I'm not on the ship. I'm in the ship. I am the ship.

River ,'Objects In Space'


Mejiaville

Jeff writes up the show promos for Buffy, Angel, and Firefly; he also does the Previouslys. Love him muchly, for he sees what we don't and reports it back to us.


Jeff Mejia - Feb 11, 2004 6:40:04 pm PST #102 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the promo breakdown for next week's Angel episode, "Smile Time" :

Narrator: Next week on an all-new Angel...

We open up on a quick shot of Angel striding through an office.

Cut to a power shot of Gunn, Fred, and Wesley walking out of Angel's office. It is daylight behind them. Gunn, on our left, is wearing his power suit. Fred, in the cneter, is wearing a dark denim jacket and jeans. Welsey, on our right, is wearing a suede jacked an black sweater and jeans. They all have serious looks on their faces.

Cut to a shot of Spike standing up in Angel's office as he looks down.

Cut to a shot of Angel in a darkened warehouse or alley. He is wearing his black leather coat and dark purple shirt.

Flash white, then fad in on a figure seated in the center of the darkened room or warehouse. The figure is wearing dress pants and a wife-beater tee shirt, and has a towel wrapped over its head and face.

Seated figure with towel on head: "You shouldn't be here."

Reverse back to Angel, as he stares at the seated figure.

Cut back to the figure, then back to Angel, then fade to white.

Fade in on a TV monitor, where we see a puppet that looks like the muppet Scooter pressed up against the camera.

Puppet on TV show that looks like Scooter: "It's smile time!"

Cut to a shot of Angel, standing in the darkened room. There is a flash of light and Angel flinches from the brightness.

Flash white, then fade to black. Fade in on a shot of Fred poking her head around an office door.

Fred: "Angel?"

Cut to a shot of Wesley (in a black turtleneck sweater) standing in the office and looking towards Angel's desk with great concern on his face.

Wesley: "Angel?"

Cut to Gunn, standing in the office (wearing a suit, but different shirt/tie combo than before), looking stunned.

Gunn: "Whoa."

Cut to a shot of Spike standing in the office and staring.

Fred (whispering, OS): "Oh my god!"

Cut to what may be the funniest image that has ever been shown on Angel. We see Angel's desk, and his chair swivels around to reveal a puppet, looking somewhat like the muppet Bert, seated in the chair. The puppet is dressed in a black leather coat and purple shirt, and it has a furrowed brow and a deep frown. Reverse angle to Spike, reacting to the image.

Spike: "You're a -"

Cut back to the seated puppet.

Pupet Angel: "Spike!" (Please note that the voice carries the disdain in the exclamation that Angel usually gives it, but it might not be DB's voice used for the puppet).

Fade to white, then fade in on a TV set for the puppet show. We see a large sign of a smiling sun with the words SMILE TIME underneath it.

Cut to a shot of the puppet show, where we see some large purple thing emerge out of a box marked "TOYS", while the Scooter-looking puppet, a girly puppet, and a puppet of a dog dance in front of it.

Gunn (OS): "The show is possessed."

Fade to a shot fo the show, where we see the puppet pressed up against the screen (but this appears to be a shot of the live show production, rather than a TV monitor).

Puppet on TV show that looks like Scooter: "Hi there."

Fade to black, then fade on on Puppet Angel as he holds his hand against his chest and looks down at his puppet body.

Puppet Angel: "I'm a puppet." (This sounds much more like DB's voice).

Reverse and close in on Spike.

Spike: "You're a bloody puppet!"

Cut to a shot of Spike and the Puppet Angel crashing though the office doors and out into the hall.

We get a close up from the ground, as Spike is on his back wrestling the Angel puppet.

Reverse angles to see Spike laughing as he wrestles the puppet.

Narrator: All-new Angel.

Pull back to see them rolling around on the ground.

Pull in to see the Angel puppet roll on top of Spike.

Spike: "You're a wee little puppet man."

Cut to Spike lauging on the ground, then we see the puppet hit Spike in the face. Spike looks shocked that it hurts a little bit.

Narrator: Next week on the WB Wednesday night.

No Grr. Arrgh.

ELAPSED TIME - 0:20


Jeff Mejia - Feb 18, 2004 7:28:30 pm PST #103 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the promo breakdown for next week's Angel episode, "A Hole In the World" :

Narrator: Next Wednesday, on an all-new Angel...

