The Girl's Got Bite: The Original Unauthorized Guide to Buffy's World

by Kathleen Tracy

OF SPECIAL NOTE: The title is taken from the famous line by Franklin Delano Roosevelt—“The only thing we have to fear is fear itself”—spoken during his inaugural address in March 1933, referring to America’s struggle to recover after the Great Depression.

  61. “Beer Bad”

  (NOVEMBER 2, 1999)

  Director: David Solomon

  Teleplay: Tracey Forbes

  Recurring cast: Marc Blucas (Riley Finn); Adam Kaufman (Parker); Lindsay Crouse (Professor Maggie Walsh)

  Guest cast: Eric Matheny (main cave guy); Stephen M. Porter (Jack); Paige Moss (Veruca)

  Music: “Overfire” (at the Bronze), by THC, from Adagio; “Nothing But You” (on the jukebox), by Kim Ferron, from the Buffy the Vampire Slayer soundtrack; “Ladyfingers” (in the dorm room), by Luscious Jackson, from Electric Honey

  Plot: Buffy drinks to drown her sorrows; she and her drinking buddies revert to cavemen.

  THIS WEEKS’ WICKED BREW: Spiked beer that turns people into Neanderthals.

  INTRODUCING: Oz’s curious fascination with Veruca, who sings with a local Sunnydale band called Shy.

  ANALYSIS: Buffy preoccupation with Parker borders on obsession, although reality does seem to be sinking in, slowly. After having fantasies of rescuing Parker, and his begging forgiveness, Buffy morosely concludes that she was an idiot for falling for his pickup line. When some self-important college guys ask her to join them for a beer, it seems like the perfect opportunity to get Parker off her mind. Like most college students, Buffy assumes she has it under control and sucks down beer after beer, oblivious to how it’s affecting her and those she’s with. All she knows is that it makes her troubles seem less important—even if the trade-off is a decidedly compromised mental acuity.

  Across town, Willow’s sense of security is rocked by Oz’s fascination with a singer they hear at the Bronze. Up until this point, Oz never has seemed remotely interested in anyone else. But when Parker tries to put the moves on Willow, she accuses him of not being much different than a caveman, dragging a woman away by her hair to have sex. The heart of what Willow is saying—that, for all our civilization, our primal urges remain the same—will soon hit closer to home than she can imagine.

  Although Buffy’s beer binges have reduced her to a primitive state, her Slayer instincts aren’t completely deadened and she manages to save several people, including Parker, from a fire started by her Neanderthal drinking buddies. As she slowly sobers up, it’s apparent the experience has been cathartic. Buffy proves she now realizes it was Parker who was the jerk—by smacking him on the head with a club—and that she’s ready to move on with her life.

  THE REAL HORROR: Being a fool. Not only did Buffy let herself get talked into a one-night stand with Parker, but she compounded her misery by turning to alcohol for solace. The moral of this episode is clear and direct: The consequences of drinking can be fatal.

  BLOOPERS: As Xander practices bartending, the two coffee cups on the table seem to change positions from one shot to the next.

  OF SPECIAL NOTE: This episode received an Emmy nomination for “Outstanding Hairstyling for a Series” in the 52nd Annual Emmy Awards.

  MUSICAL NOTE: Although Shy is the name of Veruca’s band, the music they are performing actually performed by THC.

  62. “Wild at Heart”

  (NOVEMBER 9, 1999)

  Director: David Grossman

  Teleplay: Marti Noxon

  Recurring cast: Marc Blucas (Riley Finn); James Marsters (Spike); Lindsay Crouse (Professor Maggie Walsh)

  Guest cast: Paige Moss (Veruca)

  Music: “Good Enough” (in the Bronze), by Eight Stops Seven, from In Moderation; “Dip” (song performed by Veruca), by THC, from Adagio; “Need to Destroy” (song Veruca rehearses), from Adagio

  Plot: Oz makes a fateful decision after confronting his inner beast.

  ANALYSIS: Oz takes center stage in this episode. Despite his seemingly thoughtful and introspective nature, Oz has never fully confronted exactly what it means to be a werewolf. Because he carefully locks himself away the three nights a month he transforms, he has fooled himself into believing he is in control of the wolf. But his close encounter of the erotic kind with fellow werewolf Veruca jolts him out of his complacency. His previous fascination with Veruca was based on mutual lupine recognition, and their sexual encounter while in their transformed state—has Oz taking a new look at himself. Veruca’s embrace of the wolf, and its thrill of the kill, frighten Oz because up to now he has buried those thoughts. But he realizes that, although he transforms only three days a month, the wolf is part of who he is, daily.

