text: TEASER FADE IN: INT. SUMMERS APARTMENT - DAWN'S BEDROOM - DAY DAWN is attempting to pack a suitcase as she dials the telephone. She walks to her closet and looks into it while the phone rings. She starts to grab clothes and toss them onto the bed. Finally, someone picks up the other end. INTERCUT WITH: INT. WILLOW AND XANDER'S HOUSE - LIVING ROOM - DAY XANDER is walking through the room, sorting through some mail. He holds the phone to his ear with his shoulder. XANDER Hey, Dawnie. DAWN How'd it go last night? XANDER You know how it is. Romantic dinner, moonlight stroll through the park, some playful banter between chats with homicide detectives and then a battle with the undead before going home and the scary stuff happens. DAWN Uh-huh... So, what did she say? XANDER She said yes. I am officially a fiance. DAWN (big smile) This is so cool. It's like my big brother and sister are getting married. Minus the disturbing and illegal parts. Best part is, we can stop talking about this behind her back. I hate plotting like that. Makes me feel evil. XANDER Really? I kinda like it. DAWN Have you guys set a date? (MORE) ----------------------------------------------------------------------------------------------------- 2. DAWN (CONT'D) Where are you doing it? Can I be the best man, or the maid of honor, or the best man and maid of honor? I'm really good at multi-tasking. Like right now, I'm packing and talking on the phone at the same time. She looks at the bed and notices that there's a pile of clothes that she hasn't touched since she put them there. She winces and gets back to packing. DAWN (CONT'D) Okay, bad example. XANDER I'm gonna assume you forgot about the packing, so that was funny. DAWN So? The date? The place? The job assignment? XANDER Date's sometime in the future. Place is someplace that is not the backyard because that'd be very TV cliche. Job assignment is that we're reviewing the applications and will get back to you shortly. DAWN Coulda just said "I don't know." XANDER Coulda. Didn't. There's a pause in the conversation. Dawn finally stops packing and stands up, getting sentimental. DAWN I'm happy. XANDER Me too. DAWN Celebration dinner on me, as soon as I get there. XANDER Which would be when again? I don't do the e-mail thing so Willow has all of this info. ----------------------------------------------------------------------------------------------------- 3. DAWN Leave tonight. Couple hour layover, and then to Sunnydale. Should be there before the rooster takes his bow. XANDER Cool. I'm looking forward to seeing you. Place feels kinda empty without everyone here. DAWN I miss you guys too. Dawn looks at her watch. DAWN (CONT'D) I gotta go. I wanna try to call Will before I have to get gone. XANDER 'Kay. See you soon. DAWN Bye. Love you. XANDER Same here, kid. DAWN I'm not a kid. Xander smiles. XANDER No you're not. Bye. DAWN Bye. They both hang up. We stay on Dawn as she dials the phone again. She puts it to her ear. INTERCUT WITH: EXT. SUNNYDALE HIGH - DAY WILLOW walks out of the school and starts to cross the yard when her phone rings. She looks at the caller ID and smiles. She pushes a button and puts the phone to her ear. WILLOW Hey, Dawnie. Dawn begins to jump up and down as she screams into the phone in one of those girlie joy shrieks. ----------------------------------------------------------------------------------------------------- 4. Willow moves the phone away from her ear, trying to regain her ability to hear. INT. WATCHER'S COUNCIL BUILDING - GILES' OFFICE - NIGHT GILES walks into his office and shuts the door behind him. He walks to his desk where he sits and looks down at his desk calendar. He takes a red marker and puts a little dot in the corner of previous day's date, January 2. He flips over the calendar. On the back of the calendar is a number of notes, printouts and images of dead demons. There is also a small map of the world, on which Giles marks a spot in England. He puts the marker down and removes several photographs from his coat pocket. They are pictures taken in the woods where Buffy killed the group of demons in the previous episode. Giles tapes one of the images to the back of the calendar and puts the others in a file folder. He flips the calendar over again. His mind drifts toward Buffy, filling him with curiosity and concern. He rubs his tired eyes with his hand and sits back in his chair. GILES (whispered) Where are you? EXT. RESIDENTIAL STREET - NIGHT A VAMPIRE slams onto the street and TURNS TO DUST. BUFFY stands beneath a streetlight, looking at THREE MORE VAMPIRES who start to back off in fear. Buffy raises her Scythe and looks at the vampires. Everyone involved knows what is about to happen but before she moves, a strange feeling comes over her. She pauses for a moment. She turns her head slightly to the side as though feeling something behind her, but doesn't look back. The vampires look at each other, taking note of her distraction. They decide to run. As the vampires turn around, the Scythe swiftly moves across each of their necks. Their heads roll back as they TURN TO DUST. Buffy now stands in front of where the vampires stood. She still seems distracted, but that doesn't slow her down. Finally, she shrugs off this odd feeling and starts to walk away. ANGLE ON : THE GROUND NEAR THE STREETLIGHT As Buffy's shadow moves away, the feet of a male step into the light. He wears black boots and black pants. ----------------------------------------------------------------------------------------------------- 5. We PAN UP, seeing a long black coat, and finally his face. He is ANGEL. FADE TO BLACK: END OF TEASER ----------------------------------------------------------------------------------------------------- 6. ACT ONE FADE IN: INT. HANK'S CAR - DAY HANK sits behind the wheel, driving down the highway as Dawn sits in the passenger seat. HANK You have your ticket? DAWN E-ticket secure. HANK And you packed everything you need? DAWN Yup. HANK But not too much, right? DAWN Nope. My walls remain covered and not a moving box to be seen. I am coming back, Dad. HANK I know. I just worry. DAWN You don't have to. HANK It's what I do best these days. Not really sure when that happened. (beat) You know, if you need something I can ship it. DAWN Thanks. I think I'm covered. HANK And you have money? DAWN A giant wad of hundred-dollar bills sticking ever so slightly out of my purse, so as to attract muggers and various charitable orginazations which will squander the money on tropical vacations and political slam-campaigns. ----------------------------------------------------------------------------------------------------- 7. HANK Just checking. DAWN I know. It's kinda sweet. A little annoying, but sweet. HANK I'm done, I promise. DAWN Thank you. HANK I hear it's nice in LA. Warm and sunny. DAWN As per usual. HANK Yup. And of course everyone has a cell phone there. (beat) Did you bring your cell phone? DAWN Yup. HANK Good. Call me when you land. And be careful. People on cell phones usually aren't paying attention to what they're doing. They can be dangerous. DAWN I'll be sitting in an airport, not speeding down the PCH. HANK Right. I know. Sorry. I promise I'm done this time. No more hassling you. Dawn just nods this time. HANK (CONT'D) You were joking about the hundred- dollar bills though, right? INT. WILLOW AND XANDER'S HOUSE - LIVING ROOM - DAY Xander is sitting on the couch with a number of folders sitting on the table in front of him. He's skimming through one of the folders, making notes in it. He's also writing notes in a notebook. ----------------------------------------------------------------------------------------------------- 8. Willow walks into the room. WILLOW Working? XANDER It's what we Watchers do best. WILLOW Do you really count as an official Watcher? XANDER God, I hope not. Willow sits next to him and looks at the folder in his hand. WILLOW I remember that guy. All those droopy ears and the mullet. Wonder what ever happened to him. Xander closes the folder and puts it down. XANDER As long as he's not anywhere near me, I don't care. Just adds to the paperwork. Xander leans back and rubs his eyes. WILLOW Tired? XANDER Too much work. My demon eye is throbbing. WILLOW Would dinner and a movie help at all? XANDER Sorry, but I can't. I want to get as much done as I can before Dawn gets here. WILLOW Fine, but you're missing one heck of a scifi adventure. XANDER I'll catch it another time. I haven't even started the Gachnar file. ----------------------------------------------------------------------------------------------------- 9. WILLOW Well, it should be a short report. (indicating with her fingers) The guy was only like this big. XANDER Turn your phone to silent. I'll text message you if I ever get done. WILLOW Done. Bye. Xander waves as Willow walks out of the room, and out of the house. Once she's gone, he turns back to his files. He opens a new folder and skims it's contents. He makes a couple of notes in the folder. EXT. ALLEY - NIGHT Buffy walks through the alley as drops of water fall around her. Remnants of rain that has been over for minutes, but which has left no evidence of it's existance on Buffy herself. Finally, she stops walking. That feeling coming over her again. She turns her head slightly, as though listening to something behind her. From the shadows ahead of her, PRAX appears. He is a very threatening looking demon with rippling muscles and a face which looks like it's been pulled tighter than Joan Rivers'. He wears jeans and a t-shirt, but no shoes. He looks Buffy up and down. She ignores him. Prax smiles, pulling his face tighter and causing his skin to tear and bleed on his forehead. When he speaks, it's with an Irish accent PRAX Slayer. I've heard about you. He steps closer to her, looking her up and down. PRAX (CONT'D) Obviously those reports have been exagerated. I guess some demons like to make you sound bigger than you really are. Makes them look less pathetic. Buffy still isn't looking at him. Her eyes drift toward the ground as she ponders her next move, which is a thought completely unrelated to Prax. Prax reaches toward her and strokes her hair. ----------------------------------------------------------------------------------------------------- 10. PRAX (CONT'D) But you're just a small thing, aren't you? Frail to the eye. Soft to the touch. Not the most "here" person I've ever met either. Prax waits for an answer. None comes. He grows impatient. PRAX (CONT'D) Look, I was ready to do the whole "witty banter" routine, but if you're not into it, that's fine. We can get this over with. He shows his teeth again, which look normal enough until they TURN INTO FANGS. All of them. Razor sharp fangs, which are longer than vampire fangs. His EYES TURN RED and blood drips from them. His muscles tighten all over his body and his veins look as though they might break through his tightened skin. The skin on his left arm rips and blood drips down his elbow. Blood also soaks through his shirt, suggesting that more rips have occurred. This guy is not something that you would want to meet in a dark alley. He raises his fist and swings at Buffy. He hits her with all of his strength which would normally send someone flying, vampire slayer or not. However, Buffy isn't exactly normal anymore. The hit doesn't phase her at all. She's still not paying attention to Prax. Prax is annoyed now. He raises his hand and CLAWS GROW from his fingers, sharp as the teeth in his mouth. He swipes at Buffy, slashing her face open, but the WOUNDS HEAL as quickly as they form. BUFFY I feel you. I know you're here. PRAX That's what I was going for. Buffy