BUFFY THE VAMPIRE SLAYER "Timeless" TEASER FADE IN: EXT. WOODS - NEAR DARK OZ and WILLOW walk along a path, holding hands. Oz looks around as it is getting dark. OZ You really think we should have left the van? WILLOW I'm sure we'll be fine. (looks around) I mean it's not really that dark... Is it? OZ Oh no, I would where sunglasses. If I had any. And I didn't look dorky in them. Willow stops for a moment and faces Oz. WILLOW Dorky can be good. If it's like a sweet dorky. OZ I will definitely be going on a mirrorshade search tonight. Willow smiles and moves in close. Just as she is about to kiss him: GUNSHOT RINGS OUT They both jump at the noise. OZ What the f- Willow yanks Oz into the bushes with herself. They crouch behind a bush and look for where the noise came from. Only silence greets them. OZ I hope that wasn't what I thought it was. WILLOW You almost said a naughty. OZ (sincere) I'm sorry. WILLOW It's okay. Xander tries to curse but he's not very good at it. Something about misplaced youth and longing to be a "real" boy scout. ANOTHER SHOT, THEN VOICES REBEL #1 (O.S.) I think the Yanks headed up this way. REBEL #2 (O.S.) We best hurry to be cuttin' 'em off before they can escape. Oz and Willow look at each other, then back out past the bush at the path. From the left four REBEL SOLDIERS dressed in the grey uniforms of Civil War time approach. REBEL #1 Where's our damn cavalry? REBEL #2 Still be scrappin through the underbrush most likely. We don't need 'em anyway. They walk along the path coming closer. Oz smiles almost stupidly. Willow sees it and gives him a questioning look. OZ It must just be one of those recreation groups. They like refight Civil War battles for fun? WILLOW In California? OZ (shrugs meekly) They both start as a hand grips each of them on the shoulder and yanks them up. The Rebels, noticing the commotion, all turn their weapons on them. Standing behind the two, holding them tight, is REAPER, also in full Rebel battle dress. REBEL #1 Dammit Reaper. We almost shot you. REAPER Caught ya a couple spies. OZ Um, we're not spies. WILLOW No, definitely not. We are distinctively non spy, um, ish. REBEL #1 (points his gun with bayonet at them both) Shut your hole! You stink of Yankee all over. We'll take you back to base. Spend the rest of the war in the brig. That should serve ya. WILLOW I'm detecting major Hellmouth vibes. OZ Ditto. Um, wolfboy on three? WILLOW (winces) Okay? Rebel #1 slaps Oz harshly across the face knocking his head to the side. REBEL #1 I said shut it! Oz pulls his head back around to look at the soldier. A shimmer of gold glints in his eyes. His features appear strangely deeper, more feral. OZ (voice turning into a growl) And you're making me ANGRY! Oz charges out of Reaper's grip and grabs for Rebel #1's gun. ANGLE: FAR AWAY, TREES AT THE EDGE OF THE FOREST First, comes the echo of a GUNSHOT. Then a SCREAM. BLACK OUT. END OF TEASER ACT ONE EXT. FRONT OF SUNNYDALE HIGH - DAY Follow XANDER as he walks up the front steps. Near the entrance he can see BUFFY. She paces a bit and looks up at his approach. XANDER Hey, slay girl. How's the staking? BUFFY Way overtaxing. Lately they seem to be growing on trees... Though that wouldn't make sense. Considering trees and wood like... XANDER Kills them? BUFFY Exactly. Anyway have you seen Willow? Due to crazed vampage I'm kind of behind on my homework. Xander looks across the crowds coming into school. XANDER Hmm. Willow almost tardy. That's got to be a first. BELL RINGS XANDER Okay. Willow actually tardy. That's definitely a first. BUFFY (concerned) I'll catch you later. They break off. INT. COMPUTER SCIENCE LAB - DAY PAN ACROSS the classroom full of silent high schoolers. Xander sits tapping his pencil. He gazes over at CORDELIA who just smirks an "I don't know". He looks back toward the front of the class. CORDELIA I thought class itself was boring. Just sitting here has definitely reached a new bottom. HARMONY sits not far behind her. HARMONY Well slumming it seems to be your specialty. Both Xander and Cordelia turn, each one not realizing the other is doing it. XANDER & CORDELIA Bite me! Harmony is taken aback. Xander and Cordy look at each other and smile briefly, happy they both stood up for each other. Xander motions for her to move closer. She leans forward. They speak softly. XANDER Where do you think Willow is? CORDELIA I don't know. But we could always use this free time to find someplace quiet. Remote. XANDER (seriously considering it) Hmm... Wait. No. Can't. Willow friend. Must help friend. CORDELIA I guess you're right. Bummer. XANDER Let's bail. INT. LIBRARY - DAY GILES sits at a table reading a very old tome. Buffy enters through the main doors and he looks up. He watches her as she walks up, stops in front of him, and looks around as if searching the library. GILES Can I, um, help you with something? BUFFY You haven't seen Willow have you? GILES No. BUFFY She isn't back in the stacks? GILES Is something the matter? She stops looking around and focuses her attention on him. BUFFY Other than my massively overdue vital to passing homework assignments? I hope not. GILES Then I believe there is something here at which you should look. The main doors open again. This time Xander and Cordelia enter. Buffy is about to speak but Xander beats her to it. XANDER Have you found her? BUFFY (crossing her arms) No. That's the problem. CORDELIA Well, she's not teaching that incredibly boring class which surprisingly made it even more mind numbing. Giles stands up, leaving his book behind on the table. GILES Has anyone maybe bothered to check with the office? Perhaps she just called in sick. They all turn and glare at him. GILES What? BUFFY Someone needs a nerd fact check. XANDER Willow came to school with mono once. I should know. I caught it from her. The glares shift to him. XANDER It was elementary. We shared a CapriSun. Giles looks back at the book he was reading. GILES It could have something to do with the latest supernatural event. CORDELIA Great, the lynch pin of all of our academic survivals is gone and now we have another underworld madness spree. Add on top of that drooping bangs and this just isn't my day. GILES It is so good to see you, uh, care. XANDER I think you look fine. BUFFY Focus here? They all turn as the doors to the library open again. Willow