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**kassyopeia** · 17-07-08, 08:30 PM

Cutting Room Floor: 1x12 - Prophecy Girl

Code:

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.

Code:

[b]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.[/b]

Code:

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** · 17-07-08, 08:34 PM

Code:

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.

Code:

[b]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.
[/b]

Code:

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** · 18-07-08, 03:02 PM

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
Touch?. 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** · 18-07-08, 03:36 PM

Cutting Room Floor: 2x05 - Reptile Boy

Code:

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!

Code:

[b]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.[/b]

Code:

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…

Code:

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

Code:

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** · 18-07-08, 03:41 PM

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** · 18-07-08, 05:06 PM

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** · 18-07-08, 05:08 PM

Originally posted by fitri View Post

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** · 18-07-08, 06:08 PM

Oh okay. Thanks for the info!

**kassyopeia** · 19-07-08, 06:06 PM

Cutting Room Floor: 2x13 - Surprise

Code:

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.

Code:

[b]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.[/b]

Code:

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** · 19-07-08, 06:10 PM

Code:

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.

Code:

[b]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.[/b]

Code:

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** · 19-07-08, 06:16 PM

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** · 19-07-08, 06:19 PM

Cutting Room Floor: 2x15 - Phases

Code:

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.

Code:

[b]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…?[/b]

Code:

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** · 19-07-08, 06:22 PM

Code:

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:

Code:

[b]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:[/b]

Code:

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** · 19-07-08, 06:30 PM

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.

**Bittersweettwit** · 19-07-08, 09:06 PM

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

Also I have to admit I think the Xander and Cordelia scenes are pretty cute

. 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.

**kassyopeia** · 20-07-08, 12:09 AM

Originally posted by Vampmaster View Post

Also I have to admit I think the Xander and Cordelia scenes are pretty cute

.

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** · 20-07-08, 01:10 AM

Originally posted by NileQT87 View Post

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** · 20-07-08, 06:21 AM

Cutting Room Floor: 2x21 - Becoming, Part 1

Code:

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.

Code:

[b]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:[/b]

Code:

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** · 20-07-08, 06:23 AM

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

Code:

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?

Announcement

Cutting Room Floor

Cutting Room Floor

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