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Where the Wild Things Are February 23, 2000 (Goldenrod) Written by: Tracey Forbes |
| Teaser |
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EXT. GRAVEYARD - NIGHT (NIGHT 1) WHAM! A PUNCH sends a VAMPIRE reeling backwards. BUFFY launches herself on him, pelting him with blow after blow. Then with a kick to the chest - she sends him sailing back fifteen feet where… RILEY picks up the attack, holding the Vamp at bay. Allowing Buffy time to reload her crossbow. She takes a short moment to admire his style as he clocks the Vamp, grabbing him in a choke hold. Finally, she raises her weapon. Riley spins the Vamp forward and away so his chest is vulnerable and Buffy FIRES. But - SLAM! The Vamp is knocked out of harm's way.
What?! Buffy and Riley are caught off-guard. The Vamp's rescuer is a DEMON WITH HORNS ALL OVER. Buffy and Riley stand side-by-side, sweaty and breathing hard.
You take fang. I'll get horny. (beat) I mean… She glances at Riley. He whips a STAKE out of his utility belt. The multi-horned Demon advances on Buffy, and she greets it with a stunning assault, as the Vamp lunges at Riley. Buffy manages to slam the Demon to the ground where he stays a beat, hurt. As she retrieves a dagger… The Vamp already at the Demon's side, grabbing his arm and helping him to his feet! Buffy and Riley exchange a glance at this. Then quickly pick up the fight again. Which ends as Buffy stabs the Demon through the neck. He quivers, falling dead to the ground. And in a moment of disbelief at this, the Vamp leaves himself vulnerable - Riley DUSTS him. And all is suddenly quiet. Buffy and Riley move toward each other, wiping away dirt and blood, straightening their clothes.
A vampire/demon tag team. Who says we can't all get along?
Don't recall ever seeing that before. Riley brushes dirt off her back. Buffy reacts - feels good.
'Cause it never happens. Demons hate vamps. They're like stripes and polka-dots. Major clashing. His hand slides up her back to her hair. She looks at him.
I probably should, uh… go tell Giles… about this…
Right. She moves in closer to him, losing herself in his gaze.
I mean, it's the kind of thing he'd want to know.
Mm-hmm.
Like… As soon as possible… Their faces close, Riley nods.
Soon as possible. SMASH CUT TO: INT. RILEY'S ROOM - NIGHT (NIGHT 1) ON RILEY'S BED as BUFFY and RILEY fall onto it. Irrepressible lust in control, arms and legs swimming all over each other.
Okay, I mean it now, first thing in the morning we go tell Giles. Buffy yanks Riley's shirt up over his head. His hands search up under hers.
First thing. Good plan. They continue. BLACK OUT.
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| Act One |
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INT. LOWELL HOUSE - (NIGHT 1) CAMERA FLOATS dreamily through the dark and empty house. We see the sitting room, fireplace, the banner area and the staircase. Then, moving eerily around the balcony, we come to rest outside the closed door to Riley's room. INT. RILEY'S ROOM - NIGHT (NIGHT1) PANNING up the bed, we find. Riley and Buffy, asleep and snuggling, post-sex. Riley stirs, but Buffy doesn't move - not a care in the world right now. Riley gently extricates himself from the dozing Buffy, and kisses her ear. She smiles, continuing to doze. Sitting up at the edge of the bed, Riley picks his jeans up off the floor and steps into them as Buffy spreads out in the bed. He opens his door and steps out into… INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 1) Riley closes the door behind him. Takes a step towards the bathroom door when… He hears something. An indistinct RUSTLING. But the sound is DISTANT and ECHOEY and Riley can't tell where it came from. He looks around and over the edge of the balcony. Again we HEAR it. Riley looks behind him, up the creepy narrow staircase. Nothing. He walks to… INT. LOWELL HOUSE - BATHROOM - NIGHT (NIGHT1) …enters and FLICKS ON THE LIGHT. Hears ECHOEY THRASHING IN WATER. It's coming from the bathtub. Riley yanks back the shower curtain. The bathtub is empty. Just a leaky bathtub tap. DRIP. Mildly irritated, Riley tightens the handle until the drip stops. Though satisfied the dripping has stopped, he continues to eye the tub, curiously as we hear, fading in… Eerie tinkly MUSIC (PRE-LAP)… EXT. SUBURBIA - DAY (DAY 2) …which emanates from an ICE CREAM TRUCK we find parked at the curb in a residential neighborhood. INT. ICE CREAM TRUCK - DAY (DAY 2) Xander, in an ice cream vendor uniform, talks with Anya.
Aw, c'mon, big party at Riley's house, gonna be fun. Why don't you want to go?
You know why not. Those Initiative men make me… not comfortable. (then) And you don't care!
They don't know you're an ex-demon. And we don't know that they'd care even if they did know you're an ex-demon. Which, by the way, they're not going to find out. Anyway, they'll be too busy flirting with every other girl at the party to even notice you. Anya takes that about as wrong as one could.
Oh. So you don't think I'm desirable enough to be flirted with, is that it?
I'm just not gonna win here, am I?
You don't find me attractive anymore.
What are you talking about? I think you're gorgeous.
Oh, really? Then why didn't we have sex last night? Xander eyes her with a dawning realization.
Is that what this is about? We've gone other nights without sex.
I know! Twice! I can't believe we're breaking up.
Breaking--? We're not! Are we?
Oh of course we are. You've obviously grown tired of me. I've seen it happen to thousands of women over the centuries. I just never thought it would happen to me.
Anya, there's a lot more to you and me than the sex. (off her look) Well, there should be. I mean, a relationship is something you have to work at… work through… together.
I don't understand - I'm pretty. I'm young… Why didn't you take advantage of me? Is something wrong with your body?
There's nothing wrong with my body.
There must be. I saw that wrinkled man on TV talking about erectile dysfunction -
(defensive) Whoa! Hey! All systems go here. No function thing, okay? You want sex? Let's have sex. Right here, you and me, big, sweaty, sex. A beat. Xander and Anya sense something, turn to see… A FEW CHILDREN, standing outside the truck, holding up money in frozen shock, along with a couple of horrified looking MOTHERS. Xander offers the children a weak smile…
There's always been great discord between them… INT. COMMONS - DAY (DAY 2) The gang is gathered on the comfy chairs. GILES puzzled. WILLOW and TARA next to each other in a comfy-friendly space. Buffy and Riley are squeezed into one chair, her hand resting on his thigh.
