August 2, 2002 (WHITE)
Written by: Douglas Petrie
Directed by: Nick Marck
A deserted TOWN SQUARE. Modern, fairly urban - tattered German text
posters for local rock bands cling to brick walls. We hear the wail of
POLICE SIRENS as a lone unmarked car splashes through the square, its
headlights casting stark shadows.
The car passes. We hold on a young (fifteen-ish) PUNK GIRL. Pressed up
against a brick wall, behind some garbage cans, just barely out of sight.
And despite her leather jacket, nose rings and pink hair - she looks
FADE IN SUBTITLE: FRANKFURT
The girl scans the square.
We see her P.O.V. The square is empty. Summoning her courage, the girl
emerges from her hiding place and walks quickly across, looking over her
She keeps walking, her clattering footsteps the only sound echoing in
the square. We see how young and innocent her face is, illuminated by
street lamps. Then slowly, suspicious, she stops walking ...
But the sound of footsteps keeps coming.
The girl does not turn back. Instead, looking straight ahead, she sees
the nightmarish image of two SHADOWS cast upon the wall before her.
Looming large - and running her way. She gasps - and RUNS. She's fast.
ANGLE ON: A homeless DRUNK, nursing his bottle of cheap booze in a
paper bag, nearly gets run over by the fleeing girl.
A deserted TOWN SQUARE. Modern, fairly urban - tattered German text posters for local rock bands cling to brick walls. We hear the wail of POLICE SIRENS as a lone unmarked car splashes through the square, its headlights casting stark shadows.
The car passes. We hold on a young (fifteen-ish) PUNK GIRL. Pressed up against a brick wall, behind some garbage cans, just barely out of sight. And despite her leather jacket, nose rings and pink hair - she looks terrified.
FADE IN SUBTITLE: FRANKFURT
The girl scans the square.
We see her P.O.V. The square is empty. Summoning her courage, the girl emerges from her hiding place and walks quickly across, looking over her shoulder.
She keeps walking, her clattering footsteps the only sound echoing in the square. We see how young and innocent her face is, illuminated by street lamps. Then slowly, suspicious, she stops walking ...
But the sound of footsteps keeps coming.
The girl does not turn back. Instead, looking straight ahead, she sees the nightmarish image of two SHADOWS cast upon the wall before her. Looming large - and running her way. She gasps - and RUNS. She's fast.
ANGLE ON: A homeless DRUNK, nursing his bottle of cheap booze in a paper bag, nearly gets run over by the fleeing girl.
But he stops himself short as two ROBED FIGURES, not fully seen, run after the girl. The drunk stares, frightened.
ANGLE ON: An ALLEY. The girl turns a corner, fast. The men in robes follow fast behind.
The girl stops. She's got moves - or at least, a strong instinct for survival.
She grabs the first robed man as he rounds the corner, yanks his arm hard up behind him, and sends him SMASHING face-first into the second robed man.
They hit the ground. She turns to run - but one of the robed figures REACHES OUT from where he lies - and just manages to snag Punk Girl's ankle.
Running, she trips and FALLS - hard on the pavement, splashing painfully into a shallow puddle. She turns, quickly, looking up to see:
The two robed figures are now standing, looming above her and they pull from within their robes CEREMONIAL DAGGERS.
Her eyes go wide with fear - she holds up her thin white hand to protect herself - and we go over to the brick wall behind her to see SHADOWS -
A sickening shadow play of the robed figures STABBING into the girl again and again without mercy.
When, as suddenly as it started - it stops. The shadow figures stand upright, looking down.
Coming off the shadows, we move in on the girl's dead face. And even though she is clearly dead, flecks of blood freckle her cheeks, her mouth opens and an incongruously DEEP VOICE echoes out of her:
From beneath you, it devours ...
AND CUT TO:
INT. BUFFY'S (FORMERLY JOYCE'S) ROOM - NIGHT
DAWN. Looking directly at us, yelling to be heard:
Buffy - Buffy - BUFFY!
We reveal that we are now in Buffy's bedroom. BUFFY sits upright in bed, sheets still around her, as Dawn, gripping her by the shoulders, tries to get her attention.
Buffy slowly re-orients herself, "sees" Dawn.
I heard screaming.
They exchange a look.
Buffy rises, looks out her window.
And they're qonna die.
Dawn joins Buffy by the window, also looking out, but while Buffy stares into space, Dawn can't see any danger. So Dawn shuts the window.
Okay! Vision break. It's all too
cryptic to figure out in one night
anyway. Let's go downstairs and I'll
make you a nice cup of tea.
