ACT III Act III scene i EXT. STARBUCKS, DAY BUFFY and CLEM are leaving the cafe. CLEM’s lip is looking wobbly CLEM: I had no idea he didn’t make it. BUFFY shrugs and gives him a little smile. BUFFY: Didn’t make the front pages? CLEM: Not of the demon papers (beat, thinks) Well, cause, there aren’t any. BUFFY: If there were, I doubt they’d lead with “vampire dies to save the world”. Not really what the target audience wants to hear. They walk on in silence for a few moments. CLEM looks awkward. He makes to say something a couple of times but can’t find the right thing. BUFFY: It’s been a year since. . . and, being the – a – Slayer, you don’t have time to sit around just. . .feeling. There’s a long pause. BUFFY: Or maybe. . . I can’t quite feel that he’s gone, you know? It’s as if Sunnydale still exists somewhere, under the rubble, or in some parallel universe. And he’s there figuring out some wacky scheme to find me again. (half-mouth smile) But, it’s just dumb daydreams. CLEM: It’s not dumb. Hey, you’re not capable of dumb Buffy. BUFFY: That’s sweet. (looks at him) And again, needing to check you’re not hit by the love whammy. CLEM: Nah. (looks her up and down) Even under a spell, I couldn’t get crazy over a girl without at least a few skin folds. (beat) No offense. BUFFY: I think I’ll pass on the offense this time. (pause) So I’m not playing the grieving widow. Not that we were married. Or planning to. Except. . .but that was Willow. CLEM: You were going to marry Willow? Or. . .was Spike Willow one time? Jeez, I can’t keep up with you kids! BUFFY: Neither of the above. But, really, not bad guesswork. CLEM’s smile turns to serious. CLEM: You loved him? BUFFY: Does it matter now? CLEM: Does it matter to you? BUFFY: Now you’re getting all heavy-philosophical on me. CLEM: (modest shrug) I’ve been hanging with some of the undead grad students at NYU. They’re way better read than the Sunnydale vamps, all big with the (he waves his hands)“beyond good and evil” thang. So, I'm thinking about deeper stuff these days. (Inspects his arms) Say, my skin's been a bit unflappy lately, you think maybe if I cut down the caffeine...? Act III scene ii INT. BEDROOM, 1948, DAY SPIKE and the LADY are lying side by side in bed. The shackles are discarded on the floor. SPIKE is even more scratched and roughed-up than before. He’s got his arms behind his head, looking satisfied. The LADY doesn’t look quite so cat that got the cream. SPIKE reaches over to the bedside table for a pack of cigarettes, deftly pulls one out with one hand and puts it in his mouth then offers the pack to the LADY. SPIKE: Or maybe you shouldn’t. . .being a singer and whatnot. LADY: (taking one) I’m a demon. Makes no difference. SPIKE nods and offers her a light, then lights his own. They both drag on their cigarettes in silence. SPIKE: Dru’s not gonner to wake up any time soon is she? LADY: We’ve got hours. SPIKE: (grins) Shame. Not nearly enough time for another round then. The LADY shrugs, not sharing his enthusiasm. SPIKE: I don’t know why you’re looking so miserable luv. That was bloody brilliant! For a genteel lady, you’re quite the. . .fiend(he tails off with a wicked grin, his eyes meeting hers) LADY: (Breaking the gaze) It was. . .pleasure. (looking at him again) But was it love? For you? SPIKE: (incredulous) Er. . .no. . . we only just met (getting macho) Plus, evil vampire here. (thinks) So, I can have meaningless sex. Yeah. I’m not Dru’s lapdog (His face isn’t looking sure. Then his bravado collapses into loved-up-pup) Oh buggerit. I am. She’s got me. Hook line and bloody sinker. (sighs)Ah! LADY: (little voice) Everyone around me falls in love. Except me. And never with me. I don’t know. . .what’s wrong with me? SPIKE: Maybe you’re trying too hard. Love is . . . (looks from side to side, piecing together his scenario) Wait, why the bloody hell am I giving you advice? LADY: Because you can’t resist a damsel in distress? SPIKE: Maybe I can’t. But you’re. . .the first one who can resist me. LADY: You’re a liar. (putting her hand on his cheek) A beautiful liar. LADY swings her long legs gracefully out of bed and wraps a sheet round her. Spike looks up at her, curious. LADY: The only time I’m happy is on stage. When I sing . . . for a moment…I feel love. For no one in particular, but it’s . . . warm then. I’m alive. CUT TO: PRESENT Act III scene iii EXT, ALLEY, PRESENT BUFFY stops in her tracks. BUFFY: (eureka face) The singing! CLEM: You lost me, Slayer. BUFFY: She sings . . . people get all crazy and go splat. It must be her voice. CLEM: What a voice. You never forget it. Someone really should offer her a recording contract. Hey, I wonder if she needs an agent - this friend of mine’s recently out of a job in LA and looking for clients . . . BUFFY: Sometimes I think you forget I'm the Slayer, not Buffy the Demon-Redeemer. CLEM: It does get confusing. (beat) So, what, we rip out her vocal chords? BUFFY: Eww! CLEM: Just trying to be zero tolerance guy. BUFFY: Anyway, I’ve got to find her first. Maybe we should check in with the others. Dawnie would be stoked to see you! Act III scene iv INT. BUFFY’s APPARTMENT, DAY CUT TO: DAWN AND CLEM IN TIGHT EMBRACE Close up of the pair hugging. DAWN’s squealing with happiness, CLEM’s laughing. They pull apart. DAWN: Come and see my room! Wait, no, come and see everything. I’ll give you the full tour. CLEM: (grins) Alright! DAWN: See you guys in a bit. Good luck with the diva demon. CLEM gives BUFFY a little wave as Dawn takes him off by the hand to see her new home. The camera focuses on BUFFY joining WILLOW, XANDER and ANDREW at the kitchen table XANDER: So, she’s found her father-figure-cu’m-mascot again. SCOOBIES pause to think about what XANDER just said. Slience. Some things are better left un-glossed. ANDREW: So, it is a music demon then? Hey, I was right! XANDER: It’s a mad world.(beat) So, the singing, that’s why I went all . . . (looks at Willow) . . . formal wear-d? BUFFY nods. XANDER: So now, all we need to do is search and destroy. Maybe you could send one of the girls? It sounds like a good simple bit of field practice. BUFFY: Nuh-uh. This slay has my name written all over it. In permanent marker. Alongside the words “Giles”, “fondling” and “girl three years older than Dawn”. (makes a face) That particular little vision made me seriously consider the nun option again. And that’s before we get onto my exploding date. WILLOW: Hey, not loving my kissy kissy no free will part in this either. . . .wait, there was a nun option? ANDREW: I’m glad you didn’t make a habit of it. BUFFY: And I’m not delegating the puns, either. XANDER: Hey, relax Buff. It’s really time you got over the fact that the G-man has sex. BUFFY: No. No he doesn’t. I’m not listening to this crazy talk. WILLOW: (sly grin) Yes he does. In fact, he had sex on the couch. (points to the couch across the room) Right there. Last night. BUFFY: (imploringly, to Xander) Help! She’s gone evil again. Do the crayon thing. XANDER: Sorry, I think the evil we’re seeing here? Beyond this carpenter’s skills. ANDREW: (levelly) I used to hear him have sex in England, when we shared a flat. (nods to himself in memory) There was this weird noise he made . . . BUFFY leaps up, hands over her ears. Andrew starts to smile, hesitantly. BUFFY glares at him, shocked. BUFFY: Wait, did you just make fun of me? ANDREW looks shocked, swiveling his head Father Dougal style. Now he grins. XANDER: (puts an arm round Andrew’s shoulders) Perhaps your Rain Man days are over my friend? ANDREW: Rain Man’s overrated. XANDER: (taking the arm away) Or maybe you’re not ready to join the world of well adjusted adults just yet. ANDREW: (innocent) And you are? BUFFY suddenly grabs a sword. ANDREW flinches, thinking he’s overstepped the mark. BUFFY rolls her eyes (hypocrite, ed). BUFFY: It’s for the demon. Which I’m going to kill before we