True Feelings Script

TEASER
FADE I N:
I NT. THE BRONZE - NI GHT 1 1
I t ' s kar aoke ni ght . The pl ace i s busy, and ver y dar k wi t h
t he st age bei ng ver y wel l l i t . RUPERT GI LES i s t he per son
cur r ent l y t aki ng t he st age. We hear t he cl osi ng chor us of
We Wi l l Rock You . ( Al l song l yr i cs ar e i n CAPS. Al l song
t i t l es ar e i n bol d. )
GI LES
WE WI LL, WE WI LL, ROCK YOU, WE
WI LL, WE WI LL, ROCK YOU, WE WI LL,
WE WI LL, ROCK YOU, WE WI LL, WE
WI LL, ROCK YOU.
Ther e ar e passed l ooks as t he camer a backs up t o WI LLOW
ROSENBERG and BUFFY SUMMERS, and t hen back f ur t her t o
CORDELI A CHASE and HARMONY KENDALL al l despai r i ng.
HARMONY
I know Cor dy, you ar e gonna t hi nk
I aml i ke so t he best .
CORDELI A
( sadl y)
Why?
HARMONY
Let s show t hemhow t o si ng
pr oper l i ke.
Some mi l d cl appi ng i ndi cat es t hat Gi l es has f i ni shed. He
bows on st age.
CORDELI A
Wi cked One Ni ght St and.
HARMONY
( t o her sel f )
Ah, what we need i s someone el se
now I d l ook so si l l y wi t h j ust
Cor dy as backup.
CORDELI A
Excuse me?
HARMONY
( ponder s)
I know t hey r e geeks but -
CORDELI A
You can t be ser i ous - Wi l l ow?
HARMONY
God no! Buf f y.
CORDELI A
( beat )
I mi n.
Cor del i a and Har mony wal k over t o Wi l l ow and Buf f y s t abl e.
CORDELI A ( CONT D)
Fancy a one ni ght st and?
BUFFY
Excuse me?
HARMONY
Mi s- Teeq!
BUFFY
Oh yeah, gr eat . Come on Wi l l ow.
Cor del i a and Har mony exchange l ooks.
WI LLOW
No. I mgood her e. . . er . . . see
Gi l es i s f i ni shed, I pr omi sed hi m
a dr i nk.
BUFFY
Okay.
HARMONY
Yeah, gr eat , what ever . Come on
Buf f y.
Buf f y, Cor del i a and Har mony go up ont o t he st age. Har mony
speaks t o t he MAN at t he si de who nods, and pr esses some
but t ons on hi s machi ne. The i nt r o t o One Ni ght St and comes
on. Har mony st eps f or war d t o begi n si ngi ng.
HARMONY ( CONT D)
J OB DONE, WANNA HAVE FUN, GONNA
CALL MY GI RLS, GONNA GET MY HAI R
DONE, SO I , DRESS TI GHT, WI TH MY
HEELS HI GH, AND I THI NK ABOUT THE
MOVES I M A PULL TONI GHT.
BUFFY/ CORDELI A
WHEN I ROLL UP, OUT FRONT.
HARMONY
GUYS LOOKI NG OVER LI KE THEY WANT
SOME.
BUFFY/ CORDELI A
MAKE WAY, SEXY.
HARMONY
FOR ME AND MY LADI ES.
2.
BUFFY/ CORDELI A/ HARMONY
HEAR THE SOUND OF THE DJ PLAYI NG
OUR J AM, GLASS DOWN, GRAB A MAN,
MOVE TO THE FLOOR I T S TI ME TO
GET DOWN, DI NG DI NG, FI RST ROUND,
HANDS ON MY HI PS AS WE START TO
DI P, CLOSE RANGE, FULL CLI P,
TEMPTATI ONS, SENSATI ONS,
VI BRATI ONS, MY ONE NI GHT STAND.
BUFFY
ACT WI LD, BUT I GOT STYLE, ' CAUSE
I AI N T SI PPI NG I F I T AI N T
CRYSTAL, HI GH CLASS, NI CE ASS,
SPEND YOUR MONEY BUT I GOT MY OWN
CASH.
CORDELI A/ HARMONY
GOOD VI BES, SO RI GHT.
BUFFY
THANK YOU FOR THE DANCE TONI GHT.
CORDELI A/ HARMONY
FEEL FREE, BABY.
BUFFY
KEEP LOOKI NG, CAUSE YOU CAN T
HAVE ME.
MOVE TO THE FLOOR, I T S TI ME TO
CORDELI A
( r ap)
YO, I SAI D GET UP, GET UP, I T S A
ONE NI GHT STAND, HERE I COME
AGAI N WI TH MY RHYMI NG SLANG, I
SAI D, RI DE TO THE RHYTHM AS I
FLI P THI S SOUND, FLI P THI S SOUND,
WE RE GONNA MOVE AROUND, MMMI S-
TEEQ, WE RE COMI NG BACK AGAI N,
LOVE OF THE MUSI C I NSI DE YOUR
MEMBRANE, YO, I M GONNA BURN YOU
WI TH MY LYRI CAL FLAME, SO START
THE GAME, COME FOLLOWME I T S
TI ME TO PLAY, BREAKDOWN.
3.
HARMONY
( back t o si ngi ng)
NOWDON T YOU GO AND GET THE
WRONG I MPRESSI ON, I T S A J UST A
DANCE I M WI TH MY GI RLFRI ENDS
HANGI NG OUT, TO MI SLEAD YOU
WASN T MY I NTENTI ON,
NOTHI NG MORE TO SAY.
The audi ence cl ap a l ot . The gi r l s t ake t hei r bows.
CUT TO:
I NT. ETHAN S APARTMENT - STUDY - SAME 2 2
The at mospher e i s compl et el y di f f er ent . I t ' s ver y dar k and
qui et . We cannot make out much of t hemdue t o t he l ack of
l i ght .
A f i gur e i s si t t i ng i n t he mi ddl e of a ci r cl e of candl es
ETHAN RAYNE. Ther e ar e var i ous bowl s and j ar s ar ound hi m
and t her e s a spel l book i n f r ont of hi m, f r omwhi ch he
begi ns r eadi ng.
ETHAN
( l at i n)
Seni or i l l or ummal umpopul us
Succur r o mi hi par t umhavoc ut
commodo vos Ut t ot us i l l a
unsuspect i ng al i o of , I s
di mensi on may r eper i o suum
peni t us r hyt hmquod musi c,
Ut car men mos f i o or i s of l acuna.
4.
( MORE)
( l or d of t hose evi l peopl e hel p
me cr eat e t he havoc t hat pl eases
you, t hat al l t hese unsuspect i ng
per sons of t hi s di mensi on may
f i nd t hei r i nner r hyt hmand musi c
t hat song wi l l become t he
expr essi on of wor ds)
BLACKOUT.
END OF TEASER
5.
ETHAN ( CONT' D)
ACT ONE
FADE I N:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY - MORNI NG 3 3
School has not begun yet . Buf f y, Gi l es, Wi l l ow, Cor del i a
and XANDER HARRI S ar e t her e, ever yone i s ei t her st andi ng or
si t t i ng. Gi l es i s paci ng and Wi l l ow i s r eadi ng a book.
Gi l es pauses i n hi s paci ng and coughs.
GI LES
Um, woul d anyone l i ke anyt hi ng
f or br eakf ast ? Xander ? Wi l l ow?
Cor del i a?
Gi l es t r ai l s of f . Then Xander begi ns t o si ng The Breakf ast
Song . As peopl e si ng t hey l ook ast oni shed and put hands
over t hei r mout h and neck as i f wher e s i t comi ng f r om?
XANDER
WHEN I T S TI ME FOR BREAKFAST I
LI KE, TOAST AND MARMALADE, TOAST
AND MARMALADE, WHEN I T S TI ME FOR
BREAKFAST I LI KE TOAST AND
MARMALADE, THAT S HOWI START MY
DAY.
Ever yone st ops what ever t hey wer e doi ng and st ar es at
Xander ; ast oni shed. Then Wi l l ow begi ns si ngi ng, she l ooks
down at f i r st t hen r eal i ses she s si ngi ng and l ooks up.
WI LLOW
J UST A CUP OF TEA, THAT S ENOUGH
FOR ME, THAT S ENOUGH FOR ME,
( hi gh pi t ched)
WI TH MI LK AND SUGAR,
( back t o nor mal )
J UST A CUP OF TEA, THAT S ENOUGH
FOR ME, THAT S ENOUGH FOR ME.
CORDELI A
I WANT EGGS AND BACON, AND A GOOD
SLI CE OF FRI ED BREAD, I F YOU HAVE
NO BACON, A SAUSAGE WI LL DO
I NSTEAD.
Si l ence f i l l s t he r oomagai n.
GI LES
( coughs)
Ur , yes, um.
Ther e' s a noi se f r omhi s of f i ce. He goes t o i nvest i gat e;
mut t er i ng t o hi msel f .
6.
BUFFY
Umguys, so what j ust happened
t her e?
WI LLOW
Ummmm, I don t r eal l y know Buf f y.
D you?
CORDELI A
I ml i ke so out t a her e.
Cor del i a exi t s; r unni ng out of t he l i br ar y. I n Gi l es
of f i ce we see a f l yi ng pi ece of t oast , t hen Gi l es r unni ng
af t er i t and cat chi ng i t . He t hen wal ks back i nt o t he
l i br ar y wi t h some pl at es on a t r ay.
BUFFY
See you ar ound guys.
GI LES
Ur , yes l at er .
BUFFY
Lat er .
WI LLOW
Bye Gi l es, Xander .
Wi l l ow and Buf f y exi t .
GI LES
( yel l s af t er t hem)
Don t f or get si ngi ng t r ai ni ng
l at er .
He t ur ns back, t o see Xander l ooki ng hungr y.
XANDER
Wel l , I mst ar vi ng, what ve we
got ?
Gi l es si ghs despai r i ngl y.
CUT TO:
EXT. SUNNYDALE HI GH SCHOOL - QUAD - LATER 4 4
I t s sl i ght l y l at er i n t he day; t he bel l has j ust r ang
af t er f i r st per i od, so t her e ar e qui t e a f ew peopl e
wander i ng ar ound. Buf f y i s one of t hem. Ahead she sees
DANI EL OSBOURNE ( OZ) , she r uns up t o hi m.
BUFFY
Hi Oz.
OZ
Oh, hey Buf f y.
7.
BUFFY
I was wonder i ng about t hi s doubl e
dat e t hat me and Wi l l ow t hought
of , because, wel l I mnot r eal l y
t he per son t o ask but Wi l l ow
woul d l i ke you t o be her dat e.
That s i f you want t o t hat i s.
OZ
Oh r i ght . Um.
( pause; he scr at ches hi s
head)
Umm.
BUFFY
Wel l ?
OZ
Wel l , umwel l .
BUFFY
You r e supposed t o say yes.
OZ
Oh r i ght , yes t hen.
Wi l l ow comes i nt o t he quad. She sees Buf f y wal ki ng wi t h
someone so she r uns up t o t hem.
WI LLOW
Hi , Buf f y. Oh hi Oz.
OZ
Wi l l ow.
BUFFY
Hey Wi l l ow, r emember t hat doubl e
dat e. . .
WI LLOW
What ? Oh yeah, umOz, wou. . . wou
woul d you l i ke t . . . t o be my. . . ?
OZ
Yes Wi l l ow.
WI LLOW
But I haven t sai d anyt hi ng yet .
OZ
Buf f y t ol d me.
WI LLOW
Oh I see. Thanks Buf f y.
OZ
Who ar e you t aki ng Buf f y?
8.
BUFFY
What ? Oh. Angel .
( beat )
I t hi nk, but he s been act i ng
r eal l y st r ange l at el y.
Gi l es ent er s t he quad i n t he backgr ound wi t h a l oad of
books st acked up t o hi s chi n. The t hr ee wat ch as he dr ops
one t hen bends over t o pi ck i t up, t hen al l t he ot her s f al l
t o t he gr ound.
Gi l es put s a hand t o hi s mout h t hen hover s i t as i n oh ah,
um , t hen scr at ches hi s head.
WI LLOW
Oh I bet t er go hel p Gi l es, see
you t wo ar ound.
BUFFY
Okay.
OZ
Bye.
Wi l l ow r uns of f t o Gi l es who l ooks up when she comes cl ose.
BUFFY
So, I bet t er be goi n now t hen.
Bye Oz.
OZ
Bye, see you ar ound.
CUT TO:
EXT. PARK - NI GHT 5 5
The par k i s dar k, and t her e i s no- one ar ound. Ever yt hi ng i s
ver y st i l l and qui et . Then a f i gur e ent er s f r omt he l ef t ,
t hi s i s PENN. He swagger s on and l eans agai nst a t r ee wher e
he pr oceeds t o l i ght a f ag. ANGEL ent er s, keepi ng hi s
di st ance and st i cki ng t o t he shadows.
ANGEL
Tut , t ut , t ut . Ver y bad f or you.
PENN
( qui ckl y st amps out f ag)
Who s t her e? What do you want ?
I l l ki l l you.
ANGEL
Li kel y.
Angel st eps out of t he shadows t o wher e Penn can see hi m.
9.
PENN
Angel us! Hey, hey my ol d f r i end
Angel us. How you doi ng mat e? Last
I saw you was when. . .
The t wo gaze i nt o not hi ngness: al so known as t he st ar e of
i mpendi ng f l ashback f r omLOST.
SMASH CUT TO:
I NT. BAR - SAME 6 6
TI TLE OVER: GALWAY, I RELAND, 1884
The pl ace i s ver y smal l , and ver y packed. Most peopl e
ar ound ar e dr unk and smoki ng huge ci gar t hi ngs.
I n t he mi ddl e of t he r oomon one of t he t abl es ar e Penn and
Angel I r i sh danci ng: ar ms ar ound each ot her , bi g gl asses i n
t hei r hands spi l l i ng dr i nk ever ywher e and over ever yone.
DARLA and DRUSI LLA ar e si t t i ng near t hem, pr et endi ng not t o
know t hem.
CUT TO:
EXT. PARK - SAME 7 7
Penn and Angel ar e bot h smi l i ng at t he memor i es.
ANGEL
( dr eamy)
Good t i mes.
PENN
( al so dr eamy)
Yeah.
Real i zi ng t hey ar e back i n r eal i t y, t he bot h l ook down,
st r ai ght eni ng t hei r f aces and l ooki ng pi ssed of f .
ANGEL
Wel l I mdoi ng bet t er t han you.
What ar e you doi ng i n Sunnydal e?
PENN
Wel l I -
ANGEL
Make i t qui ck.
PENN
To er m. . . see you, yeah t hat s
r i ght .
ANGEL
I s t hat so?
10.
PENN
Er m. . . . .
Angel l unges f or war d and t he t wo begi n t o f i ght . Angel
begi ns t o wi n. Penn i s on t he gr ound and Angel ki cks hi m.
ANGEL
C mon, who s t he daddy?
Penn get s up and punches hi mone.
ANGEL ( CONT D)
Ahh, bl oody hel l .
Angel st agger s of f i n pai n; nei t her of t hemnot i ce SPI KE
sneaki ng up behi nd Penn.
PENN
Ha. I ami nvi nci bl e.
Spi ke br i ngs hi s hand down t o hi t Penn at t he t op of spi ne
whi ch knocks Penn f ace down t o t he f l oor .
SPI KE
As i f .
CUT TO:
I NT. SPI KE AND DRUSI LLA S LAI R - BEDROOM - SAME 8 8
Dr usi l l a i s sat i n a chai r pl ayi ng wi t h Mi ss Edi t h. She
hear s a noi se but doesn t t ur n her head - i t s Spi ke
ent er i ng, dr aggi ng an unconsci ous Penn wi t h hi m.
DRUSI LLA
Have you br ought me a l i t t l e
pr esent Spi key? Bunny eyebal l s?
Spi der s?
SPI KE
Bet t er .
Dr usi l l a t ur ns and sees Spi ke dr op Penn t o t he gr ound. Penn
begi ns t o wake up.
PENN
Uhh, what t he? Who t he hel l ar e
you? Wher e amI ? Gi ve a bl oody
vamp a br eak.
DRUSI LLA
Ahh, i t s beaut i f ul dar l i ng.
PENN
I t s Penn and-
11.
