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Sleeper (October 11, 2002) Written by: Jane Espenson & David Fury Directed by: Alan Levi |
| Teaser |
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INT. XANDER'S APARTMENT NIGHT
CLOSE ON DOOR, as it's urgently POUNDED upon.
WIDEN as a groggy XANDER emerges from his bedroom in a t-shirt and
sweats. He crosses to answer it.
Okay okay... I'm coming... I'm up... He squints over at a wall clock.
(under his breath) At 4:30 in the morning, sweet mamalooshin... (at the door) Who is it? BUFFY (O.S.) XANDER He unlatches the door and opens it revealing BUFFY, who strides past him into the room.
What's going-- BUFFY She moves to Spike's bedroom, peering in to find it empty.
(still disoriented) Spike? BUFFY XANDER BUFFY XANDER Buffy looks at him, but is loathe to answer. She crosses to the window.
He in trouble? BUFFY INT. CELLAR - NIGHT PANNING ACROSS the dark, musty, termite-ridden interior down to the dirt floor, we HEAR the "ka-chunk" sounds of a SHOVEL breaking ground and digging, accompanied by a LOW VOICE HUMMING melodically. Piles of old newspapers, wine bottles, Water-stained cardboard boxes (labeled "X-Mas Ornaments/Lights") and garden tools, indicating the house is clearly occupied by the living. Or was until recently. PAN OVER to a mound of freshly dug earth as another shovelful is tossed onto it. Then the shovel is jabbed into the mound, coming to a rest. TILT up to find: SPIKE, a detached expression on his face as he continues to HUM a tune we now recognize as "I'll Be Seeing You," until he slowly glances over at something and abruptly stops. ANGLE ON A DEAD GIRL, (the one Spike bit the previous episode), propped up against a wall, blood caked down the bite wounds on her throat, her unfocused eyes half-open. SPIKE goes to the girl and picks her up by her shoulders, bringing them face to face, her limp head dangling to the side. If he regards her at all, it's only for an instant before he pivots and unceremoniously, tosses her lifeless body down into the shallow hole he's dug. THE DEAD GIRL lands hard with a sickening thud, her limbs twisted at awkward angles... SPIKE pulls the shovel out of the mound. Then, as he proceeds to bury the corpse, he begins to hum again. ON DEAD GIRL - her body disappearing under the growing dirt. CLOSE ON SPIKE. PUSHING IN - Humming more intensely as he works until:
BLACK OUT.
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| Act One |
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EXT. LONDON, ENGLAND - DAY - ESTABLISHING
The bustling city. Sure, what the hell. Haven't we seen enough of the
countryside? And if nobody recognizes it, super in one of those "London,
England" title cards. That's the ticket. Anyway...
INT. LONDON FLAT - FOYER - DAY Entering is ROBSON, a forty-ish, tweedy
somewhat stuffy British-type, not unlike a certain Watcher we know who
stands in people's way. Robson peruses an old, frayed book and carries an
attache case. He bolts the door behind him and turns to cross, when he
notices for the first time...
HIS POV - A small table and vase knocked over, the vase shattered to
pieces, its floral contents strewn about the floor
ON ROBSON - eyeing the mess. He looks up.
(calling out) Nora? He crosses from the small foyer into a much larger living area. INT. - LONDON FLAT - LIVING AREA - DAY Tastefully furnished. We may notice a few antique swords mounted on the wall as he enters the room.
Nora ... What-- He stops and blanches when he sees. NORA, 15, attired in workout clothes, shredded from multiple stab wounds, lying face down in a pool of blood, clearly dead. ON ROBSON, frozen for a moment, as, BEHIND HIM, in SOFT- FOCUS ... movement. Black, shapeless. Robson senses it and spins around to see: A BLACK-ROBED FIGURE plunge his curved dagger at him. Instantly, Robson brings up his attache case, the dagger embedding itself deeply in it. He palms his attacker in the face and pushes him back causing The Robed Figure to stumble. Deftly, Robson reaches for one of the wall-mounted swords When... ANOTHER BLACK-ROBED FIGURE appears from nowhere and stabs Robson in the back. Robson collapses to the floor, mortally wounded, finding himself lying next to the innocent, young, lifeless face of the girl called Nora, before losing consciousness. EXT. SUMMERS' HOUSE - NIGHT To establish. INT. SUMMERS' HOUSE - ENTRYWAY - NIGHT WILLOW urgently pushes through the front door into the darkened house.
(calling out) Buffy! She starts up the stairs when she hears:
(flatly) She's not here. Willow peers down to see: INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT DAWN, silhouetted in darkness, sitting against the couch, hugging a cushion. Willow comes down the stairs and enters the room.
Dawn? What are you--? She notices, even in the dim light, the room's devastation.
Oh my God. Dawn, what happened here? What--? She switches on a light and quickly sees a severely rattled Dawn's tear and blood-streaked face, as Dawn shield's her eyes from the brightness. Willow rushes to her.
You're bleeding. DAWN WILLOW DAWN Willow stops.
What? DAWN Willow's eyes narrow with understanding.
Oh, Sweetie... DAWN WILLOW Dawn stops and looks at her.
