November 29, 2006
3.04 - Grrlz Just Wanna Have Fun
A goth band with a vampire for a lead singer? Say it ain't so!
TEASER A band plays a dark, hypnotic, psychedelic tune. The audience is mesmerized by the charismatic lead singer played by guest star Thora Birch. After the show, one of the fans goes to her hotel room where she's waiting for him. As she pulls him into her hotel room we see that she's a vampire.
Javier is at work being questioned by his supervisor about the recent fire at the CID building. The fire department is extremely embarrassed that their own building was torched by the arson they're trying to catch. Doubly embarrassing for them is the fact that their fire alarms were disabled. The scene ends with Javier in mid-sentence.
Next we get a brief soliloquy from Lisa on the topic of control. We get the impression that she's talking to someone but we never see who, nor do we recognize the setting.
Back to Javier, who suddenly realizes that he's not where he thought he was. The last he remembers he was talking to his boss; now he's in the vampire drinking bar we saw in 2.11 - Citizen Xavier. He's talking to a lovely dark-haired woman named Lilly. She makes some extremely suggestive comments which appear to be lost on Javier. He excuses himself and leaves.
Next, Desiree is called in (on a Saturday) to consult on series of missing persons cases with the BRPD. She rides to the dorm room of the latest missing person, an LSU student named Jeff Powers. She's surprised to learn that Jeff's roommate is Armstrong. Further confusion ensues when Nadja, Ben, and Zoey show up to meet Armstrong. Desiree picks up the first major break in the case by "reading" some of Jeff's personal items: after having dinner with his parents last night he was headed out to see a band.
Investigations continue, and we eventually determine that the band Jeff was going to see last night was most likely Goth Grrlz. They play a regular Friday gig at The Electric Oyster near campus; they also have a regular Saturday gig at a New Orleans club called Upstairs@LeFanu. Nadja and Javier immediately recognize the name of the club: it's the smaller "Upstairs" venue at their favorite vampire drinking bar, Le Fanu. Meanwhile, Lisa receives a Goth Grrlz press kit from an unknown source.
Things begin to fall into place when Desiree starts to map out the list of missing persons cases with the band's recent schedule, courtesy of their MySpace page. In addition to the local dates the band recently played a festival in Austin, TX. Lisa calls Bob Ackerman who drunkenly confirms that there are multiple missing persons cases during that time that fit the Goth Grrlz profile.
The group attends the band's Saturday performance at Upstairs@LeFanu. Armstrong and Desiree act as bait, but neither is taken. There's some amount of concern about the number of vampires going in and out of the downstairs portion of the club, but the group puts that on hold. After the show, they follow the band's equipment van, then split up to follow individual band members home. Armstrong, Desiree, and Lisa follow Claudia and Lilith; Nadja and Javier follow lead singer Carmilla. Everyone ignores the drummer, Brad.
Pretending to be an ardent fan, Desiree confronts Claudia at the apartment she and Lilith share. Desiree convinces herself that Claudia is not a vampire, but is less sure of Lilith. She's forced to retreat when Lilith calls the cops and goes for her shotgun.
Nadja (with Javier skulking about as backup) also tries the "I'm a fan" approach, but Carmilla isn't buying it. She refuses to come out of her hotel room and also threatens to call the police. Nadja eventually gives up and calls Lisa to bring the rest of the Krewe. She breaks the doorknob off and Javier forces his way in, holding a small mirror. Much to his chagrin, Carmilla gets the drop on him, pushes him away, and locks herself in the bathroom.
As the rest of the Krewe arrives, we see a bright flash of light from the bathroom where Carmilla is hiding. When the door opens, we see Carmilla, another woman (whom the audience knows to be the sender of the Goth Grrlz press kit), and a shimmering portal behind them. Coming through the portal we see a long line of vampires. As if the vampires aren't enough, the other woman (whom we learn is named Elsbet, played by Rena Sofer) begins to sling some serious mojo around. Fire, lightning, you name it.
The battle is furious but fairly brief. Elsbet puts a hex on Lisa's favorite sword; it shatters into billions of tiny fragments when she next tries to use it. At least one vamp is tossed over the railing onto a car below, setting off its alarm. Lisa pulls a similar maneuver on Carmilla; the two of them go over the railing. It's hard on Lisa, but harder on Carmilla. Police and fire sirens closing in, the krewe retreats without seeing what happens to the rest of the vampires, Elsbet, or the portal.
In the final cut scene, we see Elsbet break the news to her boss. He does not take it well and flies into a rage. As he reaches out to twist the head off of another minion Elsbet stays him, saying "I have a plan."
