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RECAP:
GILES (V.O.)
Previously on Buffy the Vampire Slayer:
1 EXT. CEMETARY IN SUNNYDALE - NIGHT
Giles is telling his story to the girls as they patrol. Buffy, Kennedy, Amanda and a new slayer in training are with him. From out of nowhere, someone attacks Giles, knocking him to the ground. It's Spike.
BUFFY
(worried) Spike!
GILES
Why didn't your chip go off?
BUFFY
We were at the Initiative... (looks at Spike)
SPIKE
(looks at Buffy) There was a choice.
BUFFY
(looks at Giles) Right. Either repair the chip, or to remove it.
GILES
You removed the chip?
BUFFY
(smiling, trying to look innocent) Yeah.
Cut to:
2 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY
Buffy's sitting at her vanity, putting on large gold hoop earrings. She's wearing a thin v-necked red sweater. Giles walks down the hall toward her room and stops at the doorway.
BUFFY
(turns to face Giles) Spike has a soul now. That's what's gonna stop him from hurting people.
GILES
Buffy...
BUFFY
He can be a good man, Giles. I feel it.
Cut to:
3 EXT. ALLEY IN SUNNYDALE - NIGHT
Buffy realizes that Principal Wood is also fighting off vampires. Without her help. Principal Wood overpowers one of the vampires and stakes him. Then knocks the last one to the ground, staking him too. He flips the stake in his hand, then returns it to his belt holster as he walks back to Buffy.
Cut to:
4 INT. ROMANTIC FRENCH RESTAURANT - NIGHT
Buffy and Principal Wood are sitting across from each other at a small table in a very elegant, romantic restaurant. Principal Wood is talking to the waitress, ordering from the menu.
BUFFY
How do you know about slayers?
ROBIN
My mother was one. She was killed when I was four.
FLASHBACK: A very punk Spike is fighting with a young black woman in a New York subway car. He overpowers her, and, straddling her on the floor, he breaks her neck. (from episode 5x07 "Fool For Love")
BUFFY
(nervously) Um, something got her... a demon—?
ROBIN
A vampire.
Cut to:
5 INT. PRINCIPAL WOOD'S CAR - NIGHT
Principal Wood is driving the car, with Buffy as passenger and Spike in the back seat. Buffy's very tense and uncomfortable looking, and Spike's crouched down in the corner of the back seat.
ROBIN
(Principal Wood watches the rear view mirror suspiciously) So, how do you two know each other?
BUFFY
(answering too fast) He works with me. Uh, you know, in the struggle against evil.
Cut to:
6 INT. BASEMENT AT SUNNYDALE HIGH - NIGHT
Buffy and Lissa are fighting when Spike enters the room. Lissa starts whaling on Spike. She kicks Buffy away, knocking her to the ground. She pushes Spike down and starts strangling him, bringing forth Spike's vampire facade. Principal Wood sees Spike's face change.
ROBIN
He's a vampire.
Cut to:
7 INT. HALLWAY AT SUNNYDALE HIGH - NIGHT
Wearing the duster, Spike walks down the hallway toward the exit. He passes Principal Wood, who's standing in a doorway.
ROBIN
Nice coat. Where'd you get it?
FLASHBACK: A very punk Spike takes a leather duster from the woman he just killed, and puts on the coat. (from episode 5x07 "Fool For Love")
SPIKE
(walks by Wood without looking at him or stopping) New York.
Wood watches Spike walk away.
Fade to black.
End Recap.
The Start Of Episode
PROLOGUE:
8 EXT. PARK IN NEW YORK CITY - NIGHT
TITLE: New York City, 1977
It's pouring down rain in the middle of the night somewhere in the city. Two people are fighting in the paved walkway in a park. It's a pretty rough fight. Zoom in on them to show vamped Spike fighting Nikki. Nikki kicks Spike, sending him tumbling. He stands and speaks to her.
SPIKE
(exhilarated) Well, all right. Got the moves, don't you? I'm gonna ride you hard before I put you away, luv.
NIKKI
You sure about that? You actually look a little wet and limp to me. And I ain't your "luv."
Nikki kicks Spike and they begin fighting again. Zoom in on a nearby park bench. A little boy watches them from behind the bench, peeking through the slats. Spike and Nikki continue to fight. Spike overpowers Nikki, pushing her to the ground and straddling her, punching her repeatedly in the face. Nikki grabs Spike's arm and kicks him off of her. The little boy is still watching them fight. Nikki punches Spike, but this time, he grabs her arm and twists it around so that he can almost bite her neck. Alarmed, the boy stands, knocking over the trash can beside him. This startles Spike, who turns to see what happened. Nikki seizes the moment, and head-butts Spike, freeing herself from his grip. She then elbows him, punches him, and knocks him down. When he stands, she has a stake ready and throws it at his heart. Spike catches it between his palms only inches in front of his chest.
SPIKE
(grinning) I spent a long time trying to track you down. Don't want the dance to end so soon, do you, Nikki? The music's just starting, isn't it? (tosses the stake back toward her; it lands on the pavement; Spike starts to walk away, but swings around on a lamp post, staring at her) By the way...love the coat. (walks away)
YOUNG ROBIN
(from behind the bench) Mamma!