W-what? WILLOW DAWN WILLOW Dawn thinks about it, working it out in her head.
But... That's what she said. Mom. She said things were coming. Things were on their way and... She stops herself, then sees Willow looking at her expectantly.
And that she loves us. So it had to be her, right? I mean, her warning was true? WILLOW DAWN She peers up at Willow, almost pleadingly.
Maybe? Willow can only look at her, other concerns on her mind.
PRE-LAP:
But, you don't believe it. INT. XANDER'S APARTMENT - PRE-DAWN Xander sits on a stool by the counter drinking coffee as an upset Buffy slowly paces.
Why would a vampire lie about who sired him? What's that, some kinda status symbol for the undead -- My sire can beat up your sire? BUFFY XANDER Buffy glances up at him, the pain in her eyes cementing the truth of that. Xander, taking pity, offers up:
Okay, let's look at this objectively. Figure it out in a cold, impersonal, CSI-like manner. 'Cause we're a coupla carpet fibers short of a case. BUFFY XANDER BUFFY XANDER She snaps a look at him.
(throwing up hands) Hey, objective here. (then) Maybe the chip's not working anymore. BUFFY XANDER Buffy looks at him a beat.
You think it's an act? XANDER Buffy thinks, shakes her head and looks off.
No, there's something... He's different. Changed. I feel it. (turning to Xander) If it's an act, then the Oscar goes to... XANDER They hear the door open and spin around to see: SPIKE entering. He sees Buffy.
Well, This can't be good. You being here at this hour. Trouble? BUFFY Xander looks at Buffy as she continues to stare at Spike.
No trouble. I was just... We were, Uh... Spike wearily shakes his head and closes the door behind him.
Right, none of my business. No worries. He turns away and starts to move to his bedroom. Buffy takes a step toward him.
Spike... Xander subtly puts a hand on her arm, cautioning her. SPIKE stops and turns to look at her.
Um... How was your night? SPIKE A beat passes between them before Spike shyly attempts to enjoin her in conversation.
And... yours? Bag any baddies? BUFFY XANDER (O.S.) Buffy and Spike look over at Xander.
(to Buffy) From high school? You didn't tell me the vamp you dusted was Holden "Call Me 'Webs'" Webster. Nobody called him "Webs." Went to school with him for ten years, not once did anyone ever-- Buffy's glare stops his trip down memory lane.
(muttering) Right. Spike looks at Buffy for a moment, then, approaches her. ON BUFFY, tensing. Spike gets to her and eyes her with genuine empathy.
(sincerely) Knew him, huh. That musta been a picnic. She eyes him a moment before shrugging the notion away.
Yeah. Spike nods sympathetically. After an awkward beat.
Well... (tossing a glance to Xander) I'm qonna turn in before I drop. (as he heads off) 'Night. He goes to his bedroom, removing his shirt, and shuts the Door. ON BUFFY - She continues to stare after him as Xander leans in to her.
You see that? See how he reacted when you mentioned "Webs?" Cool as Cool Whip. What's up with that? Buffy glances out the window.
Sun's coming up. (moving to exit) I have to go home. Check on Dawn. We need to keep an eye on Spike. XANDER BUFFY INT. XANDER'S APARTMENT - LATER THAT MORNING CLOSE ON ANYA.
Uh-uh. Forget it, Harris. ON XANDER, now dressed for work and ready to go. He goes around pulling up all the shades to his windows, letting in as much sunlight as possible as he talks.
C'mon, Anya. You said you'd do it on the phone. ANYA glances toward Spike's bedroom.
Yeah, that was before you told me Spike's killing again. Now you want to leave me here alone with him. XANDER ANYA XANDER ANYA Xander looks at her, but doesn't answer.
Did you search his room? For clues. Trophies from victims,. Killers like to keep trophies sometimes. Scalps, necklaces made from human teeth... Genitals... XANDER ANYA XANDER He grabs his briefcase and hard hat and moves to exit.
Besides, if he tries to leave, I don't want you confronting him. Just call Buffy and let her know he's on the move. He opens the door, stops and looks at her, reassuringly.
You're gonna be fine. ANYA Xander grins at that as he exits. XANDER ANYA He's gone. ANYA stands alone in the deathly quiet apartment. She slowly peers over at HER POV - Spike's door. CLOSER ON ANYA, as she stares intently at SPIKE'S DOORKNOB. SLOW PUSH-IN, DUTCHING - Is the knob turning? Back to Anya, who, seeing no movement on the door, crosses over to a chair and picks up a magazine resting on the end table. She sits and begins to flip through it. After a moment, she glances up again quickly... HER POV - Spike's door. Still closed. ON ANYA, suddenly noticing A BRIGHTER PATCH OF SUNLIGHT stretching across the floor. Anya, without getting up, edges her chair over into it. Satisfied, she relaxes a bit and sits back to read again. INT. SUMMERS' HOUSE - UPSTAIRS HALLWAY - MORNING As Willow exits Dawn's room, closing the door gently she hears the front door SLAM and:
(panicked) Dawn? Buffy appears at the top of the staircase.
(softly) She's here. She's okay. She's not hurt. Just exhausted. Finally fell off to sleep. BUFFY WILLOW BUFFY WILLOW As Willow's voice trails off, Buffy's eyes narrow.
