HALLOW NIGHT

An Original Screenplay By Holly Copella

FIRST DRAFT

HALLOW NIGHT FADE IN: EXT. ECKENROD MANSION -- NIGHT A large mansion sits just at the edge of town not far from other homes. The lights are on and music can be heard coming from the house. We see the house is decorated for Halloween. INT. BALLROOM People dressed in colorful and imaginable costumes dance to eerie, Halloween music. We see all sorts of childhood characters, sinister monsters, and gothic creatures. When the clock strikes midnight, Death walks through the center of the room with his hood over his head and his blade in his hand. Everyone stops to watch and marvel at the portrayal of death. INT. GAME ROOM A couple lounges in the hot tub and kisses passionately. Their costumes are slung in a corner. The door to the room opens. The man, CHESTER, pulls away. CHESTER House rules--take a number. Death enters the game room. Both the man and woman shake their heads with tiny smiles. CHESTER Okay, Scoggins, you've had your fun. We want some privacy. Death approaches them. Chester steps out of the tub and places a towel around his waist. CHESTER Scoggins, out! Death slings his blade at the man and slices his midsection. The man falls half in the tub, half over the edge. The woman screams and attempts to pull herself from beneath him. Death slings his blade and slices her throat. She gasps and clutches her throat. EXT. ECKENROD MANSION -- LATER Several people in costumes stand out on the lawn. They all appear panicked. Police cars surround the front along with several ambulances. We see stretchers being removed from the house. SHERIFF PARKER and DEPUTY DARREN stand on the lawn.

PARKER Six people dead and no one saw anything. DARREN With all the make-up and fake blood, who would know what was even real. PARKER I want this solved quickly. I want a list of everyone invited and what they came as. I want each guest questioned about each victim and when they saw them last and who they were with. Paper headlines read: All Hallow Night Massacre leaves police baffled. EXT. TOWN -- DAY Ten years later. We see the small town decorated for Halloween with straw bails, pumpkins, fake tombstones, and spider webs dressing the trees. EXT. TOWN GOSSIP NEWSPAPER -- DAY We see the small press, Town Gossip. The small press shop is on the corner of a double building. INT. TOWN GOSSIP HAWK PHILANDER brings a stack of papers to the counter. A young woman, KELSA RHETT, reads through the morning paper while sitting at a small desk with her feet propped up. KELSA What did you think of my article? HAWK Another masterpiece. perfect for macabre. You're

Kelsa lowers the paper and smiles. KELSA The town should be buzzing very shortly.

HAWK We go through this every Halloween week. You'd think they'd be used to it by now. The biggest homicide in this town--of course we're going to run it, especially on its ten year anniversary. What's on tomorrow's menu? KELSA Just a little something extra saucy. (tosses him a typed paper) Read it and weep. Hawk looks over the article and begins to laugh. HAWK You're bad. We see a man, MARLIN KANE, pass by the glass front of the building. He's wearing a fedora and a trench coat. HAWK (groans) Look out. Here comes misery to our company. Kelsa places her feet on the floor and lowers the paper. The bell above the door jingles and the distinguished man enters. He approaches the desk and tosses the paper on Kelsa's desk. She casually eyes the paper then him. KELSA Good morning to you too. KANE (angry) Have you read the paper? KELSA (sly smile) I wrote it. KANE Where's your father? KELSA (looks to Hawk) Bahamas? HAWK Bermuda.

KELSA (to Kane) Some tropical island. a problem?

Is there

Hawk casually approaches. Kane glares at Hawk until he backs up a few steps. Kane glares at Kelsa and leans with both hands on her desk. KANE Listen and listen closely, Little Kelsa. Not one more remark about me or my business in the paper, or you and that slanderous mouth of yours will be dealing with my wraith. Do we understand one another? Kelsa folds her hands together and leans forward, only inches from him. KELSA It's only slander if it's a lie. Any court will tell you that, Mr. Kane. KANE I prefer the direct approach, and you don't want that. KELSA Ah, a threat then. (produces recorder) Can I quote you on that? KANE I'll give you a quote--don't fuck with me. You won't enjoy it. KELSA Your sexual inadequacies don't interest me, and they won't sell many papers. Kane's expression appears colder than before. the stop button on the tape recorder. KANE Remember what daddy told you about playing nice while he's away. You're not too old for a spanking, little girl. He presses

KELSA (scoffs) Dirty old man. Kane straightens. KANE You need to be taught some manners. Kane turns and leaves the press. The bell jingles as he leaves. Hawk exhales and stares at the door. HAWK That man's the devil in a designer suit. I don't know how you can keep your cool with him. He makes me nervous. KELSA (trembles) What does a stroke feel like? I'm pretty sure I just had one. HAWK You'd better ease up on Kane's personal life. I think he really means it this time. KELSA On the contrary, my dear Hawk. I must be close to something to stir the beast. HAWK You can't be seriously considering digging up more. The only thing you're close to is getting yourself killed. KELSA He's not going to kill me. beat and torture. Just

Kelsa jumps from her desk and snatches the tape recorder. KELSA I'm going to be out for awhile. Keep my seat warm. HAWK Call in every hour. I promised your father I'd keep you out of trouble.

Kelsa smiles and leaves the press. Close up on the bottom front page article. It reads: Local tycoon questioned in disappearance of woman. EXT. TOWN -- DAY Kelsa hurries through town. We see Kane enter a bookstore several buildings ahead. An older Sheriff Parker suddenly appears before Kelsa. She gasps with surprise and attempts a smile. KELSA Hey, Parker. PARKER It's a beautiful sunny day, Kelsa. Don't mess with him--not today. KELSA I don't know what you're-PARKER Don't even attempt that sweet innocence on me, it's too early. Kane comes to town, you're on his ass. He's going to press charges one of these days, and I'll be forced to arrest you. You know I don't want to do that. KELSA You're just doing your job. Getting dirt on Kane--that's my job. PARKER I know you get some kick pissing him off, but not today. KELSA (frowns) You're mean. PARKER (warm smile) I'm sure I'll be reading about it in tomorrow's gossip rag. KELSA I've never given you bad press, Parker.

PARKER I'm lucky. You like me. I'll buy you a coffee. That should give Kane time to elude you. KELSA I don't drink coffee-PARKER (points/firm) Move it. Kelsa frowns and walks in the direction of the diner with Sheriff Parker following. INT. DINER -- CONTINUOUS Kelsa and Parker enter the diner. They receive several looks and a few laughs. Kelsa smirks. MAN AT COUNTER Kelsa's is trouble again. Kelsa flops down in a window booth. The waitress, BERNIE, approaches with coffee for Parker and tea for Kelsa. BERNIE (cheap smile) Would the prisoner care for something off of the menu? KELSA No, the prisoner would not. BERNIE (to Parker) The usual? Steak and eggs and a rubber hose? PARKER We'll skip the rubber hose, for now. Bernie walks away. Hey-Kelsa looks at him. PARKER You're worse than the old biddies in town. Can't you find someone else to pick on? Kelsa stares out the window. PARKER

KELSA I could investigate that new truck of yours. On your salaryPARKER I wish your father would return soon. You've been on selfdestruct since he's been gone. KELSA Business has been great. The papers have been selling like crazy. I am a gossip paper, you know. Aside from Kane and Jackie, I'm viewed as entertaining. PARKER That's part of the problem. Most of the town adores you, but a small percentage wants to kill you. Your regards to this as a game is the worst part. I don't want to find you face down in some lake. KELSA Your concern is appreciated and noted. Two women pass their table and wave and wink at Kelsa. OLD WOMAN Great article, Kelsa. She smiles and nods her thanks. window. Kelsa looks back out the

PARKER I'd like you to tone down the accusations--at least until after Halloween. KELSA (glares) What for? PARKER It's the tenth anniversary. Crazy things happen around here during Halloween week. I'd consider it a personal favor if you made my job a little easier.

KELSA Can't do that. Though if you deputize me and let me help investigate the disappearance, I might reconsider. PARKER Deputize you--right! EXT. BOOK SHOP -- CONTINUOUS Kelsa' POV. We see Kane leave the bookshop with two books in a plain brown wrapper. INT. DINER -- CONTINUOUS Kelsa twitches, preparing to jump. fingers. She looks at him. Parker snaps his

PARKER Don't even think it, or I'll handcuff you to the table. KELSA You're standing in the way of justice. PARKER No, I'm protecting it. my job. That's Kelsa eyes the

Bernie brings Parker's steak and eggs. plate.

KELSA Does you wife know you eat like this? She should probably take out a larger insurance policy. Parker glares at her. EXT. TOWN -- LATER Kelsa walks along the sidewalk with less enthusiasm than she had earlier. Two women in their twenties approach her with bright, cheerful smiles. They are NAN and PHOEBES. NAN Kelsa, you didn't get back to me. Are you coming to my Halloween party?

KELSA I knew there was something I was supposed to do. I wouldn't miss a party at the Eckenrod Mansion for anything. How did you get old man Eckenrod to let you use it? NAN Mr. Eckenrod may be old and miserable, but he still appreciates monetary donations. Wait until you see what I've done to the basement. It's going to be a complete screamfest. What are you coming as? KELSA I don't know, but it'll be a surprise either way. I like to keep them guessing. PHOEBES More like catch people with their guard down. They'll talk more openly if they don't know it's you. KELSA That'll be our little secret. NAN By the way, I saw Kane at Werner's Bookstore. He looked pissed. Got him with that article, huh? You might want to avoid him today. KELSA I'll remember that. NAN He ordered a book on medieval torture. Think there's something in that? KELSA I'm sure I can find out. PHOEBES You aren't seriously going to snoop around further, are you? I've never seen such a good looking man that made me so nervous.

KELSA He's suspicious. NAN (to Phoebes) She's offered him an interview many times, but he won't talk to her about the murders. If he had nothing to hide, he'd want to let the truth be known. PHOEBES He's so mysterious and creepy. I get a chill when he walks by. Phoebes shivers and rubs her arms. NAN Not to change the subject, but are you bringing a date? KELSA I thought I'd bring Hawk. He's a little uneasy about Halloween. He thinks it's evil. NAN How about a real date? Honestly, people are going to think you're dating a black man. KELSA And your point? Neither says a word. Nan manages a soft laugh.

NAN You know how people are around here. They love Hawk, but black and white shouldn't mix. KELSA Hawk's a wonderful man, and the color of his skin doesn't mean anything. Once people realize that, this town will be a better place. NAN You're right, you're absolutely right. So, can I tell everyone you'll be at the party? KELSA Hawk and I will be there.

