Never Leave Me Transcript
Buffy Episode 7x09 (#131)
"Never Leave Me" Transcript
Written by Drew Goddard
Original Air Date: November 26, 2002
TEASER (RECAP SEGMENT):
GILES (V.O.)
Previously on Buffy the Vampire Slayer:
1 EXT. MEXICAN CAR - NIGHT
Jonathan's driving with Andrew as passenger. The old El Camino car is heavily adorned in super-stereotypical Mexican style: older model car with fringe around the top of the windshield and lots of decorations.
ANDREW
You're just scared.
JONATHAN
Of course I'm scared. Last time we were here, 33.3bar percent of us were flayed alive.
Cut to:
2 INT. HALLWAY AT SUNNYDALE HIGH - NIGHT
From behind Andrew, Warren walks out from behind some lockers and walks up to Andrew.
WARREN
Nice job.
ANDREW
Do you have any idea how hard it's been to act this cool?
WARREN
Now, that death thing was all part of the master plan. If short round pulls off his end of the bargain, we'll both become gods.
Cut to:
3 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Jonathan is packing up his bag, when Andrew comes to him and puts his right hand on Jonathan's shoulder. Jonathan looks up at Andrew, stands, and sees Warren standing behind Andrew. Jonathan's eyes widen as Andres takes his left hand and stabs him in the belly with a dagger. Jonathan looks at Andrew and Warren, hurt. Jonathan collapses onto the metal object that they unearthed. He bleeds profusely, with his blood filling the grooves in the object, as Andrew and Warren stand there and watch. The metal object starts glowing.
Cut to:
4 INT. BUFFY'S HOUSE - NIGHT
Dawn's sitting on the living room floor in front of the couch, hugging a pillow, amid the destruction from her earlier encounter. Willow comes to talk to her.
DAWN
I saw Mom.
Cut to:
5 INT. LIVING ROOM AT SUMMERS HOUSE - NIGHT
Joyce is standing there, all glowy and robed in white, talking to Dawn, who's still sitting on the floor.
JOYCE
Things are coming, Dawn.
DAWN
Why are you—?
JOYCE
When it's bad, Buffy won't choose you.
Cut to:
6 INT. BUFFY'S HOUSE - NIGHT
Dawn's sitting on the living room floor in front of the couch, hugging a pillow, amid the destruction from her earlier encounter. Willow comes to talk to her.
WILLOW
It wasn't her.
DAWN
What?
WILLOW
It's the Big Bad, Dawn. The one we knew was coming.
Cut to:
7 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Willow and Buffy are talking in the hallway.
BUFFY
What the hell happened?
WILLOW
This big evil that's been promising to devour us—well I think it's started chomping.
BUFFY
Oh, God.
WILLOW
Buffy, this thing knows us. It made us think that we were talking to people we knew.
Cut to:
8 INT. FOYER AT BUFFY'S HOUSE - NIGHT
Buffy and Spike talk near the front door. While Spike talks, show shots of foreign girls being killed.
SPIKE
I'm just a guy with his ear to the ground, but even I can feel it. Something's coming. I don't know what exactly, but something's brewing. And it's so big, ugly and damned it makes you and me look like little bitty puzzle pieces.
8a EXT. CITY STREET IN ISTANBUL, TURKEY - NIGHT
A dark-haired girl is running through the arched hallway, looking over her shoulder and panting from the exertion of running so fast. She's being chased. Two people in hooded cloaks are chasing her. Two hooded figures hold her down, and a third figure raises an arched, shiny, silver dagger (possibly an Arabian "Jambaya") and thrusts down at her.
8b INT. PARKING GARAGE IN FRANKFURT, GERMANY - NIGHT
A girl with hot pink hair with black bangs at her forehead, a nose ring, and a metal collar is trying to escape her pursuers. Finally, she thinks she's safe when she goes through a doorway to the outside near a crowd of club patrons, but she is pushed back inside. Robed men close the door behind them and start to fight with her. She is knocked to the ground, lying on her back. Finally, one of the robed people pulls out a Jambaya (curved silver dagger) and stabs her.
Cut to:
9 EXT. OUTSIDE AN APARTMENT BUILDING - NIGHT
Holding the young woman in an embrace, Spike rears back in vampire face and sinks his fangs into her neck. He drinks deeply, but she doesn't struggle much and barely makes a sound.
Cut to:
10 INT. BUFFY'S HOUSE - NIGHT
Spike is sitting in a chair, wrapped in a blanket while the others talk in an adjacent room. Buffy, Xander, Anya, Willow, and Dawn are all there. Spike's listening to them.
WILLOW
Buffy, he's been feeding... on human blood. That's gotta do stuff.
BUFFY
I think there was something there, talking to him, making him do things.
Cut to:
11 INT. BASEMENT OF SPIKE'S HOUSE - NIGHT
This is an enormous brick Tudor-style home. Spike walks into the basement, followed by Buffy.
SPIKE-2
(singing, sits on stairs) How could you use a poor maid so?
As Spike-2 sings, Spike is distracted, mesmerized by the song, and is unable to respond to Buffy, who's trying to get his attention.
BUFFY
Spike!
Spike vamps out and attacks Buffy. As he does so, he flashes back to all the things he's done—killing, burying, and all the rest.
SPIKE
(in human face) I remember.
Spike's horrified. His face is one of complete shock and disbelief that he could have actually done those things. Buffy walks over to Spike, still carrying the wooden handle. She stands in front of him. He looks at her, knowing his fate, and scoots out of the cubby hole he was hiding in. He's crying.
SPIKE
I killed, and I can feel 'em. I can feel every one of them.
BUFFY
There's something playing with us.
SPIKE
Why is it doing this to me?
BUFFY
I don't know.
SPIKE
Help me.
BUFFY
I'll help you.
Cut to:
12 INT. BUFFY'S HOUSE - NIGHT
Spike is sitting in a chair, wrapped in a blanket while the others talk in an adjacent room. Buffy, Xander, Anya, Willow, and Dawn are all there. Spike's listening to them.
BUFFY
This thing has been closer to Spike than any of us.
WILLOW
And if you want to understand it....
BUFFY
I'm gonna have to get close to Spike.
Cut to:
13 INT. FLAT IN ENGLAND - DAY
Giles enters the flat, looking around. He sees the young woman lying dead on the floor.
GILES
Robson, are you here? Robson!
Giles gets up and starts looking for Robson, who's found near a chair in the next room. Giles goes to his side.
GILES
(takes off his glasses and starts to cry) Dear God, I thought you—
ROBSON
(eyes flash open) Gather them.
GILES
What?
ROBSON
It's started.
GILES
It's all right. I understand. I'll take care of it—
One of the robed men sneaks up behind Giles wielding a battle-axe. He swings it at Giles.
Fade to black.
End Recap.
The Start Of Episode
Prologue:
14 INT. BUFFY'S HOUSE - NIGHT
The gang's cleaning up the living room from the aftermath of when Joyce visited Dawn in 7x07 "Conversations With Dead People." Xander's working on the large picture window behind the couch, covering the hole with plastic. Anya's replacing the home decor items on the mantle. Willow's sweeping off a table, when Dawn comes to talk to her.
DAWN
So the basement was filled with bodies?
WILLOW
Apparently.
DAWN
And Spike could've sired countless others and buried them around town. And we're waiting for him to do what, exactly? Do something crazy?
WILLOW
(sighs) It's not that simple.
ANYA
Shouldn't we stab him through the chest? Isn't that what we do when these things happen?
WILLOW
Look, Buffy knows what she's doing.
ANYA
Well, Xander, you know what we're all talking about. I mean, you've always been part of the "Spike is evil" faction.
XANDER
I've got a house to put back together.
ANYA
Fine. You guys keep your heads buried in the sand, but I think we should prepare ourselves for the possibility that William the Bloody is back.
Cut to:
15 EXT. SUNNYDALE STREET - NIGHT
Show someone wearing black boots—someone's walking along the sidewalk. Pan up: long black leather trench coat, blonde spiked hair. It's Andrew, looking tough and menacing. Warren comes up to him and walks beside him.
WARREN
All right. (claps) Looking good. How do you feel?
ANDREW
Good.
WARREN
Excellent. We've got work to do.
ANDREW
I have to do work right now? Can't I just walk around for a while in my coat?
WARREN
Don't go soft on me now. We're right in the trench, and the exhaust port's in sight.
ANDREW
I thought that was it. I did what you told me. It's not my fault it didn't work. Why do I have to do all the wet works?
WARREN
(stops walking) Hey! You know the rules. I can't take corporeal form. Here, feel. (nods) Mm-hmm.
ANDREW
(sticks hand through Warren's chest) Cool.
WARREN
Pretty bitchin', right? I'm like Obi Wan?
ANDREW
Or Patrick Swayze.
WARREN
Believe me, I would do this stuff if I could. I can't. I need you. You're my iron fist.
ANDREW
(sighs) I just don't think I can kill anybody else. (shrugs)
Warren morphs into Jonathan.
JONATHAN
Oh, will you stop whining about that?
ANDREW
I didn't want to kill you. Warren made me.
JONATHAN
Hey, I'm glad he did. (chuckles) This is the best thing that's ever happened to me.
ANDREW
(crosses arms) It didn't hurt too much? I-I'm not very good at stabbing.
JONATHAN
You know, it wasn't that bad. It was like a sharp pain, then a burning, then a general queasiness. It's kinda like when I used to get ulcers in high school, only at the end I became one with light and hope.
ANDREW
I can't do it. I can't do it anymore.
JONATHAN
Hey, this isn't your fault, OK. It's my fault the ritual didn't work. I screwed up. I'm little—I-I don't have as much blood as other people. And I probably should've told someone I was anemic. Don't worry. We're gonna fix it. You gotta trust us. We know what we're doing.
ANDREW
I can't kill anybody else.
JONATHAN
OK, calm down. We can work around that.
Cut to:
16 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's tying Spike's wrists to a chair he's sitting in.
BUFFY
(sighs) We're gonna get to the bottom of this. We just can't take any chances.
SPIKE
Don't... Make it tighter—the knots'll give. I get free, someone's gonna die.
Fade to black.
Opening Credits.
ACT I:
17 INT. PRINCIPAL WOOD'S OFFICE AT SUNNYDALE HIGH - DAY
Principal Wood's sitting at his desk, interviewing two teenage boys seated in chairs in front of his desk.
PRINCIPAL WOOD
Now, guys, look, we can settle this one of two ways. You can repaint the walls, or I can suspend you and report this little incident on your permanent record.
PUNK #1
Fine. Do that.