finally looks at Prax. He's not who she was talking to and he just just a nuisance now. She punches him in the face O.S., which makes a nice SQUISHING sound. We then hear him drop as she turns her attention back to the shadows behind her. BUFFY I was talking to you. Her face betrays no emotion as she continues to speak into the shadows. BUFFY (CONT'D) Show yourself. ----------------------------------------------------------------------------------------------------- 11. ANGLE ON : THE SHADOWS As Angel emerges from them, looking Buffy squarely in the eyes. BUFFY (CONT'D) You've been following me for a while now. ANGEL I have. BUFFY Why? ANGEL You know why. Angel looks down at the Scythe. ANGEL (CONT'D) Is this the part where you kill me? BUFFY No. ANGEL Good. That would have been a bad thing. BUFFY It's... Good to see you. ANGEL You're a hard person to track down. I've looked in all of the phone books. Even Googled you a couple of times, but most of the results were for porn sites. (beat) Which I didn't click on. BUFFY You should have stayed away. ANGEL You know that wasn't an option. People are worried about you. BUFFY They shouldn't be. ANGEL They don't have a choice. You can't just vanish off the face of the earth and expect the people who love you to move on. ----------------------------------------------------------------------------------------------------- 12. BUFFY I don't have time for phone calls. ANGEL Make time. BUFFY It's not mine to make. ANGEL Buffy, listen to me-- BUFFY Buffy doesn't live here anymore. Angel's confused now. ANGEL Whah? Wait... Is this some kind of possession thing? BUFFY No. (beat) I was being metaphorical. ANGEL Oh. Okay. BUFFY I don't have time for phone calls and birthday parties. This isn't some desk job where I can put in for time off and stock options. ANGEL So you turn your back on them? BUFFY I turn by back for them. Do you have any idea what I have to deal with? I am the last Slayer. Possibly ever. ANGEL I got the memo. BUFFY Well, did you read the small print that mentions the plagues of demons covering this planet just waiting for me to die so they can take over? This is war, Angel, and I'm the army. ANGEL You can't go into this war alone. ----------------------------------------------------------------------------------------------------- 13. BUFFY Who's gonna back me up? You? ANGEL For one. BUFFY You couldn't keep up. You'd just be holding me back and I don't have time to baby you right now. I don't have time to read documents and pull all-nighters trying to figure out how to kill one demon. ANGEL Nobody's asking you to. All I'm asking for is a phone call every month or so to let us know that you're not in a ditch somewhere. It has been known to happen. (beat) Do you have any idea what your family is going through? Your friends? BUFFY How many times have they been kidnapped and held hostage? How many times have demons used them to get to me? How many times have they been possessed, or put under some kind of spell? I don't have the option of family anymore. They'll know I'm not dead by the fact that the world is still spinning. WOMAN (V.O.) Around and around. INT. AIRPORT TERMINAL - DAY A woman, ALICE CARTER and her husband TOM CARTER are standing next to a wall near the terminal. Both are in their 30's, and very normal looking middle-class people. Alice is crying, and hers is the voice that we heard. ALICE It's like some carnival ride, and I just want to get off. I can't take it anymore. TOM We're getting help. This will be over soon. Alice smirks. ----------------------------------------------------------------------------------------------------- 14. ALICE That's what they say, isn't it? That's what they always say. All of the best doctors and all of the best equipment and we still have no idea what is wrong with them. They look over to the sitting area. ALICE (CONT'D) I can't stand to see her like this anymore. Tom takes Alice in his arms and holds her close to his chest. TOM I know. (beat) I know. ANGLE ON : SITTING AREA Near the wall where Alice and Tom are standing is this sitting area. In this sitting area sits ARIEL. She is a five-year- old girl, wearing a nice dress and with nicely brushed hair. She is holding onto a stuffed animal tightly as she rocks back and forth in her seat. Next to her is GRAMMA. She is a thin, very old looking woman with sunken eyes and a black dress. She is pretty much the female version of the evil guy from Poltergeist II. Gramma speaks very softly, with a strong southern accent, looking straight ahead. GRAMMA They're talking about you, child. They're always talking about you. Do you know what they're sayin'? Gramma looks to Ariel. GRAMMA (CONT'D) They're sayin' that you're one sick little girl, and they're right. All the doctors in the world can't fix what's wrong with you. They'll try though. Oh, they'll try. They'll strap you up to all kinds of machines and count how many times you blink in one hour to see if it fits their statistics and data. Blink once too many and they'll buzz you clear into next week. (beat) But don't you fret, little girl. (MORE) ----------------------------------------------------------------------------------------------------- 15. GRAMMA (CONT'D) Gramma's here with you and there ain't a power alive or dead that's gonna make me leave your side. You just remember that. PAN UP to see the terminal door as PASSENGERS start to exit the plane. Among these passengers is Dawn. She exits carrying one bag in her hand, and another on her back. She looks around the airport for a sign telling her which way she should be heading. Finally, she sees the proper direction and starts to walk to the right. As she walks, she pulls out her cell phone. She turns it on and dials a number. She puts the phone to her ear. INTERCUT WITH: EXT. SUNNYDALE MAIN STREET - DAY Willow is window shopping when her phone rings. She answers it. WILLOW Hello? DAWN Hey, it's me. WILLOW Hey. Where are you? DAWN LA. I'm here for a few hours. WILLOW That has to be boring. DAWN I have reading to do anyway. I just wanted to call so I'd look all cool and occupied as I walk through the airport. I usually feel awkward and goofy. WILLOW Okay. I'm not sure what to say to that. DAWN I'm just going for a cooler spy-guy persona this time. Right now, anyone watching me is wondering who I'm talking to and why I'm walking with such urgency. ----------------------------------------------------------------------------------------------------- 16. WILLOW You're walking with urgency? DAWN Yeah. Y'know, that whole "on my way to someplace important" walk that they do in movies. I could totally be in slo-mo right now. WILLOW This is a very strange discussion we're having. DAWN Yeah, but it makes sense in my head. WILLOW I guess that's all that matters. (beat) Remind me to introduce you to my mother. I think she'd like you. DAWN Anyway, I guess that's all I have to say. Just checking in. WILLOW Call me when you're about to take off again. DAWN Will do, boss. (then) That's my important business woman mystique. WILLOW I thought you were spy-guy. DAWN I was. Now I'm business woman-guy. WILLOW Okay. I'll... talk to you later. DAWN Bye. Dawn hangs up her phone, but continues to fiddle with it, looking very occupied as she makes her way through the airport. As she walks with her eyes on the phone, she doesn't see a MAN in her path. She bumps into him and quickly loses all of her mystique. ----------------------------------------------------------------------------------------------------- 17. DAWN (CONT'D) Oh, God. I'm sorry. I didn't see you. MAN (turning) That't fine. I was-- As he turns, we see his face. Dawn is shocked to see RYAN CRANE standing in front of her, equally shocked to see her. DAWN Ryan. FADE TO BLACK: END OF ACT ONE ----------------------------------------------------------------------------------------------------- 18. ACT TWO FADE IN: INT. AIRPORT TERMINAL - DAY Dawn and Ryan are standing where they were when we left them, still taking in the shock of seeing each other. Dawn smiles. DAWN Ryan. (beat) Which I've now said twice. Ryan is not smiling at all. Seeing Dawn is confusing to him, and causes a rush of emotions, but none of them spark a smile. He backs away from her, shaking his head. Telling her to stay away. He then turns and walks away, leaving Dawn alone and confused. DAWN (CONT'D) Good to see you too. Dawn looks around the airport, having lost track of where she was going. After a moment, she gathers her senses and starts to walk again. INT. GILES' FLAT - NIGHT Giles walks into his home and removes his jacket. As he turns on the light and walks into his living room, he stops to look around. The room is perfectly kept. Not a pillow out of place, and not a sign of dust to be seen. It's well decorated. Filled with many heirlooms, and certificates, and other various knickknacks that he has gathered over his lifetime. Things which would make any man proud of his life. As he looks over this room, however, all that he can see is that it's empty. All of his life's work and his many accomplishments have led him to an empty home to come back to at night, and no friends to be seen on the same continent. There's a KNOCK at his door. He turns with a slight glimmer of hope in his eyes, which quickly turns to puzzlement. While he may be happy to actually have someone to talk to, he also knows that there would be no good reason for someone to be dropping by unexpectedly. He walks to the door and opens it. When he does, he finds MARGE standing on the other side, holding an envelope. ----------------------------------------------------------------------------------------------------- 19. GILES Marge? What are you doing here? MARGE Two things. First... She reaches into her pocket and pulls out a cell phone. She hands it to Giles. MARGE (CONT'D) You forgot your phone. "Forgot" may be the wrong word, actually. Seeing as how it's never left your desk drawer. GILES I've never really warmed up to them. Always being... reachable. MARGE Yes. Reachable. That's exactly what they're for. So that when a notice comes into the office five minutes after you leave, you can be reached and told about it. GILES Are you all right? Come in. Giles moves aside and Marge walks in. GILES (CONT'D) What's happening? MARGE Here. Read for yourself. She hands Giles the envelope. He opens it and pulls out a piece of paper. MARGE (CONT'D) Oh, and we're supposed to believe that this came after you left, just by coincidence. You left three hours after normal business ended! Giles skims the paper. GILES (still reading) Our office is being taken off of the search for unified demon groups? (reads on for a moment) It's being reassigned to tactical? ----------------------------------------------------------------------------------------------------- 20. MARGE Unbelievable, isn't it? The one job of any substance that we've been given and it's taken away from us. They wouldn't even have this information if it weren't for you. GILES I don't understand. How can they believe that tactical would be the better place for this? They have the researching skills of a...a... Xander. MARGE I'm sorry? GILES You wouldn't get that. I just couldn't think of anything better to say. MARGE So it looks like we're back to babysitting the interns and reading newspaper clippings, hoping for some sign of the missing Slayer. Marge stops herself now, remembering that Giles isn't just any other Watcher, and the Slayer isn't just any other Slayer to him. MARGE (CONT'D) I'm sorry. I didn't mean to-- GILES It's okay. I agree. We shouldn't be sitting around, waiting for her to show up. MARGE So what do we do? GILES I don't know. They