"Touched"

Written by: Rebecca Rand Kirshner
Directed by: David Solomon

March 21, 2003 (WHITE)

Teaser

INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT

The middle of the night, only hours after Buffy was kicked out. FAITH sits with XANDER, WILLOW, DAWN, GILES, ANYA, PRINCIPAL WOOD and the Potentials (KENNEDY, RONA, AMANDA, VI, CARIDAD and 20 EXTRA POTENTIALS).

(Note: Rona needs to be able to be shot separately. So she's probably behind a few people. Visible when necessary, but not conspicuous when she's gone.)

Everyone is still wound-up and tense. Faith, looking frazzled, is trying to get control of the chaotic group.

FAITH
Okay, you guys, let's not freak out.

KENNEDY
I'm not. All I'm saying is that now
that Buffy's not here, we finally
have some say in how and when we lose
our necks.

ANGLE ON some of the potentials, including Vi, looking scared, vulnerable.

PRINCIPAL WOOD
(to Kennedy; re:
scared Potentials)
Maybe you don't have to be so blunt
about the losing of the necks --

ANYA
Let the woman speak the truth. We're
all on death's doorstep, repeatedly
ringing the bell, like maniacal Girl
Scouts intent on making quota.

XANDER
(re: Anya)
I'm thinking maybe not everyone
should have a say here --

GILES
What we need to do is figure out how
to have constructive dialogue,
without going completely mad --

AMANDA
Do you know Parliamentary Procedure?
Because that's a convenient way of
organizing verbal --

KENNEDY
I just wonder if those of
us who've been here longer
should have more of a say.
What do you think, Faith?
PRINCIPAL WOOD
Maybe if we break down into
smaller groups, this
wouldn't be so chaotic.

AMANDA
When I was involved with Model UN, we
found Parliamentary Procedure to be
a total life saver. For example,
once, when I was Uruguay --

ANGLE ON Giles and Dawn sitting next to each other. They catch each other's eyes. As the debate continues around them:

GILES
(quietly; to Dawn)
She's going to be okay. It's -- it's
all for the best.

DAWN
Yeah. But, then why do I feel like
this?

Giles gives a little sympathetic shrug.

GILES
Everything's going to be alright.

DAWN
I hope so.

Dawn and Giles share another look: this is hard. All this plays over:

FAITH
I hear what you're saying but --

KENNEDY
Shouldn't we get down to
business and start talking
about our game plan? We
don't have all the time in
the world here. Or maybe
we do -- but that doesn't
mean much anymore.
WILLOW
You guys? You guys? I
think we're wasting our
time arguing about how to
argue.

AMANDA
Why don't we--

RONA
(warning)
Girl, don't you mention
Parliamentary Procedure.

DAWN
I second that.

FAITH
(quiet and steady)
Everyone listen to me. Chill.

They all look to Faith. It's quiet. Her voice calms them.

FAITH (cont'd)
(quiet)
It's been a long night and I don't
know about you, but I'm wiped. Why
don't we all catch some sleep and
figure all this out in the morning?

KENNEDY
Do we really have time to waste --

FAITH
(calm)
Look, I understand you guys are
wicked stressed.

Vi nods emphatically.

FAITH (cont'd)
Frankly? Our situation blows. But
we've got to stay cool. That's the
only way we're going to get through
this. Can everyone handle that?

A few affirmative ad-libs. Voices are more relaxed; the hysteria is over.

VI
(calming down)
Yeah... yeah. We'll get some rest and
tomorrow, this won't seem so --

Suddenly, all the LIGHTS IN THE HOUSE GO OUT.

VI (cont'd)
AAAAaaaa!

And the hysteria returns.

The rest of the scene should play out in as close to TOTAL DARKNESS as possible. Otherwise it's going to seem lame that they're freaking out. All this is overlappy too - keeping up the chaotic mood.

AMANDA
Vi, be quiet--

VI
what happened?

RONA
("duh")
The lights went out?
AMANDA
I'll get some candles. If
we have candles.

KENNEDY
I'll check the fuse box.

FAITH
Don't bother, all the lights on the
whole street just went out.

RONA
Which means?

FAITH
(grim)
That everyone from the Power Company
has got the hell out of Sunnydale.

A beat of silence.

VI
(worried)
I think I'm freaking out.

EXT. SUNNYDALE STREET - NIGHT

BUFFY, all alone in the dark. Her face placid, detached.

She walks down the middle of the street. The street lights are out. Doors are left open, houses abandoned. Maybe a family is packing their belongings into their car and getting the hell out of Dodge.

Buffy chooses a small house. Walks up to the door. CRACK!

INT. SMALL HOUSE - ENTRYWAY/KITCHENETTE - CONTINUTNG

The door swings open as Buffy (having broken the lock with an unseen shoulder slam) enters. The house is dark.

Buffy takes a couple steps in, her face still blank. A floorboard CREAKS.

Suddenly:

MIDDLE-AGED MAN (O.S.)
Don't move!

Buffy doesn't flinch. She turns ambivalently towards the voice.

Now illuminated by the moonlight, we can see a MIDDLE-AGED MAN with a shotgun aimed at Buffy's head. His hands are shaking. His bulging eyes belie sleep-deprivation and paranoia.

MIDDLE-AGED MAN
Get out of my house.

Buffy looks at him apathetically.

BUFFY
Hey.

And then, incredibly quick, she easily seizes the gun. Which she tosses out of the way, on to the couch.

BUFFY (cont'd)
I thought this place'd be empty.
Everyone else has left town. You
know, you really should leave.

MIDDLE-AGED MAN
You can't just kick me out of my own
house.

BUFFY
Why not? It's what all the cool kids
are doing nowadays.

He takes a side-ways step towards the door but then pauses: she can't be serious?

BUFFY (cont'd)
It's not your house. It's not your
town. Not anymore.

As Buffy turns towards the kitchen, the man starts to exit. BUFFY opens the refrigerator (no light goes on).

And, holding the gun absentmindedly, she looks for something to eat.

BUFFY (cont'd)
Hey, do you have any Tab?

END OF TEASER
Act One

INT. GILROY MISSION - SECRET ROOM - DAY

The same small dark room from scene 28 in "Empty Places." Bare except for a few tapestries on the wall. Dark except for a thin band of sunlight let in from an out of frame window. Just something to indicate that it's day and provide some cool lighting.

ANDREW lies on his stomach, his chin resting in his hands, lazily swinging his legs back and forth.

ANDREW
All right...I spy with my little eye
something that begins with ... "T" --

SPIKE
(instantly)
Tapestry.

SPIKE sits slumped against a wall, his head in his hands. Bored out of his mind.

ANDREW
(impressed)
Hey... good one. How did you--

SPIKE
Tapestries the only things in the
whole bloody room.

ANDREW
(wise)
Ah. So say you... but I say, look
deeper...

SPIKE
I'll look deep in your jugular,
s'what I'll look deep at.

ANDREW
Don't spazz out.

SPIKE
I'm not -- don't you say another word.

Andrew waits a few beats. And then:

ANDREW
Rock paper scissors?

He looks at Spike hopefully. Spike stares back.

SPIKE
(quiet and cold)
What is wrong with you? Don't you
understand what's happening here?

ANDREW
("no duh")
Uh, yeah. We're waiting 'til it's
night again so you can ride on the
motorcycle without exploding.

Spike slams the ground next to him with his fist...

SPIKE
And ev'ry minute we're stuck here,
the Slayer's back there, facing hell
know's what...