(fearful/protective) Dawn actually saw what? Willow, who did she -- WILLOW Buffy reacts, sad. Angry.
Dawnie... WILLOW BUFFY WILLOW BUFFY Willow looks at her. Even more real fright.
Well... That's impossible, right? It's another fake-out, you got one, too. Wasn't a real vamp-- BUFFY WILLOW BUFFY She looks at the floor, deep in thought.
But if I'm wrong... And he is. Then I've got to see it for myself. She looks up at Willow, with steely determination.
To put him down. I've got to be there to stop it.
BLACK OUT.
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| Act Two |
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INT. XANDER'S APARTMENT - LIVING ROOM - DAY
Xander's living room. Dark, almost silent.
Moving across the room, we see the windows are still open, but it's
getting late, and sunlight is running out. Finally, on the far side of the
room, we find Anya. Sitting in the last square patch of sunlight still
streaming in.
She's been here a while. Holding a stake in one hand. Rigid. On edge.
She thinks for a beat, staring...
Anya's POV: The door to Spike's room. Closed.
Back on Anya. She looks to the front door, looks to the phone, makes a
decision. She stands, walks toward the closed door. Taking a step, her
face goes from sunlit to shadowed. This reminds her - she goes back, picks
up the stake.
And, clutching it like a weapon she's ready to use, Anya pads across
the room in her bare feet, silently, heading toward that closed door,
wrapping her hand silently around the knob, twisting it...
INT. XANDER'S APARTMENT - SPIKE'S ROOM - DAY
The door slowly creaks open - and Anya silently enters Spike's room.
She looks around.
Anya's POV: There's not much here - because there's not much room.
Spike's "room" is little more than an oversized closet. Clearly, this is
the junk room -- where Xander's been throwing stuff he wants out of the
way: dresser, old exercise equipment, makeshift end table. A depressingly
small cot. SPIKE. Lying naked on the cot, his pale body half-covered by a
thin sheet. Asleep. Or so it seems.
Spike's clothes rumpled on the floor and over the edge of the bed where
he pulled them off next to the cot.
Anya slows her breathing, goes to the dresser, slowly, cautiously opens
a drawer. Looks inside. Nothing. Opens a second drawer. Nothing still.
Picks up Spike's pants, carelessly draped over the bed frame, goes
through the pockets. Nothing. She looks around...
Sees the clothes on the floor, bites her lip, makes a decision, and
moves tentatively to them.
She crouches next to the cot, eye level with Spike's naked body. She's
close enough to feel Spike's breathing (if he breathed.)
She moves slowly, carefully... picks up his jacket, moves her hand
gingerly into the pocket... when Spike STIRS.
Anya freezes. Spike settles. Anya roots around in the pocket, looking
inside for some kind of clue, but it seems empty, and as she moves her
hand around to pocket #2.
WHAP! Spike's hand shoots out from the bed - GRABBING Anya's wrist in
an instant vise-grip. Spike's eyes snap open. Spike and Anya stare into
one another, neither moving, when Spike speaks in a chillingly calm tone.
Anya. Do be specific and tell a fella just what exactly you are doing here. Anya's mind races. Spike remains expressionless, waiting.
Well... Spike... (bullshit time) I... am here, obviously, because of the reason which I am about to tell you, with the following words, and that reason is... uh, clearly and obviously too, um... (inspiration) Sex. Spell broken. Spike sits up (wrapping the sheet around his Privates.)
Beg pardon? Anya, still on the floor next to Spike, edges awkwardly closer to the cot, closer to Spike's face.
You and me. Here and now, let's go, let's... (unconvincing) get it on, you big bad boy. She starts pulling off her shirt, wriggling, her bra exposed...
Wait - wait Anya, just a minute now, this is not exactly... is that a stake? Busted. Anya stops, shirt stuck around her head, and looks at the stake, thinking up an explanation...
Yes! Kinky. SPIKE Anya presses a finger to his lips, silencing him. It's quite a show she's putting on here...
Shh! No questions. No talking. I don't want any sounds to ruin the sweet, sweet love you know is still burning like a, um... She struggles more with getting the shirt over her head, but it's stuck.
Give me a hand with this? SPIKE ANYA Spike calmly pulls on the shirt zipper caught in Anya's hair, then gently pulls the shirt down - back onto her torso, covering her up...
Anya... Anya stops.
What? I can't help it. I can't stop thinking about you, and us, and the brief but unforgettable time we had together - I mean... Why else would I be here? It's not like I'm snooping around for proof you're some kind of whacked-out serial killer. She laughs nervously Spike cocks a way-confused eyebrow.
Forget I said that. You've got me talking crazy. It's nerves, nerves and horniness, oh just shut up and take me William, take me now. Anya thrusts herself forward, awkwardly climbing on Spike. They lie entangled like that a moment. Nothing happens. After a long, awkward pause:
It's not working, is it? SPIKE Spike pulls himself back up, holding Anya by the shoulders, trying to find the words. He looks away a moment and in that split-second - Anya closes her eyes and exhales a big sigh of pure relief - looking perfectly "confused and hurt" again in the second Spike looks back to her.
