"Double Or Nothing"
Written by David Goodman
Directed by David Goodman
Angel Episode #62
Originally Aired on April 22nd, 2002
Disclaimer: "Angel"; is (c) 2000 by the Twentieth Century Fox Film
Corporation; "Angel"; is produced by Mutant Enemy, Inc., Greenwolf Corp, Kazui
Enterprises, and Sandollar Television for Twentieth Century Fox Television.
PREVIOUSLY ON... ending with Angel screaming at Wes, "I'LL KILL YOU! YOU'RE A DEAD MAN!"
EXT. ANGEL'S HOTEL - NIGHT
To establish. We PRE-LAP:
INT. ANGEL'S HOTEL - RECEPTION AREA - NIGHT
Gunn sits at the reception desk, piles of FOLDERS surrounding him. FRED stands on the other side of the desk, helping. LORNE is in Wes's office o.s.
Half these files I can't even read
the clients' names. What is this?
(show folder to Fred)
What's this say to you?
I think it's Frzylcka.
Oh, right. They're that demon couple
who called last week about a squatter
in their lair? Wesley was supposed
She stops. She said the forbidden word. Softly:
It was supposed to be taken care of.
Guess he was too busy stealin' the
They share a look. The pain is still fresh. Gunn nods, lets it drop.
Lorne enters, carrying a BOOK, which he puts in a BOX sitting on Cordy's desk.
How's it comin'? Makin' any headway
on that pending file pile?
There's just so much to keep track of.
Still, times like these, it's good to
keep busy. Throw yourself into work.
Under this, Lorne's moved to the edge of reception, where he looks up the stairs. A beat. Fred sees this.
Lorne, he lost the only child he'll
Oh, sugar, I know.
He turns, joins them at the desk.
I just wish he'd talk to us.
Might be safer to leave him alone for
a while. Pretty sure the rage is
past, but you really wanna find out
I'm sure he's not plannin' to...
(how to say this)
...finish what he started at the
Only 'cause Wesley's too smart to
show his face around here.
Suddenly the front door bursts open -- they all turn, look:
CORDELIA enters, the GROOSALUGG behind her. They're both dressed tropically, tanned and rested.
Cordy holds a small TEDDY BEAR with a SOMBRERO on it. She grins her million-watt grin:
We're back! And we're bearing gif--
She trails off pretty quickly, seeing the faces of Gunn, Fred and Lorne. Immediately she knows.
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
CLOSE ON ANGEL
He sits on the edge of his bed, lifeless eyes staring offscreen. The room is still in a shambles, scorched and destroyed from the earthquake and fire.
ANGEL'S POV -- the crib. Empty, charred.
A long beat, then the door swings open and Cordy enters. Her look is confident, strong, telling us she is unafraid. She moves to the bed, sits on the edge without a word.
Beat. Then she wraps her arms around him. He lets her.
I'm so sorry.
CLOSE ON CORDY, framed by Angel's shoulder and head. Off the two of them, in grief --
INT. CASINO - NIGHT
CLOSE ON TWO PLAYING CARDS -- one face-up (a queen), one face-down. A HAND enters frame, flips up an ace; we hear GROANS.
And twenty-one for the house.
We PULL BACK TO REVEAL a human Dealer scooping up the PLAYERS' cards and chips. Could be any Vegas casino, except most of these Players are DEMONS. ARMING UP off the Dealer, we find a big, bad-ass demon passing behind him, and start to FOLLOW. We'll call this bad-ass the REPO MAN
FOLLOWING the Repo Man, we move through the casino, passing more blackjack tables, a roulette wheel, a few craps tables -- all patronized by DEMONS and a few HUMANS. All of the DEALERS are human.
Repo Man approaches a large, well-dressed DEMON standing off to the side, surveying his domain. This sleek, cool fellow is JENOFF, and he owns the joint. Jenoff quietly points someone out to one of his demon BOUNCERS --
Table 6, the one in blue. Palmed a
king in his left hand.
The Demon Bouncer starts to move off --
Just take the left hand. We can
still make money off the right.
The Bouncer nods, heads off. Repo Man stands there, not speaking until spoken to. Jenoff takes notice --
He pulls out a business card. Hands it to Repo Man.
Bring him in. His marker's up.
As Repo Man looks down, HIS POV: it's an ANGEL INVESTIGATIONS BUSINESS CARD. Under this:
It's time to collect his soul.
END OF TEASER
EXT. LOS ANGELES - DAY
Flash shots of L.A. takes us to:
INT. ANGEL'S HOTEL - ANGEL'S ROOM - DAY
Angel lies on the bed atop the covers, fully clothed. Staring up at the ceiling. A beat, then Cor enters (different wardrobe than the previous scene), carrying a BOOK. Angel looks over at her. Gently:
I'm just here, okay?
She moves to a chair, sits. Opens the book. Angel turns his eyes back to the ceiling. Off this still, silent tableau --
INT. ANGEL'S HOTEL - LOBBY - DAY
Groo sits at the counter, the phone near at hand. Lorne flips through a large TOME as he moves toward the BOX.
"The Propoxil Codex"? Ugh. Sounds
like a mystical cure for male pattern
Oh no, my friend -- the Codex is a
valuable description of the Klarpath
conquest by the Great Wizard Urd.
Lorne looks at him, then drops the book into the box.
I'll wait for the movie.
Ah, yes, movies -- talking pictures
with no substance.
Last couple of decades? You're not
Cordelia's introduced me to many of
this world's devices. For example:
He picks up the phone, holds it to his face. By rote:
Hello. We welcome your telephonic
plea to Angel Investigations. In
what way may I service you?
You're a very pretty man.
