INT. LABORATORY/SPIKE'S CELL
A blaring ALARM flashes red light.
Just beneath it, Spike stands locked in a death-struggle with one
technician who holds him by the throat. Spike's howling in pain. The
other technician, fumbling, uncorks a syringe.
The first technician shoves Spike up
against the adjacent cell's Plexiglas front. Spike's electrified.
Inside the cell, TOM rushes into sight.
Bit busy just
I know where the
exit is. You spring me,
you're free. You don't, and you're
Spike grabs the technician's arm,
spins him. Just as the second technician shoves the syringe deep in
his back. The first technician's out cold instantly. Drops to the
floor. The second one sees Spike's vamp face and runs.
Spike takes the keycard from the
unconscious guard. Inserts it in front of Tom's cell. The light
turns from red to green. Tom slides the door open.
They run. The alarm's still blaring.
Reach a pneumatically self-sealing door. Tom runs underneath. Spike
slides like a base runner, just making it through as the door hits
INT. STERILE WHITE HALLWAY -
Spike and Tom turn a corner, running
right into an ARMED GUARD. Spike smashes his elbow into the guy's
masked face at the same time the guard rifle-butts Spike in the side
of the head. Spike grabs his head, bellowing in pain. Tom grabs the
gun. Tasers the guard.
The guard hits the ground convulsing.
The vamps keep going, running under another metal door which hisses
shut behind them.
ANGLE ON: THE OTHER END OF THE
As Spike and Tom run down it toward an
elevator, on either side of it two more doors shutting automatically
one by one, sealing off any hope of escape.
The elevator door opens revealing MORE
ARMED GUARDS equipped with stun-guns and gas-masks.
New plan: we
Spike shoves Tom right into the pack
of guards, who are knocked back into the elevator. They grab him,
struggle, Tom fighting and flailing.
Spike dives and rolls under the last
pneumatic door as Tom is staked, exploding into dust behind him. The
door hisses shut. Sealed.
INT. BUFFY AND WILLOW's DORM HALL -
Riley walks down Buffy's dorm hall,
passing a group of giggling girls, past blasting hip-hop, to Buffy's
door. Slow, sad music comes from inside. Riley hesitates, then
INT. BUFFY AND WILLOW'S DORM ROOM -
Riley enters. Willow's just sitting on
the bed, listening to the sad music. She sees him but doesn't move
Hi. Gee, I hope
I'm not interrupting
anything really depressing.
Willow shuts off the music.
Right to the
point. Okay. I was thinking of
asking out Buffy.
I know. See, I
don't know much about Buffy.
But I'm interested in what she
likes, and so
far, the only thing that I know she likes is
As Riley talks, Willow's eyes go wide.
She's just noticed Buffy's open bag of weapons lying on the floor.
Stakes everywhere. She puts her foot next to the bag and starts
sliding it under the bed without getting noticed ...
But what do you
want me to do?
And she keeps sliding those weapons,
almost gone ...
Just tell me
something. Anything, some kind of
clue to ... here let me help
you with that.
Without looking, he shoves the weapons
bag under the bed.
Something to start us talking. I'm thinking
'bout them Broncos" won't cut it.
Okay. Let's say I help. And you start a
goes great. You like Buffy.
She likes you. You spend time
Feelings grow deeper, and one day without
realizing it, you find you're in love.
Time stops and it feels
like the whole world's
made for you two and you two alone until
day one of you leaves the other and rips the
heart from the other who's now a
broken, hollow mockery of the
Yep. That's the
I figured it
Look, if you
wanna tell me to go to hell that's
okay... Maybe this is the last
thing you wanna
talk about. I just feel like -- well I've
courted anyone like Buffy before. I don't think
ever met anyone like Buffy before.
Why should I
I was just
hoping you'd think I have an honest
honest faces. They usually come
attached to liars.
He rises, defeated.
All right, I
guess I'm not gonna win here. I
appreciate you wanting to protect
I guess she kind of brings that out in
(As he goes)
Whatever's causing that music, I uh, hope
He is about to open the
I'm not saying
it's the key to her heart, but
Buffy? She likes
And she has a
stuffed piggy named Mr. Gordo,
loves Ice Capades without the
irony and she's
dragging me to a party at Lowell House
Oh you're going!
That's my house. I live there.
Then that will
give you a chance to interact. But
don't get fresh!
Fresh? I don't
even know if we like each other yet.
Does she ever
talk about me? Has she ever ?
discouraging. Still, I feel like I've got a
fighting chance with
my new accomplice.
I'm not your
No, no, course
INT. VAMPIRE LAIR - NIGHT
A vampire's lair HARMONY unrolls a
unicorn poster on the wall. Admires it. Hears a noise. Stops. Turns.
Sees Spike, standing in the entrance, trying to look
is that really you?
It's me, baby,
your man is...
She slaps him hard across the face. He
dumped me and staked me
and hurt me and left me and...
