On her business card, Cordelia is listed as a "Senior Associate" at Angel Investigations.
When the gang beats Marcus in Angel's body to the floor in the retirement home, he falls face down, with his head toward Angel in Marcus' body. However, when Fred gives him an extra whack to the head, not only has he turned face up, but reoriented himself to have his feet toward Marcus. No one had time to move him and he is knocked out.
After watching Angel eat a burrito
Cordelia: Um... why are you eating?
Marcus-in-Angel: 'Cause I'm hungry.
Marcus/Angel: Hey. How're you doing?
Wesley: Alright. Well...you?
Marcus/Angel: So, we gotta talk. The thing is, I've got nothing against you personally. It's just (Wes looks at him) ...Oh, this is gonna be harder than I-I thought. I just don't know how to spit this out.
Wesley: Angel. Whatever it is, you know I'm here for you.
(Wes goes to touch Angel's knee)
Marcus/Angel: (Marcus/Angel gets out of the chair before Wesley touches him) Yeah. That may be the problem. I mean, whatever we... had... whatever we... did. I just think that we should keep that... behind us. Start from scratch. You know, two men working side by side. But, you know, none of that funny stuff (Wesley looks at Angel oddly). Shake on that?
Wesley: I guess.
(Wesley takes Angel's hand, who gives it a hearty shake, then pulls Wesley into a hug.)
Marcus/Angel: Hey, all right. Gimme a hug.
Cordelia: Wesley, food's here.
Marcus/Angel: Do you know where Fred is?
Wesley: Um up in her room I'd expect.
Marcus/Angel: Her room. Right. Somebody say something about food? I could eat a horse.
Cordy: Are you alright?
Angel/Marcus: I gotta pee.
Marcus: You! You don't deserve that body!
Angel: Funny. I was gonna say the same thing to you. I tell you why you have a weak heart, Marcus. You never use it.
Cordelia: I'll interview the hookers. Are there any men who aren't just dogs?
Marcus/Angel: Not very many, I'm afraid. (to Wesley) You know a woman is more than a piece of meat. I'm sorry. That's just how I feel.
Lilah: (to Marcus/Angel after he bites her) That's the closest you'll ever get to me.
Wesley: (finding out where Marcus/Angel had sex) I don't believe it, on my desk?
Gunn: Well, it did used to be his. Maybe he was just kind of...reclaiming it?
Wesley: How? By marking it? This isn't like him.
Cordy: What? This is totally like him, doing the mystery dance with some cheap blonde.
Fred: Brunette, she was a cheap brunette.
Cordy: You're right, this isn't like him.
(to every woman in the episode)
Marcus/Angel: Have I ever told you, you're a very beautiful woman?
Fred: It's like something out of Fitzgerald, the man who can have everything but love. In some ways I guess you're better off. Love is... well in a way it's everything. But it's also heartache and disappointment. And those are good things to avoid.
Cordelia: Angel, Willow's on the phone... She's alive! Buffy's alive!
(Angel jumps up and runs after Cordelia into the hotel)
Marcus/Angel: Now what did I do with the darn case file...?
Cordy: (quietly) You gave it to me yesterday.
Marcus/Angel: Ha, must be getting old.
Cordy: (about Fred) She's got the big puppy love. I mean, who wouldn't? You're handsome, and brave, and heroic, emotionally stunted, erratic, prone to turning evil and, let's face it, a eunuch.
Angel: Hey, how can you... I'm not a eunuch.
Cordy: Angel, it's just a figure of speech.
Angel: Find a better one.
Fred: (about her "date" with Angel) And even though he didn't talk a lot, it was still okay. It was comfortable. It wasn't that awkward kind of quiet. You know that awkward kind of quiet?
(there is a moment of silence)
Wesley: No, that's never happened to me.
Cordy: If Julia Roberts ever makes a realistic movie about being an escort; I think it should be called "Pretty Skanky Woman."
Angel: (to Marcus in Angel's body) You may have the attitude and you may have the power, but… there's one thing you don't have and never will; friends, four of them, standing behind you with big heavy things.
Angel: You may not know this, Fred, but certain friends and coworkers have been known to accuse me of being the quiet, stay at home, sulky one.
Tim Isle was nominated for the 2002 Golden Reel Award for "Best Sound Editing in Television - Music, Episodic Live Action" for this episode.
This episode contains a group scene of the gang that is used in the opening credits of Seasons 3 and 4. The clip is of the five of them walking out of the retirement home after getting Angel his body back. The clip is the last one played before the "Created by Joss Whedon & David Greenwalt" Angel alley walk comes up.
Plays in the club -- "Galaxy Bounce" by The Chemical Brothers
In a subplot that was cut due to episode time constraints, Angel as Marcus has an awkward reunion with estranged daughter Madeline. After a couple of attempts to reconnect with the woman, Angel realises that she's better off without her father and tells her as much.
Angel (As Marcus): ...You need a family and you'll make one, I know. I'm not a part of that. I don't wanna be.
(She starts to tear up, and laugh a little at the same time.)
Madeline: It's just, I've been trying so hard all these years to forget you and now you're saying...
Angel: You should.
This episode is very similar to the Lois & Clark episode "I've Got You Under My Skin", which was written by Angel writer Tim Minear.
Fred: It's like something out of Fitzgerald - the man who can have everything but love.
Fred compares Angel to one of the protagonists of novelist F. Scott Fitzgerald, author of The Great Gatsby.
Cordeila: If Julia Roberts ever makes a realistic movie about being an escort, I think it should be called Pretty Skanky Woman.
Cordelia imagines a more true-to-life version of the film Pretty Woman, which launched Julia Roberts' career into super-stardom.
Lilah: Don't go all night stalker on me.
A reference to the 70's TV movie, Kolchak: The Night Stalker, which featured a vampire in Las Vegas, or the subsequent TV series that featured vampires (in L.A.), werewolves, demons, and more.