Announcement

**kassyopeia** · 17-08-08, 04:39 PM

1x01 - City Of

For the pilot, a draft script is available:

The major difference is that this features Whistler instead of Doyle, other than that the story is pretty much identical. Nevertheless, there are a few interesting omissions.

**kassyopeia** · 17-08-08, 04:42 PM

1x01 - City Of (continued)

Code:

INT. TINA'S APT. - DUSK

We HEAR footsteps in the hall outside. The door, left slightly ajar, is 
pushed open by Angel.

He sees - TINA ON THE FLOOR, next to the sofa-bed. CAMERA RUSHES 
AT HIM as the horror hits him.

FLASH CUT - TINA - o so ****ing dead on the floor.

FLASH CUT - The bite marks on her neck.
[indent][b]FLASH CUTS - The BLOOD EVERYWHERE (shot 
discreetly and fast!) but it's on the walls, it's on the 
bed, it's by her empty open eyes and her head twisted 
at a very unnatural angle on the floor.

ANGEL - trying hard to get his breath, makes himself walk up 
to her, makes himself look around this room in hell, makes 
himself kneel down next to the girl he couldn't save on the floor.

He reaches out, strokes her face? he hangs his head to cry or 
vomit? he looks back at her and sees the BLOOD ON HIS HANDS NOW.

He stares and stares at it - until he can't stand it anymore 
and suddenly thrusts one of his hands in his mouth, lapping 
up the blood ravenously, instinctively - until he utters some 
deep, inhuman sound and rips his hand out of his mouth.

SMASH CUT TO:

INT. TINA'S APT. - KITCHEN SINK - DUSK

Angel furiously washing his hands; scrubbing them nearly 
raw, sickened by what he just did. Behind him on the 
floor, Tina's body is a silent witness.

TELEPHONE NEAR TINA - As Angel picks it up, his eyes 
never leaving her.

INSERT HIS (now clean) hand - as it dials 911.[/b][/indent]

DISSOLVE TO:

INT./EXT. TINA'S APT. NIGHT - LATER

A CORONER studies Tina's body. Two DETECTIVES search for clues, 
a FINGERPRINT person dusts, etc. CAMERA PULLS BACK, revealing we 
were looking in the window.

CAMERA CONTINUES BACK to a neighboring rooftop where a shadowy 
figure stands watch. Angel. He waits, still and silent, as her body is 
bagged and removed from her home. Then he turns, grim, steps up on 
the roof ledge, leaps.

We see him land on a neighboring roof far below and disappear into 
the darkness.

**kassyopeia** · 17-08-08, 04:47 PM

1x01 - City Of (continued)

Code:

INT. RUSSELL MANSION - STUDY - DAY

Russell' home office. A large, clean space; computers, huge monitors, 
lovely paintings, an empty desk, thick drapes secured against the daylight.

Russell, casually but elegantly dressed, lounges near several monitors 
that track the world's financial markets. But he isn't watching them, 
he's watching the video Margo shot at her party: footage of Tina.

He clicks the remote and Tina's image suddenly fills all the monitors. 
He rewinds and watches Tina again and again as:

WILLIAM
I'm sorry to intrude, sir, but we need
a decision on Advanced Technical
Instruments.
(opens leather folder)
There's going to be a negative earnings
preannouncement? also you have a
ten A.M. tomorrow with your lawyers.

Russell just watches the vid. William waits patiently.

RUSSELL
She had something?

WILLIAM
Yes sir.

RUSSELL
Let's short A.T.I. four hundred
thousand shares. When they fall
below thirty-seven and an eighth,
cash out and buy back a quarter million.

William makes a note in his folder, heads for door.

WILLIAM
Very good, sir.

RUSSELL
Hold on?

William stops.

RUSSELL
(continuing)
Who's this?

William looks to the vid monitors, where shots of Cordelia (from the party 
vid) are now playing.

RUSSELL
(continuing)
Have we met her?

WILLIAM
I don't believe so, sir.

RUSSELL
Let's do.

WILLIAM
Very good, sir. Will you be requiring
theater or club reservations with the young lady?

Russell stares at Cor's image for a beat.

RUSSELL
God no, she's not going to live that
long, I just want something to eat.

Cor's multiple images are rapidly replaced on the monitors by the 
world market reports.[indent][b]EXT. FOREST LAWN - NIGHT - ESTABLISHING

Big old cemetery.

INT. MAUSOLEUM - NIGHT

Goes on forever: hundreds of small little lockers that hold 
individual urns. A lone figure stands in the middle of it all.

CLOSE ON THE FIGURE - ANGEL - Staring at one of the lockers, 
the plaque below it reads: CHRISTINA CLARKE 1967-1999.

He HEARS FOOTSTEPS. Doesn't turn as Whistler steps out 
of the shadows.

