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(Meta) Buffy - The Origin (Part 2)

8th July 2008 (02:00)
accomplished

current mood: accomplished

Part two of this post, since part one exceeded LJ's post length limit. Previous part is here.

.

ACT TWO

INT: BUFFY'S BEDROOM - DAY

Next morning. Buffy starts awake in a cold sweat, panic on her face.

BUFFY
Oh boy ohboyohboy oh boy oh boy oh boy. That's it. Just not gonna sleep anymore.

>> Post-traumatic stress after her previous night's fight against vampires, or another dream that we're not shown?

CUT TO:

EXT: OUTSIDE HEMERY HIGH SCHOOL – DAY

Buffy's running, late for class.

BUFFY
"Don't think of me as late, think of me as time-impaired." Hmm. Might actually try that one.

CUT TO:

INT: SCHOOL CORRIDOR – LATER - DAY

>> It's implied that this is straight after the first scene, but it works better if it's actually after school and Buffy is on her way to cheerleading practice.

Walking fast, Buffy passes Jeffrey, who falls into step beside her.

JEFFREY
Where were you last night? I called your house like four times.

BUFFY
Umm… I went to sleep. I think I have the flu or something.

JEFFREY
So, I guess you and Cassandra didn't get much done, huh?

 BUFFY
Oh no. Actually, she never showed.
(beat)
Gotta go, Jeffrey. I'll see you later?

>> Buffy's a little guilty about blowing Cassandra off. If it really was her getting killed by vampires because Buffy didn't show, she's going to feel a lot guilty. Is this why she's determined to be extra-nice to her new study partner – Willow – once she gets to Sunnydale?

She tries to kiss him, but he shies away.

JEFFREY
Sorry, babe. I can't get sick. You know, training and all. I'll call you tonight.

 BUFFY
Oh… sure.

>> Using 'I had flu' as an excuse has its downsides. And Jeffrey thinks basketball practice is more important than kissing his girlfriend – nice guy.

CUT TO:

INT: GIRLS' LOCKER ROOM – DAY

Jennifer has just finished changing into her CHEERLEADING UNIFORM as Buffy walks in.

BUFFY
Hey.

 JENNIFER
Hey, you're late!

 BUFFY
Uh-uh. Time-impaired.

 JENNIFER
I didn't think you'd show.

BUFFY
No. I'm gonna practice.

Jennifer dashes off, shaking her pompom.

JENNIFER
Cool. See you out there.

There's a sound, and Buffy starts around - then looks horrified.

BUFFY
Jeez! What are you doing here? This is a naked place!

It's Merrick, looking angry.

MERRICK
You were supposed to be at the warehouse half an hour ago.

BUFFY
I told you I have practice.
(beat)
Listen… Merrick. I think maybe there's been a big mistake here. I mean, I appreciate that there's real vampires, and you have this big holy mission and all that… but I don’t think I'm up to this, and just between us, neither do you.

 MERRICK
It's true, you're not what I expected. Untrained. Clumsy. Lord knows, the most vacuous candidate in my time as a Watcher.
(beat)
I guess there's nothing more for us to talk about.

Buffy's a bit embarrassed by that, but pleased (and surprised) he took it so well. Merrick turns his back on her to walk out.

BUFFY
Really? Cool! Um, good luck and all.

MERRICK
Oh, there is one thing.

And without warning he pulls a vicious-looking THROWING STAR out of his coat, whirls around and HURLS it straight at Buffy's face. She CATCHES IT in mid-flight.

>> This was a scene in the film too, and would have been cool if it weren't for Sutherland's hammy over-acting. Buffy catches the knife between her two hands here, just like she did the sword in 'Becoming Part 2'.

BUFFY
(pissed off)
You threw a knife at my head!

 MERRICK
And you caught it! Don't you see? Only the Chosen One could do that. You are the Slayer.

Bam! She hits him on the jaw – and knocks him unconscious.

