35A) Anne. WHAT'S IN A NAME?: The name, Anne, was perhaps inspired by Lucy Maude Montgomery's classic series of novels, Anne of Green Gables, about a down-on-her-luck orphan with a wild imagination, who eventually becomes part of a family and community on Prince Edward Island in Canada.
"Almost certainly not deliberate, but this episode caused much amusement in the UK, as there is a well-known British women-and-couples-oriented sex shop chain called Ann Summers (without the final 'e' on 'Ann'). They're also well-known for organising selling parties in reps' homes, as in Tupperware."--KdS, Thurs, 06/12/03 at 05:27:27, with additions by Rob
Teaser
35B) ...a pair of wide-spread legs standing before him. MACHO WILLOW: "A macho pose often used by Buffy. It's rarely adopted by Willow, but generally taken to mean that she is asserting herself. When she goes dark in Season 6, it becomes her standard posture for a while."--MsGiles, Fri, 06/13/03 at 03:06:00
35C) "That's right, Big Boy." FROM THE ORIGINAL SHOOTING SCRIPT: "ANGLE: A GRAVESTONE It reads: ANDREW HOELICH, 1981-1998. And from the ground before it, a hand digs its way out of the grave. The hand is, duh, Andrew's, and he pulls himself slowly up from under, vampire face in a grimace of effort. A pair of legs steps into frame before him. Girl legs. From one of her hands dangles a wicked looking stake. Nearly all the way out, Andrew looks up at the figure facing him, grins...PUSH IN ON: WILLOW Facing the vamp with a slayeresque 'tude."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
LINKAGE: "In the opening Willow not only tries to wise crack like Buffy, she wears a black leather jacket, a little like Spike and Angel do, but perhaps it's foreshadowing Faith's fondness for leather."--Cactus Watcher, Wed, 06/11/03 at 22:40:30
35D) Taken aback by this, Willow takes a few quick steps backward. FROM THE ORIGINAL SHOOTING SCRIPT: "Andrew rises -- and Willow takes a step back, suddenly less Slayery."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35E) "That really never works." FROM THE ORIGINAL SHOOTING SCRIPT: "Suddenly Oz steps between the other two, an intense look of cool concentration on his face. ANGLE: THE STAKE As he flips it, grabbing the pointy end and holding it loosely at his finger tips. ANGLE: ANDREW Running away, his back presenting a dwindling target. ANGLE: OZ As he concentrates, lining up his shot. In a blur, he suddenly HURLS the stake like a throwing knife. It bounces uselessly off a tomb about eight feet away. Oz shrugs."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
SLAYING WITHOUT THE SLAYER: "We saw the team trying to...[help] Buffy [slay] at the start of Killed By Death, when she is ill with 'flu (see 30C). Like that scene, this opening sequence seems to be designed to show how necessary Buffy is to the slaying process. Although the gang are prepared and armed, the vampire escapes relatively easily, and they clearly risk being hurt. Even when they have Willow's psychic powers to help them, and the Buffybot (at the start of Season 6, in Bargaining) they are not particularly efficient or safe." But even more importantly, it shows just how heroic the Scoobies are, that even in Buffy's absence, they feel obligated to fight the vampires and the forces of darkness, not just out of love for Buffy, but to do good and protect Sunnydale. It is this satisfaction from fighting evil that will lead Willow, in Choices, to decide to go to Sunnydale University, not the desire to stay with Buffy.--MsGiles, Fri, 06/13/03 at 03:06:00, with additions by Rob
35F) "Wasn't Andy Hoelich on the gymnastics team?" WHAT'S IN A NAME?: "Probably from Dutch or Flemish (or Afrikaans) hoe lich; translation: hoe 'how'; licht means light, also easy, superficial, insubstantial, bright or faint. 'How bright' might be a good translation of Andrew's name: he shone brightly in his time [a name befitting a gymnast]. Hoe Licht is also a poem by Guido Gezelle, who was Flemish, a poet-priest, 1830-1899. His former house in Bruges is now a museum. Andrew, from Andreus, son of the river Peneius in Greek myth. Brother of Daphne, and various nymphs."--MsGiles, Fri, 06/13/03 at 03:06:00
METAPHYSICS: Also interesting to note is added proof that who someone is as a human determines his or her vampire physiology. Andy Hoelich is able to do skilled acrobatic moves against the Gang because, in life, he was on the gymnastics team. So he retained both the knowledge of how to do acrobatics, and his body retained its extra strength and flexibility, which added to his new vampire strength makes him quite the formidable foe. See 2LL, 2MM, and 21O.
