6x06 Script created with Final Draft by Final Draft, Inc.
[bottom] TEASER
FADE IN:
1 INT. GREYHOUND BUS. NIGHT. 1
CONNOR and SONIA are fast asleep on the bus, Sonia leaning
her head on Connor's shoulder, his jacket lain across them
both. The bus hits a pothole and BOUNCES, waking up several
passengers, including Connor.
He looks around and blinks as he comes to, then glances down
at the still fast asleep Sonia and grins. He peers out
through the bus window but it's dark outside, just the odd
light scrolling past.
Sonia stirs and sits up, her hair sticking up. Connor manages
not to chuckle at it as she yawns and looks over to him with
a tired but happy smile.
SONIA
Hey.
CONNOR
Good evening. You get to sleep
okay?
SONIA
Yeah, out like a light soon as my
head hits the pillow! Although in
this case, the pillow was your
shoulder, which was also
surprisingly comfortable… Can I
borrow your arm for when I can't
sleep?
CONNOR
I'm sure we can come to an
arrangement!
She grins again and reaches up to get her bag down from the
overhead luggage rack, rooting noisily through it.
CONNOR (cont'd)
What are you looking for?
SONIA
The rest of that food we got
earlier, I'm starving!
CONNOR
(raises eyebrow)
You just woke up!
Sonia throws him a look, as if to say 'and?'
As Sonia starts retrieving some greasy wrapped food, we walk
back up towards the rear of the bus to see SKYE, a teenage
girl with black plaited hair, a punky look to her outfit and
a cell phone in one hand as she makes a call.
After a few beats, she makes an irritated click with her
tongue and fishes out an address book from her jacket pocket,
checking the number and dialling again.
2 INT. HYPERION – LOBBY. NIGHT. 2
The phone on the reception desk is ringing, but there's
nobody there to answer it. A shower can be heard running
upstairs, and as the phone rings on the main lobby doors open
to reveal ANGEL, back from his trip to Cleveland.
He hears the phone and dashes over.
ANGEL
Angel Investigations, we help the-
(beat)
Hello?
3 INT. GREYHOUND BUS. NIGHT. 3
Skye is tucking her phone away, looking less than happy.
4 INT. HYPERION – LOBBY. NIGHT. 4
Angel shrugs and puts the phone back down as NINA appears at
the balcony overhead, wet from the shower.
NINA
Oh, hi, Angel! Did I just hear the
phone ringing?
ANGEL
Yeah, they'd already hung up.
NINA
How was Cleveland?
ANGEL
Dark. And it didn't smell great,
either. I'll tell you about it
later.
NINA
Did you give Buffy that scroll
thing that got posted here?
ANGEL
Yeah, I did. It's up to her what
she makes of it now.
NINA
Okay. Well, just let me finish up
and I'll be right down!
She disappears back into the bathroom as Angel looks round
the lobby. Something occurs to him.
ANGEL
(calls back upstairs)
Is Connor here?
NINA (O.S.)
Uh, not yet, he and Sonia had to go
run an, er… errand, they should be
back any minute.
ANGEL
Oh, okay.
(looks round lobby)
I was kind of hoping for a bigger
welcome…
We cut away from Angel to:
5 INT. BUS STATION. NIGHT. 5
The Greyhound pulls to a stop with a HISS of air brakes, and
the doors swing open to let the passengers off.
Connor and Sonia disembark, bags slung over their shoulders,
chatting.
CONNOR
So I'm gonna head back to the Hotel
now, I think Dad'll be home by now.
SONIA
Yeah, I'd better get back to
Taylor, he's probably started
putting dragnets in the river
looking for me by now!
CONNOR
So…
SONIA
Yeah…
An awkward beat. Then, with a last smile, the two turn and
walk their separate ways. As they leave the frame, Skye steps
into view, looking up and down the bus station's interior.
SKYE
(mutters)
'Go to LA, find Angel,' she says,
'he'll be able to help,' she says.
Yeah, right…
With a last glance around the station, she hefts her bag up
onto her shoulders and heads away.
But she doesn't see the SHADOWY FIGURE watching her from a
dark corner of the station, who surreptitiously lifts a
walkie-talkie from his pocket and speaks into it.