all die of inertia. WILLOW: Oh, wait, don’t go, I’ve got a thing. WILLOW runs out. XANDER: Willow has a thing. All these years I've known her, she's managed to keep this big thing hidden. BUFFY: (perfectly straight-faced) You think Willow has a big thing? (beat) Were we this juvenile in Sunnydale? WILLOW runs back in, a chain swinging from her hands. She’s holding a talisman. WILLOW: This might help. It wards off -- I'm not exactly sure what it wards off. Danger, attacks . . . I've never used it. BUFFY: (taking it) Every little helps. Thanks Will. WILLOW: But I want it back. (beat) It was Tara’s. She mentioned it . . . in her diary . . . it’s special somehow. Don’t know how-how though. (apologetic shrug) BUFFY: I’ll figure it out. BUFFY puts on the necklace, putting down her sword, then takes it up again, ready for action. BUFFY: Right. Ladykiller time. ACT III scene v FLASHBACK EXT. ROOFTOP, 1948, NIGHT DRU is battering the hell out of Spike. SPIKE: Please, luv, it meant nothing! DRU: Nothing will come of nothing . . . (smacks him round the face, sending him flying) speak again. . . SPIKE: (looking up, from the ground) I love you! DRU: (jumping on top of him, pinning his arms down) You used . . . our chains! (she scratches his face, viciously. Spike pushes her away, she regains her footing, catlike, they square off against each other against the night sky) SPIKE: You know you’re the only one for me! We’re forever, Dru! DRU: Hmph. Not for ever. Not for ever and ever. She pulls out a serrated dagger. The vampires circle on another. DRU’s hissing softly. SPIKE: Please . . . I’ll do anything for you. SPIKE leaps at DRU, grabs her up in his arms and kisses her, roughly. As he pulls away, DRU c’ocks her head and raises an eyebrow. DRU: Anything? SPIKE: Oh God yes. Anything under the moon. DRU stabs him in the gut with her knife. SPIKE’s eyes widen in surprise. DRU picks SPIKE up, lifts him above her head and walks to the edge of the building. DRU: Scream for mummy then. DRU throws him off the building. We hear him scream. CUT TO: shot of the pavement SPIKE’s lying there, blood coming out of his mouth. His eyes open and he smiles. SPIKE: That’s . . . my girl. CUT TO: angle of someone watching Spike. The camera switches. It’s the LADY. CUT TO: EXT. STREET, PRESENT, DAY TIME The camera is still on the LADY. She’s watching the door to Buffy’s building. BUFFY comes out, sword in hand. The LADY steps out into the street, in BUFFY’s view. Cut to BUFFY, seeing her standing there. The LADY walks closer, slowly. BUFFY approaches too, clutching her sword. BUFFY: Wow, demon home delivery. God I love New York. LADY walks swayingly, slowly, in tune with some unheard rhythm, towards Buffy. LADY: I've been hearing . . . an old song. An old voice, echoing. BUFFY: Oh good. A crazy demon. (walking closer, batting the flat of the sword in her hand) Sometimes I feel I should have the men in little white coats as backup on patrol. LADY: Insanity . . . now that would be a start. A release. My head . . . hurts. BUFFY: Tense, nervous headaches? (lifts sword) I can give you a release. Really. No trouble. LADY: You don't understand. They’re circling one another now, poised, coiled. BUFFY: Let me guess . . . because you’re all powerful, beyond my puny mortal . . . whatever? LADY: No, you don’t understand . . . what we share. I can hear him in you. His song, still trapped inside. BUFFY: Him? In BUFFY’s moment of hesitation, with a single swift move, the LADY has flips the blade out of BUFFY’s grasp, into her own hand. The LADY holds the point against the hollow of BUFFY’s throat. She turns it around as if returning it to BUFFY, then swings the hilt hard against BUFFY’s temple, and drops the Slayer. We see the pavement from BUFFY’s P.O.V as she blacks out. LADY: We’ll dance, Slayer. We’ll dance the night away. END ACT III __________________ EPPY 8:"SCATTERED", OUT TODAY! "Bloody brilliant! The opening scene sets the standard and it keeps right through to the 'bloody' dramatic ending - literally." - Ferdy M on Scattered. Last edited by Joe Sweden on 05-22-2004 at 04:54 PM | IP: Logged Time Online Since 12/31/2003: 54 D, 10 H, 21 M, 29 S Online 05-20-2004 12:24 AM