It is my deepest wish to aid my
princess in her time of need. I've
already brought her clothing and food
for her shiv-roth with Angel.
The Vigil of the Bereaved. Huh.
Almost forgot there was a word for it.
This house is thick with sadness.
Is that why you're leaving?
He gestures at the box Lorne's been packing.
Me? No. These are...
They're not mine.
They are Wesley's, then.
Lorne glances around --
Groo, you might wanna try to avoid
saying the name --
INT. ANGEL'S HOTEL - WESLEY'S OFFICE - DAY
Wesley. That was it.
SYD and MONICA FRZYLCKA sit in Wes's office with Fred and Gunn. (Design note: they are clearly of the same species, and besides sex, height, and weight, are almost identical.)
Don't be ridiculous, Monica -- it
wasn't Wesley, it was Sherman.
Sherman? You don't even know any
(to Fred & Gunn)
It was Wesley. Irish fellow, right?
He was English, you old bat. Whoever
heard of an Irishman named Wesley?
You see what I put up with? Anyway,
that's who we talked to. Is he here?
An uncomfortable glance between Fred and Gunn. The party line:
He's... on sabbatical.
We're really sorry for the mix-up --
we'll take over from here. Now, it
says in your file you have a squatter
in your lair?
Damn no-good Skench demons. They're
Here we go...
A person spends his entire half-life--
--building a lair to relax in--
--and what happens? A Skench demon
--right down on your coffee table.
(to Fred & Gunn)
Ask me how many times I've had to
listen to this.
Like you ever listen.
And you have so many interesting
things to say.
So Skenches. I've heard about them.
Sorta impish kinda demon -- like a
Leprechauns don't exist, son.
Monica reaches over, pats his hand.
Now, Syd, don't embarrass the lad.
Skenches take over a house, right?
Drive out the people who live there?
Well God knows you can't stay, what
with the shrieking all night and the
Only thing worse is puttin' up with
her for the last three hundred years.
You've been married for three centuries?
Ever since the mitosis.
Not that I'd mind being a single-
celled organism again, if you get my
Oh, shut up, Syd. You never--
--had it so good. AS if I need
I thought gettin' rid of a Skench was
pretty easy, though. Don't you just
lop off its head?
Well, sure, if you can avoid the
Syd has a phobia about phlegm.
I do not. I have a phobia about
This is about all Gunn can take. He stands.
Okay. Think we got everything we
need. I'll get right over and clean
out your Skench problem today.
The Frzylckas get to their feet. Fred walks them to the door.
Thanks so much for coming. We'll
call you as soon as it's done.
As they exit --
Oh, for cryin' out loud, Syd -- that
girl's not a sixteenth your age.
Put your eyes back in your head.
I mean it, ya doddering old coot!
Put 'em back in!
As their bickering grows faint, Fred turns to Gunn, grinning.
Man. You hear those two?
Gunn does a take. Sees the dreamy look on Fred's face.
All that time and they're still in
love. The way they finish each
other's insults, it's so...
Gunn can't help but smile. He loves the way she sees things.
Just then the sliding doors open, revealing Groo.
Is there evil to vanquish?
(moving to leave)
Thanks, bro, but I got it. Just a
little mucus demon under Alvarado and
Clark. I'll be back soon.
Don't forget your machete!
Gunn turns, smiles at her.
He leaves. Groo watches this, pleased.
He is very fortunate to have such a
woman looking after his weapon.
I'm not touchin' that one.
Lorne enters with the Box. He puts it behind the desk.
There we go.
Probably best to keep this stuff out
of sight, just in case...
He trails off. A beat, awkward.
(checks his watch)
I gotta run. I have a reading in
Topanga Canyon -- figured it'd be a
good time for housecalls, considering
the vibe around here.
Lorne moves to the door, then turns, gestures upstairs --
Y'know... if he needs anything --
He nods, leaves. Off Fred looking at the Box of Wes's things.
EXT. LOS ANGELES - DAY
Flashy cuts take us to...
INT. SEWER TUNNELS - DAY
Gunn walks through the tunnel, twirling his machete, when he approaches an INDENTATION in the wall. You almost wouldn't know it was a door, until he looks down: a tattered DOORMAT lies at the entrance. It reads: "GURFORG BLESS OUR HOME".
Gotta be it.
He pushes open the door --
INT. THE FRZYLCKAS' LAIR - DAY
-- and enters. The place is a shambles, blue SLIME hanging from a lampshade, some smeared on the walls. Other than that, kind of an old-mom-and-pop feeling to the decor. A quilt or two, a La-Z-Boy recliner, an ancient TV console, maybe some porcelain figures.
Smells like old people in --
SPLAT! A wad of BLUE SLIME hits the wall next to his head as an unearthly SHRIEK erupts.
The SKENCH DEMON rises up from behind the couch, a very large, strong albino-white demon with a BIG, ROUND MOUTH.
Okay. Definitely not a leprechaun.
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
-- we come to an immediate silence. Cor's in a different position in the same chair, reading. Angel lies on his side on the bed, his eyes still focused on the crib. A long beat. We PRE-LAP:
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Groo sits at the reception desk. He picks up the phone:
Hello. We welcome your telephonic--
(hangs up, picks up)
Hell. Many thanks for telephoning--
He hangs up again. Looks around. Then picks up and in a completely normal non-Groo voice:
Hi. This is Groo. I can't make it
to the phone right now, but if you'll
leave a message, I'll get back to you
as soon as I can.
He shakes his head, hangs up again. In his Groo-voice --
Their speaking path is so odd.
Just then the front door swings open and Repo Man enters. Excited to be of help, Groo comes around the desk, greets him:
Hail to you, potential client. How
may I be of service?
