What's My Line, Part 1
(formerly "The New Slayer")

(October 1, 1997)

Written by: Howard Gordon & Marti Noxon

Teaser

INT. SCHOOL LOUNGE - DAY

FADE UP ON BANNER- "CAREER FAIR STARTS TOMORROW"

CAMERA pans down.

A GUIDANCE COUNSELOR sits behind a table from which a sign hangs -"VOCATIONAL APTITUDE TESTS."

WILLOW grabs a test and a number 2 pencil from the table- moves to BUFFY and XANDER, who sit filling out their forms.

XANDER
"Are you a people person or do you
prefer keeping your own company?"
What if I'm a people person who
keeps his own company by default?

BUFFY
So - mark "none of the above."

XANDER
There is no box for "none of the above."
That would introduce too many variables
into their mushroom head, number-crunching
little world.

WILLOW
I'm sensing bitterness.

XANDER
It's just - these people can't tell from
one multiple choice test what we're
supposed to do for the rest of our lives.
It's ridiculous.

WILLOW
I'm kind of curious to find out what
sort of career I could have.

XANDER
And suck all the spontaneity out of
being young and stupid? I'd rather
live in the dark.

WILLOW
We won't be young forever.

XANDER
I'll always be stupid.
(beat)
Okay, let's not all rush to disagree…

BUFFY
You're not stupid.
(looking up)
Do I like shrubs?

XANDER
That's between you and your God.

BUFFY
(to Willow)
What'd you put?

WILLOW
I came down on the side of shrubs.

BUFFY
Go shrubs. Okay.
(puts down pencil)
I shouldn't even be bothering with this.
It's all moot-ville for me. No matter
what my aptitude test says - I already
know my deal.

XANDER
Yep. High risk, sub-minimum wage…

BUFFY
(holds up pencil)
Pointy wooden things.

WILLOW
So why are you even taking the test?

BUFFY
It's Principal Snyder's "hoop" of the
week. He's not happy unless I'm
jumping. Believe me, I wouldn't be
here otherwise.

WILLOW
You're not even a teensy weensy bit
curious about what kind of career
you could have had? I mean, if you
weren't already the Slayer and all.

BUFFY
(snapping)
Do the words "sealed" and "fate" ring
any bells for you, Will? Why go there?

Willow looks stung by Buffy's tone.

XANDER
(to Buffy)
You know, with that kind of attitude
you could have had a bright future
as an employee of the DMV.

BUFFY
I'm sorry. It's just - unless hell freezes
over and every vamp in Sunnydale puts
in for early retirement - I'd say my future
is pretty much a non-issue.

CUT TO:

INT. FACTORY - NIGHT

Speaking of vamps… Here's DRUSILLA - wrapped in a black shawl and looking even paler than usual. She stands at one end of the long dining table, laying out TAROT CARDS. She is humming, swaying-

DRUSILLA
(sings/discordant)
I HEAR MUSIC AND THERE'S NO
ONE THERE… ALL NIGHT LONG
I SEEM TO WALK ON AIR… I
WONDER WHY, I WONDER WHY…

ANGLE TO INCLUDE SPIKE

At the other end of the table. He PACES ANXIOUSLY HOLDING A LATIN/ENGLISH DICTIONARY, while ANOTHER VAMP (DALTON) sits, carefully going over a LARGE MANUSCRIPT. DALTON has the serious look of a scholar - sort of an anti-Giles.

SPIKE
(to Dalton)
Read it again-

DALTON
I'm not sure… It could be… Deprimere
ille bubula linter.

Spike looks through the dictionary. Then reads-

SPIKE
Debase the beef canoe.

A beat. Then he SLAMS Dalton upside the head with the dictionary.

SPIKE
Why does that strike me as not right?

Drusilla turns to him, still HUMMING, and opens her arms -

DRUSILLA
Spike? Come dance.

Spike bristles at her voice.

SPIKE
(flashing)
Give us some peace, would you?
Can't you see I'm working?

Drusilla looks shocked at his outburst. Spike is instantly remorseful. He moves to her.

SPIKE
I'm sorry, kitten. It's just - this
manuscript is supposed to hold
your cure, But it reads like jibberish-

Drusilla turns away from him - wounded. Spike is desperate to appease her.

SPIKE
I'm frazzled is all. I never had the Latin.
Even Dalton here, the big brain, even
he can't make heads or tails of it -

DRUSILLA
I - I need to change Miss Edith.

She starts to walk away, but falters. Suddenly weak - she tries to grab the table to keep from falling. Spike RUSHES to her side - saves her from taking a bad tumble.

He moves her gently back to a chair at the table - brushing her shawl aside in the process. We see for the first time that her ARMS ARE MARKED WITH DEEP BRUISES. Spike can't look at them, averts his eyes. He kneels by her, desperate.

SPIKE
Forgive me. You know I can't stand
seeing you like this…
(then/frustrated)
And we're running out of time. It's that
bloody slayer. Whenever I turn around
she's mucking up the works.

A beat. Drusilla softens. Moved by his sincere feeling.

DRUSILLA
Shhhhhhh. Shhhhhhh. You'll make
it right. I know.

Thankful for her benediction, Spike takes her hand. Kisses it. Then he stands, full of fire - which he turns on POOR DALTON.

SPIKE
Well? Come on now. Enlighten me.

DALTON
(nervous)
I - It looks like Latin, but it's not.
I'm not even sure it's a language.
Not one I can decipher, anyway…

Spike moves to him - furious.

SPIKE
Then make it a language. Isn't that
what a transcriber does?

DALTON
Not - not exactly.

Spike GRABS DALTON. Lifts him out of his seat with ONE HAND. Ready to do some serious damage.

SPIKE
I want the cure -

At the other end of the table, DRUSILLA is STARING at the tarot cards. Glances up at SPIKE ABOUT TO POUND DALTON.

DRUSILLA
Don't -

SPIKE
Why not? Some people find pain -

He SLAMS Dalton in the GUT, doubling him over.

SPIKE
-very inspirational.

Spike gets ready to punch him again. But Drusilla speaks up -


DRUSILLA
He can't help you.
(then)
Not without the key.

This stops Spike cold. He turns to her.

SPIKE
The key? You mean the book is in
some kind of code?

Drusilla nods. Spike drops Dalton in a heap - moves to her. She nods to A TAROT CARD she has turned. Spike follows her gaze.

CLOSE ON CARD

It is an etching of a ruined CRYPT, which is overgrown with ivy - prominent above a field of tilted gravestones.

ON DRU AND SPIKE

SPIKE
Is that where we'll find this key?

Dru nods again. Spike grins.

SPIKE
I'll send the boys pronto.

DRUSILLA
Now will you dance?

SPIKE
I'll dance with you, pet. On the
slayer's grave.

He laughs, lifts her gently into his arms - supporting her frail body as he spins her to the music only she can hear.

BLACK OUT

END TEASER
Act One

EXT. CEMETERY - NIGHT

Dead leaves scrape and tumble across the ground, riding a stiff wind. A storm threatens. Under this we hear a rhythmic TINK TINK TINK. We drift among the gravestones, landing on Buffy in a close up. She
is craning to hear the sound. She turns, camera racking past her to a LARGE MAUSOLEUM - one that matches THE PICTURE ON DRUSILLA'S TAROT CARD. Buffy moves toward it.

