OLD BEAR RIVER STREET - NIGHT
Richard runs up to one of the store buildings, and tries to
open the door. It's locked. He moves around to the side of
the building and looks at the amulet. He doesn't know what
it is, but he knows that Sanders will want it back.
He looks around the town for some way to win this. Finally,
he sees something.
ANGLE ON : THE ARTIST
She is once again hooded, and walking down the street. Richard
looks back, to see if any vampires are in sight, and then
runs toward the artist. He gets to her and cuts off her path.
RICHARD
I need your help. Take this.
He shoves the amulet into her hand.
ARTIST
Richard?
RICHARD
Listen to me. We don't have time to
talk. I need you to take this and
get out of here now. Hide it. Make
sure that nobody ever finds it.
ARTIST
But--
RICHARD
Do it. I don't have time to explain.
53.
The artist nods and takes the amulet. She quickly rushes off
with it.
Once she's gone, Richard looks around, waiting for his
attacker. He wipes blood from his brow, and looks at his
hand. He has a plan.
EXT. WOODED PATH/CLIFF - NIGHT
Sanders walks along the path, smelling the air.
SANDERS
I can smell your blood, Watcher. I
know where you are, and I know that
you have my amulet. I want it back.
Sanders comes to a clearing. He sees Richard standing on the
cliff's edge, holding something in his hand (not the amulet,
obviously, but a rock that's about the same size).
SANDERS (CONT'D)
You don't want to do that.
RICHARD
Don't I?
SANDERS
I need that amulet back.
(beat)
You wouldn't want your wife's death
to be for nothing, would you?
RICHARD
As opposed to her being used in
whatever plan you have? I won't allow
it.
SANDERS
Think about it. Her hair. Her eyes.
Her sweet smell.
Richard closes his eyes, emotions rushing back to him.
SANDERS (CONT'D)
Her smile. Her laugh. Think of all
of the plans that you made with her.
Do you want all of that to be for
nothing?
Richard opens his eyes. They are once again filled with tears.
RICHARD
(softly)
You took her from me. I won't let
you use her.
54.
Richard turns to the cliff, and looks at the water below. He
closes his eyes again.
RICHARD (CONT'D)
I love you.
With that, he lets go of the rock.
SANDERS
No!
Sanders runs toward the cliff. He stops, just short of it,
and looks at Richard. He wants to kill Richard badly, but he
doesn't have time.
SANDERS (CONT'D)
This just isn't going to be fun at
all.
He dives off of the cliff, after what he believes to be his
amulet.
Richard watches him until he hits the water, and then slowly
walks away from the cliff and out of the shot.
ANGLE ON : BUFFY AND ISABELLE
Now near the cliff, watching Richard walk away.
ISABELLE
(blank expression)
Richard went back and found my body.
He buried it in the woods.
(beat)
He killed himself two days later.
BUFFY
I'm sorry.
ISABELLE
How could he do that?
BUFFY
I'm sure that he missed you. He wanted
to be with you.
ISABELLE
It didn't help.
BUFFY
People don't always make the right
decisions when they're in pain. They
don't care about the cost.
ISABELLE
It cost us eternity.
55.
Isabelle walks away from the cliff, leaving Buffy alone.
Buffy doesn't know what else to say.
INT. BUFFY'S HOUSE - BUFFY'S ROOM - NIGHT
Buffy's eyes shoot open. She is back in her room, in the
present.
She doesn't move for a few seconds as she lets her dream
process. Slowly, she sits up. She sits on her bed for another
few seconds, mourning for a couple that she never really
knew.
Finally, she stands up and slowly walks out of her room.
INT. BUFFY'S HOUSE - UPSTAIRS HALLWAY - CONTINUOUS - NIGHT
Buffy walks to the empty wall, next to the attic doorway.
She puts her hand on the molding that runs along the wall
and presses down on it.
A piece of the wall moves back, revealing itself to be a
doorway. Buffy looks at it for a moment, and then walks
through it.
INT. BUFFY'S HOUSE - HIDDEN ROOM - CONTINUOUS - NIGHT
Buffy walks into the dark room. She feels around for a light
switch, and finally finds it. She turns the lights on,
revealing the room to her.
BUFFY'S POV
The room is filled with weapons. Stakes, knives, swords,
axes, staffs, crossbows, holy water, crosses... everything
that a Slayer could need. They hang on the walls, and fill
cabinets (dusty, of course).
There is one part of the room that is free of weapons. A
table, in the center of the room, which has an empty, wooden
sword stand on it. The centerpiece of the room, which never
arrived, was to be placed here.
Buffy takes in the sight of the room, feeling the spirits of
those that came before her.
FADE TO BLACK:
END OF SHOW
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