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Dawn: The Series 1x03 "Mind Fields"

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  • Dawn: The Series 1x03 "Mind Fields"

    DAWN: The Series
    1x03 "Mind Fields"

    Written By kungfubear

    Created By kungfubear & Skinless

    Based on characters created by Joss Whedon

    TEASER

    INT. CAMPUS LIBRARY - MORNING

    The campus library has tall ceilings and tall windows. Shafts of the morning sunlight pour in from the long panes of glass. Endless rows of equally tall bookshelves can also be seen, like the world's largest and wisest domino set. Seated at a table by the corner window, we see DAWN, reading.

    CLOSE UP ON: DAWN

    Reading, her eyes appear heavy, like she could drop off at any moment.

    WILLOW
    (OS)
    Don't fall asleep on me now.

    Dawn, on the verge of passing out, perks up and looks at WILLOW, standing next to her.

    DAWN
    (dazed)
    Huh?

    WILLOW
    We've only just started. There's still a long way to go.

    Willow sets a heavy stack of books down on the table. She's obviously enthused. Dawn, not so much.

    DAWN
    I don't know how much use I'll be. I cracked open this book on Poe about half an hour ago, and I haven't moved past this one sentence the whole time. Ugh, my brain is fried.

    WILLOW
    Too much information?

    DAWN
    Not enough, actually. I'm still thinking about last weekend. The Brotherhood, stripping waitresses, vampire bunny-men who go poof. I can't make sense of any of it.

    WILLOW
    I told you sweetie, we're looking into it. I even called Giles. I promise, he's cleaning his glasses enough for the both of us, so don't worry. Just wrap yourself up in your schoolwork. It works for me.

    DAWN
    I'm trying, but nothing sticks.

    WILLOW
    I'll go get us some drinks. Maybe something with a dangerous amount of caffeine will perk you up.

    DAWN
    Thanks.

    Willow exits frame, in search of drinks. Dawn continues to burn a hole in her book. Finally, with a frustrated sigh, she gives up and moves on to the next book on top of the pile. Setting it down in front of her, she opens it to a random spot, only to find the pages are blank. Confused, she flips through the numerous pages. Not a single letter or image can be found.

    Dawn's getting worried. She gets up from her seat and begins scanning as many books as she can as fast as she can. They all come up empty. Blank page after blank page until she reaches the last book at the bottom. Dawn opens the book just in time to see the text crawling off the page and onto the table. The moving letters runoff the edge and pour onto the floor, like an alphabet waterfall.

    Cautious, Dawn takes a step back. She looks around and notices she is alone. The puddle of text on the ground begins to flow across the floor in a serpentine fashion.

    ANGLE ON: BACK WALL

    Dawn slowly follows the river of words until she reaches a dead end, a vast, white wall at the other end of the library. Running up the wall is a single, hairline crack. The river of words disappear into the fractured space. Dawn moves closer and tries to peer into the crack in the wall.

    GILES
    (OS)
    Excuse me, Miss?

    Dawn turns around to see GILES. He's dressed in his classic, tweed suit and wire frame glasses.

    GILES (CONT'D)
    Can I help you?

    DAWN
    Giles! What are you doing here?

    GILES
    I'm the school's librarian. Are you lost?

    DAWN
    What? When did you start working here, and why didn't you tell me?

    GILES
    (confused)
    I'm sorry, have we met before? I'm afraid I don't know you.

    CLOSE UP ON: DAWN

    We PUSH IN on Dawn's wide-eyed expression as we...

    BLACK OUT.

    END OF TEASER

    CUE MUSIC AND OPENING: "Tomorrow" by SR-71

    ACT ONE

    INT. CAMPUS LIBRARY - MOMENTS LATER

    Dawn and Giles are at the back of the library. Giles is shelving some books.

    DAWN
    Giles! It's me, Dawn. Have you been sniffing glue?

