Cutting Room Floor

[kassyopeia]

Hi all,

I'm currently re-watching Buffy and reading the scripts alongside. I did the same a few years ago with Star Trek (TNG and DS9) and found it a very rewarding experience, especially when it comes to comparing body-language-type stage instructions to the directors' and/or actors' interpretations of same.

I'm using the versions of the scripts freely available online (e.g. here (http://www.buffyworld.com/buffy/appendix.php)), which are a bit of a mixed bag - some are actually the final shooting scripts, while others are early-ish drafts. Both have their charms, though, so I don't mind. :)

Figured it might be interesting to discuss the things that didn't make it into the screened episodes, in those cases in which the omissions are more than just cosmetic. Do you think these scenes would have contributed to the storyline and character development? Or, contrariwise, do you find the decision to not include them a good thing beyond mere considerations of running time restrictions?



Format
Cut scenes (posted bold) will usually be bracketed by the preceding and succeeding scenes (posted non-bold) to provide context.
Table of Contents

1x12 - Prophecy Girl


2x05 - Reptile Boy
2x13 - Surprise
2x15 - Phases
2x18 - Killed by Death (Draft)
2x21 - Becoming, Part 1


3x03 - Faith, Hope And Trick
3x07 - Revelations (Draft)
3x12 - Helpless
3x14 - Bad Girls (Draft)
3x22 - Graduation Day, Part 2


4x10 - Hush
4x11 - Doomed
4x16 - Who Are You
4x19 - New Moon Rising
4x20 - The Yoko Factor


5x01 - Buffy vs. Dracula
5x07 - Fool For Love
5x10 - Into The Woods
5x12 - Checkpoint
5x17 - Forever
5x21 - The Weight Of The World
5x22 - The Gift


6x03 - After Life
6x08 - Tabula Rasa
6x09 - Smashed
6x15 - As You Were
6x16 - Hell's Bells
6x17 - Normal Again
6x18 - Entropy
6x20 - Villains
6x21 - Two To Go


7x01 - Lessons
7x02 - Beneath You
7x06 - Him
7x07 - Conversations With Dead People (Draft)
7x08 - Sleeper
7x09 - Never Leave Me
7x13 - The Killer In Me
7x14 - First Date
7x15 - Get It Done
7x16 - Storyteller
7x17 - Lies My Parents Told Me
7x19 - Empty Places
7x20 - Touched
7x22 - Chosen

Cutting Room Floor: Angel

Buffyverse Scripts

[kassyopeia]

EXT. FOUNTAIN QUAD - DAY

Buffy, Xander and Willow all head out and down the steps.

BUFFY
Wow, that was... boring.

XANDER
I don't feel that boring covers it.

BUFFY
No, "boring" falls short.

WILLOW
Even I was bored. And I'm a
science nerd.

BUFFY
Don't say that.

WILLOW
I'm not ashamed. It's the computer
age; nerds are in.
(worried)
They're still in, right?

XANDER
Willow, don't you have a thing?

WILLOW
A thing?
(off his look)
The thing! That I have! Which is a
thing. I have to go to it. See
you later!

She goes off quickly, Buffy watching.

BUFFY
What on earth is her deal?

XANDER
She's Willow. So Buffy! I wanted
to -- there was a thing I wanted to
ask you. To talk to you about.

BUFFY
Okay. What's up?

XANDER
Why don't we sit down. Over here.

He steers her toward the bench by the fountain.

BUFFY
Okay, now you're making me nervous.

XANDER
There's nothing to be nervous
about, silly. Ha.

There's a kid sitting near where Xander parks Buffy. He greets the kid thus:

XANDER
(a greeting:)
Hey.
(a command:)
Leave.

The kid does, as Xander sits by Buffy.

BUFFY
Well?

XANDER
You know, Buffy, Spring Fling is a
time for students to gather and --
oh, God.
(loosens up, and:)
Buffy, I want you to go to the
dance with me. You and me. On a
date.

A moment, as this sinks in.

BUFFY
Xander, I don't know what to say...

XANDER
Well, you're not laughing, so
that's a good start. Buffy, I like
you. A lot. I mean, we're
friends, and we've shared
experiences, we've fought blood
sucking fiends together, and that's
a good time, but... I want more
than that. I wanna dance with you.

BUFFY
Xander... You're one of my best
friends. The best friends I've
ever had. You and Willow, I mean,
I love you guys so much --

XANDER
Well, Willow's not looking to date
you. Or if she is she's playing it
really close to the chest.

BUFFY
I don't want to spoil the
friendship we have.

XANDER
I don't want to spoil it either.
But that's not the point, is it?
You either feel a thing or you
don't.

He waits, knowing the answer already.

BUFFY
I don't.
(off his reaction)
I'm sorry. I just don't think of
you that way.

XANDER
Well, try. I'll wait.

BUFFY
Xander...

XANDER
No. Forget it. I'm not him. I
guess a guy's gotta be undead to
make time with you.

BUFFY
That's really harsh.

XANDER
I'm sorry. I don't handle
rejection well. Funny, considering
how much practice I've had.

BUFFY
I never meant to --

XANDER
You know what? Let's just not.

He bails, wandering off under the archway. Buffy sits by herself on the
bench, bummed.

Which is when the hail of pebbles starts.

The first few get Buffy's attention, tiny hard pellets hitting the ground
around her. She stands as more start coming down.

People -- including Buffy -- all run for cover as the real shower starts.
Buffy stands under the archway, watching the hail come down.

ANGLE: XANDER

Walking away, not near Buffy. He hears:

STUDENT (O.S.)
Check it out! It's raining
stones!

Xander looks back over his shoulder.

XANDER
Figures.

And turns and goes.

INT. GILES' OFFICE - DAY

Giles is on the phone, waiting for it to be picked up.

GILES
Hello?... Yes, this is Rupert
Giles. -- Yes I have. It's, um --
I need to talk to you. Here. --
No, I realize that. Come after
sundown.

He hangs up. Looks up to see Ms. Calendar standing in the doorway.

MS. CALENDAR
Hey. Bad time?

GILES
Not the best.

MS. CALENDAR
You know, that outfit looks just
like the one you wore yesterday,
only wrinklier. Were you here all
night?

GILES
I'm sorry, but I'm really not up to
socializing right now.

MS. CALENDAR
Something's going on, Rupert. And
I'm guessing you already know what
it is.

GILES
What do you know?

MS. CALENDAR
I've been surfing the net, looking
for unexplained incidents. People
are always sending stuff my way;
they know the occult's my turf.
Here's the latest.
(reading from papers)
A cat last week gave birth to a
litter of snakes. Which promptly
ate her.
(another)
Family was swimming in Whisper Lake
when the lake suddenly began to
boil. Two deaths.
(another)
Mercy hospital, last night. A boy
was born with his eyes facing
inward.

GILES
Where did these take place? What
countries?

MS. CALENDAR
That's the great thing about the
net. You're connected to the whole
wide world. Except these things
all happened within three miles of
here.

She tosses the papers onto his desk.

MS. CALENDAR
I'm not stupid. This is apocalypse
stuff. You throw in last night's
earthquake and today's impromptu
rendition of "Singing in the
Gravel" and I'd say we've got a
problem. I'd say the end is pretty
seriously nigh.

He studies her for a moment.

GILES
I don't know if I can trust you.

MS. CALENDAR
I helped you cast that demon out of
the internet, I think that merits
some trust. I'm scared, okay?
Plus I got this crazy monk in
Cortona E-mailing me about some
Anointed One.

GILES
The Anointed One? But he's dead...

MS. CALENDAR
Someone's dead?

GILES
Who is this Monk?

MS. CALENDAR
Brother Luca something. Keeps
sending out global mailings about a
prophecy.

GILES
I need you to talk to him. Find
out everything he knows.

MS. CALENDAR
Rupert, you haven't told me jack,
so what's with the orders?

GILES
Just do it. And then I'll explain.

MS. CALENDAR
You better.

GILES
I will.

[kassyopeia]

INT. BUFFY'S BEDROOM - NIGHT

Buffy sits on her bed, looking through old pictures and letters. JOYCE steps
in.

JOYCE
Hey, honey. You all right?

BUFFY
I guess.

JOYCE
You're probably just full from that
bite of dinner you nearly had. Feel
like telling me what's on your mind?

A beat, as Buffy considers doing just that. Instead:

BUFFY
Mom, let's go away.

JOYCE
What?

BUFFY
Anywhere. Just for a while.
A weekend.

JOYCE
Honey...

BUFFY
(rising)
It'll be great. You and me. A
mother daughter thing. We'll talk
about all that embarrassing stuff
you like to bring up.

JOYCE
You know the gallery's open on
weekends.

BUFFY
Mom... please?

JOYCE
Isn't the prom tomorrow night? Or
Spring Fling, or whatever they're
calling it?

BUFFY
I guess so.

JOYCE
Nobody asked you?

BUFFY
Someone, but...

JOYCE
Not the right someone. See?
Sometimes I actually do know what
you're thinking. Well, I suppose
then this isn't the best time for
this, but...

She swings open the closet door. Hanging up inside is a genuinely stunning
gown. Buffy stares at it.

JOYCE
I saw you eying it at the store.
I figured...

BUFFY
(going to it)
Mom, we can't afford this.

JOYCE
The way you've been eating?
We can afford it.

BUFFY
It's beautiful.

JOYCE
I think you should wear it.
To the dance.

BUFFY
I can't go to the dance.

JOYCE
Says who? Is it written somewhere?
You should do what you want.
Homecoming, my freshman year at
college, I didn't have a date. So
I got dressed up and I went anyway.

BUFFY
Was it awful?

JOYCE
It was awful. For about an hour.

BUFFY
Then what happened?

JOYCE
I met your father.

BUFFY
(charmed)
And he didn't have a date either?

JOYCE
He did, and that's a much funnier
story that you will not get to
hear. But it was a beautiful night.

Buffy turns back to the dress, running her hand along it.

BUFFY
You had your whole life ahead of
you.

JOYCE
(remembering)
Yeah.

BUFFY
(quietly)
That must be nice.

INT. ANGEL'S APT - NIGHT.

CLOSE ON: ANGEL:

as he wakes suddenly from a nightmare, lying in his bed. He looks around,
disoriented. Then he looks down.

Collin is sitting at the foot of his bed. Cross-legged, staring quietly at
him.

Angel pulls himself slowly into a sitting position, never taking his eyes off
the boy.

COLLIN
He said you lived like one of them.
I don't understand it.

ANGEL
Maybe when you're older.

COLLIN
People are weak. They're stupid.
Why would you want to be one?

ANGEL
Did he send you?

The boy nods.

COLLIN
He's coming. Soon. Stay out of
his way.

ANGEL
Why should I?

COLLIN
Because he doesn't like you
anymore.

The boy slides off the bed, starts to leave. Turns back to Angel.

COLLIN
You know what he could do to
you...

ANGEL
(a trace of fear)
Yes...

COLLIN
No you don't.

He leaves. Angel doesn't move.

EXT. THE SCHOOL - DAY

No one is here on a Saturday.

INT. HALL OUTSIDE AV ROOM - DAY

Cordelia enters with Willow.

CORDELIA
Kevin said he'd bring everything to
the Bronze last night. He promised!
We'll never get everything ready
in time.

WILLOW
He probably forgot. It's not that
big a deal.

CORDELIA
You don't understand. I'm not
mad. He totally flaked on me -
on me - and I don't even mind.
God help me, I think it's cute.

They reach the door, look in the window.

CORDELIA
There they are.

ANGLE: THEIR POV THROUGH THE WINDOW

We see the AV room. The TV is on (facing us), blaring Saturday morning
cartoons. Two people sit on the couch in front of it.

CORDELIA
They're watching cartoons. That's
so -
(stopping herself)
it's not cute. It's annoying. I'm
annoyed.

WILLOW
Right. I'm furious.

