07x18 - Dirty Girls

[bunniefuu]

RECAP:

GILES (V.O.)

Previously on Buffy the Vampire Slayer:

1 EXT. WAREHOUSE - NIGHT

A dark-haired teenage girl is fighting off vampires outside a warehouse at night. She's strong and holding her own against them.

FAITH

I'm Faith.

Cut to:

2 INT. STORE - NIGHT

With a sadistic smile on her face, Faith is inspecting a w*apon she's holding.

GILES (V.O.)

We have a rogue slayer on our hands. I can't think of anything more dangerous.

Cut to:

3 EXT. WAREHOUSE - NIGHT

Faith stakes a man while Buffy stands there beside her.

BUFFY

Faith, no!

Cut to:

4 INT. MOTEL - DAY

Buffy and Faith talk in Faith's room at a motel.

BUFFY

You k*lled a man.

FAITH

I don't care.

Cut to:

5 INT. LIBRARY - DAY

Giles and Buffy talk in the Sunnydale High Library.

GILES

She's unstable, Buffy.

Cut to:

6 EXT. FAITH'S APARTMENT - NIGHT

Faith and Buffy are engaged in a vicious fight atop Faith's apartment building. Buffy stabs Faith in the stomach, Faith punches Buffy to the ground, and Faith walks to the edge and deliberately falling backwards off of the roof, landing on a garbage truck.

Cut to:

7 INT. CAVE - NIGHT

In the form of Jenny Calendar, the First confronts Buffy.

JENNY/FIRST

I'm not a demon, little girl. I am something that you can't even conceive. The First Evil.

The First transforms into an apparition of a nasty, huge demon that nearly fills the entire room.

Cut to:

8 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT

Anya's talking to the g*ng.

ANYA

Look, I'm not saying it's a happy scenario, but we're dealing with a Big Bad that can be any dead person it wants.

Cut to:

9 EXT. SUNNYDALE STREET - NIGHT

Andrew, looking tough and menacing, is talking to Warren/First.

WARREN/FIRST

You know the rules. I can't take corporeal form. (nods) Mm-hmm.

Andrew sticks his hand through Warren's chest.

Cut to:

10 INT. BUFFY'S HOUSE - DAY

Buffy opens the front door to leave, but sees Giles standing there on her front porch when she opens it. Buffy goes to hug Giles, but is cut off when three girls she's never met walk right into her house.

Cut to:

11 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY

Dawn's standing in front of the three girls Giles brought with him. The three girls are lined up against the wall, and Dawn's inspecting them, arms crossed in front of her.

DAWN

They're all slayers?

GILES

Potential slayers.

Cut to:

12 EXT. BACKYARD AT BUFFY'S HOUSE - DAY

The potential slayers are training in the backyard, being led by Kennedy.

GILES (V.O.)

There were many more like them all over the world, but, um, now there's just a handful, and they're all on their way to Sunnydale.

Cut to:

13 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY

Buffy is sitting in a chair, stunned by the news she's hearing from Giles.

BUFFY

That's what it wants.

Cut to:

13a EXT. CITY STREET IN ISTANBUL, TURKEY - NIGHT

A dark-haired girl is running through the arched hallway, looking over her shoulder and panting from the exertion of running so fast. She's being chased. Two people in hooded cloaks are chasing her.

Cut to:

13b INT. PARKING GARAGE IN FRANKFURT, GERMANY - NIGHT

A girl with hot pink hair with black bangs at her forehead, a nose ring, and a metal collar is trying to escape her pursuers. Finally, she thinks she's safe when she goes through a doorway to the outside near a crowd of club patrons, but she is pushed back inside. Robed men close the door behind them and start to fight with her. She is knocked to the ground, lying on her back. Finally, one of the robed people pulls out a Jambaya (curved silver dagger) and stabs her.

Cut to:

GILES (V.O.)

To erase all the slayers in training and their watchers, along with their methods.

BUFFY

And then Faith, and then me. It's the end. No more slayer.

Cut to:

14 INT. UNDERGROUND CAVE - NIGHT

Buffy approaches Spike slowly and cuts him loose of his tethers. When he touches her and realizes she's real, he smiles and squints, searching her face intently. She looks into his eyes, tapping an emotional connection between them.

BUFFY (V.O.)

Spike has a soul now. That's what's gonna stop him from hurting people.

Cut to:

15 INT. BUFFY'S ROOM AT BUFFY'S HOUSE - DAY

Giles comes into Buffy's room to talk to her.

GILES

Buffy...

BUFFY

He can be a good man, Giles. I feel it.

Cut to:

16 INT. LIVING ROOM AT BUFFY'S HOUSE - DAY

Andrew's just answered the phone.

ANDREW

Uh, Willow...call for you from L.A. Somebody named Fred.

Cut to:

17 INT. BASEMENT AT BUFFY'S HOUSE - DAY

Willow walks down the stairs to the basement to talk to Buffy.

WILLOW

I'm gonna have to take off for a while. Maybe a day or two?

Cut to:

18 EXT. CEMETERY - NIGHT

Giles and Buffy are walking through the cemetery, talking.

GILES

We're on the verge of w*r. You need to be able to make difficult decisions regardless of cost.

Cut to:

19 EXT. CEMETERY - NIGHT

Buffy is still fighting the vampire as Giles watches. Buffy stops fighting, turns to Giles.

BUFFY

(stakes the vampire) You're stalling me.

Cut to:

20 INT. WORKSHOP AT ROBIN'S PLACE - NIGHT

Robin and Spike are inside the shed now, but it's completely dark. Robin takes off his shirt, reaches into a drawer near the computer to strap on fighting paraphernalia to his arms.

ROBIN WOOD

I've been searching for you for a very, very long time. (looks at Spike) Ever since you k*lled my mother.

Spike tries to stifle his reaction, but the monster overtakes him. He goes into vampire facade and growls menacingly at Robin. Spike throws Robin against the wall.

Cut to:

21 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

You try anything again, he'll k*ll you. (Robin laughs) More importantly, I'll let him. (Robin looks at Buffy)

Cut to:

22 INT. UPSTAIRS AT BUFFY'S HOUSE - NIGHT

Giles walks up to Buffy as she goes into her doorway.