helps a limping Oz into the room. All, except Giles, rush to help. He stands looking puzzled and picks up his book. BUFFY What happened to you guys!? WILLOW Oh nothing. We just ran into the Confederate army. The group appears very confused by this. WILLOW (smiles) Oz saved me. OZ And I got shot again. WILLOW We were at the hospital all night. He got released this morning. I'm sorry. I should have called. You didn't worry did you? XANDER Never. You missing a school day. Why would we be worried? Giles picks up his book and walks over to them while looking in it. GILES Yes, uh, you said Confederate? As in the Civil War? WILLOW That would be the one. OZ The doctor had never seen a musket wound before. I got to keep the bullet. He beams with pride. GILES Very distressing... XANDER Preternatural terror here we come. The group moves back toward the tables. GILES I have been doing some research and it seems that every so often a sort of alignment occurs which affects areas of intense geopsychic power. BUFFY That would be us all right. WILLOW What does it do? GILES It varies. But it seems that most generally the laws of time and space are very shall we say pliant during these brief periods. XANDER So, we just wait it out and dodge Picket's charge if we have to. No biggie. GILES That is assuming no one uses this opportunity to change things in the past. XANDER Oh, come on. Who would be stupid enough to do something like that? INT. THE NEW LAIR - DAY DRUSILLA is packing. A suitcase lies open on an enormous poster bed. Inside the suitcase is an array of clothes and personal items including an old framed picture of SPIKE. She throws a small shovel in right on top of it. It CRACKS the glass of the frame. She notices and steps up to look more closely. She reaches down and caresses the side of the frame. DRUSILLA My darling. Did I hurt you? SPIKE (O.S.) Where are you off to pet? Startled, she whips around to see Spike wheel in from the other room. She smiles, relieved, and turns back to the case. DRUSILLA I must go. Can't be early. Little scratches just right. I have myself to meet you know. Spike looks at her a moment, a bit distressed. He wheels farther into the room. SPIKE Could you be a bit more clear perhaps? She smiles nefariously and continues to arrange things in the case. DRUSILLA Clear yes. It is all just crystal. I'll save you trouble. He wheels closer to her. SPIKE But I like to be bothered luv. You shouldn't worry about it. She turns and places her hands on either side of him. Gripping his wheel chair she leans in close. DRUSILLA Mmmm... You are so good to me. I'll be back and we'll all be better. She leans in and kisses him on the forehead. She moves back slightly and their faces remain close for a moment. She smiles, then draws back. She turns and closes the suitcase. Then pushes it off the bed and onto a child's red wagon. She picks up the wagon handle and pulls it after her as she leaves the room. DRUSILLA (O.S.) Sunshine? Where are you pretty? Time to take a trip. Spike remains in a quandary as to what he should do. EXT. STREETS OF SUNNYDALE - NIGHT Giles and Buffy walk down the sidewalk together. BUFFY This temporal anomaly thing. It's like both the past, future, and present can happen at once? GILES Technically yes. Though strangely enough only instances of convergences with the past have been recorded. BUFFY So how do we watch out for these things and know if anyone is joshing them? GILES Yes, another good question. Buffy waits for an answer but none is forthcoming. BUFFY Okay, library guy. Answer? GILES I don't know. If anything were to be changed I doubt we would notice because we would change along with it. BUFFY That means maybe through some strange plot twist it could be ixnay on the slayer-ay? GILES I doubt it. You are the Slayer by destiny after all. BUFFY Major bummer. So much for the silver lining theory. She stops and looks O.S. to her left. BUFFY Hey let's be shortcut people. Through the woods? GILES To possibly get attacked by god knows what. BUFFY Where's your Indiana Jones spirit. If I'm stuck with destiny I might as well not be afraid of the creepy woods. Besides, we're decked out for slay time. GILES Very well. He pulls out a stake from the bag and holds it up attempting to appear menacing. GILES (weak but heartfelt) Yes, uh massacring the undead plague we shall go! BUFFY Okay, that was surreal. She grabs the stake away from him. EXT. WOODS - AWHILE LATER Establishing shot of the forest. A path runs through the middle. GILES (O.S.) I'm just saying you need to work on your sweep, jump, stake combo. It needs a little more spring. Buffy and Giles appear from up the path. BUFFY I've got plenty of spring. I'm the spring queen. That vamp was just fast. GILES Then you have to be faster. BUFFY Okay, nag point taken. SMALL DOG YIPPING. Buffy draws to a stop. BUFFY What was that? GILES I would say a small animal of the canine variety. Not usually that fearsome. BUFFY We should check it out. GILES Under what pretense? BUFFY Under the strange spidey sense one. Come on. Buffy picks up her pace, Giles sighs and then follows behind. EXT. WOODS, UP AHEAD - CONTINUOUS The wagon SQUEAKS as Drusilla pulls it along behind herself. SUNSHINE jumps around at her feet, encircling her and BARKING. DRUSILLA Shhh, my sweet. We are almost there. Be good for mummy. She stops and smells the air. DRUSILLA Delicious. She lets go of the wagon handle and leans down to pick up the dog. She brings the dog's face close to her own. She kisses its nose. Then she spins around and dances with Sunshine as her partner. She dances through FRAME and we see Buffy and Giles hiding in the bushes past her. They whisper to each other. BUFFY This may be our chance. GILES It would make Spike very angry. BUFFY I think I can handle wheel chair boy. GILES Destroying her would simply things immensely. BUFFY Then it's decided. Drusilla stops dancing and turns to look up the path. DRUSILLA Time to go. Cannot waste a moment. She grabs the wagon again and continues down the path still holding Sunshine. Buffy steps out onto the path CRACKLING BRANCHES as she does so. Drusilla turns to her adversary. She smiles. BUFFY I think your undead life license just ran out. DRUSILLA I do believe the mean little girl wants to harm us. The dog BARKS. Drusilla brings a "shh" index finger to her lips