Joe Sweden   New Buffy Brit Registered: Mar 2003 Location: New York, season 8 Posts: 4837 Quality Points: 4161 ACT IV Act IV scene i EXT. STREET, DUSK BUFFY is limping a little, and out of breath. She’s been running, now she’s looking up and down the street. Then she sees the neon sign of “Funny Valentine’s”. INT. CELLAR BUFFY is walking through the dusty semi-darkness of some kind of cellar/store room, a labyrinth of broken shelves, boxes and musical lumber - music stands, a broken guitar, sheet music marked with a footprints languishing on the floor. BUFFY clutches tighter onto her sword when she hears murmuring, then rounds a corner and finds LOST SOUL 1 curled up in a foetal position, rocking. LOST SOUL 1: (muttering) She’s not in my arms . . . I want to lose them . . . never use them . . . lose them . . . why not take, why won’t she take me all? He sounds like a stuck, jumbled record. BUFFY looks at him, pitying. LOST SOUL 1: (seeing Buffy, or half seeing her) Hello? You’re . . . your goodbye left me….why should I, eyes that . . . go on . . . BUFFY: What. . . BUFFY knows there’s no use trying and walks on, trying to muster anger to fuel her. Another LOST SOUL steps out of the shadows. His skin is red-raw and scratched, like the worst eczema you ever saw. Buffy stares in horror as he begins to scratch) MAN 2: She’s under my skin. I can’t get her out, however hard I try. It’s . . . she’s . . . (yelp) NO! He bolts back into the shadows, animal-like. O.S LADY: Not all of them die. BUFFY whips round. The LADY is standing on the other side of the room. BUFFY: So, that what you want to do to me? LADY: It's not what I want. It's just what happens sometimes. BUFFY curls her lip in disgust. LADY: Sometimes I want it to happen to me like that so I can lose my self. But I can't. I can't ever feel it. BUFFY: My total lack of sympathies. BUFFY raises her sword, but there’s an uncertainty growing inside her. BUFFY pads closer to the LADY, who doesn’t move. One of the LOST SOULS screams – from his own mental pain, not BUFFY’s sword. LOST SOUL 1 sets off another victim, a WOMAN who cries out. BUFFY stops a moment, her eyes still on the LADY, watching for sudden moves. BUFFY: You keep them here? As what? Some sick petting zoo? LADY: A reminder. I need them to…study. To glimpse . . . what it’s like to be inside the song. BUFFY: Song? (shakes off her curiosity) Just demon rambling. (She hefts her sword again) LADY: (shakes her head) I’ve lived for centuries. Hollow, inside. The only time I feel anything warm is when I sing. So I sing. And they die. Or . . . (she looks sorrowfully at one of the crazed lovers) BUFFY: You can try to make this some sort of cosmic quest. Demons always try to talk up insanity, cruelty . . .make it sound romantic. LADY: You believe telling yourself that makes it bearable, don't you? BUFFY: I'm just here to make it stop. BUFFY swings her sword, but the LADY turns lightly, out of reach. They circle one another. The LADY’s steps are dance-like, BUFFY’s, slayer-fierce. But she’s being drawn into the rhythm in spite of herself. A realisation-light is the Lady’s face and she stops like a statue, her arms hanging by her sides. LADY: You were there! In. . .unutterable love. And then. . .you lost it. You were taken out. BUFFY: (quiet and deadly) You can't know about that. I . . . won’t let you! BUFFY swings once more, with rising confusion and fury behind the blow. But again, the LADY evades her in a fluid movement. In the shadows, the LADY seems translucent now. LADY: But you have to be dead for that love. BUFFY: (backing away) You can't . . . you don’t have the right. LADY: Living love -- it's something . . . it's something