Dawn leads Buffy out of the bedroom, talking as she goes.
You know we can never tell Giles
about the tea thing, right? I think
he'd like, crack in half or
But Buffy pauses, turns back, looking out the window.
"From beneath you ..."
She shakes it off, unable to figure it out, and follows Dawn out the door
EXT. SUBURBAN STREET - NIGHT
Outside, at night, we move down through the trees to find a quiet suburban Sunnydale street. Establishing. Not a car in sight. When we hear a deep rumbling sound. Growing louder, coming this way ...
We see, beneath the earth, something BIG (not the something itself, but the wake it leaves behind it) - BURROWING its way through the soft grassy ground, displacing earth and grass as it plows along.
It reaches the sidewalk and keeps going - SMASHING its way through the asphalt, sending cement buckling. Whatever it is it is seemingly unstoppable, heading our way.
With a horrible gurgling roar, it descends back down into the earth and disappears, leaving only the path of destruction and the quiet night behind ...
INT. SCHOOL BASEMENT - DAY
Moving along the condensation-dripping walls of the dank Sunnydale High
basement, we come upon - a RAT. And we hear:
Moving along the condensation-dripping walls of the dank Sunnydale High basement, we come upon - a RAT. And we hear:
No no no no no no no ...
We see SPIKE come into frame, eyeing the rat hungrily, stalking ... Spike's looked better. Bags under his eyes (which stare wildly) hair grown-out and crazy in all directions, clothes smudged and dirty. He wants that rat.
Now is not the time, you know it, I
know it, making them understand - a
totally different matter.
He's getting closer, moving stealthily, ready to pounce...
No manners, is the problem, proper
breeding, respect for etiquette, all
of it lacking...
He slows, looking around...
All of it lost on 'em ...
And he stops rambling for a second, hearing something coming. And he becomes, just for a split-second, totally coherent.
The rumbling continues, growing louder, coming this way.
Not the time. Not hardly ready...
The rumbling grows even louder. Pipes shudder and shake.
Spike winces in agony as the sound grows. He looks beneath him, stepping as if on a hot surface, trying to avoid the ground, but of course unable to. He stops, pleads with someone who is not there.
Please, mum. Begging now, make it
stop. Make it ... God ...
Spike drops to his knees, in pain, still clutching the side of his head. He wraps his arms around his skull, trying in vain to block out the noise, but cannot. He wails ...
And Spike's pain rises along with the rumbling. Everything in the cramped basement space is shaking now, like an earthquake is coming. Spike raises his head and SCREAMS out loud to the heavens above, his voice almost matching the rising roar in volume as we cut to...
EXT. STREET - DAY
We see Xander, dressed like a grown-up (jacket and coolly loose-fitting tie) driving Buffy (shotgun) and Dawn (backseat) to school.
'Cause, seriously, just speaking for
all the people who are me in the car?
We're very excited.
A moment passes between Buffy and Xander - she looks to him, struck by the sincere compliment. He keeps driving.
Days gone by, huh?
INT. BUFFY'S OFFICE - DAY
PRINCIPAL WOOD walking out from behind Buffy's spanking-new DESK, situated in the middle of her NEW OFFICE (A glass partitioned semi-cubicle fitted into an alcove off the main section of the Principal's Office; it has a full view through the glass of the hallway outside, and the STUDENTS passing through it on their way to class). The Principal is in mid- orientation ...
We'll sort of feel our way along.
Some students will be sent to you and
I'm hoping others will start to come
on their own.
A beat, then.
Okay, then. I think that's pretty
much it; you got your phone, your
desk, and I've imparted all the
wisdom I can for one morning.
He turns to go.
Right. I'll just ... come to you
with questions when they come to me
Long pause as Principal Wood looks at Buffy like she's grown a second head. Then he smiles.
Think you're qonna fit in just fine.
Is there something else?
He awaits an answer. Buffy's taken aback - but recovers, smiling.
Nothing I can think of.
TWO KIDS and a TEACHER enter the office area. The Teacher looks weary. The boys look like they've been fighting.
If you'll excuse me. First catch of
the day. Be in my office if you need
She trails off as he enters his office with the two boys, shutting the door behind him.
... all schoollike.
A beat, then her expression hardens. She heads out.
INT. SCHOOL BASEMENT (SPIKE'S LIVING AREA) - DAY
Back in the basement. The door to Spike's small living area slowly opens. Buffy enters, slowly, cautiously, looking around.
We see Buffy's P.O.V. It's dark and dank and drippy. Plenty of places to hide; plenty of places from which someone could jump out at her.