Repo Man approaches somewhat warily.
This Angel Investigations?
It is. Are you in need of help?
Repo Man eyes him. A moment.
So you must be Angel...
Off Groo, maybe in peril --
INT. HOSPITAL ROOM - NIGHT
Wes, bandage on his throat, lies in his hospital bed, staring into the middle distance. Ironically, his empty gaze is not unlike Angel's. A soft knock at the door, but Wes doesn't look. We REVEAL Fred standing there with the infamous BOX.
At the sound of her voice, Wes looks over. Fred enters a few feet, sets down the box, under:
How are you feeling?
Wes reaches for his throat, shakes his head. Can't talk.
Oh. But it's not permanent, right?
Fred comes closer, gestures to the box.
I brought some of your stuff from the
office. Things there are... well,
There's something Fred wants to say. Finally, a deep breath:
Gunn and I found your notes about...
(can't say "Connor")
...the baby. The prophecy. You took
him away 'case you thought Angel was
gonna kill him. You were trying to
protect him. Both of them.
I just wanted you to know I
I also wanted to say -- what Angel
tried to do to you was wrong, and I'm
Wes looks at her, grateful.
But he was right to blame you,
He didn't see it coming, but here it comes --
You should've come to us. You
should've trusted us instead of going
to Holtz behind our backs. You were
supposed to be our friend and you
didn't even --
If Angel sees you again, he'll kill
you, Wesley. This time for real.
Don't come back to the hotel. Ever.
She stares at him for a beat, his world ending, then turns and walks away. She stops at the door, not turning around:
The prophecy was a fake. Angel was
never gonna hurt Connor. It was all
A moment, then Fred exists, leaving Wes destroyed. Off him --
INT. THE FRZYLCKAS' LAIR - NIGHT
WHAM! POW! Gunn's still in the midst of the fighty-fight with the Skench demon. It gets in a good shot at his head, dropping him to the floor, but as it lunges at him, Gunn kicks it in the midsection, sending it sprawling over the coffee table. Gunn grabs his machete, leaps on top of it.
Gunn SLUGS the writhing demon, puts his machete blade at its throat. He struggles, then CRUNCH! drives the blade through its neck.
Its dying rattle sends a SPURT of BLUE SLIME straight up -- but Gunn flinches out of the way, the slime hitting the ceiling. He sits there for a beat, out of breath, then looks up at the ceiling and laughs.
Must be my lucky day.
He stands, turns to leave -- to find Repo Man in the door.
END OF ACT ONE
Double or Nothing
Written by: David H. Goodman
EXT. ALLEY OR STREET - NIGHT
This is outside the casino and it takes place seven years ago. John King, let's find some 1995 music that could be coming from a passing or parked car.
A LONE FIGURE
Moves down the sidewalk. If we use an alley, then we could have pools of light (cast by security lamps) so that the figure is moving in and out of the darkness.
As he steps through a pool of light we CUT CLOSE to see that it is:
Youthful power and bad-ass 'tude in his look and stride. If the dew-rag on his head isn't enough to let us know this is a FLASHBACK then the CHYRON on screen should: 7 years ago.
Gunn stops in front of an unmarked door. Looks around, and enters:
INT. DEMON CASINO - NIGHT
Gunn moves through the casino, surveying the place -- it's big and gaudy -- heading for the back where JENOFF can be seen behind a velvet rope. A high stakes poker game is going on behind Jenoff who is signing a chit for a PIT BOSS who takes an enormous amount of chips to a HIGH ROLLER DEMON at the table.
Gunn moves toward Jenoff. REPO MAN steps right in front of him.
What you want?
I wanna talk to the man.
You got an appointment?
No. Got business.
Repo Man looks to Jenoff (ten yards away or so) who nods, okay.
Over here, Slick, little touch n' go.
Repo Man leads Gunn behind a curtain, cutting them off from the eyes of the public.
REPO MAN (cont'd)
Repo Man motions, Gunn turns around. Pats him down for weapons.
He could kill you ten ways from
Sunday even if you were, but then
he'd cook me, too... You're clean.
Guess not everyone's as honest as
I'm not your bro'.
Know that. You got a name or just a
Off Gunn's 'tude,
ANGEL - JENOFF
As Repo Man brings Gunn over from the curtain.
REPO MAN (cont'd)
Repo Man moves off to a respectful distance.
Charles Gunn if I'm not mistaken.
Gunn's a little surprised Jenoff knows his name.
Man of the streets, protector of the
young and innocent. What can I do
for you, Mr. Gunn?
I want somethin'.
Not sure I can help.
(off Gunn's look)
I don't traffic in "wants", I supply
needs. Kinda things you gotta have
right now or you'll die. They tend
to be more valuable.
I need it.
Then maybe I can assist. What is it?
Money, power, love?
Gunn goes into his pocket, pulls out a PICTURE. Hands it to Jenoff who has to go into the breast pocket of his jacket to get out his reading glasses. Puts them on, looks at the picture (which we cannot see), smiles.
Very nice. She's a real beauty.
He gives the picture (which we will NOT see) back to Gunn.
I can make it happen. But there's a
cost. I guess you know that.
It's nothing you have to pay now, but
one day you will. The cost, Mr.
Gunn, is your future.
PUSH IN ON GUNN - He calmly states the truth of his current situation:
Well, there's that. Still, I need
you to state for the record, of your
own free will, you're sure you wish
to mortgage your future for your
Jenoff studies Gunn, while fingering a small ring her wears on his middle finger -- a sharp steel point pops out from ring (on the palm side.)
Shake on that?
