Sorry, we're having issues. Anyway, Oz makes me love him even more by ending the "I'll go if you will" exchange by saying, "The judges will accept that as a yes." Scott asks Buffy if she'd like another drink, but she lies that she's going to go home. She says that she's excited about the dance. He lies that he is too. She gives him the last kiss he'll ever have from a girl.
The mansion. Angel is nervously breathing (?) and pacing. He hears something, pulls open the curtains, and shrieks louder than I did when I saw Tenia's pink dress on American Idol. Well, not really, but he might as well have, he looks so scared. But it's only Buffy, bearing a container of blood. She asks how he's feeling, and he replies, "It hurts -- less." Buffy's glad. She tells him that she hasn't told Giles and the others he's back. David Boreanaz shows off his acting lessons by putting real emotion behind his echoing of Giles's name, obviously thinking back to the torture scenes in "Becoming Part Two." Angel stands with his back to Buffy as she continues that she's not going to tell them. "They wouldn't understand that you're -- better." I don't buy that statement at all. Yes, they would be shocked and upset, but since they all know that Willow tried to restore his soul, I think they could accept that she succeeded. Unless Buffy's buying time to come to grips with the whole situation emotionally. But would she really do something that's all about her? Never mind, I answered my own question. She continues, "And I'm going to help you get better. It's just that everything's different now." She continues that she's trying a lot harder in school, which frankly I don't see how she has the time for. She breaks the news that she's seeing someone, and Angel very quickly turns with a look of such shock and sadness that she flinches. He reaches to touch her, then turns away again. She tells Angel, "He's a nice, solid guy. He makes me happy. And that's what I need right now. Someone I can count on." Good acting in this scene.
The Ironic Segue Fairy, clearly slumming before Six Feet Under was on the air, shows her face as we cut to Scott: "I don't think we should see each other anymore." Buffy: "So you're coming out? I owe Larry ten bucks!" Not really, but that would have been funny. She really says, in a not-really-too-upset voice, "When did this happen? Where was I?" I think that's sort of the point, Buffy. He explains that before they were going out, she seemed "so full of life, like a force of nature," but that now she just seems distracted all the time. I'm distracted too, thanks to the hand gesture with which Scott accompanied that statement. I rode on a float in the Gay Pride Parade in New York a couple of days ago from beginning to end, and I didn't see anything as gay as that hand gesture. Buffy promises a "drastic distraction reduction." You might want to start with that frilly pink top and silly matching purse. Scott isn't having it, apologizes, and feys off into The Big Gay Yonder as sad music plays. Yeah, like Buffy isn't already over him. We now see that she's being watched through a pair of binoculars. The watchers are in a van that contains a lot of high-tech surveillance equipment. They are dressed all in black and seem very German. They're kind of a cross between Sprockets and Hans and Franz. Picture Hans and Franz saying, "Your story has become tiresome." I'm totally calling them Hans and Franz for the rest of the recap. They connect the binoculars to a modem, through which Buffy's image is patched through to a man in a wheelchair. Hey, it's Ian Abercrombie, Mr. Pitt from Seinfeld! He asks, "Is that her?" Mr. Trick appears, looking dashing as ever, and confirms, "In the nubile flesh, my friend. That's the target." Ruh-roh! Credits.