The One and Only Angel Season 5 Thread

[Mole 0]

One thing; wait for Spike to get back.

[chaosrage 0]

So what else could they do? Sit around and wait for the ubies? Hope an evil law firm sends them a magic necklace?

Get proof.

[Guest Brian]

All they were asking for was proof that there was something worth going for.

[Guest Brian]

Hmmm, that is an interesting point about Angel/Buffy, I never thought about that before. Jasmine, Connor, Cordy and pregnent Darla are other cases where the heel crosses the line of good/evil.

 

Brian, are you RRR's publicists now too?

I was just thinking, one of the thyings that makes it hard to look at big bads is because we have that thin line between good and evil with our lead in Angel. It's not just about good or bad, there's a lot of free will and such involved, and it's the choices one makes that put them in their spot, like Holtz. The closest thing Buffy comes to that 'mature moral dilemma' of a big bad is Willow. Everything else is really judged in black and white. And what I'm saying is that because Angel is who he is, a vamp, it blurs the line to begin with.

 

Rudo had a pretty clean slate in terms of the episode, as I opened it up to him. Unlike other episodes, I didn't have a clear idea of what I was shooting for. It's good to see a more comedy-style episode.

 

I'm reading through ep 6 right now, so it should be up shortly.

[Anya 0]

Yeah, waiting for Andrew and Spike to get back is the one thing that is dumb. With their help there would be one more champion in the fight, plus Spike could be of some help.

 

 

Caleb was obviously using the vineyard as a lair. What more proof do you need that it's worth attacking?

[Guest Brian]

Don't diss SPIKE~! Anyanka or I'm going to have to put Anya's death in my sig.

 

So what if Caleb was in the vineyard. He whooped their ass. There was no reason to go back and get another ass whopping unless there was something worth getting out there.

[Anya 0]

He's bad and killing SITs. Since when is that not reason enough?

[Guest Brian]

Since she's not just taking care of herself, since she's responsible for a lot more lives in the fight, and since she had been proven worthless fighting Caleb. She wanted to rush right back in, without even a though as to what she was doing.

[Anya 0]

She never said they had to rush in and take him head on. They could have come up with some kind of strategy.

 

All she said was that they had to go back to the vineyard...which is true. Dangerous? Yeah, but sometimes there's no way to avoid going into a dangerous mission...

[Mole 0]

Woah, now you're defending season 7 stuff?

 

Is this the bizarro world?

 

[Guest Brian]

Seems to be a circular argument, so I'm tired of this. Here's episode 6, guest starring Andy Hallett.

 

Scene 1:

 

<Dust kicks up and then passes by, revealing a terribly dry landscape. No trees are in sight, only scattered stumps. The soil is red like clay, and very rocky. Pan around from above, then close in on a fire. A young boy of twelve years is fighting against a hairy, four-legged demon, with fangs, and claws on each foot. The young boy dangles a hook and rope from one-hand while yielding a wooden spear, He block two swipes with the spear. The camera cuts across to show Holtz also in the heat of battle with two large, upright, red-skinned demons. Holtz fends them off, but suddenly they merge together and hit him with a sweeping uppercut.>

 

Young boy: Father!

 

<The young boy turns his head and gets hits with a right. He spins, stops, then uses the tail end of his spear to deliver two blows to the face of the demon, sending it to its stomach. He winds up with the rope then throws it, hooking the demon by the cheek and tearing off a good chunk of skin. As he pulls back the rope, the young boy gets tripped up and mounted by the demon.>

 

Young Boy: Help! Help!

 

<He struggles as the demon gets a grip on his head. Camera view from the boy’s perspective shows the demon opening its mouth getting ready to bite.>

 

<Cut quickly to Connor, who awakens from his sleep on a cot. He clutches the bed tightly, a cold, heavy sweat running down his forehead. He wipes his forehead dry, then cups his hands around his face, staring at them with wide open eyes, as the camera fades to intro.>

 

Scene 2:

 

<Kent is opening up a can of beans. He dumps it into a pot, then lights a fire over a gas stove. He moves to a drawer, opens it, and grabs a spoon. He stirs the beans in the pot, then walks past a sitting Eliana to peak behind a curtain. He looks in side as Connor is sitting in bed, staring at his hands.>

 

Kent: What’s wrong with you?

