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 (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
Here is the previously that was shown on the
episode, "The House Always Wins":
We open with shots from "Tomorrow":
We see Lorne, decked ou in a white suit, talking to Angel in Angel's room in the hotel.
"Hey I thought I'd stop by and say arriverderci, Angel-hair."
Cut to a reaction shot of Angel.
"I'm leaving for Vegas tomorrow night."
Cut to a wide shot, from behind Angel, of the two of them talking.
"You're really going."
"I'm really going."
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 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 a shot of a glowy Cordelia ascending to who knows where.
"I know somehow, it's all going to be all right."
Cut to the end of "Deep Down", where we see a weakened Angel talking to Fred.
"I need Cordy, now."
Cut to a close up of Lorne, in Vegas and talking on the phone to Fred.
"If I miracle ear anything, I'll send up a smoke signal. "
Pan out to see Lorne in a blue and white fur, with a large man standing next to him as he talks on the phone.
"Take care of yourself, and make sure that Fluffy is getting enough love."
Cut to shots from "Ground State". The first shot we see is of Angel walking through sewer tunnels.
"There is someone who may know where Cordy is."
Cut to a wide shot, as we see Angel enter the lair of the cobwebby demon-thng.
Cut to a close up of the demon.
"She is far from you champion and needs you no longer."
Cut to a shot of Angel, looking up in supplication.
"I need her."
Cut to an angle behind Angel, as we see him looking up at the cobweb demi-goddess, seated on her throne.
"What you seek can only be found inside the Axis of Pythia."
Cut back to a shot of Angel looking up at the demon.
Cut to a shot inside the Hyperion offices, where we see Gunn seated at the desk, in the foreground, and Angel in the back on the couch, drawing on a pad.
Reverse to Fred standing in front of the guys, as she expositions the Axis of Pythia in front of her presentation.
"It's an ancient relic said to be able to find souls or entities across dimensions."
Reverse back to the guys, as we see Angel hold up his pad, while Gunn turns and looks.
Cut to a close up of Gunn.
Cut to a shot of Gunn and Fred standing outside a door. We see a glow emenating out from the bottow of the door.
"Do you thnk he found her?
The door opens, and Angel walks past Fred and Gunn without saying a word.
We cut to a close up of Angel, explaining what he found out.
"There was all this light around her,..."
Cut to shot of Fred, leaning on the round sofa thing, listening pensively.
" and the light seemed to be made up..."
Cut back to Angel.
" of pure joy.""
Cut to a shot of Gunn seated on the steps of the lobby next to Angel.
"Finally I find her, and I realize she already is home."
Cut to Glowy!Cordy, stuck in her glowing dimension.
"What are you, deificient. Get me outta here!"
ELAPSED TIME - 1:13
Here is the promo for next week's
He's fought in the future's bloodiest battles...
We open with a few shots from the intro. We see a close up of Mal staring in horror at the carnage of battle.
Cut to the shot where we see the ships floating is the sky over the valley where the battle is being fought.
Cut to a shot of some explosions down on the battlefield and troops fighting.
Cut to a shot of
zooming through space.
...but next week, this startship captain will defend a woman's honor.
Cut to a shot of Mal wearing his finery. He is talking to a man in a dressy grey coat who is stanind next to Inara. The shot is in the courtyard somewhere and is shot during the day. The shot is from behind the guy in the grey coat.
Move to a different angle, but still behind the grey-coat guy, and we see Mal swing a right cross towards the guy.
Switch to an angle behind Mal, where we see the illusion of Mal hitting the guy on his chin with his right cross.
Cut to a shot of the crowd, where we can see a dressed-up Jayne looking on.
Come back to Mal, this time talking to someone off-camera. Inara is standing where the grey-coated guy was before. Inara turns to her right and back.
Reverse shot to see the grey-coated guy stanidng next to a green-coated guy. The grey-coated guy (now referred to as the Challanged) is talking to Inara and Mal
Cut to a shot of
kicking into firefly mode in space.
Now we move to an interior scene. Mal is talking to Inara, possibly in someone's room.