ANDREW
You're worried about her. Come on,
what's the worst thing that could
happen to her?
(beat)
Wow, I'm imagining something really
horrible. How 'bout you?

SPIKE
All right! I'll play if you want.

ANDREW
(thrilled)
You will?

SPIKE
It's that or bash my head repeatedly
against this wall.

ANDREW
Okay.. Let's see, let's see...

His eyes scan the barren room.

ANDREW (cont'd)
I spy with my little eye something
that begins with a..."Y".

Spike looks around. There's nothing that begins with a "Y".

SPIKE
A "Y"? There's nothing here that--

ANDREW
'Yet another tapestry'!

SPIKE
(to himself)
Shoulda picked the bashing.

INT. SUMMERS' HOUSE - BASEMENT - DAY

Basically everyone in the house is there sitting in a circle: Faith, Xander (with new eye-patch), Willow, Dawn, Giles, Anya, Principal Wood, Kennedy, Caridad, Amanda, Vi, plus 20- 30 extras.

The room is lit with battery-powered emergency lamps. The "Big Board" is behind them and there are some fighting dummies nearby: we want the sense that this is command central.

Faith is overwhelmed; trying to maintain control of a very large group of scared and confused people:

FAITH
So what do we know?

XANDER
We know we're basically the last
humans left in Sunnydale.

CARIDAD
And that like, all the evil in town
wants us dead.

VI
(scared)
I don't want to die.

ANYA
(quietly comforting)
Don't worry. It's far more likely
that you'll stay alive long enough to
watch most of your friends die first.

Vi looks at her, stunned. Anya pats her on the back.

ANYA (cont'd)
And then you'll die.

KENNEDY
(to Faith; excited)
We also know that Caleb told Buffy
that everything's going down at the
Seal. I think we should head --

FAITH
Let's not get ahead of ourselves.

Kennedy is hurt that Faith cut her off. Faith looks to the group at large, ignoring Kennedy.

FAITH (cont'd)
We know we've got a lot of enemies.
We'll start there.

KENNEDY
Faith, I'm sorry, don't you think
that we should --

FAITH
(to Kennedy)
I got this.
(to all)
So, let's go over our Rogue's
Gallery, who exactly do we got here?

DAWN
There's The First. Who we can't
touch.

XANDER
And our friend Mr. Reverend I-hate-
women.

ANYA
Who's basically untouchable.

DAWN
And the 'Roid-rage Vamps, who are
pretty much the worst, and the --

FAITH
Bringers... I think they're our
weakest link.

GILES
Are you saying we should think about
attacking the Bringers?

FAITH
Maybe, or -- okay, what if we kidnap
one?

KENNEDY
And what, hold it ransom?

XANDER
I'll get the magazines and start
ripping out letters now. "Dear The
First, if you want your Bringer
back -- well, we will be surprised
because you have three million other
ones...so please disregard this
letter. Yours sincerely- -

FAITH
I'm saying, we think about getting us
a Bringer and making it talk. Get
some info on The First and Caleb that
way.

DAWN
I'm on board.

PRINCIPAL WOOD
How do you think we should capture
one? If they don't want to be found--

KENNEDY
Okay, I'm not sure that this is such
a good idea. Why try to get
information when we already know
about the Seal? Why don't we send a
team to the high school, do some
recon and then --

FAITH
No.

KENNEDY
(hotly)
Just like that. You're not even
Listening!

Willow puts her hand on Kennedy's arm, telling her to take it easy.

WILLOW
(quietly to Kennedy)
Sweetie. You're pushing too hard.

KENNEDY
(to Faith)
I thought things would be different
now, but you keep shutting me down.

FAITH
(harsh)
Things are different. Because, now?
I'm your boss.

Faith stands, finally taking on the mantle of leadership.

FAITH (cont'd)
Look, you guys, I'm not Buffy. I'm
not the one who's been on your asses
all this time. But I'm not one of
you anymore, either. I'm your
leader. I didn't ask to do this.
And honestly? I didn't want to. But
now I'm in charge. Which means I go
first and I make the rules and the
rest of you follow after me, is that
clear? So back the hell off, Kennedy
and let me do my job.

Kennedy looks at her, stunned.

FAITH (cont'd)
Alright?

KENNEDY
(sullen)
Aye aye, captain.

FAITH
(to everyone)
Okay, let's get down to business.

Off Kennedy's pissed-off look:

INT. N.D. (VINEYARD - SECRET CHAMBER) - NIGHT

A dark space underground (lit with a few torches). BRINGERS are toiling at some unclear task. We see FOUR but might assume there are many more: Two work with some kind of ELECTRIC SAW that throw up sparks; and two use long HAMMERS, beating repetitively although it's not clear at what.

The CAMERA PULLS BACK

REVEALING CALEB AND BUFFY... or really THE FIRST in the guise of Buffy: their backs silhouetted against the light of the Bringers' fire. They look like devils watching the tortured labor in hell.

BUFFY/FIRST
I'd hoped you'd give me some better
news.

CALEB
And I wish I had some.

Caleb and The First remain side by side for a beat. Silent.

ANGLE ON Buffy/First and Caleb from the front.

BUFFY/FIRST
Is this going to do anything? Or is
all of this just to make the Bringers
sweat?
(then)
Do the Bringers sweat?

CALEB
Actually, I think they pant, like
dogs.
(re: the Bringer's
work)
And, I don't know if this is doing
any good. But we've got to try
everything... what's a prophesy got on
brute strength?

BUFFY/FIRST
You realize what will happen if the
Slayer and her girls get it, don't
you?

CALEB
They won't.

BUFFY/FIRST
That's right they won't.

Buffy/First turns, walks away, toward us, speaking to Caleb without even looking at him.

BUFFY/FIRST (cont'd)
Because you're going to kill them and
everyone they know.

Caleb doesn't turn, doesn't watch her go. He keeps his eyes on the work before him. We PULL AROUND...

... to see a small, quiet SMILE curl his lips.

CALEB
(whispering/joyful)
Hallelujah.

EXT. SUNNYDALE ALLEY - NIGHT

Dark, desolate. A lone figure walks through the alley. As she gets closer, we recognize Kennedy. She scuffs her feet along the pavement, gives an absent-minded, pissed-off kick to a garbage can. She looks like she's in her own world, still wounded by the public scolding she got from Faith. In another word: schmuck-bait.

Suddenly, THREE BRINGERS race out from the darkness. The first one there, BRINGER #1, grabs Kennedy from behind. She falls to her knees. The Bringer's knife glints in the moonlight. Then the knife is at her throat and

WHIIIZZZ! ZWOOP...

BRINGER #2 staggers back, away from Kennedy... pulled by some unseen force. Its knife clatters to the cement. And then we see...

Giles, yanking the Bringer back by a lasso he just threw 'round its neck.

BRINGER #2 lunges at Kennedy, but BOOF! Caridad emerges from the darkness and gives it a mighty KICK in the temple.

Amanda and an Extra Potential appear out of the darkness too. They each get a couple good blows in on Bringer #3 and then the Extra stabs it in the gut. It crumples down dead.

Kennedy picks up Bringer #1's knife. Bringer #2 tackles Kennedy to the ground. She struggles under the Bringer. Its hands are around her neck. And then its hands lose their strength. She flips the beast over: it's dead with Bringer #1's knife sticking out of its chest. Kennedy wrenches out the blade and wipes it on her jeans.