Guest Stars
- Julie Berman as Zoey
- Leah Cairns as Det. Abingdon
- Thorah Birch as Carmilla
- Salma Hayek as Lilly
- Rena Sofer as Elsbet
- and Guy Pearce as Elsbet's boss
Music
- The Cranes, "Underwater"
November 13, 2006
November 2005: Conversation, Part One
(Lisa, standing by a window, looking out at….well, it looks like it might have been a courtyard, but the trees didn’t do so well in the hurricane. It’s daylight out.)
I mean, I just…I had it all under control. The monks, they helped me see that my life was moving too fast, that I needed to slow down, needed to take time to appreciate gifts that don’t involve extreme violence.
(smiles)
Not that there is anything wrong with extreme violence. The monks and I, we kind of disagreed on that point, actually. But I held my ground.
I like violence. I liked my violent life. But I came to see that there is a place that is silent, peaceful. I came to like the time that I spent in that place. I thought about life, about my life, about my future. And I realized that I didn’t have one and I wanted one so badly. I didn’t want her to be right, you know? I didn’t want to end up all dead inside, from the violence. I wanted to live my life in both places, in silence and in sound, to borrow a line from a movie.
And I wanted a child. And one appeared. Isn’t that magical?
But I’m off the topic.
Control. I was in control. I was in control of the Slayer, I was in control of my daughter, I was in control of my…essence. I knew who I was, what I was about, what the future held. I had…clarity. Clarity of purpose.
And then, there was a hurricane. And it’s made me into a cliché. Can’t control the hurricane, so all the carefully crafted control in all those other parts of my life, gone.
I’m making lists, you know. I used to do that all the time, but I hadn’t made a single list since I came off the mountain. Not so much as a ‘remember baby formula’. I just trusted that all the things that needed doing would get done. I was very calm in my understanding that the important things would bubble to the surface and the chaf would float away.
But I’m making lists now, lists that are full of…crap. They are all trivial and world shattering and full of crap. Paint door. Fix Nadia. Save world. Get gun. Pick up #8 circular needles. Get tape.
It’s crap. But I no longer trust that I can separate the signal from the noise, so I write it all down. It’s…
Well, it’s crazy.
And I don’t know how to stop.
(Turns from the window, to look at something, someone. Camera zooms in close and we see that Lisa is crying.)
How do I stop?
November 12, 2006
The Hole Truth, Part 2
CF: Thank you for coming over, Nadja. I know this must upset you.
NC: And Lisa knew! The whole time! They never said anything. Not once. So what do you think of that? Can you believe it? I HATE her!
CF: That's understandable, but in this case--
NC: I mean, what am I supposed to do? Just ignore that? Pretend like everything's OK? Well it's not! When we go out there on patrol--
CF: she did nothing wrong. It was just an unfortunate situation.
NC: I have to know I can count on them, and that means we have to trust each other, and that is not something--
CF: I think he would have told you eventually, although you are now validating the fear he had all along.
NC: that you can just gloss over. That matters. Now I have no idea what to think. There may be all kinds of things I should know--
CF: I'm sorry I can't support you, but you must see this for what it is:
NC: that they won't tell me, and I'm supposed to risk my life, and trust they... huh?
CF: an emotional overreaction on your part.
NC: Well that's easy for you to say! You're not the one who has to work with them! You don't have to go on patrol and wonder who's who and what's what! They betrayed me!
CF: That is absurd. They did no such thing.
NC: Well what makes you such an expert? Nobody asked you, and--
CF: As it happens, I know more than you think. To begin with--
NC: I don't have to listen to you, either! I thought you were on my side, but if--
CF: Nadja!
NC: you want to gang up on me, then fine! I don't need your help, and you--
CF: NADJA! Please suspend your tantrum and listen for one second! You feel betrayed, and I understand the point you are trying to make. However, sometimes we feel hurt, and the simple fact of the pain causes us to believe we must be justified in feeling that way. It seems intuitive. Why would we cause ourselves to feel pain unnecessarily? We give ourselves the benefit of the doubt, and assume that whatever reason we've come up with must be legitimate. We are all guilty of this at some point.
NC: So this is supposed to be my fault? I didn't do anything! Why are you taking their side?
CF: I have no choice. I also knew the truth and did not tell you, and I'm sure that was the correct decision.
NC: What?!
CF: You must understand that this is not caused by any lack of trust. If you had been informed earlier and were asked to preserve the secret, I have no doubt that you would have done so. But it is not up to me, it is for him to decide.
