PROLOGUE:
1 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:
2 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:
3 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:
4 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:
5 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:
6 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:
7 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:
8 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.
Cut to:

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:
9 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:
10 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:
11 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:
11a 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. 

Cut to:
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:
11a 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)
Cut to:
ANGEL 
She was yelling about being chosen. She's not a demon, Wes. She's 
a vampire slayer.
Cut to:
11a INT. WAREHOUSE - NIGHT 
Dana turns to face Spike, seeing him transform into a vampire, and 
grins sadistically.
Fade to black.

ACT II:
12 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:
13 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:
14 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:
15 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:
16 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:
17 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:
18 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:
19 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:
20 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:
21 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:
22 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:
23 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:
24 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:
25 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:
27 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:
28 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:
29 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:
30 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.