NIKKI
(goes up to Robin, squats down to be on eye-level with him) You did a good job, baby boy. You stayed down just like mamma told you.
YOUNG ROBIN
Can we go home now?
NIKKI
Uh-uh. It's not safe there anymore. How 'bout I leave you over at Crowley's house, and you can play with those spooky doodads that you like.
YOUNG ROBIN
No, I wanna stay with you.
NIKKI
(looks back over her shoulder, then back at Robin) Yeah, I know you do, baby. But remember, Robin, honey what we talked about. Always got to work the mission. (Robin looks down) Look at me. (Robin looks at Nikki) You know I love you, but I got a job to do. The mission is what matters...right? (Robin nods) That's my boy. Come on.
Nikki stands and takes Robin's hand. They walk away, but Robin turns around and runs back to the scene of the fight to pick up the stake that Spike dropped.
NIKKI
Robin? (turns to look)
Cut to:
9 EXT. ALLEY IN SUNNYDALE - NIGHT
Adult Robin Wood turns to look over his shoulder, stake in hand. He's fighting vampires, as are Buffy and Spike, who are there with him. Spike twirls a pole and stakes his opponent through the heart. Buffy's fighting a vampire, but calls out to Spike.
BUFFY
Spike! (nods her head toward Robin)
Spike looks over at Robin, who's fighting a vampire. The vampire is beating up on Robin, but just as the vampire throws Robin to the ground and stands over him growling, he turns to dust. As the dust settles, Spike can be seen standing behind the vampire with a shovel in his hand.
SPIKE
Little tip, mate. (offers Robin a hand to help him stand) Stake's your friend. Don't be afraid to use it. (starts to walk away, but notices Robin staring at him) What?
Robin just shakes his head. Zoom in on a stake in Robin's closed fist—he's squeezing it so tight that blood is oozing out between his fingers.
ROBIN
(glaring at Spike, mumbling under his breath) Just waiting for my moment.
Cut to:
Opening Credits.
ACT I:
10 INT. PRINCIPAL'S OFFICE AT SUNNYDALE HIGH - DAY
Robin is peeking out of his window through the Levelor blinds, watching the students in the hallway. His hand is bandaged. Buffy walks up to his door.
BUFFY
Situation still normal. (shrugs) Well, or as normal as this school ever sees.
ROBIN
(lets go of the blinds) So it appears. (turns)
BUFFY
(puts her purse down) Well, no fires, no one's head's going kablooey. And the swing choir and the marching band have gone back to their normal, healthy seething resentment.
ROBIN
(smiles) Yeah, it's been pretty quiet around here since you shut down that seal. (walks up to Buffy) You just may have stopped this thing, Buffy.
BUFFY
No, it can't be that easy.
ROBIN
You call that easy?
BUFFY
Hey, any apocalypse I avert without dying? Yeah, those are the easy ones.
ROBIN
(looks down) You know, you're, uh...You're something else, Miss Summers. (looks at Buffy) You know, I've been watching you when you're out patrolling, and you, um— You remind me of my, um...
BUFFY
Your mother?
ROBIN
Yeah. Yeah, what I remember of her, anyway.
BUFFY
Got to tell you, not a line every girl likes to hear, but—in this case— (smiles) compliment taken. Maybe you're right. Maybe everything is fine.
GILES
(walks up to Buffy) Everything's terrible. Total catastrophe.
BUFFY
Giles, what's wrong?
GILES
Have you seen the new library? There's nothing but computers. There's not a book to be seen. I—I don't know where to begin, Buffy. I mean, who do we speak to?
ROBIN
Uh, that would—that would be me. (offers his hand to Giles) Hi. I'm Robin Wood.
GILES
Oh, sorry. (shakes Robin's hand) Rupert Giles. Sorry. Buffy tells me you're something of a freelance demon fighter. (Robin points to his office door, then closes it) Oh, yes, yes. I, um, I'm relieved. We're running dangerously low on allies.
BUFFY
So, we didn't stop it, then?
Robin sits behind his desk, Buffy sits on it.
GILES
(leans forward on Robin's desk) Uh, no, the seers at the coven are certain the First is continuing to gather its forces. I'm afraid war is inevitable. (stands) So, we should go before the school board.
ROBIN
(confused) What?
GILES
Well, I can have my backup library (Buffy rolls her eyes) sent from home in the mean time. It's not much, but—
BUFFY
Giles.
GILES
Knowledge comes from crafted bindings and pages, Buffy, not ones and zeros.
BUFFY
So, did you bring back any potentials?
GILES
Um, no. Actually, m-my, uh, (takes off glasses to clean them) my trip is about something else...regarding Spike.
BUFFY
Spike? What about him?
GILES
I told you my concerns when you recklessly chose (puts glasses on) to remove the chip from his head.
ROBIN
Wait, sorry, chip?
GILES
Uh, it's a long story.
BUFFY
The military put a chip in Spike's head so he couldn't hurt anyone.
GILES
And that would be the abridged version.
BUFFY
But he wouldn't hurt anyone anymore because he has a soul now.
GILES
Unless the First triggers him again.
ROBIN
Triggers the chip?