35G) "W-well, the Slayer always says a pun or-or a witty play on words, and I think it throws the vampires off, and, and it makes them *frightened* because I'm wisecracking." THE IMPORTANCE OF WORDS: "The linguist John R. Searle insists on the importance of 'speech acts' in daily life. He defines a speech act as languate that both describes an action and is action...Speakers who understand the rules of [language] can also manipulate them; if a language is not 'adequate to the task' of expressing meaning, a radical speaker can 'enrich the language by introducing new terms or other devices into it' (see 13CCC)...Buffy and Company...are on the cutting edge of language, creating new expressions, constantly manipulating older expressions in order to update them...or completely circumventing the expected use of language...The gang's language capabilities are integral to their ability to fight evil, and their skills involve much more than just spoken English. Xander and Buffy are not comfortable unless cracking wise, while Giles and Willow are more at ease with the written word...
Buffy is punny--even the undead know it. In ho-hum, day-to-day, hand-to-claw combat, her leaps and lunges are liberally peppered with spicy retorts...Buffy is easily able to play with language...it is tied to Slayage. But it is not a role that just anyone can fill, as Willow discovers when she substitutes for the AWOL Buffy in Anne...But is Buffy's quipping just a display of intellectual cleavage? Or is there really something at stake? Joking at the moment of combat places Buffy in a long tradition of sardonice heroes: from Hamlet to Sherlock Holmes, from James Bond to Jackie Chan. Not only does it 'throw vampires off' and make them 'frightened,' the joke disarms, making the foe witless. And in their witlessness, they are vulnerable. As Freud argued, an enemy ridiculed is made 'small, inferior, despicable, or comic [...and] we achieve in a roundabout way the enjoyment of overcoming him'...This kind of witty displacement depends on the dynmaic between joke teller, listener, and butt of the joke. The joke creates a bond between joker (Buffy) and audience but requires active participation from both parties. The 'butt' (vampire) is the outsider and the object of the joke. Simultaneous physical and verbal combat gives Buffy twice the power for her punch...
An insecure class clown, Xander is clever with language...There are not too many teenagers...who would be able to construct...a sentence [such as 'But Ho-Hos are a vital part of my cognitive process'--see --] on the fly, wrapping yummy SAT words in chocolaty self-deprecation...As opposed to Buffy, who is always on the offensive in her language strikes, Xander is more comfortable on the (self-)defensive...Xander cannot defuse everything through his joke-making, however; often, he delays the inevitable. But this gives the gang time to think up other plans of action. His language creates a safe space, a vocabularic shield, that provides room for him, his friends, and the audience to maneuver...He lacks Buffy's staking skills, and he is not as well versed in book learning as Willow and Giles, so he 'participates' in the group dynamic by making them laugh and relieving their psychic burden...
Willow really geeks out on data. Book toting, laptop lugging, and always carrying (and sometimes dropping) knowledge, Willow is turned on by text...The words sometimes get away from her; unlike Xander, she is awkward in talk, blushing, stammering...Her partners, too, seem uncomfortable in speech and body--monosyllabic Oz, tenative Tara. But with text, Willow is, well, a wunderkind...Willow...is fluent in two languages crucial to the linguistic logic of Buffy: computer technology and the technology of magic...Proficiency with the language of magic allows Willow to situate a current problem within its supernatural context--the spell, the alternate reality, the demonic power--while proficiency with the language of computers allows her to locate the mundane context--the engineering diagrams, the newspaper articles, the police files. Her 'readings' of both magic and computers are active; she must analyze and apply these stored knowledges, activating the texts to make them effective in the context of the series...So, while Xander's language skills are largely creative and Buffy's performative, we might call Willow's foundational; she builds a base of operations for the crew, establishing context from text, providing a sort of landscape for the group's actions...
Giles is the nominal head of Buffy and Company. He is Buffy's Watcher, he is an academic, and he is older...he has more experience and knowledge than the rest of the gang. But Giles also has an ability that the others do not. He does not merely collect information...instead, he serves as the interpreter, the one who puts all the pieces of the puzzle together...But...Giles is oddly uncomfortable with spoken language, particularly around Buffy. Perhaps this is because he moves more slowly than she does; Buffy often impatiently interrupts his explanations because he is not cutting to the chase fast enough for her. This makes Giles seem incomplete and interruptive in his speech patterns...Giles is the translator--he converts the old world into the new, makes comprehensible dark and demony things from the past that have not reared their ugly heads in hundreds of years but that have somehow now adapted to modern living. Trouble is, they are noted only in extremely old texts or even fairy tales. Giles is the one who bridges the gap..."--Karen Eileen Overbey and Labney Preston-Matto, "Staking in Tongues: Speech Act as Weapon in Buffy," printed in "Fighting the Forces: What's at Stake in Buffy the Vampire Slayer," edited by Rhonda V. Wilcox and David Lavery, published by Rowman & Littlefield Publishers, Inc., 2002.