    GILES
    (offended)
    I beg your pardon? Listen, um, Dawn, is it? Unless you're looking for a book of some sort, I can't help you.

    DAWN
    This isn't funny, Giles. Where's Buffy?

    GILES
    (perks up)
    Oh, you and Buffy know each other?

    DAWN
    She's only my big sister.

    Giles takes off his glasses and gives Dawn a look.

    GILES
    Perhaps you're looking for--

    DAWN
    Some other girl with that name who lives around here? Seriously Giles, how many other girls named Buffy have you ever met?

    GILES
    I see your point.

    Dawn gets an idea. She digs into her back pocket and hands Giles her ID card.
    GILES (CONT'D)

    (squinting)
    This makes no sense.

    DAWN
    (triumphant)
    See, I told you.

    GILES
    No, I mean I can't read this.

    He hands it back to Dawn.

    ANGLE ON: ID CARD

    Looking at the card, we see Dawn's picture, but the words and information are a jumbled mess of incohesive letters, numbers and symbols. Suddenly, the text begins to slide down the card and onto the floor. Like before, this alphabet pool snakes its way along the ground and into the crack in the wall.

    DAWN
    (pointing)
    Giles, look! The same thing happened a minute ago when I was studying.

    ANGLE ON: CORNER TABLE

    Giles and Dawn enter the frame. Dawn sits down and begins leafing through her stack of books, showing Giles the empty pages.

    DAWN (CONT'D)
    I was over here studying, then all the words started coming off and going over there, into that wall.

    GILES
    Please, slow down. This is too much information. I'm still trying to...Buffy is your sister? Buffy Summers?

    DAWN
    Giles, for some reason you've gone all Leonard Shelby on me, but we need to deal with this first. I've just gotta retrace my steps. Okay, I was sitting here, trying to study this stupid book on Poe, then Willow--

    GILES
    Willow?

    DAWN
    Please tell me you at least remember her. Short and cheerful with red hair. Likes to practice magic and sleep with girls. Ring any bells?

    GILES
    Yes, yes. I know who Willow is. You said she was here, a moment ago?

    DAWN
    Yeah, she came over with a bunch of books and said she was gonna get us some drinks and--

    Dawn stands up and walks past Giles.

    GILES
    What is it? Where are you going?

    She then breaks into a sprint, running towards the main doors.

    DAWN
    I have to find Willow!

    Dawn exits the library.

    SMASH CUT TO:

    INT. BEDROOM - DAY

    We're in one of the upstairs bedrooms of the Summers' home, in Sunnydale. The room is bare, except for a single bed. There are no sheets. The bed has not been made. The double doors to the closet burst open. Dawn falls out, hitting the floor. She sits up and looks around the room.
    Before she can fully register her surroundings, Dawn is distracted by an off screen noise. It's coming from downstairs. She gets up and walks out of the bedroom.

    INT. LIVING ROOM - DAY

    ANGLE ON: STAIRS

    We PULL BACK as Dawn comes down the stairs, into the living room. The living room is packed with people. They appear to be STAGEHANDS. Some of them are moving furniture, while others are setting up boom microphones and stage lights.

    GLORY
    (OS)
    Hey, you! You're in the way!

    We WIDEN OUT to reveal that Dawn is indeed standing in the middle of a set. The wall where the television should be is gone. GLORY walks up onto the stage and grabs Dawn by the arm. She drags Dawn along with her off the set and over near some film cameras. Glory is dressed in a woman's business suit. She has a bullhorn, but doesn't use it. Dawn is in wide eyed shock.

    GLORY (CONT'D)
    You're ruining the show. Who said you were allowed on set? Did the director authorize this?
    (calling out)
    Ben!

    BEN enters and stands next to Glory. He's dressed just as she is, but his is a man's suit.

    BEN
    You rang?

    GLORY
    Is this one of your cattle?

    Ben strokes his chin and squints at Dawn.

    BEN
    Hmm, I don't think so, but I'm beginning to wish she was. She's got a certain something.

