Tomorrow - Shooting Script Details [Spoilers 3x22]
Tafka
All below is courtesy of Terry, from alt.tv.angel.
All comments are, subsequently, his.
Spoilers for "Tomorrow."
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Some pretty significant deletions in the episode, mostly dealing with
Lilah and later, Cordy and Groo. Also mostly from the first two acts.
______________________________
The opening shot was a little different and a bit longer.
INT. ANGEL'S HOTEL - NIGHT
CLOSE ON A TRAY. Two glass mugs of STEAMING muddy water,
surrounded by grasses and plants, their small muddy roots
plucked fresh from the earth.
PAN UP TO GROOSALUGG walking towards us. Into CLOSE UP.
Gazing at something lovely O.S.
REVERSE - GROO'S POV - of CORDELIA in the little bathroom (or
at her desk) brushing her new hair. She's lost in thought.
GROO - Just watches her. His eyes start to fill.
COR - Doesn't even know he's there.
GROO - Gets control of his emotions, moves forward. Hearing
him, she turns.
______________________________
Justine finally gets it.
JUSTINE
You don't want to kill him? After
what he did -- what do you want to do?
PUSH IN on Connor's dark and deadly eyes.
CONNOR
Something worse.
JUSTINE
(half a beat)
Oh.
END OF TEASER
______________________________
No wonder Lilah's so anxious to get Wesley into the W&H fold; girl
needs a win bad. Probably has just a bit of empathy for Wesley's
situation, come to that. Read this cut scene then watch the scene
with her and Wesley to see what I mean. This is in the script as the
opening scene of Act One.
EXT. WOLFRAM AND HART - STOCK - NIGHT
INT. WOLFRAM AND HART - HALL/CONFERENCE ROOM - SAME
LILAH hurries down hall, late for a meeting and pissed off.
HER POV - CONFERENCE ROOM DOORS
Open, LINWOOD, GAVIN a few other high level MEN and WOMEN
spill out. Ties loosened, slipping on jackets, a long
strategy meeting has come to an end.
LINWOOD
You sure you can deliver on such
short notice?
GAVIN
Absolutely.
LILAH
(arriving)
Late meeting, special projects
division, we wouldn't be discussing
a certain vampire with a soul behind
my back, would we?
LINWOOD
Yes.
Beat.
LILAH
Oh. This is embarrassing.
GAVIN
I'm not -- oh, for you. I'll say.
LILAH
(to Gavin)
Don't you have a dog cooking
somewhere?
(to Linwood)
Why am I out of the loop?
LINWOOD
Angel's infant son, suddenly all
grown up. That was weird.
LILAH
I'm working on it --
CONTINUED
LINWOOD
Oh, you have the boy? You've taken a
biopsy, you know what he is, what he
means?
LILAH
No... sir.
LINWOOD
Do you even know his name?
LILAH
Connor.
GAVIN
Actually, he prefers Steven.
LILAH
To get the boy you have to get close
to Angel and that doesn't always go
so well.
LINWOOD
It certainly hasn't for you lately:
you lost the baby, you weren't
exactly ahead of the curve on his
abrupt return as a young man. We'll
take it from here. Okay?
LILAH
(fuck me)
Okay.
Linwood moves off. Gavin looks from Linwood's departing back
to Lilah who gives him a dirty look, as:
GAVIN
Woof.
______________________________
And Lorne makes another parent reference (see "Waiting in the Wings"
for the first).
LORNE
The not-so-little nipper? I'm not
gonna lie, kid's in the mix. Clearly
not lovin' the demon kind...
(indicates self)
I know it's the way he was raised,
but I loved that little baby and...
why don't we just leave it at that.
ANGEL
(beat)
All right.
CORDELIA
He'll learn. He'll have to. Angel and
I are both part demon.
LORNE
True. And he's gonna look to you guys
as mother and father now. I just
wouldn't...
CORDELIA
What?
LORNE
Turn my back on him anytime soon.
CONTINUED
ANGEL
You realize this is my son you're
talking about.
LORNE
I know, that's why before when I said
"why don't we just leave it at that",
I wish I had.
Off the three of them,
______________________________
But even if she does feel some kinship, Lilah's still a stone-cold
bitca.