"He insulted you. I hit him."
Reverse to Inara, dressed in nightware, looking skeptically at Mal.
Cut back to Mal.
"And I never back down from a fight."
Back to Inara, now with a smile of disbelief on her face.
"Yes you do. "
Cut to Mal.
"You do it all the time."
Cut to a shot of
flying through space, in the local area of a planet and two moons.
It's a twisted tale of spaced-out chivalry.
Now we cut to an outdoor shot, in a garden or woods-type environment. We see Mal standing next to another guy who appears to be from the local ares.
Reverse shot to see that they were looking at the Challenged guy, who is brandishing a sword.
Pull further back to reveal the Challenged guy move to the en garde position, while Mal stands about 10 feet away from him, facing him.
Reverse angle to see Mal stand back from the end of the sword that has moved closer towards him.
Move to a shot inside
Simon is talking to the rest of the gang.
"The captain's a good fighter. He must know how to handle a sword."
Reverse to see Kaylee, Jayne, Wash, and Zoe in a semi-circle, listening to Simon.
Cut to a close up of Zoe.
"I think he knows which end to hold."
Cut to an extremely long shot of the dueling area, where we can see Mal is testing out his moves with the sword.
Cut to a closer shot of Mal and the Challenged guy in mid-duel.
Cut to a shot of Inara and the guy Mal was standing next to in the earlier shot looking on at the duel.
Cut bakc to the duel, where we see Mal swing his sword and the Challanged guy lunge backwards to avoid the blade.
Cut to a close up of Mal as he tips his sword upwards.
"Let's be careful. You know these things are sharp."
Cut to Inara and the other guy looking on.
"He thinks he's doing well, doesn't he?"
Next Friday on Fox.
We see the Challenged guy lunge forward and swing his sword.
Cut to Mal turning towards his right away from the blade cut.
Pull back to see Mal go to his knees as the Challanged guy presses forward.
Cut to Inara and the other guy as they wince.
"This thing isn't going to take long, is it?"
Cut to a shot behind Mal, down on his knees, as the Challenged guy brings his sword up towards his face.
Reverse the angle to look directly at Mal, as the sword sits right next to the left side of his face.
ELAPSED TIME - 0:30
Here is the new introduction to
as seen in the episode "Out of Gas":
The new voicover is narrated by Mal
Here's how it is. Earth got used up.
We open on the
flying past the camera as it swoops around an Earth-like planet. Two moons are visible in the ditance.
So we terraformed a whole new galaxy of Earths.
The next shot is of the
hovering over the ground in some desert-ish location.
NEW SHOT. We see a spaceship
floating down for a landing in the middle of a city with modern office buildins. Banners with Chinese-like characters can be seen in the foreground.
The next shot is of the mining town we saw in the first episode "The Train Job". A couple of soldiers/policemen are seen patrolling in the foreground, as gas flames are shown off in the distance.
Some rich and flush with the new technologies
NEW SHOT. We see the ship flying in the atmosphere of a very modern, developed city as it wends its way around tall buildings (think Trantor or Coruscant).
Some, not so much.
Cut to a shot of two horses pulling a wagon through a river, from "Our Mrs. Reynolds".
Central planets, them as formed the alliance...
Cut to a shot of a bunch of uniformed people walking in a vast computer center. This is the Alliance command center seen in "The Train Job"
Cut to another shot showing an Alliance patrol ship, from "Bushwhacked".
...waged war to bring everybody under their rule.
Cut to a shot of a battle, where we see multiple explosions.
Cut to another shot of battle, where we see a squad of soldiers shooting it out as they make their way across a battle-scarred terrain.
A third shot of the battle shows a plane/spaceship swooping down and strafing the battlefield.
A few idiots tried to fight it. Among them, myself.
NEW SHOT. We see an isolation shot of Mal on the battlefield as he hits the ground and rolls. The camera zooms in on him, then the shot freezes and fades to white.
I'm Malcolm Reynolds,
Cut to a low-angled shot looking up at Mal holding a gun on the viewer.
Cut to a shot of the
flying off into space towards the camera (only using the two outside engines).
