Episode 15 - Sacrifice
ACT FOUR
EXT. AN ALLEYWAY - NIGHT
from where we left off. Buffy backs away from the
group of vamps. As soon as Buffy's back is turned, the
vamps advance quickly, forcing Buffy to turn back and
swing with her sword. We see the vamps stalking Buffy
like a pack of hyenas would an injured animal.
Buffy struggles to keep them away. She swings weakly
one more time with the sword. She drops the sword, too
weak to continue. She falls to the ground. She looks
up in despair as the vamps advance again.
ANGLE : LEAD VAMP
from Buffy's POV on the ground, looking up, as he
approaches her. Suddenly, we hear a screeching of
tyres as a bright light fills the alleyway. The vamp
turns around (he is now silhouetted against the light)
as we hear something fizz through the air and hit the
vamp. The vamp turns to dust.
As Buffy struggles to stay conscious, we hear the
sounds of a fight off-screen. Buffy looks up again.
REVERSE ANGLE : BRIGHT HEADLIGHTS FROM A CAR
as we see bodies running away in front of it. Shadows
dissapering back into the night. We hear the sound of
a crossbow being fired. We then see three figures step
out in front of the headlights. One of them runs
forwards to us and kneels down, blocking out the
backlight. It is Giles. We BLACKOUT as Buffy loses
consciousness.
INT. SUNNYDALE HOSPITAL/ROOM - NIGHT
As we FADE IN.
ANGLE ON : FLUORESCENT LIGHTS ON CEILING
from someone's POV.
ANGLE : BUFFY
on a hospital bed, in a hospital gown, looking at the
ceiling. There is an IV drip attached to her. She
blinks a few times, still getting her bearings. She
sits up a little to look around her.
ANGLE : WILLOW, XANDER AND GILES.
Willow and Xander sitting next to each other on
chairs. They are whispering a conversation. Giles
stands looking out the window.
Buffy lies slowly back down on her pillow, staring
back up at the ceiling. She remembers something. She
reaches down with her left hand and feels the right
side of her body.. feeling her (presumably patched up)
wound through her hospital gown. She then raises both
her hands close to her face and just looks at them as
she slowly opens and closes her palms (as if checking
to see whether she's still alive).
Willow turns and notices Buffy.
WILLOW
Buffy.
We see Willow and Xander stand up and Giles turn
around. Willow and Giles begins to approach Buffy
while Xander ducks out the door for a second. He
starts to walk up to Buffy as Anya and Tara enter
through the door.
The Scoobs gather around Buffy as she sits back up on
her pillow, looking very tired.
BUFFY
(looking at them)
Is everyone okay?
A few confused looks from the Scoobs.
XANDER
Buff, you're the one in hospital.
TARA
(to Buffy)
We're fine. We're all here.
The Scoobs look at Buffy with concerned expressions on
their faces.
BUFFY
(noticing)
What's with the faces? I'm fine.
(a beat, then..)
I am fine aren't I? I mean, there're
not like parts of me in a pickle jar
somewhere?
WILLOW
(smiling)
No. No pickle jar.
GILES
The doctor said that the blade
missed the vital organs.. but you
lost a lot of blood.
(Giles gently moves aside
some hair from Buffy's
face)
You were very lucky.
Willow takes Buffy's hand comfortingly. Buffy smiles
slightly, then turns to Xander as he speaks.
ANGLE : XANDER
from Buffy's POV, standing over the bed.
XANDER
Yeah, I mean with your slayer
strength, you'll be back up in no
time.
We PAN to the right to Tara.
TARA
We're just glad you're okay.
We PAN to the right to Anya.
ANYA
You're an idiot.
XANDER
An..
ANYA
(turning to Xander)
Oh.. right.
(back to Buffy)
Xander thinks you're an idiot too.
XANDER
(horrified, to Buffy; panicy)
I never.. I.. I didn't say idiot.
(off Anya's look)
I may have mentioned reckless but
that's, you know, way less harsh.
WILLOW
(to Anya)
Anya, this isn't the time..
ANYA
Why not? As the saying goes, call
her an idiot today, save us from
putting it on her gravestone
tommorow.
BUFFY
(a little bewildered)
Um.. okay.. haven't actually heard
of that particular saying before
but..