WHISTLER
Though I might find you here.

ANGEL
She just wanted to go home.

WHISTLER
Maybe in some way she is.

Angel tuns and looks at him with such cold fury that he takes 
a step back.

ANGEL
I wouldn't know about that. I do
know she died in the coldest and
deliberate hell I've ever seen. What
he did to her wasn't about feeding,
it was about ownership. He took
everything she had?

Beat. He turns away.

ANGEL
(continuing)
?no one even came to the funeral.

WHISTLER
You did.

ANGEL
Yeah. She had me?

Angel looks at Tina's name for a moment, then down at his 
hand - the hand he licked the blood from - suddenly he slams 
it into the wall - ripping a crucifix off, wrapping his fist around it.

WHISTLER
Angel -

ANGEL
Made a big difference in her life,
didn't I. Powers that be really knew
what they were doing this time.

Angel's hand starting to smoke and shake.

WHISTLER
Let go of that.

ANGEL
I got involved and I made it worse,
that's what I do.

Whistler grabs him, tries to wrestle the cross out of his 
hand. Gets thrown back.

WHISTLER
Maybe you did, maybe I got the name
wrong, maybe you were supposed to
help somebody else, I don't know,
nobody's showin' me the big picture.
You want to die? They got a sunrise
with your name on it every morning.
You don't, then stick around and do
something about this bastard before
he puts another name up on that wall.

Angel glares at Whistler, his hand shaking and smoking furiously 
now. He hurls the crucifix away.

ANGEL
I didn't help her?

Whistler picks up crucifix, hangs it back up, moves to Angel.

WHISTLER
Here's the thing about pain? when
it's too much to bear, you need to
start sharing it with others.

POWER SHOT - low and cool - PUSHING IN on Angel.[/b][/indent]

EXT. STACEY'S GYM SUPPLIES - DAY

As THUG 1 comes crashing through the plate glass window.

INT. STACEY'S GYM SUPPLIES - DAY

Angel has Stacey by the throat, pressed up against the wall.

ANGEL
Where does he live, how much
security does he have?

STACEY
Listen hot shot, whatever she was to
you, you better forget it. You have
no idea who you're dealing with here.

ANGEL
Russell? Lemme guess: not big on the
daylight or the mirrors, drinks a lot of V-8?

STACEY
You get in his way, he'll kill you,
he'll kill everyone you care about.

ANGEL
There's nobody left I care about. Now we 
can do this the fast way or the slow way -
(tightens grip)
-- where does he live, how much
security does he have?

**kassyopeia** · 17-08-08, 04:51 PM

1x01 - City Of (concluded)

Code:

INT. RUSSELL MANSION - STUDY - NIGHT

William shows her in.

WILLIAM
Miss Chase, sir.

Russell rises to greet her.

RUSSELL
Hi. I'm Russell, thank you
so much for coming.

WILLIAM
Will there be anything else, sir?

Russell shakes his head. William starts to leave. As he gets to the door:

CORDELIA
You wouldn't have a little snack or
somethin' would you?

William looks to Russell who nods: it's okay.

WILLIAM
What would you care for?

CORDELIA
What do you got?

WILLIAM
Well, anything. Cheese, crackers? sandwich?
(nothing from Cor)
Cook made a roast, there's potatoes,
asparagus, bread pudding?

CORDELIA
That sounds good.

WILLIAM
Which --?

CORDELIA
All of it.

William nods and exits. Cor turns to Russell.

CORDELIA
(continuing)
Aerobics, I burn a lot of?
(looking around)
So, nice place, we sure didn't
skimp on the curtains.

RUSSELL
Thank you.

CORDELIA
I grew up in a nice home. It wasn't
like this but we did have a room or
two we didn't even know what they were for.

He smiles.

CORDELIA
(continuing)
Then the I.R.S. got all huffy about
my folks forgetting to pay taxes for,
well, ever. They took it all.
[indent][b]RUSSELL
I'm sorry to hear that. Where are your folks now?

CORDELIA
Well, after prison they moved to? I think it's Bimini.[/b][/indent]

**kassyopeia** · 17-08-08, 05:26 PM

Unproduced - Corrupt

Also available is the script for the original second episode, which was never produced because it was deemed too dark. The episode would have been called "Corrupt". I think the script is pretty well known already, I'm mainly including it here for completeness.

Part 1 | Part 2

**NileQT87** · 18-08-08, 12:14 AM

the stuff with angel licking his fingers with tina's blood was actually shot. it was removed because it was considered too much. the aftermath graveyard scene would probably have ended up one of my absolute favorites.

frankly, i think it's one of the biggest shames of the entire series. i *really* wish they'd expand all the episodes with these scenes. i consider it canon that angel licked his fingers. it was scripted, they filmed it, but they cut away before you saw it. it actually makes the part where doyle talks to angel about drinking buffy make sense. tina was the consequence. the scene was needed, imo.

interesting thing... the teaser of corrupt (i've known about that script for years) was reused as the opener of hero!

i would have liked to see whistler appear again. it would be poetic if he perhaps shows up at the end of the series.