KENNEDY
I've never been the bait before.
That was...
(then)
Actually kind of scary.

CARIDAD
We had your back.

Giles tosses the end of the rope to Kennedy. As:

GILES
You did well. Your performance as a
disgruntled minion was spot on.

She pulls it tight, deftly wraps the length around her arm. And leads them out of the alley.

KENNEDY
I'm method.
(smiles)
Let's get this back to the Captain.

The little posse walks off into the moonlight.

END OF ACT ONE
Act Two

INT. SUMMERS' HOUSE - KITCHEN - NIGHT

The kitchen is lit with hurricane lights. Faith, Principal WOOD, Giles, Xander, Willow and Kennedy troop up from the basement into the kitchen. Where Anya, Dawn, Amanda and two Extra Potentials are hanging out. They look expectantly at the basement crew:

DAWN
Hey! So?

GILES
(dejected)
The Bringer's dumb.

ANYA
And you were expecting, what? A
Rhodes Scholar?

GILES
Dumb as in mute. Dumb is a
politically incorrect and outdated
term that belies my youth in the
Mesozoic Era.

WILLOW
Anyway --

FAITH
Someone ripped out its tongue.

AMANDA
Oh, gross...

As the basement crew joins the others around the counter:

XANDER
Hey, whoa there sweet-cakes, missing
body parts can look pretty awesome.
(beat)
But this was totally gross.

DAWN
Hey.

Dawn looks up; she just remembered something.

DAWN (cont'd)
I've been reading this old Turkish
spell book. There's an old
conjuration that the ancient Turks
used to communicate with the dying --

WILLOW
Oh, yeah. I think I've read a
translation of that.

DAWN
There's a translation? Oh, great!
I'm reading like two words of Turkish
a night when I could be...
(deep breath)
Okay, I'm over it. So the spell is
for communicating with people who
can't talk. Like when a person is
dying and can't speak anymore, this
spell would allow them to say their
good-byes or y'know, gripe about how
nobody ever came to visit.
(to Willow)
Do you think this'll help with Mr. No-
tongue?

WILLOW
It should work... yeah, if we
transmute the Bringer's internal
synapses into sound waves... yep, I
think so. I'll just need to get
together some ingredients. It
shouldn't take too long.

FAITH
Well, alright, cool. While Willow's
doing that, why don't the rest of --

ANDREW (O.S.)
We're ba-ack!

The SOUND of the front door slamming. As Spike appears through the dining room with Andrew behind him.

GILES
Spike.

As he casts a look at Faith: Uh-oh, here we go.

SPIKE
Hey.

Andrew enters, talking a mile-a-minute and making his way quickly towards the door to the living room.

ANDREW
Hi, everybody. I missed you guys a
lot. Sorry we took so long getting
back from our mission-mission but we
had to wait out the sun and hey --
(re: Xander)
Oh, cool... very Col. Nick Fury.
You're lookin' good!

XANDER
Seeing slightly less good. But,
thanks.

ANDREW
Well, I think we had a very
successful trip. We rode on Spike's
"hog", which was very cool and played
some amusing games and, oh yeah,
we've got some information -- but do
you know what? I really need to
urinate.

And with that he dashes off towards the bathroom.

SPIKE
He's a breath of fresh air, isn't he?
(beat)
Thank god I don't breathe.

Silence. Everyone avoids looking at Spike.

SPIKE (cont'd)
So I think we got a lead. Where's
Buffy?

DAWN
She's not here right now.

SPIKE
(unperturbed)
When's she get back?

Nobody answers.

SPIKE (cont'd)
What? She finally ran off and joined
the circus? Always thought she'd be
genius at the old knife throw --
(off their looks)
Where is she?

WILLOW
While you were gone we all got
together and talked out the
disagreements we'd been having. And
eventually, after some discussion,
Buffy decided that it would be best
for all of us if she took a little
time off. A little breather.

SPIKE
I see. Uh-huh.
(beat)
Been practicing that lit'l speech
long, have you?
(then)
So Buffy took some time off, right in
the middle of an apocalypse. And it
was her decision?

ANGLE on the group's shameful expressions.

XANDER
Well, we all decided.

SPIKE
Yeah, you all decided.

Spike paces for a moment, smiling strangely. And then:

SPIKE (cont'd)
(disgusted)
You sad, sad, ungrateful traitors.
Who do you think you are?

WILLOW
(quiet)
We're her friends; we only want --

SPIKE
That's ballsy of you. You're her
friend and you betray her like this?

GILES
You don't understand --

SPIKE
You know, I think I do. Rupert. You
used to be the big man, didn't you?
The teacher all full of wisdom. And
now she's surpassed you, and you
can't handle it.

Spike looks at all of them.

SPIKE (cont'd)
She's saved your lives, again and
again. She's died for you. And this
is how you thank her? This is how
you --

Faith steps in front of Spike, cutting him off:

FAITH
Hey, why don't you take it down a
notch or two? The time for giving
speeches is over, Bat-boy.

He takes a step closer.

SPIKE
Is that right?

FAITH
Yeah, that's right. Save your lack
of breath.

SPIKE
Alright.

And POW! He punches Faith right in the jaw. He catches her off-guard and she falls back against the counter, surprised. Everyone else starts backing away: there's no stopping these two.

As Faith touches her sore jaw, a smile spreads over her face.

FAITH
You're pretty sweet on her, aren't
you?

And using the kitchen counter, Faith kicks up both legs at once, CRACKING Spike in the face.

FAITH (cont'd)
Well, I think it's cute.

SMACK! He hits her hard. She takes it and OOMPH! hits him back.

FAITH (cont'd)
The way she's got you whipped.

She KICKS HIM HARD, Bending him flying back into the

INT. SUMMERS' HOUSE - DINING ROOM - CONTINUING

Where he falls hard onto his back. Faith jumps on him, hitting him in the face. Again and Again. Brutal. Then Spike kicks back, throwing Faith off him. Now he's got the upper hand. He pushes her up against the wall. He's right in her face.

SPIKE
Finally got what you always wanted,
didn't you?

She stares in his eyes, angry. And then SLAM! He knocks her head back against the wall hard!

SPIKE (cont'd)
Where is she?

FAITH
I don't know.

She wrenches out of his grasp, KICKS him in the gut. And readies for his returning blow.

Except he just throws up his hands, like 'screw it' and turns away from her.

As he heads out, he looks back to the kitchen doorway.

ANGLE ON all the others, watching. Unable to meet his eye.

ANGLE ON Spike heading out the door.

ANGLE ON the gang. Their expressions full of guilt and confusion.

EXT SUMMERS' HOUSE - NIGHT

Spike pauses at a crossroads. Breathes deeply. Closes his eyes. And turns left.

INT. SUMMERS' HOUSE - BASEMENT - NIGHT

CLOSE ON the Bringer, sitting awkwardly on the floor, its arms above its head, wrists manacled in Spike's old chains. Candles light the room.

WILLOW (O.S.)
(Turkish)
Kendinizi çok uykulu
hissetmeye bashliyorsunuz.
WILLOW (O.S.)
(English)
You are getting very sleepy.

PULL BACK TO REVEAL: Willow reading out of a spell book. Kennedy, Giles, Andrew, and Xander standing a bit behind her.

WILLOW (O.S.)
(Turkish)
Çok uykulu, çok uykulu.
Gözlerinizin önünde
sallamak için cep saatim
yok ama, sizin de
gözleriniz yok. Konusun
bizimle.
WILLOW (O.S.)
(English)
Very, very sleepy. I do
not have a pocket watch but
then again, you do not have
eyes. Speak to us.