BUFFY

(looks at Giles) I think you've taught me everything I need to know. (shuts her door)

Fade to black.

End Recap.

The Start Of Episode

PROLOGUE:

23 EXT. WOODS - NIGHT

A teenage girl is running through the woods at night, running for her life. Bringers are chasing her. She sees an old pick-up truck driving down a dirt road through the woods, and she runs in front of it, waving it down emphatically with both arms.

GIRL

Stop! Stop! Stop, please! (the driver slows and stops the truck; the girl goes to the passenger door and speaks to him through the open window)

MAN

(wearing a black shirt with priest's collar, speaking in a southern drawl) What's goin' on?

GIRL

Please get me out of here! (opens the passenger door and climbs in)

MAN

Was someone hurt? What is it?

GIRL

(shuts door) Drive.

Cut to:

24 INT. TRUCK - NIGHT

The young girl is panting, catching her breath. She's sitting in the passenger's seat in an old truck beside a man dressed as a preacher or priest.

MAN

Well, that was, uh... Are you all right?

GIRL

(panting) Thank you. Thank God you were there.

MAN

Well, let's not give him credit for everything. (smiles) No, I'm funning you. I don't believe it was a coincidence. I also don't believe young girls should be out in the woods late at night—should be tucked in bed.

GIRL

(softly) Wish I was.

MAN

I expect you do at that. Look, I don't mean to pry, but those boys... they looked like— Well, you didn't happen to fall in with devil worshipers, did you? (the girl doesn't answer, just stares out the window) Na, I'm—I'm sorry. You, uh, you look like you've been traveling a while. I didn't think that— Is there some place you'd like me to drop you? You heading some place?

GIRL

Sunnydale.

MAN

I'm going there myself. I ain't never been, but I expect we could find a police station or a—

GIRL

I just need to get to Revello Drive. (the man nods) Um, thanks, Father...

MAN / CALEB

Call me Caleb. Never was nobody's daddy.

GIRL / SHANNON

I'm Shannon.

CALEB

Well, Shannon, you feel like telling me why those Freaky Joe's were after you?

SHANNON

I'm not sure.

CALEB

Well, do you ever think that maybe they were chasing you because you're a whore?

SHANNON

(looks at Caleb, scoffs) What?

CALEB

Now, I know what you're thinking. Crazy preacher man spoutin' off at the mouth about the whore of Babylon or some-such. That ain't me. I'm not here to lecture you. I mean, what's the point? (presses in his dashboard cigarette lighter) My words just curdle in your ears. Wouldn't take in a thing. (Shannon looks around nervously, looks out the window) Head's filled with so much filth that ain't no room for words of truth. Well, you know what you are, Shannon? Dirty.

SHANNON

(offended) What? I'm not! What're—

CALEB

Now, now, now. There's no blame here. You were born dirty, born without a soul. Born with that gaping maw wants to open up, suck out a man's marrow. Makes me puke to think too hard on it. (Shannon touches the passenger side door, trying to open it, but there's no handle) Yeah, that there door's problematical. I don't know as I could recommend steppin' out at this speed anyway. You're like as not to tumble some. But, of course, there's my boys back there—Ooh, they hate to miss a mark.

SHANNON

(shocked) Your boys?

CALEB

Well, they ain't exactly my "blue eyed boys" but they're hard workers. And they don't truck with Satan—that was just me having fun. (looks at Shannon) Satan is a little man. (Shannon reaches for the steering wheel, but he pushes her away, pinning her against the seat, then shakes his finger at her) I don't like back-seat drivers.

Caleb reaches to the dashboard and grabs the cigarette lighter. He places the heated coil of the lighter on a ring he's wearing on the middle finger of his right hand and presses it for a moment.

SHANNON

(sees what Caleb's doing, and cowers) Please...don't hurt me.

CALEB

Well, now, is this the part where you offer to do anything? Because I tried to make it clear—you got nothin' I want to explore.

Caleb puts the lighter back in the dashboard and presses his heated ring into Shannon's neck, making a sizzling sound. Shannon screams.

CALEB

Oh yeah. That's it! That's a cleansing fire. Hallelujah! Now, if I'm not mistaken, there's a car a little ways behind us, and I do believe there's some folk in it goin' the same place you are. Now, I want you to deliver a message for me, but it's not for them. It's for the other one—the one and only, the original, accept-no-substitutes slayer. Would you tell her something for me?

SHANNON

(frightened) Yes.

CALEB

Thank you, Shannon. (takes a Kn*fe and stabs Shannon in the stomach, then whispers something in her ear) Now, let's see what we can't do about that door.

Caleb kicks the door open and pushes Shannon out.

Cut to:

25 EXT. RURAL HIGHWAY - NIGHT

Shannon falls out of the pick-up truck and rolls across the pavement. A car driving toward her slams on its breaks. The driver, Willow, steps out and runs to the girl's side. The passenger steps out of the car and saunters toward Shannon.

WILLOW

(to Shannon) Are you OK? Can you hear me? (rolls Shannon over) Can you talk? (to her passenger) This girl's bleeding badly. We have to get her to the hospital.

As Willow's passenger walks forward into the light, show it's Faith standing there.

FAITH

(unfazed) Yep. Guess I'm back in Sunnydale.

Cut to:

Opening Credits.

ACT I:

26 INT. XANDER'S APARTMENT - NIGHT

Xander's floor is covered with sleeping bags and potentials. In his bedroom, he's under the blanket in his bed, and one of the potentials is sitting on his bed in skimpy pajamas, chatting.

XANDER

I know it's hard.

POTENTIAL

I haven't been able to sleep the last few nights.

XANDER

Hey, listen. It's gonna be OK. Buffy knows what she's doing. She's not gonna send you into battle until she's sure you're ready for action. (nods)

POTENTIAL

That's just it, though. How will I know I'm ready...for action?

XANDER

You have to trust us.

POTENTIAL

I'm so scared, Xander. I'm so young. (looks into Xander's eyes)

XANDER

Well, believe it or not, I was younger than you when I started all this.

POTENTIAL

There's just so much I haven't done, so much I need to do. It's like... I never had a real boyfriend, you know?

XANDER

Yeah?

POTENTIAL

(coyly) I've never been with a man. I could die tomorrow, and I've never been with a man.

