Fredless September 12, 2001 (Pink) Written by: Mere Smith Teaser INT. ANGEL'S HOTEL - LOBBY - NIGHT CLOSE ON WES, a BROADSWORD in his face, held by someone O.S. He speaks stoically: WESLEY You wouldn't dare. REVEAL: Cor holds the sword and a long KNIFE. Weapons abound, all labeled with WHITE TAGS. Gunn sorting them. WESLEY (cont'd) You're just going to toss in a Prothgarian broadsword with a third-century ceremonial Sancteus dagger? CORDELIA Hmm. Let's see. Long, metal, pointy. (beat) Yup. She puts them in a wooden-chest. Wes grabs them back out. WESLEY Cordy, the purpose of an inventory-- Gunn holds up a sharp weapon. GUNN Yes, tell us that "purpose of an inventory" speech again. WESLEY Hey, this wasn't my idea. CORDELIA No, Angel keeps complaining that the weapons cabinet is all "different". But Wes, who's the boss around here? You, or the guy with the pancreas dagger? FRED (O.S.) What time is it? REVEAL FRED: in the corner, making something with plywood and a BATðTLEAXE. The gang looks at each other, roll their eyes. CORDELIA 6:24. And for those of you playing the home game, that's exactly three minutes since the last time you asked. FRED Sorry. I just ... see, I have this theory? Where the more you're aware of time, the more slowly it moves, which could make light-speed travel possible, but only if you were to concentrate reallyÉ CORDELIA He'll be back when he's back. Fred looks at Cor, busted, then goes back to her invention. FRED So, now that she's alive again are they gonna get back together? Angel and that girl with the goofy name? WESLEY (re: her goofy name) Well, Fred, that's a difficult question, really. I think it's fair to say... "no". Not a chance. Never, no way, not in a million years, and also, "nuh-uh". FRED But you said he loved her. And of course she's gonna love him back, 'cause he's so strong and handsome and he really listens when you talk - I mean, if you go for that sorta thing -- why wouldn't it work? ò CORDELIA Lemme break this down for you, Fred. (imitating Buffy) Oh, Angel. I know that I am a Slayer, and you are a Vampire, and it is impossible for us to be together, but -- WESLEY (chiming in) But my gypsy curse, and our hot little loins, sometimes prevent us from seeing the truth. Oh Buffy -- CORDELIA Yes, Angel? WESLEY (pulling a frown) I love you so much I almost forgot to brood. Gunn laughs. Fred just looks confused. CORDELIA And just because I sent you to hell that one time doesn't mean we can't be friends. Wes grabs Cor around the waist, getting into it. WESLEY Or possibly more? CORDELIA Gasp! No! We mustn't! You'll lose your soul! WESLEY To hell with my soul! (beat, realizing) Again! Kiss me! CORDELIA (passionately) Bite me! ANGEL (O.S.) How 'bout you both bite me? Wes and Cor shove each other to opposite ends of the room, mortified. Gunn whistles, low. Fred jumps up, happy. FRED You're back! GUNN How'd it go? ANGEL I think those two pretty much summedð it up. Wes glances at Cor. Big guilt. ANGEL (cont'd) To be honest, I don't really wanna talk about it. Cor looks surprised, hurt. CORDELIA But Angel, we're your friends. And it's not healthy to repress stuff like this. You have to share your pain, express those feelings of grief and longing, cause if you don't the curiosity's gonna kill me. ANGEL (completely deadpan) Oh no. Wouldn't want that. FRED (raising her hand) Personally, I don't care at all what happened. Cordy puts on a winning smile, says through it: CORDELIA Shut up, Fred. Angel looks down, a moment, says somberly ANGEL Actually... you know what I need right now? They look at him expectantly. A beat. ANGEL (cont'd) Ice cream. (to Fred) You wanna get some ice cream? FRED I like ice cream. Angel smiles, gives a look to Wes and Cor. Walks out with Fred. CORDELIA Now we'll never, ever know. We hear: ANGEL (O.S.) That's right. BLACK OUT. END OF TEASER Act One INT. SEWER TUNNEL - NIGHT VERY CLOñSE ON FRED, clutching an ENORMOUS ICE CREAM CONE, wrapped in a COLORFUL PAPER NAPKIN. FRED Do you smell it? WIDEN TO REVEAL: Angel and Fred standing in a sewer tunnel junction. He points down one of the tunnels-- ANGEL I think it went this way. They turn that direction, start walking. Fred tries to keep her voice down, but she's excited. FRED This has been the best night. First there's you takin' me out for ice cream, and then there's the ice cream, and then that monster jumps out of the freezer and you're all brave and "Fred, watch out!", and then we get to chase it down into the sewers, which are just so bleak and oppressive and homey. I could build a condo down here. ANGEL I'm glad you're having fun. FRED (licks her ice cream) You think maybe the monster just wanted a sugar cone? ANGEL I doubt it. Durslar beasts don't usually come above ground like that. They tend to stick to the sewers. FRED Lucky stiffs. They get to lead lives of mysterious sewage while I'm just...à plain ol' boring ol' Fred. ANGEL "Boring"? Not a word I would use for you. FRED Fine. Nutty-ol'-goonie-bird-up-in her-room-doin'- nothin'-but-moochin'-off-Angel Fred. I swear, I don't know how y'all put up with me. I practically need flashcards to understand my pretty crystals. Fred walks past a very confused Angel. FRED (cont'd) Look, they're all over. Angel turns, and we SEE the WALLS: covered in PURPLE CRYSTALS. As Fred reaches out, touches a crystal, a ROAR echoes down the tunnel. Fred jumps back, panicked. FRED (cont'd) It wasn't me! ANGEL We must be near the Durslar's lair. You should get back to the hotel. I can take it from here. FRED (nervous) But shouldn't we call Wesley first? And maybe, you know, the army? ANGEL Nah. Durslar beasts are pretty Faulknerian. Lotta sound, no fury. Think you can find your way back okay? FRED I think so. 128 meters back, eastward fork, 207 meters to the southward fork, hang a right, 12 meters in, fourth grate onæ the left and I'm just bein' a real big nerd again, aren't I? I'm gonna go now. Fred starts backing down the tunnel, still talking to Angel. FRED (cont'd) Are you sure you'll be okay by yourself? 