She tries the door but it's locked. Starts rummaging for a key as she says:

CORDELIA
Men. I don't know why we put up
with them.

WILLOW
I hear you.

CORDELIA
Well Kevin has underestimated the
power of my icy stare.

As she natters on, unlocking the door, we cut to:

INT. AV ROOM - CONTINUOUS

The tableau. The camera is by the TV. From here we can see the whole
room, and Cordelia and Willow can be seen through the window at the back.

The boys on the couch are horribly dead. In the foreground lies a girl's body,
just as dead. The place has been trashed. In the back, leaning awkwardly
against the door, is dead Kevin.

Cordelia gets the door open.

Kevin falls back at her feet.

Cordelia screams. Willow stares, first at Kevin, then into the room. The
cartoon music blares.

ANGLE: THE TV

The happy cartoon animals romp and play. There is a bloody hand print on
the screen.

[NileQT87]

imo, that angel scene was needed for so many reasons. namely, to give angel's fear of the master/collin some understandability beyond guessing. prophecy girl, imo, i feel needed to be a two-parter. the episode feels very rushed and short.

COLLIN
He said you lived like one of them. I don't understand it.
ANGEL
Maybe when you're older.
COLLIN
People are weak. They're stupid. Why would you want to be one?

perhaps if joss had known that ats was going to run on this very plotline, he'd have left the scene in.

i'd very much to get my hands on an earlier script of "angel", which seems to have a plothole where buffy asked angel back to her house that night AFTER she knew what he was. he came back to find darla with joyce after buffy asking him to come back to her house. seems like a missing scene where dialog refers to the missing scene.

if season 1 were a full season, angel's relationships with darla, the master and collin at the time needed more explaining. we know the master had jealousy over angelus for taking darla away from him. we also get the vibe that angel, at this point, believes prophecies very literally.

my theory is this has to do with angelus' past history around darla and darla's influence from the master. angel is extremely scared of the master, despite having walked away from the master when he was angry before. the master needed a lot more fleshing out. to insert more backstory with angel/darla/the master jealousy and explanation of how angel or angelus became afraid of the master would have been an excellent opportunity to expand the master as a threat. obviously the jealousy stuff hadn't really been written yet, as the master at some point thought angelus would eventually be worthy of sitting beside him, but that jealousy arc would have added so much more to the master in that season. we also get a tiny glimpse of the jealousy from angelus' side when darla runs off to the master after the spat about darla getting called "grandmum".

another reason the buffy animated series not getting the go-ahead is such a shame. "episode 7.5" might have been able to fill in season 1--beyond motw concepts like espensen's "teeny".

and the dialog that went missing from the harsh light of day about buffy sleeping with parker because of angel was also desperately necessary. it would have added another level to the episode, imo. it is talked about in the commentary and was cut for time-purposes. it shows what was going through buffy's mind and why she really was so quick to sleep with parker.

BUFFY
So what I'm wondering is, does this always happen? Sleep with a guy and he goes all evil?
WILLOW
Well, from what I understand, pretty much. But it won't always be like that. You've just had some really bad luck.
BUFFY
I don't know, Will. Bad luck just happens. I made this happen.
WILLOW
Well, why shouldn't you, if it's what you want? I mean, as long as it's safe. Oh, Buffy, it was safe, wasn't it?
BUFFY
It was safe. It's not that. It's that the whole time, I kept thinking, hey, look at me with someone who isn't Angel. Look how much I'm not hung up on Angel anymore. Look how this is not all about Angel. God, how come I didn't see it?

well, i found this deleted scene from the angel episode (joyce heard mice--lol):

JOYCE
I have to call the exterminator, I heard mice or something upstairs today . . .
BUFFY
I bet they'll go away in a day or so -- are those new curtains? (Joyce turns to look. Buffy empties most of her chicken, etc. into a large plastic baggie in her lap. Joyce turns back.)
JOYCE
Aunt Lolly made those when you were five.
BUFFY
What am I thinking? I know what I'm thinking, more protein. Your chicken rocks, Mom. (Buffy gets up, serves herself some more.)
JOYCE
We have an appetite tonight. So tell me about this young man Angel. When are you going to see him again?
BUFFY
(small glance upwards) Soon . . .
JOYCE
He's doing more than helping you with your history, isn't he? (nothing from Buffy) I mean you've got Willow for that, plus I saw the way you looked at each other. We've talked about taking these things slowly. You know how a glacier moves a few feet every year? That kind of slowly.
BUFFY
Okay, so slower than you and Dad took it.
JOYCE
Touché. Do you want to hear the lecture or do you know it by heart?
BUFFY
You were young, you were in love, what you weren't was through with college, focused on a career and . . . no help from the audience, please, in possession of your own identity.
JOYCE
That pretty much covers it. (notes Buffy's plate) You cleaned your plate again?

--------------------------------------------------

BUFFY
And we think we have problems. (A BELL rings.)
WILLOW
Oh boy, time for geometry. (off Xander and Buffy's looks) It's fun if you make it fun. (They move off.)
INT. SCHOOL HALL - DAY
The last of several KIDS enter rooms and the hall is quiet. Except . . . for Xander at a drinking fountain. Drinking up a storm. A nearby CLASS DOOR opens, Willow exits.
WILLOW
Geometry's starting.
XANDER
Yup.
WILLOW
But you're out here drinking.
XANDER
Again I say, yup.
WILLOW
Something's bothering you. Buffy.
XANDER
Buffy? Why would Buffy be bothering me?
WILLOW
Cause you kinda got a thing there and she kinda has a thing . . . elsewhere.
XANDER
It's just . . . this guy Angel, the research is in, he's a vampire -- still she likes him better than me.
WILLOW
She doesn't like him 'cause he's a vampire, I know she's not down with that part.
XANDER
Love sucks. Ever since I was in grammar school it's the same old dance . . . you dig someone, they dig someone else. And then that someone else digs someone else.
WILLOW
That's the dance.
XANDER
I mean, I'm right for her. I'm the guy. I know it. She's so stupid! She's not stupid. But . . . it's too much. We're such good buds, I'm this close to her, and she doesn't have a clue how I feel. And wouldn't care if she did. It's killing me. (He exits into class. She stands alone a moment.)
WILLOW
Gee, what's that like?

--------------------------------------------------

EXT. BUFFY'S HOUSE - DAY - ESTABLISHING
EXT. BUFFY'S HOUSE - BACKYARD - DAY
Buffy dishes up a plate of healthy vegetables (including broccoli and beets) and carries it to Joyce (who looks fully recovered) at the table.
BUFFY
Here Mom, you gotta eat this. It's what the doctor said, to build up your iron. How are you feeling?
JOYCE
I'm thinking I should say not so good so you'll continue to wait on me hand and foot but I cannot tell a lie: I feel fine.
BUFFY
Good. I was so worried about you, I mean it actually made me feel sick. If anything happened to you . . . (Buffy looks at her mom who puts her hand on Buffy's.)
JOYCE
Now you know how I feel about you every minute of every day.
BUFFY
(beat) I guess I do. Ouch, and now I am so sorry for about a kazillion things I've put you through. (Joyce smiles, they hug.) Now eat your vegetables.
JOYCE
I did!
BUFFY
Mom . . .
JOYCE
I had two big bites.

all these scenes that were SHOT and cut for time need to be edited back into the episodes, imo, and released when btvs and ats come out on the next best format (preferably in widescreen like europe did for seasons 4-7 of btvs and that exists for the rest). there's even a scene were gunn for some unexplained reason walks into the hyperion one day with blood on his lip--it was a deleted scene where he confuses angel's refrigerated blood for v-8 juice. those scenes need to be cut back in, imo. without the scene, it doesn't explain why you very clearly see blood on his lip.

[kassyopeia]

INT. FRAT HOUSE – BASEMENT – NIGHT

Buffy scrambles away from Tom and his attacking sword.

TOM
You… bitch. I’ll serve you to him in pieces!

He swings hard. Buffy ducks and counters with the chain, wraps it
around the sword, rips it out of Tom’s hands.

BUFFY
Tom…

And Buffy hits him with a right, then a left, then she spin-kicks him in
the side of the head – he flies back, trips on the alter, falls on his ass.
Down and out.

BUFFY (cont’d)
You talk too much.

Angel, Xander, Willow and Giles tear downstairs as Machida gatheres
Cordelia in his arms.

CORDELIA
Hellllppppp!!!

Buffy suddenly looms up with the sword.

BUFFY
Back off, wormy!

Machida ROARS at her. Buffy raises the sword and brings it down hard
and fast on the middle of Machida’s snake body, cutting him in half.

XANDER, GILES, WILLOW

And Angel react.

CORDELIA

Falls to the floor, safe.

THE PIT

As what’s left of the severed snake jiggles and lies still a couple of feet
from the upper torso.

BUFFY

Helps Cordelia up. Willow and Xander un-chain a very freaked out Callie.

CORDELIA
You did it, you saved us.

Cordelia walks right past Buffy and hurls herself into Angel’s arms.

CORDELIA (cont’d)
I’ve never been so happy to see anyone
in my whole…
(fights the tears)
You guys, I just really… hate you guys, the
weirdest things always happen around you!

Tom comes to near the alter. And, unbeknownst to any of our heroes,
the snake body begins slowly moving. Until it joins up with the torso.
A squooshy sound of flesh and protoplasm meeting and the two halves
re-join!

CORDELIA (cont’d)
(to Tom)
You’re going to jail for about fifteen
thousand years. Oh god, it’s over…
it’s really…

That’s when Machida, re-joined, suddenly pops up again.

Angel takes a threatening step forward next to Buffy and growls.

Machida towers over Tom:

MACHIDA
For a hundred years I have given your forebearers
wealth and power. And this is how you repay me.
From this day forth you are alone in the world.

Machida slides back down. Cordelia is afraid to breathe. With good
reason. Machida pops back up, grabs Tom.

MACHIDA (cont’d)
Lil’ somethin’ for the road.

Machida disappears into the pit with Tom. We hear Tom’s screams, a
quick couple of chomps and then silence.

Willow and Xander help Callie toward the stairs.

Buffy moves to Giles.

BUFFY
I told one lie, I had one drink…

GILES
And you nearly got devoured by a giant
demon-snake. I think the words “let that be
a lesson” are a tad redundant at this juncture.

BUFFY
Sorry, Giles.

GILES
I am, too. I drive you too hard, because I
know what you have to face… from now
on no more pushing, no more prodding…

Buffy smiles.

GILES (cont’d)
Just… an extraordinary amount of nudging.

Off them,

DISSOLVE TO:

INT. BRONZE – NIGHT

A high school freshman, a real young looking one, moves up to
Cordelia, hands her a coffee and a muffin. He looks up at her (being so
much shorter and all) adoringly.

CORDELIA
Thank you, Leslie. Did we forget the
extra foam?

Leslie grabs the coffee and hurries out of frame. Cordelia turns to

BUFFY, WILLOW, XANDER

Sitting at a nearby table. Xander studies a newspaper.

CORDELIA
Young men. The only way to go.

CLOSE ON NEWSPAPER – We see a picture of the Delta Zeta house and
the headline: FRATERNITY ARRESTED.

XANDER
Says here they’ll all get consecutive life
sentences: investigators found bones of the
missing girls in a huge cavern beneath the
D.Z house… and other bones dating back
fifty years…

WILLOW
They didn’t find the snake? (Xander shakes his head)
Which means we probably will some
day. Oh goody.

XANDER
(reads)
“A surprising number of corporations whose
Chairmen and Founders are former Delta
Zetas are suffering falling profits, I.R.S raids
and suicides in the board room…“
(to Buffy and Willow)
Starve a snake, lose a fortune. Boy, the rich
really are different.

WILLOW
(to Buffy)
Have you heard from Angel?

She shakes her head.