Buffy walks all the way in as the door begins to slowly close behind her, unnoticed. That is, until it CLOSES with a loud echo. Buffy lumps a bit, but shakes it off.
She keeps exploring the dank space. Looks around.
But the place is completely empty. Not a single trace of Spike. Buffy stands alone in it, confused...
As we hear a small, panting sound ...
EXT. SUBURBAN STREET - NIGHT
And cut to a panting little SHIH-TZU DOG, padding along the suburban sidewalked street, being walked by its owner, an attractive young woman named NANCY.
Rocky! Come on, baby, do your
business, I want to get home.
The dog keeps trotting away on its RETRACTABLE LEASH, looking for a spot to pee. Nancy sighs.
Come on, baby ...
I coulda gotten a cat, but no ...
We see the dog trot out to the end of its leash.
See Nancy standing alone, waiting ...
There is a small, almost imperceptible JERK on the leash line as we hear a small "yip" from the dog's direction.
And Nancy looks over ...
And we see her P.O.V.: The leash line ends, not with a cute little puppy on the other end, but instead, sticking in a hole in the ground. Just stuck there. An odd tableau.
Nancy doesn't move, just watches, a bit struck by the strangeness of this vision ...
When BOOM! Nancy gets suddenly and violently JERKED off her feet by a mighty TUG on the end of the leash line.
She hits the sidewalk in a full-body dive, hard.
From the ground, Nancy looks up - just as she gets PULLED along the sidewalk, hard and fast, painfully.
Nancy's P.O.V.: She is getting pulled toward a CRACKED HOLE IN THE SIDEWALK, where the leash is getting sucked in, faster and faster, momentum building.
Nancy tries, but cannot get her hand un-stuck from the plastic leash holder as she keeps getting dragged forward ...
She gets pulled closer to the hole in the ground when suddenly SOMETHING ERUPTS from out of the sidewalk pavement. We hear a horrible ROAR.
We do not see the creature, but Nancy does. She SCREAMS, crawling back as fast as she can, managing to remove her bloodied hand from the leash holder just in time.
And she gets up. Pauses in horror to hear the sounds of BONES CRUNCHING beneath the ground. That's enough for her - she turns and RUNS -
And SCREAMS again, having just run into ...
Uh ... Hello.
And we cut to:
INT. BUFFY'S LIVING ROOM - NIGHT
Nancy, looking traumatized, her hand bandaged, holds a steaming cup of tea as she sits on Buffy's couch. She's mid- story.
... And whatever it was, it was big.
And strong. Stronger than... I mean
I don't know how it's possible. You
hear things, in this town, living in
Sunnydale, but no one actually
believes them - you'd have to be
crazy, and ...
...And you all think I'm crazy,
We see she is talking to Xander, Buffy and Dawn.
He gives her an understanding nod. Then when she looks away, mock-smacks his own forehead.
So you say this thing just came up
out of the ground? No signs, or
warning of any kind?
Buffy nods, turns to Nancy.
We're going to get into this. And if
your dog's alive, we'll find him. I
promise. The only thing we need ...
And Buffy is cut off by a suave off-screen voice that's vaguely familiar, even if the tone is not.
What you need is help.
Buffy, Xander and Dawn all look to see:
SPIKE. Standing in the living room by the French doors, having entered unnoticed.
He's looking cool, calm and collected. Well dressed, hair neat and platinum once again, well-groomed in a mod-ish kind of way, and not incidentally, looking on the studly side.
Not even a little bit crazy. Just the opposite, It's totally together Spike.
Fortunately ... you've got me.
And off Buffy's stunned reaction, we blackout.
INT. BUFFY'S LIVING ROOM - CONTINUING
Right where we left off: Off Buffy's face. She's looking right into the
eyes of Spike, who's standing in the doorway.
Right where we left off: Off Buffy's face. She's looking right into the eyes of Spike, who's standing in the doorway.
ANGLE ON: Xander, Dawn and Nancy looking on.
Who is that?
Xander rises to stand closer to Spike, "protecting" Buffy.
She stares hard, arms folded.
Now what do you want?
He makes eye contact with the glaring Xander.
... You'd be wrong.
Buffy looks back to Dawn and Nancy on the couch ...
You said something about "quick?"
Dawn comes over.
Xander and Dawn exchange looks. Then look to Buffy.
Buffy pulls Spike aside, out of the living room and into the foyer where they speak closely, a bit more intense. Xander and Dawn return to Nancy.
Don't start out by saying you're
Buffy shifts, eyeing Spike hard, but paying attention.
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.
If I'm wrong - say so. Lovely. No
hard feeling. I go out that door and
you can lock it behind me with any
spell you like. So.