'Cause I could stay with you, I really don't mind -- ANGEL I'll be fine. FRED You'll be fine. You don't need me. Okay, bye! Fred reaches a corner. Turns back, calls: FRED (cont'd) Are you sure --? ANGEL (smiles) I'm fine. Fred waves, turns the corner, out of sight. BACK ON ANGEL, still smiling -- just as a BLURRY SHAPE (no need to build a monstro here) DROPS behind hime and TACKLES him out of frame. ANGLE ON FRED -- in another tunnel, walking by, licking her ice cream cone. As she exits frame, out of the dark, TWO PURPLE, INSECTILE EYES open, watch her go... INT. ANGEL'S HOTEL - LOBBY - NIGHT Wes, Cor, and Gunn, still doing inventory. Wes hands a PITCHFORK-LOOKING THING to Cor, makes a note on a clipboard. WESLEY Three- pronged Scythian death spear, category 6. WeapÝons cabinet, third shelf. Cor crosses to the cabinet, puts the spear away. WESLEY (cont,d) (proud) Y'know, back in my days as a rogue demon hunter, I once used that very spear to pin down what I thought was a small Rodentius demon. (beat) Of course, the poodle's owners weren't very happy, butÉ GUNN (to cor) Would you hurry up and get a vision already? Wes shoots him a dirty look. Cor starts to cross back-- CORDELIA Gee, Gunn, much as I'd love to endure another soul-splittingly agonizing psychic invasion for your benefOWWW! GUNN (standing) Yes! CORDELIA No! Ow! Fred! She's just smacked her shins on Fred's BATTLEAXE CONTRAPTION. CORDELIA (cont'd) I really wish she wouldn't leave her toys lying around. Wes and Gunn regard the contraption. GUNN Pretty wicked-lookin' toy. WESLEY I'll say. It almost looks like a ... spring-loaded decapitation device. CORDELIA Or it makes toast. With her, you never know. VOICE (O.S.) Excuse me? The gang turns toä find an older couple, ROGER and TRISH, standing there. They glance nervously at all the weaponry. ROGER Is this Angel Investigations? WESLEY Yes, can we help you? ROGER I sure hope so. My name's Roger, and this is my wife, Trish. We're sorry to barge in on your... arsenal here, but we really need to talk to you. WESLEY Of course. Please, step into my office. Wes leads them in, followed by Cor and Gunn, under: INT. ANGEL'S HOTEL WESLEY'S OFFICE - CONTINUOUS WESLEY I'm Wesley Wyndam-Pryce, and these are my colleagues, Cordelia Chase and Charles Gunn. They nod to the gang, sit. Wes moves behind the desk. WESLEY (cont'd) What can we do for you? TRISH It's our daughter. She's missing. CORDELIA (sympathetic) Oh no. Kidnapped by evil fiends? Trish looks at her funny. TRISH We're not sure. WESLEY I see. Was your daughter involved in any sort of demon worship? ROGER Of course not! GUNN Could be a vampire. Hard luck trackin' one of those in a city this bÞig, but don't worry -- we're detectives -- we can find anyone. ROGER We already hired a detective. WESLEY And he couldn't locate her? ROGER He said she was stayin' here, in your hotel. TRISH Her name is Winifred Burkle. We call her Fred. Off our gang, trading glances -- INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS Fred enters from the basement, carrying the remains of her ice cream cone. She walks into the lobby -- and stops when she sees Roger and Trish in Wes's office. Her face drains. A beat of panic, then she rushes upstairs, unseen. INT. ANGEL'S HOTEL -.WESLEY'S OFFICE - CONTINUOUS Where we left off. GUNN Fred's your daughter? TRISH (excited) Yes -- you know her? ROGER Is she here? Is she all right? WESLEY She's fine and... out, at the moment. With one of our associates. CORDELIA (quickly) Who's not an evil fiend. Or a vampire. Because they don't exist. In case you're unfamiliar with our L.A. gumshoe detective slang. ROGER But what happened to çher? It's been five years -- has she been with y'all this whole time? Glances between our gang: what the hell do we tell them? WESLEY Uh... no. We've only known Fred a few months, really. You see, we found her in... in ... CORDELIA A fit of depression. TRISH Fred was depressed? Over what? WESLEY Ah, she had just ... relocated and was ... having some trouble adjusting. (changing the subject) How did you come to find her again? TRISH About a month ago, we got a letter from her in the mail. ROGER She didn't leave a return address. In fact, she said she was fine, that we shouldn't bother lookin' for her, butÉ TRISH Five years of not knowin' whether your daughter is alive or... How could we just let it go? ROGER So we hired the private eye. GUNN (impressed) And he tracked her down through an unaddressed envelope? (beat, bravado) We could do that. Suddenly Angel enters reception, carrying the Durslar Beast's HEAD. He's stoked, doesn't notice Fred's parents, calîls out: ANGEL Wait'll you guys hear what happened at Haagen Dazs! Ordinarily these things don't put up much of a fight, but this one? Hoo! I think I'm gonna have it -- He enters the office, holding the head aloft. Stops dead in his tracks when he sees Roger and Trish. ANGEL (cont'd) -- mounted. (beat) Hello. CORDELIA Angel, you're -- alone. And you brought ... a prop! From your movie! (to parents) This is Angel, he makes ... monster movies and Angel, these are Fred's very normal parents. ANGEL Ah. (hiding the head behind his back, beat) Fred has parents? INT. ANGEL'S HOTEL - FRED'S ROOM - NIGHT Fred is frantically trying to wipe the writing off her walls. It's not coming off. She drops the rag she was holding. Looks around the room. A beat. Then starts gathering her belongings (as if to tidy the place up) -- INT. ANGEL'S HOTEL - WESLEY'S OFFICE - CONTINUOUS Where we left off. An awkward beat of silence. ANGEL Well. Nice to meet you both. We hear a quiet PLOP. PARENTSó' POV: Green SLIME is oozing from behind Angel's back, hitting the floor. ROGER Uh, son? Your prop is drippin'. Angel whips the head out from behind his back, bobbles it from hand to hand so the parents can't get a good look -- ANGEL Oh, this? Yeah, fake. A little glue, a little papier mache -- He throws it back into the reception area, where it crashes into something GLASS and breaks it loudly. ANGEL (cont'd) -- possibly some lead. So. Fred's parents. We've heard so much... (beat) Well it sure is nice to meet you folks. TRISH I take it Fred never mentions us? CORDELIA Oh, sure she does, all the time. Let's see ... there was a mother and... a father and... possibly a sibling? TRISH Two brothers and a sister. CORDELIA Three siblings! Yes! A trio of siblings that Fred has mentioned to us. A wooden pause, as Roger and Trish exchange glances. GUNN (can't figure it out) No address anywhere on the envelope? Anywhere? Man. ROGER Do you know when Fred'll be back? The gang òturns, looks at Angel expectantly. ANGEL Oh. Me. Well, I sent her back here right before I ... picked up that prop so ... I'm sure she's up in her room right now. HARD CUT TO: INT. ANGEL'S HOTEL - FRED'S ROOM - NIGHT Angel and Fred's parents standing in her now-empty room. Cor, Wes, and Gunn hover at the doorway. A beat. TRISH (calling out) Fred? ROGER