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This is not an adaptation of the cult film. While the movie spotlighted some of the more entertaining aspects (and an outstanding cast), the novel itself draws life from the thoughts and experiences of its diverse characters.

The story is told in the first person by Reno, Team Banzai's chonographer, who relates events, back-story, witness accounts and even a few science lessons in order to give the reader as complete a picture as possible. The side-bars may seem to complicate things, but the deeper one reads into this book, the more often you begin to wonder if it is a true story. So effective and all-consuming is the narrative--At times like a documentary.

To be certain, there are villains and heros... incredible scientific devices... outlandish individuals who are more colourful than the spectrum. But throughout, we are exposed to profound philosophy, socio-political commentary and even a few rules for living.

Witness the principals promoted by Buckaroo through radio and comic books: "The Five Stresses ... decorum, courtesy, public health, discipline, and morals. The Four Beauties ... beauties of mind, language, behavior, and environment. The Three Loves ... love of others, justice, and love of freedom." [p.20]

Or Buckaroo's paradox: "A scientist, like a warrior, must cherish no view... A 'view' is the outcome of intellectual processes, whereas creativity, like swordsmanship, requires not neutrality, or indifference, but to be of no mind whatever." [p.133]

And some fun with alien names: "...some Lectroids carried regular last names taken at random from a Manhattan telephone book, whereas others ... were evidently translations of Lectroid pictographs... (John Icicle Boy, John Repeat Dance, John Careful Walker, John Thorny Stick, John Mud Head, John Small Berries, John Ya Ya, John Take Cover, John Many Jars) [p.148]

Granted, there is a level of idealism present. But is it so terrible to imagine an organization that strives for "a better world" and is made strong by its many and varied members representing every walk of life? So powerful was this novel that it inspired me to create an electronic public forum for discussion, debate and information exchange in the days before the "World Wide Web."

Not for those seeking light reading, "Buckaroo Banzai" delivers a world and people so real and sincere that you cannot help but ponder the source. I was left feeling empowered and eager to snatch up my chances to make a difference.

Included in this second volume of Season Three scripts are: "Revelations" by Douglas Petrie, "Lovers Walk" by Dan Vebber, "The Wish" by Marti Noxon, "Amends" by Joss Whedon, "Gingerbread" by Jane Espenson (story by Espenson and Thania St. John), and "Helpless" (previously "18") by David Fury. These half-dozen episodes bring us up to the point where Giles is fired by the Watcher's Council, which means in Volume 3 we will see means the next volume (which should have the next five episodes) will begin Faith's slide toward becoming a rouge slayer. Interesting to note that "Amends" which was the episode submitted by Whedon for Emmy consideration from Season Three, and "Helpless," are both entirely "WHITE" shooting drafts: no revisions as in no "BLUE" pages, no "PINK" pages (I know, you cannot tell by the color of the pages in this book, but they are labeled at the top so you can see what was revised and hazard your guesses as to why). This latest volume reaffirms that "BtVS" was rich series where every script has a few choice morsels on which we can subsist while we wallow in despair that the show is now part of cult television history.

The book begins with "When She Was Bad." At the end of Season One, Buffy was killed by the evil vampire known as the Master (albeit just for a minute) and this episode deals with the aftermath of that trauma. Buffy's friends try to find out why she's being such a...er, witch...to them while a group of vampires tries to revive the Master.

The second episode is "Some Assembly Required." Although well-written, it's probably one of the less impressive episodes in the book. It features Buffy and gang trying to find the secret behind grave robbers who now have their sights set on a living person...acerbic queen Cordelia.

"School Hard" introduces Spike and Drusilla, two of the series' mainstay villains (and sometimes hero, in Spike's case). Parent-Teacher Night at Sunnydale High happens to correspond with the Night of St. Vigeous, the day when vampires' power is at its peak. Needless to say, things get a little hairy in what is probably the best episode of the bunch.

Regular guy Xander gets a showcase in "Inca Mummy Girl". He's finally found a girl he likes (who isn't a giant praying mantis). Unfortunately, she's an ancient mummy who must survive by draining people's life force. Is it any surprise that it doesn't end well?