WILLOW (cont’d)
When he got so mad about you being in
danger and changed into…
(makes a face)
…grrrr… it was the most amazing thing
I ever saw. I mean how many guys can –

XANDER
Angel, Angel, Angel. Does every
conversation always have to come
around to that freak?

Xander notices Angel standing right next to him. Doesn’t skip a beat.

XANDER (cont’d)
Hey man, how ya’ doin’?

ANGEL
Buffy.

Beat.

BUFFY
Angel.

Beat.

XANDER
Xander…

ANGEL
I hear this place serves coffee. Thought
maybe you and I should get some…
(nothing from Buffy)
…sometime.
(nothing from Buffy)
If you want.

Buffy considers him for a long moment, then:

BUFFY
Yeah.

Angel brightens.

BUFFY (cont’d)
Sometime. I’ll let you know.

And she gets up and goes. Xander, Willow, Angel stare at her
departing back. Xander kind of respects what she just did. So does
Angel.

ANGLE – BUFFY – WALKING AWAY

Tracking backwards with her. Letting her grow into a tight close-up. So
we can see how pleased she is. Then she walks out of frame and we –

FADE OUT

[kassyopeia]

Quirky. Not sure if that'd have been funny or just idiotic on screen. It does explain why Xander says "Starve a snake, lose a fortune" at the end, rather than "Slay a snake" - not that I ever wondered about that until reading the script, admittedly.

I guess they could have recycled Machida for "Band Candy" if they had wanted to, with this ending. Never realized how similar the two demons are until just now: snakey, underground, bestow power in exchange for regular human sacrifices...

[fitri]

That'll sound very bad on screen.. As if The Mayor's last line in Graduation Day, Part Two wasn't bad enough. This scene in this episode will crush it.. It's a good thing they decided not to go with it.. Although I don't remember what happens to Tom in the final version of the episode... Did he die? Or did he go to jail?

[kassyopeia]

Although I don't remember what happens to Tom in the final version of the episode... Did he die? Or did he go to jail?
From what we can tell from the episode, he goes to jail. The last we see of him is being marched up the stairs, closely followed by Xander's "Says here they’ll all get consecutive life sentences" quote.

[fitri]

Oh okay. Thanks for the info! :)

[kassyopeia]

INT. SCHOOL LOUNGE

Xander moves to him.

GILES
Good morning. I trust that everything
is in order for the party.

XANDER
Absolutely. Ready to get down,
you funky party weasel?

Giles sees BUFFY and MS. CALENDAR approaching.

GILES
Ah. Here comes Buffy. Remember -
discretion is the better part of valor...

XANDER
You could have just gone - "shhhh."
Are all you Brits such drama queens?

Giles would respond, but Buffy and Ms. Calendar have now joined
them. Xander turns to Buffy

XANDER
Buffy! I feel a pre-birthday spanking coming on.

Buffy gives Xander a look that would melt steel.

JENNY
I'd - curb that impulse, Xander.

XANDER
Check. Cancel spanking.

GILES
What's the matter, Buffy? You look fatigued.

BUFFY
Rough night. I had a dream that
Drusilla was alive - and she killed
Angel. It really spun me. I even
went by Angel's on the way to
school to make sure he was okay.

XANDER
There's a line I haven't tried.
"I just dropped by to see if you're
dead." It says caring. Concerned.
Smootchies guaranteed.

BUFFY
Please. I didn't go over there for smootchies -
(then)
Well. When I found out he was okay
I was relieved, and so, naturally...
(then)
Someone stop me.

JENNY
(obliging)
So, Angel's alright?

BUFFY
Yeah, but... I've just got this bad feeling.
This wasn't a normal dream.

GILES
You feel it was more of a portent?

BUFFY
I don't know. I don't want to start
a big freak-out over nothing.

GILES
Still. We should be on alert. If Drusilla
is alive then we may be facing
a cataclysmic state of affairs-

XANDER
(to Giles)
Again. So many words.
Can't you just say we'd be in trouble?

GILES
Go to class, Xander.

XANDER
Gone.

He starts to move away. Stops.

XANDER
Notice the economy of phrasing.
"Gone." It's simple. Direct.

And he's off.

BUFFY
I guess I should get gone, too.

GILES
Don't worry yourself unduly, Buffy.
This could be nothing.

BUFFY
I know. I should keep my Slayer cool
and all, but, it's Angel. Which automatically
equals maxi-wig.

And she heads to class. Calendar and Giles watch her go -then
move down the hall toward the library. Giles' expression now betrays the
fact that he is more concerned than he let on.

JENNY
What? You really think Buffy's
having premonitions?

GILES
It's possible-

INT. LIBRARY - DAY

Calendar and Giles enter - continuing their talk.

JENNY
I guess it makes sense. I mean,
all of Buffy's senses are heightened.
Why should her intuition be different?

GILES
Precisely. It's not unheard of for the
Slayer to start having prophetic dreams
and visions as she approaches adulthood-

JENNY
Adulthood? Buffy's seventeen tomorrow,
Giles. Don't rush her.

GILES
I'm not the one rushing her. While
I'm loathe to say it, the fact is -
the Slayer rarely lives into her
mid-twenties. It follows that she'd
exhibit signs of maturity early on.
Her whole life-cycle is accelerated.

JENNY
Still, you should be careful about
treating her like a grown-up. Like -
this thing with Angel. Have you
even talked to her about it?

GILES
I - I suppose I try not to pry.

JENNY
Maybe you should, a little. The
way she talks - it's clear she has
intense feelings for him

GILES
Well, yes. They're friends-

JENNY
They're more than friends and you know it.

A beat as this sinks in.

GILES
I'm not her father, Jenny.

JENNY
She looks up to you. She'll never
actually say that, but she does.
And I just think, at her age, it's
easy to get in. over your head.
She could make some bad choices
here. Trust me on this one.

GILES
I'll keep an eye to it. Right now
I'm worried enough trying to
think of the right birthday present.

INT. FACTORY - NIGHT

CLOSE ON: A LARGE AND ORNATE CAST IRON BOX.

DALTON, the vampire transcriber, arrives at the door under the balcony
laden down with the box. It is rectangle shaped, but has an odd peg
and groove device at one end - as though it is meant to fit with
another piece.

DALTON
I have your package.

A voice emerges from the shadows.

SPIKE (O.C.)
Just put it on the table. Near the other gifts.

Dalton moves away as SPIKE ROLLS out of a dark corner of the
factory. He's IN A WHEELCHAIR, disabled from the accident at the
church - deathly pale and scarred from burns.

SPIKE
Are you dead set on this, pet?
Wouldn't you rather have
your party in Vienna?

Now we REVEAL DRUSILLA, brimming with vitality, who pushes Spike into
the main room of the factory for a PARTY. It is being decorated by
two VAMPS. Creepy Drusilla style, natch. Two boxes similar in look
but different sizes are on the table. Dalton adds his to the pile.

DRUSILLA
(pouty)
But - the invitations are sent.

Spike knows this is true - although he doesn't like it.

SPIKE
It's just, I've had it with this place.
Nothing goes off the way its supposed to.

DRUSILLA
-until my celebration. My gatherings are
always perfect. Remember Spain? The bulls?

SPIKE
I remember, sweet. But Sunnydale is
friggin' cursed for us. Angel and the
Slayer see to that.

DRUSILLA
Shhhh. I have good games for everyone. You'll see.

She sees some flowers woven about two of the chairs. Stops,
suddenly shaking.

DRUSILLA
These flowers are wrong.
They're all wrong - I can't abide them!

She screams with genuine horror and tears them off the chairs - then
stops, as suddenly as she begun. Spike looks wearily at the two vamps.

SPIKE
Let's try something different with the flowers, then.

DRUSILLA
(suddenly excited)
Can I open one? Can I? Can I?

SPIKE
Just a peek, love. They're for the party.

She goes to the boxes.

POV FROM BOX

We see Dru open it, look inside with rapturous glee.

SPIKE
You like it, baby?

DRUSILLA
Oh, it reaks of death. This will
be the best party ever.

SPIKE
Why's that?

DRUSILLA
Because it will be the last.

She SLAMS the box closed.

BLACK OUT.

[kassyopeia]

INT. MS. CALENDAR'S CLASSROOM - DAY

Calendar enters, Loaded down with her bag, books, cup of coffee, etc.
She sets some stuff down near a terminal. Turns the computer on-

GYPSY MAN (O.C.)
Jenny. Jenny Calendar...

Calendar spins - sees THE OLD MAN we saw earlier outside the school.
He's standing at her desk, reading her nameplate -speaks with a
DISTINCT YUGOSLAVIAN ACCENT.

A beat as Jenny comprehends his presence in her classroom.

JENNY
You startled me.

GYPSY MAN
You look well. Comfortable.

Jenny becomes increasingly uncomfortable.

JENNY
Yes. I'm fine. I - I know I haven't written
as much lately. I've been busy-

GYPSY MAN
I cannot imagine what is so important that
you ignore your responsibility to your people.

JENNY
I've been working. And... distracted. I'm sorry.

GYPSY MAN
The elder woman has been reading signs.
Something is different.

JENNY
Nothing's changed. The curse still holds.
He's still tortured by all that he's done-

GYPSY MAN
No. The elder woman is never wrong.
She says his pain is lessening. She feels it.

JENNY
There is...

GYPSY MAN
There is - what?

JENNY
(with difficulty)
A girl.

The old man's eyes fill with fire. He cannot believe what he is hearing.

GYPSY MAN
What? How could you let this happen?

JENNY
I promise you. Angel still suffers. And he
makes amends for his evil. He even saved my life.

GYPSY MAN
So you just forget? That he destroyed
the most beloved daughter of your
tribe? That he killed every man,
woman and child who touched her life?
(then)
Vengeance demands that his pain be
eternal, as ours is. If this - this girl -
brings him even one minute of happiness.
That is one minute too many.

JENNY
I'm sorry. I thought-

GYPSY MAN
What? That you are Jenny Calendar now?
You are still Janna, of the Kalderash people.
A gypsy.

JENNY
I know, Uncle. I know...

GYPSY MAN
Then prove it. Your time for watching
is past. The girl and him - it ends now.
No matter what you must do, take her from him.

JENNY
I - I will see to it.

GYPSY MAN
Good.

He moves off, exits. Leaving Calendar a total mess.

INT. SCHOOL HALLWAY - DAY

Cordy and HARMONY stroll to class. See XANDER and WILLOW hanging in
the LOUNGE in the BG.

CORDELIA
(too casual)
Hello. I'm having, like, a totally
random thought...
(then)
Xander Harris. Is it just me, or
does his shirt almost match his pants?

Harmony looks. Shrugs.

HARMONY
Almost. Why do I care?

CORDELIA
Well. If you look at him a certain way -
is he vaguely.., cute?

THEIR POV

As XANDER does some spazzy dance for Willow's amusement.

RESUME

HARMONY
Oh yeah. I'm hot for spaz boy.
Are you tripping, Cordelia?

A beat. Cordelia laughs a little too loud.

CORDELIA
You thought I was serious? Please.
I was just testing you! Ha.
(sighs)
I'm hot for spaz boy. Good one.

INT. SCHOOL LOUNGE - DAY

Xander and Willow are at the snack machine.

WILLOW
So we're all set. I've got all the decorations.
And I think Cordelia's bringing snacks and stuff.

XANDER
Yeah. She said she was. Which was
thoughtful. Don't you think?
(takes the leap)
Hey. Cordelia: not as horrible a person
as we once thought? I mean, she's
obviously trying to be helpful.

WILLOW
True.
(considers)
Maybe...

XANDER
But, you wouldn't ever, like, be able
to be friends with her or something.

WILLOW
You mean, like hang out and
take Cosmo tests together?

XANDER
I mean - actually elect to be in her presence.

WILLOW
I don't know. She's better -
but she's still Cordelia.
(nods to the hall)
Just... look.

THEIR POV

CORDELIA and HARMONY are joined by a few other Cordettes. They
all SQUEAL in greeting. Jump up and down.