XANDER

Well, uh—

Another girl appears sitting on the bed beside the first potential.

POTENTIAL 2

I've never been with a man before either.

XANDER

(smiles) Colleen.

POTENTIAL 2 / COLLEEN

I've never been with her in front of a man before.

POTENTIAL

I've never been with her in front of a man, either.

XANDER

Um...

POTENTIAL

(both girls crawl toward Xander seductively) Xander...

XANDER

We can't.

COLLEEN

We're so scared. (the first potential nods)

XANDER

The others might hear us.

COLLEEN

(shakes head) No, they won't.

POTENTIAL

(shakes head) They're OK.

The door to Xander's room opens to reveal a living room full of girls pillow-fighting in their skimpy pajamas. The air is filled with feathers.

RONA (O.S.)

Xander!

Cut to:

27 INT. XANDER'S APARTMENT - NIGHT

Xander is startled awake in his bedroom by Rona's insistent calls. There's three other girls standing in the doorway wearing decent (not skimpy) pajamas, glaring at Xander with their arms crossed.

RONA

Xander!

XANDER

Wha—?

RONA

(sighs) God damn it!

XANDER

What's going on? I was sleeping.

RONA

(irritated) Dominique has the stomach flu, and the toilet bowl is backed up.

XANDER

(smiles nervously) I'll be right out. (takes one of his hands out from under the covers) Got, uh, a leg cramp.

Rona nods and walks out, shutting the door behind her. Xander leans his head back on the pillow and rolls his eyes.

Cut to:

28 INT. SUNNYDALE HOSPITAL - NIGHT

Looking through a wall of windows, Willow and Faith are watching surgeons operate on someone.

FAITH

You sure she's one of us? She don't look like much now. Not a potential slayer, I mean.

WILLOW

Don't know. Seems to fit, though. We'll know more when she regains consciousness.

FAITH

(scoffs) If she regains consciousness. Girl's been gutted like a catfish.

WILLOW

Yeah.

FAITH

(looks at Willow) Something's k*lling girls all over the world, trying to end the slayer line. Thing like that, figure I might get a heads up.

WILLOW

(drops her hands to her side, shakes her head) Faith...

FAITH

(throws up her hands) Guess it doesn't really matter as long as you got the true slayer intact.

WILLOW

You were in prison. Figured you were safe there.

FAITH

(scoffs) Yeah, that's prison. Safe as a kitten.

WILLOW

Sorry, I... don't know much about the big house. Was it— (Faith looks away) I mean, did something happen in there?

FAITH

(looks at Willow) Someone came at me with a nasty looking Kn*fe. Didn't really know why 'til now.

WILLOW

Oh, Faith, we didn't—

FAITH

Forget it. It's cool. I get by. (gestures to the patient being operated on) What're we gonna do about her?

WILLOW

Uh, I guess we should find Buffy, tell her what's going on. I-I tried calling home. Dawn says she's out patrolling.

FAITH

Let's go look for her. (walks away) Cemetery's more fun anyway.

WILLOW

Wait, somebody should wait here in case she wakes up.

FAITH

(stops walking) Fine, sit tight. I'll be back. (walks away)

WILLOW

W-w-wait. Uh, maybe you meeting Buffy alone isn't the best idea.

FAITH

(turns around) You told her the sitch, right? She knows I'm coming. Probably been up all night hanging streamers. (grins sarcastically)

WILLOW

Yeah, but it's not like you're study buddies, exactly. Maybe it'd be better if I...eased her into the whole thing.

FAITH

I can't stay here, Willow. Spent way too much time in hospitals. We don't click. Don't worry. (grins) I'm sure we'll all get along just fine. (turns, walks away)

Cut to:

29 EXT. CEMETERY IN SUNNYDALE - NIGHT

A blonde young woman is running at top speed through the cemetery. Someone's pursuing her. She stops running and looks for a place to hide. Someone punches her, knocking her down to the ground. Her pursuer kneels down to grab the young woman, but someone picks him up and throws him into a nearby tombstone. It was Spike who was pursuing the young woman, and Faith who pulled him off of her.

FAITH

Whatcha wanna do to her, vamp? (circles Spike) Huh? Somthin' like this? (punches Spike)

SPIKE

(stands) Nice punch you got there. Lemme guess. Leather pants, nice right cross, doe eyes, holier-than-thou glower...you must be Faith.

FAITH

(shrugs and grins) Oh, goodie. I'm famous.

SPIKE

Told you were coming. Bit of a misunderstanding here. I'm—

FAITH

Spike. (nods) Yeah, we've met before.

SPIKE

We have? I don't think we— (Faith kicks Spike in the torso) Bloody hell! What're you doing? I'm on your side.

FAITH

Yeah? Maybe you haven't heard. I've reformed. (punches Spike)

SPIKE

So have I. (punches Faith) I reformed way before you did. (Faith punches Spike) Stop... (punches Faith) hitting... (punches Faith again) me! We're on the same side.

FAITH

Please. You think I'm stupid?

SPIKE

Well, yeah. (grins)

FAITH

You were attacking that girl. (punches Spike)

Someone punches Faith in the face, knocking her down. Pan over to show it's Buffy.

BUFFY

(innocently) Sorry, Faith. I didn't realize that was you.

FAITH

It's all right, B. Luckily, you still punch like you used to.

BUFFY

(glares at Faith a moment, then turns to Spike) You OK?

SPIKE

Yeah. Terrific.

FAITH

(shocked) Are you protecting vampires? Are you the bad slayer now? Am I the good slayer now?

BUFFY

He's with me. He has a soul.

FAITH

Oh, he's like Angel?

SPIKE

No.

BUFFY

Sort of.

SPIKE

I am nothing like Angel.

BUFFY

He fights on my side. (shrugs, looks at Faith) Which is more than I can say for some of us.

FAITH

Yeah, well if he's so good, what's he doing chasing down defenseless—

The young woman that Spike was chasing stands up, growls, and att*cks Faith, knocking her down.

BUFFY

(points to the young woman) That's one of the bad guys.

FAITH

You should make 'em wear a sign. (the young woman is a vampire; Faith fights the vamp woman, and reaches around to Buffy's pocket full of stakes) May I? (takes a stake) Thanks.