Jenoff holds out his hand. Gunn looks at it, then grips it, cutting his own hand on the point. Jenoff holds Gunn very tightly in his grip, leans in:
Jenoff releases Gunn, grabbing Gunn's now cut and bleeding hand and slapping it down on a fancy contract that has suddenly appeared in his hand.
PUSH IN ON CONTRACT
It's full of old fashioned calligraphy, we're moving too fast to read the details. Gunn's hand it pulled away leaving a blood print over the line: CLIENT'S SIGNATURE.
REPO MAN (V.O.)
You made a deal...
INT. FRYZLYCKA'S LAIR - NIGHT (PRESENT DAY)
Gunn stands opposite the Repo Man, right where we left them.
...signed a blood oath trading your
You think that's an arrangement you
can get out of? This ain't some
D.V.D. club -- although the one I'm
in plays pretty rough, too.
who said I'm trying to get out of
You're planning on giving your soul
to another, aren't you?
What are you talking about?
Some broad, you're fallin' for her
I don't know, we don't get a name,
just an image. Skinny white girl?
Big eyes? We're professionals, we
keep an eye on the Akashic records,
think we wouldn't know when one of
our souls was about to be transferred?
Isn't Fred a guy's name?
Gunn gives him a cold look.
REPO MAN (cont'd)
Hey, none a mine, I'm just here to
tell ya', you broke the contract.
Your soul ain't yours to give, it's
Mr. Jenoff's to take.
I gotta see him.
What you gotta do is pay up. He's not
happy, now here I am talking to you.
I'm not... I'm not the same person I
was back then --
We all get older. And we all pay our
debts to Mr. Jenoff.
There must be something else.
Something else he can take.
Gee, I never heard that before --
except every damn time the bill comes
due. Now listen good: you got twenty-
four hours to get your house in order
and get your ass on down to that
casino. If you're thinkin' about
runnin' or cheatin', don't. Cause
then we take your soul and the
She's got nothing to do with this.
Well, you can keep it that way or you
can get her killed. It's up to you
now, Slick. See ya' tomorrow.
INT. ANGEL'S HOTEL - LOBBY/WES'S OFFICE - NIGHT (PRESENT)
Gunn enters, head down, lost in thought. Looks up to see
She's in Wesley's office, filing. Moves back and forth from the desk to the filing cabinet oblivious to anyone seeing her.
How the hell is he going to deal? O.S. he hears Cor say something unintelligible.
R whooh kah bay?
He turns, she's moving towards him, mouth full of food, BIG OLD sandwich in hand.
She holds up a finger, chews, swallows.
I said, are you okay?
Yeah, I'm fine.
Seemed kinda rude to chow down in
front of Angel but I was starving so
I took a little break and you are not
I'm a little tired but --
Cordelia here. I can read the misery
on your face. I know what's going on.
It's pretty obvious. Angel lost his
son, Wesley's... gone. And here you
are... happy as a kid in a candy
And wracked with guilt because of it.
Well don't be. You and Fred were
meant to be, I get that now...
She looks over at:
ANGLE ON: FRED IN OFFICE
... she's a doll. Who wouldn't be
head over heels?
BACK TO THEM
I admit I was a little slow on the
uptake. I thought she and Wes... but
the way you two look at each other,
well, I got eyes. I don't know why
Lorne needs people to sing to figure
out what's on their minds.
No. You saw right away that I was...
Happy. Nothing to feel bad about.
This place could use a little
happiness right now. You and Fred
have your whole big bright futures
ahead of you and I'm here to tell
you, it's all right to enjoy it.
Life goes on.
I should enjoy my future.
I'm just sayin'. If there's one
thing I learned living on a
hellmouth: every day is precious, you
never know when it may be your last.
Her words are not lost on him. He looks at:
I never figured I'd be around this
long. Or have this much.
CORDY AND GUNN
Some people never know one day of
joy. You're lucky.
Maybe I am.
So live a little. We don't have any
pressing cases and I haven't had a
vision in like --
Suddenly her hand goes to her temple and she closes her eyes.
Oh wait. I'm having one right now...
(opens her eyes)
It's of you and Fred taking tomorrow
off. And see, my visions -- never
She's already started up the steps, over her shoulder.
Welcome. Have some fun.
EXT. LOS ANGELES - NIGHT TO DAY (MORNING)
Flashy night shots give way to flashy day shots.
INT. HOSPITAL ROOM - MORNING
A DOCTOR steps into Wesley's room, chart in hand.
How are we feeling today?
Wesley, of course, can't respond. Just looks back at the doctor blankly.
I know it's been very rough but I do
have some good news. There's no
longer any sign of infection or
rebleeding in the wound and the
swelling's gone down. We can stop
worrying about your airway becoming
I'm going to release you later today.
Wesley doesn't even react to that. Just keeps staring.
Is there someone who can pick you up?
A friend or family member we can call?
Off Wesley, with no one:
INT. ANGEL'S HOTEL - FRED'S ROOM - MORNING
Fred lies in bed, asleep. Her cell phone, which sits on a night-stand RINGS. She rolls over, picks it up, putting it to her ear. Immediately starts to talk, still a little sleep in her voice:
All right, ready? Red t-shirt, your
dark blue blue jeans, grey boots.
Was I right about any of it? Okay,
that was just a warm up:
Yellow long sleeve tee, gray cords,
See, record secure. Never takes me
more than twice.
Me? I just woke up.
Maybe you should come over here and
Mmmm-mmm... yeah... depends how soon
you can get here... course if it
takes you too long --
Gunn walks in the door, phone in one hand, a large tray (covered by a silver cover) carefully balanced in the other. He is, in fact, dressed like she said he was.