NC: No it's not! I'm not saying that they have to tell me absolutely everything. I don't care about most stuff, and there's even more I don't want to know, but that-- I have to know about that! That affects me directly. It affects what we do and how we do it. You tell me it's wrong for the Watcher's Council to keep me in the dark, but it's fine if you, Lisa, and Armstrong hide things? Well screw you!
CF: Oh, I see now! If that criteria trumps any consideration of friendship, trust, and confidentiality, then I have been remiss in my duty to my friend Joel. Certainly, the fact that his daughter is a Slayer affects him directly -- what he does, and how he does it. For me to conceal this from him any longer would be a terrible crime! I must inform him immediately.
NC: Stop! Wait! That's not what I said! That's completely different!
CF: So your secrets are special, but Armstrong's are not. And failing to recognize this somehow makes me a hypocrite? I have always thought that informing your family, or not informing them, was your decision and ought to be left to you, whether or not I agreed with it.
NC: Yes! Then you do understand.
CF: Yes, but it follows that you can't selectively exclude Armstrong from the same consideration. Your indignation lives in a house of cards. Do you imagine that your father won't feel exactly as you do now when and if he learns that we kept this from him? If I had told you Armstrong's secret, would not Armstong feel betrayed instead? Wouldn't you feel betrayed if I informed Joel against your wishes? And what about us? You have kept our relationship a complete secret because I asked you to, and I am grateful. If you decide to reveal this, exactly who will have been betrayed? Me, or the people you tell?
NC: No, you don't get it. There is a difference. We fight together, and--
CF: The difference is your brain, which distinguishes between right and wrong based strictly on whatever discomfits it least. You are using the secret as a distraction rather than examine what is really bothering you. You know this has nothing to do with them not trusting you. Armstrong wants to be normal. Given a choice, he would rather be completely and perfectly ordinary instead of having to always conceal a fact others will find freakish and alarming. He does not tell people he meets about his condition because he does not want any sort of special treatment. How can you, Nadja, not understand this?
NC: No, I do. That's not why I'm upset. I don't... I'm not mad at him for what happened to him. It wasn't his fault. I don't care that he's, you know, different, but you shouldn't have kept it a secret!
CF: Why? You need to be honest with yourself. You care very much that he's different. There are numerous possible reasons for this. If he's normal, it helps you pretend that you are normal. You are just a couple of high schoolers who have discovered some terrible secrets, but are otherwise indistinguishable from your peers. Learning the truth diminishes that illusion and further isolates you in a small group of not-so-normal people. Perhaps you are wondering whether you can still form a close friendship with normal people since you too have secrets to keep. Could this be a factor in your strong emotional response?
NC: You're saying I'm not normal? I'm not a zombie!
CF: Worse, the truth reminds you of your own mortality. If this terrible thing could have happened to Armstrong, what is in store for you? It is harder to deny the risks you run and the likely outcome. Could this be a factor?
NC: I'm just faster and stronger, that's all. But I'm way normal. I've got a pulse and everything.
CF: Are you scared because you spent so much time with him but never had any idea? It calls into question your judgment about everything and everyone, since something you were absolutely certain about has been revealed to be a deception. Could this be a factor?
NC: There's no reason they couldn't tell me. I didn't do anything wrong. It's not fair.
CF: You just turned sixteen two days ago. You are a Slayer. You experience many awful and traumatic things, but you can't discuss them with your family, not even your sister. As close as you were, that is no doubt very painful. As you know, you can't confide in Lisa because she is horrible and doesn't care. There are very few people you can talk to about anything Slayer-related. Of these, only two are your approximate age. Anna is very rarely here. If you don't want stuffy adult conversation, Armstrong is frequently your only option. Is this not true?
NC: Yeah, pretty much.
CF: And you have both been leading double lives, as it were. I imagine that under the stress of all you've been through, you might form a close bond. Perhaps part of your mind used to indulge in what-if scenarios. He was your date to the Historical Society Ball, was he not? You go to the same school, you share an interest in music, and often have to rely on one another in life threatening situations. It would hardly be surprising if you had the occasional romantic fantasy.
NC: Who told you that? I never said that! Did he say something?
CF: It isn't that you necessarily planned to act on them. But Armstrong's secret would no doubt come as a rude shock. Maybe it proves you were not as close as you thought or hoped, since he opted not to say anything. Or perhaps you are angry at yourself for allowing his condition to come between you, or for feeling queasy about the physical implications. In any case, things will never be quite the same, and you rightfully resent yet another cruel twist of fate. Could this be a factor?