CUT TO:

INT: WAREHOUSE – NIGHT

Boxes and other junk, including a shop display mannequin, lie around. Merrick is sat on a crate, holding a cloth to his aching head. Buffy stands in front of him.

BUFFY
Tell you the truth, I never hit anyone before.

 MERRICK
You're pribby good ab it.

 BUFFY
My hand doesn't hurt or anything.

MERRICK
I'm so glad.

>> Merrick can be pretty sarcastic and cutting at times. You can see the similarities to Giles, but also some big differences.

He puts away his cloth.

MERRICK (CONT'D)
Never underestimate yourself, Buffy. You've got abilities you've only begun to tap. Reserves of mental and physical prowess you've never dreamt of.
(beat)
I apologise for the abrupt methods I've had to use in order to jump-start those powers, to get the training process moving. But we don't have much time. 

>> Interesting: by talking about "jump-starting" Buffy's powers, Merrick implies that they're only latent. She has to use them – and be in stress, or mortal danger – before they actually become real and usable. This ties in with something we've seen on the show: that whenever Buffy suffers a defeat (or dies), she always comes back stronger to beat the bad guy. From what Merrick says here, this might not be purely psychological but an actual attribute of her powers. It also helps to excuse some of the Watchers' drastic training methods: what doesn't kill a Slayer really does make her stronger.

BUFFY
So, this Batcave-like atmosphere… is, like, supposed to be a place I'd WANT to work out in?

She kicks a CRATE – and it splinters into small pieces.

BUFFY (CONT'D)
Actually, this could be fun.
(beat)
Am I the only one?

MERRICK
The only Slayer?

As Merrick speaks, we see a MONTAGE of Buffy training: somersaulting through the air, staking the mannequin through its chest, knocking it in half with a flying kick. This is interspersed with a scene of Lothos's VAMPIRES raiding a CLOTHING STORE for blood and leather jackets, and one of Buffy kissing Jeffrey outside the school.

>> She doesn't start moving in slow motion during the training montage, and Merrick doesn't burst into song. As far as we know.

MERRICK (V.O.)
There are girls… all over the world, who are different, who have the potential to become Slayers. But only one is Chosen. 

>> Note that word 'Potential' used in a comic published four years before Season 7 was written. The idea that Potentials are 'different' is also made explicit – in the early days I assumed the Slayer was chosen purely at random, and there were 3 billion possible candidates. Clearly not.

BUFFY (V.O.)
I get it. It's like winning the lottery… only, it sucks.
(beat)
So, Merrick, were there ever any, like, famous vampires?

 MERRICK
Absolutely. You've heard of the Emperor Caligula, perhaps? Or Jack the Ripper?

 BUFFY
No way! They were BOTH vampires?

>> Buffy isn't quite as historically challenged as her teacher thinks, if she recognises the name of Caligula. I suspect it's lack of interest rather than lack of intelligence that's her problem with schoolwork. (And I know Willow would agree with me). Also, we see in Season 4 that she's maintained her interest in working out which historical figures were actually vampires.

MERRICK
The same one, actually.

 

BUFFY
Oh, wiggins.

CUT TO:

INT: VAMPIRE BOUDOIR - NIGHT

A female VICTIM in a blue dress swoons artistically on a couch as Lothos looms over her to taste her blood.

MERRICK (V.O.)
Lothos was probably born in the eleventh or twelfth century. He's been difficult to trace. His power has increased with age. It will be a long time before you are ready to face him.

>> So he's about 900 years old. The Master was only 600 years old. Given their difference in appearance, taste in clothing, and so forth, I don't think Lothos is the Master's Sire: they're independent powers. Lothos can still take human form.

CUT TO:

INT: WAREHOUSE - DAY

Back to the present. Buffy is doodling hearts in a notebook as Merrick speaks.

MERRICK (CONT'D)
Lothos is extremely powerful, but he is still a vampire, and thus vulnerable to the same weaknesses. Daylight is still his enemy. The stake can still find his heart.

