Buffy the Vampire Slayer: The Script Book Season Two, Vol. 1

Rating:
Summary: A mixed group of scripts kicks off a phenomenal season
Review: As fine as Season One of BUFFY THE VAMPIRE SLAYER had been, it was nonetheless at the start of Season Two merely a very good show. During the second season, however, Joss Whedon and his stable of crack writers would transform the show into something truly great. Nonetheless, it took some time for Season Two to achieve the greatness that it ended up being. So, in a sense, the scripts in this volume represent the last shows where Buffy was struggling to realize its enormous potential. Not that they aren't very good, or even in a couple of instances quite exceptional; they simply aren't as stellar as what immediately followed.

"Lie to Me" is, like many season openers, the product of Joss Whedon. As fine as other writers on the show are, I don't think anyone would question that Whedon always remained the King of the Hill. This script provides a marvelous transition from "Prophecy Girl," the Season One finale. Buffy returns to Sunnydale after spending the summer in L.A., and she is obviously reexperiences the trauma of her encounter with and death by the Master. She completely supplants Cordelia as the Queen [word that rhymes with "witch"] of Sunnydale high. Not only is she indifferent to almost everything, she is positively nasty to Cordelia, and engages in an over-the-top sexy dance with Xander that both unmercifully steams him up only to dash him with cold water, and cruelly makes Angel jealous. As Xander and Willow agree, Buffy has always been different, but she had never been mean before. But when vampires kidnap Willow, Giles, Jenny, and Cordelia to perform a ritual to resurrect the Master, Buffy not only saves her friends, but as Xander puts it "works out her issues" by killing all the vampires.

"Some Assembly Required" is one of the weakest episodes in the entire run of the show. When fans are polled on the worst episodes ever, it usually garners one of the highest vote totals. As a rule, Buffy is a highly nonderivative show, but this episode is a fairly lame updating of BRIDE OF FRANKENSTEIN. It does contain one of my all time favorite exchanges. Upon seeing Giles, who is trying to work up the nerve to ask out Jenny Calendar, Xander says: XANDER: And speaking of love . . . WILLOW: We were talking about the reanimation of dead tissue. XANDER: Do I deconstruct your segues?

"School Hard," written by David Greenwalt, is a very good episode, with several memorable moments. I don't think it is quite up to the level of the better scripts later in the year, but it is still extremely fine. Two things make it especially memorable. First, we meet Spike and Druscilla for the first time. Spike's part is especially well written, but reading the script demonstrates just how much James Marster's brings to the role. All the performers bring a great deal, but I believe he adds more to his part than any other performer. The second great thing in the episode is Spike's killing "the Annoying One" near the end of the episode. The episode is also crucial for reemphasizing the nontraditional nature of our heroine. Most heroes are loners, bereft of friends and family, but Buffy is great because of her friends and family. As Spike remarks, "A Slayer with family and friends. That sure as hell wasn't in the brochure."

"Inca Mummy Girl," written by Matt Kiene and Joe Reinkemeyer, continues the pattern of the first season and a half of Buffy, of one very strong script followed by a fairly weak one. This episode isn't as bad as "Some Assembly Required," but it is one of the weakest of the season.

David Greenwalt's "Reptile Boy" is an odd bird: unpleasant story with a bevy of absolutely great lines. If you focus on the story, this isn't a very good episode, but if you focus on the lines, it is great. The opening bit with Buff, Will, and Xander watching TV is a stitch. The episode contains one of the greatest of all Angel/Buffy exchanges: ANGEL: This isn't some Fairy Tale: when I kiss you you don't wake up from a deep sleep and live happily ever after. BUFFY: No. When you kiss me, I want to die.

"Halloween" was the only script that Carl Ellsworth wrote for Buffy, and while it isn't an especially great one, it is definitely a lot of fun. The idea of people becoming who or what they dress up as on Halloween seems a tad familiar, but it is all done in fun fashion. One of the great things about the show is the continuity from one episode to another. On several occasions in the future, Xander's having been a soldier briefly plays a crucial role in plotlines.

