* Beneath You *
Teaser
GILES (V.O.)
Previously on Buffy the Vampire Slayer
1 INT. SPIKE'S CRYPT - NIGHT
Buffy enters Spike's crypt, walking purposefully.
SPIKE
If I'd've known you were coming, I'd've baked a cake.
BUFFY
Tell me you love me.
SPIKE
I love you.
BUFFY
Tell me you want me.
SPIKE
I always want you.
They lie down together kissing.
Cut to:
2 INT. SPIKE'S BOUDOIR - NIGHT
Buffy and Spike are lying naked under Persian rugs post coitus.
SPIKE
Do you even like me?
Cut to:
3 INT. SPIKE'S BOUDOIR - DAY
Fully clothed now, standing in a charred bedroom, Buffy talks to Spike.
BUFFY
It's over.
SPIKE
I've memorized this tune, luv.
BUFFY
I'm using you... and it's killing me.
Cut to:
4 INT. MAGIC BOX - NIGHT
It's Halloween, and all the Scoobies are at the Magic Box celebrating.
XANDER
We're getting married.
WILLOW (V.O.)
Congratulations.
Cut to:
5 INT. CHURCH - DAY
Talking to her bridesmaids and still wearing her wedding gown, Anya can't believe what she's hearing.
ANYA
Xander's missing? What do you mean Xander's missing!
Cut to:
6 EXT. STREET IN SUNNYDALE - DAY
Xander is walking through the streets of Sunnydale in his tuxedo in the rain.
Cut to:
7 INT. D'HOFFRIN'S LAIR - NIGHT
Anya's still wearing her wedding dress and has been crying for hours. She's not crying now, but instead looking forlorn, hurt and helpless.
D'HOFFRIN
When you were a vengeance demon, you crushed men like him.
Cut to:
8 INT. XANDER'S APARTMENT - NIGHT
Xander is pleading with Anya, who is looking out the window with her arms crossed.
XANDER
I wish we could just go back to the way things were before.
Anya's face changes to show that she is a vengeance demon again.
ANYA
And I wish you were never born.
Cut to:
9 INT. BATHROOM IN BUFFY'S HOUSE - NIGHT
Spike has Buffy pinned to the ground. She struggles against him wearing her bathrobe.
SPIKE
I'm gonna make you feel it.
BUFFY
Ah! Stop!
Spike leans on the sink, looking horrified at his attempted rape of Buffy. She is standing, clutching her robe to her body, looking angry and disgusted.
BUFFY
Ask me again why I could never love you.
Cut to:
10 EXT. BUFFY'S BACKYARD - DAY
Warren shoots at Buffy, who is in her backyard with Xander. Meanwhile, while running away, Warren fires a random shot that goes through the upstairs window into Willow and Tara's bedroom.
Cut to:
11 INT. WILLOW AND TARA'S BEDROOM - DAY
Tara is shot and falls to the floor. Blood spatters Willow's shirt.
WILLOW
Tara? Oh, God!
Willow is grief-stricken. She is holding Tara's dead body, and when she looks up to heaven, her eyes turn red and black with dark magic because of her anger.
Cut to:
12 EXT. WOODS SOMEWHERE IN SUNNYDALE - NIGHT
Warren is strung up between a pair of trees. He is tied at four points, splayed out like the famous DaVinci diagram. Warren calls for help.
WARREN
Somebody!
Willow, in full dark magic splendor (black hair, black eyes), motions her hand toward Warren, and with a twist of her wrist, removes his skin. Warren screams in agony.
Cut to:
13 EXT. DARK TEMPLE ON PACIFIC COAST CLIFF - DAY
Willow is using her powers to activate a trigger at the temple that will end the world. Xander interferes, and hugs her as she sobs.
XANDER
I love you.
Cut to:
14 INT. CAVE SOMEWHERE IN AFRICA - NIGHT
Spike is exhausted and beaten, but demands his prize nontheless.
SPIKE
Make me what I was.
DEMON
We will return your soul.
Spike screams.
Cut to:
15 EXT. ENGLISH COUNTRYSIDE - DAY
WILLOW
When you brought me here, I thought it was to kill me. Instead, you go all Dumbledore on me.
GILES
Do you want to be punished?
WILLOW
I killed people, Giles.
GILES
I've not forgotten.
Cut to:
16 INT. COFFEE SHOP - DAY
Halfrek and Anya are having coffee together.
HALFREK
Something's rising. Something older than the old ones, and everybody's tail is twitching. This is a bad time to be a good guy.
Cut to:
17 EXT. NEW SUNNYDALE HIGH SCHOOL - DAY
Zoomed in on a large pair of scissors. A man is using them to cut a huge red ribbon. Pan out to a press conference and grand opening ceremony with reporters and city officials standing around.
PRINCIPAL
It is my great pleasure and privilege to announce the official opening—on the very ground that it first stood upon—of the brand new Sunnydale High!
Cut to:
18 INT. HALLWAY AT SUNNYDALE HIGH - DAY
Buffy is talking to Principal Wood.
BUFFY
Are you asking me to be a counselor?
Cut to:
19 INT. BASEMENT SUNNYDALE HIGH - DAY
Buffy jumps down into the basement from a hole in the bathroom floor (see episode 7x01 "Lessons"). Buffy found Spike in a room all by himself. His his hair is dishelveled and long, his shirt is open, and his chest is scratched up. She reaches toward his wounds.
BUFFY
Spike? What did you do?
Spike's acting crazy, rambling and making no sense.
SPIKE
This is my home. I belong here. Always been here. Cheers for stopping by.
BUFFY
I'll get back to you.
Fade to black.
The Start Of EpisodePROLOGUE
20 EXT. NIGHTCLUB - NIGHT
Loud techno music is playing. A bright blue neon sign is pointing to the club, that reads "Tatoo Nachtlocal." Zoom down to street level, where a sign points to "Parkplatz." We see a car driving toward the building.
