Double or Nothing

 TEASER

PREVIOUSLY ON... ending with Angel screaming at Wes, "I'LL KILL YOU! YOU'RE A DEAD MAN!"

FADE IN:

EXT. ANGEL'S HOTEL - NIGHT

To establish. We PRE-LAP:

GUNN (O.S.) It's hopeless. 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.

GUNN Half these files I can't even read the clients' names. What is this? Frizzana? Frizzle-car? (show folder to Fred) What's this say to you? FRED I think it's Frzylcka. (remembering) Oh, right. They're that demon couple who called last week about a squatter in their lair? Wesley was supposed to--

She stops. She said the forbidden word. Softly:

FRED (cont'd) It was supposed to be taken care of. GUNN Well. (beat) Guess he was too busy stealin' the baby to--

FRED Don't. (beat) Okay?

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.

LORNE How's it comin'? Makin' any headway on that pending file pile? GUNN Some. Sorta.

FRED There's just so much to keep track of.

LORNE Still, times like these, it's good to keep busy. Throw yourself into work. Stay active...

Under this, Lorne's moved to the edge of reception, where he looks up the stairs. A beat. Fred sees this.

FRED Lorne, he lost the only child he'll ever have. LORNE (sighing) Oh, sugar, I know.

He turns, joins them at the desk.

LORNE (cont'd) I just wish he'd talk to us. GUNN Might be safer to leave him alone for a while. Pretty sure the rage is past, but you really wanna find out first-hand?

FRED I'm sure he's not plannin' to... (how to say this) ...finish what he started at the hospital.

GUNN 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:

CORDELIA We're back! And we're bearing gif-- She trails off pretty quickly, seeing the faces of Gunn, Fred and Lorne. Immediately she knows.

CORDELIA (cont'd) What happened? 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.

CORDELIA 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.

DEALER (O.S.) 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 --

JENOFF Table 6, the one in blue. Palmed a king in his left hand. The Demon Bouncer starts to move off --

JENOFF (cont'd) And Benny? (bouncer turns) 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 --

JENOFF (cont'd) You. Good. He pulls out a business card. Hands it to Repo Man.

JENOFF (cont'd) Bring him in. His marker's up. As Repo Man looks down, HIS POV: it's an ANGEL INVESTIGATIONS BUSINESS CARD. Under this:

JENOFF (O.S.) It's time to collect his soul.

BLACK OUT.

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:

CORDELIA 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.

LORNE "The Propoxil Codex"? Ugh. Sounds like a mystical cure for male pattern baldness. GROOSALUGG 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.

LORNE I'll wait for the movie. GROOSALUGG Ah, yes, movies -- talking pictures with no substance.

LORNE Last couple of decades? You're not wrong.

GROOSALUGG 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:

GROOSALUGG Hello. We welcome your telephonic plea to Angel Investigations. In what way may I service you? LORNE You're a very pretty man.

GROOSALUGG (hanging up) 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.

LORNE (remembering) The Vigil of the Bereaved. Huh. Almost forgot there was a word for it.

GROOSALUGG This house is thick with sadness. (beat) Is that why you're leaving?

He gestures at the box Lorne's been packing.

LORNE Me? No. These are... ("Wesley's") They're not mine. GROOSALUGG They are Wesley's, then.

Lorne glances around --

LORNE Groo, you might wanna try to avoid saying the name -- INT. ANGEL'S HOTEL - WESLEY'S OFFICE - DAY

MONICA 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.)

SYD Don't be ridiculous, Monica -- it wasn't Wesley, it was Sherman. MONICA Sherman? You don't even know any Shermans. (to Fred & Gunn) It was Wesley. Irish fellow, right?

SYD He was English, you old bat. Whoever heard of an Irishman named Wesley?

MONICA 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:

GUNN He's... on sabbatical. FRED 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?

SYD Damn no-good Skench demons. They're all alike.

MONICA Here we go...

SYD A person spends his entire half-life--

MONICA (by rote) --building a lair to relax in--

SYD --and what happens? A Skench demon squats--

MONICA --right down on your coffee table. (to Fred & Gunn) Ask me how many times I've had to listen to this.

SYD Like you ever listen.

MONICA And you have so many interesting things to say.