**kassyopeia** · 18-08-08, 12:31 AM

Originally posted by NileQT87 View Post

i would have liked to see whistler appear again. it would be poetic if he perhaps shows up at the end of the series.

Do you know why they eventually decided to replace Whistler by Doyle? I remember reading an interview with Max Perlich in which he says that he would've been up for it, so that wasn't the problem. Star Trek has a similar replacement (Nick Locarno from TNG's "The First Duty" becomes Tom Paris in Voyager), which was simply due to not wanting to pay the TNG writer royalties for using the character, but that can't have been the problem here either since Whedon created Whistler himself.

**NileQT87** · 18-08-08, 12:42 AM

max perlich apparently had a substance abuse problem (as did glenn quinn, who is now dead), which is why he wasn't asked to come back.

but yeah, perlich did want to come back. joss just ultimately decided to create a new character.

though, it was always known that doyle was a short term character that was meant to be the jesse mcnally of ats, except that they had the money to put doyle in the credits and then kill him to show that none of the characters were safe. joss actually wanted eric balfour in the credits as well.

well, it might open up whistler coming back again someday. i'd like to see that. i adored the year 1 comics where we saw more of whistler and angel's pre-sunnydale story.

**kassyopeia** · 18-08-08, 12:49 AM

I guess it may also have had to do with the planned romantic arc involving Cordelia, now that I think about it. Not sure Perlich and Carpenter would have had much of a chemisty, to be honest.

Originally posted by NileQT87 View Post

max perlich apparently had a substance abuse problem (as did glenn quinn, who is now dead), which is why he wasn't asked to come back.

Ah. Now that's ironic.

though, it was always known that doyle was a short term character that was meant to be the jesse mcnally of ats

Mmmh. I'm not quite sure I believe that, though. Producers are in the habit of claiming there were story-driven reasons for developments that were actually actor-driven.

**kassyopeia** · 20-08-11, 11:54 AM

Hi, I'm not Troy McClure, but you may still remember me from such threads as 2008's "Cutting Room Floor" and "Who Raped The Dog?"

Sorry about the slight mis-prediction in the OP about starting on Angel "tomorrow", when it's actually been three years (almost to the day (which is pure coincidence)); but considering how notoriously unreliable prophecies are throughout the entire Buffyverse, I guess that's just par for the course...

NB: The formatting here is going to deviate a bit from that used in the Buffy thread, see above.

**ubi4soft** · 20-08-11, 03:33 PM

Originally posted by kassyopeia View Post

Hi, I'm not Troy McClure, but you may still remember me from such threads as 2008's "Cutting Room Floor" and "Who Raped The Dog?"

Sorry about the slight mis-prediction in the OP about starting on Angel "tomorrow", when it's actually been three years (almost to the day (which is pure coincidence)); but considering how notoriously unreliable prophecies are throughout the entire Buffyverse, I guess that's just par for the course...

NB: The formatting here is going to deviate a bit from that used in the Buffy thread, see above.

Hi,

These threads of yours are excellent work. I hope more new people will read them.

**kassyopeia** · 20-08-11, 06:07 PM

1x03 - In The Dark

Stage instruction:

Code:

Before Angel can react, Marcus MORPHS TO VAMP FACE, swings one of 
the chains like a bolo, wrapping it around one of Angel's legs. He jerks Angel 
to the ground at the same time he swings the other chain around Angel's 
neck. As Angel falls, the chain tightens - cutting off his air supply. Angel 
chokes and claws while Spike addresses him calmly, nodding to Marcus.

"cutting off his air supply" indeed.

**kassyopeia** · 20-08-11, 06:17 PM

1x03 - In The Dark (concluded)

Code:

INT. OLD BUILDING - DAY

We see a swirl of dust. Slowly, it settles. And a record player comes flying 
into view, smashing against a wall, shattering to pieces.

SPIKE
Son of a bitch!

Spike is having a tantrum. We see the old building separated into pools of 
light and shadow. Spike sticks to the shadow.

SPIKE (cont'd)
I do the work, I do the digging, fight
off a Slayer, drive to L.A., hire the
help, and what do I get?

He overturns the table of Marcus's torture instruments, sending them 
crashing to the floor.

SPIKE (cont'd)
Royally screwed, is what! Well, that cinches
it. No more partners. From now on, I'm my
own man. Lone wolf. Sole survivor. Look out!
Here comes Spike, the biggest, baddest mother...