    GLORY
    The only thing she's got, is my last nerve.
    (to Dawn, smiling)
    What's your name, sweetie?

    DAWN
    Uh, D-Dawn Summers.

    Glory's fake, plastic grin slowly fades into a frown.

    GLORY
    Dawn Summers? I didn't ask for your character's name, dear. I want to know who you are.

    BEN
    Maybe the writers are playing a prank.

    GLORY
    Again? I swear, I'm surrounded by geeks and children.
    (calling out)
    Writers!

    WARREN, JONATHAN and ANDREW walk up.

    WARREN
    You wanted to see us?

    GLORY
    Please, you're writers. I never want to see you.

    DAWN
    I don't understand. What's going on?

    GLORY
    Don't tell me you've forgotten your place in this, already.
    (to the writers)
    Did either one of you cretins write this child into the script without asking me first?

    The three geeks look at each other in confusion.

    ANDREW
    No, but what if we put her in at the end of the episode or something?

    WARREN
    Yeah, yeah we could, as a new character.

    GLORY
    You half-wit, we've got more than enough characters as it is. There's no room to fit her into the story.

    JONATHAN
    (excited)
    Oh, I know! We can make her someone's sister. She's always been around, we just don't notice her until now. We can figure out why later on.

    GLORY
    That's ridiculous! Our audience will lynch mob us. I'm not going through that again, not after the whole gay thing. It'll never work.
    (points to Jonathan)
    You're fired.
    (points to Andrew)
    You! Kill that one.

    JONATHAN
    What?

    Andrew pulls a knife on Jonathan. He stabs him in the gut, while moving the two of them out of the right side of the frame.

    GLORY
    (to Ben)
    Go away. I'll call for you if I need you again.

    Ben quietly slinks away.

    GLORY (CONT'D)
    Security!

    RILEY enters from the other side of the frame, dressed in a Security Guard's uniform.

    RILEY
    Is there a problem?

    GLORY
    Escort this little girl outside. We're about to start shooting.

    RILEY
    (to Glory)
    Yes, Sir.
    (to Dawn)
    Right this way, kid.

    Riley grabs Dawn by the arm and escorts her out of the frame. Glory calls out after them.

    GLORY
    (to Riley)
    And make sure she doesn't steal anything!

    CUT TO:

    EXT. SOUNDSTAGE - DAY

    The door opens. Riley shoves Dawn outside and slams the door shut behind her, leaving her by herself. She immediately turns around and tries to go back inside. The door is locked.

    SPIKE
    (OS)
    You can't go back there.

    Dawn turns around to see Spike, out in the middle of the day!

    SPIKE (CONT'D)
    None of us can.

    DAWN
    Spike?

    SPIKE
    (smiling)
    Hello, Dawn.

    BLACK OUT.

    ACT TWO

    EXT. SOUNDSTAGE - DAY

    Dawn and Spike are outside the soundstage. They're surrounded by perfectly formed, untouched sand dunes, stretching out over the horizon and into infinity. The soundstage appears to be the only construction for miles.

    DAWN
    Spike, what are you doing here, in the daylight? In fact, where is here? Where are we?

    SPIKE
    Too many questions, and not the right ones. I know what you know.

    DAWN
    But I don't understand any of this. None of it makes sense.

    SPIKE
    Of course it does, you just ain't lookin' hard enough.

    Spike walks past Dawn. The tail of his leather coat drags across the sand behind him. It moves fluidly over the ground, like a train of shadows, slowly catching up with him.

    SPIKE (CONT'D)
    It's bugger all to do with surface. You've gotta go deeper.

    Dawn follows Spike around the corner of the soundstage. Once they get past that back wall, it's revealed to be just that, a back wall. It's being held up by support beams, like the kind of facade one might find in a high grade stage production. It's about this point that Dawn notices nothing casts a shadow here.

    DAWN
    Deeper how? Is this one of your crappy poems I don't get?