NAN That should bring a successful turn out. You're practically a celebrity in this town. KELSA I'd hardly agree with that. PHOEBES Oh, but it's true. You were voted number one female most town men would like to sleep with. Nan jabs Phoebes and smiles nervously. NAN She's just joking. Phoebes appears upset. KELSA I don't remember seeing that poll. Just a little Bar. Nothing really better talk Ray into monster bash. NAN humor at Pete's serious. We go. I have to coming to my

PHOEBES (lustfully) He was number one male-Nan forces a smile and pulls Phoebes along. KELSA Ray Stradford--I may vote for him myself. EXT. PETE'S BAR -- DAY We see the quaint, country bar at the end of town. neon sign is already lit. INT. PETE'S BAR We see the old, rustic bar with cowboy memorabilia on the walls, including old saddles, boots, chaps, and wagon wheels. Several bar jockeys ride their bar stools and huddle over their mid-morning beer while watching game shows. Kelsa enters the bar. PETE, the owner and bartender, and several bar jockeys look at her as she enters. The bar jockeys return to their beer and game shows. The old,

Kelsa sits on a stool at the end of the bar. approaches her with a warm smile. PETE Kelsa, what a pleasant surprise. It's not often you come by here without following Sheriff Parker on a call. What can I get for you? Beer, whiskey? KELSA How about soda? PETE Soda--before noon? Who'd imagine that? Coming right up. Pete places a soda before her. PETE On the house. KELSA I'd also like to see the list. List? PETE What list?

Pete

KELSA (tiny smile) Don't play with me, Pete. I'd like to see that list I'd made. PETE (frowns) Come on, Kelsa. I don't need the bad press. My reputation is tainted enough. KELSA I don't want to publish it, I just want to see it. Pete uncertainly removes a clipboard from beneath the bar and places it before her. Kelsa flips through it. KELSA Male you most want sex with. Female you most want sex with. Man you least want sex with. Woman you least want sex with. Man's photo you'd like to throw darts at. (MORE)

KELSA (Cont) Woman's face you'd like to throw darts at. Woman you'd most like to see drenched in honey and covered with fire ants-(looks at Pete) My name's the only one listed for that. PETE Kane stopped by last night. I guess, after reading this morning's paper, he may feel less compassionate. KELSA (returns list) So, Kane was here last night. Anything interesting to tell? PETE Come on, Kelsa. You know the golden rule of barroom etiquette. Never repeat the ramblings of drunken men. KELSA He was drunk? PETE No, I was referring to me. Honestly, he came here for one of my wife's rhubarb pies and had a glass of brandy. He wasn't here for more than twenty minutes. He said some rude things about you, as his custom, made that new category, insulted me, and left. KELSA Are you sure there was nothing else? PETE Bernie was after him again. She may know more about Kane than anyone, but I don't think she'd share with you. She's pretty fond of him. KELSA Is he having a fling with Bernie?

PETE (laughs) Hardly. He barely gives her the time of day. I'm still hoping he'd reconsider and take my wife. May not be much to look at, but he loves her pies. He'd be doing me a favor. KELSA You're terrible, Pete. PETE You're not exactly saintly yourself, Kelsa. Kane refers to you as the devil in blue jeans. KELSA His pet names really have to stop. People may think he has a thing for me. PETE (laughs) Oh, he does. Rusty thumbscrewsand I'll bet he knows how to use them. KELSA Thanks, Pete. It's always and adventure talking to you. Incidentally, did Ray Stradford vote? PETE Your chances are pretty good. Kelsa flashes a smile and leaves the bar. INT. DINER We see Kelsa sitting at the counter with a salad before her. Bernie wipes the counter near her. BERNIE Why would I know anything about Kane? KELSA I heard you have a thing for him.

BERNIE Sort of a passing thing. He's handsome and charming when he wants to be. Comes in here a lot early in the morning. He flirts with me all the time. Last night, at the bar, he seemed to distant himself from me. Maybe he had his eye on one of the younger girls, and I was in the way. I learned my lesson. KELSA Does he ever mention his murdered sister? BERNIE (eyes wide) No. He's real sensitive about that. That's why he has it out for you. Maybe you should give it a rest for awhile. KELSA It's Halloween week. I can't give up over the creepiest week of the year. That would be unheard of. BERNIE I saw him go to the press first thing this morning. I knew it was because of your article. He didn't even stop in today. It's a dangerous game you're playing. I'd hate to see you hurt. You can't push people like that. KELSA He hasn't exactly been a charm to me either. I won't be intimidated by him. BERNIE You practically accuse him of murder. Do you ever stop to think that if he really did kill those people, he might come after you? KELSA I couldn't be that lucky. would be the story of the century. The clock chimes noon. Bernie sighs. That

BERNIE Lunch crowd will be here any minute. Within minutes, mostly male workers begin to enter the diner. Most are from Apgar's Construction Company, from the church addition project. They all greet Kelsa. An exceedingly tall, handsome man enters with the others. He's RAY STRADFORD. He greets both Bernie and Kelsa. Both watch him join the others at a back booth. Bernie smiles and hurries away with a pile of menus. Kelsa looks back to her salad. STEVE, the banker, sits alongside her, nearly startling her. STEVE Hey, Kelsa. Great articles this morning. Harry loves good publicity about the bank. Keeps people happy. KELSA Yes, I occasionally write nice things. STEVE I heard about your encounter with Kane. You'd think he'd learn to ignore you. KELSA If he'd only confront his monster--me, he'd find inner peace. STEVE I found nothing offensive about the article. He doesn't have an account with us anyway. I ran into Nan. She said you're going to her party. I thought you might consider going with me. KELSA Actually, I'm bringing Hawk. But we could have a dance. STEVE I'd like that. Bernie places Kelsa's check on the counter. it. STEVE It's on me. Steve snatches

KELSA Really, Steve-STEVE I insist. Steve places the bill on the side further away from her. KELSA Well, thank you, though I have to get back to the press. STEVE I understand. I'll see you Saturday night. Kelsa nods then gets up and leave the diner. INT. TOWN GOSSIP -- LATER Kelsa types on her computer while Hawk holds up a printed copy. HAWK Good story for Halloween. you just make it up? Did

KELSA Yes, so make sure it's under the fictional section, or Kane will think it's about him. HAWK (laughs) Right. Hawk sits on the edge of her desk. HAWK About this Halloween party-KELSA (without looking) You're going. It's business. HAWK I'm being paid? KELSA That depends. Do you intend to take pictures? HAWK I will if I'm being paid.

KELSA Whatever gets you there. HAWK Why is it so important that I be there? KELSA I'm not surrounded as much when you're with me. I knew it. again. HAWK You're using me

KELSA Not the way you think, Hawk. I'd prefer your company. Besides, if I didn't drag you places, you'd never go anywhere. HAWK That's because no one invites me anywhere. I don't know why I stay in this one black man town. KELSA Because you're attached to me. HAWK I could think of more reasons to leave. KELSA Are you really that unhappy here? HAWK People treat me better now, but I thought I'd have more friends after a year. KELSA I told you, you need to join the bowling league or something. This town needs to be spoon fed their friendship. Outsiders, of any race, have difficulty fitting in. I can't bowl. have? HAWK What else to you

KELSA You can become a journalist. You can write some articles on subjects that interest you. HAWK You may be right. Guys chase after you. Maybe I'll attract a few ladies. KELSA What would you like to write about? HAWK (thinks) How about a Dear Hawk column. Where people can ask me stupid questions, and I can give them insulting responses. KELSA Maybe you should work out the finer details on something like that. You could be opening yourself up to more headaches with that one. HAWK I'll give it more thought. Giving up on Kane for today? KELSA Actually, I'm going to follow him tonight. HAWK What? That's just asking for trouble! KELSA If you continue to overreact, I'm going to stop telling you my plans. HAWK I don't like it, Kelsa. want you to go. KELSA (warm smile) Then I won't. HAWK Don't mock me! I don't

EXT. KANE'S HOUSE -- DAY We see the secluded house in the woods by the lake. There are other homes across the lake. Kelsa remains in the woods, watching the house. There appears to be no movement within the house. Kelsa looks at her watch then frowns. We see Kane leave the house and walk toward the lake path. She watches him disappear onto the path. Kelsa looks to the house then hurries closer. She pauses on the porch and looks inside the windows. She hurries around the side of the house and strains to look inside the large window. INT. LIVING ROOM -- CONTINUOUS Kelsa's POV. and rustic. The interior of the modern cabin is very open

EXT. KANE'S HOUSE -- CONTINUOUS A shadow looms over Kelsa as she looks into the window. Kelsa turns and comes face to face with Kane. Kelsa lets out a startled scream and attempts to bolt away from him. In one, swift movement, Kane grabs her right wrist and twists her arm behind her back, facing him, and pins her between him and the side of the cabin. She attempts to free herself with her left hand. He catches her left wrist as well. His face is only inches from hers. He stares at her with an evil, twisted smile. KANE Resorting to spying now as well? Let me go. Acht-The tone of his voice and the look in his eyes immediately silence her. KANE (sinister smile) That's a good girl. You've certainly placed yourself in quite a position, don't you think? If I'm the monster you think I am, what would you think I would do with you? KELSA I was just-KELSA I can explain. KANE

KANE Don't lie to me, Kelsa. Think very carefully before you finish that sentence--like your life depended upon it. KELSA I was getting research. KANE Spying--you can admit it. Yes--spying. go? KELSA Will you let me

KANE No. You seemed a lot tougher from the safety of your desk with Hawk to protect you. Not so cocky now, huh? Feeling a little helpless and alone? Do I make you nervous--holding you this close? KELSA Let me go. KANE (mocking smile) You're not in much of a position to demand. (casually looks down) You're not in a very good position at all. What will you do? Report me to the authorities? You're trespassing, remember? Perhaps now would be a good time to admit that verbally attacking me, and printing those accusations wasn't as good an idea as it originally seemed. Just maybe you don't want to intentionally upset me. I really believe you'd like to reconsider the entire hostility act and attempt a more humble approach. Kelsa just stares at him despite her concern for his next move. Kane tilts his head with a slight smile.

KANE No? I can feel fear within you, yet you can't convince yourself to grovel. Your will is impressive but foolish. Kelsa unclenches her fist and completely relaxes her entire body. KELSA You've had your fun. Release me. My hand's going numb. We hear a car pulling up the driveway. his face. A tiny smile crosses

KANE I guess I have no choice now. Kane kisses Kelsa roughly and passionately on the mouth, releasing both her wrists at the same time, and then slipping his arms around her waist. Kelsa braces her palms against his chest to hold him back but is unable to prevent his advance. Kane pulls back and looks into her eyes. He immediately seeks her mouth again and once more kisses her passionately with less roughness. Kelsa doesn't protest. We hear the vehicle approaching. Kane slowly pulls away and looks at her with a satisfied grin. Kelsa's eyes meet his. She appears more embarrassed then upset. KANE Make certain you mention in your article how much you enjoyed it. Kelsa pushes him away just as Sheriff Parker pulls up to the house. KANE (teasing smile) Are you brave enough to press charges? Parker gets out of the blazer and eyes Kelsa suspiciously. PARKER Is there a problem, Kane? I received an anonymous phone call to come out here. KANE No problem at all. Kelsa and I were just making up.