We open up on a shot of Fred, in the lab, as she is looking down on some arcane object that looks like a clay, circular tablet with engravings on it. Two crystal clumps flank the object, and Fred is reaching towards the tablet as though she is going to touch it.

Jump-cut to a close up of Fred as gas rises from the table directly into her face, and she gasps.

Cut to a power shot of Angel and Spike striding through a doorway at Wolfram & Hart, with serious looks on their faces.

Cut to a shot of the lobby as the gang has just finished coming down the steps. Angel and Wesley are in the lead, Gunn and Knox are further back, Spike is behind Knox, and Lorne is just coming down the steps.

Gunn: "What exactly is happening to her?"

Cut to a shot of Fred's bedroom, as Wesley is carrying Fred in his arms and walking towards the bed.

Cut to a low-angled shot of Angel and Spike, in an office or a room. This may be the same room we see Eve in in a later shot.

Angel: "Fred's dying."

Blur to a shot of Fred lying back on her bed. Their is a green tint to her skin, and she gasps in pain as she lays back.

Cut to a reaction shot of Wesley as he looks at Fred. He brings his hand in what looks to be an attempt to stifle his sobs. There is agony in his face.

Flash white, then fade in on Eve, with a bloody lip, but somehow still alive. Her hair is also disheveled. this may be in her (or Lindsey's) apartment, as we can see some glyphs on the wall behind her.

Eve: "You need to find the deeper well."

Cut to a night shot in a cemetary or woods. We see Spike and Angel standing, holding their arms outstretched and linking their hands together.

Reverse angle to see to bipedal figures in chain mail and full helmets (so you can't see faces) holding swords, and charging.

Reverse back to Angle and Spike, as the camera rushes towards them, they jerk their arms away from each other and dive to their respective sides.

Cut to a shot of the floor of the woods, covereed in leaves, as the armored figures (or maybe their heads severed from their bodies) come crashing down.

Fade to white, then fade in on Spike, seated in a jet, leaning up against the side. It is daylight outside the window of the plane.

Lorne (VO): "Angel's not gonna save her."

Switch to a shot of Angel on the jet, as he stares out the window.

Fade to white, then the graphic WRITTEN AND DIRECTED BY appears on the screen.

Cut to a shot of Fred in her bedroom, as she is crying.

Fred: "You won't leave me?"

Reverse shot to see Wesley huddled at Fred's legs. He looks to be on the verge of tears.

Wesley: "I won't."

Cut to a shot of a graphic SERIES CREATOR JOSS WHEDON.

Fade to black, then fade on on a guy wearing chain mail (but no helmet), standing in a cave.

Armored guy: "It's your friend's life, or so many others."

Cut to Angel, looking at the guy as he is talking.

Cut to Spike, in the same cave, as he blinks at what has just been said.

Cut back to the armored guy as he looks at Angel.

Cut to Angel, who furrows his brow and starts to walk away.

Angel: "No."

Fade to black, then fade in on Wesley huddling with Fred in her bedroom, as the Angel logo appears.

Narrator: All-new Angel, next week on the WB Wednesday.

No Grr. Arrgh.

ELAPSED TIME - 0:20


Jeff Mejia - Feb 25, 2004 8:25:21 pm PST #104 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the promo breakdown for next week's Angel episode, "Shells" :

Narrator: Next Wednesday, on an all-new Angel...

We open on a shot in Fred's bedroom, where we see Wesley swing an axe at, presumably, Illyria!Fred.

Cut to a shot at the lab at Wolfram & Hart. Knox, bloodied but alive, is standing behind a lab table, and Illyria! Fred is standing facing him with the back to the camera. She tears open her shirt, exposing herself to Knox.

Cut to a shot of Spike tussling in an office.

Cut to a shot of Angel in an office. His face is scratched up and bloody.

Fade to white, then fade in on Spike and Angel in the jet.

Spike: "Thousands would have died if we had saved her."

Fade to a shot of Fred in Wesley's arms, from tonight's episode.

Fade to black, then fade in on Harmony in an office, talking to (presumably) the gang.

Harmony: "It looks like Fred, but it's not?"

Cut to a shot in the lab, where we scan up Illyria!Fred's body, encased in red leather until we reach her face.

Cut to a shot in Angel's office, where Angel is sitting on a desk, and Wesley is in the foreground, brooding.

Wesley: "There is no Fred anymore."