  After Willow discovers Oz and Veruca in his cage after an obvious night of passion, Willow feels betrayed and insecure about her own sex appeal. Buffy offers her a shoulder to cry on but, typically, the Slayer feels better taking action. In this case, Veruca not only broke her friend’s heart but is a killer werewolf who needs to be stopped.

  Veruca is simply doing what comes naturally and doesn’t understand why Oz would want to fight the power that comes with their transformation, which she obviously finds to be a powerful aphrodisiac—similar to the way Faith finds Slaying a turn-on. Veruca believes all she has to do is kill Willow in order to set free the animal in Oz. But Veruca’s threat to Willow so enrages Oz that he turns his transforming animal self on Veruca and kills her.

  Although extremely hurt and disillusioned by Oz’s indiscretion, it’s not necessarily a relationship-breaker as far as Willow is concerned. So she is stunned when she finds Oz packing to leave Sunnydale. Buffy empathizes with her hurt and knows from her own sad experiences that it is going to take Willow a long time to recover.

  THE REAL HORROR: Losing control. Even though Oz loves Willow, his inability to control the animal inside him puts their relationship at risk when he is seduced by the danger in Veruca. His decision to leave is prompted by his unwillingness to endanger Willow emotionally or physically, and his desire to understand the animal within himself in order to learn to control it. But as he drives away, it is clear he believes that day will be a long time coming.

  OF SPECIAL NOTE: Seth Green and Paige Moss previously worked together in the 1998 film Can’t Hardly Wait.

  Whedon originally meant for the fiery relationship between Oz and Veruca to develop over most of the season, but the storyline was cut short after Seth Green’s decision to leave the show.

  63. “The Initiative”

  (NOVEMBER 16, 1999)

  Director: James A. Contner

  Teleplay: Douglas Petrie

  Recurring cast: Marc Blucas (Riley Finn); Mercedes McNab (Harmony Kendall); Adam Kaufman (Parker Abrams); Bailey Chase (Graham); Leonard Roberts (Forrest); Lindsay Crouse (Professor Maggie Walsh)

  Guest cast: Mace Lombard (Tom); Scott Becker (lost freshman)

  Music: “Welcome” (song Willow listens to when Riley visits), by Jake Lee Rau, from Joy; “Bodyrock” (at party), by Moby, from Play; “Never Say Never” (as Willow and Riley sit on the couch), by That Dog, from Retreat; “Fate” (at party), by Four Star Mary, from Four Star Mary

  Plot: Spike is held prisoner. Riley figures out he’s got a crush on Buffy.

  THIS WEEK’S COVERT GOVERNMENT AGENCY: The Initiative. Riley Finn passes himself off as an unassuming teacher’s aide, but in reality he’s part of a secret government group operating in Sunnydale.

  INTRODUCING: James Marsters as a series regular.

  ANALYSIS: This episode sets the stage for the main story arc for the season. It becomes apparent the shadowy figures in black, who have been spotted running around campus, are hunting and capturing vampires for unexplained reasons. After being captured and finding himself locked in a sterile cell, Spike naturally blames the Slayer for all his troubles and keeps his spirits up by fantasizing how he’s going to give her her overdue comeuppance.

  For over a hundred years Spike has prided himself on being a literal terror; Buffy constantly bruising his demon-ego has grown very old. But when he discovers he can
no longer bite anyone, courtesy of a chip implanted into his brain by the Initiative, Spike undergoes an identity crisis. Even worse, the commandos are chasing him and he’s running out of places to hide.

  Trying to figure out who exactly these men in black are, Buffy is unaware of Riley’s growing attraction to her—in part because it takes Riley awhile to realize it himself. When working as a teacher’s aide or on a mission for the Initiative, Riley is a take-command kind of guy. But when it comes to Buffy, his self-confidence deflates and he’s like a tongue-tied schoolboy. That duality will eventually be the key to unlocking Buffy’s heart.

  THE REAL HORROR: Bad timing. Between Buffy’s Slaying and his secret government work, it seems Riley never will find the right moment to finally ask Buffy out.

  OF SPECIAL NOTE: The names on the dorm list include Buffy crew members like Jeff Pruitt and David Solomon.

  It is revealed that Oz’s real name is Daniel Osbourne.

  MUSICAL NOTE: The song “Fate,” by Four Star Mary, was previously featured in Episode 16, “Inca Mummy Girl.”