(to Buffy) And yet you say that the vampire went to the demon's aid… The two of them working as a team.
Everything except giving each other little pats on the behind.
Extraordinarily odd. As a rule, demons have no empathy for species other than their own. In fact, most consider vampires abominations - mixing with human blood and all.
So what brought these two together?
Not "what." Who.
(understanding) Adam.
Think about it. Who better to bring a bunch of demon types together than someone that's made up of a bunch of demon types?
So he's, um, bridging the gap between the races?
Huh. Like Martin Luther King. (thinks a moment) But probably a lot less eloquent… and with the… evil… so, different than Martin Luther King. Let's move on. Giles turns back to Riley and Buffy.
Well, I'd suggest that for the next several nights, you two concentrate your patrol in that same area. If you find any other peculiar pairings or groupings let me know.
I'll let the squad know as well. They're patrolling; we'll have a reserve unit out during the party.
Party?
Tomorrow night. We're having a thing.
At a time like this? Whose idea was that?
(unapologetic) Mine. Boys are pretty ragged. Need to let off steam.
Point taken.
You're welcome to come…
Much as I long for a good kegger, I have plans. The Espresso Pump.
What are you doing?
I'm… it's a meeting of grown-ups. It couldn't possible be of interest to you lot.
(hurt, accusing) You have grown-up friends?
A few.
Hey, Buffy, look at the time. Don't you have a class? She checks her watch.
In twenty minutes.
Yeah but, you've got that… thing… that… She sees his point.
That we could squeeze in… before class. They get up. Giles regards them, squinting.
Gotta run.
Bye. And they're off, rushing out of the Commons.
(conspiratorially) They're probably going back to -
Yes. Thank you Willow. I did actually attend university in the Mesozoic era. I remember what it's like. INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 2)
Didn't we just get the furnace fixed? It's freezing! FORREST and GRAHAM, pass Riley's room…
I'll call in the a.m. Get somebody to come out and- MMMM… PLEASURE MOANS emanate from behind Riley's door. Forrest and Graham look at each other.
You've gotta be kidding me when do those two ever come up for air?
Slaves to the rhythm. They start down the stairs. We HOLD ON the door. INT. RILEY'S ROOM - NIGHT (NIGHT 2) There's just enough moonlight in the room to see Buffy and Riley. They're facing each other, moving under the sheets. Kissing passionately. The rest of the room around them is dark and nondescript. Riley tugs the sheet over him as he moves on top of her. Buffy shifts under his welcome weight. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 2) CLOSE ON - A NEWBORN FIRE. We WIDEN to find Forrest and Graham approaching their fellow frat boy, MASON, as he crumples up more newspaper for kindling and stuffs it under the logs.
Room shoulda warmed up by now. They arrive next to Mason.
(re: fire) I've been building this thing for an hour. Still an icebox in here.
Don't bother, Mason. We've got a couple of heat generators pumping away upstairs. They chuckle. INT. RILEY'S ROOM - NIGHT (NIGHT 2) Buffy's hands trace Riley's spine, up to the back of his neck. Their faces are close, their breathing heavy. Bodies moving under the sheets. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 2) The fire's still sputtering. Graham places two wooden chairs in front of it. Forrest takes one. Mason steps forward to stoke it some more. INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 2) PUSH SLOWLY IN on Riley's closed door. We can barely HEAR a few moans. And the HEADBOARD tapping the wall. (The MUSIC will build, faster and faster to a climax…) And - INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 2) WHOOOOOSH!! FIRE SHOOTS OUT of the fireplace with a ROAR, engulfing Mason in flames. He HOWLS in pain and terror.
GEEEZ! Graham pushes Mason, getting him away from the fireplace, rolling him on the floor. Forrest leaps up and snatches a banner from the overhang. He envelopes Mason in a flash, extinguishing the flames.
Call a medic! Get help! Graham rushes off and we PAN OVER to see… THE FIRE Crackling normally now as if nothing happened. BLACK OUT.
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| Act Two |
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EXT. ALLEY - NIGHT (NIGHT 3) Anya walks alone, still puzzled and upset by her earlier argument with Xander. In the distance ahead of her, we can see the BRONZE and HEAR MUSIC pounding out from inside. A FIGURE leaps out from the shadows, GROWLING. Anya SCREAMS. It's SPIKE, in full VAMP-FACE. Mid-snarl, he recognizes Anya and slumps, disappointed.
Oh. It's you. He MORPHS OUT OF VAMP-FACE.
Spike. What are you doing? You made me yell really high.
(encouraged) Hey, yeah. I did. I scared you. Give me money.
I'm not paying you for scaring me.
You're not "paying" me. I'm robbing you.
Oh. Well that's just ludicrous. You can't hurt me because you've got a chip in your brain. Also, I like my money the way it is when it's mine. She moves to push past him but he blocks her, GROWLING.
Now come on. You're not even bumpy anymore. Spike feels his face.
Oh. I was, just a minute ago. Hang on, get me mad again. Anya glares at him.
Does that really work? Scaring people into giving you their money?
Yeah, it works! Keeps me in blood and beers. Plus, you know, funny. Watching the little humans quail.
I'm beginning to understand why you're so friendless.
Look who's talking! I don't see droopy-boy on yer arm. Did he have better things to do? She glares poutingly. He smiles nastily. INT. LOWELL HOUSE - NIGHT (NIGHT 3) MUSIC POUNDING inside. PARTY-GOERS flow through the door. INT. LOWELL HOUSE - SITTING ROOM - NIGHT ( NIGHT 3) The party's in full swing. PARTIERS stand in their little groups, shouting over the music. Some dance. Some make out on couches. Riley, Forrest and Graham stand holding beers. Riley is looking over at… ANGLE: BUFFY standing and talking with Willow, Tara and Xander. She looks up, catches Riley's eye, smiles. BACK TO RILEY AND FRIENDS:
Are you kidding? Mason requested patrol tonight!