So, overall, not nearly as strong a group of scripts as we would see later in the season. Season Two is unquestionably great, but it is on the basis of what came after what we find here. In fact, the greatness would start with the very next script that follows these: "Lie to Me."

Rating:
Summary: A mixed group of scripts kicks off a phenomenal season
Review: As fine as Season One of BUFFY THE VAMPIRE SLAYER had been, it was nonetheless at the start of Season Two merely a very good show. During the second season, however, Joss Whedon and his stable of crack writers would transform the show into something truly great. Nonetheless, it took some time for Season Two to achieve the greatness that it ended up being. So, in a sense, the scripts in this volume represent the last shows where Buffy was struggling to realize its enormous potential. Not that they aren't very good, or even in a couple of instances quite exceptional; they simply aren't as stellar as what immediately followed.

"Lie to Me" is, like many season openers, the product of Joss Whedon. As fine as other writers on the show are, I don't think anyone would question that Whedon always remained the King of the Hill. This script provides a marvelous transition from "Prophecy Girl," the Season One finale. Buffy returns to Sunnydale after spending the summer in L.A., and she is obviously reexperiences the trauma of her encounter with and death by the Master. She completely supplants Cordelia as the Queen [word that rhymes with "witch"] of Sunnydale high. Not only is she indifferent to almost everything, she is positively nasty to Cordelia, and engages in an over-the-top sexy dance with Xander that both unmercifully steams him up only to dash him with cold water, and cruelly makes Angel jealous. As Xander and Willow agree, Buffy has always been different, but she had never been mean before. But when vampires kidnap Willow, Giles, Jenny, and Cordelia to perform a ritual to resurrect the Master, Buffy not only saves her friends, but as Xander puts it "works out her issues" by killing all the vampires.

"Some Assembly Required" is one of the weakest episodes in the entire run of the show. When fans are polled on the worst episodes ever, it usually garners one of the highest vote totals. As a rule, Buffy is a highly nonderivative show, but this episode is a fairly lame updating of BRIDE OF FRANKENSTEIN. It does contain one of my all time favorite exchanges. Upon seeing Giles, who is trying to work up the nerve to ask out Jenny Calendar, Xander says: XANDER: And speaking of love . . . WILLOW: We were talking about the reanimation of dead tissue. XANDER: Do I deconstruct your segues?

"School Hard," written by David Greenwalt, is a very good episode, with several memorable moments. I don't think it is quite up to the level of the better scripts later in the year, but it is still extremely fine. Two things make it especially memorable. First, we meet Spike and Druscilla for the first time. Spike's part is especially well written, but reading the script demonstrates just how much James Marster's brings to the role. All the performers bring a great deal, but I believe he adds more to his part than any other performer. The second great thing in the episode is Spike's killing "the Annoying One" near the end of the episode. The episode is also crucial for reemphasizing the nontraditional nature of our heroine. Most heroes are loners, bereft of friends and family, but Buffy is great because of her friends and family. As Spike remarks, "A Slayer with family and friends. That sure as hell wasn't in the brochure."

"Inca Mummy Girl," written by Matt Kiene and Joe Reinkemeyer, continues the pattern of the first season and a half of Buffy, of one very strong script followed by a fairly weak one. This episode isn't as bad as "Some Assembly Required," but it is one of the weakest of the season.

David Greenwalt's "Reptile Boy" is an odd bird: unpleasant story with a bevy of absolutely great lines. If you focus on the story, this isn't a very good episode, but if you focus on the lines, it is great. The opening bit with Buff, Will, and Xander watching TV is a stitch. The episode contains one of the greatest of all Angel/Buffy exchanges: ANGEL: This isn't some Fairy Tale: when I kiss you you don't wake up from a deep sleep and live happily ever after. BUFFY: No. When you kiss me, I want to die.

