5X11 Damage

 

Written By: Steve S. DeKnight and Drew Goddard

PROLOGUE:

INT. HOSPITAL PSYCHIATRIC WARD - NIGHT
A male doctor walks down the gated hallways jingling his keys.
NURSE'S VOICE (V.O.)
(over the public address system) Any psychiatric nurse, please pick
up extension 4-3-2. Any psychiatric nurse, please pick up extension
4-3-2.
He unlocks the door, walks through, and shuts it behind him. As he
passes by the nurse's station, she addresses him.


NURSE
Hey, doc? Running low on diazepam...again.
DOCTOR
Call Jacobson over at county and see if they can spare any.
(points at her clipboard)
Give me one.
NURSE
(looks over her crossword puzzle on her clipboard)
OK...um... "in a mellifluous manner." 7 letters, ends in
a "Y."
DOCTOR
(thinks)
Give me another one.
NURSE 2
(runs down the hallway)
Dr. Rabinaw!
(the doctor starts unlocking the gate at the end of her hallway)
It's Phillip.

Cut to: INT. PATIENT'S ROOM IN PSYCHIATRIC WARD - NIGHT
Dr. Rabinaw rushes to the side of a skinny boy who has collapsed on the
ground wearing a hospital gown.
DOCTOR RABINAW
(examining the boy)
What happened?
NURSE 2
(standing at the doorway, clutching her clipboard)
I—I don't know. He started convulsing right after he took his
meds.
DOCTOR RABINAW
How much lithium did you give him?
NURSE 2
Li—no, he gets thorazine.
(looks at her clipboard)
DOCTOR RABINAW
Thorazine?! He's manic-depressive. He doesn't need a sedative.
NURSE 2
I'm sorry. I must have gotten them mixed up.
DOCTOR RABINAW
(stands, grabs her clipboard)
Who didn't get their thorazine? Oh, God.
A powerful banging can be heard from down the hall.

Cut to: INT. HALLWAY AT PSYCHIATRIC WARD - NIGHT
Dr. Rabinaw rushes back past the nurse's station, calling one of the male
nurses for assistance.
DOCTOR RABINAW
Peterson!
The powerful banging continues as Dr. Rabinaw unlocks yet another
hallway gate. He and Peterson walk through, cautiously approaching a closed
door at the end of the hall. Suddenly, the banging stops. Dr. Rabinaw
sighs in relief, but just then, the patient in the room at the end of
the hall violently pushes the door off its hinges. The patient stands
in the doorway—her hair and hospital gown disheveled—glaring
menacingly at the doctor. Slowly, she walks out of the room toward the
doctor.
DOCTOR RABINAW
(talking softly, backing up)
It's all right, Dana. It's me, Dr. Rabinaw. Remember? Just take it
easy. I want you to listen to me. You're very sick...
(backs out of the gate)
and we just...
(Peterson closes the gate, locking Dana inside)
want to make you better. OK?
(continues backing away from the girl, holding his hands forward,
palms down, in a calming gesture)
Dana stops at the gate and stares at the doctor. Her glance goes to
the doctor's hand, where she sees a hypodermic syringe prepared for her.
She grabs the gate, pulling it off its hinges and throwing it down the
hallway with a loud clanging. She charges at Peterson, who tries to fend
her off with a club. She punches and kicks him, knocking him down. Another
male nurse grabs her from behind, but she kicks the wall, sending them
both back into the opposite wall, knocking her loose of the guard's grip.
She grabs one of the nurses and shoves his head through the glass window
of the storage closet door, smashing the glass. She looks around, frenzied,
and notices a bone saw in one of the boxes in the storage closet. She
takes the bone saw and looks closely at it. Another male nurse comes up
behind her and hits her in the head with a club, but it doesn't affect
her. She turns on him instantly with a primal groan, slashing his throat
with the blade of the bone saw. The man collapses to the ground.
DOCTOR RABINAW
(backing away)
Oh no. Oh!
(runs out of the area)
The nurse whose throat Dana slit is groaning on the floor in front
of her. She bends over him and starts sawing on his throat until the gurgling
subsides. When she stands, she pulls her bloody hands away from her face
revealing that she's marked her face with blood in the form of tribal
stripes—one down each cheek under the eyes, and one down her nose
and chin. She stands tall and looks around the hallway.

Fade to black.
Opening credits.

ACT I:

INT. HALLWAYS AT WOLFRAM & HART - NIGHT
Gunn's walking down the hallway talking on his cell phone just as Fred steps
out of another woman's office.
GUNN
(on his cell phone)
Yes, I know, but he wouldn't have pled nolo contendere if he'd known
about the exculpatory evidence being withheld by the prosecutor. Look,
look, set up a meeting with Judge Braedon. Closed chambers. Screw
the D.A. He's the one trying to pull a fast one. Let him read about
it in the paper.
(hangs up)
FRED
(chuckles, walks with Gunn down the hall)
You sure that's a good idea—playing chicken with the district
attorney of a major metropolitan city?
GUNN
Just a little professional rivalry. You want ugly, see us go at it
on a golf course.
FRED
You play golf? Since—what?
They walk toward the lobby.
GUNN
All part of the mojo the big boys installed. 1/2 the cases that cross
our desk are settled out on the links before they ever make it to
trial.
FRED
9 holes instead of a jury of your peers. Just what the founding fathers
had in mind.
GUNN
Well, sometimes you gotta work the system before it works you.
FRED
That our new motto?
GUNN
Look, I know our move to Wolfram & Hart hasn't been all flowers
and candy, but we've been able to do some serious good while we're
here. Lives saved, disasters averted, with all our fingers and souls
still attached. End of the day, I'm thinking we made the right choice.

