PDF Print E-mail
Séptima Temporada - 7X21 End of Days

 

7X21 End Of Days

Written By:Jane Espenson  and  Douglas Petrie



Prologue

SUNNYDALE STORM SEWERS
FAITH stands over the wooden box and smashes the padlock off with her
boot. She kneels before it and swings the lid open to reveal… several
hundred pounds of plastic explosive connected to a detonator and timing
device. The timer counts down:
FAITH
(screams)
Everybody get down!
Faith dives into the murky sewer water just as the bomb explodes with a
tremendous fireball. The pressure wave tosses the girls around like
matchsticks.
CUT TO: SHADOW VALLEY VINEYARD— CAVERN— NIGHT 2
As BUFFY stares at the ancient weapon embedded in the rock, the
trapdoor above slams open and CALEB stalks down the stairs.
CALEB
So… you found it. Not impressed. ’Cause the question
now, girly-girl, is can you pry it from solid rock before I
come over there and—
Buffy reaches out and casually lifts the axe. It pops free without any effort
at all. She holds it up and turns toward Caleb who stops in his tracks, for
the first time uncertain and fearful.
CALEB
Darn…
Opening credit sequence.

 
Part 1

SHADOW VALLEY VINEYARD— CAVERN
Resume. While Buffy calmly examines the weapon, Caleb holds out his
hand for it, his false bravado a cover for his fear.
CALEB
Now before you go hurtin’ yourself with that thing, why
don’t you do yourself a courtesy and hand it over now?
BUFFY
Yeah? You want it?
She flips the weapon around and readies it for action. Caleb takes a step
back as she advances on him.
CALEB
You don’t even know what you got there.
BUFFY
I know you’re backing away.
CALEB
You think wieldin’ some two-sided doo-dad’s gonna make
a difference?
THE FIRST appears next to Caleb as Buffy. She speaks to Caleb but stares
hatefully at Buffy.
THE FIRST/BUFFY
Let her go, Caleb.
He hesitates, clearly not liking the idea.
THE FIRST/BUFFY
I said, let her go.
CALEB
If I let her go, she slices me open with that thing.
Buffy watches the exchange, disconcerted at seeing The First as a mirrorimage
of herself.
THE FIRST/BUFFY
No, she doesn’t. She hasn’t got time. She has friends and
her friends are in trouble. (to Buffy) Faith go boom.
CALEB
I’m not lettin’ her out of here with that thing.
THE FIRST/BUFFY
Sure you are. Then you’ll come back for it later… when
she’s got her back turned.
Caleb stands aside and Buffy seizes the moment, running up the stairs and
leaping out the trapdoor into the winery above.
CUT TO: SUNNYDALE SEWERS— NIGHT 4
The underground chamber is in shambles. Portions of the tunnel have
caved in, fires burn intermittently all over, scorched debris covers
everything.
AMANDA struggles to her feet, finds a flashlight lying nearby and searches
the rubble for the others.
AMANDA
Hey! Hey, Faith! Anybody! Is anybody here?
CARIDAD
(o.s.; coughs)
Me!
Amanda turns around to find CARIDAD limping toward her.
AMANDA
Is anybody else alive?
CARIDAD
Hello? Anyone?
VI
(o.s.)
I’m… I’m here!
The two girls find VI and help her to her feet
CARIDAD
Who else we got?
VI
Don’t know.
AMANDA
You okay?
VI
I think my arm is broken.
As they help her along, their flashlight beams pick out other girls lying in
the wreckage. Some injured, some dead.
VI
I guess I’m lucky.
KENNEDY staggers out of the smoke, dazed and battered.
KENNEDY
Where’s Faith?
VI
I don’t know.
KENNEDY
Find her.
An electrical junction explodes nearby, showering them with sparks.
CARIDAD
Maybe we should get the hell out of this place. They
could—
KENNEDY
Find her!
The four of them look across the chamber where several other potentials
are pulling Faith out of the brackish water. She hangs limply in their arms.
VI
Oh, god!
Kennedy runs over to them.
KENNEDY
Is she alive?
POTENTIAL
Breathing, weak pulse.
KENNEDY
We gotta get her out of here!
CARIDAD
Which way is out?
AMANDA
There’s other girls. There’s more than Faith! We don’t even
know how many of us are still…
A deep-throated menacing growl echoes through the tunnels from
somewhere not-too-distant.
AMANDA
…alive.
CARIDAD
What was that?
VI
I could have been grinding metal, it could have been—
KENNEDY
No. It was one of them.
CARIDAD
That’s not possible!
AMANDA
How’d it get in here?
Kennedy and another potential pull Faith up and support her between
them.
VI
Plan?
KENNEDY
Run!
With Kennedy leading the way, the group of about 10 girls runs off down
the shattered tunnel. They all round a bend to find the way blocked by a
caved-in wall of rocks and debris.
CARIDAD
Oh, no… it’s blocked!
VI
Oh, my god!
AMANDA
I told you this wasn’t the way.
KENNEDY
Cut the chatter! Up and over, wounded first! Let’s go!