She's not here. Angel stoops down, picks up the ice cream cone NAPKIN. ANGEL No. (to the gang) But she was. Fred's folks look around, horrified. Trish reads the walls: TRISH This ... it's her writing, but ... what does this mean? It's just crazy. CLOSE ON ROGER, as he sidles up to Trish, ostensibly to get a better look at the wall. Under his breath, ominousÉ ROGER We might have to call 'im in sooner than we thought. REVERSE TO WES, GUNN, AND COR, watching. Quietly: CORDELIA Guys? When's the last time Fred left the hotel by herself? GUNN Couple weeks after never. GANG'S POV: The parents turn to look at Angel. ROGEøR We want our daughter. BACK ON WES -- WESLEY So what's she running from? Off the parents, looking suspicious -- EXT. STREET - NIGHT Fred clutches a BAG, moves down the sidewalk, hugging the wall, scared out of her wits. She's walking as fast as she can, the street almost empty. Eventually she ducks into an alley, tries to catch her breath, and as we PUSH IN on her terrified face BLACK OUT. END OF ACT ONE Act Two INT. ANGEL'S HOTEL WESLEY'S OFFICE - NIGHT POV (through the office window): Fred's parents huddled together in the lobby, conferring quietly. CORDELIA (O.S.) There's just something... off about them. REVERSE to find the gang, Cor looking out a slat in the window blinds. CORDELIA I can't put my finger on what. WESLEY Fred must've returned while we were in the office, seen her parents, and -- ANGEL Took off. Not a good sign. GUNN They said she sent 'em a letter. Can you picture Fred sneakin', off to mail a letter? CORDELIA Sneaking off? Right. Fred can barely tie höer shoes without Mr. Oh-You're-My-Big- Fat-Hero around. ANGEL You think I'm fat? WESLEY (thinking) The letter could be a ruse, to trick us into letting them get close to her. Making it seem as though she initiated the contact. ANGEL On the other hand, if the letter's real, then she told 'em not to look for her. There's gotta be a reason for that. CORDELIA (pointedly) Fred never talks about her family. A beat, as they mull this over. Then-- ANGEL So where do we start? Where would Fred go? GUNN We could hit all the local taco stands. (off their looks) Joke. (beat) Kinda. A long moment. Then -- ANGEL C'mon, you guys, think. What do we know about Fred? Another long beat. The gang shares guilty glances: they don't know squat about Fred. GUNN I knew about the tacos. That's pathetic. Angel shakes his head. ANGEL All right. She seemed pretty comfortable in the sewers -- they're dark, cavelike -- she felt safe there. I'm gonna head back down, see if I can find her. WESLEY She ûused to work at the public library. There might be colleagues there she trusted. Cor's back at the window: CORDELIA What about them? We can't just leave 'em here. COR'S POV: The parents huddled together. CORDELIA (O.S.) What if Fred comes back? Just then the parents look up, right at Cor -- HARD CUT TO: INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS PARENTS' POV: Cor's eye is visible through the slat, which abruptly drops shut, obscuring her. REVERSE to the parents -- as they glance at each other. They look nothing if not suspicious. ROGER Is it time? TRISH Not yet. Wes's office door opens, and the gang files out. WESLEY Mr. and Mrs. Burkle, we're going to try a few places we think Fred may have gone -- why don't you come along? ROGER All six of us? Wouldn't it make more sense to split up, cover more territory? Long beat. Our gang feeling stupid. GUNN Perhaps. ANGEL Well, I'm gonna check out ... (glances at Cor) ... some of my industry contacts, so it'll just be the five of youõ. TRISH Industry contacts? How will that -- (horrified) Fred's not ... "making movies", is she? ANGEL Movies"? (getting it, smiles) Oh, you mean -- (drops the smile) No! Of course not. It's just, sometimes these contacts ... know things. They're ... underground. The parents look at the gang skeptically. WESLEY Right. Shall we go? As the group moves to the door, Angel pulls Wes aside, sotto: ANGEL Call me if ... WESLEY (nods) Yeah. Wes moves off. Off Angel, watching them go EXT. LOS ANGELES SKYLINE - NIGHT Flashy cutty whiz bang -- INT. CARITAS - NIGHT A KNOCK is heard at the door. The club is still empty and demolished -- exactly like the end of Episode 2. The HOST shuffles in from the back: a lit CIGARETTE in his mouth, glass of BOURBON in hand, wearing a TERRYCLOTH BATHROBE and PAJAMA PANTS. His hair is matted to one side of his head. HOST Figures. Right when Judge Judy's about to lay the smack down -- (another knock, hollering) I'm coming! I'm not deaf, you know! The Hôost drops his cigarette in a dirty glass on an unbussed table. The table promptly COLLAPSES. The Host ignores it, as another KNOCK is heard from the front door. The Host moves to the entrance buzzer, presses it -- HOST (cont'd) (calls up) Can't you read the sign on the door? Se habla "closed". Fred comes down the stairs, clutching a BAG. HOST (cont'd) (kindly) Oh, Fred, it's you. (quickly) Bar's closed, good seein' ya, it's been fun, buh-bye. The Host turns to walk away. Fred panics, starts to sing-- FRED ROW ROW ROW YOUR BOAT -- The Host flinches. HOST Yow! Turn the sirens down a notch, wouldja? All that fear and panic's blowin' out my fuses. FRED I'm sorry. I just --- somethin' awful's happened. The Host snorts, looks around at his club. HOST Really. Wonder what that's like. And now Fred sees the devastated ruins. Her jaw drops. FRED Oh no. Was there another massacre? HOST Just the one. But it turns out massacres are a lot like sitting through "Godfather III": once is öenough. FRED I'm not ... I mean, I don't wanna sound... Why is it still like this? The Host bristles, but covers smoothly. HOST Fred, honey, I don't think you're here to discuss interior decorating -- am I wrong? (she shakes her head) Then what can I do for you? Fred takes a deep breath, ready to unload all her troubles FRED I need cash. (then) And I don't wanna talk about it, 'cause I think my head might go a little TWANG and I'll sing if I have to but I should remind you that last time I did that people started shootin' and -- ROW, ROW, ROW-- HOST Easy, easy! Forget the singing, sweetheart -- your aura's practically screaming. FRED It's that obvious? HOST Oh, only to people who possess a certain preternatural sensitivity or a set of eyes. (peering at her) Yeah. You are in a bad place, aren't you, doll? You thought you could outrun them, that maybe you were free -- but those old monsters hunted you down. Fred looks