TITLE CARD: Frankfurt, Germany
Zoom back up to the third floor where we can see through the glass hallway. Zoom inside.
21 INT. PARKING GARAGE - NIGHT
A girl is running and looks scared. She has hot pink hair with black bangs at her forehead, a nose ring, and a metal collar. She's wearing all black, with a skeleton shirt, long pants, a leather jacket and boots. She goes through an interior door and jumps down to the next level. Two people are chasing her. They look suspiciously like the robed men from episode 7x01 "Lessons". We can't see any details of their bodies, just the hooded cloaks that completely cover them. She runs out through an exterior door and proceeds to scale down the building. 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 by her pursuers. They 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 curved silver dagger and tries to stab her, but she blocks his move. The other robed person also has a dagger though and stabs her. She winces, and the men resheath their daggers and leave. After the girl appears dead, she turns her head to look directly in the camera and speaks in a low, unnatural sounding voice.
GERMAN GIRL
From beneath you, it devours.
Cut to:
22 INT. BUFFY'S BEDROOM IN BUFFY'S HOUSE - NIGHT
Buffy screams.
BUFFY (O.S.)
Ah!
Dawn is sitting beside Buffy, leaning over her, trying to wake her up.
DAWN
Buffy! Buffy! Buffy!
BUFFY
I heard screaming.
DAWN
That was you.
BUFFY
There was a girl.
DAWN
That would be me.
BUFFY
Uh, no. It was...
DAWN
Just a dream. It was just a dream, right?
BUFFY
From beneath you, it devours. That's what she said, and then they... There's more like her, Dawn. Out there somewhere.
Buffy and Dawn get up off the bed and go to look out the window, frowning sadly.
BUFFY
And they're gonna die.
Zoom out the window to the street.
Cut to:
23 EXT. NEIGHBORHOOD STREET - NIGHT
We see grass and hear rumbling noises coming from underground. The force is progressing along a path, like it's caused by something specific that is moving purposefully underground. Shrubs are shaking and a birdbath falls over. Then the sidewalk is pushed up from underneath, cracking. A curvy line is cut down the street.
Opening credits and title sequence.
ACT I.24 INT. BASEMENT SUNNYDALE HIGH - DAY
Water is dripping down the walls, like in a typical basement. Zoom to cute rat sitting on boxes in foreground. The rat squeaks. Zoom to background, crouched behind some boxes, Spike is stalking the rat, crawling slowly toward it between the boxes.
SPIKE
No, no, no, no, no, no. Now is not the time. You know it. I know it. But making them understand... is a totally different matter. No manners is the problem. Proper breeding. Lack of etiquette. All of it lacking. All of it lost on them.
There's a rumbling sound, then the ground starts to shake. Spike stands and looks around alarmed.
SPIKE
Not the time. Not hardly ready.
He starts to wince.
SPIKE
Stop. Please, mum! Begging now! Make it stop! Oh, God!
Spike holds his hands over his ears trying to block out the sounds. He screams in agony.
SPIKE
Ooh! Aaahhhh!
Cut to:
25 INT. XANDER'S CAR - DAY
Dawn is in the backseat of Xander's four-door sedan. Xander's driving, and Buffy is the passenger. Xander is driving Buffy and Dawn to school.
DAWN
Could you die? 'Cause, seriously, speaking for everybody who are me in the car right now, we're very excited.
BUFFY
Well, I'm glad for all of you then.
DAWN
I mean, it's just so cool. You're coming to school with me. You'll be, like, there the whole time. (pauses) You understand you cannot talk to me, look at me, or hang out with any of my friends, right?
BUFFY
Look, I doubt we'll be seeing each other, assuming I even half-understand my fuzzy job description.
DAWN
It's not fuzzy. You're, what, dealing with troubled kids?
XANDER
At a spanking new Hellmouth High. Please. Outside of drugs and violence and the unwanted pregnancy, and, uh, unleashing of hordes of Armageddon that comes pouring out of the school's foundation every now and then, what trouble could these kids have?
BUFFY
Guess I'll find out.
XANDER
Those kids are damn lucky having a slayer and a friend on campus there for 'em. I hope they appreciate it. I know I did. (pauses) Days gone by, huh?
DAWN
I thought you hated Sunnydale.
XANDER
Yes, and no, with an emphasis on the yes. But, at least then I was dating.
BUFFY
You could be dating now.
XANDER
Yeah. Um, I don't know what's not clicking for me right now.
BUFFY
Well, there's that thing with Anya.
XANDER
That leaving her at the altar thing?
BUFFY
Yeah, that one. That's not something you bounce right back from.
XANDER
Sure it is. She bounced back to being a vengeance demon, and I bounced back to being a dateless nerd.
DAWN
Do you guys talk at all?
XANDER
I've seen her at the Bronze a couple of times. I guess there's a lot of scorned women there, making vengeance wishes on their exes.
BUFFY
(Southern accent) I know that's where I go to get my scorn on.
DAWN
You guys need to really to ease up with the whole dating demons thing.
BUFFY
Uh, hello, I'm sorry. Wasn't that you having the smooch-a-thon with teen vampire last Halloween?
DAWN
See, this is why I don't want you talking to my friends. (sighs) Oh.
Cut to:
26 INT. BUFFY'S OFFICE AT SUNNYDALE HIGH - DAY
Principal Wood is showing her around on her first day at work. Buffy has a cubicle near a hallway window. They enter the office area from the hallway.
PRINCIPAL
We'll sort of feel our way around. Some students will be sent to you, and others, I'm hoping, will start to come in on their own.
BUFFY
What if they don't? Should I panic?