"Reptile Boy" is probably the worst episode in the book. It's still good, but not up to par with the other five. In it, evil frat boys are planning to sacrifice Buffy and Cordelia to a gigantic snake.

And finally, in "Halloween" one of Giles' old friends comes to town, and as a result everyone turns into their costumes - Willow becomes a ghost, Xander becomes a military private, and Buffy becomes a helpless aristocrat from the eighteenth century. It drops hints of Giles' past, which will come back to haunt him later in the season.

Without a doubt, a good buy for anyone who enjoys Buffy or wants to see what the fuss is all about (although newcomers might want to start with the Season One scripts).

"Lie to Me" is, like many season openers, the product of Joss Whedon. As fine as other writers on the show are, I don't think anyone would question that Whedon always remained the King of the Hill. This script provides a marvelous transition from "Prophecy Girl," the Season One finale. Buffy returns to Sunnydale after spending the summer in L.A., and she is obviously reexperiences the trauma of her encounter with and death by the Master. She completely supplants Cordelia as the Queen [word that rhymes with "witch"] of Sunnydale high. Not only is she indifferent to almost everything, she is positively nasty to Cordelia, and engages in an over-the-top sexy dance with Xander that both unmercifully steams him up only to dash him with cold water, and cruelly makes Angel jealous. As Xander and Willow agree, Buffy has always been different, but she had never been mean before. But when vampires kidnap Willow, Giles, Jenny, and Cordelia to perform a ritual to resurrect the Master, Buffy not only saves her friends, but as Xander puts it "works out her issues" by killing all the vampires.

"Some Assembly Required" is one of the weakest episodes in the entire run of the show. When fans are polled on the worst episodes ever, it usually garners one of the highest vote totals. As a rule, Buffy is a highly nonderivative show, but this episode is a fairly lame updating of BRIDE OF FRANKENSTEIN. It does contain one of my all time favorite exchanges. Upon seeing Giles, who is trying to work up the nerve to ask out Jenny Calendar, Xander says: XANDER: And speaking of love . . . WILLOW: We were talking about the reanimation of dead tissue. XANDER: Do I deconstruct your segues?

"School Hard," written by David Greenwalt, is a very good episode, with several memorable moments. I don't think it is quite up to the level of the better scripts later in the year, but it is still extremely fine. Two things make it especially memorable. First, we meet Spike and Druscilla for the first time. Spike's part is especially well written, but reading the script demonstrates just how much James Marster's brings to the role. All the performers bring a great deal, but I believe he adds more to his part than any other performer. The second great thing in the episode is Spike's killing "the Annoying One" near the end of the episode. The episode is also crucial for reemphasizing the nontraditional nature of our heroine. Most heroes are loners, bereft of friends and family, but Buffy is great because of her friends and family. As Spike remarks, "A Slayer with family and friends. That sure as hell wasn't in the brochure."

"Inca Mummy Girl," written by Matt Kiene and Joe Reinkemeyer, continues the pattern of the first season and a half of Buffy, of one very strong script followed by a fairly weak one. This episode isn't as bad as "Some Assembly Required," but it is one of the weakest of the season.

David Greenwalt's "Reptile Boy" is an odd bird: unpleasant story with a bevy of absolutely great lines. If you focus on the story, this isn't a very good episode, but if you focus on the lines, it is great. The opening bit with Buff, Will, and Xander watching TV is a stitch. The episode contains one of the greatest of all Angel/Buffy exchanges: ANGEL: This isn't some Fairy Tale: when I kiss you you don't wake up from a deep sleep and live happily ever after. BUFFY: No. When you kiss me, I want to die.

"Halloween" was the only script that Carl Ellsworth wrote for Buffy, and while it isn't an especially great one, it is definitely a lot of fun. The idea of people becoming who or what they dress up as on Halloween seems a tad familiar, but it is all done in fun fashion. One of the great things about the show is the continuity from one episode to another. On several occasions in the future, Xander's having been a soldier briefly plays a crucial role in plotlines.

So, overall, not nearly as strong a group of scripts as we would see later in the season. Season Two is unquestionably great, but it is on the basis of what came after what we find here. In fact, the greatness would start with the very next script that follows these: "Lie to Me."