 

Connor: I had a dream.

 

<Connor gets up and washes his face. He looks in the mirror, which shows Kent in the background.>

 

Kent: What was your dream about?

 

Connor: It wasn’t a dream. It was a nightmare.

 

Kent: These dreams you’ve been getting, what are they about. Every time they seem to shake you up more and more.

 

Connor: I can’t always tell. Hell. Death. Pain. Those are the only things that exist in my dreams. But they’re not just dreams. Some of them are memories, and I don’t know about all of them. It’s clouded, and I can’t tell the difference between fact and fiction. My life is a lot of blur, and I can’t distinguish anything. But all these dreams I have, they’re all nightmares.

 

<Connor walks past Kent into the main room. Eliana is serving the beans into bowls. Kent follows behind Connor. Connor brushes by the table, and grabs a bag and his broad sword. Kent grabs his arm.>

 

Kent: Whatever you saw Connor, there’s no need to go out there and get yourself killed over something in your mind.

 

Eliana: Kent! Connor! Food is ready. Time for you guys to eat. No need to fight on empty stomach.

 

Connor: I didn’t just see it. I lived it. And I have to stop it before it happens again, out here. Because it’s slowly eating away at this city, killing and invading, until it looks like the exact same place I grew up in.

 

<Connor walks out through the tunnel. Kent heads over to the table with Eliana, who is staring at him. He sits down and picks up his spoon.>

 

Eliana: You don’t have to worry about him.

 

<Kent looks up from his bowl.>

 

Kent: What he has in his mind is dangerous. And he might not be able to handle it. He can fight, there’s no doubt about that. But he’s also rash and irresponsible. He’s got something in his head, it’s a ticking time bomb, and it will bring him down if they don’t. Those monsters may be eating away at the city, but these his and memories are eating away at him, slowly deteriorating him. And when it comes to a few thousand odd monsters and demons and fighters, and he can’t even take care of himself. That’s not a good combination.

 

<Cut to Connor out on the street. He fighting, aggressively, against two blue skinned, tall monsters. He lands a stake in the throat of one, but gets tossed aside by the other. He quickly gets up and runs right back into the fight. He blocks a right, then puts the sword right in its gut and pulls t right back out. The monster tries one final punch, and Connor grabs his arm and throws a hip toss over the shoulder. He continues to pound on the monster after it had died away. Suddenly, Connor is thrown back, clutching his head with both hands. He begins to scream.>

 

<Cut to the three robed figures, standing in a circle around a skull in the middle of a triangle. One throws dust over the skull and they begin a chant.>

 

Scene 3:

 

<Connor is on the street, clutching his head. He scream again, then spasms. Kent runs over, and kneels by Connor.>

 

Kent: Connor, can you hear me.

 

<Connor is still grabbing his head. Kent picks him up and carries him over to the manhole cover. He carries him down the manhole, and out of sight.>

 

<Camera fades from the open manhole to the rooftop, where Rudy is talking to a large monster with a fin in his head.>

 

Rudy: Can you get the job done? Can you finish the boy off?

 

Assassin: The child will be no trouble. I will squeeze the life out of him with my own two hands.

 

Rudy: Settle down there, mister. Don’t want to get your hopes set too high.

 

Assassin: What of the man, does he possess any skills? Will he pose any problems? Is there anything I should look out for?

 

Rudy: No, just the kill. The rest should be taken care of for you. You shouldn’t be worrying about anything.

 

<Collage of images, with Connor in the street and the three robed figures, ending with a shot of the assassin’s face, smirking.>

 

<Cut back to the sewer scene, with Kent carrying Connor into their home. Eliana is frantic. Kent carries Connor through the curtain and puts him down on the cot. Eliana kneels on the other side, stroking his hair away from his forehead and calling out to him, almost hysterically.>

 

Kent: Grab a wet towel.

 

Eliana: What’s happening to him?

 

Kent <raising his voice>: Just do as I say!

 

<Eliana runs to the sink.>

 

Kent: Hurry. He’s convulsing. We need to figure out what’s going wrong with him. What’s in his head is poisoning him.