Cut to: INT. ANGEL'S OFFICE - NIGHT
Angel's at his desk talking to Wesley and Lorne.
ANGEL
Maybe we made a mistake coming here.
Fred and Gunn walk into Angel's office.
GUNN
What's going on?
LORNE
Oh, parasite Eve, right on out the door.
GUNN
You're firing her?
ANGEL
Well, that's one option.
WESLEY
A generous one, considering she tried to kill you.
GUNN
OK, first, the parasite she allegedly sicked on you wasn't meant to
be fatal.
FRED
No, just send you into a permanent hallucinogenic coma.
ANGEL
And what's with the "alleged"? You don't believe I know
it was her?
GUNN
It's not about what I believe. It's about the evidence.
WESLEY
This isn't a courtroom, Gunn. Things work with a bit more immediacy
in the real world.
GUNN
She's liaison to the senior partners. You don't get to be that without
serious juice. Move against her without solid proof and it could end
in a long, bloody fight.
ANGEL
(sighs)
OK, fine. I think I liked you better when you just wanted to hit people.

GUNN
Rational thought—it's an acquired taste.
LORNE
Wait a minute. So, we're not going to snap Twiggy into little sticks?

ANGEL
Gunn's right. We can't risk it. Yet.
GUNN
We'll restrict her access, keep a closer eye on what she's up to.
Play her like she's been playing us.
HARMONY
(walks in with a sense of urgency)
Boss, we just got a tip some looney's hatched from the bin.
ANGEL
A who did a what?
HARMONY
A girl over in the nuthouse went all Cuckoo's Nest, hacked up a couple
of guards and went over the wall.
ANGEL
Really not our department, Harmony.
WESLEY
Notify the authorities. Make sure they're on it.
HARMONY
OK, but they better bring a priest. Looks like this chick's gone all
kinds of exorcist.
ANGEL
Wait a minute. She's possessed?
HARMONY
Duh! Didn't I say that?
WESLEY
I'll get a team together.
ANGEL
No. Wait. I don't want to go storming in with troops until we know
what we got here. I've seen a few of these possession cases. They
have to be handled very carefully. Real finesse job.

Cut to: INT. PSYCHIATRIC WARD - NIGHT
The elevator bell dings, and both elevators open simultaneously, revealing
Spike in one and Angel in the other. They step off the elevators at the
same time, both wearing long black coats—Spike in his leather duster,
and Angel in a longish suit jacket.
SPIKE
(turns to see Angel standing beside him)
Oh.
(chuckles)
Well, fancy this.
(Angel walks away as Spike talks)
Bitty slug I saved you from scramble your brains after all? Come to
check yourself in?
(walks down the same hall as Angel)
ANGEL
What are you doing here, Spike?
SPIKE
Didn't get the memo? Hero of the people now.
ANGEL
Oh, then go and annoy them.
SPIKE
When I'm done. Heard one of the simples went for a stroll.
ANGEL
And I'll get her back without your help.
SPIKE
Goody for you, 'cause, uh, not offering it.
ANGEL
Look, shouldn't you be out in the streets, you know, protecting the
city from people like you?
They walk past the gate that Dana destroyed.
SPIKE
Go where I'm needed.
ANGEL
Well, which isn't here.
They walk up to the nurse's station.
NURSE
(sees Angel and Spike, walks up to them)
Gentlemen, may I help you?
DOCTOR RABINAW
(walks out from his office)
Can I help you?
SPIKE
Other way around, doc. I'm—
ANGEL
Here to get your patient back.
(hands his card to the doctor)
Angel. Wolfram & Hart.
DOCTOR RABINAW
A lawyer? I already told the police everything I know.
ANGEL
Well, let's go over it again, just in case you left out any details.

SPIKE
What he said. But with a bit more of a threat at the end.

Cut to: INT. DANA'S ROOM AT PSYCHIATRIC WARD - NIGHT
Angel's looking over drawings Dana has in her room. They're bright, vibrant,
and terribly disturbed. One picture shows a wolf-like monster growling.
Another shows a cave-woman on her knees before a huge fiery monster. Spike
looks around and sees the walls are covered with such drawings of monsters.
DOCTOR RABINAW
She was a special case. Her family was murdered in their home when
she was 10. Whoever did it took Dana... and tortured her for months.
She was found one day naked and bleeding, wandering the streets. Barely
functional, nearly catatonic ever since.
SPIKE
(looks around at her drawings)
Looks like she snapped out of it.
DOCTOR RABINAW
Several months ago her condition changed. Increasing levels of agitation
accompanied by explosive outbursts of inhuman strength.
SPIKE
(nods)
Right. Demon possession.
DOCTOR RABINAW
That's ridiculous.
ANGEL
You're not helping, Spike.
SPIKE
No, I'm doing. You can hang out for the show-and-tell-me-nothing.
I got a demon needs repossessing.
(grabs a drawing off the wall)
Ta.
(walks out of the room)
ANGEL
Sorry. He's... is pathological idiot an actual condition?
DOCTOR RABINAW
May I suggest that you stop your friend? If he finds Dana, he's gonna
end up dead like the others.
ANGEL
Yeah, but he'll just end up comin' back.
(the doctor exits)
(sighs, looks around)
What isn't he tellin' me?
NURSE
(standing in the doorway)
Rabinaw videoed all his sessions with her.
ANGEL
Show me.

Cut to: INT. SUPERMARKET - NIGHT
Dana, still in her hospital gown, is standing in the middle of a grocery
aisle eating food from boxes on the shelves. A stock boy walks by and notices
her.