ANYA
I can see the inscription now. "Here
lies Buffy.. a really great gal but
died doing something really, really
stupid". I could go on but I think
we'd run out of space on the
headstone.
XANDER
An..
ANYA
(worked up now)
What? I think taking on an army of
vampires by herself qualifies her
for a lifetime membership at Club
Dopey, you know, the one located in
the beautiful island of Cretin.
(to Buffy)
If you want to do something stupid,
go run around the house with a pair
of scissors or.. or go make a face
and wait for the wind to change.
Willow rolls her eyes.
ANYA
(noticing)
See! Willow's got it.
(back to Buffy, with
genuine concern)
Just don't go volunteering for any
more jobs that involve turning
yourself into a human pinata.
Xander puts a hand on Anya's shoulder, settling her
down.
XANDER
I think what Anya's trying to say
is.. tonight was too dangerous. I
mean, if you were planning a party,
you should have handed out some
Scooby invites.. even the odds out a
little.
WILLOW
You can't shut us out like that
Buffy. This isn't just your fight,
you know? We're here because we
choose to be here.
ANGLE : TARA
reacting a little to this. She turns to look at Willow
but Willow doesn't look back. Tara looks down.
Buffy looks at the Scoobs and just nods silently.
GILES
Okay, we'll just let this rest for
now shall we? I'm sure Buffy needs
to get some sleep.
Buffy looks around the room searchingly as everyone
beings to slowly step away from the bed.
BUFFY
Where's Dawn?
A slight pause before Tara answers.
TARA
She's just outside. I'll go get her.
Willow turns to watch Tara leave.
BUFFY
(quietly)
Giles?
Giles turns around and walks over to Buffy.
BUFFY
(gravely)
There's something I need to tell
you.. about tonight.
INT. SUNNYDALE HOSPITAL/HALLWAY - NIGHT
As we see Tara exit from the room and into the
hallway. She looks left, then right and spots what she
is looking for. We TRACK her as she walks across the
hallway to a bench where Dawn is sitting, looking
despondent.
TARA
(quietly)
Dawn?.. She's asking for you.
Dawn looks up briefly at Tara, then back down to the
floor.
DAWN
I don't know if I can.. I mean, I
can't go in there.
Tara sits down next to Dawn.
ANGLE : WILLOW
at the doorway, peeking out watching Tara and Dawn.
ANGLE : TARA AND DAWN
Tara looks at Dawn and thinks for a moment.
TARA
It's okay.. I mean, if you don't go
in there. No one's going to hold it
against you. Everyone will
understand. You know that right?
Dawn continues to look at the ground.. the slightest
shrug of her shoulders.
TARA
But.. I think you'll regret it if
you don't. I mean, I think you know
that you need to be in there right
now.. for Buffy and for yourself.
You both need each other, now more
than ever.
Dawn looks up at Tara.
TARA
It's okay to feel whatever you're
feeling right now. If you're
scared.. if you're angry..
(smiles)
It's okay.
Dawn smiles a little and rests her head on Tara's
shoulder. Tara puts an arm around Dawn and rests her
chin gently on Dawn's head. They stay that way for a
beat.
ANGLE : WILLOW
watching from the doorway.. quietly touched by it all.
She watches them for a beat, then heads back inside.
INT. SUNNYDALE HOSPITAL/ROOM - NIGHT
as Willow enters, just leaning back against the wall
by the door, looking very sad. She straightens up and
hides her emotions as soon as Dawn and Tara enter.
Tara hangs back with Xander, Anya and Willow, letting
Dawn walk up to Buffy by herself. A quick exchange of
glances from Willow and Tara.
As Dawn walks up to Buffy, we see Giles walk back away
from the bed.. shoulders a little slumped. He pats
Dawn's shoulder comfortingly as he walks by and joins
the rest of the Scoobs near the door.
Dawn walks slowly and quietly towards the bed, her
face expressionless. She takes a look at Buffy (who is
staring up at the ceiling) and the various drips and
machines attached to her. She comes up to the bed.
Buffy turns her head and sees Dawn.
BUFFY
(weakly, with a smile)
Hey princess.