 

BUFFY
Uh-huh. Yeah. Oh yeah. Right.

Merrick senses her attention is not fully engaged.

MERRICK
I have huge antlers growing out of my buttocks.

 

>> See what I meant about him being a sarcastic old sod?

 

BUFFY
(oblivious)
Uh-huh. Okay.

He slams a stake right through her notepad.

BUFFY
Aaghh! What?!

 

MERRICK
Try to pay attention.

CUT TO:

INT: SCHOOL CORRIDOR - DAY

The BELL rings. Buffy stands there looking harassed.

BUFFY
Yes, YES! I know! Late again! That's ME! Time-impaired and loving life!

CUT TO:

INT: MERRICK'S OFFICE - DAY

He sits at a desk, with a newspaper open to the obituaries page. He's circled a couple of them with a red marker pen.

MERRICK
Three more last night. Perhaps four. Poor souls. Soon. She must be ready soon.

>> If there were 'three more' why has he only drawn circles around two? :-)

CUT TO:

INT: CATHOLIC CHURCH - DAY

Buffy walks into the church, which is empty apart from an avuncular-looking PRIEST reading from his prayer book.

BUFFY
Excuse me, Father…

 PRIEST
Yes, my child. Is something troubling you?

 BUFFY
Well, sort of.

 PRIEST
I'd like to help, if I can.

And Buffy brings out the four-pack of PERRIER MINERAL WATER BOTTLES she's been holding behind her back.

BUFFY
Great. Um… could you bless these?

>> If I remember rightly, the early 90s was when Perrier was incredibly trendy. This scene is classic Buffy, but was dropped from the movie – maybe they didn't want to offend religious people? It's also the only canon evidence we're ever given as to where exactly Buffy gets her supplies of holy water.

CUT TO:

INT: SCHOOL GUIDANCE COUNSELLOR'S OFFICE - DAY

GARY MURRAY, Hemery High's guidance counsellor, is an aging hippy who tries to be down with the kids. He's holding a cup of coffee as he talks to Buffy, who isn't really paying attention. A large FLY buzzes in an irritating fashion around the room.

>> He was the School Administrator in the movie.

GARY
Now, Buffy, there's nothing to be nervous about. Don't think of me as Gary Murray, Guidance Counsellor. Think of me as Gary Murray, party guy! A happenin' dude who can talk to the young.

Buffy's watching the fly.

GARY (CONT'D)
Tell me. It's drugs, isn't it? Hey, I know where you're coming from, believe me. I did a lot of— I did a LITTLE acid once, in the Sixties. Well, late Seventies, really. It was a Doobie Brothers concert…

 

>> Some of Gary Murray seems to have transferred itself into Principal Flutie in the TV show.

 

Buffy picks up one of the MAPPING PINS lying on the table.

GARY (CONT'D)
…And I could see the music flowing into me, bright red and electric… I felt like a big toaster…

>> Is the reference to a toaster foreshadowing of Willow and Tara? :-). (Or even Buffy/Satsu, if we look that far ahead…)

Buffy puts the pin between her lips.

GARY (CONT'D)
…And I thought, maybe I AM a toaster, maybe we're ALL toasters.

Buffy watches the fly intently, judging its course and speed.

GARY (CONT'D)
…And I could see each molecule… and my friend Melissa…

Ptoo! Buffy spits the pin out of her mouth…

GARY (CONT'D)
…Her head looked like a giant party balloon, and that scared me, I started to freak out…

…And the fly is IMPALED in mid-air by the pin.

CUT TO:

INT: PIKE's APARTMENT - NIGHT

There's a surfboard leaning against the wall, and a large WINDOW with no curtains showing the moonlit sky. Pike is listening to a PORTABLE STEREO using headphones.

BENNY
Pike…

Benny is outside the window, calling in.