LINKAGE: "The next time that Buffy 'disappears' for the summer, in between The Gift and Bargaining, we return to a scene almost identical to the opening here: A bumbling attempt to subdue vamps followed up with a conversation about how difficult it is to reproduce Buffy's punning."--Rook, Thurs, 06/12/03 at 05:57:02
CONTINUITY CHECK: "This…[also] foreshadows Willow’s efforts in Bargaining to get the Buffybot to pun...Here, as in Bargaining, we see that the Scoobies are not really adapting to life without Buffy, they are just covering for as long as they can. This could also be seen as setting up one of this episode’s themes – what is identity? Is it the roles we play? The situations we’re in? The names we call ourselves? Or is there something more to it?"--ponygirl, Sat, 06/14/03 at 13:27:14
35H) "This time it's personal." POP CULTURE TIME: "'This time it's personal' was the tagline for the 1987 movie, Jaws 4."--Rook, Thurs, 06/12/03 at 05:57:02
35I) "Wouldn't it be great if Buffy just showed up tomorrow? Like nothing happened?" HALF-FULL GLASS: Willow here displays the same wishful optimism about Buffy's return that she did at the end of Becoming II (see 34Ix4).
35J) "Forever. That's the whole point. I'll never leave...Not even if you kill me." PROPHETIC DREAM?: "A disturbing scene, since we at the end of the last series we saw Angel as a crazed, murderous stalker. His re-acquiring of his soul/conscience, moments before his death, has not erased the memory of that. The vividness of the dream makes it seem to be a premonition, but we do not know if that is good or bad, or indeed if it just a reflection of Buffy's sense of loss."--MsGiles, Fri, 06/13/03 at 03:06:00
FORESHADOWY GOODNESS: "Is anything eternal, even eternal love, such a good thing? We're left wondering in the very next scene [in the diner]." Angel's words here eerily foreshadow Rickie's (see 35S).--Sophist, Sun, 06/15/03 at 08:31:12, with additions by Rob
35K) Cut to Buffy's tiny apartment in a run-down downtown Los Angeles neighborhood. FROM THE ORIGINAL SHOOTING SCRIPT: "INT. BUFFY'S APARTMENT - NIGHT Where Buffy awakens suddenly, a screech and a siren heard outside. We are close on her, pulling slowly back as she gets wearily out of bed, a big tee shirt her sleeping gear. As she walks slowly forward we continue to lead her, seeing just a dark glimpse of a dingy, small apartment. We arm out through the window as Buffy reaches it, leaning out and looking down at her environs. It ain't the beach, and it sure as hell isn't Sunnydale. It's The City. Every city, the grimy black streets dotted with the poor and the pro's. Sort of your worst nightmare of where your kid might run away to. Buffy leans on the windowsill and stares into the bleak urban night."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
DARK CITY: "The siren, and the rushing police car intent on some unidentified crime, help create a sense of urban alienation and anxiety, a feeling Buffy shares with anyone who has ever left their home community to live in an unfamilar city. Like many distressed people, Buffy has sought out the anonymity of a large town, a place where she can avoid having to explain her distress to her friends and confront/accept the unfairness of life. Like many before her, she finds that the immediate result is not relief, but the adding of stress to distress, loneliness to alienation. This is also where Angel will come, when he finally leaves Sunnydale: he will take on the challenge of the urban environment, which here only serves to remind Buffy of the home she has left behind."--MsGiles, Fri, 06/13/03 at 03:06:00
DADDY'S LITTLE GIRL: It's very significant to note how not a part of Buffy's life Hank is now. Even though he still lives in L.A., it doesn't seem like Buffy has contacted him since arriving there, and why would she? She wanted to disappear, much as he has disappeared from her life. See 10D, 10MM, 13N, and 30AA.