PRINCIPAL WOOD
OK, I was bluffing. I hadn't really thought that one through. (leans forward) Listen, this whole permanent record thing is such a myth anyway. Colleges never ask for anything past your SAT scores, and it's not like employers are gonna be calling up to check to see how many days you missed back in high school. So, listen, I-I could suspend you, (stands, walks around the desk) but that would mean calling your parents, alerting your teachers, filling out paperwork, and, quite possibly, having to talk to the school board—(sits on the desk in front of them) all of which sounds positively exhausting to me. No. No, I think it would be much easier if I just called the police, let them deal with it. (looks into their eyes) Oh, and, in case you're wondering, this is the part where I'm not bluffing.
PUNK #2
(looks at the other boy) We'll repaint it.
PRINCIPAL WOOD
Good job. (there's a knock at his door) Excuse me. (opens door) Miss Summers. I'm with students.
DAWN
I just wanted to tell you that Buffy won't be coming in today. She's really sick.
PRINCIPAL WOOD
Oh, no.
DAWN
Yeah, last night she was vomiting, and then this morning she was vomiting some more, and then, just when we thought she was done, she was vomiting again. (laughs)
PRINCIPAL WOOD
Yeah, we got that stomach flu going around.
DAWN
Her exact words were, "I've got stuff coming out of both ends."
PRINCIPAL WOOD
Thank you. That's very helpful.
DAWN
(smiles) Sure. No problem. (to kids) Hey, guys. How's it going?
PUNK #2
Pretty good.
PRINCIPAL WOOD
Um, tell your sister not to worry about it. We'll soldier on without her here. Just, um, tell her to concentrate on getting better.
DAWN
Yeah, she'll be fine. She just needs to get some stuff out of her system.
Cut to:
18 INT. BUFFY'S HOUSE - DAY
Buffy's talking on the telephone.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) I need to find him as soon as possible. He's not answering any of his numbers.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
Mr. Travers is sitting at a desk, talking on the phone.
QUENTIN TRAVERS
(to phone) Miss Summers, the Watcher's Council does not keep track of our lapsed employees. Ever since Mr. Giles pulled up his stake in Sunnydale, we've not made it our business to follow his every move.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) You don't have to get all British and dodgy, Mr. Travers. I know you have ways of finding him.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
Pan out to show Mr. Travers is sitting at a long conference table, surrounded by members of the Watcher's Council.
QUENTIN TRAVERS
(to phone) Well, I suppose if you feel the matter's urgent, we can look into it.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) I'd appreciate it. Thank you.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
QUENTIN TRAVERS
(to phone) Not at all. Good day. (hangs up, sighs, addresses others at the table) The girl knows nothing. (stands, walks) And we need to find Rupert Giles. (stands in front of world map) As soon as possible.
Cut to:
19 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Spike's still tied to the chair. He's shivering and gasping. Buffy's there, and sits on the bed near him.
BUFFY
Can I do something?
SPIKE
I think you should probably go—
BUFFY
(stands, turns to get something for him) Here.
As her back is turned, Spike's eyes roll back and he vamps out. When she turns back to Spike, he's changed into vampire face and is struggling against his restraints.
Cut to:
20 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Buffy's talking to Willow. They're standing outside the closed door to the room, where Spike's tied up.
BUFFY
He's been feasting on humans for weeks. He's having some pretty bad withdrawls. I think we need to get him some blood.
WILLOW
(excited) Do you want me to kill Anya?
BUFFY
(matter-of-factly) No, we should probably try to wean him off humans. He'll have to make do with animal blood.
WILLOW
I'll go get some.
BUFFY
You don't mind?
WILLOW
No, I have to get out of the house. Xander's installing the new windows, and he keeps giving lectures on proper tool maintenance. Tool talk—not my thing.
BUFFY
Thank you.
WILLOW
How're you doing in there?
BUFFY
He's in pretty bad shape, past the point where he can tell me anything.
WILLOW
I wasn't asking about him.
BUFFY
I'll be OK.
Cut to:
21 INT. BASEMENT AT SUNNYDALE HIGH - DAY
Andrew's standing with a hunting knife in his hand, holding it forward, looking down. Off-screen, Warren's talking to him.
WARREN
(off screen)She won't feel a thing. Just do it. Fast. (on screen) Cut her deep. Cut her quick. It'll be over before she knows what hit her.
ANDREW
What if she squeals?
WARREN
Uh, better go for her throat first.
Cut to what they're looking at and talking about: a pink piglet is standing on the floor in front of them. Pig oinks.
ANDREW
Babe 2: Pig in the City was really underrated.
WARREN
Don't think about Babe.
ANDREW
Right.
WARREN
You're Conan. You're the destroyer. It's you against nature. You're the hunter, you're primal, you live off the land. You're Andrew. Everyone knows you. You play by your own rules. It's kill or be killed.
ANDREW
That'll do, pig! (screams and lunges at the pig, and it runs away)
WARREN
No—you gotta—you gotta corner it. (Andrew stands and lunges for the pig again and misses) Stay between it and the hall, or it— (the pig runs away down the hall, he watches, then sternly) That's the worst attempted pig slaughtering I've ever seen.
ANDREW
(on the floor, breathing heavily) I'm not very good at stabbing. Isn't there some other way we could get blood?
Cut to:
22 INT. BUTCHER'S SHOP - DAY
The butcher calls for the next person in line, and it's Andrew who goes nervously to the counter.
BUTCHER
Number 87.
ANDREW
(puts his ticket on the counter, the clerk takes out a pencil and paper) I'd like 12 pork chops, 2 pounds of sausage, 8 quarts of pigs blood, 3 steaks, um, halibut, and, uh, some toothpaste—
BUTCHER
(stops writing and stares) This is a butcher's shop, Neo. We don't sell toothpaste.
ANDREW
Um, OK—just the other stuff then.
BUTCHER
You got it.
ANDREW
(whispers to another customer) Hi. (walks to the back of the store) Ooh, steak sauce.
Cut to:
23 INT. BUTCHER'S SHOP - DAY
Andrew pays for his order, then starts walking out the door with his arms full of the brown paper-bagged groceries. He runs into Willow, who's rushing into the shop, spilling his bag and all its contents on the floor. Willow and Andrew, who recognize each other, stare at one another.
BUTCHER (O.S.)
Number 88.
Fade to black.
ACT II:
24 INT. BUTCHER'S SHOP - DAY
Andrew runs out of the shop and down the alley beside it, and Willow follows him.
WILLOW
(chasing him) Wait a minute!
ANDREW
(stops and turns to face her) Don't kill me!
WILLOW
I'm not gonna kill you.
ANDREW
Don't torture me and send me to an eternal pain dimension.
WILLOW
I'm not gonna.
ANDREW
Warren killed Tara. I didn't do it. And he was aiming for Buffy anyway.
WILLOW
(glares) Not making it better.
ANDREW
And you got your revenge. You killed my best friend. We're even.
WILLOW
Even? You think I get satisfaction from what I did?
ANDREW
Maybe not, but let me keep my skin, OK? I'm not bad. I'm not bad anymore. I'm good. I do good things now.
WILLOW
Then, why do you need lots and lots of blood?
ANDREW
I am bad. I'm bad, I'm evil, but I'm protected by powerful forces. (awkwardly) Forces you can't even begin to imagine, little girl. If you harm me, you shall know the wrath of he that is darkness and terror. Your blood will boil, and you will know true suffering. Stand down, she-Witch. Your defeat is at hand—
WILLOW
(pushes him against the brick wall) Shut your mouth. I am a she-witch, a very powerful she-witch, or witch, as is more accurate. I'm not to be trifled with—
ANDREW
But I—
WILLOW
I'm talking. Don't interrupt me, insignificant man. I am Willow. I am death. If you dare defy me, I will call down my fury, exact fresh vengeance, and make your worst fears come true. OK?
Cut to:
25 INT. BUFFY'S HOUSE - DAY
Willow drags Andrew home with her. They come in through the front door, with Andrew carrying the groceries from the butcher's shop. Xander, Dawn, and Anya are in the living room. Xander's finishing installing the new window.
WILLOW
Look who I found.
XANDER
(looks over) Oh, this can't be good.
WILLOW
Guess who was buying mass amounts of blood at the butcher's shop.
ANDREW
(to Willow) Hey, your hair's not even black anymore.
XANDER
(to Andrew) What're you doing back in town? (walks forward)
ANDREW
You'll get nothing out of me, carpenter.
XANDER
(taps scrap wood in his hand threateningly) We'll see about that.
Cut to:
26 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Xander pushes Andrew into a chair and ties his wrists to it, in a similar fashion to Spike's restraints. Anya's standing in front of Andrew, going through his leather trench coat.
ANDREW
Careful with my coat. It's expensive.
ANYA
Is it new? (throws it on the floor, and steps on it with her shoes)
ANDREW
(to Anya) Hey. (to Xander, who tightened a restraint) Ow!
XANDER
Now, we can do this the hard way, if you want. (ties up his other arm) But believe me, if I tell you, this will go much easier if you just tell us what you know. (tightens restraint)
ANDREW
Ow. You're barking up the wrong asparagus, man. I don't know anything.
XANDER
(pulls up a chair beside Andrew and sits on the chair backward) Here's the thing. I don't believe you.
ANDREW
I haven't done anything wrong.
XANDER
Well, then, you won't mind if we ask you a few questions. (Anya's glaring at Andrew)
ANDREW
(nervously) Yeah, OK.
XANDER
Why were you buying blood at the butcher shop?
ANDREW
(rapidly, as if rehearsed) I fell in love with a beautiful vampire girl down in Me-hi-co. Now we're trying to make a go of it on the straight and narrow, and put our lives back together here in Sunnydale.
ANYA
(angrily, arms crossed) You think this is a game, junior? People are dying. (grabs Andrew's lapel) Friends' lives are in danger.
XANDER
(stands) Hey, Anya.
ANYA
Now you want to waste time on deceptions? Not on my watch! (backhands him across the face)
XANDER
(grabs her forearms) Hey, Anya! Can I talk to you outside for a second?
Cut to:
27 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy's holding a bag of pig blood over Spike's head. Spike tilts his head back so he can suckle the blood from the bag.
Cut to:
28 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Xander and Anya come out of Dawn's room, where they were interrogating Andrew. They look mad. Once they shut the door, Xander turns to face Anya, who's leaning against the door, smiling.
ANYA
(giggles, puts her palms to her cheeks) Did you see that? (walks forward) I actually made him cry.
XANDER
You were perfect. I was worried I overdid it with the whole "easy way, hard way" thing.
ANYA
No, you were great! And I wasn't sure if I should slap him, but then he made me want to slap him, so I thought, OK, slap him!
XANDER
He'll be singing in no time.
ANYA
So, what do we do now?
XANDER
Now, we let him stew in his own juices for a bit, then we give him the hard brace.