ON WILLOW AND XANDER

WILLOW
Example: what is the shrieking thing?
They just saw each other yesterday...
And now, watch - Cordelia's going to
model her new outfit-

ON CORDELIA, ET AL

Sure enough - Cordelia spins around, showing off her mini-dress. More
shrieks.

ON WILLOW AND XANDER

WILLOW
Note the reaction -
like Cordelia invented clothes.
(then)
They're not bad people, Xander.
It's just - we are of two worlds.
(can't help herself)
And theirs is bad.

Xander lets this sinks in.

XANDER
Right. Of course you're right.
What was I thinking?

Now OZ approaches. Willow immediately gets shy, happy.

OZ
Hey.

WILLOW
Hey. So - tonight?

OZ
I'm there. Feeling surprise-y.
(then)
Can I pick you up?

Xander's watching them, unsure what to make of all this.

WILLOW
Yeah. That would be... Here-


She writes it on her pad - tears it off and gives it to Oz.

OZ
(pleased)
I have your address.

WILLOW
You do.

OZ
Excellent.

He moves off. Xander looks at Willow - a little shocked.

XANDER
Is this a date?

WILLOW
(distracted)
Hmmm...?
(then)
Yeah. It's a date.

XANDER
Shouldn't you meet him or something?
Are you sure you should be giving
some stranger your address?

WILLOW
He's not just some stranger, Xander.
He's a friend. He took a bullet for me.

XANDER
So? I would've taken a bullet for you.
Nobody offered me one.

Off Willow - enjoying Xander's discomfort.

INT. LIBRARY - DAY

Buffy and Giles are in mid-conversation. Very intense.

BUFFY
-and then my mom broke the plate.
It was exactly like I saw it in my
dream, Giles. Every gesture. Every
word. Beyond creepy.

GILES
Yes. I'd imagine-

Now Willow and Xander enter the library. See Buffy.

XANDER
Hey! The woman of the hour.

WILLOW
It's happy birthday Buffy!

They move to her to give her a hug - but sense her mood.

WILLOW
Not - happy birthday Buffy?

GILES
It's just... A piece of the nightmare
Buffy had the other night
actually came to pass.

XANDER
Something happen to Angel?

BUFFY
He's fine. For now. But if part of what
I had a dream about came true-

WILLOW
Then all of it may come true.

BUFFY
And Drusilla might be alive.
(then/to Giles)
In the dream, I couldn't stop her.
She blind-sided me, Giles. Angel
was dead before I knew what happened

GILES
Even if she is alive, we can still protect
Angel. Dreams are not prophecies, Buffy.
You dreamt the Master had risen, but you
stopped it from happening.

XANDER
You ground his bones to make your bread.

BUFFY
That's true, except for the bread part.
I guess we're one step ahead. But Giles,
I'd like to stay that way.

GILES
Absolutely. Let me read up on Drusilla,
see if she has any particular patterns.
Why don't you meet me here at 7:00?
Map out a strategy.

BUFFY
Okay. What do I do till then?

GILES
Go to class.., do your homework...
Have supper...

BUFFY
Oh, right. Be that Buffy.

She grabs her book bag, heads out. The others watch her go.

XANDER
That is not a perky birthday puppy.

WILLOW
So much for our surprise party.

XANDER
Man. This Slayer gig is 24/7. Can't even
stop for a little pinata-bashing.

Bummed, Willow starts to get up, collect her things.

WILLOW
I bought little hats and everything.
Oh well, I'll tell Cordelia.

GILES
No, you won't. We're having a party tonight.

XANDER
It looks like Mr. Caution Man talking,
but the sound he makes is funny.

GILES
Buffy's surprise party is going
to go exactly as we've planned.
(to Willow)
Except I won't be wearing the little hat.

XANDER
He has dignity.

WILLOW
But Buffy and Angel -

GILES
-May well be in danger. As they have
been before, and, I imagine, will be again.
One thing I have learned in my tenure here
on the Hellmouth is that there is never a
good time to relax. But Buffy is only
turning 17 this once. She deserves a party.

XANDER
You're a great man of our time.

WILLOW
And anyway, Angel's coming . So she'll be
able to protect him and have cake.

GILES
Precisely.

[kassyopeia]

Excluding Jenny's conversation with Giles was a very bad call. It makes the character development she gets in this arc a lot less sudden, and it shows that she's actually trying (in a roundabout way) to fulfill her mission.

[kassyopeia]

INT. GYMNASIUM - DAY

MISS LITTO (a formidable-looking woman) speaks to STUDENTS who
stand on MATS. A number of the students have BODY PADS, GLOVES, etc.

MISS LITTO
But with some simple basics of self-
defense, each of you can learn how to
protect yourself…

She CONTINUES TO TALK as we:

ANGLE: BUFFY, WILLOW AND OZ

BUFFY
Here's a suggestion: move away from
the Hellmouth.

Oz REACHES for the collar on the back of Willow's shirt and fixes
something. Willow turns to him.

OZ
(explaining)
Tag.

Xander, who is with Cordelia, SEES this.

XANDER
Would you look at that? He's all
over her!
(whispers over)
Hey, buddy, you're in a public
forum here!

CORDELIA
(to Xander)
I think you splashed on a little too much
'Obsession for Dorks.'

MISS LITTO
…Okay, everyone get into your assigned groups.

The students separate into GROUPS. Larry removes his jacket to reveal
a large BANDAGE on his arm.

XANDER
What happened to you?

LARRY
Ah, last week some huge dog jumped
out of the bushes and bit me. Thirty-nine
stitches. They ought to shoot those strays.

OZ
I been there, man.

He holds up a finger.

OZ (cont'd)
My cousin Jordy. Just got his grown-up
teeth in. Does not like to be tickled.

WILLOW
(leaning in)
Looks like it healed already.

OZ
The emotional scar is still there.

Larry approaches THERESA, a small, timid-looking girl.

LARRY
Theresa, be still my shorts. We're in
the same group.
(smiling cruelly)
I may have to attack you.

THERESA
(anxious)
No, I think, actually, in our group,
there're a few of us-

Buffy STEPS BETWEEN Larry and Theresa.

BUFFY
(to Larry)
Yeah. And I'm one of the few.

Theresa back away to safety as Willow pulls Buffy aside.

WILLOW
Don't forget, you're supposed to be
a meek little girlie-girl like the rest
of us.

BUFFY
Spoil my fun.

Willow JOINS Xander and Cordelia in their group. Xander is pulling a
large PADDED HELMET over his head.

XANDER
Be gentle with me.

CORDELIA
(to Willow)
You first. I wouldn't want to be
accused to taking your place in line.

WILLOW
Oh, I think you pushed your way to
the front long before this.

CORDELIA
Hey, I can't help it if I get the spotlight
just because some people blend into the
background.

WILLOW
Well, maybe some people could see
better if you weren't standing on the
auction block, shaking your wares.

CORDELIA
Sorry, we haven't all perfected that
phony 'girl next door' bit.

WILLOW
You could be the girl next door, too. If
Xander lived next to a brothel!

They BORE INTO EACH OTHER, breathing heavily. Xander, completely
suited up, calls out to them.

XANDER
(innocently)
Okay, who wants a piece of me?

Cordelia and Willow look at one another.

SMASH CUT TO:

BAM!

Xander reels from a PUNCH thrown by Cordelia.

OOF!

He buckles over from a KICK, administered by Willow.

The girls WORK TOGETHER, eventually taking Xander to the ground. He
looks up at them, confused and pleading:

XANDER
Why…?

ANGLE: MISS LITTO.

MISS LITTO
Okay, everyone, listen up. I want to
show you what to do should you be
attacked from behind.

Larry puts his arms around Buffy from behind. The students watch as
Miss Litto explains the procedure.

MISS LITTO (cont'd)
In this situation, bend forward, using
your back and shoulders to flip your
assailant over and to the ground.

Buffy 'tries' to flip him.

BUFFY
Unh! Mnh!

LARRY
You're turning me on, Summers.

Larry reaches down and GRABS A HANDFUL of Buffy's butt. No more
girlie-girl. In the blink of an eye, Buffy GRABS hold of Larry, LIFTS him,
and SLAMS him into the mat. Oz looks down at Larry.

OZ
That works, too.

[kassyopeia]

INT. OZ'S HOUSE - NIGHT

Oz pulls some SHACKLES and CHAINS out of a box. He closes a metal
shackle around his wrist, reaches for a PADLOCK, when:

There is a KNOCK at the door. Oz looks over. The KNOCKING
continues, sounding somewhat IMPATIENT.

Oz leaves the shackles on a table and goes to the door. He OPENS it a
crack.

OZ
Willow, what are you doing--?

Willow BARGES RIGHT IN.

WILLOW
Okay, I had this whole thing worked
out and I had written it down, but then
it didn't make any sense when I was
reading it back.

OZ
This really isn't a good time.

She plows ahead.

WILLOW
I mean, what am I supposed to think?
First you buy me popcorn, then you put
the tag in my shirt, and then you're all
glad I didn't get bit. But I guess none
of that means anything, because instead
of looking up names with me, here you
are all alone in your house doing nothing
by yourself.

OZ
Willow, we will talk about this tomorrow.
I promise.

WILLOW
No, darn it, we will talk about this now!
Buffy told me that sometimes what the
girl makes has to be the first move and
now that I'm saying this I'm starting to
think that the written version sounded
pretty good but you know what I mean!

Oz delicately tries to escort her out.

OZ
I know. It's me. I'm going though some… changes.

She breaks his grasp and moves further into the house.

WILLOW
Well, welcome to the world! Things happen.
You don't think I'm going through a lot?

OZ
Not like I am.

WILLOW
Oh, so now you're special! You're
special boy-

Willow notices the chains and shackles on the table.

WILLOW (cont'd)
--with chains and stuff.
(then, confused)
Why do you have chains and stuff?

OZ
Willow, please-

He doubles over in pain.

OZ (cont'd)
(shouting)
Get out!

WILLOW
Oz?

She moves towards him to see if he's okay.

WILLOW (cont'd)
Oz, what is it? What's wrong?

When Oz looks back up at Willow, she sees what's wrong: HE'S
THE WEREWOLF.

The werewolf BARES its teeth and GROWLS at Willow.

Willow tries to scream. And then does.

WILLOW (cont'd)
Dyaaeehhhhh!

BLACK OUT.

INT. OZ'S HOUSE - A MOMENT LATER - NIGHT

There's a werewolf SNARLING at Willow, remember?

Willow tries to get to the door, but the werewolf LEAPS into her path.
She looks around for an escape and HEADS FOR:

CUT TO:

INT. ANOTHER PART OF THE HOUSE - CONTINUOUS - NIGHT

Willow runs in, the werewolf, close behind. She SCRAMBLES over
a couch, just as the werewolf SWIPES at her legs. It's a near
miss - the werewolf's claws TEAR THROUGH the cushions on the couch.

Willow ROLLS AWAY on the ground and gets to her feet. She tries to
RUN out, but the werewolf GRABS her from behind. Willow BENDS forward
and FLIPS the werewolf over.

It CRASHES hard to the floor.

WILLOW
Wow. It worked.

Maybe too well. The werewolf isn't moving. Willow moves to it, concerned.

WILLOW (cont'd)
Oz?

The werewolf LEAPS up and SNAPS at her. Willow SCREAMS and RUNS
FOR HER LIFE, pushing a COAT RACK, CHAIRS and anything else she can
find into the werewolf's path.

She's gone.

CUT TO:

EXT. SUNNYDALE - NIGHT

Willow RUNS FOR HER LIFE, down the street and through the
neighborhood.

The WEREWOLF is on her heels.

CUT TO:

EXT. PARK - NIGHT

Willow SPRINTS across the grass, hurtles over a BENCH, and gets to
a BACKYARD FENCE.

She looks behind her. The werewolf keeps coming.