He just didn't want the girls to see him with his eyebrows burned off.
He's lucky that's all he lost.
Shoulda seen it, Rye. It was weird as hell.
Mm-hmm? But Riley is looking off at Buffy again - he hasn't heard a word. ANGLE - BUFFY, WILLOW, XANDER AND TARA Buffy is also staring at Riley.
How many little kids.
I don't know. A whole herd of 'em. And some parents. It was pretty embarrassing, which, welcome to life with Anya.
So you don't even know if she's coming tonight?
I'm thinking no. She was pretty mad. And I'm starting to wonder, is it me? Am I the crazy one?
(absently) Uh-huh. Absolutely. Xander turns to Buffy, surprised, then realizes she's looking at… BUFFY'S POV - RILEY He sees her too, smiles. Wants her. ANGLE - WILLOW XANDER AND TARA. Exchange a look. Buffy isn't hearing them.
Hey Buffy, This might be a good time to mention that someone so not me spilled something purpley on your new peasant top that I would never borrow without asking. You love me?
Uh-huh. (then) Huh? What about my peasant top?
Nothing.
Xander was talking about Anya.
It's nothing much, just feeling glad right now that a certain ex-demon doesn't have any powers. We pre-lap:
Boy, I miss those powers. INT. BRONZE - NIGHT (NIGHT 3) SLOW MUSIC playing. The place is filled with couples, touching and talking intimately. Some dancing. We FIND Anya and Spike together on a couch, Spike with a vodka, Anya with a beer. Relaxed now. Mid-conversation.
Yeah. Tell me about it.
A year and half ago I could've eviscerated him with my thoughts. Now I can barely hurt his feelings. Things used to be so much simpler.
You know, you take the killing for granted, and then it's gone and you're like, I wish I'd appreciated it more. Stopped and smelled the corpses you know?
Yeah. Now everything's so complicated.
Terrible thing, love is. Been there myself. Ended badly.
Of course it did. It always does. I've seen thousands of relationships. First there's the love and sex. Then there's nothing left but the vengeance. That's how it works.
We should just go do the vengeance. Both of us. You go eviscerate Xander, I'll stake Dru. Like, a project.
I don't know… I just can't. You can go do Dru though.
Yeah. I will. (beat) Maybe later. They sip their drinks and gaze into space, not going anywhere. INT. LOWELL HOUSE - DOWNSTAIRS HALL - NIGHT (NIGHT 3) Down past the elevator, across from the mirror, ROY (of Beer Bad) puts the moves on a girl, CHRISTY.
See, the thing they're afraid to teach us about is the inherent sensuality of language. You learn French and they make it all about conjugations and fronted vowels and no one ever talks about… you know… He leans on the wall, supporting himself with one hand, trying to look casual.
The way the language tastes. The way it feels rolling over your tongue. I mean, just think about "car" versus "voiture"… Roy EXHALES LOUDLY.
Whoa. Roy looks at his hand on the wall.
Are you all right?
Fine. Again, he BREATHES LOUDLY. He spreads his palm and fingers out flatter on the wall for maximum touchage.
Oh my God… (exhales again) Wow. He flushes, a little embarrassed, but mostly liking something a great deal.
You really like French. INT. LOWELL HOUSE - NEAR THE BANNERS - NIGHT (NIGHT 3) A girl with thick, long hair, Julie, absorbs a bit of Lowell House history. The green banners, the old football, etc. ANGLE - XANDER As he spots her. Approaches.
(off banner) Lowell House, 1962. She turns to see him.
Yes?
Um. Just, you know, impressing you with my knowledge of local history. Or my knowledge of reading. She laughs.
You didn't even have to sound anything out.
You should see me add short columns of small numbers. Julie twirls a lock of her hair flirtatiously.
You're funny.
Thanks… that is… funny "how amusing" or funny "back away and avoid eye contact?
Kind of both. Who are you here with?
Right now I seem to be here with you. They smile at each other. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) Buffy arrives at Riley's side. He's still standing with Forrest and Graham.
Riley, can we… (indicates the stairs to his room) I just… I want your opinion on… an essay. For a class.
Oh, that essay. (to the guys) Catch you guys in a minute. Essay thing. Forrest and Graham watch them go.
And I'm the one who got a 'D' in covert ops. INT. LOWELL HOUSE - DOWNSTAIRS HALL - NIGHT (NIGHT 3) We FOLLOW a guy, EVAN, down the hall near the elevator. He passes Roy and another guy standing by the "special spot" on the wall.
Evan, c'mere. You gotta see this.
(points down hall) I'm getting a beer. Roy touches the air just in front of the wall, demonstrating without touching.
First, just, just put your hand right here.
Okay… somehow this is a trick, I know it… Roy grabs Evan's hand and guides it to the special spot.
Now stay… Don't move. Evan's eyes go wide. Looks at his hand on the wall.
Whoa. What is that? I kinda feel… Evan starts to BREATHE HEAVILY.
Oh my God… Oh… Before it goes too far, Evan tears his hand away. He looks at the wall.
Told you you'd like it. Someone call China. Our wall is greater. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 3) Willow and Tara sit side-by-side on the staircase, knees touching. They're mid-conversation:
Horses? Like, big, tall, teeth-that could- take-your-arm-off horses?
Sure. I learned to ride when I was a kid. It's fun. And, by the way, most horses don't like arm very much.
I had a bad birthday party pony thing when I was four. I look at horses, I just see really big ponies.
You should ride with me sometime. I guarantee safety and fun.
Well, if you promise to look after me… Willow casually puts her hand on Tara's knee and -
DON'T TOUCH ME! Tara jolts away from Willow, looking at her like she's a freak. She stands up.
That's d-disgusting. Willow reacts like she's been kicked in the stomach. She stands up too, almost unconsciously reaching out to comfort Tara, but thinks twice and withdraws her hand.
Tara, what's the matter? Tara's clearly upset and confused now.
I don't kn-kn-know. Tara crosses her arms in front, one hand to her mouth. Shifting her weight nervously.
I'm sorry. I didn't mean to… (beat) Are you feeling okay?