Got a good crew
NEW SHOT. We see a shot of some of the gang in the cockpit of the ship. Wash is seated at the controls. Zoe stands off to his right, near the wall o of the cabin. Kaylee stands directly behind Wash. Mal stands to the left of Kaylee, and Book is seated at the console further to the left.
NEW SHOT. We see Zoe in the foreground to the left, holding out her shotgun and blasting away at somebody offscreen. The scene is located in the cargo hold. Someone (Wash?)behind Zoe is seen diving for cover.
NEW SHOT. We cut to a shot of Jayne grappling with a guard or somebody in a military or police uniform. Jayne himself is wearing a version of the uniform as he brings a left forearm up to the guard's face.
NEW SHOT. Cut to a shot of Wash at the controls, straining to steer the ship.
NEW SHOT. We are looking from the vantage point of the engine, where we see Kaylee using a flashlight and peering into the engine to diagnose what is wrong.
We even picked up a preacher,
NEW SHOT. We see book standing alone in the medical bay, looking on as he holds his Bible to his chest.
and a bona-fide companion.
NEW SHOT. We see Inara walking regally through the mining town, from "The Train Job".
There's a doctor, too.
NEW SHOT. Cut to a shot of Simon, working in the medical bay.
Took his genius sister out of some Alliance camp so they're keeping a low profile.
NEW SHOT. We see Simon escorting River throught the corridors of
NEW SHOT. Cut to a shot of Simon holding River's hand as she lays on her bed, looking on in weariness.
You got a job, we can do it.
NEW SHOT. Cut to a shot of the gang walking off the ship. We see Jayne futhest to the left of the shot, standing next to Zoe. In the front row we see from left to right Kaylee, Mal, and Wash.
Don't much care what it is.
NEW SHOT. We see
kicking off the Firefly drive as it powers past a planet with Saturn-like rings.
ELAPSED TIME - 0:35
Here is the promo for the next
Next week on the WB's Big Sunday...
After some shots of the WB logo and DB standing around, we see a scene from this week's episode, where Angel, Gunn, and Fred come crashing in to save the day at Connor's place.
Cut to the shot of Angel standing on the rooftop of some building in the twilight as the camera zooms in for a close-up.
one of TV's best-kept secrets.
Cut to a shot from "Ground State", where we see Gwen jump-starting Angel's bare chest.
Cut to a shot of Gwen and Angel making out like crazed voles, as a graphic "TV's BEST KEPT SECRETS" - USA TODAY flashes on the screen.
Fade to a shot of Cordy materializing in the hotel lobby.
Reverse to the MoG entering the hotel and discovering Cordelia.
Cut to a shot of new footage, where we see Cordelia executing a spin kick. If you look closely (not that I would), you can see her tattoo in the small of her back, so I've been told.
Reverse angle of Cordelia's kick, as we see she's fighting a vampire, but I can't tell if it's Angel or not, since it is obviously a stunt man in the shot.
Reverse back to Cordelia, where we see she has pulled out a stake and is holding it ready to strike.
And it's only getting better....
Cut to a shot of Cordelia, wearing different clothes than the action shot earlier, talking to somebody whose head we see just the corner of, but I'm guessing it is Angel or Wesley, because the hair is too short to be Connor's. [Edit - boy am I wrong about this. After re-watching the episode "Slouching Toward Bethlehem", I realize this scene is from that episode. Cordy IS talking to Connor. So much for my brilliant deduction].
"Something bad is gonna happen."
Cut to a shot of Connor in profile, standing and looking on with a sullen smirk on his face.
Cut to a shot of Angel walking through a hallway in the hotel.
Those closest to Angel share something...unexpected.
Fade to black, then fade in to the now infamous scene, where we see Cordy and Connor. They appear to still be in the room that Connor has staked out for himself. Cordelia is standing in front of a closet and the camera is as though it is in the back of the closet lookingout. Connor comes up from behind Cordy and brings his arms around her waist. He leans in closer to Cordelia's neck.
"How 'bout some more training?"
