Teaser
19A) ...Drusilla can be seen slowly walking toward him from behind. FROM THE ORIGINAL SHOOTING SCRIPT: "As he hangs, we see a figure moving slowly toward him from behind. DRUSILLA. Her ethereal figure moves unsteadily, a faint and senseless smile on her lips. The boy makes her weak with hunger."--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2
"The framing of Drusilla and the shape of the jungle gym is echoed by her bird cage in a later scene (see 19ZZ) [and in scenes from What's My Line II (see 22*1) and Becoming (see 33DDD)."--ponygirl, Fri, 02/07/03 at 09:36:15
19B) "Run and catch / The lamb is caught in the blackberry patch..." SINGING OUR LITTLE SONGS: "The rhyme Drusilla sings doesn't appear to be an authentic piece of folklore, but it certainly has an interesting subtext. 'Run and catch' is a pretty good description of a hunt, including a vampiric hunt. The lamb, in folklore, is a traditional symbol of an innocent person, a child, and/or a sacrifice. Blackberries, in olden days, were supposed to give protection against evil, if gathered at the right time of the moon. Herbalists also used blackberries--the roots, the leaves and the fruit itself--as medicine. The most common uses of blackberries as medicine were as cures for diarrhea, gout, wounds...and sore throats."--Rhys, Sat, 02/08/03 at 03:12:12
CONTINUITY CHECK: Dru will recite a snippet of this poem again in What's My Line II (see 22CCC).
19C) "Oh. Well, I'm not a person, see, so that's just..." VAMP PRIDE: It is very interesting, and telling, that Drusilla does not define herself as a person, while Spike does (see 19BBB). Her definition of herself fits the early Buffyverse definition of vamps more than the current, more morally ambiguous one.
19D) "My Angel!" WACKY DRU: This proves that, although Drusilla was tortured relentlessly by Angelus while she was still human, she did not hate him upon losing her soul. Any mention she makes of it is more in a mocking tone than one of hurt. See 19MMM.
19E) "No, you can't. Not anymore." LIKE A SIXTH SENSE: "A reference to Angel's torture of Drusilla when she was a devout Catholic girl (see 19MMM). Now that Angel is ensouled, he can no longer bring himself to torture people."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19*1) "If you don't leave it'll go badly. For all of us." FORESHADOWY GOODNESS: "Indeed it will."--Sophist, Thurs, 02/06/03 at 13:30:01
19F) "My dear boy's gone all away, hasn't he?" CONTINUITY CHECK: This is a fantastic moment of continuity, where Dru casually calls Angel, "Dear Boy," a phrase that she must have picked up over the years from Darla. "Dear Boy" is Darla's term of affection for Angelus.
19G) "Your heart stinks of her." LINKAGE: "In the flashback in Fool For Love, Drusilla, after cheating on Spike with a antlered chaos demon, tells him that 'I can still see her. Floating all around you. Laughing. Why don't you push her away?'. This is such a similar reference to Buffy that it somehow underlines the superficially parallel stories of Angel and Spike, both vampires falling for the Slayer. From Drusilla's point of view, (in which we are rarely supposed to be), she tragically loses both of her loves."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19H) Buffy swallows at what she sees. CONTINUITY CHECK: This moment again reveals the tenuousness of Buffy and Angel's relationship at this point. As she says later, she still doesn't know if she can trust him because of his ellusiveness and air of mystery. And she still is not sure that he wants to be with her. Just in the last episode, Halloween, she was worried that he might be falling for Cordelia (see 18H). What's worse, she now seems him talking to someone who appears to be the type of old-fashioned woman Angel told her he didn't like in the last episode (see 18Nx4).