Anya... ANYA SPIKE It's not that I'm not tempted- ANYA Spike nods.
Obviously, if things were different, you're a right catch. ANYA SPIKE ANYA SPIKE ANYA SPIKE ANYA SPIKE ANYA SPIKE ANYA SPIKE INT XANDER'S APARTMENT - LIVING ROOM - DAY Anya, looking pissy, sits by the phone Spike, getting dressed, enters from his room
Didn't mean to hurt your feelings, luv. ANYA SPIKE ANYA Spike sighs. There's nothing left to say. He exits. Anya waits a beat after the door closes - then picks up the phone and dials fast. Then:
(into phone) It's me. He's leaving. AND WE CUT TO: EXT. XANDER'S APARTMENT BUILDING - NIGHT Buffy waits outside of Xander's place, half-obscured by Shadows, watching...
(into phone) Got it. I'm on it. Thanks. (beat) What? (beat) Of course you're not fat, why would you... She sees Spike pass by.
(into phone) We'll talk later. She clicks the cell phone shut. Watches Spike go. Buffy's POV: Spike crosses the street, free and alone, the cocky saunter slowly coming back into his stride as he goes... Buffy's expression darkens. We hear STREET MUSIC rising as Buffy follows and we cut to: EXT. PEDESTRIAN MALL - NIGHT A crowded THIRD STREET-TYPE OUTDOOR MALL. EXTRAS (and plenty of them) mill about shopping, congregating, congesting the sidewalk and street. A STREET MUSICIAN plays the harmonica, his hat filled with coins and a few bucks. If we see a clock, it would indicate that it is 8:37 PM. We find Spike as he saunters through the crowd, slipping past pedestrians with ease, never stopping but never rushing... Like a shark. His eyes always moving, checking out the people passing him by... Abruptly, the Musician stops playing. Waits a beat. And starts playing "I'll Be Seeing You." Spike passes by the harmonica player, and without even noticing it, picks up the tune, humming it blithely to himself. Spike passes out of frame as Buffy enters, not far behind him, just enough distance to stay out of Spike's sight. Buffy's POV: Spike slips in and out of the people-traffic, weaving seamlessly - until he spots something. On Buffy, ALARMED, moving toward Spike. But she finds herself behind a group of LOITERING TEENS, clumped together, blocking her view, taking up the sidewalk, barely moving -- they have no idea they're even in the way. Buffy moves one way, then another, finally maneuvering around the group. Buffy's POV: find Spike as he gets to the LINE formed outside a happening-looking DANCE CLUB. Strobe lights, loud music come from within There's velvet ropes, a meaty, muscle-t'd BOUNCER in front, but mostly - YOUNG PEOPLE. Lots of them. Spike blends in with the crowd. Buffy watches as he touches a GIRL lightly on the shoulder. She turns to face him. He smiles. She smiles. Buffy keeps moving to them. And suddenly STOPS SHORT. We now see that a VENDOR has pushed a FOOD CART (churros, pretzels) directly in front of Buffy's path. With mounting tension, she moves around, keeping an eye on Spike. Who chats with the Girl. She laughs. We cannot hear what they are saying, but it's clear he's hitting on her - and she's digging it. She leans into him, flirtatiously... Buffy moves forward with purpose, the path finally clear. When suddenly, from behind, a HAND GRABS Buffy's shoulder. She spins around, tense, sees an unflinching POLICEMAN, and he's suddenly around her, blocking her view of -- and her access to -- Spike.
You sure do walk fast. BUFFY She sidesteps, getting Spike back in her POV, but the policeman won't let her leave.
Been trying to catch up to you since that last intersection there. The one you walked across. Without the benefit of a crosswalk. Buffy, still watching Spike, speaks to the policeman distractedly. He's writing in his TICKET PAD now.
What? POLICEMAN We see Buffy's POV. Spike is nodding his head to the girl, the girl nodding back, Spike taking her by the hand, leading her away from the crowded club line. Buffy interrupts the cop, her tone impatient.
It's okay. Give me the ticket. POLICEMAN BUFFY Buffy looks again She can still see Spike and the girl in the crowd - but they are moving away quickly. The cop hands her the ticket and Buffy moves to go, but he stops her. Holds out a pen.
Not so fast. Address and signature. Exasperated, Buffy frantically grabs the pen and scribbles her information as quickly as possible. Murmurs-
You've got to be kidding me... POLICEMAN Buffy glances into the crowd again. Nothing. No Spike. She shoves the pad back into the cop's hands.
Yeah, I've been saying that about me for years... And she bolts. The irritated cop looks after her, decides to let it go. CLOSE ON BUFFY As she desperately scans the crowd for any sign of Spike and the girl. But they are nowhere to be seen. We pull back, into the crowd, watching as Buffy becomes very small among the throng, lost. Searching. We drop further back, losing Buffy among the people, leaving her, pulling down the street, around a corner and into: EXT. ALLEY - NIGHT The lights and music of the club can be heard not too far away inside this alley. Spike enters, leading the girl (call her LINDA) in along with him. Spike leads Linda further into the alley. She giggles, enjoying the danger. She could be a little drunk.