MOVING WITH BUFFY

The tinking sound grows louder as she nears the mausoleum. She finds the solid iron door ajar. Torchlight flickers hellishly through the narrow margin. Buffy looks inside.

WHAT SHE SEES

INT. MAUSOLEUM - NIGHT

A torch is set in the ground, illuminating the work of a dark figure - who FINALLY BREAKS the lock of a vault door embedded in the far wall. The thief opens the vault and GRABS something from it - then he makes for the exit.

EXT. CEMETERY - CONTINUOUS - NIGHT

Buffy waits for the thief to hit the exit, Then -

BUFFY
Does "rest in peace" have no sanctity
to you people?

She TACKLES HIM. The thief hits the ground hard and a red velvet BAG that obviously contains something heavy falls from his hands. We see now that it's DALTON - the vamp transcriber.

BUFFY
Oh, I forgot - you're not a people.

Buffy pulls a stake, is about to dust Dalton when ANOTHER VAMPIRE Appears behind her. He's formidable - looking. He advances, unseen by Buffy…

Or so we think - until she wheels, knocking him back with a vicious JUMPING KICK.

Buffy grabs Vamp #2, drives him HEAD FIRST into a TREE TRUNK. He crumples to the ground. She stakes him - dusto.

BUFFY
One down -

The she spins - ready to take on DALTON. But he's history. And so is the red velvet bag he stole from the vault. On Buffy's curiosity.

BUFFY
One gone…

INT. BUFFY'S BEDROOM - NIGHT

ANGEL waits for Buffy. He wanders restlessly, looking at her stuff. He does not notice as BUFFY appears at the open window.

A beat as she watches him, oblivious to her. Then she TOSSES her equipment bag into the room. Angel JUMPS - turns to her - holding one of her stuffed animals. A CUTE PIG.

ANGEL
Buffy - you scared me.

She climbs inside.

BUFFY
Now you know what it feels like, stealth-guy.

She smiles, but the edge she had earlier is still evident.

BUFFY
So. Just dropping by for some quality
time with Mr. Gordo?

ANGEL
Excuse me?

BUFFY
The pig.

Angel looks down. Sees he's still holding the stuffed toy.

ANGEL
Oh, I, no-

He puts the toy down - feeling dorky.

BUFFY
What's up?

ANGEL
Nothing.

BUFFY
You don't have "nothing" face. You have
"something" face. And you don't have to
whisper. Mom's in L.A. till Thursday.
Art buying, or something.

ANGEL
(confesses)
I wanted to make sure you were okay.
I had a bad feeling.

BUFFY
(curt)
Oh surprise. Angel comes with bad news.

Angel reacts to her snipe. Buffy relents.

BUFFY
Sorry… I've been cranky miss all day.
It's not you.

ANGEL
What is it, then?

BUFFY
We're having this thing at school-

ANGEL
Career week?

BUFFY
How did you know?

ANGEL
I lurk.

BUFFY
Oh, right. So you know, then. It's this
whole week of "what's my line?" Only
I don't get to play.
(then)
Sometimes I just want…

She stops herself.

ANGEL
You want - what? It's okay.

BUFFY
The Cliffnotes versions? I want a
normal life. Like I had before.

ANGEL
Before me.

A long beat. Buffy regards herself in her mirror. Alone. Angel, of course, does not reflect. Finally -

BUFFY
It's not that. It's just… This career
business has me contemplating the
el weirdo that I am. Let's face it -
instead of a job I have a calling.
Okay? No chess club or football games
for me. I spend my free time in grave
yards and dark alleys…

ANGEL
Is that what you want? Football games?

BUFFY
Maybe. Maybe not. But, you know what? -
I'm never going to get the chance to find
out. I'm stuck in this deal.

Angel reacts - he can't hide his hurt. Moves to go.

ANGEL
I don't want you to feel stuck-

Buffy realizes how she sounded. Stops him.

BUFFY
Angel - I don't mean you. You're the
one freaky thing in my freaky world
that makes sense to me.
(then)
I just get messed sometimes - wish we
could be like regular kids.

He nods, relenting.

ANGEL
I'll never be a kid.

BUFFY
Okay then. Just a regular kid and her
cradle-robbing, creature-of-the-night
boyfriend.

Angel's eyes travel to the mirror - he notices something.

ANGEL
Was this part of your normal life?

He reaches past her, plucks a photo from the mirror's frame.

INSERT PHOTO

A younger Buffy figure skating. Performing a perfect arabesque.

RETURN

Buffy softens, takes the photo from him.

BUFFY
My Dorothy Hamill phase. My room in
L.A. was this major shrine - Dorothy
posters, Dorothy dolls. I even got the
Dorothy haircut.
(embarrassed)
Thereby securing a place for myself
in the Geek Hall of Fame.

ANGEL
You wanted to be like her.

BUFFY
I wanted to be her.
(then)
My parents used to fight a lot. Skating
was an escape. I felt safe…

Angel replaces the photograph in the mirror frame.

ANGEL
When was the last time you put
on your skates?

Buffy thinks.

BUFFY
Like, a couple hundred demons ago.

ANGEL
There's a rink out past Route 17.
It's closed on Tuesdays.

BUFFY
Tomorrow's Tuesday.

ANGEL
I know.

Off the charged look between the, prelap:

WILLOW (V.O.)
Just the two of you?

CUT TO:

INT. SCHOOL HALLWAY - DAY

Between-period mayhem. Buffy opens her locker, stows her backpack inside, Willow dogging her.

WILLOW
Alone?

BUFFY
Unless some unforeseen evil pops up.
But I'm in full see-no-evil mode.

Buffy closes her locker, and we follow he and Willow down the hall.

WILLOW
Angel, ice-skating…

BUFFY
I know. Two worlds collide.

Xander catches up to them. Severely disturbed.

XANDER
Wouldn't you two say you know me
about as well as anyone? Maybe
even better than I know myself?

WILLOW
What's this about?

XANDER
(point blank)
When you look at me, do you think
prison guard?

Buffy and Willow look him over appraisingly.

BUFFY
Crossing guard, maybe. But prison guard?

She shakes her head.


XANDER
They just put up the assignments for
the career fair. And according to my
test results, I can look forward to being
gainfully employed in the growing
field of corrections.

BUFFY
At least you'll be on the right side
of the bars.

XANDER
Laugh now, missy. They assigned you
to the booth for 'law enforcement
professionals.'

BUFFY
As in police?

XANDER
As in polyester, donuts, and brutality.

BUFFY
Uggh.

WILLOW
(cheerfully)
But, donuts…

Buffy doesn't love this news, when something O.C. draws her attention.

BUFFY
I'll jump off that bridge when I come
to it. First I have to deal with Giles-

GILES is entering the library up ahead, a foot-tall stack of books teetering under his chin.

BUFFY
He's on this Tony Robbins hyper-efficiency
kick. He wants me to check in with him
now every day after homeroom.

She moves off. Willow turns to Xander:

WILLOW
You didn't check to see which seminar
I was assigned to, did you?

XANDER
I did. And you weren't.

WILLOW
I wasn't what?

XANDER
On any of the lists.

Willow is confused.

WILLOW
But I handed in my test. I used a
number two pencil.

XANDER
Then I guess you must've passed.

WILLOW
It's not the kind of test you pass or fail.

XANDER
Your name wasn't up there, Will.

Off Willow, who wonders why she's not on the list-

INT. LIBRARY - DAY

Giles struggles, trying to set the books down on a library table. They tilt, about to topple- when Buffy catches them.