Dawn stares blankly at Buffy for a beat. She reaches
out with her hand and gently places her hand on top of
hers. She looks at Buffy's hand, feeling the contour
of it. She then turns to look at Buffy. A wave of
emotion passes over her face.
She clenches her hand into a fist and hits Buffy on
the top part of her chest.. once. Buffy looks a little
stunned.
Dawn hits her again and again, with both hands..
hitting Buffy's shoulders and chest. Hitting her
faster and faster, a frenzy of emotion.
ANGLE : XANDER
as he starts to come forward.
XANDER
Dawn.
Giles puts a hand on his shoulder, stopping him.
ANGLE : BUFFY AND DAWN
as Dawn, starting to cry, continues to hit Buffy.
Buffy lets Dawn vent her emotions out on her, then
pulls her into a hug. Dawn continues to go through the
motions of hitting Buffy but she isn't really trying
anymore.
BUFFY
I'm sorry.. I'm sorry.
Buffy hugs Dawn for a beat. Dawn stops hitting Buffy
and hugs Buffy back, holding on to her as hard as she
can.
ANGLE : DAWN
over Buffy's shoulder.
DAWN
(half-crying, a pained
whisper)
I don't want to come here again..
Please don't make me come here
again.
The two continue to hug. In the background, we see the
Scoobs looking on at a respectable distance. Giles
turns and leaves.
INT. CHRISTOPHER'S APARTMENT - NIGHT
As we see Giles barge in through the door and head for
the table. He searches the items on top of the table,
frantically looking for something. He opens an
unlocked drawer on the right side of the table and
scours through the contents. He finds nothing.
He opens the unlocked drawer underneath and after some
searching, produces a black book from it. He
straightens up and opens the book. He flips through it
until he finds something interesting.
ANGLE ON : A PAGE IN THE BOOK
an entry in the address book. Underneath a telephone
number, it reads "Sandring - Sunnydale Court Inn..
Room 35".
Giles snaps the book shut and is about to head out
when something in the open drawer catches his eye.
ANGLE ON : A SMALL BLACK CASE
sitting in the drawer.
Giles reaches in and picks the case up. He sets it on
the table. He slowly opens the case. He reaches in and
picks out a small bottle.
ANGLE ON : THE BOTTLE
half empty. There is a label affixed to the bottle.
Under a chemical name, it reads "Danger : Poison;
avoid direct contact with skin".
ANGLE : GILES
with bottle still in hand. He is deep in thought.
INT. MR SANDRING'S MOTEL ROOM - NIGHT
ANGLE ON : A HALF-PACKED SUITCASE ON A BED
We slowly PAN across the room as we hear a voice off-
screen.
MR SANDRING (O.S.)
Everything went to plan.. No, we
don't have to worry about that
anymore.
We PAN to see Mr Sandring standing by a table, talking
on a phone, looking a little hot and sweaty even
though he has his coat off.
MR SANDRING
Yes, yes. Send them immediately. I
want this taken care off quickly..
Okay, pick me up at the airport at
four.
Mr Sandring hangs up the phone, picks up his
handkerchief from the coat he has left on top of the
table and wipes his brow. As he does so, he pours
himself a glass of Scotch from a bottle on the table.
He puts the handkerchief away and places the glass
back down on the table.
ANGLE ON : GLASS OF SCOTCH
only half-empty. We TILT up from the glass to reveal
Giles standing in the middle of the room.
MR SANDRING
Mr Giles. Come to see me off?
GILES
It didn't work.
MR SANDRING
Whatever are you talking about?
GILES
She saw you. You were the courier.
Mr Sandring thinks for a beat, then smiles.
MR SANDRING
So, our little friend is still
alive.
Mr Sandring laughs and walks right by Giles, not
fearing him at all, and to his suitcase where he
continues to pack. Giles turns to look at him.
MR SANDRING
There can't be many lives left in
her. Shame Christopher only had one
to give.
GILES
Tell me. What did you do it for?
Money?
MR SANDRING
I trade in a commodity far more
precious than currency Mr Giles.
Power. You see there is a faction
within the Council, people such as
myself, who feel it is of great
value to ally ourselves with the
General.
GILES
(disbelieving)
An alliance with the General?
MR SANDRING
Yes. The General can have his
precious dominion over his demons
while we will rule over humanity.