SHADOWY FIGURE
It's me. Tell Mr. Kitridge that
she's here.
He clicks the handset off again and watches Skye walk away
for a beat, before we:
BLACK OUT:
END OF TEASER
ACT ONE
FADE IN:
6 EXT. STREET/HYPERION. NIGHT. 6
Connor heads into frame and up towards the front steps of the
hotel. He sees Nina sitting out there and sits down beside
her.
CONNOR
Hey.
NINA
Hi, honey. Good trip?
CONNOR
Yeah, we sorted everything out.
NINA
So what was it? Is Sonia okay now?
CONNOR
Oh, yeah, just some crazy ex
boyfriend using voodoo to turn her
into his zombie slave girl.
NINA
(raises eyebrow)
Huh.
(beat)
So did she thank the hero of the
day with a kiss at all?
CONNOR
(sighs)
Uh… no, no she didn't.
NINA
There'll be other times. I can tell
she likes you, Connor, you just
need to hang in there.
CONNOR
Yeah, well… we'll see. Is Dad back?
NINA
Yeah, he's inside. I was just
getting some air and taking a look
around. I mean, I know I wasn't
blind for very long, but-
CONNOR
But even this place looks better
afterwards, right?
She smiles at him, and with a nod he gets up and heads
indoors. Nina stays on the steps, soaking in the view.
7 INT. HYPERION – LOBBY. NIGHT. 7
Connor walks into the lobby and drops his bag down on the
counter as Angel heads down the stairs, looking happy to see
his son again.
ANGEL
Hey, Connor!
CONNOR
Hi. Sorry for running off without
saying anything, I know you-
ANGEL
Don't worry about it. Nina told me
you and Sonia had to go take care
of something?
CONNOR
Yeah. It's… well, you know. Taken
care of.
An unspoken moment as the two boys look at each other – Angel
knows there's more to this story but is glad just to have
Connor back for now.
CONNOR (cont'd)
How was Buffy?
Angel is about to answer when Nina walks back inside.
ANGEL
(evasive)
Uh, well, she was, you know… fine.
CONNOR
'Fine'? Is that it?
Angel tries to indicate that Nina's walked back in, and now
really isn't the time to discuss his dad's ex, but Connor
doesn't pick up on it.
CONNOR (cont'd)
I mean, come on, Dad, you two go
way back, seeing her again after
all this time must have been-
NINA
Yeah, Angel, how was that? You
kinda avoided the subject earlier…
Angel looks like he's hoping the ground will open up as Nina
steps past Connor. She winks at him to play along.
ANGEL
She- I mean, we didn't- I didn't
get time to- hadn't we better
unpack your things, Connor?
NINA
(grins)
You are so easy to wind up!
She walks past Angel, patting him on the shoulder. He sighs
heavily and looks back to Connor.
CONNOR
We'll talk later.
ANGEL
(relieved)
Yeah, later is good.
We leave Angel out on the balcony and cut to:
8 INT. BAR. NIGHT. 8
As The Tea Party's "Temptation" plays, we pan across the busy
downtown bar and pick up Skye, alone at the counter as she
leafs through a small map of the city.
A shadow falls across her, but she doesn't look up.
SKYE
Whoever you are, I'm busy, so this
can wait.
MS. COLLINS (O.S.)
Oh, I don't think it can, sweetie.
Skye freezes and slowly looks up – standing over her is one
of her old teachers from Cleveland High, Ms. Collins.
SKYE
(cold)
You again. Haven't you got tired of
trying to convert me yet?
Ms. Collins smiles and absently buffs her hair as Skye's look
darkens and she goes back to her papers.
MS. COLLINS
He won't help you, you know. Buffy
may have sent you all the way out
here to find him, but what do you
think is going to happen when you
walk through his doors? That he'll
welcome you with open arms, let you
into his little Fang Gang or
whatever you want to call them?
You're evil, Skye. You're a killer.
There's a demon inside you, just
like every other beast and fiend
lurking out of sight, waiting in
the shadows. That's where you
belong.
SKYE
(hisses)
Leave me alone!!
As far as the rest of the bar is concerned, Skye's shouting
at empty air – they can't see Collins next to her. Skye
realises this, and with a few furtive glances round hunches
back down, trying not to attract any more attention to
herself.