at the dog and then Buffy. DRUSILLA (to Buffy) But you won't tell where we've gone. Will you? Buffy moves forward, stake in hand and ready to pounce. Drusilla steps backward and seems to almost meld with the darkness behind herself. The wagon is pulled along and disappears also. BUFFY (startled) Where'd they go? Giles steps through the bushes and onto the path behind her. GILES This is exactly what I was afraid of. I think the more appropriate question may be: When did they go? BUFFY We have to follow her! GILES I'm not sure that would be such a... Buffy grabs and yanks him along. They both meld into the darkness. BLACK OUT. END OF ACT ONE ACT TWO EXT. WOODS, THE PAST - NIGHT Buffy. Stake in hand, looks around. They stand on a dirt road of some sort, much wider than the previous path. BUFFY So where is psycho chic? Giles gets up off the dirt road and dusts himself off. The slaying bag lies near his feet. GILES As I was going to say. There is no way to tell. Seconds in our time could have caused a shift of decades or miles in the continuum of the ripple we passed through. BUFFY Oh! Well... um, damn. GILES To put it lightly. We could be stuck here for quite awhile. BUFFY But Drusilla might be here? GILES Potentially yes, if the shift wasn't that large. BUFFY We'll find her. GILES By going where? BUFFY This is a road. She notices some indentations in the mud. She walks closer to them. BUFFY We'll follow these uh... (looking more closely) Wagon tracks? They've got to lead somewhere. GILES (shrugs) That would make sense. Carry on. Buffy glares at him about to say something. Then she just turns to follow the road. INT. LIBRARY - NIGHT Willow furiously types away at the computer terminal. She does a couple point and clicks and then looks over at a open book next to the machine. It is the same book Giles had earlier. XANDER Hey Will. She looks up to see Xander and Cordelia standing just paces from her. She didn't notice them come in. CORDELIA We checked all the wild parties. Then figured you must be here. Willow smirks unamused. Xander hops up to sit on the table next to her. XANDER Whatcha working on? WILLOW This time stuff is really fascinating. CORDELIA Is it as interesting as your computer science lectures? Xander looks up at her and then back at Willow. WILLOW (ignoring Cordy) You know there was this whole order that like devoted themselves to following around these occurrences. They thought if they could meet themselves in the past they could find their true self. Xander picks up Giles' book. XANDER Sounds deep. And very creepy. CORDELIA What happened to these freakos? WILLOW Don't know. They just kind of disappeared a few hundred years ago. XANDER And the world is a better place. Xander sets the book back down and slides down off the table. XANDER So anyway why don't you come to The Bronze with us? This can wait, right? Willow pauses a moment in indecision. XANDER Dancing. Revelry. Fun. It's allowed. WILLOW (smiles) If I must. EXT. CLEARING AMID FOREST, THE PAST - NIGHT Amidst the high grass is a broken down wagon. The canvas roof hangs in tattered sheets obscuring what the wagon contains. ANGLE: FROM INSIDE WAGON LOOKING OUT THE BACK ANGEL steps into FRAME. ANGEL Drusilla! Something moves inside the wagon amongst the broken crates. A woman in a torn nun's dressing looks up at him. Her eyes carry a deep sadness. She is the Drusilla of days long passed. ANGEL Come with me. It is time. She bows her head away from him. He reaches inside and pulls hard on her arm. She slides out and drops non to gently onto the ground below. ANGEL I said now! She lifts herself up on her hands but she doesn't move any further. He crouches down and harshly grabs her chin. He lifts her face so she can see him. ANGEL I'm not going to sate you with another animal. You can feel the pull of the hunt. There is an encampment just up the road. It should be easy pickings. DRUSILLA I cannot. ANGEL Yes you can. I can sense it inside you. The demon. What you once were won't prevent it. She pulls her face out of his hands in disgust. He stands up. ANGEL Now you will get up or I am going to make this very difficult. She reluctantly obeys. She stands but won't meet his gaze. He grips her hand tight and pulls her after him. EXT. FOREST ROAD, THE PAST - NIGHT Buffy and Giles walk down the dirt road. The darkness creeps in around them and they appear to have been walking for some time. BUFFY Okay, we are sooo lost. Giles takes out a handkerchief and wipes his brow. GILES Shall I remind you why? BUFFY No thanks. This road doesn't need yellow bricks but it should go somewhere. GILES I don't see a gas station if that's what you mean. BUFFY A little help here maybe? GYPSY (O.S.) Lost are you? Giles and Buffy both jump and turn to see a GYPSY man step out of the woods. BUFFY Okay. Startle much? GYPSY Excuse me ma'am? GILES I think she means to ask if you generally make a habit of sneaking up on people? GYPSY No. I try to blindside them. He draws a flintlock pistol from behind his back. GYPSY (looking them over) Be quiet and hand over your valuables. BUFFY Is he serious? GILES Buffy please. GYPSY Shut up wench! BUFFY You did not just say that. He steps forward and raises the pistol into her face. GYPSY I can always get the goods off your body. Giles begins to step forward. GILES Now there is no need to... He turns the gun on Giles. Buffy moves in and pushes his arm. The gun FIRES missing Giles. He stops in his tracks, shocked momentarily. The Gypsy shoves her to the ground. He drops the gun and pulls out his knife. She springs up to her feet. He lunges and she dodges with ease. He turns to regain his bead on her. GYPSY The whore can fight. BUFFY That was just the preshow. She attacks with a straight kick. He blocks with his empty hand and then counter slices at her face. She pulls her head back just enough so it misses. He punches and she parries. Then another slice which she ducks and counter punches into his stomach. He stumbles back a bit. BUFFY Tag! You are definitely it. He GRRS and steps forward. Suddenly a crossbow bolt SHUKS into his shoulder. The Gypsy drops the knife and clutches at his wound. ANGLE: ON GILES HOLDING CROSSBOW He lowers the weapon and begins to come closer. Buffy takes the opportunity to step in on her attacker. She pushes the bolt in deeper to which the Gypsy CRIES