    SPIKE
    It's all just skin, little bit.

    Spike looks out towards the horizon, like he's waiting for something.

    SPIKE (CONT'D)
    Trouble is, skin sheds. It all gets peeled back, eventually. Everything is open and raw, unsafe and uncertain.

    Dawn walks a few yards ahead of where Spike is standing. She looks at the horizon and tries to see something that isn't there. Frustrated, she turns back to face Spike.

    DAWN
    I don't have time for riddles, Spike.

    SPIKE
    That's the problem, isn't it? Time, space, skin. All relative, really. It's not what's important. Still didn't stop them, did it? It never does. They tried to contain it, give it skin, give it a name.
    (beat)
    Not long now.

    DAWN
    Not long for what?!

    SPIKE
    All of it! You, big Sis, me-- Well, not so much me. Point is, without a reason, without a purpose the whole bloody thing goes back to the way it was. If it gets in, then the light dies.

    Starting at the base of the back wall, a shadow slowly begins to form on the ground, stretching out longer and longer, like the effects of a sun dial. The shadow casts itself over Spike. His skin begins rotting away and drying out, like he's being dusted in super slow motion.

    SPIKE (CONT'D)
    Don't let The Darkness in, Dawn.

    With that, Spike's entire being turns to ashes, blowing away in the breeze. The shadows push forward. Dawn sees it getting closer and takes off in a sprint, trying to outrun it. The Darkness is gaining momentum. Dawn tries to run faster, but it's just at her heels.

    The sand is building towards an incline, causing Dawn to struggle uphill. When she reaches the peak, her feet begin sinking into the ground. She tries to break free of the quicksand, but it's no use. Before The Darkness can reach her, Dawn is buried underground. Sand fills her lungs when she opens her mouth to scream for help.

    CUT TO:

    INT./EXT. HOURGLASS - NIGHT

    Dawn falls through the sand and lands in the middle of a circled platform. She sits up as sand continues to trickle down from above. Taking in her surroundings, Dawn realizes she's trapped inside a giant hourglass. It's too dark to see outside the glass. Meanwhile, sand is piling up around her feet. The more sand that fills the bottom, the higher Dawn is pushed up into the top of the hourglass.

    DAWN
    Looks like nowhere left to go but up.

    Once the sand in the hourglass has completed its cycle, Dawn is able to stand up and push the lid open. She climbs out of the hourglass and finds a ladder. After climbing down to the floor, Dawn takes a few cautious steps forward.

    DAWN (CONT'D)
    Hello?! Anybody?! Preferably someone friendly?!

    Dawn is about to continue walking, when a giant, glowing green eye opens right in front of her! Startled, Dawn stumbles back and falls on her butt. She looks up and sees that there are two green eyes staring at her. The glowing eyes fill the room with much needed light. Dawn takes a step back and sees that the eyes are not human, but feline. She is face to face with a monstrously large, MISS KITTY FANTASTICO.

    DAWN (CONT'D)
    Hello, Kitty.

    The massive kitten is laying on her side, like a beached whale. Dawn slowly gets to her feet and takes a moment to appreciate Miss Kitty's overwhelming size, while the cat cautiously looks on.

    Dawn spots something embedded into Miss Kitty's right, front foot. Upon closer inspection, she realizes it's an arrow, proportionate to Dawn, but more like a splinter when compared to the huge cat. Dawn reaches out and gingerly pulls the arrow from Miss Kitty's paw. The wound closes up on its own, leaving no signs of injury.

    DAWN (CONT'D)
    There. Good as new.

    Miss Kitty Fantastico gets up and lowers her head to the ground, looking very much as if she were bowing down before Dawn, praying to her. The enormous kitten begins purring at Dawn, which has a lot more bass to it than usual, given the cat's size. Dawn steps up onto the previously wounded paw and begins to hike up onto the cat's back. Miss Kitty steadies herself before walking down the dark corridor, carrying Dawn on her back the way an elephant would a circus performer.