STOCK BOY
(walks toward her calmly)
Um... Uhhh... hey, you gonna... pay for those? 'Scuse me. Uh, miss,
you can't just eat those like that. You gotta... take 'em up to the
register and pay for 'em first. Hey. Uh, come on.
(touches her on the shoulder)
Knock it off, will—
(Dana grabs the hand he touched her with, twisting it until the bones
in his arm break)
(the boy screams painfully, dropping to his knees)
Aah! Aah!
(continues to cry out in pain)
Dana grabs her bone saw off the shelf and walks down the aisle while
the boy's painful cries continue. She goes to another section of the store
where clothing is sold. She puts down the bone saw to put on a pair of
jeans. She reaches to grab a black t-shirt and stares at it for a moment.

8a INT. UNKNOWN ROOM
FLASHBACK: A man in a black shirt walks by as a young girl sobs behind
bars. Flashes of woodshop tools on a workbench. The man grabs a saw,
holding it in his hand as he stands over a sobbing young girl.

As Dana stares at the shirt, a security guard has found her. He stands
at the end of the aisle, pointing his gun at her.
SECURITY GUARD
(cocking his gun)
All right, now. You just stay right like that. I don't want to have
to hurt you.
Dana turns her head slowly, glaring at the guard defiantly.
Dana walks out of the supermarket wearing her new outfit: black jeans,
a black t-shirt, and a dark plaid flannel overshirt. Her face is still
streaked with blood, and she's still carrying her bone saw. She stops
outside, looking around.

Cut to: INT. VIDEO ROOM AT PSYCHIATRIC WARD - NIGHT
In the presence of the nurse, Angel watches video-tapes of Dana's therapy
sessions. A wild, frenzied Dana is restrained in a straight-jacket. She's
thrashing, speaking in a foreign language, breathing hard.

NURSE
And that's with the thorazine.
ANGEL
(looks at a stack of tapes)
These tapes are all of her?
NURSE
Most of them, yeah. Rabinaw's planning on writing a book on her. That's
why he doesn't want anybody to know about these. Putz.
ANGEL
You were the one that called Wolfram & Hart? My cousin's a paralegal
there, told me about the big shake-up, lots of positions opening.

ANGEL
Uh-huh.
NURSE
So I thought, hey, maybe if I tipped you on this, I could get my foot
in the door.
ANGEL
(still watching the tapes)
Oh. Wait.
(rewinds the tape)
Angel watches a segment of tape where Dana is growling and speaking
in a foreign language.
NURSE
They're pretty much all like that. Bunch of monkey gibberish.
Dana breathes hard, speaks a foreign language.
ANGEL
It's Romanian.
NURSE
Oh. You...you understand what she's sayin'?
ANGEL
Yeah. I do.

Cut to: EXT. SUPERMARKET - NIGHT
Police arrive at the scene of Dana's supermarket attacks. Several patrol
cars are out front, and witnesses are pacing outside the store. Paramedics
are taking her victims away on stretchers. Spike walks around the scene
outside, stopping to dip his finger in a substance on the pavement. He smells
his fingertips, then walks away from the scene.

Cut to: INT. WESLEY'S OFFICE - NIGHT
The telephone rings in Wesley's office. He's sitting at his desk reading
from a thick old book when he answers it on speaker-phone.

WESLEY
Wyndam-Pryce.
ANGEL
(on the car phone) Wes, it's me. Check with our police informants.
Get her last known sighting. I need a technical assault team on the
ground in 5 minutes. Non-lethal ordinance.
WESLEY
Do you think that's wise? I've been brushing up on demonic possessions—

Cut to: INT. WAREHOUSE - NIGHT
Dana is walking around a dark room in a deserted warehouse.
ANGEL (V.O.)
That's not what's happening. Look, there were drawings of demons
in her room. Hundreds of them. Some with a little girl in them.
I thought it was Dana, but they're all different. It's not her.

WESLEY
Are you sure? Multiple personality manifestations are often associated
with cases of possession.
ANGEL
Look, it's not just the drawings. I saw a tape of her. She was speakin'
a half-dozen languages. One of 'em was Romanian.

Cut to:INT. WAREHOUSE - NIGHT
Dana is looking out of the windows toward the city lights outside
when Spike walks up behind her.
SPIKE
Likin' the view, are we?
(sighs)
What say we have a nice, quiet chat... about mistreating little
girls... demon to demon.
(changes into his vampire face)

ANGEL
She was yelling about being chosen. She's not a demon, Wes. She's
a vampire slayer.

Cut to: INT. WAREHOUSE - NIGHT
Dana turns to face Spike, seeing him transform into a vampire, and
grins sadistically.
Fade to black.

ACT II:

INT. WAREHOUSE - NIGHT
Resume. Dana gladly readies for a face-off against vampire Spike.
SPIKE
What are you grinnin' at?
DANA
(attacks Spike, swinging her bone saw at him)
Aaaieahh! Mmhh!
SPIKE
(avoids her blows, stands back mocking her)
Oh, yeah. Look at the big, bad demon hidin' inside the helpless little
girl.
(kicks her bone saw away, kicks her into a pile of debris)
Why don't you come on out of there, and let's have a proper go, mate?
 
(Dana pushes herself out from the debris, picking up a splintered
fragment of wood as she stands)
Or you could do that.
Dana tries repeatedly to stake Spike with the wood fragment, grunting
loudly with each forceful thrust. Spike ducks and manages to avoid the
blows. He rolls out of the way, but she punches him in the head as he
stands. She pins him against a post and tries to stake him again, but
he catches her hands before she plunges the stake into his chest.

DANA
(growling in Chinese)
SPIKE
(cocks his head, grins)
Sorry, luv. I don't speak Chinese.
(punches Dana in the face, kicks her away)
Dana and Spike continue to fight until she tosses him through the
huge window.