Faith continues fighting the vamp woman, then stakes her.

SPIKE

Angel's dull as a table lamp. And we have very different coloring.

FAITH

OK, catching up. Anything else I gotta know?

BUFFY

Nice to have you back.

Cut to:

30 INT. BUFFY'S HOUSE - NIGHT

Buffy, Faith, and Spike walk into Buffy's house through the front door. Dawn and Giles are at the dining room table.

FAITH

Whoa. Memory Lane. Same old house.

BUFFY

Yeah, well, every piece of furniture's been destroyed and replaced since you left, so, actually, new house.

DAWN

(stands, walks toward them with her arms crossed) Buffy? (looks disapprovingly at Faith)

BUFFY

We have a new house guest.

FAITH

Hey, got a spare bed for a wanted fugitive?

GILES

(stands, nods) Hello, Faith.

FAITH

Well, I guess "wanted" wasn't really accurate.

DAWN

Does she have to stay here? Because there's some nice hotels that welcome tried-to-k*ll-your-sister types.

FAITH

(smiles) Check it out. Brat's all woman-sized.

BUFFY

Look, I need to get to the hospital. Some girl was att*cked on her way into town. We think she might be a—

DAWN

We know. Willow's been calling.

GILES

She's still there. She's gonna call if the girl wakes up.

BUFFY

(glares at Giles) Fine. (walks out of the room)

GILES

Well, Faith, we better, um, see if we can find some place to squeeze you in for the night. (Giles and Dawn walk away)

SPIKE

Not all that tension was about you. Giles was a part of a plan to k*ll me...for Buffy's own good.

FAITH

Well, that makes me feel better about me, worse about Giles...kinda shaky about you.

Cut to:

31 INT. CELLAR - NIGHT

Caleb pours wine into a glass directly from a barrel.

CALEB

"Drink of this, for it is my blood." (drinks) You know, I always loved the story of the Last Supper. (looks at his glass, turns, paces) The body and blood of Christ becoming rich, red wine. I recall, as a boy, though, I couldn't help but think: what would happen if you were at the Last Supper, and you ordered the white? A nice oaky Chardonnay or White Zin... I mean, would he make that out of his lymph or some-all? (shrugs) Never did bring it up. Suppose there was a reason why I never spent too long in one parish. Just looking for answers. Just looking for the Lord in the wrong damn places. (gestures to someone in the room with him) Then you showed me the light.

BUFFY/FIRST (O.S.)

Do you think I'm God? (walks out from the shadows toward Caleb)

CALEB

I certainly do not. I am beyond concepts like that.

BUFFY/FIRST

But you still wear the outfit.

CALEB

Man can't turn his back on what he come from. Besides, black is slimming. (looks at his outfit) Everyone knows that.

BUFFY/FIRST

How do you like what I'm wearing?

CALEB

Just another dirty girl. And, since you only dress up in dead folk, I'm guessing, one who's already been paid her wage.

BUFFY/FIRST

Look hard. What do you see?

CALEB

(checks out the First's form) Strength. And the loneliness that comes with real strength.

BUFFY/FIRST

Nothing about my pert and bouncy hairdo?

CALEB

You're her.

BUFFY/FIRST

The slayer.

CALEB

(reaches toward her) At long last. (tries to touch her face, but his hand goes through her head) All this time. All the work I've done for you... Blowing up the Council, organizing the Ray Charles Brigade, and stickin' all them splits—you never showed me.

BUFFY/FIRST

Well, you've earned it. And you'll be meeting her soon. Am I right?

CALEB

Oh, yeah. Yeah, she'll get the message.

BUFFY/FIRST

And what makes you so sure she'll come?

CALEB

(points, nods) Curiosity. Woman's first sin. I offer her an apple. What can she do but take it? (grins, gestures "cheers" with his glass) I'll see you soon.

Fade to black.

ACT II:

32 VARIOUS

ANDREW (V.O.)

While Andrew talks, show various glamour sh*ts of Faith from shows past:

Faith. Her name alone invokes awe.

Faith holding a stake in a cave.

Faith sitting on her bed in her motel room.

Faith pointing a shotgun.

Faith smiling in the Mayor's office.

Faith. A set of principles or beliefs on which you are willing to devote your life.

Faith dancing at the Bronze.

Faith working out.

Faith holding out her arms in the Mayor's office.

The dark slayer.

Faith fighting a vampire.

Faith fighting Angel.

A lethal combination of beauty, power, and death.

Faith stabbing a demon with a sword.

Faith punching a vampire.

For years and years—or to be more accurate—months, Faith fought on the side of good, terrorizing the evil community.

Faith leaning in through a school window, gesturing out, and smiling.

Faith and Buffy fighting side-by-side.

Faith punching a vampire

Faith punching a demon.

Faith and Buffy fighting side-by-side.

But like so many tragic heroes, Faith was seduced by the lure of the dark side.

Faith deciding between Buffy and someone else.

Faith sitting in the Mayor's chair, admiring the Kn*fe the Mayor gave her.

Faith throwing a flower arrangement across the room.

She wrapped evil around her like a large, evil Mexican serape.

Faith stealing a g*n.

Faith putting on a black jacket and smiling.

She became a cold-blooded k*ller.

Faith staking the Mayor's assistant.

Faith k*lling a demon.

Nobody was immune to her trail of destruction.

Faith watching Buffy and Angel talk.

Faith intimidating Buffy with a s*ab/near miss.

Not friends, not family...

Faith holding a Kn*fe to Willow's neck.

Faith holding a Kn*fe to Buffy's neck.

Not even the most pacifist and logical of races.

Faith fighting a Vulcan (from Star Trek fame) in a cave. The Vulcan reaches to Faith's neck to do a Vulcan death grip, but Faith turns on him and pins his arm behind him as she points her Kn*fe at his chest.

Cut to:

33 INT. KITCHEN AT BUFFY'S HOUSE - DAY

Andrew is holding a Kn*fe to Rona in the same position that Faith was holding the Kn*fe at the Vulcan. He appears to be doing a demonstration for a group of potentials.

AMANDA

What the hell are you talking about? I thought Faith k*lled a volcanologist.

ANDREW

(laughs, lets Rona go, puts down the Kn*fe) Silly, silly...Amanda. Why would Faith k*ll a person who studies Vulcans?

