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May 20, 2003. The series was created in 1997 by writer-director Joss Whedon under his production, Mutant Enemy Productions with co-executive producers being Jane Espenson, David Fury, David Greenwalt, Doug Petrie, Marti Noxon and David Solomon. The series narrative follows Buffy Summers (played by Sarah Michelle Gellar), the latest in a line of young women known as "Vampire Slayers" or simply "Slayers". In the story, Slayers are "called" (chosen by fate) to battle against vampires, demons, and other forces of darkness. Like previous Slayers, Buffy is aided by a Watcher, who guides, teaches, and trains her. Unlike her predecessors, Buffy surrounds herself with a circle of loyal friends who become known as the "Scooby Gang". The series is ironically set in Sunnydale California. The show became famous for it’s plot, characters and music. It has a huge cult following including books about the show and its language. Several lectures have taken place in Universities such as Oxford 1. Through the seven seasons of BTVS, Buffy Summers has four love interests. Angel (A vampire cursed with a soul), Parker (A fellow college student), Riley (A TA for psychology 101 but also a undercover government solider) and Spike (A vampire turned docile because of a government chip.) Throughout my research i will be looking into three of these relationships; Angel, Riley and Spike. Another part of BTVS is the many metaphors incorporated into each episode. The main metaphor being when Buffy first sleeps with Angel and looses her virginity, Angel loses his soul (because he achieved one moment of true happiness ‘positive reinforcement’) and turns evil. Also in the episode ‘Beer Bad’ Buffy is upset over Parker and gets drunk (on mystical beer), the metaphor behind the episode is how beer makes you feel, such as it affects your reactions and emotions. Rational thinking goes out the window and more primal urges take over. I have chosen this investigation because it’s something I will find researching into very interesting. I will look how ‘male and female writers represent reality differently.’ I will be doing this through the genre of love, and the social aspect. I will look at each writer in turn and see how their male and female characters represent and portray love. The way that men and women talk is very different. I want to find out focusing on one female character (Buffy) if the three writers of the show change her language or keep it the same. For instance does the male writer (Doug) make Buffy’s language stereotypical for a female for instance using tag questions.
1 'Slayer Slang' by Michael Adams 1
Hypothesis “How do male & female writers of the same television show use language to portray love, through male and female characters.”
Robin Lakoff depicted a typical female speech style, characterized by the use of features such as hedges, qualifiers, tag questions, empty adjectives, which she asserted to have a common function: to weaken or mitigate the force of an utterance. Thus tag questions "are associated with a desire for confirmation or approval which signals a lack of selfconfidence in the speaker."2 Females seem to talk more about relationships than males3 and use more compliments and apologies4 and facilitative tag questions5. It has been argued however6 that the use of facilitative tag questions by women might be more plausibly interpreted as signs of conversational control than as signs of subordination, as had been previously contended.
2 http://itre.cis.upenn.edu/~myl/languagelog/archives/000873.html 3 Aries & Johnson 1983; Tannen 1990 4 Holmes 1988; Holmes 1989 5 Holmes 1984 6 Cameron et al 1988 2
Methodology I will look at nine different episodes of my chosen American television show “Buffy The Vampire Slayer” which is a show written by several talented writers, such as the three I will be looking at; Joss Wedon, Marti Noxon and Doug Petrie. It will be interesting to see how the above writers tie language and love through their leading characters who are Buffy, Angel, Spike and Riley. The data I have collected consists of nine different transcripts of nine episodes. Three episodes per writer. Joss Wedon - Male Feminist Is an American Screenwriter, Executive Producer, Director, Composer and Actor. He is the creator and show-runner of BTVS. He is also known as a feminist, which is a common theme on BTVS. 1st Episode - Innocence “Season 2, Episode 14” Summary - This episode is the 2nd part to ‘Surprise’ starts just after Buffy loses her virginity to Angel, the curse the Gypsy’s put on him, is lifted and he looses his soul, thus becoming evil once again. 2nd Episode - Amends “Season 3, Episode 10” Summary - This episode happens around christmas, Angel is being tormented by visions of people he has murdered in his past, which turns out to be the work of ‘the first evil’ he is so traumatized he tries to kill himself. 3rd Episode - Chosen “Season 7, Episode 22” Summary - Is the final episode of BTVS, Buffy is currently having a relationship with Spike but Angel turns up last minute and they share a kiss, which spike witnesses. Marti Noxon - Female Is an American television and film writer. 4th Episode - Surprise “Season 2, Episode 13” Summary - It’s Buffy’s 16th birthday and has a surprise birthday party, but the ‘big bads’ are causing trouble which leads to Buffy and Angel being chased through the sewers and finally ending up safely and Angels place, which leads to Buffy loosing her virginity. 5th Episode - The prom “Season 3, Episode 20” Summary - It’s Buffy’s high school prom, before their graduation. Angel breaks up with Buffy and tells her after the big fight he is leaving town. 6th Episode - Into the woods “Season 5, Episode 10” Summary - Buffy discovers her boyfriend Riley has been partaking in a fetish of being bitten by vampire prostitutes. They argue and he tells her he’s leaving, she tries to go to stop him, but it’s to late.
Douglas Petrie - Male Is an American screenwriter, Director and producer. Best known for his work on BTVS, CSI and Fantastic Four. 7th Episode - Fool for love “Season 5, Episode 7” Summary - When Buffy wants to learn more about Slayers of the past and their final battles she heads to the expert. Spike has killed two Slayers over the years and Buffy wants to know how. We see how he killed the two Slayers, who he declares had simply lost the will to live, which is why he was able to overcome them. 8th Episode - As you were “Season 6, Episode 15” Summary - Riley comes back to town with a new wife, and tales of a perfect life. Whilst Buffy’s is not so perfect. Sleeping with Spike to feel something and working in a fast food restaurant. Riley finds Buffy in bed with Spike and then ends with Buffy finishing her and Spikes relationship. 9th Episode - Beneath you “Season 7, Episode 2” Summary - Spike is back after he left after trying to ‘force’ Buffy to sleep with him one more time. He has gone completely mad due to him getting his soul, and undergoing a series of trials. He did this for Buffy so maybe she would love him. We see in this episode spike telling Buffy what he did for her.
Analysis Grammar Tag Questions In most languages, tag questions are more common in colloquial spoken usage than in formal written usage. They can be an indicator of politeness, emphasis, or irony. They may suggest confidence or lack of confidence; they may be confrontational or tentative. In the law of language tag questions can be found in leading question.7 Some examples showing the wide variety of tags possible in English are: ‘Open the window, will you?’ ‘She doesn't really want those apples, does she?’ ‘You'd better stop now, hadn't you?’
This table shows the amount of tag questions used by Buffy and the male character in Joss Whedon’s Episodes:
Transcript 1 ‘Innocence’ Buffy 1 it m-me, Was I not good?”
Transcript 2 ‘Amends’ 0
Transcript 3 ‘Chosen’ 0
1 “Let’s not make an issue out of it, okay?”
2 “Am I a thing worth saving, huh?”
1 “No? What?”
This table shows the amount of tag questions used by Buffy and the male character in Marti Noxon’s Episodes:
7 http://www.answers.com/topic/tag-question 5
Transcript 4 ‘Surprise’ Buffy 1 “You’re okay, right?”
Transcript 5 ‘The Prom’ 2 “I’m just some swoony little schoolgirl, right?” 2 “I’m trying to do what’s right here, okay?”
Transcript 6 ‘Into the Woods’ 4 “And that’s what this is really about, isn’t it?” 0
This table shows the amount of tag questions used by Buffy and the male character in Doug Petrie Episodes:
Transcript 7 ‘Fool for Love’ Buffy 0 Transcript 8 ‘As You Were’ 0 Transcript 9 ‘Beneath You’ 3 “You got your soul back, how?” 4 “It’s what you wanted, right?”
This shows that the writers of the show do not conform to lakoff’s stereotype and keep Buffy as a strong, un-stereotypical female character. In most of the transcripts the male characters use tag questions also. Doug Petrie perhaps the most likely to have Buffy using tag questions shows her using none in ‘Fool for Love’ and ‘As you Were’ giving her the dominant role and giving the less dominant role to the male character. Thus Buffy is masculinised; whilst the male characters feminized. Which is confirmed by in ‘Beneath You’ Buffy does use 3 tag questions but the male uses 4 tag questions which still keeps Buffy as the masculine character. Marti Noxon gives Buffy tag questions in every transcript, which is interesting as I would predict she would try to make Buffy the more dominant character. Instead she goes with Lakoff’s stereotype and only gives the male character 2 tag questions in “The prom’. Joss Whedon interestingly enough has almost given equal tag questions to the male and female characters which as you would expect being a feminist, however he has given one more to the male character which gives the female character dominance.
Jargon, slang, and colloquialisms Slang includes swearing, vulgarism and jargon. When choosing a word, women tend to choose those without rhetoric, while men prefer not only neutral words but also words with low rhetorical style, such as vulgarism, swearing and high rhetorical style words, such as terminology in politics and technology. So compared with women, men have a larger scope in choosing words to express their ideas. Jespersen (1922) points out that women avoid swearing and dirty words instinctively, and their expression is refined, reserved and indirect. Coats (1986) also agrees that “women prefer polite words”. Compared with women, men use more swearing. The social gender
identity considers impoliteness and not sticks to small points is a aspect of features of the macro image. This notion encourages men to use slang. The assumption is that in English speaking countries, men prefer to pronounce nonstandard phonemes is an example.8 The general opinion appears to be that slang occurs predominantly in teenage talk, and some sources say that it occurs especially in male talk (e.g. Svensk Uppslagsbok 1953 Vol. 26: 642; Allen 1998: 881f)9 It is hard to decide whether some of the language is slang, jargon or colloquialisms but then also distinction between colloquialism and slang and colloquialism and jargon. As BTVS is known for it’s specialist language, the transcripts are full of terms that are not part of the typical English language. I have decided to just concentrate on the colloquialisms (informal language) as it is specific to my research. As the slang used in BTVS is in its own right a specialist language10 (jargon) I am going to highlight these words too (see key). This table shows the amount of colloquialisms used by Buffy and the male character in Joss Whedon’s Episodes:
Transcript 1 ‘Innocence’ Buffy 0 Transcript 2 ‘Amends’ 0 Transcript 3 ‘Chosen’ 5 “gonna” 3 “Cool”
This table shows the amount of colloquialisms used by Buffy and the male character in Marti Noxon’s Episodes:
Transcript 4 ‘Surprise’ Buffy 2 “yeah” 3 “hey” Transcript 5 ‘The Prom’ 2 “gonna” 0 Transcript 6 ‘Into the Woods’ 5 “wanna” 0
This table shows the amount of colloquialisms used by Buffy and the male character in Doug Petrie’s Episodes:
Transcript 7 ‘Fool For Love’ Buffy Male 0 6 “Bloody” Transcript 8 ‘As You Were’ 0 2 “snogging” Transcript 9 ‘Beneath You’ 0 2 “soddin’”
8 http://www.linguist.org.cn/doc/uc200703/uc20070303.pdf 9 http://aggslanguage.wordpress.com/slang-to-slanguage/ 10 See appendix 1 7
As predicted Joss Whedon gives equal colloquialisms to both male and female characters. Marti Noxon goes against the stereotype giving colloquialisms to Buffy in all three transcripts and in ‘Into the Woods’ she gives 5 to Buffy and 0 to the male character. Doug Petrie sticks to the stereotype giving only colloquialisms to the to the Male characters and none to Buffy in all three episodes. ‘Coinage’ (Neologisms) Slayer slang (Buffy specialist language) A distinguishing feature of the series Buffy was the way in which the show's writers play with language: making new words, changing existing ones, and turning common usage around.11 Michael Adams argues this creates a resonant lexicon reflecting power in both youth culture and television on the changes in American slang.12 In the article “Is slang a word for linguistics?” By bethany K. Dumas and Jonathan Lighter characterize jargon and the relationship between jargon and slang much as Michael Adams does in his book. Although there is a lot of slang in BTVS which is typical of teenagers and young people. A vast majority of it is specialist jargon to the show which you upon hearing will associate with BTVS and Joss Whedon straight away. Coinage in lexis is a newly invented word or phrase. Therefore coinage is exactly what the writers of the show do to create part of the Buffy Jargon. Half of the new words are coines for instance ‘Break and Enterish’ in which the writers have added ‘ish’ to the end of the word, something very common in BTVS along with adding ‘age’ to the ends of words. Another part of the slayer language is new words altogether such as ‘Hellmouth’ ‘Vamp’. The other part being pop culture references such as ‘Dawson’ and ‘scully’.
This table shows the amount of Jargon used by Buffy and the male character in Joss Whedon’s Episodes:
Transcript 1 ‘Innocence’ Buffy 1 “freaking out” 0 Transcript 2 ‘Amends’ 0 Transcript 3 ‘Chosen’ 7 “splainy” 7 “ensouled”
This table shows the amount of jargon used by Buffy and the male character in Marti Noxon’s Episodes:
Transcript 4 ‘Surprise’ Buffy 1 “master” Transcript 5 ‘The Prom’ 8 “patrolling” Transcript 6 ‘Into the Woods’ 2 “slayer”
11 http://en.wikipedia.org/wiki/Slayer_Slang:_A_Buffy_the_Vampire_Slayer_Lexicon 12 See appendix 1 8
Transcript 4 ‘Surprise’ Male 0
Transcript 5 ‘The Prom’ 3 “slayer”
Transcript 6 ‘Into the Woods’ 2 “Dracula”
This table shows the amount of jargon used by Buffy and the male character in Doug Petrie’s Episodes:
Transcript 7 ‘Fool For Love’ Buffy 1 “beneath me” 4 “scoobies” Transcript 8 ‘As You Were’ 1 “chops” 1 “soldier boy” Transcript 9 ‘Beneath You’ 2 “soul” 6 “spark”
Almost all the characters in BTVS will use the slayer slang (jargon) at some point but it is Buffy mainly who uses it. Perhaps more so in the earlier seasons which makes sense as she was a teenager compared to in seasons 6 and 7 where she is in her twenty’s. Lexis Hedges Lakoff (1975) argued that women's speech lacks authority because, in order to become "feminine," women must learn to adopt an unassertive style of communication. That is, they must learn to denude their statements of declarative force. Lakoff coined the phrase "women's language" to refer to a group of linguistic devices that serve this function, including hesitations, intensive adverbs, empty adjectives, tag questions, and compound requests. Hedges form part of this group. The term hedge refers to a class of devices that supposedly soften utterances by signaling imprecision and non-commitment. Examples include the pragmatic particles ‘about’, ‘sort of’, ‘you know’ and the modal terms ‘possibly’ and ‘perhaps’ which shows degrees of uncertainty and hesitation. Since Lakoff’s pioneering work, hedges have featured prominently in research on gender and communication. Based upon data about their distribution in the speech of men and women, researchers have made bold theoretical claims—most commonly that women's language is indecisive and deficient.13 Interestingly, from a pragmatics aspect, hedges indicate how Grice’s Maxims are observed. Hedges are markers tied to the expectation of the maxims of quantity, quality, manner, and relevance.14 For example: Buffy: So, you’re gonna be with me in this...15 Angel: Shoulder to shoulder. I’m Yours //
13 http://www.psych.lancs.ac.uk/people/uploads/JohnDixon20050606T114732.pdf 14 http://dictionary.sensagent.com/hedge+(linguistics)/en-en/ 15 3rd Transcript - Chosen 9
Buffy: // No... Angel: No...what? Buffy: No..you’re not gonna be in this fight // Angel: // Why the hell not Buffy: ‘Cause I can’t risk you. In this example Buffy at first isn’t sure whether Angel is committing to the idea of fighting by her side for the final battle. In Angel’s previous statement he doesn’t commit to either or situation. Therefore Buffy is un certain and needs to get full definition of the situation. This could be taken as a stereotype of women needing definite answers and men being more care free and not committing to situations. This goes with the ‘quantity’ part of Grice’s Maxims, Buffy is saying ‘so’ because she isn’t confident enough with what she’s saying. This example may be ambiguous in one context and unambiguous in another context it depends on how you look at the semantics of the lexis. You would assume from Lakoff’s theory that Doug Petrie would use the more hedges for Buffy then Marti Noxon and Joss Whedon. As Buffy is a strong female character the writers seem to go against stereotypical language more here. They often make her the more assertive character as we can see from these tables below. This table shows the amount of hedges used by Buffy and the male character in Joss Whedon’s Episodes:
Transcript 1 ‘Innocence’ Buffy 3 “I, I don’t understand” Transcript 2 ‘Amends’ 3 “showing you?” Transcript 3 ‘Chosen’ 20 “And the right person is?” 15 “It’s not for you...”
5 “I can’t do it again ... Buffy”
This table shows the amount of hedges used by Buffy and the male character in Marti Noxon’s Episodes:
Transcript 4 ‘Surprise’ Buffy 14 “Oh, God, you feel...” Transcript 5 ‘The Prom’ 6 “is this really happening?” 8 “i don’t know?” Transcript 6 ‘Into the Woods’ 5 “unless you wanna fight?” 16 “i don’t expect”
6 “what if what?”
This table shows the amount of hedges used by Buffy and the male character in Doug Petrie Episodes:
Transcript 7 ‘Fool for Love’ Buffy 5 “you think we’re dancing?” 3 “oh, did i mention?”
Transcript 8 ‘As You Were’ 6 “I’m sorry”
Transcript 9 ‘Beneath You’ 5 “be with me?”
7 “so she’s back”
30 “well, yes”
Joss Whedon gives more or less equal hedges to both Buffy and the male characters, however even ‘Chosen’ he gives Buffy 5 more then the male. Ironically being that he is a feminist goes against what you would expect from him and more with the stereotype. Marti Noxon in ‘Surprise’ gives Buffy 14 hedges and the male 6 hedges. As the female writer you wouldn’t expect this. However in the episode Buffy is very venerable in the conversation and is feeling a great deal of distress so it is understandable the amount of hedges being used. The male is also using hedges as he is trying to comfort her and is unsure of how to help. Doug Petrie gives more or less equal hedges to Buffy and the male until ‘Beneath you’ where the male has 30. A very high number where as Buffy only 5. When taken in context however it is understandable. The scene shows Buffy realizing that spike underwent a series of tormenting trials to gain his soul back to be a better “man” for Buffy after the previously trying to rape her. He has in the process lost his mind and become incredibly venerable and crazy, with the ghosts of all the people he has killed and the terrible things he has done tormenting him. The Pragmatics of the show The above tables show that Buffy episodes often include a deeper meaning or Pragmatic meansing as well. Whedon explained, "We think very carefully about what we're trying to say emotionally, politically, and even philosophically while we're writing it... it really is, apart from being a pop-culture phenomenon, something that is deeply layered textually episode by episode". Academics Wilcox and Lavery provide examples of how a few episodes deal with real life issues turned into supernatural metaphors: In the world of Buffy the problems that teenagers face become literal monsters. A mother can take over her daughter's life ("Witch"); a strict stepfather-to-be really is a heartless machine ("Ted"); a young lesbian fears that her nature is demonic ("Goodbye Iowa" and "Family"); a girl who has sex with even the nicest-seeming guy may discover that he afterwards becomes a monster ("Innocence"). The love affair between the vampire Angel and Buffy was fraught with metaphors. For example, their night of passion cost the vampire his soul. Sarah Michelle Gellar said: "That's the ultimate metaphor. You sleep with a guy and he turns bad on you." Buffy struggles throughout the series with her calling as Slayer and the loss of freedom this entails, frequently sacrificing teenage experiences for her Slayer duties. Her difficulties
and eventual empowering realizations are reflections of several dichotomies faced by modern women and echo feminist issues within society. Buffy often uses supernatural themes as metaphors for the difficulties of life, primarily the Hell that is high school. In Buffy Sunnydale High is literally built upon the mouth of Hell which draws to it many nasty things, including vampires, making the pain of adolescent life all the more unbearable. Tracy Little suggests that those nasty things, particularly in the earlier episodes of Buffy, represent the fears and pressures teens and young adults felt back at the shows inception, which I believe are of just as great concern to today’s youth. The pressure of parent teacher night is punctuated by a group of gate crashing vamps, people literally willing to kill you to get on the cheerleading squad, and after having sex your boyfriend really turns into a horrible, violent and cruel monster. In the early seasons of Buffy each week some aspect of teenage life is explored through supernatural themes; abuse, exclusion, self-esteem, peer pressure and of course prom. In later seasons the metaphors become less regular as do the monsters of the week, instead themes become broader, sweeping over entire seasons and focus on issues such as, love, sex and family. One metaphor which remains throughout all seven seasons is the question of identity, which is inextricably linked to Buffy’s role as ‘the’ slayer. Buffy’s metaphors are easily understandable once pointed out, for example; Oz becoming a werewolf referring to the transformation through puberty, Marcie Ross who literally becomes invisible after being continuously ignored by her peers.16
16 http://religionandmediacourse.blogspot.com/2009/08/metaphor-critical-review-of-true-blood.html 12
Conclusion The hypothesis asks how do male & female writers of the same television show use language to portray love, through male and female characters. To answer this I compiled transcripts of BTVS all to do with the genre of love and analyzed them with Tag questions, hedges, colloquialisms and specialist jargon. My conclusion is that the three writers from BTVS all have a subtle, unique ways of portraying the same characters, mainly Buffy. It’s interesting to see which writers stick to or via away from theory’s and stereotypes. The Feminist’s use of tag questions, hedges, colloquialisms and BTVS jargon tends to give equal amounts to the male and female characters. As he is a feminist you wouldn’t expect him to portray the female as a stronger more dominant character when in fact he makes the males and females seem equal, which on it’s own perhaps is strange for a male writer. Marti Noxon the female writer who again you would assume would go against the stereotype of the male being the strong dominant character. When in fact she appears to make males the more dominant character. If taken in context of the episodes she writes could be understandable as they tend to be episodes where Buffy is portrayed as venerable but that itself is a stereotype.
Doug Petrie the male character who you would assume would portray the males as the more dominant character is in fact the one writer who strongly makes Buffy the dominant character in most of his episodes. This is probably the most surprising revaluation of all and is defiantly something to think about.
Evaluation If given more time to complete my research i would have liked to look at more transcripts to make the comparisons more fair and give more validity to the results. I would have liked the see if the conclusions continue throughout different transcripts of the same and different episodes. Also i think it would have been interesting to categorize the episodes in seasons. To see if as the characters grow older if their language changes. For instance their use of colloquiums goes down or up. Also to look at the other characters in BTVS and their relationship and she is the writers stick to their way of writing for each character or if it changes per relationship. I would also have liked to look at a few of the other male and female writers and see how they compare to the other writers. Other writers include David Fury (Male), David Solomon (Male), Jane Espenson (Female) and David Greenwalt (Male).
1. 'Slayer Slang' by Michael Adams
Apart from its huge cult following, one other thing that BTVS has created is its own unique language, often referred to as Slayer Slang or Buffy-isms. Each character has their own way of speaking and this is evident in many of the quotes. For instance: 'When the apocalypse comes, beep me.' - Buffy 'Party in my eye socket and everyone's invited... Sometimes I shouldn't say words.' Xander
However, it's not necessarily easy to get so many characters to become so distinctive. In solving this problem, Joss Whedon devised the perfect solution - you just create a whole new language. The problem then is simply a matter of creating the language of Buffy, but fortunately it's really quite simple. A lot of the Buffy-isms used within the show were already in existence, such as 'flake', meaning someone who behaves rather oddly, and 'bad', which is used in context to mean a mistake, with an example of the latter coming from the 1995 film, 'Clueless', in which one of the characters admits to a mistake by saying 'Oops! My bad'. The most common of all Buffy-isms were created for the show by using the very simple system of taking an everyday word and expanding it by adding ...ness, ...age or the letter 'y' or 'ey'. An example would be the word 'research' this would be expanded on to become researchy, or the word 'fling' would become flingage. Some more examples are badness,sparkage or rampagy. 'You don't hide! You're bait. Go act baity!' - Xander 'I hate being obvious. All fangy and grr.' - Spike Of course you can't invent an entire language for a show such as Buffy the Vampire Slayer without creating a few new words, such as Slayerpalooza, meaning 'the celebration of Slayer', Ewanage, meaning exposure to 'Ewan McGregor' or Otherwhere, an alternative twist on 'elsewhere'. One of the key aspects to the language is the use of 'pop culture' references, including lines, characters, song/film titles and even quotes from films: 'We're gonna need a bigger boat' - Originally from 'Jaws'. My spider-sense is tingling' - used by 'Spiderman'. 'Does anyone feel like we've been Keyser Sozed?' - A reference to the character from the film 'The Usual Suspects'. The references to 'pop culture' were used to describe feelings, appearances and many other situations. 'The count of three isn't a plan, it's Sesame Street’ - Buffy 'I'm the one getting Single White Female'd here' - Buffy
Another aspect of the language was condensing information, as Buffy and The Scoobies were often in life or death situations and didn't always have time to be all long-winded. For instance, we might say 'We aren't at the stage in our relationship where we send each other flowers', but the Buffy-ism would be 'We're definitely pre-posy'. This can be used in any situation and by any person, like when Principal Snyder was interviewing Buffy on her return to school:
Buffy - 'So let me get this straight. I'm really allowed back into school because the school board overruled you. Wow! That's like having your whole ability to do this job called into question when you think about it!' Joyce then turns this into a condensed Buffy-ism with: 'I think what my daughter is trying to say is, nah! nah! n-nah! nah!' 'Fire bad. Tree pretty.' - A quote from Buffy in the last episode of series three, basically indicating that she is tired and unable to think clearly. Finally, there's Joss Whedon's own contribution to the language. In the end, he was responsible for all the quips, the puns and the hint of sarcasm that really helped to make the show as enjoyable as it was. 'Great, we're not even married yet and already you've stopped listening to me.' - Xander 'One of these days you'll wake up in a coma.' - Cordelia 'No, I'm a rebel, you're an idiot.' - Spike 'I laugh in the face of danger. Then I hide until it goes away.' - Xander 'It's a big rock. I can't wait to tell my friends. They don't have a rock this big!' - Spike 'Harmony's a vampire? She must be dying without a reflection.' - Buffy List of some Slanguage (The highlighted examples refer to ‘Love) A ANNE RICE ROUTINE--Vampire-with-a-tortured-soul actor episode ANYWHERE BUT HERE--Fantasy game where players imagine an Elsewhere to Be (e.g., Buffy fantisizes about Gavin Rossdale massaging her feet on a beach at sunset; Willow would be eating ziti in Italy with John Cusack) (THE) AWKWARD SILENCE THING--Dating hazard B BACKSEAT MOTHERING--Unsolicited advice from non-parent BAD PART OF TOWN--About 1/2 a block from the good part of town BAT SIGNAL--Slayer code for distress signal BAY CITY ROLLERS--What Giles considers ‘real music’ (THE) BIG HURT--Slayer force; murder, ("No way, nohow does Buffy put the big hurt on an innocent man") BITCHA--formally know as "Bitch", Xander just can not spell BOYFRIENDLY--Worthy of dating exclusively
BREAK-AND-ENTERISH--Comfortable slay wear BRONZE, THE--Sunnydale's local hangout. BUTTFACE--used in converstation, looking as though you are going to say "but" ("You have Buttface") BUSINESS-CLASS TICKET TO COOL WITH COMPLIMENTARY MOJO AFTER TAKEOFF--Benefits of being in a band C CARBON DATED--Beyond passe (A) CARRIE--Psycho prom moment in spirit of '76 horror flick CHATTER IN THE CAF--Widespread high school lunchroom gossip CLASS PROTECTOR--The award given to Buffy on the eve of Prom by grateful classmates CLOTHES FLUKE--Kiss resulting from formal wear COME AS YOU AREN'T--Halloween (THE) CREEPY--Frightening ("How much the creepy is it that she's been spying on us?") (THE) CRYPTIC--Manner of speaking without imparting information ("Stop with the cryptic-you're scaring me") CYBERCOVEN--Wired witches D DATEVILLE--Early stage of a realtionship, between Big Fun Group Town & romantic Twosome Burg DEBARGE--Dorky, rolled-up-sleeves look of person (or vamp) stuck in the '80s; reference to the defunct Motown act DECAF LAND--calm realm between Comaville & Speedtown DEMON--Otherwordly creatures; evil spirit DENIAL LAND--Where you go to not face reality DID WE FIND?--Shorthand for "Did we find it?" (THE) DIRE--Urgent tone & expression ("What's the dire?") DOLLSOME--Pretty; attractive
DR. LAURA FOR THE DECEASED--Demon therapist in spirit of radio shrink Dr. Laura Schlessinger DUMP-O-GRAM--Kiss-off DUST--Stake a vampire; form that demon takes at death E (AN) ELSEWHERE TO BE--Another engagment far away ESPRESSO PUMP--A place to go get sugared up on mochas and where Giles occasionally plays his tunes. EVIL DEAD--another name for Spike, the friendly neighborhood bloodsucker EVITA-LIKE--Self-centered, arrogant (eg. Cordelia) F FANG GANG--Vampires; also, Nasty Pointy-Bitey Ones FESTER FREE--State of being relieved of silent seething FIRE BAD, TREE PRETTY--Buffy demonstrating her low-level brain function after a draining battle FIVE BY FIVE--Feeling no pain; aviation radio term favored by Faith. FRAY ADJACENT--In the vicinity of the thick of things FREAKSOME--Worrisome A FREE--Study hall FRUIT-PUNCH MOUTH--Vampires with a blood mustache FULL-ON EXORCIST TWIST--Ability to turn one's head 360 degrees, as in praying mantises or Linda Blair G GATHERING--type of party with brie and mellow song stylings GEEK MACHINE--Joyce Summers' totally uncool jeep GEEKER JOY--Effusive feeling nerdy Willow gets when she's happy GENE AND ROGER--Unsolicited criticism such as that given by movie critics Siskel & Ebert GOD'S GIFT TO THE BELL CURVE--Longhand for moron
GO WILD BUNCH--Become violent vigilante group; reference to the bloody 1969 western GOING WILLY LOMAN--Raising money through selling of chocolate bars; reference to the Death of a Salesman character GOOD SQUIRM--Satisfying level of discomfort ("I trust I gave good squirm") GRANDFATHER BREATH--Unpleasant aroma GRR ARGH--Joss' final words to his viewers (THE) GRIM--Sullen faces; also Tragedy Masks GUILTAPALOOZA--Excessive-remorse festival H HANDY CARRYOUT PACKETS OF BLOOD--IV transfusion bags (A) HAPPY--A good feeling; also another word for ‘sex’ HAPPY MEALS WITH LEGS--People (to vampires) HAVE A NICE SUMMER--Kiss-of-death yearbook sentiment written when signer has nothing to say HAVING AN EXPRESSION--Making a telltale face HAVING ORS--Considereing options HELEN KELLER--an unobservant individual ("My eyes are green, Helen Keller") HELLMOUTH--on which Sunnydale sits; the center of mystical convergence. HOOP-OF-THE-WEEK--Obligatory yet needless task ("Principal Synder's not happy unless I am jumping through his hoop-of-the-week") HOOTENANNY--type of party that is chock full of hoot, just a little bit of nanny HORMONES ON PARADE--Teenagers obsessed with kissing & groping I INDUSTRIAL-STRENTGH THERAPY--Intense counseling needed by adolscents who reconstruct people out of dead human parts (THE) INITIATIVE--A government-sponsored quasimilitary agency devoted to the study of vampires, demons and other nasties IT IS NOT TO WORRY--The long way of saying "Don't worry"; also, "No worries" J
JOAN COLLINS 'TUDE--Persona of someone bucking for Bitch of the Year; reference to the Dynasty diva JOHN TESH--The devil JONESING--An urge, a need, a want ("I’m jonesing for a little brainless fun.") K KEY, THE--An incredible energy source that opens the locked door between dimensions KEYSER SOZED--Duped by an actual bad guy into believing in a villain that doesn't exist; reference to the imaginary character in the film The Usual Suspects ("Does anybody feel like they've been Keyser Sozed?") (THE) KIND OF SENSE THAT'S NOT--Without logic KINKS OR VANILLA--Query regarding someone's preference for naughty or nice sex KISSING DAYLIGHT--Vampire death by sunrise L LAURA ASHLEY--Major fashion faux pas; reference to the frilly, floral fashion designer LINOLEUM--Looking at this often makes 17-year-old boys want to have sex. LOCKER-DOOR MATERIAL--Serious boyfriend who's earned spot in metal high school storage compartment (THE) LONELY ONES--Vampires' term for themselves LOST WEEKENDING--Getting drunk & losing track of time; reference to Billy Wilder film LUNCHABLE--Lip-smaking treat for the eyes (male); also Salty Goodness M MAGIC BOX--The magic store run by Giles; source of ingredients for Willow's witchy spells McPLASMAS--Vampire fast food MESSED--Out of sorts ("It's not you; I just get messed sometimes") MOM-AGED MITS--Joyce Summers' menopausal hands MOVE FREE--a chaste date lacking hanky-panky MR. POINTY--good-luck slayer stake Kendra gives to Buffy MUSIC OF PAIN--Tunes to sulk by; country music (e.g., Patsy Cline's "I Fall to Pieces")
N NA-NA-NA-NA-NA APPROACH TO BATTLE--Taunting to victory NAME-TAG PERSON--Retail or fast-food employee; derogatory O OFFICE ROMANCE--Illicit vampire/slayer love affair ONE-STARBUCKS TOWN--Term, coined by Xander, to describe Sunnydale as a town lacking in excitement OTHERWHERE--Elsewhere; also, Somplace That's Away OVERBITE--Vampire ("Take a walk, overbite"), also, Creechy Face OVERLY--Excessively ("You're acting a little overly, aren't you?") P PATHETIC MUCH?--Feeling sorry for yourself? PATROL--Walking down the streets, through parks, cemeteries, etc., looking for vamps and demons to kill PINK RANGER--Overzealous fighter (e.g., Kendra); reference to the Mighty Morphin Power Rangers PLANET POCKET PROTECTOR--Geek universe; place where Giles commonly dwells POINTED TOOTH FAIRY--Vampire prone to house calls POINTY--Worthwhile--in response to something being described as pointless ("Punishing myself like this is entirely pointy") POOP THE PARTY--Naysay ("I don't mean to poop the party here") POWER-FREAKED--Exponentially scared; see also (The) Wig PRE-POSY--The dating period prior to the guy giving the girl flowers PRINCESS MARGARET--Overly effeminate British male (e.g., Wesley) R RESEARCH MODE--Time to hit the books RIDING THE MELLOW--Enjoying quite time ROGAINE BOY--Baldy
ROLLER BOY--Unenlightened term for paraplegic (e.g., Spike in a wheelchair); also, Sit 'n' Spin A ROUND ROBIN -- Is used in season 2 of buffy in which it means that everyone rings their parents and tells them there staying the night at someone elses house so that each of their parents thinks they are staying at someone else house but really they are researching in the library all night, they are used for all night keggers according to willow, lol, she was joking though. "What only Xander gets to make jokes?" S SABRINA--Teenage witch SANITY FAIR--A magazine Faith will not be gracing the cover of SARCASTIC QUOTE MARKS--In which the gang turns to a visual cliche into a verbal one (e.g., mocking organized fun: "And I use sarcastic quote marks") SCARE-A-POLOOZA--How vampires view Halloween SCOOBY GANG--Buffy & her slaying pals; reference to the '70s TV cartoon Scooby-Doo, also; Undead Playgroup; Slayerettes (TO) SCULLY--Explain paranormal activity with scientific rationale homage to Dana Scully of The X-Files ("I cannot believe that you of all people are trying to Scully me") SHINDIG--type of party with dip, less-mellow song stylings, and perhaps a large amount of malt beverage Shpadoinkle "-a word that refers to seein something beyond belief. (Xander sees Glory's tower to open the portal in "The Gift," and exclaims "Shpadoinkle!!!!" at the sight of the massive tower.) (Submitted by Ryan From CA.) SINGLE WHITE FEMALED--Have existence duplicated by an obsessive acquaintence in manner of Jennifer Jason Leigh/Bridget Fonda film (e.g., new slayer-in-town Faith to Buffy) SLAYEE--Vampires, demons, and other assorted evildoers who meet the pointed end of a weapon SLAYER, THE--a.k.a The Chosen One. The one who stands against the vampires, the demons, and the forces of darkness. SLAY-STUDY DOUBLE FEATURE--Evening of killing & homework SLICEAGE--Death by slashing SMOOCHIES--Kissing and romance SO--Wonderful ("Isn't that so? Me and Owen!") SOCK PUPPET OF LOVE--Xander's right hand, which often fills in as his date on special occasions
SOUL--What vampires are lacking SOYLENT GREEN--unrecognizable green stuff served cafeteria; reference to the 1973 sci-fi classic SPARKAGE--Romantic electricity SPIDER SENSE--Tingling sensation Buffy gets when something's up in demonville; reference to Spiderman's intuition SUNNYDALE GRAVEYARD - Where The Gang much of their time staking vampires and gleaning important information from the sites of mausoleums (which are also referred to as big, freaky cereal boxes of death) T TALENTLESS SHOW--High school talent show TARDINESS--The eighth deadly sin TINGLE MOMENT--Exciting. chill-inducing event TONY ROBBINS HYPERDEFFICIENCY KICK--Self-inprovement in the style of large-toothed infomercial master TWINKIE DEFENSE--Lame excuse; reference to a trial in which bad behaviour was blamed on excessive consumption of the cream-filled treat TWOSOME OF CUTENESS--Good couple (e.g., Miss Calendar & Giles) U (THE) UBERSUCK--Major bummer UNDEAD AMERICAN--Politically correct term for 'vampire' UNLIFE--Living (to the undead) UP WITH PEOPLE--Aroused in the presence of actual sex partner ("I'm up. I've just never been up with people before."); reference to do-gooding musical organization V VAMPIRE MEALS ON WHEELS--Medical transport blood delivery VAGUE THAT UP--To make a foggy explanation even worse W (THE) WACKY--Crazy things ("Love makes you do the wacky") WAKE UP AND SMELL THE HOTTIE/THE SEDUCTION--Take note of a potential mate
'WALKER TEXAS RANGER'--Must see TV for zombies WATCHER--The person who trains the Slayer and prepares her for her duties WATCHER'S COUNCIL--The organization that trains and dispatches Watchers; also keeps an eye on the Slayers and makes sure they fulfill their duties WAY 007--Sartorially James Bond (e.g., Wesley in a tux) (THE) WHAT--Obvious problem ("What's the what?") WICKED JUMPY--Really nervous-acting (THE) WIG--Creeps; omnipresent term favored by the Scooby Gang; usage: wigged, extra wig, (a fair) wiggins, maxi-wig WOW POTENTIAL--Possible sparkage WRINKLIES--Conjones; usually vulgar ("Any of you wanna test who's got the biggest wrinklies, step on up!") Y YESTER--Passed, over Z (THE) ZEPPO--Useless member of the group, in spirit of forgotten Marx Brother (e.g., Xander, according to Cordelia)
Example - Tag Questions Example - Hedges Example - Colloquialism Example - Jargon - specilist language to BTVS (slanguage) Example - Pragmatic /metaphor - implied hidden meaning - (Linked to Jargon) Example - Sarcasm
3. 1st Transcript - JOSS WHEDON - Innocence Buffy: Angelus: Buffy: Angelus: Buffy: Angelus: Buffy: Angelus: Buffy: Angel! Hey! Oh! Hey. Oh, my God! I was so worried! I didn't mean to frighten you. Where did you go? Been around. Ohhh...Oh my God! I was freaking out! You just disappeared. Angelus: What? I took off. Buffy: But you didn't say anything, You just left. Angelus: Yeah, Like I really wanted to stick around after that // Buffy: // What? Angelus: You got a lot to learn about men, kiddo. Although I guess you proved that last night. Buffy: What are you saying? Angelus: Let's not make an issue out of it, okay? In fact, let's not talk about it at all. It happened. Buffy: I, I don't understand. Was it m-me, Was I not good? Angelus: You were great. Really. I thought you were a pro. Buffy: How can you say this to me? Angelus: Lighten up. It was a good time. It doesn't mean like we have to make a big deal // Buffy: // It *is* a big deal! Angelus: It's what? Bells ringing? fireworks? a dulcet choir of pretty little birdies? Come on, Buffy. It's not like I've never been there before. Buffy: Don't touch me. Angelus: I should've known you wouldn't be able to handle it... Buffy: Angel!..I love you // Angelus: // Love you, too. I'll call you.
4. 2nd Transcript - JOSS WHEDON - Amends
Angel. I bet half the kids down there are already awake. Lying in their beds, sneaking downstairs, waiting for Buffy: Angel, please. I need for you to get inside. Ththere's only a few minutes left. Angel: I know. I can smell the sunrise long before it comes.
Buffy: I don't have time to explain this. You just have to trust me. That thing that was haunting you...// Angel: //It wasn't haunting me. It was showing me. Buffy: Showing you? Angel: What I am. Buffy: Were. Angel: And ever shall be. I wanted to know why I was back. Now I do. Buffy: You *don't* know. Some great evil takes credit for bringing you back and you buy it? You just give up? Angel: I can't do it again...Buffy. I can't become a killer. Buffy: Then fight it. Angel: It's too hard. Buffy: Angel, please, you *have* to get inside. Angel: It told me to kill you. You were in the dream. You know. It told me to lose my soul in you and become a monster again. Buffy: I know what it told you. What does it matter? Angel: Because I wanted to! Because I want you so badly! I want to take comfort in you, and I know it'll cost me my soul, and a part of me doesn't care. Angel: Look, I'm weak. I've never been anything else. It's not the...demon in me that needs killing, Buffy. It's the man. Buffy: You're weak. Everybody is. Everybody fails. Maybe this evil did bring you back, but if it did, it's because it needs you. And that means that you can hurt it. Buffy: Angel, you have the power to do real good, to make amends. But if you die now, then all that you ever were was a monster. Buffy: Angel, please, the sun is coming up! Angel: Just go. Buffy: I won't! Angel: What? do you think this is simple? You think there's an easy answer? You can never understand what I've done! Now go! Buffy: You are not staying here. I won't let you! Angel: I said LEAVE! Angel: Oh, my God... Buffy: No! No! Angel: Am I a thing worth saving, huh? Am I a righteous man? The world wants me gone! Buffy: What about me? I love you so much, And I tried to make you go away, I killed you and it didn't help. Buffy: And I hate it! I hate that it's *so* hard and that you can hurt me *so* much. I know everything that you did, because you did it to me. Oh, God! I wish that I wished you dead. I don't. I can't. Angel: Buffy, please. Just this once... let me be strong. Buffy: Strong is fighting! It's hard, and it's painful, and it's every-day. It's what we have to do. And we can do it together. Buffy: But if you're too much of a coward for that, then burn. If I can't convince you that you belong in this world, then I...don't know what can. But do *not* expect me to watch. And *don't* expect...me to mourn for you, because...
5. 3rd Transcript - JOSS WHEDON - Chosen
ANGEL: I...uh...brought something else as well. BUFFY: I can already tell you...I have nothing that goes with that. ANGEL: It's not for you... BUFFY: Splainy? ANGEL: I don't know everything, It's very powerful and probably very dangerous, It has a purifying power...a cleansing power...possibly scrubbing bubbles...The translation is...uh...anyway...it bestows strength to the right person who wears it. BUFFY: And the right person is? ANGEL: Someone ensouled...but stronger than human...A champion...As in me // BUFFY: // Or me //
ANGEL: // No...I don't know nearly enough about this to risk you wearing it...Besides...you got that real cool axething going for you. BUFFY: So, you're gonna be with me in this... ANGEL: Shoulder to shoulder. I'm yours // BUFFY: ANGEL: No? what? BUFFY: No...You're not gonna be in this fight // ANGEL: BUFFY: 'Cause I can't risk you. ANGEL: You need me in this // BUFFY: ANGEL: Why? BUFFY: If I lose...if this thing gets past Sunnydale...then it's days...maybe hours...before the rest of the world goes...I need a second front...and I need you to run it. ANGEL: OK, that's one reason. What's the other?
// Why the hell not?
// No, I need you gone.
BUFFY: There is no other. ANGEL: Is, it Spike? You're not telling me something...And his scent...I remember it pretty well. BUFFY: You vampires...Did anybody ever tell you the whole smelling people thing's a little gross? ANGEL: Is he your boyfriend? // BUFFY: // Is that your business?