Cut to: EXT. WAREHOUSE - NIGHT
Spike lands face-down on the pavement outside the warehouse right as Angel
drives up in his car. Angel stops the car and gets out as Spike slowly stands
up.
ANGEL
What happened?
SPIKE
Oh, I just thought I'd see what it was like to bounce off the pavement.
Pretty much what I expected.
ANGEL
Stay out of it. Tactical's on the way.
SPIKE
Oh, right. Sure, she'll hang around till they show up.
ANGEL
(angrily, in his face)
You should've waited.
SPIKE
Hey, keep your knickers on. Least now I know what we're dealin' with.
It's a Chinese demon. Maybe a water dragon or one of those elemental
thingies.
(Angel sighs, rolls his eyes, and walks away)
What?!

Cut to: INT. LOBBY OF WOLFRAM & HART - NIGHT
The elevator bell dings, and Angel and Spike walk off it into the lobby.
SPIKE
A psychotic vampire slayer.
ANGEL
How many times you gonna keep sayin' that?
SPIKE
Just tryin' to wrap my lobes around it. A psycho slayer.
ANGEL
And you let her get away.
SPIKE
At least I was tryin' to stop her.
ANGEL
Oh, how'd that work out?
SPIKE
At least I know the game, now, don't I? I killed 2 slayers with my
own hands. Think I can handle one that's gone daft in the melon.
ANGEL
You're not handling anything, Spike. OK? Wes contacted Rupert Giles.
He's sendin' his top guy to retrieve her.

Cut to: INT. CONFERENCE ROOM - NIGHT
Angel and Spike walk into the conference room where Wesley, Gunn, Fred,
and Lorne are waiting.

WESLEY
Angel. We were just about to—
An additional person is waiting in the conference room. He turns around
in his chair to reveal that he's Andrew. Andrew's hair is slightly longer
and he's wearing a suit and tie and holding a pipe.
ANDREW
Spike?
(puts down his pipe)
SPIKE
(realizing who it is)
Oh, for the love of—
ANDREW
(stands)
Spike?
(runs toward Spike, touching his shoulders)
It's you. It's really you!
(hugs Spike, sobbing)
My therapist thought I was holding onto false hope, but... I knew
you'd come back.
(sniffles, releases Spike from the hug to look him in the eyes)
You're like... you're like Gandalf the White, resurrected from the
pit of the Balrog,
(touches his palms to Spike's face)
more beautiful than ever.
(hugs Spike tightly around the neck)
Ohh... he's alive, Frodo.
(sobbing)
He's alive.
ANGEL
(smirking)
You two know each other?
(Spike launches a glance at Angel)
ANDREW
(steps back from Spike, sniffles, straightens his lapels)
Uh, yeah. Um... We—we saved the world together. I mean, Buffy
helped, but... it was mostly us.
(clears his throat)
Uh, so what happened? Last I heard, you went all pillar of fire down
in the hellmouth.
ANGEL
Could we save memory lane till after we contain this psychotic superpowered
killing machine?
(walks around the table, takes a seat beside Wesley)
WESLEY
(standing)
We were just about to bring everyone up to speed on slayer mythology.

ANDREW
I'll take it from here, Pryce. Best they hear it from an expert.
SPIKE
Oh, right. Let the top man have a go.
WESLEY
(stifling a scoff, pauses, then sits)
Please... enlighten us.
ANDREW
Gather around and attend to a most unusual tale... a tale I like to
call... The Slayer of the Vampyrs.
(rests his chin on his hands, pauses for thought, then clears throat)
(walking around the table)
Eons ago,
(looks at Gunn)
on the dark continent, 3 wise elders decided to fight evil with a
taste of its own sinistro.
(touches Fred's shoulders)
They took a young girl, and they imbued her with the power of a demon.
(crooks his forefingers above Fred's head, forming makeshift horns)
Thusly, the first Slayer of the Vampyrs was born. But alas, the existence
of a slayer is often brutal and short-lived. And the "primitive,"
as she was called, boasted no exception. But... the elders had foreseen
this inevitability and...and devised a way for her power to live on.

FRED
In every generation, one is chosen.
ANDREW
Yes, attractive, slender woman.
(Fred rolls her eyes)
There are many potentials, as we experts call them.
WESLEY
Hundreds...maybe thousands per generation.
ANDREW
Each of them experiencing vivid dreams... some say nightmares... of
the heroics of past slayers. But only one can be chosen.
ANGEL
That's, um...really great, but we...actually know all that.
ANDREW
You think you know, my good man. You think you know.
(lights his pipe, smokes it, coughs)
LORNE
Uh, wait. So if there's only one slayer, what is little miss whack-your-head-off
doing scampering around?
SPIKE
Little Sunnydale surprise.
ANDREW
(sits)
6 months ago, Buffy, Vampyr Slayer extraordinaire, had her lesbian
witch make with the beaucoup de magie. One light show later...
ANGEL
All the potentials become slayers.
WESLEY
An army of slayers. Brilliant stratagem. But with the watchers council
destroyed, how will these new slayers receive their necessary—