AMANDA

He studied volcanoes. He was a professor.

ANDREW

Ah, yes. Well, regardless...

MOLLY

I thought you weren't supposed to be doing this anymore—making up stories.

ANDREW

I'm not. This is true. Except for that...possible...word misunderstanding. (sighs) They're the things you need to know about. (looks out the window at Faith working out in the back yard) Faith...has a history not to be taken lightly. (turns to face the girls) She's a k*ller. Never forget that. You must stay on guard around Faith at all times. Your very lives may depend on it.

CHAO-AHN

(speaking Chinese)

SUBTITLE: There is a girl in the backyard doing gymnastics.

Andrew nods knowingly.

Cut to:

34 INT. PRINCIPAL'S OFFICE AT SUNNYDALE HIGH - DAY

The school bell rings. Principal Wood is sitting at his desk working. Buffy walks up to his office and leans on the doorjamb.

BUFFY

You look better.

ROBIN WOOD

(without looking up) No, I don't.

BUFFY

(smiles) No, you don't.

ROBIN WOOD

But I'll be OK. Unless, of course, you start b*ating up on me now.

BUFFY

I won't. (shrugs) Well, I thought about it. I made some doodles. As far as I'm concerned, we're on even ground. I meant what I said. I don't have time for your vendetta, but I need you in this fight. I want you on my side.

ROBIN WOOD

Thanks. That means a lot.

BUFFY

So, we're good?

ROBIN WOOD

(looks at Buffy) Absolutely. (Buffy sighs) You're fired.

BUFFY

(shocked) What?

ROBIN WOOD

Effective immediately.

BUFFY

You're f*ring me? (walks into his office, stands in front of his desk) I just refrained from kicking your ass.

ROBIN WOOD

Buffy, there's nothing here for you. I mean, people are leaving town, half the kids don't even bother showing up anymore. You've got things to deal with that are much worse than anything here. Look at the big picture.

BUFFY

Right. (sits) The big picture. The one with the big w*r and the dead little girls.

ROBIN WOOD

Not dead. Not dead. Not if you get them ready.

BUFFY

I don't want to lead them into w*r. It can't be the right thing.

ROBIN WOOD

Most wars aren't, you know.

BUFFY

Some of these girl haven't even been tested in battle.

ROBIN WOOD

Then, I guess, maybe you should test them.

BUFFY

(suddenly chipper) Couldn't I just come to work part-time? I could make flyers for encounter groups and post them up all over school.

ROBIN WOOD

And you're fired again. (looks down) Remember, Buffy, the mission's what matters. (looks at Buffy)

Cut to:

35 INT. BASEMENT AT BUFFY'S HOUSE - DAY

Faith walks into the basement and sits down on the stairs. The sounds of girls chattering can be heard through the basement door she left open. Faith sighs, takes out a cigarette, and lights up.

SPIKE

(sitting on his cot with his shirt off) You craving a moment alone in the dank, or can I bum one?

FAITH

(smiles, stands) Well, I guess you can smoke all you want—the big C not really an issue. (hands her cigarette to Spike)

SPIKE

Teeth get yellow after an eternity. Gotta watch that.

FAITH

(takes out another cigarette for herself) Huh. (looks at the chains and shackles on the wall behind Spike's cot)

SPIKE

(looks over at the chains) Right. Not what it looks like.

FAITH

Hey, to each his own, man. This one guy I ran with, he liked me to dress up like a school girl and take this friggin' bull-whip, (gestures like she's using a whip) and I'd be like—

SPIKE

I got dangerous...for a while.

FAITH

This before the soul, or after?

SPIKE

After, but I got over it—in case you're feeling all dust-happy again after your long incarceration.

FAITH

(smiles) Not if you're all repenty. Takes the fun out of it. (the girls upstairs are making noise) No more Starbucks for the wannabe's man. They've been spazzing for, like, hours.

SPIKE

Yeah, does get a bit much up there.

FAITH

They're good girls. Just green is all.

SPIKE

So, why aren't you up there...imparting?

FAITH

That's Buffy's thing. Anyway, I just spent a good stretch of time locked away with a mess of female-types. Kinda had my fill.

SPIKE

Hm. But you waited until Angel needed your help to bust out of jail.

FAITH

Three squares, nice weight room, movie every third Sunday. Could've been worse.

SPIKE

What movie?

FAITH

Last one was Glitter. (Spike raises an eyebrow at her) I guess it couldn't have been worse.

SPIKE

You had the power to walk away anytime. Nothing to stop you.

FAITH

I stopped me. I got dangerous for a while. (takes off her jacket)

SPIKE

You over it?

FAITH

(stretches her arms) More or less. I pull for the good guys now.

SPIKE

What's the less?

FAITH

(grins coyly) The usual stuff...

SPIKE

Such as?

FAITH

(grins) I was thinking about looking up the guy with the bull-whip. Long incarceration.

SPIKE

(chuckles) You could do better. School girl thing's old hat.

FAITH

It's all old-hat, man. (shrugs) Every guy's got some whack fantasy. Scratch the surface of any granola-type dude—naughty nurses and horny cheerleaders. (shrugs) I figure, if you can't b*at 'em—

SPIKE

Join 'em.

FAITH

Just don't forget who's on top.

SPIKE

That, I suspect, would be you.

FAITH

(grins) You got that right. (walks over to Spike's cot, sits beside him) I've met you before, you know.

SPIKE

Yeah, you made a great impression on my chin.

FAITH

Not in the graveyard. Before that. I was kinda wearing a different body.

SPIKE

Pity.

FAITH

You seemed OK with it.

SPIKE

The body swap. (nods) With Buffy.

FAITH

She fill you in on that whole deal?

SPIKE

She told me it went down. Failed to mention who was driving her skin around.

FAITH

I may have said a few things...

SPIKE

(looks into Faith's eyes) Like you could ride me at a gallop 'til my knees buckle, squeeze me 'til I pop like warm champagne. That's not the kind of thing a man forgets.

FAITH

Should've known it wasn't blondie behind the wheel. She'd never throw down like that.

SPIKE

Oh, you have been away. (Spike chuckles)

FAITH

Don't even tell me little Miss Tightly-Wound's been getting her naughty on?