Am I wrong?
Buffy regards him a long time.
Everything about you is wrong, Spike.
Spike nods, taking it in. Without a word, he turns to go.
But something is coming.
Spike awaits her response. And off Buffy's uncertainty, we cut to:
EXT. ENGLAND - DAY
WILLOW is seated in the doorway of the old stone house we saw in episode one. Coat on, bags packed. Giles joins her.
Your cab is here.
She doesn't move. Pause.
And in keeping with quaint old
British tradition, you'll now be
expected to get in it.
Again, the horn honks.
That's your fear talking.
The taxi's horn honks. Giles motions for the taxi to wait.
Try to be very specific. What is it,
exactly, you're afraid of?
Beat as Willow really takes this in.
Well ... sure. I mean you put it
that way - duh.
INT. BUFFY'S LIVING ROOM - NIGHT
Buffy stands in the center of the living room, issuing orders.
(as she works)
We're gonna split. Two pairs.
Whatever this creature is, it's
burrowing through solid ground. That
means a kind of strength and power we
don't usually deal with. But we may
have to yet used to, now that the
Hellmouth's getting all perky.
Nancy pulls Xander aside.
Shouldn't we call the police?
I'll stop interrupting.
And took your dog. Which means it
could have been lured. By scent,
rhythm of motion ... what's your
Spike nods re-assuringly. Nancy smiles at Spike. No one else does. Buffy continues:
Xander. Take Nancy home. Drive,
don't walk and try not to stop 'til
you get there.
Xander looks to Dawn. She indicates he's got something at the corner of his mouth.
Xander takes Buffy aside, speaking privately.
Buffy, in the biggest way, I am not
loving this plan. I'm not loving
Spike. He ...
He tried to rape you.
Xander hesitates, wanting to say more, but stops himself off Buffy's look. Conversation ended.
Let's patrol. Xander's taking Nancy home.
They get up to go. Dawn motions to Spike.
Dawn stops Spike at the door on his way out. Takes him aside.
You sleep, right?
He looks quizzical. Strange question.
You, Vampires. You sleep.
Spike starts to reply. Dawn's glare continues, unbroken. Spike gets it
EXT. SUBURBAN STREET - NIGHT
A flashlight's beam crawls along a stretch of sidewalk. We see BUFFY and Spike walking along the Sunnydale street (the site of the attack on Nancy's dog). Spike walks ahead of Buffy, looking all business. Buffy straggles a few paces behind, holding herself, looking unsure - vulnerable.
You're awfully quiet.
She stops, staring at him. He stops too.
What are you doing?
We reveal they've come upon a patch of sidewalk that looks like it's been exploded outward from the ground up.
How'd you guess.
They move forward. Buffy takes her flashlight and points it downward into the burst-open patch of pavement. Spike looks within.
Don't fancy sticking my head in that.
Spike looks back at her. Right. He leans in, investigating the gaping hole as they speak.
So, what happened to you?
Spike's P.O.V.: beneath the ruble, there lies a large, dark HOLE, sporadically illuminated by the flashlight. No telling how deep it goes.
You saw yourself. Those ghostly
types down in the school basement got
in my head. Made me flat-out, bug-
shagging crazy. And I'm not exactly
bragging about it, but they were
... stronger than I was. Made me see
things. Do things.
And Spike suddenly stops, turns back to Buffy, genuinely curious:
And how come you didn't tell anyone
you saw me?
But she does not move.
He reaches out for the flashlight. Buffy hands it to him, and in that moment their hands TOUCH. And the second that happens, we FLASH TO:
FLASHBACK (STOCK) Season Six, Episode Eighteen - in the bathroom, quick-cuts of Spike as he attempts to RAPE BUFFY.
As quickly as it started, we FLASH BACK TO:
Buffy STARING at Spike, still holding her flashlight. Spike looks back to her. Knows something's wrong. Long pause. Neither moves nor speaks awhile.
This isn't ... our working together's
not going to get us back together.
If that's what you want.
Spike addresses Buffy directly.
Neither do I. I can't say "sorry"
and I can't use "forgive me." All I
can tell you, Buffy, is I've changed.
That stops her.
There is. But we're not best friends
anymore, so too bad for me - I'm not
He steps away from the site, standing, wiping his hands on his pant legs.
We've been through things. The end
of the world and back. I can be
useful, because honestly? I've got
nothing better to do. Make use of me
if you want.
And there's nothing here. Bit of
slime, mounds of displaced dirt and
such. Whatever our beastie is -
Spike walks past Buffy She stands immobile, her face sad and unsure what to do with Spike ...