PARKER Making up? (to Kelsa) And you just happened by on foot? KELSA (approaches Parker) I parked by the swimming hole. You could give me a ride back. PARKER And everything's okay? Kane casually approaches the front of the house. KANE I assure you, Sheriff, Kelsa would never dream of coming here uninvited. She knows better. Kelsa doesn't look at Kane. She blushes with a nervous look and jumps into the police truck. Parker watches both with some concern. PARKER You're sure? KANE (nods) Thanks for stopping by, Sheriff. Kane looks to Kelsa in the passenger side of the police truck and blows her a kiss. Sheriff Parker gets into the truck and pulls away. INT. SHERIFF'S TRUCK -- CONTINUOUS Sheriff Parker eyes Kelsa several times as he drives down the long driveway. He stops the truck just on the main road and turns to face her. PARKER Are you okay? KELSA Yeah, I'll be fine. PARKER Hawk was very upset when he called. Did Kane hurt you? You can tell me. I'll take care of it, Kelsa.

KELSA No, he didn't hurt me--just embarrassed me. So I'd rather not talk about it. PARKER (drives) Must've gotten you good, if you won't mention it. KELSA I'm actually disappointed in myself. I'm usually in control, but I backed down. PARKER Maybe you'll learn to leave him alone. Make my life a whole lot easier. KELSA I may have to consider it. PARKER He really did get you good. What'd he say? KELSA I'd rather not say. EXT. KELSA'S HOUSE -- EVENING We see the expensive home just on the edge of town. pulls up to the house. INT. HALLWAY Kelsa enters the house and turns on the light. We see the answer machine light flashing. Kelsa presses the button wile removing her shoes. RAY (V.O.) Hi, Kelsa. It's Ray Stratford. A couple of the guys wanted to go to Pete's tonight. I was hoping you might decide to drop by. If you already have other plans, I'll understand. Kelsa stares at the machine. KELSA If I did, I'd change them. RAY (V.O.) I hope to see you tonight. Bye. Kelsa

Kelsa quickly runs up the stairs. INT. PETE'S BAR -- NIGHT Kelsa enters Pete's Bar around ten o'clock. The bar is fairly crowded with townspeople. Kelsa is wearing a short black dress that flatters her already flattering figure. Several men at the bar look at her and stare. Kelsa barely notices the stares. She slowly walks along the bar room and looks around for Ray. A couple of Ray's friends approach her with lustful smiles and attempt to escort her away. Ray appears and frowns at them. They laugh and return to their table. RAY I was hoping you'd be here tonight. I tried to get a table, but the guys were merciless. Do you mind sitting at the bar? KELSA No, of course not. Ray takes her to the crowded bar. An older man gives up his seat for Kelsa. Ray buys the man another drink. Kelsa sits on the bar stool. Pete gives Ray a beer and looks to Kelsa with a tiny smile. PETE Soda? KELSA Brandy. Pete chuckles softly and gets her a drink. RAY You're tough to get alone. have quite a few admirers. KELSA Some less than admiring. RAY (soft laugh) Yeah, Kane. KELSA Please, don't mention that name again. I have a mini-stroke every time. RAY (laughs) No problem. You

RAY If I would have thought you'd actually meet me, I would have suggested someplace less-crowded. KELSA This is fine--really. I've never been here on a Friday night. I'm not sure I've ever been here at night. RAY I know it's short notice, but I'd heard you were going to Nan's party tomorrow night, and I thought maybe we could--go together. KELSA Well, I'm bringing Hawk, and I promised Steve a dance, but we can meet there--unofficially. RAY Yeah, that'd be great--as long as Hawk doesn't mind. KELSA I know Hawk. He'll eventually relax and get into the party. RAY I don't want to upset Hawk. He's a big guy. KELSA He's a teddy bear. We hear five men yell "Ray". Ray looks to his friend's table. They motion him over. Ray motions them off while mouthing something rude. Ray looks back at Kelsa with embarrassment. RAY Fortunately, they won't be there tomorrow night. KELSA Maybe you should see what they want. RAY They're being jerks. If I go over there, I'll beat them.

We hear "Ray" yelled again. Excuse me. someone.

Ray attempts a smile.

RAY I have to kill He looks at

Pete leans on the bar and watches Ray leave. Kelsa and raises a sly smile. PETE Another victim or is this visit strictly pleasure? KELSA He's very fine, don't you think? PETE Does nothing for me. I'm off. Let me know how it goes. By the way, you've an admirer at the other side of the bar. He's been trying to buy you drinks, but I told him you were with someone. Make sure someone walks you out to your car tonight. Thanks. one? KELSA I appreciate it. Which

PETE Behind me, your right--third seat. Kelsa waits until Pete leaves then casually sweeps a look across the other side of the bar. We see a neatly dressed man, apparently a businessman. He appears drunk and slightly repulsive in appearance. She looks away before he can make eye contact. Kelsa looks back to Ray. Ray is having an intense, heated argument with one of his coworkers. Kelsa returns to her drink. Another person moves behind her to the bar and waits for the new bartender. Kelsa's slightly uncomfortable by the constant bumping as people pass. A hand is placed on her bare knee. Kelsa jumps and looks to the man sitting on the stool alongside her. Kane smiles deviously, removes his hand, and looks back to Ray's table. KANE Old Ray's doing pretty well, don't you think? Kelsa appears hostile.

KELSA What are you doing here? Updating your list? KANE No, I was hoping to get lucky-like old Ray. Tell me, Kelsa. Does he stand a chance? Will he get as far as I got? KELSA Tread lightly, Mr. Kane. All I have to do is cause a little scene and you'll have several guys showing you the back parking lot. KANE Remarkable how quickly they forget defeat. Not so tough, all alone, one on one. Kelsa leans closer to Kane and stares into his eyes. KELSA You bring new meaning to the word loathe. You're demented and completely rude, and that's only on the surface. You're a monster. I know it, but I just can't prove it. You don't like my articles--sue me. Touch me again, and I'll slap a lawsuit on you so fast, you won't know what hit you. Any questions? KANE How about an exclusive interview? KELSA (surprise) What? KANE An exclusive interview with me. You can call it "Marlin Kane-monster or myth". I'll answer fifty questions--any fifty questions. KELSA What's the catch?

KANE Ah, the catch. My house, all alone--one on one. (leans closer) Of course, I make no promises that you'll get out with the story. Kelsa moves away from him. The female bartender, LUCY, approaches. She's a tough looking woman in her late thirties. She pauses before Kane and eyes him lustfully. LUCY Hello, handsome. What can I get for you? Kane pulls a fifty from his wallet and places it on the bar. KANE A coffee to go, another drink for the lady, and a pack of condoms. Kelsa looks away with disgust. Lucy picks up the fifty.

KANE (winks) And buy something nice for yourself. Lucy grins as her lust increases. and smiles. KANE Not entirely rude. Lucy brings him his coffee, Kelsa's drink, and a pack of condoms. She slips her phone number to him on a matchbook and blows him a kiss before turning away. Kane eyes the matchbook then places it in his pocket. He takes the box of condoms and places them before Kelsa. KANE Tell Ray they're on me. Kelsa glares at Kane and flings them across the bar. Kane takes his coffee, kisses her on the cheek, and leaves the bar. Lucy leans on the bar near Kelsa. Both watch him leave. LUCY Wow. What was that dashing creature? Kane looks back at Kelsa

KELSA That was the devil. Lucy growls playfully in her throat. I'll convert. Lucy walks away. LUCY Ouch.

Ray returns to Kelsa with an annoyed look.

RAY Can you believe those drunken slobs stole my car keys? KELSA Do you need a ride home? RAY Thanks, but I'm the designated driver. Are you okay? You look flustered. KELSA I had a brush with the devil. RAY The devil? KELSA My pet name for Kane. Ray quickly looks around. KELSA He's gone. RAY I'm really sorry. Did he upset you? You should've called. The guys may be drunk, but they'd get rid of him. KELSA He has this amazing talent for upsetting me without half trying. RAY Oh, he's toast. Ray looks to the table of his co-workers. KELSA No, he's gone. Don't go looking for him. Can we join your friends? I'd feel safer in a small crowd.

RAY Yeah, sure. Ray guides her to the table. EXT. PARKING LOT -- LATER The parking lot is nearly empty. The rain pours down. Ray stands on the covered porch with Kelsa. Five drunken construction workers make a mad, drunken dash for the large van. They hoot and howl as they run through mud puddles. Ray looks at Kelsa and smiles. RAY You're a saint to tolerate that group. KELSA They're not so bad. you asked me out. I'm glad

RAY I'm glad I had the courage to call. The horn starts honking. The men scream "kiss her". looks away with embarrassment. RAY I'd better get them home. I'll walk you to your car. Where are you parked? Kelsa smiles and points to the nearby car. Ray nervously fumbles then leans forward and kisses her briefly but warmly. The horn honks several times and the men cheer. Both pull away with embarrassment. RAY I'll run you to your car. Ray holds his jacket above her head, and they run to her car. Kelsa opens the door and jumps inside. Ray looks to the back seat, smiles his approval, then closes the door for her and returns to the van. INT. CAR -- CONTINUOUS Kelsa watches him disappear into the van and sighs with a content smile. KELSA Nice--very nice. Ray

Kelsa starts her car and watches the van pull out. Kelsa puts the car into reverse. We hear a loud thumping. Kelsa hits the brake. KELSA No-She backs up a few more feet. We hear the distinct thumping of a flat tire. Kelsa groans and gets out of her car. EXT. PETE'S BAR -- CONTINUOUS Kelsa stands in the pouring rain and walks to the passenger side of the car. We see the front tire is flat. She's already soaked. She curses softly and runs for the porch. The creepy man from the bar stands on the porch along with the man who'd sat alongside him. BUSINESS MAN Having car trouble? We'll fix it for you. KELSA I don't have a spare, but I have roadside assistance. Thanks anyway. She attempts to move past them to the door. They prevent her from getting past. Kelsa stops and studies them. KELSA Is there a problem? BUSINESS MAN You're being rude. We only want to help. KELSA It's late, and I'd like to go home. If you don't mind-BUSINESS MAN We'll take you home. The second man grins. KELSA I see-Kelsa turns and runs back to her car. Both men run into the pouring rain after her. Kelsa opens the car door and cracks it into the first man. The second man tackles her against the car. Kelsa slips in the mud and cries out painfully as they both fall to the muddy parking lot. The man pulls Kelsa to her feet and throws her against the hood of the car. The second man opens the back door to her car.

