[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

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]

[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

Here is the promo breakdown of next week's Angel episode, "The Girl In Question" :

Narrator: Next Wednesday, with only three episodes left...

As the "Tarantella" plays on the soundtrack of the promo, we see Spike and Angel standing together in what looks to be the center of an Italian village. Spike is holding a leather bag (perhaps a bowling ball bag) open in his hands, and he and Angel are looking into it.

Cut to a shot from inside the bag, looking up at Spike and Angel as they peer into it.

Flash white, then we see Angel and Spike walking in the middle of the cobblestone street as a red Fiat convertible comes up from behind them. The guys turn to look at it.

Cut to a closer shot as the Fiat rushes into frame. Can't see who is driving the car.

Pull back to see Angel and Spike diving out of the way of the car.

Flash white, then cut to a shot of the street. Spike is seated on a grey scooter as Angel stands to his right.

Spike: "Hop on litle momma!"

Angel gestures his arm towards the back of the scooter.

Angel: "I'm not riding on the back!"

Overlap a shot of Angel climbing onto the back of the scooter, then he wraps his arms around Spike. Angel does not look amused. The scooter revs up and moves off.

Pull to an overhead shot looking down on the street as we see the scooter with Spike and Angel speeding off.

Narrator: Their rivalry can only end...

Fade to black, then fade in on a shot of Darla lying face down on a bed, clothes strewn about the room.

Angel (whispering, OS): "Remember the last time we were in Italy?"

Cut to a close up of Angelus standing in the room, then the camera pans over to William/Spike. Both are staring at something in the camera's direction.

Cut to a shot of Drusilla standing in front of the windows to the room, wearing a purple nightgown.

Cut to a shot of Angelus seated on the bed next to Darla, who is now lying on her back. He looks down at her and wraps his left arm around her back and pulls her up to him.

Narrator: ...the way it began.

Cut to a shot of William/Spike seated on a red couch, as he grimaces in anger then rushes up from his seat, charging at something off-screen.

Flash white, then cut to a scene from present times, where Angel and Spike are in a nightclub. They are leaning against the bar as we see people in the background dancing. The leather bag (it really could be a bowling ball bag) is resting on the bar top, as Angel and Spike lean in to talk to the bartender (off-screen).

Angel: "We're looking for a girl."

Narrator: Just three episodes left.

Cut to a shot of Angel and Spike standing in the nightclub, looking around. We can see a blond girl dancing on the floor behind them. It sorta looks like Buffy, but isn't. The words FINAL 3 EPISODES appear on the screen.

Cut to a shot of the nightclub dance floor from a distance. The camera is focused on a blond girl, and the shot zooms in on her, but we only see her from behind.

Cut to a shot of Angel seated at his desk at Wolfram & Hart. He is wearing his purple shirt.

Angel: "It's Buffy."

Flash white, then cue the Angel logo, with the words THE FINAL 3 EPISODES beneath it.

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

No Grr. Arrgh.

ELAPSED TIME - 0:20

Here is the promo for the next Angel episode (and next to last ever), Power Play :

Narrator: Next Wednesday, with just two episodes left...

We open up on a shot of Angel walking alone in a corridor of grey stone, as he comes up to a circular symbol painted (in blood?) on the wall. The words FINAL 2 EPISODES appear.

We fade out, then fade in on a shot of Angel in bed, with Nina (the werewolf from earlier episodes) wearing a nightie, snuggling up to Angel.

Switch angles from the side of the bed to an angle from the foot of the bed, where we see Angel reclined against the headboard, and Nina sitting to his right and facing him. The shot must be in Angel's bedroom, since light from the windows falls on Angel.

Switch angles back to focus on Nina's face as she looks at Angel as he talks to her.

Angel: "I've spent years, fighting to get somewhere, to accomplish something."

We finish up on the angle from the foot of the bed, then fade to black.

Fade in on a shot of Angel's office. He is standing in the foreground, and Wesley, Lorne and Spike are in the background, near the doorway. They are looking at Angel, and Angel has his back turned on them.

Narrator: The hero they trusted...

Cut to a shot of Spike and Gunn standing in the office in front of the window, showing the night skyline.

Cut to a close up of Wesley as he walks in the room, his eyes focused on something off-camera.