So, what kind of name is "Spike?" EXT. PEDESTRIAN MALL - NIGHT Buffy, a bit more frantic, picks up her pace, moving into the crowd. EXT. ALLEY - NIGHT
What, you gonna make me guess? All right, I'll guess you're... a little bit bad? She moves in on him, getting sexy... EXT. PEDESTRIAN MALL - NIGHT Buffy running now, knowing that time is running out, faster... EXT. ALLEY NIGHT
Am I right? Are you a bad boy? 'Cause I don't mind. I was getting kinda bored of waiting on line. I hate waiting. She nuzzles his neck. Kisses it. Spike nuzzles back, burying his face in her neck, gently.
Know what I mean? Spike smiles, smelling her. He's starting to breathe a bit more heavily, anticipating, blood-lust building... When he stops cold, the look on his face changing. Spike's POV: There in the alley, facing him, stands Buffy. Arms folded, game face on.
Evening, Spike. Linda doesn't see her, Won't see her through this whole scene. But Spike does. He tenses, pulls hack.
(startled) Buffy? Linda, confused, annoyed, pulls away, too, stares at Spike.
No. Linda. Who's Buffy? Buffy focuses on Spike, speaks just to him.
You know you want it. Buffy leans in to Spike's ear, seductive.
And you know I want you to. LINDA Spike goes VAMP-FACE. Linda freaks. She SCREAMS and struggles. But to no avail, Spike's holding her now. He SINKS HIS TEETH in her neck. Buffy watches and smiles as Spike GULPS at the girl's neck. Spike lifts his head, mouth a bloody mess, out of breath, looking to Buffy for approval. Buffy tilts her head and tenderly whispers to him:
There's my guy. Spike smiles insanely, the rush of fresh blood coursing through him, knowing this is right, and dives back into his victim's neck with growling animal abandon. We push past Spike onto Buffy as she watches, smiling.
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| Act Three |
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EXT. PEDESTRIAN MALL - NIGHT
Buffy still walks amidst the throng of people, looking very much alone
despite the crowd. She looks around, searching for anything...
EXT. ALLEY - NIGHT
Spike is where we left him, face buried in Linda's neck. The FIRST, in
the guise of BUFFY, looks on with a self-satisfied smirk.
Now, doesn't that feel better? Spike raises his face from the girl's neck, and we see that he is NO LONGER IN VAMP-FACE, although his mouth is red with blood. He looks up at Buffy, bewildered, and lets the girl fall, dead, from his arms -- he's past even noticing. He turns, almost drunkenly, and stumbles away CLOSE ON BUFFY as she MORPHS INTO... SPIKE. He is wearing the same little smile.
I'll be seeing you.
TIME CUT TO:
INT. XANDER'S APARTMENT - SPIKE'S ROOM - NIGHT It's about 4:30 AM again. Spike (the real one), is asleep on his bed. He lies face-down diagonally on top of the covers, shirtless and with bare feet, but with his pants still on, as if he fell onto the bed exhausted as soon as he came home. He wakes with a start when BUFFY BURSTS INTO THE ROOM. She's angry, eyes flashing, ready for a confrontation.
Did you kill her? SPIKE BUFFY Spike gets to his feet slowly.
What girl? What are you talking about? BUFFY SPIKE BUFFY Spike's blown away by the accusation. Upset.
Who knows? I talked to her, is all! BUFFY SPIKE BUFFY SPIKE BUFFY Spike's expression changes. He gets it now.
Is that what this is. Right... BUFFY SPIKE BUFFY SPIKE Indeed, this seems to strike a nerve with Buffy. But she covers.
Don't flatter yourself- SPIKE BUFFY SPIKE BUFFY SPIKE This stops Buffy.
I know. But- SPIKE Buffy is clearly thrown now. Moved. Upset. His emotion seems so genuine. Still, she presses on.
Spike. This vampire told me you were his sire. Now Spike looks thrown. A beat. Then-
That doesn't mean- BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE BUFFY SPIKE Buffy doesn't have an answer for this. They regard each other for a charged moment. Then she takes off. We stay on Spike, who looks deeply shaken, for a long beat. INT. SUMMERS HOUSE - LIVING ROOM - DAY Buffy, Willow, Dawn and Anya are assembled in the living room for a big research and pow-wow session. Willow is at her computer. Buffy paces, in a dark mood.
Guys, find me some evidence that he did this, okay? ANYA BUFFY DAWN WILLOW DAWN Willow is at the keyboard, but as she says this, she's not seeing what's in front of her, she's in a guilty place, remembering what Cassie said.
Just because those weren't the spirits of, you know, our people... just because they were some evil thing, it doesn't mean what they said can't be true. Dawn shoots a wary look at Buffy... thinking about what Joyce told her.
(nodding) I used to tell the truth all the time when I was evil. BUFFY ANYA WILLOW ANYA WILLOW BUFFY WILLOW Dawn is shaken by that, harder than you'd think, taking it as confirmation that the "ghosts" were talking true.