Act One
35L) Behind the counter at a small, sleazy diner known as Helen's Kitchen. THAT'S PUNNY!: A pun on "Hell's Kitchen, a notorious area of New York in the 19th/early 20th Century. It was said that policeman had to patrol there in pairs: 'Although the name Hell's Kitchen refers to a rough section on the South Side of London, the term in reference to New York first appeared in print on September 22, 1881 when a New York Times reporter went to the West 30s with a police guide to get details of a multiple murder there. He referred to a particularly infamous tenement at 39th Street and 10th Avenue as "Hell's Kitchen," and said that the entire section was 'probably the lowest and filthiest in the city.' According to this version, 39th Street between 9th and 10th Avenues became known as Hell's Kitchen and the name was later expanded to the surrounding streets. Another version ascribes the name's origins to a German restaurant in the area known as Heil's Kitchen, after its proprietors. But the most common version traces it to the story of Dutch Fred The Cop, a veteran policeman, who with his rookie partner, was watching a small riot on West 39th Street near 10th Avenue. The rookie is supposed to have said, "This place is hell itself," to which Fred replied, "Hell's a mild climate. This is Hell's Kitchen."' from http://www.midtownmedia.com/chronicle/HKhistory.htm."--MsGiles, Fri, 06/13/03 at 03:06:00
35M) A waitress walks past the counter to hang an order on the spinner. CONTINUITY CHECK: Buffy will once again return to the job of waitressing during a period of depression at a similary depressing restaurant, the Doublemeat Palace, in the sixth season.
35N) Her expression emotes a combination of sadness and boredom. FROM THE ORIGINAL SHOOTING SCRIPT: Buffy "avoid[s] eye contact with the men (as she does with pretty much everyone)."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
LINKAGE: This is a facial expression that fans came to be very used to, in the sixth and seventh seasons.
35O) Buffy walks away, and as she goes he reaches out with his hand and slaps her on the behind. Buffy stops in her tracks. The two men just chuckle. She turns her head slightly, but thinks better of doing anything about it. FROM THE ORIGINAL SHOOTING SCRIPT: "Buffy turns away without comment and the man actually slaps her ass. DOLLY IN ON BUFFY Her back to the camera, she turns slightly -- slayeresque intent in her eyes. After a moment, it flickers and fades. She moves on."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35P) She walks up to another table where a young couple is sitting. FROM THE ORIGINAL SHOOTING SCRIPT: "There is a couple at the table, young and without means. Neither of them past twenty, both a bit strung out. But clearly into each other, and very friendly. The boy is RICKIE. The girl is LILY, though a few people might remember her as Chantarelle in another life."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1 See 19FF.
35Q) "Don't be stupid. We gotta eat healthy. We can't have cake. Can we get pie?" RICKIE IN CHARGE: Although this is a funny, relatively harmless statement, it does underline the underlying key problem with Lily and Rickie's relationship: she lets him make all the decisions for her, never standing on her own two feet. She asks him if they can get cake, and then glady agrees to his suggestion of pie. Again, whether they eat cake or pie is not a huge deal. The fact that she needs him to decides for her, is.
35R) Buffy looks at their arms as they hold them out together and sees they each have a tattoo of half of a heart with a ribbon across it. On their respective halves of the ribbon they have the other's name tattooed. FROM THE ORIGINAL SHOOTING SCRIPT: "He and Lily hold their forearms out and together. They've gotten two halves of a heart, his with 'Lily' in it and hers with 'Rickie'. Put 'em together and they make a whole. The work is a little primitive, which makes it all the more endearing."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
SYMBOLIC TATTOO: "A further example of the ME association of tattoos with the evil and/or doomed."--KdS, Thurs, 06/12/03 at 05:27:27 See 20W and 32O.
EVERLASTING LOVE: "For Buffy, this must be sadly reminiscent of the ring that Angel gave her, paired with his, signifying eternal love."--MsGiles, Fri, 06/13/03 at 03:06:00 See 25HHH.
35S) "Yeah, forever. I mean, that's the whole point." LINKAGE: These are the same words Angel spoke in Buffy's dream at the beginning of the episode. See 35J.
35T) "Hey, do I know you?" CONTINUITY CHECK: Lily recognizes her from when she first came to Sunnydale with a wannabe vamp cult, in Lie to Me, with the name Chantarelle. See 19FF.