Fade to black, then fade in on Angel in a room with grey stone walls, similar to the opening shot, but this is a closed-in room instead of a corridor. Also, Angel appears to be frontlit by fire of some kind.

Angel: "And now that I'm close to it -"

Fade to black, then cut to a shot of Wesley holding a shotgun on Angel as he stands at his desk. Angel bats the gun away with his left hand.

Pull to an angle from behind Angel. He kicks Wesley in the gut. Spike appears to be behind him and to Angel's left, by the camera location. Gunn is directly to Angel's left, near the doorway, and he is holding a sword out in front of him, menacing Angel. Lorne is standing back and to Wesley's right, and may be holding a gun himself pointed at Angel.

Narrator: ...will betray them.

Cut to a quick close up of Gunn.

Switch to a close up of Angel as he brings up the butt end of Wesley's shotgun, then pull back to the angle behind the action where we see Angel knock Gunn out with the gun. From this angle, it looks like the rest of the gang has been knocked out.

Fade to black, then fade in on Angel in the grey stone room, lit by the fire. He stares at the glowing fire, as though steeling himself to do something. He then starts and jumps forward.

Angel: "-I don't like what I see."

We pull back to see Angel jumping through a doorway ringed with fire, then fade to white.

Fade in on the Angel logo, with the words THE FINAL 2 EPISODES underneath it.

Narrator: You can't miss the final two episodes of Angel, next week on the WB Wednesday night.

No Grr. Arrgh.

ELAPSED TIME - 0:20

This is a breakdown of Angel's vision that he had in the episode "Power Play":

The vision begins with Angel sleeping in his bed, then waking with a start.

An overhead shot of the symbol of the Circle of the Black Thorn on a woodne table, with four people (we see four sets of hands at each corner of the sybmbol, and not all of the hands are human).

The camera zooms in on the symbol, then the picture switches to a negative of the symbol.

Flash white, then we see a mass of flames.

Cut to a shot of one of the hooded figures in a mask that was at Angel's initiation.

Back to the flames, the switch to another figure in a mask as it brings a paddle down on a body.

Cut to a shot of the hooded body, presumably Dorgyn's, as figures beat on it.

Flash white, then we see a negative of a masked figure, followed by the regular shot of the mask, followed by a negative of the mask again.

Flash white, then cout to a shot of a blond woman lying on the ground, with her face streaked with three lines of blood. A figure is standing next to the body, but you have no indication of who it is.

Flash with, then cut to a scene where we see three bodies on a carpetd floor. The camera pulls up and away from the bodies, then flashes white.

Cut to a shot of a guy lying on the floor, open briefcase to his right, papers spilled out the briefcase, and a pool of blood on the papers. The camera scans to the left and another set of blood-soaked papers is visible.

Flash white, then we see a negative of a drippng slash painted on a wall. The negative becomes a normal shot, and it appears that the slash may be blood. There is also a black blob to the right of the slash. The shot flashes to the negative again.

Flash white, then we cut to Angel jumping through the threshhold of fire. As the camera zooms in on Angel , the scene shifts to just a ball of flames, seen earlier in the vision. The shot flashes white, then we return to "real" time.

The vision lasts between 3 and seconds.

Here is the promo breakdown for the last Angel episode, "Not Fade Away" :

All words in the promo are spoken by the Narrator:

Next Wednesday, the final episode of Angel.

We open on a shot of Angel running down an alley, carrying a sword. It is raining.

Jump cut to a shot in front of Angel, as he slows down as he strides forward at the ready.

After five years, it will all come down to one moment.

Fade to black, then fade in on the long shot of the gang standing in Angel's office, holding up their hands to indicate that they are volunteering to join Angel in his quest against the Circleof the Black Thorn.

Fade/overlap to a two-shot of Gunn and Lorne holding up their hands.

Lapse to a shot of Spike holding his hand up high.

Ovelap with a shot of Wesley and Angel. As the camera moves towards the left and focusing more on Angel, his fingers open up as he raises his hand.

His purpose will become clear.

.Cut ot an overhead shot of the symbol of the Circle of the Black Thorn on a wooden table. The symbol appears to be painted on a square piece of wood, and this piece is on top of a table. At each corner of the wood, we see a pair of hands, at least one of which is not human.