(dread) So it's true? What the vampire told Buffy turned out to be true. BUFFY INT. XANDER'S APARTMENT - SPIKE'S ROOM - NIGHT Spike, his motions jerky, still upset from his confrontation with Buffy, is putting on his coat (whatever one he wore in episode 7 -- black leather?), and stepping toward the door. He reaches one hand into a coat pocket and pulls out a pack of cigarettes. Spike freezes, looking at it. His face ashen. SUDDEN FLASHBACKS. (With "I'll Be Seeing You," heard underneath) FROM EPISODE SEVEN: - THE YOUNG WOMAN PLACING THE PACK OF CIGS IN FRONT OF SPIKE. - SPIKE TALKING (SILENTLY) WITH THE WOMAN, LEANING IN CLOSE.. - THE YOUNG WOMAN LYING LIMP ON THE GROUND. Back to the present. Spike looking, shaken, at the cigarettes. He puts them back in his coat pocket and exits quickly into... INT. XANDER'S APARTMENT - LIVING ROOM - CONTINUOUS Spike enters, walking fast, man on a mission. Xander is watching TV (or reading a magazine) and eating a frozen dinner off a tray. Spike heads for the door. Xander is on his feet, lunging for tile door. He barely manages to get there and block Spike.
No, no. You're not going out. SPIKE XANDER SPIKE XANDER SPIKE LEVELS XANDER WITH A PUNCH, knocking Xander out. Then he grabs his head and YELLS from the chip-induced-pain. As he recovers, he steps over him to open the door. He exits. INT. BRONZE - NTGHT Aimee Mann is on stage playing "PAVLOV'S BELL." The crowd mills and throngs. Spike is standing at the bar, talking to the BARTENDER.
She had brown hair. Nice looking girl. I was here talkin' with her...
CUT TO:
Spike, elsewhere on the floor, talking to a waitress
...two nights ago. I'm looking for someone mighta seen her...
CUT TO:
Spike makes his way through the crowd, scanning the faces as he goes. He heads for the stairs up to the balcony. INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT Buffy is on the phone in the living room. We're close on her and we don't see anyone else.
He hit you?
INTERCUT WITH:
INT. XANDER'S APARTMENT - SAME TIME Xander, holding an ice pack to his jaw, obviously in pain, talks on the phone.
Knocked me out. He's been gone at least a half-hour. BUFFY INT. BRONZE - BALCONY - NIGHT The balcony. Sparsely populated. SPIKE drinks uneasily from his flask and looks down on the scene from above.
One of 'em take your wallet? Spike turns to find an attractive young woman, CHARLOTTE, smiling at him.
What's that? CHARLOTTE Spike thinks about that.
Just looking for a certain brunette I met here the other night. CHARLOTTE SPIKE He's shutting her out, but she's not having it She leans in next to him, puts a hand on his arm.
Not even if I ask nice? You the type that has to be... convinced? SPIKE We stay on Spike as she says:
Oh. I get it... You'd rather I slip into something more comfortable. He glances at her. She's in VAMP-FACE. (MORPH was O.S.) Spike recoils.
(nods to the crowd) Should we pick off the crowd one by one or block the exits and ravish the place? SPIKE CHARLOTTE Spike starts to withdraw into himself. Horrified.
No... I didn't... (softly) That wasn't me. CHARLOTTE She indicates A COUPLE standing beneath them on the main floor.
I take him, you take her? Or the other way round, whatever... She starts to turn, head toward the stairs, but Spike grabs her by the shoulder, pulls her pack roughly.
No. CHARLOTTE Charlotte CLAWS AT HIM with her other arm. He PUNCHES HER. She comes back at him, fast, and he ducks her... their momentum takes them over by the two small tables near the top of the stairs.
CHARLOTTE (cont'd) So is that all I was to you? A one- bite stand? She kicks him hard and he lands on one of the tables (not a wire gag.) His hand, groping for purchase on the table, finds a BAMBOO INCENSE HOLDER. He flips up off the table, and in one move, he STAKES HER with it as he grabs her and TOSSES HER OFF THE BALCONY. INT. BRONZE - CONTINUOUS In the middle of the dance floor, the Vamp Girl's body hits the floor and EXPLODES INTO DUST. Aimee Mann stops playing, the dancers look around, confused. Then after a beat, the band shrugs and starts up again. EXT. PEDESTRIAN MALL - NIGHT Buffy is back, approaching the back of the line in front of the dance club here on this busy street. The BOUNCER notices her right away and steps over to her...
Sweetheart, you wanna go on in? Go 'head. BUFFY The Bouncer nods like he's been asked this question before.
Yeah, yeah, I know the guy -- Billy Idol wannabe? BUFFY The Bouncer hesitates. Looks at her with some sympathy.
This guy... he your boyfriend or something? BUFFY BOUNCER Buffy takes this in.
(softly) How many girls? He mistakes her concern for remorse.
Look... this guy. This "not-your- boyfriend" guy. I'd lose him if I were you. He's a real player. Off Buffy, taking this in. INT. BRONZE - BACKSTAGE - SAME TIME Spike walks to the area backstage with the payphone, looking shaky and scared. He passes Aimee Mann, who's walking the other direction and talking to her bandmates.
(to bandmates) Man, I hate playing vampire towns. Spike walks over to the pay phone and makes a call.