INT. APARTMENT ENTRANCE - NIGHT
Nancy opens the front door to her apartment complex, leading Xander into the main hallway. They are in mid-conversation.
(PRODUCTION NOTE: This is the main apartment entrance, a small hallway with apartment doors on each side, and a stairway at the end of this hall).
... still kinda hard to believe this
is happening, even with this town's
reputation for, you know, unexplained
Xander smiles. They hesitate. A little spark-age growing between them ...
Well ... thanks.
And that's a couple levels of
lameness right there, isn't it? Me
saying "thanks," after all you've
done tonight ...
They have that awkward shuffle people have when they're not ready to hug yet, then Nancy turns to go.
He watches her take a step - then stop - just as a RUMBLING sound grows, becoming louder...
Uh, Nancy ...?
The hallway lights FLICKER.
I just got a swell idea.
And just then, the glass in the door behind Xander SHATTERS as the rumbling grows deafeningly loud. The wood of the doorframe SPLINTERS and the floor beneath them buckles - furrowing in a deadly straight line heading their way.
Something is plowing through the ground - chasing them.
Xander grabs hold of Nancy and together they RUN the length of the floor, heading for the stairs. The tiled floor buckles as something big BURROWS its way toward them, a subterranean ROAR growing as it comes.
They run fast - it burrows faster. Tiles buckle and crack as the wave rushes toward them.
Xander gets to the STAIRS and pushes Nancy up the first few steps, following right behind her. The burrowing creature BURSTS UP through the hallway floor - and we get our first good look at it.
It's a giant, eyeless, overgrown WORM CREATURE (all mouth, teeth, and very little else) with multiple rows of razor sharp teeth. It rears up out of the ground, and lunges, getting close to Nancy.
But the creature cannot follow up the steps or rise up any further out of the ground - with a bone-rattling roar of fury and desperation, it disappears back into the floor.
And slowly, silence returns. Xander and Nancy, both breathless and freaked out, check each other.
Nancy cries, unable to handle this.
Dumb question. Are you injured? You
They both look out to the shattered hallway floor.
Ronnie? He couldn't - I mean, he was
just... He was an abusive bastard, is
the catchy headline. And he'd just
show up, even after...
You know the feeling when your ex is
constantly ruining every part of your
life and it just doesn't stop?
Xander closes his eyes and sighs ...
But then I realized, it's my life,
not his, why'd I ever let him ...
Off Nancy's confused look, we cut to:
INT. BRONZE - NIGHT
ANYA, sitting in the bronze, sipping on a straw and listening with great interest as a YOUNG WOMAN talks non-stop ...
... and it's not the fact he cheated
on me, it's the way he cheated, you
know? I mean, we could have talked,
I could have handled it ...
She sips greedily on her straw, awaiting the answer ...
Looks like the Vengeance Demon is back in business.
INT. BRONZE - CONTINUING
Where we left off: close on Anya as she drinks her drink and nods her
head, listening to the young woman - just as the Young Woman gets jostled
by a PASSERBY, distracting her:
Where we left off: close on Anya as she drinks her drink and nods her head, listening to the young woman - just as the Young Woman gets jostled by a PASSERBY, distracting her:
... You were saying.
The Young Woman looks confused as Anya interrupts herself seeing she is now surrounded by Xander, Buffy, Spike and Nancy.
Confused, the Young Woman walks away, leaving the annoyed Anya to be surrounded by her former friends.
You guys - I'm working here.
Spike grabs Anya's wrist, roughly.
Ow! Hands off the merchandise - you
don't get to go there again, Spike.
Spike and Xander barely glance at one another.
Well at least we're all bipeds, which
is more than you can say for Ronnie
the worm boy.
Spike gets deadly calm.
I'm not. Demon like yourself, Anya
. Now you turn this spell around like
a good little Vengeance Demon, or I
As Spike speaks, Anya's jaw nearly drops. She looks at him like he's some object of fascination.
Oh my God ...
But Anya can't stop staring at Spike.
Oh my God ...
Spike rises, but Anya holds his arm.
How did you do it ... ?
And Spike, unable to free himself from Anya, hauls off and PUNCHES her in the face. Anya goes down hard, up-ending the table, crashing on the floor.
Spike wastes no time taking full advantage - he leaps upon the prone Anya and shockingly RAINS BLOWS down upon her. Really wailing.
Anya BACKHANDS Spike off her and rises to her feet - in full DEMON FACE. Breathing heavily, pissed off.
Spike crashes into the pool table, gets his bearings, grins.