Ms. Collins leans in close and whispers into her ear.
MS. COLLINS
Talking to yourself, now, too?
That's one of the first signs of
going crazy, you know. So is having
conversations with dead people!
SKYE
(controlling her anger)
I don't want to hear it. Whatever
lies you're trying to cram into my
head, it's not gonna work. I'm a
Slayer, and my job in this world is
to wipe out everything that works
for you. And one day…
(glares at Collins)
… one day I'm gonna get a chance to
wrap my hands round your neck, and
then I'll shut you up for good.
MS. COLLINS
(unfazed)
Very dramatic, Skye, if I was
corporeal I admit I'd be mildly
concerned. Thing is, Miss Underwood
– that is what you're calling
yourself now, isn't it? Trying to
change your surname so nobody can
trace you back to your family? Did
you really think I wouldn't be able
to find them and have them killed
if I wanted to?
Skye closes her eyes, not wanting to hear this. A tear rolls
down her cheek as she turns back to Ms. Collins.
SKYE
(stern)
I want you… to get out of my face.
Ms. Collins smirks but doesn't look like she's going.
BARTENDER (O.S.)
Hey, kid, listen…
Skye looks up at the bartender, but when she looks back, Ms.
Collins has vanished. Skye throws a few glances round, then
sighs and turns back to the barkeep.
SKYE
What?
BARTENDER
It's like this. I'm cool with you
being here even though you're not
twenty-one, long as you stay on the
Cokes, but my boss? He's gonna be
here any minute and he'll freak if
he sees a minor in here. So sorry,
but…
SKYE
But you're kicking me out.
The bartender nods and makes a 'sorry, kid' shrug at her.
Skye scoops up her bag, stuffs the papers into it and hops
off the bar stool. A few clients watch her exit.
9 INT. FANTHORPE'S ORPHANAGE. NIGHT. 9
Inside the brightly-coloured classroom is a small group of
kids, chattering and playing quietly.
Sat apart from them in one corner is JOE, a brown-haired six
year-old boy who doesn't seem to be concerned at his
isolation. He's staring intently down at a pad of paper in
front of him, a mound of crayons piled beside him.
Watching them are SANDRA and ANNIE, the two women who run the
nursery. Sandra is middle-aged and tall with blonde hair,
while Annie is short, fat and pretty unpleasant.
SANDRA
That can't be normal. All he ever
does is just stare at those papers!
ANNIE
That's what you get with these
foster kids. Never know where
they've been brought up, or what
kinds of nonsense has been filling
their heads while they've been
shunted from one home to the next.
We need to keep an eye on that one.
SANDRA
Oh, I wouldn't say that, he seems
harmless enough-
ANNIE
At first! They always do. Then
those are the ones who grow up into
troublemakers and firestarters!
I've seen it a hundred times.
Joe pauses for thought, looking round the room.
ANNIE (O.S.) (cont'd)
He'll bring nothing but trouble on
himself.
Something is happening on the paper – writing and drawing is
starting to appear on it, without Joe touching it at all! He
glances across at the pile of crayons, picks out a red one,
and holds it tightly in one hand – and the drawing on the
page changes to red!
Joe smiles as he watches the colours and lines dance on the
paper, none of the other kids being near enough to see what's
going on.
10 EXT. LA STREET. NIGHT. 10
Jacket pulled tight against the chill wind, Skye walks down a
quiet and lonely street, a sheet of paper in one hand as she
follows its directions.
She stops at the end of the street, looking down two
identical roads and then down at her map – she's lost.
With a grunt of annoyance, she flips the map over her
shoulder and starts walking.
She doesn't see the three people tailing her, sneaking
through the shadows and closing in on her.
Skye walks on but then slows down and stops, turning slowly
round to look behind her. She's sensed something, she just
isn't sure what.
After a beat, she starts walking again, but we see two dark
shadows dash across the frame, and she freezes, spinning on
the spot, fists up and ready.
SKYE
Okay, come on out! I've had a
really long fricken day, and I just
wanna get this over with so I can
find this stupid hotel, and-
VAMPIRE #1 (O.S.)