SPI KE
Ha, Bi r o.
PENN
Oh, ha ha how or i gi nal . Who t he
he- Dr u, Baby.
DRUSI LLA
( shaki ng and t r embl i ng)
I r emember .
PENN
Cour se ya do. I t s yer Penn.
Spi ke l ooks angr y and j eal ous. He gr abs Penn by t he t hr oat .
SPI KE
Al r i ght on your f eet Bi r o. D you
know hi mpet ?
DRUSI LLA
Never seen hi mi n t he sky.
SPI KE
Ri ght . That s okay t hen.
PENN
Hey, hey wai t a sec-
SPI KE
I onl y br ought you her e cause
you ki cked Angel us ass.
Spi ke sl ams Penn s head ont o a bl ock and r ai ses an axe.
DRUSI LLA
Angel us. You know Angel us?
PENN
He was my si r e.
( spi t s)
My f at her .
Dr usi l l a st ar es at Penn, t hen bows down, kneel i ng bef or e
hi m.
DRUSI LLA
Br ot her .
Spi ke st ar es at t he t wo of t hem. St unned.
SPI KE
Bl oody hel l . Does t hi s mean we r e
r el at ed?
Spi ke l et s go of Penn who st ands up and br ushes hi msel f
down.
12.
PENN
Respect your uncl e.
CUT TO:
I NT. ANGEL S MANSI ON - MAI N HALL - SAME 9 9
I t i s ver y bi g. Angel i s si t t i ng, r eadi ng a book. Buf f y
ent er s behi nd hi m.
BUFFY
Hey.
Angel t ur ns when he r eal i ses who i t i s. Dr oppi ng hi s book
ont o t he t abl e he st ands up and wal ks t owar ds Buf f y.
ANGEL
Hey.
BUFFY
You okay?
ANGEL
Fi ne, i t s j ust been a st r ange
eveni ng.
BUFFY
Not hi ng physi cal t hough?
ANGEL
( gr i ns f or cef ul l y)
No. Why?
BUFFY
( whacks hi mar ound t he
f ace)
That s why.
The t wo f i ght / spar f or a whi l e. Soon t hey ar e st andi ng
f aci ng each ot her i n def ensi ve poses; br eat hi ng heavi l y.
ANGEL
No of f ence Buf f y, but you f i ght
l i ke a gi r l .
BUFFY
I won t hol d back i f you won t .
ANGEL
Deal .
The t wo f i ght some mor e, t hi s t i me mor e vi ci ous. Buf f y
f al l s over , out of f r ame.
ANGEL ( CONT D)
Sor r y, ar e you hur t ?
13.
He of f er s hi s hand t o her . She gr abs i t .
BUFFY ( O. S. )
No.
She pul l s hi mdown out of f r ame.
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY - LATER 10 10
I t i s l at er on i n t he eveni ng. I t s j ust Buf f y and Gi l es
t her e. Gi l es i s wear i ng a cr ash hel met and pi l l ows over hi s
hands.
Buf f y punches, t hen punch, ki ck, punch, ki ck t hen anot her
ki ck.
GI LES
Yes, wel l good. That s enough f or
t oni ght . Ri ght , I want you t o do
some pat r ol l i ng l at er , and I l l
see you ear l y i n t he mor ni ng t o
t r ai n agai n.
Buf f y get s r eal l y annoyed at t hi s and as Gi l es t ur ns ar ound
and t akes of f t he t hi ngs she gl ar es at hi mangr i l y. He
pi cks up a book and t ur ns t o f ace her .
GI LES ( CONT D)
Shoul dn t you be of f pat r ol l i ng?
Buf f y pout s, and l ooks as i f she s about t o say somet hi ng.
St ops. Then goes and st ands on a chai r . Gi l es wat ches her
wear i l y t he whol e t i me. She st ar t s t he br i dge of When You
Look At Me .
BUFFY
I F YOU LOOK BENEATH YOU LL
DI SCOVER, YOU J UST DON T KNOWME,
TELL ME WHO DO YOU THI NK YOU SEE,
YOU RE STANDI NG I N YOUR CORNER,
LOOKI NG OUT, ON ME, YOU THI NK I M
SO PREDI CTABLE, TELL ME WHO DO
YOU THI NK I AM, LOOKS CAN BE
DECEI VI NG, BETTER GUESS, AGAI N,
TELL, ME, WHAT, YOU, SEE, WHEN
YOU LOOK AT ME.
Gi l es hasn' t moved. Buf f y si ghs and get s down of f of t he
chai r .
14.
BUFFY ( CONT D)
I s t hat al l you t hi nk I am? J ust
The J ob Gi r l ? That t he onl y
t hi ng I can do i s be t he Sl ayer
and have no l i f e of my own at t he
same t i me?
GI LES
I amyour Wat cher . I mdoi ng what
i s r i ght . Thi s i s ser i ous.
BUFFY
Why can t you do i t ? Oh you r e
j ust a wat cher r i ght , al l you do
i s bl oody wel l wat ch.
GI LES
Ri ght , i f you r e gonna be l i ke
t hat , I don t want t o you t al k t o
Spi ke agai n you ve seen t oo
much of hi s chi l di sh behavi our .
Now j ust go.
Buf f y cl ut ches her f i st s, goes over t o Gi l es and punches
hi mi n t he eye, he f al l s t o t he gr ound unconsci ous. Buf f y
st ar t s wal ki ng, and t hen r uns of f bumpi ng i nt o J ENNY
CALENDAR on her way out . J enny sees Gi l es and r ushes over
t o hi m.
J ENNY
Ruper t , ar e you al r i ght ?
Gi l es wakes up wi t h a gr oan, f i ndi ng hi msel f sl umped
agai nst a desk, wi t h hi s gl asses on t he f l oor next t o hi m.
GI LES
Ohh J enny.
( cl eans gl asses t hen
put s t hemon)
Hi , oh dear , I msor r y.
J ENNY
I t s okay.
She pul l s hi mup and dust s hi mdown.
J ENNY ( CONT D)
Ar e you okay now?
GI LES
What ? Oh r i ght yes, t hank you
J enny.
( hur r i ed)
Mi ss Cal endar . Why ar e you her e
anyway? I msor r y I can be so
r ude somet i -
15.
J ENNY
( put s a f i nger t o hi s
l i ps)
Sshhhh.
They move i n f or t he ki ss. Camer a cut s t o Buf f y at t he
wi ndow wat chi ng t he exchange.
BUFFY
Don t I know i t .
She scar es t hem, causi ng t hemt o j ump apar t . Buf f y l eaves
she was onl y st ayi ng t o make sur e he was okay.
J ENNY
Ruper t , I f eel as i f I munder
your spel l , even so, I can t keep
away f r om. . . Spel l ! Spel l ! I t s a
spel l !
She r ushes out l eavi ng Gi l es ver y conf used.
GI LES
What ?! J enny ar e you okay? You
can t keep away f r omwho? What ?
Spel l ?
He col l apses agai n and a book f al l s on hi s head.
GI LES ( CONT D)
Owww.
BLACKOUT.
END OF ACT ONE
16.
ACT TWO
FADE I N:
I NT. SUNNYDALE HI GH SCHOOL - HALLWAY - DAY 11 11
I t s near t he end of l unch per i od, so ever yone i s hur r yi ng
ar ound, i ncl udi ng Buf f y and Wi l l ow who ar e t al ki ng qui et l y.
PRI NCI PAL SNYDER ( O. S. )
And wher e exact l y do you t hi nk
you ar e of f t o Summer s?
Buf f y and Wi l l ow st op dead i n t hei r t r acks and t ur n ar ound
sl owl y t o see PRI NCI PAL SNYDER wal ki ng up t o t hem.
BUFFY
Oh you mean us? Er , me?
PRI NCI PAL SNYDER
( shout s)
Ever ybody out unl ess your name s
Summer s.
Nobody l eaves, t hey j ust move away f r omt he t hr ee as f ar as
possi bl e, Wi l l ow st ar t s t o l eave.
PRI NCI PAL SNYDER ( CONT D)
Wher e d you t hi nk you r e of f t o
Rosenber g, get back her e.
Wi l l ow f r eezes at get t i ng caught and goes back t o st and
next t o Buf f y.
So wher e ar e you t wo goi ng?
BUFFY
Oh we wer e, we wer e j ust . . .
WI LLOW
Goi ng t o t he l i br ar y and doi ng
hi st or y r esear ch.
BUFFY
Ri ght .
SNYDER
( suspi ci ous)
Real l y? Whi ch per i od?
BUFFY
Anci ent . . .
( t hi nks f or a moment )
Lat i n.
17.
PRI NCI PAL SNYDER
So whi ch book i s i t t hat
i nt er est s Mi ss Rosenber g?
Pr i nci pal Snyder gl ar es at Wi l l ow. Xander comes st r i di ng
down t he hal l and put s hi s ar mar ound Wi l l ow smi l i ng.
WI LLOW
We r e st udyi ng Gr eek myt hol ogy
and wi t chcr af t .
Har mony ent er s; l ooki ng sl ut t y.
PRI NCI PAL SNYDER
How does t hat connect t o Lat i n?
As t he Gr eeks spoke Gr eek not
Lat i n l i ke t he Romans and t hey
soon became,
Wi l l ow passes t he book t o Xander behi nd her back.
Cat hol i c and di sappr oved as I do
on t he subj ect of wi t chcr af t .
HARMONY
You have no cl ue what you r e
t al ki ng about Si r do you? That i s
l i ke t ot al l y,
Buf f y, Wi l l ow and Xander sl i p away unnot i ced.
HARMONY ( CONT' D)
wr ong, t he anci ent Gr eeks di dn t
come under t he Pope unt i l someone
i nvent ed Cat hol i ci sm. Anyway,
we r e not st udyi ng Gr eek or
Lat i n, Pi l l ow.
She l ooks ar ound, as does Pr i nci pal Snyder .
PRI NCI PAL SNYDER
( si ghs)
Pl ease don' t do t hat i n publ i c
agai n Mi ss Kendal l .
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY - AFTERNOON 12 12
Buf f y, Wi l l ow, Xander and Spi ke ar e st andi ng i n t he mi ddl e
of t he r oomwi t h books i n t hei r hands. Al l l ooki ng pi ssed
of f . Gi l es i s st andi ng i n f r ont of t hem; penci l i n hand.
WI LLOW
( t hr ows down book)
We r e get t i ng nowher e her e.
18.
XANDER
You know she s r i ght Gi l es, we
can t hi t t hat not e.
BUFFY
Come on, don t gi ve up yet . Let s
t r y agai n.
SPI KE
What s t he poi nt ? We sound bl oody
awf ul anyway.
BUFFY
Why ar e you her e?
GI LES
( si ghs)
Al r i ght , f r omt he t op.
Wi l l ow si ghs and r et r i eves her book. The i nt r o t o Around
the Worl d begi ns. Whi l st t hey si ng, Gi l es waves hi s penci l
r ound l i ke a bat on.
ALL
THE KI SSES OF THE SUN, WERE SWEET
I DI DN T BLI NK, I LET I T I N MY
EYES, LI KE AN EXOTI C DREAM, THE
RADI O PLAYI NG SONGS, THAT I HAVE
NEVER HEARD, I DON T KNOWWHAT TO
SAY, OH NOT ANOTHER WORD,
J UST LA LA LA LA LA, I T GOES
AROUND THE WORLD, J UST LA LA LA
LA LA, I T S ALL AROUND THE WORLD,
J UST LA LA LA LA LA, AND
EVERYBODY S SI NGI NG, LA LA LA LA
LA, AND NOWTHE BELLS ARE
RI NGI NG,
19.
( MORE)
LA LA LA LA LA, LA LA LA LA LA
LA, LA LA LA LA LA, LA LA LA LA
LA LA, LA LA LA LA LA, LA LA LA
LA LA LA, LA LA LA LA LA, LA LA
LA LA LA LA,
I NSI DE AN EMPTY ROOM, MY
I NSPI RATI ON FLOWS, NOWWAI T TO
HEAR THE TUNE, AROUND MY HEAD I T
GOES, THE MAGI C MELODY, YOU WANT
TO SI NG WI TH ME, J UST LA LA LA LA
LA, THE MUSI C I S THE KEY, AND NOW
THE NI GHT I S GONE, STI LL I T GOES
ON AND ON, SO DEEP I NSI DE OF ME,
I LONG TO SET I T FREE, I DON T
KNOWWHAT TO DO, J UST CAN T
EXPLAI N TO YOU, I DON T KNOWWHAT
TO SAY, OH NOT ANOTHER WORD,
J UST LA LA LA LA LA, I T GOES
AROUND THE WORLD, J UST LA LA LA
LA LA, I T S ALL AROUND THE WORLD,
J UST LA LA LA LA LA, AND
EVERYBODY S SI NGI NG, LA LA LA LA
LA, AND NOWTHE BELLS ARE
RI NGI NG,
LA LA LA LA,
THE KI SSES OF THE SUN, AROUND THE
WORLD,
LA LA LA LA LA, I T GOES AROUND
THE WORLD, J UST LA LA LA LA LA,
I T S ALL AROUND THE WORLD, J UST
LA LA LA LA LA, AND EVERYBODY S
SI NGI NG, LA LA LA LA LA, AND NOW
THE BELLS ARE RI NGI NG,
LA LA LA LA, LA LA LA LA LA, LA
LA LA LA LA LA, LA LA LA LA LA,
LA LA LA LA LA LA, LA LA LA LA
LA, LA LA LA LA LA LA, LA LA LA
LA LA, LA LA LA LA LA LA.
When t hey' r e f i ni shed Gi l es i mmedi at el y st ar t s cl appi ng.
The ot her s j ust st and and gl ar e at hi m.
SPI KE
Sod t hi s!
20.
ALL ( CONT' D)
Spi ke st or ms out .
XANDER
That was di st ur bi ng.
WI LLOW
Tot al l y.
BUFFY
Wher e s Spi ke?
GI LES
Wel l done al l .
XANDER
Sod of f .
WI LLOW
Who car es wher e Spi ke i s.
Buf f y l ooks t hought f ul t hen exi t s.
CUT TO:
EXT. SUNNYDALE HI GH SCHOOL CONTI NUOUS 13 13
Spi ke st eps out si de t he door i nt o t he sunl i ght by acci dent .
Buf f y st ands j ust i nsi de t he door way, hands on her hi ps
l aughi ng.
SPI KE
Ahhhhhhhhh.
BUFFY
Dayt i me dear y means sunl i ght !
SPI KE
I can st i l l ki l l you!
The t wo f i ght , i n and out of t he shadows l i ke t he f i ght
f r omPi r at es of t he Car i bbean.
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL - GYM NI GHT 14 14
I t i s t he cheer l eadi ng squad s l at e ni ght pr act i ce. They r e
i n a V shape f or mat i on wi t h Cor del i a at t he f r ont ,
Har mony and KAYLEI GH i n t he second r ow, and Spi ke and Buf f y
behi nd t hem.
CORDELI A
And one.
21.
The gr oup br i ng t hei r pom- poms t o t he mi ddl e and t hen ki ck
r i ght f oot out , br i ng down t hen hol d pom- poms i n Y
posi t i on t hen br i ng t hemdown. They do t hi s af t er each
number i s cal l ed.
CORDELI A ( CONT D)
And t wo.
( beat )
And t hr ee.
The musi c st ar t s up and t hey dance t o t hat . Spi ke suddenl y
dr ops hi s pom- poms and gr abs Kayl ei gh, f r ombehi nd, put t i ng
hi s hand over her mout h, t aki ng her out t o t he l ocker r oom.
Buf f y not i ces Kayl ei gh i s gone, and af t er hear i ng a muf f l ed
scr eamand seei ng t he dr opped pom- poms, she dr ops her s and
r uns out t o:
I NT. SUNNYDALE HI GH SCHOOL GI RL' S LOCKER ROOM - 15 15
CONTI NUOUS
The r oomi s qui t e smal l , or t he par t t hey r e i n i s anyway.
Ther e ar e benches and on ei t her si de ar e r ows of l ocker s.
Spi ke l eans i n r eady t o bi t e Kayl ei gh who l et s out a
muf f l ed scr eam. Buf f y appear s i n t he door way wi t h her ar ms
f ol ded, Spi ke l ooks up.