Fade to a shot of Illyria!Fred's face as she is in a darkened room, looking upwards.

Cut to a shot of Angel talking, perhaps in the lab. His face is scratched and bloody.

Angel: "Right, she's super strong..."

The shot goes white, then we fade in on Spike and Angel attacking Illyria!Fred with swords. As the scense of Angel and Spike swinging their swords at Illyria shift, we notice that she seems to be dodging them with ease.

Cut to a shot where Spike and Angel bring their swords down towards Illyria's head, and she reaches up and grabs the swords by the edge and holds them. The swords blur as thought they are in slow motion.

Angel (VO): "...and she can alter time."

Fade to white, then fade in on Wesley, holding a shotgun in front of him, as he stands in Gunn's office doorway.

Wesley: "Is there something you'd like to tell me?"

Reverse angle to see Gunn looking backwards over his shoulder with a guilty look on his face.

Fade to white, then fade in on Illyria standing in the lab, confronted by Angel.

Reverse angles to see Angel attack Illyria. At this point, Angel has no marks on his face.

Cut to a shot of Illyria grabbing Angel and throwing him through the window to Fred's office.

Flash white, then fade in on Wesley looking askance at Illyria (off screen).

Reverse angle to show a close up of Illyria!Fred.

Illyria: "You will help me, 'cause I look like her?"

Cut back to Wesley as he reacts to this.

Cue the Angel logo.

Narrator: All-new Angel, next week on the WB Wednesday.

No Grr. Arrgh.

ELAPSED TIME - 0:20


Jeff Mejia - Mar 04, 2004 7:36:27 pm PST #105 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the previously that aired before last night's episode, "Shells":

(Angel) Previously on Angel...

(Note: all scenes are from the previous episode, "A Hole In the World")

We open on the scene in the lab, where we see Fred reach towards the sarcophagus.

Cut to a shot of the "window" of the sarcophagus opening up and ejecting gas.

Cut to see Fred take a breath of the gas and fall backwards.

Move forward to Wesley, Fred, and Lorne on the stairs of the main lobby. The shot is from the top and looking down, with Lorne looking up at Wesley and Fred. He sings as he turns to head down the stairs.

Lorne (singing): "You are my sunshine, my only sunshine"

Switch angles to focus on Fred, as she slyly smiles at Wesley and continues the song.

Fred (singing): "You make me happy-"

Quick cut to Lorne's reaction to Fred's singing, as he twirls back around and looks up in horror.

Cut to a close up of Fred as she spits blood out of her mouth.

Reverse to a shot of Wesley, first smiling, then flinching as the blood spatters on his face.

Pull back to show Fred falling backwards down the steps into Lorne's arms.

As we hear Wesley's narration, we see the camera pan up Fred as she lies on her bed.

Wesley (VO): "She's being hollowed out so this thing can claw its way back into the world."

Cut to a power shot of Angel and Spike walking through the corridors of Wolfram & Hart.

Angel: "Let's save the day."

As we hear more of Wesley's narration, we see Angel, Spike, and Drogyn as they walk across the catwalk that spans the Deeper Well. The camera pulls up to reveal the immensity of the site and the large number of sarcophagi stored therein.

Wesley (VO): "It's called Illyria, a great monarch and warrior of the demon age."

Cut to Fred in Wesley's arms, as she is being consumed by Illyria.

Fred (sobbing, whispering): "Why can't I stay?"

Cut to a close up of Fred's eye, as it "crystallizes", representing Illyria's assumption of Fred's body.

Pull back to see Fred/Illyria in Wesley's arms on her bed. She pushes Wesley away as she flies backwards off her bed.

The camera cuts to see Wesley rolling to a stop, then swings back to Fred's bed. Illyria stands up and holds out her right hand, examining it and her body. She shifts her gaze over to Wesley.

Illyria: "This will do."

Then the new episode immediately picks up from that point.

ELAPSED TME - 0:38


Jeff Mejia - Apr 07, 2004 7:13:51 pm PDT #106 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

The following promo aired tonight for Angel's final six episodes, which begin next Wednesday with the episode "Underneath" :

Narrator: Next Wednesday...

We open up on the power shot of Angel, walking in China in 1900 with the flames of the Boxer Rebellion behind him, from the episode "Darla".

Fade to black, then fade in on Angel, on top of a horse, charging with his lance forward and his shield raised, from "Judgement".