BUFFY
No, the trigger's a post-hypnotic thing. The First put it in his head. It was—made him— He was killing again.
ROBIN
So, he has a trigger, a soul, and a chip?
GILES
Not anymore.
BUFFY
(angrily) It was killing him, Giles.
ROBIN
The trigger?
BUFFY
No, the chip. The trigger's not active anymore.
ROBIN
Because the military gave him a soul? (Buffy and Giles glare at Robin, who throws up his hands) Sorry.
GILES
We don't know that the trigger is inactive. (walks over to the window) What I brought back may help us to disarm it, to ascertain exactly what it is that causes Spike's behavior.
BUFFY
It was that song, Giles. I'm telling you, it was that song that Spike was singing.
GILES
He has no memory of it. Is there any part of it that you can remember?
BUFFY
It wasn't like it had a catchy hook or anything like "I'm coming up, so you better get this party started." It was boring, old, and English. Just like you—ull. Yule Brenner. (Giles crosses his arms and glares at Buffy) A British Yule Brenner.
ROBIN
(to Giles) This thing you brought to keep Spike from killing again... How's it work?
GILES
Well, it will require a bit of magic.
Cut to:
11 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Xander is fastening shackles around Spike's wrists.
XANDER
(mumbling) No, we couldn't have put these chains back up a week ago. Nah, we gotta work on Spike now, of all times.
SPIKE
What?
XANDER
(sighs, stands, looks around) Nothing. (walks away)
Pan around the room to show everyone's there: Dawn, Buffy, Giles, Robin, Xander. They're all staring at Spike, who's chained to the wall, sitting on his cot.
SPIKE
(to Robin) What are you doing here? You came to see the show?
ROBIN
I thought you might need support.
SPIKE
Uh-huh. Right, let's get this over with. (to Giles) What're you gonna do? Some hypno-beam? A disarming spell?
GILES
(walks up to Spike, but keeps his distance) Not exactly. The First has brainwashed you. There's something in your subconscious that it's using to provoke a violent reaction. So... (takes a small box out of his pocket, and takes a small rock out of the box) we have to put this in your brain.
SPIKE
Bugger that!
Buffy's eyes grow wide with concern when she sees the stone, but she remains quiet, standing there with her arms crossed.
GILES
The Prokaryote stone will move within your mind to reveal the root of the trigger's power. Can unleash ideas, images, memories... Hopefully, once you understand what it is that's...(rolls his eyes) setting you off, you can break its hold on you.
DAWN
Hopefully? So, it might not work?
GILES
The stone's just a catalyst for the process. The rest is up to Spike.
SPIKE
And how do expect to get that hunk of rubble into my cranium?
GILES
Willow? (puts the stone in the box and holds it out toward Willow)
WILLOW
(walks in carrying a large book) OK. I just hope my pronunciation is in the ballpark. (reading) "Kun'ati belek sup'sion. Bok'vata im kele'beshus. Ek'vota mor'osh boota'ke."
The stone starts to move like it's alive, no longer solid, but liquid. Giles leans back away from the stone and holds the box up to Spike.
SPIKE
(recoiling) Oh, you have got to be joking? What now?
GILES
It has to access the cerebral cortex via the optic nerve.
SPIKE
Oh, bollocks. With all the rubbish people keep sticking in my head, it's a wonder that there's room for my brain.
GILES
(rolls his eyes) I don't think it takes up that much space, do you?
Giles holds the box up to Spike's face. The liquid stone crawls out of the box onto Spike's cheek, then shimmies up into his eye, sliding under his eyelid. Spike starts to squirm.
SPIKE
Ow. Oh, ow!
BUFFY
(runs to his side) Spike! Spike, listen to me.
SPIKE
Yeah.
BUFFY
Are you all right?
SPIKE
How am I supposed to know if this bug-ugly's doing its job—
An orange light distracts Spike and he looks into a far off place.
Cut to:
12 INT. VICTORIAN PARLOR - DAY
Spike's looking off into another world. A man is standing, reading to an old woman who sits on a chair in front of him needle pointing. The room's decorated with lots of knick-knacks around, the walls are covered with paintings, and there's a cozy fire in the fireplace. Zoom in on the man to show it's Spike when he was alive, when he was William. He's reading from hand-written pages, presenting his poetry.
WILLIAM
Yet her smell, it doth linger, painting pictures in my mind.
Her eyes, balls of honey. Angel's harps her laugh.
Oh, lark. Grant a sign if crook'd be Cupid's shaft.
Hark, the lark, her name it hath spake.
"Cecily" it discharges from twixt its wee beak.
WOMAN
(proud) Oh, William...
WILLIAM
It's just...scribbling.
WOMAN
Nonsense. It's magnificent. I wonder, though. This Cecily of whom you write so often...
WILLIAM
(turns) Oh.
WOMAN
Would that be the Underwood's eldest girl?
WILLIAM
(shrugs, looks down) Uh, no, uh, no. I do not presume.
WOMAN
She's lovely. You shouldn't be alone. You need a woman in your life.
WILLIAM
(looks at the woman) I have a woman in my life.
WOMAN
But you ne— (giggles) Oh... (giggles)
WILLIAM
Well, do not mistake me. (takes off his reading glasses) I still have hopes that one day there will be an addition to this household, but I will always look after you, mother. This, I promise.