SPI KE
Wel l , wel l .
Suddenl y Buf f y ki cks Spi ke causi ng hi mt o dr op Kayl ei gh and
go f l yi ng i nt o t he wal l . Kayl ei gh shr i eks i n t er r or and
r uns out of f r ame.
Spi ke near l y get s up when a bench comes f l yi ng hi s way,
Buf f y at t he end of i t . Spi ke pushes t he bench away and
hi t s Buf f y maki ng her f al l agai nst t he l ocker s.
SPI KE ( CONT D)
Not t hi s t i me Sl ayer , not t hi s
t i me.
He r uns of f , Buf f y get s up and dust s her sel f down. She goes
t o Kayl ei gh who i s sobbi ng i n a cor ner and put s her ar m
ar ound her .
CUT TO:
EXT. GRAVEYARD LATER 16 16
I t s l at er now and Buf f y s comi ng back f r omcheer l eadi ng
pr act i ce not i n uni f or m, she s wal ki ng t hr ough
t hegr aveyar d on her pat r ol .
22.
BUFFY
Wel l , j ust me her e, on my own.
Come on, who s gonna. Wai t . Who s
gonna t r y t ake a pi ece of me!
Heh, yeah I d l i ke t o see
somebody t r y.
Al l i s qui et er .
CUT TO:
I NT. THE BRONZE SAME 17 17
The Br onze i s packed as usual , l ot s of happy, smi l i ng
COUPLES, danci ng, t he camer a pans t hr ough t hese coupl es,
and ends up at t he bar wher e Angel i s si t t i ng l ooki ng gl um,
pl ayi ng wi t h t he umbr el l a i n hi s cockt ai l dr i nk.
We can see Wi l l ow and Oz danci ng i n t he backgr ound;
t wi r l i ng, st r et chy- out hands st yl e.
CUT TO:
EXT. GRAVEYARD SAME 18 18
BUFFY
Come on; show me how i t s done.
( waves f i st s ar ound)
You scar ed ar e you? You scabby
l i t t l e demons.
The camer a changes angl e so we can see behi nd Buf f y. FI VE
GENTLEMEN ar e behi nd her . #1 st andi ng i n t he mi ddl e. Buf f y
doesn' t not i ce t hem, unt i l :
GENTLEMAN #1
So, scabby demons ar e we?
Buf f y spi ns r ound.
GENTLEMAN #1 ( CONT' D)
Wel l act ual l y.
He pauses and t ur ns t o t he ot her Gent l emen behi nd hi m, t hen
t ur ns back t o f ace Buf f y. The Gent l emen nod t hei r heads
t hr ee t i mes and t hen:
GENTLEMAN #1 ( CONT D)
WE ARE THE GENTLEMEN.
BACKGROUND GENTLEMEN
WORLD S MOST WANTED KI LLERS.
ALL GENTLEMEN
WE ARE THE GENTLEMEN.
23.
GENTLEMAN #1
AND THAT S ALL THAT YOU REMEMBER -
BEFORE YOU DI E.
The musi c st ops.
GENTLEMAN #1 ( CONT D)
And we l l t ake a pi ece of you
al r i ght .
BUFFY
Oh yeah. Gi ve i t t he best you
got .
ALL GENTLEMEN
( shout s)
Char ge! ! !
Al l Gent l emen come f l yi ng t owar ds Buf f y i n a ci r cl e. She
ki cks #3 i n t he head, punches #2 t o t he l ef t , #5 t o t he
r i ght , st akes #4, #2 ducks as #3 j umps over hi m. Buf f y
st akes #3, t ackl es #2, ki cks hi mi n st omach, he f al l s over
and she st akes hi m.
CUT TO:
BARMAN
( l eans acr oss bar )
Your gal not t ur ned up?
( of f ; Angel s gl ar e)
You want anot her mat e?
Angel hands over hi s gl ass, t he bar man t akes i t t o f i l l i t
up. Oz and Wi l l ow come and si t down on st ool s next t o
Angel . Bot h ar e out of br eat h f r omt hei r danci ng. The
bar man gi ves Angel hi s dr i nk back.
ANGEL
Thanks.
Angel gr abs t he gl ass, gul pi ng down t he dr i nk wi t h hi s head
t i l t ed back.
CUT TO:
EXT. GRAVEYARD - SAME 20 20
#5 j umps on Buf f y' s back. She r ol l s over and st akes hi m.
Beat .
CUT TO:
24.
OZ
So, wher e s Buf f y?
WI LLOW
Yeah, wher e s Buf f y?
CUT TO:
Buf f y t ur ns ar ound and t her e i s #1; she j umps over a gr ave
and t r i es t o ki ck hi mi n t he chest . He gr abs her f oot .
GENTLEMAN #1
Not t hat easi l y Sl ayer !
CUT TO:
I NT. THE BRONZE - SAME 23 23
ANGEL
She' l l t ur n up. J ust you wai t .
CUT TO:
#1 st i l l has Buf f y' s f oot . They st ay f or a coupl e of
seconds bef or e she f al l s t o t he gr ound.
CUT TO:
BARMAN
Ar e you bai l i ng?
ANGEL
Yeah.
( downs dr i nk)
See ya.
Angel exi t s.
CUT TO:
#1 advances, Buf f y ki cks hi m, causi ng hi mt o f al l back, she
get s up and st akes hi m.
BUFFY
Ha! Ki cked your ass! Oh yeah, I
r ock.
25.
She t ur ns t o wal k away and t r i ps over one of t he Gent l emen
l yi ng on t he f l oor . She f al l s t o t he gr ound, hi t t i ng her
head on a gr ave.
BUFFY ( CONT' D)
Ah cr ap! OW!
She st ands up, and t hen nods her head t o t he l ef t , t hen t o
t he r i ght . Wi l l ow, Angel , Xander and Cor del i a appear . The
openi ng t o Mambo #5 (Fl i ck- styl e) begi ns, f ul l on cheesy
dance r out i ne dur i ng t he song - ( wel l we ve got t o have at
l east one) .
ALL
1, 2, 3, 4, DI E, EVERYBODY S
OUTSI DE, SO COME I NSI DE, TO THE,
GRAVEYARD AROUND THE CORNER, THE
GANG S ALL HERE, AND I T S TI ME
FOR US TO DO WHAT WE WANNA,
THERE S A VAMP WI TH A NASTY,
NASTY BI TE, I T S AN URGENT
I NVESTI GATI ON WHI CH COULD TAKE
OUR LI FE, THERE S BUFFY, SPI KE
AND GI LES TOO, WI LLOWALWAYS
KNOWS J UST WHAT TO DO, AND
THERE S NO SLAYI NG TOO BI G OR
SMALL, WI TH ANGEL AND CO. WE CAN
DO I T ALL, WOODEN STAKE AND
SLAYER S PUNCH, I T S ALL GOOD,
AND WE CAN ALWAYS SEND I N THE
J UDGE,
A LI TTLE BI T OF SLAYI NG AND SOME
MORE, A LI TTLE BI T OF KI LLI NG
THAT S FOR SURE, A LI TTLE BI T OF
DI GGI NG OF THE GRAVES, A LI TTLE
BI T OF MOVI NG HEAVY LOADS, A
LI TTLE BI T OF BI TI NG ON THE NECK,
A LI TTLE BI T OF BLOOD FOR YOU TO
LI CK, A LI TTLE BI T OF VAMPI RE
MI XED WI TH HUMAN, A LI TTLE BI T OF
BUFFY, THE VAMPI RE SLAYER WOMAN,
MOVE I T UP AND DOWN, AND KI LL I T
ALL AROUND, KI LL I T UP TO THE
NECK, KI LL I T UP UPON THE GROUND,
KI CK ONE STEP LEFT, AND ONE STEP
RI GHT, A PUNCH TO THE FRONT, AND
ONE TO THE SI DE, CLUTCH YOUR
FI STS ONCE, AND CLUTCH YOUR FI STS
TWI CE, AND I F I T LOOKS LI KE THI S
THEN YOU RE I N A FI GHT,
26.
( MORE)
THERE S DRUSI LLA, XANDER, CORDY
AND J ENNY, SO MUCH FI GHTI NG TO
KEEP US ALL BUSY, AND CAN WE SLAY
I T? YES WE CAN, WI TH THE TEAM,
AND BUFFY, THE VAMPI RE SLAYER
WOMAN.
At t he end of t he song, t he gang st r i kes a pose. The scr een
st ar t s t o go bl ur r y and we
CUT TO:
EXT. GRAVEYARD LATER 27 27
Buf f y' s l yi ng on t he gr ound, wher e she was when she f el l .
She gr oans and si t s up, hol di ng her head, and l ooki ng
ar ound.
BUFFY
What t he hel l ?
FADE OUT.
FADE I N:
27.
ALL ( CONT' D)
EXT. PARK - EARLY MORNI NG 28 28
The sun i s up, but not ver y hi gh. The par k i s empt y apar t
f r oma PAI R OF J OGGERS. Angel and Wi l l ow, ar e st andi ng i n
t he shadows under some t r ees and Buf f y s st andi ng behi nd
t hem, however Angel doesn t know/ not i ce.
WI LLOW
We don t have t i me f or t hi s.
Buf f y coul d be i n danger .
Angel t ur ns t owar ds Wi l l ow; t ear s i n hi s eyes. The i nt r o t o
Who Wants to Li ve Forever st ar t s.
ANGEL
She s gonna di e Wi l l ow. And bei ng
a Sl ayer t hat means sooner r at her
t han l at er . Then I l l be al one
agai n. Al i ve and al one f or ever .
Who want s t o l i ve f or god damned
ever ?
Angel l ooks up i nt o t he sunl i ght , t hen:
ANGEL ( CONT D)
THERE S NO TI ME FOR US, THERE S
NO PLACE FOR US, WHAT I S THI S
THI NG THAT BUI LDS OUR DREAMS, YET
SLI PS AWAY FROM US,
The j oggi ng coupl e begi n t o sl ow dance at t hi s poi nt , Angel
doesn t not i ce t oo wr apped up i n hi s song.
ANGEL ( CONT D)
WHO WANTS TO LI VE FOREVER, WHO
WANTS TO LI VE FOREVER,
THERE S NO CHANCE FOR US, I T S
ALL DECI DED FOR US, THI S WORLD
HAS ONLY ONE SWEET MOMENT, SET
ASI DE FOR US,
WHO WANTS TO LI VE FOREVER, WHO
WANTS TO LI VE FOREVER, WHO DARES
TO LOVE FOREVER,
( qui et )
WHEN LOVE MUST DI E.
The musi c car r i es on i n t he backgr ound. I n sl ow- mot i on
Angel st eps out i nt o t he sunl i ght , he begi ns t o smoke, as
Buf f y r uns out and pushes hi mback i nt o t he shadows. Buf f y
and Angel shar e a l ook, and t hen t he t hr ee of t hemwal k of f
t oget her . The musi c f adi ng out as we:
FADE OUT.
FADE I N:
28.
I NT. SPI KE AND DRUSI LLA S LAI R MAI N HALL LATER 29 29
Penn i s l eani ng agai nst t he wal l smoki ng a f ag. Spi ke
ent er s, eyes nar r owi ng when he sees Penn.
SPI KE
Gi ve us a dr ag.
Penn l ooks at hi m, but i gnor es hi m.
SPI KE ( CONT' D)
Maybe not t hen.
( beat )
How s t he ki dnappi ng goi ng?
Ki l l i ng okay? Dr u s f i ne by t he
way, I mean, she had t he hi ccups
ear l i er . . .
Penn put s on an exasper at ed f ace. A BACKSTAGE PERSON
wear i ng a DI RECTOR si gn wal ks on, Spi ke f ol l ows her
acr oss wi t h hi s eyes. Penn st ar es at t he cei l i ng.
PERSON
Oh my BCG. He bi t me, he bi t me!
The per son col l apses t o t he gr ound, unmovi ng. An OLD MAN
wal ks on.
OLD MAN
Oh I mso t er r i bl y sor r y, so
awf ul l y sor r y.
Ol d man exi t s.
PENN
( st i l l st ar i ng at t he
cei l i ng)
How do we cont i nue?
SPI KE
What ?
PENN
( cont i nues; obl i vi ous t o
Spi ke)
Li f e. Thi s wor l d i s such a dr ag;
ki l l i ng f or pl easur e and f or
f ood. Ki l l i ng t he i nnocent f un
t hough i t be. How wi l l our
act i ons be r edeemed?
Buf f y ent er s.
SPI KE
And l o! Our Sl ayer appear et h.
Come Buf f y, t el l me how t o
si l ence t hi s const ant wi t t er er .
29.
BUFFY
Ki l l hi m?
SPI KE
I woul d i f t he si t uat i on not
ot her wi se, but my i nt er est i s i n
hi ml i vi ng, so t he wr ong may be
pr oven wr ongedl y so.
BUFFY
May I ?
Buf f y punches Penn i n t he st omach, t hey f i ght , l at er j oi ned
by Spi ke.
PENN
Why do you hur t me so? I do not
under st and.
BUFFY
I do, but keep t he peace of t hi s
t own.
PENN
Peace, peace. I hat e t hat wor d,
as I hat e al l Sl ayer s.
BUFFY
He s pi ssed!
SPI KE
Oh bl oody hel l . Why ar en t you
ki l l i ng her ?
Penn; obl i vi ous t hat t hey r e st i l l f i ght i ng, begi ns t o wal k
of f .
PENN
I mpr i soned by dar kness, my pat h a
shadow, not even ar t i f i ci al l i ght
wi l l shi ne t her e. My God i s out
of f avour wi t h me and has cur sed
me i n scar s whi ch i t ch my hear t
and bl i nd me wi t h bl ood.
The f i ght ends.
SPI KE
For God s sake. I onl y want ed a
f ag.
Spi ke st r et ches out hi s ar m. Penn ( at t he edge of t he
scr een) passes a f ag t o hi m. Spi ke put s i t i n hi s mout h and
l i ght s up.
He i s t hen hi t i n t he back of t he head wi t h a bench. He
col l apses t o t he f l oor unconsci ous.
30.
DRUSI LLA ( O. S)
Spi key?
BUFFY
Not t oni ght .
DRUSI LLA ( O. S)
Spi key?
Buf f y dr ags t he di r ect or out of f r ame, Penn sl i ps away
and Spi ke i s l ef t unconsci ous on t he f l oor wi t h t he f ag i n
hi s mout h.
CUT TO:
EXT. PARK NI GHT 30 30
Oz, Wi l l ow and Cor del i a ar e pat r ol l i ng t hr ough t he par k.
CORDELI A
So, anyway he says t o me, what
she had j ust t ol d hi m, so t hen he
t el l s me and I ml i ke wow and
t hen -
WI LLOW
( i nt er r upt s)
Um, Cor dy, I t hi nk I j ust saw
somet hi ng.
CORDELI A
You di d?
WI LLOW
Yeah
( poi nt s)
Over t her e. Can you go check i t
out ?
CORDELI A
( get s i t )
Sur e, yeah r i ght , r i ght . I m, er
of f t hen. Back i n a sec.
Cor del i a exi t s.
OZ
( f aces Wi l l ow)
Maybe, I shoul d go hel p Cor dy,
you know, i t coul d be danger ous.
WI LLOW
Oh no i t won t be.
OZ
How do you know t hat ?
31.
WI LLOW
( bat s her eyel ashes)
I j ust do.
OZ
Oh.
( get s i t )
Oh.
The t wo wal k on f or a bi t i n si l ence. Then Oz st ops, maki ng
Wi l l ow st op. He l ooks at her .
OZ ( CONT D)
Thi s i s so har d.
WI LLOW
What i s? Oh, t he pat r ol l i ng. Oh
r i ght .
OZ
No, not t hat .
WI LLOW
What t hen?
OZ
I t ' s har d f or me t o say t hi s.
WI LLOW
Say what . I s i t about gr r r st uf f ,
i cky st uf f , or i s i t about me
or us?
OZ
Us.
WI LLOW
Oh. Us. As i n me and you us?
OZ
Bel i eve me, I don t wanna say
t hi s.
WI LLOW
Then don t .
OZ
But , on t op of ever yt hi ng, I want
t o ki ss you so much, but -
WI LLOW
You can, I mean, you can, why
shoul dn t you?
32.