He steps into a patch of sunlight by accident. His head bursts into flame.

SPIKE (cont'd)
Ahhhh!!!

He retreats into shadows, batting the flames out frantically. It takes a 
while. Finally, they go out. Spike, a pathetic creature hiding in the dark, 
whimpers:

SPIKE (cont'd)
I really hope they kill each other.
[indent][b]EXT. L.A. STREET - DAY

We see a sidewalk street vendor. Selling rows of hot sunglasses cheap.

VENDOR
Shades here, no pair over ten-
(seeing something)
Hey, buddy - you want to go easy over
there? You'll scratch them...

We see that he is talking to MARCUS, whose back is turned. Marcus is 
trying on a pair of those horrible wrap-around sports shades. He whips 
them off, throwing them aside. Puts on another pair. Throws those aside 
too, and so on. The agitated vendor moves to him.

VENDOR (cont'd)
Look. If you aren't going to buy
anything-

Now Marcus turns, another pair of glasses on. He's a VAMP.

MARCUS
(lifts glasses)
Do these look good? I can't see in
the mirror.

The vendor reacts to Marcus' vampiness. Stammering, starting to back 
away...

VENDOR
I - I... Oh, sweet...

But he doesn't finish before Marcus has his hand around the poor guy's 
neck...

MARCUS
Oh, what the hell. I'll take 'em.

Marcus snaps the vendor's neck like a twig. Then drops the lifeless body 
to the ground and goes about his merry way.[/b][/indent]

EXT. L.A. STREET - DAY

Oz' van barrels down a downtown L.A. street.

INT. VAN - DAY

Oz keeps his eye on the street, driving hard. In the back of the van, 
Cordy and Doyle tend to Angel. He's pretty banged up - and worst of 
all - he still has one of those rods sticking out of his chest.

OZ
How's he doing?

DOYLE
He'll live.

CORDELIA
Not without help. We have to get him
to a hospital.

OZ
I hear you, but which one? They all tend
to specialize in humans.

DOYLE
He's right. Too risky.
(to Oz)
You know any first aid?

OZ
Just your basic sixth grade, but I can
improvise. First we get someplace
dark. We do that, maybe I can...

He'd go on but Angel sits up abruptly, interrupting him.

ANGEL
Turn... around.

OZ
Angel...

CORDELIA
He's delirious. Ignore him.

ANGEL
Turn around.

CORDELIA
So you can do what? It's daylight, you're
ring-less, and unless you're changing the
act to Human Torch, I don't think so.

DOYLE
She's right. You're death on toast. And in
no shape to be fighting a torture demon.

In answer to their arguments, Angel RIPS the remaining rod from his 
chest - stares them down as he fights the pain.

ANGEL
He's got a thing for children.
(then)
Oz-

Oz looks at Angel.

[b]OZ
How will we find this guy?

ANGEL
Follow the carnage.[/b]

And Oz cranks the wheel.

EXT. STREET - DAY

The van turns around.

**kassyopeia** · 20-08-11, 06:21 PM

Not a particularly relevant scene, but the follow-up line near the end of the excerpt does make a little bit more sense than the "he can't have gone far" explanation in the screened episode, IMO.

Originally posted by ubi4soft View Post

These threads of yours are excellent work.

Why, thank you.

I hope this one is going to live up to that standard, then!

**kassyopeia** · 22-08-11, 04:05 PM

1x08 - I Will Remember You

Code:

INT. ANGEL'S OFFICE - DAY

Angel and Buffy move in on Mohra, whose back is to the wall. He swings 
his sword in a large arc, forcing them back. Then he raises his sword 
against Buffy -- but rather than retreat, she steps inside to catch 
the demon's wrist. She torques it, forcing him to drop his sword. The two 
of them locked in a test of strength and balance as -

Angel dives beneath the bridge created by Buffy and Mohra - grabbing 
the sword, then coming up, stabbing the blade deep into Mohra's flank. 
STRANGELY COLORED, possibly GLOWY BLOOD (CGI) pools around the 
wound, sluices down the blade, as the Demon ROARS in anger and 
pain, hurling Buffy into Angel - both of them stumbling onto the floor in 
a tangle, as -

Mohra leaps back out the window --

Angel and Buffy on the floor, somewhat entwined in each other's arms, 
faces inches apart. They quickly, and somewhat uncomfortably, disengage, 
stand. They look towards the broken window where Mohra escaped.

BUFFY
Friend of yours?

ANGEL
Never saw it before.

BUFFY
It was rude -- we should go kill it.

ANGEL
I'm free.
[indent][b]INT. COFFEE SHOP - DAY

A CAN OF WHIPPED CREAM sprays a white top on Doyle's iced 
mocha frappaccino and the SERVER moves off. Cordy sits next to him with 
a similar frufy cup.

