The construction of the cemetery (or, better, "twelve, within the city limits" ("Revelations")) at the center of Sunnydale and the series itself performs as a liminal space where bodies are buried, exhumed, and re-animated. The performance of resuscitating the body becomes a central trope throughout the series: the revelation that "Somebody’s been digging up the bodies of dead girls" and re-animated Daryl illustrates the boundaries of such attempts at bodily recovery ("Some Assembly Required"), the construction and deconstruction of Adam in Season Four show the monstrosity of such an attempt, the failed attempt to revivify Joyce depicts a turn from magic to a more natural grieving process ("Forever"), and Willow’s resuscitation of Buffy makes the continuation of the series and reconfiguration of its terms possible ("Bargaining, Part I"), the "extratextual" that Rhonda Wilcox describes as including a "postmodern self-consciousness" evident in Buffy’s rise again "on another network" (16). In this paper, I will explore the notion of encryption—the literal entombment of bodies in Sunnydale cemeteries as well as the inscription of meaning on the recovered bodies. The conflation of the BuffyBot that is dismembered while Buffy is re-membered and returns to her subject position as slayer speaks to the possibilities of the play with corporeal and discursive identities ("Bargaining, Part II"). After seven seasons, the closure brought by the series’ final episode leaves another body in its wake: Buffy the Vampire Slayer as a textual body. The resuscitation of that body, through the loops on F/X and through criticism, illustrates the possibility of reconfiguring the relationships between the categories of language, identity, and meaning in Buffy’s postmodern world.