SPIKE

Not of late.

FAITH

Wow. Everybody's just full of surprises. (Buffy walks down the steps into the basement, stares at Spike and Faith) Hey, B.

BUFFY

(crosses her arms) Well, it's nice to see you two getting along so well.

FAITH

Yeah. Uh, you just know all the cool vampires. (sits forward)

BUFFY

Yeah.

SPIKE

Hey, aren't you usually at work 'bout now?

BUFFY

I kind of decided to cut back on my hours.

DAWN (O.S.)

Buffy? Is that you?

BUFFY

(yells back to Dawn) Down here. (to Spike) Figured I'd be better off focusing on what's going on around here.

DAWN

(standing at the top of the stairs) Buffy, Willow just called from the hospital. The girl's awake.

Cut to:

36 INT. SUNNYDALE HOSPITAL - NIGHT

Shannon is bruised badly all over her body. She lies in bed, still, covered with bandages.

SHANNON

He was a minister, or something... At least, he dressed like one. I thought he was trying to save me...at first.

Pan over to show Buffy and Willow standing beside her bed.

BUFFY

He—he picked you up on the side of the road?

SHANNON

Bringers were chasing me. He said they were his boys...right before he b*rned me.

Shannon removes the bandage over the burn on her neck. Willow takes a digital camera out of her purse and snaps a picture of the burn.

SHANNON

He wanted to tell you something. Before he...cut me...he told me to give the slayer a message.

BUFFY

What is it?

SHANNON

He said, "I have something of yours."

Cut to:

37 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT

Buffy addresses a room full of potentials and the rest of the Scooby g*ng.

BUFFY

We've got a new player in town. Dresses like a preacher. Calls himself Caleb. Looks like he's working for the First. He's taunting us, calling us out. Says he's got something of mine. Could be another girl, could be something else. Don't know, don't care. I'm tired of talking. I'm tired of training. He's got something of mine? Fine. I'm getting it back, and you guys are coming with me.

Fade to black.

ACT III:

38 INT. WINE CELLAR - NIGHT

A young blonde girl wearing a sleeveless white dress walks around in the cellar.

CALEB

(from the shadows) You're searching for something, girl. What would that be now?

HELPLESS GIRL

Oh. (smiles sweetly) You. I was looking for you.

CALEB

Is that right?

HELPLESS GIRL

I heard you speakin' tonight. Preachin'. I felt your words go straight to me.

CALEB

Well, the truth is like a sword, isn't it, girl? Cuts deep.

HELPLESS GIRL

(smiles) Yeah.

CALEB

The words I use got a power to them. (paces) A power, now. They're not just words—they're truth.

HELPLESS GIRL

(leans back against a wine barrel) They brought me here.

CALEB

They called you. You know why? Because you're human. (walks around her) You got your urges. A woman's got hers. A man's got his. Our whole race can be do damnably weak... (walks back toward the shadow) That's why we seek the strength, the power.

HELPLESS GIRL

It's not wrong to be drawn to the power, is it, preacher? (follows him into the shadow)

CALEB

Oh, no, child. It's not wrong... (the girl gasps and falls to the ground, revealing a bloody stomach wound) Just human.

The girl's body transforms into Buffy's form.

BUFFY/FIRST

(stands) Most people don't like visits from their dead, you know.

CALEB

Heathens. No appreciations for life's pleasures. Do it again.

BUFFY/FIRST

I take requests. (crosses arms) One of those potentials you k*lled, perhaps?

CALEB

No, save them for later. I'm in more of an old memory lane kind of mood. Back before I met you, there was this choir girl in Knoxville I used to give singing lessons to...why, she even screamed on key. Show me her.

BUFFY/FIRST

(shakes her head) All these girls...they followed you willingly. You tricked them.

CALEB

I only told them the truth. As for following, well, that seems to be what they do best.

Cut to:

39 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT

Buffy has gathered the core of her team in the living room.

BUFFY

We need to start arming the girls. I wanna be ready to move when we find him.

WILLOW

We don't even know where we're going.

BUFFY

'S why I figured we'd do a little recon first. (to Faith) You up for it?

FAITH

Point me where you want me.

GILES

And you're certain this is the best course of action? You don't even know what this man has of yours—if he, in fact, has anything.

BUFFY

It could be a girl, a potential trying to get to us.

GILES

Could be a stapler.

BUFFY

Going in anyway.

GILES

With the girls? Most of whom have yet to be in the field, let alone in a life or death situation.

BUFFY

Then it's time we test them. Look, I'll just take the ones that have been here the longest. The rest can stay behind.

SPIKE

Could be that's just what he wants you to do—the old bait-and-switch.

WILLOW

Yeah, he lures us away and then kills the girls we leave behind.

BUFFY

I know. That's why I need you to stay here with them. You're my most powerful w*apon, Will. I know you can keep them safe if anything happens.

XANDER

An unknown man breezes into town, says he has something of yours. Buffy, this thing's got "trap" written all over it.

BUFFY

He won't be expecting a full att*ck—not this soon, (emphatically) that's why we have to move.

GILES

We know nothing about this man. We cannot go into battle unprepared. We have to have more time.

BUFFY

Giles, we don't have time. And you're not going into battle. (Giles sighs) I need you to stay behind with the others. Help the girls who still need a teacher.

Cut to:

40 EXT. FOREST - NIGHT

Buffy and Faith are following a Bringer, chatting as they go.

FAITH

No eyes, but look at him go. He got SONAR or something?

BUFFY

Or something, I guess. Pretty good when they att*ck.

FAITH

Do they just roam free around town?

BUFFY

Well, normally, they show up out of nowhere, and then either s*ab or get stabbed, and then they run off. Looks like this guy wants to be found.

FAITH

Lends weight to the whole "it's a trap" theory.

BUFFY

(snappily) I'm through waiting around for people to att*ck us.

FAITH

Hey, I'm with you. Drop me in the hornet's nest, what the hell? You got a rough sitch here, trying to turn a bunch of little girls into an army...

BUFFY

They're potential slayers, just like we were.

FAITH

Right. Maybe they'll do as good as us.

BUFFY

They're getting better.

FAITH

I'll work with 'em. Some of 'em seem real eager. Fashion disasters, yeah, but they're ready to fight.