Man, you're full of fire, ain't ya,
little sister?
From out of the shadows step three VAMPIRES, long, straggly
hair, sneering with vamped-out grins as they size up their
next meal.
VAMPIRE #2
I like the ones who put up a fight.
They taste like salsa!
VAMPIRE #3
(beat; to Vamp #2)
Say what?
Vampire #2 shrugs, and then as one the trio converge on Skye.
She grins as she takes a step back, then with one quick swing
draws a stake, holding it up and ready.
The vampires all pause, glancing at each other.
SKYE
That's right! I'm a Slayer. Who
knew?
VAMPIRE #1
(shrugs)
We see a lot of 'em around.
VAMPIRE #2
(proudly)
I killed one last month!
VAMPIRE #1
So looks like you get to be Number
Two, hot stuff! You ready to play?
SKYE
Ask me that again when I'm cleaning
your ashes off my stake.
The first two Vamps leap to the attack, but Skye's ready, and
with two rapid kicks knocks them both to the ground.
Vamp #3 charges in, but Skye backhands him, and as he
staggers back she stuns him with an uppercut and stakes him
in one fluid motion.
She spins round as he dusts to face the other two. They
exchange worried looks, then turn tail and run.
With an exasperated sigh, Skye gathers up her bag and takes
off in pursuit.
11 EXT. LA – GAS STATION. NIGHT. 11
The two vampires dash across the gas station forecourt with
Skye in pursuit, one slowing down as he passes a civilian
filling up his car.
Vamp #2 knocks the man down with one punch and snatches the
fuel nozzle out of his hands, reaching into his pocket for a
lighter.
VAMPIRE #1
What the hell are you doing?
VAMPIRE #2
Seeing how hot this little tamale
likes it!
Flicking on the Zippo, he sprays fuel from the nozzle and
combines the two to make a huge, very erratic gout of flame.
He cackles as he swings the makeshift flamethrower towards
the incoming Skye.
Skye YELPS and dives to the floor, the heat from the flames
singeing her as she rolls out of the way.
VAMPIRE #2 (cont'd)
(laughing)
Flame grilled Slayer, man! Come on!
The gas station attendant runs for cover as Skye races round
the forecourt, trying to dodge the arm of fire sweeping
lazily after her.
She spots a rack full of sets of discount golf clubs and
grabs one, aiming up above the vampire's head.
VAMPIRE #2 (cont'd)
Sports ain't gonna save you now,
little girl!
Skye just smirks, rears back and THROWS the golf club up
towards the station's roof.
The vampires watch it fly above them – until it hits one of
the large lights overhead which EXPLODES in a shower of
sparks.
Live electrical cables spill down from the roof, landing
squarely on Vamp #2, who shudders and ROARS as the
electricity surges through him. He drops his lighter and the
fuel hose, and the flames die down.
Skye strolls casually over and stakes Vamp #2's quivering
body, before spinning the stake in her hand and standing
before the now-shocked Vamp #1.
SKYE
Pretty enlightening, huh?
Skye grins – and VAMPS OUT! Vamp #1 takes another step back
as Skye reveals her true nature.
VAAMPIRE #1
B-but… you're a- you've-
SKYE
Yeah, I know. Vampire and a Slayer.
Go figure.
She LUNGES forward and stakes him, and he dusts with one last
groan. Skye wipes her stake clean and tucks it back into her
jacket.
SKYE (cont'd)
I think I'm gonna like this town…
She claps her hands together to clean them and starts to walk
back towards the city centre.
She freezes as two black vans SCREECH to a stop either end of
the forecourt, and their doors open to reveal TAYLOR and five
of his squad, armed and not looking in the mood for polite
conversation.
SKYE (cont'd)
Uh-oh…
She starts backing up as Taylor cocks his stake-shotgun and
aims it at her.
SKYE (cont'd)
(off gun)
I should probably warn you, that
won't-
TAYLOR
Can it, vampire. You say one more
word that isn't either 'I,' 'Give,'
or 'Up,' and you're history.
Skye takes a step back, hands raised. Her eyes flick down to
the golf clubs just next to her.
Taylor's men encircle her and close in, weapons ready.