She JUMPS UP, grabs the fence, and with GREAT EFFORT manages to
get over.

As she lands on the other side the werewolf LEAPS…

… has its claws on the TOP OF THE FENCE, begins to PULL ITS WAY UP.

Willow grabs a trash can sitting in the yard, throws it, KNOCKING
the werewolf back to its side of the fence.

Willow TAKES OFF AGAIN.

[kassyopeia]

Very annoying that they didn't use the full gym scene. It's the perfect transition from Willow's "1-800-I'm-Dating-A-Skanky-Ho" comment at the beginning of the episode and Willow and Cordelia seeming to have a real understanding during their conversation at the Bronze later on.

I like the second cut scene, too. And, knowing that it exists, the cut creates a slight plot hole in the screened episode: Willow runs away from the werewolf into the house (away from the front door), and is then seen coming out of the front door in the next scene. Tsk. :)

[Vampmaster]

Actually I got to agree that the Jenny and Giles conversation would have been nice. Firstly as Kass said it would have shown Jenny subtly trying to fulfill her promise to her uncle while at the same time allowing us to see the discomfort Giles feel about his maternal-like feelings towards Buffy :D

Also I have to admit I think the Xander and Cordelia scenes are pretty cute:lol:. The way in which each character is trying to test the water by giving the other a compliment in front of their friends to see their reactions and at the exact same time without the others even realizing. I just think it would have been a really nice scene to see on screen.. Then again I always liked Xander/Cordelia lol. :roll:

[kassyopeia]

Also I have to admit I think the Xander and Cordelia scenes are pretty cute:lol:.
Yeah, I think so too. I especially like the last bit - seeing Willow make Xander squirm is always nice. :) But considering that it's a pretty long scene and that the episode's running time is fixed, I'm allright with the decision to cut it too in this instance.

[kassyopeia]

all these scenes that were SHOT and cut for time need to be edited back into the episodes
I agree that that would be very nice, but I'm not sure how feasible it is. A scene being shot doesn't mean it's ready for publication, because generally post-production will be done only on the scenes that are to be screened, after this has been decided, no?

[kassyopeia]

INT. MANSION SIDE ROOM - NIGHT

Spike is alone, pacing, thinking. We hear chanting from behind the
door. Then:

DRUSILLA (O.S.)
Spike?

He beelines for the chair, gets in just before she enters the room.

DRUSILLA
Spike, sweetie, the fun's about to begin.

SPIKE
It is? Seems more to me like
the fun's about to end.

DRUSILLA
Don't be all gloomy.

SPIKE
Darling, if this works, everything changes.
Think about it. In this world, we can be
kings. In the next. . .

DRUSILLA
My Spikey's getting cold feet. Don't you worry
about the next world. You'll always have me. . .

SPIKE
Will I?

She doesn't answer. A SCREAM emerges from the main room -- that of
a young man.

DRUSILLA
Oh! The blood ritual! To cleanse
Angel. Let's go and see.

SPIKE
(giving in)
Well, if there's blood. . .

They go out into:

INT. MANSION - NIGHT

In the main chamber, where the statue stands free of its casing at one
end.

At the other, Angel waits as two vampires bring the young man before
him. Angel looks at him, eyes glowing in reverent reverie.

ANGEL
I will drink. . . the blood will wash in me,
over me and I will be cleansed, I will be
worthy to free Acathla.
(to Spike and Dru)
Bear witness, as I ascend.
(looking at the man)
As I become.

He changes to vampface. Bites.

[kassyopeia]

Not a cut scene, but Whistler has significantly more dialog in the script, so I'll include it here:

EXT. NEW YORK STREET - NIGHT (1996)

A title reads: MANHATTAN, 1996

It's a dark, grimy district -- not many people out, and none with too
much money.

We pick up a HOMELESS MAN moving along in the shadows. He stops at
a group of garbage cans, sees:

ANGLE: A RAT

Scurrying among them.

The man makes a dive for the rat, but it gets away and he lands in a
clatter among the cans. We see that is it Angel. He looks utterly lost
and destitute -- not entirely sane, even.

He sits, defeated as another figure approaches him. WHISTLER is young
in appearance, and wearing a bad suit over a loud shirt. He looks like
a bottom-ranked mafioso. His manner, like his outfit, is loud and grating.

WHISTLER
God, are you disgusting.

Angel starts, not used to being talked to. He starts to crawl back into
the shadows.

WHISTLER
This is really an unforgettable smell.
This is the stench of death you're
giving off here. And the look says
crazy homeless guy, it's not good.

ANGEL
Get away from me.

WHISTLER
What are you gonna do, bite me?
Oh, horrors! A Vampire!

Angel stops, staring at him.

WHISTLER
Oh, but you're not gonna bite me
'cause of your poor tortured soul,
it's so sad, a vampire with a soul,
how poignant. I may physically
vomit right here.

ANGEL
Who are you?

WHISTLER
Let's take a walk. Come on.

He starts to help Angel up. Angel is clearly weak. As he gets to his feet
a respectable PASSERBY stares at the pair.

WHISTLER
(to the passerby)
What? Yes, he's my lover,
you mustn't judge us!

The passerby scurries off.

WHISTLER
God, I hate people.

EXT. A NEARBY STREET - MINUTES LATER - NIGHT

The two are walking together. Whistler's doing most of the talking.

WHISTLER
What are you eating, like a rat once
a month? You're skin and bones here.
Butcher shops are throwing away more
blood in a day than you could stand.
Good blood. You lived in the world
a little bit you'd know that.

ANGEL
I want to know who you are.

Whistler stops, faces him.

WHISTLER
And I want to know who you are.

ANGEL
You already do.

WHISTLER
Not yet. I'm looking to find out.
'Cause you could go either way here.

ANGEL
I don't understand you.

WHISTLER
Nobody understands me. It's my curse.

He walks a few feet away, to a SABRETT VENDOR.

WHISTLER
(to the vendor)
Dog me.
(to Angel)
There are three kinds of people that
no one understands. Geniuses,
madmen, and guys that mumble.
My name is Whistler. Anyway,
lately it is. My real name is hard
to pronounce unless you're a dolphin.

He pays, takes a big bite out of his dog.

ANGEL
You're not a vampire.

WHISTLER
A demon, technically. But I'm not
a bad guy -- not all demons are dedicated
to the destruction of all life. Someone has
to maintain balance, you know. Good and
evil can't exist without each other, blah
blah blah. I'm not like a good fairy or anything,
I'm just trying to make it all balance -- do I
come off defensive?

ANGEL
What did you mean, I could go either way?

WHISTLER
I mean you could become an even
more useless rodent than you are
right now, or you could become. . .
someone. A person. Someone to be counted.

ANGEL
I just want to be left alone.

WHISTLER
You've been alone for what, ninety years?
And what an impressive package you are.
The stink guy.

ANGEL
You don't know what I have to
deal with. What I've done.

WHISTLER
You're annoying me! The self pity
thing is not gonna bring in the chicks.
It's a bore.

ANGEL
What do you want from me?

WHISTLER
I want you to see something. It's happening
very soon, we'd need to leave now. You see,
and then you tell me what you want to do.

ANGEL
Where is it?

[kassyopeia]

It's nice to get a bit more background on Spike's unwillingness to destroy the world, but I think I actually prefer the episode without this scene. Not including it makes his truce offer to Buffy all the more startling later on.

[Vampmaster]

I'm glad they left the Spike scene out. Though we saw hints that Spike was against Angelus due to his relationship with Dru we certainly never saw enough that would allow us to guess that he would work together with Buffy to save the world. This scene however might have left us considering it taking out the surprise of the later scene when he does work together with Buffy. So yay for being a deleted scene :lol:

The Whistler stuff I liked... I thought that his joke to the passerby about being a couple with Angel was fricking hiliarious though I definately see why they cut it out. I mean its funny and all, but didn't add much to the flashback you know? I can also see why they took the joke about him having a real name that only a Dolphin could pronounce. It would have been a lose end and many an obsessive fan would probably be left trying to guess what it is :roll:

[kassyopeia]

NEAR SCHOOL LOUNGE - DAY

Buffy heads for the exit, runs into:

SCOTT
Hi.

BUFFY
Scott ...

SCOTT
How are you?

BUFFY
Okay. I've gotta...

SCOTT
I know, be somewhere else. Think of
this as my last ditch effort, I
realize one more will qualify as stalking.
(beat)
I've given a lot of thought, some
might say too much thought, to how I
might be a part of your life. It
begins with conversation, we all know
this. Maybe over a cup of coffee,
maybe at the Buster Keaton
festival -- playing on State Street
all this weekend...

Beat.

BUFFY
Looking back now I see I haven't
really been fair to... Buster Keaton.
I like what I've seen of him so far,
I think it's time to see a little more.

SCOTT
(success at last)
Keaton is key.

Giles, looking concerned, hurries down the hall towards Buffy in
b.g., approaching in time to witness:

SCOTT
(pulling out a small white box)
I got you a little present, guy in a
retro shop said it represents
friendship -- that's something I'd
very much like to have with you.

Buffy smiles, he's charmed and relaxed her. Scott hands her the box.
She looks in, her smile fades.

IN THE BOX - a Claddagh ring, just like the one Angel gave her.

SCOTT (O.S.)
You like?

Buffy steps back (towards Giles), dropping the box. The ring clatters to
the floor, much like it did in her dream.

FLASHCUT: Angel putting the ring on her finger in episode 13, year 2.

BACK IN THE PRESENT

Scott picks up the ring as:

BUFFY
I can't... I can't do this...

ANGLE - THE RING IN SCOTT'S HAND

Is not the Claddagh ring but a simple friendship ring, colored plastic
or something markedly different.

SCOTT
Okay, I get the message.

Buffy turns, walks into Giles (Scott exiting in b.g.)

GILES
Are you all right?

BUFFY
Yeah. I'm fine. Did you reach the retreat?

GILES
I did.

BUFFY
What'd her watcher say?

GILES
Her watcher is dead.

[kassyopeia]

INT. ABANDONED FIREHOUSE - NIGHT

Buffy and Faith tumble through a half broken window, hit the floor.
Buffy jumps up, looks out the window.

BUFFY'S POV

Kakistos runs across the "T" in the alley, missing the turn Buffy and
Faith took.

BUFFY
We're okay.

Faith glances out the window herself, badly shaken.

BUFFY
What happened?

FAITH
I...
(starts to cry)

BUFFY
It's okay.

FAITH
I was there when he killed my
watcher. I saw what he did to her,
what he was going to do to me... I
tried to stop him, but I couldn't...
I ran...

BUFFY
Faith, listen to me. First rule of
slaying: don't die. You did the right
thing, you didn't die. Now do the
math: one of him, two of us...

FAITH
(softly)
No...

BUFFY
Yes.

FAITH
(terror-stricken)
No...

Buffy follows her gaze. In the corner, a gruesome pile of bodies.
Happy Burger Guy, Pizza Guy, a couple of other uniformed corpses,
Meter Reader, Mail Woman, etc.

FAITH
This is his place.

Buffy spins around: Trick and Vamp 5 coming through a back
entrance, Kakistos coming through the side, Vamps 6 & 7 behind him.
They're surrounded and, need I mention, badly out-numbered.

BUFFY
(realizing:)
They drove us here.

Here come the vamps. Buffy kicks Vamp 5 in the face, punches 6.

Faith can't take her eyes off Kakistos; she backs away in terror.

Buffy sees this, grabs a metal bar.

BUFFY
Don't die.

Buffy hurls the metal bar into Faith's arms.

Buffy whips out a stake, diving for Kakistos who catches her with one
hand -- and hurls her against a wall.

Faith looks at the bar in her hands, up at Kakistos. She is not doing
well here. She tries to swing it -- Kakistos stops it and punches her
right through a support beam.

BUFFY - on her back on the floor; Vamp 5 dives for her. She whips out
a stake.