SECOND MAN Hurry-Kelsa coils her fist back. A car's high beams suddenly flash on in the parking lot. Tires burn out in the mud. Both men turn to look. An SUV rockets toward them. Kelsa punches the man squarely in the face. He jumps back with surprise. The SUV skids to a sliding halt near them. Kane gets out of the vehicle with a walking stick in his hand. Kelsa falls back down to the mud. She kicks off her high heels and attempts to pull herself back to her feet. Both men rush Kane. He kicks the first man in the head, jabs the second in the abdomen with the head of the cane, and then cracks him in the head. The first man strikes the SUV then returns for him. Kane punches the man in the face. The second man comes at him from behind. Kane thrusts the cane backwards without even looking, jabbing the man in the midsection. He spins into a backwards, roundhouse kick and strikes the man in the head. Kane turns to the first man, half-propped against the SUV. Kane swings the cane for the man's legs and knocks him to the mud. KANE You're bleeding on my car-Kane walks past the two men writhing in agony and approaches Kelsa. Kelsa, who's soaked and covered in mud, limps along her car and away from Kane with a look of fright. She falls back into the mud in the light of her headlights. Kane crouches before her. KANE You've looked better. Kane extends his hand to her. We see the first man come up behind Kane with a large rock in his hands. Kelsa's looks behind him and gasps. Kane rams his walking stick upward and back, striking the man in the groin, his eyes never leaving her and his expression never changing. The man groans in pain, drops the rock, clutches himself, and sinks to his knees. Kelsa stares at Kane and his extended hand. KANE I'm getting wet. Kelsa grasps his hand and allows him to help her to her feet. She clutches her car's hood for added support. KANE (to her ankle) That looks painful. Kane places his arm around her waist. KELSA Let me go!

Kane releases her and she falls back into the mud. once more crouches before her. KANE You're really not improving the situation.

Kane

The first man starts to sit up. Kane casually strikes him with the walking stick. He falls back down. KANE It'll be much faster if we do it my way. Kelsa shuts her eyes a moment then looks at him as the rain continues to drench her. KELSA (gently) Please help me-KANE Now did that hurt? Kane picks her up and into his arms and carries her to his SUV. KANE I actually had a dream just like thisexcept you were covered in jello. Kelsa glares at him. His eyes meet hers and he chuckles. He opens the passenger door and places her inside. KANE (frowns) That's going to ruin the leather. Kane shuts the door and walks around the front. the second man out of his way and jumps inside. INT. KANE'S CAR -- CONTINUOUS Kane closes his door and looks at the mud covered Kelsa. She has her head back and her hand over her eyes. KANE Should I run over them? KELSA (without looking) No. He rolls

KANE I thought you'd be more fun than that. EXT. PARKING LOT -- CONTINUOUS Kane's SUV burns out in the parking lot and covers both men in flying mud. INT. KANE'S CAR -- CONTINUOUS Kane looks at Kelsa as they drive down the road. KANE My place or yours? Kelsa lowers her hand and glares at him. KANE Perhaps I'll decide for you. My place. KELSA Do you know where--

KANE I know where it is. Kelsa eyes him suspiciously. KELSA Can I trust you not to kill me? KANE It would be rude to attack you after saving you. (pause) Of course, you think I'm rude. Kelsa sits up. KELSA You can let me out here. walk. I'll

KANE Relax. You're too dirty for me to even think about touching. EXT. KELSA'S HOUSE -- NIGHT We see Kelsa's house at the edge of town. There's little around with plenty of seclusion. Kane's SUV pulls into the driveway and up to the house. Kane jumps from the vehicle and hurries to the passenger side. Kelsa is already attempting to get out. Kane helps her from the vehicle by placing an arm securely around her waist. She reluctantly places her hand on his shoulder.

He helps her to the front door. Kelsa suddenly groans and casts her back against the door. KELSA The keys! Kane stares at her. matted hair. Kelsa runs her fingers through her

KELSA I left the keys in my car. Kane moves to the door. He removes a device from his wallet, inserts it into the lock, and unlocks the door. Kelsa stares at him with a horrified look. He replaces the device and looks at her. KANE What? It's not illegal. your house. It's

KELSA Thank you for what you did tonight, Kane. I'll lay off the articles on you--I owe you that much. I'll be fine from here. KANE You don't owe me anything, really. I think I should help you upstairs and take a look at that ankle--make sure it's not broke. KELSA It's fine--really. Kane ignores her and helps inside. INT. HALLWAY -- CONTINUOUS Kane turns on the lights and looks around the elegant home. He shuts the door behind him. KANE Not half bad for a rag sheet press. I wonder how much I could sue you for? KELSA Why do I fell like I'm never getting you out that door? KANE Because you probably won't.

Kane helps her down the foyer steps into the hall. KANE Think you can make it upstairs? KELSA There's an elevator. My grandparents lived here. couldn't do steps. INT. SECOND FLOOR HALLWAY The wooden elevator doors slide open. Kane helps Kelsa form the elevator and into the hallway. He appears fascinated. KELSA Really, it's not necessary for you-KANE I can't leave you here like this. Itd make me look bad if something happened. KELSA You already look bad. I published the articles They stop before her bedroom door. KELSA This is as far as you go. KANE Will it corrupt your moral foundation if I enter your bedroom? KELSA Don't mock me. KANE I promise to eliminate all evil thoughts before stepping over the threshold to your intersanctum. Kelsa glares at him. He helps her into her room.

They

INT. BEDROOM -- CONTINUOUS Kane helps Kelsa into the room and once more looks around. The room is elegant, but not entirely feminine except for a few stuffed animals on the king-sized bed. KANE Very nice.

He helps her to the bathroom.

Kelsa stops him.

KELSA This is the end of the line. KANE Are you sure you don't need some help? That's a lot of mud. Kelsa hobbles into the bathroom and locks the door behind her. He lightly knocks on the door. KANE Where's the first aid kit? KELSA (O.S.) In the kitchen, beneath the sink. KANE (taps on the door) Where's the kitchen? INT. BEDROOM -- LATER Kelsa opens the bathroom door. She wears her nightshirt and holds a scrub brush in her hand. She looks around the room. We see Kane casually lying on her bed, propped on his elbow while examining the underside of the canopy above him. Kelsa tosses the scrub brush back into the bathroom and frowns. KELSA Would you get off my bed? have to burn it. Kane continues to study the canopy. points up. Now I He looks at her and

KANE I'd really love to hear why you have mirrors above your bed. Kelsa hobbles across the bedroom. KELSA That bed belonged to my grandparents. It's very old-like you. Kane jumps from the bed. scratching sound. He hisses at her and makes a

KANE If you were a cat, I'd have your claws removed and your balls snipped. Kelsa glares at him then hobbles toward her dresser. KANE I'd taken the liberty of picking something out for you. KELSA Were you in my underwear drawer? KANE I only tried on one of the nicer ones-KELSA You're sick and demented. KANE If you feel that way about it, why did you invite me up here? Kelsa glares at him. Kane holds up a black, lacy teddy and dangles it. Kelsa appears horrified. KELSA Where the hell did you get that? KANE Must've been your grandmothers. I was going to choose the white one, but then--I wasn't sure if white would be appropriate. KELSA I don't know where you found that, but you'd better put it back! Kane drops the teddy on the bench and approaches her. eyes him. KELSA Are those my father's clothes? Yeah? KANE How do I look? She

KELSA I can't believe this night. It's like I have a gremlin loose in my house.

KANE (pauses before her) Let's have a look at that ankle. Time lapse. ankle. Kelsa sits on the bed while Kane examines her KANE Nothing appears to be broken. He props her leg on his lap and wraps her ankle. Kelsa watches him apply the wrap with one hand while caressing her lower leg with the other. KELSA (low) Are you having fun? He secures the wrap with the elastic clings then moves alongside her, in the same half sitting position. KANE Can I get you anything before I show myself out? KELSA No--you've done quite enough already. KANE (glares) Save you from God knows what fate, ruined my good shoes, my leather seats, and spent an entire evening taking care of you, and this is the thanks I get? KELSA Would you like an article on your heroic plight? KANE Will you leave out the part where I went through your underwear drawer? KELSA Yes--gladly. KANE An article would be a start.

KELSA A start? For me to print a nice story about you will ruin my reputation. It's quite a sacrifice. KANE I don't mean to boast, but there were two men. Think your Ray could have handled two men? Kelsa remains silent. Kane looks at his watch and groans, allowing his head to fall across the bed. KANE Four in the morning. Kelsa lie on her side with her head propped in her hand and watches him. KELSA Maybe you should show yourself out. KANE (turns toward her) You're very ungrateful, you know that? How many monsters do you know who'd put themselves out like this? He struggles to keep his eyes open. tired. Kelsa appears equally

KELSA What would you consider adequate compensation? KANE (eyes shut) That'd be nice.

Hmm.

Kelsa studies him a long moment as he sleeps peacefully. She reaches out and gently touches his face. KELSA (soft) You were absolutely amazing. Thank you. KANE (soft) You're welcome. Morning. Sunlight floods the bedroom. Kelsa opens her tired, puffy eyes. We see Kelsa and Kane are still lying on the bed length wise.

They're nestled facing one another with the top spread pulled over them. Kelsa pushes on Kane. He moans softly, buries his head beneath her chin, and clings to her. Kelsa pushes harshly against him. He gasps and wakes. KANE What happened? (eyes Kelsa) This is different. What? KELSA Will you let go of me? She pushes against him and the tangled comforter. They both fight against he comforter until they're out from beneath it. INT. HALLWAY Kelsa limps from the elevator and heads for the kitchen. Kane appears from the laundry room, buttoning his clean shirt. Kelsa jumps with surprise. KELSA Are you still here? KANE Do we have time for coffee before I take you for your car? KELSA (firm) No-KANE Oh, okay. KELSA I'll get Hawk to come for me. There's no reason for you to-KANE It's no trouble at all. I have to go that way anyway. Is that what you're wearing? Kelsa looks down to her nightshirt and shorts then back to him. KELSA If it gets you out of here faster--

KANE You're cranky in the-(to his watch) --early afternoon. KELSA Your car has been parked outside of my house all night. I don't want anyone to get any ideas. KANE Oh, so you don't want to become the gossip you write? You don't have to worry. You control all of the gossip in town. Although I'm sure half the town saw my blazer outside already. KELSA Can we just leave? KANE Yeah, sure. Just let me clean some of the mud off the seat for you. KELSA I'll ride in the back. KANE Don't be ridiculous. It'll take me ten minutes. You can change into something less casual. Kelsa rolls her eyes. INT. KANE'S CAR -- LATER Kane and Kelsa drive in silence through the backside of town. KANE You can use my walking stick to help you get around. You wouldn't want to cling to furniture all night at Nan's party. KELSA (frowns) Damn--the party. I still need a costume. KANE You could always go as Medusas-wouldn't be a far stretch.