The woman has a coughing fit, and covers her mouth with a handkerchief. William hands her a glass of water. She puts down the hand holding her handkerchief when she drinks the water held with her other hand, but William can see there's blood on the handkerchief.
WILLIAM
Should I send the coach for Doctor Gull?
WOMAN/MOTHER
(shakes her head) I'll be all right. It's passed. Just sit with me a while, will you?
WILLIAM
Of course.
William sits on the floor, leaning on her knee as she goes back to her needle pointing and sings to him.
MOTHER
(singing) Early one morning, just as the sun was shining, I heard a maid sing in the valley below.
"Oh, don't deceive me. Oh, never leave me. How could you use a poor maiden so?"
William closes his eyes and listens to his mother sing.
Cut to:
13 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Spike opens his eyes again, and they turn yellow as he vamps out in a rage. He grabs Buffy's neck as she sits beside him and throws her across the room into the washer and dryer. He stands, growling, and lunges out toward the others standing there, but he's restrained by the chains. Then he turns to the cot, picks it up, and throws it across the room. It knocks Dawn down, and Willow runs to her side.
WILLOW
Dawn!
Xander, Giles, and Robin step back as Spike rages in their direction. Buffy steps forward, but Spike throws his head back and looks like he's having a mild seizure. The stone is coming out of his eye, slithers down his cheek, and falls to the floor, solid again. Spike's back to human face, looking around as Buffy and Giles stare at him, trying to determine if he's still dangerous. Spike pants as he recovers from the event. Robin glares at Spike.
Fade to black.
ACT II:
14 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Spike's squatting down on the floor, still chained to the wall. Buffy, Giles, and Robin are the only ones still down there with him, and they're keeping their distance.
SPIKE
Get these sodding things off me. I'm fine.
BUFFY
(arms crossed) Don't you think you should take a little time, calm down?
SPIKE
I am calm. (to Giles) This stone of yours is—is out, right? Did its job, so I'm de-triggered, right?
GILES
Spike, what do you remember about the song?
SPIKE
(nods, looks away) Oh, yeah, the song. It's called, uh, "Early One Morning." Old folk ditty.
ROBIN
What's it mean to you?
SPIKE
Mean? Nothing. It's just, uh, my mum. It was her favorite. She used to sing it to me... (smirks) when I was a baby.
GILES
And...?
SPIKE
No "and." That's it. Look, shouldn't you check on Dawnie? I clocked the niblet pretty fierce.
BUFFY
She'll be OK. She's tough.
Cut to:
15 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY
Willow's cleaning Dawn's bruised forehead. Willow and Dawn are sitting on the couch, Kennedy's sitting on the arm on the couch, just behind Willow, and Rona's standing beside Kennedy. Andrew, Anya and Xander are also in the room.
DAWN
Ow!
WILLOW
I'm sorry. (the phone rings, Andrew goes to answer it) Doesn't look like anything's broken?
DAWN
Did you use some sort of a magic x-ray?
WILLOW
No, that's just what people usually say. (Dawn pouts)
KENNEDY
So, Spike's trigger's been active this entire time?
RONA
How can Buffy take this for granted? I mean, he lives in our house, we train with him.
ANYA
Don't waste your time down that road. Spike's got some sort of "Get Out of Jail Free" card that doesn't apply to the rest of us. I mean, he could slaughter a hundred frat boys, and— (everyone looks at Anya disapprovingly; Anya laughs it off) Forgiveness makes us human. blah-dee-blah-blah-blah.
ANDREW
(holding the phone) Uh, Willow...call for you from L.A. Somebody named Fred. The guy sounds kind of effeminate.
Cut to:
16 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Giles is still interrogating Spike as Buffy and Robin look on.
GILES
Spike, listen to me. What is it about your mother?
SPIKE
I don't know. I got along fine with her. She was a nice lady.
GILES
Well there has to be more than that.
SPIKE
(screaming) Well, there bloody well isn't!
Buffy walks toward Spike, but Giles stops her.
GILES
What are you doing?
BUFFY
I'm going to unchain him.
GILES
Buffy, just—
BUFFY
(whispering) This is pointless, Giles. He doesn't know anything. Your prophylactic stone didn't work.
GILES
(whispering) Because he's not cooperating. This process takes time. He's blocking whatever's flooding his consciousness. And what he does—he's endangering us all.
ROBIN
So, the trigger's still working?
GILES
Much as ever. (turns away in disgust)
Spike fights against his chains. He looks at his hands, and a feminine hand clad in black lace slips into it.
Cut to:
17 INT. VICTORIAN PARLOR - NIGHT
Spike looks up into Drusilla's eyes. He's back in the house where he was with his mother, but this time, William is dancing with Drusilla.
DRUSILLA
Ooh, such a pretty house you have, sweet William. It smells of daffodils...and viscera.
WILLIAM
Don't get too attached, now. (twirls her) Won't be here for long, luv.
DRUSILLA
(sits on the couch) Well then... (pats the seat beside her) should we give it a proper goodbye? (growls seductively)
WILLIAM
(walks toward her) You're a saucy one, aren't you? (sits beside her, kissing her passionately, grabs her up in his arms, and flings her across his lap, leaning in to kiss her again) Dru...we'll bring this world to its knees.