SKYE
So I probably shouldn't say…
In a flash, she's hooked her foot round one of the golf bag's
straps, flipped it into the air and KICKED it towards Taylor,
who can't move before it thwacks into him, sending him to the
floor.
SKYE (cont'd)
… fore!!
She breaks for it as Taylor's men OPEN FIRE, shotgun bullets
and crossbow bolts thudding into the gas station wall behind
her as she sprints for cover.
One of Taylor's men helps him up – and he looks mad. He
points after the escaping Skye.
TAYLOR
Get her!
They all race after her, and from that we:
BLACK OUT:
END OF ACT ONE
ACT TWO
FADE IN:
12 EXT. LA – ALLEY. NIGHT. 12
Skye dashes into frame, scrabbling down an alleyway and
racing towards us, only to see a high wire fence blocking off
the end of the alley.
She skids to a halt and looks behind her – Taylor's men are
just entering the alley, closing fast.
She looks back up at the fence, then hunches down and LEAPS
into the air – jumping far higher than your average girl
would be able to.
She's just swinging one leg over the top of the fence when
the first of her pursuers reach it, and she drops neatly to
the floor and turns to grin at them.
SKYE
Sorry, guys, but I've gotta go find
me an Angel!
She races away as Taylor arrives at the fence, breaking out a
pair of wire cutters and attacking the fence.
13 EXT. LA – STREET. NIGHT. 13
Breathless, Skye races down another uncaring city street,
throwing looks over her shoulder every few steps.
As a result, she doesn't look where she's going and barrels
straight into SPIKE, who drops his two brown paper grocery
bags with a startled shout.
SPIKE
Watch where you're goin,' luv!
He huffs and stoops to pick up his groceries, not having
looked properly at Skye yet as she stands back up.
SPIKE (cont'd)
(mutters)
Bloody kids tearing up and down the
streets… like living in a cartoon!
He stands up and looks across – and makes eye contact with
Skye at last. She looks back. Spike is lost for words, his
mouth opening and closing like a fish.
SPIKE (cont'd)
I… you… er…
SKYE
(frantic)
Please, you've got to help me!
These guys, they're after me, and-
SPIKE
Alright, calm down. Who's after
you?
SKYE
I don't know, these two teams of
guys, they just jumped out of these
vans after I'd dusted those two vam-
(catches herself)
Uh, I mean, after I'd just fought
off those two muggers, and then-
TAYLOR (O.S.)
There!!
Skye looks round, fearful, and steps back so Spike is between
her and Taylor's men.
SKYE
Help me!
SPIKE
Don't worry, pet, that's what I'm
here for.
Spike raises an eyebrow as an out-of-breath Taylor huffs into
frame, rolling his eyes as he sees Spike.
TAYLOR
Oh, great. You.
SPIKE
Feeling's mutual, mate! What's the
ruckus with you and the bird, then?
TAYLOR
The what?
SPIKE
The girl…
Spike indicates Skye, still tensed like a coiled spring and
ready to fight or flee.
TAYLOR
Vampire. I know you like to stick
to your own kind, but we caught her
about to try and burn down a gas
station, so she's our game now.
SKYE
(offended)
Burn down a- hey, now wait a
minute!
SPIKE
(to Skye)
You're a vampire?
She nods, and he turns back to Taylor.
SPIKE (cont'd)
I've got a better idea. Why don't
you and the Banana Splits here turn
round and march back to your little
hidey hole, and let me take care of
this.
Taylor grits his teeth, but then one of his men, listening to
an earpiece, whispers something to Taylor, and he nods back
to him.
TAYLOR
Alright, freak, you're in luck,
we're needed across town. Do what
you want with her, just don't
expect any sympathy if she sets
fire to your ass and uses you for
charcoal.
SPIKE
(wry grin)
Oh, I think I can handle myself.
With a last disgruntled look, Taylor turns and leads his men
away, and Spike turns back to Skye.
SKYE
Thank you, I-
Spike holds up a hand for her to stop talking.
SPIKE
Stop right there. Not another word
till we get back to my offices, all
right? Then you can explain to me
why that wannabe Stallone was so
interested in you!
Spike starts off in the opposite direction, and after a
moment's hesitation Skye follows.
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Script created with Final Draft by Final Draft, Inc.