Kelsa glares at him. KELSA Back to your usual, charming self, I see. I'd appreciate it if you'd just drop me off. Hawk will come out and help me with the flat tire. I'll back off on the articles about you. I'd just like to keep this between us, okay? KANE I understand--but what will they think? Kelsa appears confused and looks out the windshield. EXT. PETE'S BAR -- DAY We see several police cars and a small crowd outside of the bar. The blazer pulls into the driveway and alongside Sheriff Parker's police truck. Kelsa slowly gets out of the blazer with use of the walking stick and looks around. Sheriff Parker approaches Kelsa and Kane. Several eyes are on them as well. PARKER Kelsa. I'm glad to see you. We saw your car here and became concerned. We tried calling you house, but the line was busy. KELSA It shouldn't have been busy. What's going on? PARKER We found that missing girl. Her body was out back in a dumpster. KANE How long had she been there? PARKER We're estimating she was killed sometime last evening, but we won't know for sure until the coroner is finished with her. KELSA Two men attacked me here last night. That was around two. Do you suppose they were involved?

PARKER You were attacked? Why didn't you call me? KELSA (glares at Kane) It was a long night. (to Parker) And they seemed harmless enough when we'd left. We? PARKER You and Kane?

KELSA Kane interceded. Parker appears to be putting the pieces together while eyeing them. PARKER (to Kane) Where were you between ten and five this morning? KANE I took Kelsa home around two, tended to her ankle, and then went home. Will that be all, Sheriff? PARKER This is serious. A woman's been brutally murdered, and you were at the scene. KELSA (groans) Kane didn't go home last night. He was at my house. It was late, we were talking, and fell asleep. PARKER You--and Kane? Kelsa nods. KANE Pull your mind from the gutter, Sheriff. Nothing happened. May I go now? PARKER (frowns) Yeah.

Kane gives Kelsa a tiny, devious smile then walks back to his blazer. Sheriff Parker eyes Kelsa and shakes his head. Kelsa rolls her eyes and looks away. INT. TOWN GOSSIP Kelsa enters the press with use of the cane and casts a box onto her desk with a look of disgust. Hawk looks up from her computer. HAWK You're bitter this afternoon. I liked you better when you were tired. (to the computer) Are you actually printing this article? KELSA Don't get me started. HAWK What's in the box? KELSA My costume for tonight. That's another headache in itself. I took that tire to the shop. Someone left the air out. HAWK Who'd do that? KELSA I'll give you one guess. Kane? HAWK Why would he do that?

KELSA (sits on the desk) Revenge. HAWK But if he really wanted revenge, he would have left you there. KELSA He wanted to gloat, but it backfired. The bastard. HAWK So what costume did you get?

KELSA The only one they had left. HAWK Well--what is it? KELSA (annoyed) You'll have to be surprised. HAWK That bad, huh? Kelsa nods. The phone rings. Kelsa picks up the phone.

KELSA Hello, Daily Gossip. BERNIE (V.O.) Kelsa, you want a story? I have a story. How much is it worth? KELSA That would depend on the story-BERNIE (V.O.) Murder. KELSA Excuse me? BERNIE (V.O.) Meet me in the diner. Bring cash and your tape recorder. Bernie hangs up. Kelsa slowly lowers the phone. to Hawk with an odd look. KELSA I think that was Bernie. She wants to sell me some information--about murder. HAWK Here we go again. INT. DINER KITCHEN -- CONTINUOUS Bernie hangs up the phone and looks back to the diner interior. The cook walks past her. She jumps with surprise. COOK Come on, girl. You've got orders waiting. She looks

BERNIE I need a cigarette. Janice said she'd cover. The cook rolls his eyes and walks away. Bernie removes her cigarette from her apron and heads out the back door. EXT. ALLEY -- CONTINUOUS Bernie lights her cigarette and leans against the back of the building. She exhales smoke. We hear movement within the alley. Bernie looks around nervously. She quickly crushes her cigarette and returns inside. INT. DINER/KITCHEN -- CONTINUOUS Bernie slips through the back door and enters the bathroom. She looks into the mirror and fixes her hair. She turns back to the doorway with a more relaxed appearance. She steps into the doorway. Someone steps before her. Bernie looks up and gasps. She's struck several times on the head. Bernie falls to the floor and twitches. INT. DINER -- MOMENTS LATER Kelsa and Hawk enter the diner and look around. Ray and one of his friends sit at a table in the back with Nan and Phoebes. They wave to her and motion for her to join them. Kelsa tugs on Hawk's shirt. He follows her across the diner to the table in the back. Ray pulls two nearby chairs to their table and everyone slides over. Kelsa looks around the diner as she sits. RAY I'd heard what happened last night. Are you okay? I'm really sorry. I should've waited for you to drive away before I'd left. I'm okay. Is it true? KELSA It wasn't your fault. RAY Kane beat them?

KELSA (nods) If you can believe it. PHOEBES He was here earlier. Nan invited him tonight. NAN Well, under the circumstances--

PHOEBES That doesn't mean she wants him at your party. KELSA It's Nan's party. She can invite whomever she wants. I'm not sure I'll be going anyway. NAN What? You have to come. Everyone expects you to be there. RAY Is it because of last night? KELSA My ankle hurts--and I got a raw deal in the costume department. PHOEBES I can help with a costume. I have a whole closet full of Halloween costumes. HAWK If you really don't think you're up to it-NAN No, you have too. RAY Easy guys. No pressure here. If she's not feeling well, she's not feeling well. NAN You can't just curl up because of last night. The whole town knows what happened to you. If you don't come tonight, they'll think less of you. RAY (annoyed) Brilliant move. HAWK Lunch with Kane would've been less stressful. Ray glares at Hawk. Hawk returns the glare.

RAY (to Kelsa) If you don't want to go, we can go somewhere else tonight. NAN You aren't coming now either? What is this? Kelsa stands with a loud groan. KELSA Alright--I'll go. Just stop the third degree. Kelsa limps to the counter with use of Kane's stick. other waitress, JANICE, struggles with the platters. KELSA Is Bernie around? JANICE She went on break, and I wish she'd get back. Janice hurries to the table with the platters. back to the cook, who stares at her. COOK She took off about twenty minutes ago. I haven't seen her. KELSA Did you look out back? COOK Out back, the bathroom, basement, storage--she's gone. Kelsa frowns. INT. TOWN GOSSIP -- LATER Kelsa sits behind her desk and stares blankly at her computer screen. We hear Hawk moving around within the back. The bell on the door jingles as it opens. Phoebes bounces in while clinging to a garment bag. She approaches Kelsa. PHOEBES Oh-oh, this is so perfect. You're going to love it! KELSA Must be good. Kelsa looks The

Kelsa opens the bag.

Phoebes stops her.

PHOEBES No, it's a surprise. Wait until you get home. Promise. KELSA (smiles) Okay, I promise. PHOEBES You and I are going to turn heads tonight. They won't know whether to seduce us or run from us. Of course, I may try to steal Ray from you. HAWK (O.S.) Ray--all I hear is Ray. PHOEBES (calls out) Being sexy is internal, Hawk! Come out of your shell once in awhile-Hawk appears near the doorway to the back. HAWK I'm not sure that rule applies to me--not in this town. PHOEBES Maybe you don't get out enough to disprove that. I've never seen you out. KELSA He doesn't go out. I go out. talk? HAWK And who are you to

PHOEBES (approaches Hawk) What you need is someone to show you a night out. Hawk glares without humor.

PHOEBES Come on. Enjoy tonight. It's the one night where you get to be someone else--let your hair down. (rubs his shaved head) Or not. Phoebes turns to Kelsa. PHOEBES I may have to take this man away from you, Kelsa. All he wants to do is work--gets it from you. KELSA Hes all yours. I can't do a thing with him. Kelsa looks to the door. Kane leans against the inside wall and listens to their conversation. Hawk and Phoebes notice him as well and fall silent. KELSA I'm sorry--I didn't hear you come in. KANE I've always hated that damned bell. Please, don't let me interrupt. KELSA Too late. What can I do for you, Kane? Kane approaches her desk and sits on the edge of it with a tiny smile. KANE My how some people change with the sunlight. I was starting to think you actually liked me last night. KELSA That's before I'd found out you'd let the air out of my tires--you fucking prick. KANE Youve never called me that before. Sorry to disappoint you, but I didn't touch your car. Why would I want to flatten your tire?

KELSA You enjoy watching me suffer. KANE If that was true, I would've left those men have you. I like the way you fight--but only with me. KELSA What do you want, Kane? get to the point. Please

KANE The point seems unimportant now. It's obvious nothing I say will ever matter and nothing I do is ever good enough. (stands) I'd hoped you'd seen things differently after last night, but I suppose I'd given you too much credit. Kane turns to leave. He pauses, reaches into his pocket, and approaches her. He drops a pair of black panties on her desk. KANE (out loud) By the way, you must've left these in my car. Kelsa snatches the underwear with surprise. KELSA You took these from my drawer! KANE (sly smile) Let the games begin. tonight.

See you

Kane turns and walks to the door. Kelsa is horrified. Phoebes slowly approaches. We hear the door jingle as he leaves. PHOEBES What was that all about? KELSA He's going to ruin tonight and make my evening with Ray completely miserable.

HAWK (approaches) I'll keep him away from you. won't ruin anything. KELSA I'm going to die--I'm simply going to die. (to Phoebes) I can't go. I can't spend an evening being harassed by him. You're going. me.

He

HAWK You leave Kane to

KELSA Whatever you're thinking, forget it. You can't beat him. You'll just get hurt. PHOEBES Oh, please. So he embarrasses you a little. Just explain it to Ray. He'll understand. You'll show Kane you're better than he is. Trust me. KELSA I doubt anything will work, but I really want to see Ray. EXT. ECKENROD MANSION -- EVENING We see the old mansion decorated with ghosts, spider webs, and tombstones on the outside. Zombies seem to lurk from the trees and bushes. The interior is well-lit and music can be heard. INT. HALLWAY The doorbell rings. Phoebes hurries to the door in her tinker bell costume, complete with wings. She's a very sexy tinker bell. Nan approaches as well. She's dressed as a geisha girl with white face, kimono, and black wig. Phoebes opens the door and squeals with delight. Hawk leaps into the foyer in his green Peter Pan outfit complete with green tights. He stands with his hands to his hips and looks proud. HAWK These tights are actually quite comfortable. Phoebes giggles and jumps on Hawk cheerfully.

