Buffy the Vampire Slayer, Season 8, Issue #13
“Wolves at the Gate, Part II”
Prologue Summary: The Slayer population of the world has gone from two to nearly two thousand. Buffy and Xander have established a base in the highlands of Scotland where they continue to train Slayers, and command their forces around the world, building their defenses against new threats. Willow comes and goes; Buffy has cut Giles off; and Dawn’s a giant. They’ve battled familiar foes, deranged zombies, and military goons, but only Buffy has faced the elusive new enemy apparently behind it all: Twilight.
Start of Issue #13
TIME: Fifteen Minutes Earlier…
The opening image is an extreme close-up of a man’s face. His brown eyes look sad and thoughtful, and his lined and rough face is framed by long white hair and a thick mustache. As he speaks, a voice, a servant answers him from out of the image.
OLD MAN: I’m so alone.
The view widens, and we see the old man slumped in a sitting position, wearing a thick, violet robe with a pillowed lapel. There are stains on it. He also has a long beard covering most of his bare chest. The background is a pattern of shadows against a red wall.
SERVANT: (from out of the view) The moon has risen. It’s a lovely evening. Perhaps we could try to get you outdoors…
From an even wider view, we see that the room is a luxurious hall, with a large wood fireplace on one side, a tapestry hanging above it depicting one glorious battle or another. On the walls there are animal heads, coats of arms. A suit of armor stands near the fireplace. There is a bust standing on display, but covered by a cloth. The old man is holding a wine bottle, and other empty bottles are scattered around, as well as discarded clothing of some kind. We see the servant for the first time. He is a a small, elf-like purple-skinned man wearing bloomers and a tuxedo with tails.
SERVANT: I took the liberty of loosing an Albanian boy in the hedge maze. I thought we might have a hunt.
OLD MAN: No thank you, Butterfield.
BUTTERFIELD: Are you certain? He’s quite small. And frightened.
We see Butterfield in a closer view, pulling open curtains in front of a window, smiling encouragingly back over his shoulder.
OLD MAN: (from out of the view) Yes, I’m certain. Shut the curtains.
BUTTERFIELD: Perhaps you’d like to change out of that bathrobe, at least.
OLD MAN: No, I’m quite content in this robe.
The view reverses, and we see the old man is standing, walking toward Butterfield. His shoulders are slumped, and he looks bored, despondent, or both.
BUTTERFIELD: Allow me to launder it then, Master. You vomited cabbage and rubbing alcohol all over the front of it.
OLD MAN: Begone from my sight, Butterfield.
In close-up, we see Butterfield’s face, his wide yellow eyes showing concern for his master.
BUTTERFIELD: Master, the servants are… concerned. You rarely leave this room, you spend your time stumbling about in a liquor-drenched oblivion, you haven’t killed so much as a peasant in months… people are beginning to wonder aloud…
The view shifts, and we see the old man from behind as he stands alone, staring out the window into the night sky.
BUTTERFIELD: (from out of the view) What has become of the mighty Dracula?
We see Dracula in profile holding the curtains, wine bottle still in hand. We see two additional pieces of art – a portrait on the wall of a blonde-haired woman in a Victorian gown, perhaps a wedding dress. Below that, another bust, this one looking like it may have been modeled after Xander. As he speaks to Butterfield, he becomes distracted by something.
DRACULA: I told you to leave me be, Butterfield. I assure you, I’m fine. I don’t require help from you… or from… anyone…
In close-up, we see Dracula’s profile, as he stares up out of the window.
Next we see him put his hand up to cover his mouth in surprise. His fingernails are long and cracked.
BUTTERFIELD: (from out of the view) Yes, master?
DRACULA: On second thought…
The view shifts, and Dracula has turned and is walking from the window. He has handed Butterfield his wine bottle. Outside, we see a helicopter approaching his castle to land.
DRACULA: … fetch me a razor.
The scene shifts, and we see Dracula holding the door open, facing Xander and Renee as he was at the end of 8.12.