OUT in pain. Using his wounded arm she chucks him over her shoulder to the ground. Then she pins the Gypsy down with her knee in his throat. BUFFY Comfy much? ANGLE: POV AS GYPSY He looks up at a very perturbed Buffy. Giles steps into FRAME behind her. She pushes down on his throat. He gurgles. BUFFY Okay bean spiller boy. What's the sitch? GYPSY (his expression registers confusion) She pushes down again and again he gurgles in pain. GILES I think what, um, my companion means is that it would be in your best interest to tell us where we are and why you attacked us. GYPSY Really? BUFFY (pushing down again) Really. GYPSY (gasping) I yield. I yield. GILES Yes, uh, very good then. Buffy. She lets up just enough for him to speak clearly. GYPSY You are in the province of his Lord Malcolm. Far from any hamlet I'm afraid. My people are camped near here. We waylay travelers sometimes. BUFFY Real nice of you bozo. She leans into him again. GILES (reproachfully) Buffy. She let's up. BUFFY (to Gypsy) I believe it is follow the leader time. GILES She would like you to take us to your encampment. GYPSY Whatever is your bidding. EXT. GYPSY ENCAMPMENT, THE PAST - NIGHT The place is in full revelry. A large bonfire blazes, encircled by a ring of covered wagons. A band plays instruments as women in billowy and brightly colored skirts dance around the fire. ANGLE: ON GYPSY COUPLE They slip between two wagons and walk out into the: EXT. WOODS JUST OUTSIDE GYPSY CAMP, THE PAST - CONTINUOUS They hold hands and squeeze between the trees and underbrush. While walking they look at each other briefly in flirtation. They stop at a tree far enough away. The GYPSY GIRL presses her back up against it and the GYPSY BOY moves in close to her. They begin to kiss. PULL BACK to REVEAL the future Drusilla watches them from a distance. She looks down at Sunshine who frolics around her feet. DRUSILLA They are so nice. Pretty. It is almost a shame. Drusilla looks back toward them, now with her vamp face on. INT. THE BRONZE - NIGHT Xander, Willow, and Cordelia sit at a small table on stools. The club seems pretty tame and none of them appears entirely thrilled or having exuberant fun. Cordelia looks at her watch. CORDELIA I need some caffeine. She waits a moment but gets no response. CORDELIA (glaring at him) Xander. XANDER No thanks I'm fine. CORDELIA Grrr. She goes off annoyed. XANDER Think Buffy will show? The creature feature must be pretty major tonight if she's not here yet. WILLOW (not really paying attention) Uh-huh. XANDER Maybe she bought the farm. We need a new slayer anyway. WILLOW Yeah. XANDER (pushing her on the arm) Willow. She snaps too and looks directly at him. XANDER What's up with you? WILLOW I'm sorry. I guess I'm just Ozing. XANDER Lost in the peculiarities of teen lust are we? WILLOW Nooo. XANDER Are too. (pointing and taunting her) Will's got the megahotties. Will's got the megahotties. Cordelia arrives back carrying three drinks. Her manner of dress is vastly different. The previous short short skirt has changed into a long and billowy dress. She wears a BROWN sweater, quite distinctly unCordy. XANDER Woah, that's not my girlfriend. (looks her up and down) Where did you get those shoes? She passes out the drinks. WILLOW Uh, we didn't like order anything. CORDELIA I know. I just thought you might want something later. XANDER Okay, consideration and kindness. Where's the candid camera? WILLOW Whuh-oh. XANDER Please tell me that wasn't a deep thought out, we're in serious Hellmouth now. WILLOW It's kind of... XANDER Kind of nothing. CORDELIA Isn't the music awfully loud in here? XANDER Yikes! He jumps back away from the table and Cordy as if he spilled something on himself. CORDELIA I'm sorry honey, what's wrong. XANDER Ahhhh! Bad bad evil evil. Bring the right one back. Willow looks at Cordy who is obviously very confused by all of this. WILLOW Excuse us, um. Just, like, one moment thing. CORDELIA (shrugs) Okay. Will walks over to Xander who is major wiggin. She steps close to him and speaks low. WILLOW Maybe somebody did some past switching. XANDER (speaking loudly) Ya think! But who the hell cares enough about Cordy to mess with her? (looks over at Cordelia) No offense. He stops a second realizing he just apologized to Cordelia. WILLOW They don't exactly have to toggle with her specifically. Besides she seems nice. Nice is good right? Xander almost considers it for a moment as he looks at Cordelia again. Then back to Willow. XANDER Nice is good on say you. Cordy? Evil is like, one of her strong suits. Willow feels a little hurt by the comment but tries not to show it. WILLOW You're a sadist. XANDER Okay, end social commentary. How happen? How get back? WILLOW I think a book stop is in order. XANDER (popping up two index fingers) Bing! He walks over to Cordelia. Surveys her again. CORDELIA Yes? He shivers with the heebiejeebies. He grabs his coat and her hand and drags her behind him to leave. XANDER Come on Ms. Jekyl. Time to shop. EXT. JUST OUTSIDE GYPSY CAMP, THE PAST - NIGHT Angel crouches in the underbrush with Drusilla behind him. They look out upon the festivities. ANGEL Ah, drunken revelry. You have to love it my sweet. They make it too simple. Angel looks back at Drusilla. Her face is half cast in shadow and she SNARLS. ANGEL I knew I could conjure it out of you. Which one do you want? There are so many from which to choose. He motions out to the encampment. ANGLE: POV AS DRUSILLA watching the group. Her eyes go to the gypsy men who play the instruments that drive everything. Then to the gypsy dancers moving so fast their faces can't be made out. She points at one of the women. DRUSILLA I like her. She dances pretty. Angel follows her finger to see their victim. A gypsy girl whirls to a stop and teeters a moment. Her hair lies plastered to her face from the heat. She brushes it back to reveal a beautiful young woman, TEREINA, whose visage is exactly that of Jenny Calendar's. ANGEL Then of course she shall be yours. BLACK OUT. END OF ACT TWO ACT THREE EXT. FOREST ROAD, THE PAST - NIGHT Giles, Buffy, and the Gypsy walk along the road. Giles and Buffy stay a little ways behind the Gypsy who leads. Giles has the crossbow out and pointed at him to ensure no funny stuff. GILES I don't mean to intrude upon your plan. But, what is it we hope to accomplish by making