 

<Eliana brings over a damp towel. Kent gets up from his seat and Eliana takes his place. Eliana dabs his forehead and face, then places the folded towel on his forehead.>

 

Eliana: What’s doing this to him?

 

<Kent heads over to his desk. He pulls out his book, lays it on the desk.>

 

Kent: I don’t know. <He flips through the pages.> Connor’s life is shrouded in mystery, but it’s also a story of hate, death, and pain. And we don’t know where it all came from. <Kent continues searching through the pages.> Something very powerful is tapping him right now, trying to kill him from the inside, like a Trojan horse. These assassins that they’ve sent after him, it’s all part of one big, powerful connection. <Kent closes the book.> And I’m not going to be able to find it here. You need to take care of him while I’m gone.

 

Eliana: Gone where?

 

<Kent heads over to the weapons bag, grabbing the whole thing. He hands the katana to Eliana. He pulls the spear from its holder, gazing at the head. Zoom in on a shot of Connor in the cot.>

 

<Cut to a shot of Connor, as young man, in a rugged landscape with hazy skies. His face is now dirty; his clothes are made of the hide of animals. Connor if fighting a beast, in hand-to-hand combat, that is nearly twice his size. Connor blocks a big, clubbing right hand with his left, outfitted with a spiked strap-on. It fails to do any damage to the monster, and the beast lunges at him again. Connor tosses him away and shoots a stake, which brushes by and misses. The beast charges at Connor, who does a front-flip landing several feet behind the beast. Connor turns and is caught by the beast’s claws across the face. Holtz rushes over but gets knocked down rather easily. Connor blocks two more clubbing blows, but gets a headbutt that knocks him down. The beast’s claws grow a few inches longer as he leans over the fallen Connor.>

 

<Camera cuts away to a struggling Connor in present day, with Eliana sitting down next to him on the cot. She strokes his hair, whispering for him to calm down, as Connor mumbles and squirms.>

 

<Cut to Kent in front of the ruins of the Wolfram and Hart building. He looks around, then begins to sort through the rubble of the Wolfram and Hart building.>

 

v.o.: You’re not going to find what you’re looking for over there, sweetie.

 

<Kent raises his sword, turning around to reveal Krevlorne Swath of the Deathwok Clan.>

 

Scene 4:

 

<Kent and Lorne are sitting in the rubble of the old building, both staring at the city. Lorne sighs, then turns to Kent.>

 

Lorne: So…

 

Kent: So…

 

<Lorne bends down and picks up some rubble, then drops it.>

 

Lorne: They actually destroyed their own building. You think they would have left this thing standing, after all that time and effort. I wonder what they did to all those other offices.

 

Kent: Probably closed them all up. They don’t live in the buildings anymore, they live right out here.

 

Lorne: Angel always liked to end things on a high note. He couldn’t stand being a tool of Wolfram and Hart’s, of the senior partners, anymore. He learned that you couldn’t change things from the inside, but that you got absorbed into the system. They tried to corrupt him, and he had to break away from that. And here they are, no longer contempt with running things from behind the curtains.

 

Kent: Didn’t you go out fighting with the rest of them? Shouldn’t you be dead?

 

Lorne: I should probably be dead a hundred times over by now. I was never a fighter, and it wasn’t my fight. When we left the hotel, when we got swallowed up into the belly of the beast, things changed. And I wasn’t really a part of it anymore.

 

Kent: And you’re here now, in the middle of hell. Why did you come back here after you left?

 

Lorne: You’re a little lost, the boy’s a lot lost, and you both need some direction. The TV out there, they’re sweating bullets over this place. I could see there was something going on out here. And now I’m here to set you both on your path. And all you have to do is sing me a little song, whatever you like.

 

Kent: Are you kidding me?

 

Lorne: Nope. I just need to hear a few notes.

 

<Cut back to the three robed figures. Two are still in the circle. One is preparing a powder with a pestle and mortar.>

 

<Cut to Connor in the cot. Eliana is wringing out the towel, while Connor is still squirming in his bed.>

 

<Cut back to Lorne and Kent. Kent is standing up in front of the rubble, coat folded over his arm. He inhales once.>

 

Kent: “Hello darkness, my old friend;

I've come to talk with you again;

Because a vision softly creeping;

Left its seeds while I was sleeping;

And the vision that was planted in my brain;

Still remains;

Within the sound of silence.”