GILES
Oh, Buffy. Thank you.

She helps ease them down for a safe landing.

GILES
I've been indexing the Watcher Diaries
covering the past two centuries. You'd
be amazed at how numbingly long-winded
some of these watchers were.

BUFFY
Color me stunned.

Giles opens his notebook.

GILES
I trust last night's patrol was fruitful.

BUFFY
Semi. I caught one out of two vamps
after they stole something from this
jumbo mausoleum at the cemetery-

GILES
They were stealing?

BUFFY
Yep. They had tools, torches, the whole
nine yards…
(then)
What does that mean? The whole nine
yards… nine yards of what? Now that's
gonna bug me all day.

When Buffy comes out of her thought bubble, she sees Giles pacing, visibly disturbed.

BUFFY
Giles, you're in pace mode. What gives?

GILES
The vampire who escaped - did you
see what he took?

BUFFY
No - but let me take a wild guess.
Some old thing?

GILES
I'm serious, Buffy.

BUFFY
So am I. I bet it was downright crusty.

Giles is losing patience with her.

GILES
So you made no effort to find out
what was taken?

Buffy looks at Giles, surprised by his tone.

BUFFY
Have a cow, Giles. I thought it was
just everyday vamp hijinks.

GILES
Well it wasn't. It could be very serious.
If you'd made more of an effort to be
thorough in your observations-

BUFFY
(cutting him off/hurt)
If you don't like the way I'm doing
my job - why don't you find someone
else? Oh right. "There can be only one."
Long as I'm alive, there isn't anyone
else. Well, there you go! I don't have
to be the Slayer. I could be dead!

GILES
That's not terrible funny. You'll
notice I don't laugh.

BUFFY
Wouldn't be much of a change, anyway.
I mean, either way I'm bored, constricted,
I never get to shop and my hair and
fingernails continue to grow so really,
what's the dif?

GILES
Must we be introspective now? Our
only concern at this moment should
be to discover what was stolen from
that mausoleum last night.

CUT TO:

A LARGE SILVER CRUCIFIX

Atop a velvet pillow. The cross bar is dotted with what appears to be randomly placed HOLES, like swiss cheese.

SPIKE (O.S.)
This is it, then?

WIDEN AND WE ARE:

INT. FACTORY - DRUSILLA'S BEDROOM - DAY

Spike sits at the edge of her bed, holding the pillowed cross out to Drusilla like an offering. Drusilla's quivering hands hover over the crucifix, but don't make contact. As if she's warming them.

DRUSILLA
It hums. I can hear it.

SPIKE
Once you're well again, we'll have a
coronation down Main Street. We'll
invite everyone… and drink for seven
days and seven nights-

DALTON (O.S.)
What about the Slayer?

ANGLE TO INCLUDE DALTON


Standing at a deferential distance. Spike turns, angry at the interruption.

DALTON
She almost blew the whole thing for us.
She's trouble.

SPIKE
(sarcastic)
You don't say…

Now Spike is pacing again, ramping up with every word.

SPIKE
Trouble? She's the gnat in my ear.
The gristle in my teeth. The bloody
thorn in my bloody side!

He slams the table with his fist - alarming even Dru.

DRUSILLA
Spike-

SPIKE
No. Smart guy is right. We have to do
something. There's no way we'll
complete your cure with that bitch
breathing down our necks…
(then/realizing)
I need the big guns. They'll take of her.
Once and for all.

DALTON
Big guns?

SPIKE
The Order of Taranta.

Dalton is clearly taken aback by the name.

DALTON
The bounty hunters? For the Slayer?

Dru takes her DECK OF TAROT CARDS from the bedside. Peels three from the deck - gazes at them.

DRUSILLA
They're coming to my party,
three of them.

DALTON
But… The Order of Taranta. I mean,
don't you think that's overkill?

Spike grins. Looks down at Drusilla's cards.

SPIKE
No. I think it's just enough kill.

Camera follows his look down to the cards - where three images have formed. Ominous, archetypal etchings of a CYCLOPS, an INSECT, and a JAGUAR. Creeping in on the fearsome triumvirate, we:

BLACK OUT.

END OF ACT ONE
Act Two

INT. SCHOOL LOUNGE - DAY

A WALL CLOCK

Reads 2:30. We hear the frenetic buzz of activity.

The career fair is up and running. Students cluster around a dozen or more Booths manned by representatives from various professions. Among them, A PHYSICIAN, a U.S. POSTAL WORKER, and a UNIFORMED POLICEWOMAN. CAMERA drifts through the thickening crowd, finds Willow worriedly surveying the action. Xander steps up to her.

XANDER
What are you doing here? Fly! Be free
little bird - you defy category!

WILLOW
I'm looking for Buffy.

XANDER
She left with Giles an hour ago. Some
kind of - "field trip" - deal.

WILLOW
If she doesn't get back soon,
Snyder's really -
(suddenly perking up)
-done a fantastic job setting up the
fair this year, hasn't he, Xander?

SNYDER has marched up to them.

XANDER
(facetious)
Principal Snyder! Great career fair, sir.
Really. In fact, I'm so inspired by your
leadership - I'm thinking principal
school. I want to walk in your shoes.
Not your actual shoes, of course.
Because you're a tiny person. Not
tiny in the small sense, of course…
(then)
Okay. Done now.

Snyder doesn't even grace this with response.

SNYDER
(to Willow)
Where is she?

WILLOW
(innocently)
Who?

SNYDER
You know who.

WILLOW
Oh, you mean Buffy? I just saw her-

SNYDER
Don't feed me that I-just-saw-her-a-
minute-ago-she's-around-here-somewhere
story.

Willow is like a deer caught in the headlights.

WILLOW
But I did - see her a minute ago.
And she is - around here somewhere.

XANDER
For what it's worth-

SNYDER
It's worth nothing, Harris. Whatever
sound comes out of your mouth is a
meaningless waste of breath. An
airborne toxic event.

XANDER
I'm glad you feel comfortable enough
to be so honest with me. And I only
hope that I'm in a position one day to
be as honest with you.

Snyder looks at Xander as if examining a rare bug.

SNYDER
Fascinating.

He moves off -

XANDER
I'd love to stay and chat, but I have
an appointment with the warden on
standard riot procedure.

WILLOW
Okay. See you-

Xander moves off. Willow gives him a slightly forlorn little wave.

SUIT MAN
Willow Rosenberg?

She turns -

ANGLE TO INCLUDE TWO SECRET SERVICE - TYPE MEN

Flanking Willow - not threateningly, but commandingly. They wear identical dark suits.

SUIT MAN
Come with us please?

WILLOW
Excuse me?

SUIT MAN
Let's walk.

Willow reluctantly allows herself to be led past several booths to a velvet cordon, stepping up into:

THE ELEVATED SECTION OF THE LOUNGE

Two free-standing walls separate this area from the general population - and Willow feels like she's dropped down the rabbit hole. The space has been refurbished into a deco salon. Soft lighting. A gently BOSSA NOVA plays from hidden speakers. On the wall there is a LOGO of a company that looks STRANGELY LIKE the MICROSOFT LOGO.

A white-gloved WAITER approaches with a silver tray of hors d'oevres.

SUIT MAN
Try the canape. It's excellent.

WILLOW
What is all this?

SUIT MAN
You've been selected to meet with
Mr. Macelroy, head recruiter for the
world's leading software concern.
The jet was delayed by fog at Sea-Tac,
but he should be here any minute-
(then)
Please. Make yourself comfortable.