PRINCIPAL
You'll be surprised, Buffy. You're the youngest, and, uh, least stuffy member of this faculty. I think the students are gonna want to come in and talk to you. And when they do, don't evaluate them. Just listen. They need to feel like there's someone around here who actually understands them.
While Buffy looks out the window nearest her cubicle, she gets an exciting idea.
BUFFY
Can I give detention?
PRINCIPAL
OK by me. A little authority can be a wonderful thing. Just remember that while you are here to help, you're not here to be their friend. Trust me, you open that door, and these students will eat you alive.
BUFFY
You heard about Principal Flutie, right?
PRINCIPAL
Hmm?
BUFFY
Forget it.
Buffy sits down at her desk and starts to get situated.
PRINCIPAL
OK then. And, Buffy, relax. There's only three things these kids understand: the boot, the bat, and the bastinada. (chuckles)
Buffy doesn't laugh, but instead gives him a blank stare.
PRINCIPAL
It's the... it's a... it's a bad joke. It's the bastinada. No one ever knows what that thing is.
BUFFY
Wooden rod to slap the soles of the feet in Turkish prisons, but if made with the correct wood makes an awesome Billy club.
PRINCIPAL
I think you're gonna fit in just fine. Is there something else?
BUFFY
Um, yeah. Uh, just one more thing. (stands) I was, uh, just curious, you know, uh—not that I'm not grateful or anything. But, uh, I guess I was wondering why I—
PRINCIPAL
Have this job?
BUFFY
I still haven't finished college.
PRINCIPAL
I know.
BUFFY
Was it my sparkling personality? Or maybe you enjoyed my work at the Doublemeat Palace?
PRINCIPAL
I'm a vegetarian. These students need someone around here who understands them, and I need someone who understands these students. Why? Is there something about you that I don't know that maybe I should?
BUFFY
Nothing I can think of.
PRINCIPAL
Oh, if you'll excuse me. First catch of the day. I'll be in my office if you need me.
BUFFY
Thanks. I'm just gonna have a look around. Get to know the place. Make sure it's all... school-like.
Cut to:
27 INT. HALLWAY SUNNYDALE HIGH - DAY
Shot of the basement access door with a sign that says "Basement / No Student Access."
Cut to:
28 INT. BASEMENT SUNNYDALE HIGH - DAY
Buffy is walking around in the dark empty basement looking for someone. She calls out to see if he is there.
BUFFY
Spike?
She hears rats squeaking. There's a noise. A metal door shuts. She calls out again to see who was there.
BUFFY
Spike?
Still no answer.
Cut to:
29 INT. MANOR IN ENGLISH COUNTRYSIDE - DAY
Willow is sitting on a suitcase in an exterior doorway, talking to Giles who walks up the interior hallway toward her and leans with one arm on the doorjamb over her head. They are both facing the same direction, looking out at the countryside.
TITLE CARD: Westbury, England
GILES
The taxi's here.
WILLOW
I know.
GILES
And in keeping with a quaint old Birtish tradition, you would now be expected to get into it.
WILLOW
I don't know if I can. Giles, I'm not done here.
Walks around to talk to her face-to-face, leans on the opposite doorjamb.
GILES
That's your fear talking.
WILLOW
Yes, and my fear's a big, obnoxious blabbermouth. You're the one that keeps telling me to trust my instincts.
GILES
True.
WILLOW
So, shouldn't we be listening? I don't want to go back home just so I can screw up again. I Why don't I stay? Not forever. Just long enough to, I don't know, make my fear shut up a little, maybe?
Taxi honks. Giles steps outside and waves to acknowledge it. He faces Willow again.
GILES
It's possible, but... Try to be very specific. What exactly are you afraid of?
WILLOW
Well, for starters, how 'bout the hellmouth's getting all rumbly again. And now I know it's got teeth. And are those literal teeth, 'cause I don't know if I can handle it. And what if I can handle it? Does that mean I have to be a bigger, badder badass than the source of all badness? And what if I give up all this control stuff and I go all veiny and homicidal again? And what if—
GILES
They won't take you back?
WILLOW
Uh-huh.
GILES
Willow, we could spend another two years here training and practicing and learning to hone your powers and still there'd be no way of knowing for sure that the friends you left behind you are still your friends.
WILLOW
Well, sure. I mean, if you put it that way, duh.
GILES
I'd love to offer you some guarantee that you'd be welcomed back to Sunnydale with open arms, but I can't. You may not be wanted, but you will be needed.
WILLOW
That all you got?
GILES
For the moment, yes.
WILLOW
OK. I guess I'd better...
Willow stands. Giles picks up her suitcase and opens an umbrella.
GILES
Trust yourself, and the others might follow.
They walk out to the taxi.
Cut to:
30 EXT. NEIGHBORHOOD STREET - NIGHT
Zoomed in on a Yorkie puppy on a string. It is being walked by its owner, who's holding its leash and a plastic grocery bag. The dog stops walking to smell something on the concrete sidewalk. There's some random rocks and gravel strewn on that part of the sidewalk. The dog growls and makes sounds of displeasure at whatever it smells.
NANCY
Rocky, come on, do your business so I can go home.
Rocky growls.
NANCY
Could've gotten a cat, but no.
Rocky growls, then winces and yelps. Nancy turns to look, but a hole has suddenly appeared and Rocky has disappeared into it. She is still holding onto his leash, and as a result she falls to the ground and is pulled along the sidewalk toward the hole as the leash is pulled further into it. When her head is almost to the tiny hole where the dog disappeared, a large piece of the sidewalk comes up in her face, broken and pushed up from underground by something unseen. Then a monster rises from the ground in front of her. She gets up and runs away as fast as she can, screaming, but bumps into Xander who is out for an evening stroll.
NANCY
Ahh!
XANDER
Uh, hello?
Cut to:
31 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Sitting between Xander and Dawn, Nancy is sitting on the sofa talking to Buffy.