I'm f-fine. I just want t-to go to the bathr-room. She rushes up the stairs. Willow watches her go. Baffled. INT. LOWELL HOUSE - FOYER - LATER ( NIGHT 3) The front door swings open and Anya and Spike enter, buzzing from beer and each other's company. Spike eyes a couple GUYS passing by.
Hey-I know these guys from somewhere.
Initiative soldiers. They live here. The experiments happen in the lab under the house. That's where they kept you and put in your chip. Let's have fun. Spike stares at her, appalled.
What are you doing? You brought me here?
Anya?! Xander has found them. Also appalled.
What are you doing? You brought him here?
That's what I said. Only I hit the "here" part.
Anya. This is crazy. We had a little fight. that just means we need to work our way through some stuff. It doesn't mean you rebound with the evil undead. And what have you been doing with him, anyway?
Oh, who's a puffed-up manly man? All multi-colored and possessive.
(to Spike) It's not very convincing is it?
Yeah. I get now what you said about him earlier. No follow-through.
Hey, what a surprise, HOSTILE SEVENTEEN! Can I get you a drink, HOSTILE SEVENTEEN!?
Xander, stop! Spike braces for an attack. Nothing. Spike and Xander look around, but none of the guys nearby have noticed. They're just drunk or deep into their girlfriends.
Hmm. May be some fun to be had in the lion's den after all. You two keep scrapping,, I'll go find the liquor. Spike takes off towards the sitting room. Xander pulls Anya away from the door.
Anya, what are you doing with him.
We didn't have sex, if that's what you mean. That's all I do now, not have sex. Xander makes an effort to be calm:
You're overreacting. We had a fight. But, see, that's okay. It's normal.
Yes. It's part of the normal ending of a relationship right before the vengeance begins.
Right. No. Vengeance?
Relax. I'm not going to do it. I'm just trying to tell you that we have nothing in common aside from both liking your penis. And now I don't even have that. So I get to say when it's done and it's done.
Okay, you know what? You don't deserve to be the one to walk away from this. I've put up with a hell of a lot from you - much of it in the last minute - and if anyone gets to be the one to leave it's me.
You're leaving me?
Yes. I am. He turns to walk away.
Where are you going?
To enjoy the party.
Then I'm staying too. To… to show you how much I'm not bothered by you having fun. Because… because I'll be having more fun. Anya turns and exits to the area under the balcony. Xander heads toward the rec room…
(called after, angry) I'm having fun already!
(called after, more angry) Me too. Whoo-hoo! We FOLLOW Xander through the banner area to… INT. LOWELL HOUSE - REC ROOM - CONTINUOUS (NIGHT 3) He enters and stops to watch a game of SPIN THE BOTTLE. A circle of COLLEGE GUYS AND GIRLS sitting cross-legged on the floor. A long-necked beer bottle spinning on the floor in the center. It stops on a GUY. The group CHEERS. A GIRL stands up and the two of them kiss.
Huh. Sometimes I just don't get the sophisticated college lifestyle. He shakes his head, disbelieving and is about to leave when he notices Julie in the circle, smiling at him. Xander looks at her. Looks back out the door where he left Anya. Someone scoots over to make space. As Xander takes his seat, he speaks to the guy next to him…
Gee, good thing mom's out, we'd be in trouble. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) Spike is sitting in an antique chair, beer in hand. A beefy INITIATIVE GUY in his civvies, also with beer, sits next to him.
Hey buddy, you look familiar. Spike looks casually away.
Yeah, I get that a lot. INT LOWELL HOUSE - REC ROOM - NIGHT (NIGHT 3) Xander spins the bottle. And wouldn't ya know, it points to Julie. They rise and move together.
Hey Xander.
Julie. Okay. This then would be the kissing. Xander looks at the door nervously, then leans in and gives her a fast peck on the cheek. As he moves away again…
Um… very smooth cheek you have there. Do you exfoliate- Julie suddenly grabs Xander by the head and presses her lips to his, kissing him really aggressively. He doesn't kiss back. In fact he struggles to get away.
Whoa… But Julie is strong. She violently pushes him against a wall and presses up against him, kissing him harder, groping him, as if her life depended on it. When he finally pushes her away, she stumbles back, stunned.
Julie? What?! Her eyes are scared. She begins stroking her hair nervously.
I'm sorry… I didn't… Sorry… A beat and she runs from the room. Xander wipes his mouth, stunned in her wake. Then takes off after her. INT. LOWELL HOUSE - FOYER - CONTINUOUS (NIGHT 3) Xander exits the rec room. Moves across the foyer, looking for Julie. Looks down the hall where the wallgasm game, complete with MOANS and MUCH EXCITED CHATTER, has attracted quite an audience. He looks around, doesn't see Julie. Then, hears some SOBBING coming from behind the door under the stairs. He KNOCKS.
Hi, uh… you okay? Xander tries the door. It's locked. And there's nothing from inside but more SOBBING. INT. ROOM UNDER THE STAIRS - NIGHT (NIGHT 3) JULIE HACKING HER HAIR OFF with a STRAIGHT RAZOR. Crying and mumbling in a little voice…
I'm bad… I'm bad… I'm bad… INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 3) Willow stands at the bathroom door.
Tara? It's me. She KNOCKS -
Tar- The door is ajar - it opens. Willow pushes it further and enters…
Tara? INT. LOWELL HOUSE - BATHROOM - CONTINUOUS (NIGHT 3) Willow peeks around the corner of the door. No one is inside. She enters and closes the door behind her. Cranks on the tap and splashes water on her face. Regards her troubled expression in the mirror when she hears… The same SPLASHING Riley heard earlier. Willow looks at the closed shower curtain. Now, there's FRANTIC THRASHING IN WATER and POUNDING and the sounds of SOMEONE DROWNING. Willow YANKS the curtain aside, revealing… A BOY (12), head under water in the full tub, thrashing for his life. His legs are bound together with a leather belt. His arms are pinned to his body with a belt, too. Willow thrusts her hands into the tub to grab him, but as her hands hit the water, the image of the boy is washed away with the waves. Willow pauses. Her heart racing, looking the tub up and down. Then slowly, she rises. Stands back up, revealing to us… THE BOY IS STANDING BEHIND HER. He's pale, soaking wet, seriously scary and staring at Willow. She wheels around to see him and SCREAMS… INT. RILEY'S ROOM - NIGHT (NIGHT 3) Willow's SCREAM ECHOES into the room. Buffy and Riley are face to face, kissing and caressing. Only darkness around them. Buffy looks away from Riley -
Was that Willow?