BUFFY

(stops walking) Why did you come back?

FAITH

Willow said you needed me. Didn't give it a lot of thought. Do you—Am I getting you want me to be not here?

BUFFY

(sighs) No, that's not what I meant. I'm...glad that you're here. It's good. Thank you. (walks)

FAITH

No problem. You know me. All about the good deeds.

BUFFY

Willow said you helped out Angel.

FAITH

Yeah. He says "Hi."

BUFFY

Really.

FAITH

Sure.

BUFFY

How is he?

FAITH

Better. Had to do this whole magical mind-walk with him.

BUFFY

You were in Angel's mind?

FAITH

Buffy... (stops, looks at the barn-like building that the Bringer walked up to) What is this place?

BUFFY

Look, there's more of them.

FAITH

I think we just found our hornet's nest.

BUFFY

Let's get the cavalry.

Cut to:

41 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT

Xander is holding a spiked baseball bat and talking to the potentials.

XANDER

Now remember, we're looking for k*lling blows only, people. (hands bat to Rona) So, chest and throat if it's a vampire. Stomach, chest and face if it's a Bringer.

RONA

What if it's something else?

XANDER

Could happen. Something other-worldly. And here's a handy rule: don't go for the flashy tentacles just because they're waving 'em about trying to get attention. Go for the center— (points to each) brains, heart, eyes. Everything's got eyes.

DAWN

Except the Bringers.

XANDER

Except the Bringers.

MOLLY

I don't want there to be tentacles. I'm not good with squishy.

KENNEDY

I don't care if it's Godzilla. (raises a huge sword) I want to get in this thing.

ANDREW

Godzilla's mostly Tokyo-based, so he's probably a no-show.

AMANDA

Besides, if Matthew Broderick can k*ll Godzilla, how tough is he?

ANDREW

(whines) Xander... (crosses his arms petulantly)

XANDER

Matthew Broderick did not k*ll Godzilla. He k*lled a big, dumb lizard. That was not the real Godzilla.

RONA

You people are even crazier than her.

XANDER

Than who?

RONA

Buffy, man. I mean, taking us right into the bad guy's lair.

XANDER

Well, that's where, generally speaking, you'd go to find the bad guy. And I don't think you came here to fight plaque.

RONA

No, I came here for protection.

XANDER

Well, you signed on to fight with—

RONA

Look, I know, but... (sighs) this plan is trouble. OK, Buffy doesn't care how many of us she puts in danger—

XANDER

Let me tell you something about Buffy. In fact, you should all listen to this.

KENNEDY

Uh, we kinda were.

XANDER

I've been through more battles with Buffy than you all can ever imagine. She's stopped everything that's ever come up against her. (Buffy and Faith walk through the front door and overhear Xander's speech) She's laid down her life—literally—to protect the people around her. This girl has d*ed two times, and she's still standing. You're scared? That's smart. You got questions? You should. But you doubt her motives, you think Buffy's all about the k*ll, then you take the little bus to battle. (Buffy tears up) I've seen her heart, and this time—not literally. And I'm telling you, right now, she cares more about your lives than you will ever know. You gotta trust her. She's earned it.

Andrew and Dawn are crying.

FAITH

Damn. I never knew you were that cool. (everyone turns to look at Buffy and Faith)

BUFFY

Well, you always were a little slow.

FAITH

I get that now.

BUFFY

All right, let's saddle up.

Cut to:

42 EXT. SH. VALLEY VINEYARDS - NIGHT

Buffy's brought a small g*ng with her to the vineyard—Faith, Spike, Xander, Kennedy, Rona, Molly, Chao-Ahn, Amanda and another potential. They walk up to the front door, then Buffy pauses to address the team.

BUFFY

OK. Set up a perimeter. Guard the door. I don't want anything getting in behind us. My team goes in first, we check the place out. You guys are our safety-net. If this place is a trap, we give the signal, you guys come in, g*ns a-blazing.

XANDER

So, what's the signal?

BUFFY

I'm thinking lots and lots of yelling.

XANDER

Got it.

BUFFY

Shall we?

Buffy leads a subset of the team inside.

Cut to:

43 INT. WINE CELLAR AT THE SHADOW VALLEY VINEYARDS - NIGHT

Buffy walks down the steps into the wine cellar, followed by Molly, Kennedy, Rona and Chao-Ahn.

MOLLY

(looking around) What is this place?

BUFFY

Looks like an old vineyard.

KENNEDY

An evil vineyard, huh?

SPIKE

Like Falcon Crest.

BUFFY

(looking in the shadows) Stay alert, you guys. Bringers are here somewhere. Just need to find out where.

SPIKE

Shouldn't be too hard.

Bringers come out of the shadows, from behind the barrels of wine, and att*ck Buffy and g*ng. The fight is fairly even. Suddenly, the Bringers stop fighting and walk back into the shadows. Caleb walks out into the light.

CALEB

Well, now, you girls are just burning with righteousness, aren't you? Problem is, you think you're blazing like suns, when really you're burning like matchsticks in the face of the darkness. You having fun? Now, I hope my boys haven't worn you out too much—I need you fit for when I purify you.

BUFFY

Save the sermon, padre. I heard you have something of mine.

CALEB

(chuckles) Well, I do now. You liked my little message, did you? You know, I ruined a perfectly good Kn*fe on that girl. Got her soiled blood all over the place. I may have to get a new truck. (Buffy looks taken aback) So, you're the slayer. The slayer. The strongest, the fastest, the most aflame with that most precious invention of all mankind—the notion of goodness. The slayer must indeed be powerful. (with one powerful punch, he sends Buffy flying across the room) So, what else you got? (looks around smugly)

Fade to black.

ACT IV:

44 INT. WINE CELLAR AT THE SHADOW VALLEY VINEYARDS - NIGHT

Resume. Caleb has knocked Buffy across the room.

Spike vamps out and att*cks Caleb. Caleb pushes him down with ease. Spike tries to get up, but Caleb head-butts him, then throws him across the room into a huge wine storage t*nk that busts when Spike hits it. Wine pours out of the t*nk and washes Spike across the floor. Kennedy and the other potentials get into gear and join the fight.

KENNEDY

Let's go!