Narrator: 200 years, saving the world...

Fade out, then fade in on Angel bringing a sword over his head as he heads off to attack The Beast, in "Apocalypse Nowish".

Switch to a scene of Angel frantically running through a park at night, probably from "Sleep Tight".

Narrator: ...redeeming his soul.

Fade out, then fade in on Angel, shirtless, with chains around his wrists, as his arms are drawn upwards by the chains. This angle is from behind Angel.

Cut to an angle in front of Angel, focusing on his agony as his arms are raised by the chains. His chest is red from when he fell on the floor of crosses. Both of these shots are from the episode "The Trial".

Cut to a shot of a figure in a white, long-sleeved shirt (rolled up his arms) and jeans, as he falls/is thrown to the floor. It is impossible to determine who the figure is, or where the location is at, from this shot. (I do have my suspicions that it may be Lindsey, though).

Narrator: Now, Angel's past returns.

Cut to a shot of Darla sinking her teeth into Liam's neck, back in 1753, from the episode "The Prodigal".

Reverse angle of that shot to see Liam's face as Darla bites him.

Cut to a shot of Drusilla smiling, as she stands in an office at Wolfram & Hart. This is from "Reunion".

Fade to a shot of Darla smiling. This is an outside shot at night, and I think it's from "Dear Boy".

Cut to a shot of Angel grimacing in pain, as lightning flashes about, right after he had sex with Darla in "Reprise".

Narrator: The final six episodes begin.

We see a shot of Illyria standing in the middle of what looks to be a training room, with a heavy bag hanging from the ceiling and weapos hanging on the walls. Illyria is standing over what looks to be Spike's prone body. The graphic FINAL 6 EPISODES appears on the screen.

Fade to a shot of Angel, Lorne, and Eve standing in a parking garage. From the lighting, this appears to be during the day. All three are looking off-camera at something.

Fade to a close up of Spike, lit up but in a dark room.

Fade to a shot of Angel walking through the sewer tunnels.

Narrator: Darla.

A flash appears on the screen, then a large DARLA graphic assembles itself and shrinks to the bottom of the screen. We see Darla lying down on a bed, with a smile (not a grin) on her face as she looks up.

Narrator: Drusilla;

Fade to a shot of Drusilla, as the wod DRUSILLA appears at the bottom of the screen. She is indoors, standing in front of a curtained set of windows, holding her hands out next to her head and a look of rapture on her face. It's hard to tell, but the thin-strapped gown that she is wearing could be modern, indicating that this is shot in present-day. (Or not).

Fade to a shot of Connor, now with haircut, standing in what looks to be a Wolfram & Hart office. He is looking at something off-camera and looks pissed-off.

Reverse to a shot of Angel striding through a doorway. The room behind him has a chandelier in it.

Angel: "Connor."

We fade out on a shot of Angel walking in an office or corridor of Wolfram & Hart, as the Angel logo (with added THE FINAL 6 EPISODES) appears on screen.

Narrator: Angel returns, next week on the WB Wednesday night.

[Edit - corrected date of Darla's vamping of Liam and episode attribution.]


Jeff Mejia - Apr 14, 2004 6:42:50 pm PDT #107 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the promo breakdown for next week's Angel episode, "Origin" :

Narrator: Just 5 episodes left...

Behind a graphic FINAL 5 EPISODES, we open with a shot of Angel, outside a motel complex, perhaps, at night, lifting a body over his head.

Fade to a shot of Illyria striding down steps to a basement (perhaps the dimension that Gunn is in?)

Cut to a shot of Gunn lying on the table in the basement, with the flames of the furnace behind him. Gunn is screaming.

Narrator: ...in the coming weeks of Angel.

We see Angel fighting outside the motel/apartment complex with some red-skinned demon with a top-knot ponytail.

Flash white, then cut to a shot at the Wolfram & Hart offices, where we see Illyria lifting Angel in the air and slamming him back against a wall.

Cut to an angle behind Illyria, focusing on Angel's face as he looks down, helpless.

Cut to a different shot, where we see Angel standing in the middle of a training/workout room, as white light flashes and blows Angel backwards.

As the graphic DARLA appears on the screen, we see Darla laying back on a bed, looking up.

Cut to a shot of Angelus kneeling next to Darla's bed and looking gently down at her.

Angelus: "Darla."

Darla: "Angelus, you're back."

