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.
Here is the promo break down for next weeks
In 250 years, he has loved many women with an empty heart.
We open on a shot Angel sitting on the steps of the hotel lobby, well-nourished and broody. He is wearing a black, long-sleeve sweater in this interior night shot.
Fade out, then fade in on Angel kissing Cordelia passionately. I think this is from the hallucination that we saw in "Deep Down".
Fade out, then fade in on Angel staring pensively out towards the sea.
A graphic NEXT SUNDAY flashes on the screen.
Cut to a shot of the vixen-of-the-week, strolling through a restaraunt? In the background, old men seated at tables can be seen staring at her, as she pulls up her long-sleeved black glove. She is barley wearing a red leather top and hot pants?
"Only the dead can enter her presence."
Flash cut to a close up of her bare belly as hse walks.
Cut to a close up of her face.
Cut back to her walking though the room. A smirk appears on her face.
...A seduction so intense will arouse the impossible.
Cut to a shot of Angel power kickin some guy in a suit. This is in the lobby of some apartment/hotel/office complex, apparently.
Cut to a shot of Angel karate-chopping a different suited guy in the back, then tossing him around. This looks to be in an office.
Cut to a shot of the VOW throwing a punch, in the same office area. The shot is cut to make it appear that she is fighting Angel, but that might not be the case.
Cut to a shot of Angel reacting to the girl.
Reverse to a shot from behind Angel, as the girl holds a hand out to him.
Cut to s ahot of Angel and the girl playing tonsil hockey.
Fade to black, then cut to a shot of Angel leaning back against a wall. He is seated on the floor and has an amazed look on his face.
Reverse to a shot of the gril, staring at Angel.
"It was beating."
Cut back to Amazed!Angel.
Fade to black, then cue the
next week on the WB's Big Sunday.
ELAPSED TIME - 0:20
Here is the previously on break down of the
premiere episode, "Deep Down":
We open on a shot of Angel, in the lobby of the Hyperion, looking shocked. This is from "Offspring"
Cut to a shot of Darla feeding off of and turning Liam into Angel, from "Darla".
"We did so many terrible things together."
Cut to Angelus and Darla feeding off of Holtz' wife.
"Did you and Darla?"
Cut to a shot from "Reprise" whare Angel throws Darla to his bed.
"Once. It was a very dark time."
Cut to the shot from the end of "Hearthtrob" where we see a very pregnant Darla walking away from the bar counter.
Cut bakc to "Offspring", where we see Angel trying to explain Darla's condition to Cordelia.
"This is impossible. Vampires can't have children."
Cut to a reaction shot of Darla.
Cut to the scene in "Quickening", where the gang surround Darla as Wesley give her a sonogram.
Cut to a shot of the sonogram monitor as Wesley points to it.
""You're carrying a boy."
Cut to Angel's happy reaction.
"I'm gonna have a son."
Cut to a scene from "Lullaby", as Angel holds up Darla as they walk out of the Host's blown-up club into the rain.
"Our baby's going to die."
Cut to a close up of Angel holding Darla's hand and kissing it.
Cut to Darla lying in the alley, looking up at Angel.
"This child, it's the one good thing we ever did together."
We then see the shot of Darla staking herself.
We see Angel grasping at the dust that was Darla's hand.
Cut to a shot of Connor lying in the rain in the alleyway.
Cut to a short scene from "Loyalty". We see Angel and Wesley in the waiting area of the doctor's office as Angel holds Connor in his arms.
"I'm Mr. Dad1"
Cut back to a scene from "Lullaby", as we see Holtz striding through the burning wreckage of the Host's club as he brings his crossbow up to bear.
"Daniel Holtz: Angel massacred his family and he spent the rest of his life seeking revenge."
We cut to a scene from "Provider", where Holtz is "interviewing" Justine with an ice pick.
"I want you to go out and find others like you. People who've suffered as we have."
Cut to a shot of Justing fighting a vampire in a cemetary.
Cut to the end shot of "Couplet" as we see THE FATHER WILL KILL THE SON that Wesley has translated.
Cut to Wesley, sitting at his desk, working on the translation.
"Wes thought Angel-"
"- was going to kill Connor."