NC: Where do get all this stuff? I didn't come here to talk about this. You changed the subject.
CF: Recall our discussion about the complexity of your undertaking. I cautioned you that it is not a simple case of humans versus monsters. There are extremely bad people you will have to confront, and now Armstrong represents the other side of the coin. You always assumed you should kill all zombies, but in this case that would be murder. You can't dispute that Armstrong has as much humanity as the rest of us. Now you don't know what to do. You may be troubled by the possibility that you have already killed some creature you would have spared had you only known its true nature. You have discovered that destroying other beings simply based on some arbitrary category or label is certainly an imperfect solution at best. Could this be a factor?
NC: NO! I told you! This isn't my fault! I didn't do anything! You are saying I'm a murderer, but it's not true! You don't even know me!
CF: Nadja, I never meant--
NC: I'm sick of it! You think you know everything? Fine! You be the Slayer! I'll just stand around and lecture and criticize. Gee, it's really getting late. You need to get out there and kill stuff. So go! Show me how dedicated you are.
CF: Whatever has happened, I agree you are not a murderer. Was there a specific--
NC: No, no! Running my mouth is my job! Your job is to save everybody in the entire city all the time. There are tons of places you should patrol, so you better hurry up. What are you waiting for?
CF: If it hasn't happened yet, it will. I warned you that accidents are inevitable.
NC: Hello? Don't you get it? People might die! Aren't you going to do something?
CF: Certainly not. At least, not in the sense you mean.
NC: What kind of chicken poo answer is that? I'm gonna find all their families and tell them you didn't lift a finger! Won't that be nice? I'm gonna report you! They'll put you on the news: "New Orleans Social Queen Ignores Killing Spree; Suggests 'Let Them Eat Cake'"
CF: This kind of reasoning will drive you insane. You can't think like that. There are limits to what you can do.
NC: So when something bad happens and it's your fault, your solution is to not care?
CF: Yes, although there is more to it than that. Now who is changing the subject?
NC: What the hell is wrong with you?!
CF: I'm coping rather well, thank you. You, on the other hand, are not.
NC: At least I have enough decency to feel bad when I screw up.
CF: To what end?
NC: What?
CF: For what purpose?
NC: What do you mean "for what purpose"?
CF: As you seem to be perpetually enslaved by your emotions, you really should invest some effort in trying to understand their nature and function. I am asking you what benefit is produced by deciding to feel guilty for a mistake?
NC: Um... Well, first of all, you don't decide to feel guilty. It just happens.
CF: That is not so. It may seem to you that it is some sort of automatic or inevitable consequence, but you made a decision, even if only subconsciously. Some indulge in massive amounts of guilt, others very little. In any case, what good does it do? How are things made better by guilt?
NC: I don't know. I guess it makes it so you don't want to mess up again.
CF: I've never seen that happen. Maybe in rare cases, but for the most part, I think the opposite is true. It makes it more likely that the mistake will be repeated, or that a new mistake will result. For example, people in the grip of an addiction may often feel guilt, but that serves only to increase their need for the solace the drug provides. Sometimes guilt is used to bypass rethinking one's choices. We make a mistake, we feel bad, and having paid our debt in guilt, we are licensed to repeat. So apart from its use as a quick and easy pseudo-solution that reinforces vicious cycles, what incentive is there? Why choose to feel guilt?
NC: It doesn't work like that. I mean, you have to. There's a rule or something.
CF: I choose not to comply. I think the emphasis should be on what you do now and tomorrow. The present and future are the only domains where you can improve conditions. To waste time and energy punishing oneself for prior mistakes is pathetic and selfish. That which has already transpired cannot be altered in even the tiniest detail no matter how many tears are shed. I'm not saying you can't learn something useful from your mistakes, but there is a big difference between learning and wallowing. Guilt is an unnecessary handicap that infects the present and future with the misfortune of the past.
NC: No.
CF: No?
NC: Something isn't right here. I mean, what you're saying sounds OK and everything, but it isn't. It can't be.
CF: Perhaps, but it works for me. There is no alternative which would allow me to continue.
NC: Continue what?
CF: Anything. Everything. As you know, I have many secrets of my own, and though I have shared much with you, what I am about to divulge transcends all that has gone before. I worry that you may not be ready to hear this, but continued silence poses an even greater risk to our friendship.
NC: What the hell are you talking about?
CF: When I first contacted you by e-mail, I asked for your help to protect me from an unusual demon. That demon is here right now, and will certainly kill me unless you stop it.
NC: Here where? You mean in New Orleans?
CF: The demon is you, Nadja.
NC: What?! I'm not a demon!