DOYLE
I just asked for a coffee.

Doyle skims or blows off the foamy top, something brown underneath.

DOYLE
Oh, there it is... what is it with
this country, anyway? Everything's
got to be bigger, sweeter, frothier --

CORDELIA
There's a reason we rule the world.

DOYLE
So Buffy and Angel, it's always been pretty...
(mimes fisticuffs)
...volatile?

CORDELIA
That was nothing. One time they
kicked the daylights out of each
other at the mall -- I was too
embarrassed to shop there for, like,
weeks.

DOYLE
It must have been good sometime...

CORDELIA
(shrugs)
At first he was just hanging around
in the shadows, spying on us -- boy,
a lot's changed there, huh? -- I was
seeing someone at the time so I guess
he sort of fixated on her.

DOYLE
And eventually they got together.

CORDELIA
Did they ever, on her seventeenth
birthday. Which kicked in his
"knowing a moment of true happiness"
curse and then it really got ugly.

DOYLE
He went bad, tried to kill her.

CORDELIA
He tried to kill everybody. You
weren't really goin' out much after
dark in those days... then she ran
him through with a sword, sent him to
hell. He popped out four months
later which was like a hundred years
of torment in demon time or
something... his hair's never really
been the same.

DOYLE
And then?

CORDELIA
Then they were on again off again --
you sort of need a score card at this
point -- but finally they broke up
for real last spring. That's when he
took off for L.A. The story thus far.

DOYLE
Great. So what happens now?[/b][/indent]

INT. SEWER TUNNELS - DAY

Yes, it's dark and creepy down here. Angel, armed with a small fighting 
ax, and Buffy, with a stake and a knife, hunt Mohra.

ANGEL
It's heading toward the ocean...

BUFFY
You sure?

ANGEL
(looks away)
It's wounded, I can smell its blood.

BUFFY
Oh. Right. Handy skill.

She moves a little in front of him, as they continue the hunt.

BUFFY
Maybe if your crack staff hadn't run
at the first sign of trouble, they
could've done some research, found
out what it was and why it wants to
kill us.

They hear a noise. She turns fast, raising the stake -- Angel 
watches something skitter away O.S.

ANGEL
Just a rat...
(re: stake poised over his chest)
So you can put that down now.
(she does)
He's not a vampire, I don't know why
you brought that anyway.

BUFFY
Because I know how to use it. This
thing gets you to the ground or in
close, stake's a lot handier than
your fighting ax.

ANGEL
Unless he chops it in two, maybe
takes some of your hand with it.

BUFFY
Can we just get on with the hunting?
I'd kinda like to get home before dark.

ANGEL
I can handle this by myself.

BUFFY
You bailed me out last night.
I'd like us to be even.

ANGEL
We're keeping score now?

She gives him a look, moves off; he follows. They come to a fork in 
the tunnels. He sniffs the air.

BUFFY
Getting anything? I sure smell sewer.

Angel enters the tunnel on the left, kneels. INSERT - A little bit of the 
Mohra's translucent blood. Angel dips his finger in it. Angel straightens 
up, rubbing the blood between his fingers.

BUFFY
So it's tunnel number one...

They move off; down towards the end of the tunnel is a ladder that leads 
up to a sharp spot of daylight above.

As they approach, Buffy notices Angel is looking down (in the general 
direction of his hand).

BUFFY
Angel?

He looks up, his brow furrowed.

BUFFY
Are you okay?

ANGEL
I feel weird...

Buffy, grateful for his honesty, starts spilling...

BUFFY
I know... I do, too. I mean I only
came so I could see you face to face
and tell you not to... see me face to
face anymore -- and I know there's a
fly in that logic ointment somewhere --
next thing I know we're being attacked
by that mutant ninja thing, then we're
on the floor on top of each other and I,
you... it's just really confusing being around you.

Beat.

ANGEL
I meant I felt weird from the demon's blood...
(holds up fingers)
...it's powerful...

BUFFY
(humiliated)
Oh. So let's just rewind Buffy's
little outburst and forget it ever
happened.

Now Angel lets down - moving toward her.

ANGEL
No -- it is confusing. When we're
apart it's easier. It hurts -- every
day -- but I live with it. Now
you're right here, and I could
actually reach out and...
(steps even closer)
...it's more than confusing...
it's unbearable.

Buffy feels his nearness - the desire between them building to an 
excruciating level. Their defenses clearly weakening.

BUFFY
But we have to bear, right? What
else can we do? I mean, it doesn't
work with us, it can't...

ANGEL
No. I can't give you a life or a future
or anything a real girl would want.

Despite their words, they are still drawing nearer to each other...

BUFFY
I know. And no matter how much we
miss each other...

ANGEL
Or what we feel in the moment...