And (unseen by the others) Nancy freaks - physically recoiling from the violence, she turns and splits, bumping into some Bronzers on her way out, not stopping ...
Right, bitch. Round and round we ...
But before Spike can lunge at Anya, Buffy grabs Spike by the collar and yanks him back, hard. He whips his head round to face her directly - and we see he's now in full VAMP FACE.
You haven't changed, Spike.
He shoves her. She punches him. He punches her back. And Buffy goes nuts. She launches a left-right-hook combination and punctuates it with a roundhouse kick to the head. As she does so, Spike SPEAKS, almost smiling:
Ooh, working out some issues, are we?
Guess this'd be first contact since
you-know-when ... up for another
round in the balcony, then?
Enough. Buffy hits Spike hard enough to send him down hard. Spike gets to his feet, all piss and swagger, facing Buffy and wiping the blood from his mouth.
Right you are, Love. I haven't
changed, Not a lick.
He saunters forward, daring Buffy to hit him.
Not a slap, not a tickle, not one
juicy bit. I'm the same, baby, head
to toe, the man you loved and hated,
slept with and moaned over. And
watching your face trying to figure
me out was absolutely delicious.
He's gotten close enough. Buffy backhands him with a closed fist, whipping his head sideways. And he comes right back.
Love the taste.
Angle on Xander, who's scanning the Bronze ...
She's gone. And out there alone,
she's worm bait.
Buffy exits. Spike follows after.
Is that it?!? A little touchy-feely
and then you're off to the batpoles?
Anya, back in human face, watches Spike, appalled. Xander stands beside her. Spike saunters past, styling ...
Well what the hell? I want to play,
He grabs a drink off a nearby table without looking, downs it, grins at Anya - and rushes out, following Buffy.
He goes. Xander watches him go, turns back to Anya.
Anya, we ...
EXT. MAIN STREET SUNNYDALE - NIGHT
We see Nancy, walking quickly down a Sunnydale street alone, obviously upset.
Freaks. Why do I always surround
myself with ...
But she trails off, hearing a slowly growing RUMBLING sound, coming from behind her. Nancy slows, stops - turns.
Oh, God ...
We see what she sees: far down the street, some tarmac erupts, and a line burrows itself in her direction, coming this way and gaining speed.
Oh, God ...
Nancy turns and RUNS. She crosses the empty night street, making her way to a STORE.
Its door closed, she makes it to the door, grabs the handle and TUGS with all her might. Locked.
The burrowing line is coming right toward her. And a subterranean ROAR can be heard as well, growing ...
Nancy bolts from the door, running to the other side of the street, searching for another way out. She gets to another store's door - and the burrowing line CHANGES DIRECTION, following her.
She tries the second door, locked.
Help! Somebody HELP ME!
She spots a FIRE ESCAPE LADDER. Bolts for it. The street buckles behind her, hot on her heels. Nancy makes it to the fire escape ladder and begins to climb.
The burrowing creature below her disappears beneath the pavement. Nancy, holding onto the ladder's rungs, closes her eyes and breathes a sigh of relief ...
When - BOOM! - the entire building SHUDDERS under some terrible impact. Nancy looks down to see the store is being RAMMED from below - and the ladder's rivets screwing it into the side of the building begin to shake loose ...
EXT. ROOFTOPS - NIGHT
Buffy runs along the rooftops at night, trailing the straight line of destruction in the street below her. We follow along with her as she runs from rooftop to rooftop.
She passes out of frame, eyes filled with purpose.
And Spike (no longer in Vamp-Face) enters behind her, unseen by BUFFY, following, having fun, playing like a black cat in the night ...
You know this has to stop.
INT BRONZE - NIGHT
We pick up Xander and Anya, the two of them having found a more or less secluded section of the Bronze to talk.
Don't think you can tell me what to
do, Xander. You're not a part of my
life anymore, remember?
This clearly affects Anya, but she steels herself:
Not my problem.
Beat. Xander lets Anya sit with it.
What do you want me to do?
He's right and she knows it. It doesn't make her comfortable. And on her face we cut to:
EXT. STREETS - NIGHT
Nancy clings to the ladder as best she can as the building continues to shudder. One last BOOM! sends the entire side of the building rocking and Nancy loses her grip.
Screaming, Nancy FALLS.
The pavement below her BURSTS OPEN and we get a FULL VIEW of the Sluggoth Demon as it RIPS out from beneath the pavement.
Its giant hole of a mouth opens, revealing its multiple rows of teeth. Nancy screams - just as BUFFY appears, swinging on a telephone line, spewing sparks out of its ripped-off end.