I don't know. Buffy turns back to him. They continue kissing.
It doesn't matter. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 3) Willow pushes past a couple of PARTIERS to get down the last few stairs…
Tara! Xander!? A beat, and she rushes towards the banner area… INT. LOWELL HOUSE - REC ROOM - NIGHT ( NIGHT 3) Xander has just entered, plenty freaked out. The game of spin the bottle is in full swing. No one is waiting to take turns anymore - a few couples are kissing at once. Much IMMATURE GIGGLING.
Guys, the girl, Julie, she's freaking out. Anyone friends with Julie? No one responds. ANGLE: THE SPIN-THE-BOTTLE BOTTLE As someone spins it. The ones who aren't kissing are exclaiming childish things like, "Now ya have to kiss!" and "On the mouth!"
Xander! Willow has entered. She rushes up to Xander.
Ghost boy, drowning in the tub. I tried to save him but, being a ghost already… well, I was way too late.
A ghost? What's the deal, is every frat on this campus haunted? And if so, why do people keep coming to these parties? 'Cause it's not the snacks.
I don't know- Tara joins them, a little hesitantly.
Tara. How… how are you? Tara takes Willow's arm gently, a sign she's okay. But still a little freaked by what happened to her.
I'm okay, but… I don't like it here. This house. I think we should go. ANGLE: THE BOTTLE Spinning again. Only this time it speeds up… faster and faster. The players CHATTER grows more excited. Xander, Willow and Tara turn just in time to see… POP! THE BOTTLE EXPLODES, SPRAYING SHARDS of glass all over the players. They SCREAM. Willow and Xander turn to each other, thinking the same thing.
We need Buffy. They grab each other and rush out of the room as it erupts into panic. INT. LOWELL HOUSE -BALCONY - NIGHT (NIGHT 3) Xander, Willow and Tara jump the last few stairs and arrive outside Riley's door.
(yelling) Buffy?
Buffy! Riley!? Xander tries the doorknob. Locked. THE CRACK UNDER THE DOOR Is closing over with tiny vines, spreading like creepy fingers from under the door. We watch as the DOOR itself FUSES into the doorframe, becoming one. Sealing off the room.
BUFFY!! They POUND on the door… INT. RILEY'S ROOM - NIGHT (NIGHT 3) And all we hear is very distant KNOCKING. So distant, Buffy and Riley don't seem to hear it. They're completely absorbed in each other. Fingers and limbs entwined. They kiss, slowly, softly. Gazing into each other's eyes. But they've grown a tiny bit pale. They're oblivious to everything else - because for them, everything else has transformed… THE ROOM is an eerie, empty space of BLACKNESS and NOTHINGNESS. We PULL SLOWLY UP for an IMPOSSIBLE BIRD'S EYE BIEW of the room. Up and up, until their bed is only a tiny rectangle in the center of FRAME, surrounded by nothing. BLACK OUT.
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| Act Three |
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INT. RILEY'S ROOM - NIGHT (NIGHT 3) IMPOSSIBLE BIRD'S EYE BIEW. The bed is tiny in a sea of nothingness. We can only HEAR their voices echoing.
Do you want to go back? CLOSE - THEIR FACES Riley on top of Buffy. Then rolling over. Buffy on top of Riley.
Never. It's like they're floating together. It's so quiet… INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 3) Complete chaos. PARTIERS running and SHOUTING frantically. Willow and Xander pound on Riley's door.
Buffy! Riley!
BUFFY! No answer. Xander tries yanking the door open. Doesn't budge. He tries to shoulder it open.
We gotta get them out of there. As they try forcing the door open, Tara's attention is drawn to something O.S. She quietly looks out over the balcony. Above the chaos of people evacuating, there is TARA'S POV - THE CHANDELIER TINKLING. A moment of calm before - SLAM! All three of tem are THROWN to the floor. The entire house SHAKES VIOLENTLY, earthquake style. INT. LOWELL HOUSE - DOWNSTAIRS HALL - NIGHT (NIGHT 3) FRANTIC PARTIERS rush to get out. In the middle of the hall, like a rock in river rapids, we find Graham. Unable to move - body paralyzed by fear. Beads of sweat are forming on his brow. Fighting his way upstream, we see Forrest.
Graham! Quit standing around - help get these people to safety!
(babbling) Touch not the impure thing…
What?!?
… for ye shall perish. Find salvation in the cross of our lord and saviour…
Right. Forrest grabs Graham, positions him to face the mirrored elevator door. The green light falls over their faces.
Retinal scan accepted. The door slides open. Forrest takes a step in, trying to pull Graham with him, but he won't budge. Forrest resorts to a PUNCH to the head. Then one hard yank, and he's got Graham inside. The doors close and they're gone. In the hall, the last straggling PARTIER runs frantically out. Then THE SHAKING SUBSIDES - it's eerily quiet… And Anya appears at the end closest to the foyer. She looks down the hall and sees… A GIRL (14). Pale and thin. SCREAMING in terror as she runs straight for Anya. Anya's eyes widen - and the girl RUNS RIGHT THROUGH HER! DISAPPEARING on the other side. Anya stands, mouth gaping open. Looking at her body that was just used as a doorway. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) HOUSE IS SHAKING again. Spike grips the arms of his chair, enjoying the ride.
Well. This party's starting to liven up after all… WHIP-WHIP-WHIP… Leather straps FLING out of nowhere and whip around Spike's mouth, torso, wrists and ankles, binding him to the chair. Spike's eyes snap open. His ferocious GROWL is muffled by the strap. He cannot budge. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 3) House still SHAKING as Willow, Tara and Xander stumble down the last few stairs, clutching the banister. They meet up with Anya in the foyer.