The girls climb the debris pile and crawl down the other side, lifting Faith
over and easing her down gently. Soon all the girls are over, with Vi
bringing up the rear. As she swings her legs over the top and starts down,
a Turok-han vampire suddenly leaps to the top of the rubble, its snarling
fangs inches from her neck. Kennedy yanks her down and away from the
feral creature.
KENNEDY
Group together! Form a circle. Nobody panic. It’s all of us,
one of him. We can take one of these things.
The girls surround Kennedy in an arc, weapons raised, faced-off against
the Turok-han.
Unnoticed on the stairs behind them, a second Turok-han appears and
stalks toward them.
CUT TO: SUMMERS HOME— DINING ROOM— DAY 5
ANDREW dumps a bag full of cookies, crackers and other assorted snacks
on the table and a half-dozen potentials grab eagerly for them.
ANDREW
It was pretty amazing. A whole grocery store, just
abandoned. Food lying around everywhere… well, the
produce was on its way to funky town but… the apples
still look pretty good so everyone should check those out.
GILES enters and snatches a package of pastries off the table.
GILES
Oh, Jaffa Cakes!
He rips them open and eats one, a look of pure pleasure on his face, as the
door opens and XANDER, WILLOW, DAWN and ANYA enter.
GILES
Did you find Buffy?
XANDER
No.
ANDREW
But you did that spell with the little lights… the locator.
ANYA
It crapped out on us, though.
DAWN
No, it didn’t exactly.
WILLOW
It just took us to an empty house. She must have moved
on already.
GILES
I’m afraid we have slightly worse news here. Faith hasn’t
returned with the other girls. Something’s gone wrong.
ANDREW
I’ve been here keeping morale up. ’Cause that’s important.
WILLOW
We have to go to her.
XANDER
(resigned)
I guess so.
ANDREW
Yes, I’ll stay here and keep working on that morale thing.
CUT TO: SUNNYDALE STORM SEWERS— DAY 6
Kennedy and the other girls keep a wary eye on the Turok-han in front of
them, braced and ready to fight.
KENNEDY
Remember the training. Everybody… get ready.
The Turok-han in front her charges and she moves to meet it head-on. But
the other Turok-han leaps off the stairs and tackles her from behind,
scattering the other girls. Kennedy flips the creature over her back and
backpedals, terrified.
AMANDA
There’s another one!
KENNEDY
Move, move, move! Up and over!
AMANDA
Not that one! That one!
She turns her flashlight on a third Turok-han dropping down a metal
ladder from above. The beast snarls and seizes one of the girls, throwing
her to the ground. The three Turok-hans all leap on the hapless girl, their
claws slashing, tearing her to pieces.
CARIDAD
Weapons! Over there!
Kennedy grabs a lance tipped with a curved blade and turns to attack the
feral vampires with it. One of the creatures breaks off from slaughtering
the girl and charges Kennedy as she swings the blade over and down. It’s
clawed hand stops the lance and snaps it in two, it’s other hand shooting
out to seize her by the throat and lift her off the ground.
As Kennedy gasps, choking to death, a chunk of the ceiling suddenly
breaks free and crashes to the floor. The Turok-han drops Kennedy and
turns to face Buffy as she drops down from above, her new bladed
weapon held at the ready.
As the three vampires charge her, she spins, her moves almost ballet-like
as the blade bites into their flesh. She decapitates one and stabs another
through the heart with the pointed wooden end of the shaft. Both
instantly disintegrate into ash. The third grabs her from behind but she
flips up and over, then brings her blade around in an arc, slicing through
its throat. As the dust dissipates, Buffy turns to Kennedy who holds her
wounded throat, gasping.
BUFFY
Get the wounded. We’re leaving.
KENNEDY
Are there more?
BUFFY
There’s always more. Let’s move.

 
Part 2

SUMMERS HOME— LIVING ROOM— DAY 7
Injured girls lie everywhere on the floor. Buffy, Anya, Dawn, Willow and
the others help treat them with what limited supplies they have.
BUFFY
Will, come here. She’s losing a lot of blood.
WILLOW
Got it.
Buffy sees Giles and Xander carrying Faith in through the front door and
runs over to them.
BUFFY
The room upstairs is ready for her.
GILES
Good.
XANDER
I hope we’re in time.
AMANDA
Is she okay? Is she gonna be okay?
KENNEDY
I’m sure she’ll be fine. (to Buffy) Right?
XANDER
(to Giles)
Careful!
GILES
Just mind her head.
BUFFY
I’ll be up in a second.
Buffy heads back into the living room for bandages.
KENNEDY
You guys heal fast, right? You Slayers?
BUFFY
(distracted)
Yeah.
KENNEDY
So she’ll be okay?
BUFFY
I don’t know.
CARIDAD
What’s with the axe thing?
Buffy hefts the weapon, holding it up for them to see.
BUFFY
I took it from Caleb. It might be important.
VI
Let’s hope!
AMANDA
I think we got punished.
BUFFY
(confused)
What?
KENNEDY
We… we followed her. And it was—
VI
It didn’t work out.
BUFFY
You guys, it was a trap. It’s not her fault. That could have
just as easily happened to me.
CARIDAD
So are you… are you like back?
