Seven: Danse Macabre
Looking through a car windshield on
a cold November morning, the air is misty, the sound
of the police radio can be heard along with the wailing
of the car's siren and up ahead the figure of a man
emerges from the mist, waving to us. Behind him are
two police cars parked near the side of the road, with
a handful of cops gathered around a crime scene.
As the cop car pulls over, the man (JEFF CHILDS a rookie
Detective in his early thirties) walks towards our door,
leaning on the roof of the car and bending down to the
Childs is addressing DETECTIVE GEORGE
MACCREADY (an experienced Detective in his late forties)
who steps out of his car and begins to head over to
the crime scene.
So, what've we got here?
rubs the back of his neck nervously
Sir I--I think you better see for yourself
Come on Jeff, you've been a Detective for a year now.
Don't tell me a simple car crash has gotten to you?
MacCready flashes his badge to the
officer guarding the crime scene
It's not a car crash-
MacCready looks at Childs, puzzled,
as Childs lifts the “Crime Scene” police
tape to let MacCready under.
-that would've been a lot more straightforward,
and less unsettling to deal with.
Childs follows MacCready under the
police tape and walks on ahead while MacCready stops
for a second to consider what Childs has just told him.
EXT. ROADSIDE, CRIME SCENE
MacCready follows Childs as they get
to the black car (a classic Chevy Impala).
Taking a good, long look at the 67'
Damn that's a sweet ride.
Exactly. No dents, no scratches, no sign of road rage
or an automobile altercation.
Yeah, she's in great condition.
Can't say the same for the passengers though.
is curious to know what's got Childs so disturbed.
MacCready follows Childs to the front
driver's side door, which is wide open as a crime scene
photographer takes pictures of the inside of the car.
(gestures to the open door)
Just here George.
MacCready notices that Childs seems
to be avoiding looking at the car altogether.
Peering into the Impala he sees the
horrific sight of two dead bodies. Thier eyes wide open,
staring straight ahead, frozen in concentration on something
so terrifying that it must have scared them to death.
There is no doubt, these are the corpses of SAM and
Chilling isn't it?
MacCready shakes his head with a mixture
of shock and fascination.
Who found them?
I did. I thought they'd had some car trouble or just
pulled over for a nap but when I got to the window I...
Glancing at the bodies of Sam and Dean.
BACK TO SCENE
Really shook me up that's for damn sure.
I reckon this is going to haunt me for some time.
(Still examining the bodies)
Cause of death?
(snaps out of it)
We...we don't know. There's no entry wounds, no signs
of a struggle, no footprints anywhere
(glances back at the bodies)
It's as though they just pulled over and-
Looking over the bodies.
CLOSE UP as the camera PANS ACROSS
slowly from Dean-
What the hell happened out here?
Hold on CLOSE UP of Sam for a beat.
You're listening to KTALK radio; with your “Ghostly”
host, Steve “Spooky” Spence-
We see the Impala driving down the
road. It's headlights shining brightly against the dark
-Okay listeners, coming up next-
DEAN and SAM are listening to the DJ
STEVE SPENCE (a younf "hip" disc jockey) on
the car radio.
-we've got more true tales of [i]terror[/i] to chill
your very soul on this horrific Halloween night.
Sam do we have to listen to this crap?
I know, I know It sucks. But Dean, we're pretty stuck
for work right now and this is just as good as scouring
the local "obits" or reading cases on the
internet. Besides, if nothing else, at least it's always
good for a laugh.
Yeah, like that last lady who called in to say that
the ghost of Buddy Holly haunts her attic and keeps
her awake at night by playing “Peggy Sue”
over and over.
They both laugh.
Our next caller is Cliff from Ohio. How ya doin' Cliff?
I'm okay Steve.
Good to hear it my man. Now lay it on me Cliff, what's
your spooky tale of true life ghostly goings on?
Actually Steve my call is more of a warning. You see,
I'm a psychic of sorts and I have a very strong feeling
that the world will end sooner rather than later.
Dean and Sam glance at each other.
Yes, really. I predict that in this next year we are
going to see signs and portents of greater tragedies
to come. Earthquakes, typhoons, violent storms and raging
tempests will ravage the whole world. Creatures clawing
their way from the darkness as whole cities lie in ruin.
Dean and Sam glance at each other again.