Overlap this shot with a shot of three figures in hooded, black robes as they walk down a corridor of grey stone, then this shot overlaps a close up of a curved sword that is being held in a red, demony hand. Overlap that shot with a shot of Angel seated at a big wooden table. It looks like the racquetball demon is sitting to his right, and across the table (directly in front of the camera) is a demon (probably the Archduke) drinking a blue liquid. Some other demon is seated Angel's left.

His fate will become legend.

Fade to black, then fade in on many hooded, black-robed figures wielding swords and pikes as they run through the rain-soaked alley. (I'm mostly reminded of Uruk-Hai attacking Helm's Deep with this shot).

Overlap that shot with an extreme close up of Illyria's face, smeared with blood. She is looking up at something.

Overlap that shot with Angel standing, drenched, in the alley in the rain. Spike is standing back and to Angel's right, and somebody else (can't tell who) is standing back and to the left.

But one of his own will not survive.

Fade to black, then cut to a shot of Spike fighting some deamon in a wood-paneled office. Cut to a close up of Spike as he slams his left elbow into the demon.

Cut to a shot of Cyrus Vail's (the demon who cast the memory wipe spell) residence. WE see Angel suspended in mid-air as Cyrus walks around him, talking ot him.

Cut to a shot of the lobby of Wolfram and Hart, as we see a pillar collapsed, ranging from the second floor balcony to the center of the room.

Cut to Illyria standing in a street as a car approaches her. The shot is from inside the car.

We see someone wearing a white, long-sleeved shirt with the sleeves pulled up and a chain around its left wrist washing blood of its hands under a faucet.

Cut to a shot of a wrecked apartment, with a body (covered by a tablecloth) lying on the floor. Lindsey (wearing a white, long-sleeved shirt with his sleeves pulled up) is standing to the left of the shot, while Lorne is standing to the right of the shot, facing Lindsey. Lorne is wearing a leather coat, and oh, yeah, he has a gun. Lorne raises the gun and shoots at Lindsey.

Cut to a shot of Gunn beating the holy crap out of someone, then being takled by somebody else. I can't identify the other figures in question, but the scene appears to be in the lab.

Cut to a shot of the lobby of Wolfram and Hart. In the background, we can see Angel and somebody else (Wes, perhaps) who is bent over at his waist as they look to the center of the room. A large concrete support beam falls to the floor.

The final key to the Angel saga.

Fade to black, then fade in on a shot from behind Angel, in the rainy alley, as he is faced with a chain-link fence. Angel holds his hands up to the fence, then turns to his right. We can see that the right side of his face is smeared with blood. The camera pivots around Angel as he scans around his location.

The series finale, next week on the WB Wednesday.

Cue the Angel logo, this time with the words THE WB SERIES FINALE. The backdrop of the logo is the shot of Angel striding through the rainy alley.

No Grr. Arrgh. (WE BETTER GET ONE NEXT WEEK).

ELAPSED TIME - 0:30

Here is the breakdown of the promo from tonight's (and the last) Angel episode, "Not Fade Away":

(Angel) Previously on Angel...

All shots are from last week's episode "Power Play".

We open on the shot of Angel walking through the corridor, coming up on the Circle of the Black Thorn symbol.

Lindsey (VO): "To be a Black Thorn is to be the Senior Partners' instrument on earth."

Cut to a shot of Lindsey, seated in the office as the MoG grill him.

"He wouldn't make it on the Circle's radar 'til he killed one of his lieutenants."

Cut to the shot of Angel snapping Drogyn's neck as part of the initiation into the Black Thorn.

Cut to Angel being initated into the Circle.

Racquetball demon: "Welcome to the fold."

Cut to the confronatation scene in Angel's office. Lorne is at the doorway, pointing a crossbow at Angel (whose body is partially blocking the right side of the shot). Wesely is closer in, holding his shotgun on Angel, while Gunn is to the left and has a sword at the ready.

Gunn: "We know what you been doin'."

Quick cut to the action, as Angel shoves Wesley's shotgun to the side, kicks him in the gut.

Cut to a close up of Lorne firing his crossbow, and Angel taking a bolt in the shoulder.

Cut to Angel rushing Lorne and grabbing him from behind around his neck.

Cut to a shot of Gunn getting up off the floor to charge Angel.

