00'02-00'36

A flute opens the scene, changing quickly to brass as we catch Angel and Buffy sparring during a joint training session. The cue moves back to strings as the two almost kiss, and fades out for the conversation.

02'25-03'10

Timpani changing to brass and percussion as we are treated to an early action cue while Buffy fights a random vamp. Sound effects take over when she weakens momentarily and the vamp gets the jump on her. Strings quiver with tension as she is forced down at the teaser's end.

[03'10-04'00

Ah, it's Nerf Herder, here for dramatic pause…]

04'03-04'36

Strings, percussion and brass envelop the scene as Buffy finds a way to kill the vamp. We end with strings as the scene moves to the library the next morning.

07'13-08'29

Buffy's disappointment in her father is depicted with strings by Chris as this cue moves to Kralik's house and synth sounds. We see Quentin Travers for the first time, and then quickly move back to the library.

09'13-10'47

"Betrayal" cue comes in as Giles injects Buffy with the Council concoction. On Giles' creepy smile we fade out to the end of act 1.

11'43-11'56

Soft strings and woodwinds move in to emphasize the weight of her helplessness as Buffy gets knocked down by a school bully. The scene and cue move us inside the school hallway.

13'29-15'02

Strings and woodwinds once again as Giles shows concern for his slayer, and Quentin does not. The creepy synth and sound effects come back in as Kralik is fed his pills, we end the cue and the scene on the slam of the wooden door housing the vampire, and we're immediately back at the library.

16'25-18'17

Double bass and synth as Kralik screams for more pills. The cue turns to high pitched and tremolo strings as Kralik grabs Blair, moving to soft strings as the scene moves to the mansion and Buffy opening Angel's gift.

19'52-20'55

Strings play under Angel's speech about seeing Buffy for the first time. The melody is beautiful and haunting (again by Bleth and his magical flute).

21'13-22'19

In what I've loosely dubbed "Kralik's Theme," low strings play as Blair rises and sets Kralik free. This cue has a lot of the same elements as Betrayal," although it ends with high strings and caps off the second act.

22'42-26'05

The cue beings as Giles enters the house, and quickly moves to percussion and strings as he sense something is amiss. Percussion leads us (and Giles) through the house until he find Hobson, and a multitude of strings fall away, descending into the depths. They return and begin to race as we move out of the house and to a very non-slayer like Buffy walking home in the dark. The strings (arpeggiated with a high droning note below them) that accompany her turn to brass as she runs through the streets, becoming more frenzied as the red-jacketed Buffy is grabbed by the big bad wolf Kralik. The strings become more and more frenzied as she cries on deaf ears for help, only to be grabbed by Giles at the last moment. The cue ends on a shot of Kralik's calves and feet as he dangles the jacket below him and his theme appears before we fade out.

There is a very Joss-like absence of music during Giles' confession to Buffy, which needs no scoring to make the scene comfortable for the viewers.

28'01-29'49

As Buffy shows her anger, we hear the beginning strains of "A Fathers' Love." This is the first half of the promo cue, which changes after the exchange with Cordy to "Kralik's Theme" again as Joyce is duped into stepping outside and into Kralik's trap. Chris gives us a brass upswing ending to the cue and act three.

29'53-31'30

Strings open the last act as Buffy gets home and discovers Joyce kidnapped. Chris switches to pumping battle music as she gathers weapons, and the scene moves to Kralik as he waxes poetic about mothers to Joyce. The cue ends abruptly on the climax of his plan.

31'36-33'08

Pounding timpani as Buffy enters the house, followed by strings and synth to color the cue ever so slightly as she moves cautiously. There is a slow build (this section is very reminiscent of Elektra's score, perhaps something Chris built on when the movie came into play) ending on strings as the scene switches.

33'55-35'59

Brass, march-like, as Giles mounts up to save Buffy despite Traver's objection. The cue moves back to "Kralik's Theme" as we switch back to the slayer and at first sight of Blair we get brass and "bee-like" strings with percussion. It continues as Kralik plays hide and seek with Buffy, strings building as she holds up a cross to him, only to find he enjoys the pain as the cue stops abruptly.

36'09-40'27

"Kralik's House" cue begins as they play cat-and-mouse in the cavernous dwelling. The cue cuts out after Buffy tricks him in the basement and he turns to dust, but comes back in when Giles and Blair bust through the wall into the basement. A low drone and strings move us back to the library.

41'17-42'55

Piano and flute play the second half of "A Father's Love" as Traver's utter the title during his firing of Giles. The scene plays beautifully under Giles tending to Buffy's wounds. The end of the cue moves us to the Summers' home.

[43'59-44'29

Nerf Herder transitions us out of Sunnydale.]