Between the two of us, we will have
all the power in the world. One
happy co-existence.
GILES
You cannot forge an alliance with
the General.
MR SANDRING
Read your history books Mr Giles.
Enemies become allies, allies become
enemies. Who's to say what's right
or wrong? Only time will tell.
GILES
You're mad.
MR SANDRING
(thinks for a moment)
No.. we're pragmatists.
GILES
The Council will never stand for
this..
MR SANDRING
(angry, yelling)
I am the bloody Council.
(then takes a beat to
recompose himself)
It only needs to be formalised.
GILES
Listen to me. Once the General
raises his army, he will want
absolute control. You cannot make
deals with vampires. Such alliances
will never hold.
MR SANDRING
It has before.
Giles takes a beat to take this in.. then realises..
GILES
That dark and powerful ally of the
General's a hundred years ago.. the
one which gave the General his
power, which trained his army, which
provided their weapons and armour..
It was the Council? It was your
faction?
MR SANDRING
(smiles)
For as long as there has been a
Council, we have existed.. secretly
watching and planning.. slowly
building our power base within the
Council.. biding our time, waiting
for our day to come. Of course, our
forefathers thought that day came a
hundred years ago, and it would have
been true, if not for a premature
burial.. But now, here we are in the
new milennium..
GILES
(horrified)
The beginning of the end.
Mr Sandring smiles, then goes back to packing.
MR SANDRING
Ever the pessimist Mr Giles.
Giles turns towards the table, his back to Mr
Sandring. He picks up a glass and begins to pour
himself a drink.
GILES
And Christopher? Was he part of all
this?
MR SANDRING
(turning to Giles)
I can imagine you've had a rough
day, so I'll give you this. Your
poor boy had no idea about our
alliance, or even about us. But,
you should be proud of him. He
served us well. He died believing
in a lie.
Mr Sandring turns back to his packing.
ANGLE : GILES
as he looks down at something, deliberating something
in his head. We TILT down to reveal the bottle of
poison in his hand.
GILES
(without turning back)
You'll never get away with this.
MR SANDRING
(turning back to face
Giles)
You're a joke to the Council Mr
Giles. Meanwhile, to them, I am
their Messiah. I am the one who will
bring power, respect and dignity
back to their names. Who do you
think they'll believe?
ANGLE : GILES
from Mr Sandring's POV. Giles' back is to us so, we
(nor Mr Sandring) cannot see if he is doing anything.
MR SANDRING
Besides, we've been doing this for a
long, long time. In that time, we've
seeped into every branch of the
Council.. into every office, into
every nook and cranny. Do you
honestly believe you could get rid
of us with just a phone call?
Giles turns back around to face Mr Sandring. He sips a
Scotch, sitting slightly on the table. He watches Mr
Sandring with a cold, detached expression.
MR SANDRING
(while packing)
Even if you could convince someone,
it would take years to flush us out.
By that time, the General will have
raised his army and the Council will
be falling to their knees,
congratulating me on my foresight of
forming an alliance.
Mr Sandring finishes packing.
MR SANDRING
(turns to Giles)
You're finished Mr Giles.
Mr Sandring walks over to the table, gets his coat and
puts it on.
MR SANDRING
If I were you, I'd worry more about
yourself and your little family you
have here. We always clean up our
messes.
Mr Sandring heads over to a mirror and straightens
himself up.
GILES
What makes you think I'll let you
leave this room?
Mr Sandring regards Giles off the mirror, then turns
around and walks up to him.
MR SANDRING
I'm a betting man Mr Giles. I'm
betting you came here tonight fully
intending to do me harm.. perhaps
even to kill me.
(almost gloatingly)
I mean, who could blame you.. the
rage that must be burning inside you
right now.
Giles stares back dispassionately.
MR SANDRING
(looking down at his half-
empty glass of Scotch on
the table)
Certainly, you had ample time to
slip a little something into my
drink while my back was turned.
No reaction from Giles.
MR SANDRING
But I also know the person you are
Mr Giles. You're one of those people
who will forever be bounded by a
sense of ethics and morality.. with
an unfailing inability to take a
human life. You will stay forever
behind that line.. that line which
turns you into one of us.
(in Giles' face, like an
accusation)
I know you Mr Giles. You just don't
have it in you.