It's me. I... I'm seeing... I think I remember... (beat) I think I've done some very bad things. EXT. PEDESTRIAN MALL - NIGHT Buffy stands off to the side on her cell phone.
Where are you? SPIKE BUFFY And Spike hangs up. NEW ANGLE: revealing that Spike/First is standing next to him, looking on.
You weren't supposed to do that. Spike looks at him, with dull recognition... too weirded out to react.
Not time yet, not nearly. You're goin' against the plan (beat) But we can make it work.
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| Act Four |
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EXT. CREEPY HOUSE - NIGHT
To establish. An old house, no lights in the windows. Creepy.
INT. CREEPY HOUSE - ENTRYWAY - NIGHT
Buffy enters through the creaky unlocked front door of the house into a
dusty living room.
Hello? Spike? She walks through the room, full of slightly old decor. A plate of dusty cookies and a tea set are sitting out on the coffee table, as if tea was interrupted days ago. A hungry looking cat is hunched over the cookie plate, eating. Buffy is looking back at the cat as she moves farther into the room. When she turns her head back to the front again, SPIKE IS DIRECTLY IN FRONT OF HER. (classic horror movie cheap startle.)
I did some bad things here. INT. CREEPY HOUSE CELLAR - NIGHT We're looking up the rickety old open stairs as Spike climbs down into the cellar.
Down here. He looks back up the stairs.
(hurt) You won't come down? I understand. Risky proposition. ANGLE ON BUFFY, hesitating at the top of the stairs. She slowly follows him down. She holds a stake. As she comes down, the FIRST, still looking like Spike, joins Spike at the bottom of the Stairs.
(to Spike) There's an order. Slayer's not in order. But it doesn't hurt to play. Get your claws in the mouse, y'know? Spike mutters at the First through clenched teeth.
You're not here. Buffy arrives at the bottom of the stairs. She looks at Spike, clearly not seeing the First standing next to him.
All right. So what do you need to show me? We yet our first look at the cellar. We recognize the place as the same area where Spike was digging. There are shelves with jars of preserves against the walls.
I've... I've been remembering. A girl. I walked her home. The one you saw. And the one before that... The First steps back, behind Spike, letting them talk.
And I think I killed her. And I think I... I think I killed the lady that lived here. And, and there might be others... BUFFY SPIKE Spike moves to a corner, revealing a disturbed area of dirt, a shovel leaning against the wall...
Oh God, Spike. Why? He looks at her, frustrated.
Well I dunno, do I? Don't even know how. I shouldn't be able... SPIKE/FIRST Spike breaks off, listens to the song.
What is it? Spike turns away from her, looking back toward the First, who continues to sing. When Spike looks back at Buffy he's in VAMP-FACE. He lunges at her!
Spike! The First stops singing now, the damage done. Spike wrenches the stake from Buffy's hand and throws it away Viciously... it crashes into one of the shelves, breaking jars. Buffy backhands Spike across the room. He's up and he's holding a big pointed shard of glass from the broken jars.
What are you doing? He dives at her, slashing with the glass. She throws up a defensive arm, and HE CUTS HER -- upper arm, near the shoulder. Buffy grabs him and slams him to the ground. They grapple there. An even fight.
(through the effort) Spike. Listen to me. You don't want to do this. The First watches, relaxed and amused.
And it's just about to get fun... Buffy and Spike are still tangled in battle on the floor when she looks over to see: A HAND bursts through the cellar floor. A VAMP sits up, the dirt of its makeshift grave rolling off it. The ground nearby shifts and cracks as others come through.
Oh god. Buffy SLUGS SPIKE, snapping his head back and stunning him long enough for her to untangle herself and leave him where he is. She makes a dash for her stake, which lies against the wall. FOUR VAMPS are out of the ground now. They surround Buffy, preventing her from getting to her stake. She's braced, looking at the phalanx of vamps.
How many are there? Spike, how many did you make? Spike sits up and looks, dazed, at what's happening. The First bends over toward Spike.
(to Spike) You know what I want you to do. Spike stands up, zombie-like, and joins the other vamps in the ring around Buffy. The ground continues to shake as two more VAMPS struggle to break through. We're close on Spike. He watches as a hand breaks through the dirt. Reacting to the sight: We go into a series of brutal FLASHBACKS: THE SONG PLAYS UNDER THEM: -Spike, VAMP-FACED, in this house, on that sofa upstairs, tearing into the neck of the OLDER LADY who lived here. -Spike, VAMP-FACED biting a MAN in an alley. WE COME OUT OF THE FLASHBACKS to see Buffy begin her fight in the cellar against the vamps. She PUNCHES one of them, SPINS and LEVELS ANOTHER WITH A KICK. The remaining vamps close in. She throws them off with kicks and punches. Spike is in the melee, attacking with the rest of them. Eventually TWO VAMPS GRAB HER FROM BEHIND, HOLDING HER ARMS. She kicks and struggles. CLOSE ON SPIKE, WATCHING. The First is right at his ear.
They're waiting for you. Taste her, take her, make her weak. Spike steps toward where Buffy is held, struggling, between the two strong vamps. SPIKE BENDS OVER HER even as she keeps struggling.