GUNN (interjecting) So Skenches. I've heard about them. Sorta impish kinda demon -- like a leprechaun?

SYD (scoffs) Leprechauns don't exist, son.

Monica reaches over, pats his hand.

MONICA Now, Syd, don't embarrass the lad. SYD (gruffly) Sorry, kid.

GUNN Skenches take over a house, right? Drive out the people who live there?

MONICA Well God knows you can't stay, what with the shrieking all night and the projectile phlegm.

SYD Only thing worse is puttin' up with her for the last three hundred years.

FRED (amazed) You've been married for three centuries?

MONICA Ever since the mitosis.

SYD (pointedly) Not that I'd mind being a single- celled organism again, if you get my drift.

MONICA Oh, shut up, Syd. You never--

SYD --had it so good. AS if I need reminding.

GUNN I thought gettin' rid of a Skench was pretty easy, though. Don't you just lop off its head?

SYD Well, sure, if you can avoid the phlegm.

MONICA Syd has a phobia about phlegm.

SYD I do not. I have a phobia about sputum.

This is about all Gunn can take. He stands.

GUNN 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.

FRED Thanks so much for coming. We'll call you as soon as it's done. As they exit --

MONICA Oh, for cryin' out loud, Syd -- that girl's not a sixteenth your age. (offscreen) Put your eyes back in your head. (beat) I mean it, ya doddering old coot! Put 'em back in! As their bickering grows faint, Fred turns to Gunn, grinning.

GUNN Man. You hear those two? FRED It's beautiful.

Gunn does a take. Sees the dreamy look on Fred's face.

FRED (cont'd) 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.

GUNN Beautiful. Just then the sliding doors open, revealing Groo.

GROOSALUGG Is there evil to vanquish? GUNN (moving to leave) Thanks, bro, but I got it. Just a little mucus demon under Alvarado and Clark. I'll be back soon.

FRED Don't forget your machete!

Gunn turns, smiles at her.

GUNN Yes, dear. He leaves. Groo watches this, pleased.

GROOSALUGG He is very fortunate to have such a woman looking after his weapon. LORNE (O.S.) I'm not touchin' that one.

Lorne enters with the Box. He puts it behind the desk.

LORNE There we go. (stands) Probably best to keep this stuff out of sight, just in case... He trails off. A beat, awkward.

LORNE (cont'd) Anyway. (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 --

LORNE (cont'd) Y'know... if he needs anything -- FRED I'll call.

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".

GUNN 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.

GUNN Smells like old people in -- SPLAT! A wad of BLUE SLIME hits the wall next to his head as an unearthly SHRIEK erupts.

GUNN (cont'd) --here gross! The SKENCH DEMON rises up from behind the couch, a very large, strong albino-white demon with a BIG, ROUND MOUTH.

GUNN (cont'd) 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:

GROOSALUGG (O.S.) Hello. INT. ANGEL'S HOTEL - LOBBY - NIGHT

Groo sits at the reception desk. He picks up the phone:

GROOSALUGG 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:

GROOSALUGG (cont'd) 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 --

GROOSALUGG (cont'd) 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:

GROOSALUGG (cont'd) Hail to you, potential client. How may I be of service? Repo Man approaches somewhat warily.

REPO MAN This Angel Investigations? GROOSALUGG It is. Are you in need of help?

Repo Man eyes him. A moment.

REPO MAN 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.

FRED Hi, Wesley. At the sound of her voice, Wes looks over. Fred enters a few feet, sets down the box, under:

FRED (cont'd) (beat) How are you feeling? Wes reaches for his throat, shakes his head. Can't talk.

FRED (cont'd) Oh. But it's not permanent, right? Fred comes closer, gestures to the box.

FRED (cont'd) I brought some of your stuff from the office. Things there are... well, things. There's something Fred wants to say. Finally, a deep breath:

FRED (cont'd) 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. (beat) I just wanted you to know I understand that. (then) I also wanted to say -- what Angel tried to do to you was wrong, and I'm sorry. Wes looks at her, grateful.

FRED (cont'd) But he was right to blame you, Wesley. He didn't see it coming, but here it comes --

FRED (cont'd) 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 -- (beat) If Angel sees you again, he'll kill you, Wesley. This time for real. (then) 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:

FRED (cont'd) The prophecy was a fake. Angel was never gonna hurt Connor. It was all for nothing. 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.