NANCY
And whatever it was, it was big and strong. Stronger than.... I mean, I don't know how it's possible. You hear thing in this town, living here in Sunnydale, but nobody actually believes them. You know, you'd have to be crazy, and... You guys think that I'm crazy, don't you?
XANDER
(scoffs) I don't.
BUFFY
We've seen things, too, Nancy.
XANDER
(macho) And we're going to take care of this. It's your lucky night... considering, you know, your dog just got all ate up and stuff... (caught himself) Hey, can I freshen up your tea?
NANCY
No, that's OK. Thanks.
Xander is trying to impress this girl, but is frustrated at how stupid he's acting around her. He shakes his head in disgust.
DAWN
So, you say this thing just came up out of the ground without any warnings or signs or anything?
NANCY
Just this kind of rumbling, you know, like just before an earthquake.
BUFFY
From beneath you, it devours.
NANCY
What?
BUFFY
Nothing.
DAWN
Nothing good.
XANDER
Sounding monster-ific, all right.
DAWN
Should we round up the gang?
XANDER
Good thinking, except... this is the gang.
BUFFY
Look, Nancy, we're going to get into this. And I promise you, if your dog is alive, we're going to find him. The only thing that I need is a little—
From the foyer, just outside the living room, a voice interrupts her.
SPIKE
What you need is help. Fortunately, you've got me.
Buffy looks shocked to see Spike here in her house, in front of her friends. Standing next to the French doors, he is looking quite stylish, with his combed bleached hair slicked straight back again, and wearing new clothes. He's seeming quite confident and lucid, quite the opposite of how we last saw him in the basement.
Fade to black.
ACT II.32 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Resume. Buffy is staring, slack-jawed, at Spike. He nods "hello" to her.
SPIKE
Buffy.
BUFFY
Spike.
Buffy gets up, walks across the room away from Spike, and looks out the window. She's trying to gain her composure.
NANCY
Who is that?
DAWN
He's... it's Buffy's...
XANDER
Ex.
NANCY
And I'm thinking it's a little more complicated than just that.
XANDER
Always is.
Buffy has gotten herself together and turns around to face Spike. Her voice is cool and emotionless.
BUFFY
You've changed.
SPIKE
I have.
BUFFY
New clothing. Better hair. Not so much with the crazy. I like it. Now what do you want?
SPIKE
Easy. If you think I like putting myself here, surrounded by people who don't particularly like me, you'd be wrong.
Xander stands up and speaks aggressively at Spike.
XANDER
If you're uncomfortable, we can make you leave.
SPIKE
I'll be quick. (to Buffy) We need to talk. Want to do that here, or privately?
XANDER
I'm thinking here, in the company of good friends and pointy weapons.
Nancy seems taken aback by all the tension in the room.
BUFFY
You said something about quick?
SPIKE
I did. Before I start, and for the record, the last you saw me, I was a mess—out of my head, admitted. Last week, living in the school basement, well, you saw me.
Dawn looks disapprovingly from Spike to Buffy, and walks toward her. Xander is also looking shocked.
DAWN
You did?
BUFFY
Guys, just a second, OK. Yes, I saw Spike. I just didn't—
DAWN
What? You just forgot to mention it?
BUFFY
Things were insane in the basement. I saved your life. We can discuss this later.
DAWN
Sure.
XANDER
(tenderly) Whatever you want.
DAWN
Right. 'Cause that seems to be the only time you let us in, Buffy. Whenever you want.
SPIKE
Now, in fairness to Buffy—
XANDER
(shouting) Shut up, Spike!
Nancy again looks uncomfortable at being there for this scene.
BUFFY
(sighs). OK, guys. Give us a second.
Spike turns toward the foyer again, and Buffy follows.
Cut to:
33 INT. FOYER AT BUFFY'S HOUSE - NIGHT
They talk near the front door.
BUFFY
Do not start by saying you're sorry.
SPIKE
I didn't come here to atone.
BUFFY
Then what the hell do you want?
SPIKE
I'm here to help you.
BUFFY
Help me what?
SPIKE
I was hoping you'd tell me. You're the slayer. (Buffy crosses her arms over her chest.) Connected to the visions. Long line of worthies, right? I'm just a guy with his ear to the ground, and 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. I mean, if I'm wrong, say so. Lovely. No hard feelings. I'll go out that door and you can lock it behind me with any spell you like. So, am I wrong?
BUFFY
Everything about you is wrong, Spike.
Spike takes this as his cue to leave and begins toward the door. He stops when Buffy continues.
BUFFY
But something is coming.
SPIKE
You're gonna need some help.
BUFFY
Since when did you become the champion of the people?
SPIKE
I didn't. I'm just a guy who can lend a hand, if you'll let me. Ball's in your court, slayer.
Cut to:
34 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT
Everyone who was there before is still in the living room, except now they're standing. Buffy comes into the room, giving orders and ready to go. She's putting on her jacket.
BUFFY
OK, we're gonna split. Two pairs. Whatever this creature is, it's burrowing through solid ground. That means a strength and power that we don't usually deal with, but we may have to get used to now that the hellmouth is getting all perky.
Buffy opens the weapons chest.
NANCY
(whispering to Xander) Shouldn't we call the police, or something?
XANDER
And tell them...?
NANCY
I'll stop interrupting.
BUFFY
Xander, take Nancy home. Drive, don't walk, and try not to stop 'til you get there.
NANCY
(to Xander) Is your girlfriend always this... commanding?
XANDER
Who? Buffy? Oh, no, no, no, no, no. See, uh, I mean, she's a girl, and she's a friend, but she's not my girlfriend.
DAWN
Xander...
Xander turns to face Dawn. She gestures casually, brushing a finger on the side of her mouth.
DAWN
...a little drool.
He turns back to face Nancy and smiles a nervous laugh. Buffy is holding a large dagger and a flashlight.