He and suit Guy #2 start to leave, but Willow stops them.

WILLOW
But - I didn't even get my test back.

SUIT MAN
The test was irrelevant. We've been
tracking you for some time.

WILLOW
Is that a good thing?

SUIT MAN
I would think so. We're extremely
selective. In fact, only one other
Sunnydale student met our criteria.

Now Suit Man and his cohort exit through the partition. Willow takes in her surroundings, stunned.

She turns - sees, for the first time, that OZ IS THE OTHER STUDENT SUIT MAN was referring to. He's sitting on a plush couch, looking unfazed - as usual. When he sees Willow, his expression registers the coolest hint of delight.

Willow moves to the couch - sits next to him. An awkward beat. This whole thing is too strange. Finally, OZ lifts the hors d'oevres. Offers one to Willow.

OZ
Canape?

INT. CEMETERY - DAY - MOVING

Giles tries to keep pace with Buffy, who moves at a brisk clip, still hurt from before. She carries a flashlight.

GILES
Buffy. Please. Slow down.

BUFFY
Get with the program, Giles.
We have work to do, remember?

GILES
You're behaving in a terrible
immature manner-

BUFFY
Bingo. You know why? I am immature!
I'm a teen! I've yet to mature!

GILES
I was simply offering a little
constructive criticism-

BUFFY
You were harsh. You act like I picked
this gig. But I'm the picked. Too bad
if I want a normal job.

GILES
What you have is more than a… gig.
It's a sacred duty.

Buffy gives him a "been there, heard that" look. Giles scrambles - trying to calm her.

GILES
Which shouldn't prevent you from
eventually procuring a more…
mundane form of employment if
you like. Such as I have.

BUFFY
It's one thing being a Watcher and a
librarian. They go together - like
chicken and… another chicken.
Two chickens. Or something.

Off Giles' look.

BUFFY
You know what I'm saying - you can
spend all your time with a bunch of
books and no one blinks. But what
can I do? Carve stakes for a nursery?

GILES
Point taken. I suppose I've never
really thought about-
(stops; then)
Tell me. Have you ever considered
law enforcement?

Buffy blinks. Though she's spared from having to answer because they've come to the mausoleum.

BUFFY
This is the place.

Buffy pulls open the heavy iron door, enters, Giles following her into:

INT. MAUSOLEUM - DAY

Buffy clicks on her flashlight, guiding the beam through the dusty gloom. She leads Giles to the open vault door.

GILES
May I?

BUFFY
Be my guest.

Giles takes the flashlight. Shines it into the empty vault.

GILES
It's a reliquary, used to house items
of religious significance. Most
commonly, a finger or some other
body part from a saint.

BUFFY
Note to self: Religion - freaky.

Giles turns, paints the wall with the flashlight beam-which now falls across letters carved in the granite above the doorway: du Lac.

GILES
Du Lac…
(with recognition and concern)
Oh dear.

Buffy reacts to his tone.

BUFFY
I hate when you say that.

GILES
Josephus du Lac is buried here.

BUFFY
Was he a saint?

GILES
Hardly. He belonged to a sect of priests
who were excommunicated by the
Vatican at the turn of the century.

BUFFY
Excommunicated and sent to Sunnydale.
Must have been big with the sinning.

GILES
Remember the book that was stolen
from the library by a vampire a few
weeks back? It was written by du
Lac and his cohorts -
(frustrated)
Damn it. In all the excitement, I let
it slip my mind -

BUFFY
I'm guessing it wasn't a Taste of the
Vatican Cookbook.

GILES
The book is said to contain rituals and
spells that reap unspeakable evil.
However, it was written in archaic
Latin - so nobody but the sect members
could read it.

BUFFY
Then everything's cool. The sect is gone.
Worm food like old du Lac, right?

GILES
I don't like it, Buffy. First the book
is taken from the library. Now vampires
steal something from du Lac's tomb…

BUFFY
You think they've figured out how
to read the book?

GILES
I don't know. But something's coming,
Buffy. And I guarantee, whatever it
is - it's not good.

With which Giles moves off purposefully, Buffy following. Hold on the black interior of the vault -

EXT. BUS STATION - DAY

The sign on the brick wall reads: SUNNYDALE. A BUS rumbles into frame, squeals to a stop in a cloud of exhaust.

CLOSE ON THE STAIRS OF THE BUS

We hear the doors open with a hydraulic hiss. A passenger gets off. And another. Then an ENORMOUS PAIR OF BOOTS fill the frame.

We pan up to see a GIANT. Seven feet tall in boots, and a hard four hundred pounds. A think, milky cataract covers one eye. His other eye is set deep in the fleshy mask of assorted scars and carbuncles he calls a face. His name is OCTARUS. And as he descends the stairs and moves out of frame-

CUT TO:

EXT. NEIGHBORHOOD - DAY

A mild-mannered man in a suit too large for his slight frame strides down the sidewalk, toting a brief case and whistling. His name is MR. PFISTER. He moves past a familiar house - past the sidewalk mail box on which is stenciled the name "SUMMERS." He moves up the walk of the ADJACENT house.

ANOTHER ANGLE

Mr. Pfister climbs the stoop, and rings the doorbell. He mechanically adjusts the knot in his tie. He smiles at the tired-looking HOUSEWIFE who opens the door.

MR. PFISTER
Mrs. Kalish?

MRS. KALISH
Yes?

MR. PFISTER
I'm Norman Pfister, with Quintessence
Skin Care. I'm not selling anything,
so I'm not asking you to buy.
(holds up case)
Just to accept a few free samples.

MRS. KALISH
Free?

MR. PFISTER
Absolutely.

She considers him for a moment, then opens the door for him. He enters past her, and she closes the door.

Hold for a beat. Another beat. Then an ear-splitting SCREAM issues from behind the closed door. Prelap the thundering sound of four JET ENGINES, as:

CUT TO:


EXT. AIRPORT - DAY (STOCK)

A 767 comes in for a landing.

INT. 767 CARGO HOLD - DAY

Dark. Jet engines rev down. We hear METALLICA bleeding up. KA-CHUNK. The hatch opens. Sunlight blasts inside. Along with the heavy metal. A BAGGAGE HANDLER climbs into the hold, boom box cranked up past eleven.

CREEPING POV

Someone - or something - observes the handler from behind the cargo netting. As he begins downloading luggage onto the conveyor belt.

ANGLE : HANDLERS

The baggage handler pauses to air guitar a solo, when he sees a SILHOUETTE dart between crates, then melt into the shadows.

BAGGAGE HANDLER
What the hell -

He kills the tape, starts toward the shadows.

BAGGAGE HANDLER
Hey! You're not supposed to be
in here!

But there's no answer.

BAGGAGE HANDLER
Come on -

His thought is CUT SHORT by a series of BLOWS which come out of nowhere, rocks him back on his heels. He falls to the floor, moaning slightly so we know he's not dead.

FOOTSTEPS echo. A shadow stretches across the fallen handler. Camera tracks slowly along the lengthening shadow to the open hatch, where the silhouetted figure now stands.

We stop on an ETHNIC YOUNG WOMAN, her feline, feral eyes getting used to the sudden light. She's a predator, a hunter, and her name is KENDRA. And as she jumps out of frame, onto the tarmac -

EXT. SUNNYDALE HIGH - LATE DAY (STOCK)


Pretty much dead. Sports practices and extra-curricular activities are done for the day. Except -

INT. LIBRARY

Buffy, Willow, and Xander sit around the table.