GUNN Must be my lucky day. He stands, turns to leave -- to find Repo Man in the door.

REPO MAN Wanna bet?

BLACK OUT.

END OF ACT ONE Double or Nothing Written by: David H. Goodman Teaser Act One Act Two 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:

GUNN

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.

REPO MAN What you want? GUNN I wanna talk to the man.

REPO MAN You got an appointment?

GUNN No. Got business.

Repo Man looks to Jenoff (ten yards away or so) who nods, okay.

REPO MAN 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) You packin'? GUNN No.

Repo Man motions, Gunn turns around. Pats him down for weapons.

REPO MAN He could kill you ten ways from Sunday even if you were, but then he'd cook me, too... You're clean. GUNN Told ya'.

REPO MAN Guess not everyone's as honest as you, bro'.

GUNN I'm not your bro'.

REPO MAN Know that. You got a name or just a 'tude?

Off Gunn's 'tude,

ANGEL - JENOFF

As Repo Man brings Gunn over from the curtain.

REPO MAN (cont'd) Name's Gunn. Repo Man moves off to a respectful distance.

JENOFF Charles Gunn if I'm not mistaken. Gunn's a little surprised Jenoff knows his name.

JENOFF (cont'd) Man of the streets, protector of the young and innocent. What can I do for you, Mr. Gunn? GUNN I want somethin'.

JENOFF 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.

Beat.

GUNN I need it. JENOFF 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.

JENOFF (cont'd) Very nice. She's a real beauty. He gives the picture (which we will NOT see) back to Gunn.

JENOFF (cont'd) I can make it happen. But there's a cost. I guess you know that. GUNN Yeah.

JENOFF 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:

GUNN What future? Jenoff smiles.

JENOFF 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 present happiness? GUNN I'm sure.

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.)

JENOFF 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 (cont'd) Good. 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.

REPO MAN ...signed a blood oath trading your soul. 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. GUNN who said I'm trying to get out of anything?

REPO MAN You're planning on giving your soul to another, aren't you?

GUNN What are you talking about?

REPO MAN Some broad, you're fallin' for her hard...

GUNN Fred?

REPO MAN 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? (beat) 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. GUNN I gotta see him.

REPO MAN What you gotta do is pay up. He's not happy, now here I am talking to you.

GUNN I'm not... I'm not the same person I was back then --

REPO MAN We all get older. And we all pay our debts to Mr. Jenoff.

GUNN There must be something else. Something else he can take.

REPO MAN 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 girl's, too.

GUNN She's got nothing to do with this.

REPO MAN 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

ANGLE: FRED

She's in Wesley's office, filing. Moves back and forth from the desk to the filing cabinet oblivious to anyone seeing her.

ON GUNN

How the hell is he going to deal? O.S. he hears Cor say something unintelligible.

CORDELIA (O.S.) R whooh kah bay? He turns, she's moving towards him, mouth full of food, BIG OLD sandwich in hand.

GUNN What? She holds up a finger, chews, swallows.

CORDELIA I said, are you okay? GUNN Yeah, I'm fine.

CORDELIA (re: sandwich) Seemed kinda rude to chow down in front of Angel but I was starving so I took a little break and you are not okay, pal.

GUNN (beat) I'm a little tired but --

CORDELIA Cordelia here. I can read the misery on your face. I know what's going on.

GUNN You do?

CORDELIA It's pretty obvious. Angel lost his son, Wesley's... gone. And here you are... happy as a kid in a candy store.

Gunn reacts.

GUNN I'm... happy. CORDELIA 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

CORDELIA (cont'd) ... she's a doll. Who wouldn't be head over heels? BACK TO THEM

CORDELIA (cont'd) 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. GUNN No. You saw right away that I was...

CORDELIA 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. (bites sandwich) Life goes on.

GUNN I should enjoy my future.

CORDELIA 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:

FRED

GUNN (O.S.) I never figured I'd be around this long. Or have this much. CORDY AND GUNN

CORDELIA Some people never know one day of joy. You're lucky. GUNN (beat) Maybe I am.

CORDELIA 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.

CORDELIA (cont'd) 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 wrong. GUNN (a beat) Thanks.