BENNY (CONT'D)
Pike…

PIKE
Benny, man, where you been? You bailed on me!

 BENNY
Let me in…

Pike goes over – and sees that Benny is now in VAMPFACE.

BENNY (CONT'D)
Invite me in, Pike.

 PIKE
What's wrong with you, man? You look like crap, dude. Worse, even.

 BENNY
I… feel…pretty.

 PIKE
Dude, you're creepin' me out. Why don't you cool out and come back in the morning. Get some sleep. Take a bath.

BENNY
Let me in, Pike. I'm hungry.

 

>> In the film Benny was hovering outside a second story window. Here they're apparently on the ground floor. Does Pike realise what's happened to Benny? He certainly figures it out later, but I think here he has a narrow escape by telling him to go and sleep it off instead of allowing him in.

CUT TO:

INT: DARK CITY STREET - NIGHT

Buffy walks down the road, hunched up in a hooded jacket, alone. She's also talking to herself.

>> I love Buffy's attempt to act baity here.

BUFFY
Brrr. Sure is cold. What a dark night. Nice night for a walk. Alone.
(sings)
Feelings, la la lala feelings.
(sidelong glance)
Boy, I'm helpless.

A RAT squeaks as it runs down a pipe.

BUFFY (CONT'D)
Yeuchh.

>> She's pretty calm about the rats in 'The Harvest' – obviously she's got over her revulsion by then.

Then suddenly there's a loud hiss from behind her.

BUFFY (CONT'D)
Oh, hello… What do you want?

It's a VAMPIRE, and he wants her blood, of course. But Buffy KICKS him, once in the chest, once on the jaw.

BUFFY (CONT'D)
Mister, you've got a lot to learn…

She pulls out her STAKE.

BUFFY (CONT'D)
…About defenceless…

She stakes him.

BUFFY (CONT'D)
…young…

And he DUSTS.

BUFFY (CONT'D)
…girls!

She's triumphant.

BUFFY (CONT'D)
Yes!

Merrick steps out of the shadows holding a STOPWATCH. He's wearing a long brown coat.

>> Both Giles and Gwendolyn Post do similar things; it must be a standard Watcher technique.

BUFFY (CONT'D)
Well?

MERRICK
He was slow. They won't all be that easy.

BUFFY
Fine.

They get into Merrick's car and drive off.

>> This next scene is probably the best in the entire script: it's got comedy but also pathos, angst, bonding between Buffy and Merrick, and insight into what it means to be a Watcher. So of course it didn't appear in the movie (except for the first and last few lines), probably because it wasn't light and silly enough.

MERRICK
And the alley was a mistake. Never corner yourself like that. If they'd come at you in force, you'd be dead now.

BUFFY
Does the word "duhhh" mean anything to you?

 MERRICK
I'm just saying to be more aware of your surroundings. It could have gone differently back there.

BUFFY
Yeah, well, I didn't see YOU killing any vampires. You were too busy playing "beat the clock".
(sulky)
Aren't I, like, the Chosen One? Doesn't that mean you have to be nice to me? Like, EVER?

MERRICK
Buffy…

 BUFFY
And why are you always wearing brown? It's so, nothing. It's totally not your colour. I don't think you have a colour.

 MERRICK
What do you want? Encouragement? "Gosh, Buffy, you're so SPECIAL, I want to give you a great big hug. Oh, I'm just having a warm fuzzy."

 BUFFY
Oh, drop dead.

 MERRICK
Do you know how many girls I've trained as Slayers? Five. They worked harder than you've ever worked in your life.
(hard)
And I saw them all ripped apart, Buffy. Do you think jumping around and hitting crates makes you a Slayer? Do you?

 BUFFY
So basically, I have the life expectancy of a zit.

MERRICK
Not if you're careful.

 BUFFY
How can you keep doing this?

They've arrived back at the warehouse, and Merrick parks the car.

MERRICK
It's what I was raised to do. Be a Watcher.