it to the camp? BUFFY (shrugs) Better than wandering around completely lost. GILES Yes, uh, I guess I'll give you that. But... BUFFY Look, if we did manage to break through to the right time Drusilla is around here and that's where she's got to be right? GILES That would follow yes. BUFFY So we get there, I'll stake her, and we'll go home. GILES How charmingly direct. BUFFY I knew you'd approve. Why are we here anyway? What does Dru girl know that we don't? GILES She has shown some evidence of precognition. Perhaps her ability let her know when to go through the gateway. As to her purpose, I don't know. We might not even be able to fathom it. INT. LIBRARY - NIGHT The new Cordelia paces behind Willow who busily types and clicks on the computer. Xander sits on the table leafing through an ancient tome. CORDELIA So remind me again. I'm like mean? WILLOW Terribly. CORDELIA And popular? WILLOW You create a wake. CORDELIA I don't know if I should be disappointed. Willow smiles and turns back to the computer. She remains O.S. as Cordelia and Xander briefly talk. CORDELIA (looking at Xander) But I remember me and Xander. XANDER Why do I feel I should be scared about that? CORDELIA I don't mean to scare you. XANDER See. There you go again. Why aren't you tearing my head off? Just a little for old time's sake. WILLOW (O.S.) Alexander, my friend, I am afraid that there is no old time's sake. ANGLE: ON WILLOW Xander turns to look at her. Her manner of dress is suddenly changed. She wears black semithick rimmed glasses with elliptical lenses. She has on a semiloose long black dress. Think coffeehouse poet. Xander leaps off the table away from her. In the process he sends the book he was holding flying across the room which causes a CRASH O.S. XANDER Cowa gunda... uh, ungh! WILLOW Is there some trouble? XANDER Willow, your, your... WILLOW I am what? XANDER Not you. WILLOW Of course I am me. CORDELIA She looks fine. XANDER Don't you start. Not good. Evil time dumb stupid whatever. Okay, getting grip thing. Will, do you remember what we're working on? WILLOW I was just about to begin explaining to you in more depth the nature of this time disturbance. XANDER That's good. Commence technobabble. WILLOW Well, it is simple chaos theory actually. XANDER Simple is my buddy. WILLOW Basically when one changes some event in the past, however minor, it causes a ripple which propagates along the timeline. This ripple effects just about everything in some way. Only a few pieces tend to remain constant. Chords of destiny I guess you would call them. It also naturally follows that those people or things most directly connected with the destiny strings are less modified by temporal dissidence. XANDER Spoken like a true Watcher. I'm feeling some major "whooshing" here. Willow impatiently taps her pencil against the rim of her glasses. WILLOW What I mean to say is that the closer a person is to Buffy the less the time warp changes their original nature. XANDER That's um great to know. But where are we on fixing it? Willow turns to the computer. WILLOW It seems, and this is in theory of course, plausible that if you were to take one of the objects or persons most greatly altered by the time shift it can act as an antimatter of sorts to the cause of the actual modification to the timeline. XANDER In nonWillowese. WILLOW We have to find what is causing the problem in the past and throw Cordelia at it. Literally. Then things should generally get back to normal. XANDER Generally? WILLOW As I clarified earlier, I am speaking in purely speculative terms. XANDER Yeah, you made that crystal clear. How do we know where to go? WILLOW Good question. XANDER To which the answer is? WILLOW Well according to records it seems that the time and space shifts should stay fairly constant in their geographic location within our given time field. What does change is where the gateways link to and apparently that changes very rapidly. However they are also cyclical in nature. XANDER Will you STOP doing that!! WILLOW (getting red in the face) Do you want my help or not? XANDER Duh! You know I do. But I have to understand your help. This isn't rocket science high! WILLOW I'm sorry, do you want me to draw little pictures for you. XANDER Okay, sarcasm is so not called for. Cordelia whaps him one in the chest. XANDER Ow! Why did you do that? CORDELIA You should be nice to our friend. XANDER Our friend? You're standing up for Willow now? Somebody please pinch me hard. Willow pinches him -- hard. XANDER Ow! He jumps back. She smiles almost sadistically. WILLOW You said... He points an angry finger up at her and she goes silent but is still smiling. Then she turns to the computer again. WILLOW Anyway, to bring this down to a sixth grade reading level, I should be able to determine when you have to enter the rift. Most likely the gateway itself is located somewhere in the area of where Oswald and I were accosted last night. XANDER Oswald? WILLOW My boyfriend. XANDER Whatever. WILLOW Then you and Cordelia find the cause of the problem and solve it. XANDER Joy. WILLOW Come now Alexander, someone as manly as you should be able to handle it. EXT. GYPSY ENCAMPMENT, ENTRANCE, THE PAST - NIGHT The past Drusilla walks in her tattered nun's clothing into the outskirts of the camp. The gypsies immediately notice and a number of them respond. An elder, RANOS, quickly approaches her. RANOS How dare you enter our camp! She backs away and lowers her head a bit. DRUSILLA I want my fortune told. RANOS A nun wants her fortune. Why? Do you wish us to give you reason to condemn our people? DRUSILLA I want to know if you tell the truth. RANOS (chuckling) And your God speaks of truths? DRUSILLA No, my demons do! She vamps out and he GASPS in horror. She rushes at the crowd of gypsies. EXT. GYPSY ENCAMPMENT, BACK SIDE, THE PAST - NIGHT Angelus slips inbetween two wagons to enter inside the circle. He instinctually reacts to the bonfire and brings his hands up to shield his face. With a little willpower he lowers his arms again. Glancing around he sees that no gypsies are looking his way. Most of the gypsies gather at the camp entrance as everyone is concerned with the commotion. He walks around the edge of the fire. He searches for Tereina but does not see her. He approaches one gypsy woman who wears a shawl. He stops just behind