ANGLE - THE WALL ABOVE BUFFY AND VAMP 5

We see 5's dust cloud as Buffy pops up to her feet out of it, stake in
hand; she spins to see:

ANGLE: FAITH

crawling painfully away from where she landed, Kakistos moving towards her.

Buffy is about to go for Kakistos when Mister Trick (in vampface)
grabs her from behind.

MR. TRICK
I believe this dance is mine.

She slams him back against the wall, bends forward and flips him over
onto his back, whips out her stake --

BUFFY
The music stopped.

She drives the stake down -- but he rolls away, comes back up to face her.

MR. TRICK
But the beat goes on.
Gimmie whatchya got.

She comes at him, and they trade just enough punches so we know
they're a good match.

KAKISTOS TOWERS OVER

Faith. Grabs her hair, drags her to her feet. She looks at him beyond
terror now...

BUFFY AND TRICK

Going at it as Vamp 6 grabs Buffy from behind. Trick comes for her, she
rears back, kicks him in the face, flips 6 over her shoulder and stakes
him (out of C.G.I. sight) on the ground. Buffy sees:

KAKISTOS HIT FAITH REALLY HARD

She's down and out, folks.

BUFFY RUNS LIKE HELL

Diving, hitting Kakistos in the mid-section, she starts raining kicks and
blows upon him.

ANGLE - TRICK

Gets up, watching this as Vamp 7 gets up next to him.

MR. TRICK
Spirited girl. We don't do
something, she just might kill him.

Vamp 7 moves to help -- Trick stops him.

MR. TRICK
I don't think I have a problem with
that. Incense, candles, missing the
Bulls games 'cause he's too cheap to
pop for cable -- who's had enough here?

Vamp 7 tentatively raises his hand.

ANGLE - OVER BUFFY AND KAKISTOS

Trick and Vamp 7 slip out the door as Buffy comes up with a stake, ducks
a giant swing from Kakistos and sinks the stake deep and true into his
chest.

Nothing happens.

Buffy pounds on the stake, trying to sink it deeper. Still nothing -- and
now Kakistos starts laughing.

KAKISTOS
Guess you need a bigger stake, slayer.

WIDER

Kakistos is still laughing as Faith rises from the ashes, the broken
support beam in hand. He just has time to register this as she rams
it through his chest. Oh yeah, he's dust now.

BUFFY AND FAITH

Stand there, breathing hard, looking around: the others are gone, it's
over. They look at each other.

BUFFY
You hungry?

FAITH
Starved.

[kassyopeia]

I have no idea why they didn't do that one shot for the ring scene. I've always been curious if the ring was really a duplicate of the one she got from Angel or if her mind was playing tricks... maybe they wanted to keep the audience in that state? Weird.

[Flak]

Neat thread! I watched this episode last week but I didn't have access to anything more than a transcript. This probably way noob of me since I didn't read the entire thread, but is this from the script book that was published way back? And are there script books for each season?

[kassyopeia]

This probably way noob of me since I didn't read the entire thread, but is this from the script book that was published way back? And are there script books for each season?
No, this is from the scripts freely available online, as I said in the OP. You can download the whole bunch (all of Buffy, first half of Angel) from here (http://www.unreliablenarrator.net/buffyverse.asp).

I think the commercially available scriptbooks cover all Buffy episodes but only select episodes for Angel, but I may be wrong. I'd assume that the scriptbooks, unlike the online versions, contain the final shooting scripts in each case.

[NileQT87]

Trick: I believe this dance is mine.
Buffy: The music stopped.

this sounds like a reference to lothos (the buffy movie).

and i think it's a lot more powerful that they made scott's ring a claddagh. it was salt on an open wound.

same with how i think the one flaw of passion is that they wimped out on one thing--they had angelus snap jenny's neck in vamp-face. they talk about that in the commentary--they didn't think that the audience would ever want buffy kissing angel again if angelus killed with angel's face.

the claddagh ring in faith, hope and trick was a good call.

[kassyopeia]

and i think it's a lot more powerful that they made scott's ring a claddagh. it was salt on an open wound.
Nah, it doesn't work for me at all. Thinking that it's really a Claddagh makes it either an incredible coincidence or raises suspicions about there being more to cardboard Scott than meets the eye, by reasoning of Chekhov's Gun. Thinking that she's daydreaming leaves me wondering why they don't resolve the delusion. Either way, the screened version leaves a bad aftertaste.
Having it be a different ring is plenty salty enough for me! :)

Your point about Angelus always killing in vamp face is excellent, though. Breaking that convention would have had a subtle but pervasive effect, no doubt!

[NileQT87]

remember that scott hope is a gay guy who goes to buster keaton festivals and goes to nostalgia shops (which is where he bought the claddagh--he didn't really seem to know the history or meaning, though--the ring is actually from galway).

to him, it was something he saw in a shop, but didn't know it had a special meaning to buffy beyond just a simple friendship-type ring (which he seemed to have been told it meant). it actually was historically a wedding band.

did you know that the ring david wore was david's actual wedding ring with his first wife, ingrid quinn? same one who made him buy her a dress every time he kissed smg, but she was irish, and thus the ring/irish thing came from that source (david is czechoslovakian/italian). you'll also notice that david wears a silver chain around his neck for the early seasons of btvs--and on that chain is actually a cross blessed by the pope (david is catholic). a bit of a production error that gets by because the cross is very skinny and not too obvious unless you know what it is. but yeah, angel wears a cross necklace! and both angel's gryphon and faith's tattoo are fake (though the ones on david's wrists that are visible in bones are actual ones both him and his wife, jaime bergman, have). charisma's sun tattoo on her back used to be covered up early on, but it started showing up later on.

[kassyopeia]

remember that scott hope is a gay guy who goes to buster keaton festivals and goes to nostalgia shops (which is where he bought the claddagh--he didn't really seem to know the history or meaning, though--the ring is actually from galway).

to him, it was something he saw in a shop, but didn't know it had a special meaning to buffy beyond just a simple friendship-type ring (which he seemed to have been told it meant). it's actually was historically a wedding band.
I'm sticking with my opinion. It's certainly not inconceivable that Scott would coincidentally buy the one thing that encapsulates Buffy's previous relationship, but it's so unlikely that having it be mere coincidence would just be bad writing, in my book. Or, I guess, bad producing in this case, as the script shows that it isn't the writer's fault.

Love the tidbits, keep 'em coming!! :)

[kassyopeia]

Digging through the old versions of buffyscripts.net using the wayback machine (http://www.archive.org/web/web.php) is turning up some gems, which I'll post in this thread for those interested.

First up is an early draft of "Killed by Death", which - hold on to your hats - apparently predates the whole Angelus arc.
Part 1 (http://web.archive.org/web/20030108063549/buffyscripts.net/scripts/buffy/season2/18.htm) | Part 2 (http://web.archive.org/web/20030128160347/buffyscripts.net/scripts/buffy/season2/18b.htm)

Second, the first draft of "Revelations". The story is pretty much unchanged, but the group dynamic is very different. Less one-sided, more intense. I like this version much better, to be honest. The key changes are in the intervention scene (middle of act two) and the climax and aftermath (act four).
Part 1 (http://web.archive.org/web/20020925162338/http://buffyscripts.net/scripts/buffy/season3/07c.htm) | Part 2 (http://web.archive.org/web/20030501073712/http://buffyscripts.net/scripts/buffy/season3/07d.htm)

Third and last, draft of "Bad Girls". Some of the dialog is a little rough (some bits don't quite fit together), even for a draft, not sure what that's about.
Again, the changes are predominantly in character development, not story. The main difference here is the character of Wesley. He's a lot less pathetic (before he gets taken hostage, that is) than in the final version, but just as annoying. Quite amusing. And Buffy gets to be a little bid badder.
Part 1 (http://web.archive.org/web/20020919224219/http://buffyscripts.net/scripts/buffy/season3/14c.htm) | Part 2 (http://web.archive.org/web/20020928030212/http://buffyscripts.net/scripts/buffy/season3/14d.htm)

[NileQT87]

wow. it's like a completely different episode.

i can't help but love the beginning--looks like part of that scene was reused in graduation day, pt. 2!!! angel running into the hospital with buffy and then having to try to explain why she was there to the doctors. and in this version he runs away before the cops question him about what happened, rather than the grad. day version where his burst of inhuman strength gets attention.

also, rather than der kindestod (child death), we have a more generic death demon who takes people of all ages (including buffy's grandmother!!!).

it's a little bit like how "corrupt" (the episode that was supposed to be ats 1x02, but was too dark) was pulverized into a bunch of other episodes (including cordelia's opener to hero).

http://www.geocities.com/invisiblegreen/corrupt/corrupt.html

[kassyopeia]

i can't help but love the beginning--looks like part of that scene was reused in graduation day, pt. 2!!!
Yeah, I was thinking the exact same thing! :)

[vampmogs]

If they'd included the Spike scene his wanting to save the world would have made even less sense IMO. I've never actually believed he did want to save the world, it goes against Spike's attitude in 'Innocence' when he says "when are we going to destroy the world already, I'm bored?" Both he and Dru raised the Judge with those exact intentions, as Dru states to Angelus with Spike grinning behind her "Psst, we're going to save the world, want to come?" and Spike leaves the world to be sucked into Hell in 'Becoming II' anyway, his only motivation was Dru. I see him making up wanting to save the world because Buffy would never believe him otherwise, his actions prove otherwise.

[NileQT87]

i think spike said that as part of the macho pissing game contest.

see, drusilla needed HIM to work any of her plans. that put him in control of how far they were able to work.

with angelus, not only did it take spike out of being in charge, angelus was actually capable of it. i think spike's helping drusilla concoct her wacky plans was very much humoring her. in the end, he had all the power with how far those plans could go. drusilla wasn't capable of ending the world. angelus was. spike wasn't afraid of drusilla's games because he doubted she could do it, but he was definitely afraid that angelus would actually pull it off.

i don't think spike considered the judge to be apocalyptic. it was a big toy that made drusilla happy for a while. angelus could actually make acathla work.

[kassyopeia]

I've never actually believed he did want to save the world, it goes against Spike's attitude in 'Innocence' when he says "when are we going to destroy the world already, I'm bored?"
I've pondered the incongruity before, but my conclusion was the opposite, in the end: Spike's wanting to destroy the world in "Surprise"/"Innocence" doesn't really fit with his character, which is established in its entirety only later on. The same goes for Angel and Darla IMO, incidentally - given what we learn about their vampiric lifestyles later on, I can't imagine them wanting to trade this world for a demon dimension. Hellhounds and rivers of fire instead of "Happy Meals with legs" and nice clothes? Not bloody likely.
It takes a fanatic like the Master or a mad person like Drusilla to be willing to make that trade.

I don't really see a way to resolve this within the story universe, either. It's simply a matter of ongoing character development contradicting original character traits (where "ongoing" and "original" refer to the real-world timeframe, not the story timeframe).

[vampmogs]

see, drusilla needed HIM to work any of her plans. that put him in control of how far they were able to work.

But surley Spike must have realised that as long as the Judge was out there, and as long as he was growing more powerful (Giles claimed he'd be able to eventually turn them to charcoal with a look) his fondness for 'happy meals with legs" would eventually die out? And it kind of fits with his blase attitude to the world actually ending in 'Becoming II.' If he honestly cared about the world why would he leave it to be sucked in Hell instead of helping Buffy defeat Angelus to prevent that from happening?

I've pondered the incongruity before, but my conclusion was the opposite, in the end: Spike's wanting to destroy the world in "Surprise"/"Innocence" doesn't really fit with his character, which is established in its entirety only later on.

I see what you're saying, but I guess it just depends on how one views the show. I have my own personal rule that anything that happened first is more important than something that contradicts that later on. Because it was established first and shown first. That's just how it works in my head. Which is why in instances such as these, I tend to come up with my own theories, like Spike lying, in order to make sense of what happened pre-event. And like I said to Nile, even in 'Becoming' he contradicts himself with leaving the world to be sucked into Hell, because he has Dru.