Buffy shakes her head, weary, as she heads upstairs.
BUFFY
I don’t know. I guess I’m not leaving.
KENNEDY
So we got a plan now or anything?
BUFFY
Yeah, there’s a plan. Get ready. Times up.
Kennedy and Amanda stare after Buffy as she disappears up the stairs.
AMANDA
I still think we got punished.
CUT TO: SUMMERS HOME— BUFFY’S ROOM— DAY 8
Buffy enters to find Faith on the bed, Xander and Giles sitting on either
side of her, with several potentials looking on.
XANDER
Is she breathing okay?
GILES
(nods)
Still unconscious, though.
BUFFY
We’ve still got work to do.
CUT TO: SUMMERS HOME— WILLOW’S ROOM— DAY 9
Giles holds the weapon up, examining it closely, fascinated by it.
BUFFY
I think it’s maybe some kind of scythe. The only thing I
know for sure is that it made Caleb back off in a hurry.
WILLOW
(jokes)
So it’s true. Scythe matters.
She pokes him playfully and shares a smirk with Buffy.
GILES
And ignoring that, I’d just like to point out that this is
really quite ingenious.
He takes a few practice swings with the weapon, clearly delighted by it.
BUFFY
Kills strong bodies three ways.
WILLOW
And you say you sense something when you hold it?
BUFFY
Not much but it’s strong. And I knew it belonged to me. I
just knew it.
GILES
In addition to being ancient, it’s clearly mystical.
BUFFY
Yeah, I figured that one out when I King Arthured it out of
the stone.
WILLOW
So maybe it’s like some kind of traditional Slayer weapon.
GILES
I can’t imagine how something like this could exist without
my having heard of it.
BUFFY
Well, the good guys aren’t traditionally known for their
communication skills.
Giles catches Buffy’s look and gives her a nod of understanding.
GILES
Right. Any chance that it might be something other than a
tool for killing things?
BUFFY
Well, The First’s guys clearly wanted it out of that stone.
It’s not just a tool. It’s important. We need to find out
whatever we can. Who made it? When? Why? Does it
have a name? I don’t know… a credit report? Just find out
fast.
GILES
We’ll start work immediately.
WILLOW
Yeah, don’t worry, Buffy, we’ll find out everything there is
to know.
She walks over to her laptop and starts it up.
BUFFY
Good, because right now, that thing’s all we’ve got going
for us.
CUT TO: SUMMERS HOME— LIVING ROOM— DAY 10
Working with Anya, Andrew tears a sheet into strips and uses them to
bandage one of the girl’s wounds.
ANDREW
I liked the real bandages better. These bedsheets are
awfully festive.
ANYA
Yeah, they’re going to look like mortally wounded Easter
baskets.
POTENTIAL
What?
Anya pats the girl’s arm dismissively and takes a swig from a bottle.
ANDREW
Hey! We’re supposed to use that to sterilize wounds. Mr.
Giles said.
ANYA
Come on, what does it really matter?
She hands the bottle to him.
ANDREW
Good point.
ANYA
Giles knows his single-malt antiseptics.
Andrew downs a swig himself and makes a disgusted face.
ANDREW
Everything’s horrible.
ANYA
Yep. Many of these girls will die. Slaughterhouse is what it
is.
POTENTIAL
What?
ANYA
Oh… trying to talk will just kill you sooner.
ANDREW
We need supplies and not just bandages and junk. These
girls need stitches and painkillers.
ANYA
Yeah, well, I could use a cookie but I’m not making
reckless wishes.
ANDREW
No, no, we can do it. The hospital— it’s gotta be all
abandoned like the grocery store. Supplies just lying
around for the taking.
He stands and downs another swig of alcohol.
ANDREW
I’m going in.
ANYA
You are?
ANDREW
And you’re coming with me.
She’s excited by his take-charge attitude and smiles.
ANYA
I am?
ANDREW
I think you should drive ’cause that scotch made me a little
dizzy.
ANYA
Okay. I’ll get Kennedy to watch the girls. She’s tough.
Imminent death won’t bother her.
POTENTIAL
What?
CUT TO: SUMMERS HOME— KITCHEN— DAY 11
Buffy and Xander speak privately in the kitchen.
BUFFY
You got it?
XANDER
Wait. I’m not to the “got it” place yet. I’m still in the
neighborhood of “you gotta be kidding”.
BUFFY
You know it’s for the good.
XANDER
I don’t. Buffy, do you get that? If I do this, that’s it for me
for this fight. I feel like you’re putting me out to pasture.
BUFFY
Of course I’m not putting you out to pasture. What does
that even mean?
XANDER
Well, you know, it’s like… when a cow gets old and loses
an eye or its ability to be milked. The farmer takes it and
puts it in a different pasture so it won’t have to… fight…
with the priests. Look, I don’t need you to protect me.
BUFFY
I’m not.
XANDER
I got hurt but I’m not done. I can still fight.
BUFFY
I know. That’s why I need you to do this. Xander, I need
someone that I can count on no matter what happens.
XANDER
I just always thought that I would… that I would be there
with you, you know, for the end.
BUFFY
Hey!
XANDER
(covers)
Not that this is the end!