PHOEBES You look fabulous! Kelsa enters the foyer with use of the cane. She's dressed as a female vampire, in a sexy, black dress, cut daringly low and a long slit up both sides. Her ankle is wrapped in a black wrap, so it doesn't distract from the dress. She wears black spider web stockings, and fangs. Phoebes releases Hawk and jumps excitedly. PHOEBES You look absolutely stunning! NAN Isn't that your dress, Phoebes? PHOEBES Yeah--great, huh? And don't get any blood on it, Madam Vampire. Phoebes leads Hawk and Kelsa toward the ballroom, through the well-decorated hall. Another woman, GRACE, dressed as a playboy bunny approaches Nan as they pass. GRACE What happened to the old lady costume? I thought your friend was going to tell her it was the only one left? NAN (slams the door) Me too. GRACE So much for wooing Ray. She'll have him eating out of her hands before midnight. NAN Shut up. INT. BALLROOM A band dressed as nuns and priests play lively songs, while well-dressed costumed guests dance. There are many gory objects around the room, bleeding props in coffins, and grotesque costumes. Phoebes leads Hawk and Kelsa into the ballroom. Kelsa and Hawk look around with amazement. HAWK There are some sick people in town. We see a man with a spike through his head walk past. pulsates from the wound. Blood

KELSA Is Ray here yet? PHOEBES Yes, but I'm not giving him away. You'll just have to figure out which one is him. HAWK Kane? PHOEBES I don't think so. Nan thinks he wont come. It's hard to tell with some of the costumes. He'll show. lucky. KELSA I couldn't be that

The clock strikes eight o'clock. There's a puff of dry ice in the doorway. Hawk moves Kelsa away from the door. Both look with surprise. Death walks through the doorway with his sling blade, already covered in blood. He slowly walks across the room. Everyone parts a path and watches him pass. He disappears into the dining room. PHOEBES (giggles) Totally cool. Kelsa continues to stare with less enthusiasm. HAWK Something wrong? No, no. KELSA Everything's fine. You're

HAWK I'll get you a drink. not driving.

Phoebes links onto Hawk's arm and walks with him to the bar. Kelsa is about to follow. She pauses, watches them a moment, and then smiles. KELSA (mutters) Looks like you found your own entertainment, Hawk. Someone bumps into Kelsa. She turns. We see the devil himself with a full face mask of latex.

KELSA I should've guessed. STEVE How did you know it was me? KELSA (surprise) Lucky guess, I suppose. Steve looks down to her ankle then meets her eyes. STEVE Guess you won't be doing much dancing on that. Are you sure you're okay? I heard about Friday night. I'm fine. KELSA Just a little sprain.

STEVE Amazing--to think Kane helped you. I heard he's here. KELSA (looks around) What's he wearing? I don't want any surprises. STEVE I don't know. I didn't see him myself, but I heard he came with that sexy bartender from Pete's. KELSA I'm not surprised. Where's she? Steve looks around then points across the room to a woman dressed as Cleopatra. STEVE That's her--Cleopatra. Lucy looks very tempting in her outfit. Lucy's with a small group of people then leaves them and goes to the bar. She hangs on the shoulder of a very well-dressed mummy. That's him. KELSA The mummy. STEVE Could be Kane. Hawk and Phoebes approach her and Steve with drinks in their hands.

HAWK (eyes the devil) Who's that? KELSA Relax, it's Steve. Hawk manages a smile and hands Kelsa her drink. whisked away by a female devil. KELSA Kane's the mummy. He's here with Lucy--Cleopatra. Did we decide who's playing Death? PHOEBES No, but we think he changed costumes, because no one's seem him since. KELSA I'd like to find Ray. PHOEBES He's around. HAWK Phoebes and I are going to dance. I'll keep an eye on your mummy. KELSA (sly smile) Have fun you two. Hawk and Phoebes set their drinks down and dance to the graveyard music. Dry ice covers the floor with a light fog. Kelsa sips her drink and looks around. A vampire approaches her with his sleeve to his face. He plays the role completely. Several ghoulish creatures begin to collect around her. Some are easily recognized while others are unidentifiable. A masked psycho killer stands near her while she's hounded by the single men. The psycho killer places an arm around her shoulder. He's holding an almost realistic knife with blood on it just near her shoulder. He motions the other men away with the bloody knife. They soon dispense. Kelsa studies the gruesome, latex mask. KELSA Is that you, Ray? He lifts the mask, leaving it on top of his head to reveal the handsome Ray. He smiles warmly. Steve gets

RAY I guess I can't take my eyes off you. These monsters will be all over you. You look--fantastic. KELSA Phoebes let me borrow her costume. RAY Think you can slow dance with that ankle? KELSA I can try. They dance to the slow song, moving very slowly and carefully. RAY Looks like Hawk and Phoebes are having a good time. Kelsa looks to the dance floor. We see Phoebes and Hawk dancing close and talking warmly. Grace dances with Steve. Nan with the vampire, and Lucy dances close and seductive with the mummy. Kelsa stares a moment longer then looks back to Ray. KELSA I'm glad he's having a good time. RAY Judging by your smile, I'd guess there's no sign of Kane. KELSA Actually, he's the mummy dancing with Lucy. RAY Lucy? There's a wild and dangerous woman. Guess you won't need to worry about him. She's going to keep him occupied all night. Possibly all weekend. KELSA I've heard her reputation. RAY Likes her men rich. money? Kane have

KELSA I couldn't tell you. He has a modern cabin by the lake. I dont know what he does. He keeps his life pretty much a mystery. The dance ends. Ray watches someone enter the kitchen.

RAY I'll be right back. I want to give a friend a scare. Ray drops his mask over his face and hurries across the ballroom. Kelsa recovers her drink and watches the costumed people dance and socialize. Kelsa looks back at the mummy and Lucy. Lucy leads him out of the ballroom and onto the patio. Kelsa sinks into thought. She slowly limps along the dance floor past several people and looks out through the window from a distance. EXT. PATIO -- CONTINUOUS Kelsa's POV. We see the mummy and Lucy in each other's arms, kissing passionately. INT. BALLROOM -- CONTINUOUS Kelsa stares a moment longer. The clock strikes ten. The fog rolls across the floor. The dining room door opens and Death makes his pass. Several people move aside and watch. One man in a gruesome mask attempts to be funny and moves toward Death. Death swipes his bloody blade at him. The man laughs and jumps away. Death continues through the ballroom and exits through the main doors, startling an entering couple. Kelsa hurries as fast as her ankle can carry her. She passes through the ballroom doors into the hall. INT. HALLWAY -- CONTINUOUS Kelsa enters the hallway and looks around. Death is gone. She slowly walks along the hallway and looks around. A few people wander through the hallways, laughing and having a good time. She watches the costumed people pass her. Zorro walks past her, pauses, turns to face her, and then takes her hand kisses it. He winks at her, straightens the brim of his hat, and continues in the direction of the ballroom. INT. LOUNGE -- CONTINUOUS Kelsa stands in the doorway to the dimly lit room. Two couples occupy sofas and make-out in the lounge. Kelsa frowns and continues her search.

INT. HALLWAY -- CONTINUOUS Kelsa looks back into the hallway. Monsters pass to the hall bathroom and some leave out front. Kelsa looks around with some confusion. EXT. PATIO -- NIGHT Lucy pulls away from the mummy and smiles slyly. LUCY I'm going to get another drink. I'll be right back. Lucy walks away and approaches the kitchen. The mummy wrestles with his costume hood, attempting to remove it. He stops and looks toward the small, stone wall. He approaches the wall. A sling blade is thrust from behind the wall into his midsection. He clutches the blood-soaked wrappings and attempts to back away. The sling blade slashes again, catching him in the chest. The mummy falls to the ground, barely alive. He's pulled by his ankles behind the wall. INT. BALLROOM A gruesome creature chases a playfully screaming woman across the ballroom, catching everyone's attention. He attacks her with the fake knife, slings her over his shoulder, and carries her away as she laughs. Hawk stands next to Phoebes and looks around. HAWK Where's Kelsa? PHOEBES I don't know, but Ray's gone too. Hawk attempts a smile, but doesn't appear convinced. INT. HALLWAY Kelsa walks along the hallway and looks into several rooms as she passes. Most are dark. She pauses before the open study door. INT. STUDY -- CONTINUOUS Kelsa stops in the doorway of the dark room. The light from the hallway allows her to see the elegant desk near the back. Kelsa taps her fingers to the doorframe with a look of disappointment. She turns for the hallway. A figure appears in the darkness of the room and grabs her from behind. She's pulled into the room. Kelsa lets out a startled cry. She's spun around to face a man in the darkness. We see the outline of Zorro. Before she can react, he pulls her into his arms and kisses her

passionately. He casts the door shut, without interrupting the kiss, and pins her between him and the door. Her cane falls to the floor with a thump. She manages to push him back enough to break off the kiss. KELSA (low) Kane--you bastard! The moonlight entering through the large, glass doors provides enough light to see his outline. KANE How did you know? KELSA Kiss of the devil. KANE Now that hurts. He lowers his mouth to her neck and continues to kiss her. Kelsa attempts to hold him back. KELSA (softly) Stop that-Kelsa's hand against his chest relaxes and almost caresses him. KANE Just playing the part of a romantic character. His hand slides down her side to the slit on her dress and along her exposed leg. KANE Perhaps if Ray wasn't so busy playing with his friends, he'd be stealing you away for kisses in the dark. Kelsa makes a slow attempt to keep his hand from stroking her leg. Kane's mouth returns to hers, and he once more kisses her passionately. Kelsa manages a startled gasp and once more places her hand to his chest in an attempt to protest. He sharply pulls her leg to his hip and presses his body against hers. His hand slips beneath the dress to her buttocks. Kelsa returns the passionate kiss. His hand moves from beneath her dress and slips behind her back. He holds her against him and moans softly. Kelsa suddenly pulls away with a startled gasp. KELSA What the hell am I doing?

She reaches for the light switch. The light comes on. frowns beneath his mask and fake moustache. KANE Should've known that wouldn't work. KELSA You're seriously demented. I was told you were the mummy.

Kane

Kane removes the hat, gloves, mask, and fake moustache and places then inside the hat. I know. KANE I started that rumor.

KELSA What do you want, Kane? KANE Just enjoying myself. Why are you roaming around on your own when you're supposed to be with Ray? Not paying enough attention to you? Im sure he'll pay a lot more attention when it comes time to take you home. KELSA You have five seconds to get to your point, and then I'm screaming. KANE Someone may actually hear you, though I wouldn't count on it. Are you still interested in an interview? KELSA Not on your terms. KANE Right here--right now. Of course, you'll need to choose your dream date or the interview from hell. Kane casually removes his cape, walks past her, and collapses into a comfortable chair. He watches her and waits for her answer. She stares at him a long moment.