The same goes for Angel and Darla IMO, incidentally - given what we learn about their vampiric lifestyles later on, I can't imagine them wanting to trade this world for a demon dimension. Hellhounds and rivers of fire instead of "Happy Meals with legs" and nice clothes? Not bloody likely.
It takes a fanatic like the Master or a mad person like Drusilla to be willing to make that trade.

I think it could work for Angel's character if Angel thought somehow he'd be king. Kind of like what Spike said to Dru in the missing scene you provided. But there's no textual basis for that, I'm just trying to understand where he could be coming from. Honestly though, I think Joss wanted to just up the risk factor for the finale. :lol:

[NileQT87]

i think what happened with angelus is that, while he is capable of ending the world, had no desire to until he had to deal with all of angel's disgusting memories of loving buffy. if there's anything angelus hates, it's angel, humanity and human sicknesses like 'love'.

angelus has been trying to wipe the last remnants of humanity and love from himself since he killed liam's father and showed liam's human weakness. he is driven by the desire to destroy the humanity within himself. angel causes him to feel every human emotion he hates most. liam is angelus' curse and prison--that was how the gypsies really got revenge on angelus. the gypsies' revenge wasn't about making angelus feel guilty, it was about smothering him with human emotions that he hates, unable to act or control the human on top. the fact that it also hurt the innocent dead victim was not the gypsies' concern or care. they don't care about justice. it was revenge.

i think the jasmine/angelus talk kind of adds to this. angelus' worst nightmare is being trapped inside of angel; feeling all of that goodness and love. the thing that would hurt angel the most would be to destroy buffy and what buffy stood for in angel's eyes--the renewed love of humanity. that's what buffy was all about in angel's journey--she put him back on his path and taught him to be a protector and champion of the human condition.

angelus is all about getting back at angel. it's not about buffy for him, but angel. angelus even hints that buffy has a tendency to predictably think everything is about her. willow wasn't quite right when she told buffy that all angelus thinks about is her. what angelus thinks about is getting revenge on angel, the soul--and at that point, the two things nearest and dearest to angel were his love for buffy and his renewed faith in humanity--that not all humanity is there to hurt each other like he once thought (see angel's talk with bethany and his past with judy). angelus couldn't deal with not trying to destroy what made angel feel human. angelus hates humanity (which encompasses a feeling like love).

that is, imo, why angelus finally snapped and tried to end the world. it was an act of vengeance on angel.

[kassyopeia]

If he honestly cared about the world why would he leave it to be sucked in Hell instead of helping Buffy defeat Angelus to prevent that from happening?
I don't necessarily see a contradiction there: He likes the world, but it doesn't go further than that. His own survival and Drusilla are way more important to him.
I have my own personal rule that anything that happened first is more important than something that contradicts that later on. Because it was established first and shown first. That's just how it works in my head.
Cool. That's certainly more work than going with the conventional (later overrides earlier) way of dealing with canon contradictions, but I can see how it leads to more interesting conclusions. :)
Honestly though, I think Joss wanted to just up the risk factor for the finale. :lol:
Agreed, a season finale without a pending apocalypse would just be weird!
that is, imo, why angelus finally snapped and tried to end the world. it was an act of vengeance on angel.
Excellent post. Adding to that the fact that the person Angelus had most affection for was gone (because Angel killed her, furthermore), I completely accept this as an in-universe explanation. Angelus simply isn't the young, carefree mass murderer he once was. :)

[NileQT87]

you know what just randomly popped out at me in the revelations script--

MRS. POST
...This side of the Atlantic, I'm sure. Do you have Hume's Paranormal Encyclopedia?
(Giles doesn't)
The Labyrinth maps of Malta?
(nope)
Sir Robert Kane's Twilight Compendium, perhaps?

GILES
Yes I, I do have that.

if twilight is giles, jeepers that will turn out to be foreshadowing. a random google--robert kane is an american philosopher on free will.

---------------------

actually, while xander didn't look too particularly shiny in the actual revelations, this draft is worse, imo, for him. but MUCH better for willow and oz. the end scene is they deleted the big bird and had angel save willow from miss post instead of xander. also, that in this version miss post wasn't a rogue watcher, but a fake.

BUFFY
Look. I know what Angel's done. But I also know
he's been to Hell. I don't know why he's back,
but I know... I can feel... it's for a reason.

XANDER
Yeah. To kill again. And again. And again.

WILLOW
Xander - shut up!

CORDELIA
No, he's right!

XANDER
Yank your head out of the sand!

OZ
Don't talk to her like that!

XANDER
Or what?
(stands)
What are we standing around for?
I say we take the Mansion first
daylight and kill Angel before he kills us.

BUFFY
He's not killing anybody!

OZ
Death penalty? Who's gonna pull the trigger? You?

XANDER
Damn right I will!

He gets up to leave. Giles stops him, finally speaks:

GILES
You'll do no such thing! Watcher bylaws are clear
in a case like this: Angel is not responsible...

XANDER
He is responsible!

GILES
...For any anything he's done
under the influence of...

Xander knocks the book from Giles's hands and slams him up against the wall.

XANDER
He killed Jenny!

Giles instantly slams Xander back into the opposite wall.

GILES
Don't you evoke the name Jenny Calendar to suit
your ends of vengeance! Do you think I've
forgotten? Your hatred of Angel is nothing compared
to mine. But we do not kill in hatred.

XANDER
Speak for yourself.

Xander roughly frees himself. Stares them all down.

XANDER
(continuing; to Buffy)
Next time he kills somebody you love?
You tell me how it's complicated.

Xander grabs his jacket off the back of a chair, knocking the chair clattering to the ground, punches open the Library doors and storms out. Beat.

WILLOW
He doesn't know he's wrong. Is he wrong?

OZ
Definitely.

CORDELIA
Not!

GILES
Quiet. All of you, please. This is very
distracting, but we must not allow it. Buffy has
been placed in a terrible position, and her
actions, in context... are not unreasonable.

[kassyopeia]

you know what just randomly popped out at me in the revelations script
Wow, nicely picked up. I did a quick search, and this is the ONLY occurance of the word in the TV series. Even if there is a connection, though, it doesn't specifically point to Giles.
actually, while xander didn't look too particularly shiny in the actual revelations, this draft is worse, imo, for him. but MUCH better for willow and oz.
Right, that's what I liked. The final version is very bland in comparison - it's the usual everyone-against-Buffy situation, and by the end all is well except for Faith being grumpy. In this version, they win the battle but most issues are still unresolved and everything is really tense. Much more interesting.

[allthings]

actually, while xander didn't look too particularly shiny in the actual revelations, this draft is worse, imo, for him. but MUCH better for willow and oz.

[/QUOTE]

I definately agree with that. I cant stand Xander in that actual scene in 'Revelations' and he is 10 x worse in this version. I do think its out of character for him to be so blase' about talking to Willow so badly after Oz tells him off. I do like how Giles used said it wasnt Angel's fault according to the watcher's council as much as I hate that Jenny was killed.

[kassyopeia]

I do like how Giles used said it wasnt Angel's fault according to the watcher's council as much as I hate that Jenny was killed.
I liked that too, but I can certainly understand why it was changed. I'm pretty sure there was a production-internal rule about avoiding saying that sort of thing too openly, because it throws off the whole atonement theme that Angel's character is centered on.

[kassyopeia]

(see here (http://buffyforums.net/forums/showthread.php?t=3303) for introduction)

Full first conversation between Giles and Quentin:
INT. ABANDONED BOARDING HOUSE PARLOR - DAY

A sitting room with bricked-up windows and fireplace. Giles sits on a
sofa, absentmindedly stirring a cup of tea.

TRAVERS
I understand your concerns, of course, Giles.

WIDEN as Travers sits in a chair across from Giles.

TRAVERS
But you lodged your appeals with
the watcher's council. And, still,
they've decided to go forward.
There's nothing we can do now but
carry on.

GILES
You know, I've always had nothing
but the utmost respect for the council.
I've followed their dictates to the letter.
But this...

TRAVERS
The Cruciamentum is not easy. For
slayer or watcher. But it's been done
this way for a dozen centuries.
Whenever a slayer turns eighteen.
It's a time-honored rite of passage-

GILES
(cutting him off)
It's an antiquated exercise in
cruelty. Locking her in this tomb...
weakened, defenseless...
(re: Kralik's crate)
unleashing that on her.
(then)
If any one of the council still had
actual contact with a slayer they'd
see. But I'm the one in the thick of it.

TRAVERS
Which is why you're not qualified to
make this decision. You're too close.

GILES
I'm not. No test is necessary of
her - especially not one as...
as perverse as this.
(then)
I'm appealing to you as a friend and
colleague, Quentin. I know you can
put a stop to it.

Quentin seems struck by Giles' words. A beat. Then his resolve returns.

TRAVERS
I'm sorry. A slayer must be more
than physical prowess. She must
have cunning, imagination... a
confidence derived from self-reliance.
Believe me, once this is all over - your
Buffy will be stronger for it.

GILES
Or she'll be dead for it.

INT. BOARDING HOUSE FRONT HALLWAY - DAY

Hobson is working at the open front door, adjusting a large
spring mechanism. Giles starts out, escorted by Travers.

TRAVERS
Rupert...

Giles stops and turns to him.

TRAVERS
If this girl's everything you say,
then you've nothing to worry about.

Giles nods slightly and, wordlessly, exits.

HOBSON
(to Travers)
Sir, if you can spare me for a short
spell, I'll need to make a run to the
hardware store. I just need -

A SCREAM cuts him off. A BLOOD-CURDLING, WET YOUR PANTS,
FERAL SHRIEK. Hobson and Travers exchange a look as Blair appears.

TRAVERS
Take care of it.

Blair and Hobson go to work.

INT. BOARDING HOUSE ANTEROOOM - CONTINOUS (DAY)

CLOSE ON: Blair's hand as he removes a key ring from his pocket and
starts unlocking the padlocks.

Travis stands by, wielding a large FIRE AX. The two young watchers
pry open the crate's lid.

CLOSE ON: Eyes, clenched shut, partly from light sensitivity, but mostly
from searing pain. All at once, they snap open.

His name is ZACHARY KRALIK. He's a vampire, clearly. But the eyes
reveal, not just demonic evil, but MADNESS. Heavy steel brackets bind
him to the back of the box. His thin wiry frame is dressed in a pale
green jumpsuit and trundled up in a STRAIT JACKET. Blair and Hobson
are momentarily stopped by Kralik's gaze, until they are startled by:

TRAVERS
Come on! Come on!

Blair attends to one of two PRESCRIPTION BOTTLES on a nearby mantel.
He places two pills on the tip of a thin, metal telescoping wand. Standing
a few feet away, Blair directs the wand to Kralik's mouth. The vampire
is oblivious, too caught up in his pain.

BLAIR
Kralik. Your pills. Open your mouth.

Kralik takes the pills. Now Hobson approaches the crate with a pair of
tongs that hold a glass of water. Standing to the side, he brings it to
the vampire's lips. Kralik drinks voraciously, water dribbling down his chin.

TRAVERS
That's enough. Close it up.

The watchers close the lid and reattach the locks. Travers crosses to
the crate, inspecting their work.

BLAIR
Are you sure he's containable?

TRAVERS
I am. As long as we give him his
medicine...

KRALIK'S P.O.V. - TRAVERS

peering through the slit

TRAVERS
And the opportunity to kill a slayer.

[kassyopeia]

The full version makes Giles' actions in this episode a little less loathesome, I'd say, because they show he actually made an effort to sway the council. In the abridged version, he's pretty much just complaining.

[kassyopeia]

In the draft version of "Bad Girls", Faith kills a random guy instead of the deputy mayor. In fact, the deputy mayor doesn't occur at all. I'm not sure why that is, the draft is dated just ten days earlier than the final version, so it doesn't seem likely that they only invented the character later on.