    INT. CORRIDOR - NIGHT

    The glow from Miss Kitty's eyes are lighting the way ahead much like the headlights on a car, or in this case, a diesel truck. Up against the walls on either side, Dawn sees a row of beautifully crafted artworks, in various mediums. They appear to be representations of the different Slayers throughout the generations.

    ANGLE ON: THE FIRST SLAYER

    A textured cave painting of the Primitive. The First Slayer, dressed in tattered shrouds and bandages. Her stance is ever alert, a constant battle pose. Her muscles are lean and tight in a way that's foreign even to other Slayers. Everything about her is hard and callous. Her skin is deeply toasted and decorated with many scars. Her bare feet are digging into the desert sand. Her eyes seem to coldly stare back at Dawn, as if burning into her very soul. One hand wields a knife of sorts, apparently made entirely of the rib bone from some unknown animal, now long gone from this world. The other hand chokes on a long, twisted tree branch, with no leaves to speak of and the ends sharpened into fine, splintered spikes.

    ANGLE ON: PEASANT SLAYER

    An inked drawing on a large, open scroll of a young woman with long, flowing hair, golden like the sun. Fair skin and youthful features, but with big, woeful eyes. She wears a layered, white dress splattered with blood and carries an intimidating broadsword. A raging wall of fire threatens behind her.

    ANGLE ON: PARISIAN SLAYER

    A framed, canvas painting of a raven-haired French woman, in a burgundy dress and torn stockings. Tears stream down her face as the blood of the innocent dries on her hands. The Rue St. Denis, at the height of The French Revolution can be seen in the background.

    ANGLE ON: VICTORIAN SLAYER

    A chiseled, marble statue of a woman, but dressed to look like a man. She stands with a very regal posture. Short, cropped hair and mild, masculine features. Long trousers and a coat with tails completes the deception.

    ANGLE ON: CHINESE SLAYER

    Another canvas painting, but this one is not framed. It depicts a graceful Chinese girl, from the Boxer Rebellion. She is dressed in fine silks and sits on the floor, in deep meditation. An arsenal of blades and stakes are displayed before her.

    ANGLE ON: NATIVE AMERICAN SLAYER

    An old, sepia-toned photograph, probably one of the first of its kind. A young girl of Navajo bloodline sits atop a horse. A bow in her hand and a sling of arrows over her shoulder, she wears a dusty hat and poncho.

    ANGLE ON: GERMAN SLAYER

    A cleaner, black and white photograph. A little German girl of maybe fourteen years old, her hair in braids. She stands outside a bakery, surrounded by a small, Jewish family. Together, all smiles, they set fire to a banner displaying the Nazi Swastika symbol.

    ANGLE ON: NIKKI WOOD

    This is more or less a blown up rendering of the cover to some dime store pulp novel. A tall, 1970's funk-style, African American woman is perched atop a high rise rooftop. The New York skyline is lit up by the bustling nightlife in the background. Dawn does a double take at the familiar, leather coat The Slayer is wearing.

    Miss Kitty Fantastico finally stops walking, arriving at a dead end. However, close to the wall, there is a door built into the ceiling. Dawn stands up and glares at the door.

    DAWN
    Okay, how the hell am I supposed to get up there?

    Suddenly, the door opens like the hatch to an attic. A ladder is lowered right in front of Dawn.

    DAWN (CONT'D)
    That'll do.

    Dawn begins to climb up the ladder and through the hole in the ceiling.

    INT. UPPER LEVEL - NIGHT

    Dawn emerges into the upper level. It's mostly cloaked in darkness. There is some light, coming up from the hole in the floor. Slowly, Dawn's eyes begin to adjust to the new surroundings, allowing her, and us, to see the interior of the room.