CF: You cannot seriously believe that you are just faster and stronger than average. You are not "way normal" -- you are a Slayer. You will never again be ordinary. Though strictly speaking you may not be human any longer, you still retain as much, or as little, humanity as before. You have more in common with Armstrong than you realize.
NC: NO! That's just crazy. I'm all human all the time. Slayers are human!
CF: Slayers are former humans. Slayers get shot, stabbed, beaten up, run over, and fall from multi-story buildings. They get up the next day sore and ill tempered. Humans simply die immediately, or spend weeks in intensive care followed by months of physical rehabilitation. There is a difference, and you know this is true, however much it disrupts your self image. And you can surely guess where the taint comes from.
NC: Taint?! What do you mean taint?! You mean I'm poisoned?!
CF: That's not quite how I think of it, but I suppose it could be seen in those terms. Come on, Nadja. Where does it all come from?
NC: I don't know! I don't study all this crap! You're saying it's not from Willow?
CF: She's merely the agent of change. She didn't create the Slayer line, and as powerful as she is, she's not the source of the taint. Imagine she had turned you into a giant walking solar panel, that you might tap into something greater than you or her. That is a closer analogy, except the energy we speak of doesn't come from the sun. It's much darker, don't you agree?
NC: Are you telling me-- Never mind. You're crazy. You're completely insane, and I don't have to listen to this. The only secret is which mental institution you escaped from.
CF: Strength, speed, and stamina all beyond human limits. Violent, aggressive, predatory. Magical regenerative healing. Do I have to spell it out for you? Is the coincidence not quite obvious enough?
NC: I'm not even listening. I don't talk to crazy people. Do I know you? Have we met?
CF: Fine. Let's say I'm wrong about this. Then there must be some other explanation, wouldn't you agree?
NC: I don't agree with anything.
CF: What is in you that makes you physically faster and stronger than homo sapiens? Gatorade?
NC: How the hell should I know?
CF: I'll tell you how: The Watcher's Council should have told you. Do you think they don't know? Do you think that in all this time, stretching back countless millenia into prehistory, that the most powerful occult adepts never managed to puzzle this out? Do you suppose that in their vast libraries of arcane lore, accumulated over the centuries, there was never a hint as to what powers a Slayer? Did they just forget to tell you and every other Slayer because it slipped their mind? Or are they worried that you might not obey if you knew what was done to you, what you've become, all for the sake of fighting fire with fire? What if the Council could trace its own power back directly to those responsible for your condition? Are they worried that you might start tossing out words like "poison"? Are they worried that you might hold them accountable, or start to reconsider your relationship toward your principal quarry?
NC: I AM NOT A VAMPIRE!
CF: No, you are not. That's the good news. The bad news is you are not human, either, and what separates you is a taint you share with vampires.
NC: NO! THAT'S A LIE!
CF: I was afraid you were not ready for the truth, but how could I wait? I'm very sorry this upsets you, but please try to remember that the label "human" or "slayer" is not what is important; it is your humanity that counts. You still laugh and cry, you still love and hate, and you know fear, courage, joy, sadness, anger, and compassion. All these things define you, whether good or bad -- simply having Slayer strength says nothing about how you will choose to use it. That you refuse to accept the mere fact of the taint tells me you've felt it, and you don't like it. That's good. It can lead to difficulty.
NC: You're making this up! You're making up the whole thing! Are we through here? Have you had your fun laughing at me and all I don't know? Well maybe YOU did this to me! Maybe YOU are responsible, and I'm just stupid for listening to anything you say!
CF: Perhaps, but every instinct you possess tells you I'm right. I'm not sharing this now to try to make you feel bad or alien. I'm confident you figured out the essential truth of this by yourself, even if you are still not prepared to admit it. But we can't expect Armstrong to do that which we won't do ourselves. You don't share your Slayer secret with all your friends, and it is not because you don't really like them or trust them. Even after you accept your true nature, I don't expect you will ever reveal that aspect voluntarily, and I don't blame you. But you must apologize to Armstrong. He wants to be a normal human. You and I are no different, nor are we more forthcoming.
NC: Um, what do you mean "we"?
CF: I will trust you with my secret, Nadja, but if anybody else learns the truth, our friendship will end. Though I am no more of a threat to the public welfare than you are, I am, in fact, a vampire.
NC: Oh God, you've totally lost it. But that explains a lot.
CF: Naturally, you don't believe me. "How can this be?" you ask.
NC: Nobody has any idea how insane you are, do they?
CF: How can I withstand exposure to direct sunlight? Magic.