This time looking a little worried.
CLIFF (O.C.) (CON'T)
(getting carried away)
And this is just the beginning Steve.
The beginning of the e-
Okay, well thanks for that Cliff. Er...nice talking
Steve! I'm [i]telling[/i] you it's-
Steve cuts him off.
Well...Okay, little warning there to our listeners at
home about the dangers of reading “Revelations”
while jacked up on too much Halloween candy.
Alrighty, next up we have Linda who claims her dead
husband Alf, came to her in spirit form and told her
who would win the next World Serie-
Dean switches off the radio.
Well that was...intense.
Think we should pay him a visit?
What! Are you serious? Sam guys like that are a dime
Yeah. But, Dean he sounded pretty convinced.
Of course he did. Would you have believed him if he
hadn't put in the effort?
Sam is silent.
Now if Missouri had said something like that
then it'd be different. We know she's on the level,
but some kook from Ohio...
Dean shakes his head.
Halloween just brings out the "crazies" in
The Impala suddenly slows, then comes
to a complete stop. The engine winds down and the headlights
fade out. The car is not moving, it's as though it's
just “died” on them.
What the hell?
Dean tries to start the ignition, but
the engine fails to respond.
Out of gas?
You kidding? I filled her up about two hours ago at
gas station while you dozed off.
Maybe it's the battery?
Well, one thing's for sure-
Dean slumps back in the driver's seat,
puts his arms behind his head.
-she ain't going anywhere.
I'll see if I can get a tow truck out to us.
If it's not here within half an hour tell them we ain't
Actually Dean I think that only applies to pizza delivery.
He shuts his eyes.
Either way, wake me up when it gets here.
Sam laughs and begins dialing, when
something catches his eye through the front windscreen.
There is a faint, solitary light far
in the distance.
(gesturing to the light)
What do you make of that?
Dean opens his eyes and looks out of
the windscreen. He too sees the light up ahead. It appears
to be dancing around one spot further up the road, near
the trees, surrounded by darkness.
Maybe it's a person.
Maybe they have a phone.
(exiting the car)
well if we don't catch him in time we might lose him.
(slams the door shut) (O.S.)
Sam gets out of the car and follows
Dean is running after the light.
Hey! Wait up.
The light just keeps on moving, off
the road and now-
-into a forest, where it easily weaves
it's way through the trees making it harder for the
brothers to follow it.
TRACK Sam as he runs through the forest,
trying to catch up wth Dean.
Dean! Hey! Dean hold on.
Dean stops to let Sam catch up with
him and to catch his own breath too.
Man, feels like I've been running for miles.
Yeah, I know what you mean.
(looking at the light)
Looking ahead the light is floating
in the same spot, stationary.
BACK TO SCENE
Oh I've had enough of this.
(resumes running after it)
Hey! What's your damn problem?
(chasing after him)
Dean wait up will you.
As he gets closer to the light it begins
to vanish; as it does so the faint sounds of classical
music can be heard from all directions.
Music cue - "Concerto for Violin
and Strings in E "La Primavera"" by Vivaldi.
BACK TO SCENE
He and Sam stop dead and listen. They
try to work out where the music is coming from.
(pointing to the left)
This way...I think.
Sam heads off in that direction.
As he and Dean run through the trees,
in the darkness, the music slowly gets louder until-
-they stop in the middle of a clearing
and find a huge, majestic hotel right in front of them.
(looking at the hotel)
Okay, now this is just plain weird.
ANGLE UP ON the hotel.
A huge building, built from golden-yellow
bricks. It must be at least 300 rooms. The entrance
is framed by two huge pillars (with flamed torches attached
to each one) and a intricately carved archway above
Dean and Sam are awestruck.
Reckon they've got a dress code?
Not at all-
Sam and Dean look and see a man dressed
in a smart Butler's uniform standing in the main entrance,
under the arch. His accent has a real upper-class, English
quality to it.
we welcome all guests from all walks of life.
(gesturing to the entrance)
Please, come inside.
Sam and Dean exchange a “don't
trust this guy” look but they take up his invite
and walk inside.
We CLOSE UP on the Butler's face as
he watches with a sinister smile as the brothers enter
INT. HOTEL LOBBY
It's even more magnificent on the inside.