Pull back to reveal that Spike (from the 19th century) is standing in the room further back, looking on at Angelus and Darla.

Flash white, then cut to a close up of Spike (with flashback hair) looking concerned.

Spike: "Drusilla!"

As a graphic DRUSILLA flashes on the screen, we see Drusilla, dressed in a purple nightgown, holding her hands up in the air and laughing.

Cut to a shot of Angelus (with his arms folded) and Spike standing next to each other, looking off camera (presumably at Drusilla and/or Darla). Spike turns his head as though looking from one to the other.

Cut to a shot of Drusilla standing and talking while Darla, seated, brushes her hair.

Drusilla: "Is it time for another pony ride?"

Flash white, then NEXT WEDNESDAY appears on the screen.

Narrator: And next Wednesday...

We see Angel standing in front of the elevator at Wolfram & Hart, talking to someone off-camera.

Angel: "The Senior Partners and I had a deal."

Cut to a shot of JayneMarcus holding a coffee cup and looking on, shaking his head slightly.

Flash white, then cut to a shot of Angel walking through the lobby of W&H.

Cut to a shot of Connor standing in the lobby.

Connor: "Hey Dad!"

Cut back to Angel, looking startled as the camera zooms in on him.

Narrator: ...a fresh Angel, next week on the WB Wednesday night.

Flash white, then the ANGEL - THE FINAL 5 EPISODES appears on the screen.

Grr. Arrgh.

ELAPSED TIME - 0:20


Jeff Mejia - Apr 21, 2004 7:08:52 pm PDT #108 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

Here is the promo breakdown for next week's Angel episode, "Time Bomb" :

Narrator: Next Wednesday...

The promo begins with quick shots of scenes from "Soul Purpose"

In a haze of white, we first see Angel's face, then quickly cut to Spike standing in the center of the office with everybody around him, smiling.

Cut to the gang (Eve, Wesley, Fred, Harmony, and Gunn) singing "For He's A Jolly Good Fellow" as they celebrate Spike's becoming human (all from Angel's dream sequence).

Cut to a shot of Spike with his head turned to the side as he warily looks down the hall, from "Hell Bound".

Cut to a shot of Angel grimacing in pain in his office, from "Soul Purpose". The white haze is gone by this shot.

Cut to another shot of Angel in his darkened office from "Soul Purpose". He is standing up and looking down at his desk.

Cut to a shot of Fred walking into Angel's bedroom to check up on Angel, also from "Soul Purpose". This is part of Angel's dream sequence.

Cut to a shot of Angel lying on his bed in a fitful sleep, sweat pouring of his brow.

Cut to a shot of Angel sitting on the lazy chair in the middle of the open field, relaxing in the sun, as the paralysis is about to take hold, from "Soul Purpose"

Cut to a shot of Angel hugging Cordelia, with Wesley standing behind him, from "You're Welcome".

We cut to a shot of the crazy Slayer Dana, holding a long knife as she walks down the alley, from "Damage".

Cut to a shot of Spike chained up in the basement, from "Damage".

We see Andrew standing in the office of Wolfram & Hart, with his mouth bloodied as he reports that Spike was captured by Dana.

Switch to a chained Spike rolling his head backwards as the drugs that Dana gave him kick in.

Cut to a close up of the drugs being injected into Spike's neck.

Pull back to see Dana looking at Spike as the drugs begin to work.

Cut to a close up of Dana, with a crazy grin and three lines of blood drawn down her face.

Switch episodes and scenes to next week's, and we see Angel standing in the office, holding his chest.

Angel: "I know what happens."

We fade to black, and then the words WHAT IF appear on the screen.

Narrator: What if...the world's only hope...

Flash white, then fade in on a shot in Wesley's office, where we see Angel standing in front of a bookehelf and Illyria facing the window, looking shocked. Angel was walking from left to right in the scene, and Illyria was looking towards the camera angle, then Angel turns towards the camera, and Illyria turns towards Angel.

Flash white, then cut to a shot in the workout room, from behind Angel's back, towards Illyria standing in the center of the room. Angel is looking off to his right, and Illyria is looking in the same direction. The camera swings out around Angel and moves back and towards the center.

Flash white, then cut to a shot of Wesley, seated at his desk with open books in front of him, as he looks up, astonished.

Wesley: "Angel?"