different. You know it is. (urgent) Tell me. BUFFY: Stop! LADY: (stepping forward, wrapping her arms around herself then stretching them out towards Buffy, pleading) More than anyone I’ve heard in all my centuries, you KNOW. You’ve known . . . BUFFY: (pulls the sword up in front of her) Get out of --(her eyes are focused in fury) I will cut you to bleeding shreds and send you to the deepest hell there is, I swear!! The LADY’s moving forwards, shimmering now, a little ghostly, without any colour in her face except her green shining eyes. LADY: (pleading not threatening) You can't hide it from me. You have to give it to me! Tell me! Again BUFFY attacks. The LADY catches the sword blade, holding it in place, horizontal to the floor. It digs into her hands, but she either doesn’t feel pain or doesn’t care. The two figures push at each other, at a deadlock. LADY: You want to shrivel again? Shrink your heart into a corner? Be . . . like me . . . ? The LADY fixes her with an empty gaze. BUFFY can’t look away. LADY: (Sings quietly) Now you say you love me You cry the whole night through As she’s singing these few lines, Buffy’s TALISMAN begins to glow blue. Sweat breaks out on her forehead. The LADY’s eyes are glowing with the same colour. BUFFY takes in a sharp breath and, caught by some wave of power inside, the Lady’s song chokes in her throat, she staggers back against the wall. BUFFY rushes at her, swinging the sword, the LADY puts out a hand. BUFFY grabs it to push her back. There’s a flash of fire, a spark as they clasp hands and they’re pushed apart by a silent bolt of blue energy. Act IV scene iv BUFFY opens her eyes, groaning. The LADY is still lying prone on the ground by a pile of boxes. She’s murmuring. BUFFY rises painfully to her feet – she landed on something sharp – and walks over. The LADY sits up, suddenly. But she’s not looking at BUFFY. She’s somewhere far away. She stands, slowly, shaking. LADY: I can feel it. It’s really here. BUFFY stops. The LOST SOULS in the cellar are hushed, hiding. LADY: I . . . (she looks up at Buffy, seeing her clearly for a moment) You feel . . . so much. It’s terrifying. BUFFY: (quietly) What is this? LADY: Beautiful (getting up, staggering backwards) This is what it means? What I’ve been looking for? (She’s up against the wall of the cellar now, her palms against the bricks) It’s all falling down. Shaking. (she looks at Buffy again) You were blank. Then . . . there was a spark. I’m . . . he was monstrous . . . but he touched . . . (she sinks down the wall, panting) We see BUFFY’s dim shadow fall on the lady. She’s standing over her now. SFX: A low, orchestral melody rises. Sharp violins, dark cellos. LADY: (covering her face) It isn’t right. No, it’s too much. I can’t let myself feel this. CUT TO: BUFFY’s face. Her eyes are full of recognition. She’s moving closer to the LADY. LADY: And then he came back for me. (Takes her hands away, looking at Buffy in silent awe) And he was forgiven. And he was loved…was it love? BUFFY’s face is flushed, her eyes bright. The LADY’s skin is strangely radiant, lighting them both. The ghostliness is all gone, she looks suddenly very real, very solid. BUFFY reaches out to touch her, then winces and pulls back. It’s hot, the skin. The LADY’s breath is fast and shallow. She rises again, trembling. They’re standing close now. LADY: I let him die. I let go. She lets out a violent gasp and grabs BUFFY’s face in both hands. BUFFY doesn’t pull away. They stare at one another, locked. LADY: I love . . . She pulls BUFFY to her. BUFFY doesn’t resist. The LADY kisses her, intensely, tenderly. And BUFFY melts into it, kissing her back. BUFFY’s eyes are closed. It’s a moment of total peace. The LADY pulls away and BUFFY’s eyes open. A strange smile spreads over her lips. LADY: You’ll see . . . She’s cut off by a wave of pain and sags. BUFFY catches her and lowers her gently to the ground. The LADY’s eyes fade from blazing