BUFFY
Spike and I will check out the scene.
XANDER
OK, in the biggest way, I am not loving this plan. (to Buffy) I am not loving Spike. (whispering) He tried to rape you.
BUFFY
And he failed. I know I can take him. Xander, take Nancy home. Spike and I will patrol.
DAWN
I'm command central, so everybody check in with me. OK, I'll be here doing my homework, but the other one sounded cooler.
BUFFY
(to Dawn) Be safe. (to Spike) Let's go.
SPIKE
Righty-o, then.
Buffy leaves the room. Spike starts to follow, and passes Dawn, who speaks to him with a serious cold glare.
DAWN
Spike. You sleep, right? You. Vampires. You sleep.
SPIKE
Yeah. What's your point, niblet?
DAWN
Well, I can't take you in a fight or anything, even with a chip in your head. But you do sleep. If you hurt my sister at all... touch her... you're gonna wake up on fire.
Cut to:
35 EXT. NEIGHBORHOOD STREET - NIGHT
Buffy and Spike are patrolling, looking for the location where Nancy's dog was abducted. They are talking without a lot of eye contact.
SPIKE
You're awfully quiet.
BUFFY
Wouldn't know what to say.
SPIKE
Fine with me. I was more half-expecting to get an earful anyway. And when exactly did your sister get unbelievably scary?
Buffy stops walking.
BUFFY
What are you doing?
Spike turns to look her in the eye.
SPIKE
What? I told you once, straight up, I'm here to help, and that's all.
Spike changes the subject and turns to look away from her at the broken sidewalk.
SPIKE
Think this here is our spot?
BUFFY
How'd you guess?
SPIKE
I don't fancy sticking my head in there.
BUFFY
Well, if something bites it off, that'd be a clue.
Spike looks at her and concedes to investigate the broken sidewalk further. He bends down on one knee with the flashlight in hand to look inside the hole.
BUFFY
So, what happened to you?
Spike's still all business, talking while looking around for clues.
SPIKE
When you saw me. Those ghostly types in the school basement got in my head. Made me flat-out, bug-shaggin' crazy. And I'm not exactly braggin' about it, but they were stronger than I was. Made me see things, do things.
He stops investigating, and looks her in the eyes.
SPIKE
And how come you never told anyone that you saw me?
BUFFY
I don't know. I guess I was partly hoping you were some kind of mirage.
SPIKE
Sorry to disappoint.
BUFFY
Not your fault.
SPIKE
Hold the torch, would you?
He's holding the flashlight toward her, but his hand and fingers are covering the shaft of the light in such a way that she can't take it from him without touching him. She takes it from him, and when they touch, she has agonizing flashbacks of screaming and struggling during the attempted rape attack he made on her back in episode 6x19 "Seeing Red". Buffy is revolted; Spike is concerned.
BUFFY
Look, this... us working together—it's not a way for us to get back together, if that's what you want.
SPIKE
It's not. Look, I can't blame you for being all skittish.
BUFFY
Skittish? That's not a word I would use for it. You tried to rape me. I don't have the words.
SPIKE
Neither do I. I can't say sorry. Can't use forgive me. All I can say is: Buffy, I've changed.
BUFFY
I believe you.
SPIKE
Well, that's something.
BUFFY
I just don't know what you've changed into. You come back to town. You make with the big surprises. Twice. I don't know what your game is, Spike, but I know there's something you're not telling me.
SPIKE
You're right. There is. (stands) But we're not best friends anymore, so too bad for me. I'm not sharing. We've been through things. The end of the world and back. I can be useful 'cause, honestly, I've got nothing better to do. Make use of me if you want. (gesturing to the sidewalk)And there's nothing here. Just a bit of slime. Mounds of displaced dirt and such. Whatever our beastie is, he's gone.
Spike walks off alone, back down the street in the direction from which they came.
Cut to:
36 INT. NANCY'S BUILDING - NIGHT
Xander is walking Nancy to the front door of her building. She unlocks it, and they enter.
NANCY
Boy, I still can't believe this is happening. I mean even with this town's reputation for, you know, unexplained weirdness.
XANDER
(chuckles) Right. Sunnydale: come for the food, stay for the dismemberment.
NANCY
There's good food? Well... Thanks. (clears throat) And that's a couple of levels of lameness right there, me saying "thanks" after everything you've done for me tonight.
XANDER
Well, you could slip me a twenty, but then I'd have to act all offended.
NANCY
Got it. So, um, you think I might instead give you a call sometime?
XANDER
Just to check in?
NANCY
No, actually, I'm hitting on you.
XANDER
Even better. I'm very listed.
NANCY
And I'm really pushy, so that works out well, then. Good night.
XANDER
Uh, Nancy...
The ground is rumbling and shaking.
XANDER
I just got a swell idea... run!
The glass in the front door shatters in toward them. Nancy screams. They run further into the building down the hallway. Floor tiles are shattering and bursting up from the ground behind them as they flee. Finally, they go up some stairs at the end of the hallway and fall to the ground. The monster bursts forth from the floor in front of the stairs. It's a long, pink, cylindrical, and slightly phallic-shaped creature with four jaws full of sharp, pointy teeth. It's roaring and screeching and its jaws are snapping as it lunges for Xander and Nancy. They wait it out together, and finally, it retreats into the ground.
XANDER
You OK?
NANCY
I just...
XANDER
Dumb question. Are you injured? Are you hurt?
NANCY
I don't think so. I just—I don't think I can take any more of this.
XANDER
Two attacks in the same night. I'm starting to think it's not coincidence.
NANCY
Oh, sure. Why not? A monster trying to kill me. It's just the thing that was missing to make my life absolutely perfect. Uhh! Ronnie would love this. Boy!
XANDER
Right. Who's Ronnie?