She's already started up the steps, over her shoulder.

CORDELIA Welcome. Have some fun. Off Gunn,

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.

DOCTOR How are we feeling today? Wesley, of course, can't respond. Just looks back at the doctor blankly.

DOCTOR (cont'd) 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 compromised. (beat) I'm going to release you later today. Wesley doesn't even react to that. Just keeps staring.

DOCTOR (cont'd) 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:

FRED All right, ready? Red t-shirt, your dark blue blue jeans, grey boots. (beat) Was I right about any of it? Okay, that was just a warm up: (thinks) Yellow long sleeve tee, gray cords, tan boots. (beat) See, record secure. Never takes me more than twice. (beat) Me? I just woke up. (beat) Maybe you should come over here and find out. (beat) 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.

GUNN (as he enters) It won't. FRED (smiles) Hey. (into phone) Sorry, have to cancel, somebody just walked in my door.

GUNN (still into the phone) He better looking than me?

FRED Way. And... (re: tray, excited) ...he brought me breakfast in bed!

This as Gunn lowers the tray onto her lap. They both hang up their phones.

GUNN voila, Madame. Room service. FRED Cool. (then, a little scared) You didn't cook, did you?

GUNN Nope.

He lifts up the cover revealing two large styrofoam containers and one long red rose.

GUNN (cont'd) Your favorite food from your favorite diner. FRED (opens the containers) Pancakes and waffles? I'm in starch- heaven, yu-um.

She starts to eat immediately. Between bites:

FRED Is today special or something? GUNN Yup. Very special.

FRED How come?

GUNN Cause we have the day off.

FRED We do?

GUNN And we are going to spend every minute of it having the best day of our lives.

Beat. Her big eyes get even bigger, what with the joy and all.

FRED Well, now it's official. GUNN What?

FRED (mouth full of food) You are the best boyfriend ever. Pancake kiss!

As they kiss,

CUT TO: 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:

ANGEL 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:

ANGEL (cont'd) 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.

ANGEL (cont'd) 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.

ANGEL (cont'd) 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... (beat) ...he was just a little... Angel takes a big breath, then:

ANGEL (cont'd) You think you know something about living, cause you have this really long past. And that's really all you have, in my case anyway. Then one day you wake up and you have something else... CORDELIA (getting it) A future.

He nods. Then says, simply:

ANGEL 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.

GUNN 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.

GUNN Somethin' wrong with the shake? It's your favorite, double mocha double whip. FRED I'm... kinda full.

GUNN (mock:) Oh my god, this is serious.

FRED It's just, Sixth Street tacos, fish sticks at the Pier, Dodger dogs...

GUNN (pouring on the cheer) Don't fold on me now, girl, we still got a lot of fun to go today.

FRED Oh... I'm for the fun... it's just, we have too much more of it I might explode.

GUNN Right. Sorry.

He pulls shake and wings away from her.

GUNN (cont'd) No more food -- but movie-club- shopping fun still to be had -- wanna hit the roller rink? FRED Charles, I think I'm kinda wiped.

GUNN Oh.

FRED 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?

GUNN Oh god. I blew it. I tried too hard.

FRED 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.

FRED (cont'd) Right? Beat. Gunn looks down.

FRED (cont'd) OH MY GOD. He looks back up.

FRED (cont'd) You did try too hard. You haven't been yourself all day. You're doin' all this because... because something's wrong, something's terribly wrong. GUNN No, --

FRED Charles, do you have leukemia?

He looks at her for a beat, actually starts to laugh.

FRED (cont'd) 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 -- GUNN I'm not sick.

FRED You're not? You promise?

GUNN I'm not sick.

FRED Oh thank god. (breathes a sigh of relief) I feel better. Except for the terrible knot I've had inside all day -- (realizing:) which is not the food -- it's... us. What's wrong with us?

GUNN (flat) It's nothing.

FRED Oh that helped.

GUNN Maybe we should just go back to the hotel and call it a --

FRED And maybe we should stay right here and you should stop lying to me.

Her force catches Gunn off guard.

FRED (cont'd) (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.

GUNN No. We won't. FRED What?

GUNN This isn't somethin' we're gonna talk through, you share your feelings, I share mine, then we have a big hug.