Cut to a shot of Angel opening a door of a hotel room and peering in.
next week on the WB's Big Sunday.
ELAPSED TIME - 0:20
Here is the previously on breakdown for this week's episode of
"Slouching Toward Bethlehem":
(Gunn) Previously on
Shots from "Tomorrow":
We open on a shot of Connor, staring into the sea from the boat.
Cut to a shot of Connor looking down into the box that he has Angel strapped into.
"You murdered my father."
Reverse angle down to Angel, laying down in the box.
We see Justine and Connor roll the box into the ocean.
Scenes from "Deep Down"
We cut to a shot of Fred and Gunn, talking to Connor.
"He's been down there for three months and you knew."
Reverse to see Connor, sneering at Fred and Gunn.
Flash cut to Wesley dragging Angel's body into the Hyperion lobby.
"I believe you're looking for this."
Cut to a more recovered Angel, talking to Connor in the Hyperion office, then cut to a close up of Angel.
"What you did to me, is unbelievable."
Cut to a reaction shot of Connor, then cut back to Angel.
"I love you, Connor. Now get out of my house."
A scene from "Ground State":
We see Wesley and Lilah making out as Wesley explains why he saved Angel.
"I had to raise him."
Cut to a shot of Lilah.
Back to Wesley, as he leans in for a serious kiss.
"For fighting people like you."
Back to scenes from 'Tomorrow":
We see Skip telling Cordelia what is happening.
"What you're being called to do, transcends love. You become a higher being."
Cut to Cordelia asecending to the higher plane, known in these circles as "The Crapture".
Back to scenes from "Ground State":
We see Angel staring at a picture.
The next shot shows an insert of the picture, which we see is Angel, Cordelia, and Wesley standing together and smiling.
"I need Cordy. Now."
Cue the scene of Fred's presentaion explaining what the Axis of Pythia is to Angel and Gunn,
"The Axis of Pythia. It's an ancient relic said to be able to find souls or entities across dimensions."
Reverse back to the guys, as we see Angel hold up his pad, while Gunn turns and looks.
Cut to a close up of Gunn.
Cut to a shot of Glow!Cordy in her higher dimension.
Cut back to Angel, talking to Gunn and Fred in the Hyperion lobby after he used the Axis of Pythia.
"There's all this light around her, made up of pure joy. Felt sort of permanent."
Cut to the end scene of "The House Always Wins":
We see Angel, Fred, and Gunn walking through the front doors of the Hyperion.
Cut to a shot of Cordelia, dressed in a white robe, standing in the middle of the lobby.
Cut back to a close up of Angel.
Cut back to Cordy.
"Who are you people?"
ELAPSED TIME - 0:45
Here is the promo for next week's
Next Tuesday, on an all-new
We open with a shot of what appears to be the Bronze. We see Dawn (dressed up for dancing) storm across the floor as she tries to pass Buffy. The shot is from behind Dawn.
The next shot reverses angles, where we see that Buffy has held her arm up to stop Dawn as we see Dawn's face. Dawn flounces to a stop and looks angry.
Reverse angle again to focus on Buffy. Her hair has the notorious bangs. Buffy then walks past Dawn, brushing past her and bumping her with her shoulder.
We get the glowy Celtic cross effect, then flash cut to a shot of Dawn, dressed casually in a dark jacket, fighting some other girl (we see from behind the other girl, so we can't tell who it is except they have longish hair). The scene could be outside the Bronze.
We cut to another angle of the fight, this time from the side, as the other girl and Dawn drag each other down to the ground.
Watch what happens when Buffy gets the hots for her little sister's boyfriend.
Now we get some of UPN's "special effects". The next scene fades in with a kind of starry twinkle added to the shot and a tinkling sound effect, kind of like the sound you hear on
when they reveal the value of an item. The actual shot fades in to what appears to be a closed classroom, where we see some Sunnydale High boy wearing a letter jacket. We can see Buffy (dressed in black) leaning against the closed door and looking at him seductively. Buffy brings up her hand and points at him suggestively.