away. The Host speaks quietly: HOST (cont'd) I know whây you're running away, Fred. And you know what your problem is? FRED I'm not strong enough to stay and face my fear? HOST No. (beat) You haven't run far enough. Fred looks back up at him, surprised. INT. SEWER TUNNEL - NIGHT Angel walks down the tunnel, calling: ANGEL Fred? It's just me. I'm alone. (nothing) Listen, whatever this thing is with your parents, we can help you. As Angel passes a crevice in the tunnel, those same two PURPLE INSECTILE EYES from the Teaser open out of the dark. EYES' POV (this has a COOL, DISTORTED EFFECT -- like a photographic negative): on Angel's back, as he continues down the tunnel. ANGEL (cont'd) Fred? Off the EYES, watching -- INT. PUBLIC LIBRARY RECEPTION DESK - NIGHT Cor and the parents standing there, awkward. TRISH Does Fred come to the library often? CORDELIA Well ... this was the first place I ever saw her. TRISH She used to love the little community library back home. Every afternoon I'd pick her up there afteïr my rounds. CORDELIA Oh, a doctor! No wonder Fred's so smart. TRISH I drive a schoolbus. CORDELIA Oh. (beat) I've never actually ridden in one of those, but I hear they're very nice. ROGER So what exactly does Fred do for you people? It strikes me a little odd: a physicist workin' for a detective agency. CORDELIA Well, Fred's ... gone through some changes. ROGER And whose fault is that? CORDELIA Nobody's. People change, that's all. ROGER Fred wanted to be a physicist when she was 3, and you're sayin' "people change"? Sounds pretty flimsy, you ask me. Cor's about to respond, when Wes and Gunn approach. WESLEY We checked every floor. Nothing. ROGER So what's next? WESLEY (I have no idea) Give me one second to confer with my colleagues. Wes, Cor, and Gunn move a little distance apart. GUNN I coulda toldja she wasn't gonna be at the library. WESLEY Then if you know her so well, Gunn, why not just tell us where she is? GUNN Bet that taco stand's not lookin' so ÷bad now, is it? CORDELIA Hey -- Mr. and Mrs. Bickerson. A little focus, please? (they look at her) There is definitely something going on with them. GANG'S POV: Roger and Trish are watching the gang, whispering. BACK ON THE GANG -- CORDELIA (cont'd) Next place we go, you guys get to babysit. Those people wig me. WESLEY So where do we go next? Where would Fred go for help, for guidance? Off the three of them, concentrating hard -- INT. SEWER TUNNEL - NIGHT ANGEL, still prowling. He hears a NOISE, stops. Looks into the pitch blackness ahead. LOW ANGLE -- through the EYES' PHOTO-NEGATIVE POV -- we see Angel's back, about twenty yards away. ANGEL Fred? ANGLE ON THE SHADOWS behind Angel: as a LARGE FORM rears up in the dark, topped by those two PURPLE EYES. HIGHER, PHOTO-NEGATIVE POV: Angel takes a tentative step forward -- ANGLE ON ANGEL: Another step, big schmuckbait tension -- ANGEL (cont'd) There's nothing to be afraid of -- BEEEEEEEEP! Angel jumps, grabs at his chest, fumblinûg, takes out his CELL PHONE, opens it. BEHIND HIM IN THE SHADOWS, the FORM slinks back into darkness. ANGEL (into phone) What? (beat) No. You? (longer beat, then duh) Ohhhh. You mean the place she'd go for help and guidance. (sighs) We suck. I'll meet you there. He hangs up, turns around, walks back the way he came. As he passes a dark crevice, the PURPLE EYES watch him retreat. Then the FORM moves silently after him as we PRE-LAP: HOST (O.S.) Well isn't this a lovely surprise? INT. CARITAS - NIGHT ANGLE ON the Host, jovial, friendly, reveling in all his slacker glory amidst the rubble of his club. REVERSE TO REVEAL everybody there (except Fred), looking shocked. CORDELIA (sotto to Wes) He's surprised? I didn't think he owned any terrycloth. HOST Such a small entourage tonight. Gunn, why didn't you bring your other friends? 'Cause they make a party! Gunn glances at the gang-- GUNN Maybe I should wait outside. HOST Y'know, I'm not entirely uncomfortable with that suggestion. Gunn isý actually a little surprised by that, but he nods, exits. We see Angel watching the Host closely. TRISH What kind of a place is this? HOST D'you like it? I was kinda goin' for a Dresden-after-the-bombing sorta feel. ROGER (to Angel) Is this one of your big "industry contacts"? Some guy in a bathrobe wearin' make-up and fake horns? HOST They're not fake! (beat) And it's only a little eyeliner. Wes tries to defuse the situation. WESLEY Lorne, I'd like you to meet Fred's parents, Mr. and Mrs. Burkle. They're here visiting from -- (hinting) -- the country. ROGER (insulted, sarcastic) Yeah. You'll have to forgive us hicks. Down in Texas, we don't get a lotta guys wearin' eyeliner. (beat) Not for long, anyway. CORDELIA Oh, Lorne's just teasing you. He probably just got back from a shoot. He and Angel do monster movies together, right, Lorne? HOST (deliberately) No. ANGEL Can I talk to you for a second? Angel grabs the Host's sleeve, drags him away. The parents turn to Cor and Wes: TR÷ISH Some detectives. You have no idea where our daughter is, do you? ROGER Maybe they do -- maybe they just don't want us to find her. WESLEY I understand how you might be upset ANGLE ON THE HOST AND ANGEL: HOST Upset? Don't be ridiculous. Why would I be upset? ANGEL Lorne, I'm sorry about the bar, but right now Fred is missing, and we need your help. HOST Oh really? Well I am not some mystical vending machine, here to spit out answers every time you waltz in with a problem. I have a heart. Granted, it's located in my left buttcheek, but it's still a heart, and that heart is broken. I mean, why is it nobody ever cares about my destiny? Everyone who walks through that door is all about "me, me, me" -- what about my me? My me's important! Suddenly Angel gets the point of this little diatribe: ANGEL You know where she is, don't you? HOST And another thing, how... how do they get the pimentos in the olives? There's a mystery for ya. Does somebody stuff each one by hand, 'causèe that seems a little time consuming, or is there just some kind of pimento ... stuffing... machine ... The Host trails off. Knows Angel's not buying it. HOST (cont'd) Fred doesn't wanna see her parents she has reasons for that. Why force a showdown when you don't have to? ANGEL Because it won't be over. Angel looks at the Host, knows he's getting through. ANGEL (cont'd) They found her once, they'll do it again. At least this time we can be there to protect her. The Host looks at Angel, weighing his decision. ANGEL (cont'd) Please. Tell