stand in silence for a moment, trying to figure out what comes next. MARGE Drink? INT. WATCHER'S COUNCIL BUILDING - HEWITT'S OFFICE - NIGHT Mr. Hewitt walks into his office, locking the doors behind him with the touch of a button next to them. He walks to his desk and sets a folder down on it as he grabs a remote control and pushes a button which brings the TV screens around the room to life. They display images of dead demons. ----------------------------------------------------------------------------------------------------- 21. Some images are of the recent slaying in the woods. Mr. Hewitt studies these images for a few moments, thinking deeply on them. He picks up his phone and hits a speed-dial number. INTERCUT WITH: INT. WILLOW AND XANDER'S HOUSE - LIVING ROOM - DAY Xander is still sitting on the couch. He's now writing in a notebook when the PHONE RINGS. He answers it. XANDER Hello? MR. HEWITT Mr. Harris? This is Daniel Hewitt. XANDER Mr. Hewitt, hi. I wasn't planning on calling you until Monday. MR. HEWITT Yes, I know. I was hoping that you might have something to show me today. XANDER Today? I'm sorry, but I don't. I'm still working on those... Papers that you wanted me to write. I haven't even typed them up yet. MR. HEWITT I understand that. However, I was hoping that you might have a sample that I could look at. Just to make sure that we're seeing this project in the same light. Mr. Hewitt opens the folder on his desk. MR. HEWITT (CONT'D) I've seen a few of Mr. Giles' journal entries that were interesting. We can pick one of those subjects. How about this... Glorificus? I've read the notes that we have on her, but I'm eager to see what you have to say about such an interesting subject. XANDER Glory? I--um... I haven't even started on that file yet. I was working in a chronological order. I don't suppose I could interest you in a blurb about Adam? ----------------------------------------------------------------------------------------------------- 22. MR. HEWITT No. (beat) How about if I give you until Monday to write up that report on Glorificus? That should be plenty of time to write down all of the information that you have. Xander is obviously thrown off by this, but doesn't want to get in trouble with the boss. XANDER Yes, sir. I will try to have that report for you by Monday. MR. HEWITT Good. I look forward to reading it. Until then... XANDER Wait. I just... I wanted to ask if you've heard anything about Buffy. Have there been any more sightings? Mr. Hewitt looks up at the screens. MR. HEWITT We've heard some rumblings. Nothing specific. XANDER Any word on a location? MR. HEWITT Like I said, we only have rumors really. They lean toward England at the moment. XANDER England. Got it. Thank you. MR. HEWITT Whatever I can do to help you and your friends. XANDER Thank you, sir. MR. HEWITT Good-- (looks at watch) --day, Mr. Harris. Mr. Hewitt hangs up. We stay with Xander as he hangs up the phone. ----------------------------------------------------------------------------------------------------- 23. XANDER Glory. Why'd he have to pick Glory? (beat) Stupid Glory and her stupid scabby minions. Xander gets up and walks out of the room, toward the kitchen. INT. WILLOW AND XANDER'S HOUSE - BASEMENT - DAY Xander walks down the stairs of the basement. There is a work bench set up at the bottom of the stairs. The rest of the basement is a blur of boxes and tarp-covered furniture. Xander walks to the work bench, which also has a peg-board hanging behind it. He removes the board from the wall, revealing a map of the world that has several flat-topped thumbtacks sticking into it. He sticks another tack into the map, over England. He then replaces the peg-board and starts back up the stairs. XANDER Stupid Glory and her curlier-than- thou hair. He turns off the light as he leaves the basement. INT. AIRPORT TERMINAL - DAY Dawn is in the sitting area of a terminal now, reading a book entitled "Medieval Demonology And The Modern Slant" The seats behind her are empty, as is most of this terminal for some reason. RYAN (O.S.) "Ryan, I don't have a lot of time to say the things that I want to tell you, so I will have to do the best I can and settle for sounding crazy..." Dawn looks back and sees Ryan sitting behind her. His back is to her as he speaks, and he doesn't turn around. RYAN (CONT'D) "Demons are real. Vampires, werewolves... Everything that you ever feared but knew couldn't possibly exist. That's why we came to Bear River and why we have to go back to Sunnydale. I wish that I could explain all of this and have it make sense, but I can't. All I can tell you is that there are people in this world that are willing to give their lives fighting these demons and I'm one of (MORE) ----------------------------------------------------------------------------------------------------- 24. RYAN (CONT'D) them. I don't know if I'll ever come back or if I'll ever see you again, but I wanted you to know this. I'm tired of lying to everyone I care about. Look around you. See it. Be careful." DAWN You read the letter. RYAN Yeah. I looked at it once or twice. Sounded pretty crazy though, so I shrugged it off and moved on. That is, until I remembered that Sunnydale was supposed to be a giant hole in the ground. Then that virus was all over the news. Girls dying everywhere, and the reporter was live from the giant hole in the ground. DAWN There's so much that I can explain. Why that happened. How it happened. RYAN How 'bout explaining why you never bothered to come back. DAWN I was going to. (beat) You told me not to. I thought it might be easier-- Ryan chuckles at this. RYAN Seriously? This is your story? DAWN It's true. Ryan finally turns to look at her. RYAN I broke up with you, Dawn. I didn't know I was sending you off you some demonic war. You tell me all of this and then you just never come home. How am I supposed to not think that you were one of those girls? (beat) Did you know that Jenna died? ----------------------------------------------------------------------------------------------------- 25. DAWN I was there. I saw it. (tears up) I watched all of those girls die. RYAN Her parents went crazy. At first they couldn't even find her and then they get this phone call telling them that she's in California. (beat) Her little brother was crying because he blamed himself for her death. If it weren't for him, she wouldn't have run away. (beat) You saw the girls die, but you didn't have to watch what happened next. You didn't have to stare at a ceiling every night, wondering if someone you cared about was still alive. DAWN (barely a whisper) Yes I did. RYAN What? DAWN I did have to worry. I still have to worry. Look, I know that I dropped a pretty big bomb on you before I left and I'm sorry about that, but don't you dare try to make me the bad guy. Don't you dare try to assume that you knew what was going on. Ryan backs off a little, seeing that Dawn is truely upset by something that happened that night. DAWN (CONT'D) Those girls that you saw on the news all had names and faces, and I knew a lot of them. They were Slayers. Born to fight those demons that I told you about. Only one of those Slayers lived through that night and I do lie awake every single night, worrying about her. RYAN Buffy. Dawn just nods and the struggles to hold back tears. ----------------------------------------------------------------------------------------------------- 26. RYAN (CONT'D) I didn't know. DAWN It's fine. Whatever. Let's just forget that we even saw each other, okay? Go home and forget everything that I ever told you. You're better off not knowing. They turn away from each other and sit in silence. After several moments of reflection, Ryan turns back to Dawn. RYAN It's not okay. I don't want to forget. Dawn looks at Ryan. RYAN (CONT'D) Tell me what happened. INT. WILLOW AND XANDER'S HOUSE - KITCHEN - NIGHT Xander is at the counter, making a sandwich. He's tired and not in a happy mood. Willow walks through the back door, smiling and bubblie. WILLOW Hey there, fiance. Whatcha doin'? She sees that he's making a sandwich. WILLOW (CONT'D) If I knew you were okay for dinner, I'd have made something. XANDER Just a quick break and then back to work. WILLOW Work? More? XANDER Have to. WILLOW Blow it off. C'mon. We're engaged. We should be celebrating. Let's go someplace romantic, huh? We could go bowling. ----------------------------------------------------------------------------------------------------- 27. XANDER You have no idea how much I wish I could. I just can't. Mr. Hewitt wants me to have a full write-up on Glory by Monday. WILLOW Glory? Why her? She's so... (beat) And she tried way to hard to be scary. XANDER Random pick, I guess. I didn't ask too many questions. WILLOW Probably smart, considering that the Council might get annoyed and have us both chopped into little bits. This Hewitt guy kinda freaks me out. XANDER At least you're not working for him. The guy's like Quentin Travers on meth or something. WILLOW Are you sure you need this job? XANDER As sure as I am that we need this mortgage. WILLOW I'm working now. Xander puts his arm around her. XANDER You gonna be my sugar-momma? WILLOW Why not? You could be a stay at home dad when we're married. XANDER Wow. Kids. Neat. WILLOW Am I rushing? I'm rushing. XANDER No. No, not rushing. I just never had those thoughts out loud before. WILLOW And are they happy thoughts? ----------------------------------------------------------------------------------------------------- 28. XANDER They are. Just so long as we don't have to give our firstborn to the Council. (beat) I knew I should have read that contract before I signed it. Willow smiles as Xander takes a deep breath. He picks up his sandwich. XANDER (CONT'D) Back to the coal mines. WILLOW Good luck. If I can help at all, let me know. XANDER Maybe. You could explain that whole brain-sucking thing. He kisses her on the head and walks out of the room. She watches him go, wishing that he didn't have so much work to do just now. She then looks to the counter where the bread bag is still open, the used butter-knife is resting, the cheese wrappers are tossed and the lunch meat remains. She grows annoyed. WILLOW Damnit. She starts to clean up. WILLOW (CONT'D) Do I look like your mother? No. INT. WATCHER'S COUNCIL BUILDING - HALLWAY - NIGHT Mr. Hewitt is walking down the hall, carrying several papers. His CELL PHONE RINGS. He pulls it out of his pocket and looks at the number on the caller-ID. It reads : GILES, RUPERT. Mr. Hewitt puts the phone back into his pocket as he reaches the office. He has no intention of dealing with Giles tonight. As he reaches his office door, he taps a button on the side of the door, and the door slides open. He walks inside. INT. WATCHER'S COUNCIL BUILDING - HEWITT'S OFFICE - CONTINUOUS The door closes behind Mr. Hewitt as he enters the dark room. He looks around and sees several of the TV screens flickering, giving the room an almost strobe light-like effect. ----------------------------------------------------------------------------------------------------- 29. MR. HEWITT Hello? A voice fills the room. Female. Strong English accent. FEMALE VOICE Twenty chickens, all in a patch. A wolf swoops in and picks one to snatch. MR. HEWITT Who is that? Who's there? A FIGURE walks across the room, stopping just in front of Mr. Hewitt. As the light flashes on her face, we can see who she is. It is DRUSILLA. DRUSILLA That's what she does, you know? Plucks us off, one by one. Like feathers from a chicken. MR. HEWITT Drusilla. Mr. Hewitt looks back to the door, but it is closed. He is alone with her. DRUSILLA Door's locked. Building's