teen gang members, including Alonna. Angel offers his assistance to Gunn and the others, but Gunn refuses and locks Angel in a meat locker. Angel tries to punch his way out of the locker, only to have Cordelia and Wesley open the door for him. Searching for the vampire's lair, Gunn finds a newly undead Alonna, but at first can't bring himself to kill what used to be his sister. When she offers to make her brother a vampire, he stakes her. Angel kills the vampire gang leader and arranges a truce with the rest of the group: he'll allow them to live if they leave town and never return. Cordelia considers getting involved with David for his money, but ends up talking herself out of it. Angel tells Gunn he may need his help in the future. Production details Creator Joss Whedon wanted to introduce another character who would be very different from both Wesley and Angel, and when writer Gary Campbell pitched the idea of street kids battling vampires, the character of Gunn was conceived. Special Effects Supervisor Loni Peristere refined the dusting effect used when a vampire is killed, showcased by Gunn's "fly-through dusting" in the opening scene of this episode. This technique, which costs $5,000 per use, depends upon a CGI skeletal frame surrounded by simulated dust, carefully matched to a projection of the live action footage. This allows for a "complete organic transition" from vampire to dust, says Peristere. Director David Straiton suggested to Michele Kelly that in the scene where Alonna pushes Gunn onto the ground, she should "enjoy that more" - "and that's when a laugh came out," Kelly says. The actress explains that the director knew at that point, her character was "relishing in all this new-found strength and freedom, even if it was for evil." Writing Producer Tim Minear liked the concept of an "entire subculture living under Los Angeles that you don't really see," which is a metaphor for the wealth stratification in LA: "You'll have upper class neighborhoods and a block away poverty... The upper class people sort of don't notice the poverty, or choose not to." He also liked the scene in which Angel is rescued from the meat locker by Wesley and Cordelia, who ask, "Why didn't you call us on your cell phone?", because it turns the concept of the action hero "on its head a