Anya, we gotta get out of here. Come on… He grabs her by the arm and leads her towards the door. BOOKS FLY off nearby shelves, pummeling them from the side. They hunch over, shielding their heads. They run out. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) Spike struggles against his restraints. Finally, with a big burst of energy and a GROWL, he BUSTS OUT, tearing the straps. INT. LOWELL HOUSE - FOYER - NIGHT (NIGHT 3) Xander, Anya, Willow and Tara are almost at the door when JULIE appears before Xander. She's hysterical. Her scalp is a BLOODY, HACKED-UP mess with a few clumps of hair.
Help me… oh God, help me… Xander barely has time to react. He just grabs both her arms, pushes her towards the door. She shuffles and stumbles up the step to the door, Xander behind her. INT. INITIATIVE - NIGHT (NIGHT 3) There's no shaking down here. But chaos aplenty. Forrest rushes to where TECHIES are scurrying around computer systems. Graham a step behind. They find a SCIENTIST in a lab coat.
We got trouble upstairs. Some kind of disembodied presence in the house. Forrest looks over the equipment - LIGHTS FLASHING, IRREGULAR BEEPS, etc.
We've been paging you.
Whatever this thing's outputting must have scrambled all frequencies.
Guard Section Two. Level five precautions. If the cell door locking mechanisms malfunction, you know what to do.
Got it. Forrest moves off, then doubles back to get Graham.
You with me?
(head clearing) I'm good.
Let's lock it down. EXT. LOWELL HOUSE - NIGHT (NIGHT 3) Xander, Willow, Tara, Spike and Anya stagger out of the house, together. A few terrified stragglers turn off in several directions.
Wait! We have to go back!
Why?
Because Buffy and Riley are trapped.
So? She's the slayer, he's a big soldier boy. What do they need you for?
Look around, Anya. There's ghosts and shaking and people going all Felicity with their hair… We're fresh out of super-people and somebody's got to go back in there. Now who's with me?
I am. SPIKE grinds out his cigarette and steps boldly forward.
I know I'm not first choice for heroics - and Buffy's tried to kill me more than once - and I don't fancy a single one of you all - but: Long beat while Spike thinks…
Actually, that all sounds pretty convincing. (beat) Think Asian House is still open? He picks up a plastic cup from the ground, wipes out the inside with his sleeve and walks off into the night. Xander looks to Anya.
Xander, let's get out of here.
You want to bail? Fine. I'm going back in there and I'm not coming out 'til I bring my friend with me. He runs back through the door only to be THROWN ten feet back out by an INVISIBLE FORCE - drops on the front path. Looks up painfully.
Or it could be Watcher-Time.
We'll got to Giles'.
Now wait- he's not there. He was going to the Espresso Pump.
Right. He told us not to come. Said he wanted some grown-up time. INT. ESPRESSO PUMP - NIGHT (NIGHT 3) From OFF SCREEN, we hear a LIVE ACOUSTIC GUITAR. We PAN ACROSS PATRONS sipping coffee and listening appreciatively. Just as the guitar intro finishes, we FIND THE VOCALIST as he begins singing. It is Giles. REVERSE ANGLE: Xander, Anya, Willow and Tara all look stunned. Their mouths may not be hanging open, but… then again maybe they are.
Oh…
(shock) …Wow…
Um, could we go back to the haunted house? Because this is creeping me out. Reverse angle: we see they're watching Giles - SINGING before a small, older, respectful audience. Back to them:
Does he do this a lot?
Sure, every day the earth rotates backward and the skies turn orange.
Now I remember why I used to have such a crush on him.
He is pretty good…
His voice is pleasant.
What?
Come on, it's a little sexy…
I'm fighting total mental breakdown, here, Will. No more fuel on the fire, please. On stage, Giles notices the Scoobies staring. His fingers go out on him and he fumbles the last, jarring chord. Song over. Scattered applause. Giles makes his way to the group.
What are you doing here? I believe I stressed that you were not to come here.
Sorry to step behind the music, but…
It's Buffy. INT. LOWELL HOUSE - NIGHT ( NIGHT 3) The house is empty now. We can HEAR the ECHOEY SCREAMS of MANY CHILDREN. But we can see no one. Camera CREEPS EERILY through the house, as it did in Act One. We see the foyer, the stairs with its rattling banister. Up on the balcony, VINES have crept along the ceiling and have begun to stretch to the railing. We come to rest facing Riley's door which is now COVERED IN VINES. INT. RILEY'S ROOM - NIGHT (NIGHT 3) Riley and Buffy. Still kissing, absorbed in each other. But now they're pale. Breathing heavily out of exhaustion rather than sexual excitement. And starting to get scared.
You're too far away from me.
I'm right here.
You have to keep touching me. INT. UC SUNNYDALE LIBRARY - NIGHT (NIGHT 3) The library's dark and empty. Except we FIND… In a quiet corner behind the work stations, Giles sits with Xander, Anya, Willow and Tara around a table. Books splayed on it. Willow and Tara study a thick book of news clippings.
And when you called to Buffy and Riley, they didn't cry out, or respond in any way?
No. They're prob'ly dead.
Unless they were too busy doing it to answer.
Doing what?
You know, for a god of acoustic rock you're kind of naïve.
Well I didn't think you meant - in the middle of all that, do you really think they'd be keeping it up? Oh, for a different phrasing…
That's the thing. People all over the party were starting to act weird… sexually. Tara reacts quietly to that remark.
In what ways?
(avoiding) You know. Ways.
(thinks) It could be some form of succubi, or a satyr's prank. It could even be energy coming from the lab beneath Lowell fraternity.
It wasn't always a frat. Look. Willow slides over the book.
(reads) "Between 1949 and 1960, the Lowell … 'Home for Children' … housed upwards of forty adolescents: runaways, juvenile delinquents, and emotionally disturbed teenagers from the Sunnydale area.
Children? Did any of them… um… die in there? Willow scans the article.
If there were any deaths… then perhaps we have a fairly standard haunting.
(shakes head 'no') Doesn't say. It's really just about the old house director, "Genevieve Holt … Sunnydale Children's Aid… thirty years of community service, giving disadvantaged kids the love and care they deserve."
When did she die?