    ANGLE ON: CHARLOTTE "CHARLIE" WATTS

    A poster, the edges frayed, promoting a goth/industrial rock band called Anima. The foreground image depicts the slender, curvaceous figure of Charlie Watts. A long, black dress hugs tight against her body. An electric guitar is slung over her shoulder. Black mascara brings out her hypnotic, crystal blue eyes. It looks to be the only makeup she has on, not that she needs any. Her features are almost angelic, and she seems to have one of those naturally friendly faces. Her short, black feathered hairstyle further gives away that she was obviously a Slayer during the mid to late Eighties. (Don't bother looking for her in any of the Slayer-based comics and novels. She's my own creation)

    ANGLE ON: BUFFY SUMMERS

    On the wall across from Charlie's poster, we see a blown up, high definition, high resolution photograph of Buffy Summers. All contemporary, Southern California style. Hip-hugging blue jeans, white, form-fitting shirt and an expensive leather jacket. Buffy's harvest-gold hair is pulled back into a loose ponytail. Her wooden stake, Mr. Pointy is gripped in her right hand.

    Dawn pauses on the image for a moment in warm reflection. She then walks towards the back of the room, where things are completely dark, having moved furthest away from the light source. Dawn stops in her tracks when a part of the floor lights up beneath her foot. This triggers the lighting up of a circle on the floor, close to the back wall.

    ANGLE ON: MELAKA FRAY

    The room fills with light as a HOLOGRAM image materializes. We see a Slayer from a high-tech, science fiction future time. Her look and style is quite foreign, kind of a cyberpunk feel. She carries in her hands the Slayer's Scythe. (Anyone reading this who hasn't read FRAY, what's wrong with you? It's written by Joss Whedon! Go get it now!)

    Dawn squints at the image and notices the Scythe has a more solid quality to it than everything else. She reaches out to grab it and realizes that it is in fact real and tangible. She pulls it from the hologram and holds it firmly in her hands. Suddenly, all of the lights go out, once again leaving Dawn in total darkness.

    CUT TO:

    INT. MAGIC BOX - NIGHT

    The lights come back on after a moment, revealing Dawn to be in a completely different location. More specifically, she's in the destroyed Magic Box from years ago, after Dark Willow's rampage. Dawn still has the Scythe in her hands. Behind her, a SWEEPING noise can be heard. Dawn spins around, ready for danger. Instead, she finds XANDER. He still has both his eyes. He's dressed in a custodial uniform and holding a broom. He looks up and spots Dawn.

    XANDER
    Hi. Can I help you?

    BLACK OUT.

    ACT THREE

    INT. MAGIC BOX - NIGHT

    Dawn and Xander are facing each other, surrounded by the ruins of The Magic Box.

    DAWN
    I'm guessing you're not Xander.

    XANDER
    Well, I am, but also not.

    DAWN
    Is it wrong that I sort of understood that?

    XANDER
    You're catching on. That's good.
    (points to scythe)
    You don't need that here.

    Dawn chokes her grip on the scythe.

    DAWN
    Maybe I like having it. Makes me feel safe, like a big, sharp and heavy teddy bear. Where exactly is "here"?

    Xander gestures to the debris around them.

    XANDER
    Can't you tell?

    DAWN
    I've got a pair of jeans that say Donna Karen on them, but that doesn't mean they are.

    XANDER
    Good point. Follow me.

    Xander tosses his broom aside, turns and heads to the back of the shop. Reluctantly, Dawn follows.

    XANDER (CONT'D)
    You see Dawn, all of this has more to do with who or what you are, rather than where you are.

    We TRACK behind the two of them as they go through a door at the back of the shop.

    INT. INITIATIVE CORRIDOR - CONTINUOUS

    They pass through the doorway and are now in a long, narrow hallway. The white, sterile design of this corridor means they are now in one of the many endless halls of The Initiative facility.

    XANDER
    As far as anyone else is concerned, you're Dawn Summers, daughter of Hank and Joyce, sister to Buffy, the Vampire Slayer. That's all well and good on paper, but deep down, you know better. Let's say for example, someone builds a School Library. The first thing they do is fill it full of books. Countless volumes of information and knowledge. Now, it's true that knowledge is power, but it's also true that absolute power corrupts absolutely.