me where Fred is. (beat) I know you're not a slot machine. HOST Vending machine, ya big palooka. (long beat, sighs) All right. Just play this one delicately, bro, cause it's gonna get messy. INT. BUS STATION - NIGHT CLOSE ON A HOMELESS PERSON, sloppy and unkempt. As we PULL BACK, we see that he's sitting on a bench. PULLING FURTHER BACK, we see tiny little Fred sitting on the bench next to him, a TICKET clenched in her hands, ðher bag at her feet. FRED I can do this. Sure I can. I can just get right up on that bus and be a whole new person. Like origami. Or plastic. The Homeless Guy looks at her, slides away down the bench a little. FRED (cont'd) Move someplace I never been with no money, no friends, no job. Easy as pie. 3.14159265 -- The Homeless Guy looks at her, stands up, moves away. Fred notices. FRED (cont'd) Oh, hey, I was just calculating pi ... (he's not listening) ... to relax. I'm not dangerous. HIGH UNKNOWN POV -- Looking down at Fred, alone in the bus station, as the Homeless Guy exits the front doors. BACK ON FRED FRED (cont,d) I could go to Vegas, learn to play blackjack. Memorized 452 consecutive digits of pi, a few hundred measly cards should be easy. Nine, ten, jack... queen... king... Fred trails off, her eyes wide with fear, as she's just caught sight of HER PARENTS in the doorway, the gang behind them. Fred gets to her feet, as though she's underwater. FRED (cont'd) No. Ý TRISH Fred? Her parents start to move forward slowly, the gang following close, ready to intervene. Fred gets more and more agitated, backing away, cornering herself. FRED No. You're not here. Go away. TRISH Fred, honey, it's us FRED You're not them. The gang looks at each other -- uh oh. FRED (cont'd) You can't be them. You're not them 'cause they don't know. ROGER Sweetie, it's Mom and Dad -- FRED (frightened) Shhhh! Stop sayin' that. You can't be... TRISH (weakly) Honey, don't you remember us..? FRED I was-- I was five years, and so lost and at night I would, I was all by myself and you weren't there-- ROGER Fred, I don't understand-- FRED I got lost, I got lost, they did terrible things to me but it was just a storybook, it was just a story with monsters, not real, not in the world, but if you're here and you see me then... (breaking down) ... then it's real, it did happen, if you see what they made of me... I didn't mean to get lost... ç Both her parents are crying now - hell, everyone's having a hard time keeping it together. Trish rushes forward as Fred collapses in her arms, sobbing. TRISH Oh, honey, it doesn't matter what they did to you... FRED Mommy... TRISH We'll make it all right ... FRED I'm sorry, I'm so sorry I got lost... ROGER Don't matter. You're our little girl... TRISH Shhh... FRED I missed you so much... I was so... ROGER Everything's okay now. You'll see. You're safe now. Just then a huge BUG DEMON (think Jeff Goldblum in the last stages of "The Fly", or Flukeman from "The X-Files") leaps down from the rafters right in front of them. Everybody reacts with horror. ROGER (cont,d) Tell me that's somethin' from the movies. CORDELIA No, that's somethin' that's gonna kill us. BLACK OUT. END OF ACT TWO Act Three INT. BUS STATION - NIGHT Right where we left off. ANGEL Everybody outside! WESLEY Angel -- ANGEL (re:Fred & parents) Get them outta here! I can handle this! Ã As Angel goes for the Bug Demon -- EXT. BUS STATION - NIGHT Fred and her parents rush out, followed by Wes, Cor, and Gunn. ROGER What the hell is that? CORDELIA (to Wes) All our weapons are back at the hotel! GUNN Angel said he could handleÉ Just then Angel comes CRASHING through the glass doors of the bus station, landing a good twenty feet away. GUNN (cont'd) Éit. As the Bug comes out of the station after him, Angel gets to his feet IN VAMPFACE (no morph required). GUNN (cont'd) Maybe there's somethin' in the trunk. Gunn takes off. Wes and Cor lead Fred and her parents to a safe spot (incidentally, it's by a large metal TRASH CAN) -- ROGER (re: Angel) What happened to his face? WESLEY (rapidly) Angel's a vampire, he has a soul, it's a long story, we'll tell you about it later if we don't all end up dying. Suddenly, something catches Wes's eye: a PILE OF LUGGAGE on the sidewalk. He runs over, pulls off an OBLONG BAG. WEÔSLEY (cont'd) Cordy, over here! BACK ON ANGEL -- The Bug is fast, slicing at Angel with its pincers, landing a blow to the head. Angel goes down, hard. GUNN (O.S.) Hey! Bug boy! ANGLE ON GUNN -- with a big-ass BOW AND ARROW (not crossbow; a real bow, with arrow). He ZZZWIPPs the arrow, we WHIP PAN to see it STAB the Bug. It SHRIEKS, goes for Gunn -- -- only to meet Wes and Cor, attacking with two GOLF CLUBS. A few feints, a few hits, but then the Bug swats all three of them aside, sending the golf clubs skidding... ... right in front of Fred. She looks up from the clubs to the Bug, terrified. FRED'S POV: Angel attacks again, but the Bug sends him flying against a bus, SKITTERS forward and IMPALES ANGEL'S SHOULDERS, pinning him to the bus with its pincers. Angel yells. The Bug leans in, all teeth -- -- and gets WHACKED with a GOLF CLUB. The Bug staggers back, freeing Angel. REVEAL: Fred with the club, scared shitless, doesn't know what to do next. The Bug réegroups, comes back-- ANGEL Fred, get out of the way, get out of the-- Angel shoves her aside just as the Bug LASHES out, slicing Fred's arm and SMASHING Angel to the pavement. The Bug LUNGES at Fred, only to catch a metal TRASH CAN smack in the face. ROGER That's my daughter, ya damn cockroach! Just then Angel leaps onto the Bug's back, pulling it away from them -- it looks like he might have it -- but then it TOSSES him into another bus, and the second Angel is clear -- WHAM! A BUS Plows RIGHT OVER the Bug, flattening it, sending a spray of BUG GOOP all over Fred. A stunned beat, as everybody wonders what just happened... then the bus doors swing open, and Trish stands on the steps: TRISH (breathless) Did I get it? Did I get it, y'all? ANGLE ON Angel, as he looks up, sees everyone's okay, then lets his head drop back on to the pavement. Exhales. EXT. LOS ANGELES SKYLINE - NIGHT Flashy cutty jumpy... INT. ANGEL'S HOTEL - LOBBY - NIGHT Sitting on the poof-couch in thõe center of the lobby, Cor tends to Fred's wounds as Trish and Roger look on. Fred is strangely subdued. She studies and pokes at the DURSLAR HEAD, which is propped up in the center of the poof. TRISH I almost hate to ask, but ... you do a lotta bandagin' in your line of