The Bringers come back out of the shadows to fight the potentials as well. Kennedy storms Caleb but has to engage a Bringer instead. Caleb punches Kennedy, knocking her into a stack of wine barrels.

RONA

(worried) Kennedy!

Rona runs toward Kennedy, but Caleb cuts her off. She swings the spiked baseball bat at Caleb, but he catches it and looks her in the eyes.

CALEB

(to Rona) Miss, I do believe you have your own problems you should be worrying about.

Caleb breaks Rona's arm with ease, sending her reeling back in agony. Caleb chuckles and bends to pick up a Kn*fe from the floor. He tosses the Kn*fe to a nearby Bringer, who swings it back ready to plunge it into Rona's body. An arrow pierces the Bringer's forearm as he rears back. They turn to look, and see Xander standing there with a bow. Faith's there beside him. The Bringer leaves Rona and fights with Xander.

CALEB

Oh, good. There's more of you.

Faith charges at Caleb. Xander sees Buffy lying unconscious against the wall where she fell when Caleb threw her.

XANDER

Buffy!

Xander runs to Buffy, fighting off Bringers on his way to her side. Holding a Kn*fe in each hand, Faith engages Caleb in a fight, but she's not seeming to faze him.

CALEB

(looks Faith up and down) Well, you're the other one, aren't you. Your Cain to her Abel. (Faith throws a Kn*fe at Caleb) No offense meant to Cain, of course.

Faith att*cks Caleb with her other Kn*fe, but he grabs her arm, twists it, and crosses it with her other arm in a fashion such that she can't move, but is looking right at him. He squeezes her hands until she's forced to drop the Kn*fe. Faith grunts at him and knees him in the crotch, causing Caleb to let go of her just enough that she can escape his grasp. She backhands him across the face.

FAITH

(through gritted teeth) Never was much for the good book.

Caleb grabs Faith's arm and twists it painfully behind her back, causing her to double over. She falls to her knees as he twists and pulls her arm and walks around to the front of her.

CALEB

Oh, it has its moments. Paul had some good stuff, for instance. But overall I find it a tad complicated (slaps Faith). I like to keep things simple. (kicks Faith across the room into a stack of wine barrels) Good folk, bad folk, (a potential with long black hair swings at Caleb, but he grabs her sword, then her face) clean folk, dirty folk...

Caleb snaps the potential's neck and drops her to the ground.

MOLLY

(seeing Caleb k*ll the potential) No...!

CALEB

Yes. (walks toward Molly)

Xander is at Buffy's side as she recovers and gets back into the game.

BUFFY

(weakly trying to sit up) Xander, get them out of here. We have to retreat. Do it.

Xander leaves. Caleb walks menacingly toward Molly, who backs up slowly, frozen with fear. She raises her arm back to s*ab him, but he grabs her wrist, then her neck. Another potential fights a Bringer. A Bringer throws Amanda against a wall and att*cks her. Buffy stands just as Caleb squeezes Molly's neck, lifting her off the floor. Buffy tries to go to her, but Bringers keep attacking her, slowing her down.

CALEB

(to Molly) What can I say? I work in mysterious ways. (stabs Molly, lets go of her neck, dropping her to the ground) Also some fairly straightforward ones.

Enraged at seeing what he did to Molly, Buffy rushes Caleb. She fights him more evenly this time, avoiding his punches, and landing a few of her own. She punches him so hard, Caleb is sent flying across the room.

SPIKE

(grabs Buffy's arm) We're all leaving.

Spike pulls Buffy away from the fight. Xander goes to Kennedy's side.

XANDER

(to Kennedy) Are you OK? (Kennedy nods) Let's go. Come on.

Xander helps Kennedy to her feet. Spike escorts Rona out of the building.

XANDER

(waving to the others) Let's go! Come on!

Caleb grabs Xander and turns him around so he's facing Caleb.

CALEB

You're the one who sees everything, aren't you? (rears his hand back in front of Xander's face) Well, let's see what we can't do about that.

Caleb plunges his thumb into Xander's left eye, gouging it out. Xander screams in agony. Spike charges Caleb, knocking Xander away from Caleb. Xander, bleeding from his eye, stumbles back, falling to the ground in front of wine barrels.

BUFFY

(goes to Xander's side) Xander! Come on.

Buffy and Spike lift Xander to his feet, and carry him out, one supporting each of his arms. Caleb sits up but doesn't pursue them as they walk out. He stands and smiles while watching them leave.

Cut to:

45 INT. SUNNYDALE HOSPITAL - NIGHT

Buffy walks through the hospital, past the beds of her friends who were hurt tonight. Past Rona and the other potentials, to Xander's bed where Willow sits at his side, holding his hand.

CALEB (V.O.)

Now, it's a simple story. Stop me if you've heard it. I have found and truly believe that there is nothing so bad it cannot be made better with a story.

Buffy just stares at Xander, his head and his eye bandaged.

CALEB (V.O.)

And this one's got a happy ending.

Cut to:

46 INT. LIVING ROOM AT BUFFY'S HOUSE - NIGHT

Buffy walks through the living room at her house where a room full of potentials attends to their wounded, including Kennedy. Buffy looks away. Dawn watches Buffy walk out of the room.

CALEB (V.O.)

There once was a woman, and she was foul, like all women, for Adam's rib was dirty—just like Adam himself—for what was he, but human.

Cut to:

48 INT. STREET IN SUNNYDALE - NIGHT

Walking alone, her arms crossed, Buffy walks down a desolate street at night looking forlorn and troubled.

CALEB (V.O.)

But this woman, she was filled with darkness, despair, and why? Because she did not know. She could not see.

Cut to:

49 INT. WINE CELLAR AT THE SHADOW VALLEY VINEYARDS - NIGHT

Caleb is talking to Buffy/First in the cellar.

CALEB

She didn't know the good news, the glory that was coming. That'd be you. For the kingdom, the power, and the glory are yours, now and forever. You show up, they'll get in line.

Cut to:

50 INT. STREET IN SUNNYDALE - NIGHT

Walking alone, her arms crossed, Buffy walks down a desolate street at night looking forlorn and troubled.

CALEB (V.O.)

'Cause they followed her. And all they have to do is take one more step, and I'll k*ll them all. See? I told you it had a happy ending.

Cut to:

Closing credits.