LILAH (cont'd)
Cheer up. Angel finds the kid with
blood on his hands he might just
prove you right about that prophecy:
"the father will kill the son". OOO!
maybe he'll slit his throat!
______________________________
For a non-man-pire, this would have an entirely different connotation.
CORDELIA (cont'd)
Next time you eavesdrop, I'm gonna --
She grabs him by the ear, puts her lips close to it and
whispers something inaudible, though we might HEAR the words
"broom handle".
______________________________
One of the books that was Angel's favorite when he was Connor's age is
identified.
ANGEL (cont'd)
This is a first edition Robinson
Crusoe. Published in seventeen-
nineteen. One of the few things
that's been around longer than me.
Angel laughs a little, trying to keep things light.
CONTINUED
ANGEL (cont'd)
Cause I'm so old and all...
Angel runs out of steam. Looks at the letter in Connor's
hand. Puts the book back on the shelf.
______________________________
A little more to the training session with Connor.
ANGEL
(to Connor)
Close your eyes.
Connor does. Angel shifts some of the turned-over furniture
around under:
ANGEL (cont'd)
You're hunting a Shayana demon in its
pitch black lair. Can't see, have to
use your other senses...
Connor moves through the "obstacle course", eyes shut.
ANGEL (cont'd)
There may or may not be a vampire
here as well...
He motions Fred towards a corner of the obstacle course.
ANGEL (cont'd)
Where's the attack gonna come from...
feel it.
Angel circles Connor.
Cor heads for the front door, stops to watch them.
Angel doubles back behind Connor and... attacks.
Connor counter blocks perfectly. They exchange blows, Connor
matching Angel move for move.
ANGEL (cont'd)
Kid knows all my tricks. With his
eyes closed!
Suddenly Fred screams/growls and comes charging across the
room. She leaps on a chair and goes flying--
GUNN
Grizzabella, three o'clock!
Fred hits Angel and Connor and all three go tumbling to the
ground with much bashing of furniture and breaking of lamps.
CORDELIA
(sweetly)
Have fun, kids.
And she goes.
______________________________
And the C-word gets bandied about again. This is during the intercut
scene with Angel and Lorne, and Cordy and Groo.
GROOSALUGG
He is a great champion. It is only
natural that you would --
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
LORNE
-- love her. That girl's a full blown
champion now. Like you.
INT. COR'S - NIGHT
CORDELIA
But... you're a champion.
GROOSALUGG
Perhaps, but I am not him.
Beat
[Parts of the rest of this is in the aired ep, but not in this order.
Other parts aren't in the ep. And look out, here comes the M-word.]
CORDELIA
I don't know what to say, Groo.
GROOSALUGG
You could say that I am wrong...
(beat)
...that I should stay...
Nothing from Cor.
GROOSALUGG (cont'd)
That you love only me.
CORDELIA
I... I... am really confused...
GROOSALUGG
I have often been confused in your
world, but how you feel about him is
something a blind man could see.
CONTINUED
CORDELIA
Really? A blind man? 'Cause I... I
mean I never consciously... you're
saying I've been hurting you all this
time?
GROOSALUGG
Not you. Moira.
CORDELIA
Moira. The check out girl at the
market? I thought that little tart
had her eye on you --
GROOSALUGG
Moira is fate.
CORDELIA
Oh that Moira.
GROOSALUGG
And your fate lies with another. I
wish it were not so but... some
things were not meant to be.
CORDELIA
(beat)
I don't know what to do... I want you
to be happy, Groo.
GROOSALUGG
I know that, Princess. And it is all
I wish for you.
He moves to her, puts his hands on her shoulders.
GROOSALUGG (cont'd)
That is why I must say goodbye.
Beat. She wells up.
CORDELIA
I... I wanted things to work out for
us.
Off the two of them, sad,
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
ANGEL
It could never work out for us. Even
if she does feel some of the things
you say, she's with Groo now.
CONTINUED
LORNE
You don't have to be psychic to see
where that's headed. Bubeleh, all I'm
saying is stay open. Connor's back,
your whole life is coming together,
sometimes things do work out.
(beat)
I gotta skiddoo.
ANGEL
Lorne... take really good care of
yourself. And keep in touch.
LORNE
I'll drop you a line, let you know
where to send the gift basket.