BUFFY
If we let something happen here...

They stop and really think it through. It's not a pretty picture. Buzzkill.

BUFFY
We'd want more. And nothing's
changed. We'd just end up having to
leave each other again.

ANGEL
And that's the best case scenario.

They back away from each other. Buffy's attitude shifting, growing harder...

BUFFY
Great. I was really jonesing for
another heartbreaking sewer talk.

ANGEL
I'm sorry. I-

BUFFY
You know, I'm on the brink of
something back home... I'm actually
heading towards a pretty good life.
Now that...

ANGEL
I'm out of the picture.

Buffy doesn't deny it.

ANGEL
That's why I left. I want you to have--

BUFFY
(cutting him off)
Let's just find this thing and get it
over with.

She moves on, past the ladder; stops, moves back to it.

BUFFY
What if he went up?

ANGEL
Into the day. Where he knows
I can't follow.

BUFFY
(pointed)
But I can.

She starts up the ladder. But Angel stops her.

ANGEL
I don't want you going after him alone.

BUFFY
Look. It's better all around if we
split up -- and I can handle it.

ANGEL
(beat)
There's a dive on Second near Beach,
the Lone Bar, demons go there
sometimes...

BUFFY
Got it.

ANGEL
Be careful.

And she disappears up the ladder into the light. Angel stands there for a 
beat, a little spun from their encounter.

**kassyopeia** · 22-08-11, 04:09 PM

1x08 - I Will Remember You (continued)

Extended dialog:

Code:

INT. ANGEL'S APARTMENT - KITCHEN - DAY

A STATIC FRAME: Angel and Buffy at the table. Chastely having tea 
and crackers. A long beat. Angel picks up the teapot --

ANGEL
Would you like some more...

BUFFY
No thank you.

He sets the pot down. Suddenly:

ANGEL
I'm really sorry I kissed you like that.

BUFFY
You are?

ANGEL
Not for the kiss itself --

BUFFY
(cutting him off)
Oh. Good. 'Cause, as kisses go - I
though it was well above average.

ANGEL
It was incredible. It's just... I
think maybe we'd be asking for
trouble, rushing back into things.
(quickly)
Not that I don't want to. Rush. I
do, believe me...

Buffy takes this in. Nods. He's talking sense.
[indent]BUFFY
Right. I mean, okay, you talked to
the Orcas--

ANGEL
Oracles.

BUFFY
--they say you're cured for good.
How do we know for sure they speak
for the powers? They could be
pranksters.[/indent]

ANGEL
Or there could be another loop hole-

BUFFY
Exactly. Then the two of us are in
even deeper and it's GRRRR all over
again.

ANGEL
It would be smart to wait a while.
See if this mortal thing takes...

BUFFY
And even if it does - it's still
complicated.
[indent]ANGEL
(nods)
You're still the Slayer. And I'm not
sure what I am now. I don't know
what my purpose it...

BUFFY
(helpfully)
Xander's talking about starting an
internet company. Plus he has an
extra cot in his basement.
(off his look)
Kidding.

ANGEL
But that's what I mean. I can't just
wedge myself into your life back in
Sunnydale. It wouldn't be good for
either of us. Not to mention the
fact that you just started college.
(then)
And what about slaying? If you had
me to worry about you might not be as
focused.[/indent]

Buffy takes this all in - saddened by the truth in it.

BUFFY
Are you going to pull a pie chart out
now? Because it's not necessary. I
think I got it.

ANGEL
(emphatic)
I'm not saying I don't want you,
Buffy. You know how much... I'm
just saying - it's worth the wait to
know it's right. I need to be sure
you won't get hurt again.

Buffy nods. Smiles sadly.

BUFFY
(wryly)
Good thing I didn't fantasize about
you turning human about ten zillion
times - 'cause today would have been
a real let down.

Buffy drains her cup. Gets up and moves to the sink.

BUFFY
So, how does the mature plan go? I
call you. You call me? Or what?

Angel follows with his mug.

ANGEL
We stay in touch. Just not-

BUFFY
Literally. Funny.
(then)
Then I guess I'd better...

ANGEL
Right. Remove the temptation.

Buffy offers her hand for a no-nonsense shake.

BUFFY
Okay. We'll talk soon.

They touch hands. And that's it. Angel pulls her into his arms and everything 
they've held back suddenly lets loose in frantic, passionate kisses. They 
grab at each other's clothing, feeling their way toward bare skin...

**kassyopeia** · 22-08-11, 04:29 PM

1x08 - I Will Remember You (concluded)

I can't quite decide if I agree with their decision to strip some of the levity from that dialog. Certainly, it's meant to play as an emotional, rather than a humorous, moment, but making bad jokes is a well-established coping mechanism of Buffy's, so the cut lines don't seem out of place to me.