empty, but for the few below. We're all alone. MR. HEWITT Why are you here? DRUSILLA Because of her. MR. HEWITT The Slayer? DRUSILLA She moves across the world, killing us as she goes. We huddle and hide in caves to avoid her, but our time is coming. MR. HEWITT I don't know what you want me to do. DRUSILLA I want you to stop it. MR. HEWITT How? I can't keep track of her any more than you can. ----------------------------------------------------------------------------------------------------- 30. DRUSILLA But you know her secrets. (finger over lips) Shh. Drusilla licks her finger as her hand moves away from her face and she walks around to Mr. Hewitt's back. He doesn't turn. He doesn't want to provoke her. DRUSILLA (CONT'D) Daddy's with her now. Do you know what that means? Hewitt doesn't answer. DRUSILLA (CONT'D) It means that she's going to be very angry come sunrise. MR. HEWITT Do you know where she is? DRUSILLA It doesn't matter where she is. All that matters is where she'll be. Mr. Hewitt turns to face Drusilla. MR. HEWITT Where? DRUSILLA Right where we want her. Hewitt swallows hard. He shakes his head and then looks Drusilla squarely in the eyes. MR. HEWITT We're not ready. Drusilla smiles. FADE TO BLACK: END OF ACT TWO ----------------------------------------------------------------------------------------------------- 31. ACT THREE FADE IN: INT. AIRPORT - MAGAZINE SHOP - NIGHT Alice is standing near a magazine rack. She's not reading anything. She's just standing there. Ariel is off to one side, with Gramma. Ariel doesn't say anything. She doesn't look at anyone. She keeps her eyes on the ground. Gramma, however, is more talkative. She looks around the airport. GRAMMA So many people just goin' about their lives. Rushin' off on business trips, and vacations. How many of them do you think are being shipped to the funny farm? Gramma bends down to Ariel and looks her in the eyes. Ariel is scared of her. GRAMMA (CONT'D) But don't worry, child. None of them is lookin' at you. Not a one would even mind it if you was to drop dead right here in this spot. Gramma smiles big. GRAMMA (CONT'D) Don't fret none. You ain't dyin' here. Mm-mm. You're goin' back up in that sky in one of them big metal boxes. Couldn't get out even if you wanted. Scream all you want and still can't escape it. Do you know what lives up there? All kinds of monsters. Just as many as down here. Pickin' apart at the plane, just tryin' to get it to go down. Ariel starts to cry. Alice looks at her and bends down to her level. ALICE Come on, sweetie. Don't cry. Not now. ARIEL She's here, Mommy. She's here. ----------------------------------------------------------------------------------------------------- 32. ALICE There's nobody here but us. ARIEL But she is! She's here and she says that the plane is gonna crash and we can't get out! An OLDER MAN standing nearby looks in their direction. Alice sees him and tries to smile it off. The man goes back to his own business and Alice turns back to Ariel. ALICE Ariel, that's enough. No more of this. There is nobody else here. There is nobody talking to you. It's in your head. ARIEL But she's not in my head! She's real, Mommy! GRAMMA Yes I am. Don't you forget it neither. ALICE Ariel, stop it. GRAMMA (singing) Goin' up in that sky. Kick and scream and cry and cry. Plane falls down and hits the ground and little girls will surely die. Yes, little girls will surely die. Gramma laughs now and claps her hands together. Ariel begins to sob and latches onto her mother. ARIEL Make it stop! Make her stop, Mommy! GRAMMA Mommies die to, child. Ain't nothin' she can do to stop it. Surely as she couldn't save that brother of yours. (pats belly) And mmm, was that boy good. 'Specially toward the end when he was pullin' his hair all out and scratchin' at the walls till his nails pulled clean from the fingers. Ariel puts her hands over her ears and yells to keep Gramma's voice away. ----------------------------------------------------------------------------------------------------- 33. GRAMMA (CONT'D) Hide all you want. Won't help none! ARIEL Go away! Go away! ALICE (embarrassed) Ariel, stop yelling. Please stop yelling. ARIEL Help me, Mommy! GRAMMA Can't help you, child. Can't even see your ol' Gramma. Gramma laughs. Tom walks up and sees what's happening. TOM Again? ALICE I can't do this. Not again. TOM We're almost there. ALICE And what makes this place any different? TOM It just is. Tom doesn't believe what he's saying any more than Alice does, but he has nothing else to say to her. ALICE How much longer are we stuck here? TOM I don't know. The flight's been pushed back another two hours. Something with the plane. ALICE Two hours? What are we supposed to do for two hours? TOM I don't know. Alice looks at her watch. ----------------------------------------------------------------------------------------------------- 34. ALICE We could drive there in three. Tom thinks it over. Finally, he nods. They head out. Gramma follows. GRAMMA I love a car ride! I ever tell you about the ways a girl could die in a car? INT. AIRPORT TERMINAL - NIGHT Dawn and Ryan are still sitting in their chairs, talking. Dawn's finishing up a story. DAWN So she left. Just walked away and I haven't seen her since. RYAN Damn. (beat) You think she's okay though? DAWN She's alive. I know that much. Ryan thinks about this and lets it sink in. RYAN I had no clue. DAWN Not many people do. Another somber moment and then Ryan smiles. Dawn thinks this odd. DAWN (CONT'D) So this is funny? RYAN No. It's just weird. Vampires, demons... I mean, I've known about them for a while, but it's still so crazy. I guess it's just one of those things that doesn't sink in until you see it first hand. DAWN Maybe. I don't know. RYAN What was it like for you? Seeing your first vampire, or whatever? ----------------------------------------------------------------------------------------------------- 35. DAWN I honestly don't remember. I remember Buffy telling me about them when I was nine. Before she even told Mom. I guess she was worried about me or something. (extended beat) But that's not exactly the way it really happened, so I guess I officially saw my first vampire about six or seven years ago. RYAN Not how it happened? DAWN (smiles) Long, long story. Really long. RYAN You have someplace else to be? Dawn looks at her watch and her eyes widen. She jumps up. DAWN Oh, God! My plane! It should have been boarding by now. She rushes over to where the arrival and departure listings are displayed and scans the screen for her flight. She then lets out a sigh as Ryan catches up, carring her bags. DAWN (CONT'D) Delayed. I'm here for another couple of hours. Ryan thinks for a moment and then decides on a course of action. RYAN You said that Sunnydale was three hours away? DAWN More or less. RYAN I have a car outside. You wanna drive? Dawn's confused. DAWN You have a car? Why are you in the airport then? ----------------------------------------------------------------------------------------------------- 36. RYAN (smiles) Long story. DAWN Okay, so lead the way to your car and tell me what's going on. RYAN Deal. They start to walk. RYAN (CONT'D) Where do you want me to start? DAWN How about where we left off last time? RYAN Do you want me to leave out the parts where I burn your pictures and grow angrier at you with every passing day? DAWN Umm, no. That's the best stuff. RYAN If you say so. (beat) So you broke up with me and that's when I first knew that I hated you. DAWN Good story. (beat) Wait, didn't you break up with me? I seem to remember a whole "Don't come back" speech. You said so yourself just a little while ago. RYAN That was after you hadn't spoken to me for a good long while. DAWN So, we were on a break. Ryan laughs. RYAN If you say so. (MORE) ----------------------------------------------------------------------------------------------------- 37. RYAN (CONT'D) Anyway, I was doing that whole depressed, angry thing and not paying attention to much for the next few days. The news was full of stories about that mystery plague that swept the world, but I was too busy moping about my ex-girlfriend to notice. DAWN Sweet. RYAN Not really. I did finally come out of my funk and planned to tell you off like any self respecting man would do in my situation. That's when I went to your house and found the letter. DAWN You just went in? RYAN Well, the back door was open. (beat) After I threw a rock through the window and unlocked it. DAWN You were going to vandalize my house? RYAN No. I was just worried. You had about fifty newspapers in your front lawn. DAWN Sure. RYAN I was! DAWN Mm-hmm. RYAN Anyway, I found the letter. You sounded more insane than before and I wrote you off until I saw that news report. Then things seemed a little out of whack. That guy in the alley that night. When we were attacked. DAWN Vampire. ----------------------------------------------------------------------------------------------------- 38. RYAN See, I thought so. And then a few other things started to look different in town. DAWN Like Pleasantville when the color got spread around. RYAN Exactly. (beat) That's how I started believing. I read some stuff online but still never saw anything that I could point at and say "demon". So I just had to deal with it on my own. DAWN You should have looked me up. Sent me an e-mail. Text message my cell phone. RYAN I thought you were dead. Especially after your house burned down. DAWN Wait... My house burned down? RYAN The one you lived in, yeah. A couple of weeks after you left. Nobody knew the cause, but they marked it up to old wiring. (beat) Man, you guys had a lot of weapons in there. I walked through some of the debris and found about three swords. DAWN Nobody else found them first? Fire department? RYAN We're lucky if they put fires out. They knew you guys were gone, so they didn't bother to look through the place too much. DAWN How did it really burn down? Do you know? Ryan shrugs. ----------------------------------------------------------------------------------------------------- 39. DAWN (CONT'D) Weird. RYAN You don't think it was the wiring? DAWN Possible, but not likely. What are the odds that the Slayer's house would burn down just after the Night of Morel Divineh? RYAN I'm guessing small? DAWN Yeah. RYAN But... I just mean... The place was really old. That's a pretty big ingredient for fire, right? Dawn takes the lead as they head through the exit. DAWN So naive. EXT. AIRPORT PARKING LOT - NIGHT Dawn and Ryan walk through the parking lot. Ryan is now in the lead, seeing as how he knows where he parked. DAWN So, what else has been happening? Any big drama? Anyone I know get eaten? RYAN Not that I know of. I have been gone for a few weeks though. DAWN Which brings me to the question of the hour. Why? Ryan thinks for a moment as he looks around the parking lot. RYAN You don't happen to see a '68 Mustang anywhere, do you? Kinda cranberry color. Convertable. DAWN No. Did you park it around here? ----------------------------------------------------------------------------------------------------- 40. RYAN Oh, no. I just want one like that. I'm the crappy Honda right here. They walk up to Ryan's car, which is an old rundown Honda of some sort. He opens the trunk and puts her bags in. RYAN (CONT'D) The door should be unlocked. They walk around the car, toward their doors. RYAN (CONT'D) I say that as though there were a chance they'd actually be locked. They get into the car. INT. RYAN'S CAR - CONTINUOUS After buckling up, Dawn turns to Ryan. DAWN So, avoiding the question? RYAN Which question was that? DAWN Why you're here. Ryan starts the car and