WILLOW
(to Buffy)
So Giles is sure that the vampire who
stole his book is connected to the one
you slayed last night? Or is it "slew?"

GILES (O.S.)
Both are correct.

Giles emerges from the stacks with a yellowed periodical.

GILES
And yes. I'm sure.

Giles sets the magazine down before them. It's a National Geographic, circa 1921.

GILES
du Lac was both a theologian and a
mathematician. This article describes
an invention of his, which he called
the du Lac Cross.

XANDER
Why go to all the trouble of inventing
something and then give a weak name
like that? I'd have gone with
"Cross-o-matic!" or "The Amazing
Mr. Cross!"

Xander is getting the stare again. He stops. Then Giles indicates a yellowing photo of the stolen crucifix. Willow peruses the accompanying article.

GILES
The cross was more than a symbol.
It was also used to understand certain
mystical texts - to decipher hidden
meanings and so forth.

BUFFY
You're saying these vampires went to
all that trouble for your basic decoder ring?

Giles regards her for a blank beat. Then:

GILES
Actually, I guess I am.

WILLOW
(re: article)
According to this, du Lac destroyed
every one of the crosses - except the
one buried with him.

BUFFY
Why destroy his own work?

GILES
I suppose he feared what might happen
if the cross fell into the wrong hands.

XANDER
A fear we'll soon get to experience for
ourselves, up close and personal.

GILES
Unless we preempt their plans.

WILLOW
How?

GILES
By learning what was in the book
before they do.

Giles regards the group with grim purpose.

GILES
Which means we can expect to be
here late tonight.

WILLOW
Goody! Research party!

XANDER
Will, you need a life in the worst way.

BUFFY
Speaking of… I have to bail. I promise
I'll be back bright and early, perky
and ready to slay.

Giles looks at her, perplexed.

GILES
This is a matter of some urgency, Buffy.

BUFFY
I know. But you have to admit, I lack
in the book area. You guys are the brains.
I'd just be around for moral support-

XANDER
That's not true, Buffy. You totally
contribute. You go for snacks.

Willow and Buffy exchange a quick glance. Will knows what's up.

WILLOW
She should go. You know, gather
her strength?

GILES
Perhaps you're right. There may be
fierce battles ahead.

XANDER
But - Ho Ho's are a vital part of
my cognitive process.

BUFFY
Sorry, Xand. I have something I really
need to do tonight-

Off Giles and Xander's curious faces.

INT. SKATING RINK - NIGHT

CLOSE ON

A PAIR OF ICE SKATES as they SHAVE THE ICE, stopping on a dime.

WIDEN TO INCLUDE BUFFY

Alone on the ice, which seems to glow from the moonlight filtering in from the high-grimy windows.

She breathes in the cool air - takes off again.

MOVING WITH BUFFY

As she enters a clear frame, picking up speed. Remembering the movement. And the rush. Her blowing hair frames a smile she hasn't allowed herself in the longest time.

ANGLE - POV FROM BLEACHERS

Watching Buffy skate. Spinning into a tight pirouette. She's good. She's very good.

REVERSE ANGLE

The darkness seems to shift - as a face distinguishes itself from the shadows. Watching Buffy. It's Octarus. The HUGE, SCARY GUY. As we -

BLACK OUT.

END OF ACT TWO
Act Three

INT. SKATING RINK - NIGHT

GLIDING LOW AND FAST

With Buffy's skates across the ice, then tilting up to Buffy. She's transported, her face set in a concentrated smile.

She pivots, skating backward, getting up her nerve and picking up speed - then launching into an airborne twirl.

Losing her balance at the apex, and -

LOW ANGLE

Buffy lands hard, the momentum carrying her a good ten feet before she comes to a stop.

She catches her breath - when she sees a shadow move across the ice in front of her. She looks around hopefully -

BUFFY
Angel?

Only it's not Angel. It's OCTARUS. And his giant hands are already AROUND HER NECK. He lifts her like a rag doll and carries her OFF THE ICE AND ONTO THE RINK'S RUBBER DECK - pinning her AGAINST THE WALL.

Buffy thrashes - pulls on Octarus' HUGE HANDS - but finds herself unable to break his grip. He tightens his hold on her and we see a horrible and unfamiliar fear on Buffy's face - the fear of death.

ANGEL (O.C.)
Buffy!

Octarus turns at the interruption, just in time to meet Angel's FIST. Octarus releases his grip on Buffy, and she falls to the ground in a gasping heap.

REVEAL

ANGEL IN FULL VAMP FURY

AS OCTARUS slams a HAM SIZED FIST into his face - sending him sprawling. Angel immediately gets up to defend himself, but finds he is trapped in an alcove.

Angel ROARS, standing his ground bravely as Octarus moves in for the kill -

ANGLE : BUFFY

regains her feet. Seeing Angel in trouble, she vaults over the wooden bench, and:

ANOTHER ANGLE

Buffy lands directly behind Octarus.

BUFFY
What ever happened to fat and jolly?

As he turns, she takes to the air, executing a textbook SPINNING WHEEL KICK (SLIGHT OVERCRANK), leading with the GLISTENING BLADE of her ice skate. In the blur of contact, we hear a sickening TEAR -

ON ANGEL

Even he grimaces at this one.

We TILT up to OCTARUS, as he clutches his throat. He looks at Buffy, face full of betrayal - then starts toward her. Buffy moves out of the way, her guard raised. But Octarus moves past her, out onto the ice -

ANGLE : BUFFY

Watches. Angel steps up behind her, vamp face still on.

THEIR POV

Trailing blood, Octarus staggers like a drunken sailor, with pathetic persistence - before collapsing onto his knees and doing a face plant on the ice. Hold for an uncomfortable beat -

CUT TO:

INT. FACTORY - DRUSILLA'S BEDROOM - NIGHT

CLOSE ON THE CYCLOPS CARD

Drusilla's pale fingers turn it over.

DRUSILLA (O.C.)
He's passing under our feet right now.

WIDER

Spike is seated on the bed beside Drusilla. He notes the card with concern, then looks to Drusilla.

SPIKE
No worries. We're close to decoding
the manuscript. We just need a little
more time.

DRUSILLA
Time is ours -

Drusilla touches Spike's face, smoothing away the worry.

DRUSILLA
It brings the slayer closer to them.

She eyes the remaining cards - the INSECT and the JAGUAR.

CUT TO:

INT. SKATING RINK - NIGHT

ANGLE: ON THE ICE

Angel kneels beside the fallen behemoth. He still has his vamp face - and the blow he took OPENED A SERIOUS GASH ABOVE ONE EYE. Which Buffy can't see as she limps painfully up behind him, also scraped and bloody.

BUFFY
And the hellmouth presents - 'Dead Guys
On Ice'. Not exactly the evening we
were aiming for…

Angel reacts to the CHUNKY RING on Octarus' finger. He lifts the giant's hand, studies the glyph-like pattern etched on the surface.

ANGEL
You're in danger. You know what
the ring means?

BUFFY
I just killed a Superbowl champ?

ANGEL
I'm serious. You should go home and
wait until you hear from me.

Angel drops Octarus' hand and turns to her. Sees that she's injured.

ANGEL
Are you okay?

BUFFY
What about you? That cut -

ANGEL
Forget about me. You're hurt.