Mr Sandring and Giles stare off for a beat. Mr
Sandring then picks up his glass and raises it for a
toast.
MR SANDRING
Here's to sure things.
Mr Sandring drinks up, never taking his eyes off
Giles. He waits for a beat, then smiles.
MR SANDRING
See.
With that, he turns and picks up his suitcase. At the
door, he turns to Giles.
MR SANDRING
Goodbye Mr Giles. I doubt we'll meet
again.
Mr Sandring exits.
ANGLE : GILES
Giles slowly finishes his drink. He looks into the
bottom of his glass for a beat, looking contemplative.
We hear a soft thud coming from outside. Giles puts
down his drink and slowly walks to the door.
INT. MOTEL/HALLWAY - NIGHT
as we see Giles exit Mr Sandring's room. He reaches
into his coat pocket and pulls out a glove. He puts it
on his left hand. He takes a few steps forward and
then kneels down.
The camera follows him down to reveal a lifeless hand
holding on to a white handkerchief. We see Giles take
the handkerchief away from the hand with his gloved
hand.
GILES
You don't know me at all Mr
Sandring.
Giles gets up out of frame and walks away, leaving us
with a shot of a lifeless hand.
EXT. SUNNYDALE HOSPITAL - NIGHT
to establish.
INT. SUNNYDALE HOSPITAL/ROOM - NIGHT
POV from the doorway, a few metres away from the
hospital bed. We see (but do not hear) Tara at the
hospital bed, talking to Buffy for a beat. Dawn sits
on the bed, watching. Tara leans over and hugs Buffy.
She then turns to Dawn and they hug for a long beat.
Tara draws away, puts her hand on Dawn's face and has
a few final words. She then turns and walks away.
She picks up her red coat from a chair and puts it
over her arm as she walks out into..
INT. SUNNYDALE HOSPITAL/HALLWAY - NIGHT
Tara turns to look down the corridor.
REVERSE ANGLE : WILLOW
sitting on a chair against the wall, head down,
looking a little distraught. Willow looks up and sees
Tara. Willow turns away, unable to hold her gaze.
Tara walks up to Willow and stands in front of her.
TARA
Will?
Willow is unable to look up at Tara. Tara looks at
Willow for a long beat, as if waiting for something..
searching for something in Willow's face. Then..
TARA
(verging on tears; voice
starting to break)
I'll see you, okay?
Tara turns and begins to walk away. Willow looks up.
WILLOW
Tara..
Tara turns around, hopeful. Willow looks at Tara,
looks as if she's about to say something.. but cannot.
She starts to tear up. She looks back down to the
ground. Tara looks downcast.
Tara turns to look down the opposite end of the
hallway.
REVERSE ANGLE : GILES, XANDER AND ANYA
all quietly waiting by the lifts.
Tara turns back, walks over to Willow and squats down
in front of her. She gently lifts Willow's head and
wipes away her tear. With one hand still cradling
Willow's face, she kisses her gently on the lips. She
pulls back and stares at her for a beat. She then
stands up and walks away.
We stay on Willow for a long beat as she looks back
down on the ground, close to crying. She looks up.
WILLOW
Wait..
Willow turns to look down the hallway.
REVERSE ANGLE : LIFTS
We see the lifts, a reception desk to the side but
Tara, Giles, Xander and Anya are gone. A nurse turns
around briefly to look at Willow, then carries on with
her work.
ANGLE : WILLOW
staring off into space, looking very sad.
INT. INSIDE A CAR- NIGHT
ANGLE : XANDER AND TARA
from the back and off in the distance, from someone's
POV through a car windshield. Xander, and then Tara in
her bright red coat gets into Xander's car in the
hospital carpark.
ANGLE : SOLOMON
watching from inside a car, a determined look on his
face.
ANGLE : XANDER'S CAR
as it pulls away and off-screen, we see a second pair
of headlights come on in the background, then take off
as the second car follows.
EXT. ROAD - NIGHT
As we PAN right to left, following Xander's car as it
drives by. A few seconds later, a second car drives by
following Xander's car.
INT. INSIDE A CAR- NIGHT
ANGLE : XANDER
as he drives along, stone-faced. He takes a peek to
his right.