ANYA
Right. (Buffy comes out of her room, which is adjacent to Dawn's) What's the status with your guy?
BUFFY
He's not talking yet. We'll get there. (sits on the hall window sill) How's your guy?
ANYA
The weasel wants to sing. He just needs a tune.
XANDER
He's primed. I'll be pumping him in no time. (Buffy and Anya stare at him) He'll give us information soon.
Cut to:
29 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy goes back into her room where Spike's tied up. She shuts the door behind her.
BUFFY
Better? (Spike nods) Good. (Buffy sits on edge of the bed)
SPIKE
I don't remember anything.
BUFFY
Well, you were having pretty bad withdrawal.
SPIKE
No, not that. I don't remember... what I did. (sighs)
BUFFY
Nothing?
SPIKE
It's all flashes here and there. It's like I'm watching someone else...do it, kill people. I've been losing time for a while now, waking up in strange places.
BUFFY
When did your chip stop working?
SPIKE
I wasn't aware that it had, you know. Not 'til now.
BUFFY
And the losing time? How long has that been going on?
SPIKE
Oh, things have been wonky since I got back, ever since—
BUFFY
You got your soul.
SPIKE
(chuckles) Figured that's what it was like, it'd been so long since I had one.
BUFFY
How did you do it? How'd you get your soul back?
SPIKE
Saw a man about a girl. (sighs) I went to seek a legend out. Traveled to the other side of the world, made a deal with a demon.
BUFFY
Just like that?
SPIKE
No, not just like that. There was a price. There were trials, torture, pain, and suffering... of sorts.
BUFFY
Of sorts?
SPIKE
Well, it's all relative, isn't it?
BUFFY
Meaning?
SPIKE
Meaning I have come to redefine the words pain and suffering since I fell in love with you.
BUFFY
(sighs) How can you say that?
SPIKE
Apparently, I just slaughtered half of Sunnydale, pet. I'm not really worried about being polite anymore.
BUFFY
(nods) So, that's what this is about. (stands, crosses arms) You feeling sorry for yourself, Spike?
SPIKE
I'm feeling honest with myself. You used me.
BUFFY
Yes.
SPIKE
You told me that, of course. I never understood it though. Not until now. You hated yourself, and you took it out on me.
BUFFY
You figured that out just now?
SPIKE
Soul's not all about moonbeams and pennywhistles, luv. It's about self-loathing. I get it. Had to travel 'round the world, but I understand you now. I understand the violence inside.
BUFFY
Violence? William the Bloody now has insight into violence?
SPIKE
Not the same. As bad as I was, as evil and as wretched as I was, I never truly hated myself back then. Not like I do now.
Cut to:
30 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Carrying a glass of water, Xander enters Dawn's room, where Andrew is still tied up.
XANDER
How's your face? (sets the glass down on the desk)
ANDREW
OK.
XANDER
(starts untying him) Sorry about that. She shouldn't have hit you. (hands him the glass of water) Thirsty? Go on.
ANDREW
(smells the water) That chick's psycho. (drinks)
XANDER
You don't know the half of it. She's a vengeance demon, you know. (sits in the chair) She's bad news.
ANDREW
(quickly) This one time I saw her having sex with Spike. (drinks)
XANDER
She's killed more men than smallpox.
ANDREW
Does smallpox still kill people?
XANDER
She's killed a lot of men. She tortures them. Anyone who incurs her wrath. One time she— (pats his arm, leans back) No, never mind.
ANDREW
What?
XANDER
It's not important.
ANDREW
What'd she do?
XANDER
(leans forward) Well, there was this one guy—there was this one guy, he, uh, he hurt her real bad, so she paid him back. She killed him, but she did it real slow. See first she stopped his heart, then she replaced it with darkness, then she made him live his life like that. But he still had to go do his job and see his friends and wake up in the morning and go to bed at night, but he had to do it all empty. Without anything to look forward to. Ever.
ANDREW
(unimpressed) Sounds bad. (drinks)
XANDER
Well, then she tore out his intestines and rubbed it in his face and took pictures of it.
ANDREW
(genuine this time) Oh, God.
XANDER
But she's downstairs now. Don't worry about her.
ANDREW
What if—
XANDER
(takes water away from Andrew) See, the thing is, we've all been a little on edge lately. Some bad things have been happening, and the girls—they're all looking for someone to blame.
ANDREW
I didn't do anything—
ANYA
(off-screen, from the hallway) You lying son of a bitch! (storms into the room, storms toward Andrew) You're gonna tell us what we need to know, and you're gonna tell us right now!
Anya charges Andrew, pushing him and the chair he's in over onto the floor.
XANDER
Anya, no!
ANDREW
Stop it!
Xander pulls her off of Andrew, attempting to restrain her.
ANYA
Get off me, Harris! (slaps Xander, he looks hurt, she mouths "I'm sorry" and turns back to Andrew) C'mere, you pipsqueak! (shakes Andrew's shoulders against the floor)
ANDREW
Get her off me! I'll tell you! I'll tell you what you need to know!
Cut to:
31 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy's in the room with Spike. She overhears the ruckus in the next room.
BUFFY
Excuse me.
Buffy leaves the room. When she closes the door, Spike-2 is standing there in a leather duster and all, smirking.
SPIKE-2
(walks toward Spike, who's still tied to the chair) Well, we've got ourselves a problem.
Cut to:
32 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Buffy enters the room (revealing the "Everything I Need To Know, I Learned From My Dog" poster on the back of the door).
ANDREW (O.S.)
Somebody help. Ow...
BUFFY
Everything OK?
The scene is practically frozen in time as they pause to look at Buffy. Andrew's sitting on the floor. Anya's holding his shirt collar, with her arm raised to a fist aimed at his head. Xander's sitting on the desk holding his sore cheek. The room's been trashed and smashed.
ANYA
Fine. (grins)
BUFFY
(shrugs) OK. (leaves the room).
Cut to:
33 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Buffy walks to her room, where Spike is. From the hall, she can hear people talking in her room. She pauses at the door to listen.
SPIKE (O.S.)
What do I do, job half-done? Never send a boy to do a man's job. (chuckles, sings) Oh, don't deceive me, Oh, never leave me.
Cut to:
34 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy opens the door and enters the room, looking around.
BUFFY
Who were you talking to?
SPIKE
What's that?
BUFFY
I heard you through the door. Who were you talking to?
SPIKE
Nobody. I was just, uh, keeping myself company.
BUFFY
Are you OK?
SPIKE
Fine. How are you?
Cut to:
35 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Anya's talking to Andrew, whose back is against the wall.
ANYA
Now, you can talk, or I can keep hitting you. Believe me, I'd love to keep hitting you.
Cut to:
36 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy is talking to Spike, who's still restrained, tied to the chair.
BUFFY
Spike?
SPIKE
I'm fine, Buffy. Really. I'm just...feeling a bit peckish, I suppose. (looks at bags of pigs blood on the night table by the bed) Do you mind?
Buffy goes toward the blood, keeping her eye on Spike the whole time. When she turns to look at the table when picking up the bag, Spike vamps out. He roars, breaks the chair arms, and stands. Buffy tries to fight him, but he pushes her down and goes purposefully in the opposite direction.
Cut to:
37 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Andrew is talking to Anya, his back still to the wall.
ANDREW
...We needed more blood to activate the seal of Danthaz—
Suddenly, a hand breaks through the wall behind Andrew, grabbing his chest. Another breaks through and grabs his head. Andrew screams. It's Spike, pulling Andrew through the wall, into the next room. Spike bends Andrew's head over, exposing his neck, and bites him.
Fade to black.
ACT III:
Cut to:
38 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Resume. A growling Spike's biting the neck of the wailing Andrew. Buffy rushes to his aid, throwing Spike off of him and against the wall. Xander and Anya rush into the room and look after Andrew. Spike seems confused at the scene. Buffy stands and walks to Spike. As she stands, Spike-2 stands behind her, looking disappointed at Spike. Buffy kicks Spike in the face, knocking him out.
Cut to:
39 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Buffy's sitting in a chair, talking to Willow and Dawn, who are on the couch.
BUFFY
He didn't seem to want anything to do with me. I mean, he just pushed me aside and charged at the wall.
WILLOW
Are you hurt?
Xander and Anya come downstairs and join the conversation.
BUFFY
Not—not really.
DAWN
(to Xander) How is what's his name?
XANDER
He's got a good chunk taken out of his neck, but he'll be all right. Had to tie him up again, but mainly just to keep him from scratching at his bandages. (to Buffy) What the hell happened up there?
BUFFY
I-I don't know. Spike and I were having a conversation, and he was fine. I mean, you know, fine as Spike can be. And then I went to check on you guys, and when I got back, it was like he was a completely different person.
WILLOW
Different like "William the Bloody" type different?
BUFFY
He was talking to someone. I heard through the door, he was having this conversation. And then he started singing.
ANYA
Maybe it's another musical. (Buffy glares) A much crappier musical.
BUFFY
He—he mentioned something about a song in the cellar. Uh, a-and he changed there, too—I mean instantly became another person.
XANDER
Trigger.
ANYA
The horse?
XANDER
No, in his head. It's a trigger. It's a brainwashing term. It's how the military makes sleeper agents. They-they brainwash operatives and condition them with a specific trigger, like a song, that makes 'em drastically change at a moment's notice.
WILLOW
Is this left over from your days in the Army?
XANDER
No, this is leftover from every Army movie I've ever seen. But it makes sense. We've had ghosts or something haunting us, right? Well, what if Spike's ghosts have figured out a way to—not only haunt him—what if they figured out how to—how to control him?
BUFFY
Spike said he's been seeing things since I found him in the basement.
WILLOW
So, he gets his soul back, he starts seeing spooky things, and he goes extra-extra-crazy.
BUFFY
This trigger. How do we holster—safety, or—I don't know guns. How do we make it stop?
XANDER
Well, usually the operative completes his task and either blows his head off or steals a submarine.
BUFFY
All right. I need information. If Spike's a bomb, then I need to know how to diffuse him. (to Dawn and Willow) You two, I wanna know what did this to him. Spirits, ghosts, demons—check the lot of them. Look for anything that could haunt or-or possibly control like this. I need to know exactly what we're dealing with.
Cut to:
40 INT. SUNNYDALE HIGH - NIGHT
Through the hall window, Principal Wood turns lights off in the office. He walks down the hall with his briefcase, presumably heading out, when he walks by the "Basement. No Student Access" sign on the basement door. He stops walking, does a double take, and decides to go down.
Cut to:
41 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Without any confusion, Principal Wood walks directly into the room where the Seal of Danthazar is. Jonathan's body is still lying on top of the seal. Principal Wood stares blankly, unflinching at the sight.
Cut to:
42 INT. BASEMENT AT BUFFY'S HOUSE - NIGHT
Spike is lying on the floor in shackles, both hands and feet chained to the wall. His eyes are closed. Buffy walks downstairs with a bowl of water and goes over to him. She dips a towel in the water and washes the blood off of his face.
SPIKE
(wakes) Did I hurt anybody?
BUFFY
You took a good bite out of Andrew.
SPIKE
Who?
BUFFY
Tucker's brother.
SPIKE
Oh.
BUFFY
He'll be OK.
SPIKE
I don't remember.
BUFFY
It's OK. (stands, walks to sink)
SPIKE
Buffy, I don't know why.
BUFFY
(sighs) We think we do. Something's playing you. Some ghost or demon has figured out how to control you. Got the gang researching it right now. (Spike pulls himself up into sitting position using the chains) Xander has this theory that you're being triggered.
SPIKE
Kill me.
BUFFY
(turns to face him) What?
SPIKE
Buffy, you have to kill me.
BUFFY
You don't understand. When I left the room earlier, I heard you talking to someone—
SPIKE
Do you have any idea what I'm capable of?
BUFFY
I was in the cellar with you. I saw what you did.
SPIKE
I'm not talking about the cellar. The people in the cellar got off easy. I'm talking about me. Buffy, you have never met the real me.
BUFFY
(crosses arms) Believe me, I'm well aware of what you're capable of.
SPIKE
No, you got off easy too. (stands) Do you know how much blood you can drink from a girl before she'll die? I do. You see, the trick is to drink just enough to know how to damage them just enough so that they'll still cry when you— (chokes up) 'cause it's not worth it if they don't cry.
BUFFY
It's not your fault. You're not the one doing this.
SPIKE
I already did it. It's already done. (paces, then steps purposefully toward Buffy) You wanna know what I've done to girls Dawn's age? (beat) This is me, Buffy. You've got to kill me before I get out.
BUFFY
We can keep you locked up. Keep you here and we'll figure out—
SPIKE
Have you ever really asked yourself why you can't do it? Off me? After everything I've done to you, to people around you. It's not love. We both know that.
BUFFY
You fought by my side. You've saved lives. You've helped—
SPIKE
Don't do that. (rolls eyes) Don't rationalize this into some noble act. We both know the truth of it. (looks down and away) You like men who hurt you.
BUFFY
No.
SPIKE
(looks at Buffy) You need the pain we cause you. You need the hate. You need it to do your job, to be the slayer.
BUFFY
No. I don't hate like that. Not you, or myself. Not anymore. You think you have insight now because your soul's drenched in blood? You don't know me. You don't even know you. Was that you who killed those people in the cellar? Was that you who waited for those girls?
SPIKE
There's no one else.
BUFFY
That's not true. Listen to me. You're not alive because of hate or pain. You're alive because I saw you change. Because I saw your penance.
SPIKE
(lunges violently at her, but chains hold him back) Window dressing.
BUFFY
Be easier, wouldn't it, if were an act, but it's not. (walks toward him) You faced the monster inside of you and you fought back. You risked everything to be a better man.
SPIKE
Buffy...
BUFFY
(in his face) And you can be. You are. You may not see it, but I do. I do. I believe in you, Spike.
Spike looks at her with a face full of hope and amazement. Just then, the lights flicker and go out. Someone bursts into the basement and pushes Buffy away from Spike. She falls to the ground.
Cut to:
43 INT. BUFFY'S HOUSE - NIGHT
Xander and Anya are in the living room. Willow and Dawn are in the dining room. Robed men break into the house from all angles, smashing windows and breaking down doors. Covered head to toe in long, black, hooded robes, these people have wooden staffs and no eyes
Fade to black.
ACT IV:
44 EXT. DESOLATE OIL RIG SITE - NIGHT
His work area lit by the headlights of his SUV, Principal Wood is digging a hole. He stops, rolls Jonathan's body into the shallow grave, and throws dirt over him.
Cut to:
45 INT. BUFFY'S HOUSE - NIGHT
Willow pushes one of the robed men off of her. Dawn fights back. Buffy comes upstairs and joins the battle fray. Some of the robed men head upstairs as the fight continues on the main level.
Cut to:
46 INT. DAWN'S ROOM AT BUFFY'S HOUSE - NIGHT
Andrew's tied up, lying on the bed and whimpering. One of the robed men enters the room, facing him, carrying a wooden staff. His hood is removed, revealing an eyeless face whose sockets are covered in red scars. He drops the wooden staff and takes out two silvery curved daggers and lunges at Andrew, but narrowly misses as Andrew rolls off of the bed. Buffy comes into the room and grabs the robed person, who kicks her. They continue to fight. Another robed person enters the room.
Cut to:
47 INT. BUFFY'S HOUSE - NIGHT
Dawn's on the floor and weakly stands, grabbing a wooden staff. A robed person is lying still on the floor in front of her. She inches closer to him, holding the wooden staff defensively. He swings his leg at her ankle, tripping her. He climbs on top of her and pulls out a silver dagger, aiming for her chest. Xander comes into the room, wielding a wooden staff, and knocks the robed person off of Dawn.
Cut to:
48 INT. DAWN'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy continues to fight the robed people. Andrew stands and tries to sneak out of the room, but Buffy grabs him and swings him at the robed people, using his body both as a shield and a weapon, before throwing him to the floor. A robed person comes at her with silver curved daggers in both hands. She grabs his wrists, kicks him back, and grabs the daggers. One robed person lunges at her, and she sticks the dagger in his belly. When the other robed person comes at her, she does the same. They scream and collapse. Xander enters the room.
XANDER
Buffy?
BUFFY
Dawn?
XANDER
She's OK. (looks at the robed people at her feet) Is this it? I thought there was more of them.
BUFFY
Spike.
They exit the room together hurriedly.
Cut to:
49 INT. BASEMENT AT BUFFY'S HOUSE - NIGHT
Buffy goes down the stairs to the basement, followed by Xander. She stops dead in her tracks when she sees the empty shackles that Spike was supposed to be in.
Cut to:
50 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow enters the living room carrying a First Aid kit. Anya and Dawn are sitting on the couch. Willow sits in a nearby chair. Buffy and Xander come into the room together.
XANDER
They were so fast. And organized.
BUFFY
They were after Spike all along.
XANDER
And we were just in the way.
Buffy kneels to inspect one of the robed people who's lying face-up on the floor.
BUFFY
I know these guys. I fought them before. We aren't being haunted. This isn't some demon. It's all the same thing. Spike's ghosts, the people you guys saw, from beneath us, it's all the same thing. I know what we're up against. The First.
Cut to:
51 INT. WATCHER'S COUNCIL HEADQUARTERS, LONDON - DAY
The headquarters is buzzing with activity. People are all busy on the phone, reviewing reports, and talking to each other. One man is reporting to Quentin Travers.
WATCHER AIDE #1
They took our files, wiped out our records. We've lost contact with operations in Munich, Switzerland and Rome. We've got casualty confirmations coming in from as far away as Melbourne.
WATCHER AIDE #2
Sir, we are crippled.
QUENTIN TRAVERS
(walks) It's all right, Lydia. We are still masters of our fate, still captains of our souls.
WATCHER AIDE #2
(walks away) Yes, sir.
QUENTIN TRAVERS
(addresses the room) Ladies and gentlemen, our fears have been confirmed. The First Evil has declared all-out war on this institution. Their first volleys proved most effective. I, for one, think it's time we struck back. (paces) Give me confirmations on all remaining operatives. Visuals and tacticals. Highest alert. (stands still) Get them here as soon as possible. Begin preparations for mobilization. Once we're accounted for, I want to be ready to move.
WATCHER AIDE #3
Sir?
QUENTIN TRAVERS
We'll be paying a visit to the hell mouth. My friends, these are the times that define us. Proverbs 24:6. O, by wise council, you shall make your war.
The Watcher's Council Headquarters blows up in a huge explosion, taking out the whole building.
Cut to:
52 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Close up of Spike's face. Shot so instruments of torture. A man is being strapped to a wood beam with a leather belt. Spike is being strapped to a construct made of wood beams. Spike/First is talking to him while a robed person, a priest of the First, also known as a Harbinger, straps Spike to the construct.
SPIKE/FIRST
You'll have to excuse the spectacle, but I've always been a bit of a sucker for the old classics. (grins wickedly, fondly eyeing Spike's predicament)
Spike is tied to the wheel-like construct with all four corners of his body pulled in opposite directions. A Harbinger takes out a knife and cuts Spike with it. Spike moans in excruciating pain.
SPIKE
Oh!
SPIKE/FIRST
Oh, don't look at me that way. I wanted to do this more subtle-like. My Harbingers have a tendency to call attention to themselves.
A Harbinger cuts Spike again.
SPIKE
Oh!
SPIKE/FIRST
(leans forward) You're the one who couldn't hold his end of the bargain. You're the one who couldn't take care of what's-his-name. You're the one who had to make breakthroughs and learn something about himself.
A Harbinger cuts Spike again.
SPIKE
Oh!
SPIKE/FIRST
So now, fittingly, you're the one who gets to do the honors. (crosses arms)
Spike/First morphs into Buffy's form.
BUFFY/FIRST
I have to admit, I'm glad it worked out this way. I was going to bleed Andrew, but (sighs) you look a lot better with your shirt off.
A Harbinger cranks a wheel attached to a mechanism that hoists the wheel Spike's tied to into the air. Spike is now hanging from the wheel about ten feet from the ground, bleeding steadily from his ritualized symbol-shaped cuts.
BUFFY/FIRST
To be honest, I'm getting a little tired of subtle. I think it's about time we brought some authority to our presence. Now, Spike, wanna see what a real vampire looks like?
Spike's blood is falling on the Seal of Danthazar that's right below him. It's pooling in the grooves and being absorbed into the seal. The seal starts to glow. One by one, the pointed tips of the pentagram at its center fold up, forming a pyramid. Light comes out from under it. The pyramid sinks into the ground. The remaining pieces of the seal follow suit. Spike glares at Buffy/First, then watches the hole where the seal is. Something sticks its withered, gray, pointy-fingered hand out of the hole. A monster climbs out wearing black leather. Pan up to show its horrible disfigured face. It's bald with a distinct vampire forehead and brows and trademark fanged teeth. It looks gaunt, with extremely hollow cheekbones. It raises its hands toward the sky and looks around the room, growling menacingly.
Cut to:
Closing credits.
"Never Leave Me" Transcript
Written by Drew Goddard
Original Air Date: November 26, 2002
TEASER (RECAP SEGMENT):
GILES (V.O.)
Previously on Buffy the Vampire Slayer:
1 EXT. MEXICAN CAR - NIGHT
Jonathan's driving with Andrew as passenger. The old El Camino car is heavily adorned in super-stereotypical Mexican style: older model car with fringe around the top of the windshield and lots of decorations.
ANDREW
You're just scared.
JONATHAN
Of course I'm scared. Last time we were here, 33.3bar percent of us were flayed alive.
Cut to:
2 INT. HALLWAY AT SUNNYDALE HIGH - NIGHT
From behind Andrew, Warren walks out from behind some lockers and walks up to Andrew.
WARREN
Nice job.
ANDREW
Do you have any idea how hard it's been to act this cool?
WARREN
Now, that death thing was all part of the master plan. If short round pulls off his end of the bargain, we'll both become gods.
Cut to:
3 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Jonathan is packing up his bag, when Andrew comes to him and puts his right hand on Jonathan's shoulder. Jonathan looks up at Andrew, stands, and sees Warren standing behind Andrew. Jonathan's eyes widen as Andres takes his left hand and stabs him in the belly with a dagger. Jonathan looks at Andrew and Warren, hurt. Jonathan collapses onto the metal object that they unearthed. He bleeds profusely, with his blood filling the grooves in the object, as Andrew and Warren stand there and watch. The metal object starts glowing.
Cut to:
4 INT. BUFFY'S HOUSE - NIGHT
Dawn's sitting on the living room floor in front of the couch, hugging a pillow, amid the destruction from her earlier encounter. Willow comes to talk to her.
DAWN
I saw Mom.
Cut to:
5 INT. LIVING ROOM AT SUMMERS HOUSE - NIGHT
Joyce is standing there, all glowy and robed in white, talking to Dawn, who's still sitting on the floor.
JOYCE
Things are coming, Dawn.
DAWN
Why are you—?
JOYCE
When it's bad, Buffy won't choose you.
Cut to:
6 INT. BUFFY'S HOUSE - NIGHT
Dawn's sitting on the living room floor in front of the couch, hugging a pillow, amid the destruction from her earlier encounter. Willow comes to talk to her.
WILLOW
It wasn't her.
DAWN
What?
WILLOW
It's the Big Bad, Dawn. The one we knew was coming.
Cut to:
7 INT. UPSTAIRS AT BUFFY'S HOUSE - DAY
Willow and Buffy are talking in the hallway.
BUFFY
What the hell happened?
WILLOW
This big evil that's been promising to devour us—well I think it's started chomping.
BUFFY
Oh, God.
WILLOW
Buffy, this thing knows us. It made us think that we were talking to people we knew.
Cut to:
8 INT. FOYER AT BUFFY'S HOUSE - NIGHT
Buffy and Spike talk near the front door. While Spike talks, show shots of foreign girls being killed.
SPIKE
I'm just a guy with his ear to the ground, but even I can feel it. Something's coming. I don't know what exactly, but something's brewing. And it's so big, ugly and damned it makes you and me look like little bitty puzzle pieces.
8a EXT. CITY STREET IN ISTANBUL, TURKEY - NIGHT
A dark-haired girl is running through the arched hallway, looking over her shoulder and panting from the exertion of running so fast. She's being chased. Two people in hooded cloaks are chasing her. Two hooded figures hold her down, and a third figure raises an arched, shiny, silver dagger (possibly an Arabian "Jambaya") and thrusts down at her.
8b INT. PARKING GARAGE IN FRANKFURT, GERMANY - NIGHT
A girl with hot pink hair with black bangs at her forehead, a nose ring, and a metal collar is trying to escape her pursuers. Finally, she thinks she's safe when she goes through a doorway to the outside near a crowd of club patrons, but she is pushed back inside. Robed men close the door behind them and start to fight with her. She is knocked to the ground, lying on her back. Finally, one of the robed people pulls out a Jambaya (curved silver dagger) and stabs her.
Cut to:
9 EXT. OUTSIDE AN APARTMENT BUILDING - NIGHT
Holding the young woman in an embrace, Spike rears back in vampire face and sinks his fangs into her neck. He drinks deeply, but she doesn't struggle much and barely makes a sound.
Cut to:
10 INT. BUFFY'S HOUSE - NIGHT
Spike is sitting in a chair, wrapped in a blanket while the others talk in an adjacent room. Buffy, Xander, Anya, Willow, and Dawn are all there. Spike's listening to them.
WILLOW
Buffy, he's been feeding... on human blood. That's gotta do stuff.
BUFFY
I think there was something there, talking to him, making him do things.
Cut to:
11 INT. BASEMENT OF SPIKE'S HOUSE - NIGHT
This is an enormous brick Tudor-style home. Spike walks into the basement, followed by Buffy.
SPIKE-2
(singing, sits on stairs) How could you use a poor maid so?
As Spike-2 sings, Spike is distracted, mesmerized by the song, and is unable to respond to Buffy, who's trying to get his attention.
BUFFY
Spike!
Spike vamps out and attacks Buffy. As he does so, he flashes back to all the things he's done—killing, burying, and all the rest.
SPIKE
(in human face) I remember.
Spike's horrified. His face is one of complete shock and disbelief that he could have actually done those things. Buffy walks over to Spike, still carrying the wooden handle. She stands in front of him. He looks at her, knowing his fate, and scoots out of the cubby hole he was hiding in. He's crying.
SPIKE
I killed, and I can feel 'em. I can feel every one of them.
BUFFY
There's something playing with us.
SPIKE
Why is it doing this to me?
BUFFY
I don't know.
SPIKE
Help me.
BUFFY
I'll help you.
Cut to:
12 INT. BUFFY'S HOUSE - NIGHT
Spike is sitting in a chair, wrapped in a blanket while the others talk in an adjacent room. Buffy, Xander, Anya, Willow, and Dawn are all there. Spike's listening to them.
BUFFY
This thing has been closer to Spike than any of us.
WILLOW
And if you want to understand it....
BUFFY
I'm gonna have to get close to Spike.
Cut to:
13 INT. FLAT IN ENGLAND - DAY
Giles enters the flat, looking around. He sees the young woman lying dead on the floor.
GILES
Robson, are you here? Robson!
Giles gets up and starts looking for Robson, who's found near a chair in the next room. Giles goes to his side.
GILES
(takes off his glasses and starts to cry) Dear God, I thought you—
ROBSON
(eyes flash open) Gather them.
GILES
What?
ROBSON
It's started.
GILES
It's all right. I understand. I'll take care of it—
One of the robed men sneaks up behind Giles wielding a battle-axe. He swings it at Giles.
Fade to black.
End Recap.
The Start Of Episode
Prologue:
14 INT. BUFFY'S HOUSE - NIGHT
The gang's cleaning up the living room from the aftermath of when Joyce visited Dawn in 7x07 "Conversations With Dead People." Xander's working on the large picture window behind the couch, covering the hole with plastic. Anya's replacing the home decor items on the mantle. Willow's sweeping off a table, when Dawn comes to talk to her.
DAWN
So the basement was filled with bodies?
WILLOW
Apparently.
DAWN
And Spike could've sired countless others and buried them around town. And we're waiting for him to do what, exactly? Do something crazy?
WILLOW
(sighs) It's not that simple.
ANYA
Shouldn't we stab him through the chest? Isn't that what we do when these things happen?
WILLOW
Look, Buffy knows what she's doing.
ANYA
Well, Xander, you know what we're all talking about. I mean, you've always been part of the "Spike is evil" faction.
XANDER
I've got a house to put back together.
ANYA
Fine. You guys keep your heads buried in the sand, but I think we should prepare ourselves for the possibility that William the Bloody is back.
Cut to:
15 EXT. SUNNYDALE STREET - NIGHT
Show someone wearing black boots—someone's walking along the sidewalk. Pan up: long black leather trench coat, blonde spiked hair. It's Andrew, looking tough and menacing. Warren comes up to him and walks beside him.
WARREN
All right. (claps) Looking good. How do you feel?
ANDREW
Good.
WARREN
Excellent. We've got work to do.
ANDREW
I have to do work right now? Can't I just walk around for a while in my coat?
WARREN
Don't go soft on me now. We're right in the trench, and the exhaust port's in sight.
ANDREW
I thought that was it. I did what you told me. It's not my fault it didn't work. Why do I have to do all the wet works?
WARREN
(stops walking) Hey! You know the rules. I can't take corporeal form. Here, feel. (nods) Mm-hmm.
ANDREW
(sticks hand through Warren's chest) Cool.
WARREN
Pretty bitchin', right? I'm like Obi Wan?
ANDREW
Or Patrick Swayze.
WARREN
Believe me, I would do this stuff if I could. I can't. I need you. You're my iron fist.
ANDREW
(sighs) I just don't think I can kill anybody else. (shrugs)
Warren morphs into Jonathan.
JONATHAN
Oh, will you stop whining about that?
ANDREW
I didn't want to kill you. Warren made me.
JONATHAN
Hey, I'm glad he did. (chuckles) This is the best thing that's ever happened to me.
ANDREW
(crosses arms) It didn't hurt too much? I-I'm not very good at stabbing.
JONATHAN
You know, it wasn't that bad. It was like a sharp pain, then a burning, then a general queasiness. It's kinda like when I used to get ulcers in high school, only at the end I became one with light and hope.
ANDREW
I can't do it. I can't do it anymore.
JONATHAN
Hey, this isn't your fault, OK. It's my fault the ritual didn't work. I screwed up. I'm little—I-I don't have as much blood as other people. And I probably should've told someone I was anemic. Don't worry. We're gonna fix it. You gotta trust us. We know what we're doing.
ANDREW
I can't kill anybody else.
JONATHAN
OK, calm down. We can work around that.
Cut to:
16 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy's tying Spike's wrists to a chair he's sitting in.
BUFFY
(sighs) We're gonna get to the bottom of this. We just can't take any chances.
SPIKE
Don't... Make it tighter—the knots'll give. I get free, someone's gonna die.
Fade to black.
Opening Credits.
ACT I:
17 INT. PRINCIPAL WOOD'S OFFICE AT SUNNYDALE HIGH - DAY
Principal Wood's sitting at his desk, interviewing two teenage boys seated in chairs in front of his desk.
PRINCIPAL WOOD
Now, guys, look, we can settle this one of two ways. You can repaint the walls, or I can suspend you and report this little incident on your permanent record.
PUNK #1
Fine. Do that.
PRINCIPAL WOOD
OK, I was bluffing. I hadn't really thought that one through. (leans forward) Listen, this whole permanent record thing is such a myth anyway. Colleges never ask for anything past your SAT scores, and it's not like employers are gonna be calling up to check to see how many days you missed back in high school. So, listen, I-I could suspend you, (stands, walks around the desk) but that would mean calling your parents, alerting your teachers, filling out paperwork, and, quite possibly, having to talk to the school board—(sits on the desk in front of them) all of which sounds positively exhausting to me. No. No, I think it would be much easier if I just called the police, let them deal with it. (looks into their eyes) Oh, and, in case you're wondering, this is the part where I'm not bluffing.
PUNK #2
(looks at the other boy) We'll repaint it.
PRINCIPAL WOOD
Good job. (there's a knock at his door) Excuse me. (opens door) Miss Summers. I'm with students.
DAWN
I just wanted to tell you that Buffy won't be coming in today. She's really sick.
PRINCIPAL WOOD
Oh, no.
DAWN
Yeah, last night she was vomiting, and then this morning she was vomiting some more, and then, just when we thought she was done, she was vomiting again. (laughs)
PRINCIPAL WOOD
Yeah, we got that stomach flu going around.
DAWN
Her exact words were, "I've got stuff coming out of both ends."
PRINCIPAL WOOD
Thank you. That's very helpful.
DAWN
(smiles) Sure. No problem. (to kids) Hey, guys. How's it going?
PUNK #2
Pretty good.
PRINCIPAL WOOD
Um, tell your sister not to worry about it. We'll soldier on without her here. Just, um, tell her to concentrate on getting better.
DAWN
Yeah, she'll be fine. She just needs to get some stuff out of her system.
Cut to:
18 INT. BUFFY'S HOUSE - DAY
Buffy's talking on the telephone.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) I need to find him as soon as possible. He's not answering any of his numbers.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
Mr. Travers is sitting at a desk, talking on the phone.
QUENTIN TRAVERS
(to phone) Miss Summers, the Watcher's Council does not keep track of our lapsed employees. Ever since Mr. Giles pulled up his stake in Sunnydale, we've not made it our business to follow his every move.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) You don't have to get all British and dodgy, Mr. Travers. I know you have ways of finding him.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
Pan out to show Mr. Travers is sitting at a long conference table, surrounded by members of the Watcher's Council.
QUENTIN TRAVERS
(to phone) Well, I suppose if you feel the matter's urgent, we can look into it.
18a INT. BUFFY'S KITCHEN - DAY
BUFFY
(to phone) I'd appreciate it. Thank you.
18b INT. WATCHERS COUNCIL HEADQUARTERS, LONDON - DAY
QUENTIN TRAVERS
(to phone) Not at all. Good day. (hangs up, sighs, addresses others at the table) The girl knows nothing. (stands, walks) And we need to find Rupert Giles. (stands in front of world map) As soon as possible.
Cut to:
19 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Spike's still tied to the chair. He's shivering and gasping. Buffy's there, and sits on the bed near him.
BUFFY
Can I do something?
SPIKE
I think you should probably go—
BUFFY
(stands, turns to get something for him) Here.
As her back is turned, Spike's eyes roll back and he vamps out. When she turns back to Spike, he's changed into vampire face and is struggling against his restraints.
Cut to:
20 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Buffy's talking to Willow. They're standing outside the closed door to the room, where Spike's tied up.
BUFFY
He's been feasting on humans for weeks. He's having some pretty bad withdrawls. I think we need to get him some blood.
WILLOW
(excited) Do you want me to kill Anya?
BUFFY
(matter-of-factly) No, we should probably try to wean him off humans. He'll have to make do with animal blood.
WILLOW
I'll go get some.
BUFFY
You don't mind?
WILLOW
No, I have to get out of the house. Xander's installing the new windows, and he keeps giving lectures on proper tool maintenance. Tool talk—not my thing.
BUFFY
Thank you.
WILLOW
How're you doing in there?
BUFFY
He's in pretty bad shape, past the point where he can tell me anything.
WILLOW
I wasn't asking about him.
BUFFY
I'll be OK.
Cut to:
21 INT. BASEMENT AT SUNNYDALE HIGH - DAY
Andrew's standing with a hunting knife in his hand, holding it forward, looking down. Off-screen, Warren's talking to him.
WARREN
(off screen)She won't feel a thing. Just do it. Fast. (on screen) Cut her deep. Cut her quick. It'll be over before she knows what hit her.
ANDREW
What if she squeals?
WARREN
Uh, better go for her throat first.
Cut to what they're looking at and talking about: a pink piglet is standing on the floor in front of them. Pig oinks.
ANDREW
Babe 2: Pig in the City was really underrated.
WARREN
Don't think about Babe.
ANDREW
Right.
WARREN
You're Conan. You're the destroyer. It's you against nature. You're the hunter, you're primal, you live off the land. You're Andrew. Everyone knows you. You play by your own rules. It's kill or be killed.
ANDREW
That'll do, pig! (screams and lunges at the pig, and it runs away)
WARREN
No—you gotta—you gotta corner it. (Andrew stands and lunges for the pig again and misses) Stay between it and the hall, or it— (the pig runs away down the hall, he watches, then sternly) That's the worst attempted pig slaughtering I've ever seen.
ANDREW
(on the floor, breathing heavily) I'm not very good at stabbing. Isn't there some other way we could get blood?
Cut to:
22 INT. BUTCHER'S SHOP - DAY
The butcher calls for the next person in line, and it's Andrew who goes nervously to the counter.
BUTCHER
Number 87.
ANDREW
(puts his ticket on the counter, the clerk takes out a pencil and paper) I'd like 12 pork chops, 2 pounds of sausage, 8 quarts of pigs blood, 3 steaks, um, halibut, and, uh, some toothpaste—
BUTCHER
(stops writing and stares) This is a butcher's shop, Neo. We don't sell toothpaste.
ANDREW
Um, OK—just the other stuff then.
BUTCHER
You got it.
ANDREW
(whispers to another customer) Hi. (walks to the back of the store) Ooh, steak sauce.
Cut to:
23 INT. BUTCHER'S SHOP - DAY
Andrew pays for his order, then starts walking out the door with his arms full of the brown paper-bagged groceries. He runs into Willow, who's rushing into the shop, spilling his bag and all its contents on the floor. Willow and Andrew, who recognize each other, stare at one another.
BUTCHER (O.S.)
Number 88.
Fade to black.
ACT II:
24 INT. BUTCHER'S SHOP - DAY
Andrew runs out of the shop and down the alley beside it, and Willow follows him.
WILLOW
(chasing him) Wait a minute!
ANDREW
(stops and turns to face her) Don't kill me!
WILLOW
I'm not gonna kill you.
ANDREW
Don't torture me and send me to an eternal pain dimension.
WILLOW
I'm not gonna.
ANDREW
Warren killed Tara. I didn't do it. And he was aiming for Buffy anyway.
WILLOW
(glares) Not making it better.
ANDREW
And you got your revenge. You killed my best friend. We're even.
WILLOW
Even? You think I get satisfaction from what I did?
ANDREW
Maybe not, but let me keep my skin, OK? I'm not bad. I'm not bad anymore. I'm good. I do good things now.
WILLOW
Then, why do you need lots and lots of blood?
ANDREW
I am bad. I'm bad, I'm evil, but I'm protected by powerful forces. (awkwardly) Forces you can't even begin to imagine, little girl. If you harm me, you shall know the wrath of he that is darkness and terror. Your blood will boil, and you will know true suffering. Stand down, she-Witch. Your defeat is at hand—
WILLOW
(pushes him against the brick wall) Shut your mouth. I am a she-witch, a very powerful she-witch, or witch, as is more accurate. I'm not to be trifled with—
ANDREW
But I—
WILLOW
I'm talking. Don't interrupt me, insignificant man. I am Willow. I am death. If you dare defy me, I will call down my fury, exact fresh vengeance, and make your worst fears come true. OK?
Cut to:
25 INT. BUFFY'S HOUSE - DAY
Willow drags Andrew home with her. They come in through the front door, with Andrew carrying the groceries from the butcher's shop. Xander, Dawn, and Anya are in the living room. Xander's finishing installing the new window.
WILLOW
Look who I found.
XANDER
(looks over) Oh, this can't be good.
WILLOW
Guess who was buying mass amounts of blood at the butcher's shop.
ANDREW
(to Willow) Hey, your hair's not even black anymore.
XANDER
(to Andrew) What're you doing back in town? (walks forward)
ANDREW
You'll get nothing out of me, carpenter.
XANDER
(taps scrap wood in his hand threateningly) We'll see about that.
Cut to:
26 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Xander pushes Andrew into a chair and ties his wrists to it, in a similar fashion to Spike's restraints. Anya's standing in front of Andrew, going through his leather trench coat.
ANDREW
Careful with my coat. It's expensive.
ANYA
Is it new? (throws it on the floor, and steps on it with her shoes)
ANDREW
(to Anya) Hey. (to Xander, who tightened a restraint) Ow!
XANDER
Now, we can do this the hard way, if you want. (ties up his other arm) But believe me, if I tell you, this will go much easier if you just tell us what you know. (tightens restraint)
ANDREW
Ow. You're barking up the wrong asparagus, man. I don't know anything.
XANDER
(pulls up a chair beside Andrew and sits on the chair backward) Here's the thing. I don't believe you.
ANDREW
I haven't done anything wrong.
XANDER
Well, then, you won't mind if we ask you a few questions. (Anya's glaring at Andrew)
ANDREW
(nervously) Yeah, OK.
XANDER
Why were you buying blood at the butcher shop?
ANDREW
(rapidly, as if rehearsed) I fell in love with a beautiful vampire girl down in Me-hi-co. Now we're trying to make a go of it on the straight and narrow, and put our lives back together here in Sunnydale.
ANYA
(angrily, arms crossed) You think this is a game, junior? People are dying. (grabs Andrew's lapel) Friends' lives are in danger.
XANDER
(stands) Hey, Anya.
ANYA
Now you want to waste time on deceptions? Not on my watch! (backhands him across the face)
XANDER
(grabs her forearms) Hey, Anya! Can I talk to you outside for a second?
Cut to:
27 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy's holding a bag of pig blood over Spike's head. Spike tilts his head back so he can suckle the blood from the bag.
Cut to:
28 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Xander and Anya come out of Dawn's room, where they were interrogating Andrew. They look mad. Once they shut the door, Xander turns to face Anya, who's leaning against the door, smiling.
ANYA
(giggles, puts her palms to her cheeks) Did you see that? (walks forward) I actually made him cry.
XANDER
You were perfect. I was worried I overdid it with the whole "easy way, hard way" thing.
ANYA
No, you were great! And I wasn't sure if I should slap him, but then he made me want to slap him, so I thought, OK, slap him!
XANDER
He'll be singing in no time.
ANYA
So, what do we do now?
XANDER
Now, we let him stew in his own juices for a bit, then we give him the hard brace.
ANYA
Right. (Buffy comes out of her room, which is adjacent to Dawn's) What's the status with your guy?
BUFFY
He's not talking yet. We'll get there. (sits on the hall window sill) How's your guy?
ANYA
The weasel wants to sing. He just needs a tune.
XANDER
He's primed. I'll be pumping him in no time. (Buffy and Anya stare at him) He'll give us information soon.
Cut to:
29 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy goes back into her room where Spike's tied up. She shuts the door behind her.
BUFFY
Better? (Spike nods) Good. (Buffy sits on edge of the bed)
SPIKE
I don't remember anything.
BUFFY
Well, you were having pretty bad withdrawal.
SPIKE
No, not that. I don't remember... what I did. (sighs)
BUFFY
Nothing?
SPIKE
It's all flashes here and there. It's like I'm watching someone else...do it, kill people. I've been losing time for a while now, waking up in strange places.
BUFFY
When did your chip stop working?
SPIKE
I wasn't aware that it had, you know. Not 'til now.
BUFFY
And the losing time? How long has that been going on?
SPIKE
Oh, things have been wonky since I got back, ever since—
BUFFY
You got your soul.
SPIKE
(chuckles) Figured that's what it was like, it'd been so long since I had one.
BUFFY
How did you do it? How'd you get your soul back?
SPIKE
Saw a man about a girl. (sighs) I went to seek a legend out. Traveled to the other side of the world, made a deal with a demon.
BUFFY
Just like that?
SPIKE
No, not just like that. There was a price. There were trials, torture, pain, and suffering... of sorts.
BUFFY
Of sorts?
SPIKE
Well, it's all relative, isn't it?
BUFFY
Meaning?
SPIKE
Meaning I have come to redefine the words pain and suffering since I fell in love with you.
BUFFY
(sighs) How can you say that?
SPIKE
Apparently, I just slaughtered half of Sunnydale, pet. I'm not really worried about being polite anymore.
BUFFY
(nods) So, that's what this is about. (stands, crosses arms) You feeling sorry for yourself, Spike?
SPIKE
I'm feeling honest with myself. You used me.
BUFFY
Yes.
SPIKE
You told me that, of course. I never understood it though. Not until now. You hated yourself, and you took it out on me.
BUFFY
You figured that out just now?
SPIKE
Soul's not all about moonbeams and pennywhistles, luv. It's about self-loathing. I get it. Had to travel 'round the world, but I understand you now. I understand the violence inside.
BUFFY
Violence? William the Bloody now has insight into violence?
SPIKE
Not the same. As bad as I was, as evil and as wretched as I was, I never truly hated myself back then. Not like I do now.
Cut to:
30 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Carrying a glass of water, Xander enters Dawn's room, where Andrew is still tied up.
XANDER
How's your face? (sets the glass down on the desk)
ANDREW
OK.
XANDER
(starts untying him) Sorry about that. She shouldn't have hit you. (hands him the glass of water) Thirsty? Go on.
ANDREW
(smells the water) That chick's psycho. (drinks)
XANDER
You don't know the half of it. She's a vengeance demon, you know. (sits in the chair) She's bad news.
ANDREW
(quickly) This one time I saw her having sex with Spike. (drinks)
XANDER
She's killed more men than smallpox.
ANDREW
Does smallpox still kill people?
XANDER
She's killed a lot of men. She tortures them. Anyone who incurs her wrath. One time she— (pats his arm, leans back) No, never mind.
ANDREW
What?
XANDER
It's not important.
ANDREW
What'd she do?
XANDER
(leans forward) Well, there was this one guy—there was this one guy, he, uh, he hurt her real bad, so she paid him back. She killed him, but she did it real slow. See first she stopped his heart, then she replaced it with darkness, then she made him live his life like that. But he still had to go do his job and see his friends and wake up in the morning and go to bed at night, but he had to do it all empty. Without anything to look forward to. Ever.
ANDREW
(unimpressed) Sounds bad. (drinks)
XANDER
Well, then she tore out his intestines and rubbed it in his face and took pictures of it.
ANDREW
(genuine this time) Oh, God.
XANDER
But she's downstairs now. Don't worry about her.
ANDREW
What if—
XANDER
(takes water away from Andrew) See, the thing is, we've all been a little on edge lately. Some bad things have been happening, and the girls—they're all looking for someone to blame.
ANDREW
I didn't do anything—
ANYA
(off-screen, from the hallway) You lying son of a bitch! (storms into the room, storms toward Andrew) You're gonna tell us what we need to know, and you're gonna tell us right now!
Anya charges Andrew, pushing him and the chair he's in over onto the floor.
XANDER
Anya, no!
ANDREW
Stop it!
Xander pulls her off of Andrew, attempting to restrain her.
ANYA
Get off me, Harris! (slaps Xander, he looks hurt, she mouths "I'm sorry" and turns back to Andrew) C'mere, you pipsqueak! (shakes Andrew's shoulders against the floor)
ANDREW
Get her off me! I'll tell you! I'll tell you what you need to know!
Cut to:
31 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy's in the room with Spike. She overhears the ruckus in the next room.
BUFFY
Excuse me.
Buffy leaves the room. When she closes the door, Spike-2 is standing there in a leather duster and all, smirking.
SPIKE-2
(walks toward Spike, who's still tied to the chair) Well, we've got ourselves a problem.
Cut to:
32 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Buffy enters the room (revealing the "Everything I Need To Know, I Learned From My Dog" poster on the back of the door).
ANDREW (O.S.)
Somebody help. Ow...
BUFFY
Everything OK?
The scene is practically frozen in time as they pause to look at Buffy. Andrew's sitting on the floor. Anya's holding his shirt collar, with her arm raised to a fist aimed at his head. Xander's sitting on the desk holding his sore cheek. The room's been trashed and smashed.
ANYA
Fine. (grins)
BUFFY
(shrugs) OK. (leaves the room).
Cut to:
33 INT. UPSTAIRS HALLWAY AT BUFFY'S HOUSE - DAY
Buffy walks to her room, where Spike is. From the hall, she can hear people talking in her room. She pauses at the door to listen.
SPIKE (O.S.)
What do I do, job half-done? Never send a boy to do a man's job. (chuckles, sings) Oh, don't deceive me, Oh, never leave me.
Cut to:
34 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy opens the door and enters the room, looking around.
BUFFY
Who were you talking to?
SPIKE
What's that?
BUFFY
I heard you through the door. Who were you talking to?
SPIKE
Nobody. I was just, uh, keeping myself company.
BUFFY
Are you OK?
SPIKE
Fine. How are you?
Cut to:
35 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Anya's talking to Andrew, whose back is against the wall.
ANYA
Now, you can talk, or I can keep hitting you. Believe me, I'd love to keep hitting you.
Cut to:
36 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy is talking to Spike, who's still restrained, tied to the chair.
BUFFY
Spike?
SPIKE
I'm fine, Buffy. Really. I'm just...feeling a bit peckish, I suppose. (looks at bags of pigs blood on the night table by the bed) Do you mind?
Buffy goes toward the blood, keeping her eye on Spike the whole time. When she turns to look at the table when picking up the bag, Spike vamps out. He roars, breaks the chair arms, and stands. Buffy tries to fight him, but he pushes her down and goes purposefully in the opposite direction.
Cut to:
37 INT. DAWN'S ROOM AT BUFFY'S HOUSE - DAY
Andrew is talking to Anya, his back still to the wall.
ANDREW
...We needed more blood to activate the seal of Danthaz—
Suddenly, a hand breaks through the wall behind Andrew, grabbing his chest. Another breaks through and grabs his head. Andrew screams. It's Spike, pulling Andrew through the wall, into the next room. Spike bends Andrew's head over, exposing his neck, and bites him.
Fade to black.
ACT III:
Cut to:
38 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Resume. A growling Spike's biting the neck of the wailing Andrew. Buffy rushes to his aid, throwing Spike off of him and against the wall. Xander and Anya rush into the room and look after Andrew. Spike seems confused at the scene. Buffy stands and walks to Spike. As she stands, Spike-2 stands behind her, looking disappointed at Spike. Buffy kicks Spike in the face, knocking him out.
Cut to:
39 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Buffy's sitting in a chair, talking to Willow and Dawn, who are on the couch.
BUFFY
He didn't seem to want anything to do with me. I mean, he just pushed me aside and charged at the wall.
WILLOW
Are you hurt?
Xander and Anya come downstairs and join the conversation.
BUFFY
Not—not really.
DAWN
(to Xander) How is what's his name?
XANDER
He's got a good chunk taken out of his neck, but he'll be all right. Had to tie him up again, but mainly just to keep him from scratching at his bandages. (to Buffy) What the hell happened up there?
BUFFY
I-I don't know. Spike and I were having a conversation, and he was fine. I mean, you know, fine as Spike can be. And then I went to check on you guys, and when I got back, it was like he was a completely different person.
WILLOW
Different like "William the Bloody" type different?
BUFFY
He was talking to someone. I heard through the door, he was having this conversation. And then he started singing.
ANYA
Maybe it's another musical. (Buffy glares) A much crappier musical.
BUFFY
He—he mentioned something about a song in the cellar. Uh, a-and he changed there, too—I mean instantly became another person.
XANDER
Trigger.
ANYA
The horse?
XANDER
No, in his head. It's a trigger. It's a brainwashing term. It's how the military makes sleeper agents. They-they brainwash operatives and condition them with a specific trigger, like a song, that makes 'em drastically change at a moment's notice.
WILLOW
Is this left over from your days in the Army?
XANDER
No, this is leftover from every Army movie I've ever seen. But it makes sense. We've had ghosts or something haunting us, right? Well, what if Spike's ghosts have figured out a way to—not only haunt him—what if they figured out how to—how to control him?
BUFFY
Spike said he's been seeing things since I found him in the basement.
WILLOW
So, he gets his soul back, he starts seeing spooky things, and he goes extra-extra-crazy.
BUFFY
This trigger. How do we holster—safety, or—I don't know guns. How do we make it stop?
XANDER
Well, usually the operative completes his task and either blows his head off or steals a submarine.
BUFFY
All right. I need information. If Spike's a bomb, then I need to know how to diffuse him. (to Dawn and Willow) You two, I wanna know what did this to him. Spirits, ghosts, demons—check the lot of them. Look for anything that could haunt or-or possibly control like this. I need to know exactly what we're dealing with.
Cut to:
40 INT. SUNNYDALE HIGH - NIGHT
Through the hall window, Principal Wood turns lights off in the office. He walks down the hall with his briefcase, presumably heading out, when he walks by the "Basement. No Student Access" sign on the basement door. He stops walking, does a double take, and decides to go down.
Cut to:
41 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Without any confusion, Principal Wood walks directly into the room where the Seal of Danthazar is. Jonathan's body is still lying on top of the seal. Principal Wood stares blankly, unflinching at the sight.
Cut to:
42 INT. BASEMENT AT BUFFY'S HOUSE - NIGHT
Spike is lying on the floor in shackles, both hands and feet chained to the wall. His eyes are closed. Buffy walks downstairs with a bowl of water and goes over to him. She dips a towel in the water and washes the blood off of his face.
SPIKE
(wakes) Did I hurt anybody?
BUFFY
You took a good bite out of Andrew.
SPIKE
Who?
BUFFY
Tucker's brother.
SPIKE
Oh.
BUFFY
He'll be OK.
SPIKE
I don't remember.
BUFFY
It's OK. (stands, walks to sink)
SPIKE
Buffy, I don't know why.
BUFFY
(sighs) We think we do. Something's playing you. Some ghost or demon has figured out how to control you. Got the gang researching it right now. (Spike pulls himself up into sitting position using the chains) Xander has this theory that you're being triggered.
SPIKE
Kill me.
BUFFY
(turns to face him) What?
SPIKE
Buffy, you have to kill me.
BUFFY
You don't understand. When I left the room earlier, I heard you talking to someone—
SPIKE
Do you have any idea what I'm capable of?
BUFFY
I was in the cellar with you. I saw what you did.
SPIKE
I'm not talking about the cellar. The people in the cellar got off easy. I'm talking about me. Buffy, you have never met the real me.
BUFFY
(crosses arms) Believe me, I'm well aware of what you're capable of.
SPIKE
No, you got off easy too. (stands) Do you know how much blood you can drink from a girl before she'll die? I do. You see, the trick is to drink just enough to know how to damage them just enough so that they'll still cry when you— (chokes up) 'cause it's not worth it if they don't cry.
BUFFY
It's not your fault. You're not the one doing this.
SPIKE
I already did it. It's already done. (paces, then steps purposefully toward Buffy) You wanna know what I've done to girls Dawn's age? (beat) This is me, Buffy. You've got to kill me before I get out.
BUFFY
We can keep you locked up. Keep you here and we'll figure out—
SPIKE
Have you ever really asked yourself why you can't do it? Off me? After everything I've done to you, to people around you. It's not love. We both know that.
BUFFY
You fought by my side. You've saved lives. You've helped—
SPIKE
Don't do that. (rolls eyes) Don't rationalize this into some noble act. We both know the truth of it. (looks down and away) You like men who hurt you.
BUFFY
No.
SPIKE
(looks at Buffy) You need the pain we cause you. You need the hate. You need it to do your job, to be the slayer.
BUFFY
No. I don't hate like that. Not you, or myself. Not anymore. You think you have insight now because your soul's drenched in blood? You don't know me. You don't even know you. Was that you who killed those people in the cellar? Was that you who waited for those girls?
SPIKE
There's no one else.
BUFFY
That's not true. Listen to me. You're not alive because of hate or pain. You're alive because I saw you change. Because I saw your penance.
SPIKE
(lunges violently at her, but chains hold him back) Window dressing.
BUFFY
Be easier, wouldn't it, if were an act, but it's not. (walks toward him) You faced the monster inside of you and you fought back. You risked everything to be a better man.
SPIKE
Buffy...
BUFFY
(in his face) And you can be. You are. You may not see it, but I do. I do. I believe in you, Spike.
Spike looks at her with a face full of hope and amazement. Just then, the lights flicker and go out. Someone bursts into the basement and pushes Buffy away from Spike. She falls to the ground.
Cut to:
43 INT. BUFFY'S HOUSE - NIGHT
Xander and Anya are in the living room. Willow and Dawn are in the dining room. Robed men break into the house from all angles, smashing windows and breaking down doors. Covered head to toe in long, black, hooded robes, these people have wooden staffs and no eyes
Fade to black.
ACT IV:
44 EXT. DESOLATE OIL RIG SITE - NIGHT
His work area lit by the headlights of his SUV, Principal Wood is digging a hole. He stops, rolls Jonathan's body into the shallow grave, and throws dirt over him.
Cut to:
45 INT. BUFFY'S HOUSE - NIGHT
Willow pushes one of the robed men off of her. Dawn fights back. Buffy comes upstairs and joins the battle fray. Some of the robed men head upstairs as the fight continues on the main level.
Cut to:
46 INT. DAWN'S ROOM AT BUFFY'S HOUSE - NIGHT
Andrew's tied up, lying on the bed and whimpering. One of the robed men enters the room, facing him, carrying a wooden staff. His hood is removed, revealing an eyeless face whose sockets are covered in red scars. He drops the wooden staff and takes out two silvery curved daggers and lunges at Andrew, but narrowly misses as Andrew rolls off of the bed. Buffy comes into the room and grabs the robed person, who kicks her. They continue to fight. Another robed person enters the room.
Cut to:
47 INT. BUFFY'S HOUSE - NIGHT
Dawn's on the floor and weakly stands, grabbing a wooden staff. A robed person is lying still on the floor in front of her. She inches closer to him, holding the wooden staff defensively. He swings his leg at her ankle, tripping her. He climbs on top of her and pulls out a silver dagger, aiming for her chest. Xander comes into the room, wielding a wooden staff, and knocks the robed person off of Dawn.
Cut to:
48 INT. DAWN'S ROOM AT BUFFY'S HOUSE - NIGHT
Buffy continues to fight the robed people. Andrew stands and tries to sneak out of the room, but Buffy grabs him and swings him at the robed people, using his body both as a shield and a weapon, before throwing him to the floor. A robed person comes at her with silver curved daggers in both hands. She grabs his wrists, kicks him back, and grabs the daggers. One robed person lunges at her, and she sticks the dagger in his belly. When the other robed person comes at her, she does the same. They scream and collapse. Xander enters the room.
XANDER
Buffy?
BUFFY
Dawn?
XANDER
She's OK. (looks at the robed people at her feet) Is this it? I thought there was more of them.
BUFFY
Spike.
They exit the room together hurriedly.
Cut to:
49 INT. BASEMENT AT BUFFY'S HOUSE - NIGHT
Buffy goes down the stairs to the basement, followed by Xander. She stops dead in her tracks when she sees the empty shackles that Spike was supposed to be in.
Cut to:
50 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Willow enters the living room carrying a First Aid kit. Anya and Dawn are sitting on the couch. Willow sits in a nearby chair. Buffy and Xander come into the room together.
XANDER
They were so fast. And organized.
BUFFY
They were after Spike all along.
XANDER
And we were just in the way.
Buffy kneels to inspect one of the robed people who's lying face-up on the floor.
BUFFY
I know these guys. I fought them before. We aren't being haunted. This isn't some demon. It's all the same thing. Spike's ghosts, the people you guys saw, from beneath us, it's all the same thing. I know what we're up against. The First.
Cut to:
51 INT. WATCHER'S COUNCIL HEADQUARTERS, LONDON - DAY
The headquarters is buzzing with activity. People are all busy on the phone, reviewing reports, and talking to each other. One man is reporting to Quentin Travers.
WATCHER AIDE #1
They took our files, wiped out our records. We've lost contact with operations in Munich, Switzerland and Rome. We've got casualty confirmations coming in from as far away as Melbourne.
WATCHER AIDE #2
Sir, we are crippled.
QUENTIN TRAVERS
(walks) It's all right, Lydia. We are still masters of our fate, still captains of our souls.
WATCHER AIDE #2
(walks away) Yes, sir.
QUENTIN TRAVERS
(addresses the room) Ladies and gentlemen, our fears have been confirmed. The First Evil has declared all-out war on this institution. Their first volleys proved most effective. I, for one, think it's time we struck back. (paces) Give me confirmations on all remaining operatives. Visuals and tacticals. Highest alert. (stands still) Get them here as soon as possible. Begin preparations for mobilization. Once we're accounted for, I want to be ready to move.
WATCHER AIDE #3
Sir?
QUENTIN TRAVERS
We'll be paying a visit to the hell mouth. My friends, these are the times that define us. Proverbs 24:6. O, by wise council, you shall make your war.
The Watcher's Council Headquarters blows up in a huge explosion, taking out the whole building.
Cut to:
52 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Close up of Spike's face. Shot so instruments of torture. A man is being strapped to a wood beam with a leather belt. Spike is being strapped to a construct made of wood beams. Spike/First is talking to him while a robed person, a priest of the First, also known as a Harbinger, straps Spike to the construct.
SPIKE/FIRST
You'll have to excuse the spectacle, but I've always been a bit of a sucker for the old classics. (grins wickedly, fondly eyeing Spike's predicament)
Spike is tied to the wheel-like construct with all four corners of his body pulled in opposite directions. A Harbinger takes out a knife and cuts Spike with it. Spike moans in excruciating pain.
SPIKE
Oh!
SPIKE/FIRST
Oh, don't look at me that way. I wanted to do this more subtle-like. My Harbingers have a tendency to call attention to themselves.
A Harbinger cuts Spike again.
SPIKE
Oh!
SPIKE/FIRST
(leans forward) You're the one who couldn't hold his end of the bargain. You're the one who couldn't take care of what's-his-name. You're the one who had to make breakthroughs and learn something about himself.
A Harbinger cuts Spike again.
SPIKE
Oh!
SPIKE/FIRST
So now, fittingly, you're the one who gets to do the honors. (crosses arms)
Spike/First morphs into Buffy's form.
BUFFY/FIRST
I have to admit, I'm glad it worked out this way. I was going to bleed Andrew, but (sighs) you look a lot better with your shirt off.
A Harbinger cranks a wheel attached to a mechanism that hoists the wheel Spike's tied to into the air. Spike is now hanging from the wheel about ten feet from the ground, bleeding steadily from his ritualized symbol-shaped cuts.
BUFFY/FIRST
To be honest, I'm getting a little tired of subtle. I think it's about time we brought some authority to our presence. Now, Spike, wanna see what a real vampire looks like?
Spike's blood is falling on the Seal of Danthazar that's right below him. It's pooling in the grooves and being absorbed into the seal. The seal starts to glow. One by one, the pointed tips of the pentagram at its center fold up, forming a pyramid. Light comes out from under it. The pyramid sinks into the ground. The remaining pieces of the seal follow suit. Spike glares at Buffy/First, then watches the hole where the seal is. Something sticks its withered, gray, pointy-fingered hand out of the hole. A monster climbs out wearing black leather. Pan up to show its horrible disfigured face. It's bald with a distinct vampire forehead and brows and trademark fanged teeth. It looks gaunt, with extremely hollow cheekbones. It raises its hands toward the sky and looks around the room, growling menacingly.
Cut to:
Closing credits.