Shall I continue?

 

Lorne: Now that wasn’t so bad was it? In fact, it was quite the touching little rendition. You’ve done Art and Paulie proud.

 

Kent: And I presume you’re supposed to put me on my path right now.

 

Lorne: You’ve got a lot of weight in one song there. And you’ve got quite the past yourself. Something big is on its way. You think this place is bad right now, it’s about to get a lot worse. What you guys are going to face, it’ll make these demons shake in their little booties. As for right now, you’re searching for the Order of Soraska. Powerful group of guys. They just happen to be shacked up just a few blocks from here, you can see the power emanating right out of their lair. You’ll find them, as they don’t make much of a deal about concealing themselves. But it’s not going to be a simple fight for you.

 

Kent: Thank you.

 

Lorne: Don’t thank me. I figure this place is as much my fault as it is anyone else’s. Just make sure Connor doesn’t take things so hard.

 

<Kent begins to take off, hustling down the block and looking for their lair. Lorne turns away, and begins to hum.>

 

Lorne: “In restless dreams I walked alone;

Narrow streets of cobblestone;

'Neath the halo of a street lamp;

I turn my collar to the cold and damp;

When my eyes were stabbed by the flash of a neon light;

That split the night;

And touched the sound of silence.”

 

<Intertwine Lorne’s singing with images of Connor struggling in his cot, with Eliana looking on. End with Lorne taking one longing look at Los Angeles, then finally walking away.>

 

<Cut to a shot of an empty sewer, as the new assassin creeps into the picture. He pauses and takes a whiff of the air, then continues forward.>

 

Scene 5:

 

<Eliana is holding Connor’s hand, crouching on the cot next to him. Connor is still sweating and struggling.>

 

Eliana: Come on Connor. You pulled me out of that hell. You can save yourself. You can beat this thing.

 

<Cut to Connor crouched with Holtz around a fire. Connor has a spear stuck next to him in the ground.>

 

Holtz: You’re going to make it out of here, Steven.

 

Connor: You will to, father.

 

Holtz: No, I won’t, my son. My time has come and gone, I should probably be dead a hundred times over by now. But your time is still ahead of you. I am proud of what you’ve done here. These demons fear you, their eye lit with fear for every step that you take.

 

Connor: I’m not leaving here without you.

 

Holtz: But you will. Steven, I should have died a hundred times over by now, and I am only here to pay for my transgressions. But you, you are a pure soul right now. All I ask is you remember what I’ve told you, and continue my work.

 

Connor: I will kill Angellus for you. I will kill anything that stands in my way. I will avenge his murders.

 

Holtz: Angellus is a different beast then anything out here. He’s smart and charming, but also ruthless; bloodthirsty like any other vampire. He murdered across Europe, without any discretion. His tricks cannot be trusted. He’s fathered vampires that were among the worst of the worst. There is no vampire around that was like him, even Darla. And he’s your birth father.

 

Connor: But you’re my real father.

 

<Cut to Kent kicking down the doors of a warehouse, and enters, sword in hand. The three members of the order fail to look up, and continue to chant.>

 

<Cut back to Connor and Eliana. Suddenly, the door of the lair flies open. In walks the new assassin.>

 

<Cut back to Kent. He grips his sword and runs straight at the Order of Soraska. One of the robed figures blocks Kent’s hand on the downswing, then twists it down. Kent is in pain. The other’s figures continue to chant.>

 

<Cut to the lair. Eliana rushes up and grabs the sword. She tries to stab, then brings the blade back and blocks. She tries to spin and swipe but misses and gets back-handed away. The assassin begins to move towards Connor.>

 

<Cut back to Kent, who is still struggling with his arm being twisted, face to face with the robed figure.>

 

Robed Figure: You’re attempts to save the boy are futile. The one that is baptized in fire shall die in fire. There is nothing you can do. Our master is coming, and then there is nothing you can do.

 

Kent: Maybe there is.