Cut to another shot in the classroom. This time, we see Buffy and the guy from the side as they appear to be standing close together in the middle of the room. Buffy grabs the guy's jacket by the front and plants a big kiss on him.
Cut to a shot of Dawn peering in the window of the classroom, her eyes going wide with shock.
The screen fills up with a "special effects" fire, then we cut to a shot of Dawn and Buffy talking as they sit on their couch at home. Dawn is wearing a different shirt than we have seen before. Buffy is still wearing black.
"You betrayed me."
Reverse to a close up of Buffy. As Buffy speaks (as though she were talking to a child), we get the sparkly "special effects" again.
"You're the one who constructed this elaborate fantasy about you and my lover."
The sparkles fade out, and we see a scene at the Bronze where we see Dawn dancing with the guy. Dawn holds her arms up over her head and dances suggestively and the guy dances directly behind her, leaning in to nuzzle her neck.
Cut bakc to the Summers' household, as Dawn stands up in shock and indignation.
We cut to a couple of shots of the band The Breeders air-playing their instruments.
With musical guest The Breeders.
We "twinkle in again on a new shot. This time we see Buffy is straddling the student as he lays back on a table in the center of the room. Buffy and the guy turn their gaze towards the door.
Reverse cut to see Xander standing in the doorway.
"Get off the boy Buffy, we're going home."
Cut back to Buffy straddling the boy, as the boy leans his head back and Buffy turns to look at him.
UPN next Tuesday at 8, 7 Central.
ELAPSED TIME - 0:20
Here is the promo breakdown for next week's
Next Friday, on an all-new
After seeing a shot of the ship flying in space, we cut to a shot of
on the ground as the hatch opens, then we see Mal, Kaylee, Ze, and Wash starting to walk off the ship.
Flash cut, then we see Jayne herding some cattle, while Simon stands further back, looking on.
Cut to a shot of Mal talking to Book (shot from behind Book). We see Jayne fruther back behind a fnece, and see the cattle roaming around in the pen. Jayne sees something and moves off to our right.
We see Mal talking to Jayne as they walk next to a pen holding cattle.
It was supposed to be an easy job, until everything went wrong.
We see two men come charging at Mal and Jayne, holding out guns.
Cut back to Mal and Jayne as they duck.;
Mal pulls out his gun, but it is shot from his hand.
Now, one crew memeber is dowCun...
Flash cut, then we see Mal approach somebody lying on the ground.
Reverse angle to see that it is Book lying on the ground, with a woulnd to his chest.
Cut back to Mal as he kneels down beside Book.
Reverse angle and we see a stricken Book struggle to look up at Mal.
"Stay with me Shepherd."
Now we cut to a shot as the gang is bringing Book on board
Mal and Jayne are carrying Book on a stretcher, as Kaylee reacts to what she sees.
"Oh God, Shepherd can you hear me?"
Cut to a shot of Simon scrambling through a densely wooded area as a couple of people in dusters chase him
Reverse from behind Simon. We see him approach River, who is just standing in the woods. Simon pushes River forward.
Reverse back from in front of River. We see her turn and start running as the guys in the dusters catch up to Simon.
Cut to a later shot as we see one of the guys pull a hood or bag over Simon's head.
Cut to another shot as another guy picks up River and carries her off.
Cut to the hold of
We see Mal, Zoe, and Wash talking about what's happened. We can see Inara on the second level, looking down on the conversation. The shot is from behind Inara.
"It looks like maybe they got snatched."
Reverse angle to see Inara's reaction.
Fade to black, then briefly cut in to see Mal in the medical bay.
And their captain must decide...
Fade back in on Book convulsing on his bed in the medical bay, as Mal and Jayne? try to help.
Fade back out to black, then back in on Wash and Kaylee at the end of the bay, looking worriedly on.
Cut to a close up of Inara.
"He's dying!" [Transcriber's note - no shit, Sherlock.]
Fade to black, then fade in on Simon running towards some pile. The shot is outdoors in front of a house, and we can see a circle of people gathered around.
...who to save.
Fade to black, then fade back in as we see some guy grab River and drag her towards the center of the gathering. People are surrounding them, hokding torches since the shot is at night.
