Angel

(January 21, 1997)

Written by: David Greenwalt

Teaser

(NOTE: THE RE-CAP FOR THIS EPISODE will re-introduce the Master, the Child who rose in episode 5, and Angel and Buffy's relationship.)

INT. MASTER'S LAIR - DARK

DARLA makes her way through the tunnel, stepping down into the church.

The child, COLLIN, sits tossing pebbles in the pool of blood. The Master watches him, his back to Darla. Sensing her, he speaks.

MASTER
Zackery didn't return from the hunt
last night.

DARLA
The Slayer.

The Master barely controls himself, his hands clenching. His voice still calm.

MASTER
Zackery was strong, and he was
careful. And still the Slayer
takes him, as she's taken so many
of my family. It wears thin.
(to child)
Collin, what would you do about it?

COLLIN
I'd annihilate her.

MASTER
Out of the mouths of babes . . .

DARLA
Let me do it, Master, let me kill
her for you.

MASTER
You have a personal interest in
this . . .

DARLA
I never get to have any fun.

MASTER
I will send the Three.

Darla reacts: apparently this is some big guns.

DARLA
The Three.

CUT TO:

EXT. - STREET - NIGHT

ANGLE: THREE YOUNG THUGS

Three BAD-ASS GANG-TYPES hang out on a deserted corner. You wouldn't want to meet any of them on a dark street -- or a sunny one. They see something o.s.

THREE OTHERS - STRIDING DOWN THE STREET TOWARDS THEM

THE THREE YOUNG THUGS

Straighten up, ready for trouble.

THE THREE OTHERS

Never slowing, break into enough light to see their faces. They're vampires (dressed alike in a kind of medieval uniform) -- the gang-types are bad-asses, these guys are stone killers and did I mention, they're vampires.

THE THREE YOUNG THUGS

Hold their ground for about two seconds, then break and run, getting the hell off the street.

THE THREE VAMPIRE WARRIORS

Stride past, heading down the street. They own the street.

INT. BRONZE - NIGHT

We HEAR a GIRL SCREAM! We hear someone say:

SOMEONE (O.S.)
Cockroach!

We SEE a bunch of kids near the bar trying to STOMP on something on the floor. WE PAN to a banner: FUMIGATION PARTY - FIND A COCKROACH, GET A FREE DRINK. We PAN back as the kids approach the bar -- one of them drops a dead bug on it and smiles at the bartender as we MOVE TO:

BUFFY AND WILLOW

Sitting on the couches nearby. Buffy stirs her drink idly, lost in thought.

WILLOW
Hard to believe it's the fumigation
party already . . .

BUFFY
Hmm?

WILLOW
It's an annual tradition, the
closing of the Bronze for a few
days to nuke the cockroaches.

BUFFY
Oh.

WILLOW
It's a lot of fun. What's it like
where you are?

BUFFY
I'm sorry. I was just . . . thinking
about . . . things. And stuff.

WILLOW
Things and stuff. So we're talking
about a guy.

BUFFY
Not exactly. For us to have a
conversation about a guy there
would have to be a guy for us to
have a conversation about. Was
that a sentence?

WILLOW
You lack a guy?

BUFFY
I do. Which is fine, most of the
time, but . . .

WILLOW
What about Angel?

BUFFY
Angel. Yeah, I can see him in a
relationship. "Hi honey, you're in
grave danger, see you next month."

WILLOW
He doesn't stay around much, it's true.

BUFFY
He disappears! Every time. Tells
me there's trouble then poof.
Gone. But when he's around . . .
It's like the lights dim everywhere
else. You know how that happens
with some guys?

WILLOW
Oh yeah.

And Willow gazes off at

THE DANCE FLOOR - WHERE XANDER

is working out, dancing next to a RATHER PRETTY GIRL. Xander smiles at the girl. She nods (rather than smiles) back. He dances closer to her, shows her his best moves, then sees THE RATHER LARGE GUY who is, in fact, dancing with the girl.

Without skipping a beat, he dances out of their lives and off the floor nearly colliding with:

CORDELIA
Please keep your extreme oafishness
off my two hundred dollar shoes.

XANDER
Sorry. I was just --

CORDELIA
Getting off the floor before Annie
Vega's boyfriend squashes you like
a bug?

XANDER
Oh, you saw that. Well, thanks for
being so understanding and -- I
don't know what everyone's talking
about, that outfit doesn't make you
look like a hooker.

Xander smiles, moves off.

ANGLE - BUFFY AND WILLOW

Xander moves up.

XANDER
Boy that Cordelia's a regular
breath of vile air -- what are you
vixens up to?

WILLOW
Just sitting here watching our
barren lives pass us by. Oh look,
a cockroach.

She STOMPS on something OUT OF FRAME. Xander looks from Willow to Buffy who's lost in thought.

XANDER
Whoah, stop this crazy whirlygig of
fun. I'm dizzy.

BUFFY
All right, now I'm infecting those
near and dear to me. I'll see you
guys tomorrow.

Buffy gets up.

WILLOW
Don't go . . .

XANDER
Yeah, it's early! We could, um, dance.

BUFFY
Raincheck. Night.

She goes. Willow holds her shoe (sole down so we don't see the cockroach) up in front of Xander.

WILLOW
Want a free drink?

ANGLE - NEAR THE EXIT

As Buffy heads out, we TILT UP to the Balcony. He's hidden at first, but he steps through some FOLKS to watch Buffy leave. It's ANGEL.

ANGLE - BUFFY AT THE DOOR

Almost as if she can sense him, she turns, looks up.

HER POV - THE BALCONY

No Angel. Just party animals. Buffy exits.

EXT. CITY STREETS - NIGHT

Buffy walks alone. It's creepy. A dim SOUND BEHIND HER alerts her senses. She slows, looks back.

HER POV - EMPTY STREET

Buffy walks on. Again she hears a SOUND. She walks some more, stops, doesn't turn around.

BUFFY
It's late, I'm tired, I don't want
to play games. Show yourself.

SOMETHING DROPS INTO FRAME behind her. She turns. It's BAD-ASS VAMP NUMBER ONE (of the Three.)

BUFFY
You really should talk to your
orthodontist about a refund.

Buffy whips a stake out of her jacket. Moves in on the vampire. Raises it high to strike. Her wrist is grabbed from behind by ANOTHER HAND. A POWERFUL HAND. The OTHER TWO VAMPS are behind her.

The one with his hand on her wrist twists it painfully until she drops the stake.

BUFFY
Hey, ow, okay, I'm letting go. I
don't want to fight all three of you . . .

She suddenly kicks one of them between the legs.

BUFFY
. . . unless I have to.

She elbows another as the BIGGEST AND MEANEST one slams her in the back -- she stumbles into the first two who grab her, hold her fast.