BUFFY
Thanks a lot.
XANDER
No, no, no… by “the end” I meant in a heroic, uplifting
way. See I’m still optimistic. You’re just thrown off a little
by this gritty-looking eye patch.
BUFFY
(smiles)
I know what you meant.
XANDER
I should be at your side. That’s all I’m saying.
BUFFY
You will be. You’re my strength, Xander. You’re the
reason I’ve made it this far. I trust you with my life. That’s
why I need you to do this for me.
XANDER
(nods)
Okay.
BUFFY
Also, you can’t shoot a bow and arrow anymore and
every time you pick up a sword, I worry that you’re going
to break one of our good lamps.
XANDER
Hey!
BUFFY
(smiles)
Don’t look at me. You’re the one who said I’m gonna die.
XANDER
I never said that you were going to die. I implied that you
were going to die. It’s totally different.
BUFFY
Yeah, okay. Sure.
XANDER
Besides, if you die, I’ll just bring you back to life. That’s
what I do.
CUT TO: SUMMERS HOME— WILLOW’S ROOM
Hours of research later. Giles sits on the bed with books piled around him
while Willow works the computer.
WILLOW
Okay, before the vineyard was just, you know, a vineyard,
it was a monastery. It could have been put there then.
Some creepy monks messing with powers they don’t
understand.
GILES
No, it’s older than that. It’s pre-Christian.
WILLOW
Okay, well, I found references to stories the monks used to
tell about something older. Like some kind of pagan
temple.
GILES
Native American?
WILLOW
No. I don’t know… (sighs) Okay, maybe we’re just going
about this the wrong way. Maybe we should research the
weapon itself.
She brings up a website showing the evolution of axe-type weapons.
WILLOW
Look, maybe it’s the Axe of Dekeron, said to have been
forged in hell itself, lost since the Children’s Crusade
where it was said to have killed… oh. Children. I hope
that’s not it.
GILES
Well, I have references to the Sword of Moskva, the
Reaper of the Tigris… how are we supposed to narrow this
down? The illustrations are never clear enough. (frustrated)
Oh, damn, we’re running out of time. We really haven’t
got anything useful.
Willow goes over to the scythe and picks it up. She closes her eyes and
holds it with both hands, concentrating.
GILES
Do you sense any of the power that Buffy spoke about?
WILLOW
Gotta say no. Must be a Slayer thing.
GILES
Tapping into magicks might help with that.
WILLOW
Maybe. But, I mean, if Caleb is scared of this thing… it
must be pretty dangerous and tapping into that…
She quickly puts the axe back down on the bed and steps away.
GILES
Willow, you could do it without endangering yourself.
WILLOW
If I tried something big, I’d change and then it’s all black
hair and veins and lightning bolts. I can hardly do a locator
spell without getting dark roots.
GILES
And if it was necessary?
WILLOW
Honestly? I don’t know.
She goes back to the computer and clicks her way through the website.
GILES
(sighs)
All right. Do what you can. That’s all any of us can do.
WILLOW
I guess so. (off website) Man, none of these sound right. I
mean, look. Here’s one that’s just “m” question mark.
What the heck is that?
She indicates an entry on the screen marked only with
GILES
Let me see. That’s not a question mark. It’s the
International Phonetics Alphabet symbol for glottal stop.
WILLOW
A whoey?
GILES
A sort of gulpy noise. Now I’m remembering something
here. (beat) Hieroglyphs. Hieroglyphs stand for sets of
consonants, as you know.
WILLOW
Yes, absolutely.
GILES
The “m” plus glottal stop is represented by a picture that’s
commonly thought to symbolize a sickle or a scythe. It’s in
thousands of carvings in Egypt, throughout the ancient
world.
WILLOW
Carvings like you’d have on a pagan temple?
GILES
(nods)
Go back. See what else we can find out about this temple.
The scythe is a symbol of death. Let’s see where these
pagans buried their dead.
CUT TO: SUMMERS HOME— NIGHT 13
Xander and Dawn rummage through his car parked on the street in front
of the house.
DAWN
Xander, my crossbow is not out here. I told you, I don’t
leave crossbows around all willy-nilly. Not since that time
with Miss Kitty Fantastico.
XANDER
Hey, did you know I have to take a driving test every year
now?
DAWN
Because you’re old?
XANDER
No, because of my eye. It’s a whole state law. They don’t
trust my depth perception anymore.
DAWN
That sucks.
XANDER
And you know what’s even worse? All the stupid “it’s all
fun and games until someone loses an eye” jokes. “Hey,
Xander, so no more fun and games, huh?”
DAWN
Giles was just having fun with you.
XANDER
That’s not the point. It’s an obvious joke. It would be like
someone calling me a cyclops.
Dawn looks up at him and laughs but he just stares at her.
DAWN
(off his look)
Okay, so not that funny.
XANDER
I mean, give me some “eye of the beholder” jokes, you
know? Or some “eye for an eye” jokes or maybe even a
post-modern I, Claudius joke. It’s about standards, Dawnie.
DAWN
I know.
XANDER
Just be creative.