Cut to Wesley opening his car door as he holds Connor.
"He's taking the baby away, for good."
Cut to Justine slashing Wesley's throat from behind, from "Sleep Tight".
Cut to Justing running off with the baby.
Cut to Holtz holding Connor and negotiating for his taking the child.
" will take good care of him as my own son."
Cut to Holtz carrying the baby with him into Quartoth.
Flash forward to "Forgiving", as we see Wesley recuperating in his hospital bed while Angel tries to smother him.
"Son of a bitch! I'll never forgive you. Never!"
Cut to Fred talking to Wesley in the hospital, from "Double or Nothing"
"You should have trusted us. Don't come back to the hotel, ever."
Cut to Lilah talking to Wesely, from "A New World".
Cut to a reverse, where we see Wesley talking to Lilah.
"Are you going to offer me a job? Not interested."
Cut to a shot of Lilah and Wesley in bed, from "Tomorrow".
"Don't pretend that you're too good for us."
Cut to Fred and Gunn kissing, after taking out the vampires in "Loyalty".
"What is it about you that makes me melt?"
We see Gunn and Fred talking in the front of his truck, from "Couplet"
"Maybe it's that I love you."
Cut to the end of "The Price", where we see Connor fall out from the tear in reality that led to Quartoth.
Cut to the close-up of Connor, all grown up and pointing a weapon at Angel.
Cut to a reaction of Angel as he realizes who just showed up.
Cut to the end of "Benediction", where an aged Holtz has Justine kill him with an ice pick.
"Don't make me do it."
"One more, Justine."
Cut to Connor cradling dead Holtz in his hands as he crys.
Cut to scenes from "Tomorrow", as we see Cordelia call Angel from her home.
"I sort of need to talk to you."
We now see Cordelia careening through highway traffic, as her Jeep pulls to the side of the road.
"I'm late. I'm late!"
Cut to the scene out at the beach/cliffs, where we see Connor walk up to the Angelmobile.
Cut to Angel, reacting to Connor's presence.
"Connor, what are you doing here."
We see Connor leap on to Angel and take him over the cliffs.
Cut to Skip explaining to Cordelia why time has apparently stopped around her on the freeway.
"What you are being called to do transcends love. .... You become a higher being."
Cut to a reaction shot of Cordelia.
Cut to Connor looking down on Angel as he is strapped into the box.
"You murdered my father."
Cut to Angel, lying in the box and looking up.
"I didn't. And she knows it!"
Cut to a close up of Justine as the boat sails out onto the water.
Cut to the top of the box/coffin being bolted into place, as we see Angel through the screen.
[Edit: Continued with next post]
The previously took up too much room! Here is the rest of it, for the premiere of
Cut to Connor and Justine pushing the box into the ocean.
"Never forget that I'm your father and that I love you."
Cut to a reaction shot of Connor as the coffin dives into the water.
Cut to a shot of a glowy Cordelia ascending to who knows where.
"I know somehow, it's all going to be all right."
Cut to an underwater shot of Angel's box sinking to the ocean floor.
"You don't get to die. You get to live, forever."
Cut to Angel's face visible through the mesh window of the box as it sinks into the water.
ELAPSED TIME: 1:30
Here is the promo break down for next weeks
Next Tuesday, on an all-new
Buffy the Vampire Slayer...
We open on a shot of Buffy and Xander, sneaking into a funeral home at night, as they raise the lid to a coffin and look inside.
Cut to a shot from the coffin towards those looking in, where we see Buffy, Xander, and Dawn peering at the body in the coffin. Buffy is holding the flashlight that illuminates the scene.
Flash cut to a daytime shot, where we see Buffy talking to Principal Wood in his office.
"I don't usually get a head's up before somebody dies."
Reverse angle to Principal Wood, seated at his desk, with a surprised look on his face.
"What do you mean, usually?"
Counselor Buffy is on the job.
Flash cut to Buffy talking to various students. We see:
A long-haired brunette with a "duh" look on her face.
A guy wearing a sweat jacket with the hood up and on his head.
A kid with bad teeth and horn-rimmed glasses, wearing a goofy grin.