OZ
I nsi de, I guess me st ayi ng her e
i s t oo danger ous. Buf f y pr ot ect s
you f r ompeopl e l i ke me.
WI LLOW
But you r e not evi l . You r e Oz,
good and f r i endl y. . . my Oz. What
ar e you sayi ng? You r e br eaki ng
up wi t h me?
OZ
I r eal l y don t want t o. I n f act
we don t have t o.
WI LLOW
Good.
OZ
But i t woul d make t hi ngs easi er .
WI LLOW
Make what easi er ?
OZ
Wi l l ow, I ml eavi ng. And I don t
t hi nk I mcomi ng back.
WI LLOW
What ?
OZ
I ma danger t o you and mysel f .
I n f act , t he whol e gang.
WI LLOW
Wher e wi l l you go?
OZ
L. A. But I mi ght move on Eur ope
or somet hi ng.
WI LLOW
Don t . We can wor k somet hi ng out .
OZ
I don t t hi nk we can.
WI LLOW
( t ear y)
Don t br eak my hear t Oz.
He l ooks at her , t ear s i n hi s own eyes. He cups her chi n.
OZ
I msor r y Wi l l ow.
33.
Oz l eaves. Wi l l ow st ar es af t er hi m: cr yi ng. The i nt r o t o
Losi ng Gri p pl ays, as Wi l l ow wal ks ar ound.
WI LLOW
ARE YOU AWARE OF WHAT YOU MAKE ME
FEEL, BABY, RI GHT NOWI FEEL
I NVI SI BLE TO YOU, LI KE I M NOT
REAL, DI DN T YOU FEEL ME LOCK MY
ARMS AROUND YOU, WHY D YOU TURN
AWAY, HERE S WHAT I HAVE TO SAY,
I WAS LEFT TO CRY THERE, WAI TI N
OUTSI DE THERE, GRI NNI N WI TH THE
LOST STARE, THAT S WHEN I
DECI DED,
WHY, SHOULD I CARE, ' CAUSE YOU
WEREN T THERE, WHEN I WAS SCARED,
I WAS SO ALONE, YOU, YOU NEED TO
LI STEN, I M STARTI N TO TRI P,
I M LOSI NG MY GRI P, AND I M I N
THI S THI NG ALONE.
Wi l l ow f al l s t o her knees i n t ear s.
FADE OUT.
FADE I N:
I NT. J ENNY S APARTMENT - LI VI NG ROOM SAME 31 31
J enny i s al one i n t he r oom, i t i s di ml y l i t . She i s si t t i ng
on t he f l oor , f l i ppi ng t hr ough a l ar ge book, a bi g pi l e i n
f r ont of her .
J ENNY
Ther e s got t a be some way t o st op
t hi s. Aha.
( st abs at book wi t h
f i nger )
No wai t , t hat ' s t o i mpr ove your
si ngi ng voi ce.
She cont i nues f l i ppi ng t hr ough some mor e pages, t hen -
J ENNY ( CONT D)
WHAT I S HAPPENI NG? I AM SI NGI NG,
OH HELL, I GOTTA FI ND A SPELL.
She cont i nues f l i ppi ng t hr ough her book, f ast er t hi s t i me.
She f i nal l y st ops on a page we cannot see and smi l es.
CUT TO:
34.
EXT. PARK LATER 32 32
Lat er t hat eveni ng, Wi l l ow i s wal ki ng t hr ough t he par k on
her way home, l ooki ng mi ser abl e, ar ms wr apped ar ound
her sel f . She keeps her head down.
A noi se l i ke a cr ack st ar t l es her . She spi ns r ound t o see
Oz up a t r ee wi t h hi s hands t i ed r ound a br anch.
OZ
Wi l l ow get out of her e qui ck,
Wi l l ow.
WI LLOW
Oz?
The camer a changes angl e t o show Penn st andi ng behi nd
Wi l l ow, Oz s eyes wi den, as Penn qui ckl y gr abs Wi l l ow and
put s hi s hand over her mout h, she scr eams and bi t es hi s
hand.
PENN
( waves hand ar ound i n
pai n)
Aaahh.
He hi t s her , maki ng her go l i mp i n hi s ar ms, t hen dr ags her
away.
OZ
( shout s)
Wi l l ow!
FADE OUT.
END OF ACT TWO
35.
ACT THREE
FADE I N:
I NT. SPI KE AND DRUSI LLA S LAI R ' LOUNGE' - LATER 33 33
Dr usi l l a i s sat on a chai r whi l e Spi ke paces ar ound;
agi t at ed. Penn i s nowher e t o be seen much t o Spi ke s
r el i ef .
SPI KE
I wi l l wi n t hi s bet , you l l see I
wi l l .
DRUSI LLA
I know pet .
SPI KE
No need t o pani c. None at al l ,
j ust ' cause Bi r o r eckons he has
t hat comput er ner d.
DRUSI LLA
What bet was t hi s t hen pet ?
SPI KE
No bet . J ust pr i nci pl es, he won t
get t he Sl ayer bef or e me.
DRUSI LLA
He l l get her af t er you dear .
SPI KE
Yeah t hat s r i ght . No, t hat s
wr ong.
DRUSI LLA
Me, wr ong? The st ar s bl essed me,
t he moon was my mot her .
Spi ke cr osses t o t he ot her si de of t he r oom, r ol l i ng hi s
eyes he s hear d t hi s many t i mes bef or e.
SPI KE
The sun my f at her .
DRUSI LLA
The sun my f at her and-
SPI KE
I was abandoned at bi r t h.
DRUSI LLA
I was abandoned at bi r t h. Af t er
al l t hi s. And Angel us as my
f ost er f at her , I amnever wr ong.
36.
Penn ent er s l ooki ng t r i umphant , i n shadows so he cannot
r eal l y be seen.
PENN
Spi ke put t i ng you down dar l i ng?
Dr usi l l a begi ns t o l augh and dance ar ound.
PENN ( CONT' D)
Look what I ve got .
He st eps i nt o t he l i ght hol di ng Wi l l ow i n hi s ar ms. The
i nt r o t o Hel l o begi ns qui et l y i n t he backgr ound.
SPI KE
Oh wel l done, mer i t pl us, l et t er
of commendat i on, t en out of t en,
t op mar ks, ace j ob.
PENN
Whoa, you r e i n a pr ai si ng mood.
SPI KE
No, j ust a sar cast i c one.
Penn dumps Wi l l ow ont o t he f l oor and st eps f ur t her i nt o t he
r oom. As t he musi c get s l ouder and ' r ocki er ' t he t wo begi n
t o dance.
Dur i ng t hi s song and t he next t he Penn and Spi ke ar e havi ng
a dance- of f .
PENN
I DON T FEEL AS I F I KNOWYOU,
YOU TAKE UP ALL MY TI ME, THE
NI GHTS ARE LONG AND THE DAYS WI LL
BLOWYOU AWAY, CAUSE THE SUN
WI LL SHI NE, NOBODY EVER MENTI ONS
THAT BUFFY, CAN MAKE OR END YOUR
DAY, NOBODY EVER SEEMS TO
REMEMBER LI FE I S A GAME WE PLAY.
PENN/ SPI KE
WE LI VE I N THE SHADOWS AND WE HAD
THE CHANCE AND SUCKED I T AWAY,
AND I T S NEVER GONNA BE THE SAME,
CAUSE THE YEARS ARE DRI PPI NG BY
LI KE THE RAI N, I T' S NEVER GONNA
BE THE SAME, TI LL THE SOUL I
KNEWCOMES TO MY CRYPT AND SAYS,
HELLO.
37.
SPI KE
THERE AI N T NO SENSE I N FEELI NG
BI TCHY, I LL PUT A STAKE THROUGH
YOU, BUT I GOT A FEELI N YOU
STI LL OWE ME, SO WI PE THAT SHI T
FROM YOUR SHOES, NOBODY EVER
MENTI ONS THAT BUFFY, CAN MAKE OR
END YOUR DAY, NOBODY EVER SEEMS
TO REMEMBER LI FE I S A GAME WE
PLAY.
PENN/ SPI KE
WE LI VE I N THE SHADOWS AND WE HAD
THE CHANCE, AND SUCKED I T AWAY,
AND I T' S NEVER GONNA BE THE SAME,
' CAUSE THE YEARS ARE DRI PPI NG BY
LI KE THE RAI N, I T' S NEVER GONNA
BE THE SAME, TI LL THE SOUL I KNEW
COMES TO MY CRYPT AND SAYS,
HELLO,
HELLO, HELLO, HELLO, HELLO,
HELLO, HELLO, HELLO, HELLO,
HELLO!
DRUSI LLA
( cl aps and dances
ar ound)
You sang f or me dar l i ngs. Let s
do i t agai n.
SPI KE
Bl oody hel l ! Must we?
PENN
Woul dn t want t o l et Dr u down
woul d you?
SPI KE
( bi t t er )
No.
The i nt r o t o Reach begi ns. ( The al l par t s r ef er t o
Spi ke, Penn, Dr usi l l a and t he EXTRA VAMPI RES i n t he
backgr ound) .
PENN
WHEN THE WORLD, LEAVES YOU
FEELI NG BLUE, YOU CAN COUNT ON
ME, I WI LL BE THERE FOR YOU, WHEN
I T SEEMS, ALL YOUR HOPES AND
DREAMS, ARE A MI LLI ON MI LES AWAY,
I WI LL REASSURE YOU.
38.
ALL
WE GOT TO ALL STI CK TOGETHER,
GOOD FRI ENDS ARE THERE FOR EACH
OTHER, NEVER, EVER FORGET THAT,
I ' VE GOT YOU, AND YOU' VE GOT ME,
SO, REACH FOR THE STARS, CLI MB
EVERY MOUNTAI N HI GHER, REACH FOR
THE STARS, FOLLOWYOUR HEART S
DESI RE, REACH FOR THE STARS,
AND WHEN THAT RAI NBOW S SHI NI NG
OVER YOU, THAT S WHEN YOUR DREAMS
WI LL ALL COME TRUE.
SPI KE
THERE S A PLACE, WAI TI NG J UST FOR
YOU, I T S A SPECI AL PLACE, WHERE
YOUR DREAMS ALL COME TRUE, FLY
AWAY, SWI M THE OCEAN BLUE, DRI VE
THAT OPEN ROAD, LEAVE THE PAST
BEHI ND YOU.
ALL
DON T STOP, GOTTA KEEP MOVI NG,
YOUR HOPES, GOTTA KEEPI NG
BUI LDI NG, NEVER, EVER FORGET THAT
I VE GOT YOU, AND YOU VE GOT ME,
SO, REACH FOR THE STARS, CLI MB
EVERY MOUNTAI N HI GHER, REACH FOR
THE STARS, FOLLOWYOUR HEART S
DESI RE, REACH FOR THE STARS,
AND WHEN THAT RAI NBOW S SHI NI NG
OVER YOU, THAT S WHEN YOUR DREAMS
WI LL ALL COME TRUE.
PENN
DON T BELI EVE I N ALL THAT YOU VE
BEEN TOLD, THE SKY S THE LI MI T,
YOU CAN REACH YOUR GOAL.
SPI KE
NO- ONE KNOWS J UST WHAT THE FUTURE
HOLDS, THERE AI N T NOTHI N YOU
CAN T BEAT, THERE S THE WHOLE
WORLD AT YOUR FEET.
MEN
I SAI D REACH.
DRUSI LLA
CLI MB EVERY MOUNATI N.
MEN
REACH.
39.
DRUSI LLA
REACH FOR THE MOON.
MEN
REACH.
DRUSI LLA
FOLLOWTHAT RAI NBOW, AND YOUR
DREAMS WI LL ALL COME TRUE.
ALL
REACH FOR THE STARS, CLI MB EVERY
MOUNTAI N HI GHER, REACH FOR THE
STARS, FOLLOWYOUR HEART S
DESI RE, REACH FOR THE STARS, AND
WHEN THAT RAI NBOW S SHI NI NG OVER
YOU, THAT S WHEN YOUR DREAMS WI LL
ALL COME TRUE,
DESI RE, REACH FOR THE STARS, AND
WHEN THAT RAI NBOW S SHI NI NG OVER
YOU, THAT S WHEN YOUR DREAMS WI LL
ALL COME TRUE,
DESI RE, REACH.
As t he song f i ni shes, ever ybody st r i kes a pose, Spi ke and
Penn ar e f aci ng each ot her , wi t h Dr usi l l a behi nd t hemi n
t he mi ddl e.
FADE OUT.
FADE I N:
EXT. SPI KE AND DRUSI LLA S LAI R LATER 34 34
Penn i s wal ki ng - al one. Looki ng pi ssed of f must ve l ost
t he dance- of f . He ki cks a can on t he f l oor , l ost i n hi s own
wor l d.
DARLA ( O. S)
Penn?
Penn ei t her doesn t hear her , or doesn t car e, j ust car r i es
on wal ki ng.
DARLA ( O. S) ( CONT D)
( l ouder )
Penn.
40.
Thi s cat ches Penn s at t ent i on, he t ur ns ar ound and sees
Dar l a l eani ng agai nst a t r ee.
PENN
Dar l a! What a sur pr i se, i t s been
t oo l ong dear .
He wal ks up t o her , and t r i es t o do a posh cheek ki ss. She
shoves hi maway f r omher , t he wal ks t owar ds hi m, l ooki ng
hi mdown and t hen up agai n.
DARLA
I s t hat a st ake i n your pocket ,
or ar e you j ust gl ad t o see me?
( beat )
I hear my Angel us i s i n
Sunnydal e.
PENN
You t oo dear .
Dar l a si ghs, t hen gr abs Penn by t he neck and shoves hi m
agai nst a wal l .
DARLA
I s i t t r ue?
PENN
( gr i ns)
I s t her e anywher e wher e Angel us
i sn t ?
DARLA
( t i ght ens gr i p)
St r ai ght up babe.
PENN
Yeah. He s her e. But what s t hat
got t o do wi t h us dear ? We wer e
al ways t he ones t o be t oget her .
Dar l a shakes her head and l et s go of Penn, causi ng hi mt o
cr ash t o t he gr ound.
DARLA
( l ooks down on hi m)
Get out of your f ant asi es Penn.
PENN
Now t hat s har sh.
DARLA
Real l y?
( t ur ns away)
Wel l , cat ch ya l at er .
41.
Dar l a exi t s. Penn wat ches af t er her , t hen pi cks hi msel f of f
t he gr ound. Sensi ng somet hi ng, he hi des i n t he shadows,
j ust as Dr usi l l a ent er s ( f r omi nsi de) , and t hen Angel ( f r om
t he r i ght ) .
ANGEL
Hey Dr u, Spi ke not ar ound?
DRUSI LLA
Angel us?
Penn wal ks up behi nd Angel , so Angel doesn t see hi m.
ANGEL
Yes, I know my name, t hough,
bef or e you speak agai n, pl ease
consi der t hat t he r eason you ar e
st i l l her e i s because you ar e
usef ul t o me. Now I l l ask agai n.
Wher e s l i t t l e Spi key?
DRUSI LLA
My pr et t y Angel us, I seemt o be
usef ul t o a l ot of peopl e don t I
Penn?
Angel t ur ns r ound t o see Penn behi nd hi m. Penn wal ks t o
Dr usi l l a and put s hi s ar ms ar ound her .
PENN
That s r i ght pet ; you r e ver y
usef ul t o me. I woul dn t want
anybody sayi ng you had no
pur pose.
DRUSI LLA
Ni ce t o be l oved, i sn t i t ?
ANGEL
And hat ed?
DRUSI LLA
And hat ed.
The t wo shar e a l ook bef or e Angel t ur ns hi s at t ent i on back
t o Penn.
ANGEL
What ar e you doi ng her e? I
t hought I d t aken car e of you.
PENN
Hey, I ki cked your ass r emember !
( beat ; gr i ns)
But i t seems t he Sl ayer s been
t aki ng car e of you, i n mor e ways
t han one.
42.
ANGEL
You know not hi ng.
PENN
Except you have a soul now, and
i f you have a moment of pur e
happi ness, i . e. wi t h Buf f y,
you l l t ur n evi l . Must be a
sl i ght st r ai n on your
r el at i onshi p eh?
DRUSI LLA
I s t hi s t r ue Angel us?
ANGEL
( i gnor es her )
How do you know about t hat ?