Act One
19I) "Do you own anything else?" WARDROBE: "Anthony Stewart Head has said in an interview that, for the first couple of seasons, his entire Giles wardrobe was that single tweed jacket."--Vickie, Thurs, 02/06/03 at 20:28:19
19J) "Rupert, you're gonna have to trust me." TRUST: "In a comedic way Giles and Jenny are dealing with the same trust issues that all the other couples in the show are having. It's light-hearted, especially since we later find out that Jenny is referring to a monster truck rally, but it underscores the issues of how much trust one should give another in a relationship and how well we know our partners."--ponygirl, Fri, 02/07/03 at 09:36:15
19K) "Okay, tomorrow night, 7:30, right?" LITTLE MISS MUFFET COUNTING DOWN...: "Not the only occasion this time is mentioned, it being a foreshadowing of Buffy's death at the end of The Gift, 730 days after...[the number 7-3-0] appears in Buffy's dream in Graduation Day. I think we can safely assume here that it is merely a coincidence."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19L) "Um, did we hunt last night?" WORDS: Again, the word "hunt" is used to describe Buffy's nightly patrols (see 12I). Clearly, Buffy grew more uncomfortable with the word as years progressed than she was early on. Perhaps this was an off-shoot of her trying to distance herself from the darkness of Faith after the tumultous events of the third season.
19M) "Yes. You could spend some time with Angel." FROM THE ORIGINAL SHOOTING SCRIPT: In the original script, Giles does not immediately suggest Buffy spend time with Angel. He says that she could get some homework done, to which she asks, "Do they know about 'fun' in England?" He wittily replies, "Yes, but's considered very poor taste to have any. Very well. Do whatever it is you like," and then suggests she hang with Angel (though in not those words)." One can only speculate as to why Joss decided to drop the part where Giles instantly goes into stuffy mode, but it seems plausible that the reason is that, as Giles' relationship with Jenny is developing, his stuffy facade is weakening. He knows how much he wants to spend time with Jenny, and so identifies with Buffy and her desire to be with Angel. Further, he is fulfilling his promise to Buffy at the end of Reptile Boy to lighten up on her and allow her to have time for herself (see 17WWW). His relationship with Buffy is growing and deepening and he is learning that he does not always have to be stick-in-the-mud-do-your-work-and-chores guy, but can allow her to have a life.--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2, with additions by Rob
19N) "And, and Marie Antoinette cared about them. She was gonna let them have cake!" HISTORICAL FUN: "Marie Antoinette was a famously seductive, crass aristocrat in France. When told once that 'the peasants have no bread', shfamously retorted 'Let them eat cake.' A figure of the French right-wing, soon to be challenged by the Republicans. Here, Cordelia sympathizes with Antoinette. I think Whedon is indulging in a little gentle irony here. While Buffy is all about female empowerment, Cordelia's siding with the woman is both misunderstood and for highly vacuous reasons, (how she looked). Whedon suugests that feminism is not simply about siding with women, or them always being right. His concept of feminism is more refined and complex."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
"Some vintage Cordy here, but (perhaps unintentionally on ME's part) she may have a point. Antonia Fraser's Marie Antoinette shows the French queen as a pawn of European diplomacy (she wasn't even the intended bride of Louis, it was supposed to be her older sister but she died) caught up in incomprehensible events and struggling in her marriage to a difficult man (apparently their marriage wasn't consummated for eight years, until Marie's brother gave Louis one hell of a talking to) (a)...[Further,] she didn't even say let them eat cake! It was the kind of unkind comment that had been...attributed to insensitive European royalty for about 100 years before the French Revolution. Actually originally attributed to some Swedish princess I believe (b)."--Helen, Fri, 02/07/03 at (a) 00:41:51; (b) 00:47:30
19O) "I'd suggest a box of Oreos dunked in apple juice..." SYMBOLIC SNACK: "Apples, in folkloric terms and in Victorian flower language, represent sweet temptation and sexual desire. As for the Oreos, this could just be a brand name reference--but Oreos are black on the outside and white on the inside. Black is often used as a symbol for evil, as white is for good. Could this be a sneaky hidden comment on Angel--the traditional ‘evil’ monster with ‘goodness’ (a soul) within--and Buffy's desire for him?"--Rhys, Sat, 02/08/03 at 03:12:12
LITERAL SNACK: The typical snack is Oreos dunked in milk, but "[p]eople do weird things with Oreos. Another product placement, though."--Vickie, Thurs, 02/06/03 at 20:28:19
19P) "Uh, Billy Fordham..." WHAT'S IN A NAME?: "The name William in all its variations pops up incredibly frequently in BtVS and AtS. There's William, Liam, a couple Billy's, Willie, even Willow's nickname. Whatever the personal resonance it has for Joss, the name William mean 'protector.'"--ponygirl, Fri, 02/07/03 at 09:36:15
"Billy Fordham's last name is significant--'Fordham' means 'a wading place or ford near a settlement.' Ford is, in this episode, making an irrevocable decision about his future--'crossing the Rubicon.'"--Rhys, Sat, 02/08/03 at 03:12:12
19Q) "Uh, Ford and I went to Hemery together in L.A." CONTINUITY CHECK: See 1J.