KELSA Why is it so important that you ruin my date with Ray? Are you trying to ensure I remain single and miserable, or are you concerned you'll lose my interest? KANE Is that your first question? Kelsa picks up her cane and turns to the door. Kane watches her closely. She locks the door and approaches the sofa. She casually sits on the sofa and removes a small tape recorder from the black wrapping around her sprained ankle. She presses record and sets it on the table between them. KELSA Tell me about the night your sister was murdered. KANE It was Halloween. She and her date were attending a party here. I'd come to the party to convince her to come home. I didn't particularly care for her date. She wouldn't listen to me, told me to stay out of her life, and I went home. She and five others were murdered that night. KELSA Did you kill your sister? KANE No. KELSA (glares) Did you let the air out of my tires? KANE No. KELSA What were you doing outside of Pete's Bar last night? KANE (smile fades) Thinking. KELSA That's not an answer.

KANE Maybe I was feeling bad about some things I'd said or done. Maybe I didn't trust Ray. I'm really not sure. KELSA Is that your problem? You're jealous of Ray? Jealous that I might sleep with him? KANE Why would I be jealous? I slept with you, remember? It was highly overrated. KELSA You know what I mean. If you aren't going to answer the questions, there's no point in continuing. KANE What was the question? KELSA I'll rephrase it for you. What is it you want from me? I stop writing articles about you, and you still won't leave me alone. KANE What do I want from you? (leans closer) Respect would be a start, though probably too much to ask. A little understanding and compassion. A kind, decent word. Politeness, courtesy. Respect. KELSA You said that already. KANE (bitter) I know, but you really lack that. Kelsa stares at directly before her. His anger is evident.

KELSA I don't understand you, Marlin Kane. You want me to treat you with a little kindness and respect, yet you treat me like some cheap whore. KANE When have I ever treated you that way? KELSA Come on--should I make a list? In my office, at the bar, outside of your house. Kane appears to sink into thought without taking his eyes from her. KANE Clearly taken out of context. KELSA You did it just now, when you pulled me in here. What am I supposed to think? KANE I guess I have been rather disrespectful, but--I don't know what else to do. I can't get your attention any other way. KELSA Why do you want my attention? KANE I'm an older man seeker the attention of the most sought after woman in town. How could I possibly compete? I knew I needed to change the way the game was played. I took your natural curiosity and used it to make you want to pursue me--so you would find me interesting. KELSA All of this--it was just to get me to go out with you? You certainly have a strange way of showing affection.

KANE Should I have asked you out last year? Open myself up to the same rejection you've given every other man in town? KELSA I remember being introduced to you when you came to town. I would've gone out with you. I thought you were very charming and quite handsome. I've done nothing but chase after you since then--like a nagging obsession. But I'd be lying if I said I didn't, in some sick way, enjoy it. Kane appears slightly surprised. her and smiles gently. He slowly moves closer to

KANE So--maybe I haven't ruined my chances altogether? Kelsa hides her smile while staring into his eyes. She uncertainly leans closer to him, hesitates, and then kisses him gently on the lips. She slowly pulls away, touches his face, and smiles. KELSA I never, in my life, would've thought you'd be interested in me--other than killing me. KANE Killing you is the last thing on my mind. Kane removes her hand from his face and gently kisses it. He holds her hand and smiles with some embarrassment. KANE Why would you think I wouldn't be interested in you? KELSA You're just so much more sophisticated than I could ever be. KANE I just want a chance to prove that I'm right for you. Maybe you could learn to love me.

KELSA Maybe--I already do. Kane stares at her a long moment in silence. brightens considerably. KANE You don't know how good that makes me feel to hear that. (firm) Of course, Ray will have to go. I don't share. KELSA Ray's a nice guy, but he's more interested in playing with his friends. I'm very flattered by the length you went just to get my attention. KANE Stalking would be the more appropriate term. KELSA But I have to warn you, I'm looking for a relationship--not some meaningless fling. KANE I'm getting to old for flings anyway. But if that's a marriage proposal, I'll need a few days to think about it. Kane slowly moves closer to Kelsa. He pulls her against him and kisses her passionately. Kelsa returns the kiss. He pulls her onto his lap and runs his hand along her exposed leg with great eagerness. He slowly pulls away and begins to kiss her neck and chest. KANE (in-between kisses) Would you be completely apposed to coming back to my house? I don't want to rush you into anything. I'd just like to go someplace more private. KELSA I'd like that very much. KANE You're far too agreeable. I may wind up ravishing you right here. His smile

KELSA Wait until we get back to your place. I'd prefer if we were alone. Kane swiftly springs to his feet with her in his arms and drops her to her feet. He holds her against him and smiles brightly. KANE Okay--time to go. Kelsa clings to his neck, smiles, and kisses him quickly on the lips. KELSA I just need to tell Hawk I'm leaving, so he doesn't worry. should probably tell Ray I'm going as well. KANE It'd probably be best if I just waited by my car. Spare you your reputation for one more evening. Don't be long--I'll get a complex. KELSA I'll be five minutes. Kane kisses her and pulls away with a smile. KANE I think I can make it five minutes, but not much longer. KANE I can't believe how things change so quickly. I should've thrown myself at you months ago. Kane kissing her on the lips then moves quickly to her neck. Kelsa exhales softly with a content smile. KELSA It's a good thing you live close by. Kane groans lustfully and returns his mouth to hers. He kisses her passionately and nearly throws her on the sofa. Kelsa stops him before her feet leave the ground. He meets her gaze. KELSA Five minutes.

Kane attempts a smile. He quickly kisses her several times then forces himself to release her. Kelsa takes her tape recorder and returns it to her wrapped ankle then recovers her cane and limps toward the door. Kane follows her. She stops him from pulling her back into his arms. KELSA I'll meet you outside. KANE Maybe I should come along-KELSA I think you need to wait outside in the cool night air and unwind a few minutes. I'll be out shortly. Kelsa slips from the study. INT. BALLROOM We see the room is half empty. Kelsa limps through the ballroom and looks around with some confusion. Hawk doesn't appear to be among those remaining. Ray approaches her with a grin. His mask is once more on top of his head. RAY I've been looking for you. A bunch of us are going downstairs to play a joke on the group touring the horror set in the basement. Have you checked it out yet? KELSA No, actually I haven't. RAY It's really cool. They have it set up to scare the daylights out of everyone. KELSA I don't think I'd be able to take anymore stairs tonight. RAY Is your ankle bothering you? KELSA Yes. I'm having a difficult time getting around, and I can't dance. I thought I'd just go home and get off my feet for awhile.

RAY Do you have a way home? KELSA Yes, I found a ride. You just have a good time with your friends. RAY Are you sure you don't mind? KELSA Yes, I haven't exactly been much fun tonight. RAY Maybe once you can get around better, we can do something fun. Kelsa nods. Ray hesitates, kisses her on the cheek, and then hurries off. She watches him leave the sparsely populated ballroom. Nan disappears into the kitchen after Ray. Lucy wanders around the ballroom. She appears lost herself. She approaches Kelsa. LUCY Where'd everyone go? KELSA Into the basement for a shrieka-thon. LUCY I seem to have lost my mummy. Have you seen him? KELSA No, but I was hoping to locate Peter Pan myself. LUCY I'd better go downstairs and look for him. Should I tell Hawk you're looking for him? KELSA If you would just tell him I found a ride and went home, I'd appreciate it. LUCY With a dashingly charming Zorro, perhaps? KELSA How did you know?

LUCY He gave me fifty bucks to tell everyone he was my date. He said he wanted to give you a surprise. KELSA Could we keep my leaving with Kane between us? LUCY (winks) You've got it. If you ever get tired of him, mention me to him. What a stud. Kelsa smiles warmly and sinks into thought. KELSA He is rather stunning, isn't he? Lucy groans, smiles, and then walks toward the kitchen. Kelsa limps from the ballroom. EXT. ECKENROD MANSION -- NIGHT Kelsa leaves the mansion and limps past several parked cars in the crowded, circular driveway. She approaches Kane's blazer and looks around with some confusion. Kane is no where to be found. Kelsa opens the passenger side door. INT. CAR -- CONTINUOUS We see Kane's mask, hat, and cape on the back seat, indicating he'd been to the blazer. Kelsa climbs into the blazer and sits a moment with the door open. She looks around then sinks into thought. We hear someone approaching. She looks to the open door. The sling blade swings at her through the open door. Kelsa screams and throws herself down to the driver's seat. The blade pierces the back of her seat. We see Death pull the blade free from the seat. Kelsa cries out and kicks at him where she lay with a terrified scream. She strikes Death in the chest and casts him backwards. Kelsa sits up and slams the door closed before he can come at her again. He strikes the slamming down. Death coils back with the sling blade and strikes the window. The glass chips and the sling blade breaks. Kelsa panics and looks around the vehicle for keys. She checks the visor then the console. She opens the glove box as Death begins pounding the glass with the end of the stick. The glove box light comes on to reveal a small revolver. Kelsa removes the revolver and aims it to the window. Death is gone. She breathes heavily while clutching the gun. Kelsa looks to the house.

The front door stands open. A look of fright sweeps over her. She looks at her watch. It's midnight. She opens the gun. We see it's empty. She fumbles through the glove box. She finds two bullets and loads the gun with trembling hands then cautiously looks around. She unlocks the door and jumps from the blazer. EXT. ECKENROD MANSION -- CONTINUOUS Kelsa clutches the cane in her left hand and the gun in her right. She limps toward the house without using the cane. INT. HALLWAY -- CONTINUOUS Kelsa enters the house with the gun aimed in trembling hands. Nothing moves. She hurries as best she can to the hall phone. Kelsa picks up the phone. There's no dial tone. We hear a scream from upstairs. Kelsa spins with a startled gasp and aims the gun. We see a young woman running down the stairs with blood covering her hands. She screams. Kelsa looks up the stairs. A killer with a bloody butcher knife runs down the stairs after her. The girl giggles and runs for the front door. Kelsa exhales and slowly lowers the gun as the man runs after the playfully screaming woman. Kelsa slowly turns and continues toward the ballroom. INT. BASEMENT Groups of costumed people walk along the basement, in and out of the partitioned rooms, giving a bit of a maze effect. We hear several playful female screams to the gruesome displays in each area of the well-planned horror maze. There's a lot of laughing, commotion, and recorded special effects. We hear recorded screams, creaking, thunder, and chainsaws. The lighting is dim, and dry ice creates a thick fog along the basement floor. Grace and several others enter one section where we see a half torn apart body lying on the blood-covered table with blood on the sheets and down to the floor. The hand reaches for them as they pass. One of the women screams. The man laughs and pulls the woman along after the others. Grace approaches the display and examines it more closely. GRACE (soft laugh) Oh, Nan. You're one sick girl. Death appears around the corner with a dagger in his gloved hand. Grace turns and comes face to hood with Death. She screams with surprise then laughs. GRACE Damn it, you scared me.