ANGEL: You in love with him? OK, maybe I'm outta line...but this is kind of a curve ball for me. I mean, we are talking about Spike here. BUFFY: It's different...He's different...He has a soul now. ANGEL: Oh...Well... BUFFY: What? ANGEL: That's great. Everyone's got a soul now. BUFFY: He'll make a difference. ANGEL: You know, I started it. The whole having a soul. Before it was all the cool new thing. BUFFY: Oh, my God...Are you 12? ANGEL: I'm getting the brush off for Captain Peroxide. It doesn't necessarily bring out the champion in me. BUFFY: You're not getting the brush off. Are you just gonna come here and go all Dawson on me every time I have a boyfriend? ANGEL: Aha!..Boyfriend! BUFFY: He's not...But...he is in my heart. ANGEL: That'll end well... BUFFY: What was the highlight of our relationship? When you broke up with me or when I killed you? I'm well aware of my stellar history with guys...And, no, I don't see fat grandchildren in the offing with Spike, but I don't think that really matters right now...You know, in the midst of all this insanity, a couple things are actually starting to make sense. And the guy thing...I always feared there was something wrong with me...you know...because I couldn't make it work...But maybe I'm not supposed to. ANGEL: Because you're the slayer? BUFFY: Because...OK...I'm cookie dough...I'm not done baking...I'm not finished becoming whoever the hell it is I'm gonna turn out to
be...I make it through this...and the next thing...and the next thing...and maybe one day I turn around and realize I'm ready...I'm cookies...And then...you know...if I want someone to eat...or enjoy warm...delicious cookie me...then...that's fine...That'll be then...When I'm done... ANGEL: Any thoughts on who might enjoy...Do I have to go with the cookie analogy? BUFFY: I'm not really thinking that far ahead...That's kind of the point. ANGEL: I'll go start working on the second front. Make sure I don't have to use it... BUFFY: Angel...I do... sometimes think that far ahead. ANGEL: Sometimes is something... BUFFY: Be a long time coming...Years...if ever... ANGEL: Ain't getting any older...
6. 4rd Transcript - MARTI NOXON - Surprise Angel: Angel: Buffy: Hold on. Hey. Is everything okay? That's what I was gonna ask you. You're okay, right?
Angel: Sure. I-I'm fine. What's up? Buffy: Um... I-I had this... dream that Drusilla was alive. Angel: What happened? Buffy: She killed you. Right in front of me. Angel: It was just a dream. It wasn't real. Buffy: But it felt so real. Angel: It wasn't. I'm right here. Buffy: Angel, th-this happened before. The dreams that I had about the...Master, they came true. Angel: Still, not every dream you have comes true. I mean, what else did you dream last night? Can you remember? Buffy: I dreamt... I dreamt that Giles and I opened an office supply warehouse in Vegas. Angel: See my point? Buffy: Yeah, I-I do, but... what if Drusilla is alive? We never saw her body. Angel: She's not. But even if she was, we'd deal. Buffy: W-w-what if she is... Angel: What if what? Buffy: I'm sorry. Were we talking? Buffy: I'm sorry. I, um... I-I have to go to school. Angel: I know. Buffy: Oh, God, you feel... Angel: You have to go to school.
Buffy: Right. I know. This is me...I'm...going. Angel: You still haven't told me what you wanted for your...birthday. Buffy: Surprise me. Angel: Okay. I will. Buffy: This is nice. I like seeing you first thing in the...morning. Angel: It's bedtime for me. Buffy: Well, then I like seeing you at bedtime. Um... Um, heh... Y-you...know what I mean. Angel: I think so. What do you mean? Buffy: I like seeing you. The part at the end of the night where we say good-bye... It's getting harder. Angel: Yeah. It is.
7. 5th Transcript - MARTI NOXON - The Prom Buffy: I always say patrol's not complete without a trip to the stinky sewers. Angel: I'm sure I saw him come down here. Buffy: Couldn't we just let this be the vamp that got away? We could say he was this big. Angel: What can I say? I need closure. Buffy: You need clothes. You don't have a tux? do you? Angel: Since when did patrolling go black tie? Buffy: For the prom, silly. Angel: We have more important things to think about right now than a dance, Buffy. Buffy: Sorry, Giles. I'll just be quiet. Angel: Come on, don't be that way. Buffy: I'm not being that way. Every time I say the word 'prom', you get grouchy. Angel: I'm sorry. I'm just worried that you're getting too...invested in this whole thing. Buffy: What whole thing? Isn't this the stuff that I'm supposed to get invested in? Going to a formal, graduating, growing up. Angel: I know. Buffy: Then what? What's with the dire? Angel: It's uh, it's nothing. Buffy: No, you have 'something' face.
Angel: I think we need to talk, but not now and not here. Buffy: No. No, if you have something to say, then say it... Angel, drop the cryptic. You're scaring me. Angel: I've been thinking... about our future. And the more I do, the more I feel like us, you and me being together, is unfair to you. Buffy: Is this about what the Mayor said? Because he was just trying to shake us up. Angel: He was right. Buffy: No. No, he wasn't. He's the bad guy. Angel: You deserve more. You deserve something outside of demons and darkness. You should be with someone who can take you into the light. Someone who can make love to you. Buffy: I don't care about that. Angel: You will. And children. Buffy: Children? Can you say jumping the gun? I kill my goldfish. Angel: Today. But you have no idea how fast it goes, Buffy. Before you know it, you'll want it all, a normal life. Buffy: I'll never have a normal life. Angel: Right, you'll always be a Slayer. But that's all the more reason why you should have a real relationship instead of this, this freak show... I didn't mean that. Buffy: I'm gonna go. Angel: I'm sorry. Buffy, you know how much I love you. It kills me to say this. Buffy: Then don't. Who are you to tell me what's right for me? You think I haven't thought about this? Angel: Have you? rationally? Buffy: No. No, of course not. I'm just some swoony little schoolgirl, right? Angel: I'm trying to do what's right here, okay? I'm trying to think with my head instead of my heart. Buffy: Heart? You have a heart? It isn't even beating! Angel: Don't. Buffy: Don't what? Don't love you? I'm sorry. You know what? I didn't know that I got a choice in that. I'm never gonna change. I can't change. I want my life to be with you. Angel: I don't.
Buffy: You don't want to be with me? I can't believe you're breaking up with me. Angel: It doesn't mean that I don't ... Buffy: How am I supposed to stay away from you? Angel: I'm leaving. After the Ascension, after it's finished with the Mayor and Faith. If we survive, I'll go. Buffy: Where? Angel: I don't know. Buffy: Is this really happening?
8. 6th Transcript - MARTI NOXON - Into the woods RILEY: We need to talk. BUFFY: I'm not ready to talk to you yet. RILEY: Too bad. BUFFY: I'm serious...Unless you wanna fight. RILEY: So let's fight. We need to have this out, Buffy. Right now. BUFFY: And say what? Riley? 'What were you thinking? How long have you been lying to me?' Nothing you say right now is gonna make this better. RILEY: I realize that. I don't expect... I just need you to hear me out. BUFFY: Fine. Get your hand off of me. RILEY: I think, when this thing started, it was just some stupid, immature game. I wanted to even the score after you let Dracula bite you. BUFFY: I did not *let* DraculaRILEY: I know. On some level I know that. But I was still spun...I don't know, I - I wanted to know what you felt. I wanted to know why Dracula and Angel have so much power over you. BUFFY: You so don't get it. RILEY: I wanted to get it, Buffy. I wanted to get you.
BUFFY: So this is my fault? Hey, gee, Buffy's so mysterious, I think I'll go out and almost die. I think I'll go and let some other w// RILEY: // This isn't your fault. It's mine. I feel like hell for what I've put you through. It's just... these girls// BUFFY: Killers. // Vampires.
RILEY: They made me feel something, Buffy. Something I didn't even know I was missing untilBUFFY: I can't. I can't hear this. RILEY: You *need* to hear this. BUFFY: Fine. Fine! Tell me about your whores! Tell me what on earth they were giving you that I can't. RILEY: They needed me // BUFFY: // They needed your money. It wasn't about you.