    They come to the end of the hallway. Before them sits a metal detector. Just ahead of that, is what appears to be a dead end wall. Xander passes through the metal detector. Dawn follows, but the scythe in her hands sets off the alarm. A loud BUZZING SOUND fills the hall.

    XANDER (CONT'D)
    I told you. You don't need that here.

    Dawn steps back and discards the scythe, leaving it on the floor behind her. She proceeds forward and through the metal detector, this time without any problems.

    XANDER (CONT'D)
    See, the thing is, it's just a room where the books live. All that knowledge is actually a lie, an illusion to hide a much deeper truth. Beneath all that man-made concrete and steel, you'll find a dangerous convergence of mystical energy. Of course, me telling you all this isn't going to do a lick of good.

    Xander brings his hand up to his face and uses his thumb do dig his left eye from his skull. While there's lots of blood to be had, it doesn't seem to cause him any pain.

    XANDER (CONT'D)
    I have to show you.

    A square panel materializes into the wall. It slides open to reveal a retinal scanner. Xander places the bloody eyeball into the scanner. The panel slides back up and disappears into the wall. The wall fades away like an optical illusion. An open doorway is now visible. Dawn cautiously steps through it. She looks back to see a more current version of Xander. This Xander has longer hair and is wearing an eye patch.

    XANDER (CONT'D)
    Whatever happens, don't look away.

    Once Dawn is clear of the doorway, the wall fades back into existence, separating her from Xander.

    INT. LECTURE HALL - DAY

    Dawn finds herself in a Lecture Hall at UC Sunnydale. A white-hot, almost blinding sunlight streams through the windows. The seats are empty. Dawn appears to be the only person in the room. At the front of the classroom, we see an examination table, covered by a white sheet. Dawn cautiously makes her way down to it. She stands before the table, reluctant to touch the sheet.

    DAWN
    (softly)
    Don't look away.

    Pulling back the sheet, we find the BUFFY-BOT laid out on the table, eyes closed. She's dressed in a blue hospital gown. A section of the gown has been removed, exposing her stomach. Suddenly, the eyes open and the Buffy-Bot smiles at Dawn.

    BUFFY-BOT
    Dawn. You're my sister.

    DAWN
    What I am is very confused.

    BUFFY-BOT
    You seek knowledge. I can help you.

    DAWN
    What do I do?

    Giles appears behind Dawn.

    GILES
    You must watch.

    Dawn steps aside and allows Giles to take her place. She never takes her eyes off the Buffy-Bot. Giles has a scalpel in his hand.

    GILES (CONT'D)
    Your true identity and purpose can finally be revealed to you, but you have to pay attention.

    Giles cuts an opening into the Buffy-Bot's stomach. As he does this, the sunlight begins to fade away from the windows, gradually sending everything into almost complete darkness. There is only minimal light available now. Dawn begins to shiver, steam escaping from her mouth. She hugs herself and tries to fight the cold.

    DAWN
    It's freezing cold in here.

    Giles digs into the incision with his bare hands. He's almost up to his wrists at this point.

    GILES
    Ah, here we are.

    Dawn leans in for a closer look. Slowly, Giles is pulling out a small cube made of wood and steel. Just before we can get a clear look at it...

    FLASH CUT TO:

    INT. BATHROOM - NIGHT

    EXTREME CLOSE UP ON: DAWN'S EYES

    Dawn slowly opens her eyes.

    CLOSE UP ON: DAWN'S FACE

    Dawn appears to be laying down.

    DAWN
    What's happening?

    We PULL BACK to reveal Dawn in a bathtub filled with ice. WILLOW and APRYL are standing over her.

    APRYL
    I think her fever finally broke.

    BLACK OUT.

    ACT FOUR

    INT. BATHROOM - NIGHT

    Dawn looks up at both Willow and Apryl. She's cold, weak and disoriented.