Buffy's shaken - but she puts on her brave face.

BUFFY
Hey. No biggy. I've been slammed by
bigger sides of beef than that -

ANGEL
No you haven't.

Buffy falters. He's right.

BUFFY
No. I haven't.

ANGEL
This is bad, Buffy. We have to get
you someplace safe.

Buffy is rightfully alarmed by the suggestion.

BUFFY
You mean - hide?

ANGEL
Let's just get you out of here.

He starts to move but Buffy stops him - indicates his bloody cut.

BUFFY
Wait. Your eye is all… Let me -

She moves toward him - about to use the arm of her sweatshirt to wipe the blood off. But he pulls away.

BUFFY
Come on. Don't be a baby. I won't
hurt you.

ANGEL
It's not that.
(re: vamp face)
I - you shouldn't have to touch me
when I'm like this.

Buffy is at a loss.

BUFFY
Like - what?

Angel reacts - is she kidding?

ANGEL
You know. When I'm…

BUFFY
Oh.

A long beat as Buffy takes this in, understanding.

She approaches him again. Very deliberately this time. Her hands go to his face. He looks away, but does not pull back. The gentleness of her touch holds him fast.

Buffy turns his face back to hers. Tenderly runs her fingers along his transformed features. Angel is overwhelmed. Nobody has ever touched him like this.

BUFFY
I didn't even notice.

She draws him close. Gaze steady. Until her lips touch his…

They melt into a heart-stopping kiss.

INT. SKATING RINK - ANOTHER AREA - NIGHT

KENDRA, the LETHAL YOUNG WOMAN from the airport, peers through some bleachers.

HER POV - HAND HELD PAN THROUGH BLEACHERS

THE KISS. Still very much a work in progress.

FADE TO:

INT. LIBRARY - DAY

CLOSE ON

The ring OCTARUS wore.

WIDEN TO INCLUDE GILES

Who studies the ring, comparing it to an etching in a book. Buffy sits near by, AN ICE PACK on one knee, definitely looking shaky and worse for the wear after her encounter with OX GUY. Willow and Xander are also there.

BUFFY
This guy was hard core, Giles. And
Angel was power-freaked by the ring.

GILES
I'm afraid he was not overreacting.
The ring is worn only by members of
the Order Of Taranta. They are a society
of demon assassins dating back to
King Solomon…

XANDER
And didn't they beat the Elks last year
in the Sunnydale Adult Bowling League
Championship?

GILES
(ignoring him)
Their credo is to sow discord and
kill the unwary.

XANDER
Bowling is a vicious game -

GILES
(sharp)
That's enough, Xander -

Willow, Xander, and Buffy glance at each other, reacting to Giles' tone. Buffy, especially, knows to worry.

GILES
I'm sorry but this is no time for jokes.
I need to think.

BUFFY
These assassins. Why would they
be after me?

WILLOW
'Cause you're the scourge of the underworld?

BUFFY
Yeah, but I haven't been that scourgy lately.

GILES
I don't know. But I think the best thing
to do is to find a secure location.
Someplace out of the way where you
can go until we decide on the best
course of action -

Buffy stands with a little difficulty. Officially freaked.

BUFFY
Okay. You and Angel have both told
me to head for the hills. What's the deal?

GILES
I - this is an extraordinary circumstance…

BUFFY
(scared)
When do we have a usual circumstance,
Giles? I mean - mummy girls and snake
guys and… But you've never told me
to hide before. I mean - you're saying
I can't handle this? These guys are that bad?

GILES
You might - They're… They're a breed
apart, Buffy. Unlike vampires - they
have no earthly desire except to collect
their bounty. To find their target and
eliminate it -

CAMERA pushes in slowly as Buffy listens to Giles' cautionary litany -

GILES
And you are the target. You can kill
as many of them as you like. It won't
make any difference - because where
there is one, there will be another.
And another. They won't stop coming
until the job is done.

CUT TO:

INT. MRS. KALISH'S HOUSE - DAY

Mr. Pfister whistles to himself as he sits on a chair parked before a second story window. He's looking through a PAIR OF BINOCULARS and has them aimed directly across the way - right into BUFFY'S BEDROOM.

GILES
(OVER)
The worst of it is, they are masters of
deceit. Vampires are bound by the Night,
but these predators can be anywhere,
anytime. They can appear as normal as
the next person. Just another face in the
crowd. You might not ever know when
one of them is near - not until the
moment of your death.

Under this, CAMERA arms around and pushes past him, discovering MRS. KALISH on the floor. Or at least what's left of her.

Because now she's little more than a desiccated corpse. A dozen bugs crawl out of her nose and march along the floor, joining the trail which we follow¼ back to Mr. Pfister. The bugs scamper up his leg and waist, up to his right arm, which IS FORMED ONLY UP TO THE WRIST. The nub seems to undulate, as--

The teeming mass of bugs (CGI) REFORMS INTO HIS RIGHT HAND-which now delicately picks up a steaming cup of tea. He sips, waiting patiently. Prelap a SHRIEKING BELL -

CUT TO:

INT. SCHOOL HALLWAY - DAY

BUFFY MOVES upstream through the Career Fair gauntlet, against the teeming mass of people.

She is walking stiffly - evidence of her battle with Octarus - and is clearly wigging out. Her eyes dart - see in every passerby a potential threat.

HER POV

The faces - students, teachers - seem innocent. But ARE they? Voices melt into an echoing white noise. She moves past the POLICE WOMAN, A PAIR OF CORDETTES…

Suddenly - a guy in the crowd surges toward her - FAST. Something's not right.

RESUME BUFFY

She GRABS THE GUY BY THE COLLAR. DRIVES HIM INTO THE WALL. IT'S OZ.

BUFFY
Try it!

OZ
Try what?

A moment, then Buffy lets him go.

BUFFY
Sorry.

OZ
I'm still not clear on what I'm
supposed to try.

Buffy looks around - people are staring.

BUFFY
Nothing.

Buffy heads for the door. BOLTS without another word.

OZ
A tense person.

INT. LIBRARY - NIGHT

Giles and Willow sit at the library table, poring over volume upon volume.

WILLOW
I wish there was more we could do.

Giles looks up, his eyes reflecting fatigue and concern.

GILES
We're doing all we can. The only course
of action is to decipher the contents of
the stolen book -

WILLOW
I've never seen Buffy like that. She
just took off.

XANDER
(O.S.)
She didn't go home.

Xander has entered the library.

XANDER
I let the phone ring a few hundred
times before I remembered her mom's
out of town.

GILES
Maybe Buffy unplugged the phone…

XANDER
It's a statistical impossibility for a sixteen
year old girl to unplug a telephone.

Willow nods. That's true.

GILES
Perhaps my words of caution were a
bit too alarming -

XANDER
(no duh)
You think?

WILLOW
It's good that she took you seriously,
Giles. I just wish we knew where
she was.

CUT TO:

EXT. BUFFY'S HOUSE - NIGHT

Buffy moves along the sidewalk, still limping a little. She looks tired and cold - like she has been walking a long time. She stops and looks up at her house. The windows are dark.

A long beat. No place feels safe. Not even here. She moves on.

INT. FOYER - ANGEL'S APARTMENT - NIGHT

Buffy arrives at Angel's door. Knocks.

BUFFY
Angel?

No answer. She tries the door. It's locked.

INT. ANGEL'S APARTMENT - NIGHT

Dark. Then the lock is FORCED and Buffy opens the door, spilling light from the hallway.