BLACK OUT.

END OF TEASER
Act One

EXT. STREETS - NIGHT

Buffy in peril, as before. The meanest vamp, fangs bared, inches toward her neck when he's grabbed by the neck --

VOICE
Good dogs don't bite.

The meanest vamp turns, sees Angel -- who smashes him in the face.

This distracts the other two -- Buffy wrenches her arms free, grabs them by the hair and smashes their heads together.

Angel and the mean vamp trade kicks and punches. Angel's fast and deadly. He ducks a punch and blocks a kick by catching the meanest vamp's boot and hurling him back into

A WROUGHT IRON FENCE

Meanwhile, Buffy hits vamp 2, elbows vamp 3. Vamp 2 sweep-kicks her off her feet. She goes down.

Angel closes in on the meanest vamp -- but vamp 3 hits him from behind. He turns to battle vamp 3.

Buffy, on her back, kicks vamp 2, leaps to her feet, sees the meanest vamp RIP A POINTED IRON spike right off the wrought iron fence and come at Angel from behind.

BUFFY
Look out!

Angel spins, sees the spike, jumps back -- not quite fast enough -- he's slashed in his ribs.

Buffy bolts to them as the mean vamp slashes again -- and gets Buffy's foot in his face, knocking him down.

BUFFY
Run!

They do, rounding a corner as the vamps struggle to their feet and give chase.

EXT. RESIDENTIAL STREETS - NIGHT

Buffy and Angel run down the street. He's holding his wounded side.

EXT. BUFFY'S HOUSE - NIGHT

Buffy and Angel run to the front door. The vamps are very close. Buffy opens the door, herds Angel inside.

BUFFY
Get in! Come on!

She is shutting the door as the meanest vampire leaps onto the porch, grabbing for her. She slams the door on his hand -- it withdraws -- and she shuts it. Looks out the window, worried.

ANGEL
It's all right. A vampire can't
come in unless it's invited.

BUFFY
I heard that, but I never put it to
the test before.

She looks out and sees:

ANGLE: ON THE PORCH

The Vamps back into the darkness, but they don't leave.

Buffy turns from the window to Angel, concerned about his wound.

BUFFY
I'll get some bandages, take your jacket and shirt off.

She exits into:

INT. KITCHEN - CONTINUOUS

She gets the first aid kit. Angel follows her in, slipping out of his shirt. She takes a moment to register the fact of Angel naked from the waist up.

BUFFY
Nice tattoo.

He has a WINGED LION tattoo behind his left shoulder. She moves to him, bandages him under:

BUFFY
I was lucky you came along. How did
you happen to come along anyway?

ANGEL
I live nearby. I was just out walking.

BUFFY
So you weren't following me? I had
this feeling you were . . .

ANGEL
Why would I do that?

BUFFY
You tell me, you're the Mystery Guy
who appears out of nowhere -- I'm
not saying I'm not happy about it
tonight -- but if you are hanging
around me I'd like to know why.

She finishes the bandage, straightens up, quite close to him.

ANGEL
Maybe I like you.

BUFFY
"Maybe"?

They hear the SOUND of the front door opening.

INT. BUFFY'S LIVING ROOM - NIGHT

Buffy bolts to the front door as JOYCE unlocks it, enters. Buffy scans the darkness for vampires, pulls her mom in.

JOYCE
Honey, what are you . . .?

BUFFY
There's a lot of weird people out
at night, I just feel better with
you safe and sound inside.
(closes and locks door)
You must be beat.

JOYCE
I am. I hate inventory, we're just
a little gallery but you have no
idea how much paper work --

BUFFY
Why don't you go upstairs, get in
bed, I'll make you some hot tea --

JOYCE
That's sweet. What did you do?

BUFFY
What do you mean? I didn't do
anything -- I'm concerned about
your needs, can't a daughter --

JOYCE
Hi.

Buffy follows Joyce's gaze to Angel (shirt and jacket on) who has entered from the kitchen.

BUFFY
Oh. Mom, this is Angel, Angel this
is my mom. I just happened to . . .
run into him on my way home.

ANGEL
Hello, nice to meet you.

JOYCE
What do you do, Angel?

Angel hesitates, Buffy dives right in:

BUFFY
He's a student. First year
community college. Angel's been
helping me with my history. You
know I've been toiling there.

JOYCE
It's a little late for tutoring.
I'm going to bed and, Buffy?

BUFFY
I'll say goodnight and do the same.

JOYCE
Nice to meet you.

She heads upstairs. Off Buffy's innocent expression.

INT. BUFFY'S HOUSE - FRONT DOOR - NIGHT

Moments later. Buffy holds the door open, talks (a little loudly) to NO ONE on the doorstep.

BUFFY
Good night, we'll hook up soon and
do the study thing.

She shuts the door. Angel is inside, behind Buffy. She motions him to follow her upstairs. Up they go.

Buffy and Angel slip in, she checks the hall, shuts the door. They speak quietly.

ANGEL
Look, I don't want to get you in
any more trouble.

BUFFY
And I don't want to get you dead --
they could still be out there. So,
one bed, two of us -- that doesn't
work -- you're wounded, you takeANGEL
I'll take the floor.
(she gives him a look)
Believe me, I've had worse.

BUFFY
Why don't you see if the Fang Gang
is loitering and keep your back
turned while I change.

He smiles, moves to the window, dutifully turns his back. She changes into her night wear under:

ANGEL
I don't see them . . .

BUFFY
You know, I'm the Chosen One.
It's my job to fight guys like that.
What's your excuse?

ANGEL
Somebody has to.

BUFFY
Well, what does your family think
of your career choice?

ANGEL
They're dead.

She stops, turns. She's dressed in a t-shirt and p.j. pants.

BUFFY
Was it vampires?

ANGEL
(turns also)
It was.

BUFFY
I'm sorry.

ANGEL
It was a long while ago.

BUFFY
So this is a vengeance gig for you?

Beat.

ANGEL
You even look pretty when you go to
sleep?

BUFFY
(accepts the dodge)
Well, when I wake up it's a whole
different story. Sleep tight.

She hands him a pillow, gets into bed. He takes off his jacket, lies down by the bed.

They lie there in the moonlight for a beat.

BUFFY
Angel?

ANGEL
Hmmm?

BUFFY
Do you snore?

ANGEL
I don't know, it's been a long time
since anyone was in a position to
let me know.

She smiles: good. Off the two of them.

EXT. SUNNYDALE HIGH - DAY - ESTABLISHING

XANDER (O.S.)
He spent the night?

INT. LIBRARY - DAY

Giles (text in hand) paces, concerned as Willow, Buffy and Xander (who can not believe what he's just heard) talk.

XANDER
In your room? In your bed?!

BUFFY
Not in my bed, by my bed.

WILLOW
That is so romantic.

XANDER
That is the moral decline that's
eating our country out of house (off their looks)
You know what I mean.

WILLOW
Wow. Did you, uh, I mean did he,
uh . . .

BUFFY
Perfect gentleman.

XANDER
Oh come on, Buffy, wake up and
smell the seduction, it's the
oldest trick in the book.

BUFFY
Saving my life, getting slashed in
the ribs?

XANDER
Duh. Guys'll do anything to impress
a girl. I once drank an entire
gallon of Gatorade without takingWILLOW
It was pretty impressive. Although
later on there was an ick factor --

GILES
-- Could I just steer this riveting
conversation back to the events
that took place earlier in the
evening? You left the Bronze and
were set upon by three unusually
virile vampires . . .

Giles shows her ENGRAVING in text: three WARRIOR VAMPS.

GILES
Did they look like this?

BUFFY
Yeah, what's with the uniforms?

GILES
You encountered the Three --
warrior vampires, very proud and
strong.

WILLOW
How is it you always know this
stuff? You always know what's
going on -- I never know what's
going on.

GILES
(points to pile of books)
Yes, well, you weren't here from
midnight to six researching it.

WILLOW
No, I was sleeping.

GILES
(to Buffy)
You're really starting to hurt the
Master, he wouldn't send the Three
for just anyone.
(to Buffy)
We must step up our training with
weapons . . .

XANDER
Buff, you better stay at my place
until these Samurai-guys
are history.
(she tries to speak)
Don't worry about Angel. Willow
can run over to your house and tell
him to get out of town fast.

GILES
Buffy and Angel aren't in immediate
jeopardy. Eventually the Master
will send others but the Three,
having failed, will now offer up
their own lives as penance.

XANDER
And what if he doesn't take their
lives?

GILES
Oh right, I forgot, the Master's
such a kind and forgiving sort of
chap.

INT. MASTER'S LAIR

The Three kneel before the Master. Darla and Collin watch as the Meanest Vamp offers the Master a long and sharp impaling spear. The Meanest Vamp looks up, the other two keep their faces down (and thus out of prosthetics.)

MEANEST VAMP
We failed in our duty, our lives
belong to you now.

The Master puts aside the spear, moves to Collin.

MASTER
Pay attention, child, with power
comes responsibility. True, they
did fail, but also true: we who
walk at night share a common bond.
The taking of a life -- I'm not
speaking about humans of course --
is a serious matter.

The Mean Vamp can't help but look up for a moment, bright hope suddenly alive in his eyes.

COLLIN
So you would spare them?

MASTER
(glances at Darla, then:)
I am weary and their deaths would
bring me little joy.

The Master moves off with Collin.

ANGLE: DARLA

SHOVES the spear through the mean vamp from behind. Glee in her eyes.

MASTER
Of course, sometimes a little is
enough.

EXT. SUNNYDALE HIGH - DAY - ESTABLISHING

INT. HALL OUTSIDE LIBRARY - DAY

Sign on library doors: CLOSED FOR FILING - PLEASE COME BACK TOMORROW. In one of the little porthole windows, we see Giles' face just before he lowers a cover blotting out both windows.

Giles locks the doors. He is in his shirtsleeves (rolled up), no jacket or tie.

BUFFY'S VOICE
Cool, a crossbow.

Giles moves to Buffy (who wears a sweatshirt and tight dark pants.) She is pouring over a large chest o' weapons (nunchuks, swords, bow and arrows, etc.) She pulls out a deadly looking metal crossbow and several STEEL-TIPPED ARROWS.

BUFFY
(re: arrows)
And look at these babies, goodbye
stakes, hello flying fatality.
(looks around)
What can I shoot?

GILES
(takes crossbow from her)
Nothing. The crossbow comes after
you prove your proficiency with the
jousting poles which, incidentally,
training.

He tosses her a big jousting pole.

BUFFY
Giles, twentieth century, I'm not
gonna be fighting Fryer Tuck.

GILES
You never know whom -- or what --
you may be fighting. And these
traditions have been handed down
through the ages, show me good,
steady progress with the jousting
and in due time we'll discuss
the crossbow.
(dons padded headgear)
Now put on your pads.

BUFFY
I'm not gonna need pads for you.

GILES
(accepting her challenge)
We'll see about that. En garde.

And Giles leaps into a pretty impressive jousting position. Buffy twirls her pole a couple of times then engages Giles.

They block and parry several times and then she wipes the floor with him, hitting him high, low and in the middle a bunch of times and knocking him flat on his ass. GILES - on the floor, breathing hard; takes off head gear.

GILES
Good. Let's move on to the
crossbow.

EXT. BUFFY'S HOUSE - NIGHT - ESTABLISHING

INT. BUFFY'S DINING ROOM - NIGHT

Buffy and Joyce eat dinner (grilled chicken breast, veggies, bread).

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
Touche'. 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?

INT. BUFFY'S BEDROOM - NIGHT

Buffy slips in, closes the door behind her. Steps into the room, looking for:

BUFFY
(softly)
Angel?

He appears out of the dark, startling her.

BUFFY
Don't do that. Brought you some
dinner.
(holds up baggie)
It's a little plateless, what'd you
do all day, anyway?

ANGEL
I read a little . . .
(indicates bookcase)
. . . and just thought about a lot of
things. Buffy, I --

BUFFY
-- my diary? You read my diary?

She marches to the bookcase, holds up a diary that was lying open.

ANGEL
I --

BUFFY
(gesturing with diary)
-- That is not okay, a diary is a
person's most private place and you
don't even know what I was writing
about, "Hunk" can mean a lot of
things, bad things, and where it
says your eyes are "penetrating" I
meant to write "bulgy".

Angel smiles.

ANGEL
Buffy --

BUFFY
And for your information "A" does
not stand for Angel, it stands
for . . . Achmed, a charming foreign
exchange student and so that whole
fantasy part has nothing to do with --

ANGEL
Your mother moved your diary when
she came in to straighten up, I
watched her from the closet. I
didn't read it, I swear.

BUFFY
(oh good)
Oh.
(oh god)
Ohhhhh.

ANGEL
I did a lot of thinking today, I
can't really be around you . . .

She nods, absorbing this.

ANGEL
Because when I am . . .

BUFFY
Hey, no big. Water over the bridge --

ANGEL
. . . all I can think about is how
badly I want to kiss you --

BUFFY
-- it's under the bridge, over
the dam, kiss me?

ANGEL
I'm older than you and this
can't ever . . .
(opens window)
. . . I better go.

BUFFY
. . . how much older?

He hesitates. They look in each other's eyes.

ANGEL
I really should . . .

BUFFY
Go, you said.

He reaches for her, she moves to him. He takes her in his arms and they kiss, tender, tentative. Then it grows more passionate. And then he's suddenly and a little violently trying to pull himself free.

Angel moves back and we see that he is a VAMPIRE. It's sudden, shocking and Buffy lets out a mortal SCREAM. Angel dives out the window.

EXT. BUFFY'S HOUSE - NIGHT

Angel rolls off roof, hits the ground, and runs away.

INT. BUFFY'S ROOM - CONTINUOUS

Joyce comes running into the room.

JOYCE
Buffy, what happened?

BUFFY
Nothing . . . I saw a shadow.

Off Buffy,

BLACK OUT.

END OF ACT ONE
Act Two

EXT. SUNNYDALE HIGH - DAY

KIDS arriving in the morning. A noticeably shaken Buffy walks with Xander, Willow, Giles.

WILLOW
Angel's a vampire?

BUFFY
I can't believe this is
happening . . . one minute we're
kissing, the next minute . . .
(to Giles)
. . . can a vampire ever been a good
person? Couldn't it happen?

GILES
A vampire isn't a person at all.
It may have the movements, the
memories, even the personality of
the person it takes over, but it is
a demon at the core. There's no
halfway.

WILLOW
So that's a no, huh?

BUFFY
Well then what was he doing? Why
was he . . . good to me? Was it all
some part of the Master's plan? It
doesn't make sense.

She sits on one of the benches in front of school. Xander sits next to her.

XANDER
All right, you have a problem and
it's not a small one. Let's just
take a breath and look at this
calmly and objectively.

Buffy looks at him -- he's making sense.

XANDER
Angel's a vampire, you're a
Slayer -- it's obvious what you
have to do.

Buffy looks to Giles.

GILES
It is the Slayer's duty.

None of them notice Cordelia approaching in b.g.

XANDER
I know you have feelings but it's
not like you're in love with him or
anything, right?

Buffy's expression tells us she just might be. Xander loses his cool.

XANDER
You're in love with a vampire?! Are
you out of your mind?

Cordelia is standing right next to him. Her eyes go wide and she gasps. They look up, realize she's staring right at him.

XANDER
Not vampire, I mean . . .
(to Buffy)
How can you love an umpire?
Everybody hates them!

CORDELIA
(to someone O.S.)
Where did you get that dress?!

They follow her gaze past Xander to ANOTHER GIRL in the exact same outfit as Cordelia. Cordelia fingers her own dress.

CORDELIA
This is a one of a kind Todd
Oldham. Do you have any idea
how much it cost?

Cordelia marches to the girl, grabs at the back of her dress, trying to read the label.

CORDELIA
It's a knock-off, isn't it?

The girl backs away from Cordelia and they disappear into the morning throng as:

CORDELIA
It's a cheesy knock-off. This is
what happens when you sign these
Free Trade Agreements . . .

ANGLE - Buffy, Willow, Xander and Giles.

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. APT. BUILDING - DAY - ESTABLISHING - (STOCK?)

INT. BASEMENT APARTMENT - DAY

Simple but coolly furnished, almost no natural light. A couple of very high windows with shades that open onto the SIDEWALK outside. The front door is unlocked and Angel enters. It's dark in here but he instantly senses someone.

ANGEL
Who's here?

DARLA (O.S.)
A friend.

Darla (who is never in vampire make-up unless indicated) emerges out of the shadows.

DARLA
Hi. It's been a while.

ANGEL
A lifetime.

DARLA
Or two, but who's counting.

ANGEL
What's with the Catholic-School
Girl look. Last time I saw you it
was Kimonos.

DARLA
And last time I saw you it wasn't
high school girls. Don't cha' like?
(twirls her plaid skirt)
Remember Budapest, turn of the
century, you were such a bad boy
during that earthquake.

ANGEL
You did some damage yourself.

DARLA
Is there anything better than a
natural disaster: the panic, the
people lost in the streets, like
picking fruit off the vine.

She moves around the apartment.

DARLA
Nice. You're living above ground,
like one of them. You and your new
friend are attacking us, like one
of them. But guess what, precious,
you're not once of them . . .

She grabs a pull-string on a shade, snaps it open. A BEAM of SUNLIGHT hits Angel who shouts in pain and jumps back.

DARLA
. . . are you?

ANGEL
No, but I'm not exactly one of you,
either.

She moves to him, close.

DARLA
Is that what you tell yourself
these days? You and I both know the
things you hunger for, the things
you need. Hey, nothing to be
ashamed of, it's who we are, it's
what makes Eternal life
worth living.
(caresses his chest)
You can only suppress your real
nature for so long . . . I can feel it
brewing inside you. I hope I'm
around when it explodes.

ANGEL
Maybe you don't want to be.

DARLA
I'm not afraid of you. I'll bet
she is, though.

She heads for the door.

DARLA
Or maybe I'm underestimating her.
Talk to her. Tell her about the
curse. Maybe she'll come around.
And if she still doesn't trust
you . . . you know where I'll be.

She goes. Hold Angel.

INT. LIBRARY - DAY

Xander, Willow and Buffy sit at the table.

GILES (O.S.)
Here's something at last!

Xander jumps about a foot out of his chair as Giles suddenly appears out of the stacks.

XANDER
Can you please warn us before you
do that?

Giles holds some aged DIARIES.

GILES
Nothing about Angel in the texts,
but then it occurred to me it's
been ages since I read the diaries
of the Watchers who came before me.

WILLOW
(to Buffy)
That must have been so embarrassing
when you thought he'd read your
diary but then he hadn't but then
it turned out he felt the same
way that --
(to Giles)
-- I'm listening.

GILES
(re: one diary)
There's mention over two hundred
years ago in Ireland of Angelus,
the one with the angelic face.

BUFFY
They got that right.

Xander snorts. Willow looks at him.

XANDER
I'm not saying anything, I have
nothing to say.

GILES
Does your Angel -- this Angel --
have a tattoo behind his right
shoulder?

BUFFY
(nods)
A bird or something.

XANDER
Now I'm saying something. You saw
him naked
?

WILLOW
So Angel's been around for a while.

GILES
Not that long for a vampire, two
hundred and forty years or so.

BUFFY
(small laugh)
Two hundred and forty. Well, he
did say he was older.

GILES
(re: another diary)
Angelus leaves Ireland, wreaks
havoc in Europe for several
decades. Then, about eighty years
ago, a most curious thing
happens . . .
(re: third diary)
. . . he comes to America where he
shuns other vampires and lives
alone. There's no record of him
hunting here . . .

WILLOW
So he is a good vampire. I mean
on a scale of one to ten, ten being
someone who's out there killing and
maiming every night and one being
someone who's . . . not . . .

GILES
There's no record but . . . vampires
hunt and kill, it's what they do.

XANDER
Fish gotta swim, birds gotta fly.

BUFFY
He could have fed on me, he didn't.

XANDER
Question, the hundred years or so
before he came to our shores, what
was he like then?

GILES
Like all of them, a vicious,
violent animal.

Off Buffy.

INT. MASTER'S LAIR

Darla is before the Master, importuning.

DARLA
Don't think I'm not grateful, you
letting me kill the Three . . .

MASTER
How can my children learn if I do
everything for them?

DARLA
But you've got to let me take care
of the Slayer.

MASTER
Oh, you're giving me orders now.

DARLA
Okay, let's just do nothing while
she takes us out one by one.

MASTER
Do I sense a plan, Darla? Share.

DARLA
Angel kills her and comes back to
the fold.

MASTER
Angel. He was the most vicious
creature I ever met. I miss him.

DARLA
So do I.

MASTER
Why would he kill her if he feels
for her?

DARLA
To keep her from killing him.

Master smiles, he likes the plan. Turns to Collin:

MASTER
You see how we all work together
for the common good? That's how a
family is supposed to function.

INT. LIBRARY - NIGHT

Buffy and Willow are studying. Or rather Willow is studying and Buffy is thinking about Angel.

WILLOW
Okay, so Reconstruction began,
when? Buffy?

BUFFY
Huh? Reconstruction? It began after
the, ah, construction which was
shoddy and so they had to
reconstruct --

WILLOW
After the destruction of the Civil War.

BUFFY
Right. The Civil War, during which
Angel was already like a hundred
and change.

WILLOW
Are we going to talk about boys
or are we going to help you
pass history?
(beat, shuts text)
Sometimes I have this fantasy that
Xander is going to just grab me and
kiss me, right on the lips.

BUFFY
You want Xander to . . . you got to
speak up, girl.

WILLOW
No, no, no. No speaking up. That
way leads to madness and sweaty
palms.

ANGLE - ONE OF THE DOORS IN BACK

It leads to more books. Darla appears, unnoticed, cracks the door to listen.

WILLOW
Okay, here's something I gotta know:
when Angel kissed you, I mean before
he turned into . . . how was it?

BUFFY
Unbelievable.

Beat.

WILLOW
Wow. And it is kind of novel how
he'll stay young and handsome
forever -- although you'll still
get wrinkly and die -- oooo, and
what about the children -- I'll be
quiet now.

BUFFY
No, speak up. I've got to get over
him so I can . . .

WILLOW
So you can . . .?

Willow mimes "staking" someone and makes a stabbing noise.

BUFFY
Like Xander said, I'm a Slayer,
he's a vampire.
(beat)
Oh god, I can't. He's never done
anything to hurt me. I gotta stop
thinking about this.
(opens text)
Give me another half hour, maybe
something will sink in. Then I'm
going home for some major moping.

ANGLE - DOOR IN BACK - Darla quietly removes a couple of books and leaves as:

WILLOW
The era of congressional
Reconstruction, usually called
Radical Reconstruction, lasted ten
years . . .

INT. BUFFY'S KITCHEN - NIGHT

Joyce works at the table, pouring over paperwork. Hears a NOISE, looks up. Nothing.

JOYCE
Buffy?

No answer. Joyce starts working again and there is another NOISE -- outside, perhaps. Joyce stand, a little spooked. She goes to the back door, peers out the window. Nothing.

CLOSE ON: JOYCE

She turns, brow furrowed. Looks toward the hall. As she moves away from the window we see Darla is right outside the window behind her in full grinning vampire mode. A moment more and Darla moves silently and quickly from the window.

INT. DINING ROOM/FOYER - CONTINUOUS

Joyce enters, still looking around tentatively. The doorbell RINGS and Joyce jumps, startled.

Joyce goes to the door, looks through peephole, opens it. Darla, looking friendly and innocent (and unvamped), school books in hand, is on the front porch.

JOYCE
Hello . . .?

DARLA
Hi. I'm Darla, a friend of Buffy's?

JOYCE
Oh, nice to meet you.

DARLA
She didn't mention anything about
me coming over for a study date?

JOYCE
No. I thought she was studying with
Willow at the library.

DARLA
Oh, she is, Willow's the Civil War
expert, but then I was supposed to
help her with the War of
Independence. My family kind of
goes back to those days.

JOYCE
I know she's supposed to be home
soon. Would you like to come in
and wait?

DARLA
That's very nice of you to invite
me into your home.

Her phrasing sounds a little odd, but not a big deal to Joyce.

JOYCE
. . . you're welcome.
(Darla enters; re: paperwork)
I've been wrestling the I.R.S. all
night -- would you like something
to eat?

DARLA
(studying Joyce's neck)JOYCE
Let's see what we have.

Darla follows her:

INT. BUFFY'S KITCHEN - NIGHT

Joyce rummages in cupboards, the fridge.

JOYCE
Do you feel like something little
or something big?

DARLA
Something big.

ANGLE - SHOOTING OVER JOYCE TO DARLA

We see that Darla is now a vampire!

EXT. BUFFY'S HOUSE - NIGHT

Angel walks up, moves to the front door, reaches for doorbell, thinks better of it, moves away.

That's when he hears the big SCREAM coming from the back of the house. He bolts to the back.

INT. BUFFY'S KITCHEN - NIGHT

Angel bursts in. Darla has her teeth in Joyce's neck. Joyce is weak and out of it, not cognizant of much.

ANGEL
Let her go.

Darla leans her head back, laughs, holding Joyce around the waist like a limp doll.

DARLA
I only took a little, there's
plenty more. Aren'tcha hungry for
something warm after all this time?

Angel hesitates, starting to breathe a little harder.

DARLA
Come on, Angel . . .

Angel, breathing harder still, shakes his head "no".

DARLA
Just say yes.

She heaves Joyce into Angel's arms. Angel MORPHS into a vampire.

DARLA
Welcome home.

She fades back, leaving the two of them together. Angel doesn't even see her go, he is staring at the pinpricks of blood on Joyce's neck.

Darla slips out the door.

Angel shuts his eyes, trying to control himself. Opens them. Moves his head down toward Joyce's neck --

BUFFY (O.S.)
Hi mom . . .

Buffy appears from the hall entry.

BUFFY
. . . I'm home.

She freezes, seeing Angel in vamp mode poised over her unconscious mother. Her eyes dart to the small but distinctive wound in her mother's neck, then to Angel's terrifying face. Off Buffy:

BLACK OUT.

END OF ACT TWO

Act Three

EXT. BUFFY'S HOUSE - NIGHT

The house sits silent in the cool night.

ANGEL COMES CRASHING through the front window and lands in a heap on the lawn. He gets up, looks back.

BUFFY
(quiet hatred)
You're not welcome here. Come near
us and I'll kill you.

He looks at her a beat -- then moves off into the night. Buffy watches for a second from the broken window, turns and runs:

INT. BUFFY'S HOUSE - KITCHEN - NIGHT

Buffy races to her mother on the kitchen floor.

BUFFY
Mom, mom can you hear me?

Joyce groans, she's alive. Buffy grabs the phone, punches in 911.

BUFFY
(into phone)
I need an ambulance, sixteen-thirty
Revello Drive. My mother . . . cut
herself, she's lost a lot of
blood . . . please hurry --

The back door opens and Willow and Xander enter.

XANDER
Hey, Buffy, we -- Oh my god.

WILLOW
What happened?

BUFFY
Angel.

CUT TO:

EXT. HOSPITAL - NIGHT - ESTABLISHING (STOCK?)

INT. HOSPITAL - HALL - NIGHT

Giles moves down the hall fast, wheels into:

INT. HOSPITAL - JOYCE'S ROOM - NIGHT

Joyce is in bed, resting, a small bandage on her neck. Buffy is next to her. Willow and Xander stand nearby.

BUFFY
Do you remember anything, mom?

JOYCE
Just . . . your friend came over, I
was going to make a snack . . .

Buffy turns, glares at Giles, Willow and Xander.

BUFFY
My friend . . .

JOYCE
I guess I slipped and cut my neck
on . . . the doctor said it looked
like a barbeque fork, we don't
have a barbeque fork . . .
(re: Giles)
Are you another doctor?

BUFFY
Mom, this is Mr. Giles.

JOYCE
The librarian from your school?
What's he . . .?

GILES
I just came to pay my respects,
wish you a speedy recovery.

JOYCE
(a tad woozy)
Boy, the teachers really do care
in this town . . .

BUFFY
Mom, get some rest now.

Buffy gives Joyce a kiss on the cheek. Turns to go.

INT. HOSPITAL - HALL OUTSIDE JOYCE'S ROOM - NIGHT

Buffy, Giles, Willow and Xander exit into hall.

BUFFY
The doctor says she's going to be
okay. They gave her some iron,
her blood count's a little . . .

Buffy takes a moment to control her feelings.

GILES
A little low, it presents like a
mild anemia . . . you're lucky you got
to her as soon as you did.

BUFFY
Lucky and oh-so-stupid.

XANDER
Buff, this isn't your fault.

BUFFY
Oh no? I invited him into my home.
And even after I knew who he was --
what he was -- I didn't do anything
about it. Because I had feelings,
because I cared about him.

WILLOW
If you care about somebody . . .
(glance at Xander)
. . . you care about them. You can't
change that just by --

BUFFY
Killing them? Maybe not, but it's a
start.

A beat. No one's going to argue with this.

XANDER
We'll keep an eye on your mom.

BUFFY
Thanks. The Three found me near the
Bronze and so did he. He lives
nearby . . .
(starts to go, Giles stops her)

GILES
This is no ordinary vampire -- if
there is such a thing -- he knows
you, he's faced the Three, I think
it's going to take more than
simple stake.

BUFFY
So do I.

CUT TO:

INT. LIBRARY - NIGHT

ANGLE: THE CROSSBOW

Buffy pulls the crossbow and several steel arrows out of Giles' weapons chest. Feels the point of an arrow -- sharp. Locks an arrow onto crossbow -- KA-CHING -- it's a killing tool.

CUT TO:

INT. ANGEL'S APT. - CONTINUOUS

Darla is working Angel, circling him as he sits brooding in a chair.

DARLA
She's out hunting you right now.
She wants to kill you.

ANGEL
Leave me alone.

DARLA
What did you think? Did you think
she'd understand? That she would
look at your face -- your true face
-- and give you a kiss?

She says kiss close enough to be kissing him herself. They lock eyes.

CUT TO:

INT. LIBRARY - CONTINUOUS

Buffy comes out of the office loaded for bear, crossbow in hand and four shafts stuck in her belt.

She looks around for something to test it on. She stands near the check-out desk, sights on the back wall. Next to one of the doors in back is a poster of a senior boy (an anti smoking ad or some such.)

Buffy aims, pulls the trigger -- VOOM! the arrow flies -- and hits him in the heart with deadly force. Buffy, satisfied, slings the crossbow over her shoulder and heads out.

CUT TO:

INT. ANGEL'S APT. - CONTINUOUS

Darla is still at him, and it seems to be working.

DARLA
For a hundred years you've not had
a moment's peace 'cause you will
not accept who you are. That's all
you have to do. Accept it. Don't
let her hunt you down, don't
whimper and mewl like a mangy
human. Kill. Feed. Live.

He rises and SLAMS her against the wall, holding her wrists. An animal behind his eyes.

ANGEL
All right.

DARLA
What do you want?

ANGEL
I want it finished.

DARLA
That's good.
(re: his hands on her)
You're hurting me. That's good,
too . . .

CUT TO:

INT. HOSPITAL - HALL - NIGHT

A NURSE moves past. Giles leans against the wall, thinking. Xander stands next to him in a bit of a daze, staring at Giles' coat for a long moment.

GILES
What?

XANDER
Why do they call it tweed?

Willow emerges from Joyce's room.

WILLOW
(to Giles)
Buffy's mom is asking for you.

Giles disappears into Joyce's room.

CUT TO:

EXT. RAILROAD TRACKS - NIGHT

Buffy hunts. She rounds a corner, sees someone moving along the street, keeping to the shadows. She follows.

EXT. BRONZE - NIGHT

Deserted. Big sign next to the door -- CLOSED FOR FUMIGATION, OPENING BASH THIS SATURDAY! Buffy moves past, crossbow held down and somewhat out of sight in her hand.

She HEARS the sound of GLASS BREAKING above her. Looks up. Then moves along the side of the Bronze until she comes to a metal ladder attached to the sheet metal wall. She starts up the ladder.

CUT TO:

INT. JOYCE'S ROOM - NIGHT

Giles is next to Joyce who is still a little groggy.

JOYCE
She talks about you all the time . . .
it's important to have teachers who
make an impression . . .

GILES
She makes quite an impression
herself.

JOYCE
I know she's having trouble with
history. Is it too difficult for
her or is she not applying herself?

GILES
She lives very much in the now and
of course history is very much
about "the then", but there's no
reason . . .

JOYCE
She's studying with Willow, she's
studying with Darla, she is
trying . . .

GILES
Darla. I don't believe I know . . .

JOYCE
Her friend, the one who came over
tonight.

GILES
Darla came to your house tonight,
she was the friend you mentioned
earlier?

JOYCE
Poor thing, I probably frightened
her half to death when I fainted.
Someone should make sure she's all
right.

GILES
Yes, someone should, right away.
(heads for door)
I'll do it.

And he's out of the room.

JOYCE
That school is amazing.

INT. HOSPITAL - NIGHT

Giles moves out of Joyce's room, fast, to Willow and Xander.

GILES
We've got a problem.

CUT TO:

INT. BRONZE - NIGHT

It's empty. CAMERA DRIFTS UP to the balcony. Buffy lets herself in through the broken window.

She prowls the balcony, crossbow in hand. Doesn't find him.

She heads downstairs.

WIDER ANGLE - from the stage side -- Buffy is small in frame as she creeps downstairs, crossbow ready. Something LARGE enters frame in f.g.

ANGEL - watches her move away from him, towards the bar.

BUFFY - sensing him, spins around, aiming towards the stage.

He's not there.

She continues her prowl. Moves toward the bar. Hears the floor boards squeak from the direction of the dance floor. She aims the crossbow into the darkness, looking for him.

BUFFY
I know you're there . . .

She aims the bow this way and that, trying to find him.

BUFFY
And I finally know what you are.

ANGEL'S VOICE
Do you . . .

She zeros in on the right side of the stage. But suddenly his voice comes from the left.

ANGEL'S VOICE
I'm just an animal, right?

BUFFY
You're not an animal. Animals I
like.

She quickly shifts her weapon to the left. Angel steps out of the darkness on her right -- and much closer than she (or we) was expecting. We see he is now a VAMPIRE.

ANGEL
Let's get it done.

He charges her. EXTREMELY FAST. It takes her a second to adjust, but she does, bringing the crossbow up, sighting and FIRING! Angel hits the pool table and vaults straight up to the balcony as --

The arrow shoots across the club, missing him. We HEAR it THWANG into a far wall.

Buffy loads another arrow, creeps around the pool table, aiming up into the dark hole. She sights one side of the hole, then another -- then he drops down behind her from the stairs.

She spins. Too late. He knocks the bow out of her arms. She punches. He blocks. He punches, she gets hit. She lands a kick and punches him in the ribs where he was wounded. He HOWLS in pain and rage, leaps for her. Just misses as she:

Ducks and dives to the ground, scrambling for the crossbow, gets her hands on it.

He's coming at her from behind. She spins, aims the crossbow. He stops. She's got a good, clean shot. Off the two of them,

BLACK OUT.

END OF ACT THREE
Act Four

INT. BRONZE - NIGHT

Buffy and Angel face off as before.

HER FINGER begins to tighten on the crossbow's trigger.

ANGLE - shooting over the steel-tipped arrow and crossbow into Buffy's face. She's gonna kill him.

ANGLE - (C.G.I.) Angel's vampire face. It morphs into his regular face.

ANGLE - Buffy. Seeing him this way, she hesitates.

ANGEL
Come on. Don't go soft on me now.

Buffy tightens her finger on the trigger even more, then swings the crossbow wide and fires. An arrow sinks into the wall behind (and wide of) Angel.

She gets to her feet. They're both angry, breathing hard.

ANGEL
(re: shot)
A little wide . . .

BUFFY
Why? Why didn't you just attack me
when you had the chance? Was it
just a joke? To make me feel for
you and then . . . I've killed a lot
of vampires. I've never hated one
before.

ANGEL
Feels good, doesn't it? Feels simple.

BUFFY
You play me like a fool. Come into
my home. And then you attack my
family . . .

ANGEL
Why not? I killed mine.

He starts closing in on her. She backs up ever so slightly.

ANGEL
I killed their friends, and their
friends' children. For a hundred
years I offered an ugly death to
everyone I met. And I did it with
a song in my heart.

BUFFY
A hundred years.

ANGEL
And then I made an error of
judgment. Fed on a girl about
your age. Beautiful. Dumb as a
post, but a favorite among her clan.

BUFFY
Her clan?

ANGEL
The Romani --
(off her look)
-- Gypsies. It was just before
the turn of the century. The
elders conjured the perfect
punishment for me. They restored
my soul.

BUFFY
What, they were all out of boils
and blinding torment?

ANGEL
When you become a vampire, the
demon takes your body. But it
doesn't get the soul. That's gone.
No conscience, no remorse . . . it's
an easy way to live. You have no
idea what it's like to have done
the things I've done, and to care.
I haven't fed on a living human
being since that day.

BUFFY
So you start with my mom? Am I
supposed to feel honored?

ANGEL
I didn't bite her.

BUFFY
Then why didn't you say
something --

ANGEL
But I wanted to. I can walk like a
man but I'm not one. I wanted to
kill you tonight.

Buffy considers this, then, never taking her eyes off him, sets the crossbow down.

BUFFY
Then go ahead.

He looks at her. Then he just shakes his head.

BUFFY
Not as easy as it looks.

Angel almost smiles. Then:

DARLA (O.S.)
Sure it is.

Darla (in vamp make-up) appears from the back stage door. Strolls towards them, her hands girlishly clasped behind her back.

CUT TO:

EXT. RAILROAD TRACKS - NIGHT

Xander, Willow and Giles cross the railroad tracks near the Bronze.

WILLOW
We're near the Bronze, what now?

GILES
Keep looking for her.

XANDER
Okay, here's a question. Say we
find her. Say she's fighting Angel
or some of his friends. What the
heck are we going to do about it
?

GILES
We have to stop her before it's too
late.

XANDER
You couldn't just give her a cell
phone for Christmas, could you.

CUT TO:

INT. BRONZE - NIGHT

Darla, hands still behind her back, strolling towards them.

DARLA
Do you know what the saddest thing
in the world is?

BUFFY
Bad hair on top of that outfit? To love someone who used to
love you.

Buffy looks down at THE CROSSBOW on the floor. Edges towards it.

BUFFY
So you guys were . . . involved.

DARLA
For several generations.

BUFFY
Well you're going to pile up a few
ex's when you've been around since
Columbus. You are older than him,
right? One gal to another, you look
a little worn around the eyes.

Darla bares her fangs in a smile.

DARLA
I made him. And I brought him that
Gypsy girl . . . there was a time when
we shared everything.
(to Angel)
Wasn't there, Angelus.

Buffy gets her foot on the crossbow.

DARLA
(to Angel)
You had a chance to come home, to
rule with me in the Master's court
for a thousand years. You gave all
that up because of her, you love
someone who hates us
.

Buffy looks over at Angel. He loves her?

DARLA
You're sick and you'll always be
sick and you'll always remember
what it was like to watch her die.
(to Buffy)
You don't think I came alone do
you?

BUFFY
I know I didn't.

Buffy stomps on the crossbow, sends it flying up into her hands.

DARLA
Scary.

And Darla unclasps her hands, revealing the two Smith and Wesson .357 revolvers she's been holding behind her back.