DRUSILLA
It's ripe and ready, my darling, waiting for us to devour its fruit.
WILLIAM
We'll ravage this city together, my pet. Lay waste to all of Europe. The three of us will teach those snobs and elitists with their falderal just what—
DRUSILLA
Three?
WILLIAM
You, me, and mother. (Drusilla looks away, disappointed) We'll open up their veins and bathe in their blood as they scream our names across— (he notices Dru's expression) What?
DRUSILLA
You...you want to bring your mum wif us?
WILLIAM
Well, yeah. You'll like her.
DRUSILLA
(scoffs) To eat, you mean?
William's mother comes into the parlor wearing her nightclothes.
MOTHER
William?
WILLIAM
(grabs Drusilla's hand, they stand) Uh, mother.
MOTHER
Where have you been? I've been beside myself for days.
WILLIAM
You needn't have worried, mother. You'll never have to worry about anything again. Something has happened. I've changed.
MOTHER
I—I don't— Who's this woman?
DRUSILLA
I'm the other that gave birth to your son.
MOTHER
I beg your pardon?
WILLIAM
It's true, mother. (holds out his hand to Drusilla, she takes his hand and walks forward) Drusilla—she...she has made me what I am. I am no longer bound to this mortal coil. I have become a creature of the night. A vampire.
MOTHER
Are you drunk?
WILLIAM
(looks down) A little bit. (Mother coughs, he walks forward) Think of it. No more sickness. No more dying. You'll never age another day. Let me do this for you.
MOTHER
What are you talking about, a-and why are you acting so strangely?
WILLIAM
It's all right, mother. It's only me. (hugs his mother) We'll be together forever.
MOTHER
William...
WILLIAM
(vamps out) It only hurts for a moment. (bites his mother's neck)
Cut to:
18 INT. BASEMENT AT BUFFY'S HOUSE - DAY
Willow walks down the stairs to the basement to talk to Buffy.
WILLOW
Buffy? Hey, I, uh, just got a phone call. I'm gonna have to take off for a while. Maybe a day or two?
BUFFY
What's wrong?
WILLOW
Nothing you need to worry about. I'll give you the full scoop later. Maybe I'll even bring back some good news?
BUFFY
Could use a little of that. OK. I guess now is as good a time as we're likely to see for a while. Just hurry back.
WILLOW
Will do. (walks upstairs)
Buffy walks toward Spike.
GILES
Think about what you're doing.
BUFFY
I have. (unchains Spike, then walks toward the stairs, with Spike following her)
GILES
Buffy...
BUFFY
(continues walking without stopping) Don't.
Buffy and Spike walk upstairs, Giles goes to follow, but Robin stops him.
ROBIN
Mr. Giles... You got a moment?
GILES
What's on your mind?
ROBIN
The same thing that's on yours. (looks up the stairs) We got ourselves a problem.
GILES
Spike. (sighs)
ROBIN
Yeah, if that trigger's still working, then the First must be waiting for just the right time to use it against us.
GILES
It does seem doubtful the First simply forgot it had such a powerful weapon.
ROBIN
Yeah, a while back, it slipped up. It told Andrew it wasn't time yet for Spike. So, whatever the First's ultimate plan is, it's obvious that Spike must play an integral part in that. Something needs to be done.
GILES
(shakes his head) Buffy would never allow it. (walks back downstairs to talk with Robin)
ROBIN
Buffy would listen to her Watcher, wouldn't she?
GILES
I don't think you have much of an idea of the Watcher-Slayer dynamic.
ROBIN
As a matter of fact, I was raised by a Watcher.
GILES
You were?
ROBIN
Bernard Crowley. Took me in when I was a young kid, trained me.
GILES
Crowley. I remember the name. New York based watcher. Resigned shortly after his slayer was— (looks at Robin carefully) You're Nikki Wood's son.
ROBIN
(nods) Yes.
GILES
Spike killed your mother.
ROBIN
(looks away) Yes.
GILES
(looks down) Does Buffy know this?
ROBIN
She knows my mother was a slayer. She...doesn't know about Spike.
GILES
(shrugs) And this has nothing to do with personal vengeance?
ROBIN
Does it matter? He's an instrument of evil. Now he's gonna prove to be our undoing in this fight, Buffy's undoing, and she will never—never see it coming. Now, I'm talking about what needs to be done... for the greater good, Giles. And you know I'm right.
GILES
(sighs) What exactly do you propose?
ROBIN
I just need you to keep Buffy away for a few hours.
Cut to:
19 EXT. CEMETERY - NIGHT
Giles and Buffy are walking through the cemetery, talking.
BUFFY
I don't know, Giles. Is this really a primo time for a training session?
GILES
I'm still your teacher, Buffy. As adept as you are as a slayer, there are always new things to learn. Now, more than ever, it's crucial to maintain focus on your calling.
BUFFY
In case you haven't noticed, our plates are kinda full right now. Plus, I'm not really sure how I feel about leaving Spike at Robin's house to watch over him.