Cut to a shot of Buffy rubbing her forehead as though she has a headache from all of her problems.
Cut to an exterior night scene, where Buff is talking to Xander.
"Most of the problems are weird and tricky."
Reverse cut to Xander.
"This job's perfect for you."
But the students have summoned up a problem that they can't handle.
Cut to a shot of people wrapped in bright red robes, holding lit candles and walking in a circle. This may be the library.
Crane up to look down on the circle. We see that the robed ones are circling what appear to be a pile of papers, with some other substance drawn in a circle around it.
A fireball seems to come out of the circle in an effect to cut to the next scene, where we see Buffy in this library turn and look at a horned demon. The demon looks a lot like Skip from
but it is not him (there are differences in the makeup).
Cut to a shot of Buffy weilding a flaming brand, then reverse cut to the demon being driven off by the flame.
Cut back to Buffy, making one of her trademark quips in battle.
is going on your permanent record."
Cut to a close up of the demon, then cut to another shot of Buffy whaling on him.
Close with a final shot of Buffy swinging her flaming weapon.
next Tuesday at 8, 7 Central on UPN.
ELAPSED TIME - 0:20
Here is the previously on break down for tonight's
episode, "Same Time, Same Place":
Buffy the Vampire Slayer....
We open on a brief shot of Dark!Willow blasting Warren with magic power, from "Villains"
Cut to the shot of Warren being flayed.
Cut to Giles riding his horse in the countryside, from "Lessons"
"I killed people, Giles."
"I've not forgotten."
Cut to Giles and Willow talking to each other about what happened over the summer.
"When you brought me here, I thought it was to kill me. Instead you go all Dubledore on me."
Cut to a reaction shot of Giles, with a wry half-smile on his face.
In scenes from "Beneath You", we see Giles and Willow talking in the shed just before Willow take off back to America.
We see a two-shot of Giles and Willow, then cut to a close up of Willow.
"I don't want to go back home just so I can screw up again."
Reverse cut to Giles.
"What exactly are you afraid of?"
Back to Willow
"But what if I go all veiny and homicidal again and what if..."
Back to Giles, who has his head turned away from Willow, looking down on the ground. He turns his head back to Willow.
"-They don't take you back?"
Cut back one more time to Willow, looking up at Giles in recognition that he was right.
Now we see the scene at the Bronze, where Xander and the gang confront Anya.
"Did you turn this nice lady's ex into a giant worm monster?"
Cut back to Anya, seated at a table.
"You wish it, I dish it. I thought we were clear on this."
Cut to Nancy, looking horrified.
Now we go to the scene in the church. We see Spike, looking anguished, talking to Buffy.
"It's what you wanted, right?"
Cut to a close-up of Buffy.
"Tell me what happened."
Cut back to a close up of Spike, but instead of facing directly to the camera (and Buffy), he is turned away from her and looking back over his left shoulder.
"Why does a man do what he must... for her."
Cut to a two-shot, where we see Buffy in the foreground, warily looking at Spike, who is walking away from her and towards the cross at the front of the church.
Buffy (VO, whispering):
Reverse to a shot from behind the cross, as we see Spike walking up to it and Buffy standing further back, looking on. Buffy in bathed in light, while Spike walks in the shadow.
Cut to a close up of Buffy as it finally clicks.
"You got your soul back."
ELAPSED TIME - 0:35
Here is the breakdown of the promo for the next
"The House Always Wins"
Angel's back in Vegas...
We open with a shot of Angel cruisnig down the Vegas Strip in the Angelmobile.
Cut to a shot of the "Welcome to Fabulous Las Vegas, Nevada" sign, then we see a shot of the Stardust, the Riviera, and Circus Circus.
Cut to an interior scene, where we see Angel, Fred, and Gun standing in a room or hallway or corridor, surrounded by a bunch of people as though they are waiting in line or something. In the foreground is a woman we'll see later. She just looks as though she is waiting to get in. The gang are talking to each other.
"You knew the Rat Pack?"
"I met 'em. "
Quick cut to a closer shot of the gang.
Flash cut to a showgirl who is standing in a hotel room or hallway. She is wearing a pair of fake red horns on her head, as though she is playing a demon or something in a review.