WHAT A COINCIDENCE!: "Chesterton called coincidences 'a spiritual form of pun'. I have no problem with the use thereof, either in fiction or in Real Life, where I seem to find them often."--dream of the consortium, Mon, 06/16/03 at 12:46:00
35U) Cut to the Sunnydale High School library. FROM THE ORIGINAL SHOOTING SCRIPT: "(WARNING: if humanly possible, the next five pages -- scenes 5 through 7 -- will be done in ONE SHOT, moving from the library to the cafeteria and capturing the vibrant cacophony of the first day of school. You have been warned.)"--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35V) "That's part of our mission statement. 'Don't get killed.'" FORESHADOWY GOODNESS: "This is foreshadowing what Buffy tells Faith in Faith, Hope and Trick--'Don't die!'"--Cactus Watcher, Wed, 06/11/03 at 22:40:30
35W) "Hey, Willow." BEST BUDS: Oh, how things have changed! Cordy, who throughout the first season and the early portion of the second, would barely make eye contact with Willow in public, now gives her a friendly greeting in a school hallway, which is an extension of the sort-of-friendship these two cultivated in the second season. See 27EE, 27ZZ and 29B.
35X) "Las Palmas was the nightmare resort." CONTINUITY CHECK: Funny. That's similar to what Cordy said last year! Hey, at least this year she was near a beach! See 13*2.
POP CULTURE TIME: "Las Palmas is a city in Mexico which seems to only exist for the rich and not-so-famous. This scene reinforces Cordelia's financial position, which is contrasted with what Xander learns about her in The Prom. Also may be a reflection of the "organized fun" Buffy is about to get into. Interestingly, Sarah Michelle Gellar and Freddie Prinze, Jr. were married at a resort in Jalsico, Mexico which is considered the new Las Palmas."--Dochawk, Sat, 06/14/03 at 21:32:56
35Y) "He didn't meet anybody over the summer, did he? No, who's he gonna meet in Sunnydale, but monsters and stuff?" SHE'S COME UNDONE: "Cordelia may have started to warm up to WIllow as a friend, or at least close acquaintance, but she still doesn't see her as a potential rival for Xander (Unlike Buffy, who she very clearly sees this way in Killed By Death--see 30FFF). This casual dismissal of the idea that Xander could meet anyone in Sunnydale will prove to be her undoing, since in just a few episodes the Willow/Xander romance will start, which will ultimately undo the Cordelia/Xander relationship."--Rook, Thurs, 06/12/03 at 05:57:02
35Z) "But then again he's always been attracted to monsters." MONSTROUS ATTRACTION: "Xander is indeed a demon magnet [as evidenced in episodes such as Teacher's Pet, Inca Mummy Girl, First Date, and, of course, in the character of Anya, and in a way, Cordy herself, who will actually be a demon one day!]. Makes you wonder both about his attraction to Cordelia and her perhaps subconscious awareness of the issue."--Sophist, Sun, 06/15/03 at 08:31:12
35AA) "Yeah. Well, you remember when I didn't go?" AND DO WE BELIEVE HIM?: "Has Oz stayed down a year out of apathy, or has he actually stayed down to be with Willow? It's a possibility, but not one that occurs to her."--MsGiles, Fri, 06/13/03 at 03:06:00
35BB) "Summer is over. Be somber." PRODUCTION NOTES: "Two good examples of ME's nice use of extras. The teacher here had a speaking part in I Only Have Eyes For You (see 31Z), and will again in Graduation Day. One of the kids running by (The tall Asian looking guy--I call him 'The Overactor'--has been appearing, very noticably, in scenes for quite a while) there are a few other 'regular extras' that we see over the first three seasons. And remarkably, ME doesn't appear to just recycle all of them for the college stuff. It's this kind of attention to detail that really makes the overall atmosphere of the show work for suspending disbelief."--Rook, Thurs, 06/12/03 at 05:57:02
35CC) "So you guys might want to duck and cover." EFFECTIVE SELF-DEFENSE: "A much-mocked slogan [from the 50s and 60s] for what to do in the event of a nuclear bombing - duck behind a heavy object and cover your face."--KdS, Thurs, 06/12/03 at 05:27:27
"At least where I went to school it wasn't taken at all seriously at the time civil-defense was all the rage. In fact, the only time we actually practiced duck and cover, under our desks as repeated shown on TV, was for tornado drills, where it might have actually been some help. Even then, we usually were herded out in the hall first, where the roof was less likely to fall on us."--Cactus Watcher, Thurs, 06/12/03 at 07:40:16
35DD) "If we can focus, keep discipline, and not have quite as many mysterious deaths, Sunnydale is gonna *rule*!" FORESHADOWY GOODNESS...AND EGGS: "A nice little foreshadowing to The Prom's mention of this year's graduating class having the lowest death rate in years – Sunnydale’s students are not in complete denial about their high body count. Eating egg whites is a way of getting all the muscle-building protein of eggs without the cholesterol contained in the yolk."--ponygirl, Sat, 06/14/03 at 13:27:14
35EE) "Yeah, whatever." AWKWARD REUNION: "The awkwardness of Xander and Cordelia's reunion compared with the immediate warmth of Willow and Oz's foreshadows which of the two relationships will survive the stresses of the year."--KdS, Thurs, 06/12/03 at 05:27:27
35FF) Cut to Buffy's apartment. FROM THE ORIGINAL SHOOTING SCRIPT: "Dead silence. No movement. Buffy sits on the bed, a half opened can of spaghetti-o's with a can opener in her hand. The light in here is mostly from the one bulb, and it's pretty bleak. Buffy never moves."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35GG) "I'm no one." IDENTITY: "Away from everyone and everything she knows, Buffy is looking for herself, for the identity she claimed in the single word 'Me' when she fought Angelus (see 34Cx4). Deep in her is the fear that she will find nothing, will be no-one."--MsGiles, Fri, 06/13/03 at 03:06:00
35HH) "Well, there's a meal on this flight." FROM THE ORIGINAL SHOOTING SCRIPT: "There is a bit of defeat in her voice."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35II) "It's my middle name." TRIVIA FUN: Another great little piece of information to add to the Buffyverse canon!