 

<Kent’s mini-crossbow falls out of his sleeve and is caught in arm. He shoots at the foot of the robed figure and deposits the arrow on his target. He spins, kicking up the sword and grabbing bit in mid-air, and swipes towards one of the robed figures still in the circle. All he gets is air, as there is nothing to hit. He looks around, but sees there is nothing around him. He drops his sword, as the camera fades out.>

 

<Cut back to Connor in Quor’toth. He’s battling against a big, spiny demon. It’s backing down to Connor, who only has his stake shooter strapped on and a metal guard on the other arm. Connor punches it, and it falls back a few steps. Suddenly, it sees a sparkles and rip like a tiny lightning bolt. It jumps over Connor, who misses with a stake in the sand. It jumps through the portal. Connor follows quickly, jumping through the same hole.>

 

<Cut to the lobby of the Hyperion. Connor lands through the portal, crouching. He gets up, then notices that Angel is standing right in front of him.>

 

Connor: Hi Dad.

 

<Connor raises his stake shooter.>

 

<Cut to the present. The assassin is over Connor. Connor raises his stake shooter and drops three stakes in the assassin’s chest. The demon staggers and falls back. Eliana gets up, then rushes over to Connor, who is slowly beginning to sit up. She hugs him.>

 

Scene 6:

 

<Rudy is pacing, talking to one of the members of the Order of Soraska.>

 

Rudy: He shot you in the foot. And that was it.

 

Robed figure: Your assassin failed me.

 

Rudy: He needed more time and you didn’t give him that.

 

Robed figure: The human was much more than we expected.

 

Rudy: They tend to be that way, don’t they?

 

Robed figure: But you’re failures have been too much.

 

Rudy: I’ll get the job done. But if you tell me that you’re going to do something for me, I need it done. My guy needed that time.

 

Robed figure: And you’re time is running low.

 

Rudy: So is his.

 

<The Robed figure walks away. Rudy turns and punches a pillar, smashing it right down the middle.>

 

<Cut to Eliana practicing her kata as Kent counts in Japanese. Kent heads over to Connor and sits by him on the cot.>

 

Kent: How was your nap?

 

Connor: It hurt. A lot.

 

Kent: Reliving your past, it must be horrible.

 

Connor: You wouldn’t believe me if I told you.

 

Kent: I am here, in the middle of the apocalypse, aren’t I?

 

Connor: The nightmare has just begun.

 

Kent: So…how did you wake up?

 

<Connor pauses for a moment.>

 

Connor: It was Eliana. I heard her voice, and I knew what I had to do. I was obligated to come back. She pulled me through.

 

<Connor gets up and grabs his sword, leaving through the front door.>

[Anya 0]

No, I'm just hating on sesaon 7 in a different way.

 

She was right, but the story sucks because the scoobies should never turn on Buffy. It's depressing.

 

 

I hate how towards the end Giles and Buffy's relationship is so cold.

[chaosrage 0]

She never said they had to rush in and take him head on. They could have come up with some kind of strategy.

 

All she said was that they had to go back to the vineyard...which is true. Dangerous? Yeah, but sometimes there's no way to avoid going into a dangerous mission...

She only said that when they were starting to gang up on her. Before that, she was saying that now was the time.

 

Anyyay, here's the way the conversation went.

 

Buffy: Hay guys, I have a great plan, let's run back to Celeb's and beat him up. I think he may be hiding something. Sounds good, am i rite?

Everyone else: Wtf? We shouldn't go back without some kind of proof.

Buffy: HOW DARE YOU NOT OBEY MY ORDERS!! WHEN DID THIS BECOME A DEMOCRACY? YOU DO WHAT I SAY WHEN I SAY IT

Anya: You're not better than we are just because you have slayer powers.

One of the SITs: Isn't faith a slayer too?

 

They never said they wouldn't go back. Basically, they just wanted her to slow the fuck down. I think it's obvious she was going crazy in season 7 and needed a little rest.

[Anya 0]

BUFFY

Look, I know what you're thinking, but I had a visit at the school today from Caleb.

 

DAWN

Buffy, why didn't you—

 

BUFFY

I'm fine. I mean, it wasn't fun, but I'm fine. I'm better than fine. I—I figured something out. He kept making all this noise about the school.

 

ROBIN WOOD

Is it that seal again?

 

WILLOW

Do we need to try shutting it again?