Willow closes the book. A long beat. Nothing happens.

ANDREW
(loud whisper)
Maybe you should let me rough him up
a little.

XANDER
Andrew!
KENNEDY
Andrew, quiet!

ANGLE ON THE BRINGER. No movement.

WILLOW
I don't know, you guys; that should
have worked.

GILES
Perhaps you should try again.
Sometimes your conjugations are a
little unusual --

ANDREW
(low, serious)
I am a drone in the mind that is
evil --

XANDER
(annoyed)
Could you just shut up?

ANDREW
I say, I am a part of the Great
Darkness --

KENNEDY
Somebody needs a reality check --

XANDER
And a muzzle --

GILES
Wait.

He looks at the Bringer. He looks at Andrew. They get it: Andrew is serving as a conduit for the Bringer.

They all turn to look at Andrew:

ANDREW/BRINGER
I am only a fragment of The We. We
work as one to serve The First.

Willow faces Andrew and then the Bringer.

WILLOW
Okay, well, what are you, "The We",
doing for The First?

ANDREW/BRINGER
We work to prepare for the inevitable
battle.

Kennedy gets right in the Bringer's face. She pulls the Bringer's knife from her belt and points it threateningly, just touching the point of it to the Bringer's neck. Next to Kennedy, Willow is uncomfortable about Kennedy's aggression; she looks anxiously at Kennedy.

KENNEDY
(to the Bringer)
How? Tell me exactly what the
Bringers are doing.

GILES
Kennedy, he can't see the knife.

ANDREW/BRINGER
(calm)
We can feel the knife.

Giles holds out his hand to Kennedy, asking for the knife.

GILES
Kennedy?

She passes it over.

ANDREW/BRINGER
We attend to the needs of infinite
Evil. We exterminate girls and
destroy the legacy of Slayer. We
build an arsenal beneath the dirt.
We obey the commands of our teacher
Caleb. We protect --

XANDER
Wait, go back to that dirt thing.

ANDREW/BRINGER
We build weapons for the coming war.

ANYA
Can you do better specificity-wise
than "under the dirt"?

ANDREW/BRINGER
At the farthest edge of town.
(then)
We are everywhere. We are like the
ocean's waves. We watch your efforts
and are not scared. We will laugh at
you as you die.

And suddenly, Giles SLASHES the Bringer's knife across its throat! The Bringer GASPS, sucks air through its wound for a moment and dies.

ANDREW
What the bananas!

They turn to Andrew who's clutching at his throat.

ANDREW (cont'd)
(glaring at Giles)
Okay, it is so lucky for you that
didn't just magically decapitate me.

GILES
We got something here. Let's get
Faith in on this.

ON GILES as they all troop up the stairs. Andrew last.

GILES (cont'd)
Xander, if you'll grab some maps we
can start narrowing this down. We
need subterranean space with an area
large enough for an armory.

ANDREW
Ug! I feel used and violated and I
need a lozenge.

INT. SMALL HOUSE - BEDROOM - NIGHT

Buffy lies on the stranger's bed, atop the unmade sheets. The only light is moonlight coming in the window. Next to her is the shotgun.

KNOCK, KNOCK. Someone at the front door. Buffy doesn't react.

Another KNOCK. Then the SOUND of the door CREAKING open...

And FOOTSTEPS approaching. The footsteps stop.

A VOICE (O.S.)
There you are.

Slowly, Buffy turns and sees, in the doorway: Spike. She looks at him blankly. As he strides in, full of energy.

SPIKE
Do you realize I could just walk in
here, no invite needed? This town
really is theirs now, isn't it?

He and Buffy exchange a look:

SPIKE (cont'd)
I heard. I was over there. That
bitch.

Buffy shakes her head. But Spike continues.

SPIKE (cont'd)
She's all smiles and reformation when
you're on your feet; minute you're
down? She's all about the kicking,
isn't that right? Makes me want to--

BUFFY (tired)
It wasn't just Faith. It was all of
them and it's not like they were all
wrong. Now, please... leave.

Spike doesn't budge; he's excited by his news.

SPIKE
No, this'll change your tune. I came
here 'cause I got somethin' to tell
you: You're right. You've been
right since the beginning.

He looks at her triumphantly. Buffy looks back, blankly.

SPIKE (cont'd)
Caleb is protecting something from
you. And I think you were spot on
all the way; I think it's at the
vineyard.

He looks at her expectantly.

SPIKE (cont'd)
So?
(waiting for reaction)
You were right. Buffy.

Buffy shakes her head.

BUFFY
I don't feel very right. They blame
me for stuff, and honestly? I can't
say they're wrong.

Spike crouches down by the bed.

SPIKE
You're not foolin' me.

BUFFY
What do you even mean?

SPIKE
You're not a quitter.

BUFFY
(defeated)
Oh... watch me.

SPIKE
Buffy, no. You were their leader and
you still are. This isn't something
that you gave up; it's something that
they took.

BUFFY
And the difference is?

SPIKE
We can take it back.

Off Spike's intense look:

INT. SUMMERS' HOUSE - BUFFY'S BEDROOM - NIGHT

Giles talks to Faith in the doorway to her (Buffy's old) bedroom. Giles shows a section of an open map to an exhausted Faith.

FAITH
Sewer tunnel on the North side's
closest, so guess we'll start there.

GILES
That sounds fine. What time should
I tell everyone?

FAITH
How 'bout around seven?
(then; decisive)
Seven sharp. So, tomorrow we fight.

GILES
Tomorrow. Good-night Faith.
(starting off)
And Faith?

FAITH
Yeah?

GILES
You're doing just fine.

Faith smiles a small grateful smile. Then turns, heading into the bedroom. Takes a few steps... And finds herself face to face with:

MAYOR WILKINS/FIRST
I'd say better than 'fine'. I'd say
you're doing a bang-up job.

Faith is totally rattled, but trying not to show it.

FAITH
Get out.

MAYOR WILKINS/FIRST
(amiable)
Well gosh - I think a "hello" or
"nice to see you" might be a little
more welcome. It's the end of
humanity Faith, not the end of
courtesy.

FAITH
You're wasting your time. I know who
you are. What you are.

MAYOR WILKINS/FIRST
Nobody's explained to you how this
works, have they?

He paces a bit.

MAYOR WILKINS/FIRST (cont'd)
You see, I am part of "The First," as
you kids call it, but I'm also me.
Richard Wilkins the Third. Late
mayor - and founder - of Sunnydale.

She remains quiet, trying hard not to let him get to her.

MAYOR WILKINS/FIRST (cont'd)
Here. I'll prove it to you. Ask me
a question only I would know the
answer to. Something like... where
did I hide the moon pies in my
office, or who was my favorite
character in Little Women.
(realizing something)
Actually... we never got that far,
did we?
(beat)
Meg.

He throws his hands up in a "can you believe it!" gesture.

MAYOR WILKINS/FIRST
I know! Most people guess Beth. But
Meg was such a proper young lady.
(thinks)
Remember when Jo burned her hair?

FAITH
I know what you're doing. It's not
gonna work.
(shrugs)
But feel free to keep talking. Hell,
I could listen to you yap all night.

MAYOR WILKINS/FIRST
Hey hey hey -- language. You're a
leader now. You keep throwing the "H-
E-double hockey sticks" around,
pretty soon these girls are going to
pick up on it.
(beat)
Then what?