NANCY
Oh, um, only my psycho ex-boyfriend that I've been trying to get rid of for the past few weeks. I almost prefer the monster. Ronnie was, um... trouble.
XANDER
Uh-huh. And I'm just curious. Was this Ronnie guy a borrowing money kind of trouble or was he a raising demon trouble kind of guy?
NANCY
Ronnie? He couldn't. He just... "he was an abusive bastard" is the catchy headline. And he'd just show up, even after... you know the feeling that you get when your ex is constantly ruining every part of your life, and it just doesn't stop?
XANDER
Yes.
NANCY
And you get so tired of feeling helpless that all you can do is just wish that it would stop?
XANDER
Wish?
Cut to:
37 INT. BRONZE NIGHT CLUB - NIGHT
Anya, stirring her mixed drink, is sharing a table with a young woman she met at the club.
YOUNG WOMAN
And it's not the fact that he cheated, it's the way he cheated, you know? I mean, we could have talked. I could have handled it.
ANYA
Uh-huh. Uh-huh, I get it. Go on.
YOUNG WOMAN
You know what he is? He's spineless. Yeah, that's it. He's—he's like this spineless little pig. And you know what I wish?
ANYA
God, do I want to.
Fade to black.
ACT III.38 INT. BRONZE NIGHT CLUB - NIGHT
Resume.
ANYA
You were saying...
YOUNG WOMAN
Um, I want more quesadillas.
ANYA
Before that.
YOUNG WOMAN
A margarita.
ANYA
After that.
YOUNG WOMAN
Oh, yeah. God, my boyfriend's spineless, and he should just—you know, he should just be spineless for real.
ANYA
No spine. Got it. I can do that.
YOUNG WOMAN
What do you mean?
ANYA
See, honey, what I'm driving us towards here is sometimes, don't you just wish that— Oh, penis!
Sees that Xander has walked in with Nancy, Buffy, and Spike in tow.
XANDER
(to Nancy) Is this the one you talked to?
Nancy nods.
ANYA
(to young woman) I tell you what—why don't we put a pin in it? Why don't you get yourself a drink, and we'll pick it up in a few, OK?
Buffy, Spike, Xander and Nancy crowd around Anya's table while the other girl leaves.
ANYA
You guys, I am working here.
BUFFY
We noticed.
SPIKE
That's why we're here.
XANDER
Riiiight. Did you turn this nice lady's ex into a giant worm-monster?
ANYA
(laughs) Yes.
NANCY
No way. Are you saying that thing was Ronnie?
ANYA
You wish it, I dish it. I thought we were clear on this. I didn't think you were going to go all narc on me.
BUFFY
You wished your ex was a worm?
NANCY
Well, we were just talking.
XANDER
Anya has a way of making things happen.
ANYA
I had a quota; the guy had it coming. What's the big?
NANCY
I think I'm gonna be sick.
BUFFY
Anya, that thing you created burst through solid pavement and ate her dog.
ANYA
(squeaks) Ooh, puppy!
XANDER
Wait, that gets your sad noise? People's lives are in danger, and you give it up for the Yorkie?
ANYA
You never understood me, Xander.
NANCY
Xander, who is this woman?
XANDER
Anya, she's, um, Anya. My ex.
NANCY
Oh.
ANYA
Hey, nobody's bragging here.
Anya gets up from the table and starts to walk off. Spike steps up to her to stop her from leaving by grabbing her upper arms.
SPIKE
Ah, ah, ah...
ANYA
Hey, hands off the merchandise. Spike, you don't get to go there again.
SPIKE
Please. I've already forgotten about our little time together.
NANCY
I thought you were Xander's ex-girlfriend.
ANYA
I am.
NANCY
But you and Spike...
ANYA
Had a thing.
SPIKE
Didn't last.
NANCY
But weren't you Buffy—
SPIKE
Briefly.
BUFFY
Never serious.
NANCY
Is there anyone here that hasn't slept together?
Xander and Spike exchange a glance and then look away from each other too quickly. Spike rolls his eyes.
ANYA
Look, at least we're all bipeds, which is more than I can say for Ronnie, the worm boy.
BUFFY
OK, guys, can we focus here for just a second? Anya, this is Ronnie. OK? He wasn't a worm. (gestures three inches with her thumb and forefinger) Worms are like this big. (gesturing with her hands apart) This thing was like —
SPIKE
Sluggoth demon. Am I right?
ANYA
(sighs, rolls eyes) Maybe.
NANCY
Wait, I didn't wish for that. I mean, I don't even know what this whatchamacallit demon thing is.
SPIKE
Sluggoth demon. It's a very large, very nasty, natural predator who died around the crusades.
ANYA
Same phylum. It's not cheating, I just embellished.
XANDER
Well, you can un-embellish now.
ANYA
Bite me, Harris. I have rules to work with. Vengeance demon codes of conduct. But you'll never understand 'cause you're all still so... human.
Spike steps up to Anya and gets in her face.
SPIKE
I'm not. Demon, just like yourself, Anya. Now, you're gonna turn the spell around like a good little vengeance demon or I—- what?
Anya stares into Spike's eyes with a look of astonishment.
ANYA
Oh, my God!
SPIKE
What are you staring at?
ANYA
Oh, my God!
SPIKE
Right. Let's go.
Spike tries to walk away, but Anya grabs hold of his forearm.
ANYA
How did you do it?
BUFFY
Spike, what is she talking about?
ANYA
I can see you.
SPIKE
Nothing. Let's go. Got some worm hunting to do.
Spike tries again to leave, but Anya is being insistent.
ANYA
How did you do it?
SPIKE
Shut up.
ANYA
You shouldn't be allowed to.
SPIKE
Shut your mouth!
ANYA
I mean, how did you get it?
SPIKE
I said you shut up!