DAWN
Look, everyone’s still kind of on guard around you but
before you know it—
Xander suddenly seizes her by the back of the neck and clamps a rag over
her mouth. The sedative in the rag works quickly and she slumps
unconscious within seconds. He sets her down inside the car on the
passenger seat, then runs around and gets in the other side. The car starts
up and pulls away into the night.
CUT TO: SHADOW VALLEY VINEYARD— WINE CELLAR— NIGHT 14
With a cry of fury, Caleb hurls a vat of wine against the wall, shattering it.
The First watches, an amused expression on her face.
THE FIRST/BUFFY
Not that I care personally but you are wasting a lot of
robust, full-bodied Merlot.
CALEB
Why did you let her go? You know I can take her in a
fight!
THE FIRST/BUFFY
We’ll get her. Calm down.
CALEB
I’m calm. You should see me when I get angry.
THE FIRST/BUFFY
She’s powerful right now and you’re weak.
CALEB
You know, all of a sudden, I’m gettin’ less calm.
THE FIRST/BUFFY
Face it. Your strength is waning. It has been quite some
time since we… merged.
CALEB
Maybe you’re right. Okay. Let’s do it.
He closes his eyes and readies himself.
THE FIRST/BUFFY
Boy, you sure know how to romance a girl. No flowers, no
dinner, no tour of the rectory. Just “Okay, I’m ready. Let’s
do it.” Help me. My knees are weak.
CALEB
Watch what you say now. You’re startin’ to sound like her.
This is a sacred experience for me.
THE FIRST/BUFFY
And for me as well. Look, when this is all over and our
armies spring forth and our will sweeps the world, I will be
able to enter every man, woman and child on this earth,
just as I enter you.
CALEB
Are you tryin’ to make me jealous?
THE FIRST/BUFFY
I’m trying to make you a god.
He smiles and holds his arms outstretched. The First stands before him
and does the same. After a moment, a brisk wind springs up and Buffy
disappears as a monstrous creature surges forward and towers over
Caleb, wreathed in flame.
CALEB
I am thy humble servant…
The beast hovers for a moment, then collapses into a brilliant sphere of
energy which slams into Caleb, filling him. Caleb staggers and falls to the
ground. When he looks up, his eyes are jet black and his voice a demonic
rasp.
CALEB
…and I am ready to serve thee.


Part 3

SUMMERS HOME— BUFFY’S ROOM
Faith is awake. She lies in bed, holding the scythe, her eyes closed, the
ghost of a smile on her lips.
BUFFY
You feel it, too, don’t you?
FAITH
Damn… and damn. That’s something.
BUFFY
I know.
FAITH
It’s old… it’s strong and it feels like… like it’s mine.
She locks eyes with Buffy for a beat, then sets it down on the bed.
FAITH
I guess that means it’s yours.
BUFFY
It belongs to the Slayer.
FAITH
Slayer in charge… which I’m guessing is you.
BUFFY
I honestly don’t know. Does it matter?
FAITH
It never mattered to me. Somebody has to lead. Let’s vote
for Chao-ahn. It’s harder to lead people into a deathtrap if
you don’t speak English.
BUFFY
It wasn’t your fault.
FAITH
I’m really not looking for forgiveness.
BUFFY
You’re not?
FAITH
What do you want me to say? I blew it.
BUFFY
You didn’t blow it.
FAITH
Tell that to—
BUFFY
People die. You lead them into battle, they’re going to die.
It doesn’t matter how ready you are or how smart you
are… war is about death. Needless, stupid death.
FAITH
So here’s the laugh riot. My whole life I’ve been a loner.
BUFFY
Is that the funny part? Did I miss something?
FAITH
I’m trying to—
BUFFY
Sorry! Sorry. Go.
FAITH
No ties, no buddies, no relationships that lasted longer
than… well, Robin lasted pretty long. Boy’s got stamina.
Buffy’s eyes go wide.
BUFFY
Principal Wood? And you? And in my—
FAITH
Don’t tell me you two got wriggly?
BUFFY
No! No, we’re just good friends… or mortal enemies
depending on which day of the… (sighs) Was that the
funny part?
FAITH
Okay, the point. Me, by myself, all the time. I’m looking at
you, everything you have and, I don’t know… jealous.
Then there I am, everybody’s looking to me, trusting me
to lead them and I’ve never felt so alone in my entire life.
Buffy nods realizing that Faith finally gets it.
BUFFY
Yeah.
FAITH
And that’s you, every day. Isn’t it?
BUFFY
I love my friends. I’m very grateful for them. But that’s the
price of being a Slayer.
FAITH
There’s only supposed to be one. Maybe that’s why you
and I can never get along. We’re not supposed to exist
together.
BUFFY
Also, you went evil and were killing people.
FAITH
Good point. Also a factor.
BUFFY
But you’re right. I mean, I guess everyone’s alone but
being a Slayer? There’s a burden we can’t share.
FAITH
And no one else can feel it. (beat) Thank god we’re hot
chicks with superpowers.
BUFFY
Takes the edge off.
FAITH
Comforting.
BUFFY
Mm-hmm.
CUT TO: SUMMERS HOME— FOYER/KITCHEN— NIGHT 16
Buffy descends the stairs with the scythe as SPIKE enters through the front
door.