FAITH
You let me worry about the girls.

MAYOR WILKINS/FIRST
Of course, of course... You're doing
a great job with them, by the way.
Much better than Buffy ever did. You
were smart to kick her out.

FAITH
That's not what we... Buffy got 'em
this far.

MAYOR WILKINS/FIRST
Why are you protecting her? You
think she cares about you?

Faith doesn't say anything.

MAYOR WILKINS/FIRST (cont'd)
She nearly killed you, Faith.

FAITH
(softly)
It's different now.

MAYOR WILKINS/FIRST
No matter what you do, Buffy will
always see you as a killer, not as a
person. And now you have what she so
desperately wants -- the respect of
these girls.
(beat)
All she needs is an excuse, and
she'll finish what she started when
she stuck that knife in your belly.
(beat)
Stay on guard, Faith. Buffy's
dangerous. If you're not careful,
she'll destroy you.
(beat)
I'm just sayin'.

Off Faith's look, we:

BLACK OUT.

END OF ACT TWO
Act Three

INT. SMALL HOUSE - BEDROOM - NIGHT

Buffy sits on the bed. Spike stands before her, incredulous.

SPIKE
"No"?

BUFFY
No.

SPIKE
You mean no as in, eventually?

BUFFY
You really have trouble with that
word, don't you?

SPIKE
I don't understand. I don't
understand you one bit.

BUFFY
I've actually been aware of that for
some time.

SPIKE
You can get them back.

BUFFY
Can, maybe. Should? I don't know
I'm so tired...

SPIKE
They need you!

BUFFY
(what she wants to
hear...)
Well, I --

SPIKE
It's bloody chaos over there without
you!

BUFFY
It is?

SPIKE
Yeah yeah, it's, uh --

BUFFY
How do you mean?

SPIKE
There's... junk, food cartons,
sleeping bags not rolled up...
everyone's very scared and uh,
unkempt...

BUFFY
Sounds dire.

SPIKE
Look, I didn't see a lot. I came,
hit Faith a bunch of times and left.

BUFFY
(slight perk)
Really?
(covering)
I mean, I'm not glad of that...

SPIKE
Say the word and she's a footnote in
history. I'll make it look like a
painful accident...

BUFFY
That's my problem. I say the word,
some girl dies. Every time.

SPIKE
There's always casualties in a war.

BUFFY
Casualties... it sounds so casual.
These are girls. That I got killed.

She looks at him.

BUFFY (cont'd)
I've been thinking a lot.

SPIKE
Okay, first mistake --

BUFFY
And I can't fault them for kicking me
out. I've been... I've just cut
myself off from them, all of them.
'Cause I knew I was gonna lose some
of them, and I didn't want to...

She stands, upset.

BUFFY (cont'd)
You know what? I'm still making
excuses. I've always cut myself off,
I've always... Being the slayer made
me different, but it's my fault I
stayed that way. People try to
connect to me but I just... I slip
away.

A beat.

BUFFY (cont'd)
You should know.

SPIKE
I seem to recall a certain amount of
connecting.

BUFFY
Please, Spike. We never got close.
That's why you wanted me -- 'cause I
was unattainable.

Now he stands.

SPIKE
You think that's all it was?

BUFFY
I don't want to go over the --

SPIKE
No. Hold on here, I've hummed along
to your pity ditty, I think I should
have the mic for a bit.

She drops down onto the bed, looking wearily up at him.

BUFFY
Fine. The stage is yours. Cheer me up.

SPIKE
You're insufferable.

BUFFY
Thank you. That helped.

SPIKE
I'm not trying to cheer you up!

BUFFY
Well what are you trying to say?

SPIKE
I don't know! I'll know when I'm
done saying it. Something pissed me
off and I just... Unattainable!
That's it!

BUFFY
Okay, I'm attainable. I'm an
attainathon. Can I sleep now?

SPIKE
(quietly)
You listen to me. I've been alive a
bit longer than you, and dead a lot
longer than that. I've seen things
you couldn't imagine, and done things
I'd prefer you didn't. I don't
exactly have a reputation for being
a thinker; I follow my blood, which
does not always rush in the direction
of my head. So I've made a lot of
mistakes. A lot of wrong bloody
calls.
(squatting before her)
A hundred plus years, only one thing
I've ever been sure of. You.

He moves to touch her face. Misinterpreting, she turns away, but he puts his hand to her cheek, urges her to...

SPIKE (cont'd)
Look at me. I'm not asking you for
anything. When I tell you that I
love you, it's not because I want
you, or 'cause I can't have you -- it
has nothing to do with me. I love
what you are, what you do, how you
try... I've seen your strength, and
your kindness, I've seen the best and
the worst of you and I understand
with perfect clarity exactly what you
are. You are a hell of a woman.

She is silently crying. He can only smile at her kindly, containing his own emotions.

SPIKE (cont'd)
You're the one, Buffy.

BUFFY
(quietly)
I don't... I don't want to be the one.

SPIKE
I don't want to be this good-looking
and athletic. We all have crosses to
bear.

She smiles a little.

SPIKE (cont'd)
Now you get some rest.

He stands, heads out.

SPIKE (cont'd)
I'll check in before first light, you
can decide how you want --

BUFFY
Spike?

Her voice is very quiet. He turns.

BUFFY (cont'd)
Could you... stay here?

A beat.

SPIKE
Sure.

He peels off his coat as he moves to an armchair, starts throwing clothes off it.

SPIKE (cont'd)
That diabolical torture device the
Comfy Chair. Do me fine --

BUFFY
No. I mean... here.
(looking down)
Would you just... hold me?

They look at each other. No more words. After a moment he comes slowly to her and they lie together, wrapped in each others' arms, her head on his chest.

MAYOR WILKINS/FIRST (PRELAP)
It all comes down to love.

INT. SUMMERS' HOUSE - BUFFY'S BEDROOM - NIGHT

Faith and the Mayor/First face off.

MAYOR WILKINS/FIRST
Deep down, you've always wanted Buffy
to accept you -- to love you, even.
Why do you think that is?

FAITH
You a shrink now?

MAYOR WILKINS/FIRST
You keep looking for love and
acceptance from these people, these
"friends" of yours. But you're never
going to find it. The truth is,
nobody will ever love you.
(beat)
Not the way I love you.

FAITH
Get out.

MAYOR WILKINS/FIRST
They'll forever see you as a killer.

FAITH
I said get out.

MAYOR WILKINS/FIRST
I'll always be with you, firecracker.
In everything you do.

And with that, he disappears. Faith stands for a bit, trying to process, slightly in shock. Then a hand on her arm makes her start.

PRINCIPAL WOOD (O.S.)
Faith?

Faith turns to find Wood standing behind her. She shakes his hand off, moves away.

FAITH
Shouldn't sneak up like that. Almost
took your head off.

WOOD
Sorry. I knocked -

FAITH
What'd you see?

WOOD
Just you looking spooked. What
happened?

Faith tries to drop it - but she still looks shaken.

FAITH
Nothing. Forget it.
(then)
What's up?

PRINCIPAL WOOD
I was just going to fill you in on
our weapons status.

FAITH
So - fill. Go.

PRINCIPAL WOOD
(quickly)
We need more. You sure you're
alright?

FAITH
(hotly)
What? You want to rap about my
problems? You hopin' to be the guy
who puts the pal in principal for me?