She didn't. INT. GENEVIEVE HOLT'S APARTMENT - NIGHT (NIGHT 3) Xander, Anya and Giles enter. Taking in the many crucifixes hanging on the walls. They are led by… GENEVIEVE HOLT A scrunched up woman of 80. In her conservative nightgown with a robe tied tightly around her. Pale skin and frizzy white do, she looks like a ghost herself.
No, no, I don't mind at all. I was up. Early morning prayer, of course. They follow her into the dark cramped living room that wouldn't be so cramped if it weren't for the many Virgin Mary statuettes and other religious idols. The walls are also laden with icons. A dim table lamp is the only light in the room.
And I like talking about my kids. I still call them that. My kids.
I guess you were like their mother. Did everything for them.
Oh yes. I fed them, clothed them, educated them in the way of the Lord. I was given a medal.
Yes, that's wonderful. Congratulations. (beat) Um, this may seem strange, but, did you ever notice any… odd disturbances? In the house?
I don't understand.
Like, furniture moving around… by itself. Objects appearing out of nowhere. Or, perhaps you'd think you saw a person one moment - but then they were gone? Inexplicably?
Well, that sounds like crazy talk.
Yes, I know it does. Um… then forgive me for asking this but… of the children you cared for, were any of them ill? Or, did anything… happen to them?
Some got the flu and such. No one died if that's what you mean. The engraving on the medal says how good I was with the children.
Yes.
Treated them as I would have my own flesh and blood. Gave them hugs and praise when they were good. Punished them when they were dirty.
Kids will be kids. They like to play in the muck. Mrs. Holt regards Giles like he's daft.
You… didn't mean muddy-dirty?
My kids didn't think I knew. But I did. The group regards each other, getting creeped out.
Very, uh, perceptive of you.
Without me, they would have been shut out of the Kingdom, lost to lust.
But you "helped" them.
(nods) The girls fell to vanity more than the boys. I'd see them preening like Jezebel, doting over their pretty hair…
(gets it/angry) So you'd hack it off.
(sternly) I'd remove the temptation to admire themselves. They were better for it.
What about the bathtub? Something happened there.
I performed Baptisms for the most unclean. Those who were tainted with impure thought and deed.
You held them under. Mrs. Holt stands now. Shaking with anger.
They needed to be reborn. You choose to pass judgment on me? Giles stands too, his anger as strong as hers.
Well, someone ought to. You traumatized and abused these children, who are now, may I add, undoubtedly extremely disturbed adults. You ruined lives, Mrs. Holt. Not to mention the fact that what you did has now manifested itself as a murderous presence that threatens still more lives. You have a great deal to answer for!
I refuse to listen to this when I can smell the sin on each and every one of you!
Yeah! You smell sin? Well, let me tell you something, lady. She who smelt it, dealt it! (Off Giles' look) It's like what you said, but faster. INT. HALLWAY OUTSIDE OF MRS. HOLT'S APARTMENT - NIGHT 3 Where Giles, Anya and Xander are gathered.
(genuinely angry) This totally feeds into my 'old people are creepy' theorem.
I don't get it. I mean, those kids were tortured. But they weren't killed, so where are the ghosts coming from?
I don't believe there are any ghosts.
But one ran right through me-
Not a ghost, an apparition. I think we're dealing with a kind of Poltergeist, a cluster of them in fact, born out of intense adolescent emotion and sexual energy.
Both of which were totally pent-up during Mrs. Holt's reign of repression.
So, with Buffy and Riley having, you know, acts of nakedness 'round the clock lately… Maybe they set something free. Like a big bursting poltergasm.
(working it out) Yes. And now the poltergeists are drawing more and more of that energy out of them. Feeding on it. Buffy and Riley are powering this whole thing.
Okay, they're the battery in the boo factory. So, what happens when the battery is drained?
(a beat) They die. BLACK OUT.
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| Act Four |
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INT. RILEY'S ROOM - NIGHT (NIGHT 3) Riley rolls off Buffy, onto his back. They're both exhausted. Pale, weak. Gaunt.
Don't… We catch a glimpse of browning teeth between chapped lips as they speak.
Don't stop. Buffy pulls Riley back to her.
Never stop touching me. INT. BUFFY AND WILLOW'S DORM ROOM - NIGHT (NIGHT 3) Willow and Tara place three white candles on a table in the center of the room. It's been dressed with a deep red cloth. Three chairs circle it. A couple of old books lay open. Anya watches Xander rummage through weapons in Buffy's slayer supply trunk. Selecting and rejecting mace, crossbow …
What good are weapons against disembodied spirits, Xander? They've got no ass to kick.
She's right. Just wait outside the house.
And we'll bind the spirits long enough for you to get Riley and Buffy out of there.
How much time you buying us?
Could be tricky. We're calling upon the communal spirit of a certain time and place. (shrugs) I'm more comfortable with dead people. Xander finds what he's looking for - a pair of MACHETES.
Let's go. He hands one to Anya. She takes it. It's so heavy it pulls her arm out of frame. EXT. LOWELL HOUSE - NIGHT (NIGHT 3) Xander stands on the porch, gazing up at the house. We might think he is alone, until…
What do you feel? Anya is at the front door, her palm pressed to it.
Upset. Afraid of being without you. And a little hungry.
I mean about the house.
Oh. Still haunted. INT. BUFFY AND WILLOW'S DORM ROOM - NIGHT (NIGHT 3) Candles illuminate their faces from below. Giles, Willow and Tara sit around the table holding hands. Glancing at each other, awaiting a sign. Tara leads the séance.
Give me your hands. Form a circle. (closes her eyes) Children of the past. Spirits of Lowell. Be guided by our light. Come forth and be known to us. A pause. Nothing happens.
How will we know when it works? They open their eyes and we reveal, they're surrounded by… A RING OF CHILDREN (AGED 12-17). They appear to be solid beings, but their skins is so pale it's almost grey-ish white. They have dark circles under their eyes. They stare blankly forward.
(wide-eyed but deadpan) We'll know. EXT. LOWELL HOUSE - NIGHT (NIGHT 3) The door creaks open. All by itself. With a look of renewed apprehension, Anya looks to Xander.
House is clean.