NC: They all think you're this sweet little lady helping all the orphans and puppies.
CF: How is it that I have normal vital signs and temperature? Magic.
NC: Even if you are, you're still nuts. Completely nuts.
CF: How is it that I have a reflection in mirrors? Magic.
NC: You're a crazy whacko. A loony delusional head case.
CF: But it is all an illusion. For example, I still need an invitation to enter private homes.
NC: All this time, I had no idea. Or almost no idea. You're a master faker, you know that?
CF: And though I still require blood to survive, I don't go around killing people to get it.
NC: But I guess even you don't know your brain is broken. It's really kinda sad, when you think about it.
CF: The question you have to decide is whether I should be exterminated for my mistakes long ago, or whether the greater good is better served by my atonement. Will you allow me to continue helping others, including you? Though I am now a far different creature from the vampire I once was, I won't pretend that I didn't kill many, many people. I did. But as I explained, I think positive action is preferable to feeling sorry for ourselves.
NC: No, I think the real question is whether you are recording this on some hidden camera as a sick practical joke, or whether you really are a demented fruitcake. If you're crazy, then the question is whether you belong in a funny farm, or should you continue living as a harmless kook.
CF: There is no camera, and this is no joke. My sanity is intact. I have explained that my human disguise is just magic. Why don't you believe me?
NC: Because it makes no sense! Are you suicidal? Do you want me to kill you? If not, then why tell me? Or better yet, why not just kill me yourself? You've had many chances -- it would have been simple! If you were a vampire, I'd already be dead. I'm still here, and you're just crazy.
CF: Yes, 99.9% of vampires would happily kill you given the chance. I'm not one of them. I don't want to kill you. Most zombies will happily snack on your flesh given the chance, but Armstrong isn't one of them. He doesn't want to kill you. Is that OK, or are you going to kill us anyway?
NC: You show me your game face, and I promise I'll dust you right now. But since that's not going to happen, our main worry is finding you a decent shrink.
CF: That's it?
NC: What?
CF: Is it that simple for you? Black and white? An hour ago you would have done almost anything to protect me. But when I share the truth with you about the demon inside us both, suddenly I deserve death. Is there no circumstance in which you might forgive me for my past? Will you deny me any chance of redemption? Do you have any idea how long it has taken me, how hard I have worked, to get where I am now, to leave the wanton destruction behind?
NC: Look, I don't know what your mental defect is, but it's not working. I know you're not a vampire, so why keep pretending?
CF: Look in my eyes, Nadja. Does it really seem to you I'm pretending? Why would I lie about this? When have I ever lied to you? Why else would I be concerned that you, a Slayer, might decide to kill me? I'm not insane. I know my life is at risk, but how can I say nothing given what has just happened? How could I ever tell you later? Even if it were possible to carry this secret forever, I want somebody to accept me for what I truly am, and what I've become, and not simply out of ignorance.
NC: NO! No, no, no! I'm not listening anymore, you got that? I'm human! I hang with humans! That makes you human! There's a whole bunch of us! You don't get to decide that all of us aren't really human. It's not up to you!
CF: I agree that it is not under my control, or yours. Even though I don't want to be a vampire any more than you want to be a Slayer, the reality is that we're stuck with it. The question is what are you going to do about it. I'm very sorry to put you in this position, but I have no choice. Your childhood is over, remember? I warned you that a Slayer has to play God sometimes. Sometimes God is vengeful, sometimes God is merciful. If I must face a judge, jury, and executioner, I would rather that person be you. Whatever you may decide, and no matter what you may say, I know you care about me very much. And despite your brusque tendencies, I nevertheless acquired a fond affection for you, and I greatly value our warm friendship. It is very painful to accept this terrible thing, and I am sorry circumstances are this way. But you must accept it. I can't change what I am, only what I do. Once upon a time, I was your worst nightmare: A sadistic killer whose greatest pleasure was the suffering of innocents. That was long ago, and I have changed. You know this. We both know I can never fully make amends, but I can make the future better than it would otherwise be. You know the kind of positive difference I've already made in New Orleans. Should that stop? Can justice for the dead help them, you, or anybody? Or is killing me a hollow gesture that changes nothing?
NC: SHUT UP! SHUT UP! SHUT UP!
CF: I know this has turned your world upside down, and I apologize for that. So long as you keep my secret, you may defer your decision. But you must decide alone. I can only hope you won't let your head and heart be silenced by arbitrary labels, such as "vampire", "zombie", and "slayer". You must understand that life is far more complicated than that.
NC: This isn't happening. It's not even real.