(as he enters)
Sorry, have to cancel, somebody just
walked in my door.
(still into the phone)
He better looking than me?
(re: tray, excited)
...he brought me breakfast in bed!
This as Gunn lowers the tray onto her lap. They both hang up their phones.
voila, Madame. Room service.
(then, a little
You didn't cook, did you?
He lifts up the cover revealing two large styrofoam containers and one long red rose.
Your favorite food from your favorite
(opens the containers)
Pancakes and waffles? I'm in starch-
She starts to eat immediately. Between bites:
Is today special or something?
Yup. Very special.
Cause we have the day off.
And we are going to spend every
minute of it having the best day of
Beat. Her big eyes get even bigger, what with the joy and all.
Well, now it's official.
(mouth full of food)
You are the best boyfriend ever.
As they kiss,
INT. ANGEL'S HOTEL - ANGEL'S ROOM - DAY
Cordy lounges on her chair, one leg slung over its arm, reading her book (she's at least half-way through it). Angel stares at the crib, silent. Big beat. They've been like this for a good long time. Then:
I think he was gonna be left-handed.
Cordy looks up, amazed that he's opened his mouth, but also, "Huh?" He doesn't look at her as he continues, just keeps his eyes on the crib, speaking matter of factly:
The way he'd hold onto your
fingers... his left hand always
squeezed just a little bit tighter.
Perhaps a small smile crosses Angel's dark features.
Kid had a grip... he was gonna be a
southpaw for sure...
Cordelia quietly closes her book, not wanting to break the spell, listening to him.
You live as long as I do, eventually
you lose everyone. It's what
happens. I'm not sayin' you get used
to it but you expect it, you deal.
But he was just...
...he was just a little...
Angel takes a big breath, then:
You think you know something about
living, cause you have this really
And that's really all you have, in my
case anyway. Then one day you wake
up and you have something else...
He nods. Then says, simply:
I had a son...
Cordy nods, just listening to him. Off Angel,
EXT. OUTDOOR CAFE - DAY
In what looks remarkably like Marathon Park.
Fred and Gunn sit at a table. Fred is surrounded by spoils from her day. Department store shopping bags, a big stuffed bunny ("The Pier" banner around its neck), a cardboard crown (like you get at a fast food restaurant), a Dodger Pennant, etc. She looks a little overwhelmed.
Now, for out next item of pleasure:
we got movies galore. You pick --
hey, you wanna go to the twelve plex,
hit the previews in every theater?
It'd be like seeing a years' worth a
movies all at once.
He looks at her.
Somethin' wrong with the shake? It's
your favorite, double mocha double
I'm... kinda full.
Oh my god, this is serious.
It's just, Sixth Street tacos, fish sticks at the Pier, Dodger dogs...
(pouring on the cheer)
Don't fold on me now, girl, we still
got a lot of fun to go today.
Oh... I'm for the fun... it's just,
we have too much more of it I might
He pulls shake and wings away from her.
No more food -- but movie-club-
shopping fun still to be had -- wanna
hit the roller rink?
Charles, I think I'm kinda wiped.
It's just we've been having so
much... fun today. Don't you think
we should save some, before we use it
up and all the other people get
sad... 'cause we took all the happy?
Oh god. I blew it. I tried too hard.
No. It's been like the most
beautiful wonderful day ever, aside
from the hurly burly and the knot in
my tummy. Being with you is always
special. It's just... it's not like
we have to cram the rest of our lives
into one single day.
She puts her hand on his.
Beat. Gunn looks down.
OH MY GOD.
He looks back up.
You did try too hard. You haven't
been yourself all day. You're doin'
all this because... because
something's wrong, something's
Charles, do you have leukemia?
He looks at her for a beat, actually starts to laugh.
Don't laugh at me! I see it on the
news all the time -- they're young
and in love, their whole lives ahead
of them when tragedy strikes --
I'm not sick.
You're not? You promise?
I'm not sick.
Oh thank god.
(breathes a sigh of
I feel better. Except for the
terrible knot I've had inside all
which is not the food -- it's... us.
What's wrong with us?
Oh that helped.
Maybe we should just go back to the
hotel and call it a --
And maybe we should stay right here
and you should stop lying to me.
Her force catches Gunn off guard.
(trying to be calm)
I know something's wrong. Just be
honest and tell me. Whatever it is
we'll get through it together.
He looks at her, knowing what he has to do. And he goes cold.
No. We won't.
This isn't somethin' we're gonna talk
through, you share your feelings, I
share mine, then we have a big hug.
I don't think I like the way you're
talking to me.
(trying hard not to
Why are you... why are you being so
I'm being honest. Isn't that what
Beat. She slowly nods. Swallowing the tears, finding strength.
Yeah. Be honest.
(really hard for her
Is it me?
PUSH IN ON GUNN.
Wow. You finally figured that one out.
Fred swallows hard.
What -- what's wrong with me?
Now I gotta make a list? I really
don't have that much time.
Are you joking?
His look tells her he's not.
Charles... what's happening?
What's happening, girl, is you and me
are over. Done.
Am I askin'? I'm tellin'. I've had
I don't believe you.
He gets up to go.
But... wait... is there someone else?
He just gives her that cold look.
What... what's her name?
He moves over to her, towering over her.
Her name is "I'm a real woman, not a
stick figure." Get the picture?
Fred just looks up at him. Tears streaming.
Good. See ya' around.
And he goes. Off Fred in so much pain,
END OF ACT TWO
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
Angel and Cordelia sitting side-by-side now. There has been some silence. Both just thinking. She breaks the silence.
I'm not gonna sit here and pretend
that I know what you're going
through, or that I could begin to
understand what it is you're feeling.