OLD FRIENDS: "I like all the casual touching Buffy and Ford do in this scene. They must have been really good friends--after fifth and sixth grades, of course."--Vickie, Thurs, 02/06/03 at 20:28:19
Billy Fordham is also an interesting situation, because, for the first time, someone at Sunnydale High has in-jokes with Buffy and knows her old stories, and makes Xander and Willow feel just as left out on her past as she often feels on theirs.
19R) "Sitting in my room listening to that Divinyls song 'I Touch Myself'." THAT'S SO BUFFY: "A good example of the famous Buffy habit of babbling aimlessly at strangers who she slightly fancies. We see it later with Parker in The Harsh Light of Day and with Riley throughout the early part of Season Four. As here, her sentences often transport her to slightly awkward places."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19S) "No, only in the literal sense." POOR XANDER: Xander is experiencing the same realization re: Buffy that Willow did re: him in Inca Mummy Girl, that there would always be someone else for him/her to fall for:
Buffy: Ampata's only staying two weeks.
Willow: Yeah. And then Xander can find someone else who's not me to obsess about.
19T) "Oh, that's what that song is about?!" POP CULTURE TIME: "Willow belatedly figuring out Buffy's reference to the Divinyls' I Touch Myself. Apparently neither Buffy nor Willow watched MTV in 5th grade...and maybe still don't. It's nice to know their mothers had some standards, isn't it?"--MaeveRigan, Fri, 02/07/03 at 14:46:00
Humorously enough, the Divinyls at the time claimed that the song did not have to do with masturbation or sex, but a more spiritual form of "touching," whatever that means. You be the judge. Here is a sampling lyrics:
I love myself, I want you to love me
When I'm feeling down, I want you above me
A fool can see how much I adore you
I get down on my knees, I'd do anything for youI don't want anybody else
When I think about you, I touch myself
I don't want anybody else
Oh, no, oh, no, oh, no...
19U) "The more people you tell, the more people I have to kill." DARK PAST: "Nice commentary on Buffy's Slayer destiny--and does anyone else notice that Buffy is a bit ashamed of settling for a traditional role as a feminine sex object?"--Rhys, Sat, 02/08/03 at 03:12:12
19V) "You drink! I mean, drinks. Non-blood things." BUFFYVERSE MYTHOLOGY: This makes it clear that, unlike some other vampire mythologies, vamps can eat and drink things other than blood, although they don't provide them nourishment. In Anne Rice's mythology (see 15UUU), vampires can't eat or drink. Their bodies can't process human food. See 7UU, 15M, 15UUU, 19SS, 31WW, and 33Cx5.
19W) "Nice to meet you." JEALOUS MUCH?: Again, Angel's jealousy of Buffy being with another guy is juxtaposed with Xander's. See 5HH.
19X) "Okay, once more with tension." FROM THE ORIGINAL SHOOTING SCRIPT: "Awkward silence follows this awkward scene." Immediately after this, in the script, Cordy appears and asks who the cute guy was, another nod to the recurring joke of Buffy getting all the guys that Cordy is interested in (see Never Kill a Boy on the First Date).--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2
LINKAGE: In retrospect, the title is humorously similar to the musical episode, Once More, With Feeling. Also penned by Joss, so he must have had a smilar phrase on the brain.
19Y) "A cat here, and, um, then there was a-another cat... and they fought." BUFFY BAD LIAR: See 5S.