Back to Angel choke-holding Lorne, as the gang cautiously approaches.

We get up a close up of Angel holding Lorne as Angel pulls the charm out of his pocket and casts the glamour spell.

Pull back to see the glamour spell take effect in the room.

Cut back to Angel as he puts the charm away and eases up on Lorne and lets him go.

Angel: "Alright, we have six minutes."

Cut to a close up of Spike.

Spike: "'Til what?"

Reverse back to Angel, who begins explaining, As he explains, the scenes shift to the other shots with Angel's voice as a voiceover.

Angel: "The glamour collapses. As far as anyone outside this room is concerned, wer're still at each other's throats."

We pull back to see the scene from outside the office, with the glamour still working and the gang at each other's throats.

Cut to see Hamilton looking in on the action in the office.

Angel (VO): "I'm talking about killing every.single.member.of the Black Thorn."

Cut to a shot of the Archduke removing his mask at Angel's intiation.

We see the sot of the Senator removing her mask.

Cut to Cyrus Vail removing his mask.

We finish back with Angel talking to the group.

Angel: "You need to decide if that's worth dying for."

Cut to a close up of Spike as he raises his hand.

Spike: "I'm in."

Cut to Wesley, with the half-grin on his face, as he turns towards Angel.

Wesley: "I'm in."

Pull back to see the gang in a circle in the office, as Gunn, then Lorne, raise their hands

Cut to black.

ELAPSED TIME - 0:43

Here it is! The breakdown of the trailer for Serenity, coming not soon enough to a theater near you:

We open with a shot of Serenity streaking through the outer edges of a planet's atmosphere. The camera pans forward to the front of the ship.

Fade to black, then fade in on Simon standing in a lab (on the ship or not, I can't tell), with the lights down low so that there is a blue glow. There is somone in the background at a terminal or lab bench.

Mal (OS - this goes on over the images that follow): "You all got on this boat for different reasons."

Cut to a shot of Zoe in an interior location, holding a shotgun in her right hand and looking to her left. Cabinets and two figurines can be seen behind her.

Cut to a shot of Inara, standing before some strange looking trees/plants.

Switch to a shot of River, peering around a beam as the camera comes around it.

We then see a shot of Jayne, standing up and moving in the cargo hold of the ship.

Mal (still OS): "But you all come to the same place.

We see a shot of most of the cast on the bridge. Wash is seated at the pilot's chair, with Zoe over his shoulder to his right. To his left and behind him stands Mal. Behind Mal to his right is Kaylee, to his left and behind is Inara. Further to the left and forward stands Simon. Farthest to Mal's left (our right in the shot) is Jayne, and it looks like he's got Vera in his hands. All of them are staring forward, then Jayne steps forward a bit.

The shot then cuts to a side shot of Serenity flying throught a planet's atmosphere, and it whizzes by, leaving a trail of plasma.

We now get a different shot of the bridge, as the camera has swung further to our left, and the people have moved. In the foreground, we still have Wash at the pilot's seat, concentrating. Zoe is now to his left with her hand on his shoulder. Directly behind Wash and up against the wall leans River, and Simon is standing next to him. Off to the left in the middle of the shot is Mal, and he looks to be talking to Inara, who is on his left. Jayne is leaning against the back wall behind them, with his right hand behind his head. Kaylee is standing all the way to our right and forward, with her arms crossed.

Mal (OS still): "So now I'm asking more of you, then I ever have before".

Cut to a shot of Serenity in space, flying through a field of debris, as it hurtles towards a blue, earth-like planet.

Mal (OS still): "Sure as I know anything, I know this..."

Cut to an interior shot, of the galley perhaps, with overhead, natural-type light filtering down. River is seated at the table, and Mal is standing off at the end of the table, looking at River. Kaylee is in the foreground right of the shot, with a frown on her face in the dark.

Switch to a close up of Serenity or another ship as it fires its laser guns.

Pull back to see an explosion on a larger ship as Serenity pulls away.

Cut to a shot of Mal, standing on the bridge, backlit by light pouring in from the windows.

Mal: "...I aim to misbehave."

Quick flash cut to the medical bay or a lab. Somone is seated in a medical chair (we can only see an arm), and a figure dressed in black plunges a dagger into the floor.