Spike! No! Spike notices the blood on her arm where he cut her. He bends over further, licks it, tasting it... He closes his eyes, reacting to her blood, which sends us: BACK INTO FLASHBACKS: -Spike, VAMP-FACED, biting a GIRL against a wall in the Bronze. She struggles. People swirl around them, not noticing. -Spike, CLEAN-FACED, carrying a dead body through the darkened and empty Sunnydale main street. OUT OF FLASHBACKS. Spike is still bent over captive Buffy. But his face is NON- VAMPED.
(to Spike) Help your children. Close on Spike's confused eyes. He's rocked by... MORE FLASHBACKS: -Spike, CLEAN-FACED digging in this basement, two dead bodies lying nearby. -Spike, VAMP-FACE dripping with blood, up tight against the neck of an unidentified victim. BACK OUT OF FLASHBACKS.
I remember. Spike is still at Buffy's neck. He pushes back from her, diving to one side, rejecting the whole scene. He collapses against a wall, pulling himself in as small as he can, lost to the world... Buffy ducks to the ground, breaking the grip of the vamps who hold her. She flails out with one hand, manages to grab SPIKE'S SHOVEL. She beats at the vamps brutally with the shovel... driving them back. With one fierce blow the shovel part SNAPS OFF... leaving Buffy with the handle... That's one big stake. Buffy pivots and lunges with the huge stake. She takes out one vamp, a second... they DUST AROUND HER. Spike is still curled into his fetal ball. The First is at his ear. (We bear more vamps dusting o.s.)
You failed them Now she's gonna kill you. You lose, mate. Buffy stands in a swirl of vamp-dust. Only ONE VAMP is left, partially out of her grave... A HAND PROTRUDES. Buffy grabs the hand, pulls the vamp up -- it is the OLDER LADY VAMP (owner of the house) -- Buffy stakes her.
Sorry, ma'am. It's my job. Buffy turns around, looking for more trouble. But all that is left in the room is Spike, huddled against a wall, broken. Buffy, still holding the shovel handle, goes to him. The First is nowhere to be seen.
Do it fast, all right? Buffy stands, coiled and emotional, still holding the handle, over Spike, looking down at him.
He said you'd do it. Spike starts to cry.
(tense) Who said? SPIKE BUFFY Spike's cries are deeper...
I don't know. Please, I don't remember. Don't make me remember. (called to empty space) Make it so I forget again! I did what you wanted! Buffy looks around...
(getting it) There's something here. Buffy throws the handle across the room... she won't be staking Spike.
No, please... I need it. I can't cry this soul out of me. It won't come. And I... killed... And I feel it... I feel every one of them... Buffy kneels next to Spike, tries to get him to look at her.
Something's playing with us, Spike. All of us. Spike looks at her with wet eyes.
What is it? Why is it doing this to me? BUFFY Spike takes hold of Buffy's shoulder, clings to her, cries on her...
Help me. Can you help me? I don't know why I did this. Or how I did this. And I'm... I need help. Buffy holds him, although she looks mighty freaked herself. And simply:
I'll help you. Another ANGLE, revealing the SPIKE/FIRST watching calmly from across the room as Buffy continues:
We'll find out what's doing this and we'll stop it. INT. SUMMERS' HOUSE - NIGHT Spike is wrapped in a blanket, in a chair in front of the fireplace. He stares, unseeing, into the fireplace (there's no fire there.) Xander, Dawn, Willow, Anya and Buffy are over in the research area, looking nervously over at Spike. Buffy has a bandage on her arm where Spike cut her in the cellar.
And you believe him? BUFFY ANYA DAWN BUFFY WILLOW ANYA XANDER BUFFY WILLOW BUFFY XANDER BUFFY WILLOW BUFFY XANDER BUFFY INT. LONDON FLAT - LIVING AREA - NIGHT We're on Nora's body, still dead, where we last saw it. We hear FRANTIC POUNDING AT THE DOOR. THE DOOR IS KICKED OPEN, revealing GILES. He hurries in. He sees Nora.
Dear God. Giles kneels by her, feels for a pulse, quickly ascertains that she's dead. Giles stands up and scans the room. GILES' POV. The room looks empty. I mean, furniture and stuff, but no other people. Giles steps forward cautiously.
Robson? Are you here? GILES' MOVING POV - as Giles steps forward, Robson's limp motionless hand comes into view from where it was blocked in Giles' previous position. Giles hurries to the side of Robson, who lies bleeding on the ground, head propped up against the base of a chair, near the phone. His eyes are closed. He looks very dead.
(dirty murderers) You too. Giles kneels down next to Robson. Close on Giles as he bows his head, closes his eyes... a silent prayer for a fallen brother. A beat, then Giles opens his eyes and looks down to see: ROBSON STARING UP AT HIM. Giles reacts.
Dear God, Robson. I thought... Robson struggles to remain conscious. He barely manages:
Gather them. GILES ROBSON Robson closes his eyes.
It's alright. I understand. I'll take care-- A DARK FIGURE, we don't get a good look, steps into frame behind Giles and SWINGS A DOUBLE-BLADED EATTLE AXE AT THE BACK OF GILES'S HEAD.
BLACK OUT.
OMITTED |