Pull back to an angle behind Wesley's desk, and we see Angel and Illyria standing, looking around the room at something that isn't there, as Wesley begins to stand up at his desk. Illyria turns towards Angel.

Cut to a close up of Illyria as she shouts accusingly at Angel.

Illyria: "You weren't here before!"

Pull back to the angle from behind Wesley, as Angel stands, looking uncertain. The shot begins to alternate with black screens, as though blinking.

Still blinking, the shot switches to a shot of Illyria lying on the training room floor. Illyria has her back to the camera as she holds her hands on the floor and bends her head down, so that her hair touches the floor as well. Spike is standing on the far side of the training room, and somebody is in the foreground, holding a towel (I imagine it is Wesley).

Cut to a shot of Angel as he stands up in the training room. The shot is all blurry and jumpy.

Cut to a close up of Spike in the lab? This shot is also blurry and jumpy.

We see a blurry shot of Illyria holding out her right arm and creating some kind of force field as she stands up and strides off camera.

Cut to a shot of Spike flying into the padded wall of the workout room.

Narrator: ...could fast forward to the future.

Cut to a shot of Angel, seated in an office, holding his chest.

Angel: "I know you kill us all."

Cut to a shot of Illyria looking towards the camera as she strides away, then overlap that shot with a shot of Illyria holding an axe and having a slight smile on her face.

Flash with, then the words FINAL 4 EPISODES appear on the screen. Through the first part of the shot, we can see Wesley standing in a doorway, and a woman (Virginia, perhaps? Or is it Cordelia from "You're Welcome"? Hard to tell in the glimpse) standing with her back turned from Wesley.

The next shot glimpsed through the letters is of Angel standing in his office, smiling.

Another shot seen is of Spike standing in the office. This could be from "Conviction".

Narrator: Just four episodes left.

As the words settle to the bottom of the screen, we see the scene from "A Hole in the World" where Fred reaches for the sarcophagus.

Cut to the close up of the gas rising up in Fred's face.

Cut to the power shot of Angel and Spike striding through the Wolfram & Hart corridors, as they go out to try and save Fred.

Cut to the shot of the entire gang (including Knox) walking down the steps of the lobby as they work out their strategy.

Cut to the shot of Angel and Spike standing in Eve/Lindsey's apartment, as they work to get information from her.

Quick shot of Wesley bringing his hand to his face as he tries to stifle the sobs, as Fred lays dying. Switch to Angel and Spike holding hands as they prepare their battle manouver.

[Continued in next post.]


Jeff Mejia - Apr 21, 2004 7:18:10 pm PDT #109 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

[Continued from previous post.]

Pull back in the woods shot as Angel and Spike spring apart from each other in order to slice up the opposition.

Cut to the shot of Spike sitting in the plane, on the way back from their failure to save Fred.

Switch to a shot of Angel, looking out the airplanes window.

Cut to a close up of Fred as she grimaces in agony.

Switch to a shot of Wesley, at Fred's feet, looking up at her helplessly.

Cut to a shot of the knight Drogyn, as he looks down into the hole in the world.

Cut to Spike, reacting to the fact that if they try to save Fred, they'll condemn many to die.

We see Drogyn. looking at Angel after he explains what would happen if they try to summon Fred to the hole in the world.

Switch to Angel, coming to the conclusion that he won't be able to save Fred.

Cut to a shot of Wesley holding a dying Fred in his arms.

We return to shots from the upcoming episode, as we see Angel standing in the center of the workout room and being blown backwards by a blast of white light.

Fade to black, then fade in on a side shot of Spike standing in the middle of the training room. Illyria is standing to his right, but with her back to the camera. Spike is talking to someone of screen.

Spike: "A bit pessimistic, aren't you?"

Cut to a close up of Angel standing in the workout room, looking around the room.

Narrator: A fresh Angel, next week on the WB Wednesday night.

Cut the Angel logo, with the added THE FINAL 4 EPISODES underneath it.

No Grr. Arrgh.

ELAPSED TIME - 0:20


Jeff Mejia - Apr 27, 2004 9:32:10 pm PDT #110 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

The next two posts are my attempts to break down the memory flash that hit Wesley during "Origin":

We open with a shot of Angel holding and jiggling baby Connor. This shot lasts a second and then fades to black. The shot is from "Sleep Tight".

The next shot is Angel handing Connor to Wesley, as Wesley is about to take him away. This shot also lasts about a second and then fades to black.