SPIKE
Honey, you’re home.
BUFFY
Yeah.
SPIKE
(re: scythe)
And you did it. Fulfilled your mission, found the Holy
Grail… or the holy hand grenade or whatever the hell that
is.
BUFFY
Right now we’re going with scythe. You like?
SPIKE
Well, pointy and wooden is not exactly a look I want to
know better but it does have flair. I can see why a girl
would ditch a fella for one of these.
BUFFY
I’m sorry about that.
SPIKE
It doesn’t matter. You’re back in the bosom. All’s forgiven.
She heads into the kitchen and Spike follows.
SPIKE
And last night? It was just a glitch. A bit of cold comfort
from the cellar dweller. Let’s don’t make a thing of it.
BUFFY
(evasive)
Great. I have work to do.
SPIKE
Oh, yeah. Another solo mission, of course.
BUFFY
Yeah, it is.
SPIKE
(annoyed)
That’s fine. You don’t have to get shirty about it.
BUFFY
I’m not shirty. And what is shirty? That’s not even a word.
SPIKE
All right, all right. Big secret mission. It’s fine.
BUFFY
It’s not a secret. Well, I mean, it is but that’s the point of the
mission. Find out the secret. This thing was forged by… I
don’t even know. I mean, something about a tomb on
unconsecrated ground. That’s what I have to do. I need to
find out what this is and why I have it.
SPIKE
And that’s the thing the preacher man was so anxious to
keep out of your mitts?
BUFFY
That it is.
SPIKE
Well, maybe I’ll swing by the vineyard when you go,
make sure he’s sitting tight.
BUFFY
Great.
SPIKE
Okay.
An awkward silence, then Spike turns to leave he makes it to the back
door before Buffy rushes to catch up with him.
BUFFY
You’re a dope!
SPIKE
I’m a what?
BUFFY
You’re a dope and a bonehead and you’re shirty!
SPIKE
Have you gone completely Carrot-Top?
Buffy holds up the scythe.
BUFFY
Do you see this? This may actually help me fight my war.
This might be the key to everything. And the reason I’m
holding it is because of you. Because of the strength that
you gave me last night. I am tired of defensiveness and
weird mixed signals. You know what? I have Faith for
that. Let’s just get to the truth here, okay? I don’t know
how you felt about last night but I will not—
SPIKE
Terrified.
BUFFY
Of what?
SPIKE
Last night was… (beat) God, I’m such a jerk. I can’t do this.
BUFFY
Spike…
SPIKE
It was the best night of my life. If you poke fun at me, you
bloody well better use that ’cause I couldn’t bear it. It may
not mean that much to you but—
BUFFY
I just told you it did.
SPIKE
Yeah, I hear you say it but… I’ve lived for soddin’ ever,
Buffy. I’ve done everything. I’ve done things with you I
can’t spell… but I’ve never been close… to anyone. Least of
all you. Until last night. All I did was hold you, watch you
sleep… and it was the best night of my life. So yeah, I’m
terrified.
BUFFY
You don’t have to be.
SPIKE
Were you there with me?
BUFFY
I was.
SPIKE
What does that mean?
BUFFY
I don’t know. Does it have to mean something?
SPIKE
No, not right now.
BUFFY
Maybe when…
SPIKE
No, let’s just leave it
BUFFY
Okay.
SPIKE
We’ll go be heroes.
She nods and smiles as he walks out the back door.
CUT TO: SUNNYDALE HOSPITAL— MEDICAL SUPPLY ROOM— NIGHT 17
Anya and Andrew enter and head for the shelves of medical supplies.
Anya has a pillowcase slung over back, already full of plundered items.
ANDREW
Oh, this one has oxygen tanks.
ANYA
They’d only be useful if something big was attacking, and
then we could shove one down their throat and blow ’em
up like Roy Scheider did with that shark in Jaws.
ANDREW
You are the perfect woman.
ANYA
(nods)
I’ve often thought so. Wanna rob?
ANDREW
Let’s rob.
They start pulling things off the shelves and stuffing them in their bags.
ANDREW
Oh, cool… gauze and alcohol, tape and sutures if we want
to get stitchy with it. Oh, and there’s a box of ointment
here. I used one of these on a rash once.
ANYA
Oh, show me.
ANDREW
Well, it’s healed up but it was red and crusty with these
little itchy places.
ANYA
Show me the box full of ointments, you little freak. And
get cotton packing for the big wounds.
Andrew nods and shoves a stack of packaged bandages in his bag.
ANDREW
It’s going to be bad, isn’t it?
ANYA
Yeah.
ANDREW
So how come you’re here? I mean, you could just go,
right?
ANYA
Yeah. I did once before.
ANDREW
Before what?
ANYA
Well, there was this other apocalypse this one time and…
well, I took off. But this time, I don’t know…
ANDREW
Well, what’s different?
ANYA
Well, I guess I was kinda new to being around humans
before. But now I’ve seen a lot more, gotten to know
people, seen what they’re capable of and… I guess I just
realized how amazingly screwed up they all are. I mean,
really, really screwed up in a monumental fashion.