BUFFY
Watcher? I guess if that's what you're into…

 MERRICK
My father taught me everything… about the training and the legends, and research, and a lot of subtleties the Council never bothered with.
(beat)
I'm sorry. I shouldn't be going on like this. 

>> Mention of the Council is interesting: in the movie Merrick was actually a single (reincarnating) individual, and the Watchers' Council was only fleshed out in the second season of the TV show. This reference might be a hint that Joss had the idea planned out earlier, or it may be the comic book adaptors putting in a reference to the TV canon themselves. Note also that Merrick, like Giles, is an unconventional Watcher – although also a very experienced one if he's buried five Slayers already.

BUFFY
I wish you would. I'm curious.

MERRICK
It isn't important… Buffy, don't start thinking of me as your friend. It interferes with the work, and it…

BUFFY
And it makes it worse when I die, right?
(beat)
Well, you know, I'm not gonna kick so easy, I've got a few things the other girls didn't have. For one thing, there's my keen fashion sense…

MERRICK
Vampires of the world, beware.

 BUFFY
(wry smile)
Merrick, you made a joke. Do you want to lie down? I know it hurts the first time.


CUT TO:

INT: SCHOOL CORRIDOR - DAY

Jennifer and Kimberly walk down the corridor, to admiring glances from passing boys.

KIMBERLY
So, they found Cassandra's body out by the railway tunnels. Nobody's sure, but they think she was involved in something, like, illegal, like dealing.

 JENNIFER
What do you suppose she was really doing out here?

>> And here's the mention of Cassandra's death. We don't know how long has passed since Buffy missed the study date with her – there's been an entire training montage in the intervening period.

Buffy, grim-faced, joins the conversation.

BUFFY
Dying.

 JENNIFER
Okay, eeyuu.

At this point, Andy and Jeffrey walk over. Andy playfully makes as if he's about to GROPE Buffy.

ANDY
Hey, Buffy! Got to get some!

But she grabs his ARM behind his back and SLAMS his head hard against the nearby lockers.

ANDY (CONT'D)
Whoa! Whoa! I'm sorry! I don't actually need any right now!

BUFFY
Don't grab me, okay?

 JEFFREY
Andy, dude, keep your mitts off my thang. I'll pop you one.

BUFFY
I can take care of myself, Jeffrey.

Buffy stalks away, seriously pissed off.

JEFFREY
Nice to feel needed.

KIMBERLY
Whatever.

CUT TO:

INT: AUTO GARAGE - NIGHT

Pike is talking to ZEPH, a mechanic, who's been working on his CAR.

>> Presumably it's an Audi.

PIKE
Come on, man, you said it'd be ready by two o'clock! It's almost dark!

ZEPH
Chill, Pike. Where the hell are you gonna go, anyway?

PIKE
I'm bailing town, man. This place has gotten way too hairy.

Zeph closes the car's bonnet.

>> That's 'hood' for Americans.

ZEPH
Okay, try it now. Say, Benny going with you?

PIKE
No. No way. Hey, you should think about leaving too, man. Sell this place. Something weird's going on here.

He gets in the car and tries the ignition, to no avail.

PIKE (CONT'D)
Dammit, Zeph. It still won't start.

ZEPH
Give it a minute and try again.

PIKE
C'mon, baby. Don't leave me hanging. Come on. Breathe.

 ZEPH
So, what should I do if I see him? Benny, I mean.

 PIKE
Run.

But suddenly Benny is right there – biting into Zeph's neck.

BENNY
Too late.

PIKE
Can I try it now? Do you— oh boy.

He looks up to see at least six VAMPIRES blocking the exit. As well as Benny, there's also Amilyn leading them.

AMILYN
They just don't make 'em like they used to, do they?

Benny smashes in the driver's side window as Pike fumbles frantically with the ignition key.

BENNY
Little pigs, little pigs, let me in!

 PIKE
C'mon, baby, come on!