Fad to black, then fade in to reveal that River is being tied to a stake, set for burning.
Cut from behind the stake as we see the handlers tie River's hands togehter behind the stake.
Cut to Simon, standing in front of River tied to the stake, as he screams at the assembled townfold.
"She has done nothing to you!"
Cut to a shot of the ship in space.
Cut to a shot of somebody lighting the wood gathered at the stake with a torch.
Cut to River and Simon standing together at the stake.
"Time to go."
Cut to a shot of flames shooting, then a shot of the cast.
One week from tonight, on Fox.
ELAPSED TIME - 0:30
Here is the promo breakdown of next week's
"Spin The Bottle":
A trippy spell bends their minds.
We open up on a shot of Angel, standing in the middle of the Hyperion lobby. He truns his head right, towards the camera. The motion of his head turning is blurred.
Cut to a shot of the group (including Wesley!) sitting on the Hyperion floor. They are seated in a circle around a mess of candles in the center, and they are linking hands together with each other. In this shot, we see Wesely, then Cordelia, then Gunn. As the camera pulls in on them, they pull there hands away from each other, reacting to some force.
Cut to a shot of Fred sitting in a corner and caressing a fern. The motion blurs to get that "trippy" effect.
Wesley (mostly in VO over the shots):
"We'll just wait to see if there are any side effects."
We cut to a shot of Cordy, sitting by the stairs, as she holds her head in reaction. The camera blurs on this shot, too.
Blur in on Weseley, expositing the above line as he's seated on the red couch thing.
Cut to a shot of Cordy, as she looks down at her chests and holds her breasts, as though weighing them.
Quick cut to a shot of Angel, standing alone by a wall with a worried look on his face.
Cut to a shot of Fred, grinning and laughing. We can see Cordelia standing behind her, holding her hands up to her ears and not paying attention to anything else.
Five friends become strangers.
Cut to a shot at the entire gang standing in the lobby, as they turn and look at the camera. Wesley is furthest to the left. Angel is next to him, but further back. Fred is standing to the left of Angel. Further left, but closest to the camera, is Cordelia. All the way to the right is Gunn, who stands right next to Cordy. [Transcriber's note - this shot is a little too close to the "Tabula Rasa" shot from
for my taste.]
Cut to a solo shot of Cordelia as she walks forward in the lobby.
"What's your story?"
Cut to a shot of Angle, now standing in front of the door of the hotel.
Cut to a shot from the weapons cabinet, as we see Angel and Fred open the cabinet up and stare at them.
We see a solo shot of Cordelia as she spins towards the camera.
Wesley (VO, mostly):
"We're locked in a house with a deadly vampire, and you have to kill him before he kills you."
Cut to a shot of Gunn, Fred, and Wesley walking through a darkened hallway. Each of them is carrying a weapon, Fred with a baseball bat-sized stake.
Cut to the shot of Wesley expositing this scenario.
Cut to a shot of Angel standing in front of the door outside, as he looks around himself. He has a very confused look on his face.
It's a twisted game...
We see a shot of Wesley standing in front of Gunn, as Wesley brings a serious-looking knife blad up to Gunn's chin. [Transcriber's note - imagined dialogue -"You're going to lose that goatee even if I have to cut it off myself."]
Cut to a shot of the top of Cordelia's face, as she is hiding behind the big grey froofy thing in the lobby.
We see Fred peering out around a corner.
We see Angel, standing in front of a bathroom mirror, waving his hands as he realizes he has no reflection.
"I'm a vampire. They're going to kill me."
Cut to a shot of Angel going into vamp-face.
Cut back to Angel in the bathroom.
We see a shot of Gunn swinging his special axe at something in the lobby.
...of life or death.
We see Angel throw a right cross at somebody. I'm thinking it is Connor.
Cut to a shot of Angel standing in the lobby as Gunn is leaning on the front desk rail. Gunn is holding his axe in his hands.
"I guess I'm going to start feeding on your corpses."
Cut to another side of the lobby, as Wesley holds his arm up as though to shield Fred.