    WILLOW
    Dawn? Do you know where you are?

    DAWN
    (weak)
    The North Pole?

    A beat.

    WILLOW
    You're in Apryl's bathroom.

    APRYL
    I found you passed out in the library. You were burning up.

    WILLOW
    You had a fever of a hundred and six, that's when we, well, put you on ice.

    DAWN
    Willow?

    WILLOW
    Yeah sweetie, I'm here.

    DAWN
    Can I have something to drink?

    Willow smiles.

    WILLOW
    One beverage comin' up.

    We PULL BACK all the way out of the bathroom, and over to a pile of books on a desk. Dawn's backpack is seated in the chair in front of the desk. One of her books is open to a seemingly random page. It's the book on Edgar Allan Poe we saw at the top of the episode. We PUSH IN on a passage that has been highlighted. It reads: "Is all that we see or seem just a dream within a dream?"

    DISSOLVE TO:

    INT. DAWN'S BEDROOM - NIGHT

    Dawn is now resting in her bed. We PULL BACK to reveal Willow, peeking in from the hallway.

    INT. UPSTAIRS HALLWAY - CONTINUOUS

    Willow closes the door and turns to BARRET, who is standing by the top of the stairs.

    BARRET
    How's she doing?

    WILLOW
    Much better, I think. She's resting. I've never known anyone to get that sick before.

    BARRET
    I did, once. It happens sometimes at college. So many people crammed together in dorm rooms and class rooms. Germs are flyin' all over the place. Most folks are bound to pick up something. My freshman year, I got a real nasty cold, stayed with me two whole weeks.

    WILLOW
    Really?

    BARRET
    Yeah. I used that down time to read some King. Word of advice, don't pick up The Stand while you're sick. Never got a fever that high, though.

    WILLOW
    She was delirious. Kept mumbling all sorts of things.

    BARRET
    Didn't you say her sister used to have prophetic dreams?

    WILLOW
    Sometimes. You think Dawn was dreaming?

    BARRET
    It's possible. Did you make any of it out?

    WILLOW
    Mostly, no. It was too fragmented. I may ask her about it after she gets better, if she actually remembers anything.

    DISSOLVE TO:

    INT. KITCHEN - NIGHT

    We see Barret, shutting off lights as he exits the kitchen.

    INT. LIVING ROOM - CONTINUOUS

    Barret is shutting off lights in the living room now. He casually makes his way to the sliding glass door at the back end of the house.

    EXT. BACKYARD - CONTINUOUS

    Barret emerges from the house, into the backyard. He walks across the grass, making his way to a tool shed that's behind a tall tree. It's the only tree in the yard. The door is locked. Barret fiddles with the lock, entering in a combination and unlocking it. He opens the door and heads inside.

    INT. TOOL SHED - CONTINUOUS

    There's nothing inside the shed. It's just a facade. In the ground, surrounded by dirt, we see a plain, metal hatch.

    INT. FALLOUT SHELTER - CONTINUOUS

    The hatch opens. Barret climbs down a ladder that leads into what appears to be an old Fallout Shelter. He turns on the lights, revealing a storage space filled with dozens of ancient artifacts and weapons. A desk is in the corner, next to a wall of shelves. On the desk is a package. Barret walks to the desk and opens the package.

    MEDIUM CLOSE UP ON: BARRET

    Barret brings the contents of his package into frame. It's a small box made of wood and steel. It's the same box from Dawn's dream. It's about the size of a milk crate. Barret kneels down out of frame. Standing a few feet behind him, we see the spirit of Dawn's mother, JOYCE SUMMERS.
    Barret puts the mysterious box on the bottom shelf and stands back up. He turns around to face Joyce, not at all startled to find her there. He looks at her for a beat.

    BARRET
    (concerned)
    We need to talk.

    BLACK OUT.

    EXECUTIVE PRODUCERS
    skinless
    kungfubear

    THE END.
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