PENN
An ol d acquai nt ance of our s, or
r at her your s i s i n t own. I n f act
you j ust mi ssed her .
Angel l ooks bl ank. Penn r ol l s hi s eyes.
PENN ( CONT' D)
Oh come on Angel , I t hought you
wer e on t op of t hi ngs her e i n
Sunnydal e, yes t her e s bar el y a
vampi r e who l l come her e,
appar ent l y scar ed of a vamp who
ki l l s hi s own ki nd.
ANGEL
Get t o t he poi nt .
PENN
Okay, okay, keep your shi r t on.
I n Sunnydal e, at t hi s ver y
moment , how many vamps ar e t her e
t hat you know on per sonal t er ms.
ANGEL
Thr ee.
PENN
And who ar e t hey?
ANGEL
Mad, decr epi t Dr u. Li t t l e Spi key.
And t he weasel st andi ng i n f r ont
of me.
PENN
Wel l you r e ent i t l ed t o your own
opi ni on I suppose, but you mi ssed
t he f our t h.
43.
ANGEL
Who?
PENN
She l l be di sappoi nt ed i f you
don t dr op by and see her ; af t er
al l you t wo wer e cl ose and er m,
i nt i mat e.
ANGEL
( sl i ght l y angr i er )
Who?
PENN
Dar l a.
ANGEL
What ?
PENN
Yep, she s st i l l al i ve and
ki cki ng, especi al l y wi t h t he
ki cki ng.
Angel wal ks t owar ds t he exi t .
PENN ( CONT' D)
You d bet t er hur r y or anot her
vamp mi ght have her .
Angel t ur ns f ast , and sl ams Penn agai nst t he near est wal l ,
t he t wo ar e cl ose t oget her .
PENN ( CONT' D)
Oh Angel . You d r eal l y bet t er
make hast e. Wi t h a sof t spot l i ke
t hat , you r e i n f or a hear t br eak.
ANGEL
You keep your hands of f her .
PENN
Dar l a s a ver y per suasi ve woman
as you l l r emember . But don t
wor r y, my hands ar e f i r ml y saved
f or someone el se.
Penn l ooks at Dr usi l l a. Angel sees t hi s l ook and l et s go of
Penn, t hough i s st i l l ver y cl ose t o hi m.
ANGEL
Wat ch your back Penn. Thi s i s my
t own and I mnot get t i ng you i n
my good books.
Angel st ar t s t o wal k out agai n.
44.
PENN
I ' msur e I ' l l manage al r i ght .
Though, I wonder what Buf f y' d
say.
ANGEL
( st ops)
What ?
PENN
Wel l you t ol d her about Dar l a
di dn t you?
ANGEL
Not her concer n.
PENN
Oh dear , wel l you r eal l y shoul d
t el l her , I mean she s t he Sl ayer
and she s not gonna l i ve f or ever
l i ke us.
ANGEL
I l l t ake car e of Dar l a.
PENN
Sur e you wi l l , and when you do,
Buf f y wi l l t ake car e of you.
Ei t her way you l ose, i n f act i t
woul d be bet t er f or Buf f y i f you
j ust l ef t .
Angel exi t s. Dr usi l l a wal ks over t o Penn.
DRUSI LLA
Why di dn t you ki l l hi m?
PENN
Because t hat s what he want ed me
t o do. I d r at her wi nd hi mup.
DRUSI LLA
He l l ki l l you pr eci ous.
PENN
No. The Sl ayer wi l l .
DRUSI LLA
No.
PENN
Thi s wi l l gi ve Spi ke t he chance
t o t ake her out . Then you l l be
happy wi t h hi m.
DRUSI LLA
What about you?
45.
PENN
I l l be wi t h Dar l a; t hi s wi l l
dr i ve Buf f y t o st ake Angel . Whi l e
Spi ke t hi nks I mdead, Buf f y wi l l
di e.
Spi ke ent er s.
DRUSI LLA
Don t you want me baby?
PENN
I d r at her pi ss Angel us of f i f
you don t mi nd.
DRUSI LLA
I don t .
SPI KE
And nei t her do I .
Spi ke and Dr usi l l a exi t back i nt o t hei r l ai r .
PENN
Wel l I mof f t o wr i t e and post
t he r ansomnot e.
Penn exi t s, l aughi ng ' bad guy' st yl e.
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY EVENI NG 35 35
We appear t o be i n t he mi ddl e of somet hi ng. Buf f y and Angel
ar e st andi ng f ace- t o- f ace i n t he mi ddl e of t he l i br ar y,
wi t h Gi l es st andi ng of f t o one si de, wat chi ng.
BUFFY
You can' t go, not now, not
wi t hout sayi ng goodbye.
ANGEL
Buf f y, I must , you know I must .
BUFFY
No, I don' t , I ' mbr ai n washed. I
can' t r emember a soddi ng t hi ng.
Gi l es coughs, Angel si ghs and t akes Buf f y t o one si de ( t he
one opposi t e t o Gi l es) .
ANGEL
Buf f y you' r e st i l l a l i t t l e gi r l ,
a ver y st r ong l i t t l e gi r l .
Buf f y f r owns.
46.
ANGEL ( CONT' D)
A guy l i ke me needs exper i ence.
BUFFY
I have exper i ence.
( beat )
Wai t , what ki nd of exper i ence?
ANGEL
I n hai r pr oduct s.
BUFFY
You ar e such a f r eak.
ANGEL
Thanks f or poi nt i ng out t he
obvi ous!
BUFFY
You ar e so annoyi ng, gr umpy,
bor i ng, evi l - occasi onal l y, and
a vampi r e. God i t coul d never
have wor ked. But t hat ' s why I
l ove you.
ANGEL
Buf f y don' t -
BUFFY
I wi l l . Why do you need Tesco
when you have me?
ANGEL
Sor r y dar l i ng, t her e' s no
compet i t i on.
BUFFY
( hopef ul )
So you' l l st ay?
GI LES ( O. S)
( l oudl y si ghs)
Don' t put hi mof f now.
ANGEL
So I ' l l go.
Dar l a ent er s and wal ks t o t he cent r e.
DARLA
No, Angel . Don' t l eave me.
ANGEL
So why shoul d I gi ve i n t o you?
DARLA
Because you t hi nk I ' mbeaut i f ul .
47.
Ever yone gl ar es at her . She r ol l s her eyes.
DARLA ( CONT' D)
Oh come on. Wor k wi t h me, and I
can l ose your soul .
ANGEL
My soul ' s st ayi n' put t hank you.
Gi l es my man, I ' msur e you' l l
head me t owar ds I r el and.
GI LES
( poi nt s)
Ri ght t hat way.
ANGEL
You f ol ks have been gr eat you
r eal l y have. So l ong.
Angel wal ks t o t he exi t . The qui et i nt r o t o Yesterday
ki cks i n.
BUFFY
( shout s)
What about yest er day.
( qui et )
You sai d you l oved me.
Angel st ops and l ooks t owar ds her .
ANGEL
And I do, but i t ' s over Buf f y.
BUFFY
YESTERDAY, ALL MY TROUBLES SEEMED
SO FAR AWAY, NOWI T LOOKS AS
THOUGH THEY' RE HERE TO STAY, OH,
I BELI EVE I N YESTERDAY.
ANGEL
Not t hi s bl oody si ngi ng agai n.
Angel exi t s.
BUFFY/ DARLA
SUDDENLY, I ' M NOT HALF THE GI RL I
USED TO BE, THERE' S A SHADOW
HANGI NG OVER ME, OH, YESTERDAY
CAME SUDDENLY,
Har mony ent er s.
48.
BUFFY/ DARLA ( CONT D)
WHY HE HAD TO GO, I DON' T KNOWHE
WOULDN' T SAY, I SAI D SOMETHI NG
WRONG, NOWI LONG FOR YESTERDAY,
YESTERDAY, LOVE WAS SUCH AN EASY
GAME TO PLAY, NOWI NEED A PLACE
TO HI DE AWAY, OH, I BELI EVE I N
YESTERDAY,
WHY HE HAD TO GO, I DON' T KNOWHE
WOULDN' T SAY, I SAI D SOMETHI NG
WRONG, NOWI LONG FOR YESTERDAY,
YESTERDAY, LOVE WAS SUCH AN EASY
GAME TO PLAY, NOWI NEED A PLACE
TO HI DE AWAY, OH, I BELI EVE I N
YESTERDAY.
The song ends, wi t h Buf f y and Dar l a st andi ng i n t he cent r e.
HARMONY
Di d I mi ss somet hi ng? Wher e' s
Angel ?
DARLA
He l ef t me.
BUFFY
Lef t you? He l ef t me.
DARLA
You l yi ng, obsessi ve bi t ch!
BUFFY
Oh, you' ve pushed i t t oo f ar t hi s
t i me.
Har mony exi t s l aughi ng, Gi l es shakes hi s head and exi t s.
Buf f y and Dar l a f i ght . Dar l a wi ns and exi t s l eavi ng Buf f y
l yi ng on t he f l oor i n pai n, wher e she br eaks down i n t ear s.
CUT TO:
I NT. XANDER' S HOUSE - XANDER' S BEDROOM EARLY MORNI NG 36 36
The r oomi s basi cal l y a mess, cl ot hes ever ywher e. Xander
hi msel f i s asl eep, snor i ng. Hi s r adi o al ar mcl ock shows t he
t i me as 5. 59, i t changes t o 6. 00, t he r adi o al ar mgoes of f
f ol l owed by t he news headl i nes. Xander opens hi s eyes.
XANDER
Why? Why on a Sat ur day.
He pushes back t he bed cover s, get s out of bed ( wear i ng a t -
shi r t and boxer s) and wal ks i nt o:
49.
I NT. XANDER' S HOUSE XANDER' S BATHROOM CONTI NUOUS 37 37
The t une of I ' mToo Sexy sounds f r omt he r adi o. He cl eans
hi s t eet h, br ushi ng hi s hai r , danci ng ar ound t o t he musi c.
He l ooks at hi msel f i n t he mi r r or , and uses hi s hai r br ush
as a mi cr ophone.
XANDER
I ' M, TOO SEXY FOR MYSELF, TOO
SEXY FOR MYSELF, TOO SEXY FOR MY
FRI ENDS, TOO SEXY AT ALL! WOW
YEAH NOW.
He exi t s back i nt o:
I NT. XANDER' S HOUSE XANDER' S BEDROOM CONTI NUOUS 38 38
Xander s not car i ng about anyt hi ng ar ound hi m, hi s eyes
cl osed, hummi ng as he wal ks. Buf f y appear s i n t he wi ndow,
Xander doesn' t not i ce her , i nst ead he t ur ns up t he musi c
and st ar t s danci ng.
BUFFY
Xander !
( l ouder )
Xander !
Xander ' s eyes spr i ng open, he spi ns r ound.
XANDER
Ahhh! Buf f y, what t he? How t he?
What ar e you doi ng her e?
Buf f y j umps down of f t he wi ndowsi l l and si t s on t he sof a by
t he wi ndow.
BUFFY
I need some advi -
XANDER
How t he hel l di d you get i n her e?
Camer a pans t o see t he wi ndow behi nd Buf f y.
XANDER ( CONT' D)
Oh, oh, oh I see. What ? Why? What
wer e you sayi ng?
He wal ks over and t ur ns t he musi c down sl i ght l y.
BUFFY
I need some advi - never mi nd.
I t ' s j ust t hat , wel l Angel ' s
l eavi ng.
Buf f y put s her head i n her ar ms.
50.
XANDER
Oh r eal l y. When' s t he par t y?
BUFFY
I knew you wer e gonna be l i ke
t hi s.
( beat )
I bet t er go.
XANDER
Oh, Buf f y, you know I ' ve never
l i ked dead boy.
BUFFY
I know, but what amI gonna do?
Xander si t s down besi de Buf f y and st r okes her hai r .
XANDER
Wel l , why' s he goi ng anyway?
BUFFY
Because. . .
XANDER
Because what ? Buf f y t el l me.
BUFFY
Because. Because,
( qui et )
because t hey don' t sel l Tesco' s
Fi nest Hai r Gel anymor e.
XANDER
What ? Speak l ouder .
BUFFY
Because t hey don' t sel l Tesco' s
Fi nest Hai r Gel anymor e! Okay!
Happy now? I bet t er go. Goodbye
Xander .
She cl i mbs back out t he wi ndow and sl ams i t shut .
XANDER
Fi ne.
The song Happy Days come ont o t he r adi o.
XANDER ( CONT' D)
Oh I l ove t hi s song. OH HAPPY
DAYS.
CUT TO:
51.
EXT. HI LL NI GHT 39 39
Buf f y' s upset because Angel ' s l eavi ng, t hey' r e at t he t op
of a hi l l , t al ki ng. Buf f y' s cr yi ng, not l ooki ng at Angel ,
eyes t o t he f l oor .
Angel t r i es t o l ook i nt o her eyes and Buf f y begi ns hi t t i ng
hi msheepi shl y, whi l st whi mper i ng. Angel keeps st oppi ng her
hands f r omhi t t i ng hi m she' s not t r yi ng.
ANGEL
Oh, st op bei ng a baby.
Buf f y pauses f r omhi t t i ng hi m, l ooks up, Angel goes si l ent ,
she l ooks angr y. She ki cks hi mbet ween t he l egs.
ANGEL ( CONT' D)
AAAGGGGGGHHH!
Hi s scr eami s emphasi zed wi t h a huge t er r i f i ed expr essi on
on hi s f ace. He f al l s over , r ol l s down t he hi l l . When he' s
at t he bot t omhe get s up and wi pes down hi s t r ouser s.
ANGEL ( CONT' D)
Ri ght , I ' mdef i ni t el y l eavi ng
now.
Buf f y wal ks down t he hi l l t o f ace hi m, put t i ng her hands on
her hi ps. The i nt r o t o Ci nderel l a begi ns.
BUFFY
Oh yeah j ust l i ke Ci nder el l a.
ANGEL
What ' s t hat supposed t o mean?
BUFFY
( waves her hands)
J ust f or get i t .
ANGEL
Fi ne.
He st ar t s t o wal k away.
BUFFY
I USED TO BE YOUR GI RLFRI END, AND
I KNOWI DI D I T WELL, OH YES, YOU
KNOWI T' S TRUE.
ANGEL
YOU CALLED ME CI NDERELLA
BUFFY
ALL YOU HAD TO DO WAS YELL, AND
I ' D BE THERE FOR YOU.
52.
BUFFY/ ANGEL
HERE I AM, SO TRY TO FORGI VE ME,
I DON' T BELI EVE I N FAI RYTALES,
HERE WE ARE, WI TH NOTHI NG BUT
HONESTY.
ANGEL
I ' VE HAD ENOUGH, I ' M NOT GONNA
STAY,
I ' M SORRY FOR RUNNI NG AWAY LI KE
THI S, AND I ' M SORRY, I ' VE ALREADY
MADE MY WI SH, AH, BUT
CI NDERELLA' S GOT TO GO,
FROM TI ME TO TI ME I TRI ED TO TELL
J UST WHAT WAS ON MY MI ND, YOU
TOLD ME NOT TODAY, COME BACK, DO
THAT, WHERE' S CI NDERELLA AT, WAS
ALL YOU HAD TO SAY.
BUFFY/ ANGEL
HERE I AM, SO TRY TO FORGI VE ME,
I DON' T BELI EVE I N FAI RYTALES,
HERE WE ARE, WI TH NOTHI NG BUT
HONESTY, I ' VE HAD ENOUGH, I ' M NOT
GONNA STAY.
ANGEL
THI S, AND I ' M SORRY I ' VE ALREADY
CI NDERELLA' S GOT TO GO, I ' M
SORRY, J UST TRYI NG TO LI VE MY
LI FE, DON' T WORRY, YOU' RE GONNA
BE ALRI GHT, BUT CI NDERELLA' S GOT
TO GO.
BUFFY
I USED TO SAY I WANT YOU, YOU
CAST ME I N YOUR SPELL, I DI D
EVERYTHI NG YOU WANTED ME TO, BUT
NOWI SHALL, BREAK FREE FROM ALL
YOUR LI ES, I WON' T BE BLI ND, YOU
SEE, MY LOVE, I T CAN' T BE
SACRI FI CED, I WON' T RETURN TO
THEE.