begins driving. RYAN Right. Good question. DAWN C'mon. RYAN I was dropping off my sister. DAWN That's it? RYAN Yeah. More or less. (beat) We were on this roadtrip. She wanted to go home early, so I dropped her off. DAWN Why'd she want to go home? You're okay, right? You're not sick? ----------------------------------------------------------------------------------------------------- 41. RYAN No, I'm fine. The trip's my last hurrah before I ship out. DAWN Where are you going? RYAN Army, I think. I tried the whole college thing and that didn't work out, so I went back to the video store for a while, but that sucked. Then I got to thinking about the big evil in the world and how to do my part. (beat) I guess the Army doesn't do demons, but it's still something, right? DAWN Yeah. And they do do demons. If you ever need some strings pulled to get into a top secret demon fighting Army squad, let me know. I have connections. (beat) You're really doing this though? There's war. People die. RYAN This coming from you? DAWN Good point. (beat) So Kirsty left when you told her? RYAN Well, she'd been grumpy the whole time. After she figured out that a road trip would require a gas powered automobile I kinda started to lose her. The Army thing was just the clincher. (beat) I don't think I'll be getting any letters from her. DAWN She's that upset? RYAN Yeah. Not as bad as my parents though. Did you ever meet them? Dawn shakes her head. ----------------------------------------------------------------------------------------------------- 42. RYAN (CONT'D) Well, imagine Kristy times ten. She's not talking to me, but they pretty much disowned me. DAWN Seriously? RYAN Yeah. (beat) I'm sure they'll come around though. It'll just take time. DAWN Right. (beat) Yeah. There's a long silence. Finally, Ryan perks up. RYAN So, did I tell you that I dated Shelly for a while? INT. RENTAL CAR - NIGHT Along a stretch of open desert-like area, Tom and Alice are driving down the road. Neither one of them is very talkative. In the back seat, Ariel is resting her head against the window, watching the street lights go by as Gramma sits next to her. GRAMMA My, how we're going fast. In my day you'd have to kick a horse pretty damn hard to get speed like this. Gramma looks to Ariel. When she gets no response, she leans a little closer. GRAMMA (CONT'D) Not talking to Gramma? What kind of manners is that? You oughta respect your elders, child. Time was you'd get a whoopin' for behaving like you do. Still no response from Ariel. Gramma takes a deep breath. She looks out her window. GRAMMA (CONT'D) Look at those lights flashing right by. Speed. It's all about speed, isn't it? (MORE) ----------------------------------------------------------------------------------------------------- 43. GRAMMA (CONT'D) All these cars and gadgets for you kids today. Always on the go. Always needin' everything right now. Nevermind the fact that you're headed face first for that brick wall. Oh, it's coming and before you can do something about it, your parts are stretched thirty feet along the road. Gramma waits for a response, but none comes. She looks to Ariel, getting annoyed. She takes a deep breath and moves on. GRAMMA (CONT'D) Don't worry though. I'm sure your Momma and Daddy will be dead long before you. That's how it is mostly. Before you know it, you'll be all alone in this world. Why, I bet they could die any minute now. Gramma leans up and looks at the back of Tom's head. GRAMMA (CONT'D) Yup. This one's gettin' close. She grins and looks back to Ariel. Ariel looks toward her father. GRAMMA (CONT'D) That one got a rise out of you, didn't it? (beat) Yes, this car sure does move fast. One stray dog, or even an unfortunately stupid squirrel and your Daddy's face will see that glass up there real close. (beat) Does he look distracted to you? Ariel starts to tear up. She tries to hold it back, but Gramma sees the crack in her armor. Suddenly, there's a POP. The car swerves a little as Tom struggles to keep control. ALICE What was that? TOM I think a tire blew. ALICE Are you kidding me? What else could go wrong? ----------------------------------------------------------------------------------------------------- 44. Tom looks up ahead and squints a little. TOM There's a diner. I'm stopping. Ariel is keeping a fearful eye on her father as he handles this problem. Gramma has her eye on Ariel. GRAMMA Close your eyes, dear. Close your eyes and fall asleep quick. Gramma looks out her window. GRAMMA (CONT'D) Hurts less that way. FADE TO BLACK: END OF ACT THREE ----------------------------------------------------------------------------------------------------- 45. ACT FOUR FADE IN: INT. RYAN'S CAR - NIGHT Ryan and Dawn continue to drive. They're on a stretch of road not unlike the stretch that Tom and Alice were driving on. DAWN I'm the first to admit, I have issues. A lot of issues. I have more issues than National Geographic. I heard that line somewhere before, but I forget where. RYAN So that's why you went to live with him? DAWN Maybe a little. It definately helped to have some family after Buffy left. Someone to lean on like I did with Buffy after Mom died. RYAN What about Xander and Willow? Aren't they like family? DAWN Yeah. I did stay in Sunnydale for a couple of weeks. Long enough for them to buy the house and tell me how welcome I was to live there. Dawn tries to think of the right way to phrase what she's thinking. DAWN (CONT'D) They're family. Closer than blood. It's just that with Willow going back to school and Xander... doing other things, life was moving on. Not so much demon hunting. Just normal life stuff. RYAN And you were the third wheel. DAWN Kinda. It wasn't a group anymore, it was them and me. (beat) I'm saying this wrong. It's just hard to explain. ----------------------------------------------------------------------------------------------------- 46. RYAN I get it. DAWN Plus, the college I needed to go to was near Dad. You'd think you could learn all about demonology in Sunnydale, but the really good teachers tend to shy away from Hellmouths. (beat) It's good though. I got to know my father more. I even understand him every once in a while, and now I know where I get my keen ability to ramble on for hours without making an ounce of sense. RYAN Sounds like a good deal to me. (beat) Aside from the dead mother and missing sister parts, and I meant that to sound much more sensitive than it came out. DAWN Don't worry about it. I'm not one of those people who's all shy when it comes to dark topics. I can laugh about death as much as the next person. (then) Hey, how many corpses does it take to screw in a lightbulb? RYAN How many? DAWN None. They actually prefer the dark. Ryan doesn't even smile a little. The car falls into a deadly silence. Dawn knows that it was a bomb of a joke and tries to recover as gracefully as possible. DAWN (CONT'D) Because they can see in the dark and normal people can't. (really long beat) I started the joke before I had a punchline. I had to think fast. Ryan smiles as he looks straight ahead, at the road. He doesn't smile at her joke. He's smiling because of her. ----------------------------------------------------------------------------------------------------- 47. DAWN (CONT'D) Sure. Laugh at my bomb of a joke. RYAN You know, I've spent the better part of two years hating you. DAWN Umm... Okay. RYAN I have. Since before you left, when you started avoiding me. Then with that letter, and not calling me... I hated you. Seriously, like, a lot. Dawn's not sure what to do with this information. RYAN (CONT'D) And then I saw you in the airport and it just went away. I tried to be mad, and I tried to tell you everything that I've been wanting to say since you left but I couldn't. It was just gone. One hour with you and it's like nothing bad ever happened with us. Dawn breathes a sigh of relief. She still doesn't know what to say, but in a good way now. Ryan looks over and sees that she's stumped. RYAN (CONT'D) Sorry. I just had to say that. DAWN It was good. RYAN Really? DAWN Yeah, really. RYAN Well, you know... I did spend a lot of time around chick flicks. He looks up ahead and notices something. RYAN (CONT'D) Hey, are you hungry? DAWN You really have been away from me for a while. ----------------------------------------------------------------------------------------------------- 48. RYAN Right. How 'bout a burger? DAWN Sounds good, but I'm buying. RYAN We'll see. Ryan pulls into a parking lot. DAWN No seeing. I'm paying. RYAN Sure you are. DAWN Seriously. INT. DINER - NIGHT Ryan and Dawn walk into the diner and take a look around. The place is nearly empty, except for Tom, Alice and Ariel sitting in one of the booths. The diner itself is old, but not too bad looking. Shiny chrome and stools at the counter that don't have any patches or anything like that. There is one WAITRESS working behind the counter. RYAN Booth or counter? DAWN Counter. Seems weird to eat in an old diner and sit at a table. RYAN If you say so. Ryan lets Dawn go first as they sit down at the counter. The waitress comes over to them. She hands them menus. WAITRESS Coffee? RYAN Please. DAWN I'll just have a glass of water... (reads menu) Ooh! And a chocolate malt. ----------------------------------------------------------------------------------------------------- 49. WAITRESS One coffee, a water, and a chocolate malt. DAWN Don't worry about the water. I was just trying to be girlie. The waitress nods, pulls a coffee cup out from under the counter and puts it in front of Ryan. She grabs the coffee pot from behind her and fills the cup. WAITRESS The malt will take a sec. The waitress goes off to make the malt, leaving Dawn and Ryan alone. They look over their menus. RYAN Anything jump out at you? (beat) From the menu, I mean. DAWN Only about half of it. It'd probably be more than half if they didn't have a salad section. RYAN Well, don't hold back. Whatever you want. DAWN Yeah, because I'm paying. RYAN This could go on for a while, couldn't it? DAWN We should just put off this debate until the check comes. RYAN Deal. They continue to read their menus. DAWN Decide on anything yet? RYAN Probably just the bacon burger. Maybe onion rings. ----------------------------------------------------------------------------------------------------- 50. DAWN Wanna split the bacon burger and the fried chicken sandwich? RYAN You get fries. DAWN Done. They put their menus down. DAWN (CONT'D) Well that was easy to slip back into. ANGLE ON : TOM AND ALICE'S TABLE Tom and Alice are sipping cups of coffee while Ariel picks at a piece of pie without actually eating any of it. Both parents are as mesmerized by the pie as Ariel. Probably because neither of them wants to talk very much. Ariel starts to tear up, but her parents say nothing. She puts her fork down and sits back, trying not to cry. Alice looks at her watch. ALICE It's been a half hour. Where are they? TOM They're coming. It takes time when you're in the middle of nowhere. Ariel starts to rock herself back and forth. ARIEL No. No, no, no. (beat) Go away. Tom and Alice remain silent, trying to not even look in Ariel's direction. Finally, Ariel looks up at her mother. ARIEL (CONT'D) Bathroom? Alice looks around and spots the bathroom. She points to it. ALICE Over there. You go, sweetie. Daddy and I will be right out here, okay? Ariel gets up and walks into the bathroom. ----------------------------------------------------------------------------------------------------- 51. ANGLE ON : DAWN AND RYAN Both smiling as they discuss deep and meaningful topics. DAWN Umm... Four times. RYAN Four? You only saw "Revenge Of The Sith" four