CF: There is one more thing you should know. I wish I could tell you that there are lots of vampires just like me who might reform if only given a chance. The truth is that it is extremely rare. Out of the great multitude of vampires I've met over the years, not one of them was worthy of any consideration or mercy. I am only certain of two others like myself, and the most optimistic rumors would suggest just a handful have ever existed. Having proved their loyalty, they put their talents to use in aid of a Slayer. I intend to do the very same thing, if you'll let me. Or you may decide that I deserve forbearance, but that we can no longer remain friends. That would make me very sad, but I will understand.
NC: I-- I can't do this. I mean, I'm not qualified to decide something like this. I'll have to tell Lisa about you. She'll know--
CF: That is completely out of the question. You can never tell her -- or anyone. I have entrusted this secret to you alone. I have kept all your secrets, and you must keep mine. If you tell Lisa, she might listen to reason, she might not. But one thing you can be absolutely sure of is that she will report it to the Watcher's Council no matter what, and they will make a note or some record of it, and then I'm finished. You must understand that there is somewhere out there a Watcher or Slayer who never forgives or forgets, somebody who will take it upon themselves to settle their own grievances with my dust. I am prepared to accept your judgment, not the capricious vengeance of those who know nothing about me. Should you decide to spare me, I hope to be around 100 years from now, and I don't want to always wonder and worry over who might happen upon that note.
NC: Well I have to talk to somebody! You were the one I trusted! Now there's nobody!
CF: You can talk to anybody you like, provided they don't discover my secret. You are clever, so I'm sure you'll figure out a way. Just be very careful.
NC: How do I know you're not just crazy?
CF: I know what you want to see, and I am absolutely not going to show it to you. However much you might want to, you would never manage to look past that. It provokes an involuntary reaction you can't control, and will prejudice your decision. For myself, such features no longer serve any purpose whatsoever, and will only summon memories best forgotten. That is not who I am. It wouldn't be fair to either one of us. I wish I had never become a vampire, but I can't change that. However, that does not mean that we can't put this behind us. Nothing has to change if you don't want it to. It's up to you. I pray you won't discard our friendship over this. You will need some time to reflect before reaching a decision. Do you have any questions I have not already answered?
NC: Yes! I-- I-- I don't know what to do! I can't do this!
CF: You can and you must. I think it might be best if we ended this discussion for now. If you think of any questions later, please ask me. Now, for the first time, I can honestly say I have no secrets from you. Good night, Nadja.
November 10, 2006
3.03 - Unknown Origin
New and old friends visit with mixed results.
TEASER A young, attractive blonde (special guest star Julie Berman) sits in her seat on an airplane. She's reading, looking through some kind of folder. She's very rude to the flight attendant. As she turns the page of the folder we see a picture of Nadja. Later, we see her accosted by two guys on the street -- vampires. She beats the crap out of them and walks away calmly.
After the credits, we have a "solo scene" from each cast member that catches us up on what they've been doing for the past two months. Desiree has been doing some work for the Baton Rouge PD. Armstrong is taking classes at LSU where he's temporarily transferred. Lisa's scene shows how she, Trey, and Becca have been living in a small hotel room. Javier has continued to work in the rescue efforts and has been building a political base. Nadja's scene depicts her having another of her "Gulf" flashback/dreams.
The krewe gets together at Lisa's for dinner. Nadja pases; her sleep is interrupted by the blonde girl from the teaser. Her name is Zoey Phillips... and she's a slayer, sent here to be trained. By Nadja. Naturally, this is a bit of a shock to everyone.
Does that guy (Javier) SPEAK English?
-- Zoey
Zoey is introduced to the gang and it doesn't go well. While she likes the idea of fighting monsters (and especially of Lisa having been "on a death squad") she is irritatingly direct in her manner.
Lisa goes to check on Becca to find the new nanny a little frustrated. The child ignores her, preferring instead to play pattycake with an "invisible" friend. Lisa asks Becca about it and she answers, with a grin: "Unca Toby!"
CUT SCENE As we go to commercial we see a man in a long black overcoat walk out of a double-shotgun camelback -- a house that looks very much like Javier's. After the house explodes we get a good closeup on the guy's face: it's covered in terrible burn scars.
Desiree and Armstrong take Nadja to see a doctor in Baton Rouge. The doctor doesn't tell her much other than that she needs to eat better, have some blood tests, and see him again in a couple days. In the waiting room she bumps into Ben who's there because of a minor injury. At first Nadja is very upset and nervous. That changes drastically when she discovers that Ben has transferred to LSU. She agrees to get a new cell phone and to stay in touch with him.