"Halloween" was the only script that Carl Ellsworth wrote for Buffy, and while it isn't an especially great one, it is definitely a lot of fun. The idea of people becoming who or what they dress up as on Halloween seems a tad familiar, but it is all done in fun fashion. One of the great things about the show is the continuity from one episode to another. On several occasions in the future, Xander's having been a soldier briefly plays a crucial role in plotlines.

So, overall, not nearly as strong a group of scripts as we would see later in the season. Season Two is unquestionably great, but it is on the basis of what came after what we find here. In fact, the greatness would start with the very next script that follows these: "Lie to Me."

Rating:
Summary: Joss Whedon kicks Buffy into high gear to start Season 2
Review: As I sit down to watch Season Two of "Buffy the Vampire Slayer" on DVD (again), I have my copy of "The Script Book: Season Two, Volume 1" in hand so can compare the original shooting scripts of the first six episodes with what ended up being aired. Half the fun is finding lines and scenes that have been cut (or added); the other half of the fun are the wicked stage directions that Joss Whedon and the other writers like to toss our way from time to time as we go our merry way. Of course, that experience ends with episode 12 because after Season Two, Volume 2, we hit a dead end. Maybe there is a one volume, 10 script collection down the road doing the entire Angelus story arc from the last half of Season Two; maybe not.

Deep Thoughts regarding these episodes:

"When She Was Bad" (written by Joss Whedon) is one of those pivotal episodes in the history of a show when it basically learns from past mistakes and starts over. The key scene here is when Buffy dances with Xander at the Bronze as Sarah Michelle Gellar injects a mondo dose of sexuality into the series. Reading how Whedon sketched out the scene makes you respect him as a director as well, given what ended up on the screen.

"Some Assembly Required" (written by Ty King) is basically the Frankenstein approach, in terms of both the doctor and the monster, to high school dating in yet another in a long series of Cordy in peril episodes.

"School Hard" (written by Joss Whedon and David Greenwalt) reminds us how often little things on BtVS have a tendency to grow once they catch our fancy. This is the episode that introduces Spike and Drusilla while suddenly (and surprisingly) jettisons the "Annoying" One. Read over this one carefully and notice how much had to be abandoned or revised in terms of character histories as Spike moved in for the long haul.

"Inca Mummy Girl" (written by Matt Kiene and Joe Reinkemyer) is another of those episodes where the bad news is that Xander has a girlfriend. But how could they ever cut out the line where Ampata praises Xander for making the milk come out of her nose?

"Reptile Boy" (written by David Greeenwalt) is yet another Coredlia in jeopardy episode, only this time Buffy is along for the ride. However, the rampant symbolism of the Machida just does not really come across on the printed page...

"Halloween" (written by Carl Ellsowrth) is the second best episode in this sextet. I am surprised that it was not written by one of the show's "name" writers, because not only does it give the cast a chance to play against type (Buffy is a frail maiden, Xander is soldier boy), but it introduces the "Ripper" aspect of the history of Rupert Giles, which will save him from more than a few bouts of unconsciousness down the road because he never goes back to being the meek little librarian (very often). Watch out for the great line from Angel about why he eats that was cut.

Ironically, of course, the fans of the show likely to buy these script collections are also those who pretty much have all 122 episodes of "Buffy the Vampire Slayer" committed to memory. Consequently, they will not need to follow along on DVD or videotape to spot the changes, additions, and deletions. I just cannot believe anybody would read these scripts without having seen the episodes in question.

Rating:
Summary: As fun to read as to watch, thanks to the clever writing
Review: In what is apparently the first of four books with the scripts from Season Two of Buffy the Vampire Slayer, the one-liners come fast and furious with a liberal dose of drama.

The book begins with "When She Was Bad." At the end of Season One, Buffy was killed by the evil vampire known as the Master (albeit just for a minute) and this episode deals with the aftermath of that trauma. Buffy's friends try to find out why she's being such a...er, witch...to them while a group of vampires tries to revive the Master.