  64. “Pangs”

  (NOVEMBER 23, 1999)

  Director: Michael Lange

  Teleplay: Jane Espenson

  Recurring cast: Marc Blucas (Riley Finn); Mercedes McNab (Harmony Kendall); Emma Caulfield (Anya); Leonard Roberts (Forrest); Bailey Chase (Graham); Tod Thawley (Hus); David Boreanaz (Angel)

  Guest cast: Margaret Easley (curator); William Vogt (Jamie); Mark Ankeny (Dean Guerrero)

  Plot: Xander accidentally releases an Indian vengeance spirit. Angel secretly returns to Sunnydale to protect Buffy.

  THIS WEEK’S UNWANTED THANKSGIVING GUEST: Hus, a Native-American vengeance spirit from the Chumash tribe, who seeks retribution for the death of his people.

  ANALYSIS: Nothing puts a damper on Thanksgiving like a reminder of the Indians massacred at the hands of American settlers. Good and evil are often clearly delineated for Buffy, but from time to time she encounters moral shades of gray. While the Indian spirit released from the chamber must be stopped from killing any more Sunnydale residents, his rage and revenge are justified by the slaughter of his people. Willow represents the conscience of the group; although she doesn’t want any more people to die, neither does she necessarily want to kill the Indian spirit, because he has a point.

  Spike’s ego has been thoroughly ground to dust and he finds himself in such desperate straits that he turns to Buffy for help, in exchange for information on the Indian spirit. Although he’s treated with distrust, and trussed like a turkey to the chair just in case, Spike seems surprisingly comfortable among his former foes. Helpless, Spike finds himself in the unlikely position of desperately wanting the Slayer to win one for the good guys after Hus turns himself into a bear. Although Spike’s not exactly a welcome guest, once Buffy sends Hus and his tribe back into the green ether, Spike is given refuge. He sits in his chair listening to the others go on about their typically complicated lives, and gets to see Buffy’s life from her perspective, giving him a better insight into who she is.

  THE REAL HORROR: Holiday dinners. Holidays can force a festive mood on us, which we often respond to with surliness. Although Thanksgiving is supposed to be a time of reflection and giving thanks for the blessings in our lives, whenever you get enough friends or family members around a dinner table, bickering inevitably ensues. But the tensions Buffy and her friends experience reflect just how much they’ve grown into a true family.

  IT’S A MYSTERY: Why does Anya act as if she’s never seen Angel before? She did meet him—when vampire Willow was sent back to the alternative universe. (see Episode 50, “Doppelgängland.”)

  BLOOPERS: After getting shot with arrows, Spike’s shirt has no apparent holes in it.

  OF SPECIAL NOTE: Angel returns to Sunnydale after his friend Doyle has a vision that Buffy is in danger, seen at the end of an episode of Angel, “The Bachelor Party.”

  65. “Something Blue”

  (NOVEMBER 30, 1999)

  Director: Nick Marck

  Teleplay: Tracey Forbes

  Recurring cast: Marc Blucas (Riley Finn); Emma Caulfield (Anya); Elizabeth Anne Allen (Amy)

  Guest cast: Andy Umberger (D’Hoffyrn)

  Music: “All the Small Things” (as Willow dances), by Blink 182, from Enema of the State

  Plot: Willow’s magic has unintended effects on her friends.

  THIS WEEK’S DILEMMA: A spell gone bad.

  ANALYSIS: This time it’s Willow’s turn to wallow in self-pity. After discovering that Oz sent for all his things, Willow turns to Buffy for help but doesn’t feel she’s getting the degree of sympathy she deserves. Nor does she want to hear that it just takes time to get over being hurt. Because Willow has special powers, she decides to use them as self-help and casts a spell she hopes will mend her heart overnight.

  Although she’s powerful, Willow is a greenhorn. Like a beginning golfer who can hit the ball a country mile but can’t control where it’ll land, Willow’s spell works, but not in the way she thought it would. She accidentally causes Giles to go blind, Buffy and Spike to get engaged, and Xander to be hunted by every demon in Sunnydale.

  While it’s easy to understand that she wants to make her pain go away, Willow is taking the first step down what will ultimately be a treacherous road. Using powers to help defeat evil is one thing; using powers to alter the natural emotional course of one’s life is quite another. Anya seems to be the only one of the group who appreciates how powerful Willow must be for D’Hoffryn to offer Willow the vengeance-demon gig, but the others—too preoccupied by the spells they are under—don’t pick up on it, nor do they effectively confront Willow after the spell is reversed. Perhaps because Willow has always been so grounded and steady, they miss some of the early warning signs foretelling dark times ahead.

  THE REAL HORROR: Lashing out at those you love most. Because she is so hurt by Oz leaving, Willow inappropriately turns her pain and anger toward Buffy and the others. In real life you run the risk of alienating your friends; in Sunnydale such self-indulgence can result in your friends losing their lives.

  IT’S A MYSTERY: Does D’Hoffryn have to get a person’s permission before turning them into a demon, or is he just being polite?

  BLOOPERS: Spoke’s reflection is visible in Giles’s glass bookcase.

  OF SPECIAL NOTE: This episode introduces the idea of a Spike-Buffy romance.

  * * *

  REVELATION

  As Willow and Buffy walk down the street after everyone’s voice is stolen, they pass a man holding up a sign that says, “REVELATION 15:1” That biblical passage reads, “And I saw another sign in heaven, great and marvelous, seven angels having the seven last plagues; for in them is filled up the wrath of God.” The Book of Revelation was written by John the Apostle and has been interpreted as being his divinely inspired vision of the end of the world.

  * * *

  66. “Hush”

  (DECEMBER 14, 1999)

  Director: Joss Whedon

  Teleplay: Joss Whedon

  Recurring cast: Marc Blucas (Riley Finn); Emma Caulfield (Anya); Leonard Roberts (Forrest); Phina Oruche (Olivia); Amber Benson (Tara); Lindsay Crouse (Professor Maggie Walsh)

  Guest cast: Doug Jones (Gentleman); Camden Toy (Gentleman); Brooke Bloom (girl in Wicca group); Jessica Townsend (girl in Wicca group); Don W. Lewis (Gentleman); Charlie Brumbly (Gentleman); Carlos Amezcua (newscaster); Elizabeth Truax (little girl); Wayne Sable (freshman)

  Music: “Danse Macabre” (during Giles’s lecture in auditorium), by Camille Saint-Saëns

  Plot: Buffy fights a silent enemy. Riley finally sees the Slayer in action.

  THIS WEEK’S FAIRY-TALE MONSTERS: The Gentleman—demons who descend on a town and steal everyone’s voices so they can cut the hearts out of seven people. They need their victims to be silent because the sound of a scream kills the Gentlemen.

  INTRODUCING: Amber Benson as Tara, who meets Willow during an on-campus Wicca meeting.

 
ANALYSIS: Now that she is officially single, Willow looks to fill her free time by more aggressively pursuing witchcraft. But she is soon disappointed to discover the campus group is Wiccan in name only. The only one in the group who seems to share her interest is Tara. Shy and unassuming, Tara is also observant and can sense the power, and also the loneliness, within Willow.

  Buffy wants to get closer to Riley but her secret life as the Slayer is a big obstacle. She doesn’t want a relationship filled with lies and deceit, but at the same time, doesn’t want to endanger Riley with her lifestyle. Ironically, Riley is confronting the same dilemma, unsure how he can keep his commitment to the Initiative secret and carry on a meaningful relationship at the same time.

  Once the Gentlemen take away everyone’s voices, Buffy and the others are forced to communicate either through writing, or expression and body language. Tara and Willow, though, can also communicate through their powers. In order to keep the Gentlemen from attacking them, Tara and Willow join hands and their combined power moves a soda machine to block the door. More than that, the touch of their hands sends a clear signal to both of them that there is something more powerful than witchcraft at work.

  Riley and Buffy both finally end up battling the Gentleman, trying to release the stolen voices. After her earsplitting scream causes their heads to pop, Buffy must face an even greater challenge—explaining to Riley who she really is.

  THE REAL HORROR: Being unable to find the words. At the end, when Buffy and Riley are confronted with having to be honest with each other about who they are, neither one knows what to say. As people get older and life gets more complicated, it sometimes can be difficult to say exactly what we mean, and out of fear of a negative reaction, we say nothing.

  BLOOPERS: The tower clock switches between two different times from one shot to the next.

  WHAT JOSS WHEDON HAS TO SAY: “The Gentlemen came from many storybooks and many silent movies and many horror movies and many nightmares—and Mr. Burns from The Simpsons.”

  DEGREES OF SEPARATION: The music Giles plays in the lecture hall, “Danse Macabre,” is used as the theme for the British series Jonathan Creek. Anthony Stewart Head had a recurring role as a magician in Jonathan Creek, but he had to be replaced after the show’s first season because of his Buffy commitments.