PRINCIPAL WOOD
Okay... I came up to talk weapons; I
see you, you... look kinda upset, and
I ask if you're okay. Where exactly
did I go wrong?

Faith takes this in. Relents.

FAITH
Sorry; I don't know what I'm doing,
I'm just --

PRINCIPAL WOOD
(kind)
I'll leave you alone. Didn't mean to
intrude.

He starts to head out.

FAITH
It was The First.

He turns back. Looks at her. Then enters the room and closes the door. Faith looks at him, vulnerable.

PRINCIPAL WOOD
You're really in the game now. First
doesn't show unless it thinks you
matter.

FAITH
Lucky me. I'm a player.

They sit down on the bed side by side. She holds up a shaking hand.

FAITH (cont'd)
Man, look at that. My hand is
shaking. That really got me, I mean,
demons, vampires, women in the
penitentiary system, none of those
make me freak.

PRINCIPAL WOOD
But that's what The First does. Find
your achilles heel.

FAITH
Naw. It just talked to me. It does
a heel thing too?

PRINCIPAL WOOD
It's a phrase. Your weak spot.

FAITH
Ah. The school thing. I was kinda
absent that decade.

They share a smile. But Faith is obviously still freaked.

PRINCIPAL WOOD
So, who was it -- The First?

FAITH
He was... like, an old boss of mine.

PRINCIPAL WOOD
Just a boss? And seein' him make's
you shake like that?
(beat)
Wouldn't give you a raise, huh?

FAITH
Yeah, right? Nah. I know it sounds
retarded, but he was like a dad to me.

PRINCIPAL WOOD
Oh.
(then)
It was my mother. When it came to
me. And, I mean, it was her. Right
down to the perfume: patchouli and
lilac.

Faith hears the hurt in his voice, looks into his eyes.

FAITH
Sorry.

PRINCIPAL WOOD
Yeah.

FAITH
I'm just pissed at myself. I knew it
was a trick...

PRINCIPAL WOOD
So did I. And I still wanted my mama
to hold me like a little baby.
(off her look)
In a manly way. Of course.

FAITH
Of course.

PRINCIPAL WOOD
Nobody wants to be alone, Faith. We
all want someone who cares. To be
touched that way. The First may deal
in figments - but the wanting is
real.

They share an intense look. They get each other. Get the need in each other.

FAITH
Hitting things and a whole lotta Jack
D dulls it some.

PRINCIPAL WOOD
Among other things.

Faith reads him loud and clear. A smile. Then -

FAITH
When it came to you, did The First
tell you the truth?

PRINCIPAL WOOD
Yes.

FAITH
It said that we've got to watch out
for Buffy. That Buffy's dangerous.

PRINCIPAL WOOD
What do you think?

FAITH
Could be. We've given B a mighty
reason to be pissed off.
(then)
The messed-up thing? The First is
telling me to worry about her - and
I just wish she was here. In a
couple of hours, I'm leading these
girls into some serious crap. And
she's the only one...

PRINCIPAL WOOD
She's not the only one. You're a
slayer too. And I think you're a
leader.

FAITH
I'm an ex-con that didn't finish high
school.

PRINCIPAL WOOD
I'm the principal of a school that
nobody finished. And I'm totally out
my league in this.

FAITH
I hear otherwise.

A beat.

PRINCIPAL WOOD
So, tomorrow --

FAITH
Forget about tomorrow. This is
tonight.

She puts a hand on his arm. Lets the touch linger there for a moment.

FAITH (cont'd)
Been awhile. Am I out of line?

PRINCIPAL WOOD
Hey. You're the leader.

She stops his mouth with a kiss. Holding his face between her hands. Kissing him hard. He responds and she presses him back down onto the mattress. Her lips on his. Her legs straddling him. Coming up for breath:

FAITH
Touch me.

And they're kissing more. Deep and hard. He's got his hands up the back of her t-shirt moving along the bare skin of her back. She's on top of him, trying to pull his t-shirt over his head.

INT. SUMMERS' HOUSE - WILLOW'S ROOM - NIGHT

Willow enters the room, dressed in a tank top and pajama shorts. She is distracted, looking at one of Giles' maps.

WILLOW
Okay guys, Giles said that Faith said
that we should be ready to go early
in the --

She looks up. Sees that the only person in the room is Kennedy, wearing a pretty nightgown and lying under the sheets, one leg seductively revealed. Candles are on either side of the bed.

WILLOW (cont'd)
What happened to the girls?

Kennedy looks at Willow from under her eyelashes.

KENNEDY
Looks like there's only one girl here.

WILLOW
But what about the other ones, with
their sleeping bags and their head-
gear and their snoring and...
(smiling big)
They're not here, are they?

KENNEDY
Nope.

Willow closes the door behind her.

WILLOW
That's nice.

She goes over to the bed, sits on the edge near Kennedy, kisses her lightly on the lips.

KENNEDY
Nice and necessary. Our foreplay was
threatening to turn into twelve-play.

She kisses Willow back. Then takes the map from Willow's hand and drops it to the floor. Pulling her close:

KENNEDY (cont'd)
C'mere.

Willow smiles and eases under the sheets, next to Kennedy.

They snuggle and kiss some more. Then Willow turns away, lying on her side so that she and Kennedy are facing the same way. Kennedy kisses Willow's neck.

KENNEDY (cont'd)
Something not right?

WILLOW
No, no I just... I guess I'm kinda
scared.

KENNEDY
It's probably to stupid to ask why,
huh? Death, war, apocalypse --

WILLOW
Me.

Kennedy looks at Willow. Then gently pushes a strand of hair off her face.

WILLOW (cont'd)
(explaining)
I'm scared if we... Then I'll... And
then...

KENNEDY
And then, isn't that the good part?

WILLOW
Yeah, good. Good feeling. But
also...

KENNEDY
(joking)
Bad stuff like unrestrained moaning
and screaming with joy?

WILLOW
Well, yeah. Sort of. Yeah, with the
unrestrained of it. I've been in a
place where I kinda should be
restrained. I've been controlling
myself and if I get out of
control... if I let myself go, I could
just... go.

KENNEDY
You're worried you're going to turn into Big Bad Willow.

WILLOW
It's not stupid. When we kissed, I
turned into a... Warren.

KENNEDY
It's not stupid. But it's not going
to happen. C'mon...

Willow looks at her.

KENNEDY (cont'd)
Am I doing that thing? Am I pushing
too hard?

WILLOW
(honestly)
I don't know...

KENNEDY
I guess, I -- I just want you to know
that you're safe with me.

Willow takes this in.

WILLOW
Yeah?

KENNEDY
I'll keep you safe. You can float
around and I'll tether you down.

WILLOW
You'll be, like, my kite string?

KENNEDY
You be a kite and I'll be your kite
string. Okay?

WILLOW
Okay.

And they start to kiss more passionately. Willow closes her eyes, abandoning herself to the moment, to Kennedy.

INT. SUMMERS' HOUSE - LIVING ROOM - NIGHT

Candles give the room a glow. The room is packed with Potentials (around 20). Some are asleep in sleeping bags; some are awake, scared.

The CAMERA CONTINUES through that alcove (where another Potential or two is sacked out on the floor) and into the:

INT. SUMMERS' HOUSE - KITCHEN - CONTINUING

Where Anya and Xander sit on the counter, talking. While they talk, they eat intermittent spoonfuls of ice cream straight from the container. They share a spoon.