her so that she won't see him. He looks to his right. ANGLE: POV AS ANGEL through the licking flames of the bonfire he sees the profile of Tereina. Her attention is fixed on the trouble up front. He smiles and begins to circle around the fire. CLOSEUP ON GYPSY WOMAN She turns and pulls back her shawl to reveal the future Drusilla in disguise. PULL BACK to show Sunshine at her feet. She picks up the dog. DRUSILLA (low to the dog) Shall we go and fetch? She gets up to follow. EXT. GYPSY ENCAMPMENT, ENTRANCE, THE PAST - NIGHT The past Drusilla tries desperately to ward off the combined might of the gypsies. Many of them carry torches and they have formed a line to prevent her from entering the camp. She rushes toward them several times but each time the fire pushes her back again. Ranos steps out of the group holding his torch toward her. RANOS How does your demon might serve you now! He pushes the torch forward and she cringes back. DRUSILLA (terrified) Bright. So bright it hurts. RANOS My people have survived worse than anything you may bring. He sweeps the torch forward again. She backs away quickly but then: She suddenly flips (mentally speaking) and in a burst she surges forward and knocks the torch from his hand. She grabs him and throws him to the ground away from the torch weilding crowd. ANGLE: POV AS RANOS Drusilla stands, leering over him. DRUSILLA I swear to you dearheart. You shall not survive me. Suddenly she is pushed out of FRAME and there stands, the Slayer. BUFFY Sorry I'm late honey. Drusilla scrambles to her feet. Buffy approaches for the kill. BUFFY Nice outfit. I see you pack for style. Drusilla charges. Buffy ducks and dodges to the right. Then countersweeps sending Dru to the ground. Dru scrambles to get up again and Buffy is there with a kick to the stomach, a jab to the face, and a wrap around backwards roundhouse punch. Drusilla stumbles, dazed slightly but then claws at Buffy. They continue to fight as ANGLE: RANOS Giles helps the elder gypsy to his feet. GILES Hello, um, yes I am Giles. We are here to help I believe. RANOS I am Ranos. Eldest man of this Romani clan. GILES Romani? Interesting. RANOS (looking Giles up and down) Are you a priest? GILES Yes, uh, I mean no. Brow furrowed in thought he turns to look at the fight. ANGLE: SLOW-MO, POV AS GILES he looks on carefully noticing Drusilla's manner of dress as she rushes Buffy. The brown mud on the black fabric of the sleeves when she reaches and Buffy kicks her back. The tatters at the bottom of dress as she stumbles to regain her balance. GILES (realization time) Buffy stop! Buffy is about to plunge her stake forward on the attack. She halts and turns to Giles. BUFFY Huh? Drusilla uses the pause to whack Buffy a good one in the face. Buffy stumbles back. Giles rushes toward them. GILES It's not the proper Drusilla. You'll change everything. He runs inbetween the two combatants and then suddenly realizes what a bad position he has placed himself in. Drusilla grabs him with both hands and lifts him into the air. GILES Oh dear. He grabs her arms to attempt to pull her off. RANOS (to his gypsies) Do not stand there. Help the man restrain her. EVERYONE rushes Drusilla. A flurry of human hands overwhelm her. Buffy manages to pull Giles out of harm's way. They both move back from the crowd a bit. Giles starts dusting himself off. BUFFY You groovy? GILES 70's vernacular? BUFFY It's retro. GILES (smiles) Yes, I'm fine. Ranos steps up to them while watching his people pile on to keep the vamp down. RANOS They do a good job, no? GILES Uh, yes, splendid. RANOS We will keep her. Bring her inside. You can explain then who you are. BUFFY Maybe you can tell us why your guy was in be mean to strangers mode. RANOS M'lady? GILES I think I'll handle the communication skills. BUFFY Hey, I'm a people person. EXT. WOODS - NIGHT Willow sits on a fallen tree trunk with one of Giles ancient books in hand. Xander paces back and forth and Cordelia just watches him. XANDER So what are we waiting for again? WILLOW (distracted) A color change. XANDER Which means? WILLOW That the cycle of the gate is passing through the paradox point. XANDER (still not getting it) I see. He walks over and stops in front of the same area in which Drusilla disappeared earlier. XANDER Seems pretty black to me. He extends a finger forward. CORDELIA (coming to his side) Are you sure you should do that? XANDER No. I'm just about positive I shouldn't. ANGLE: XANDER'S HAND The tip of his finger disappears into the void. He waits a moment and then pulls it back out. XANDER Hmm. Tingles a bit. CORDELIA Please don't try that again. I am afraid something will happen. XANDER Maybe I don't need you looking over my shoulder telling me what I should be scaredy cats of. CORDELIA I'm sorry. XANDER Don't be sorry. Be mad that I'm telling you what to do. WILLOW (chuckles) XANDER (turning to Willow) Bite me. He looks at Cordy and then back at Willow. He frowns slightly remembering an earlier moment. He looks back at Cordelia. XANDER I guess I shouldn't take it out on you. After all you're not you. Exactly. Xander continues to look at Cordy and she at him. He doesn't notice the area past him becomes red. XANDER Do you get what I'm saying? The gateway turns purple, then yellow, and so on shifting rapidly, to become a swirling eddy of color. CORDELIA Well, um... no. ANGLE: WILLOW She does notice. XANDER You see it is kind of like... She walks up and gives them both a shove. XANDER Woah! They disappear into the rainbow vortex. Willow shrugs, walks back over to the tree trunk, sits down and resumes reading. BLACK OUT. END OF ACT THREE ACT FOUR EXT. CLEARING AMID FOREST, THE PAST - NIGHT ANGLE: INSIDE WAGON LOOKING OUT BACK Angel enters FRAME and drops what he was carrying over his shoulder into the wagon. Tereina, bound and gagged, tries to cry out but only a muffled sound escapes. ANGEL Come now my dear. Don't be so timid. You can be free. ANGLE: WIDE LONG SHOT OF CLEARING Angel spins around carefree. ANGEL It's not as though anyone will hear your screams. REVEL in this chance. His voice echoes through the clearing. ANGLE: CLOSE AGAIN He leans into the wagon, a sinister grin on his face. ANGEL To be with me. The slave. My passion. What more could this life grant you? DRUSILLA (O.S.) A little of what is to come? Angel spins to see the gypsy