Buffy CATCHES Nancy, Errol Flynn-style.
Together, the two of them swing back up, out of harm's way, when Buffy lets the sputtering cable go before they ground themselves ...
They land hard, Buffy absorbing most of the impact.
Before Nancy can fully recover, Buffy springs to her feet, turns, and rushes.
Buffy rushes the demon, which BURSTS AGAIN from out of the pavement. It SNAPS at Buffy. She leaps back, its massive jaws just missing her.
The monster pulls under the ground, lightning fast, then BURSTS UP and SNAPS again.
Again, Buffy's a split-second too fast for it. She prepares to lunge again when SPIKE appears beside her, looking all rough and tumble, breaking off a piece of storefront grating.
You've had you're turn, luv.
Spike HITS the Demon with the pipe, using it as a bat.
Leave the real violence to the demons, yeah?
Spike rears back with the piece of pipe like a makeshift spear ...
That's right! Big bad's back, and
looking for a little DEATH-
Buffy and Nancy watch as Spike RAMS the pipe forward, into the Demon's body ...
Just as the Demon TRANSFORMS - back into the form of a human being. A man. RONNIE. Mid-twenties. Filthy, naked, and confused.
And Spike, unable to stop his momentum, STABS the helpless man STRAIGHT THROUGH his upper chest (through the SHOULDER area, not through the heart - painful not mortal).
Spike recoils in horrible chip-induced AGONY.
And on Spike's horrified, screaming, pain-wracked face in that instant, we blackout.
EXT. STREETS - CONTINUING
Where we left off. Spike's looking horrified - standing face to face
with the naked man (Ronnie) he's just stabbed through. Neither moves nor
speaks a moment. Impossible to tell who's more shocked. Spike speaks,
barely a whisper:
Where we left off. Spike's looking horrified - standing face to face with the naked man (Ronnie) he's just stabbed through. Neither moves nor speaks a moment. Impossible to tell who's more shocked. Spike speaks, barely a whisper:
And the quiet is ripped apart as Spike, a dumb child-like look on his face, PULLS the pipe out of Ronnie's shoulder.
Ronnie collapses in agony to the street. Spike doesn't move, he just looks down, bloody pipe in hand.
Right. Wrong. Wrong maneuver, not
hardly helpful. Christ, please help
He turns to Buffy, screams insanely loud:
Buffy pushes past Spike, pulling off her coat and pressing on her cell phone simultaneously
You're not the one who needs it.
He's going into shock ...
Buffy drapes her coat over Ronnie's now-shuddering figure, dials 911.
I need an ambulance. Someone's been
stabbed. Corner of Third and
Help is coming. Try not to move.
She looks up to Spike. He's a mess. Near tears, pressing his fist to his mouth, taking small steps back and forth but going nowhere, mumbling ...
Too much pain and damage, up close,
right inside me. All the way, deep, deep
inside me ...
He steps back from Buffy, bats away at the night air with his hands, as if repelling something invisible.
Do it somewhere else. I'm through
This last syllable, the word "shout," extends itself into a high-pitched expression of pain and anguish, nearly bringing Spike to his knees.
BUFFY watches, confused and unsure, still tending the victim.
And suddenly, Spike is back on his feet, laughing.
I get it, joke's on me, lotsa larfs.
Bring the wife and kiddies, come and
see the show, 'cause it's gonna be a
He struts madly, swinging the bloody pipe like he's Gene Kelly with an umbrella ...
With fire eaters, hoops and garters,
elephants and BLOOD.
Gallons. Oceans. Thundering
rainstorms of blood and death, waste
and filth, it will, I promise, never
ever stop and I'll be awake and
alive, eyes wide bloody open feeling
every pinprick. This?
He leans in to Buffy, nearly whispering, pointing to Ronnie.
Just the beginning, love. A warm up
act. The headliner's really coming
and when that band hits the stage,
all this ... ALL THIS ... will come
tumbling in death and screaming and
horror and bloodshed.
He points, knowingly.
From beneath you it devours.
Buffy stops tending to Ronnie and stares, shocked.
From ... beneath ...
And again, the tears well up in his eyes. He stops, staring at Buffy. She looks back at him with something like sympathy.
Then, crying, he turns on his heels and takes off into the night, building up to a RUN. Buffy, stunned, watches him go. Behind her, Anya and Xander come running up, survey the scene before them.
Nancy stands off to the side, by a storefront, watching ...
Confused and disgusted, Nancy backs away from the scene. Xander instantly moves to Buffy's side, helping and commenting:
She's not calling me.
Anya looks at the nearly-dying man on the ground. The sound of an AMBULANCE SIREN comes closer.