35JJ) "Lily's from a song. Rickie picked it." WHAT'S IN A NAME?: "A search of Lyricsearch.net turned up the following possibilities:
1. Lily, Rosemary And The Jack Of Hearts
Artist: Bob Dylan
2. Lily Of The West
Artist: Bob Dylan [author unknown; also recorded by Joan Baez, The Chieftains and Peter, Paul, and Mary--thanks to tim and Sophist for the info!]
3. Dixie Lily
Artist: Elton John
4. Lily
Artist: Kate Bush
5. White Lily
Artist: Laurie Anderson
6. Lily Of The Valley
Artist: Queen
7. Lily (My One And Only)
Artist: Smashing Pumpkins
8. Rock A Little (Go Ahead Lily)
Artist: Stevie Nicks
9. Carnival Song/Hi Lily Hi Lo
Artist: Tim Buckley
10. Pictures of Lily
Artist: Who, The--Rook, Thurs, 06/12/03 at 05:57:02
Based on the age of the characters, and the fact that Rickie picked the name, I would guess that he took it from The Smashing Pumpkins song. Some of the lyrics are: "Lily, my one and only/I can hardly wait till I see her/Silly, I know I'm silly/Cause I'm hanging in this tree/In the hopes that she will catch a glimpse of me/And thru her window shade/I watch her shadow move/I wonder if she....?"
Also very important to note--perhaps the most important thing--is that Rickie chose the name for her. Up to this point, this girl has never had an identity of her own. She allows other people to decide it for her. That is why it is very important that she chooses a name and destiny for herself at the end of the episode (see 35Jx4).
"The name Lily may also be related to the associations with the flower: rebirth (Easter Lily)--goes along with the idea of the descent into and return from hell (Christ descends to hell between Good Friday and Easter morning, and redeems all the lost souls who hadn't had a chance to hear the message since they were dead before he came--known as the 'harrowing of hell'). This parallels also Buffy's own rebirth. In a sense, she trades with the girl who becomes Anne, because Buffy is the reborn lily."--mamcu, Fri, 06/13/03 at 18:30:15
Lilies are often used at funerals because of this death/rebirth connection. "Through Christ's sacrifice on the cross and subsequent resurrection on Easter, the dead also live on in Paradise. So it's not death they represent; it's a reminder of continuing (eternal) life."--tim, Mon, 06/16/03 at 06:01:53
35KK) "It's nice. It's a mushroom." DEFINITIONY GOODNESS: See 19FF.
Act Two
35LL) "No, I'm fine." SLAYER STRENGTH: See 8FF, 23HHH, and 32JJ.
35MM) "Whoa!" PRODUCTION NOTES: "Carlos Jacott, who played Ken, has the possibly unique claim to fame of appearing on all three ME shows. He appeared in the Angel ep, The Batchelor Party, as the amiably cannibalistic Richard Straley, and in the Firefly episode, Serenity, as trigger-happy federal agent Lawrence Dobson."--KdS, Sat, 06/21/03 at 07:21:24
35NN) "This is not a good place for a kid to be. You get old fast here...The thing that drains the life out of them is despair. I mean, kids come here, and they got nothing to go home to, and...this ends up being the last stop for a lot of them." DOUBLE ENTENDRE: Of course, Ken's words in this monologue are laced with irony and double meaning when taken in the context of what he is doing to the kids on the streets.