The last thing you need right now is
someone saying that given time,
things will get better. The hurt
will go away.
Because things won't get better. And
the hurt's never gonna go away.
He looks at her.
The truth is, if you lived another
two hundred years, you'd never forget
how Connor was taken from you.
And you shouldn't.
You loved your son, Angel. And
you're gonna go on loving him. And
And you'll go one living. You'll do
I don't know how.
You don't need to. The "how" works
itself out. Life'll just keeping
happening. There'll be people who
need our help -- and so we'll help
'Cause that's what we do.
He looks at her, maybe not comforted by that so much as appreciative of the simple truth of it. As they hold the look between them... they both start to become aware of a SOFT SOBBING coming from outside the door.
Cordy rises, moves to the door, opens it to find --
Stands there, trying to stifle her sobs, without much success.
Angel rises, moves toward the door as well.
I'm sorry. I was gonna knock but
it's not a good time so I didn't but
I don't know what else to do...
She can't finish, as she starts sobbing again. Angel arrives at the door.
Fred, what is it? What's wrong?
She looks at him with her wet, pleading eyes --
It's Charles. I think he's in
Off Angel and Cordelia, reacting to that --
INT. DEMON CASINO - NIGHT
is up on his balcony overlooking the game floor. his face twisted with pleasure. A weird, misty CGI WHITE LIGHT wafts around him as...
Jenoff has currently got his index and middle fingers in the eyesockets of a MAN in a TRACK SUIT, sucking his soul.
GROUND FLOOR POV
Now we're watching this from the game floor, we're in the POV of --
as he watches from below, taking his own pleasure in watching this. Now he glances over toward --
THE FRONT DOOR
as Gunn enters.
is a little surprised to see Gunn here. Gunn sees him. They meet eyes. Repo Man smiles.
Gunn moves toward him. Passes the gaming tables without even looking, intent on getting it over with. Gunn comes face-to-face with Repo Man. Beat.
I'm here to pay my bill.
Off Gunn --
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Angel, Cor and Groo gathered. Fred looks to them expectantly, her story having come out. They're all a little stunned and speechless at the moment. Finally:
I know, hunh?
I am sorry this has come to pass.
I'm a little confused.
About what? What was unclear?
(what they're all
Well... upstairs -- you said you
thought Gunn was in danger.
Right... and you think that be-
He broke up with me!
A beat as Fred realizes still not big with the clarity here.
But not really!
That is good. I am most relieved.
What? No! This is worse! Much
worse! I wish he had broken up with
Fred, I hate to say this, but... are
you sure he didn't? I mean, those
things you said he said to you...
I know I said he said those things to
me, but he would never say those
things to me!
Those things he said?
Exactly! That's how I know he's in
Cordy's still lost. Groo just is on general principle. Angel tries to comprehend --
So let me get this straight:
You and Gunn are dating?
NOT ANYMORE, I GUESS!
Don't you see? He hurt me! And the
only reason he'd do that is to
protect me from something! And
whatever it is, it's gotta be bad
because... this hurts like hell.
A beat as this registers for all of them. Fred's sheer certainty is enough to cast out doubt. Finally:
Then I guess we better help him.
All eyes go to him. He looks to Cor.
We are not losing another member of
Off Angel's determination.
INT. WESLEY'S APARTMENT - NIGHT
LOW-WIDE ANGLE of the empty space, including the front door. We HOLD for a moment, then the door swings open, revealing Wes standing in the hall, the Box in his arms. We POP IN as he takes a step inside, watch his face as his eyes sweep the ghostly apartment. A long beat.
We POP BACK OUT to the LOW-WIDE as Wesley just stands there, the Box in his arms, the front door open... his expression lifeless and empty. A moment, then with one hand, he reaches back, starts to swing the door closed --
INT. HALLWAY OUTSIDE WESLEY'S APARTMENT - CONTINUOUS
The door clicks shut.
SMASH CUT TO:
INT. ANGEL'S HOTEL - LOBBY - NIGHT
Cordy hangs up the phone, as she moves to the others:
Still no answer, either at his place
or on his cell.
This does not bode well.
Cor, Angel, Groo and Fred forming a kind of huddle. Intense, focused, plan-of-attack-time.
Okay, then we'll have to split up.
To cover more ground. That is a good
plan. I agree.
Fred and I can hit Gunn's old gang
haunts, see if maybe they've heard
Or if they know of any old enemies he
Groo nodes. He likes that idea. Listens intently --
Cordelia and Groo, you two go by
Gunn's place, just make sure.
Maybe we could report his truck as
Groo's not sure if that makes sense, furrows his brow.
Not a terrible idea to get the police
involved if none of this pans out --
Groo nods, sees the wisdom in all these suggestions.
We should leave a note here for
Lorne, let him know what's going on.
Cor nod. Groo agrees.
If none of us come up with anything,
we'll regroup back here at midnight.
Groo holds up a business card.
And perhaps as we search, we could
leave these small rectangles behind
us -- as did that creature who came
by yesterday inquiring after Gunn.
Right. Good -- what?
Small rectangles with telephonic
digits. As a way for people to get
in touch with us should they learn
Uh -- could I see that?
Groo hands Angel the business card --
Somebody came by here looking for
Yesterday. Please remind me to give
that rectangle to Gunn when we find
(for Fred, to bolster
for I am confident we shall.
Guy works for Jenoff --
The Soul Sucker...
Off that --
INT. DEMON CASINO - NIGHT
Two Demon Bouncers are dragging away the corpse of Track Suit Guy, as...
Gunn stands with Repo Man as Jenoff descends the stairs, flanked by his Bodyguards. Moves through the crowd toward Gunn.