I know, sugar,
but you're forgetting one other
thing I did.
Spike opens his arms in reply. She
takes a second making up her mind. Then melts. Hugs him
don't you ever do that to me again.
Never, my little
foam latte. Your blondie bear is
here to stay.
As Spike talks, he strides about,
picking up the occasional weapon, rejecting it and putting it down
Where have you
been? No. Wait, don't tell me.
I'm just glad you're back. This
time it's for
ever, mon petit creme brulee.
Uh, yeah. And
get used to it. Big Daddy's
home. We're gonna go wherever you
do whatever you want, kill whoever you want.
with the slayer. And after that, it's all
you and me, my
... mentholated pack of
She puts her arms around him,
seductively, one hand reaching around his head, the other sliding
down his body ...
the Slayer alone. You know she'll
only slap you around. I can do
Ow! No, see ...
ow. The head, love, watch the
head, watch ...
She tackle him in a sexual
love-embrace and they fall together, out of frame. We hear a
gravelly, hardened voice:
man faces this moment.
EXT. CAMPUS WOODS - NIGHT
The campus woods. Tracking past trees,
shrubs, darkness. The gravel-voice continues:
Now. Watching and waiting for an
enemy that has no face
We settle on Xander, hiding near
bushes in home-made commando gear. Peering through binoculars. By
his side is Giles less commando-y looking but in a cool
endings screaming in silence, never
knowing which thought will be
Xander lowers the
the mood, big guy.
I don't think I
ever fully appreciated how
Buffy deals with this every
champ. Way she deals with
the boredom. The violence. And all
these tasty little cucumber sandwiches to
Xander reaches into a brown paper bag.
Fishes about. Empty.
who ate the last one?
Still, it's nice
to be able to make oneself
useful. I dare say we'll see some
before the night is through.
never see us coming. We're
shadows, we're the wind, unseen and
Giles and Xander turn. A LOST
FRESHMAN, talking to them like they're in plain sight (which they
know which way's Mather House?
Pause. Giles points.
The kid goes. Giles and Xander
exchange defeated looks. We hear party music start up and we CUT
INT. LOWELL HOUSE -
A party. Good one. U.C. Sunnydale
students dance, talk, eat, drink, flirt. Buffy and Willow
Buffy looks to Will to make sure she's
into it. Will smiles faintly.
'Cause we could
No, no. we're
here for fun.
She's not hugely convincing, but she
pulls Buffy a ways in. Buffy spots some kids off to one
Our whole dorm is here, of
course. You wanna...?
She indicates going there.
You go, I need
You want me to
Buffy checks Willow's eyes to see
she's telling the truth. Satisfied, Buffy goes. And the second
Buffy's gone, Willow's eyes narrow, she's on a mission. She scoots
over to Riley, talks to him while looking elsewhere. Pure
She's wearing the halter top with
sensible shoes. That means
light contact, don't push your luck and
conversation's out of the question.
So, what do I
You ask her to
Buffy, now surrounded by the small
group of cute boys, laughs out loud at something one of them's
Then talk. Keep
eye contact, funny is good, but
don't be glib and remember: if
you hurt her, I
will beat you to death with a shovel.
Riley stops looks at Willow likes
she's nuts. She smiles.
vague disclaimer's nobody's friend. Have fun!
Riley readies himself. Gets his
confidence. Approaches Buffy, passing through the group of
Pardon. Hi. Buffy?
The music stops. Buffy looks to
the reading on chapter nine?
Awkward pause; everyone's looking at
Riley like he's king of the doofus people. He thinks fast - reaches
to a nearby snack table, hands Buffy a little cheese cube on a
EXT. CAMPUS WOODS - NIGHT
Xander crosses through the campus
woods by himself, looking about cautiously. And suddenly a bunch of
CDs come flying into frame, hit the ground. Xander stops. Hides.
The CDs land on a pile of eclectic
belongings: t-shirts, boots, a book or two. Xander sees a GIRL walk
to the pile, her back to him, her frame shuddering with sobs. She
pours gasoline on the pile. Tries lighting a match.
She turns - it's Harmony. Xander
stops. She takes a menacing step forward.
He expertly whips out a stake. They
square off like two experienced gunfighters. Both savoring the
battle to come.
warning you. I'm highly trained to put
this through your heart.
No mercy, no warning.
I can kill you
where you stand.
Bring it on,
Harmony slaps Xander.
He kicks her in the knee, then backs
And the lamest fight in TV history
breaks out. Heads back. Arms extended. Xander and Harmony exchange a
pathetic series of arm's length girlie-slaps ...
Ow - ooh - quit
- cut it out ... !
I'm just -
just - just - so gonna bite you ... ow!
Xander pulls Harmony's hair. Harmony
twists Xander's ear. They slowly, spastically spin around in
circles, each looking for the advantage. This goes on
Stop. We both just stop. Okay?