The shot freezes on the woman, and a graphic similar to the
advertising campaign kicks in. We see the shot of the girl converted to a black and white photograph played against a red background.
Big large letters "THE SIN" appear next to the photograph of the girl.
We zoom back into live action on the girl, as she turns towards her right and reacts to something charging her.
Girl in red horns:
We pan to the right of the girl, and we see that Lorne is attacking her with a liquor or seltzer bottle, bringing it down with a clubbing motion. Lorne is wearing a purple coat with orange trim.
Cut to a different shot of Lorne in the same outfit. This time, he in on stage, holding a microphone. Behind him some scantily-clad showgirls, all wearing fake horns, are parading down a set of steps.
The shot freezes on Lorne, and he gets the
treatment. This time, his black and white shot is framed against a blue background.
Big large letters "THE LUST" appear in frame next to Lorne's picture.
We pan back to Lorn'es left to reveal more of the show girls.
"Hey! Strut it, girls!"
Cut to a few close ups of the show girls walking across the stage, with a decided emphasis on just their bodies.
Then we cut to my favorite shot. We see an extreme close up of Angel's head, as we see Angel standing ina large room filled with slot machines. Angel has what only can be described as a dopey look on his face.
Angel gets the graphics treatment. His head shot is framed against a green background.
Large "THE GREED" letters appear next to Angel's mugshot.
Zoom back out to Angel standing in the slot room, as we see that he is staring at something.
Reverse to reveal that he is staring at the wheels of a quarter slot machine. We don't get to see what the slot combination ends up with.
"You lose here, you don't get it back."
Fade to a shot of the woman seen earler standing in front of the gang, as she spins the slot machine. The woman looks as though she is going to faint.
Cut to black.
Cut to a shot of Angel clobbering somebody with a right hook.
Cut to a reverse angle of the shot, where we see that Angel is outside an establishment, beating up somebody wearing something similar to a waiter's uniform.
Cut to a third shot, where we see Angel deliver a power kick to another somebody how approached him from behind while he was beating up the first guy. It looks like the second attacker may be a demon of some kind.
In a casino where destinies are on the table...
Cut a different scene, an interior, perhaps a parking garage. In the foreground of the shot, we see the fake red horns that the earlier girl was wearing, laying on the concrete floor. We see three pairs of legs running away from the horns (and the camera) towards a door at the end of the hallway. The front pair of legs appears to be one of the showgirls. The pair of legs on the left belong to someone wearing dark green pants and a billowy green coat. The pair of legs on the right belong to somebody wearing black pants (can't tell the material).
Cut to a shot of the showgirl (san horns) turn and look up to somebody holding aa gun to her face.
Flash cut to a close up of Angel, presumably in the same interior that the red-horned girl was in in her first shot.
Cut to a shot of two gentleman talking. To the left if a man, dressed in a very nice suit, who looks similar to Gunn. Seated next to him is some middle-aged guy.
"With a soul."
Cut to a shot of the Other guy, flipping a casino chip to...
Angel, who we see in a reverse shot. Angel catches the chip and looks at it.
Cut to a shot of a spinning roulette wheel.
One bet could cost - an eternity.
Cut to a shot of Angel as he lowers his head and eyes.
Cut to a final shot of the Strip, as the shot freezes into one last black and white shot framed in a blue background. Cue the
logo into the shot.
next week on the WB's big Sunday.
ELAPSED TIME - 0:30
Here is the promo for the next
which my sources say is named "Selfless"
Next Tuesday, on an all-new
We open on a shot inside a classroom, where we see Xander talking to Anya in her demon guise. We are looking from behind Xander. The camera pans to the right and focuses in on Anya, who brings her arm back as though to hit Xander.
We cut to a different shot and location, presumably Anya's apartment, where we see Anya, again in demon guise, clock Buffy with a backhand to the jaw. This is probably at night. Buffy is wearing a black leather coat. The shot cuts to a different angle where we see Buffy flying backwards from the blow.
Anya's had a 1200-year career as a world-class vengence demon.
A graphic "1200 YEAR CAREER" flashes across the screen, then we cut to...
An outdoors day location shot, where we see Anya standing next to D'Hoffryn. Anya has long black hair in this shot and looks vaguely gypsy-ish.