Fade in to a shot of Wesley's translation "The Father will kill The Son". This also lasts for about a second then fades to black.

Fade in on a close up of Wesley hoding baby Connor to his cheek, as he realizes that his lullaby has just alerted Lorne to his plans. Fade to black.

Fade in on a close up of Justine holding the knife at Wesley's throat from behind, then pull back to show her slitting Wesley's throat.

Fade to black, then fade in on Sahjhan appearing at the confrontation at the 6th street bridge. Lilah can be seen in the left side of the frame. This shot lasts for about half a second, then fades to black.

Fade in on Holtz running into Quartoth, carrying Connor with him. Fade out.

Fade in on a shot of Angel lying on the ground, staring at the spot where Holtz had taken Connor into Quartoth. Fade to black.

Fade in on a shot from "Forgiving", where we see Wesley lying on his hospital bed, facing up, his throat covered with bandages. Fade to black.

Fade in on Angel striding towards Wesley's hospital bed, the switch angles from behind Angel as he approaches Wesley. Fade out.

Fade in on Wesley's POV, loooking up from his hospital bed at an angry Angel, as Angel brings the pillow up and begins to smother him. Fade to black.

Fade in on Connor "falling" out of the portal from Quartoth at the Hyperion. Fade to black.

Fade in as the pace picks up. We see Connor hoding up his "stake gun" as he greets Angel after arriving from Quortoth, at the end of "The Price"/ the beginning of "A New World". Fade to black.

We see Connor and Justine putting the lid on top of the box they have Angel trapped in, from "Tomorrow".

Fade out, then fade in on a close up of Angel trapped in the box.

Fade out, then fade in on Angel's box splashing into the ocean as Connor and Justine look on.

Fade in on Lilah, dressed as Fred with pigtails and glasses, straddling Wesley on his couch, as Wesley rips open her shirt and reveals her cleavage. This is from "Apocalypse Nowish".

Fade out, then fade in on a shot from Wesley's closet/cage, as Wesley looks in through the bars. This is from "Deep Down".

Fade out, then fade in on Justine sitting in the closet, gagged and chained to the wall, as she stare up at Wesley with hatred in her eyes.

Fade in on Connor making love to Cordelia, from the end of "Apocalypse Nowish".

Fade in on a close up of the virgin sacrifice that Connor had captured for Evil!Cordelia, as she is being dragged through the room where they are holed up. This is from "Inside Out".

Fade out, then fade in on a shot of Connor dragging the sacrifice. We see Evil!Cordelia standing in the background.

Fade out, then fade in to "real time", where we see Wesley reacting to this flood of memories.

Quickly fade out, then fade in to a shot of Evil!Cordy holding Angel's soul in the jar, from "Orpheus".

Fade to black, then fade in on Angelus, holding dead Lilah in his arms after feeding from her, as he looks up, from "Salvage". At this point, we no longer fade to black, and instead get a sucession of shots.

We see the birth of Jasmine, from the end of "Inside Out".

Cut to a close up of the full-grown Jasmine.

Pull back to reveal Jasmine standing next to the railing of the second floor hallway of the Hyperion, flanked by Connor, Angel, and Wesley. This is from "Shiny Happy People".

Cut to Wesley lying on the hospital bed.

Cut to Wesley, Gunn, and Lorne holding a door in place against Jasmine's troops led by Connor, from "Sacrifice".

Cut to a close up of Connor as he pulls back to punch Jasmin through the head, from "Peace Out".

Cut to a shot of the lamp pole going through Jasmine's face.

We see Wesley lying back on his own bed, after having sex with Lilah. From "Deep Down".

Cut to a shot from behind Justine, looking through the cage bars at Wesley as he looks down at Justine, from "Deep Down".

We see Angel diving through the portal to the demon dimension to find Jasmine's weekness, from "Sacrifice".

Cut to a shot of a bare-chested Wesley, probably from "Deep Down".

Wesley staindin in front of the burger loa, from "Loyalty".

This is a shot from behind Lilah, dressed as Fred, as she moves in to straddle Wesley. I think this is the point where Wesley says "leave the glasses on". From "Apocalypse Nowish".

Cut to a shot of Angel standing in front of a burning car, as the portal to Quortoth has just been opened, from "Sleep Tight".

Cut back to Wesley in "real time", as he is still lying down and reacting to the memory surge.