The second episode is "Some Assembly Required." Although well-written, it's probably one of the less impressive episodes in the book. It features Buffy and gang trying to find the secret behind grave robbers who now have their sights set on a living person...acerbic queen Cordelia.

"School Hard" introduces Spike and Drusilla, two of the series' mainstay villains (and sometimes hero, in Spike's case). Parent-Teacher Night at Sunnydale High happens to correspond with the Night of St. Vigeous, the day when vampires' power is at its peak. Needless to say, things get a little hairy in what is probably the best episode of the bunch.

Regular guy Xander gets a showcase in "Inca Mummy Girl". He's finally found a girl he likes (who isn't a giant praying mantis). Unfortunately, she's an ancient mummy who must survive by draining people's life force. Is it any surprise that it doesn't end well?

"Reptile Boy" is probably the worst episode in the book. It's still good, but not up to par with the other five. In it, evil frat boys are planning to sacrifice Buffy and Cordelia to a gigantic snake.

And finally, in "Halloween" one of Giles' old friends comes to town, and as a result everyone turns into their costumes - Willow becomes a ghost, Xander becomes a military private, and Buffy becomes a helpless aristocrat from the eighteenth century. It drops hints of Giles' past, which will come back to haunt him later in the season.

Without a doubt, a good buy for anyone who enjoys Buffy or wants to see what the fuss is all about (although newcomers might want to start with the Season One scripts).

Rating:
Summary: As fun to read as to watch, thanks to the clever writing
Review: In what is apparently the first of four books with the scripts from Season Two of Buffy the Vampire Slayer, the one-liners come fast and furious with a liberal dose of drama.

The book begins with "When She Was Bad." At the end of Season One, Buffy was killed by the evil vampire known as the Master (albeit just for a minute) and this episode deals with the aftermath of that trauma. Buffy's friends try to find out why she's being such a...er, witch...to them while a group of vampires tries to revive the Master.

The second episode is "Some Assembly Required." Although well-written, it's probably one of the less impressive episodes in the book. It features Buffy and gang trying to find the secret behind grave robbers who now have their sights set on a living person...acerbic queen Cordelia.

"School Hard" introduces Spike and Drusilla, two of the series' mainstay villains (and sometimes hero, in Spike's case). Parent-Teacher Night at Sunnydale High happens to correspond with the Night of St. Vigeous, the day when vampires' power is at its peak. Needless to say, things get a little hairy in what is probably the best episode of the bunch.

Regular guy Xander gets a showcase in "Inca Mummy Girl". He's finally found a girl he likes (who isn't a giant praying mantis). Unfortunately, she's an ancient mummy who must survive by draining people's life force. Is it any surprise that it doesn't end well?

"Reptile Boy" is probably the worst episode in the book. It's still good, but not up to par with the other five. In it, evil frat boys are planning to sacrifice Buffy and Cordelia to a gigantic snake.

And finally, in "Halloween" one of Giles' old friends comes to town, and as a result everyone turns into their costumes - Willow becomes a ghost, Xander becomes a military private, and Buffy becomes a helpless aristocrat from the eighteenth century. It drops hints of Giles' past, which will come back to haunt him later in the season.

Without a doubt, a good buy for anyone who enjoys Buffy or wants to see what the fuss is all about (although newcomers might want to start with the Season One scripts).

Rating:
Summary: Fun to read
Review: The writing of Buffy the Vampire Slayer, the Television series is much celebrated by fans and critics alike. This book is a collection of the original shooting scripts for the first 6 episodes of season two. Included are When She Was Bad, Some Assembly Required, School Hard, Inca Mummy Girl, Reptile Boy and Halloween. Some of these scripts contain dialogue or scenes which were cut due to time or other concerns. This volume is a must for the Buffy collector and wonderful for anyone that appreciates quality television.