With a VROOM the engine suddenly roars into life.

PIKE (CONT'D)
Yes!

He starts to drive off, but Amilyn has climbed onto the car bonnet.

CUT TO:

INT: CITY STREET - CONTINUOUS - NIGHT

PIKE (CONT'D)
Oh, man, get off the hood! I can't see where I'm…

…Going? Pike drives the car headlong into a TREE. Amilyn is sent flying – but his ARM IS RIPPED OFF in the collision.

>> This actually works better in the movie, where Amilyn climbs on the car roof and punches his arm down through it into the car (van, in the film), then gets swept off by an overhanging tree bough. I'm not sure how his arm could come off so cleanly in the accident as shown here.

AMILYN
No!

 PIKE
Give me a break!

Amilyn seems more angry than hurt.

AMILYN
All right, now I'm just a little pissed off. That was genuine leather.

 

>> Amilyn's casualness about his lack of an arm is curious – in the film it was played for laughs, but he's not particularly bothered here either. Is he just insane, or nihilistic? Or can Buffyverse vampires regrow severed limbs over time (like Bladeverse vampires, but presumably not as quickly)?

 

One of the other vampires lunges for the car – when a female HAND grabs him by the ear and pulls him back.

BUFFY
Not so fast, Curly.

She DUSTS him.

BUFFY (CONT'D)
You guys are hunting in even bigger packs these days… maybe you think there's safety in numbers… safety from me. But it just makes you easier to find.

She kicks Amilyn, sending him flying across the street, then helps Pike to his feet. The other vampires are clustering around.

BUFFY (CONT'D)
(to Pike)
Running now would be a good idea.

 PIKE
Right.

 BUFFY
Do you do this kind of thing a lot? I mean, is it like a hobby?

 

>> In the movie it's Pike who says that to Buffy, not Buffy saying it to Pike. The movie version makes a lot more sense: I suspect an error by the letterer.

PIKE
Not exactly.

They make a run for it down the street: the vamps in leisurely pursuit, sure of their prey.

>> I added the 'leisurely pursuit' bit because otherwise it doesn't make sense for Buffy and Pike to make it all the way to the garage, have a conversation and fiddle with the combination lock before the vampires catch up with them…

 


PIKE (CONT'D)
They were vampires, weren't they?

 

BUFFY
Yeah.

 

PIKE
God, unbelievable. Vampires!

CUT TO:

INT: GARAGE - CONTINUOUS - NIGHT

They reach the garage where Benny's MOTORBIKE is stored, and Pike fumbles with its security chain.

>> Is this the same garage where Zeph was repairing Pike's car? I assume so, but it's unclear.

PIKE (CONT'D)
One, three… one, three… what the hell was it again?

 

BUFFY
That your bike?

 

PIKE
A friend's. He won't mind, though. He's dead.

The vampires have caught them up. Buffy holds a stake out to Pike.

BUFFY
Here they come. Take this.

But he's still fiddling with the combination lock.

PIKE
One, three…nine!

 

>> A three-digit code? Great security…

Buffy starts fighting the vampires – when she recognises one of them.

BUFFY
Grueller! God, what did they do to you?

 

GRUELLER
They killed me.

 

BUFFY
No kidding?

 

GRUELLER
Lothos walks tonight. This is his kingdom now.
(beat)
You know, Buffy, I've always wanted you.

BUFFY
You really know how to sweet-talk a girl.

At which point Pike STAKES him from behind.

PIKE
Sorry, moron. She's already got a boyfriend. You'll just have to lust from afar, like the rest of us.

 

BUFFY
"Like the rest of us"?

 

PIKE
Did I say that?

CUT TO:

EXT: CITY STREET - NIGHT

The wreckage of Pike's car is wrapped around the tree. Merrick dashes up.

>> I have to assume that he and Buffy were walking the streets when they heard the car crash, and Buffy went running off at Slayer speed to investigate. He's only just caught up with them.