GILES
For what its worth everyone at your house seemed...quite relieved at the arrangement. Um, Buffy, uh...while I'm not technically your Watcher anymore, the fact that your life is such chaos only underscores the importance of the lessons I can impart to you.
BUFFY
Fine. Impart away.
GILES
We're on the verge of war. It's time you looked at the big picture.
BUFFY
Hello! All I do is look at the big picture. The other day, I gave an inspirational speech to the telephone repair man.
GILES
It takes more than rousing speeches to lead, Buffy. If you're going to be a general, you need to be able to make difficult decisions regardless of cost.
BUFFY
Have you seen me with those girls? (paces) I mean, the way I've treated my friends and my family and... Andrew. Believe me, I know how to make hard decisions.
GILES
Well, that's what we're here to find out. (a vampire reaches out of his grave) While we work on the basics.
Cut to:
20 EXT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin's unlocking the door to a shed.
SPIKE
You live in the garage?
ROBIN
This is just a work room. Kind of my, uh, sanctuary. (walks in, Spike follows)
SPIKE
A little place to unwind, eh?
Cut to:
21 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin and Spike are inside the shed now, but it's completely dark.
SPIKE
A hard day's prinipaling got you down, you need a place to cut loose, let your hair down—so to speak.
Robin flips on the lights in the shed to reveal that every square inch of the walls inside are covered with wooden crosses.
SPIKE
(looks around) What the bloody hell is this?
ROBIN
Well, I told you. It's my, um, sanctuary. It's the hell mouth, Spike. You can never be too careful. Just, um, stay away from the walls, and you'll be all right. (goes to his computer)
SPIKE
It's a bit much, isn't it? (beat) What's your story, Wood?
ROBIN
No story, really. Just trying to do what's right. Make a difference. How 'bout you? What kind of man are you, Spike?
SPIKE
Sorry. Not much for self reflection.
ROBIN
Yeah, makes sense. (types on the computer, unbuttons his shirt) See, you strike me as the kind of guy who just careens through life, (takes off his shirt, reaches into a drawer near the computer to strap on fighting paraphernalia to his arms) completely oblivious to the damage he's doing to everyone around him.
SPIKE
That right?
ROBIN
Oh, I know more about you than you think, Spike. See, I've been searching for you for a very, very long time. (looks at Spike) Ever since you killed my mother.
SPIKE
I've killed a lot of people's mothers.
ROBIN
(turns back toward the desk to continue putting on his gear) Yeah. You'd remember mine. She was a slayer.
SPIKE
So, that's it, innit? Brought me here to kill me?
ROBIN
(turns to face Spike) No, I don't wanna kill you, Spike. I wanna kill the monster who took my mother away from me. (clicks the mouse on the computer; a song starts playing; the screen reads "Early One Morning.")
RECORDED SONG
Early one morning, just as the sun was rising, I hear a young maid sing in the valley below. "Oh, don't deceive me. Oh, never leave me. How could you use a poor maiden so?"
Spike tries to stifle his reaction, but the monster overtakes him. He goes into vampire facade and growls menacingly at Robin.
ROBIN
There he is.
Fade to black.
ACT III:
22 INT. VICTORIAN PARLOR - NIGHT
William walks into the house and puts down his coat. He sees the cane his mother used to use when walking.
WILLIAM
(looks around) Mother?
William hears "Early One Morning" playing from a music box somewhere. He turns to see his mother standing there, holding the box. She looks different than before. Now, her hair is down, and she looks healthier.
MOTHER
(smiling) Hello, William.
WILLIAM
Look at you.
MOTHER
Mm, yes. All better.
WILLIAM
You're glowing. (smiles)
MOTHER
Am I? Well, I suppose I have you to thank for that, don't I? (shuts the music box) How ever will I repay you?
WILLIAM
Seeing you like this is payment enough.
MOTHER
Oh, William, you're so... (touches his face) tender.
WILLIAM
Well, this is as it should be, mother. You and I together. All of London laid out before us.
MOTHER
(smiles) Ah, yes. Us.
WILLIAM
First, we'll feast. Then the night is yours. Theater, perhaps. Dancing? Tell me, (touches her back) what's your pleasure?
MOTHER
(turns to him) Pleasure? To take my leave of you, of course. "The lark hath spake from twixt its wee beak?" You honestly thought I could bear an eternity listening to that twaddle?
Cut to:
23 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin punches vamped Spike in the face. Spike growls back at him.
ROBIN
That's right, dog. Fight back.
Cut to:
24 INT. VICTORIAN PARLOR - NIGHT
Resume. William's Mother is talking to William.
MOTHER
I feel extraordinary. It's as though I've been given new eyes. I see everything. Understand... (looks at William, frowns) everything.
WILLIAM
(disturbed) Mother...
MOTHER
I hate to be cruel— No, I don't. I used to hate to be cruel in life. Now, I find it rather freeing. Nothing less will pry your greedy little fingers off my apron strings, will it?
WILLIAM
(looks away) Stop. Please.
MOTHER
(walks closer to William) Ever since the day you first slithered from me like a parasite...
Cut to:
25 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin is whaling on Spike, who isn't fighting back.
Cut to:
26 INT. VICTORIAN PARLOR - NIGHT
Resume. William's Mother is talking to William.