That night, Lisa plans to resume patrolling. Javier is working late at the office, trying to figure out who blew up his house. He soon discovers that he is not alone in the building: he's attacked by a horde of shambling zombies. While waiting for the krewe to arrive and back him up he manages to trap the zombies on the first floor of the building by locking the fire exits. Unfortunately for him, one of the zombies stumbles into the elevator button; the elevator is soon filled with a troupe of zombies refusing to make eye contact with each other.
When the krewe arrives they discover that the situation is pretty dire. There are a LOT of zombies in the building -- they seem to be coming from the basement. After a protracted battle, the group realizes that they cannot overcome the sheer numbers of the undead. They're forced to destroy the building and the zombies with it. The perpetrator -- the man in the long black overcoat -- escapes, cackling madly to himself.
What do I look like, Lars? Do I look like a chump to you? Do I?
--Unknown
CUT SCENE The vampire that escaped during epsiode 3.01 is here, looking contrite. He's talking to someone -- apparently his boss -- who calls him Lars. Whoever the Boss is (we never see his face) he chews Lars out but good. Lars is beheaded, but not before revealing that a) they guy in the black overcoat was Phil (or maybe Gary), one of the firefighter/cultists from the incident at Place St. Charles and b) they were involved in his plot to kill Javier and/or the Krewe.
Guest Stars
- Leah Cairns as Det. Leslie Abingdon
- Julie Berman as Zoey Phillips
Music
- Nine Inch Nails, "Eraser"
November 3, 2006
3.02 - Aftermath
In the aftermath of Katrina, vamp and demon activity soars to unheard of levels in the devestated city. Desiree is forced to deal with things she's been trying to deny
TEASER The episode starts cold with a sexy dream/flashback of Desiree and Natalie dancing and making out in Desiree's candlelit apartment. (Natalie, played by Morena Baccarin, was killed by Foxtrot in episode 2.06 - Bonds.) Desiree wakes up from her dream to find candles lit everywhere -- and Natalie sitting on the couch. Natalie delivers the message that "She's in trouble" and morphs into Nava as she does so. The morph continues, showing Nava bruised, bloodied, then as a drowned, bloated corpse. When Desiree wakes up for real she's covered in blood from no apparent source.
Water, water, everywhere and not a drop to drink. She's in trouble, Des.
-- Natalie
After checking on Desiree, Nadja discovers that Nava has gone off on her own with the intent of rounding up volunteers to help in the animal rescue efforts. Nadja, Armstrong, and Desiree decide to go looking for her. While they cook up a locator spell, Lisa goes to the nearby marine supply store, beats up a couple of gang-bangers, and steals their inflatable boat.
Nava's rescuers -- equipped with a recently liberated boat -- manage to track her to a building on Tulane campus where she met with some like-minded folks intent on rescuing pets. Their meeting was interrupted by someone knocking over desks and waving a gun around. We later meet this wonderful gentleman; his name is Otis and his family is stranded in their home nearby. (He's currently recovering from a stun-gun zap administered by Nava.) Realizing that it will do them no good, the three give up their boat to Otis.
Nava eventually shows back up at Lisa's; she and Nadja head out to a nearby warehouse that's acting as an impromptu animal shelter. Nadja is pressed into service carrying bags of animal food; Lisa is likewise employed.
Which vamp looks to be in charge? -- Lisa
Probably the one pointing a Tec-9 at you. -- Game Master
Later that night the krewe sets out for a night of patrolling. Before they make it far they receive a frantic call from Javier; there are vampires loose in the Convention Center! They burst in on a group of vamps and are surprised to find that one of them has an automatic weapon. The bloodsuckers are taken out, but not without our krewe taking a few hits. Once this nest of vamps is dusted, JD alerts them to problems at the Superdome. It turns into an extremely long night for our intrepid heroes.
CUT SCENE The next morning, Nadja and Nava head out in a small aluminum jon boat to rescue animals. It's long, hot, sweaty work. After several hours of it, Nadja sees a body float by the dirty waters. This triggers a flashback to her Gulf trauma, and things really go downhill from there. The scene ends with Nava apparently in grave peril
Guest Stars
- Morena Baccarin as Natalie
Scenes from Next Episode
- A young blonde girl (unknown to us) kicks some serious vampire ass.
- Hordes of undead shamble along
- A man in a long black coat blows up Javier's house
Music
- Wilshire, "When"
- Arctic Monkeys, "Perhaps Vampires is a Bit Stong"
- Arctic Monkeys, "When the Sun Goes Down"