Cut to the girl in her bed. Her name is Nina, by the way. She moans and shifts uncomfortably, and then finally gets up. Close-up on her ear as she hears a girl giggling nearby. She gets up, and holy cow her bedroom is huge, and then she wanders out of the room.
Nina walks into a kitchen. A woman in scrubs is cooking with her young daughter. Nina asks, "How long was I out for?" The woman says "All day. I figured you must be sick." She slyly adds that Zach called, and that he missed seeing her in their art class. Nina is distracted by the overly-loud buzzing of a fly at the window. The daughter asks what happened to Nina's neck, which has a purple bruise on it. Nina pulls her hair back and tries to check out her neck in the reflection of a shiny kettle. Right. "I will look at distorted and unhelpful reflection here, rather than walking ten steps to the bathroom, because then we'll need to build another set." The woman wraps some ice in a towel and hands it to Nina while searchingly asking, "Is there something you wanna tell me?" Nina says, "I must've tripped on my run." See, the problem with treating the supernatural monsters with great seriousness is that then the everyday elements become more inexplicable. Nina knows she went out for a jog, a monster attacked her, and now she's got cuts and bruises and feels funky. I could understand why she wouldn't want to mention the monster, but rather than saying, "A mugger jumped me, I ran, I fell, I hurt myself, and maybe I should see a doctor because I feel funky," she's lying about parts that don't matter. And not lying very well, either: "I don't exactly remember tripping and falling onto my neck, but clearly, I must have." Then Nina's distracted by the hamburgers sizzling on a griddle. The woman asks if Nina can babysit the girl, Amanda, that night. Nina, still distracted, says she can, and goes on watching the burgers. Amanda says, "Aunt Nina," helping to clarify the relationships. Nina looks at her and sees nasty claw marks suddenly materialize across Amanda's throat. She gasps, and the marks are gone as Amanda asks, "Are you okay?" Nina insists that she's fine.
Back at the lab, Fred is telling Cary that the fine lines on the tire prints suggest that I need to plunges a needle full of adrenaline into my veins to stay wake. Oh, sorry, that was me. It wasn't enough for them to show us a lot of shiny cars; now we are also spending time watching them talk about cars. Cars! And forensics evidence! Woo! Spicule says some stuff. You could completely cut his lines out of this scene without making any significant difference to the story, except that it would speed it up. Maybe the writers hate the character at this point. I can't say that I'd blame them. Anyway, then Cary says, "Color me clever. Sister gets slammed around by a werewolf, she's putting pedal to metal. I mean, red light, green light, same diff." Gunn translates that and realizes they should look for traffic-camera footage of a car running lights in the area. Big Brother saves the day! Gunn sits down at a computer saying, "You get set to run with it if I find a match. 'Course, I might leak the info to the senior partners, 'cause we're tight." "Just do it," Wesley grumps. Fred tells Angel that "the van" is ready, and he expositions that they have less than an hour till moonrise. Spicule talks. Angel finally acknowledges Spicule's presence long enough to say, "You know that woosh thing that you do when you're suddenly not there anymore? I love that." Heh. I'd like it if Spike became corporeal just long enough to get bitten, so he could be a ghostly were-vampire with a soul. Gunn finds a car driven by a blonde on the traffic cameras, and hands Angel a printout of Nina's address. I just realized something. Nina apparently left her suburban neighborhood and drove to a park to go for a jog through a park at night. Huh? Maybe the park is next to where she takes her art class, so she goes to class, changes into sweats, and then jogs in the evening before driving home. I don't know if that makes a lot more sense.