blue to silver and at last glaze over as BUFFY stares in wonder at her. The camera slowly homes in on BUFFY’s face. There are tears in her eyes. We hear a gasp and the music rises as the scene fades to black. Act IV scene ii INT. BUFFY’S APPARTMENT, NIGHT Shot of BUFFY shutting the door, she’s home. The apartment seems dark and empty. Then: WILLOW: Buffy . . . ? WILLOW slowly rises from where she's been sitting, incense curling away. WILLOW: The talisman -- did it work all right? Is she -- BUFFY: She's gone. WILLOW: When Tara left it to me, I thought it was just for protection. But she made the protection. . . with love. (Buffy says nothing, just looks the question.) WILLOW: It was made to protect ... whoever wears it . . . with the love they have inside. See, it opens the attacker to feeling love so they can't hurt anyone. And . . . (beat) I'm not sure about this last part. She didn’t exactly sit down and write a “how-to” guide for it. But I think it channels the love. . .the power. . of the person you've been closest. . .the most intimate with. You know. BUFFY places the talisman in WILLOW's cupped hands, pouring the chain, and then closes WILLOW's hands together. BUFFY: Keep it safe, Will. WILLOW: So . . .nothing to report? BUFFY: Just need some rest. BUFFY exits as WILLOW holds the talisman near her face, lightly caressing it. A little piece of TARA. CUT TO: INT. BUFFY's BEDROOM BUFFY switches the light on. Then changes her mind, the light’s too much. She flips it off again and over to a chest of drawers. Moonlight is flooding through the window. She opens a small box on her dresser and pulls something out. A lighter. She walks over to the window and looks out. (Through the rest of the ep, we hear Ute Lemper sing Kurt Weil’s “I’m a stranger here myself”) Tell me is love Just a popular suggestion Or merely an obsolete art? Forgive me for asking this simple question I'm unfamiliar with this heart I am a stranger here myself As BUFFY looks out the window at the city lights the camera moves past her, out into the night, through the twinkling city to the statue of liberty. Camera focuses on the torch, in close-up, then pulls out, to reveal. . . A FLASHBACK of NYC 1948, NIGHT DRU and SPIKE are standing there on the ledge of the torch, slow-dancing as the wind whips DRU’s hair up round her face. She stiffens suddenly and stares at SPIKE, then turns to look out over the city. (The song becomes quieter, purely orchestral) DRU: My Spike will be here again . . . you'll come back. Blown on the dragon’s breath. . .(giggles) oh yes, I remember that one time SPIKE looks puzzled, strokes her arm. SPIKE: Luv? She looks faraway, her eyes glazed. DRU: But not with me…not for me...not for Princess... (The song rises again, with the lyrics once more) Why is it wrong to murmur I adore him, when it's shamefully obvious I do? Does love embarrass him, or does it bore him? I'm only waiting for my cue -- I am a stranger here myself CUT TO: DRU’s perspective as she sees time pass over New York, seeing buildings rise and fall, the skyscrapers growing higher and higher, until we see New York as it is today…with snow falling on the statue. V.O. (DRU): She’ll see you again… I dream of a day of a gay warm day with my face between his hands -- Have I missed the path? have I gone astray? I ask that, No one understands! EXT. NIGHT SCOOBY BUILDING From the middle distance we see BUFFY's dark window then the flicker of a small flame casting light on her face for a moment as the song and the scene FADE TO BLACK. CREDITS ROLL __________________ EPPY 8:"SCATTERED", OUT TODAY! "Bloody brilliant! The opening scene sets the standard and it keeps right through to the 'bloody' dramatic ending - literally." - Ferdy M on Scattered. Last edited by Joe Sweden on 05-22-2004 at 08:16 PM | IP: Logged Time Online Since 12/31/2003: 54 D, 10 H, 21 M, 29 S Online 05-20-2004 01:36 AM

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