ANDREW
Oh.
ANYA
And they have no purpose that unites them so they just
drift around blundering through life until they die… which
they know is coming yet every single one of them is
surprised when it happens to them. They’re incapable of
thinking about what they want beyond the moment. They
kill each other, which is clearly insane… and yet here’s the
thing. When it’s something that really matters, they fight. I
mean, they’re lame morons for fighting but they do. They
never… they never quit. So I guess I will keep fighting,
too.
ANDREW
That was kind of beautiful. You love humans.
ANYA
I do not!
ANDREW
Yes, you do. (sing-song) You love them…
ANYA
Stop it! I don’t love them and I’ll kill you if you tell
anybody.
ANDREW
I won’t tell anybody. I won’t get a chance to, anyway.
ANYA
I don’t know, you might survive.
ANDREW
No, you might survive. You know how to handle a
weapon and you’ve been in this world for like a thousand
years. I’m not so… (sighs) I don’t think I’ll be okay. I’m
cool with it. I think I’d like to finish out as one of those
lame humans trying to do what’s right.
ANYA
(smiles)
Yeah.
ANDREW
So… wheelchair fight?
CUT TO:
Later. Anya and Andrew wear surgical masks as caps and spin around the
room in wheelchairs, smashing into each other and laughing hysterically.
CUT TO: SUNNYDALE CEMETERY— NIGHT 18
Buffy walks her familiar path through the graveyard. She comes across a
wrought-iron gate overgrown with dead vines and opens it, curious.
Inside, she finds an ancient stone pyramid that she’s never seen until now.
The iron door is topped with an runic symbol.
Buffy approaches and kicks it inward, sending sliding down the a set of
stone steps and into a ceremonial chamber.
CUT TO: PAGAN TEMPLE— NIGHT 19
Buffy enters to find a pagan temple lit by torches set in wall sconces. Jars
and baskets are clustered in the corners. Buffy peers into the shadows,
looking all around her for some clue as to what this place is. Suddenly a
voice rings out from behind a sheer curtain and the GUARDIAN appears:
an elderly woman, dressed in the robes of an ancient culture.
GUARDIAN
I’d forgotten. I’d forgotten how young you would be.
Comes from the waiting. The mind plays tricks. (re: scythe)
I see you’ve found our weapon.
BUFFY
Who are you?
GUARDIAN
One of many. Well… time was. Now I’m alone in the
world.
BUFFY
So what are you? Some kind of ghost?
GUARDIAN
No, I’m as real as you are. Just… well, let me put it this
way: I look good for my age. I’ve been waiting.
She holds out her hands and Buffy gives her the scythe.
GUARDIAN
You pulled it out of the rock. I was one of those who put it
in there.
BUFFY
What is it?
GUARDIAN
A weapon. A scythe. Forged in secrecy for one like you
who— I’m sorry. What’s your name?
BUFFY
Buffy.
GUARDIAN
No, really.
Buffy merely shrugs and the Guardian continues.
GUARDIAN
We forged it in secrecy and kept it hidden from the
Shadow Men who—
BUFFY
Yeah, met those guys. Didn’t really care too much for ’em.
GUARDIAN
Ah, yes. Then you know. And they became the Watchers
and the Watchers watched the Slayers… but we were
watching them.
BUFFY
Oh, so you’re like… what are you?
GUARDIAN
Guardians. Women who want to help and protect you. We
forged this centuries ago, halfway around the world.
BUFFY
Hence the Luxor Casino theme.
GUARDIAN
Forged there, it was put to use right here… to kill the last
pure demon that walked upon the earth. The rest were
already driven under. And then there were men here, and
then there were monks. And then there was a town… and
now there is you. And the scythe remained hidden.
BUFFY
I don’t understand. How is it possible that we didn’t know
any of this?
GUARDIAN
We hid, too. We had to until now. We’re the last surprise.
BUFFY
Does this mean I can win?
GUARDIAN
That is really up to you. This is a powerful weapon.
She hands the scythe back to Buffy.
BUFFY
Yeah.
GUARDIAN
But you already have weapons. Use it wisely and perhaps
you can beat back the rising dark. One way or another, it
can only mean an end is truly near.
Suddenly a pair of hands shoot out from behind the curtain and seize the
Guardian’s head, twisting it violently and snapping her neck. The old
woman’s lifeless body drops to the ground to reveal Caleb standing
behind her.
CALEB
I’m sorry, I didn’t catch that last part on account of her
neck snappin’ and all. Did she say the end is near… or
here?

 
Part 4

XANDER’S CAR
Xander drives down a lonely California highway. In the seat beside him,
Dawn starts to regain consciousness.
XANDER
Hey, Dawn. Dawn, you awake?
DAWN
What happened?
XANDER
I thought you might say that.
DAWN
Actually, I meant to say “what the hell happened?”
XANDER
It was chloroform.
DAWN
Color forms? What?
XANDER
Chloroform. Are you still loopy?
DAWN
(dry)
Sorry about that. Someone knocked me out with
chloroform. Xander, where are we going? What’s going on?
Talk to me!
XANDER
Away.
He hands her a sealed envelope.
DAWN
What’s this?