Stay with him. Make sure he gets
Without answering, Buffy turns and leaves, following Spike's direction. Xander and Anya tend to Ronnie.
You do know you did the right thing
Anya looks up to the sky as if looking for something to appear.
Oh. It will be.
Xander looks to her, but she offers no explanation as the sound of the ambulance siren grows louder ...
EXT. CEMETERY - NIGHT
A CEMETERY. It's dark, long shadows cast from headstones. Buffy comes running into the cemetery, stops.
She looks around, searching.
But the place is empty. Buffy turns to go, then stops. She looks back to the sole source of light casting these long headstone shadows ...
Buffy's P.O.V.: We see, at the far end of the graveyard, a solitary CHURCH. A single light comes from within.
Buffy stares at it a moment, some kind of peace coming over her. Then she walks toward the church ...
INT. CHURCH - NIGHT
Twin heavy doors swing slowly open and Buffy enters the church. She hears the sound of sobbing.
She walks in, cautiously, drawing a stake.
Buffy's P.O.V.: We see a figure, its back to us, sitting in one of the pews, rocking gently back and forth.
Buffy approaches. It is Spike, sitting alone, looking as lost and frightened as he can. He speaks softly and sanely.
I figured it out. Took awhile, yeah,
but ... I think the real problem
He looks to Buffy, eyes wide, vulnerable,
I was once this really nice guy.
Buffy remains cautious, keeping her distance.
So that's the problem.
Spike laughs, quietly, enjoying the irony of a good joke.
Yeah. I've been ... well come on,
Let's face it, been a one-man
slaughterhouse, last hundred years.
Raping. Murdering. And for what?
He stands in the pew, bows his head in reverence.
William the Bloody awful poet,
skipping down the lane ... good boy,
bad boy, all the sodding same.
You like it? Wrote that one myself.
He rolls his head around slowly, up to the ceiling, staring.
Is it hot enough in here to burn all
your mortal sins away?
And suddenly, vampire-fast, he stands straight up.
Or am I just crazy?
He laughs, steps from the pew, into the aisle.
Stuffy. Stuffed. Full, packed,
sorry mate, no room, out you go,
we're packed to the bloody brim,
standing room only and no room for
that. We. Are. Full.
Buffy steps back, giving him a wide berth. Spike lurches forward, up the church aisle, zig-zagging left and right, but always moving forward.
Full of sin. Full of guilt. Full of
hate and love and loss and feeling.
Full of it, quite frankly and it's
been so long.
Since we felt anything here. Rusty
switchboard, sparked to life, bound
to be more'n a few sharp shocks.
Buffy slowly following behind, never losing grip on that stake, and watching ...
Right? RIGHT?!? Shh. Quiet.
Church. His house. Place of clasped
hands, reverent hymns, and massive
raw amounts of BEGGING. On your
knees, boy. Beg him. BEG HIM ...
And we see where Spike is heading: at the head of the altar, there stands a large, carved-stone CRUCIFIX.
... for forgiveness.
He keeps walking, slowly, up the aisle. Gets to the altar's steps and keeps going ... straight to the cross.
You have a soul.
Spike stops at the cross. Responds without looking back.
I do indeed.
He wearily lets his head rest upon the stone crucifix. And STEAM rises from where his flesh makes contact. He grimaces, but does not scream.
And it's killing me.
He reaches out and HUGS the crucifix with both arms. Steam rises from his palms.
He releases the cross, slowly pulling back and turning to Buffy
God hates me. You hate me. I hate
myself more than ever.
Buffy wants to step forward but does not.
But why'd you do it ...?
He keeps turning, now facing Buffy, barely able to stand on his feet, wobbling a bit - and holding his arms out wide.
... So I could be the kind of ...
... Person ... you could care for,
the man you would come to ... the man
you could love.
Spike GRINS through bloody teeth. The burn marks stand out fresh upon his forehead and palms. He looks like death, and any second he's going to collapse.
And still, it's like something terribly sad is actually, deep down funny - and only he gets the joke.
He walks toward Buffy. Staggering gently. Eyeing the stake she still holds in her hand. He's drawn to it - and to her.
I was the enemy, then I was nothing,
and now I'm God's garbage, not even
a joke, less than, less than, less
than all His creatures combined so
tell me, dear Buffy ...
Buffy lets him approach, unmoving, but not letting go of that stake, either.
He barely makes it to her - and SLAMS straight down, to his KNEES. And opens his arms wide.
How ya like me now?
Buffy's mind goes a long way trying to come up with the answer, but her mouth cannot speak and we: