- - - - - - - - - - - - - - - Commercial

Bob Crandall's Woodchopper's Venue

Darla: (to her henchmen) Get a good hold on him.

The two men look at each other and attempt to grab Angel higher up on each arm. They struggle for a moment and then, suddenly, though, they look puzzled and then they look at each other again, then they look back at Darla. Angel also looks puzzled. Only Xander, eyes open, registers no emotion.

Angel and Xander begin to fade and their forms begin to waver. Angel quits struggling, and Darla lunges forward and drives the stake home but does not get the reaction she had hoped for. Then there is nothing there anymore, just a dissipating ghost. Xander is also gone and his former captor just looks within his outstretched arms amazed.

Cut back inside the Master's Lair.

Back inside the Master's Lair the water suddenly gushes up forming a surging spout, and Angel and a white-haired Xander are expelled from hell and are deposited on the side of the pool of water. Angel struggles to get up and he goes over to Xander. Xander just stares ahead catatonic.

Angel: Oh, my god. Hold on, Xander. Got to get you to a hospital.

Cut to Buffy's bedroom.

Willow and Cordelia are there. Buffy begins to get out of bed.

Willow: Where are YOU going?

Buffy: I've been in bed now almost three days, I think I've dilly-dallied long enough. I've got to go get my old job back.

Willow: But are you sure you're strong enough?

Buffy: Ready for anything. I'm ready to face the world.

Cordelia: Well, almost, maybe. But I think we can fix that.

Cut to Buffy's bathroom.

Buffy is leaning over the sink with a sheet towel around her upper body and her hair hanging down. Cordelia is squirting a rinse onto it. Willow looks on with a yucky look on her face.

Cut to the Sunnydale Cemetery.

Several vampires walk by and Claudia just watches them and she snorts a laugh to herself.

Buffy approaches (her hair looks super) and Claudia perks up.

Buffy: (indicating the vampires) I thought you were supposed to be the new Slayer. So, don't just sit there. Slay.

Claudia: I'm on what you Americans call zee break.

Buffy: Well, we take our breaks after the work is done, not before or during. Look, I'm not in the mood to let you off with a warning. We know you're a bogus Slayer. You lied to my friends and pretended to be my replacement, and I'd like to know who you are and who put you up to this duplication thingy. Whether you tell me or not, I will still dis-duplicate you, but I may allow you to live--that is, if you let us know who would go to all the trouble of sending you here and then trying to disable me. Did Principal Snyder have anything to do with this?

Claudia: You want your job back? Come and get eeet. I've always wanted to fight zee Slayer.

Buffy: Okay, you asked for eeet. You'll get eeet.

Buffy approaches in fighting mode and throws a punch that is blocked. Then Buffy throws another, which is blocked and the counterpunch strikes her in the face, but Buffy's roundhouse kick is already in motion and catches Claudia in the chest and she goes flying. Her beret comes off and two horns can be seen protruding through the front of her hair.

Buffy: Oooh, what are you?

Claudia: I am everything you fear.

Buffy: Oh, so YOU'RE what a zilch looks like?

Buffy lunges at her and Claudia catches her with her legs and sends her flying overtop of her and away. They both get to their feet and exchange a few karate chops and kicks but get no closer. They circle each other. They are like a mirror image of each other.

Buffy: We're pretty evenly matched. But, considering your horns, there must be something in my arsenal that you are allergic to. Let's see. (She reaches into her jacket and pulls out a crucifix. She throws it to Claudia.) Here, catch. (Claudia catches it easily and holds it easily and tosses it aside.) No? How about this? (She pulls out a Super Soaker.) Xander, ever the innovator thought this up. Since I have an unlimited supply of the water, I put it into a Soaker. (She squirts Claudia.) How's that?

Claudia immediately recoils and her face and body begin morphing into what looks like a giant wasp. Buffy squirts her again and Claudia spreads leathery ribbed wings and begins beating the air knocking Buffy down from the wind. But Buffy squirts her again and, although weakened, Claudia rises up off the ground, about to fly away. Buffy takes careful aim and hits her again with a stream of the water. Claudia falls out of the air and hits the ground and is smoking. Buffy rushes over and sticks the gun in her face.

Buffy: Who sent you? What is this all about?

Claudia has the face of a giant insect, but still an insect in pain. Her mouth parts move.

Cut the inside of a van along the street near the cemetery.

Several men sit in the back of the van, including Snyder. He has a headphone on and he pulls it off with disgust.

Snyder: Okay, that's enough. I'm pulling the plug.

The back of the van opens up and large milk cans are lowered to the ground by men in Hazmat suits. Once the cans are on the ground, the tops of the cans are popped by unhinging clamps, and the contents which seem to be bees or some such smaller insects are released. They momentarily swarm backward toward the van, at which time horns spring up on Snyder, but then they head away again.

Cut back to inside the cemetery.

Buffy hears a humming sound and sees the swarm coming and she backs up and hides behind a mauseleum. She watches as the swarm descends down upon Claudia and soon there is nothing left of her but her clothes. Then the swarm leaves. She shakes her head in disgust.

Cut to a hospital waiting room.

Giles and Xander's parents are close to the front of the waiting room. Willow and Cordelia are together. The doctor approaches and, when he sees that he has to talk to a group, but not too large a group, he sits at a distance, facing them all.

Giles: How is he, doctor?

While the doctor talks offscreen, the camera travels up the hall.

Doctor (talking offscreen): Well, obviously this boy has undergone a terrible shock of some sort. Perhaps he has received some horrible news he can't handle, or perhaps has had to face something more horrible to him than you or I can possibly imagine, but, whatever, he has retreated within himself and he may or may not any longer comprehend what is going on around him, or he may or may not any longer WANT to interact with those around him. He is catatonic at this point, which is sometimes a state of schizophrenia, but in this case it's not.

The camera goes through doors and approaches a room.

Doctor (continuing to talk offscreen): Now we have gone over his past medical history, and we note he has come out of a similar but much less pronounced episode in the past but it took him almost two years to fully recover. I think if I knew he'd be okay in two years, I'd say we could consider ourselves fortunate, because, and I've had the other doctors here examine him, and I can tell you that in our 80 combined years of experience with this sort of thing, we've never seen such a severe withdrawl. So it's only fair to warn you, many in his current state never recover.

Giles (voice offscreen): Doctor, what is the current state-of-the-art treatment in these cases?

The camera goes into a room where it is stopped by two nurses and an orderly fussing around the bed where Xander is strapped, but these people are in the way from our getting a clear view of his condition.

Doctor (talking offscreen): Well, there are some stimulant drugs, and, of course, there's still electroshock, but these are generally administered only after a period of time in which he has had a chance to recover on his own. We will probably give him six months to quote-unquote come back to us, and if he has not responded by then, we will try and intervene and stimulate him back to some degree of reality. If that doesn't work, then, well, we will adjust our thinking and hope for a long-term improvement.

The workers in the room move aside and the camera finally is able to approach the bed. It comes up full frontal on Xander in a very stark manner and Xander just stares blankly ahead, no intelligence behind his eyes, no response in his face.

Cut to outside the door to Xander's hospital room.

Buffy arrives at the door, goes to knock, but then thinks better. She enters. A nurse gets up.

Nurse: Oh, good, I'll leave you two alone. Come get me at the nurse's station when you're done.

Buffy: Thank you, ma'am. (she says out loud, but she mouths the question) Any change? (the nurse shakes her head no)

(Buffy talks to Xander and he does not repond at all but during her entire monologue he just stares off vacantly into space.) She walks around the side of his bed and then sits off to his right and turns towards him.

Buffy: Xander, I don't know if you can hear me. I . . . want you to know I forgive you for allowing me to send Angel to hell--so, hey, you got him out and he's fine--so what the hey, I forgive you, (flippantly) that's my judgement, talk to Doug in the hall, and next case, Rusty. (pause) But I also want you to forgive ME, okay? Forgive me. I want you to forgive me for . . . for . . . overlooking you, for trivializing you, certainly for not appreciating you. I used to think you were all surface and verbiage and, well, about as deep as a plate of spaghetti. (pause) But, since then, I've re-evaluated--a girl can change her mind, can't she? (She smoothes his hair back off his forehead and we get a momentary flashback tp the way the woman in the bus had smoothed her son's hair) and I have come to the conclusion that, okay, so a plate is wrong, definitely wrong; you're much deeper than a plate, you're about as deep as a BOWL of spaghetti. (She sighs and pauses to gather herself.) See the old Xander would have laughed at that and said something Xanderish and then we would both have yuked it up. I . . . need that old Xander back. Back in my life. I need you back, because, you know, it's . . . you're . . . really . really . good . spaghetti. (She chokes on those final words but recovers and tries to lighten it up.) You know, like my favorite, with all those black and green olives mixed in. So please, wherever you are, whatever has happened to you, please come back to us, me. I'm not certain this world is worth saving without you in it.

Cut to a park bench in the graveyard.

Angel sits on a park bench in the graveyard. He turns and Whistler is standing behind him and Angel is startled. Whistler's clothing is second-hand store and his tie is almost phosphorescent.

Angel: Do you have to do that?

Whistler: Do what?

Angel: Sneak up on people. Well, I suppose I should have been able to hear that tie.

Whistler: Everyone's a fashion critic. And, the sneaking up? Yes. It's in the script, page 24.

Angel: You know you really ought to let Cordelia re-vamp, so to speak, your wardrobe.

Whistler: I'll save the money. I'm in no beauty contest. So why you moping in such a cheerful place.

Angel: I'm just thinking. You know, I should thank you for looking after my friends in my absence--GILES may never forgive you, however.

Whistler: He'll get over it. He's a really nice man. Thinking about the kid, though, right?

Angel: Maybe.

Whistler: Well, I've got some information on that subject.

Angel: From low or high sources?

Whistler: Some from low and some from high. I get spin from both and I try to keep them both honest. It might be important; it might not be.

Angel: Whaddya got?

Cut to Xander's hospital room.

Willow enters the room and sits at a bedside chair. There is no nurse. She senses a movement behind her.

Willow: Angel, is that you?

Angel: Yes, yes it is. Nice to see you walking again.

Willow: Thanks. Come sit with me. Is there any improvement?

Angel: (pulling up a chair) No, not that anyone can see. I talked to his doctor.

Willow: It's nice of you to come. Sweet, really.

Angel: Yeah, well, I feel . . . responsible.

Willow: You musn't.

Angel: Well, I do. I just wish--well, there's some information I'd like Xander to understand and digest and think about, and this information might help him--I've tried to tell him but I don't think he hears what I, we, say.

Willow: You have some information? Well, tell it to me, and I'll tell it to him. I think he might hear me if I use the good old Vulcan Mind Meld.

Angel: The what?

Willow: Oh, maybe you've never seen Star Trek. Have you ever seen Star Trek?

Angel: You mean the original? Yes, and I liked it.

Willow: Well, then you should know there's this procedure Mr. Spock, the Vulcan, employs to get through to someone with a closed mind; I used to use this on Xander years ago when we were children and I think it worked because he was such a big Spock fan.

Angel: (excited) Come on then, let's try it.

Willow: Okay, here, see I place my hands on his face, like so. (She splays out the fingers of her right hand and places them on the right side of his face above and below Xander's eye.) And then--ooh, somebody needs a shave. (She brushes his cheek.)

Angel: You love him, don't you?

Willow: (looking at Xander and blushing) Is it all that obvious? Well, there's some things we can't help. And that's mine. But he doesn't feel the same, and I know that. He's tried to tell me--but I won't let him. I'm probably being unfair, but I don't care. So shoot me.

Angel: Bang. He's lucky to have you.

Willow: Yeah, big deal (curtly) so what's this important information?

Angel: Are you ready?

Willow: No, wait (then in a deeper voice she intones to Xander) 'Spock to Xander, Spock to Xander, My mind to your mind, my thoughts to your thoughts.' Give a hoot. Don't pollute. (to Angel) That last part was just something he always used to respond to. I think he liked the owl. Okay? So, what?

Angel: Tell him the man named George McAllister is not even IN hell. He's in the better place, serving penance. He DID think about suicide but he couldn't do it. Some of his fellow inmates, however, heard he was a child molester--which is the lowest form of life in prison--and they took it upon themselves to hang him. THEY killed him. The clown that tormented Xander in hell was just an evil demon deceiver trying to break Xander's spirit and thoroughly demoralize him. THEY, the demons, really wanted Xander's soul.

Willow: Okay, I'll tell him that. Anything else?

Angel: Tell him thanks for me. Oh, yeah, and tell him that if this works, it's not because of any Vulcan, it's because someone cares about him and because of the healing power of touch. Well, okay, Willow, you don't have to tell him that last part.

Cut to a table outside on a dining porch at a nursing home.

The sun is still out, and at a table on the porch outside the area of direct sunlight are, on one side, Angel, Xander, Oz, and Giles. On the other side are Joyce, Buffy, Willow, and Cordelia. Xander stares into oblivion. The rest are laughing at something or other.

Willow: Are you okay there, Angel? We could move. (To the other) Angel fell asleep here last night and couldn't get home.

Buffy perks up, interested, then smiles to herself.

Angel: No, the sun's going down. I'll be fine right here. I'll move if I have too--don't worry about that.

Giles: Well, Angel, I'm glad to see that Xander has a new best friend, whether he likes it or not. But I'll bet he likes it. Joyce, perhaps we could order a little wine and toast friendship. And, I think a toast to nuns is in order.

Joyce: Excuse me, Rupert, did you say nuns?

Giles: Yes, Joyce. You see, I've been wondering to myself how our boys actually got out of hell. Now either their strong belief that the hosts were consecrated actually consecrated the hosts and the hosts pulled them out or just their very strong belief that they were bound to be pulled out of hell in three days did the trick. Either way, the nuns that drilled their religion and those beliefs into their heads deserve the credit. So, let's have that wine, Joyce.

Angel: I'll drink to Sister Mary Veronica.

Buffy (mock seriously, admonishes): Giles, surely you're not going to try to unloosen my mom any more by pouring more wine down her throat? You've already got her wearing tweed. What more do you want from the poor woman?

Joyce: Buffy! You can have a sip, too, dear. To toast good friends.

Buffy: (brightening at that news) Okay, I can have some; well, that clinches it. Bring on the wine.

Giles: Yes, indeed, we MUST have that toast. (to a passing waitress) Miss, four glasses of wine. (And to Buffy, sternly) And, Buffy?

Buffy looks up at her watcher, attentively, not knowing what to expect.

Giles: Will you quit calling me Shirley?

They all (including Angel) laugh at Giles remark and even Xander seems to cough or hiccup, although it's only a momentary thing and by the time they realize he has reacted in some way, the moment is gone; immediately afterward he continues to stare, unemotionally, straight ahead again. They look at him and then at each other but no one makes comment. They continue talking.

Cut to an inside cafeteria-like eating area.

A different day, late afternoon, Buffy and Cordelia are already there. Buffy is seated across from Xander, Cordelia sits at his right. Willow and Oz arrive. Willow is carrying some books and she sits next to Xander, on his left, and puts her books on the table. Oz sits across from Willow (on Buffy's right). Willow looks around and sees a waitress to her right who is walking toward them, toward Cordy, and Willow waves at her (Xander does not flinch; he stares straight ahead) but the girl seemingly looks right through Willow and goes right past Cordy, then behind Xander, behind Willow, and then Willow has to actually turn back the other way to follow the girl's movements. The girl stops just two table away, her back to Willow, and begins to sponge off a just-vacated table.

Cordy: (normal voice) Service sucks around here anymore. (talking a little louder and touching Xander's arm) Time to get better and leave, Xander. You don't want to stay somewhere where the service is bad.

Willow looks around frustrated. Across the way, behind Oz and Buffy, a man at another table says to another waitress who has her back to him, "Excuse me, hon," and the waitress turns and smiles and pulls out a pad and pencil, ready to take his order. Willow sees how this works and turns to her left.

Willow: Excuse me, hon, could you help us?

The girl sponging off the table stops what she is doing and can be seen, head on, seething; she begins to throws her sponge down but then delicately drops it instead. She turns, marches back, and confronts Willow.

Waitress: Honey? YOU called me honey? Now, that's why the feminist movement of today is falling apart, why it never gets anywhere; we've got gaggles of traitors like you always willing to join the chauvinists and act condescending to your Sisters of the Struggle and perfectly willing to belittle those who are forced to work in service jobs, not caring if you undercut our efforts. You'll callously put down those who are trying to strike out and make things better for you, and for all women.

Willow: (flustered, in the adorable way only she can pull off) Oh, well, no. What? Oh, yeah, I did say hon, didn't I? (she's talking to provide herself the time to think of an excuse) But, you know, I didn't actually mean hon, as in honey. Oh, no, cause that would have been wrong and I wouldn't do anything wrong. I meant hon as in . . . (She desperately searches for an out. Xander leans over and whispers in her right ear, and, thankfully relieved, Willow immediately brightens) Oh, yeah. Of course. Atilla! I meant hun as in Atilla the Hun. (The girl, who was enjoying Willow's discomfort and listening attentively to Willow's backtracking apology, and expecting more, now puts her hands on her hips and glares down at her. Willow looks over at Xander {who glances briefly towards her before his eyes revert again to their vacant look}, up at the glaring girl, over at Xander again {who doesn't look over but whose mouth twitches briefly and almost forms a smile}, and up at the angry girl again, and then Willow bursts out laughing and is joined by the rest of the table.) Hey (she punches Xander in the arm--he doesn't react) you're supposed to be helping me here, not getting me in deeper trouble. (Then the realization further dawns on her as to what just happened and she's in wonderment.) And, hey, you talked. (to everyone) Did you see that, gang, Xander talked? (Willow can't contain herself and she leans over and kisses him on the cheek. The waitress, ignored in all this, shakes her head, throws up her hands and leaves.) Isn't that wonderful? (she pinches Xander on the cheek, forcing him to flinch and react {although it's still just a minimal response}) Everyone beams and, not to be outdone, Cordy very properly plants a kiss on Xander's cheek.

Montage.

[Songover. Tribute to the men of Buffy. The Jets sing YOU GOT IT ALL by Rupert Holmes]

I, I was a game he would play.
He brought the clouds to my day.
Then like a ray of light,
You came my way one night.

Just one look and I knew,
You would make everything clear,
Make all the clouds disappear,
Put all your fears to rest,
Who do I love the best?

Don't you know, don't you know,
You've got it all over him,
You got me over him,
Honey, it's true,
There's just you,
You must have been heaven sent,
Hearing me call you when out on a limb,
And you're all that he's not,
Just look what I've got,
'Cause you've got it all over him.

Look, don't let him worry you so,
Once I met you, I let go,
Oh, you can surely see,
You're so much more to me.

Just one look and I knew,
You would make everything clear,
Make all the clouds disappear,
You're better than all the rest,
Who do I love the best?

Don't you know, don't you know,
You've got it all over him,
You got me over him,
Honey, it's true,
There's just you,
You must have been heaven sent,
Hearing me call you when out on a limb,
And you're all that he's not,
Just look what I've got,
'Cause you've got it all, all over him.

Honey, it's true,
There's just you,
You must have been heaven sent,
Hearing me call you when out on a limb,
And you're all that he's not,
Just look what I've got,
'Cause you've got it all, all over him.

Honey, it's true,
There's just you,
You must have been heaven sent . . .

© 1990 MCA Records, Inc.

As the song plays we have successive scenes where the men of Buffy are seen around a table with the girls and also without, in different position and dress, indicating different times. They are laughing and talking--even Angel is laughing. In each successive montage, however Xander looks a little more alert and "into" the conversation. His hair also gets darker. Then, unheard because of the songover, but seen, he says a word or two. Then more. His eyes which sometimes cross become clearer. He begins to look directly at people for seconds without diverting his eyes, then minutes, then he is comfortable with looking at them totally.

Cut to Xander's nursing home room.

Angel walks into the hospital room and Xander is looking up at the ceiling.

Xander: (turning) Hey.

Angel: Hey, yourself. I just saw your folks leave.

Xander: Yeah, I'm going home tomorrow. Did you know? And then they're going to make me go to school again. I tried to claim a disability.

Angel: Yeah, I heard. Actually, I rushed over with some news because I just found out something from someone and I thought you might want to hear about it but then I wondered if you were sick already of talking about your experiences . . .

Buffy comes to the door and begins pushing it open and, upon hearing voices, hesitates. Something tells her to stop and listen, so she just inserts a foot in the door to hold it open a crack, and she looks around behind her to see if anyone in the hall will notice her evesdropping. The conversation inside the room will be heard only and is registered on her face.

Xander: (exasperated) What, already? They should put you in hell as an announcer. It's torture waiting for you to get to the point.

Angel: Bob Crandall.

Xander: The Assman? (Buffy wrinkes her nose in puzzlement.)

Angel lets out a loud, hearty laugh. Buffy has to smile at the laugh and she lets her eyes roll to the ceiling.

Angel: Yeah, the Assman. Well, he's been granted a reprieve. Probably for trying to help us. He perhaps should never have been in hell in the first place, but it was borderline and his advocate was green, literally. So, he's been moved to what you probably would call purgatory, and he'll be out in five million years, but hey?

Xander: Yeah, hey? It's not eternity, right? Better than a poke in the eye, or in your case, better than a poke in the heart with a sharp stick. (Buffy chuckles to herself and has to cover her mouth to be certain not to make a noise through her nose.)

Angel: Yeah. Yeah! (he understands the joke) But the Bob thing? I wanted to tell you as soon as I heard.