WILLIAM
What're you s—
MOTHER
Had I known better, I could have spared myself a lifetime of tedium and just—
Cut to:
27 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin backs Spike into the cross-covered walls.
Cut to:
28 INT. VICTORIAN PARLOR - NIGHT
Resume. William's Mother is talking to William. He's backing away from her.
MOTHER
Dashed your brains out when I first saw you.
Cut to:
29 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin presses growling Spike's face toward the cross-covered walls.
Cut to:
30 INT. VICTORIAN PARLOR - NIGHT
Resume. William's Mother is talking to William, who looks disgusted and turns away from her.
MOTHER
(turns away) God, I prayed you'd find a woman to release me, (looks at him) but you scarcely showed an interest. Who could compare to your doddering housebound mum? A captive audience for your witless prattle.
Cut to:
31 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Spike's face is burning as Robin presses it into the cross-covered walls.
Cut to:
32 INT. VICTORIAN PARLOR - NIGHT
Resume. William recovers from his disgust and walks up to his mother.
WILLIAM
Whatever I was, that's not who I am anymore.
MOTHER
(snickers, walks up to him) Darling, it's who you'll always be. A limp... sentimental fool.
Cut to:
33 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Robin throws Spike into shelving that collapses around Spike, who lands on the floor. Robin walks up to him.
ROBIN
It hurts, don't it? (straddles Spike, grabs him by the collar) Is this what it felt like (punches Spike) when you beat the life out of her, (punches Spike) toyed with her, (punches Spike, then screams) when you snapped her neck!
Cut to:
34 EXT. CEMETERY - NIGHT
Buffy's fighting the fledgling vampire as Giles watches patiently. Just as Buffy's about to stake the vamp, Giles interrupts.
GILES
Don't kill him yet.
BUFFY
What? Why not?
GILES
Because I'm asking you not to. (Buffy rolls her eyes, then rolls off the vampire; they begin fighting again) Would you let this vampire live if he began saving the world?
BUFFY
Sure. (punches the vampire in the face) Seems like a nice enough guy.
VAMPIRE
Thanks.
BUFFY
No problem.
VAMPIRE
My name's Richard.
BUFFY
Hi, Rich. (punches the vampire again, knocking him down) Giles, we had this conversation when I told you that I wouldn't sacrifice Dawn to stop Glory from destroying the world.
GILES
Ah, yes, but things are different, aren't they? After what you've been through, faced with the same choice now, (paces) you'd let her die.
BUFFY
If I had to...to save the world. Yes.
The vampire gets up and attacks Buffy from behind. They continue to fight.
BUFFY
(the vampire tries to strangle her; to Giles) Can I kill this guy yet?
GILES
No. (Buffy and the vampire continue to fight) So, you really do understand the difficult decisions you'll have to make? That anyone of us is expendable in this war?
BUFFY
Have you heard my speeches?
GILES
That we cannot allow any threat that would jeopardize our chances at winning?
BUFFY
Yes, I get it.
GILES
And yet there is Spike.
Buffy and the vampire continue to fight.
Cut to:
35 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Spike's lying on the floor, beaten, and barely moving. Robin stands over him, removing his fighting gear.
ROBIN
Animal like you. Never cared for anyone but yourself. No one else mattered. (puts on his shirt) Just all about the hunt. (removes Spike's leather jacket, folds it) Yeah. (puts the jacket down)
Robin breaks off a piece of a wooden cross from the wall and stand over Spike.
Cut to:
36 INT. VICTORIAN PARLOR - NIGHT
William's mother is talking nastily to William as she backs him up to the fireplace.
MOTHER
You want to run, don't you? Scamper off and cry to your new little trollop. Do you think you'll be able to love her? (leans too close to William) Think you'll be able to touch her without feeling me? (William looks around, panicked and disgusted, for a way to escape this disturbing situation) All you ever wanted was to be back inside. (touches his face, his body) You finally got your wish, didn't you? Sank your teeth into me. An eternal kiss.
WILLIAM
(shakes his head) No. I only wanted to make you well.
MOTHER
You wanted your hands on me. Perhaps you'd like a chance to finish off what you started.
WILLIAM
(pushes her away, looks away from her) I love you. I did. Not like this.
MOTHER
Just like this. This is what you always wanted. Who's my dark little prince? (tries to kiss him)
WILLIAM
(pushes her away, knocking her down) No!
MOTHER
Get out. Get out! (stands, swinging her cane at William; they struggle and he breaks the wooden cane; Mother transforms into vampire facade) There, there, precious. It will only hurt for a moment.
WILLIAM
I'm sorry.
Cut to:
37 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Standing over Spike with a stake, Robin stops when he hears Spike's words.
ROBIN
What?
SPIKE
I'm sorry.
Cut to:
38 INT. VICTORIAN PARLOR - NIGHT
William drives the wooden cane shaft into his mother's heart. Her vampire face melts away, leaving the sympathetic face of his mother to stare at him in shock for an instant before she turns to dust in front of his eyes.
Cut to:
39 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Spike reaches up to grab Robin's wrist just in time to prevent him from staking him. He kicks Robin away.