19Z) "I don't have to constantly worry that he's gonna find out my dark secret." ISN'T IT IRONIC?: "Of course, it's Ford who has the dark secret."--Sophist, Thurs, 02/06/03 at 13:30:01
19AA) Ford is heading for the Sunset Club. WHAT'S IN A NAME?: "Sunset Club - clever. For a group of Vampire worshippers, the symbolism is perfect. Incidentally, much of the action at the Sunset club takes place at Sunset: when Spike and gang appear to find Buffy."--Tyreseus, Thurs, 02/06/03 at 17:24:17
FROM THE ORIGINAL SHOOTING SCRIPT: "INT. THE SUNSET CLUB - CONTINUOUS - NIGHT And he's in another world. The Sunset Club is dark, fairly Goth and very lively. It's like a giant underground bunker done up for permanent Halloween. The door opens onto a balcony that rings the top of the large space. There is a bridge of metal grill work that spans the space up here as well, and steps leading down into the main floor, which divides into various lung spaces, dance areas, and small private rooms. There's maybe thirty people here, all corsets and velvet and black lipstick. The MUSIC is loud and pulsing. Lights flicker and swirl across Ford's face as he looks about him."--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2
19BB) "Never Land," by The Sisters of Mercy, is playing. MUSICAL CHAIRS: "This song was replaced by another for all showings except the first US transmission, including the video and DVD issues. The precise reasons have never been made clear, although it’s possible that the group objected to the episode’s hostile portrayal of the subculture."--KdS, Fri, 02/07/03 at 05:34:32
19CC) Diego meets him at the base of the stairs. FROM THE ORIGINAL SHOOTING SCRIPT: "As he reaches the bottom he is accosted by DIEGO, a true vampire wannabe. His ruffled shirt and velvet cape only accentuate his nerdliness. If this group has a leader, Diego is it."--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2
19DD) "Marvin..." WHAT'S IN A NAME?: "Diego, the leader of the vampire wannabes, is really named Marvin. Marvin is a quintessentially geeky name, which suits the character superbly--but it also means 'good friend,; which seems to describe his relationship with Ford pretty well. 'Diego' is Spanish and means "supplanter; one who takes the place of another.'" Perhaps a joking reference to Diego having taken another's name?--Rhys, Sat, 02/08/03 at 03:12:12, with additions by Rob
19EE) "Ritalin." DRUG OF CHOICE: "On-screen, the actor read this line (Ritalin) more like ‘chill out.’ Not the way the transcriber wrote it, which sounds like he's addressing his own pill. You most likely wouldn't take Ritalin for a brain tumor, unless you also had ADHD (Attention Deficit Hyperactivity Diosorder). I think Ford is telling Diego he needs to switch to decaf."--Vickie, Thurs, 02/06/03 at 20:28:19
"Very possible. Another interpretation is that Ford is telling people he's taking Ritalin to hide the fact that he's taking anti-cancer medication, which is the way it reads on-screen to me. But either way works."--MaeveRigan, Fri, 02/07/03 at 13:58:14
19FF) He pops the pill as Chantarelle comes over and hands him a drink. CONTINUITY CHECK: "Chanterelle is a recurring character, although this is the only episode where she appears under this name. In Anne we are introduced to her as Lily, and she assumes the name Anne at the episode's end (see 35Jx4). After that she appears on a few episodes of Angel, season 2 as Anne."--Tyreseus, Fri, 02/07/03 at 14:52:56 See 35T.
FROM THE ORIGINAL SHOOTING SCRIPT: In the original shooting script, Joss reveals that Chantarelle's original name, never revealed on either show (although she will make appearances on both), is Joan. This is an incredibly interesting detail, since in Tabula Rasa, the memory-wiped Buffy chooses the name "Joan" for herself. Besides the symbolic links with Joan of Arc, this choice was probably made because it's a normal, conventional name. Interesting that Chantarelle, later named Lily and Anne, would abandon the same name that Buffy chooses for herself. This girl gives up the bland connotations of the name, along with the heroic ones that she doesn't realize.