XANDER
Just open it.
Dawn opens the letter, starts to read it.
BUFFY
(v.o.)
Dearest Dawn, don’t be angry with Xander. He only did
what I told him to do. This isn’t the place for either of you.
Please know that I love you and that everything I do is for
you. I promised once to show you this beautiful world and
I’m going to do everything I can to make that happen—
Xander suddenly goes rigid and slumps over as Dawn slips a stun gun
from her bag and shocks him with it.
She calmly takes control of the car and brings it to a smooth stop, then
turns and heads back in the other direction.
CUT TO: PAGAN TEMPLE
Buffy wrestles with Caleb as he tries to wrest control of the scythe from
her. She recovers and whacks him in the side of the head with one end of
the weapon, then hits him in the gut with the other, then again with the
blade— three shots fast.
Caleb lets go and Buffy leaps backward. He rushes her and unleashes a
punch that shatters a stone column to dust on contact.
CALEB
You’re not slipping out of this fight, girl. Can’t you see?
You can’t stop me. I can just keep going back for more. It’s
like being re-born.
Buffy lunges at Caleb with the scythe and this time he ducks under its
blade, avoiding contact. Buffy presses the attack, swinging and thrusting.
Caleb can’t be touched.
He smiles and stands upright— a target. Buffy swings the axe blade right
at his neck and Caleb, without looking, shoots a hand up and catches the
scythe in mid-swing, stopping it cold. With his other hand, Caleb punches
Buffy so hard she flies backward into the far wall, sending up a cloud of
dust. She drops the scythe on impact.
Caleb and Buffy both reach for the scythe simultaneously. Caleb gets
there first and holds the scythe up for all of a split-second as Buffy kicks it
from his grip and catches it in the same motion.
She spins, catching Caleb behind the knees with the scythe’s shaft and
lifting him off his feet. He crashes to the dusty floor. Buffy spins the
scythe, stake-end first, and thrusts it downward straight at Caleb’s throat.
He catches it an inch above his face and twists hard, flipping Buffy over.
Now it’s her turn to hit the ground.
Caleb leaps to his feet and Buffy staggers to hers, just in time to receive a
devastating punch to the face. It sends her reeling backward. Caleb just
keeps hitting her, a maniacal grin on his face.
Buffy tries to defend herself but she’s running out of steam. She lies on the
floor, writhing in pain as Caleb circles her, not even out of breath.
CALEB
You know, I gave you ample warning. I told you not to
interfere. And you chose not to heed.
Buffy charges across the room at him and he deftly side-steps, using her
own momentum to flip her up onto a sarcophagus-like stone platform.
She kicks him backward but he quickly recovers and lifts her up, hurling
her through a stone column. She’s nearly unconscious.
Caleb scoops up the scythe and twirls it his hands as he stands over her.
CALEB
I was kinda hopin’ it’d go this way.
He raises the scythe over his head for the killing blow.
ANGEL
(o.s.)
Hey.
Caleb turns and takes a massive blow to the head, sending him careening
across the room and into the wall. He drops the scythe and lands on the
floor, dazed and half-conscious.
Buffy looks up to find ANGEL standing over her, his hand held out to help
her up. She takes it and he lifts her to her feet.
ANGEL
I was never much for preachers.
BUFFY
Angel.
ANGEL
You look good.
BUFFY
You look timely. And also good.
ANGEL
Heard you maybe needed a hand.
Caleb gets to his feet, royally pissed. Angel moves toward him but Buffy
holds him back.
ANGEL
Ah. This one of those things you have to finish yourself?
BUFFY
Really kinda is.
Angel backs away and leans casually against a stone column, enjoying the
show, as Caleb stalks toward Buffy. She scoops the scythe up from the
ground and stands her ground.
ANGEL
(to Caleb)
You are so gonna lose.
Caleb rushes Buffy and she swings the scythe around in a lightning-quick
series of blows. Caleb dodges them all and wrenches the weapon from
her grasp, kicking her backward into the wall. He aims the pointed stake
end at her and thrusts forward. She dodges at the last instant and the shaft
slams into the rock, embedded up to the hilt.
Buffy hurls Caleb away and rips the scythe from the wall, charging at him
full speed.
ANGEL
God, I’ve missed watching this.
Caleb swings at her, one punches after another, but Buffy ducks and
weaves, then whips the scythe’s blade around sideways in a deadly arc,
catching Caleb full in the chest.
He stops, stunned, as Buffy rips the blade back out, opening him up from
one side of his body to the other. He staggers backward, laughing at her
for a brief moment, before his eyes go wide and a collapses to the floor.
His eyes stare sightlessly up at her.
Buffy turns to Angel, winded.
BUFFY
See? Under control.
She walks to Angel, who steadies her.
ANGEL
Well, at least you could tell me you’re glad to see me.
She looks up at him and their lips meet in a kiss, tender at first, but
building to real passion.
As they kiss, pan over to reveal Spike, watching from the shadows, his
face a mask of betrayal and pain.
As he watches Buffy and Angel kiss, The First appears as Buffy, just
behind Spike, and whispers in his ear.
THE FIRST/BUFFY
That bitch…