ROBIN
(turns to Spike) Sorry? You think sorry's gonna make everything right?
SPIKE
I wasn't talking to you. (Robin kicks at Spike and misses; Spike punches Robin, knocking him down) I don't give a piss about your mum. She was a slayer. I was a vampire. (Spike kicks Robin) That's the way the game is played.
ROBIN
Game?
Robin lunges at Spike, but Spike punches him again and again before jumping up to hold onto the ceiling rafter and kicking Robin across the room.
SPIKE
She knew what she was signing up for.
ROBIN
(from the floor) Well, I didn't sign up for it. (stands)
SPIKE
Well, that's the rub, innit? You didn't sign up for it
ROBIN
You took my childhood. (punches at Spike) You took her away. (punches Spike again, but Spike pushes him off) She was all I had. She was my world.
SPIKE
And you weren't hers. Doesn't that piss you off?
ROBIN
Shut up. You didn't know her.
Robin spins and kicks Spike. Spike knocks Robin down. Robin tries to kick Spike from the floor, but Spike grabs his leg.
SPIKE
I know slayers. (throws Robin against the wall) No matter how many people they've got around them, they fight alone. Life of the chosen one. (Robin appears injured) The rest of us be damned. Your mother was no different.
ROBIN
(not moving, choking a bit) No, she loved me.
SPIKE
But not enough to quit, though, was it? Not enough to walk away... for you. (kneels beside Robin) I'll tell you a story about a mother and son. See, like you, I loved my mother. So much so I turned her into a vampire... (nods) so we could be together forever. She said some nasty bits to me after I did that. Been weighing on me for quite some time. (points at Robin) But you helped me figure something out. You see, unlike you, I had a mother who loved me back. When I sired her, I set loose a demon, and it tore into me, but it was the demon talking, not her. (stands) I realize that now. (walks toward the computer) My mother loved me with all her heart. I was her world. (clicks the mouse, playing the recording again)
RECORDED SONG
Early one morning, just as the sun was rising, I heard a young maid sing in the valley below. "Oh—
SPIKE
(unfazed by the song) That's a nice little song you got there. (clicks, stopping the song, turns to face Robin) Thanks, doc. You cured me after all. I got my own free will, now. I'm not under the First's or anyone else's influences now. I just wanted you to know that... (vamps out) before I kill you.
Spike grabs Robin, standing him up so Spike can bite his neck. Robin winces.
Fade to black.
ACT IV:
40 EXT. CEMETERY - NIGHT
Buffy is still fighting the vampire as Giles watches.
GILES
(pacing) Spike's a liability, Buffy. He refuses to see it, and so do you. Angel left here because he realized how harmful your relationship with him was. Spike, on the other hand, lacks such self-awareness.
BUFFY
(stops fighting, turns to Giles) Spike is here because I want him here. We need him. I'm in the fight of my life.
VAMPIRE
Really?
BUFFY
Not you, Richard. (punches him)
GILES
You want Spike here even after what he's done to you in the past?
BUFFY
It's different now. He has a soul.
GILES
And the First is exploiting that to his advantage.
BUFFY
Oh, my God. (stakes the vampire) You're stalling me. You're keeping me away—
GILES
It's time to stop playing the role of general, and start being one. (Buffy runs off; Giles calls after her) This is the way wars are won.
Cut to:
41 EXT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Spike walks out of the shed, putting on his leather jacket. Buffy runs up to the shed just as he's walking away. Her face appears tear-streaked, but she's not crying now.
BUFFY
Spike? What happened? (Spike opens the door; Buffy sees Robin sitting on the floor, slumped over) Oh, my God.
SPIKE
I gave him a pass. Let him live. On account of the fact I killed his mother. But that's all he gets. (starts walking away, but stops) He even so much as looks at me funny again, (points) I'll kill him.
Buffy closes her eyes and sighs before going into the shed.
Cut to:
42 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT
Buffy walks up to Robin, who's trying to stand. She looks around the room, then walks up to Robin again.
BUFFY
I lost my mom a couple years ago. I came home and found her dead on the couch.
ROBIN
(weakly) I'm sorry.
BUFFY
I understand what you tried to do, but she's dead.
ROBIN
Because he murdered her.
BUFFY
I'm preparing to fight a war, and you're looking for revenge on a man that doesn't exist anymore.
ROBIN
Buffy, don't delude yourself... That man still exists.
BUFFY
Spike is the strongest warrior we have. We are gonna need him if we're gonna come out of this thing alive. (Robin sighs) You try anything again, he'll kill you. (Robin laughs) More importantly, I'll let him. (Robin looks at Buffy) I have a mission to win this war, to save the world. I don't have time for vendettas. (walks away) The mission is what matters.
Cut to:
43 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT
Buffy tucks Dawn into bed, and walks out into the hallway, closing the door behind her. Giles walks up to her as she goes into her doorway.
GILES
Buffy...I—I understand your anger. Please believe me, we did what we—
BUFFY
(not looking at Giles) He's alive. Spike's alive. Wood failed.
GILES
Well, that doesn't change anything. What I told you is still true. You need to learn—
BUFFY
(looks at Giles) No, I think you've taught me everything I need to know. (shuts her door)
Cut to:
Closing credits.