RILEY: No. On some basic level it *was* about me. My blood, my body... When they bit me ... it was beyond passion. They wanted to devour me, all of me. BUFFY: Why are you telling me this? RILEY: It wasn't real. I know, it was just physical. But the fact that I craved it ... that, that I kept going back ... even if it was fleeting, they made me feel like they had such... hunger for me. BUFFY: And I don't ... make you feel that way? How on earth can you compare me to that? How can you tell me you understand what those vampires are feeling? You aren't a passion to them, you are a snack! A willing, idiotic snack. RILEY: No, I know exactly what they feel when they bite me, because I feel it every time we're together. It's like the whole world falls away. And all there is is you. BUFFY: And you think that I don't feel the same way about you? How dare you tell me what I feel? RILEY: You keep me at a distance, Buffy. You didn't even call me when your mom went into the hospital. BUFFY: Oh, I'm sorry. You know, um, I'm sorry that I couldn't take care of you when I thought that my mother was dying. RILEY: It's about me taking care of you! It's about letting me in. So you don't have to be on top of everything all the time.
BUFFY: But I do. That's part of what being a slayer is. And that's what this is really about, isn't it? You can't handle the fact that I'm stronger than you. RILEY: It's hard sometimes, yeah. But that's not it. BUFFY: Then what? What else do you want from me, Riley? I've given you everything that I have, I've given you my heart, my body and soul! RILEY: You say that, but I don't feel it. I just don't feel it. BUFFY: Well, whose fault its that? Because I'm telling you, this is it, this is me. This is the package. And if it's so deficient that you need to get your kicks elsewhere ... then we really have a problem. RILEY: They want me back, Buffy ... the military. It's deep undercover, no contact with civilians. Transport's leaving tonight. BUFFY: Tonight? When were you gonna tell me about this? RILEY: I'm telling you now. BUFFY: Are you going? RILEY: I don't know. If we can't work this out... BUFFY: Then what? This is goodbye? You are unbelievable. You're giving me an ultimatum? RILEY: No, I'm not. BUFFY: Yes you are! You expect me to get over it now or you're gone! RILEY: I don't, Buffy, that's not what I meant. BUFFY: Well, I have heard enough. I will not take the blame for this. RILEY: I'm not asking you to. BUFFY: Let go of me! RILEY: Or, what? You'll hit me? Go ahead. Come on, do it. BUFFY: Get out of my way. RILEY: I'm serious, Buffy, hit me. Hit me. RILEY: I'm leaving, Buffy. RILEY: Unless you give me a reason to stay ... I'm leaving tonight.
9. 7th Transcript - DOUG PETRIE - Fool for love
SPIKE: The first was all business but the second, she had a touch of your style. SPIKE: She was cunning, resourceful... oh, did I mention? Hot. I could have danced all night with that one. BUFFY: You think we're dancing? SPIKE: That's all we've ever done. SPIKE: And the thing about the dance is, you never get to stop. SPIKE: Every day you wake up, it's the same bloody question that haunts you: is today the day I die? SPIKE: Death is on your heels, baby, and sooner or later it's gonna catch you. SPIKE: And part of you wants it... not only to stop the fear and uncertainty, but because you're just a little bit in love with it. SPIKE: Death is your art. You make it with your hands, day after day. SPIKE: That final gasp. That look of peace. Part of you is desperate to know: What's it like? Where does it lead you? And now you see, that's the secret. Not the punch you didn't throw or the kicks you didn't land. Every Slayer... has a death wish. SPIKE: Even you. SPIKE: The only reason you've lasted as long as you have is you've got ties to the world... your mum, your brat kid sister, the Scoobies. They all tie you here but you're just putting off the inevitable. SPIKE: Sooner or later, you're gonna want it. And the secondthe second- that happens... SPIKE: You know I'll be there. I'll slip in... have myself a real good day. SPIKE: Here endeth the lesson. I just wonder if you'll like it as much as she did. BUFFY: Get out of my sight. Now. SPIKE: Oh... did I scare ya? You're the Slayer. Do something about it. Hit me. Come on. One good swing. You know you want to. BUFFY: I mean it. SPIKE: So do I. Give it me good, Buffy. Do it! BUFFY: Spike...
BUFFY: SPIKE: dance. BUFFY: BUFFY: BUFFY:
What the hell are you doing? Come on. I can feel it, Slayer. You know you want to Say it's true. Say I do want to. It wouldn't be you, Spike. It would never be you. You're beneath me.
8th Transcript - DOUG PETRIE - As you were
SPIKE: So she's back. Thought you'd be off snogging with soldierboy. BUFFY: He's gone. SPIKE: So, you come for a bit of cold comfort? The bed's a bit blown up, but then, that was never ourBUFFY: I'm not here toBUFFY: And I'm not here to bust your chops about your stupid scheme, either. That's just you. I should have remembered. SPIKE: So this is worse then, is it, this is you telling meBUFFY: It's over. SPIKE: I've memorized this tune, love. Think I have the sheet music. Doesn't change what you want. BUFFY: I know that... I do want you... Being with you ... makes things ... simpler. For a little while. SPIKE: I don't call five hours straight a little while. BUFFY: I'm using you. BUFFY: I can't love you. I'm just ... being weak, and selfish... SPIKE: Really not complaining here. BUFFY: ...and it's killing me. BUFFY: I have to be strong about this. BUFFY: I'm sorry ... William.
9th Transcript - DOUG PETRIE - Beneath you
SPIKE: Hello. BUFFY: What the hell are you—? SPIKE: It didn't work. Costume. Didn't help. Couldn't hide. BUFFY: No more mind games, Spike. SPIKE: No more mind games. No more mind. BUFFY: Tell me what happened to you. SPIKE: Hey, hey, hey! No touching. Am I flesh? Am I flesh to you? Feed on flesh. My flesh. Nothing else. Not a spark. Oh, fine. Flesh then. Solid through. Get it hard; service the girl. BUFFY: Stop it! SPIKE: Right. Girl doesn't want to be serviced. Because there's no spark. Ain't we in a soddin' engine? BUFFY: Spike, have you completely lost your mind? SPIKE: Well, yes. Where've you been all night? BUFFY: You thought you would just come back here and... be with me? SPIKE: First time for everything. BUFFY: This is all you get. I'm listening. Tell me what happened. SPIKE: I tried to find it, of course. BUFFY: Find what? SPIKE: The spark. The missing... the piece that fit. That would make me fit. Because you didn't want... God, I can't... Not with you looking. SPIKE: I dreamed of killing you. SPIKE: I think they were dreams. So weak. Did you make me weak, thinking of you, holding myself, and spilling useless buckets of salt over your... ending? Angel—he should've warned me. He makes a good show of forgetting, but it's here, in me, all the time. The spark. I wanted to give you what you deserve, and I got it. They put the spark in me and now all it does is burn. BUFFY: Your soul. SPIKE: Bit worse for lack of use. BUFFY: You got your soul back. How?
SPIKE: It's what you wanted, right? It's what you wanted, right? And—and now everybody's in here, talking. Everything I did...everyone I— and him... and it... the other, the thing beneath —beneath you. It's here too. Everybody. They all just tell me go... go... to hell. BUFFY: Why? Why would you do that?— SPIKE: Buffy, shame on you. Why does a man do what he mustn't? For her. To be hers. To be the kind of man who would nev— to be a kind of man. SPIKE: She shall look on him with forgiveness, and everybody will forgive and love. He will be loved. SPIKE: So everything's OK, right? SPIKE: Can—can we rest now? Buffy...can we rest?
1. 'Slayer Slang' by Michael Adams 2. http://en.wikipedia.org/wiki/Buffy_the_Vampire_Slayer_(TV_series) 3. http://www.buffyworld.com/buffy/
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