 

BUFFY

No, that's just it. We've spent all this time worrying about the seal and the hellmouth. Why isn't Caleb guarding them? Why doesn't he have someone there protecting it? Why is he camped out at the vineyard? The bad guys always go where the power is. So if the seal was so important to Caleb and the First, they would be there right now. They're protecting the vineyard or something at the vineyard. I say it's their power, and I say it's time we go in and take it away from them.

 

Xander shakes his head and looks down. Giles uncrosses his arms and sighs.

 

FAITH

(standing beside Robin Wood with her arms crossed) Or, in the alternative, how 'bout...we don't? I mean, it's a neat theory, B, but I'm not going back in that place, not without proof, and neither should you and neither should they.

 

BUFFY

I'm not saying it's gonna be easy.

 

ROBIN WOOD

I think Faith had the floor.

 

FAITH

Maybe it ends OK the way you wanna play it, but maybe it doesn't. And right now, I don't think I want you playin' the odds.

 

BUFFY

Did you come here to fight?

 

FAITH

Listen, we're fighters, all of us, but you gotta give me something to fight, something real, not—

 

GILES

(softly) Windmills. (looks at Buffy)

 

BUFFY

There is something there.

 

GILES

Maybe. But we can't be sure of that. This is a hell of a lot to ask.

 

ROBIN WOOD

Too much.

 

BUFFY

(grinning nervously, looks around) I—I don't understand this. For 7 years, I've kept us safe by doing this— exactly this, making the hard decisions. And now, what— suddenly you're all acting like you can't trust me?

 

GILES

Didn't you say to me today you can't trust us? Maybe there's something there that should be addressed.

 

BUFFY

Is that why you sent Spike away, to ambush me?

 

GILES

(rolls his eyes, sighs) Oh, come on.

 

RONA

You know what? I am sick of your deal with this Spike guy. This isn't about him. This is about you. You're being reckless.

 

BUFFY

(steps back) What?

 

RONA

You are! I don't even know you, and I can tell! You are so obsessed with beating Caleb, you are willing to jump into any plan without thinking.

 

BUFFY

(through gritted teeth) That's not what I'm doing.

 

KENNEDY

(stands, walks up to Buffy) Well, that's how it feels to us. People are dying.

 

WILLOW

(stands, walks up to Kennedy) Kennedy...

 

KENNEDY

(turns and snaps at Willow) Why are you always standing up for her?

 

WILLOW

(softly, sadly) I'm not.

 

BUFFY

What do you mean, you're not?

 

WILLOW

With everything that's happened, I— (shrugs) I'm worried about your judgment.

 

BUFFY

(looks around) Look, I wish this could be a democracy. I really do. Democracies don't win battles. (Xander looks away) It's a hard truth, but there has to be a single voice. You need someone to issue orders and be reckless sometimes and not take your feelings into account. You need someone to lead you.

 

ANYA

(calmly) And it's automatically you. (looks at Buffy) You really do think you're better than we are.

 

BUFFY

No, I—

 

ANYA

But we don't know. We don't know if you're actually better. I mean, you came into the world with certain advantages, sure. I mean, that's the legacy.

 

BUFFY

I—

 

ANYA

But you didn't earn it. You didn't work for it. You've never had anybody come up to you and say you deserve these things more than anyone else. They were just handed to you. So that doesn't make you better than us. It makes you luckier than us.

 

BUFFY

I've gotten us this far.

 

XANDER

But not without a price.

 

BUFFY

Xander—

 

XANDER

I'm trying to see your point here, Buff... but I guess it must be a little bit to my left... (shakes his head) 'cause I just don't.

 

BUFFY

Look, I'm willing to talk strategy, OK, I'll hear suggestions on how to break this down, but this is the plan. We have to be together on this or we will fail again.

 

GILES

We are clearly demonstrating that we are not together on this!

 

BUFFY

(commandingly) Which is why you have to fall in line! I'm still in charge here.

 

RONA

Why is that, exactly?

 

BUFFY

Because I'm the slayer.

 

RONA

And isn't Faith a slayer, too?

 

FAITH

(caught off guard) What? Whoa, whoa, whoa. So not what I meant. I'm not in charge chick. I think B here needs to just...chill out for a little bit, take a siesta or something. But I'm not the one you want.