DRACULA: Yes, manservant, what is it?
XANDER: We need your help.
DRACULA: Oh? Do you now? Well, unfortunately, this is not a good time…
The view shifts and we see the three in profile. Renee watches Dracula doubtfully as the vampire faces Xander.
DRACULA: Butterfield has just loosed an Albanian boy in the hedge maze, and if I’m not quick to slaughter him, his blood will become alkaline from the terror. Perhaps you could come back later. Say – next month some time.
The next image shows Dracula pushing the door shut, but Xander catching it in his hand, not ready to give up.
XANDER: No – we need to talk to you now.
DRACULA: I’m sorry, I don’t know what to tell you.
XANDER: *Please, master*. I beg of you. It’s important.
The view reverses, and Dracula has opened the door again. His face is severe, but gratified.
DRACULA: Oh. Very well. Come inside, manservant. Your moor can wait out in the stables.
Next we see Xander and Renee, equally aghast at Renee being referred to as Xander’s ‘moor’.
XANDER: Wha – no. No no no no. She’s not my moor. That’s… ha… that’s terrible, master. This is… this is Renee. She’s my, um… uh… she’s with me.
Dracula narrows his eyes skeptically as he answers in the next image. He still stares only at Xander, not paying any attention to Renee.
DRACULA: *Is* she now?
XANDER: Yes. So she doesn’t need to wait in the stables. Anything you say to me, you can say in front of her.
DRACULA: Magnificent. Then please, enter. Both of you.
We see Dracula turn and lead them into his castle. Renee is only a step behind him, her face scowling. When Dracula speaks, Xander throws his hands up at the potential embarrassment to follow.
DRACULA: I’ll alert the kitchen. If I know my manservant, he could use a plate of hot mealworms before he changes into his manservant bloomers.
Xander holds his index fingers up as Renee looks back at him. Xander clearly looks like he wants to rethink her being here.
XANDER: Okay, maybe you should wait outside, actually.
RENEE: Absolutely not.
XANDER: For the record, I’ve never worn manservant bloomers.
RENEE: I don’t even know what that means.
We see Renee and Xander from behind as Dracula sweeps down the hallway into the castle. Renee looks back at Xander with genuine concern.
XANDER: I’m just sayin’. Maybe it’s for the best. Hey – you could go look for that Albanian boy…
RENEE: Xander, knock it off…
The view reverses, and we see Dracula’s face in close-up. His brown eyes are now alive and vital, and his lips are curving into a sly smile as he listens back at the exchange between Renee and Xander. In the distance, Renee is gesturing emphatically toward Dracula. As she speaks, a voiceover leads us into the next scene.
RENEE: I’m not leaving you with this guy.
VOICE: (in voiceover) He will haunt your soul…
The scene changes, and we see Andrew standing, arms-crossed, alone in a white background. He is wearing a tuxedo, black over a white vest. It comes with a cloak with a wide, up-turned collar behind his neck.
ANDREW: (cont) … and his gaze holds the power to make you his slave. You must stay on guard at all times around him. For he is the lord of darkness.
VOICE: (from out of the view) Yeah, okay, we know who Dracula is.
The scene resolves into detail, and Andrew is standing in front of a green chalkboard. A number of Slayers are sitting on the ground in front of him. They are outside the castle, holding a training session. The chalkboard has a number of details about Dracula written on it –
- (bat, wolf, night panther, fog, bees)Piercing Hypnotic Stare
Impervious to Stakes
(technically not a power)[indent]
ANDREW: Oh, you *think* you know who Dracula is, but I suspect your knowledge comes strictly from what you’ve seen in the motion pictures, little on.
SLAYER: *You’re* the one wearing the replica George Hamilton outfit from Love at First Bite.
We see Andrew lean down to the Slayer who spoke, reaching into his jacket pocket for something.
ANDREW: Okay – A.) big extra credit for noticing, and B.) it’s not a replica, it’s *his*, I bought it at an auction and have the C.O.A. to prove it.