Xander: Thanks, Angel. That is really great news! And, say, I'm glad you came by, because there's something I've been wanting to get off my chest. Me and you. (pause) I have not been fair with you--didn't like you, in fact, at first--because I was jealous of you and Buffy. But, in spite of that, I accepted you and I trusted you. And then when you wigged out on your Angelus trip, I felt betrayed once again and vowed never to forgive you, as I have vowed never to forgive the other people in my life, who betrayed me when I was a child. But, anyway, I barely remember it, but I think we had a certain conversation? In the room with the lady and the phones on the floor? A conversation about Buffy?

Angel: Yeah? (Buffy is intensely interested, leans closer.)

Xander: And you said you owed me because I had risked my soul for you, and you said you'd do anything I wanted and I asked you to leave Buffy alone, because I didn't want her hurt again?

Angel: Yeah, I remember. And I promised. (Buffy seems very disappointed, almost angry, to hear this admission.)

Xander: Well, forget it. I don't hold you to it.

Angel: No? (A quizzical expression settles on Buffy.)

Xander: No. (Buffy almost sulks.)

The camera comes back off Buffy and enters the room again.

Angel: (puzzled but almost smiling) Can I ask why?

Xander: Sure. (Then Xander looks around innocently, pulling Angel's chain, as though his "sure" has answered Angel's question. Angel doesn't know what to say next. In his search for the appearance of innocence, however, Xander notices, ahead of him, a mirror mounted on the wall. It is probably meant to show the door and probably the corridor to someone who is bedridden, or vice versa.) Oh, damn. (He can't help but mouth, as he sees Buffy's blonde hair at the door.) Damn. We're dead. (he mouths to Angel.)

He tries to get Angel's attention and then he tries, by sign language, to indicate Buffy is at the door. He does a hilarious pantomime of a prissy female fixing her hair and placing her hand on her chest, then he does a flat, downward motion with his hand indicating a shorter person, then the two-handed curve representation of the female form, then he makes a muscle, then he mimes a slayer staking a vampire, and then he points at the door. Angel has missed some parts of this pantomime and is confused.

Xander: Sure (pointing at the door and winking) I'll let you out of the deal for $300.00. That's how much I still owe on that Scuba stuff I rented and had to leave in hell, thanks to you. So you can have exclusive rights to the Buffster for $300.00. What do you say?

Xander: (pointing at the mirror and whispering) You CAN see OTHER people in them, can't you? (Angel then realizes the situation.)

Angel: Really? I don't know what to say.

Xander: Okay, young man, you drive a hard bargain. For this week only, I'll also throw in a set of ginsu knives.

Buffy is really confused, stunned in fact, and she gingerly inches her foot loose and back and allows the door to close. She turns to walk away slowly, still puzzled, and then "the look of realization" appears on her face. She turns back to the room, throws the door open and both Xander and Angel are looking right back at her and she shakes her fist.

Buffy: Oh, you guys.

They all laugh.

Cut to the deep, dark recesses of hell.

The camera pans around the table from in back of an occupied chair. Various repulsive creatures surround the table. The Master is there, looking as horrible as ever.

Master: So, we had him right here in our clutches and we let him get away. Well, we can't blame Sontorius. Terrific turn as Giggles, Sontorius. Kudos. A really inspired performance. (A horribly grotesque creature waves to the others and receives a rousing round of applause.) I guess we just hope that the Breath of Life remains ignorant of his powers. If we had pressed him further we might have alerted him in some subtle way, and then where would we be, answer me that? You don't know, do you? Neither do I. My biggest fear in that regard is that someone in the Scooby Gang will be smart enough to figure out that--now how many people have I killed in my life including 23 Slayers?--that I, of all people, would know when someone was dead. Killing was my job and I was a workaholic, for hell's sake. You know what really burns my britches though? That's the second time we've been defeated by that little Goody-two-shoes and her Vulcan Mind Meld.

Cut to the lemonade stand at Oz's buddy Chad's house.

Oz and his band friends are sitting in front of the stand sipping lemonades while a small boy and girl serve it up. Oz makes a face each time he takes a drink but he continues anyway. Then, out of nowhere, he has a sudden inspiration, an epiphany. He gets up and snaps his fingers at his revelation. He looks around. Then he walks over to the back of his van and removes an acoustical guitar from a case. Retrieving a pick, he plays a chord, then another. A look of genuine pleasure fills his face.

Shortcut Links to the Unbecoming Episodes

Links to other sites on the Web

Back to Maverick's Home Page

This page hosted by Get your own Free Home Page