ANYA
(crabby)
They could have a little respect, you
know.

XANDER
(noncommittal)
Mmmmmm.

Anya takes a bite of ice cream.

ANYA
I mean, they should at least
acknowledge the possibility that some
people might not want to listen to an
a cappella concert of moaning and
groaning.

He takes the spoon from her. Eats a bite.

XANDER
Mmmmmm.

ANYA
It's disgusting is what it is.

He hands her back the spoon.

XANDER
Little jealous, huh?

ANYA
Well, of course! A lot jealous. If
you and I are done having sex, I
think everyone else should just knock
it off.

Frustrated, she wrenches out a huge chunk of ice cream and shoves it in her mouth.

INT. SMALL HOUSE - BEDROOM - NIGHT

Buffy and Spike lie in each others' arms. Looking deep into each others' eyes. So close. Breathing each others' breath. Just holding each other.

MONTAGE

- Faith and Wood sexing. She's on top of him, sweaty. Her back is bare (the blankets strategically placed). He grabs her hair in two hands and pulls her close to him. They roll over so that he's on top (again, the blankets are key). They move together, grabbing at each other. Kissing, hard.

- Willow and Kennedy in bed. Kennedy licks Willow's neck with her pierced tongue, while something happens under the covers that makes Willow's eyes go wide!

- Xander and Anya on the kitchen floor, behind the counter, having sex. They're still clothed. She's on top, her skirt spread out conveniently.

- Buffy and Spike. She is asleep in his arms. He is awake, watching her. He strokes her hair, infinitely gentle. And then leans down and presses his lips against her forehead.

BUFFY/FIRST (V.O.)
I envy them.

INT. - VINEYARD - NIGHT

The Buffy-lookin' First talks with Caleb. She is looking into the darkness, him standing a ways behind.

BUFFY/FIRST
Isn't that the strangest thing?

CALEB
Well, it does throw me a tad...
they're just, well they're barely
more than animals, feeding off each
others flesh. It's nauseating.
(he comes forward)
But you, you're everywhere. You're
in the hearts of little children, in
the souls of the rich, you're the
fire that makes people kill and hate,
the cleansing fire that will cure the
world of weakness. They're just
sinners. You are Sin.

BUPFY/FIRST
I do like your sermons.

CALEB
And you're in me. Gave me strength
no man can have.

BUFFY/FIRST
You're the only man strong enough to
be my vessel. And I know you feel
me, but I... I know why they grab at
each other. To feel. I want to
feel. I want to put my hands around
an innocent neck and feel it crack.
I want to bite off a young girl's
face and feel the skin and gristle
slither down my throat.

CALEB
Now that is truly poetical.

BUFFY/ FIRST
We have to kill them.

CALEB
We are.

BUFFY/FIRST
We have to do it faster.

CALEB
Amen.

INT. SMALL HOUSE - BEDROOM - DAY

Buffy wakes up in the pale dawn light. She blinks trying to orient herself in this strange house.

Sees Spike, sleeping in her arms. So peaceful, like a child. She watches him. Just looking at him.

INT. SUMMERS' HOUSE - LIVING ROOM - DAY

Early morning. Everyone is dressed for action. We've a full house; some squatting down, some standing. We've got: Faith, Xander, Giles, Dawn, Principal Wood, Anya, Andrew, Vi, Rona, Amanda and a lot of Potentials (maybe 20). Kennedy is sitting right behind Willow, arms around her. Kite still intact. Everyone is listening to:

Andrew, wearing a pith helmet.

ANDREW
So it turned out that all these stone
tablets basically said the same
thing. The First and Caleb are
trying to protect something. We
don't know exactly what, but it's
something powerful and they don't
want the Slayers to get it. I'm
thinking it could be a weapon and if
we are looking for an arsena --

FAITH
You're not coming.

ANDREW
If one is looking for an arsenal,
Well, what better place to find a --

FAITH
Weapon. Okay, got it. Good. Good
thinking, Andrew.

ANDREW
It's a pleasure, Faith. Back to you.

FAITH
Enough. Okay, I need you four to
suss out the low-down on B.

She turns to Giles, Willow, Dawn and Xander.

FAITH (cont'd)
I don't want you talking to her,
getting in her way, or, for that
matter, letting her know you're
there. Just do a little recon.

PRINCIPAL WOOD
Where do you want me, Faith?

FAITH
By your phone. I'll call you when I
need you.

He's a bit taken aback, realizing he was a one-night stand.

DAWN
(to Faith)
What are we looking for, I mean, is
there some reason we should... spy on
Buffy?

FAITH
We're just making sure she's okay.

She's lost in thought for a tiny second, then back:

FAITH (cont'd)
Those of you who are coming with me
to the arsenal, you know who you are.

ANGLE on some of the Potentials, including Kennedy, Vi, Caridad and Amanda. Kennedy is holding hands with Willow. She pulls Willow's hand up to her lips and gives it a little kiss.

FAITH (cont'd)
Everybody ready?

Ad-lib affirmatives.

FAITH (cont'd)
Then let's do this thing.

Off Faith's intense expression:

INT. SMALL HOUSE - BEDROOM - DAY

Spike is just waking up. He opens his eyes part way, closes them, smiling softly to himself. Reaches over for Buffy...

She's not there. There's a note on the pillow. Spike reaches for it. Unfolds it and begins to read.

INT. VINEYARD - DAY

Caleb and Buffy/First continue to talk. They walk down an aisle of barrels towards the staircase.

CALEB
It shouldn't be long now. Prophesies
say one thing but brute strength says
another. We'll get it out.

BUFFY/FIRST
I heard you Caleb.

CALEB
We're almost there.

This strikes Buffy/First. She smiles at Caleb.

BUFFY/FIRST
Yes. That's true.
(then)
Now rouse the Bringers, get them back
to work --

Suddenly, something comes, THUMP, THUMP THUMPING down the stairs: A BRINGER.

Dead as a doornail. It stops at Caleb's feet. Ceremonial knife has been stabbed deep in its gut. Before Caleb or The First can react to the dead Bringer:

BUFFY (O.S.)
Hey.

They look up, and there, dramatically silhouetted at the top of the stairwell, is Buffy

BUFFY
I hear you've got something of mine.

END OF ACT THREE
Act Four

INT. VINEYARD CELLAR - DAY

Picking up where we left off. (Except we can't see Buffy/First.)

Buffy charges down the stairs. Light now streams down from above.

Buffy faces off with Caleb. She is tense, taut. He's all casual.

CALEB
Well, if it ain't the prodigal
Slayer...

BUFFY
So where's it at? I'm gonna find it
sooner or later.

Her eyes dart around the room looking for potential hiding places. There are lots. Caleb steps closer to her.

CALEB
No you're not. I lay a hand on you
and you're just a dead little girl.

BUFFY
So lay a hand on me. If you can.

At this he cocks back and

WE GO INTO SLO-MO as

Caleb THROWS ONE HELL OF A PUNCH, right at Buffy's jaw... it's one of his punches that ought to send her clear across the room.

But as his fist approaches, Buffy leans back... bending far, far back, limbo-style... and his fist goes right over her head.

She pivots, turning out of his way as Caleb

staggers forward, his momentum unchecked.

Caleb swings again at Buffy... this time she ducks and dives past him like a ballplayer making a head-first slide.

Caleb turns around, angry. As Buffy gets to her feet. Turns. They face off, then...

Caleb charges at her, crouches low, intending to SOCK HER IN THE GUT... but this time SHE JUMPS up, landing atop a barrel.