BUFFY
Hey…

She clicks on a standing lamp. Looks around. She approaches the unmade bed pushed up against the wall. Sits.

She flexes her tender knee. Massages it. Her exhaustion and fear finally catching up with her.

She lies down. Curls up - small and alone in his bed. Turns her head against his pillow.

She breathes him in. She shuts her eyes.

INT. SEEDY BAR (THE ALIBI ROOM) - NIGHT

This is the kind of bar where the lights are so low it's hard to see your hand in front of your face. Which is a good thing. Because you wouldn't want to get a good look at either the surroundings or the patrons.

It's after hours. A solitary stooped figure gives the floor a perfunctory once-over with a stiff broom. This is WILLY, a shifty-eyed bottom-dweller. In addition to being the bartender here, he's a small time hustler who moves in the underworld of the vampires - despite the fact that he is not a vamp himself.

A SHADOWED FIGURE appears in the doorway. Willy looks up, annoyed.

WILLY
We're closed. Can't you read the sign?

The FIGURE moves into the room and we see that it is ANGEL. WILLY'S demeanor changes. He's clearly afraid of Angel. Doesn't want any trouble.

WILLY
Oh. Hey, Angel. I didn't recognize
you in the dark there.

Angel just looks at Willy.

WILLY
What - what can I do for you tonight?

ANGEL
I need some information.

WILLY
Yeah? Man, that's too bad. Cause I'm
staying away from that whole scene.
I'm living right, Angel.

ANGEL
Sure you are, Willy. And I'm taking
up sunbathing.

WILLY
Come on, now. Don't be that way.
I treat you vamps good. I don't hassle
you. You don't hassle me. We all
enjoy the patronage of this establishment.
Everybody's happy.

Angel moves closer to Willy. Menacing. Willy's anxiety increases.

ANGEL
Who sent them?

WILLY
Who sent - who?

Lightning fast - Angel's HAND is AROUND WILLY'S NECK. Willy's mop goes clattering to the floor as his eyes go wide with fear and he gasps desperately for breath.

ANGEL
The Order of Taranta -

WILLY
I tell you - I haven't been in the loop -

ANGEL
Let's try again. The Order of Taranta.
They're after the Slayer -

WILLY
Come on, man…

ANGEL
Was it Spike?

Angel tightens his grip. LIFTS WILLY slightly off the ground. Willy tries to choke out a negotiation.

WILLY
Angel, hey, I - I got some fresh pig's
blood in. Good stuff. My fence said the
white cell count is -

Angel is now moments from squeezing the life out of this guy.

ANGEL
You know, I'm a little rusty when it comes
to killing humans. It could take a while.

Willy is wavering. Clearly - his options are limited.

WILLY
Spike will draw and quarter me, man -

Angel lets up a little. Puts him back on the ground.

ANGEL
I'll take care of Spike.

Willy caves.

WILLY
You know he ordered those guys. Spike's
sick of your girl getting in his way.

ANGEL
Where can I find him?

This is more than Willy should give up and he knows it.

WILLY
I tell you that and I'm gonna need
relocating expenses. It'll cost you.

BAM! Angel SLAMS Willy in the WALL. Still holding him by the neck.

ANGEL
It will cost who?

Willy can barely speak.

WILLY
Okay! Okay!..
(then)
He and that freaky chick of his are -

Angel is listening so intently - he doesn't notice the MOP HANDLE FLYING TOWARD HIS HEAD.

Angel is BLIND-SIDED across the temple by an UNSEEN ATTACKER.

He hits the GROUND. HARD. Willy also falls to the floor in a heap.

ON THE ATTACKER

Standing over ANGEL with the mop handle. It's KENDRA.

Her whole stance and attitude radiate lethal power. Her voice rings with contempt -

KENDRA
Where is she?

BLACK OUT

END OF ACT THREE
Act Four

INT. SEEDY BAR (WILLY'S ALIBI ROOM) - NIGHT

Back to that lethal young thang. Angel looks up at her, spits -

KENDRA
The girl. Where is she?

ANGEL
Even if I knew - I wouldn't tell you.

Kendra BREAKS THE MOP HANDLE over her knee.

KENDRA
Then die.

ANGEL ROLLS out of the strike zone just as she brings the make-shift
stake down toward his heart.

She LUNGES with the stake again - but Angel grabs a BAR STOOL and blocks the move.

Angel THRUSTS THE BAR STOOL toward Kendra, knocking her back.

He gets to his feet - but she is ON HIM AGAIN in a flash.

ON WILLY

Who cowers on the floor. Angel and Kendra's fight is taking place between him and the exit - which is the only thing that keeps him from BOLTING. He WINCES as the sound of the BATTLE grows more and more intense.

ON ANGEL AND KENDRA

They seem to be almost evenly matched. The fight carries into the STORAGE AREA in the back room of the bar.

WILLY makes tracks for the exit. Disappears.

INT. SEEDY BAR STORAGE ROOM - NIGHT

The storage area is basically A CAGE - much like the one in the library - where the expensive liquor and such is locked.

Angel and Kendra CRASH into a BOX FULL OF LIQUOR BOTTLES, which shatter everywhere. Angel grabs a BROKEN BOTTLE - fends off Kendra with it. Kendra hesitates.

ANGEL
Who are you?

Kendra backs out of the storage area. Cool but clearly wary.

ANGEL
I won't hurt you if you tell me what
I need to know.

Unexpectedly - Kendra smiles. Angel doesn't see the humor in the situation.

ANGEL
You think this is funny?

Kendra SLAMS AND BOLTS THE STURDY METAL GATE that closes the storage area.

KENDRA
I think it's funny now.

Angel reacts. Moves to the locked door.

KENDRA
That girl. The one I saw you with before -

ANGEL
You stay away from her.

KENDRA
I'm afraid you are not in a position
to threaten.

ANGEL
When I get out of here I'll do more
than threaten -

KENDRA
Then I suggest you move quickly.

She glances at a ROW OF HIGH WINDOWS THAT RUN ALONG ONE WALL OF THE STORAGE CAGE.

KENDRA
Eastern exposure. The sun comes in
a few hours.
(then)
More than enough time for me to
find your girlfriend.

She moves off. Angel can only watch - frustrated.

A beat. Then he strains against the door of the cage, determined to open it.

FADE TO:

INT. GILES' OFFICE - LIBRARY - EARLY MORNING

Giles, bleary-eyed and rumpled from a sleepless night of urgent study, talks on the phone while he pages through a book.

GILES
Xander? …No, I still haven't heard
from Buffy. I think you should go to
her house and check on her.

Giles sees something in the book. Something important.

GILES
Right away. I don't know, get Cordelia
to drive you.

He hangs up. Rushes into -

INT. LIBRARY - CONTINUOUS - DAY

Giles moves to the table and we see WILLOW, who has fallen asleep at the computer. He moves to her, gently shakes her. Still, she wakes with a start, cries out -

WILLOW
Don't warn the tadpoles!

Giles is startled by her outburst.

GILES
My goodness. Are you alright?

WILLOW
Giles? What are you doing here?

GILES
You're in the library, Willow. You
fell asleep.

WILLOW
Oh… I…

GILES
Don't warn the tadpoles?

WILLOW
I - I have frog fear.
(then)
I'm sorry, I conked out -

GILES
Please. You've gone quite beyond the
call of duty. And, fortunately, I think
I've finally found something -

WILLOW
You did?