work? CORDELIA (grins) Occupational hazard. I mean, sure, there's the occasional demon who tries to kill us with pillows, but sadly, those cases are few and far between. FRED'S POV: We see small PURPLE CRYSTALS (like the ones in the sewer) forming over the Head. ON FRED, her brow creased. Roger looks from his daughter to the Head -- ROGER What about this guy here -- was he a ... demon? CORDELIA I think Angel called it a Durslar beast. He and Fred tracked it down after it attacked 'em when they went out for ice cream. ROGER You mean you know how to track these things, Fred? Fred stops poking at the head, a little embarrassed. FRED No. Mostly I was just there for ice cream. TRISH (re: the head) I wish he hadn'tõ brought that thing out again, it gives me the willies. ROGER Oh, don't be silly, Trish -- it's only a severed head. Trish looks at him: that's supposed to make her feel better? GUNN (O.S.) I got it. Gunn picks up the Head, brings it to the reception desk, where Angel and Wes stand. He sets it on the counter by the green pillar, amused, pets it fondly. GUNN Lady makes bug soup with a ten-ton bun, but show her a papier mache head and she gets the willies. (chuckles) Women. ANGEL Uh, Gunn? You do know it's not papier mache. Gunn looks at the head, back at Angel. Remembers. He sticks his hands out, away from his body, suddenly serious: GUNN We still got that bleach in the bathroom, right? He quickly exits toward the bathroom, leaving Wes and Angel to watch Fred with her parents. A moment. ANGEL I gotta say, this is not how I pictured this turning out. WESLEY They look... happy, don't they? ANGLE ON THE COUCH -- Cor's just finished the dressing on Fred's bandage. CORDELIA And ùvoila! That's French for, "I think we stopped the bleeding." FRED Thanks, Cordelia. CORDELIA Next up -- multiple stab wounds. (calling over) Angel! ANGEL Ooh! My turn! He darts to the couch. Cor rolls her eyes affectionately. CORDELIA What a dork. We see Fred eye their easy camaraderie. She looks left out. WESLEY How does it feel, Fred? FRED Like my heart's been crammed into one of those little orange juice squeezers and -- (realizing, re: her arm) Oh. Kinda like a giant bug tried to rip off my arm and Angel saved me. TRISH He seems to do that a lot, doesn't he? FRED (proud) It's what he does. Angel's a Champion. And Wesley's the Brains of the operation, and Gunn is the Muscle, Cordy's the Heart, and I'm... Fred trails off -- what, exactly, is she? ROGER And to think we kept wonderin' when to call the police -- on a buncha superheroes. ANGEL (faux modesty) I'm not really a "hero" ... As Gunn re-enters, wiping his hands on a towel: GUNN More like a bloodsucking fiend.ö Angel shoots him a "Hey!" look. ROGER Frankly, Angel, I don't care if you drink pig's blood, cowls blood, or those froofy imported beers for that matter. You saved my little girl. ANGEL Well I wouldna had to if she hadn't gone all Amazonian and whacked that thing with a golf club! Fred shrinks a little at this. ROGER I tell ya, I hadn't seen a stroke like that since Nicklaus took on Gary Player in the '63 -- ANGEL Bob Hope Desert Classic! ROGER --Bob Hope Desert Classic! He and Roger laugh good naturedly. Two old guys sharing something... well, old. FRED I wanna go home. Everybody looks over at Fred, shocked. The words tumble out of her mouth before she can stop them. FRED (cont'd) I'm -- I'm just not cut out for this. I mean, if Angel hadn't gotten me outta the way, you'd all be laughin', in the morgue right now. (then) Okay, maybe not laughin' but the point is, I - I think I should go back home, where it's quiet, and safe, and monsters don't eat your family. (beat, ùto her parents) You're not ... disappointed in me, are you? TRISH Oh, Fred. Never. It's gonna be so good to have you home. Trish stands up, maybe dabbing at her eyes, as she puts her arms around Fred. Roger joins in. ANGLE ON THE GANG stunned. We play it a beat, then: GUNN She'll probably be happier there. Wes, maybe feeling a little something he shouldn't: WESLEY Yes. That's ... good. Off Wes -- INT. ANGEL'S HOTEL - FRED'S ROOM - NIGHT Fred, showered and changed, stands contemplating her scribbled walls (a certain area, in particular, though we don't see what's there), BAG in hand. A quiet moment to herself, before a soft KNOCK at the door. She turns, sees Angel standing in the doorway. FRED Angel, hi. (formally) I invite you in. Angel smiles, walks in. ANGEL Thanks. But you only have to do that the first time. Once I'm invited -- FRED Oh, I know. I just figured... since I'm goin' home now, I'm not gonna be invitin' you in anywhere ... unless of course you come to Texas -- üANGEL Or you build that condo in the sewer. Fred smiles. He remembered. Fred turns back to the wall. ANGEL (cont'd) So how you doin'? FRED Oh, fizzy. Kinda weird and... fizzy. But excited. And a little sad. Thankful. Sorta cautiously happy. Relieved and worried at the same time. Slightly nauseous while still bein', hopeful. ANGEL That about covers it. (beat, watching her) You gonna remember everything that's up there? FRED (smiling) Well, sure. It's a story. A pause, as Angel looks at her, then up to the wall. Fred, almost seeming to read the walls: FRED (cont'd) Once upon a time there was a girl who lived all alone in a horrible cave so far from home it made her chest hurt. And every day in that horrible cave, the girl tried to figure out a way to escape. None of her plans ever succeeded, of course, and she'd almost given up hopin' - but then one day, just like in a fairy tale, a handsome man rode up on a horse and saved her, and took her back to his castle. (beat) You'd think tþhat was the end, wouldn'tcha? Dumb old fairy tales and their happily ever afters. Fred looks down. Her voice tiny. FRED (cont'd) But see, the minute they got back to the castle, the handsome man went away again. (more) And even though she didn't mean to, didn't want to ... high up in that castle tower ... the girl just built herself another cave. Hoping he would save her again. A long beat, then Fred turns to Angel. FRED (cont,d) But you can't save me this time. Off Angel, knowing he can't -- OMITTED INT. ANGEL'S HOTEL - LOBBY - NIGHT Cor and Trish on the red couches (by the landing). Wes, Gunn, and Roger in the reception area. TRISH- I mean, Rog's always had a thing for those disgusting "Alien" movies all the slime and teeth. He just can't get enough of 'em. (thinking about it) Except for that last one they made I think he dozed