 

KENNEDY

Maybe we need a vote... to see who wants Faith to have a turn in charge.

 

BUFFY

(sternly) No.

 

KENNEDY

No, what?

 

BUFFY

No. You don't get to vote until I've had my chance to pal around, you know, get everybody drunk. See, I didn't get this was a popularity contest. I should have equal time to bake them cookies, braid their hair—

 

FAITH

Learn their names?

 

BUFFY

(laughs) You're just lovin' this, aren't you?

 

FAITH

You have no idea what I'm feeling.

 

BUFFY

(low, mean) Come in here, take everything that I have... You did it before. Did you tell them that? Did you tell them how you used to kill people for fun? Hey, you guys think that's nifty?

 

GILES

Buffy, that's enough!

 

FAITH

I didn't come here to take anything away from you, but I'm not gonna be your little lapdog, either. I came here to beat the other guy, to do right, however it works. I don't know if I can lead. But the real question is...can you follow?

 

ROBIN WOOD

So we vote.

 

BUFFY

Wait. Guys—

 

Buffy looks around—Anya's crossed her arms and stares back with pursed lips; Willow looks away—Buffy searches their faces.

 

BUFFY

I can't watch you just throw away everything that— (looks at Xander and at Dawn, who's not meeting her glance; Buffy holds her head up high) I know I'm right about this. I just need a little— I can't stay here and watch her lead you into some disaster.

 

DAWN

(stands, walks up to Buffy, softly) Then you can't stay here. Buffy, I love you, but you were right. We have to be together on this. You can't be a part of it. (Buffy blinks her eyes in disbelief) So I need you to leave. I'm sorry, but this is my house, too.

 

Buffy looks around then walks out the front door.

 

RONA

Ding dong, the witch is dead.

 

DAWN

(low, angrily) Shut your mouth.

 

Cut to:

 

35 EXT. FRONT PORCH AT BUFFY'S HOUSE - NIGHT

Faith follows Buffy outside.

 

FAITH

(concerned) Hey. Look, I swear I didn't want it to go this way—

 

BUFFY

(sternly) Don't.

 

FAITH

I mean it, I—

 

BUFFY

Don't...be afraid to lead them. (Buffy's face is wet with tears) Whether you wanted it or not, their lives are yours. It's only gonna get harder. Protect them, (looks at Faith) but lead them.

 

 

 

 

Buffy's right.

 

Her "theory" about why Caleb was at the Vineyard was more "proof" than she usually has in regards to attacking evil lairs.

 

they were just out to get her. They are all confrontational no matter what she says.

[chaosrage 0]

Just what I said. She was going insane and needed a break. The lines I posted summarizes it. Can you honestly tell me that she sounds like a good leader there? Rambling about democracy and orders and trust when they just want her to think about what the hell she's doing? Again why should they listen to her? That would've been fucking dumb. She doesn't have anything to show that he has something, she just THINKS he does. They weren't being confronational until she start acting like a total cunt. Anya was the first one to say something confrontational, and she was right because Buffy just wanted them to obey her commands and not question them because she was Buffy. Usually when they attacked evil lairs, they didn't get beat so bad.

[Anya 0]

No, she doesn't sound like a good leader. That's more of a problem with the show overall though, the "OMG ITS A WAR~!" and "General Buffy" stuff has always been very lame. I hate it when she shouts out random "war" comments like "HOLD THE LINE~!".

 

Anyway...

 

 

 

They acted on hunches countless times. They KNEW he was there. He had to be doing something! At the very least he was known to be killing SITs. What more do you need?

 

 

They were nasty to her from the start. They don't even let her finish. It's just NO. TOO MUCH TO ASK. CHASING WINDMILLS.

 

 

And god I hate Rona.

[chaosrage 0]

Here's the quotes from the first time she brought them to Celeb.

 

RONA

You people are even crazier than her.

 

XANDER

Than who?

 

RONA

Buffy, man. I mean, taking us right into the bad guy's lair.

 

XANDER

Well, that's where, generally speaking, you'd go to find the bad guy. And I don't think you came here to fight plaque.

 

RONA

No, I came here for protection.