ANGEL
I ' M SO SORRY, I ' VE ALREADY MADE
UP MY MI ND, I WON' T RETURN TO
THEE, I ' M SORRY TO SAY, I ' M
RUNNI NG AWAY NOW, DON' T WORRY YOU
WI LL BE ALRI GHT, I ' M RUNNI NG
AWAY, I ' VE MADE UP MY MI ND NOW,
YOU' RE GONNA HAVE TO LET ME GO,
I VE GOTTA GO.
53.
BUFFY/ ANGEL
THI S, AND I ' M SORRY, I ' VE ALREADY
CI NDERELLA' S GOT TO GO, I ' M
SORRY, J UST TRYI NG TO LI VE MY
LI FE, DON' T WORRY, YOU' RE GONNA
BE ALRI GHT, BUT CI NDERELLA' S GOT
TO GO.
As t he musi c f i ni shes, t hey bot h t ur n t o wal k away at t he
same t i me.
ANGEL
( st ops)
I f i t hel ps, I ' mnot l eavi ng
because of you. I ' ml eavi ng
because t hey don' t sel l Tesco' s
Fi nest Hai r Gel anymor e.
BUFFY
Oh yeah, wonder f ul .
ANGEL
You know how much t hat st uf f
means t o me.
BUFFY
Save i t .
ANGEL
Fi ne, i f you' r e gonna be a br at
about i t .
Angel l eaves, not even l ooki ng back. Buf f y dr ops t o her
knees.
BUFFY
Angel , nooooooooooooo.
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY LATER 40 40
Buf f y ent er s, wi pi ng her eyes. Xander and Cor del i a ar e sat
at t he t abl e, Buf f y l ooks at t hemconf used.
BUFFY
What ' s goi ng on?
XANDER
Why di d Gi l es ask us t o come?
CORDELI A
I don' t know, we' r e al l her e
apar t f r omhi m.
54.
BUFFY
( poi nt ed)
And Wi l l ow and Oz.
GI LES ( O. S)
Wi l l ow won' t be comi ng.
The t hr ee l ook t owar ds t he door way and see Gi l es, who wal ks
t owar ds t hem. He t akes of f hi s gl asses and cl eans t hem.
GI LES ( CONT' D)
She' s been t aken.
XANDER
What ? By who?
Gi l es put s hi s gl asses back on.
GI LES
Wel l , t hat ' s t he f unny t hi ng-
BUFFY
Al r i ght t hen. Cor dy: you get on
t he ci t y maps. Xander : ask
ar ound, see i f anyone' s seen her ,
I want t o know wher e. Gi l es:
books. I want t o know what t hi s
t hi ng i s and how I ki l l i t .
GI LES
Buf f y-
BUFFY
I know, be car ef ul , don' t put
mysel f i n any unnecessar y danger .
Buf f y begi ns t o wal k away, t hen st ops and t ur ns back.
BUFFY ( CONT' D)
You al ways say t hat and I al ways
do.
XANDER
( smi l es)
Don' t you bel i eve i t , Gi l es.
GI LES
That ' s al l ver y wel l , but we know
who has Wi l l ow.
BUFFY
Oh.
( shr ugs)
Who?
55.
GI LES
Um, appar ent l y Penn.
( pr oduces not e)
Thi s was l ef t out si de t he door .
BUFFY
Penn!
( l aughs)
You expect t hi s t o be har d?
Gi l es hands her t he not e, she r eads i t t hen r uns of f .
DI SSOLVE TO:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY SLI GHTLY LATER 41 41
Gi l es i s paci ng back and f or t h acr oss t he l i br ar y. Xander
and Cor del i a ar e st i l l sat at t he t abl e, t al ki ng qui et l y,
not payi ng much at t ent i on.
( The f ol l owi ng song, Thi ngs Go Bump i n the Ni ght i s
supposed t o r esembl e ' Wal k Thr ough t he Fi r e' f r om' Once
Mor e Wi t h Feel i ng' ) .
GI LES
BEWARE OF THE FULL MOON, STI CK TO
THE PATH, OUT COME THE CREATURES,
A SPI NE CHI LLI NG LAUGH.
Gi l es l aughs t he l augh. Then l ooks ar ound t o see Xander and
Cor del i a l ooki ng at hi mst r angel y.
GI LES ( CONT D)
What ?
Xander and Cor del i a l ook at each ot her , pi ck up t he coat s
and l ook poi nt edl y at Gi l es. The t hr ee head out t oget her .
CUT TO:
EXT. STREET CONTI NUOUS 42 42
Buf f y' s st r i di ng down t he st r eet .
BUFFY
THERE S A CHI LL I N THE AI R.
GI LES ( O. S. )
CHI LL I N THE AI R.
BUFFY
YOU HEAR A CREAK ON THE STAI RS.
GI LES ( O. S. )
CREAK ON THE STAI RS.
56.
BUFFY
YOU GOTTA LOCK ALL YOUR DOORS.
GI LES ( O. S. )
LOCK ALL YOUR DOORS.
BUFFY
I S THERE ANYBODY OUT.
Buf f y wal ks out of f r ame.
CUT TO:
EXT. ALLEY CONTI NUOUS 43 43
Angel i s l eani ng agai nst a wal l i n an al l ey somewher e.
ANGEL
THEY' RE OUT TO GET YOU, TO
CAPTURE YOU AND MAKE YOU,
SPELLBOUND, HOWLI NG AND PROWLI NG,
YOU' RE SHI VERI NG, QUI VERI NG,
SPELLBOUND,
YOU CANNOT RUN, AND YOU CANNOT
HI DE, YEAH YOU GOTTA FACE I T
BABY, THI NGS GO BUMP I N THE
NI GHT, WHEREVER YOU RUN, AND
WHEREVER YOU HI DE, YEAH YOU GOTTA
FACE I T BABY, THI NGS GO BUMP,
BUMP, BUMP I N THE NI GHT.
CUT TO:
EXT. MAI N STREET - CONTI NUOUS 44 44
Xander , Cor del i a and Gi l es ar e wal ki ng.
CORDELI A
TELL ME WHO S SPOOKI N WHO.
GI LES/ XANDER
WHO S SPOOKI N WHO.
CORDELI A
I T S VERY SCOOBY DOO.
GI LES/ XANDER
SCOOBY DOO.
CORDELI A
YOU A SHRI EK I N THE HOUSE.
GI LES/ XANDER
SHRI EK I N THE HOUSE.
57.
CORDELI A
YOU KNOWI T S FREAKI NG ME OUT.
CORDELI A/ GI LES/ XANDER
THEY' RE OUT TO GET YOU, TO
CAPTURE YOU AND MAKE YOU,
SPELLBOUND, HOWLI NG AND PROWLI NG,
YOU' RE SHI VERI NG, QUI VERI NG,
SPELLBOUND,
NI GHT, WHEREVER YOU RUN, AND
WHEREVER YOU HI DE, YEAH YOU GOTTA
FACE I T BABY, THI NGS GO BUMP,
BUMP, BUMP I N THE NI GHT.
ANGEL ( O. S. )
THEY GO BUMP, THEY GO BUMP, THEY
GO BUMP, THEY GO, THEY GO BUMP
THEY GO, THEY GO BUMP THEY GO.
CUT TO:
EXT. PARK CONTI NUOUS 45 45
Buf f y' s r eached t he par k near Spi ke and Dr usi l l a' s l ai r .
BUFFY
BABY, THI NGS GO BUMP, BUMP, BUMP
I N THE NI GHT.
I NTERCUT WI TH:
EXT. ALLEY/ EXT. MAI N STREET 46 46
BUFFY/ CORDELI A/ XANDER/ GI LES/ ANGEL
NI GHT, YOU KNOWWHEREVER YOU RUN,
AND WHEREVER YOU HI DE, YEAH YOU
GOTTA FACE I T BABY, THI NGS GO
BUMP, BUMP, BUMP, I N THE NI GHT,
NI GHT, YOU KNOWWHEREVER YOU RUN,
AND WHEREVER YOU HI DE, YEAH YOU
GOTTA FACE I T BABY, THI NGS GO
BUMP, BUMP, BUMP I N THE NI GHT.
58.
EXT. SPI KE AND DRUSI LLA' S LAI R CONTI NUOUS 47 47
Buf f y has j ust r eached t he l ai r and st ands i n f r ont of t he
door .
GI LES ( O. S. )
YOU CANNOT RUN, BUMP I N THE
NI GHT.
On ' ni ght ' , Buf f y ki cks open t he door and wal ks i nt o:
I NT. SPI KE AND DRUSI LLA' S LAI R MAI N HALL CONTI NUOUS 48 48
Buf f y wal ks f or war d, l ooki ng ar ound. She' s at t acked by a
VAMPI RE, and st akes hi mqui ckl y. Penn ent er s f r omanot her
r oom.
PENN
Ni ce t o see you.
BUFFY
Al ways a pl easur e I ' msur e. Gl ad
t o see you agai n.
PENN
I ' mal ways seen t o me.
BUFFY
Exact l y. Wher e i s she?
PENN
Who?
BUFFY
Don' t pl ay games.
Buf f y t hr ows t he r ansomnot e at Penn.
PENN
( wat ches t he not e f al l )
Never seen t hi s bef or e. Who wr ot e
i t ?
BUFFY
Thr ee guesses.
They begi n t o f i ght .
PENN
Dr u?
They f i ght some mor e.
PENN ( CONT D)
Spi ke?
They f i ght some mor e.
59.
PENN ( CONT D)
Me t hen?
The t wo f i ght some mor e. Spi ke ent er s.
SPI KE
At i t al r eady?
Spi ke j oi ns i n wi t h t he f i ght .
BUFFY
Thi s i s so not f ai r .
Spi ke gi ves up af t er a whi l e, and exi t s.
CUT TO:
I NT. SPI KE AND DRUSI LLA' S LAI R - BEDROOM CONTI NUOUS 49 49
Dr usi l l a i s sat on her bed, pl ayi ng wi t h her dol l s, Mi ss
Edi t h next t o her . Spi ke ent er s and col l apses on t he bed
next t o her .
SPI KE
Bl oody Bi r o. He' s gonna ki l l t hat
bl oody Sl ayer whi ch I ' ve been
t r yi ng t o do f or t he past bl oody
year .
DRUSI LLA
Don' t wor r y babe, I ' l l onl y go
wi t h Penn i f he ki l l s you.
SPI KE
You' l l bl oody wel l do no such
t hi ng. I ' mt he bi g bad man ar ound
her e.
DRUSI LLA
( st r okes hi s ar m)
Vampi r e, dear vampi r e.
SPI KE
Dr u baby, I want ever yt hi ng t o be
good, you know f r esh bl ood
whenever I want i t . You. Angel
and t he Sl ayer i n t he gr ound. I
want i t al l . I WANT I T ALL, I
WANT I T ALL, I WANT I T ALL, AND I
WANT I T NOW.
DRUSI LLA
No need t o si ng dear .
SPI KE
( si t s up)
That ' s i t , I ' mout t a her e.
60.
He get s up and st r i des acr oss t he r oom.
DRUSI LLA
( pi cks up Mi ss Edi t h)
Don' t wor r y Mi ss Edi t h,
ever yt hi ng wi l l be al r i ght .
Dr usi l l a cover s Mi ss Edi t h' s eyes. Spi ke wal ks i nt o t he
door suddenl y unabl e t o see anyt hi ng.
SPI KE
Bl oody hel l !
CUT TO:
I NT. SPI KE AND DRUSI LLA' S LAI R - MAI N HALL CONTI NUOUS 50 50
Buf f y and Penn ar e st i l l f i ght i ng. Xander , Cor del i a and
Gi l es ent er . Penn t hr ows Buf f y i nt o a door , pushi ng i t open
r eveal i ng Wi l l ow i n t he r oom, t i ed up and gagged.
Penn advances t owar ds Cor del i a, who swi ngs her ar m, hi t t i ng
Gi l es i n t he f ace and knocki ng hi munconsci ous. The f i ght
ends wi t h Cor del i a st aki ng Penn and obsessi ng over her
bl oody f i nger nai l s, Xander unt yi ng Wi l l ow and hel pi ng her
up, Gi l es st agger i ng t o hi s f eet and Buf f y l ooki ng cr oss.
ALL
MY, MY, AT WATERLOO, NAPOLEON DI D
SURRENDER, OH YEAH, AND I HAVE
MET MY DESTI NY I N QUI TE A SI MI LAR
WAY, THE HI STORY BOOK ON THE
SHELF, I T' S ALWAYS REPEATI NG
I TSELF,
WATERLOO I WAS DEFEATED, YOU
WON THE WAR, WATERLOO PROMI SE
TO LOVE YOU FOREVER MORE,
WATERLOO COULDN' T ESCAPE I F I
WANTED TO, WATERLOO KNOWI NG MY
FATE I S TO BE WI TH YOU, WATERLOO
FI NALLY FACI NG MY WATERLOO,
MY, MY, I TRI ED TO HOLD YOU BACK
BUT YOU WERE STRONGER, OH YEAH,
AND NOWI T SEEMS MY ONLY CHANCE
I S GI VI NG UP THE FI GHT, AND HOW
COULD I EVER REFUSE, I FEEL LI KE
I WI N WHEN I LOSE,
WATERLOO I WAS DEFEATED, YOU
WON THE WAR, WATERLOO PROMI SE
TO LOVE YOU FOREVER MORE,
61.
( MORE)
SO HOWI COULD I EVER REFUSE, I
FEEL LI KE I WI N WHEN I LOSE,
WATERLOO KNOWI NG MY FATE I S TO
BE WI TH YOU, WATERLOO FI NALLY
FACI NG MY WATERLOO.
CUT TO:
I NT. J ENNY' S APARTMENT LI VI NG ROOM LATER 51 51
J enny' s sat i n t he mi ddl e of a pent agr amdr awn on t he
f l oor . Ther e ar e candl es on t he f i ve poi nt s of t he st ar ,
and a book i n f r ont of her ; she r eads f r omt he book.
J ENNY
I n t hi s ni ght , and i n t hi s hour ,
I cal l upon t he anci ent power , To
t ake t hi s sacr i f i ce, and use i t ,
To r ever se t hese f eel i ngs of
r hyt hmand musi c, When t he wor ds
of Hecat e ar e spoken, Then i t so
shal l be done. The candl es go
out . Goddess Hecat e expel t hi s
evi l whi ch i s spr eadi ng vi l e and
f ast .
( beat ; she scoops up a
handf ul of powder )
Thou shal l st op t he over cast .
The candl es r el i ght and t he f l ames shoot up, she bl ows t he
powder f r omher hand, she col l apses t o t he f l oor . Dead.
FADE OUT.
END OF ACT THREE
62.
ALL ( CONT' D)
ACT FOUR
FADE I N:
I NT. SUNNYDALE HI GH SCHOOL - LI BRARY EVENI NG 52 52
Buf f y, Wi l l ow and Xander ar e sat ar ound t he l i br ar y
' hangi ng out ' , Gi l es has gone t o f et ch somet hi ng. Angel
st r ol l s t hr ough t he door ( Buf f y has her back t o i t ) .
XANDER
Buf f , hope you can cope, ' cause
her e comes t he l at est l oony t oons
edi t i on.
ANGEL
Hey l ads how I r i sh do I sound?
XANDER
Post - moder ni st cr ap. So how ar e
t hi ngs hangi n' I r i sh st yl e?
ANGEL
Wel l you know, we have a l augh
come her e I ' l l t el l you a secr et .
Angel wal ks over t o Xander and l eans over hi s shoul der , he
goes ' vampy' and t r i es t o bi t e hi m. Xander yel l s, and Buf f y
st eps i n, shovi ng Angel back, Wi l l ow get s up as wel l and
st ands besi de Xander .
WI LLOW
Angel us?! ?
ANGEL
That ' s me honey. I ' mbad on t op
now, I got t he l ucky t i cket home
baby, l i t t l e Mi ss Dor ot hy l ent me
t hose r uby sl i pper s, O posi t i ve
st yl e, cl i cked my heel s t hr ee
t i mes sayi ng ' t her e' s no pl ace
l i ke home, t her e' s no pl ace l i ke
home' , and guess what was t her e.
BUFFY
God, what happened t o you?
XANDER
Hey I r eal l y don' t car e, st ake
hi mBuf f y and excuse me i f I chi p
i n wi t h t he ' I t ol d you so' s' .