CLOSE ON : TARA'S FACE
as she stares out a car window, looking sad.
EXT. SUNNYDALE TRAIN STATION
As we see Xander's car turn into the train station.
INT. INSIDE A CAR- NIGHT
ANGLE : SOLOMON
turning his car to follow, taking a look around. He
looks back in front.
REVERSE ANGLE : XANDER'S CAR
through the car windshield and again, from a safe
distance away. We see Xander and Tara exit and walk
into the station.
EXT. SUNNYDALE TRAIN STATION - NIGHT
as we see Solomon stop his car and disembark. He
rushes into the train station.
He finds his way to the train platform. A train is
already there, ready to leave. The platform is filled
with a fair number of commuters and well-wishers.
Solomon takes a searching look around. He spots
something.
REVERSE ANGLE: XANDER AND TARA
through the crowd and from the back. His eyes focus on
Tara, her red coat seemingly a beacon.
Solomon begins to make his way through the crowd,
starting to speed up. Eyes focused on one thing only.
REVERSE ANGLE: TARA
still a fair distance away but closing fast. Once in a
while, people walk by the camera, blocking her from
our view.
ANGLE : SOLOMON
hunger in his eyes. Just shoving people aside now to
get to..
REVERSE ANGLE: TARA
the bright red jacket really standing out in the
crowd. Again a crowd of people walk right by in front
of the camera (and Solomon) but when they pass by,
Tara has dissapeared.
ANGLE : SOLOMON
pulling up in his pursuit. He looks around,
bewildered.
He rushes forward, spinning around to try to find
Tara. He looks through the train windows in vain. He
then notices something off to his right. He walks
towards the object and picks it up.
We see him lift a bright red coat off from a bench. He
stares at it.. stunned.
We WIDEN out, to see Solomon looking lost in a sea of
people walking by.
INT. INSIDE A CAR- NIGHT
ANGLE : TARA
still looking sadly out a car window.
We WIDEN to reveal she isn't wearing her coat. We then
PAN to her left to see Giles driving in his car.
EXT. SUNNYDALE BUS DEPOT - NIGHT
as we see Giles' car pull up in front.
EXT. SUNNYDALE TRAIN STATION - NIGHT
ANGLE ON : SUNNYDALE TRAIN STATION SIGN
to establish that we're back here.
We TILT down from the sign to see Xander get into his
car.
INT. INSIDE A CAR- NIGHT
as Xander closes the door. He puts on a seatbelt as we
hear someone else getting in on the passenger side.
Xander turns to look over. We PAN to follow his gaze
to see Anya in the car, with a wig in her hands. Anya
looks back solemnly at Xander. Xander starts the car
and drives off.
EXT. SUNNYDALE BUS DEPOT - NIGHT
ANGLE ON : A SUITCASE
as someone hands it over to the luggage handler who
puts the suitcase into the side of the bus. We PAN
back from the luggage handler to Giles and Tara.
Tara looks very sad, looking down at nothing in
particular. Giles comes over to her. Tara looks up,
starts to cry and hugs Giles. They hug for a beat.
We DISSOLVE from that shot to..
ANGLE : TARA
inside the bus, looking sadly out the window at
someone. She raises her hand for a slight wave as the
bus pulls away and we PAN in the opposite direction to
see Giles standing by himself, looking at the bus. We
hold on him for a beat.
INT. CHRISTOPHER'S APARTMENT - NIGHT
Darkness. We hear a click as Giles switches on the
lights. He closes the door behind him and walks slowly
into the room. The room is very quiet, looking very
empty.
Giles slowly walks over to the table and just
collapses into the chair. He takes a look around the
table, just idly touching different objects on the
table, thinking things through. Letting the night's
events settle in his head.
He then looks down at the locked drawer. He stares
hard at it for a beat. He tries to pull it open but it
doesn't give. He pulls harder but the drawer stays
firmly in place.
He looks around the table and finds a heavy paper-
weight. He picks it up and slams it on the lock of the
drawer.. again and again, angrily.
ANGLE ON : THE DRAWER
as Giles continues to pummel on it with the
paperweight. The lock finally breaks, wood splintering
around it.
ANGLE : GILES
stopping mid-swing as he notices the broken lock. We
see the anger slowly dissapear from his face.