Gunn is stoic, emotionless. Jenoff smiles as he steps up.
Charles Gunn. I'm impressed. Not a
lot of guys come in through that door
of their own free will -- not the
second time, anyway.
She must be pretty special, this girl
you were gettin' ready to give my
I'm here to make good on my debt.
You don't even talk about her.
Jenoff smiles at that, amused.
Once we're square, you don't even
think about her --
She was never part of the deal.
(to Repo Man)
Repo Man goes for Gunn, but --
I'm not gonna run.
(to Repo Man)
But touch me and you'd better.
Repo Man backs off, Gunn looks to Jenoff.
Let's just get this over with.
Jenoff lifts his hand, his index and middle finger pointed.
But suddenly THE DOOR BUSTS DOWN.
Angel (wielding a wicket looking axe) and Groo (with a sword) are through the door quick, Cor and Fred bringing up the rear.
Three DEMON BOUNCERS attack.
Angel hits the first in the stomach with his axe, deals a fist to the face of another BOUNCER who's knocked right into Cordy's path. She slugs him with the mace, sending him down.
ANGLE ON JENOFF, turning from Gunn to watch the melee.
Fred bursts through the chaos, sees and calls out to --
Gunn takes an instinctive step forward --
Gunn is restrained by Bouncers, as --
Groo makes quick work of the third Bouncer as our gang makes it further into the room. Another DEMON leaps at Fred, but Angel knocks it back in mid-air.
But now --
as our gang moves in even farther, circles the wagons, more DEMONS crowding around them. Cor see the sheer number of them, nervous:
We are surrounded.
We have to save Charles!
Angel reaches out and lightning fast, grabs a Demon Bouncer, gets him in a headlock, threatens to snap his neck ==
Who's a guy gotta kill to talk to the
boss around here?
I'm the boss.
REVEAL Jenoff, the crowd parting to let him through. Behind him is Gunn, followed by Repo Man. The menacing Demons step back, respectful.
Mind telling me why you're disrupting
Actually, it's you who's disrupting
my business -- you're about to
deprive me of a very valuable
employee. Charles Gunn there -- he
works for me.
Good business man looks into the
backgrounds of potential employees.
Had you done that, you might've
learned he was strictly short-term
Then I'll make a deal with you --
Jenoff raises an eyebrow in interest -- always interested in a good deal.
You release him, forget what he owes
you -- and I'll let you live.
(to his guys)
He starts to walk away, the demons lunge forward --
Double or nothing!
Jenoff stops in his tracks, back to Angel, raises a hand which stops all incoming demons. He turns, looks at Angel --
You offerin' me your soul?
A chance to win it, anyway.
How stupid do I look to you? You're
a vampire. I can smell it from here.
Take a bigger whiff. I'm a vampire
with a soul.
The gang looks at him -- what the hell is he doing? Jenoff moves to him, suspicious.
(studies him, moving
Oh. You're that vampire.
Jenoff is now very interested. Angel senses this.
I choose the game. I win, we walk
outta here. Gunn's debt disappears.
You win --
You get us both.
And off that proposition --
END OF ACT THREE
INT. DEMON CASINO - NIGHT - A DECK OF CARDS
Removed from their box. ADJUST UP to Angel, holding the cards, confident. Cordy, Fred and Groo are behind him. Cordy leans close.
Brilliant stall tactic, bought us
some time. Now what's the plan?
Angel does an overhand shuffle.
This is the plan.
Cordelia glances over at Jenoff, already seated at the High Roller's table.
Really. We're gonna win Gunn's soul back.
ACROSS THE ROOM - GUNN
Sectioned off close to the High Roller's Table. A Demon Bouncer on either side of him. Gunn glances over at Fred but can't hold her gaze -- ashamed to be in this predicament. Fred turns to the gang.
This is so wrong in so many ways. I
mean, it isn't money or a stuffed
bunny Angel's playing for. It's my
Fred, I understand you're nervous.
Don't be. I've been around a long
time. Played a lot of cards and won
a lot of bets.
See, that's where we're different.
I tend to get lost and lose things.
(holding it in)
And I can't lose Charles.
Angel looks over at Jenoff. Reassures Fred.
I'm not gonna lose.
REVERSE - JENOFF
Across the crowded room. Staring at Angel as Repo Man leans in for a word.
You worried about this?
Jenoff shakes his head no.
Like taking candy from a baby.
BACK ACROSS THE ROOM - GROO
Scans the casino, susses out the demons. There's quite a buzz as wagers are being placed on the impending game. He steps up to Angel.
Angel, if we must rely on luck, I
prefer the odds of my sword. We
should fight our way out.
(shakes his head)
Gotta disagree, Groo. Fighting puts
all of us at risk. My way's safer.
(a bit panicky)
If you win! -- But if you lose your
soul, won't you go evil and start
killin' everybody including us?
Am I wrong...?
Fred and Groo look to Cordelia for her opinion.
Not wrong in theory, but I gotta go
on this one. Sorry.
Angel looks over at Jenoff who motions that it's time. Angel nods, ready. He turns back to the gang.
I'm gonna win.
He starts toward Jenoff. Reaches under his jacket, pulls out a STAKE, hands it to Cordy.
But if I lose... You know what to do.
CAMERA PUSHES IN CLOSE ON CORDY.
Just make it quick.
She takes the stake from Angel.
You know I will.
HIGH AND WIDE - THE ROOM
As the Demon crowd parts for Angel and company. Angel sits down next to Jenoff. Cordy, Fred and Groo circle around him. A Dealer stands nearby.
Gunn watches the table as Repo Man steps up behind him.