ANGEL
Buf f y, God, you ar e sooo
pat het i c, dear Lor d, st ake me?
( act i ng)
Af t er al l we' ve been t hr ough.
( nor mal )
63.
( MORE)
And you Har r i s, you ought t o be
damn r i ght ashamed of your sel f
j udgi ng me l i ke t hat , man, you
ar e so pr esumpt uous.
Xander exi t s as Oz ent er s.
ANGEL ( CONT D)
And her , bl oody comput er br ai n,
what can I say about your sor t .
( l ooks qui zzi cal l y at
Oz)
Not al l owed t o cal l t heml esbi ans
now, j ust women i n comf or t abl e
shoes.
WI LLOW
But I ' mnot -
ANGEL
For get i t sweet hear t , whenever he
goes wer ewol f and t r i es t o bi t e
you, he' s r eal l y sayi ng ' I l ove
you' .
Wi l l ow l ooks upset and Oz l eads her out of t he r oom, Gi l es
ent er s.
ANGEL ( CONT' D)
By t he way, i s i t t r ue we have a
mar i j uana pr obl emher e i n
Sunnydal e.
( f unny voi ce)
I t ' s not a pr obl em. Ever yone does
i t .
GI LES
How dar e you mock our mayor .
ANGEL
Oh, and don' t f or get , i f you' r e
goi ng f or t he Br i t i sh l ook don' t
f or get t he pumps.
Gi l es dr aws hi msel f up.
ANGEL ( CONT' D)
( l aughs)
Man, i t ' s good t o be back.
BUFFY
So, so.
( al most whi sper i ng)
Angel us.
ANGEL
That ' s me, and I ' mher e t o st ay,
dol l - f ace.
64.
ANGEL ( CONT' D)
BUFFY
You went away, when di d you? How?
Who was i t ?
ANGEL
Di ddums, di ddums, you t hi nk
you' r e t he onl y one who can gi ve
me pur e happi ness?
Xander ent er s, hi s ar mar ound Cor del i a.
BUFFY
Who t hen?
ANGEL
Woul dn' t mi nd a bi t of t hat
Cor del i a.
( l eer s)
Don' t wor r y, I ' mmor e i nt er est ed
i n her t op- hal f , onl y, mor e
speci f i cal l y her neck.
Xander pul l s Cor del i a cl oser t o hi m.
BUFFY
Who?
ANGEL
I r et ur ned t o my r oot s vi si t ed
I r el and. And guess what t hey have
t her e.
( beat )
No? Tesco.
Ever yone gi ves Angel st r ange l ooks.
ANGEL ( CONT' D)
One shower wi t h Tesco' s Fi nest
Hai r Gel and t hat was i t . Angel us
i s back t o t er r or i ze once agai n.
ALL
Ur gh.
ANGEL
What ? Gr r r r r . . . I FEEL GOOD, NA,
NA, NA, NA, NA, NA, NA, I KNEW
THAT I WOULD.
Ever yone gi ves Angel pat het i c l ooks at t hey exi t .
ANGEL ( CONT' D)
Don' t di ss t he l l amas.
CUT TO:
65.
I NT. UNKNOWN LOCATI ON NI GHT 53 53
Buf f y and Xander ar e sat down. Angel st agger s i nt o t he
r oom. Buf f y and Xander bot h st and and f ace hi m. Ther e i s
bl ood al l over t he f l oor bet ween t hemand hi m.
BUFFY
Hey Angel , O- posi t i ve vi ct i m
her e.
Angel f al l s t o hi s knees and begi ns t o l i ck up t he bl ood.
Wi l l ow st eps out f r omar ound a cor ner car r yi ng a spel l
book.
WI LLOW
( r eadi ng)
Gods bi nd hi m, Cast hi s hear t
f r omt he demon r eal m, Te i mpl or
Doamne, nu i gnor a accast a
r ugami nt e, Lasa or bi t a sa f i e
vasul car e- i va t r anspor t a
suf l et ul l a el , Est e scr i s,
accast a put er e est e dr ept ul
popr ui l meu de a conduce, Asa sa
f i e! Acum.
ANGEL
Oh shi t ! Aaaaaaahhhhhhhh! ! !
Angel ' s eyes bl aze and he br eaks down i n t ear s on t he
f l oor .
CUT TO:
EXT. J ENNY' S APARTMENT MI DDAY 54 54
Gi l es wal ks up t o J enny' s f r ont door . He put s hi s hand up
t o knock. St ops. Wi pes hands on t r ouser s. St r ai ght ens hi s
j acket . Then knocks. Af t er no answer , he t r i es t he door and
f i nds i t open.
GI LES
( cal l i ng)
J enny? J enny, ar e you her e?
Gi l es wal ks i nt o:
I NT. J ENNY' S APARTMENT LI VI NG ROOM CONTI NUOUS 55 55
GI LES
Hel l o? J enny? Anyone her e?
Gi l es wal ks ar ound t he sof a and sees J enny. He r uns over t o
her , sl i di ng t o hi s knees.
66.
GI LES ( CONT' D)
Oh no, oh Lor d no. J enny ar e you
al r i ght ? Speak t o me l ove, J enny?
He shakes her , t r yi ng t o wake her up, begi ns t o get
hyst er i cal .
GI LES ( CONT D)
J enny. Wake up, wake up.
( of f ; mar k on J enny' s
ar m)
Et han.
He pi cks up t he book on t he f l oor t hat J enny r ead f r om.
GI LES ( CONT D)
( r eads)
Rever sal of uncont r ol l abl e vocal
expr essi ons.
( nor mal )
Rever sal of uncont r ol l abl e vocal
expr essi ons? J enny? What i s t hi s?
Oh, of cour se, t he si ngi ng. But
t hi s spel l coul dn' t ki l l her ,
i t ' s a si mpl e pr ocedur e.
He pi cks up t he some of t he powder on t he f l oor and sni f f s
i t .
GI LES ( CONT D)
El oscol pai s. Thi s i s l et hal ,
wher e di d t hi s-
Gi l es col l apses unconsci ous on t he f l oor .
FADE TO:
I NT. J ENNY' S APARTMENT LI VI NG ROOM LATER/ EVENI NG 56 56
I t ' s dar k out now. Gi l es begi ns t o wake up.
GI LES
J enny?
He get s t o hi s knees.
GI LES ( CONT' D)
Who gave you t hi s? Who?
He get s t o hi s f eet .
GI LES
Somebody hel p me. Somebody save
her .
Gi l es cl ear s hi s t hr oat , and t he musi c of Come Back ki cks
i n as he begi ns si ngi ng.
67.
GI LES ( CONT' D)
( of f ; J enny' s body)
COME BACK, I F YOU LOVE ME, HOW
WI LL I SURVI VE WI THOUT YOU, BABY
COME BACK, I F YOU NEED ME, MAYBE
I WAS WRONG, AND I TRI ED TO
PRETEND, BUT, ALWAYS I N MY HEART,
I KNOWTHAT I WANT YOU, COME
BACK,
TOMORROW' S ANOTHER DAY, STI LL I ,
CAN' T BELI EVE THAT I TOLD YOU,
AND THAT WAS MY BI G MI STAKE,
EVERY HOUR, EVERY DAY, WHAT CAN I
DO TO MAKE I T THROUGH, OH, THE
DAYS SEEM SO LONG, I MI SS YOU SO
BAD, AND I T' S BREAKI NG MY HEART,
SO COME BACK, I F YOU LOVE ME, HOW
COME BACK, I F YOU NEED ME, HOW
COME BACK, I F YOU NEED ME, MAYBE
I WAS WRONG, AND I TRI ED TO
PRETEND, BUT, ALWAYS I N MY HEART,
I KNOWTHAT I WANT YOU, COME
BACK, BEFORE YOU BREAK MY HEART.
Gi l es f i ni shes hi s song: eyes cl osed, ar ms out , l eani ng
back.
ANGEL ( O. S)
Gi l es?
Gi l es opens hi s eyes and t ur ns r ound and t o see Angel
st andi ng i n t he door way. Gi l es r eposi t i ons hi msel f .
ANGEL ( CONT D)
Wer e you si ngi ng?
GI LES
( beat )
No. How di d you get i n her e? Why
ar e you her e?
ANGEL
Do you r eal l y need t o be t ol d?
Angel nods t owar ds J enny' s body.
GI LES
Oh yes, I f or got , I mean. Oh i t ' s
al l so, conf usi ng. I can' t cope.
I j ust want her back so much.
ANGEL
That ' s how I f eel about Buf f y.
68.
GI LES
You and Buf f y ar e not hi ng t o
J enny and I . We have. . .
( beat )
We had, a st abl e and pr of essi onal
r el at i onshi p.
ANGEL
( speaks f ast )
Yeah sur e, she was a t eacher , you
a l i br ar i an, gr eat , st abl e
pr of essi onal r el at i onshi p, and
what have I got eh? You keep
Buf f y up ni ght and day and
unf or t unat el y I can onl y see her
i n t he dar k, and i t ' s const ant l y
t hr eat ened by t he f act t hat she' s
t he Sl ayer and I ' ma wei r d and
wonder f ul f r eak of bl oody nat ur e,
const ant l y t hr eat ened by
i mpendi ng deat h. And t hat was
absol ut e dr ama and camer a sucki ng
wasn' t i t ?
GI LES
Absol ut el y.
ANGEL
Anyway, back t o t he poi nt .
GI LES
Oh, yes r i ght .
( cl ear s t hr oat )
Oh, J enny, my l ove, my angel .
ANGEL
Yes?
GI LES
Oh bugger of f . Go shag Cor del i a
or somet hi ng.
ANGEL
Buf f y.
GI LES
What ever .
Gi l es r esumes hi s mour ni ng and Angel exi t s.
CUT TO:
I NT. SUNNYDALE HI GH SCHOOL LI BRARY LATER 57 57
Onl y Xander and Cor del i a ar e her e, st andi ng by a book
shel f . They st ar e i nt o each ot her s eyes. Wi l l ow ent er s f r om
t he si de.
69.
WI LLOW
Xander , Gi l es j ust cal l ed. He
want s you t o go t o hi s house.
XANDER
Okay, I ' l l be t her e i n a mi nut e.
Xander gi ves Cor del i a a qui ck ki ss and t ur ns t o l eave.
WI LLOW
Oh, hi Cor del i a.
CORDELI A
( f or ced smi l e)
Hey.
Wi l l ow t ur ns as wel l and cat ches up wi t h Xander , t he t wo
pass Har mony as she ent er s; gl ar i ng at t hem.
CORDELI A ( CONT' D)
Thi s i s t he l ast pl ace I ' d expect
t o see you.
HARMONY
Yeah what ever . I l i ke, t ot al l y
don' t get you Cor . One mi nut e you
wer e l i ke t ot al l y away f r omt hese
f r eaks, l i ke you l i ed t o me. You
sai d you woul dn' t hang ar ound
wi t h t hat t ot al geek Pi l l ow.
CORDELI A
Wi l l ow.
HARMONY
What ever , t hat i s l i ke t ot al l y
not t he poi nt , I mean I can l i ke
t ot al l y under st and you hangi ng
ar ound wi t h Buf f y, I mean, okay
she' s a f r eak, but Angel was
ar ound t hen and now he' s l i ke
l eavi ng. What amI meant t o do,
si t back and wat ch? I mean, no
way! I mean, amI t he onl y one
who under st ands what t hey' r e
doi n' ?
CORDELI A
St op r i ght t her e Har mand l i st en.
I can hang wi t h j ust who I wanna
hang.
( beat )
Wi t h.
HARMONY
And l eavi ng me t o pi ck up t he
pi eces.
70.
CORDELI A
What exact l y do you mean by t hat ?
' Cause i f you' r e t al ki ng about me
and Al exander t hen you can j ust -
HARMONY
He' s a geek. And hi s hai r gel
st i nks.
CORDELI A
Excuse me, t hat i s l i ke my
boyf r i end.
HARMONY
And f or how l ong hey? Have you
l ooked i n t he mi r r or l at el y? I
mean, come on, your hai r i s l i ke
bushy and st i nks of Scooby
saddoes. Li ke wake up, i t ' s me or
t hemand I t hi nk you' ve made your
choi ce.
CORDELI A
That ' s not f ai r .
HARMONY
One, t wo, t hr ee. I count ed t o
t hr ee. You' r e washed up.
CORDELI A
Fi ne.
Har mony l aughs t o her sel f and exi t s. Cor del i a st ands al one.
Oz ent er s f r ombehi nd one of t he book shel ves.
OZ
Hey.
Cor del i a j umps and spi ns r ound.
CORDELI A
Oh, hey.
( beat )
I guess you. . .
OZ
Yeah I hear d.
CORDELI A
Al l of i t .
She moves cl oser t o hi m.
OZ
( whi sper s)
Ever y l ast wor d.
71.
CORDELI A
You won' t ment i on i t t o t he
ot her s wi l l you pl ease?
( st r okes Oz' s f ace)
Do me a f avour , I mean t hem;
Har mony and t he r est , t hey' r e my
l i f est yl e absol ut el y and t ot al l y,
I mean t hat ' s l i ke aski ng Wi l l ow
f or f ashi on t i ps.
Oz r ai ses an eyebr ow.
Oh God, sor r y. That came out
wr ong.
OZ
I t doesn' t mat t er .
CORDELI A
( qui et )
Suddenl y not hi ng seems t o mat t er
anymor e.
They move i n t oget her , about t o ki ss. Then t hey spr i ng
apar t , backi ng away f r omeach ot her .
No wr ong, ver y wr ong.
OZ
Yeah, you' r e wr ong. Not you, me.
I ' l l go, yes go.
CORDELI A
Go' s good.
OZ
Ri ght , I ' d bet t er . Eh. Yeah
r i ght . Bye Cor del i a.
Oz pr act i cal l y r uns out t he r oom. Agai n Cor del i a i s l ef t
al one. Angel ent er s si l ent l y behi nd her .
CORDELI A
( t o her sel f )
Cl ever ar en' t you. Fi r st count ed
t o t hr ee by Har mony, t hen bi g
mi st ake wi t h Oz. No r ephr ase
t hat , t hat ' s wor se t han i f ever y
demon on ear t h wal ked past me and
however ugl y t hey wer e, st i l l had
t he ner ve t o make a r eal l y
hor r i bl e comment . I n f act , i f a
vampi r e wer e her e now, I ' d j ust
say come and bi t e me now.
72.
ANGEL
Her e' s your chance.
Cor del i a j umps ( agai n) , and spi ns r ound ( agai n) .
CORDELI A
God damn you Angel .
ANGEL
Al r eady has.
They bot h smi l e.
CORDELI A
Don' t do puppy dog eyes wi t h me
yeah, I ' ve had t oo much t r oubl e
wi t h t hat t oni ght .
ANGEL
I hear d t hat yeah.
CORDELI A
Who t he hel l t ol d you?
ANGEL
That woul d be you, not t hat
you' r e f r om hel l or anyt hi ng:
t hey nor mal l y have hor ns and a
t ai l .
CORDELI A
Oh r i ght .
( beat )
You won' t say?
ANGEL
Si l ent as t he gr ave. Li t er al l y.
CORDELI A
Ri ght , okay. Ar e you goi ng? Not
t hat I , you know.
ANGEL
I ' mact ual l y wai t i ng f or Buf f y,
we wer e gonna t r ai n t oget her .
CORDELI A
( conf used)
Wer en' t you supposed t o be
l eavi ng?
( shakes head)
Wel l , I ' l l j ust go home t hen.
ANGEL
Okay, I ' l l see you l at er t hen.
Cor del i a goes t o l eave, she get s t o t he door bef or e:
73.
ANGEL ( CONT' D)
Oh Cor del i a.
She t ur ns t o hi m.
CORDELI A
Yeah?
Angel t osses her a st ake whi ch she cat ches.
ANGEL
Wat ch your back.
CORDELI A
Thi s i s f or vamps r i ght ?
ANGEL
Yeah.
CORDELI A
So what do I do i f I meet a bi g
bad hel l demon?
ANGEL
( shr ugs)
Run?
Cor del i a shoot s hi man uni nspi r i ng l ook and exi t s.