times? DAWN Okay, five. You have to admit, it's kinda the funniest movie ever. RYAN Well, yeah. Except maybe "Superman Returns" DAWN Oh! I haven't seen that one yet. RYAN Seriously? It's like a really high budgeted "Plan 9 From Outer Space". DAWN It's going on my queue tomorrow. The waitress comes back with Dawn's malt. She places it in front of Dawn. DAWN (CONT'D) Thanks. (beat) Is there a place I could freshen up? The waitress points toward the bathroom. DAWN (CONT'D) Thanks. (to Ryan) Can you order? RYAN Sure. DAWN Cool. BRB. (beat) That really only works online. She walks to the bathroom. WAITRESS (to Ryan) Ready to order? ----------------------------------------------------------------------------------------------------- 52. RYAN Yeah. INT. DINER - BATHROOM - NIGHT Dawn walks into the bathroom and is about to enter a stall when she hears Ariel crying. She looks over and sees Ariel sitting on the floor near the sink. DAWN Are you okay? Ariel doesn't respond. CLOSE ON : ARIEL Still crying as Gramma puts her face close to Ariel's. GRAMMA Go on. Tell the girl that mean ol' Gramma's pickin' on you. She'll think you're crazy just like the rest of them do. Ariel continues to cry, but says nothing. GRAMMA (CONT'D) She can't see me neither, you know. None of them can. Dawn starts to walk toward Ariel, concerned. DAWN Are you hurt? Do you need some help? GRAMMA Scream, child! Scream bloody murder! Gramma stands up now, looking down on Ariel. GRAMMA (CONT'D) Give them another reason to lock you up. Then they'll cut that pretty little head open and give those brains of yours a nice stir. Makes it so you can't feel a thing. I'll still be there though. Now, who else can you depend on like that? DAWN Me. Gramma's eyes widen as she looks up at Dawn. DAWN (CONT'D) That's right. ----------------------------------------------------------------------------------------------------- 53. Dawn swings at Gramma, but her FIST GOES THROUGH GRAMMA'S FACE, and hits the wall behind Gramma. Dawn pulls it back, in great pain. DAWN (CONT'D) Ow! Ow! Ow! Crap! (to Ariel) Run! Ariel gets up and runs out of the bathroom. GRAMMA She won't get far. We both know I'll find her. DAWN I think you're gonna be a little too dead to find her. GRAMMA We'll see, child. We'll see. DAWN (V.O.) Gramma demon. Born Gretta Hagen, 1783. Gramma walks toward the bathroom door. Dawn follows. INT. DINER - NIGHT Ryan is sitting at the counter, quietly sipping his coffee. DAWN (V.O.) Though once a religious woman, Greta tortured and killed fourteen children after the suicide of her oldest daughter, born with deformities of the face and hands. Dawn runs out of the bathroom. DAWN (CONT'D) Stop her! Ryan, stop her! Ryan looks up and sees nothing. RYAN Stop who? DAWN Her! Dawn points toward Ariel's table. Ryan looks over there. RYAN The woman or the daughter? ----------------------------------------------------------------------------------------------------- 54. DAWN The demon! Ryan perks up a little. He still sees no demon, but he stands up. The waitress looks on as Dawn yells. DAWN (CONT'D) My bag. Get me my bag! Ryan grabs Dawn's purse off of the counter and tosses it to her. RYAN What are you doing? Where's the demon? Dawn begins to dig inside her purse. DAWN (V.O.) Once the parents of these children discovered Greta's crimes, they set out to take her life. Insisting that these children had teased her daughter, and deserved to be punished for her death, Greta knew that her time was coming to an end. Realizing her own guilt for turning a blind eye to her daughter's suffering, and the deaths of her victims, Greta began fearing the pits of Hell. Greta soon began to bargain with the underworld for her immortal soul. In exchange for sparing her eternal agony, the demon D'Hyrn agreed to take Greta into his employ. ANGLE ON : ARIEL Watching Dawn attempt to keep Gramma away from her. Gramma watches Dawn with amusement. GRAMMA Ain't gonna save the child. You'll only prove my point. Dawn is still digging. She tosses makeup, her wallet, and her cell phone to the floor, unable to find a weapon. DAWN The one day I don't have a weapon on me! She tosses a cross to the floor. Gramma sees this and flinches. Dawn notices this. ----------------------------------------------------------------------------------------------------- 55. DAWN (CONT'D) You flinched. Dawn looks down and sees the cross. She picks it up and holds it out. Gramma recoils. DAWN (CONT'D) I'm guessing you don't like this very much. Probably wouldn't want to touch it then. Dawn tosses the cross in Gramma's direction. Gramma smacks it out of the way and then looks back to Dawn with fear in her eyes. Dawn smiles. DAWN (CONT'D) Smile, Grams. You're about to meet your maker. Dawn punches Gramma in the face. This time her fist hits Gramma with full force. Gramma stumbles back. DAWN (CONT'D) I'm guessing he's not too happy with you. GRAMMA No. You can't do this. DAWN 'Fraid I can. Dawn attempts to kick Gramma in the gut, but Gramma grabs her leg and pushes Dawn back. Dawn stumbles into a pie case, sending it to the floor with a crash. The waitress continues to watch what happens. She doesn't have much expression, she's just watching the show. RYAN Dawn! Ryan rushes to Dawn's side and helps her recover. DAWN Ryan open your eyes. See her. RYAN Where? Ryan looks around the diner, but sees nothing. Finally, he begins to squint a little. DAWN (V.O.) Set to roam the earth, Greta was renamed Gramma and began terrorizing (MORE) ----------------------------------------------------------------------------------------------------- 56. DAWN (V.O.) (CONT'D) small children, causing them to go insane. Inflicting the same darkness and agony on her victims that her own daughter had been forced to suffer. RYAN Holy crap. RYAN'S POV Gramma walks toward him. DAWN (V.O.) Like many demons, Gramma is invisible to those who aren't aware of the true evils around them. Those unwilling to see. Ryan stands up, putting himself between Gramma and Dawn. RYAN I see you now. DAWN Be careful. She's strong. GRAMMA Wouldn't want to get hurt now, would we? DAWN (V.O.) Her weakness is tied to her human fears. The symbol of that which she believes will cast her into the flames. Through these fears, Gramma can be made vulnerable. Ryan swings at Gramma. She grabs his fist and twists before throwing Ryan behind the counter, shattering several dishes. The waitress is close to where Ryan lands, and steps back to avoid getting hit by him or the dishes. ANGLE ON : TOM AND ALICE Watching Dawn and Ryan with great confusion. They see no demon. Next to Alice, Ariel is also watching the battle. Dawn rushes at Gramma with a butter knife in hand. Gramma grabs Dawn's wrist before Dawn can stab at her. Despite this, Dawn knees Gramma in the gut, causing Gramma to stumble back. Ryan recovers and hops over the counter to rejoin the fight. He grabs a tray off of a nearby table and hurls it at Gramma. She manages to duck out of the way, causing the tray to hit the window behind her, shattering it. ----------------------------------------------------------------------------------------------------- 57. For a moment, Ryan feels the normal guilt associated with breaking the window of a diner, but he quickly remembers the battle that's going on. Once he snaps back to fight-mode, he sees the cross on the ground and picks it up. RYAN Hey, lady. Think fast. He tosses the cross at Gramma. She turns to swat it away. As she does this, Dawn stabs Gramma in the chest with the knife. Gramma gasps and looks down at the knife as Dawn backs away. Gramma drops to her knees. She looks at Dawn with disbelief. A tear rolls down her cheek. DAWN Would it be too obvious of me to say "Go to Hell"? Dawn gives Gramma one last kick in the face. Gramma falls to the ground, dead. Ryan walks toward Dawn, looking down at the dead demon. RYAN That's a demon. Dawn nods. RYAN (CONT'D) Okay. The waitress walks up behind Ryan, looking over to the window and making a note in her order pad. She walks between Ryan and Dawn and glances downward for a moment, still with little expression. She looks to Dawn and Ryan. She tears their bill out of her pad and holds it out for one of them to take. Dawn and Ryan look at each other. ANGLE ON : ARIEL A smile comes over her face. DAWN (V.O.) Once vulnerable, the demon can be killed through normal means. Knife to the chest, decapitation, snapping of the neck... EXT. DINER - NIGHT Dawn and Ryan walk toward Ryan's car. Dawn is explaining to him. ----------------------------------------------------------------------------------------------------- 58. DAWN ...Of course, I only remembered all of this after we killed the bitch. RYAN How do you know all of this? Dawn hesitates. RYAN (CONT'D) Let me guess. Long story? DAWN Get in. We have a long ride ahead of us. They get into the car and it pulls away. INT. GILES' FLAT - MORNING Giles is sitting on his couch with a cup of coffee. He is reading over the paper that Marge had delivered the night before. He picks up the phone, dials, and puts it to his ear. GILES Mr. Hewitt, please. Rupert Giles calling. (beat) Well, could you tell him that I called when you see him? (beat) Left? What do you mean, he left? Where did he go? (beat) No, that's fine. Thank you. Giles hangs up the phone, quite perplexed. Something isn't right. He can feel it. EXT. ALLEY - DAWN Buffy is walking through the alley. Angel follows her, keeping to the shadows. ANGEL What am I supposed to tell them? BUFFY You're not. ANGEL I can't go back with nothing. ----------------------------------------------------------------------------------------------------- 59. BUFFY I can't worry about that now. (looks up) Sun's coming up. ANGEL Let's find a place to rest then. We can keep talking. Buffy stops and looks him in the eyes. BUFFY It really was good to see you. ANGEL I can stay with you. BUFFY I already told you, you couldn't keep up. ANGEL I'm faster than I look. BUFFY Mission doesn't call for sidekicks, Angel. ANGEL Then change the mission. BUFFY Not mine to change. ANGEL Then who? Where do you get your orders? Who tells you where to go? You don't just happen onto these places. Buffy thinks. BUFFY We are where we're meant to be. All of us. Angel starts to get desperate. ANGEL Buffy, don't do this alone. Buffy steps closer to Angel. She softly touches his face. BUFFY Close your eyes. Angel hesitates for a moment. ----------------------------------------------------------------------------------------------------- 60. ANGEL Not this time. Buffy leans in and kisses him. A soft, but quick kiss. As she backs away, Angel looks her squarely in the eyes... just as he TURNS TO DUST. Before he dissolves, he gives her one last look. A look of peace, telling her that he knows that she had to do this. WIDE ON : BUFFY Scythe's stake extended toward where Angel's heart once was. She slowly lowers it, walks through the cloud of dust and toward the end of the alley. Before she reaches the end of the alley, Buffy pauses. She closes her eyes and lowers her head, leaning against the wall. She stands there for a moment, breathing deeply until finally, she sneezes. She then continues walking. Buffy disappears around a corner, leaving the alley empty. FADE TO BLACK: FADE IN: INT. AIRPLANE CARGO HOLD - DAY Mr. Hewitt lays on the floor of the cargo hold with his eyes closed. After a moment, his eyes shoot open. His face VAMPS OUT. ANGLE ON : DRUSILLA Standing nearby, watching. She smiles. DRUSILLA Now we're ready. FADE TO BLACK : END OF EPISODE


text:
North West cricketers William Porterfield, Craig Young, Stuart Thompson and Andrew McBrine have all be selected for Ireland's forthcoming UAE squad.