Cut to a shot of some men in animal skins running away from the camera, again in an outdoors day location shot. There might be a horned Viking helmet on the ground in this shot, which might indicagte that this is from the beginning of Anya's vengence career.
Flash cut to an interior shot, where we see someone caught on fire running through an extravagently appointed dining room, say 17th century France, perhaps.
Cut to a shot of Anya, seated and wearing fancy clothes. (Transcriber's note: I have no idea what era these clothes come from. To me, it really looks like something from the 1920's. Anya has a white feather in her (black) hair. We'll see). Anya is talking to another woman seated to her left.
Will it all end here?
Quick cut to Buffy in a black sleeveless top, standing in a classroom, then flash cut to Buffy seated in her couch, wearing the same top. A cut or red welt or scratch can be seen running along her left collar bone.
"I have to kill Anya."
Cut back to Anya's apartment, where we pick up on the scene where Anya, in demon makeup, is fighting Buffy. We first see a close up of Anya talking.
"Are there any friends of yours left that you haven't tried to kill?"
Cut to a long shot where we see Buffy charge towards Anya, then cut to an angle behind Any where we see that Buffy is bringing a sword up to attack her.
Buffy swings the sword, then we cut to an angle behind Buffy where we see that Anya ducks the blade.
Buffy recovers from the miss, and thrusts the sword forward.
We cut to a side angle, where we see Buffy bringing her right elbow backwards into Anya's back and pushing Anya into a wall behind her.
Buffy wheels around and brings the sword forward in a thrust.
We reverse the angle to see Anya with her back to the wall and her arms raised up.
Cut to a shot of Buffy bringing the sword higher up.
Shall we leave you in suspense?
Cut to a close up of Anya's chest as the sword stops right at the surface of the body.
Or get to the point?
The moment pauses, then the sword plunges further into Anya's chest.
The camera pans up to Anya's face as she screams in pain.
That's just the beginning of an all-new
next Tuesday at 8, 7 Central on UPN.
ELAPSED TIME - 0:20
Here is the breakdown for the previously on for the
Buffy the Vampire Slayer...
We open on scenes from last weeks episode, "Same Time, Same Place".
We see Willow walking towards the ruins of the Magic Box, as Anya exits the store carrrying various salvaged items in a box.
Reverse to a shot of Willow coming towards the camera.
Reverse back to see Anya standing in the doorway, clutching the box.
"I thought you were with Giles, studying how not to kill people."
Reverse cut back to Willow.
"I just got back."
Cut to a scene from the end of "Lessons":
We see Principal Wood talking to Buffy in the hallway. The first shot is a close up of Principal Wood.
Reverse to a shot of Buffy talking to the pricipal.
"Are you asking me to be a counselor?"
We cut to a quick shot from "Beneath You", where we see Crazy!Spike in the basement screaming as the earth rumbles.
"Spike's insane in the school basement..."
Cut back to Anya and Willow talking outside the Magic Box.
"Xander's there doing construction on the new gym."
Cut to a scene from "Beneath You", where we see Buffy and Principal Wood talking in the main office.
"I was, uh, wondering why I..."
Reverse cut to Principal Wood.
"Have this job?"
Reverse back to Buffy.
"I still haven't finished college."
Pan out to a longer shot showing both Principal Wood and Buffy standing and talking in the office.
"These students need someone around here who understands them. I need someone who understands these students."
Finish on a close up of Buffy.
ELAPSED TIME - 0:25
Here is the promo break down for next week's
which I have listed as "Out of Gas":
In the farthest reaches of space...
We open with a shot of
flying through space.
Cut to Mal on deck, falling in and out of shadow as he looks up at something.
Cut to Kaylee, standing on deck and smiling. (Transcriber's note: I love her smile.)
Cut to a shot of the crew seated at a table and eating. We see Zoe furthest to the left in the shot. Next to her is Wash, who turns to his right and looks at Book, who is seated next to him. Everyone looks more or less happy.
We here a rumbling noise, then cut to the other side of the table. We see Mal seated furthest from the shot, Jayne in the middle (wearing his napkin as a bib), and Simon (or Inara?) seated closest to the camera. There are lit candles on the table. Jayne looks up to the ceiling.