Spike punches Anya in the face with his free arm. She falls to the floor. Nancy leaves. Anya kicks Spike across the room. He lands on the pool table. When she gets back up again, she is in demon face. Spike is not.
ANYA
I am so gonna kick your ass.
Spike gets up off the pool table, fully ready to engage Anya in a fight.
SPIKE
Right, bitch. Round and round we—
But Buffy cuts him off by grabbing his arm and turning him to face her. He is in demon face now.
BUFFY
You haven't changed, Spike.
Buffy punches him in the face. He punches back. They continue to fight. Buffy is angry, and Spike is being an ass, goading her. He's not fighting back anymore.
SPIKE
Working out some personal issues, are we? (Buffy punches and kicks him). Hey, I guess this would be first contact since, uh, you know when. Ooh, up for another round up on the balcony, then? (She hits him again, and he lands on the floor; he laughs) Right you are, luv. I haven't changed. Not a lick. (He's in her face now.) And watching your face trying to figure me out was absolutely delicious.
XANDER
Buffy!
BUFFY
Not now, Xander.
XANDER
Nancy. She's gone. And out there all alone, she's worm bait.
BUFFY
I'll go find her. Stay with Anya. Get her to reverse that spell.
SPIKE
Hey, is that it? A little touchy-feely, and then you're off to the bat poles?
Buffy leaves the Bronze.
Cut to:
39 EXT. CITY STREET - NIGHT
Nancy is walking home from the Bronze alone on a deserted street.
NANCY
Freaks. Why do I always surround myself with freaks?
She hears a rumbling from behind her. The worm demon has found her and is closing in. The street behind her is rupturing from underneath, the asphalt is crumbling. It's getting closer now.
NANCY
Oh, God. Oh, God.
She tries to get into a building, but it's locked.
NANCY
Help! Somebody help me!
She climbs the fire escape ladder, she looks down, and the rumbling stops. She's relieved and tries to catch her breath. Then the building starts to shake, and the ladder starts to fall off the brick building it's attached to. Nancy screams.
NANCY
Oh, help me! Help me!
Buffy sees her from the rooftop and runs to her. Spike is also running along the rooftops behind Buffy.
Cut to:
40 INT. BRONZE NIGHT CLUB - NIGHT
Xander is talking to Anya.
ANYA
What do you want me to do?
XANDER
Reverse the spell.
ANYA
It's not that easy, Xander.
XANDER
You can do it.
ANYA
Yeah, sure, the spell part. What about me? I'm in enough trouble as it is. Halfrek's all over my case. D'Hoffrin is not pleased with my work. You don't want to see him angry. Trust me.
XANDER
Nice friends you got.
ANYA
Nice friends I had. Chums. Coworkers. Bridesmaids. Oh, I had the whole package until something fell apart. What could that be, Xander?
XANDER
You saying this was my fault?
ANYA
All I'm saying is none of this happened until you dumped me at the altar.
XANDER
And sooner or later, Anya, that excuse just stops working.
Cut to:
41 EXT. CITY STREET - NIGHT
Nancy is still trying to climb the ladder. The worm demon makes another bang against the building's foundation, and Nancy falls off. Buffy swings in from the rooftops on a rope, catches Nancy, and lets go when they are over a cushioned place to land (flattened cardboard boxes). They are on the ground now. They walk around to assess the situation, but the worm demon comes up out of the ground next to Buffy. She's about to attack it when Spike lands behind her and rips a pipe off the wall.
SPIKE
You've had your turn, luv. Leave the real violence to the demons, yeah?
He rears back with the pipe in hand and beats the worm demon with it.
SPIKE
That's right. Big bad's back, and looking for a little death!
Then he steps back dramatically, holding the pipe like a deadly spear and plunges it into the worm demon right as it turns back into the naked, vulnerable human, Ronnie. Ronnie and Spike scream. Spike clutches his head, and then has a look of horror on his face realizing what he has inadvertently done.
Fade to black.
ACT IV.42 EXT. CITY STREET - NIGHT
Resume.
RONNIE
Ow!
SPIKE
(sincerely) I'm sorry.
Spike cocks his head and removes the spear from Ronnie. Buffy runs to Ronnie's aid with a blanket. Spike holds the spear with both hands and looks at it, talking to himself.
SPIKE
Right. Wrong. All wrong. Wrong maneuver. Not hardly helpful.
Nancy walks over to Ronnie.
SPIKE
God, please help me. (screaming, to Buffy) Help me!
BUFFY
You're not the one who needs help. He's going into shock.
Buffy dials 9-1-1 while Spike mumbles under his breath.
SPIKE
No. No. Too much. Too much. Too much. Too much. Too much. Too much. Too much. (more inaudible rambling) ...inside me all the way.
BUFFY
(into phone) Yeah, I need an ambulance. Someone's been stabbed. (pause) Oh, God, uh, corner of Third and Fairview. (to Ronnie) OK, help is coming. Try not to move.
Spike taps his chest.
SPIKE
Deep, deep, deep inside me.
BUFFY
Look, Spike, whatever you're doing—
SPIKE
(addressing someone who's not there) Get away. Get. Uhh—
BUFFY
Do it somewhere else. I am through with this.
SPIKE
Oh, oh, lucky girl. Call it quits. Now, there's an option. If only it were so easy. If only— If only— If only— (addressing someone who's not there) What the hell are you screaming about? I can hear you. No need to (screams) SHOUT!
While saying shout, Spike's voice and face change into a scream of agony; he's bends over in pain. He stands up and laughs, still holding the pipe.
SPIKE
I get it. The joke's on me. Lots of laughs. (twirling the pipe slowly, like a baton) Yeah. Hey, bring the wife and kiddies. Come see the show 'cause it's going to be a circus. This... (walks toward Buffy and kneels in front of her) just the beginning, luv. A warm-up act. The real headliner's coming, and when that band hits the stage, all of this... (stands up and gestures to the buildings around them) all this... will come tumbling in death and screaming, horror and bloodshed. (points to Ronnie) From beneath you, it devours. From beneath... (starts to cry, and looks away) Poor Rocky.