ANDREW
Mr. Giles and a few key Sunnydale alum have been tracking down the
recently chosen...
(reaches down to grab his brow-bag lunch; it's labeled with the British
"Union Jack" flag and written under it is "ANDREW WC")
uh, guiding them, training them...
(takes a Zip-Loc baggie of goldfish crackers out of the bag and starts
to eat them)
giving them the full X-Men, minus the crappy third act. But this Dana
girl—she's an anomaly that no one could have foreseen—tortured,
traumatized... driven insane by Yoda knows who.
ANGEL
And then the dreams of demons and superpowers she's always had suddenly
become real.
WESLEY
The dreams of slayers are usually just that—dreams. But Dana's
mental instability may be making them seem more real.
ANDREW
My hypothesis exactly, Pryce.
(takes a small red notebook out of his breast pocket)
I see Mr. Giles may have been wrong about you.
(nods, writes in his notebook)
SPIKE
Explains why that skirt was yappin' at me in Chinese. Must've thought
she was the slayer I took out back in the Boxer Rebellion.
ANGEL
You mean the slayer you murdered.
SPIKE
Well, I didn't have a soul back then, did I?
ANGEL
Right, 'cause having one now is making such a difference.
SPIKE
You corporates go ahead with your talky-talk. Anybody needs me, I'll
be out doin' his job.
(walks out of the room)
Cut to: INT. LOBBY OF WOLFRAM & HART - NIGHT
Spike walked out of the conference room, and Angel follows.
ANGEL
Spike? You think this is a joke?
SPIKE
Only if you're the punch line.
ANGEL
Look, we're the last 2 people that should be confronting her. She's
a slayer. She has every reason to hate us, and she's unstable. In
her mind, there probably aren't any good Vampyrs.
(realizes he mispronounced it like Andrew, then pronounces it correctly)
 
Vampires. She exists for one reason—to destroy creatures like
us.
SPIKE
Dance of death. Eternal struggle. Right. Got it.
(nods, turns to walk away)
ANGEL
You will...when she's staking you in the heart.
SPIKE
(stops, turns to Angel)
What do you want me to do? Go all boo-hoo 'cause she got tortured
and driven out of her gourd? Not like we haven't done worse back in
the day.
ANGEL
Yeah, and it's somethin' I'm still payin' for.
SPIKE
And you should let it go, mate. It's startin' to make you look old.
 
(turns away, walks toward the elevator)
Andrew is standing in the office door, sipping from a juice-box, watching
Angel and Spike talk.

Cut to: EXT. DOCKS - NIGHT
Dana's walking around the docks carrying her bone saw. She stops and has
flashbacks of a dark room. A man has stored something in a old air vent.
He removes the grill and takes out a box as a young Dana cries and screams
in terror. Her memories visibly upset her. As she stands looking hurt and
upset, a man approaches her.
MAN
Hey, you OK? You hurt? Miss? You need some help?
Dana turns to look at him.

Cut to: INT. CONFERENCE ROOM - NIGHT
Angel and the gang are still going over plans in the conference room.
ANGEL
M-maybe Spike was right. Maybe we should just get out there and find
her.
FRED
(at the laptop computer)
Then what? Kill her? What's happening isn't her fault.
GUNN
(reading files)
She is non compos mentis. Not that it'll matter when she's
staking you in the pump.
ANGEL
All right, look, we know that she's been sighted at these locations
since her escape. Tactical's doin' a non-engagement sweep, but they'll
have to cover over at least 60 blocks.
FRED
That'll take days if we're lucky.
ANGEL
We have to narrow it down. Witnesses say it was like she was looking
for something. We have to figure out what.
LORNE
Why not start at the source?
WESLEY
The asylum?
LORNE
No. Where this started for her. She was abducted from home. Right?

ANGEL
That was over 15 years ago.
LORNE
Houses have long memories, Angel cakes. You just gotta know how to
get 'em to talk.
ANGEL
(sighs)
All right. Fine. Set it up. But let's get Andrew in on this, see if
he knows... anything.
FRED
Um, I don't think he's here.
ANGEL
What? Where'd he go?

Cut to: EXT. DOCKS - NIGHT
Spike is walking down the alley by the docks when he stops and looks to
his side.
SPIKE
Right. We can play cat and mouse all night.
(pulls Andrew by the lapels out from behind the fence)
Or I could wedgie you unconscious and be done with it.
(lets him go)
ANDREW
Bravo. I see your senses seem to be as well-honed as your Viggo Mortensen
pectorals.
SPIKE
(walks away)
What are you doin' out here, Andrew?
ANDREW
(follows Spike)
This is where the action is, bro. On the mean streets. Can you dig
it?
SPIKE
Go back to Wolfram & Hart. Don't have time for games.
ANDREW
That's good, 'cause Andy ain't playin'.
(opens his overcoat to reveal several guns in the lining)
You're not the only one who's changed. Mr. Giles has been training
me. I'm faster, stronger, and 82% more manly than the last time we—
 
(trips over something and falls to the ground)
Andrew looks over to see that he tripped over the man that tried to
help Dana. The man's throat has been slit. Andrew screams (like a girl).

Cut to: INT. DANA'S HOUSE - NIGHT
A realtor woman guides Angel, Lorne, and a psychic through the middle-sized
suburban house.

REALTOR
Hardwood floors. Central air. Original wainscoting throughout. She's
a real charmer from top to bottom.
PSYCHIC
(walks around touching the walls and rails)
The walls scream with the blood of the innocent.
REALTOR
I'll be in the car if you have any questions. And remember—it's
a seller's market.
ANGEL
You sure this guy's reliable?
LORNE
Oh, yeah. Vernon's top drawer. He does all Tom Arnold's readings.

ANGEL
What are you pickin' up?
PSYCHIC
(sighs heavily)
Fear.
(flashback of the mother during the attack)
Anguish.
(flashback of the father falling to the ground)
Pain.
(flashback of the attacker approaching the baby's crib)
He needed them to suffer.
(walks into the girl's room)
ANGEL
Who?
PSYCHIC
(looking at the empty floor)
She doesn't know him.
(flashback of a little girl hiding under her bed as a man approaches)
She tries to be still... invisible... but he senses her.
The man lifts up the mattresses, revealing a young Dana crouching
underneath the bed. Dana screams.
PSYCHIC
She's gone.
ANGEL
Where? Where did he take her?
PSYCHIC
(inhales and exhales deeply; whispers)
Dark. The floor is cold. The air is thick with...
(inhales)
Dust...
(inhales)
And the smell... sickly sweet, like... molasses.
(gasps)
A basement.