Drusilla. He looks at her manner of dress. He also notices Sunshine at her side. ANGEL I didn't expect you back. What's with the mongrel and that dress? DRUSILLA Many things will pass. Some you will dream. Some you won't. Can you tell me? What do you think of? ANGEL (not really listening) I brought you a present my girl. She is ripe with fear. He reaches into the wagon and grabs hold of Tereina's ankle. He pulls her closer to himself and Dru. She struggles only slightly before terror takes hold, forcing her to relent. Drusilla moves up close to Angel's ear. DRUSILLA She is not all you wished. Tainted. ANGEL (amused) You speak of purity? DRUSILLA Only what I know. You can't leave me. I will reveal it and you, the lovely you, will die. At least for a time. He turns to face her. ANGEL Leave you to whom? Of what madness do you speak? DRUSILLA Knowledge. Power. All will lose if you don't protect me. Leave the girl to the Romani. ANGEL (laughing) You really are serious. You expect me to just give her back. I think otherwise. DRUSILLA I will pay dearly for it. Pain. Guilt my love. You cannot let them have you. You cannot let her have you. She slides past him to grab Tereina then lifts the girl over her shoulder. She starts to move away but Angel grabs hold of her arm. ANGEL Where might you think you are going? DRUSILLA To return. Drusilla steps forward and with a push sends him sailing through the air. DRUSILLA You may follow. She walks away. Angel looks up from his position on the ground. The frustrated rage boils up into his vamp features. He gets up to pursue her. EXT. GYPSY ENCAMPMENT, ENTRANCE, THE PAST - NIGHT The past Drussila lies chained and shackled to one of the wagons. The crowd surrounds her with torches held at the ready. Buffy and Giles stand within the circle formed by them near Dru. Ranos breaks through the crowd. RANOS Three of our people appear to be missing. Two are a young couple most likely just off in the woods together. (he furrows his brow trying to fathom it) But the other is... GILES ...a young woman. Probably a dancer. I assume by your concern she doesn't wander off much. RANOS Not now that her grandmama is ill. She is named Tereina. Giles looks at Buffy and she shrugs. BUFFY You're the universal translator. GILES It appears that Drusilla's... (motioning toward the shackled vampire) ...attack was staged as a diversion. Another vampire has taken your kin. RANOS (angry) Then where is she! GILES I believe you would have to ask your prisoner. Ranos seethes. But he remains wary, not sure if he is being played or not. He holds Giles gaze for a second and then breaks off to interrogate Drusilla. He crouches down in front of her. RANOS I think my... dearheart, that you have some secrets you want to tell. He reaches back behind himself and beckons one of his people to put something in his hand. Bringing his hand forward a torch leers in Drusilla's face. ANGLE: BUFFY & GILES have moved outside the circle of gypsies about Dru and Ranos. They speak quietly to one another. BUFFY We can't let them find Angel by playing twenty painful questions. GILES Should Drusilla "spill the beans" as you suggested earlier. If history serves itself they will simply be too late. BUFFY But we still don't know what the other Drusilla is up to. She could be changing history's stacked deck right now. GILES Well, we best find her. And fast. EXT. WOODS, THE PAST - NIGHT Cordelia sits on the ground looking around herself rather dumbfounded. Xander dusts himself off a few paces away. He stops and looks toward her. XANDER That was just a bottomless barrel of joy. Let's add some vamps and simmer over a low flame. He walks over to Cordy and helps her up. CORDELIA Where should we head? XANDER Don't know. I seem to have forgotten my Hitchhiker's Guide. She looks around almost aimlessly, then stops and points in a direction. CORDELIA I say we go that way. Xander looks, following the trail of her finger. ANGLE: POV AS XANDER All he sees is darkness and forest. XANDER Why would that be the bright idea? CORDELIA Couldn't tell you. I think it is one of those hunch type things. Cordy lowers her hand. Xander scratches his head thinking for a moment. XANDER Oh, what the hell. Lead the way. EXT. WOODS, THE PAST - NIGHT Buffy pushes through some underbrush followed closely behind by Giles. GILES If I may inquire of the Slayer. Where are we going? BUFFY Like I'm supposed to know. I don't exactly have mad tracking skills here. GILES May I suggest that you try your honing? It is one of the abilities we should train with more. BUFFY You could have brought it up earlier. Like in library time. Must I learn everything on the job? Buffy closes her eyes and begins to concentrate. Giles gazes randomly around in the darkness. He WHISTLES a few notes, she doesn't notice. BRANCHES BREAKING He looks in the direction of the sound. GILES Um... Buffy. She is deep in meditation. MORE BRANCHES BREAKING He taps her on the shoulder. GILES Buffy. BUFFY (eyes still closed) Giles I'm honing. Either that or having a serious Brad Pitt fantasy. Something CRASHES through the woods right near them. This time Buffy reacts. A dark figure moves past them but Buffy pounces on the second one. Buffy knocks the figure to the ground. Pinning it under her she pulls back for a punch. ANGLE: CLOSE IN FROM OVER BUFFY'S SHOULDER She is about to strike. XANDER (shielding his face with his arms) Hey Buff. My buddy. Please don't kill me. BUFFY Xander!? She gets up off him. Then reaches down and helps him up. By that time Cordy who was the first to pass has come back. CORDELIA Buffy we're so glad to find you! Cordy hugs her. Buffy is EXTREMELY uneasy. She backs away shrugging it off. She notices Cordy's manner of dress. BUFFY What is going on? XANDER You tell me. Somebody messes with the past and I get stuck with mostly harmless girl here. CORDELIA He seems to want what he remembers as the old me back. XANDER (hopefully) Do I sense an argument? CORDELIA No, just a distinct lack of understanding. XANDER Ugh! See what I have to deal with? GILES (concerned with other things) Yes, uh, Xander it's quite horrific. But perhaps we should find Drusilla. CORDELIA That way! (pointing her finger) I can feel it. GILES Feel? XANDER She gets these weird sense things. It's probably a paradox point gig. GILES Paradox point? XANDER Never