Switch to a long shot of Angel smothering Wesley, as the orderlies rush into the room to try and hold him back.

We see a close up of Angel's prison box lid being welded shut.

Switch to the shot of Wesley holding Connor to his cheek, as he realizes he has revealed his plan to Lorne.

Cut to a shot of Connor cradled in Holtz' arms, as he threatens to snap his neck if anybody comes too close.

We see a close up of Connor looking down at Angel imprisoned in the box, from "Tomorrow".

Wesley is holding the wooden club, after he has knocked out Lorne so he can escape with Connor.

We see Angelus holding Holtz' wife Catherine, after he has fed, from "Quickening".

Cut to Holtz, standing in front of the SUV, as he tells Angel he will take good care of Connor, as if he were his very own son.

[Continued in next post]


Jeff Mejia - Apr 27, 2004 9:36:14 pm PDT #111 of 121
"Don't think of yourself as an organic pain collector racing towards oblivion." Dogbert to Dilbert

[Continued from previous post]

We see the shot from "Lullaby", from behind Holtz, as Angel holds his son in the rain and Holtz lowers his crossbow.

Wesley standing in the lobby of the Hyperion, looking startled, as he prepares to take Connor away.

Cut to a close up of Sahjhan, as he invokes the spell that opens the portal to Quortoth.

Wesley holding Connor and jiggling him, singing a lullaby to him to calm him down. Wesley is smiling in this shot.

Cut to Wesley looking satisfied, as Lilah lays on top of him after they have had sex, from "Deep Down".

We see Cordelia and Connor standing in the lobby of the Hyperion, from "Habeas Corpses".

Wesley standing in front of the cage bars, looking down at Justine.

We see a shot of the ultrasound that Darla had that revealed Connor was human.

Baby Connor, dressed in black, lying in his crib. From "Loyalty".

Wesley in reflection, after sex, from "Deep Down".

Wesley stainding in the Hyperion, preparing to take Connor away.

A shot of Angel being driven back by a lightning bolt from the Quortoth portal opening.

Wesley lying on hie hospital bed, gasping for breath after Angel tried to smother him with a pillow.

A close up of Angel leaning over Wesley in his hospital bed, before he tries to smother him with a pillow.

Wesley in his own bed after sex with Lilah, quietly reflecting.

Cut to a shot of Darla staking herself to allow Connor to live.

Wesley clutching Connor to his shoulder, as he takes him out of the Hyperion.

Cut to the "Mr. Dad" shot from "Loyalty", as we see Wesley and Angel in the doctor's waiting room, Angel holding Connor in his hands and smiling while Wesley looks wiped out.

Angel holding up the little Connor hockey jersey, from "Loyalty".

A close up of the gagged and chained Justine in Wesley's cage/closet.

We see Wesley patrolling the hallway of the Hyperion, on the search to kill Angelus, from "Calvary".

Cut to Wesley in "real time" - his eyes now wide open as the shock of the memories hit him.

A shot of the bloody handprint on Evil!Cordy's belly, from "Inside Out".

We see the flame shooting into the sky, from "Apocalypse Nowish".

Wesley holding Connor in his arm as he tries to open his car door, just before Justine appears on the scene.

A shot of The Beast (good old Disco Rubber Satan), in the alley where he popped out of the ground.

We see a shot of Gunn kissing Fred, from "Loyalty", perhaps, after they dusted the vamps that were set to ambush them at the pier.

A shot of Jasmine's birth.

Lilah lying on top of Wesley in bed.

Holtz, lit by firelight, as he looks down. This is the scene where he has the awl stabbed through Justine's hand, from "Couplet".

A shot of Angel looking down on Connor and Cordy having sex, from the end of "Apocalypse Nowish".

Connor standing in the warehouse where Cordy is going to give birth to Jasmine. I thin this it the point where he sees Darla. From "Inside Out".

A shot of "real time" Wesley.

Wesley lying in his bed, from "Deep Down".

Connor and Cordy having sex.

Connor dropping from the Quortoth portal in the Hyperion.

Connor standing in the foreground of the shot, telling Angel that the world doesn't make sense, as Angel stands out of focus in the background. This shot is from "Home", and lasts for a relatively long time (about a second), then flashes to white.

We fade in on a close up of Wesley's left eye, at first closed, then opens in the shock of the memories.

ELAPSED TIME - 0:23