off. (then) I just can't believe it's all real. CORDELIA Well, aliens I'm not sure about -but demons and alternate dimensions? I know. It takes a littleñ getting used to. TRISH No offense, but knowin' what I know? I'm so glad Fred's comin' home. She's smart as the dickens, that one, but she's not a ... a warrior, like y'all. This place is just too dangerous for her. ROGER (O.S.) Hey, honey. wouldja look at this? Roger, Gunn and Wes cross to them, Roger carrying Fred's battleaxe contraption. ROGER Fred made this. GUNN Cool, ain't it? WESLEY We think it's some sort of mechanized weapon, possibly influenced by the medieval catapult, designed for serious to fatal wounding, if not complete decapitation. ROGER Or it makes toast. WESLEY Or it makes toast. TRISH (beat, to Cor) I'm just glad she's comin' home. Just then Fred and Angel come down the stairs. Roger sets the contraption down on the floor. Everybody meets up in the middle of the lobby. TRISH (cont'd) You got everything packed, baby? What about that shirt with the -- (distastefully) -- bug guts -- on it? You threw that out, right? You're not takin' it home, rightð? FRED I don't know... I kinda thought I'd keep it, guts and all. As a souvenir. ROGER (proudly) That's my girl. Trish sighs -- what's she gonna do with those two? Fred looks at the assembled gang, clears her throat. FRED You know, in the shower I had all these pretty things to say and I was gonna be fancy and... aw, hell. (glancing at parents) I mean heck. She walks up to Gunn, hugs him. Then Wes. As she hugs Cor CORDELIA (sotto) Between you and me ... I'm almost a little jealous. Over Cor's shoulder, we see Fred smile ruefully. If she only knew. Fred lets go, moves to Angel. They stand there for a moment, but Fred can't hug him. It would just hurt too much. FRED Thank you. For everything. ANGEL Bye, Fred. A beat, then Fred moves quickly back to her parents. FRED We better go before I get all runny. ROGER All of you: I just want to say thanks, for rescuin' our girl here and takin' such-good care of her. WESLEY It was our pleasure. Fred picks up her bag. Her paÃrents gather around her. FRED I'll come back and visit. But this sounds just as hollow as it always does. FRED (cont'd) Well. Bye, y'all. The gang ad-libs "bye"s as Fred and her parents move to the door. She passes her battleaxe-thing on the floor, looks at it, then looks back at the gang. Smiles, sad, then leaves. A beat of our gang standing there. Fredless. EXT. LOS ANGELES STREET - NIGHT A TAXI-CAB goes rushing by, to establish INT. TAXICAB - NIGHT Fred, flanked by her parents, sits in the back of a moving taxi. She twists a swatch of the BUG-GOOPED shirt (sticking out of her bag) like a talisman. A beat. ROGER Your room's exactly the way you left it. (beat) All except for the guy who's rentin' it out, but his lease is up in a month. FRED You rented out my room? ROGER Well, honey, after the fourth year and we didn't hear nothin' from you -- FRED Daddy, I was kidnapped into an alternate dimension! The CAB DRIVER glances inÛto the rearview. Trish notices. TRISH Well she was! Fred looks off, a little embarrassed. An awkward beat of silence. Fred pulls out the bug-goo shirt, under: FRED I'm just gonna miss 'em, that's a-- FRED'S POV: The shirt is caked with PURPLE CRYSTALS. ANGLE ON FRED: She stares at it, her face transforming, then: FRED (cont,d) (to the driver) Turn the car around. Now. INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT The gang sprawled out over the furniture, listless, sad. CORDELIA In a really weird way, you know who I miss? WESLEY Fred. CORDELIA Actually, I was gonna say her parents. (beat) Is that wrong? ANGEL I don't think so. They were very... nice. CORDELIA Nice? They weren't just nice, Angel. They were.,. they were ... GUNN Parents. A pause, as the group ponders that. CORDELIA I think I finally figured out what was "off" about them. (beat) There was nothing "off" about them. WESLEY They loved her. Supported her. (then) Didn't grind her down ëinto a tiny self-conscious nub with their constant berating. They all look at Wes, who suddenly realizes what he said. He starts to take it back, then just waves it off. CORDELIA At least now Fred's got a shot at a normal life. (beat) Not that I don't love you guys and L.A. and my work, but - INT. ANGEL'S HOTEL - LOBBY - NIGHT We SEE the DURSLAR HEAD sitting on the reception desk. CORDELIA (O.S.) Things are just never normal around here -- you know? And suddenly the face starts to bubble -- almost to HATCH. BLACK OUT. END OF ACT THREE Act Four INT. TAXICAB - NIGHT Fred sits forward in the seat, urging the cab driver on. Her parents sitting back, concerned. FRED Hurry, please. We gotta hurry. TRISH Fred, I don't understand. I thought you wanted to go home. FRED I do. I do. ROGER Did you forget somethin'? FRED No, I missed somethin'. And now they need me. TRISH Your friends? FRED They're in danger. I'm so stupid! INT. ANGEL'S HOTEL - LOBBY - NIGHT CLOSE òON THE DURSLAR HEAD, as the skin starts to break open, little FEELERS emerging. We see the gang still in the office: WESLEY (O.S.) She's just so smart. INT. ANGEL'S HOTEL - WESLEY'S OFFICE - NIGHT Pretty much where we left 'em before. WESLEY I can't help but feel a little disappointed. When I think of the work she was capable of -- CORDELIA "Capable"? We're still talking about Fred, right? The girl who couldn't even tie her shoes without -- ANGEL I'm not fat, all right? They all turn to look at him oddly. He backtracks-- ANGEL (cont'd) What I meant was ... I'm gonna miss her. She was just this nice, quiet kind of crazy. (beat) I found it soothing. CORDELIA And what, I'm not soothing? I can be soothing. I could soothe your ass off, pal. GUNN Plus she was pretty handy with that five-iron. CORDELIA Right before she almost got killed. (sighs) Personally, I'm glad she's gone. It's gonna be a load off, not having to worry about crazy taco lady anymore. A beat, as Cor sðits there in silence. Then, plaintive CORDELIA (cont'd) D'you really think she'll come back to visit? INT. ANGEL'S HOTEL - LOBBY - CONTINUOUS UNKNOWN POV (long lens from the garden door), as more FEELERS poke out of the head. REVERSE TO REVEAL: a pair of PURPLE INSECTILE EYES watching the head through the garden door. INT. ANGEL'S HOTEL - WESLEY'S OFFICE - CONTINUOUS A beat, then Cordy stands, grabs her purse. CORDELIA Well that's it. I'm not just gonna sit around here and mope like you bunch of ... mopers. I'm going home. And under