 

XANDER

Well, you signed on to fight with—

 

RONA

Look, I know, but... (sighs) this plan is trouble. OK, Buffy doesn't care how many of us she puts in danger—

 

XANDER

Let me tell you something about Buffy. In fact, you should all listen to this.

 

KENNEDY

Uh, we kinda were.

 

XANDER

I've been through more battles with Buffy than you all can ever imagine. She's stopped everything that's ever come up against her. (Buffy and Faith walk through the front door and overhear Xander's speech) She's laid down her life—literally—to protect the people around her. This girl has died two times, and she's still standing. You're scared? That's smart. You got questions? You should. But you doubt her motives, you think Buffy's all about the kill, then you take the little bus to battle. (Buffy tears up) I've seen her heart, and this time—not literally. And I'm telling you, right now, she cares more about your lives than you will ever know. You gotta trust her. She's earned it.

 

Okay, they trusted her, what happened? All of them together, including Spike, couldn't lay a hit on him. Some Sits got killed and Xander became a pirate. Can you seriously not see why he wouldn't be thrilled about her plan of going back in? Xander was saying the same things that you're saying...... for the first trip. They always work on hunches, but that time it didn't work out, so now he wanted her think a little more. I mean, if they looked for proof and couldn't find any, they would probably go back in because they had no other choice. But it's silly to go back without even trying to get proof. That was too much to ask.

[Anya 0]

They should have figured out a strategy, like what they usually do against tough foes that have previously beat Buffy.

[RavishingRickRudo 0]

Didn't really explain how he got out of jail though.

 

Connor, Season 1: Disk 6: Deleted Scenes

 

Kent: What are you doing here Ethan? I thought you were locked away.

 

Ethan: Funny thing about that, actually. I was able to convince my housers that I could -with my wealth of connections- get some of their people out of L.A. So they 'chuted me in, and I honestly tried to find them, but they were no where to be found.

 

*Kent looks at Ethan with a "you're lying" look*

 

Ethan: But I did Kent, I really, really, really did.

 

Kent: For how long, Ethan?

 

Ethan: All the time I was in that parachute, I was looking. Granted, I was looking for a nice spot to land in, but I was looking for their people too. I'm a great multi-tasker, you know that very well.

 

-=END=-

20th Century Rudox

[chaosrage 0]

They should have figured out a strategy, like what they usually do against tough foes that have previously beat Buffy.

Why couldn't they look for proof instead?

[RavishingRickRudo 0]

.. And that whole episode sucks. Buffy getting kicked out of her own house is soooo fucking horrible.

[Anya 0]

For proof of WHAT?

 

He's evil. He kills SITs.

 

What more are you looking for here?

[Guest Brian]

Buffy said there was something valuable at the vineyard. They asked if she had proof. It's literally that simple. They wanted to know why they should go after him immediately. They could have waited and picked their spots.

 

Anyways, any comments on episode six?

[Anya 0]

The proof is that's where he was. There had to be a reason he was chilling out guarding the Vineyard.

[LaParkaMarka 0]

Plus every single one of them had reasons to distrust her at that point.

 

That part of the story was so dumb. If they wanted Buffy to get forced out, that's fine, even if the Dawn part was totally nonsensical. But then she just succeeds without everyone? When it came down to it, who was needed to actually stop the First? Buffy and Spike. That's it.

 

And I hate how Giles and Buffy were by the end of the series too.

[Guest Brian]

That was basically to redeem Buffy's leadership, which was being challenged.

[chaosrage 0]

The proof is that's where he was. There had to be a reason he was chilling out guarding the Vineyard.

Not really.

 

Was Glory hiding some kind of special power in her apartment room? No, she was just there.

[Anya 0]

I hate how Wolfram & Hart defeats FE.

 

Like seriously I just HATE it. If I could change one thing it actually wouldn't be Anya's death, it would probably be the way FE is defeated. It really, really, really bugs me. I can't stand how the final big bad just goes away and how it's beaten thanks to tbe bad guys on another show. Horrible.

[LaParkaMarka 0]

I like episode six. It's strange, it really feels like a Joss show. And Lorne's appearance was very cool.

[Anya 0]

Yeah, but her classy wardrobe was stashed there!