OUT OF SLO-MO as

Buffy runs along a row of barrels. She's agile as a cat burglar. She's scanning the room, again looking for the unknown thing she's seeking.

Caleb chases from the ground.

Then LUNGES at her ankles... MISSES... A pyramid of barrels comes crashing down on him. Wine flowing everywhere.

Caleb emerges from the rubble. He looks around, confused: where's Buffy?

Then he spots her: sitting atop a barrel happy as can be.

But then whip-turns around and sees another Buffy behind him.

From atop the barrel.

BUFFY/FIRST
Caleb, this is getting embarrassing.

Caleb lunges and misses Buffy. Hits the ground hard.

CALEB
(to Buffy/First)
Do you have to look like that?

BUFFY/ FIRST
Will you concentrate?

CALEB
It's just a little confusing.

BUFFY/FIRST
Fine. Go. Kill.

And with that, Buffy/First disappears.

Caleb turns on Buffy. Off her determined look:

INT. SEWER - DAY

TEN SMALL CIRCLES OF LIGHT, growing larger, larger... until it is clear that they're flashlight beams.

Faith is at the forefront, a flashlight in one hand and a knife in the other. Behind her are NINE POTENTIALS (Rona, Caridad, Vi, Amanda, Kennedy and four extras). Each carries a flashlight and some kind of weapon.

Water drips from overhead. It's dank and chilly. The girls move quietly, carefully. Amanda looks around, excited but nervous.

AMANDA
(an excited whisper)
Do you think there's rats down here?
This one summer my cousin and I
dissected this dead rat we found in
the basement. It was so creepy, oh
boy --

KENNEDY
(warning)
Amanda.

They keep walking for a little bit. Silent, serious. Then:

FAITH
Everybody stop.

They come to a halt behind Faith.

FAITH (cont'd)
I think we found it.

They point their flashlights, where she's looking.

ANGLE ON a glittering display of swords and axes about 20 feet away. Gleaming like a treasure trove in this murky tunnel. They've found the arsenal.

KENNEDY
Look at all this.

They walk towards the arsenal.

RONA
I don't get it. Why'd they abandon
all this stuff?

And suddenly, EIGHT BRINGERS swing down out of nowhere and attack with their special Bringer knives.

FAITH
Maybe 'cause they didn't.

The Bringers attack and immediately all the girls are engaged in fighting.

INT. VINEYARD - DAY

Caleb and Buffy continue to fight. Or rather, not fight. Caleb hasn't managed to hit Buffy yet. He's angry and starting to sweat.

He swings with his right. She dodges. He jabs with his left. She dodges.

He chases her. She runs backwards, until her back is up against a cement post. His face right in hers.

CLOSE ON BUFFY as she looks back at him.

INT. SEWER - SAME TIME

CLOSE ON FAITH as she faces off with a Bringer.

She POUNDS IT with her bare fists. Off the Bringer.

INT. VINEYARD - SAME TIME

Caleb, enjoying the fact that he's trapped Buffy up against this post.

He takes another huge SWING... and she dodges... his MIGHTY PUNCH connects to the cement. The post starts to crumble. And his fist hurts like hell.

Furious, he turns on her. And tries to grab her. She feigns left and he falls for it. She runs past him and jumps up on a pile of wine barrels.

INT. SEWER - SAME TIME

Faith running. Stabbing another Bringer in the back. She pushes the dead body out of the way revealing Rona, who was about to get it.

ANGLE ON AMANDA shooting an arrow from her cross-bow. She MISSES. It CHARGES towards her. She doesn't have any more arrows. But screw it! She holds up her empty cross-bow and runs kamakazi-style straight at the Bringer, a crazy look on her face.

AMANDA
(battle - cry)
AAAAAAaaaaaaa!

ANGLE ON RONA and KENNEDY tag-teaming against a pair of Bringers.

ANGLE ON FAITH as she spots another Bringer out of the corner of her eye. She turns.

INT. VINEYARD - SAME TIME

Just as Buffy turns. Facing Caleb just in time to see him yank a barrel out. But instead of falling, Buffy reaches up for a ceiling beam and swings herself to safety.

Caleb looks at her from where he stands on the ground. He looks wretched, red-faced, angry.

CALEB
You whore.

BUFFY
Y'know, you should really watch your
language. Someone who didn't know
you might think you were a woman-
hating prick.

Furious, Caleb grabs another barrel.

BUFFY'S POV: As Caleb removes the barrel, he reveals the small copper trap-door.

ON CALEB as he throws the barrel, up towards Buffy. His aim is perfect.

Buffy falls backwards... but her legs hold the beam like a trapeze, she flips herself in the air, landing on the ground.

She's closer to the trap-door than Caleb. She runs towards it, sliding along the wine-drenched cement on her knees... pulling open the door...

Caleb LUNGES at her...

But it's too late, Buffy dives head-first down the trap-door. Caleb knocks over a barrel or two, crushing them and landing on top of the debris, on top of the trap-door.

INT. VINEYARD - SECRET CHAMBER - A SECOND LATER

Buffy tumbles alongside the ladder, landing in a heap on the cement floor. The walls are rough stone.

INT. SEWER - NIGHT

Silence. Everyone gets to their feet as they realize the battle is over. Eight dead Bringers on the ground.

RONA
Is that it? I mean, not that that
wasn't fun but... eight Bringers?

They walk through the weapons, examining them.

RONA (cont'd)
Isn't this supposed to be the Major
Leagues?

VI comes from around a corner.

VI
There's not much here actually. Not
really a full arsenal, more of just
an --

AMANDA
Arse?
(to herself)
Heh, heh. Good one.

ON KENNEDY beyond the weapons, looking at something.

KENNEDY
Yo, Faith. Check this out.

Faith joins her, with the rest close behind. None of them have weapons anymore. Only three still carry flashlights. They walk into a smaller, more enclosed space. Call it the:

INT. SEWER ANNEX - CONTINUING

They continue walking into this strange space. The three beams sweep the space, revealing: They're walking on a metal grate about five feet wide. Below them is dark water.

ON FAITH'S FACE, looking around...

INT. VINEYARD - SECRET CHAMBER - SAME TIME

ON BUFFY'S FACE, as she blinks, looks around....

INT. SEWER ANNEX - SAME TIME

ON FAITH as

Just then one of the flashlights illuminates a heavy metal box (just about the size that would hold the scythe). The beam passes.

The beam goes back. Spotlighting the box.

ANGLE ON FAITH as she steps towards the metal box.

Her expression makes clear: she has found what she's been looking for.

INT. VINEYARD - SECRET CHAMBER - SAME TIME

Buffy is on her feet. Her expression is excited. She is looking at something amazing. The object of her quest.

There, buried up to its hilt in stone... is

ANGLE DOLLY IN on the SCYTHE.

(Note: the stone should be blackened in places and chipped where the Bringers attempted to remove the scythe.)

ANGLE ON BUFFY as her face takes on a look of recognition. And just a faint smile, but the first smile we've seen in a long time.

INT. SEWER ANNEX - SAME TIME

Faith smiling faintly as she races to the metal box. She SMASHES the lock off with her boot and kneels before it.

She opens it... revealing:

A BOMB. In a TIGHT SHOT as the timer counts down: 6, 5...

FAITH (O.S.)
Everybody get down!

And the countdown continues: 4, 3, 2....

BLACK OUT.

END OF SHOW