SLAYER #2: So is Xander still, like, under Dracula’s spell?
In a wider view, we see Andrew turn to answer the question, while holding his C.O.A. out to the first Slayer who spoke. For her part, she’s clearly unimpressed.
ANDREW: Hard to say. I mean, certainly, Dracula’s gaze has some long-term effects, but… we suspect that, in Xander’s case, they’ve also become fast friends.
SLAYER #1 (quietly, to her friends) I really don’t need to see the C.O.A.
As Andrew puts away the paper, he leans down to answer the question of another Slayer, a girl with glasses.
SLAYER #3: Okay, but… how did *that* happen?
ANDREW: Well, they first hit it off when Dracula came to Sunnydale. Then they stayed in touch – the occasional letter here and there…
A fourth Slayer leaps in with another question as Andrew clasps his hands patiently.
ANDREW: And then Xander went and lived with Dracula for a few months.
SLAYER #4: Wait -- *what*?
ANDREW: Yeah – it was sort of like semester at sea, only with harpies instead of co-eds.
Andrew maintains his formal posture as he turns and answers more questions.
SLAYER #4: What the hell are you talking about?
ANDREW: Xander took a leave of absence and went to Transylvania. It was right after Anya’s death – he needed some guy time.
SLAYER #5: And – so Buffy just allowed him to go *hang out with Dracula*?
In close-up, we see Andrew’s face looking thoughtful.
ANDREW: It wasn’t a big deal. Dracula’s fond of Xander. They have a… unique relationship. Xander taught him to ride a motorbike.
We see Andrew turn his head, realizing something.
ANDREW: In fact, I should write “motorbiking” up here under powers…
As Andrew turns to find a place to note that on his chalkboard, one of the Slayers whispers a complaint to another.
SLAYER #6: This is seriously his worst lecture since his one on that weapon from Krull.
ANDREW: Hey, I heard that! And it’s called *the Glaive*, thank you very much…
The scene changes, and we see inside the castle through a portal. Three silhouettes walk past it.
VOICE: We got a hit.
Inside, we see Buffy and Willow being led along by a Slayer we’ve never met. She is wearing the same style mock turtleneck that Xander and Renee both favor.
SLAYER: Vampire sect in Tokyo’s been making waves in the demon underground. They’re known for going all wolfy when the mood strikes ‘em. Their leader’s name is Toru. He matches the description of the guy you tangled with in the armory.
We see the three arrive in the command center, which is very busy – Slayers are everywhere, poring over paperwork, working the computer terminals, consulting each other, using cellphones. We can recognized Leah looking at something another Slayer is showing her on a computer.
BUFFY: We didn’t *”tangle.”* He ran away before we could tangle. He’s an untangler.
SLAYER: My point, ma’am, is that he sounds like our guy.
The three women reach the dais, Buffy waiting with her hands on her hips. As they talk, the Slayer briefing Buffy activates the main display with a *CLICK*.
BUFFY: Who found him?
SLAYER: Aiko. One of ours. Assigned to field ops in Japan.
BUFFY: I want to talk to her.
SLAYER: Figured as much.
On the viewscreen, the face of a Japanese Slayer, Aiko, appears. Her eyes widen as she realizes she’s talking to Buffy herself.
AIKO: Wow – it’s really you.
BUFFY: Yep. It’s really me. How’d you get the intel?
AIKO: Oh. You know…
The next image shows us Aiko at her side of the conversation. She is standing in a room that’s a mess of broken furniture and slaughtered demons. The demons are all large, green monsters with painted faces. One is hanging limp with its head shoved through the wall. Another has three broken table legs through it’s back. Aiko is speaking into a camera phone of some kind, still holding the huge, purple-handled battleaxe. The blade is covered with demon blood.
AIKO: I asked around.
Back in the command center, we see Buffy’s eyes wide, as well as Willow’s behind her. Both looks suitably impressed, and Willow is even smiling a little.
BUFFY: Are those Kabuki demons?
