I said I was going to pace myself here, but hang on. "Demon violence"? I had the impression that no violence of any kind was permitted in Caritas. Because making it impossible for demons to commit violent acts, while still allowing that option to humans, seems likely to lead to the sort of situation that...we'll see in the third act of this show. Ah. How very stupid. Angel looks innocent and insists he forgot, and it's probably wrong that I like him when he's a jerk, yet don't like him when he's all sensitive and crap. In real life, I don't like people who pick fights, so I'm thinking it's just because it's nice to see some other side to his character. Anyway, Merl rants that he's done with Angel and with the MoG. His voice goes to some new level beyond nasal as he wheezes, "I never wanna see any of you ever again!" He turns for the door, stops, looks around, and asks who's going to give him a ride home. Sigh.
Poor, poor Gunn pulls his truck to a stop. Merl hops out and starts to thank Gunn, but the truck pulls away before he can finish the sentence. Gunn and I are kindred spirits.
Merl enters his...uh, place. Sewer hole or abandoned building or whatever it is. He picks up what looks like a stack of mail, and starts sorting through it, which raises so many questions in my mind. How does he get mail? And, since he seems to live alone, why is he sorting through it as if he hasn't seen it before? I mean, how'd it get on the table if he wasn't the one to bring it in? Mysterious. Suddenly, he looks up at the camera in surprise. "Hey, I didn't give you permission to shoot a cheesy television show in my apartment," he fails to say. Instead, he just says "no" a few times and gasps and backs up toward the door. He throws his arms up, knocking the obligatory single light bulb so that it swings back and forth, creating strange shadows in a way that was probably creepy back when Hitchcock did it forty years ago. There's a blipvert of shadows and splattering goo, and then there are credits. When I realized that Merl was really, truly dead, I thought this might be the best episode ever. I mention that just to point out that, while I'm normally nigh-omniscient, occasionally I can be the wrongest person there ever was.
We come back to an extended "War Zone" blurtastic blipvert, so that anyone who came in late knows that Gunn's sister Alonna was vamped and he killed her. Apparently some people think that the time-honored "blur the edges of the screen" effect is no longer a hip way to tell us it's a dream sequence, so they've invented a new ultra-gauzy blurred effect. It gives me a headache. Gunn wakes up, but manages to avoid the cliché of waking up shouting in fear. Because he's too cool for that. Gunn's room is pretty bare: bed, nightstand, gray walls. Although he does have what appears to be a decorative picture of a motorcycle pinned to the wall. His beeper starts, uh, beeping. Gunn looks sad. Aw.