Cut to: INT. BASEMENT - NIGHT
As the psychic describes the place, Dana finds it again. Dana walks down
steps into the basement.

PSYCHIC (V.O.)
That's where her pain lives.
Dana looks around. She recognizes this place. She finds the air vent
and removes the grill. She takes the tools and box out of it. She holds
the box as she stands. Slowly she looks inside the box, revealing it's
contents are numerous hypodermic syringes.
Dana flashes back to her previous captivity. She sees the man take
a syringe out of the box. He holds it up and squeezes the plunger, squirting
some of the blue liquid out of the needle.
CAPTOR
Let's try the blue one this time.
Young Dana breathes fearfully as her captor kneels before her. Close
in on his face—it's Spike.

Fade to black.

ACT III:

EXT. DOCKS - NIGHT
Andrew and Spike walk down the alleys by the docks.
ANDREW
Well, mostly, I talk to Rupert. But we all check in. Xander's in Africa.
He sent me an mbuna fish. And Willow and Kennedy are in brazil. They're
based in Sao Paulo, but, um, every time I talk to them, they're in
Rio.
Spike sniffs the air.
ANDREW
(inhales deeply, exhales quickly)
What's it smell like? Blood, I mean?
SPIKE
Oh...metallic, sorta. You ever taste a penny?
ANDREW
No. Wait... no.
SPIKE
Smells like that.
(Andrew spots a penny on the ground and picks it up; they continue
walking)
So, uh...you heard from Buffy lately?
ANDREW
Yeah. Of course, uh...she's in Rome. Dawn's in school there. Italian
school.
SPIKE
Well. Rome, eh? Never pegged her for the expatriate show.
ANDREW
Yeah. She was rounding slayers up in Europe, decided she liked it
there, I guess. You think that, um...
(puts the penny in his mouth)
uhh. Uhh. Uhh.
(disgusted, he spits the penny out; it falls to the ground)
Think she needed a break from California. Wait a minute. She doesn't
know you're alive, does she?
SPIKE
I don't think so. I mean... I don't know. Does she?
ANDREW
No. N-no. She can't. I mean... I—I would've heard about it. We
would've had a conference call.
(Spike sighs)
Why haven't you told her?
SPIKE
"Hello, Buffy. It's Spike. I didn't burn up like you thought.
How are things?"
ANDREW
Uh...do you want me to tell her? 'Cause I—I'm really good with
those...uh, delicate personal—
SPIKE
No. Don't tell her. I'll take care of it.
ANDREW
Got it. You're a loner... playin' it cucumber, as in "cool as
a..."
SPIKE
Just keep your mouth shut.
Pan up to show that Dana is watching them walk by from a nearby rooftop.
ANDREW
No problem, brother. You're a troubled hero. Creature of the night.
El creatro del noche.
SPIKE
Please stop.
ANDREW
Living by his own rules. Unafraid of anything or anyone...

Cut to: INT. LOBBY OF WOLFRAM & HART - NIGHT
Angel and Lorne walk of the elevator together.

GUNN
Hey. How'd it go?
ANGEL
I want to find the guy who killed Dana's family. His name, his past,
his whereabouts. Everything.
GUNN
Police never caught him.
ANGEL
Yeah, well, we're not the police. Search her files. Talk to her contacts.
Raise the dead, if you have to. Just...find him.
(Gunn walks away)
Lorne, I want to know where he took her after he abducted her. The
psychic narrowed it down to a basement that smells like molasses.
Look, we can do better. Start crackin' the whip.
LORNE
You got it, chief.
(walks away)
Danny! We're gonna need a whip!
Angel and Wesley walk into an office.

Cut to: EXT. DOCKS - NIGHT
Spike's walking briskly down the alley as Andrew tries to keep up.
ANDREW
And—and so I say, "well, the two of us disagree with you,
hombre." And—and he's all... "The two of you?"
And I say, "Yeah. Me and my electric net." Then—
(Spike stops walking)
What's wrong?
SPIKE
Blood. Smells different. Stronger.
ANDREW
Like nickels?
Spike runs around the corner following the scent. Andrew runs after
him. They're in an alley where 55-gallon drums are stored.
ANDREW
Dead end.
SPIKE
(sees a bloody streak on the alley wall)
It's her blood.
Dana appears in the alley, and she punches Andrew in the head, knocking
him out. She and Spike fight. Spike punches her into a drum. She stands
up and punches and kicks him. He smashes her head into another drum. She
elbows him in the stomach. Spike swings her by the arm across the alley
into a stack of drums. As they continue to fight, Andrew gets up and pulls
a gun out of his jacket. When Dana knocks Spike down, Andrew aims the
gun at Dana and shoots, making a zooming noise instead of a bang (indicating
it is probably a tranquilizer gun). Dana dodges the dart. Andrew pauses
to reload, but Dana kicks him in the face, knocking him down again. She
runs past him and out of the alley. Spike gets to his feet and runs after
her.