AIKO: (through radio) They *were* Kabuki demons.
BUFFY: Those things are vicious.
AIKO: You’re telling me. I think one actually *scratched* me.
We see from over Aiko’s shoulder as she looks at Buffy in the display of her phone.
BUFFY: You got a location on those vamps?
BUFFY: Good. Keep surveillance, but *do not approach*.
AIKO: Got it.
We see Buffy in close-up as she answers, shutting down the viewer with a *CLICK*.
BUFFY: I’m serious, Aiko. You wait for us. We’ll be in touch.
In extreme close-up, we see Buffy turn over her shoulder to talk to Satsu, who looks up from one of the computer stations. Buffy’s eyes are intense.
BUFFY: Prep the others. I want our team suited up and ready for transpo in less than an hour.
In a wider view, Buffy is striding down from the dais. Satsu has stood up, about to get to work, but raises her hands questioningly as she asked for clarification. Buffy’s head is shown whipping around, impatient with the questions.
SATSU: How many girls you want to bring?
BUFFY: All of ‘em.
SATSU: You sure that’s a good idea? We should probably leave behind a squad as a safeguard.
BUFFY: This isn’t up for discussion, Satsu…
The view reverses, and Buffy’s face is almost angry. She doesn’t face Satsu as she finishes her admonishment. Satsu’s face crumbles when she hears the words.
BUFFY: I gave you an order. Get moving.
We see Satsu lower her head before acknowledging the command. Willow watches the younger Slayer with concern.
SATSU: Yes ma’am.
The next image shows Buffy leaning over a computer terminal. Willow stands behind her. She’s clearly still eyeing Satsu sympathetically, even as she answers Buffy.
BUFFY: Have we heard from Xander?
WILLOW: I’ve been trying him. He’s not responding.
In close-up, we see Buffy turn and look at Willow. It’s the first time Buffy looks like she’s slowed down.
BUFFY: You think he’s in trouble?
The scene changes, and as Willow finishes her answer, we see Dracula, Xander, and Renee at tea. The Slayer and vampire sit opposite each other. Dracula looks indifferent, Xander looks uncomfortable, and Renee looks like she’s barely able to keep herself from trying to kill Dracula.
WILLOW: (voiceover) I suppose that depends on your definition of ‘trouble’.
XANDER: This tea is delicious, master.
DRACULA: Thank you, manservant.
The image changes with the ordinary gestures of conversation as Dracula and Xander make small talk. Renee watches with wary curiosity, holding her tea.
DRACULA: Butterfield prepared it himself. He’s proving to be an excellent manservant. The best I’ve ever had. Truly, I’ve never been happier.
XANDER: Good. I mean… that’s great. I’m glad to hear you’re doing well.
Dracula turns to Xander to compliment him, making Xander look at himself with a mix of flattery of embarrassment. Renee gapes at Dracula.
DRACULA: You’ve lost weight.
XANDER: Can you tell? I’ve been trying to exercise more.
DRACULA: Yes, it suits you.
We see Xander effort to return the compliment and Dracula feign embarrassment. Renee continues to watch in befuddlement.
XANDER: Thanks. You look good too.
DRACULA: Oh, you’re just saying that because I complimented you.
XANDER: No – I’m not! I promise.
The small talk continues, as we see Renee plant her forehead on her palm, clearly exasperated.
DRACULA: I can’t see myself in mirrors. I fear my best days are behind me.
XANDER: No – you’re more handsome than ever.
DRACULA: Do you really think so?
RENEE: Oh, for the love of God…
In close-up, we see Renee’s face glaring.
RENE: Will you two knock it off? We have business to discuss.
We see Dracula stare across the table at Renee. Xander just sips his tea, but his words clearly shock Renee.
DRACULA: Tell your moor to watch her tone, manservant.
XANDER: Watch your tone, moor.
As Renee gives Xander a withering look he realizes what he’s said with a wide eye. Dracula still stares at Renee.
XANDER: I mean – hey! She’s not a moor. Also, she has a lovely tone. Also, we have business to discuss. We think someone stole your powers.
DRACULA: What are you talking about?
In close-up, we see over Xander’s shoulder at Dracula. The vampire is clearly skeptical that such a thing could have happened.
XANDER: Some vamps attacked us. They had your ability to shape shift. Wolves, panthers, fog… the whole bit.
DRACULA: Impossible. You were deceived. Some sort of confusion spell or glamour, perhaps.
XANDER: No, master, they had your powers, I swear. We figured they must’ve ripped you off.
We see a closer view of the three of them, Dracula and Renee staring at each other intensely, anger building. Xander is between them, looking anxious.
DRACULA: That’s preposterous.
RENEE: Or maybe you *sold* your powers to the highest bidder…
The view gets closer and Dracula and Renee look ready to throw down. We see only the top of Xander’s face as he stares helplessly at the natural enemies.
DRACULA: Manservant, your moor is one snide comment away from a swarm of bees.
The next image shows them all in a wider view. They are now all standing. Dracula and Renee stare across the table, leaning toward each other. Xander has a hand on each of their shoulders, trying to keep it from coming to blows.
XANDER: Okay, okay – calm down. Nobody wants a swarm of bees. We’re not accusing you of selling out, master, but… these vamps, they got a hold of your mojo somehow. Think. *Something* must’ve happened…
The view reverses and Dracula turns and wanders from the table, his hand raised dismissively. Xander and Renee look on.
DRACULA: It’s not possible, manservant. These powers you speak of – they’re part of the ancient magics. I risked my very *soul* to attain them. I am their worldly guardian.
In close-up, we see Dracula’s face, angry.
DRACULA: The very idea that some two-bit, run-of-the-mill vampires could just come along and… *take them* from the… (quieter) lord of… darkness…
We see Dracula’s eyes go wide and his mouth open in realization of something.
Then he covers his eyes with his hand.
DRACULA: Oh balls.
In a wider view, Dracula is seen only as a silhouette against the window. Xander and Renee both stand at a respectful distance.
DRACULA: These vampires you speak of… they wouldn’t happen to be orientals, would they?
The scene changes, and we see the Tokyo skyline, and a crowd of pedestrians at eye level. A couple voices debate murder.
VOICE #1: Kumiko wants the kill.
VOICE #2: She can’t have it.
The view changes, and we see the speakers walking down the busy sidewalk. It is Raidon and Toru, the latter still wearing the red scarf over his suit coat.
RAIDON: That’s gonna make her angry.
TORU: I’m not particularly concerned with Kumiko’s state of mind, Raidon.
RAIDON: Then you don’t remember what she’s like when she’s angry.
In close-up, we see the two vampires in profile as they continue to discuss their colleague.
TORU: I need her focused on the spell. She’ll have plenty of opportunities to slaughter things soon enough.
The view reverses to show them in profile from the opposite side.
RAIDON: I understand. But perhaps you should tell her that.
TORU: You coward.
RAIDON: Yes. Absolutely.
We see Raidon and Toru from above as they reach a crosswalk, waiting with the other pedestrians.
TORU: Kumiko can have the body when I’m done with it. That should keep her happy for now.
We see the two standing side by side, both patient and still, apparently so they don’t tip of their tail.
TORU: Where’s the Slayer?
RAIDON: One block back. South side of the street. She’s good – she knows to keep a distance…
As Raidon finishes, we see the object of their conversation in close-up. It’s Aiko, blending into the crowd, purple sunglasses on and a lollipop in her mouth.
RAIDON: (from out of the view) … but she’s keeping a close eye on us.
We see a wide shot of the busy street.
TORU: Well then.
The next image shows Toru in close-up. He’s holding something in his right hand, a small disk with a glowing red center. He stares at it with a smirk.
TORU: Let’s give her something to see.
The scene changes and we see Dracula’s castle from the outside. From within, Dracula is shouting in anger.
DRACULA: *Filthy yellow swine*!
Inside, we see Dracula burst through a doorway. He throws the doors open with his face snarling, almost in gameface, with Xander and Renee behind him, looking cautious.
DRACULA: They think they can steal from Dracula!?! I’ll bathe in their blood!
XANDER: Master – wait – back up. What happened?
In a wider view, Dracula is leading them into what appears to be his armor. Exotic weapons and armor fill the walls. Dracula looks determined, and we can see Xander looking around while Renee spreads her hands at disbelief at the explanation Dracula gives them.
DRACULA: To be honest, the details are a bit fuzzy… but I was at a Tibetan speakeasy, and I seem to recall copious amounts of rubbing alcohol, a heated game of pai-gow, and the pink slip to a Kawazaki Z1000.
RENEE: Hang on – you sold your secrets for *a motorcycle*?
The view switches, and Dracula is whirling to look over his shoulder at her.
DRACULA: No. I *lost* my secrets *gambling* for a motorcycle. But I’m fairly certain I was cheated. There was a witch with them… I never should have let her deal…
We see Dracula raise his arms, shaking his fist and bellowing in outrage. Xander covers his mouth in alarm, more at Dracula’s tone than anything. Renee just looks annoyed.
DRACULA: Those *filthy yellow swine*!
XANDER: You know, I really don’t remember you being this racist…
A moment later, we see Dracula, calm again, pulling a key from around his neck. Xander notices this, and his interest, while Renee just puts her hands on her hips indifferently.
DRACULA: You’ve located these vampires? They’re in Tokyo?
XANDER: Yeah. So does that mean you’re coming with us?
DRACULA: Let’s be clear about this, manservant…
The view reverses, and Dracula points angrily back at both of them, specifically to threaten Renee. While Dracula uses the key to open a closet door, Xander looks stunned, and Renee looks unimpressed, like she’d like to see Drac try to carry out his threat.
DRACULA: I don’t owe you anything, I’m not interested in your cause, and the next time your moor smarts off at me I will *slit her throat*.
In a closer view, we see Dracula open the doors to the closet cabinet, and revealing a broadsword inside. Clearly this is a special one – the hilt and pommel are ornate, solid gold and sparkle in the room lights.
DRACULA: I loathe Buffy Summers, her whole army makes me want to retch, and I’d just as soon see them wiped off the map once and for all. However.
The next image shows Dracula, holding the broadsword in his right hand, and gesturing invitingly with his left.
DRACULA: Nobody steals from Dracula.
The next scene shows us an image of a cargo jet, a military style plane like a C-130, flying through blue skies. A voice speaks from inside as we see images from within.
VOICE: Here’s the thing.
The next image shows Buffy alone, her arms crossed, her hair in a tight double-braid like she wore into battle before. She’s wearing a pink sweater or jacket and is staring off, still looking angry.
VOICE: She’s alone. She’s vulnerable.
The view widens, and we see Buffy in silhouette at the far end of the plane’s cargo cabin. On the plane, we see the cargo cabin is full of Slayers, all wearing the same green tactical gear, some reading, some napping. It looks like the entire castle complement is on board.
VOICE: And she has the weight of the world on her slender shoulders.
The next image is of Willow in close-up. She’s wearing her own dress, clearly standing out amongst the Slayers. She is the one speaking.
WILLOW: If that’s not a recipe for an ill-conceived one-night stand, then I don’t know my H.G.O.G.A. cookbook.
SATSU: (from out of the view) You think I took advantage of her?
We see the two o them sitting together. Willow is smiling, trying to keep the tone light, but Satsu looks a little offended at the suggestion.
WILLOW: No – I definitely think there was some two-way advantage going on there. But you need to remember…
We see Buffy again in close-up, her green eyes looking thoughtful, as Willow speaks about her again.
WILLOW: She’s not like us.
In another wide-view, we see Buffy standing alone while her Slayers pass the time.
WILLOW: She’s the general. We’re the army. And that’s never gonna change.
In a close-up, Willow and Satsu are in close-up. Satsu looks resigned and disappointed.
WILLOW: Also, she’s not, you know…
SATSU: A dyke?
WILLOW: I was going to say “friend of Sappho,” but okay, whatever the kids are saying these days, I’m hip, I’m with it.
From another angle, Willow is leaning over Satsu’s shoulder, very supportive.
WILLOW: I just don’t want you to get your hopes up. That’s all.
SATSU: I hear you.
We see Willow pull back. She looks at Satsu with eager curiousity, and when she speaks, Satsu looks at her in surprise. A Slayer is sleeping on Willow’s right as they talk.
WILLOW: Good. Now. What’s she like in the sack?
From a wider view, we see the two of them leaning toward each other as they chat, the rest of the Slayers paying no attention.
WILLOW: Do you know how long I’ve wondered about this? Don’t hold out on me, sister.
SATSU: I’m not telling you anything!
WILLOW: Oh, yes you are! Did she make that high-pitched squeal? I call it her “shoe-sale noise…”
The scene changes, and Aiko is walking down a crowded Tokyo street. She is holding her cellphone, presumably talking to Buffy again.
BUFFY: (through phone) Aiko, what’s your status?
AIKO: Full-on tracker mode. I’ve got visual confirmation on Toru.
BUFFY: We’re touching down at around oh-five-hundred. Think you can stay on them ‘til then?
AIKO: If I can’t you should take away my Slayer card.
The next image shows Aiko, her phone put away, peeking around the wall into an alley.
From above, we see her looking into the darkened alley, and a small red glow catching her attention from several feet inside.
We see Aiko as she crouches, her sunglasses off. She is holding and studying the same red glowing disk Toru was holding earlier. Above her, Kumiko is flying, holding the scythe in her hands, sneaking up.
The view reverses, and Kumiko shouts in Japanese as Aiko turns and sees her. While she shouts, a beam of red light fires from the stake-end of the scythe. It strikes the red disk in Aiko’s hand. At the same time, a fog gathers at ground level near the ambushed Slayer.
In extreme close-up, we see a similar beam transfer from the disk to Aiko’s face, lighting her up with red light. Her mouth is open, perhaps screaming, as if in pain.
The next image shows Toru in gameface – the fog was him, and he appears in an instant and strikes Aiko with a vicious left. The blow lands with a *CRAK* and the girl flies across the alley, destroying boxes.
The image reverses and Toru glowers down at Aiko, some fog still floating in the alley. Aiko holds her mouth with both hands, looking completely surprised by the pain and the attack. It appears as though a heavy blood flow is pouring down her sweater.
In a closer view, Toru picks Aiko up by the throat. She tries to speak, but can’t, still holding her mouth.
AIKO: … hck… hck… hck…
TORU: Shoot. I just broke your jaw, didn’t I? That’s unfortunate.
In close-up, we see from behind Aiko’s head, Toru’s growling face in front of her, jaws open and fangs bared.
TORU: I was hoping you could tell me what it’s like to be a regular girl again.
In extreme close-up, we see only Toru’s fang as he prepares to bite.
TORU: Must be terrifying.
In another extreme close-up, Toru sinks his teeth into the left side of Aiko’s neck with a spray of blood and a *SHLLICCK*. He begins to drain the former Slayer.
The next image shows Raidon appear out of the fog behind Toru as the leader finishes drinking.
TORU: Raidon, I’d call that a successful beta-test…
We see Toru shift back to his human face, wiping some of Aiko’s blood from his lip with his thumb.
The last image is shown as Raidon makes his suggestion for their plans. We see Kumiko, still in her top hat, low cut blouse, bustier, and skirt, flying up into the Tokyo sky. She holds the scythe in front of her, and grins evilly at it. Behind her, on the roof of a Tokyo skyscraper, a much larger version of the same red disk used to deactivate and murder Aiko is mounted like a satellite dish.
RAIDON: I think it’s time we take this technology global.
End of Issue #13