her breath as she exits -- CORDELIA (cont'd) Eat some comfort food, have a good cry... INT. ANGEL'S HOTEL - LOBBY - NIGHT CORDELIA Enters and sees the BUG descending the garden-door landing. CORDELIA (cont'd) ... crawl under my big fluffy... ... giant bug. She freezes, but the Bug sees her and SHRIEKS. Cordy SHRIEKS right back. Angel, Wes, and Gunn pile out of the office behind Cor. Their eyes go wide. GUNN We hit that thing with a bus! Yoóu tellin' me a bus won't kill it? ANGEL (looking beyond it) I don't think it's the same one. ANGEL'S POV: Behind the Bug, outside in the garden, are more (CGI) PURPLE EYES, glowing in the dark. CORDELIA We are so immensely dead. WESLEY Weapons. Wes, Cor, and Gunn rush into the lobby and grab weapons as Angel LAUNCHES himself at the Bug. A little (I said "little") fight action, then Wes, Cor, and Gunn raise their weapons in cool power-shot battle formation. WESLEY (cont'd) Angel, we're -- But in the b.g. of this same shot, the front door flies open, revealing: FRED Here! I'm here! (seeing the battle) I'm late! Okay! REVERSE ANGLE ON Wes, Cor, and Gunn, as they all turn around to look -- WESLEY (oddly pleased) Fred? But Fred is all business, dragging at something we can't see as her parents enter behind her, out of breath. BACK ON ANGEL, a pincer dangerously close to his face -- ANGEL Who's helpin' me here? ON WES, COR, AND GUNN -- They turn back around, level their weapóons -- FRED (O.S.) I am! Wes, Cor, and Gunn whip around to see Fred run forward and STOMP on her battleaxe contraption, which SHOOTS the battleaxe spinning into the air -- and BURIES it in the Durslar's Head. The Head EXPLODES -- releasing a smattering of little COCKROACH BABIES, who scramble up to the Bug. The gang watches in awed silence as the Bug gathers them up, turns to the garden door, and races out with its babies, taking its posse with it. Angel gets to his feet. Wes, Cor, and Gunn drop the weapons. A stunned beat. GUNN So not a toaster. ANGEL Fred, how did you --? FRED The crystals. The ones we saw in the sewer? They were on the Durslar head, too, and at first I thought they came from the Durslar, but then I saw this -- Daddy? Roger proudly holds up the crystallized shirt. FRED (cont'd) Those crystals are just dried-up Bug goop. (more) It must've laid its eggs in the Durslar's head, which would explain the Durslar comin' up out of the sewer -- 'cause, I mean, wouldùn't you be a little crazy if you had eggs in your head?. I know I would. Cor opens her mouth, then closes it. Too easy. FRED (cont'd) Anyway, that'd be all fine and Darwinian, except Angel killed the Durslar and brought the head back here, so the Bug had to track him down to get its babies back. WESLEY And at the bus station, when Trish ran over the mother -- FRED Or father -- I think they might be a hive species, gender-neutral, but I'd have to do some research to back that up -- WESLEY -- the whole hive showed up to reclaim its offspring. Brilliant deductions, Fred. GUNN Not to mention that little axe gadget is tight. FRED Oh, that was just a random thought I had: what if you had to do battle with your arms cut off? Sure, you'd hemorrhage to death pretty quick, but at least you could take your enemy with you. A beat, as they all stare at her. CORDELIA Nasty, yet impressive. ANGEL (smiling) Nice goin', Fred. FRED (basking in the praise) Aw, it was nothin'. (then) Justü a stunnin' revelation of my true path in life, that's all. Quizzical looks all around. ROGER Come again, honey? Fred turns to her mother and father. FRED Look, I could go home with you and pretend the last five years didn't happen. I might even be able to pretend to have a normal life, but truth of it is, well, I'm not normal anymore. (laughs) Wow. If that wasn't callin' the rotworm carnivorous -- (off their looks) Pylean colloquialism. I guess what I'm gettin' at is: I missed you both so bad, but ... I belong here now. (anxiously, to the gang) Unless I don't. Which, if y'all didn't wanna put up with me, I'd completelyÉ WESLEY Let's put it to a group vote. (quickly) All in favor say aye? Aye. Good. Motion passed. You're staying. Fred looks to her parents FRED Mama, Daddy, it's just ... this is my life now. TRISH Oh, Fred. I know it's selfish of us, but - we were just kinda hopin' you wouldn't figure that out. Fred smiles. Her parents put their arms around her. ROGER 'Course, ÿwe're gonna stick around a couple weeks -- FRED Daddy-- ROGER -- days, who knows? Just to catch up, get reacquainted -- and make sure you're positive about your decision. FRED Oh, I think I know where I'll end up. (beat, then to all) It's here. Y'all got that, right? CORDELIA (grins) We got it. And off Fred, with both her families -- EXT. LOS ANGELES SKYLINE - NIGHT TO DAY TO NIGHT Time passage, a la the "Angel" show.... INT. ANGEL'S HOTEL - FRED'S ROOM - NIGHT CLOSE ON FRED, as she stands in front of her wall, looking at what she wrote in Episode 1: "Listen, listen, listen,'. An upbeat SONG plays in the background. She smiles, then lifts a PAINT ROLLER and paints over it. WIDEN TO REVEAL Angel, Roger, Wes, Gunn, and Trish, surrounded by½ GALLONS OF PAINT, DROPCLOTHS, and other assorted painting-party accoutrements. The room is half done already. A BOOM BOX provides the tunes. Fred looks from the wall to Angel and Roger in one corner ROGER Now, Spiro Agnew, I know he musta been-- ANGEL (excited) You knew? He's a Grathnar demon! You knew that? I thought I was the only one that knew that! Fred looks over at Wes and Gunn and Trish WESLEY (re: the paint) Not horizontally, vertically! Otherwise you won't-- GUNN I'm tellin' ya, you do it vertically, you're gonna have those ugly drops all over the-- TRISH Now, boys, I don't wanna hear any fightin' over there. Wes and Gunn sheepish, but enjoying the parental admoniti¼on. WESLEY Okay. Gunn Okay. Just then, Cor enters, holding two PIZZA BOXES. CORDELIA Somebody order a pizza? Fred? Pizza? FRED In a minute. I just wanna finish this section. She turns back to the wall, moves down to the portion she was looking at when Angel came by her room the night before. Stares at it for a beat, then quietly, to herself: FRED (cont'd) And they all lived happily ever after. FRED'S POV: A DRAWING of a long-haired girl being whisked away by a man on a horse. BACK ON FRED, as she smiles, truly happy. FRED (cont'd) For a while, anyway. BACK ON THE DRAWING, as a PAINT ROLLER enters frame ... and wipes it clean away. 31 AND 32 OMITTED BLACK OUT. THE END