CUT TO:
I NT. ETHAN' S APARTMENT STUDY NI GHT 58 58
Et han i s sat at hi s desk, wr i t i ng somet hi ng. Gi l es ent er s
behi nd hi m. Et han pauses but doesn' t l ook up.
ETHAN
You' r e l at e Ri pper . I expect ed
you hour s ago.
( t ur ns)
Or have you l ost your det ect i ve
t al ent s?
GI LES
I was doi ng you a f avour .
ETHAN
What ki nd of f avour ?
GI LES
J ust gi vi ng you t he cour t esy of
ext ended l ast moment s.
ETHAN
( st ands up)
I s t hat so?
74.
GI LES
No. I t ' s j ust t hat I ' man ol d f at
t wat .
Et han st ar t s wal ki ng t owar ds Gi l es, an evi l smi l e on hi s
f ace.
ETHAN
That ' s r i ght . I ' mgonna ki l l you
j ust l i ke I di d your gi r l f r i end.
Et han punches Gi l es under t he chi n, sendi ng hi mbackwar ds
t hr ough a bookcase. Gi l es st agger s up and smashes a chai r
over Et han' s head. Et han f al l s t o t he f l oor .
GI LES
You r eal l y t hought you coul d beat
me?
He t ur ns t o wal k away. Et han get s up and punches Gi l es i n
t he back of t he head, Gi l es f al l s unconsci ous t o t he f l oor .
FADE TO BLACK.
FADE I N:
I NT. ETHAN' S APARTMENT STUDY LATER 59 59
Gi l es awakens t o f i nd hi msel f t i ed t o a chai r , he t r i es t o
get f r ee but can' t . He begi ns t o cr y sl i ght l y. Et han wal ks
i nt o f r ame and st ands i n f r ont of Gi l es hol di ng a pet r ol
canni st er .
ETHAN
St op pi ssi ng your sel f and get a
gr i p.
He pour s t he pet r ol ar ound t he chai r and over Gi l es' head,
t hen f l i cks a l i ght er .
ETHAN ( CONT D)
Goodbye ol d f r i end.
He pr epar es t o dr op t he l i ght er . Gi l es ki cks hi mand Et han
doubl es up i n pai n. Gi l es qui ckl y uses a handy pocket kni f e
t o cut hi msel f f r ee. He st ands and poi nt s i t at Et han.
GI LES
What was i t you t ol d me? Ah yes.
I f you' r e st r ong enough, you f eel
l i ke a man and you can make i t . I
don' t t hi nk you' r e st r ong enough
and I t hi nk you shoul d change
your r el i gi on.
ETHAN
Why shoul d I ?
75.
GI LES
Because i f you don' t , you' r e not
abl e t o say meani ngf ul pr ayer .
ETHAN
Bol l ocks.
GI LES
Oh wel l , have i t your way.
Et han r ushes t owar ds Gi l es, and Gi l es st abs hi mi n t he
st omach. Et han f al l s t o t he f l oor . Gi l es st ar es down at t he
body.
CUT TO:
I NT. THE BRONZE LATER 60 60
I t ' s dar k and busy. Loud dance musi c ( Touched by VAST)
pl ays. The dance f l oor i s packed wi t h peopl e, bot h coupl es
and peopl e on t hei r own danci ng. Buf f y i s one of t hem.
Wi l l ow wal ks over t o her and whi sper s somet hi ng i n her ear ,
gest ur i ng over t o t he door wher e Angel i s st andi ng, Buf f y
smi l es and wal ks over t o hi m.
ANGEL
Buf f y I -
BUFFY
I ' mgl ad you came.
ANGEL
( sur pr i sed)
You ar e?
BUFFY
Sur e.
ANGEL
I don' t under st and.
BUFFY
I di dn' t want you t o mi ss-
Har mony r uns over t o t hem.
HARMONY
Buf f y, t he guys on st age ar e l i ke
so wai t i ng so you' d bet t er hur r y
up. Oh, and hands of f t he bl ond -
he' s mi ne. Oh hi Angel , ni ce t o
umsee-
Buf f y gr abs her and pul l s her away. Buf f y goes up on t o t he
st age, t al ks t o one of t he guys br i ef l y, and as t he cur r ent
song ends she t akes t he mi cr ophone and st ands cent r e st age.
76.
BUFFY
I ' d l i ke t o dedi cat e t hi s song t o
Angel , who' s st andi ng r i ght over
t her e.
She poi nt s t o Angel who i s st i l l st andi ng i n t he door way
l ooki ng scar i l y ser i ous. Har mony si ngs back up f or her .
BUFFY ( CONT D)
UH HUH, LI FE' S LI KE THI S, UH HUH,
UH HUH, THAT' S THE WAY I T I S,
' CAUSE LI FE' S LI KE THI S, UH HUH,
UH HUH, THAT' S THE WAY I T I S,
CHI LL OUT, WHAT' CHA YELLI NG FOR,
LAY BACK, I T' S ALL BEEN DONE
BEFORE, AND I F, YOU COULD ONLY
LET I T BE, YOU WOULD SEE, I LI KE,
YOU THE WAY YOU ARE, WHEN WE' RE,
DRI VI NG I N YOUR CAR, AND YOU' RE,
TALKI NG TO ME, ONE ON ONE, BUT
YOU' VE BECOME,
SOMEBODY ELSE, ' ROUND EVERYONE
ELSE, YOU' RE WATCHI N' YOUR BACK,
LI KE YOU CAN' T RELAX, YOU' RE
TRYI N' TO BE COOL, YOU LOOK A
FOOL TO ME, TELL ME,
WHY' D YOU HAVE TO GO AND MAKE
THI NGS SO COMPLI CATED, I SEE THE
WAY YOU' RE, ACTI N' LI KE YOU' RE
SOMEBODY ELSE, GETS ME
FRUSTRATED, LI FE' S LI KE THI S,
YOU, YOU FALL, AND YOU CRAWL, AND
YOU BREAK, AND YOU TAKE, WHAT YOU
GET, AND YOU TURN I T I NTO,
HONESTY, PROMI SE ME I ' M NEVER
GONNA FI ND YOU FAKI N' ,
NO, NO, NO,
Angel wal ks out , but Buf f y doesn t see - swept up i n t he
song.
BUFFY ( CONT D)
YOU COME, OVER UNANNOUNCED,
DRESSED UP, LI KE YOU' RE SOMETHI N'
ELSE, WHERE YOU, ARE AI N' T WHERE
I T' S AT, YOU SEE, YOU' RE MAKI N'
ME, LAUGH OUT, WHEN YOU STRI KE
YOUR POSE, TAKE OFF, ALL YOUR
PREPPY CLOTHES, YOU KNOW, YOU' RE
NOT FOOLI NG ANYONE, WHEN YOU
BECOME,
77.
( MORE)
TRYI N' TO BE COOL, YOU LOOK LI KE
A FOOL TO ME, TELL ME,
GONNA FI ND YOU FAKI N' , NO, NO,
NO,
CHI LL OUT, WHAT ' CHA YELLI NG FOR,
LAY BACK, I T' S ALL BEEN DONE
bEFORE, AND I F, YOU COULD ONLY
LET I T BE, YOU WOULD SEE,
TRYI N' TO BE COOL, YOU LOOK LI KE
A FOOL TO ME, TELL ME,
NO.
The musi c ends. Buf f y bows on st age t o a l ot of cl appi ng,
she l ooks out i n t he cr owd sear chi ng f or Angel .
CUT TO:
78.
BUFFY ( CONT D)
I NT. ANGEL' S MANSI ON BEDROOM LATER 61 61
The r oomi s ver y bar e and basi c. Angel i s sat on t he bed
l ooki ng sad. He get s up, opens some cupboar ds and get s some
cl ot hes, put t i ng t hemi n a bandana ( r ed wi t h whi t e spot s) ,
t hen l ooks at t he desk and pi cks up a phot o of Buf f y ( i n a
f r ame) and st ar t s si ngi ng.
ANGEL
OH BUFFY, I HI TCHED A RI DE WI TH
MY SOUL BY THE SI DE OF THE ROAD,
J UST AS THE SKY TURNED BLACK, I
TOOK A WALK WI TH MY FAME DOWN
MEMORY LANE, I NEVER DI D FI ND MY
WAY BACK, YOU KNOWTHAT I ' VE
GOTTA SAY TI ME' S SLI PPI NG AWAY,
AND WHAT WI LL I T HOLD FOR ME,
WHAT AM I GONNA TO DO WHI LE I ' M
LOOKI NG AT YOU, YOU' RE STANDI NG
I GNORI NG ME.
He qui ckl y shoves t he pi ct ur e i nt o t he bandana. He t i es i t
t o a post , put s i t on hi s shoul der and wal ks f or war d.
St ops. Looks behi nd hi m, t ur ns of f t he l i ght s. Then exi t s.
CUT TO:
I NT. BUFFY' S HOUSE BUFFY' S BEDROOM CONTI NUOUS 62 62
The i nt r o t o Why begi ns. Buf f y' s sat on her wi ndowsi l l ,
al one, st ar i ng out of her wi ndow i nt o t he ni ght . She' s
wear i ng her l eat her j acket and i s f i nger i ng t he r i ng t hat
Angel gave t o her .
BUFFY
AND NOW, I KNOWTHAT I WAS WRONG,
YOU NEVER REALLY CARED FOR ME,
ALL ALONG, AND WI TH YOU, EVERY
DREAM I HAD, WAS ALL I T EVER WAS,
AI N' T THAT THE FACT, SO I HOLD MY
HEAD DEEP I N MY HANDS.
I NTERCUT WI TH:
I NT. WI LLOW' S HOUSE WI LLOW' S BEDROOM SAME 63 63
Wi l l ow i s sat al one on her bed.
BUFFY/ WI LLOW
I ' M LOST AT SEA, NO SI GN OF LAND,
I NEVER KNEWWHAT LOVE COULD
COST, NO- ONE COULD KNOWHOWMUCH
I ' VE LOST,
I CAN' T GO ON NOWTHAT YOU' VE
GONE,
79.
( MORE)
THERE' S NOTHI NG LEFT I NSI DE, I ' LL
NEVER UNDERSTAND, WHY YOU HAD TO
LI E, I T' S NOT ENOUGH TO SAY YOU
LOVED, AND THEN J UST SAY GOODBYE,
I ' LL NEVER BREAK THESE CHAI NS,
THERE' S NOWHERE TO HI DE,
WHY DI D YOU HAVE TO LI E,
WI LLOW
AND NOW, THAT EVERY HOPE HAS
GONE, I ' VE GOT TO FI ND THE
STRENGTH, TO CARRY ON, ALONE,
MUCH MORE THAN BEFORE, I ' VE GI VEN
EVERYTHI NG, THERE' S NOTHI NG MORE,
SO I HOLD MY HEAD DEEP I N MY
HANDS,
BUFFY/ WI LLOW
I ' M LOST AT SEA, NO SI GN OF LAND,
I NEVER KNEWWHAT LOVE COULD
COST, NO- ONE COULD KNOWHOWMUCH
I ' VE LOST,
I CAN' T GO ON NOWTHAT YOU' VE
GONE, THERE' S NOTHI NG LEFT
I NSI DE, I ' LL NEVER UNDERSTAND,
WHY YOU HAD TO LI E, I T' S NOT
ENOUGH TO SAY YOU LOVED, AND THEN
J UST SAY GOODBYE, I ' LL NEVER
BREAK THESE CHAI NS, THERE' S
NOWHERE TO HI DE, WHY DI D YOU HAVE
TO LI E,
WHY, DOES I T HURT SO MUCH WHEN
THERE' S NOTHI NG I CAN DO, WHY, DO
I HATE MYSELF, ' CAUSE I CAN' T
STOP LOVI NG YOU, NOWMY LI FE I S
EMPTY, ALL I HAVE I S PAI N, I
CAN' T FORGET YOU, WHY COULDN' T
YOU HAVE STAYED, WHY DI D YOU HAVE
TO LI E.
End i nt er cut . Buf f y l ooks at t he r i ng bef or e t hr owi ng i t
acr oss t he r oomand bur st i ng i nt o t ear s.
CUT TO:
I NT. WI LLOW' S HOUSE WI LLOW' S BEDROOM CONTI NUOUS 64 64
As t he i nt r o t o Never Had a DreamCome True ki cks i n,
Wi l l ows get s up and wal ks out t o:
EXT. WI LLOW' S HOUSE BALCONY CONTI NUOUS 65 65
Wi l l ow l eans on t he bal cony.
80.
BUFFY/ WI LLOW( CONT' D)
WI LLOW
EVERYBODY S GOT SOMETHI NG, THEY
HAD TO LEAVE BEHI ND, ONE REGRET
FROM YESTERDAY, THAT J UST SEEMS
TO GROWWI TH TI ME,
THERE' S NO USE LOOKI NG BACK OR
WONDERI NG, HOWI T COULD BE NOWOR
MI GHT' VE BEEN, ALL THI S I KNOW,
BUT STI LL I CAN' T FI ND WAYS TO
LET YOU GO.
Oz appear s t hr ough t he bal cony door s, t he whi t e cur t ai ns
f l yi ng. He wal ks f or war d sl owl y.
OZ/ WI LLOW
I NEVER HAD A DREAM COME TRUE.
She t ur ns, and he hol ds hi s hands out t o her , she t akes
t hem, and t he t wo wal t z.
OZ/ WI LLOW( CONT' D)
' TI LL THE DAY THAT I FOUND YOU,
EVEN THOUGH I PRETEND THAT I ' VE
MOVED ON, YOU' LL ALWAYS BE MY
BABY.
She r est s her head on hi s shoul der .
I NEVER FOUND THE WORDS TO SAY,
YOU' RE THE ONE I THI NK ABOUT EACH
DAY, AND I KNOW, NO MATTER WHERE
LI FE TAKES ME TO, A PART OF ME,
WI LL ALWAYS BE WI TH YOU.
Wi l l ow l i f t s her head t o l ook at Oz.
WI LLOW
Don' t l eave me.
Oz cl oses hi s eyes, Wi l l ow l eans her head on hi s shoul der -
t hi s i s her l ast dance wi t h hi m.
OZ/ WI LLOW
SOMEWHERE I N MY MEMORY, I ' VE LOST
ALL SENSE OF TI ME, AND TOMORROW
CAN NEVER BE, ' CAUSE YESTERDAY I S
ALL THAT FI LLS MY MI ND,
WONDERI NG, HOWI T SHOULD BE NOW
OR MI GHT' VE BEEN, OH THI S I KNOW,
BUT STI LL I CAN' T FI ND WAYS TO
LET YOU GO,
I ' VE NEVER HAD A DREAM COME TRUE,
81.
( MORE)
BABY, I NEVER FOUND THE WORDS TO
SAY, YOU' RE THE ONE I THI NK ABOUT
EACH DAY, AND I KNOW, NO MATTER
WHERE LI FE TAKES ME TO, A PART OF
ME WI LL ALWAYS BE,
YOU' LL ALWAYS BE THE DREAM THAT
FI LLS MY HEAD, YES YOU WI LL, SAY
YOU WI LL, YOU KNOWYOU WI LL OH
BABY, YOU' LL ALWAYS BE THE ONE I
KNOWI ' LL NEVER FORGET,
WONDERI NG, BECAUSE LOVE I S A
STRANGE AND FUNNY THI NG, NO
MATTER HOWI TRY AND TRY, I J UST
CAN' T SAY GOODBYE, NO, NO, NO,
NO,
I ' VE NEVER HAD A DREAM COME TRUE,
BABY, I NEVER FOUND THE WORDS TO
SAY, YOU' RE THE ONE I THI NK ABOUT
EACH DAY, AND I KNOWNO MATTER
WHERE LI FE TAKES ME TO, A PART OF
ME WI LL ALWAYS BE, A PART OF ME
WI LL ALWAYS BE, WI TH YOU. . . .
Oz l et s Wi l l ow go gent l y and exi t s l eavi ng her st andi ng on
t he bal cony al one.
WI LLOW
I COULD' VE DANCED ALL NI GHT, I
COULD' VE DANCED ALL NI GHT, I
COULD' VE DANCED, DANCED, DANCED,
ALL NI GHT.
TI TLE OVER: THE END
Wi l l ow goes back i nt o her r oomand shut s t he door s behi nd
her .
FADE TO BLACK.
END OF EPI SODE
82.

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