WHAT'S IN A NAME?: "Chantarelle...has the name of a mushroom. Mushrooms, like vampires, flourish amidst darkness and decaying matter. Ironically, the chantarelle mushroom is one that is highly prized as food."--Rhys, Sat, 02/08/03 at 03:12:12
19GG) He sees a scene from a Jack Palance vampire movie playing on the TV. POP CULTURE TIME: "The exact movie is Dracula (1973). The celebrated vampire tale is given a scary, atmospheric treatment with Jack Palance playing a sympathetic Count. Through flashbacks, the film focuses on Dracula's first love in an attempt to build empathy for the vampire. Nigel Davenport, Fiona Lewis and Sarah Douglas also star. This version was directed by Dan Curtis who had emerged as producer of the popular Dark Shadows tv series (1966-71) and the cult Night Stalker tv movies. The script comes from respected genre novelist and screenwriter Richard Matheson, responsible for works like The Incredible Shrinking Man (1957), Duel (1971), What Dreams May Come (1998), most of Roger Corman’s Edgar Allan Poe adaptations and the oft-filmed I am Legend (1954). Matheson treats the Stoker story with the greatest degree of faithfulness that any adaptation up to that point had."--Tyreseus, Thurs, 02/06/03 at 17:24:17
19HH) "...die young and stay pretty." RITE OF PASSAGE: "This is a butchering of the famous line attributed to the 1950's teen idol James Dean, 'Live fast, die young, and leave a beautiful corpse.' After a meteoric rise in movies such as Rebel without a Cause, Dean was killed in a car crash at the age of 24."--Cactus Watcher, Thurs, 02/06/03 at 15:39:47
"...[T]he quote is actually from a book by Willard Motely. Ties-in with the symbolism of vampires as perpetual adolscents." It also inspired the title of a Blondie song, Die Young Stay Pretty.--ponygirl, Fri, 02/07/03 at 09:36:15, partly paraphrased by Rob
Act Two
19II) "Unless you invite me, I can't come in." CONTINUITY CHECK: "'... and kill my fish.' Willow will regret this conversation, come the episode Passion, when the restored Angelus torments all of Buffy's friends."--Vickie, Thurs, 02/06/03 at 20:28:19 See 7E.
19JJ) "I promise to behave myself." THE WILLOW/ANGEL 'SHIP: And with this little scene began the Willow/Angel 'ship. In other words, it sparked groups of fans on the Internet who begain to pair the two off in fan fiction. Although the pairing seems a bit oddball, they do have great comedic chemistry. See 19QQQ.
19KK) "A hundred years, just hanging out, feelin' guilty... I really honed my brooding skills. Then she comes along." BUFFYVERSE MYTHOLOGY: "As witnessed in Becoming, although Angel omits Whistler, a pretty straight allegory for 'Destiny', who shows Buffy to him in the first place."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19LL) "Willow? Are you still up?" MASTERPIECE THEATRE: Whether this reference was intended or not, this scene plays like the famous balcony scene in William Shakespeare's Romeo and Juliet, except instead of the two lovers being interrupted by Juliet's nurse telling her to get to bed, it is Willow and Angel going on-line and Willow's mother interrupting them. This reference is all the more humorous when one takes into account Willow's hilarious line later that she and Angel have a "forbidden love (see 19QQQ)." Just like the star-crossed R&J.
19MM) "You want me to lie to her? It's Buffy!" MAIN THEME FROM "LIE TO ME": "This episode, even before the ending with Buffy and Giles, is all about deception. Ford lies to Buffy about his motives. Willow lies to Buffy about what Angel is up to. Angel lies about his activities on the evening he met Drusilla. Buffy has already told Willow of how relieving it is not to have to lie to Ford. Deception is not brought out as being simply 'bad', as it might be in a less layered show. At times it is seen as necessary if irksome or potentially damaging. With deception, so much depends on whether the lying is to protect someone else, or to protect one's own interest."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19NN) Cut to the school the next day. FROM THE ORIGINAL SHOOTING SCRIPT: The original script contained a very interesting scene between Buffy and Ford that occurred before they run into Willow at the water fountain, in which Joss basically confirmed that the events of the Buffy movie were very close to what happened to our Buffy. In fact, there was even a sly metanarrative joke about that:
BUFFY: And then everything was Vampires. I slacked utterly in school -- and my social life pretty much dried up and blew away.
FORD: You made quite a hit at the prom.
BUFFY: Oh, God, the prom. What a disaster.
FORD: Wasn't dull, though. Watching the gym go up in flames… it was like a movie. Life isn't nearly enough like a movie, don't you think?
BUFFY: I think that was the worst night of my life.
FORD: You saved a lot of people's lives. I know it - I bet there's others who do too.
BUFFY: It's good to hear. And it's good to be able to talk to someone who knows. Who knew me before, and… well. During.
FORD: You know, one minute you're a kid, living in your safe kid world, and then - truth hits you in the face. Vampires. I'll never forget that night...