mind. Willow's department. Cordelia begins to walk off into the woods. Giles eyes follow Cordy and then he looks back at Buffy. BUFFY You aren't serious. We're going to follow Cordelia? GILES You were lamenting at your own lack of precise tracking ability. Giles walks past her to go after Cordy. BUFFY Oh yeah, this is mucho less vague. Glares at Xander. XANDER Hey, I just want my good smoochies back. Buffy looks away from him kind of disgusted. They both follow. EXT. WOODS, THE PAST - NIGHT Tereina lies on the forest floor. On one side of her stands Drusilla, on the other Angel. Sunshine sits off to the side, watching the two devils. In the distance can be heard SHOUTS of "Tereina!" ANGEL We're just going to leave her here? DRUSILLA Yes dear. They will discover her and we will be family forever. Drusilla steps away from the gypsy girl. She beckons Angel to follow. Angel looks down at the girl and then up at Dru. ANGEL I don't think so. He leans down to pick the girl up. Drusilla comes forward and pushes him back. She HISSES at him with her vamp face on. ANGEL You will not touch me again Dru! He puts on his game face also. They circle each other with the girl in the middle. Sunshine moves with Drusilla. More SHOUTS from the distance. ANGEL I will have her. DRUSILLA Not this time pretty. Sunshine BARKS as if to emphasis the point. With a CRACKLING OF BRANCHES Cordelia suddenly appears. Seemingly oblivious of the obvious danger, she points at Drusilla. CORDELIA I told you I'd find them. CLOSEUP ON DRUSILLA Her face registers shock and horror. She reaches forward to grab Angel, then throws him at Cordelia. Cordy and Angel tumble to the ground. Buffy steps forward out of the darkness. BUFFY (looking down at the fallen duo) I knew she'd be good for something. Buffy chucks Angel off of Cordelia with her Slayer strength. He flies into the brush. Then she steps over Cordy to attack Drusilla. A flying kick sends Drusilla sprawling back. And Buffy pounces after her, both of them disappear into the darkness. Xander and Giles appear next. Xander leans down to help Cordy. XANDER You okay? He helps her up. CORDELIA What happened to I don't care because you aren't the right you? XANDER Moment of weakness. She smiles. Giles crouches to help the gypsy girl. GILES Are you all right? He helps her up and sees her face. GILES My god, Jenny! He pulls her close and hugs her tight. She is surprised and terrified both. Then suddenly they are yanked apart. Giles stumbles back and Tereina falls to the ground again. Angel steps inbetween them. GILES No, you can't! In desperation, Giles rushes the vampire. Angel grabs each of Giles' arms and forces Giles down to the ground with his superior might. Giles grimaces as he struggles to at least get to his feet. Suddenly a kick smacks Angel in the face. He lets go of Giles and reels back. BUFFY Hmm. I'm thinking maybe I'll save the world a heap of trouble. ANGEL Who are you?! BUFFY Don't you wish I'd let you live long enough to find out? Buffy launches into a brutal volley of punches and kicks that Angel works very desperately to fend off. Drusilla steps back through the underbrush. She is a bit messed but not too bad. XANDER Man aren't you ash yet? (turning to Cordy) Sweet heart? Xander extends his hand to Cordelia. She takes it. CORDELIA (playing along) Yes dear! He slingshots her straight into Drusilla. DRUSILLA NOOOOOO! Cordy connects with Dru, they both tumble to the ground with a: WHITE FLASH CUT TO: Giles reaches forward to touch Tereina's face. He is almost there and: WHITE FLASH CUT TO: Xander smiles quite pleased with himself WHITE FLASH CUT TO: Sunshine sits contently. The dog BARKS once. WHITE FLASH CUT TO: Buffy lands one last kick to the face and Angel falls backwards onto the ground. A WHITE FLASH and she disappears. Hold a few moments and then: ANGLE: FROM ABOVE ON ANGEL prone on his back. He rolls over onto his feet and stands. He looks around. ANGLE: WIDE OF AREA IN WHICH THEY WERE FIGHTING Only Tereina and Angel remain. RANOS (O.S.) Over here! He looks at the gypsy girl, then moves off into the darkness. Tereina struggles to get up. A few moments later Ranos pushes through the brush. He sees her and heads right to her. He crouches down to try to help her. CLOSEUP OF TEREINA She sees something over Ranos's shoulder. She tries to cry out but the gag prevents anything more than a muffled yelp. Suddenly Angel yanks Ranos up and reaches his arm around the elder's head. Then a twist and a SNAP. Ranos falls limply away from him. ANGEL I'll never get tired of doing that. Angel, his vamp face, glares down at the terrified girl. She tries to back away from him. He smiles. FADE OUT. FADE IN: INT. CORDELIA'S CAR - NIGHT Xander and Cordelia are involved in some serious tongue wrestling (or whatever the network censors will allow). Suddenly Xander pulls away. XANDER Ouch! CORDELIA What is it? XANDER You bit my lip. CORDELIA As if. XANDER You think I went and gnawed on myself? CORDELIA Knowing you... XANDER Grrrrr. Sometimes... CORDELIA What?! Xander smiles at her and then swoops in and gives her a kiss. CORDELIA (almost blushing) Xander...? XANDER Sorry. It's just nice to have my worst enemy back. She tries to look angry but a hint of a smile betrays her intent. She moves forward and kisses him back then pulls off. They hold each other's eyes for a moment and then commence serious smoochies. Xander wraps his arms around her and pulls her out of her car seat and closer to him. DISSOLVE TO: INT. GILES'S BEDROOM - NIGHT ANGLE: ON GILES FROM HIS LEFT He sits in the middle of his large four poster bed. Various slayer weapons lie out in front of him. In his hands he holds some piece of paper, perhaps a newspaper clipping or a picture. CAMERA begins to CIRCLE AROUND HIM. The look on his face is one of deep thought and great sadness. He tries to hold back tears. CAMERA CONTINUES TO CIRCLE and then STOPS ON GILES'S RIGHT. CAMERA starts to TRACK FORWARD. Giles sets down what he was holding out of frame. Then he turns, gets up off the bed, and walks out of frame himself. CAMERA STOPS when it reaches the point where he was sitting. Then TILTS DOWNWARD to reveal what he was holding. A polaroid of him and Jenny Calendar. They have their arms around each other and are both quite happy in one another's company. Hold and then: BLACK OUT. THE END