FRED I don't think I like the way you're talking to me.

GUNN (even colder) Too bad.

FRED (trying hard not to cry) Why are you... why are you being so mean?

GUNN I'm being honest. Isn't that what you want?

Beat. She slowly nods. Swallowing the tears, finding strength.

FRED Yeah. Be honest. (really hard for her to ask:) Is it me? PUSH IN ON GUNN.

GUNN Wow. You finally figured that one out. Fred swallows hard.

FRED What -- what's wrong with me? GUNN Now I gotta make a list? I really don't have that much time.

FRED Are you joking?

His look tells her he's not.

FRED (cont'd) Charles... what's happening? GUNN What's happening, girl, is you and me are over. Done.

FRED No --

GUNN Am I askin'? I'm tellin'. I've had enough.

FRED I don't believe you.

GUNN Best start.

He gets up to go.

FRED But... wait... is there someone else? He just gives her that cold look.

FRED (cont'd) What... what's her name? He moves over to her, towering over her.

GUNN Her name is "I'm a real woman, not a stick figure." Get the picture? Fred just looks up at him. Tears streaming.

GUNN (cont'd) Speak up. FRED (tiny) ...yeah.

GUNN Good. See ya' around.

And he goes. Off Fred in so much pain,

BLACK OUT.

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.

CORDELIA 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. (beat) The last thing you need right now is someone saying that given time, things will get better. The hurt will go away. (then) Because things won't get better. And the hurt's never gonna go away. He looks at her.

CORDELIA (cont'd) The truth is, if you lived another two hundred years, you'd never forget how Connor was taken from you. (then) And you shouldn't. (beat) You loved your son, Angel. And you're gonna go on loving him. And missing him. (another beat) And you'll go one living. You'll do that, too. ANGEL I don't know how.

CORDELIA 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 'em. (finally) '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 --

FRED

Stands there, trying to stifle her sobs, without much success.

CORDELIA (cont'd) Fred? Angel rises, moves toward the door as well.

FRED (through tears) 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.

ANGEL Fred, what is it? What's wrong? She looks at him with her wet, pleading eyes --

FRED It's Charles. I think he's in terrible danger. Off Angel and Cordelia, reacting to that --

CUT TO: INT. DEMON CASINO - NIGHT

JENOFF

is up on his balcony overlooking the game floor. his face twisted with pleasure. A weird, misty CGI WHITE LIGHT wafts around him as...

WIDER

Jenoff has currently got his index and middle fingers in the eyesockets of a MAN in a TRACK SUIT, sucking his soul.

JENOFF Ahhh... GROUND FLOOR POV

Now we're watching this from the game floor, we're in the POV of --

REPO MAN

as he watches from below, taking his own pleasure in watching this. Now he glances over toward --

THE FRONT DOOR

as Gunn enters.

REPO MAN

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.

GUNN 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:

CORDELIA Wow. FRED I know, hunh?

GROOSALUGG I am sorry this has come to pass.

ANGEL I'm a little confused.

FRED About what? What was unclear?

CORDELIA (what they're all confused about) Well... upstairs -- you said you thought Gunn was in danger.

FRED He is!

CORDELIA Right... and you think that be- cause...

FRED He broke up with me!

CORDELIA Ah.

A beat as Fred realizes still not big with the clarity here.

FRED But not really! CORDELIA Oh. (then) No?

FRED No!

GROOSALUGG That is good. I am most relieved.

FRED What? No! This is worse! Much worse! I wish he had broken up with me!

CORDELIA Fred, I hate to say this, but... are you sure he didn't? I mean, those things you said he said to you...

FRED I know I said he said those things to me, but he would never say those things to me!

CORDELIA Those things he said?

FRED Exactly! That's how I know he's in trouble!

Cordy's still lost. Groo just is on general principle. Angel tries to comprehend --

ANGEL So let me get this straight: (beat) You and Gunn are dating? FRED (wildly) NOT ANYMORE, I GUESS!

CORDELIA Fred. Honey.

FRED 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:

ANGEL Then I guess we better help him. All eyes go to him. He looks to Cor.

ANGEL (cont'd) We are not losing another member of this family. 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:

CORDELIA Still no answer, either at his place or on his cell. FRED Oh, god.