Ireland have selected a 15-man squad to tour the UAE from January 4th to 19th.
The tour will comprise of four One-Day Internationals, two against both Afghanistan and Scotland, and is part of the final preparations for the 2015 ICC Cricket World Cup in Australia and New Zealand.
However, the final World Cup squad will not be announced until early January, following submission to the ICC.
National Head coach Phil Simmons commented on the selection: "There is a nice balance to the squad, which has a huge wealth of experience, but also a few young guns.
"There are four players who have played in two World Cups (Porterfield, Kevin and Niall O'Brien and John Mooney) who have played 260 ODI's between them.
"There's also nine of the squad who played in our record run chase against England in that never to be forgotten evening in Bangalore in the 2011 World Cup, so that's a good omen.
"We are backing young Donemana spinner Andrew McBrine who particularly impressed in the New Zealand leg of the acclimatisation tour, but it's very unfortunate for Andrew White that his finger injury came at such a bad time for him."
Ireland's opening attack in the 2011 World Cup was Trent Johnston (retired) and Boyd Rankin (now England), and Simmons has gone for youth to fill the considerable void left by their absence.
"Craig Young has been fantastic since he broke into the team, and has continued to develop, while Peter Chase is growing in confidence and skill all the time. Peter, with his pace and extra bounce, is important for the type of Australian wickets we will play on in the UAE."
Simmons was delighted at the consistent progress of Andrew Balbirnie, who has been the stand-out performer in recent months.
"Andrew Balbirnie's form with the bat has been outstanding, with excellent performances in Australasia and in Dubai recently against a strong New Zealand 'A' team. His runs on tour have helped him force his way into the squad.
"It was a very difficult decision for the selectors to leave out Max Sorensen and Andrew Poynter but this just shows the competition for places in the squad."
Former Irish international player Alan Lewis, now the Chairman of the National Selectors said of the squad composition: "It's certainly been the toughest selection meeting I've been involved with.
"We have been very impressed with the way a number of players have stood up and performed well in the last few months with tours to UAE and Australia and New Zealand.
"The push for places has been incredibly competitive, which is an excellent indication of the greater depth of players we now have.
"It's also refreshing to have no fewer than 13 of the 15 come through our youth system, which is a great vindication of our under-age coaching structures.
"For players like Max Sorensen and Andrew Poynter to miss out is testament to the competitive nature of the contracted players which is exactly what the selectors were looking for. There will naturally be disappointment and debate, but ups and downs are all part of sport.
"Both will know that one injury could create an opportunity and this will be no different for young guns Stuart Poynter and Graeme McCarter who have also impressed so much over the last few months."
"All the players know that one injury could create another opportunity for a fringe player, so all those players not selected need to be prepared to step in at any time."
Ireland ODI Squad for Dubai - William Porterfield (Captain) (Warwickshire); Andrew Balbirnie (Middlesex); Peter Chase (Malahide); Alex Cusack (Clontarf); George Dockrell (Somerset); Ed Joyce (Sussex); Andrew McBrine (Donemana); John Mooney (North County); Tim Murtagh (Middlesex); Kevin O'Brien (Railway Union); Niall O'Brien (Leicestershire); Paul Stirling (Middlesex); Stuart Thompson (Eglinton); Gary Wilson (Surrey) and Craig Young (Bready).

subset: commoncrawl


text:
A pleasant woods walk to Trout Pond, with a trail that follows half of the pond's shoreline.
Trailhead: The Ensign Pond Road/Route 4 trailhead offers the easiest access. From the intersection of Route 9 and Route 4, go 6.2 miles northeast and look for the trailhead on your left.
Distance: 0.7 mile one way. The easy hike to the pond can generally be done in less than an hour.


text:
New York most costly for student rent
The world's most expensive city for student rent is New York, USA, new figures show.
The US city of Boston is the second most costly destination, with London, UK, third, according to accommodation specialist, student.com.
However, the most popular cities for bookings are London, UK, Los Angeles, USA, and Sydney, Australia.
Its Cities in Focus: Global Student Accommodation Indicator reveals the world's most expensive and affordable cities for student housing out of 92 across the world.
New York requires an average weekly spend of US$431, with Boston on US$403 and London US$359. The average weekly spend on rent across 92 cities worldwide is approximately US$218 a week.
London, Los Angeles and Sydney were the most popular destinations booked by Student.com users in the UK, the USA and Australia respectively.
Student.com, which claims to be the world's largest marketplace for student accommodation, today released the Cities in Focus: Global Student Accommodation Indicator.
The report analyses weekly rent spend by students who booked accommodation in 92 cities worldwide last year via Student.com.
On average, students in New York, Boston and London spend the most on their accommodation rent globally, whilst students in Auburn (Alabama), Athens (Georgia), and Tallahassee (Florida) spend the least. In New York, students spend on average US$431 per week on their rent, 98% higher than the global average. In terms of countries, average weekly rent spend is highest in Australia – 23% above the global average.
Luke Nolan, Founder and CEO, Student.com, says, "It's evident that the big urban centres around the world remain huge magnets for both international and domestic students. On average, students pay more to live in these cities, but that's not to say that there aren't more affordable options available.
"Across Australia, the UK and the US, cities with larger supplies of purpose-built student accommodation (PBSA) tend to be, on average, more affordable than cities that are under supplied. As the PBSA market grows, we'll continue to see a more diversified range of options that cater to different budgets."
In addition to the global rankings, the report also includes country data for the UK, the US and Australia. In terms of total bookings, London, Los Angeles and Sydney are the most popular cities in the UK, the USA and Australia respectively.
Top 10 Most Expensive Cities (Global) Average Weekly Rental Spend (City, Country, US dollars)
1 New York, USA, 431
2 Boston, USA, 403
3 London, UK, 359
4 Washington, USA, 329
5 La Jolla, USA, 298
6 Oxford, UK, 288
7 Sydney, AUS, 285
8 Cambridge, UK, 272
9 Los Angeles, USA, 263
10 Seattle, USA, 260
Top 10 Most Affordable Cities (Global) Average Weekly Rental Spend (City, Country, US dollars)
1 Auburn, USA, 96
2 Athens, USA, 104
3 Tallahassee, USA, 106
4 Hull, UK, 111
5 Norman, USA, 112
6 Gainesville, USA, 114
7 Bloomington, USA, 118
8 Columbia, USA, 121
9 Dundee, UK, 122
10 Sunderland, UK, 123
"We speak to students around the world every day and our biggest piece of advice is always: start your search as early as possible. By planning ahead and exploring the market, students can find quality accommodation that fits within their budgets – even in cities that are more expensive than average," says Mr Nolan.
The results come from a representative sample size of more than 8,000 international students who booked accommodation in 92 cities around the world via Student.com from 1 November 2015 until 31 October 2016. Bookings included in the sample were academic lets for stays of 40 or more weeks. Rental prices were converted into US dollars at the time of booking, based on current exchange rates.
Student.com seeks to simplify booking accommodation for international students through a free-to-use global marketplace which puts security and ease-of-use first.
Student.com lists properties in over 400 cities across 29 countries. Last year, Student.com took bookings from students in over 120 countries worldwide. To date, the company has raised $70million from investors including VY Capital, Li Ka-Shing's Horizons Ventures, Expa, Spotify founders Daniel Ek and Martin Lorentzon, Hugo Barra of Xiaomi and Jim Breyer of Breyer Capital.
The main image is from Pixabay.com.


text:
|Click here to view this issue of FltBrief in your browser
|News and Information for FltPlan Users • December 1, 2016
Let FltPlan Help You with European SMS Requirements
The European Union now requires non-EU registered commercial operators planning to fly into the EU to file an application for approval. This approval, known as the TCO Authorization, can only be granted by EASA (European Aviation Safety Agency) . It allows applicants to operate commercially in Europe. To receive TCO authorization, operators must meet ICAO SMS Standards.
Import External .fpl files and Custom Waypoints into FltPlan Go
You can now import flight plans created on other systems direclty into FltPlan Go for iPad using a .fpl format. Waypoints in KMZ, KML and CSV format can also be imported into iPad and Android.