I can't believe they didn't keep this line, re Wesley:

BALTHAZAR
But what if we torture the little one?
You may be able to take your own pain,
but can you watch? I'm betting you can't.

GILES
Are you kidding? Torture him? I'd pay to watch!

[kassyopeia]

(see here (http://buffyforums.net/forums/showthread.php?t=3303) for introduction)

The hospital scene:

INT. HOSPITAL - NIGHT

Angel bursts into the emergency ward, Buffy in his arms.

ANGEL
I need help!

A NURSE approaches him --

ANGEL (cont'd)
She's lost a lot of blood.

NURSE
What happened?

ANGEL
She needs blood!

The nurse has led him to an operating table, he deposits Buffy onto it.

NURSE
Try to stay calm.

DR. POWELL approaches as Angel talks, looks over Buffy.

ANGEL
Something bit her. She needs a transfusion
right now.

POWELL
You found her?

ANGEL
Yes.

POWELL
Was she conscious?

ANGEL
Yes.

POWELL
Are you sure?

ANGEL
I'm sure.

POWELL
(to the nurse)
I need a type and cross match. Get her
on two lines of ringers lactate and watch
for hypovalemic shock.

He pulls Angel aside, looks at him hard. Angel is practically tripping,
unable to contain the energy of Buffy's blood in him.

POWELL (cont'd)
Tell me what happened.

ANGEL
Something bit her. I don't know what.

POWELL
(to the nurse)
I'll need a rabies shot treatment.
(to Angel)
Any allergies?

ANGEL
None. Just help her!

He is holding onto a doorframe -- and he RIPS it off in his urgency.
The doctor eyes him, warily.

POWELL
You two been doing drugs?

He eyes the doctor.

POWELL (cont'd)
You want her to live, you'll be straight
with me.

ANGEL
She's clean.

POWELL
All right. Wait outside. Let us work.

ANGEL
A phone.

POWELL
Right out there.

Reluctantly, Angel steps outside, back into the waiting area he came
through. He moves to the phone and begins dialing. The camera
moves on past him, to another room, where we find a DOCTOR GOLD
talking to someone, both of them standing by another bed. After at
time it becomes clear who the other person is. The Mayor.

GOLD
The bones will set, and the damage to her
kidney is repairable, but... The head trauma
is simply too severe. It's a wonder she's alive
at all, with the blood loss. I'm sorry, sir,
there's almost no chance she'll ever regain
consciousness.

And the camera finally settles on the unmoving face of Faith,
lying on the bed, tubes in her nose, arms, tethering her to a
frail and mindless life.

The Mayor looks at her.

GOLD (cont'd)
We did everything possible...

The Mayor ignores him, and he steps quietly away. The Mayor
reaches down and moves a strand of hair from Faith's face.

MAYOR
It's your day...

ANGLE: DR. GOLD

As the nurse comes up to him.

NURSE
We have another young girl, severe blood
loss, Dr. Powell wants you to prep to assist
on an anticubital cut down.

GOLD
All right.

The Mayor hears this. Slowly he turns, heads to where they
are keeping Buffy.

ANGLE: BUFFY

Unconscious, an IV hooked up to her arm.

The Mayor walks calmly up to her and clamps his hand over
her mouth and nose. She starts to thrash weakly, but he
doesn't move. Finally the nurse notices.

NURSE
Oh my god! Sir, no!

She tries to pull him off. He won't budge.

NURSE (cont'd)
Somebody call security!

Angel grabs the Mayor by the throat, pulls him away.

ANGEL
Don't do that.

MAYOR
I will. I'll do that and worse. Murderous
little fiend, did you see what she did to
my Faith?

ANGEL
Hadn't made plans to weep over that one.

MAYOR
Well, I'd get set for some weeping if I
were you. I'd get set for a world of hurt.
Misery loves company, young man, and
I'll be looking to share mine with you
and your whore.

Angel throws him back -- through the wall (thin drywall to
the next room, not the outer wall). (And if that's not doable,
then into or over something. The point is, Angel's unnaturally
strong, so it's probably a ratchet gag.)

Everyone backs off, appalled. The Mayor gets up and dusts
himself off. He takes a few steps back towards Angel, the
old smile returning to his face.

MAYOR (cont'd)
Well. Looks like someone's been
eating his spinach.

A security guard arrives on the scene. Stops, unsure what to do.

MAYOR (cont'd)
Okay, folks. Show's not over but there
will be a short intermission.
(to Angel)
Don't wanna miss the second act.
All kinds of excitement.

ANGEL
I'll be there.

They eyeball each other a moment. The Mayor exits, Angel's
eyes never leaving him.

[kassyopeia]

Stage instructions re Wesley:
Unable to contain themselves any longer, they come together in
a passionate embrace, lips meeting...

...and lips not really getting along. It's a sad excuse for a kiss, and gives
our lovers pause. They try again. Mouths incompatible much effort but
no reward.

They stop, let go of each other. Puzzled and uncomfortable.
We see Wesley getting knocked on his ass (after some decent
fighting on his part) and landing painfully.

[kassyopeia]

Missing dialog:

EXT. SAME (FRONT OF SCHOOL) - A BIT LATER

The gang (Oz, Willow, Xander, Cordelia) is together by the curb. Buffy
joins them.

CORDELIA
Well, that was the most fun you can
have without having any fun.

WILLOW
What about the part where we kicked
demon ass? I didn't hate that.

XANDER
Guys, we blew up the school! It's the
best day ever!

WILLOW
Why do demons even come here anymore?
Don't they know how bad we are?

BUFFY
I think we've done pretty much everything
we can. You guys wanna take off?

CORDELIA
I'm for it.

WILLOW
(to Buffy)
You okay?

Buffy considers the question.

BUFFY
Yeah. I'm okay. I just... I could use a
little sleep.

WILLOW
Yeah.

BUFFY
If somebody could just wake me up
when it's time to go to college, that'd
be great.

OZ
Guys. Take a moment to deal with this.
We survived.

BUFFY
It was a hell of a battle.

OZ
Not that battle. High school.

They all think about it. It IS actually kind of cool.

OZ (cont'd)
We're taking a moment.
(beat)
And we're done.

They head off. As they recede in the distance, they continue:

XANDER
You know what the best part of high
school was?

BUFFY
When we blew it up?

XANDER
Yeah! That ruled. 'Cause you know the
thing that made it so special...

BUFFY
Was that the school blew up?

XANDER
Exactly!

BUFFY
I begin to find you troubling.

XANDER
Oh, come on, you know you're all
thinking it.

BUFFY
Well...

And then, overlapping:

WILLOW
I was.

CORDELIA
Pretty much.

OZ
Uh huh.

BUFFY
Yeah.

Their chatter dies away as they grow smaller in the frame, the camera
finally tilting down to find a partially burnt yearbook lying on the ground

Sunnydale, '99

The future is ours.

BLACK OUT.

END OF SEASON

[kassyopeia]

And, just for your amusement, a few more samples of Joss's quirky stage instructions.
EXT. FOUNTAIN QUAD - DAY

The ceremony is underway. [...]

And as he speaks this last, the sun disappears in an eclipse -- the
Mayor, Buffy and all the students looking up as night falls suddenly
upon them. This causes it to be:

EXT. FOUNTAIN QUAD - NIGHT (YET SOMEHOW CONTINUOUS)

The Mayor feels the change start.
EXT. SCHOOL - NIGHT

Giles hits the plunger.

INT. LIBRARY - NIGHT

Room go boom.
EXT. FRONT OF SCHOOL - NIGHT (LATER)

Fire trucks and ambulances have arrived, the smoking ruin of the school
just hidden by them. People are helping the wounded into ambulances,
milling about in postwar shock, leaving, talking, hugging, crying (probably
not crying, they're extras, but we can always hope).

[kassyopeia]

I didn't think they did a good job of putting Angel's physical state of "tripping, unable to contain the energy of Buffy's blood" on screen. At least, I never caught that until reading about it, and just assumed that he was naturally agitated.

It's interesting that, just as in the case of "Bad Girls (http://buffyforums.net/forums/showthread.php?t=3325)", Wesley becomes more pathetic in post production than he was intended to be in the script.

[Nikki]

I've merged all these Cutting Room threads together as there were only a couple of posts in each thread they didn't all need to be separate.

Please post all your scripts and thoughts on it in this thread from now on. Thanks :)

[kassyopeia]

Thanks, good call. I was anticipating more discussion, so I started off with separate threads, and then didn't want to change the format later on. Much better this way. :)

[kassyopeia]

Maggie and Riley have a few extra lines in the opening dream sequence:

INT. LECTURE HALL - AFTERNOON (DAY)

The last rays of the afternoon sun pour into the class, blacklighting
the students and washing Maggie's face in rich amber as she speaks.
Buffy sits near the front, by Willow. Riley stands to one side of the class.

MAGGIE
So this is what it is.
Talking about communication,
talking about language.
Not the same thing. It's
about the way a child can
recognize and produce
phonemes that don't occur
in its native language.
It's about inspiration,
not the idea but the moment
before the idea when it's
total, when it blossoms in
your mind and connects to
everything, before the
coherent thought that
gives it shape, that locks
it in and cuts it off from
the universal. When you can
articulate it, it becomes
smaller. It's about thoughts
and experiences that we don't
have a word for. A demonstration.
Buffy Summers.

Buffy looks around her. Me?

MAGGIE
Thank you for volunteering.
Come down to the front here.

Hesitantly, Buffy does. Stands by Maggie.

MAGGIE
Typical college girl, one assumes.
Lie down on my desk.

BUFFY
What?

MAGGIE
Go ahead. You're perfectly safe.

Buffy does, pretty embarrassed. Some titters from the class. She lies on
her back, propped up on her elbows and waiting for the next thing.

MAGGIE
Riley. If you could oblige?

Riley moves from his spot on the side. He seems quietly angry at Maggie
as he says:

RILEY
A demonstration, right?

MAGGIE
Be a good boy.

He moves around to the back of the desk, stands by Buffy.

MAGGIE
(to the class)
A kiss is just a kiss,
I believe the line goes.
The rest comes from you.

Buffy and Riley look at each other, speak softly:

BUFFY
This feels very strange.

RILEY
Don't worry. If I kiss you,
it'll make the sun go down.

He takes her in his arms and in front of a sea of ogling students, they
kiss.

CLOSE ON: BUFFY

As the kiss deepens, the light changes. The sun is going down. As she
pulls away, it is dark, moonlight the only illumination.

WIDE ANGLE: THE CLASS is empty. Just her and Riley.

RILEY
See?

BUFFY
Fortune favors the brave...

She stands as he looks about them. He turns to her -- and she puts
her hand up. Did she hear something?

Very faintly, it can be made out: A little girl, humming tunelessly to
herself.

BUFFY
Do you hear that?

She heads out of class, slowly. Riley watches her go, smiles as he
whispers to himself.

RILEY
Along came a spider...

INT. SCHOOL ATRIUM/HALL - NIGHT

Buffy moves slowly through the atrium toward the hall, led by the
humming, which becomes a nursery rhyme:

LITTLE GIRL
Can't even shout.
Can't even cry.
The Gentlemen are coming by.
Looking in windows,
knocking on doors...
They need to take seven
and they might take yours...

Buffy turns the corner and sees the girl standing facing her at the other
end of the hall.

CLOSE ON: THE GIRL'S HANDS. In them is a small box, perfectly
square, carved wood.

LITTLE GIRL
Can't call to mom.
Can't say a word.
You're gonna die screaming
but you won't be heard.

Riley comes out as well, a worried expression on his face. He comes to
Buffy, reaches silently out to her...

Buffy looks back -- at a Hideous grinning white face that we see for
an INSTANT [...]

[kassyopeia]

Description of the Gentlemen:

INT. CLOCK TOWER