GROOSALUGG This does not bode well.

Cor, Angel, Groo and Fred forming a kind of huddle. Intense, focused, plan-of-attack-time.

ANGEL Okay, then we'll have to split up. GROOSALUGG To cover more ground. That is a good plan. I agree.

ANGEL Fred and I can hit Gunn's old gang haunts, see if maybe they've heard from him.

CORDELIA Or if they know of any old enemies he might have.

ANGEL Exactly.

GROOSALUGG Mmm.

Groo nodes. He likes that idea. Listens intently --

ANGEL Cordelia and Groo, you two go by Gunn's place, just make sure. CORDELIA Maybe we could report his truck as stolen.

Groo's not sure if that makes sense, furrows his brow.

GROOSALUGG Um -- ANGEL Not a terrible idea to get the police involved if none of this pans out --

Groo nods, sees the wisdom in all these suggestions.

FRED We should leave a note here for Lorne, let him know what's going on. Cor nod. Groo agrees.

ANGEL If none of us come up with anything, we'll regroup back here at midnight. Groo holds up a business card.

GROOSALUGG And perhaps as we search, we could leave these small rectangles behind us -- as did that creature who came by yesterday inquiring after Gunn. ANGEL Right. Good -- what?

GROOSALUGG (displaying business card) Small rectangles with telephonic digits. As a way for people to get in touch with us should they learn anything.

ANGEL Uh -- could I see that?

Groo hands Angel the business card --

FRED Somebody came by here looking for Charles? GROOSALUGG Yesterday. Please remind me to give that rectangle to Gunn when we find him, (for Fred, to bolster her spirits) for I am confident we shall.

ANGEL Guy works for Jenoff --

CORDELIA Jenoff?

ANGEL 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.

JENOFF 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. (then) She must be pretty special, this girl you were gettin' ready to give my merchandise to. GUNN I'm here to make good on my debt. You don't even talk about her.

Jenoff smiles at that, amused.

GUNN (cont'd) Once we're square, you don't even think about her -- JENOFF She was never part of the deal. (to Repo Man) Hold him.

Repo Man goes for Gunn, but --

GUNN I'm not gonna run. (to Repo Man) But touch me and you'd better. Repo Man backs off, Gunn looks to Jenoff.

GUNN (cont'd) 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 --

FRED Charles! Gunn takes an instinctive step forward --

GUNN Fred -- 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:

CORDELIA Angel -- ANGEL I know.

GROOSALUGG We are surrounded.

ANGEL I know.

FRED We have to save Charles!

ANGEL I know!

Angel reaches out and lightning fast, grabs a Demon Bouncer, gets him in a headlock, threatens to snap his neck ==

ANGEL (cont'd) Who's a guy gotta kill to talk to the boss around here? JENOFF 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.

JENOFF (cont'd) Mind telling me why you're disrupting my business? ANGEL 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.

JENOFF Good business man looks into the backgrounds of potential employees. Had you done that, you might've learned he was strictly short-term material.

ANGEL Then I'll make a deal with you --

Jenoff raises an eyebrow in interest -- always interested in a good deal.

ANGEL (cont'd) You release him, forget what he owes you -- and I'll let you live. JENOFF (beat) Thank you. (to his guys) Kill 'em.

He starts to walk away, the demons lunge forward --

ANGEL Double or nothing! Jenoff stops in his tracks, back to Angel, raises a hand which stops all incoming demons. He turns, looks at Angel --

JENOFF You offerin' me your soul? ANGEL A chance to win it, anyway.

JENOFF How stupid do I look to you? You're a vampire. I can smell it from here.

ANGEL 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.

JENOFF (studies him, moving closer) Oh. You're that vampire. Jenoff is now very interested. Angel senses this.

ANGEL I choose the game. I win, we walk outta here. Gunn's debt disappears. You win -- (beat) You get us both. And off that proposition --

BLACK OUT.

END OF ACT THREE Act Three Act Four 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.

CORDELIA Brilliant stall tactic, bought us some time. Now what's the plan? Angel does an overhand shuffle.

ANGEL (re: cards) This is the plan. Cordelia glances over at Jenoff, already seated at the High Roller's table.

CORDELIA Really? ANGEL 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.

FRED 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 boyfriend. ANGEL 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.