Cut to: INT. BASEMENT - NIGHT
Spike's running after Dana, but stops short as he passes a doorway. He turns
to look in and decides to follow the hallway. After descending the stairs
at the end of the hall, he finds himself in the basement where Dana was
tortured as a child. Dana's standing there.
SPIKE
All right, pet. No getting away. Got your scent locked in now. Could
track you for miles.
DANA
No escaping.
SPIKE
That's right. No escaping.
(walks toward her cautiously)
Now, all the same... don't wanna have to hurt you.
DANA
Doesn't hurt if you hold still.
SPIKE
(exhales, baffled)
Right.
DANA
Heart...and head. Have to get home. Doesn't hurt if you hold still.

SPIKE
(chuckles)
You're a real sack of hammers, aren't you? Hey...don't worry. I used
to date a girl who wasn't all there.
DANA
Heart...and head. Stab the heart, cut off the head. Only way to be
sure.
SPIKE
That's slayer talk, isn't it?
DANA
Keep cutting till you see dust.
SPIKE
Right. Let me explain. You got visions. Right? Vampire slayer memories
kickin' around in your head. Which is tough... 'cause it sounds like
you're past midnight on the crazy clock anyway.
DANA
(cowering)
Please don't. I have to get home to my son... to my Robin.
SPIKE
Robin? Oh. Hey, you're talkin' about Nikki, the slayer I offed back
in—
(Dana looks up at him)
Uh, yeah. You probably don't want to think about that, pet.
DANA
(with an accusational tone)
William the Bloody.
SPIKE
No. No. No. That's not gonna lead anywhere good. You want to focus
on what's real.
DANA
Head and heart. Don't be scared.
SPIKE
Now, we're gonna—
Dana kicks him, knocking him to the ground. She bends over him quickly,
plunging the needle into his neck. Spike grunts in pain as she squeezes
the plunger. He punches her, knocking her off of him. He tries to get
to his feet, but is clearly disoriented and weakened.
SPIKE
You little minx.
(breathing erratically)
What did you do to me?
DANA
Yellows make you weak. Not weak anymore.
(punches Spike repeatedly)
SPIKE
Ohh! Ouahh!
(falls to the ground)
All right. Now you've made me mad.
DANA
Don't cry. They can't hear you.
Dana pulls Spike's leather jacket off of him, rolling him onto the
ground. She grabs him by the arm, dragging his body across the room.
Dana flashes back to when she was young and her captor, Spike, carried
her across the room in his arms.
Dana deposits the unconscious Spike at the base of some pipes.
Dana flashes back to Spike chaining her to those very same pipes.
YOUNG DANA
No!
Stop!
DANA
(chaining Spike to the pipes)
Daddy's gone. He can't hear you.
(walks away)
SPIKE
(slurring)
Goin' down...luv. One way or...hmm.
DANA
(comes back to Spike holding the box of syringes)
Piece by piece.
(prepares a syringe)
Yellow makes you weak. Brown makes you sleepy.
(injects Spike)
SPIKE
(inhales)
Oh...no...
(starts to pass out)
DANA
Can't hurt me anymore.
SPIKE
You crazy little... I never—
(can't hold his head up)
DANA
Shh! Hold still. Count backwards. 10... 9... 8... 7...
Dana's face gets increasingly blurry until it all gone black.

Fade to black.
26 INT. CONFERENCE ROOM - NIGHT
Gunn points to a wall-mounted map of the city.

GUNN
Tactical found the body here—Fourth and Camden.
ANGEL
(looks at the map)
Oh, great. She's staying in the area. Let's get aerial surveillance
up, thermal imaging. Have them go block to bloc, 5-mile radius.
GUNN
What exactly are they looking for? I mean, this is an industrial area.
Most of the buildings have a basement of some sort.
ANGEL
Lorne, any luck with the psychics on this place?
LORNE
No. Nothin' new. It's still cold, creepy, and smells like molasses.

WESLEY
What about...
(chuckles)
I almost said the words "molasses factory" out loud.
FRED
(gets an idea, stands)
Whiskey.
LORNE
Oh, God bless you, kitten. I was just about to suggest the same thing.

FRED
No. I mean, when you're cookin' up whiskey, it makes the whole room
smell like molasses.
ANGEL
Look for a distillery. Get maps from 10 years ago. Maybe it's—

FRED
(notices Andrew walk into the room)
Andrew.
ANDREW
(his face is beaten and bloody)
We were attacked. I think she got him. I think she got Spike.

Cut to: INT. BASEMENT - NIGHT
A groggy Spike fades into consciousness. He looks around, his vision still
blurry, his speech still slurred.
DANA
Piece...by piece.
SPIKE
(slurred)
What'd you do...
DANA
Shh! Stay quiet. I'll let you go.
SPIKE
(breathes heavily)
You're homicidal. What did you do... to me?
DANA
(holding the bone saw)
Losing all your pieces. Not weak.
(with disturbed breathing, she glares at Spike)
Can't touch me anymore.
Spike lifts his bandaged arms, revealing that his hands have been
removed at mid-forearm.

Fade to black.

ACT IV:

INT. BASEMENT - NIGHT
Resume. A drugged and barely coherent Spike has just learned that his hands
are missing. Dana paces in front of him.
SPIKE
(softly)
Oh, God. Can't feel ...mmy...
DANA
(punches Spike in the face)
No!
(emotionally)
No more daddy... no more mommy... no more hands.
(tearfully)
Can't touch me ever again.
SPIKE
I never touched you.
DANA
(punches Spike)
Shh!
SPIKE
Stop. Stop. You got it wrong. Your brain's all jumbled. I never hurt
you. It wasn't me. I've done my share of bad, but you're not one of
'em. It's someone else.
Dana stares at Spike. She flashes back to her captor carrying her
across the room. The captor looks like Spike at first, but she flashes
another memory... and it's someone else. A brown-haired, heavier man.
SPIKE
You've got me confused with another man.
Dana flashes back to her captor chaining her to the pipes. At first,
it's Spike... but then it's the darker man chaining her.
YOUNG DANA
Let me go!
Let me go!
Uhh!
SPIKE
Visions...are mixing... with your real memories. All right? Got 'em
stuffed in your head. Other slayers, other places. New York... China...