ANGEL
(smiles)
I'm really gonna --
INT. COR'S - NIGHT
CORDELIA
-- miss you.
She is hugging Groo. Hold them for a LONG BEAT.
DISSOLVE TO:
GROO PICKS UP HIS BAGS.
DISSOLVE TO:
GROO WALKS TO THE DOOR.
DISSOLVE TO:
THE DOOR CLOSES ON GROO. PUSH in on COR. Looking really shook.
______________________________
Guys never get the good stuff. (This is after Cordy calls Angel to set
up their meeting at Point Dume.)
INT. CORDELIA'S APARTMENT - BEDROOM - NIGHT
Cor, in bra and panties, pulls sexy see-through blouse or hot
red dress from nearly empty closet, holds it right in front of her
in the mirror, nervous about her pending encounter with Angel.
CORDELIA
Angel, I just wanted you to know...
I have breasts.
She tosses it, grabs olive/army coat, holds it up.
CORDELIA
We will live together in chastity for
the rest of our lives.
She tosses it. It lands on the bed (where we see an enormous
pile of former clothing rejects) as do the following items:
CORDELIA
Which leaves us raincoat, muumuu and,
ahh, the macrame'd culottes... that
settles it, I'm goin' naked.
______________________________
Did Justine almost develop a conscience for a second there?
INT. HOLTZ' MOTEL ROOM - NIGHT
Justine is living here now. Sitting on the bed. Something
in her hand.
CONTINUED
She's wiping it (dully and repetitively) with a cloth. It's
the ICE PICK.
She glances at the empty room, the window next to the door.
Back to rubbing the ice pick. Then she looks up again and is
STARTLED to see Connor standing in the window.
She drops (a little furtively) the ice pick, opens the door.
CONTINUED
JUSTINE
Everything's ready.
Connor enters. She closes the door. She hands him a taser gun.
JUSTINE
Let me show you how it works.
She presses the taser something.
JUSTINE (cont'd)
You just pull the trigger...
She pulls the trigger. Blue electricity flies.
JUSTINE (cont'd)
It's the sport model, water-proof.
She hands it to Connor who gets the heft of it in his hand.
JUSTINE (cont'd)
You good to go?
CONNOR
Yes.
She looks into his murderous eyes for a beat, grabs her
jacket. They exit.
______________________________
The whole Skip-Cordy conversation was written uninterrupted by the
Angel-Connor fight, not how the final editing had it.
______________________________
Skip gives Cordy an out.
SKIP
You can say no. They only want you of
your own free will.
______________________________
If you hate the idea of Cordelia as a higher being, skip this part.
CORDELIA
I'm scared but... I know it's right,
I know somehow it's all gonna be all
right...
(beat)
Do you go with me?
Skip smiles.
SKIP
I couldn't even get close to where
you're going. You're beyond all of us
now.
______________________________
Debate this stage direction:
COR - is floating. And she starts to rise up. Skip watches
her, proud.
______________________________
One last shot of the lost member of the family; after the shot of Fred
and Gunn alone in that big ol'hotel and interspersed with the
ascending and descending characters.
INT. WESLEY'S APARTMENT - BEDROOM - NIGHT
The rumpled bed. PULLING BACK. Wes sits in a chair string at
the empty bed and his empty life. HIGH AND WIDE.
______________________________
And that's it. All I can say is the episode reads a whole lot better
than it played out. Greenwalt wrote a fine script, but maybe he
should have had someone else direct and edit it.
Oh, and right after the season ended, someone at An Angel's Soul
posted what was reputedly changed deleted dialog from the scene with
Skip and Cordy that basically changed the whole tone of the meeting.
That wasn't in this script, but there were indications that there had
been some major changes in that scene's dialog between the first and
fourth revisions. So, maybe...
-Tafka-
If my answers frighten you then you should cease asking scary questions.
Niall Harrison
> *Finally*
So do you want to post it to umta, or shall I?
<snip>
Niall
--
Hope's the child of what love brings.
Tafka
in alt.buffy.europe said:
>Previously, on alt.buffy.europe - Tafka wrote:
>
>> *Finally*
>
>So do you want to post it to umta, or shall I?
Agent won't let me!
It keeps timing out when trying to post it!!
One last try - if it doesn't appear in a few mins; go ahead.