Satcom Direct Users: Upload Your Flight Plans and Get Your Pre-Departure Clearance (with Recall Number) Emailed to You
You may already know that FltPlan.com, in conjunction with Satcom Direct, allows you to get your FltPlan.com NavLog information sent directly to the flight deck. There's no need to type all your data into your FMS. This saves time and cuts down on data entry errors. Your FMS computer can be pre-populated with the following data from your flight plan:
Easily Share Your NavLog and Weather
Whether you are a flight instructor, charter operator, or work in a flight department, you can use our Shared Account feature to easily view another FltPlan user's flight plans and weather.
FltPlan.com has had a 13.6% growth in the number of flight plans filed in the last 3 years for November
Follow FltPlan on Twitter
If you haven't been following FltPlan on Twitter, now is the time to start. With access to FltPlan's tweets, you can be among the first to get news about our changes and enhancements. FltPlan's Twitter feed is a great resource for helpful tips, useful information, and updates regarding new features on our website or apps. Click here to follow FltPlan on Twitter.
|Lead Editor, Claire Warner, firstname.lastname@example.com • Click Here To Unsubscribe from FltBrief • Advertising Contact, firstname.lastname@example.com
|Flight Plan LLC, P.O. Box 159, Southbury, CT 06488 • © 2016 Flight Plan LLC. All rights reserved.


text:
If you want to completely start over, for whatever reason. It's as simple as deleting your Komodo profile folders and starting Komodo.
First, shut down Komodo and locate your profile folders. Make a backup of them, just in case. Note I'm saying "folders", implying more than one. This is because Komodo creates a profile folder for each version of Komodo you used. So if you used Komodo 9 through 9.2 you'll have 3 folders: "9.0", "9.1" and "9.2".
Once backed up you need to delete all of these folders to fully reset your settings as Komodo inherits it's settings from the previous version.


text:
Come visit us at booth 314!!
In the North American steel industry, SMDI members are leaders and innovators. The companies that invest in our programs are using that investment as a catalyst for change to advance steel's competitive edge. From powertrains, chassis and suspension systems to continuously reinforced concrete pavement (CRCP), reinforced concrete railroad ties, and wire rod and fastener technology, SMDI's Long Products Market Development Group (LPMDG) is making steel the material of choice for ground vehicle, construction and other broad-based markets. Through research and development of new product and process technologies, the LPMDG works in partnership with customer groups to develop pre-competitive solutions to meet market challenges. LPMDG members include: Gerdau, Nucor Corporation, and TimkenSteel.


text:
If you have a question, you may find the answer on our Help or FAQ page.
If the answer is not there, or you would like to report a problem with our website, feel free to contact us via the form below or email us at email@example.com.
We can also be reached on 0800 083 9278 (free in the UK).


text:
Eyes are the mirror of the soul.
My paintings come from my soul. Everything what i paint has its own story, a story of life, soul and feelings.
I have studied Psychology and human mind seems to me a labirinth. I may have become the map, but this labirinth is always in changing.
To discover the hidden world we should have the courage to look inside the eyes and inside the souls, we meet.1997 - in 2001 high school: Main focus mathematics physics, Alba Iulia, Romania
2001 - in 2005 psychology, faculty of the psychology and education sciences, university of "Babes-Bolyai", Cluj-Napoca, Romania
2003 art exhibit - "Soul Themes", ethos library, Cluj-Napoca, Romania
2004 art exhibit - " body and soul ", Sighisoara, Romania
2004 - in 2005 free employee in the Roumanian cancer association, Cluj-Napoca (support team for parents of children suffering from cancer, oncological hospital)
2005 art exhibit - " soul by world and time ", Schüttorf in 2006 beginning of the education – occupational therapy - Technical High School for Occupational Therapy, Bad Bentheim, Germany
2007 exhibit - etching workshop of Steffi Mann, house Westerhoff, Bad Bentheim, Germany
2007 art exhibit - " mirror of the soul " - house Westerhoff, Bad Bentheim, Germany
2008 art exhibit - Altstadthaus, Bad Bentheim, Germany
2009 art market - Neugnadenfeld, Germany
2006 - 2009 Occupational Therapy Education
© All of the images on this website are copyrighted original artworks by their author and are protected by international copyright law. No materials in this gallery may be reproduced, copied, downloaded, or used in any form without written permission of the contemporary artist Hany.


text:
The evening is getting away from me, so tonight is a quick update — and maybe a dose of inspiration if anyone is following along.
Here's how I'm doing on my weight loss goals.
Fast food – Nope! No fast food. And, I'm noticing that this is changing my habits. After my visit with the Lasik doctor, I took dinner home for my dad and I, and I went into Walmart to pick up some chicken and broccoli instead of swinging through a drive through. Granted, when push came to shove, I opted for the fried instead of rotisserie chicken, and I did pick up pre-packaged mac and cheese, which I'm sure was not the best choice. I ate watermelon for dessert though. Go, summer produce!
Water – I missed a day and a little this week. With school starting my schedule is getting busy, so I'm going to need to remember that my water bottle needs to make the transition with me from home to school and then back. If that fails, then I'm going to put water bottles at both locations.
Exercise – check. This week I did something I haven't done since I was dating a couple years ago. I walked downtown for dinner. Some friends met up to celebrate a birthday, so I decided to hoof it downtown and catch a ride back (mostly for safety reasons). The other walk was a standard loop around the park. With the kitchen trim out of the living room and my eyes getting a clean one week check-up, I think it's safe to transition back to workout videos in the evening if I want to go that route in the upcoming week.
Weight loss – I debated when I started this whether I was going to put my actual weight on the blog, not so much because I care about that number floating around but because women are comparers, and with weight, that's just dumb. Different body types, heights, muscle mass, etc. all make weight comparisons between people somewhat arbitrary. I'm finding it's getting too darn confusing to track my own progress though without writing it down each week, so I'm gonna throw some solid numbers out there. But, don't compare yourselves to me! Set your own goal and use your own body changes as your comparison point. When I first weighed in four weeks ago, I was at 145.8. After a horrible week last week when I bounced up over 138, I'm down to 143.8, so I feel good to be back on the roughly one pound a week loss track. I think last week was just a stupid fluke.
Anybody out there working on some new healthy habits?


text:
Heatwave Personal Twist Lock Top 3oz Pepper Spray Stream Pattern New-HW3TL-STRM
HEATWAVE Pepper Spray offers the most powerful concentration of pepper spray allowed by law. This is the same spray used by police officers. Each unit also includes UV dye for later identification of the perpetrator by law enforcement. The handy unit allows for one hand operation and can be used to provide multiple blasts up to 12 feet away. A suspect will be immediately affected with burning skin, coughing, watery eyes, runny nose, difficulty breathing but will have no permanent injuries. It is both non-toxic and non-flammable. Effective against: muggers, carjackers, rapists, vicious animals, etc..
Proudly Made In the U.S.A.
You must be 18 years of age to purchase this product, buyer is responsible for state and local laws in regards to Pepper Spray.
Cannot Ship to the States of NY or MA
Visit our eBay Store: PlanetMace
We are proud to carry a complete line of ASP® Mace® Police Magnum® Smith & Wesson®
SouthOrd® and Goso® Products.
- We ship via USPS with Delivery Confirmation.
- Orders received Monday thru Thursday (excluding holidays) will ship the next day.
- Orders received Friday thru Sunday (excluding holidays) will ship on Monday.
- Orders are not ship on Saturday, Sunday or holidays.
- Transit time varies and depends on the carrier, it can take up to 10 business days (excluding weekends and holidays)
- Seller cannot be held responsible for delays caused by carrier.
- Shipping estimator time by eBay is only an estimated time and not a guarantee, and it is subject to change especially during peak periods.
- Seller is not responsible for shipments marked delivered by the carrier.
- Insurance is an optional purchase to the buyer. Please inquire to the cost to insure your shipment.
Seller is not responsible for wrong or undeliverable address. Please make sure to provide the correct shipping address when placing your order, orders will ship out to the shipping address provided by eBay.


text:
California's Napa Valley is not only known for it's vineyards, but abundance of fruit trees. A yoga retreat in a sun drenched field surrounded by pear trees is sure to inspire and enhance the yoga practice as you get closer to nature and your calmness within. Sitting nearby is a relaxation meadow with lovely cups of green tea to rejuvenate the soul after a morning of wellness rituals.
The notes of juicy white pear will gently scent your room with it's mellow sweetness.
Made with Eco soy wax. Phalate & carcinogen free. 10 oz candle. Hand poured in small batches.


text:
Ford won yet again the the "Hottest Car Award" at SEMA this year for more reasons than I want to explain. With the introduction of the new King Cobra which is featured 18 pics down, Ford is really promoting their bolt on performance in their booth with designers like Chip Foose also in their booth.
Check out this video of why SEMA judges chose the Ford Mustang for the "Hottest Car Award" for 2014, then scroll for some of my favorite pics I took at SEMA Show 2014 .
|All you need to know, is that this Mustang is faster than yours.
|Ken Block's new Gymkhana car
|Kind Cobra!
|A Ford GT40 for your viewing pleasure


text:
Next: COUNT_SUFFIX(MASKDIM, SEGMENT, Up: Specifications of Library Previous: COUNT_PREFIX(MASKDIM, SEGMENT,
Description. Scatters elements of MASK to positions of the
result indicated by index arrays INDX1, ..., INDXn.
Each element of the result is the sum of the corresponding element of
BASE and the number of true elements of MASK scattered to
that position.
Class. Transformational function.
MASK must be of type logical. It must not be scalar.
BASE must be of type integer. It must not be scalar.
INDX1,...,INDXn must be of type integer and conformable with
MASK. The number of INDX
arguments must be equal to the rank of
Result Type, Type Parameter, and Shape. Same as BASE.
Result Value. The element of the result corresponding to the element of BASE has the value + COUNT( (//) ), where () are the elements of MASK associated with as described in Section .
. COUNT_SCATTER((/T, T, T, F/),(/1, -1, 0/),(/1, 1, 2, 2/)) is ,3, 0, 0,, plus 1filll -1;3, 0, 0,; plus 1filll -1:3, 0, 0,: plus 1filll -1.3, 0, 0,. plus 1filll -13, 0, 0, plus 1filll-1.