BUFFY: Most everybody else did.
FORD: What's with that? Nobody would say a word.
BUFFY: People ignore truths they don't like.Cordelia comes up to them, all smiles.
CORDELIA: Buffy, you haven't introduced me to your new friend.
BUFFY: Yeah, isn't that weird?
She blows by her, Ford in tow.
FORD: Who was that?
BUFFY: A truth I like to ignore.
All in all, a very good scene that reaffirms the central metaphor of the show (that growing up involves leaving childhood behind and learning about the true "demons" of the world), and allows Buffy the chance to be thanked for the lives she saves. She will not realize just how much she is appreciated until, ironically, The Prom. And, of course, the capper of the scene continues the recurring Buffy-gets-the-guy-Cordy-wants joke.--"Lie to Me" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Two, Volume 2
19OO) "There aren't two of those in the world." CONTINUITY CHECK: "Well, actually, in Doppelgangland, there will be two Willows in the world. Although very different personalities."--Tyreseus, Thurs, 02/06/03 at 17:24:17
Note that Willow's acting so weird here because the idea of lying to Buffy is making her whole world askew. See 17QQ.
19PP) "I think you've now seen everything there is to see in Sunnydale." SUNNYDALE SIGHTS: The running joke of Sunnydale being a one-Starbucks town, despite the fact that things like a major university and an international airport seem to appear as needed (see 13FFF), continues.
19QQ) "Sure thing, Bossy the cow!" IDIOM TIME: Not only is this is a pun on the name "Bessie," which, for some reason, has become the most popular cow name in America, but it is a keen reflection of the frustrations the Angel Investigations team often later has with Angel. He often gives orders without asking for others' opinions and expects them to be followed to the letter, sometimes without proper explanation.
19RR) "Hi!" CASTING SURPRISE: This one line role "was played by the show's make-up supervisor, Todd McIntosh."--Information taken from http://www.restlessbtvs.com. Thanks to Rhys for pointing it out!
19SS) "We welcome anyone who's interested in the Lonely Ones." TAKE THAT, ANNE RICE!: "While we’ve had derogatory remarks about Anne Rice before (see 15UUU), this is the ME episode which explicitly distances the Buffyverse from more morally ambiguous recent vampire mythologies. Also, there’s a mildly risky conscious attempt to distance BtVS from Goth culture, which ME possibly considered embarrassing to be too closely associated with. Fortunately, the characters are so stereotyped that Goths in the audience seem to have been happy to accept that the characters weren’t them, in much the same way as the treatment of stereotypical lowest common denominator skiffy fans in S6."--KdS, Fri, 02/07/03 at 05:34:32 See 7UU, 15M, 19V, 31WW, and 33Cx5.
19TT) "Is that so bad? I mean, the dark can get pretty dark. Sometimes you need a story." FAIRY TALES: "Even though Angel is right about the absurdity of the 'Vampires yay' theme, so is Willow. In fact, what she says here also capsulizes the Buffy mission statement. David Lavery cites a recent interview with Joss Whedon, in which he said something similar:
'ultimately, stories come from violence, they come from sex. They come from death. They come from the dark places that everybody has to go to...If you raise a kid to think everything is sunshine and flowers, they’re going to get into the real world and die...That’s the reason fairy tales are so creepy, because we need to encapsulate these things, to inoculate ourselves against them, so that when we’re confronted by the genuine horror that is day-to-day life we don’t go insane" (Lavery, "A Religion in Narrative: Joss Whedon and Television Creativity." Slayage 7, December 2002. Slayage)--MaeveRigan, Fri, 02/07/03 at 14:46:00
19UU) A young man dressed exactly like Angel comes down the stairs behind him... YOU WERE SAYING...: "This is a really nice example of how to come close to preaching and yet admit that you might be wrong."--KdS, Fri, 02/07/03 at 05:34:32
19VV) "You hated it that much?" DATE FROM HELL: Jenny has a knack for dragging Giles to things he can't stand. Last time, it was the football game in Some Assembly Required (see 14OO).
19WW) "She was killed by an angry mob in Prague." CONTINUITY CHECK: The Council's information is once again proven to be flawed. As we learned in School Hard, there was an angry mob in Prague who tried to kill Dru (see ), and are probably the cause of her weakened state, but they did not succeed.