Also, there are a couple of interesting stage instructions:

The very first line of the script is

Code:

AN OLD FASHIONED MANTEL CLOCK -- IT READS 8:43.

In the actual opening shot, the clock reads 8:53. Which works out pretty well, Buffy gets to the "So let's just, you know, stick to the plan" (which is the first thing she repeats after the 9:00 reset) about six minutes later. There isn't anything in the script, as far as I can see, which could account for an extra ten minutes of elapsed time, so this may just be a typo or transcription error, rather than a deliberate change.

Then, there's

Code:

Arms full of food, he shoulder bumps the fridge shut. PULL BACK to take 
in the kitchen table, now broken on the ground, one leg askew.

I never actually noticed the broken table on-screen before, so I had a bit of an "awww" moment there.

Lastly, there's

Code:

ANGEL'S POV - THE JEWEL (SLIGHT OVERCRANK)

embedded in Mohra's angry brow. Its facets catch the light, reflect it in 
a thousand points.

RESUME

Anyone know what "overcrank" means in this context? I don't recall ever having come across the term before in any of the several hundred scripts I've read...

**kassyopeia** · 09-09-11, 07:07 PM

1x17 - Eternity

Code:

EXT. STREET - NIGHT

Post play. Angel and Wesley walk with Cordelia, who drinks water from a 
wide-mouthed clear sports bottle (we'll see this later) through the 
Westwood like district.
[indent][b]WESLEY
I've always regarded Nora as one of
the seminal characters of late 19th,
early 20th century literature.

CORDELIA
Yeah, but I thought I managed to
breathe a little life into her, anyway --
(drinks)
You have to train for a tour de
force like this, lots of water,
lots of power walking.

WESLEY
Yes, I uh, don't recall ever seeing
Ibsen's Nora portrayed as a power-
walker before.

CORDELIA
I brought that to the part, the
director was like, clueless. So
what'd you guys think?[/b][/indent]

WESLEY
Well... your projection was excellent.

ANGEL
Yeah, I could hear every word. And
we were way in the back.

CORDELIA
Okay, so I was loud. Was I any good?

WESLEY
You took the role and made it your own.

CORDELIA
Really? Thanks. Angel? Was I good?

ANGEL
I, uh... wouldn't say it
if I didn't think so.

CORDELIA
Thanks.
(then)
You didn't say it.

ANGEL
I didn't... ?

**kassyopeia** · 09-09-11, 07:12 PM

1x17 - Eternity (continued)

Two small scenes cut entirely:

Code:

INT. REBECCA'S HOUSE - LIVING ROOM - LATER

Various COPS and BODYGUARDS are making their way out. The huge 
picture window now has several sheets of plywood nailed across it. 
We FOLLOW a BURLY COP across the room to find Rebecca standing 
with Oliver.

REBECCA
I am sure, Oliver.
I'd rather be alone tonight.

OLIVER
Alone, though? After all this?
Don't you at least want someone in
the house?

Rebecca looks around, scanning the place. Back to Oliver:

REBECCA
Look, for weeks you've been begging
me to bring the police in on this.
Fine. Done. Now half the LAPD is
camped out on my front lawn. He
won't be back tonight.

OLIVER
(placating)
All right, all right. I should
probably go deal with the press.

REBECCA
You do that, Oliver.

OLIVER
(genuine, searching)
I love you, kid. You know that.

REBECCA
I know.

Oliver gives her a warm hug, then exits. He's the last one to go, and 
now Rebecca's alone in her living room. She walks forward a few steps, 
turns slowly. A beat, and then...

REBECCA
I know you're still here...

Angel EMERGES from the dark recesses of the room. She gazes at him, not 
so much wary as again fascinated.

ANGEL
Don't scream.

REBECCA
(had no intention)
Okay.

ANGEL
I'm not what you think.

REBECCA
You're not? Because... no
reflection... dark, private office...
instantly knowing those letters
weren't written in blood. I guess
what I would think is, vampire.

ANGEL
Then again...

REBECCA
Which is impossible. Bela Lugosi,
Gary Oldman -- they're vampires.

ANGEL
Frank Langella was the only
performance I believed, but...

REBECCA
This is real. You're real.

Rebecca circles him --

REBECCA
Do you... drink blood?

ANGEL
Yeah, but not people.

REBECCA
Unlike the bloodsuckers I'm used
to -- You're not a killer.

ANGEL
I gave that up.

REBECCA
Well, there's a support group for
everything in this town, I guess.

ANGEL
It's a long story.

REBECCA
How long?
(guessing)
A hundred years?

ANGEL
Two. Hundred. And some change.

REBECCA
Two hundred years. But you look --

Rebecca comes back to face him, closer now.

REBECCA
If I touch you, will you be cold?