TOO NICE?: "This episode shows a distinct suspicion of 'do-gooders', people who seem to want to help the unfortunate out of sheer good-heartedness. The implication is, that they may have other agendas which are not immediately apparent, and the innocent do well to be wary."--MsGiles, Fri, 06/13/03 at 03:06:00
EVIL ORGANIZATION: "This is a suitably dark start for the third series, which will take us through a profound disillusion with authority, as the gang near the end of their school years. The enemy in the last 2 series has often been adults, manipulating or using children for the own ends, but here it begins to become the institution as well as the corrupt individual or small group that is the threat. Ken is not just a predatory individual, but part of an apparently caring organisation, systematically exploiting the vulnerable."--MsGiles, Sat, 06/14/03 at 02:47:53
35OO) "Back to Freedom" by Bellylove starts playing as several shots of homeless people are shown. MUSICALLY SPEAKING: "The choice of Bellylove's Back to Freedom is a metaphor for what Buffy is going through: ‘What did I come here for...to find my way back to freedom’. Buffy had to come to complete despair (we see her reaching the same type of despair in Season 6 and in Empty Places) before she could find her way back to herself."--Dochawk, Sat, 06/14/03 at 22:30:30
35PP) A woman alone in the street... ANGEL: THE PREQUEL?: "In many ways this episode is one of the two unofficial pilots for Angel this year (the other being Amends), with its urban griminess, sociopolitical comment, socialised demons, and portal-hopping. The shot of the woman in the above stage direction is actually used near the start of the Angel credit sequence in all four seasons so far."--KdS, Thurs, 06/12/03 at 05:27:27
35QQ) "Oh, I know what she's doin'. Gabbing to all of her friends about her passionate affair with Pedro the Cabana Boy, laughing about me, thinking how she still might have feelings about me." SWITCHEROO: Xander's line here is extremely meaningful because for the first time we hear his mind wander to Cordelia when they are talking about Buffy, and not the other way around. If only Cordy could have heard him say that, she would have been so happy, since she always continued to have malingering doubts about Xander's feelings for Buffy. Knowing how much he really does care and worry about her, she may have been more likely to forgive him after the events of Lovers Walk. In typical Buffyverse irony, while Xander here thinks of Cordelia over Buffy, Cordy will later claim to be helping with slayage for Buffy's sake and not for his! See 35LLL.
35RR) "Yeah, but...rythmically." FROM THE ORIGINAL SHOOTING SCRIPT: After this line in the original script are a few lines that were taken out of the final product, which explain how the Scooby Gang were able to later track down Andrew the Vampire again:
WILLOW: Oh! That reminds me. (pulls out a folded up piece of paper) I asked around about Andrew Hoelich, our gymnastic vampire, and apparently, (looking at her notes) he used to like to hang out in Hammersmith Park and pick up grills! (looks closer) Or, okay, that could be "girls".
XANDER: Let's hope.
OZ: Are we thinking old habits die hard?
XANDER: Worth checking out.
WILLOW: Tomorrow night?
XANDER: Good. And this time we'll be ready for him. Take him out before he does a Kerri Strug on your face.
By the way, Keri Strug is a gymnast who won the Gold Medal in 1996.--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35SS) "A Vampire Slayer?" BE CAREFUL WHAT YOU WISH FOR: In just two episodes, by Faith, Hope, and Trick, they won't just have one Slayer, but two!
35TT) Cut to the Summers house. FROM THE ORIGINAL SHOOTING SCRIPT: Not a big deal, but in the original script, the scene that follows this one, of Lily asking Buffy for help at the diner, takes place before this one, of Giles telling Joyce he's been unsuccessful in finding Buffy.--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35UU) "Uh, hello." FROM THE ORIGINAL SHOOTING SCRIPT: "The doorbell rings and her head snaps up. She moves quickly to the door, opening it to reveal Giles. She lets the tide of disappointment settle, greets him."--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1
35VV) "No vampires. Bunch of school kids in heavy mascara listening to extremely silly music." THE DOPE SHOW: "Marilyn Manson fans?"--MsGiles, Sat, 06/14/03 at 02:47:53
Or perhaps a fake vampire cult similar to the one Lily was part of, in Lie to Me (see 19AA).