DARLA
(re: guns)
Scarier.

Darla casually fires!

Buffy DIVES under the pool table. Angel (Buffy's arrow still in hand) takes a bullet and slams into the wall and slides to the floor.

BUFFY
Angel!

DARLA
Don't worry, bullets can't kill
vampires --
(re: Angel, writhing on the floor)
-- they can hurt like hell,
but --

Darla fires at the pool table. The bullet takes out a chunk of it just above Buffy's head.

CUT TO:

EXT. STREET BY BRONZE - NIGHT

Willow, Xander and Giles have just stopped in their tracks.

XANDER
Did you just hear --

They HEAR two GUNSHOTS.

They take off.

CUT TO:

INT. BRONZE - NIGHT

Buffy hides behind the pool table. Angel, wounded, lies on the floor fifteen feet away. Darla closes in, guns in hand.

DARLA
So many body parts, so few
bullets . . . let's begin with the
kneecaps, no fun dancing
without them . . .

She fires! Buffy pops up and gets off a crossbow shot of her own.

The arrow THWUMPS into Darla's solar plexus. She regards it a moment, looks up, smiling.

DARLA
Close. But no heart.

She pulls the arrow out and drops it on the floor.

ANGLE - THE WINDOW UPSTAIRS - Giles, Willow, Xander crawl in. Peer down at the carnage below. Darla is pulling the arrow out, guns in hand.

XANDER
We need to distract her.

ANGLE: Buffy holds the crossbow, sees she is out of arrows.

ANGLE - GILES, WILLOW AND XANDER

XANDER Fast.

WILLOW
(shouts)
Buffy, it wasn't Angel who attacked
your mom, it was Darla!

Darla turns, fires in their direction. They duck.

XANDER
Good, enough distraction!

BUFFY - rises and PULLS the pool table, yanking Darla off her feet. Darla lands on her back as Buffy PUSHES the table with all her might -- the table flies back toward the stage. Buffy turns and runs to the counter --

ANGLE: DARLA

on her back on the table, firing continuously as it skids back --

ANGLE: BUFFY

The glass case shattering from the gunfire as Buffy flies over and behind it.

Giles spies a LIGHT MIXING BOARD near him. Giles scrambles to the light board, starts pounding and punching buttons like crazy. Spotlights go on, off and then a STROBE.

XANDER
I don't think we can save her with
Disco Fever . . .
(entranced by:)
Oooo, strobes . . .

ANGEL - wounded, gets to his knees, tries to stand.

Darla looks around her, momentarily thrown, then advances again on Buffy, her movements oddly jerky in the strobe's constant flash.

Darla fires -- advancing on Buffy who crouches behind the bar.

DARLA
Come on, Buffy . . . Take it like a man.

Grinning, Darla fires again -- in the strobe light we see Angel, steel-tipped arrow in hand, rise behind her. Angel plunges the arrow into Darla's back.

ANGLE: THE LIGHT MIXING BOARD

Giles bangs on the console. The strobe stops. All that's left in the room is moonlight and silence.

Darla staggers, drops the guns. She turns to see:

DARLA
Angel . . .

Grabs onto him for a moment, then begins to slip. Hold the two of them until Darla falls, turns to dust. Angel looks down at the remains of his old lover, saying nothing.

ANGLE: BUFFY

Rises from behind the counter, looking at Angel. There is a long moment between them, then Angel steps back into total darkness. And is gone.

DISSOLVE TO:

INT. MASTER'S LAIR

We see an old collection box being SMASHED. It is the Master, wielding the killing spear in a fury. He sweeps it around, knocking over a big candelabra (the candles all lit unless it's a production problem in which case they're not). Finally, with a roar, he sinks the spear into the earth -- then almost hangs on it, exhausted with grief.

MASTER
Darla . . .

The boy approaches him, as calm as the Master is emotional.

COLLIN
Forget her.

MASTER
(turns on him)
How dare you! She was my favorite!
For four hundred years --

COLLIN
She was weak. We don't need
her. I will bring you the
Slayer.

MASTER
(the anger gone)
But to lose her to Angel . . . He was
to have sat on my right come the
day . . . and now . . .

COLLIN
They're all against you. But soon
you'll rise and when you do . . .

He reaches up, gently takes the Master's hand.

COLLIN
We'll kill them all.

The Master smiles, comforted.

CUT TO:

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.

BUFFY
Now eat your vegetables.

JOYCE
I did!

BUFFY
Mom . . .

JOYCE
I had two big bites.

CUT TO:

INT. BRONZE - NIGHT

It's crowded again, music and people milling about.

ANGLE - NEAR FRONT DOOR

Buffy (wearing cross), Xander and Willow enter.

XANDER
Ah, the post-fumigation party.

BUFFY
What's the difference between this
and the pre-fumigation party?

XANDER
Much heartier cockroaches.

Buffy is looking around -- for someone in particular, as Willow notices.

WILLOW
No word from Angel?

BUFFY
No. I don't think he'll be around.
It's weird, though. In a way I
feel like he's still watching me.

WILLOW
Well, in a way, he is. In the way
of that he's right over there.

Buffy and Xander turn, with very different expressions. Buffy heads for Angel. Xander sits with Willow, deliberately turning his back.

XANDER
I don't need to watch because I'm
not threatened. I'm gonna look
this way.

ANGLE - ANGEL AND BUFFY

ANGEL
I just wanted to make sure you're
okay, and your mother . . .

BUFFY
We're both good. You?

ANGEL
If I can go a little while without
getting shot or stabbed I'll be all
right.

Beat.

ANGEL
Look . . . this can't . . .

BUFFY
I know, ever be anything. For one
thing you're like two hundred and
twenty-four years older than I am.

ANGEL
(nods, then:)
I just gotta . . . I gotta walk away
from this.

BUFFY
I know. Me, too.

But neither one goes.

BUFFY
One of us has to go here.

ANGEL
I know.

Still neither leaves. Then he shakes his head like he's going to go but instead he bends to kiss her. And her arms go around his neck. And oh do they kiss.

ANGLE - XANDER AND WILLOW

XANDER
What's going on?

WILLOW
Nothing.

XANDER
Well, as long as they're not
kissing . . .

ANGLE - BUFFY AND ANGEL

Finally they break. She looks up at him, the cross he gave her glinting at her throat.

BUFFY
Are you okay?

ANGEL
It's just . . .

BUFFY
Painful, I know . . . I'll see you
around.

She turns and walks away. He watches her go, pain playing on his features.

PAN DOWN TO HIS CHEST

Where we now see the smoking IMPRINT OF THE CROSS she was wearing -- burned into his chest. He takes a deep breath and goes.

BLACK OUT.

END OF SHOW