Focus in on Gunn as he reacts to what Angel is saying and he pulls his axe into a ready position.
Back to Wesely and Fred, as Fred turns to Wesley with a look of horror on her face.
Cut to a solo shot of Angel standing in the middle of the lobby.
Cut over to Cordelia, standing by the weapons cabinet. She has her arm out and is pointing towards Fred. NOTE: Lorne is barely visible in this shot, sitting on the grey circular couch thing.
"She's the tasty one. Half of her is neck."
Cut back to Wesley and Fred. Fred visibly gulps.
next week on the WB's Big Sunday.
ELAPSED TIME - 0:30
Here is the previously on that aired with the
(Fred) Previously on
We open with a shot from "Belonging". We see the missing poster of Fred that the MoG came across.
"Fred disappeared five years ago. They never found her."
Cut to some shots of Fred grabbing the book in the library, opening it up, then having the portal to Pylea open up.
"Cordy's been sucked into the portal. She's in the Host's dimension."
Cut to a scene from "Through the Looking Glass", as Fred is captured by the Pylean constable.
"They use you as a slave."
Cut to Angel coming up to Fred in her cave.
Cut to Angel adjusting Fred's glasses
"Handsome man, saved me from the monsters."
Cut to scenes from last week's "Slouching Towards Bethlehem"
We see Cordelia in close up, talking to the gang in the lobby.
"So we know each other?"
Reverse angle to Angel, Gunn, and Fred.
"Yeah. Really well."
Pull away to a shot of the entire lobby, as Fred slowly walks up to Cordelia.
"Not to sound all movie-of-the week, but I think you might have some kind of amnesia."
Cut to a close up of Cordelia as she tries to make sense of her surroundings.
Cut to a shot of Angel, stanidng beside the office.
"I think there's a way we might be able to sort this out. Pick a song."
We see Cordelia, huging herself and looking puzzled.
Cut to Cordelia standing in front of a seated Lorne, Gunn, and Fred, with Angel standing next tho them.
"So Lorne can read you."
"You sing, he sees your future."
Cut to a solo shot of Cordelia singing.
"Because the greatest..."
Cut to a shot of Lorne, looking absolutely scared.
Lorne stalks off.
Cut to Angel standing outside Lorne's door.
"What'd you see?"
"If it's that bad, I need to know."
Lorne opens the door.
"It's that bad...Evil's coming, Angel, and it's planning on staying."
Cut to a shot of Lilah, standing outside of Wesley's bedroom and talking on her cell phone.
"You're sure that it's her? Put an extraction team together."
We see Wesley silently listening to Lilah's conversation.
Cut to a shot of Wesley in the Hyperion, telling the gang what he knows about what is going on.
"Wolfram and Hart are planning to extract Cordelia, and I doubt your boy will be able to stop them."
Cut to some shots as Angel, Gunn, and Fred rush to rescue Cordelia from the Wolfram and Hart team.
Cut to the afttermath of the fight, as Angel tries to help Cordelia.
"We should probably get you back home."
"Actually, I'd like to stay here, with Connor."
Cut to a reaction shot of Connor, looking smugly at his dad.
Flash cut to a close up of Lorne, bound and gagged to a chair in the office.
"Oh my God!"
Cut to a wide shot, as Fred reaches up to remove the gag.
"Is he alive?"
Close in on a close up of the new hole in Lorne's head.
"Who did this?"
"Wolfram and Hart."
"They must have know Lorne read her. They weren't after Cordy, they were after what Lorne saw when she sang."
Back to later scenes at Lilah's apartment. Wesley is standing in the doorway talking to Lilah. The shot is from behind Wesley.
"You played me."
"Free will. Look it up."
Reverse the shot from behind Lilah, focusing on Wesley.
Reverse back to focus in on Lilah.
"You're the one who decided to take what you overheard and give it to the Good 'n Plenties."
On Good 'n Plenties, reverse back to Wesley, then cut to Angel leaning in towards Lorne.
"How much did they get?"
"All of it."
ELAPSED TIME - 1:25