35WW) "I don't. I blame you." ASSIGNING BLAME: "Neither Xander nor Willow's parents seem to show any interest in maintaining a close relationship with their offspring, or any jealousy as to their loyalties. Joyce however is strongly possessive of Buffy, and defensive of her interests. Although the accusatory tone seems unjust, there is some justification in Joyce wanting to know more about Giles' influence."--MsGiles, Sat, 06/14/03 at 02:47:53
WAS
IT RIGHT FOR GILES AND BUFFY TO HAVE KEPT BUFFY'S SLAYER IDENTITY FROM HER MOTHER?:
Joyce blames Giles for Buffy leaving town, accusing him of influencing
and guiding her (i.e., playing a parental role) behind her back. Giles' only
defense is that he is doing his duty as a watcher, guiding the slayer, who happens
to be Buffy.
Joyce shouldn't know:
The main argument for keeping Joyce in the dark comes out in Welcome to the Hellmouth and Passion--if Buffy's identity as a slayer is revealed, it could put those around her in danger. Joyce in particular is a target because she is the only member of the slayer's family living in Sunnydale. And, in fact, Joyce has been in danger a few times: e.g., when Angelus approached her in Passion, trying to get in the Summers' house (see 29LLL).
The problem with this argument is that it is really an argument for why other people besides Joyce should not know Buffy is the slayer. If others know, they might put Joyce in danger. It has never been a good argument for why Joyce shouldn't know that Buffy is the slayer.
'The best argument against Joyce knowing is Joyce's reaction itself. As long as she doesn't know Buffy is the slayer, she can give her daughter the close-to-normal home life a teen-aged girl needs. Once Joyce found out, however, she had to deal with her daughter being in constant danger and the good odds of her daughter's early death. The dark forces Buffy fights never seem to have any trouble identifying her or her friends and family and have often used them to get to her. If those who are close to her are unaware of the danger they face, as Joyce was in Passion, they will be more likely to fall foul to the demon's plots and harm Buffy and be harmed as a result. ...Having said that... I believe it was Buffy's prerogative to tell Joyce or to keep her ignorant. She's a girl under incredible pressure, if she wishes to preserve some semblance of normalcy in her life by trying to have a non-supernatural home life then she should have that right. But ...she should also bear the consequences of her decision to lie (Vox, Nov 3, 1999).
Joyce should know:
Parents are responsible for their children. Prior to Helpless, Buffy was underage. Her mother was therefore legally responsible for her, but she lacked important information. From Joyce's point of view, Buffy was simply a teen-aged girl with unusually violent tendencies (although Joyce often chose to ignore this fact). It can be argued that Joyce had a right to know (as a loving parent) about the constant danger Buffy is in and the (very legitimate) reasons for her violent behavior."--Masquerade, "Anne" Analysis, from http://www.atpobtvs.com
If you choose to believe the asylum revelation from Normal Again, another important element must be considered: the idea that Buffy has tried to tell her mom in the past, leading to disastrous results, and so has opted to not bring the subject up again rather than face further institutionalization. See 3NN, 23CC, 24H, 28GGG, 30ZZ, 34JJ, 34YY, 34ZZ, and 34BBB.
35XX) "And who exactly is she?" IDENTITY: "There's irony in this question given Buffy's change of name, but, really, this is the question the episode will answer. And the answer begins in the very next scene."--Sophist, Sun, 06/15/03 at 08:31:12
35YY) "We gave blood lots of times 'cause you get a few bucks. And they have cookies!" BLOODY BRILLIANT: "In the UK you don't get paid for giving blood. But you do still get cookies."--KdS, Thurs, 06/12/03 at 05:27:27
"In the US you don't get paid for giving blood (in my experience, at least), but some places will pay you for plasma, the clear fluid from which the red cells are separated the returned to the donor. Because the red cells are returned to the body, a person can donate plasma more frequently than blood without damage."--MaeveRigan, Thurs, 06/12/03 at 09:28:19
35ZZ) "Can I come with you?" POOR LILY: At this point, Lily really is one of the most heartbreaking characters on the show--so needy yet so sweet. Her clinginess can be irritating, but it is also quite sad, as she has up to this point never forged an identity of her own, always jumping on the bandwagon of whatever came her way, very similar to what we discover of Anya in Selfless.
35AAA) ...and soon notices an old man lying on the floor, dead. FROM THE ORIGINAL SHOOTING SCRIPT: The original script makes it clear that this old man, Rickie, is the same homeless man as the one who was almost hit by the truck earlier in the episode.--"Anne" by Joss Whedon, available through Pocketbooks, Inc. as Buffy the Vampire Slayer: The Script Book, Season Three, Volume 1