(in Gunn's ear)
Y'know, Jenoff lets me have the
bodies when he's done with 'em.
Gunn glares at Repo Man, but the Bouncers hold him in place.
Demons are busy placing last minute bets. Jenoff holds up a hand and the room grows silent.
One hand of cards. If you win, this
...walks free. If I win, I keep his
soul, and I get yours.
Angel nods. Our Gang watches nervously.
Name your game. Omaha, Texas Hold
'Em, Seven Card Stud...?
Angel looks from Jenoff to his Dealer, who's holding a deck at the ready. Looks back to Jenoff.
How 'bout a simple cut of the deck?
High card wins.
CLOSE - JENOFF
Impressed with the choice.
Vampire's not only got a soul, he's
Jenoff nods to the Dealer, who riffle shuffles the cards then sets the deck on the table.
Jenoff smiles, reaches out, his hand hovers over the deck for a long beat. Makes his cut. Turns the cards over.
CLOSE - THE FIVE OF CLUBS.
A murmur ripples through the room. Jenoff's smile fades. Cordy, Fred and Groo breathe a sigh of relief. Fred glances over at Gunn. He releases the hint of a smile.
CLOSE - ANGEL
Moments from victory. He raises his fingers to his lips, BLOWS ON THEM FOR LUCK. Reaches down...
...cutes the deck, turns it over REVEALING:
CLOSE - THE THREE OF HEARTS
Angel can't believe it.
Gunn can't believe it either.
But Jenoff's more than happy to believe it.
His smile returns, he looks at Angel.
Angel's eyes lock with Cordelia's as she RAISES THE STAKE. It looks like she's about to plunge it into Angel's chest but instead, she SLAMS it into JENOFF'S HAND, pins it to the table. Jenoff ROARS.
That quick enough?
Angel grabs his axe, SWINGS IT AND LOPS OFF JENOFF'S HEAD.
Works for me.
The head rolls across the floor as Jenoff's body falls forward onto the table, YELLOW BLOOD spilling onto the felt.
WIDE - THE ROOM
Stunned silence. A beat on the surrounding demons. Will they attack? And then they all MOVE AT ONCE exchanging money in a flourish, settling their bets: Angel's the winner.
CLOSE - GUNN
Stands and SMASHES Repo Man hard in the face.
And then hits him again, harder. Knocks him clean off his feet. Fred rushes over to Gunn.
It's over. No need to say thanks.
You're right. -- If killing him was
that easy, I would've done it myself.
Angel looks over at,
THE TABLE - JENOFF'S HEADLESS BODY
The YELLOW BLOOD starts to bubble and gurgle as something starts GROWING OUT OF HIS NECK.
The Gang watch in dismay as Jenoff sits back up and a NEW HEAD EMERGES (CGI). It is LARGER, SLIMIER AND MORE GROTESQUE THAN THE LAST.
CLOSE - JENOFF'S NEW HEAD
Opens its gaping maw and emits an EAR PIERCING SHRIEK. Our gang steel themselves, raise their weapons.
Now we fight...
Angel looks back to all the other demons.
So who else in here owes this guy?
ANGLE - THE DEMONS
Realizing they're better off with Jenoff dead. It's all they need. They turn in mass and attack him.
Off Jenoff, being torn apart, and our gang slipping out of the casino to safety:
EXT. FLASHY CUTS - NIGHT
L.A. night time, flickety-flackety flash. Takes us to...
EXT. N.D. STREET/GUNN'S TRUCK - NIGHT
Gunn's behind the wheel, angled toward Fred, who's leaning back against the passenger door.
Say it again. A little slower this
Gunn leans toward her.
I was terribly, terribly wrong to
break up with you and say those mean,
Fred bathes in the words, lets them wash over her.
Good, now say it into the tape
She lifts her hand out like it's holding a microphone. Gunn gently takes her hand.
I'm really sorry and I'll never do it
He kisses her hand. She opens it, strokes his cheek.
I'm just glad you're all right.
I'm only all right if you and me are
We are, aren't we?
Fred nods. Gunn's glad. Leans over and gives her a kiss. Fred looks him in the eye.
Just one last thing.
Who'd you trade your soul for?
...It was a long time ago.
I know. But I want you to tell me
and we'll never talk about it
again. -- Who was she?
Gunn pulls away, uncomfortable, puts his hands on the wheel.
That was way before I met you.
Fred moves toward him. Slides close.
You musta wanted her pretty bad to
trade your soul.
Guess I did...
Just tell me.
You'll think it's stupid.
It was a truck.
He stares at her, "happy now?"
I was seventeen years old and I sold
my soul for a truck.
(after a beat)
Not this truck?
Don't go dissin' my girl.
Oh, Charles. Your soul wasn't worth
Look, back in the day this truck kept
me alive. Helped me save other lives
too. I know it sounds dumb, but a
soul didn't seem like such a big
deal. Didn't think I had a future
He looks into her eyes.
Now I do.
And Gunn leans into Fred for a sweet kiss.
What is it about you that makes me
Maybe it's that I love you.
That's gotta be it.
And as they come together for another kiss we start to pull away. And we continue to widen until:
EXT. ANGEL'S HOTEL - NIGHT
INT. ANGEL'S HOTEL - ANGEL'S ROOM - NIGHT
Angel stands in front of Connor's crib, considers it as he has throughout the episode. CAMERA ADJUSTS, REVEALS
In the doorway behind him. Watching silently. Angel stares at the crib for another beat and then, having come to a decision, steps forward and begins to fold it up.
Cordy watches for a beat then exits, leaving Angel alone as he continues folding the crib. Ready to put it away. Ready to try and move on.
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