GILES
(re: book)
I had to go back to the Lutheran Index.
But I found a description of the missing
du Lac Manuscript. It's a ritual, Willow.
I haven't managed to decipher the exact
details - but I believe the purpose
is to restore a weak and sickly vampire
to full health.

WILLOW
A vampire like - Drusilla?

GILES
Exactly.

WILLOW
What does that have to do with the
Order of Taranta? The assassins?

GILES
I would imagine Spike called them here
to get Buffy out of the way. I'm sure he
wants nothing to come between him
and his plans to revive his lady love.

WILLOW
So this is good. We know what the deal is.

GILES
I wish I could agree. But all we know
is the goal of the ritual.
We don't know where it will take place
or when. We don't know what it entails -

WILLOW
So this is bad.

GILES
No. No. We just have more work to do.

Giles tries to smile encouragingly.

WILLOW
Then - why are you all pinched?

Off Giles - his worry palpable.

INT. FACTORY - EARLY MORNING

CLOSE ON

The DU LAC manuscript

As it is SLAMMED SHUT.

Widen to reveal a TRIUMPHANT SPIKE, who is standing over DALTON - the vampire scholar. Dalton hands Spike a sheet of paper with the complete transcription on it.

SPIKE
By George - I think he's got it.

Spike sweeps over to Drusilla with paper in hand. Drusilla looking ever more pale and consumptive, sits propped on a velvet couch, her tarot cards laid out on her lap.

SPIKE
The key to your cure, ducks! The missing
bloody link! It was -

Drusilla stops him as she takes his hand - leads it to a tarot card.

DRUSILLA
-right in front of us.

CLOSE ON THE CARD

A beautiful image of AN ANGEL. But the angel is FALLING - plummeting through the sky to an all but certain doom.

DRUSILLA (O.C.)
-the whole time.

EXT. BUFFY'S HOUSE - EARLY MORNING

All is peaceful here as the neighborhood is just beginning to awaken.

INT. BUFFY'S HOUSE - LIVING ROOM - EARLY MORNING

Well mostly peaceful. We can make out Cordelia and Xander on the porch through the curtains. Cordelia's SHRILL voice penetrates the tranquility.

CORDELIA (O.C.)
I can't even believe you. You drag me
out of bed for a ride? What am I, mass
transportation?

Xander finds an unlocked WINDOW, starts to work it open.

XANDER
That's what a lot of the guys say.
But it's just locker room talk. I never
pay it any mind.

The window is open. Xander CLIMBS THROUGH - CORDY on his heels. Cordy is dressed in sweats - her hair pulled back. Like a girl who just got dragged out of bed.

CORDELIA
Great. So now I'm your taxi and
your punching bag -

XANDER
I like to think of you more as my witless
foil - but have it your way.

Cordy looks at him. Then starts to head BACK OUT OF THE WINDOW. Xander catches her by the arm.

XANDER
Come on, Cordy. You can't be a member
of the Scooby Gang if you aren't willing
to be inconvenienced now and then -

CORDELIA
Oh, right. Cause I lie awake at night
hoping you tweekos will be my best
friends. And that my first husband will
be a balding, demented homeless man -

XANDER
Buffy could be in trouble -

CORDELIA
And, what, exactly, are you going to
do about it if she is? If you hadn't
noticed - you're the lameness. She's
the superchick or whatever.

XANDER
At least I'm the lameness that cares.
Which is more than you can say.
(then)
I'm going to check upstairs.

He STOMPS OFF, leaving a POUTY Cordelia behind. She starts to look around the living room when she is interrupted by a crisp KNOCK on the front door. She moves to the door, looks through the window in the door.

WHAT SHE SEES

MISTER PFISTER - AKA BUG MAN. Pfister tips his hat - holds up the bag that reads QUINTESSENCE SKIN CARE.

ON CORDELIA

That's all she needed to see. She opens the door.

MR. PFISTER
Good day. I am Norman Pfister with
Quintessence Skin Care and Cosmetics.
I was wondering if I could interest you
in some free samples?

CORDELIA
Free?

EXT. BUFFY'S HOUSE - EARLY MORNING

Cordelia hesitates. Then, just as before with MRS. KALISH, Cordelia opens the door for Mr. Pfister. In an eerie reprise of the earlier scene - he enters past her, and she closes the door. A long ominous beat…

INT. SEEDY BAR STORAGE ROOM - EARLY MORNING

The first glow of morning light warms the WINDOWS, as ANGEL works desperately to tear the metal door from its hinges. He is actually making remarkable progress - the top part of the door is bent. Given enough time, he might be able to get out. Intent on his work, he does not notice as the first bright SLIVER OF SUNLIGHT appears through the glass behind him. It travels quickly across the floor - falls across his brow. Angel cries out in pain as the HOT RAYS sear his face. Forced to retreat, he leaves his hope of escape - seeking temporary safety in a dark corner of the room.

INT. ANGEL'S APARTMENT - EARLY MORNING

In contrast to the sun-washed storage room, Angel's apartment is a cool, dark tomb. A haven from the waking world.

CLOSE ON BUFFY

Curled in Angel's bed - arms tightly wrapped around his pillow. She is, for the moment, safe in his phantom embrace. A sound. Something moves in the apartment. Loud enough to rouse Buffy from her dream. Her eyes flutter - then SNAP OPEN just in time for her to DODGE THE SHORT AXE that SLAMS into the pillow just inches from her neck. Buffy LEAPS from the bed - comes face to face with KENDRA.

BUFFY
You must be number two -

Kendra replies with a SWING OF THE AXE, which BUFFY LEAPS to avoid.

BUFFY
Thanks for the wake-up. But I'll stick
with my clock radio.

Lethal young woman brings the AXE down again, but BUFFY CATCHES her arm mid-flight. To Buffy's distress - she can't wrench the AXE from Kendra. They are locked in a dead-even struggle. Like an arm wrestling match between perfect twins. A split second as they meet eyes - a twinge of recognition. Then Buffy takes advantage of the moment - SWEEPS Kendra's legs out from under her. Kendra hits the ground hard, but USES her LEGS to PIN BUFFY'S LEGS and bring her down too. Now BUFFY and Kendra ROLL on the floor - the AXE still in Kendra's grip. They keep TRADING the UPPER HAND. One moment Buffy is on top - the next it seems Kendra will prevail. They SMASH into Angel's table, his bookshelf, his dresser… Buffy's getting fed up.

BUFFY
Come on. Don't make me do the
chick fight thing -

Kendra doesn't know what to make of this comment. Speaks through her effort -

KENDRA
Chick… fight?

BUFFY
You know -

BUFFY VIOLENTLY JERKS Kendra by the HAIR - distracting her as she DIGS HER NAILS INTO THE HAND THAT HOLDS THE AXE.

Kendra cries out - drops the AXE. Buffy grabs it and STRADDLES Kendra, pinning her. Buffy draws the axe back - the intent clear. Still, she can't resist -

BUFFY
Cliched - but effective.

Buffy is about to bring the axe down - but Kendra stops her with -

KENDRA
Who are you?

BUFFY
What do you mean who am I? You
attacked me. Who the hell are you?

Kendra glares at Buffy. Proud and defiant -

KENDRA
I am Kendra, the vampire slayer.

A long beat.

Buffy takes this in. Come again?

BLACK OUT.

END OF PART ONE

Continue on to What's My Line Part 2!