"What was that?"
Cut to a shot further away from the table, where we see most of the crew seated, but we see Kaylee standing up and walking towards the camera as she looks towards the ceiling.
...all hell is about to break loose.
Cut to a shot of Mal rushing forward into a corridor.
Reverse to an angle behind Mal, as we see at the end of the corridor an explosion, followed by a fireball as Mal slams the doors to the corridor shut.
We see another shot of the explosion in the corridor.
Cut back to the shot of Kaylee looking up at the ceiling.
As Kaylee is looking up, we notice a light in front of her increasing in intensity. Zoe leaps up and pushe Kaylee out of the way of the fireball that suddenly appears.
Cut to a shot of Wash, as he is faced away from the action, and turns towards the camera as he hears the eplosion.
We pan across a wild shot of the crew inside the bay, then cut to a shot of the corridor (or some location on board) in flames.
We see Mal running through the mess hall.
"Seal off everything that leads below decks!"
Cut to a shot of Inara helping Kaylee to her feet.
"Do it now!"
Cut to Simon coming up to a junciton in the ship, while Jayne looms before him.
"Zoe's been badly hurt."
Cut to a close up of Jayne.
"Sorry Doc, nobody leaves."
Reverse angle back to Simon.
"If you don't let me through, she could die."
Cut to a shot of Zoe laid out on deck, while Simon checks her pulse. I imagine that is Wash that is holding Zoe's hand in his.
Cut back to a shot of Jayne.
"If I let you through, we all die."
Cut to Wash looking on with concern. Kaylee can be seen looking on, slumped against the back wall.
Now, this crew's worst nightmare...
Fade to black, then fade back in to see Book followed by Mal walking purposefully through a door on board. Inara looks on in concern.
Cut to a solo shot of Inara, looking stern.
We then see River, hiding behind a beam.
"They're afraid we're going to run out of air."
Fade to black, then we fade in to see Book, Wash, Inara, and Kaylee seated, either in a cabin or in Inara's shuttle.
...is about to come true.
Cut to a shot of Mal standing in a corridor.
Reverse to Kaylee talking back to Mal.
"Couple of hours, maybe."
Fade to black, then the
ship logo appears.
next Friday on Fox.
ELAPSED TIME - 0:30
Here is the promo (with very little actual new scenes) for the next
which is called "Slouching Toward Bethlehem"
Their's was a Love of destiny...
We open with a shot from the season opener, "Deep Down", part of Angel's hallucination. We see Cordelia talking to Angel. We first see a close up of Cordelia. Then we switch angles to focus on Angel confessing his love to Cordelia.
"I need you Cordy."
Angel leans in for a kiss.
The shot freezes then we cut to a shot from "Tomorrow", where we see Cordelia ascending to who knows where.
Then she vanished to a realm unknown.
Cut to a close up of Glowy!Cordelia, stuck in her heavenly dimension or whatever. This is a shot from last week's episode, "Ground State".
Flash cut to another shot from "Ground State", where we see Angel arguing with the cobweb demon.
"Wherever she is, I need her."
The camera zooms in on Angel, then we actually see a new scene. We see Angel kick open a couple of doors. Gunn is visible behind him as they prepare for battle.
Cut to a shot of a body being thrown through a set of glass windows.
Cut to a shot of Angel and Gunn in battle. The setting appears to be a basement of somekind. Gunn is in the foreground and swinging his axe, while Angel is duking it out with someone in the background.
Cut to a shot of Angel backhanding someone, apparently human, in the basement setting.
Now, his search will end...
Cut to a shot of Cordelia materializing in the hotel lobby. This (and the remaining shots) are all from the end of tonight's episode, "The House Always Wins".
Reverse cut to see Angel, Gunn, and Fred enter the hotel.
Cut to a close up of Cordy, as she sees the gang and backs away.
Quick cut back to the gang at the entrance to the hotel.
...and the mystery will begin.
Zoom in on Angel, then quick cut back to a close up of Cordelia.
"Who are you people?"
next week on the WB's Big Sunday
ELAPSED TIME - 0:20