MERRICK
Idiot girl. We're on patrol. The sound of a car crashing does not usually signify the presence of vampires.

 

VOICE
In this case, however, Mr Merrick… I'm afraid it does.

He wheels around to see the source of the voice, horrified recognition on his face.

MERRICK
Oh my God.

It's Lothos. Magnificently dressed in a sweeping cloak, arrogant in his power.

LOTHOS
It's a beautiful night. The dark is so thick with life, like soil… like blood.
(beat)
Did you really think you could hide her from me, Merrick? That I wouldn't know there was a new Slayer? Another pathetic bitch waiting for me to suck on her clotted heart?

 

>> The comic actually says "another pathetic b----". If you can think of any other insulting terms for a woman with five letters beginning with 'b', let me know.

 

MERRICK
This one may surprise you. She's not like the others. Doesn't play our way. I don't even think she knows how strong she is.

 

LOTHOS
Such drooling sentiment from a Watcher? I'm all aglow. Surely she's not that special, particularly if she was raised HERE.

CUT TO:

INT: GARAGE - CONTINUOUS - NIGHT

Buffy and Pike have disposed of the vampires they were fighting, and he's sitting astride the motorbike.

BUFFY
So, you're leaving?

 

PIKE
You're not? Look, I have this friend… he's a vampire. Bad scene. So, yeah, I'm gone. But, hey, thanks, all right?

As she replies, Buffy looks out the open door of the garage and sees where Merrick is confronting Lothos.

BUFFY
Any time, Pike, any… oh my God. Lothos.

She runs over to help.

BUFFY
Merrick!

 

MERRICK
Get away from here, girl! You're not ready for this. Go!

 

LOTHOS
Well, well. All this for me?

He turns to face Buffy, who tries to look defiant. Merrick reaches inside his coat...

MERRICK
Girl, for once in your life…

…and pulls out a GUN, opening fire on Lothos.

MERRICK
Do!
(blam)
As you!
(blam)
Are told!
(blam)

Pike roars up on his motorbike.

PIKE
You heard the man, Buffy! Get on! Let's go, now, before I realise how stupid it was to come back!

Lothos turns back to Merrick. The bullets have hardly even scratched him.

LOTHOS
You insult me with that?

 

MERRICK
Just a distraction. You'll not have this one. Not this time.

Lothos turns to watch Buffy and Pike as they drive off.

LOTHOS
I have her face. And after I make you mine - a vampire – you will give me her name, even kill her for me if I command it.

 

>> I wonder how many other Watchers have been turned, and betrayed their Slayer?

 

 

MERRICK
Not in this lifetime.

And he puts the muzzle of the gun in his MOUTH.

LOTHOS
That's exactly what I… no! You won't cheat me of this!

 

MERRICK
Yes.

On BUFFY, sitting behind Pike on the motorbike. She hears the final gunshot, closes her eyes as a tear spills from their corner.

BUFFY
…No…

>> An incredibly powerful scene, even compared to Merrick's death in the film.

CUT TO:

INT: MERRICK'S WAREHOUSE - DAY

As the light of dawn comes through the windows, Buffy stands alone in the warehouse where she used to train with Merrick. She picks up a CROSS sitting on the table and tries to pray.

BUFFY
Umm… our Father, who art in heaven… ahh… hallowed be thy name. Kingdom come… daily bread—I don't know!
I'm supposed to say something, but you're just dead. So totally dead. And I don't know what to do.

You were the one who…I don't know if the training was over… I don't even know if I passed!

How could you be so stupid? What am I going to do without you?

Amen.

 

>> *Sniff*. Very effective scene, especially the last frame which pulls back to show Buffy small and alone as she says "Amen". Seems that at the age of 15 Buffy was still nominally Christian, but it wasn't a big part of her life if she can't even remember the Lord's Prayer.

END OF ACT TWO 


 Continue to Act Three