FRED 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.

ANGEL I'm not gonna lose. REVERSE - JENOFF

Across the crowded room. Staring at Angel as Repo Man leans in for a word.

REPO MAN You worried about this? Jenoff shakes his head no.

JENOFF 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.

GROOSALUGG Angel, if we must rely on luck, I prefer the odds of my sword. We should fight our way out. ANGEL (shakes his head) Gotta disagree, Groo. Fighting puts all of us at risk. My way's safer.

FRED (a bit panicky) If you win! -- But if you lose your soul, won't you go evil and start killin' everybody including us? (to Cordy) Am I wrong...?

Fred and Groo look to Cordelia for her opinion.

CORDELIA Not wrong in theory, but I gotta go with Ace (indicating Angel) on this one. Sorry. Angel looks over at Jenoff who motions that it's time. Angel nods, ready. He turns back to the gang.

ANGEL I'm gonna win. He starts toward Jenoff. Reaches under his jacket, pulls out a STAKE, hands it to Cordy.

ANGEL (cont'd) But if I lose... You know what to do. CAMERA PUSHES IN CLOSE ON CORDY.

ANGEL (cont'd) Just make it quick. She takes the stake from Angel.

CORDELIA 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.

REPO MAN (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.

JENOFF (to Angel) One hand of cards. If you win, this man..., (indicating Gunn) ...walks free. If I win, I keep his soul, and I get yours. Angel nods. Our Gang watches nervously.

JENOFF (cont'd) 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.

ANGEL How 'bout a simple cut of the deck? High card wins. CLOSE - JENOFF

Impressed with the choice.

JENOFF Vampire's not only got a soul, he's got guts. Jenoff nods to the Dealer, who riffle shuffles the cards then sets the deck on the table.

JENOFF (cont'd) Feeling lucky? ANGEL After you.

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.

ANGEL (cont'd) A three? Gunn can't believe it either.

GUNN A three...? But Jenoff's more than happy to believe it.

JENOFF A three! His smile returns, he looks at Angel.

JENOFF (cont'd) You lose. 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.

CORDELIA (to Angel) That quick enough? Angel grabs his axe, SWINGS IT AND LOPS OFF JENOFF'S HEAD.

ANGEL 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.

GUNN Look out. And then hits him again, harder. Knocks him clean off his feet. Fred rushes over to Gunn.

GUNN (cont'd) Angel... ANGEL It's over. No need to say thanks.

GUNN 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.

GROOSALUGG Now we fight... Angel looks back to all the other demons.

ANGEL 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.

FRED Say it again. A little slower this time. Gunn leans toward her.

GUNN (slowly) I was terribly, terribly wrong to break up with you and say those mean, untrue things. Fred bathes in the words, lets them wash over her.

FRED Good, now say it into the tape recorder. She lifts her hand out like it's holding a microphone. Gunn gently takes her hand.

GUNN I'm really sorry and I'll never do it again. He kisses her hand. She opens it, strokes his cheek.

FRED I'm just glad you're all right. GUNN I'm only all right if you and me are good. (a beat) We are, aren't we?

Fred nods. Gunn's glad. Leans over and gives her a kiss. Fred looks him in the eye.

FRED (intimate) Just one last thing. GUNN Name it.

FRED Who'd you trade your soul for?

GUNN (a beat) ...It was a long time ago.

FRED 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.

FRED (cont'd) Charles... GUNN That was way before I met you.

Fred moves toward him. Slides close.

FRED You musta wanted her pretty bad to trade your soul. GUNN Guess I did...

FRED Just tell me.

GUNN You'll think it's stupid.

FRED I won't.

GUNN It was a truck.

He stares at her, "happy now?"

GUNN (cont'd) I was seventeen years old and I sold my soul for a truck. FRED (after a beat) Not this truck?

GUNN Don't go dissin' my girl.

FRED Oh, Charles. Your soul wasn't worth air conditioning?

GUNN 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 then.

He looks into her eyes.

GUNN (cont'd) Now I do. And Gunn leans into Fred for a sweet kiss.

FRED What is it about you that makes me melt? GUNN Maybe it's that I love you.

FRED (a beat) 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

To establish.

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

CORDELIA

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.

BLACK OUT.

THE END