19XX) "Isn't he supposed to be a good guy?" JENNY CALENDAR: "It's interesting to speculate just what Jenny Calendar knows at this point. She is sent to Sunnydale by the gypsies on the specific mission of keeping Angel and Buffy apart. But she seems to have no idea of Angel's curse when he becomes soulless, returning to her Uncle for answers in Innocence...[Although she does not know the full details of Angel's curse at this point,] she is another person engaged in the habit of deception in this episode."--Tchaikovsky, Thurs, 02/06/03 at 14:50:50
19YY) "It took one of my books!" CONTINUITY CHECK: "A casual set-up for a future plot development. The stolen book was necessary for Dru’s revitalization in What’s My Line a few episodes later (see 21O)."--KdS, Fri, 02/07/03 at 05:34:32
19ZZ) Drusilla is talking to her bird as the camera pans around the cage. VISUAL SYMBOLISM: "This scene is shot in one continuous take up until the time Ford enters. The camera constantly moves to shoot Dru's face through the cage, suggesting perhaps that she is trapped in the cage of her madness."--ponygirl, Fri, 02/07/03 at 09:36:15 See 19A, 22*1, and 33DDD.
19AAA) "It's a little off, you two so friendly, him being the enemy and all that." FORESHADOWY GOODNESS: "There’s clear sexual jealousy here beneath the pragmatism, foreshadowing the future resumption of the Angelus/Dru/Spike triangle."--KdS, Fri, 02/07/03 at 05:34:32
19BBB) "I'm a bad, rude man." AH, YOUNG LOVE!: "Spike does show...affection for Dru here, apologizing for hurting her feelings, admitting to being both bad and rude, displaying concern for Dru due to her lack of strength, and offering to get her a new pet. Clearly, Spike's capacity for love existed long before his crush on the Slayer occurred. What is easier to miss is Spike's self-identification as a man--not as a vampire. Perhaps Spike thinks of himself as a vampire, but feels as if he is still a man." Interestingly, Dru earlier in the episode clearly stated that she is not a person (see 19C).--Rhys, Sat, 02/08/03 at 03:12:12, with additions by Rob
19CCC) "Or did we finally find a restaurant that delivers?" TAKE-OUT: "Mr Trick will also take this approach in Season 3, when he orders pizza and eats the delivery boy."--Helen, Fri, 02/07/03 at 00:58:23
This attitude is also similar to Spike's famous line in Becoming II, where he calls people "Happy Meals with legs."
19DDD) "You've got a real death wish. It's almost interesting." DEATH WISH: "Ford, of course, turns out to have more of a life wish, but Spike's interest in death wishes will come up again in Fool for Love."--ponygirl, Fri, 02/07/03 at 09:36:15
19EEE) "I-I'm pretty sure this is the part where you take out a watch and say I've got thirty seconds to convince you not to kill me?" IT'S ALL A MOVIE, BABY: "Ford's elaborate fantasies seem to foreshadow the Nerd Trio. They all share an arrested development and a moral code based on movies."--ponygirl, Fri, 02/07/03 at 09:36:15
19FFF) "I don't go much for tradition." CONTINUITY CHECK: See 15Qx4.
19GGG) "You make me a vampire, and I give you the Slayer." CHICKEN OR THE EGG?: "[I believe that there has] been a continuous two-way influence between BtVS and Garth Ennis's comic series Preacher, manifested largely by the similarities between Spike and Preacher's initially roguishly sympathetic, later genuinely evil (with a small ‘e’) and scary vampire character Cassidy. There's a notable example here, as the mini-arc of Preacher collected in the trade paperback Dixie Fried features a conflict between the comic's heroes and a group of pretentious goth vamp wannabes who want to force Cassidy to sire them. The general satirical attitude is similar, although Ennis's Les Enfants du Sang are far less naive and more dangerous than Ford's crew. Les Enfants are a gang of murderous, gun-toting psychopaths who want to be immortal, super-powered murderous psychopaths who don't have to tote guns around. The problem...is that the comic issues featuring Les Enfants were released at almost the same time (late 1997) as the first few episodes of Season 2, so it's hard to work out if one influenced the other or if two talented writers came up with a similar idea by coincidence."--KdS, Fri, 02/07/03 at 08:37:24