He puts the paperweight down and slowly opens the
drawer.
ANGLE ON : CONTENTS OF DRAWER
We see nothing in there but what looks like a single
piece of paper.
ANGLE : GILES
as we see him pick it up and then flip it around on
the other side (facing him but not the camera). We see
his reaction.. a little stunned, a little sad. Giles
slowly puts the item back down on the table as he
swivels away on the chair to look out the window..
deep in thought.
We PAN from him to the table where we see a
photograph.. of Christopher, of a woman next to him
and a child in both their arms. They are smiling.
A montage follows. Sad music overlay.
INT. GENERAL'S MANSION - NIGHT
ANGLE ON : THE AMULET OF MAGAS
as someone holds it up against the light. We WIDEN to
see the General looking at his prized possession and
smiling.
DISSOLVE
INT. CHRISTOPHER'S APARTMENT - NIGHT
We see Giles, looking forlorn, still sitting on his
chair with a glass of Scotch in his hands. He raises
it slightly to the air for a toast {a reference to Ep
7 'Yes,Virginia'), then slowly takes another sip.
DISSOLVE
INT. SUNNYDALE HOSPITAL/HALLWAY - NIGHT
ANGLE : WILLOW
still sitting on the chair against the wall, staring
sadly off into the empty space in front of her.
DISSOLVE
INT. INSIDE A BUS - NIGHT
ANGLE : TARA
looking out the window of the bus as it drives along.
We see the sad countenance on her face off the
reflection of the window. She sees something out the
window.
EXT. ROAD - NIGHT
ANGLE ON : A SIGN ON THE ROAD
on the left side of the screen (the road to the right)
as it is illuminated by headlights. It reads.. "Now
leaving Sunnydale. Come back soon!". We hear a roar as
a bus passes the sign.
INT. INSIDE A BUS - NIGHT
As Tara turns her head to follow as the bus passes the
sign. She turns slowly back to look ahead, looking
sad.
DISSOLVE
INT. SUNNYDALE HOSPITAL/ROOM - NIGHT
ANGLE : XANDER AND ANYA
sitting in a corner on chairs, with Anya lying on
Xander's lap, holding on to one of his arm. Xander
looks up and we PAN right to follow his gaze.
We PAN to Buffy and Dawn on the bed. Dawn is curled up
next to Buffy, sleeping. Buffy has an arm around Dawn
while she looks to her right, out the window.
We PAN to the window then to darkness as we BLACKOUT
(as if to end the episode).
However, we hold on the darkness for a beat as the
music changes to a more urgent piece as we FADE IN
to..
INT. INSIDE A BUILDING - NIGHT
as we TRACK a group of figures walking along an empty
hallway, dressed identically in black and in black ski
masks, wearing flak jackets and carrying guns.
The leader reaches a closed door in a wall. He punches
in a code on a keypad next to the door, then looks up.
REVERSE ANGLE : A CAMERA ON A WALL
looking down on the group.
We hear a buzz and then the sound of a click as the
door unlocks. The group move through in single file.
INT. INSIDE A BUILDING/WEAPONS STORAGE - NIGHT
as we see a man behind a counter. Behind him, we see
all manners of weaponry all neatly stored. One of the
figures in the ski masks enters into frame (we only
see his back) as he hands over his gun, his goggles,
his jacket and radio. The man behind the counter
accepts them silently, putting them away. We see the
figure in black remove his ski mask and we see the
back of his head. As he turns, the camera TILTS down
to focus on his hands (thus missing his face).
We TRACK the figure (from about the chest down) as he
walks into another room, filled with computers and a
giant map in the wall in the background. We see a few
random people walking around and working on terminals.
We TRACK the figure as he reaches a table where we see
a large brown envelope on top of it. We see his hands
reach down and open the envelope and pull out the
papers inside. On the first, we see a line which reads
"Target Information".
Music begins to build..
As the hand flips through the various files, we see
pictures of the Scoobies, one after the other, on the
top corners of their respective files.. finishing up
on Dawn.
As music reaches a crescendo..
We TILT up from the picture of Dawn, back up to the
chest of the figure in black. We end on a silver cross
around his neck.
BLACKOUT
END OF SHOW
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