The architecture is sublime, the golden walls are lined
with pearl-white supporting pillars, and the entire
hotel is decked out in the most fantastical and elaborate
Halloween decorations ever seen. Jack-O-Lanterns are
placed everywhere, with the glowing embers illuminating
the macabre pumpkin face carvings, and a huge banner
reading “HALLOWEEN BALL: TONIGHT” is hanging
above the receptions desk.
Sam and Dean are speechless.
This place is-
A little out of our league I think, we should just find
a phone and-
Nonsense. You're guests and you're welcome to stay here
and as a matter of fact you've arrived just in time
for our annual Halloween Ball.
He ushers them towards a huge set of
double doors, which swing open revealing a gigantic
ballroom filled with couples (the men dressed in fancy
and elegant suits and the women wearing spellbinding
dresses) dancing various old-fashioned dances (like
Tango and Waltz).
ballroom itself is just as amazing as the rest of the
hotel, if not more so.
An intricately designed and solid gold
chandalier hangs down from the ceiling, surrounded by
some Halloween decorations in the form of fake dummies
designed to look like hanging victims.
Lined up against one of the walls we
PAN ACROSS a long banquet table, decked out in a red
cloth with all kinds of food and champagne, and a few
pumpkin Jack O'lanterns spread about.
ANGLE UP FROM THE TABLE TO The windows,
which are long and vertical, allowing some of the moonlight
outside to seep in.
CAMERA POV SHOT:
We move through the dancers all the
way to the far stage and reveal a group of musicians,
dressed in tuxedos and wearing Venetian masks as they
play their instruments.
(taking it all in)
Sweet...Child O' Mine!
That's one way of putting it.
Impressive, is it not?
Dean stares at the sight before him
then, something catches his eye.
We see a beautiful young woman dancing
with a man. She is in her early 20s with long blonde
hair, perfect petite frame and a smile that could melt
a thousand hearts. Her name is JENNIFER RAIMONDSON.
BACK TO SCENE
Dean says nothing but continues to
watch her as she dances.
Jennifer glances up and sees Dean watching
her, she gives him a “come hither” smile.
Of course you're welcome to take part in the festivities-
BACK TO SCENE
Dean and Sam turn around to face him.
-but first, let's get you checked into your room.
(gestures to the reception desk)
This way please.
Dean and Sam follow him over to the
desk, which is being manned by a rather odd looking
fellow with sunken eyes, dark hair and a meek exterior.
He looks to be in his late thirties.
This is MR. SOWIN.
The Butler and Mr. Sowin give each
other a cold stare.
(still glaring at Sowin)
He'll check you in and show you to your room.
Won't you, Mr. Sowin?
Sowin looks at the Butler, with an
expression that's somewhere between fear and hatred.
(to Dean and Sam)
Sowin walks to the back of the desk
and fetches a guest registration book. Sam looks along
the back wall of the desk and sees a row of Jack O'
Lanterns lined up along the desk behind the counter.
Looking along the row of lanterns we
see that one is slightly different, it's not a pumpkin,
but is in fact a hollowed out turnip. Just like all
the others though, it has a small ember burning inside
BACK TO SCENE
(looking at the turnip)
Guess you ran out of pumpkins, huh?
Sowin walks back with the book and
glances back at the turnip.
I've told you before Mr. Sowin, not to leave
that revolting thing lying about-
Sowin scowls at the Butler. Something
isn't quite right here.
-I want it removed at once.
(irritated by this order)
Of course, sir.
(to Sam and Dean)
Here, sign this please.
Dean and Sam sign the book, Dean hands
over some cash to Sowin.
He walks round the desk.
Now gentlemen, if you'd like to follow me, I'll show
you to your room.
He leads them over to the elevator.
This way please.
Watching the three of them get into
From the reception room ceiling we
ANGLE DOWN to see Dean, Sam and Mr. Sowin enter the
elevator. One of the “fake” hangmen decorations
is also in frame and LIFTS its head to watch the three
men step into the elevator.
These decorations apparently aren't fakes!
The Butler goes to leave but stops,
turning around, as he gets the feeling he's being watched.
CLOSE UP on the Butler looking up at
the hangman decoration.
The decoration is back to normal, as
though it had never moved.
BACK TO SCENE
The Butler gives a stern, thoughtful
look before exiting the room.