I will if you
On three, okay?
Ready, one, two ..
They both let go, back up, catch their
Right. Okay. Harmony. Great catching
up, really. I'll just pick
up the last tattered
shreds of my dignity and go home
Leaving you to your ... fire.
My fire? Oh,
right. Like I'd ever listen to the...
Eww. This crap belongs to Spike.
Can you believe him? Comes back, with all these
promises, not that I believed him but he could
have spent one
night but no everything was "Slayer
this" and "Slayer that," he
probably killed her
already but still I'm not taking him back. I
to know why is it men always ...
Harmony turns to see Xander is
She tosses the match over her
shoulder. It hits the gasoline soaked pile, which bursts into
INT. LOWELL HOUSE - NIGHT
Willow and Riley stand together in a
corner, watching Buffy dance with a cute guy. Riley's got the
glazed-over thousand-yard stare of a shell-shocked
I can't believe
it. I choked.
understand. I'm good at things. That's
what I do. Work hard,
apply myself, get it done.
That's a great
comfort to me.
You have to
relax. You're not proposing -- I
sincerely hope -- you're just
Getting a reaction. Any reaction is
except projectile vomiting and what are the
A Dingoes song comes on. Willow stops,
It's a tape of
some bands from last year's party.
She just nods. He turns to the his
friend by the sound system --
He mimes a throat cut. A.J. shrugs and
changes the music.
Thank you. Now
go find Buffy.
There's no hurry... If you want to
I want you to
tell Buffy that I went home and
not to worry about me. Which will
give you something to say.
She leaves. A moment, and Riley moves
to a place where Buffy is in view.
INT. LOWELL HOUSE -
ANOTHER AREA - CONTINUOUS
ANGLE ON: Riley. Getting himself
together. He approaches Buffy. Taps her on the shoulder. She turns
to face him
Hey, Willow said
to say she took off.
(Off Buffy's look)
She's okay. Kind of
blue, but said not to worry.
You know, I
wanted to ask you something.
Riley smiles, starts to speak. Then
suddenly Xander enters, breathless, puts his hand on Buffy's
shoulder pulls her away.
been looking all over for you. We...
He spots Riley staring.
to talk. Not here. It's sort of, uh,
She leaves with Xander. Riley watches.
Forrest and Graham approach.
It's not like
she blew me off, she just left with
another guy, is
We need you
They exit into:
INT. LOWELL HOUSE - SIDE
ROOM CONTINUOUS - NIGHT
It's pretty messy, but empty. They
close the door behind them, talking casually as they cross to a
mirror, preen in it. Forrest checks his look. Graham touches a
hidden button on one side of the mirror. Over all this:
You know I
hate to say this but they're
probably on their way to make
protecting you, buddy. I don't want
you mooning over some
freshman for the
next three months.
As the talk, a thin line of bright
green light passes over their faces. An incongruous-sounding
COMPUTER VOICE speaks.
The mirror slides aside, revealing
behind it a clinically clean white elevator.
I like her. I'm
on your side here.
I know you are,
They enter the elevator. The mirror
slides back into place and they're gone.
INT. ELEVATOR - NIGHT
The guys ride the elevator like
they've done it a thousand times before - no big deal.
... and that's
what gives me the strength
to put up with this
straight tip - I know about girls.
plural. I'm talking about one girl.
The elevator stops. Riley leans in to
speak directly into a microphone panel.
Initiative Vocal code match complete. Special
Finn Riley. Identity number seven, five,
The elevator doors open.
INT. LABORATORY - NIGHT
The guys step out, and led by Riley,
trot down a set of stairs. Talking as they go.
Problem is, what
kind of girl's gonna go out
with a guy who's acting all Joe
Regular by day...
Camera pulls up and back panning
around to reveal just what the guys are walking into. This is THE
INITIATIVE. An underground laboratory beneath the streets of U.C.
Sunnydale. Futuristic., all-white, clinical. Overhead, metallic
catwalks crank into place. Transport vehicles pull into view.
SCIENTISTS carrying clipboards scurry past.
The three guys barely notice, keep
then goes all Demon-Hunter by night?
Thank you, Graham.
The boys walk past THE PIT: a fully
functional, sunken operating theater bathed in white light. Three
upright tables can be seen on the floor below. On table one,
strapped down, there's a horned demon. He bellows as scientists in
lab coats inject him with a dark fluid. On table two, a
strapped-down VAMPIRE is jolted with metallic prods as technicians
calmly mark down his response time. On table three, KULAK of the
MIQUOT CLAN, eyes wide in terror, watches as surgeons prepare to
remove one of his protruding head scales.
see, Forrest? You don't have to be so
negative all the time to
... hold up.
Having passed the pit, Riley stops
short. His face goes serious. We see what he sees: Maggie
gentlemen. We have a code red.
Hostile Seventeen has
END OF ACT TWO