Angel looks at her. She moves even closer, reaches up... gently touches 
his face, in wonder. Their eyes meet.

REBECCA
I've felt colder...

ANGEL
You're really not afraid --

REBECCA
No.

ANGEL
Most people who saw what you saw...
or didn't see what you saw... or saw
what you didn't see...

REBECCA
Angel -- I'm not most people.

He nods at that. She regards him. Grows more sincere.

REBECCA
I lied to Oliver. I don't really
want to be alone tonight.

And off the two of them gazing at each other...
[indent][b]INT. REBECCA'S HOUSE - BEDROOM - A LITTLE LATER

Rebecca, in a nightgown or sexy nightware, moves to her bed.

REBECCA
Sure you wanta do this...?

We now reveal Angel, clothed, sitting in an easy chair a comfy distance 
from the bed.

ANGEL
Yeah, I'm not much of a sleeper anyway.

She reaches for one of the MYRIAD PRESCRIPTION BOTTLES (15 or 20 
of them) lined up along the back of her nightstand.

REBECCA
Me, either, but I have a big meeting
tomorrow. Gotta get my beauty rest.

She unscrews a cap, pops a pill or two... off his look:

REBECCA
I know, I'm weak -
and doctors never say no to me.

ANGEL
Or anyone else, I'm guessing.

She smiles at that, gets into bed. She turns out the light. We can still 
make out their shapes in the blue light of night.

REBECCA
Angel... Thank you.

As she snugs up the covers and closes her eyes...[/b][/indent]

INT. ANGEL'S OUTER OFFICE - NEXT DAY

Early morning. Wesley's at the computer, working. Cordelia takes a 
seat across from him, having only recently arrived.

CORDELIA
He took the case?

WESLEY
Yes, he phoned early this morning.
We're to follow up on the stolen vehicle.

CORDELIA
What made him change his mind?

WESLEY
Apparently he didn't. He was quietly
keeping tabs on her all along.

CORDELIA
And he called you early this morning?

WESLEY
Yes. Isn't this what you've been
lobbying for?

CORDELIA
How early? Did he spend the night?

WESLEY
One assumes.

CORDELIA
Great. He spent the night with the
fantasy of millions. All alone.
"Protecting" her...

WESLEY
Now you're worried about the curse.
Well, I wouldn't be.

CORDELIA
Hey -- you weren't around the last
time Angel went mental. I, on the
other hand, was first wave on the
clean-up crew. He knows perfect
happiness, he goes evil, so don't
tell me not to worry.

WESLEY
Angel's moment of true happiness
occurred because he was with Buffy.
Do you realize how rare that is --
true happiness? And what are the
odds he finds it with an actress?

CORDELIA
What's that supposed to mean?

WESLEY
I was... uh... uh... I meant a TV actress.

CORDELIA
Save it.
(grabbing her bag)
Angel spent the night at Rebecca's
last night. I owe it to that poor
girl to see if he wound up chowing
down on my single link to fame.
[indent][b]INT. REBECCA'S HOUSE - DAY

Angel talks to one of Rebecca's bodyguards who takes note:

ANGEL
I want every door, window and screen
in this house hard wired to the
police. I also want the exterior
phone wires encapsulated in metal
conduit and a cellular back-up --

BZZZ! An intercom. Bodyguard moves to it, depresses a button...

GUARD VOICE
Tell Mr. Angel his Senior Vice
President of Marketing's here.[/b][/indent]

INT. REBECCA'S HOUSE - FRONT DOOR - DAY

The DOOR swings open, revealing Cordy with a HUGE CROSS around her 
neck, carrying a tray of three coffees. Angel's in the (shaded) entryway. 
He sees the cross, flinches.

ANGEL
Cordelia -- you're here.
And you brought a cross.

CORDELIA
(offering tray)
Along with three double half-caf
non-fat skinny lattes!

ANGEL
And a cross.

CORDELIA
(looking him over)
Well, judging by the outfit, I guess
it's safe to come in. Evil Angel
never would've worn those pants.

She enters (walking out of the sun), looks around:

CORDELIA
Where's Rebecca?

ANGEL
She had a lunch to go to.

CORDELIA
Lunch? It's like noon. Shouldn't
that be more of a "brunch" for her?

ANGEL
Actually, she was up before dawn,
working out.

CORDELIA
So she went to lunch and just left
you here all by yourself to rummage
through her things?

Which is what Cordy's doing now. Angel closes the drawer she's gotten into.

ANGEL
No. I told her I was a vampire and
that daytime patio dining was out.

CORDELIA
Did you just make a joke?

ANGEL
I really told her.

A beat as she lets the enormity of that register, then --

CORDELIA
Wow. So you think she'd still set me
up with her manager?

Announcement

Cutting Room Floor

Cutting Room Floor

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