Let's go. (beat) You first. They enter … INT. LOWELL HOUSE - FOYER - CONTINUOUS (NIGHT 3) The place is still and quiet. Littered with remnants of the abandoned party. Anya and Xander stop just inside the door. Looking up, frightened yet fascinated by what they see. ANGLE - THE STAIRS AND BALCONY Are overgrown with BRAMBLING. It now extends from Riley's door, halfway down the staircase, weaving between balusters and dripping over the rail on the balcony. They rush forward with a purpose.
We need to work fast. Never know how long before the munchkins get homesick.
Or the human battery conks out. Halfway up the stairs, they stop. Vines and branches too thick to squeeze through and too thorny to climb.
Watch your fingers. WHACK! With ax and machete, they begin to hack through it. INT. BUFFYA ND WILLOW'S DORM ROOM - NIGHT (NIGHT 3) Mid-séance. They are still surrounded by ghost-children.
We implore you. Be still.
Find it in your hearts to leave our friends passage.
Transform your pain. Release your past. And… uh… get over it. Willow cringes, knowing that wasn't too official sounding. INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 3) Brambling covers the door to Riley's room. Anya makes a small slit in a vine after slashing with great effort. She stumbles back a step, exhausted.
You okay? Insulted, Anya raises her machete and brings it down hard, slicing a branch clean in two. It allows Xander to duck through a hole and emerge next to the door. He yanks a couple vines out of the way, and the door is clear. As he reaches for the doorknob, a breeze blows their hair - INT. BUFFY AND WILLOW'S DORM ROOM - NIGHT (NIGHT 3) A GUST OF WIND blows through the room. We HEAR THE CHILDREN SCREAM (though we don't see them open their mouths). But their eyes roll back in their heads, their heads tilt back.
Find here the serenity you seek, the peace you - But the TABLE IS UP-ENDED. Their hands are ripped from each others'. The circle is broken and … THE CHILDREN VANISH. The wind abruptly stops. The screaming stops. Papers settle.
What's happened?
We lost them.
Xander… INT. LOWELL HOUSE - BALCONY - NIGHT (NIGHT 3) WE HEAR CHILDREN SCREAMING (voices only, no visuals). Xander's hand is violently wrenched off the doorknob and he's knocked backwards, landing on the floor.
Xander! She moves to help him when he's YANKED across the floor by an UNSEEN FORCE. Kicking and YELLING, he's dragged through the bathroom door. Once inside, it SLAMS shut.
Xander!! Again, she leaps forward to open the door, but she is THROWN backwards through the air. Crashing through railing, FALLING OUT OF SIGHT. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) ANGLE - BALCONY As Anya sails over the edge, falls down and hits the coffee table hard. Railing bits fall on top of her. She's not moving. INT. LOWELL HOUSE - BATHROOM - NIGHT (NIGHT 3) Xander is DUNKED and held under the full bathtub by an unseen presence. He SPLASHES and POUNDS the tub walls. Panicking, he SHOUTS unintelligibly under the water and GASPS for air, but in the process, only swallows water. XANDER'S POV - THROUGH THE WATER A FEW CHILDREN look down on him with dead stares. RESUME XANDER Struggling harder to get out, to no avail. He SCREAMS. INT. LOWELL HOUSE - SITTING ROOM - NIGHT (NIGHT 3) Anya slowly stirs. Obviously in pain, but she manages to stand and steady herself. With all she has, she runs through… INT. LOWELL HOUSE - FOYER - CONTINUOUS (NIGHT 3) And back up the stairs, using the banister to pull her up.
Shut up! Repressed crybabies. Then a VINE SHOOTS STRAIGHT UP, PIERCING the palm of her hand. She SCREAMS in pain. And then in complete anger, pulls the whole length of it back out. Climbs the stairs again without touching the banister. INT. LOWELL HOUSE - BATHROOM - NIGHT (NIGHT 3) Xander's close to succumbing. HIS POV - FROM UNDER WATER A blurry figure appears over him. Reaches in and yanks him free. IT'S ANYA. Xander coughs up some water and collapses in her arms.
Come on… They get back up and go to - INT. LOWELL HOUSE - BALCONY - CONTINUOUS (NIGHT 3) To get back to Riley's door, Anya and Xander must dodge heavy, THORNY VINES that SHOOT across the balcony and up and down from the floor and ceiling. Jumping and ducking, narrowly missing death, and they finally make it back to Riley's door. Xander and Anya go for the doorknob at the same time. They look at each other, both gripping the knob, and the other's hand. A beat, and they turn it. At the same time, shouldering it open - SLAM! One big push, it opens. Xander and Anya's eyes widen in fear and anticipation. The CHILDREN'S SCREAMS reach a deafening pitch and are then sucked away as… INT. RILEY'S ROOM - NIGHT (NIGHT 3) A Matrix-y ZOOM - and the room reappears around Buffy and Riley. They're still in bed as they RISE FAST INTO FRAME. Walls reappear. It's still dark in there, but we can see normal bedroom furniture around them. Riley sits up, squinting at Xander and Anya. Buffy sits up too, wrapping a sheet around her. Both are exhausted. Long awkward beat. Then:
Xander! Don't you knock? Xander and Anya regard each other, wet and dirty and exhausted.
I can't believe it really happened. INT. ROCKET CAFÉ - DAY ( DAY 4) Buffy, Riley, Willow, Xander and Anya sit at the Rocket Café. Debriefing.
I just had no idea. It's so creepy… (beat) He was really singing?
I'd say it was more like crooning. (to Anya) If we grow old together? Remind me to skip the midlife crisis.
Okay.
Come on, you know it was kinda sexy.
Please stop saying that. I'm willing to offer cash incentives.
We're just lucky no one got injured. No thanks to us.
Don't be too hard on yourself.
He's right, Will. If Riley and I hadn't gotten so… wrapped up in each other … none of this would have happened.
True. (to Riley) Feel shame.
My girlfriend - mistress of the learning plateau.
Really, it wasn't your fault. You were under the influence of powerful Magicks.
We were like zombies. I had no control over myself at all.
It must've been horrible. Beat. Buffy and Riley share a brief look. Then recover.
Yes. Horrible.
Uh huh.
Yeah. BLACK OUT.
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