DANA
(speaking Chinese)
SPIKE
Yeah. That's what you're remembering—other slayers.
DANA
You killed her.
SPIKE
(sadly)
Yes. But—
DANA
You killed them both.
SPIKE
(whispering)
That and worse. But I was never here.
DANA
(punches Spike repeatedly in the face)
Doesn't matter! Head and heart. Keep cutting till you see dust.
(wields her bone saw as she kneels over Spike)
Someone picks up Dana and throws her across the room. It's Angel.
Dana gets to her feet, and Angel tries to reason with her.
ANGEL
Dana...look, I'm here to help you. The man who tried to hurt you?
His name is Walter Kindel. He tried to rob a liquor store 5 years
ago, and the police shot him. He—he's dead, Dana.
(slowly approaching Dana)
DANA
(breathing shakily)
Hold still.
ANGEL
He can't hurt you anymore.
DANA
Can't hurt me. Not weak anymore.
ANGEL
That's right.
DANA
Strong. Slayer.
Dana charges Angel, kicking him in the chest. They fight in hand-to-hand
combat, and Dana kicks Angel across the room. They continue to trade punches
and kicks, knocking over the little furniture that remained in the room.
Finally, Angel grabs her around the neck from behind and turns her to
face the door.
ANGEL
Now!
Tranquilizer darts hit Dana in the chest with a thud three times.
Dana passes out and collapses to the ground. Wesley goes to Angel's side,
and they stand over Dana.
GUARDS
We got her. Move in.
Wesley stands over Dana with his tranquilizer gun at the ready in
case she comes to. Angel looks around and spots Spike's arms on a nearby
workbench.
ANGEL
Get the med team down here. Now!
Spike sighs in relief.

Cut to: EXT. DOCKS - NIGHT
Fred's on the cell phone as the paramedics wheel Spike on a gurney into
the ambulance.
FRED
(on her cell phone)
Get it prepped. Put surgical on standby. We'll be there in 10 minutes.
Oh, for God's sake! Tell the shaman no cadavers.
(sighs, glances at the medical transport cooler)
We've got his hands.
(gets in the ambulance with Spike)
Angel and Wesley escort Dana's gurney out of the basement along with
a group of armed guards.
ANGEL
Chain her into the van. I want armed guards ridin' with her in the
back.
ANDREW
That's all right, boys. I'll take it from here.
ANGEL
What?
ANDREW
Totally 'preciate your help on this one, big guy. Never could've found
her without you, but you got enough problems of your own to worry
about.
ANGEL
Get outta the way, Andrew.
ANDREW
(steps in Angel's path)
She's a slayer. That means she's ours.
ANGEL
Yeah. Sorry. Not how it works.
(to the guards) Load her up. Don't hesitate to tranq her if she so
much as—
ANDREW
(stands right up in Angel's face)
No. I don't think you... heard me, Angel.
(a group of young women walks out from the shadows to back up Andrew)
Think we're just gonna let you take her back to your evil stronghold?
Well, as they say in Mexico... No. We're not...gonna... let you.
ANGEL
She's psychotic, and I'm not turning her over...to you.
ANDREW
You don't have a choice. Check the view screen, Uhura. I got 12 Vampyr
Slayers behind me, and not one of them has ever dated you. She's coming
with us one way or another.
ANGEL
You're way outta your league. I'll just clear this with Buffy.
ANDREW
Where do you think my orders came from? News flash—nobody in
our camp trusts you anymore. Nobody. You work for Wolfram & Hart.
Don't fool yourself... we're not on the same side. Thank you for your
help... but, uh...we got it.
(gestures to the girls to get Dana)
Andrew and the girls walk away with Dana's gurney.
WESLEY
So that's it? You're just gonna let him take her?
ANGEL
She's one of theirs. They can handle it. Besides... you heard the
man. We got enough problems of our own to worry about.

Cut to: INT. HOSPITAL ROOM - NIGHT
His arms bandaged but now reattached, Spike's sitting in a hospital bed,
wearing a white hospital gown. Angel walks up to the doorway.

SPIKE
Come to tap-dance on the patient, have we, doc? I'd give you the finger,
but apparently I won't have the motor skills till the drugs wear off.

ANGEL
(walks in)
A lot of pain?
SPIKE
More than I'd like. But not as much as you would. Just what I deserve.

ANGEL
(sighs)
I didn't say that.
SPIKE
No. I did. The lass thought I killed her family. And I'm supposed
to what, complain 'cause hers wasn't one of the hundreds of families
I did kill? I'm not sayin' you're right... 'cause, uh... I'm physically
incapable of saying that. But, uh... for a demon... I never did think
that much about the nature of evil. No. Just threw myself in. Thought
it was a party. I liked the rush. I liked the crunch. Never did look
back at the victims.
ANGEL
I couldn't take my eyes off them. I was only in it for the evil. It
was everything to me. It was art. The destruction of a human being.
I would've considered Dana a masterpiece.
SPIKE
What happens to her?
ANGEL
I don't know. Um, Andrew and the slayers took her. Didn't trust us
to help her.
SPIKE
Andrew double-crossed us? That's a good move.
(chuckles)
Hope for the little ponce yet. Though the tingling in my forearms
tells me she's too far gone to help. She's...one of us now. She's
a monster.
ANGEL
She's an innocent victim.
SPIKE
So were we... once upon a time.
ANGEL
Once upon a time.
Fade to black.