Spike is all choked up. At first, he's crying but then starts to gag. He runs away down the alley, leaving Buffy there with Ronnie and Nancy. Xander comes running to them, and Anya is following, sauntering slowly.
XANDER
Buffy!
NANCY
You. You did this. What are you?
Nancy sighs and walks away. Buffy takes off her jacket and folds it up into a pillow that she puts under Ronnie's head.
XANDER
She's not calling me.
Buffy stands and hands Xander her cell phone.
BUFFY
OK. Help is on the way. Look after him.
Buffy runs off down the alley after Spike.
XANDER
Where you goin'?
Anya, frowning, steps toward Ronnie.
XANDER
You did the right thing here.
ANYA
Tell him that.
XANDER
You reversed the spell. It took guts. I know this is bad, but it could be worse.
ANYA
Oh, it will be.
Cut to:
43 EXT. CEMETERY - NIGHT
Buffy is walking through a moonlit cemetery alone, looking around for Spike. She sees the chapel, with lanterns lighting the front door. She heads toward it.
Cut to:
44 INT. CHAPEL AT CEMETERY - NIGHT
An oval painting on the wall is lit with moonlight streaming into the small chapel. It appears to be a medieval painting of Mary holding baby Jesus and standing in front of a fringed white drape. Zoom down to Buffy walking through the front door. The chapel is set up with a dozen wooden pews arranged on either side of a central aisle. There is a large, simple, gothic crucifix at the front of the chapel that can be seen by looking directly down the central aisle. Buffy looks around. There are three stained glass arched windows on each sidewall of the chapel. She walks forward and jumps when Spike speaks to her from the shadows behind her.
SPIKE
Hello.
BUFFY
What the hell are you—?
Spike is bare-chested, holding his shirt out to her.
SPIKE
It didn't work. Costume. Didn't help. Couldn't hide.
BUFFY
No more mind games, Spike.
Spike is looking down at the ground even though he is standing right in front of her.
SPIKE
No more mind games. No more mind.
Buffy reaches for his chest, where the scars seen in episode 7x01 "Lessons" are healing.
BUFFY
Tell me what happened to you.
Spike flinches, recoils violently, and looks her into her eyes.
SPIKE
Hey, hey, hey! No touching. Am I flesh? Am I flesh to you? Feed on flesh. My flesh. Nothing else. Not a spark. (nods) Oh, fine. Flesh then. Solid through. (starts unzipping his pants) Get it hard; service the girl.
Buffy is disgusted and smacks his hands away from his pants.
BUFFY
Stop it!
Spike reflexively reaches up and grabs her by the throat. Buffy grabs his shoulder and throws him across the room. Spike lands on top of some pews, breaking them into pieces. He sits up a little, propped on his elbows behind him.
SPIKE
Right. Girl doesn't want to be serviced. Because there's no spark. Ain't we in a soddin' engine?
Spike's looking around the room. Buffy walks over to him.
BUFFY
Spike, have you completely lost your mind?
SPIKE
(lucidly) Well, yes. Where've you been all night?
BUFFY
You thought you would just come back here and... be with me?
SPIKE
First time for everything.
BUFFY
This is all you get. I'm listening. Tell me what happened.
SPIKE
I tried to find it, of course.
BUFFY
Find what?
SPIKE
The spark. The missing... the piece that fit. That would make me fit. Because you didn't want... (starts to cry) God, I can't... Not with you looking.
Spike stands and walks away to a nearby window. He stands there, mostly in shadow, his body directed away from her. He looks back over his shoulder at her.
SPIKE
I dreamed of killing you.
Keeping an eye on him, Buffy bends down to pick up a large splinter from the broken pews at her feet to use as a stake, if necessary. Spike starts pacing.
SPIKE
I think they were dreams. So weak. Did you make me weak, thinking of you, holding myself, and spilling useless buckets of salt over your... ending? Angel—he should've warned me. He makes a good show of forgetting, but it's here, in me, all the time. (walks around toward her from behind) The spark. I wanted to give you what you deserve, and I got it. They put the spark in me and now all it does is burn.
Buffy's face shows shock, disbelief and, finally, comprehension.
BUFFY
Your soul.
SPIKE
(laughs) Bit worse for lack of use.
Buffy turns to face him.
BUFFY
You got your soul back. How?
SPIKE
It's what you wanted, right? (looking at the ceiling) It's what you wanted, right? (presses his fingers to his temples, looks down, and walks toward the altar). And—and now everybody's in here, talking. Everything I did...everyone I— and him... and it... the other, the thing beneath—beneath you. It's here too. Everybody. They all just tell me go... go... (looks back over his shoulder to Buffy) to hell.
BUFFY
Why? Why would you do that—
SPIKE
Buffy, shame on you. Why does a man do what he mustn't? For her. To be hers. To be the kind of man who would nev— (looks away) to be a kind of man.
Spike walks toward the 6-foot-tall crucifix altarpiece at the front of the chapel. Sounds like he's quoting something.
SPIKE
She shall look on him with forgiveness, and everybody will forgive and love. He will be loved.
Spike's standing only a foot away from the crucifix, staring at it.
SPIKE
So everything's OK, right? (sighs)
Spike embraces the crucifix, resting one arm over each side of the cross bar, and resting his head in the corner of the vertex. His body is sizzling and smoke is rising from where it touches the cross.
SPIKE
Can—can we rest now? Buffy...can we rest?
A close-up of Buffy's face shows that she is crying now. From where she stands, Spike's exhausted body hanging limply on the cross resembles Jesus (except the view is of Spike's back).
Blackout