We get a close up of the dagger pommel. It is a globe surrounded by two rings, topped with an eagle.

Pull around to an angle from below the deck of the floor, as the person with the dagger plunged in the floor appears to be kneeling before the figure in the medical chair. Some kind of wave or explosion of blue light appears overhead, as the "globe" flies up from the dagger.

Switch to a shot from the Serenity's cockpit. Mal and Wash are there, and we are behind them, looking through the windows. Wash has his back to the windows as he works on a console. Mal is standing and looking forward, and the ship is rocked by a plasma explosion.

Cut to an exterior space shot as ship debris hurtles by, with a planet looming in the background.

We then see the (continued...)

( continues...) Universal logo, which then has the "UNIVERSAL" word come flying toward the screen, and the earth morphs into a shot of a cloudier, greyer planet, which we then see a small, bright explosion on the surface.

Fade to black, then the words "FROM THE MIND OF JOSS WHEDON" appears.

The screen flickers as though the broadcast is being interrupted, then we cut to a shot of a city street at night. Many bright lights and Chinese signs are seen as people mill about.

Flash cut to a shot of Serenity in space.

Flash again to a shot of Serenity flying in atmosphere, where we see a large, ziggurat-type building with smoke pouring out of it on a plain of snow or water.

Fade to black, then we get "CREATEOR OF"

The screen flickers again, then we see the words "BUFFY THE VAMPIRE SLAYER".

Another flicker, then we see "AND ANGEL".

One more flicker, then we get "COMES HIS UNIQUE VISION"

The screen flickers, then we see "OF THE FUTURE".

The screen flickers, then we cut to a shot of Serenity flying over a desert, with blue sky behind it.

Cut to a shot of flying through clouds, then we come upon some industrial looking structures built on mesas. The shot screams up to something that may be a ship or missle at a launch pad.

The words "A PASSENGER WITH A PAST" appears.

We get a shot of River laying on the metal grating of a deck on the ship, looking pensive.

Mal: "I'm taking your sister under my protection here."

We see Mal talking to Simon, as Zoe and Jayne look on.

Reverse to a shot of Simon looking up at them, then quickly cut to a shot of a junk ship flying about 2 feet above the ground of a desert location.

Flash cut to a shot of Mal and Jayne in a moving Jeep-like contraption, with both aiming guns forward at something.

Cut to a close up of the junk ship, where it looks like a reaver is shooting something out the side.

Switch to a shot of Mal standing in the transport as he pulls his gun back and twists out of the way of a shot.

Cut to a shot of River in an interior location with blue lighting, as she is sitting on the ground and leaning against a wall as the camera closes in on her.

Jayne (VO): "The only people she's a threat to is us on this boat."

We are in the cargo hold (I think) as Jayne says this, looking off-screen as Wash looks on in the background.

Cut to a space shot of Serenity apparently dropping straight down from a long ship.

Fade to black, with the words "SIX REBELS ON THE RUN" appearing.

River (VO): "It isn't safe"

We see Zoe (with shotgun in her hand) and Simon coming through a corridor on the ship, then reverse to see them walking down the gangplank onto the surface of a planet, with Jayne already on the ground and aiming Vera.

Cut to a close up of booted legs jumping down onto the surface of a planet. A primitve town is seen in the background, with some kind of obelisk in the center of the shot.

Quick cut to a shot of River, on a planet, turning around towards the camera with a look of fear on her face.

Fade to black, then we see River standing in the ship.

River: "They're coming."

We switch back to the shot where Mal was talking to Simon while Zoe and Jayne looked on, except this time Mal seems to be reacting to something Simon said, and Zoe and Jayne both are grimacing and looking down.

Flash to a shot in space of ships leaving a planet.

Cut to a shot of Mal standing in a cave. The barrel of a gun is visible, as though he is holding a rifle upright on the ground.

Mal: "I think we better go."

Quick shot to an interior location (the cargo hold, perhaps). We see Mal standing and facing the camera, then a figure (perhaps a reaver) pops up behind him and screams. Mal turns around towards it.

We quickly reverse the shot to see Mal reaching down to pull his gun out of its holster. Behind him and seated in a vehicle inside the hold are River, Jayne, and Zoe. Jayne rises up with his gun drawn, and Mal fires a shot.

The screen flickers, then we (continued...)