Death raises his dagger and stabs her in the shoulder. Grace clutches her bleeding shoulder, screams, and jumps backward, striking the table. She attempts to run. Death grabs her by the throat and thrusts her back against the table, almost throwing her upon the prop body. He raises the dagger and stabs her repeatedly in the chest. She screams in time with several women elsewhere in the basement. As the knife repeatedly falls, her screams subside. He releases her, and she slips from the table and onto the floor. Death disappears behind a curtain. Hawk and Phoebes enter the room. Phoebes screams and clings to Hawk. She then stares at Grace on the floor in a bloody heap. Oh, Grace. PHOEBES That's sick.

Hawk and Phoebes continue on to the next section as the loud, eerie music and women's screams continue. INT. BALLROOM Kelsa enters the ballroom. We see a few people still upstairs. More people can be seen out on the patio. The band is already gone. Kelsa quickly approaches the vampire and a female pirate near the mostly gone buffet. KELSA We need to get the police out here right away. Someone needs to go get help. VAMPIRE Kelsa, you've had too much to drink. PIRATE Wait, I heard this one before. It's Marlin Kane, and he's killing people in the basement. KELSA I'm not making this up! A man attacked me outside. It was Death. Someone needs to get Sheriff Parker out here. A year ago, in this very house, six people were murdered shortly after midnight. Guests reported Death carried a realistic, bloody, sling blade. He's here! VAMPIRE You're really starting to believe that bullshit you write.

They walk away leaving Kelsa baffled. the kitchen. INT. BASEMENT

Kelsa hurries toward

Lucy follows just behind Hawk and Phoebes. We see a realistic looking coffin with a bloody, bandaged hand hanging from the mostly closed lid. The horror sounds continue to echo through the basement. Lucy slowly approaches the coffin with a strange look on her face. She gently pushes open the creaking lid. We see the mummy lying in the coffin with blood surrounding his mutilated midsection. Lucy jumps back with a horrified expression and screams hysterically. She runs from the section and nearly collides with Hawk and Phoebes. LUCY It's him! He's dead! killed him! Someone

HAWK What are you talking about? LUCY (points) It's Pete! Someone's killed Pete! HAWK I'm sure he's just playing a practical joke. He's dead! LUCY I'm telling you--

She leads them back to the room. Hawk approaches the coffin and peers at the bloody mummy. Hawk stares a moment, as if uncertain. He touches the wrapped neck. A look of horror crosses his face. He spins toward them. He's real. HAWK He's dead!

Death appears behind Hawk from curtains toward the back. Phoebes and Lucy begin to scream hysterically. Hawk! PHOEBES Behind you!

Hawk spins around and sees Death plunging the dagger. Hawk raises his arms in defense while crying out. The dagger slashes his forearm rather than impaling him as intended. Hawk jumps backwards, clutching his bleeding arm. Death lunges for him. Phoebes grabs Hawk's arm and pulls him out of Death's path. All three run through the maze. They nearly collide with Nan.

NAN (laughs) Scary, huh? Hawk holds his bleeding arm and gasps. and becomes concerned. NAN Is that real? LUCY We have to get out of here. Death is after us! We see Death appear around the corner. Nan screams. Lucy shoves her along the narrow passage ahead of her. They approach the large group of people. We hear several playful screams and laughter. NAN We have to get out of here! There's a killer in the basement! Everyone looks at Nan. They begin to laugh. Nan sees the blood

NAN I'm serious! The basement door is just beyond that partition. Ray lifts his mask and appears concerned. RAY I was just joking around. take it so serious. Nan rushes into Ray's arms. NAN No, Ray. It's Death--just like Kelsa said in her article. HAWK (exposes his cut arm) You didn't do this-Everyone stares at Hawk's arm and gasps. Phoebes looks past Hawk. She appears horrified. She points and screams hysterically. We see Bernie lying naked and slashed in a prop tub filled with real, bloody water. Everyone screams. They begin to panic and run for the partition. The first to reach it attempts to move it, but the crowd pushes them right through it. The partition is now obstructing the door. They frantically attempt to remove the partition while trampling the first two men, who had been thrown into it. Don't

Hawk tosses several people aside and pulls both men to their feet. The partition is thrown back and strikes Hawk and both men. They're thrown backward against the wall. Hawk clutches his head painfully. Phoebes helps steady him. EXT. ECKENROD MANSION -- NIGHT We see the basement door of panic stricken people the house where the cars among the last to appear being thrown open and a large crowd filter out and toward the front of are parked. Phoebes and Hawk are in the driveway.

PHOEBES Someone call the police! Several people rush to their cars. One man gets his cell phone from his car and calls for help. Several others begin scrambling to drive away. The man with the cell phone is nearly struck by a flying car. He dives out of the way. The cars begin to strike other cars. The cell phone falls to the ground and shatters. PHOEBES I don't believe it. What are they doing? Several others stare in amazement. HAWK (looks around) Kelsa? (to Phoebes) Oh, my God, Kelsa's inside. LUCY No, she's fine. She left about twenty minutes ago. Left? me. HAWK With who? She came with

LUCY (hesitates) She left with Kane. Hawk looks to the driveway then back at Lucy while pointing to Kane's blazer. HAWK Then why is his car still here? Lucy appears surprised. Hawk hurries to the blazer and looks to the ground. We see the broken, bloody sling blade near the open, passenger side door. Hawk looks back to the house.

HAWK (panic) Kelsa! Hawk runs toward the house. Hawk, no! PHOEBES You'll be killed!

Phoebes attempts to run after him, but Lucy stops her. LUCY You can't go in there. Lucy pulls Phoebes to her car and opens her trunk. removes a baseball bat and a tire iron. LUCY Not without these. Phoebes snatches the tire iron and runs after Hawk. follows behind with the baseball bat. INT. KITCHEN Kelsa enters the kitchen and looks around. Steve stands by the kitchen sink with his back to her. The water runs. Kelsa approaches him. KELSA Steve, I need your help. have to get the police. We Lucy She

As she approaches, we see blood dripping into the sink. Kelsa looks at Steve. He holds his hand to a large gash on his neck that bleeds. He looks at her with a completely pale face. Kelsa gasps and grabs a dishtowel. She jumps to his side and places the rag to the gash and applies pressure. Hold on. KELSA We'll get help.

Kelsa grabs some plastic wrap from the counter and runs the wrap from his neck and under his opposite arm to hold pressure to it. Steve collapses to the floor. The basement door opens. Death enters the kitchen with his dagger, looks to Steve, and then to Kelsa. Kelsa raises the gun and fires, hitting the doorframe as Death dives back into the basement stairs. We hear several screams from the ballroom, but no one comes to investigate. Kelsa kicks off her high heels and limps toward the basement. Death dives from the basement and across the center island. Kelsa aims and fires, missing again. The gun click--empty. Death slowly straightens. Kelsa throws the gun at him and hits him in the face. He's stunned by the impact.

Kelsa limps a little faster without her shoes. into the dining room. INT. DINING ROOM -- CONTINUOUS

She bolts

Kelsa enters the dining room and hurries for the opposite door to the lounge. She hurries through the lounge door, clutching the cane to use as a weapon. INT. LOUNGE -- CONTINUOUS Kelsa enters the lounge and looks to the door. She quickly fumbles with the lock on the dining room door and pulls a chair in front of it. She hurries to the main lounge door that leads just off of the ballroom. Kelsa opens the door and comes face to face with Kane. Kelsa lets out a startled scream. KANE I heard gunshots. What's going on? Kane steps into the dimly lit lounge with her. up with a look of horror on her face. KELSA Where were you? Why weren't you outside? KANE I waited outside, but then I saw someone in the upstairs window. They appeared to be in trouble. I thought it was you. I found a woman dead upstairs. KELSA (stares) Dead? KANE Someone hit me on the head. When I woke up, I was locked in the room with the dead woman. Kelsa looks to the blood on his temple then meets his eyes. KANE You don't believe I-KELSA For once, I'm convinced you're not a killer. Come on. KANE Let's get out of here. Kelsa backs

Kane extends his hand to her. Kelsa reaches for his hand. Death steps into the lounge doorway behind Kane with the dagger raised. Kelsa appears horrified. KELSA Behind you! Kane's expression drops. He lowers himself and spins into a backward, roundhouse kick without even looking. He connects with Death's chest as the knife comes down. The knife slashes his thigh rather than piercing his back. Kane's thrown of balance and falls to the lounge floor. Death is thrown across the hall. Kelsa leaps for the lounge door, shuts, and locks it. She helps Kane to his feet. He clutches his bleeding leg with some discomfort. KANE Damn, that hurt. They look to the windows with security bars over them. Kane grabs her hand and pulls her to the bookcase near the fireplace. He pulls open the bookcase to reveal narrow stairs. KELSA How did-Kane heaves her up the first, tall step of the passageway and follows behind her. The bookcase shuts just as the door is thrown open. Death quickly enters and looks around. We hear Hawk in the hallway. HAWK Kelsa! INT. HALLWAY -- CONTINUOUS Hawk walks cautiously along the hall, now carrying a silver candlestick. Death suddenly leaps from the lounge and stabs Hawk once in the arm. He's about to plunge again as Hawk falls against the hall table. PHOEBES (O.S.) (shrill scream) No! Phoebes lunges for Death with her tire iron. Death slashes at her and slices her shoulder, narrowly missing her throat. Lucy slides across the hall floor in her Cleopatra dress and swings her baseball bat with a loud cry. Death jumps. The bat crashes into the table and cracks the wood. Lucy coils back and swings again and strikes the knife in Death's hand, knocking it from his hand.

LUCY Come on, you coward! like a man! She the the bat

Fight me

swings the bat again. Death ducks and punches her in face. She stumbles back a step with surprise, touches blood at the corner or her mouth, and then slings the aside and raises her fists. LUCY Just try that again.

Death swings at her. She darts sideways then punches him square through the opening in his hood. The hood falls back to reveal a grotesque mask. Death stumbles backwards then runs for the kitchen. Lucy quickly turns to Hawk and Phoebes, holding each other in bleeding arms. She grabs the baseball bat, twirls it in her hands and points to the kitchen. LUCY I'm gonna get that bastard. HAWK Lucy--wait. Lucy hurries for the kitchen. Hawk painfully releases Phoebes, grabs the tire iron, and hurries after her. Phoebes runs after him. INT. SECOND FLOOR HALLWAY Kane pulls Kelsa quietly along the hallway. They pause by the top of the stairs. There's a large, stained glass window behind them. Kane stops her and strains to look down to the bottom of the stairs. Death appears from the opposite direction, no doubt from the back kitchen stairs. Kelsa looks back, sees Death, and screams. Kane spins and narrowly avoid a slashing butcher knife. The reaper kicks Kane in his cut leg, sending him back several steps. Kane kicks the knife from Death's hand. Death tackles Kane against the stained glass window. Death punches Kane and pulls back to strike again. Kane kicks out as Kelsa attempts to strike Death with the cane. Death ducks and Kane kicks Kelsa in the shoulder, sending her back into the hall railing. She catches her balance, nearly toppling over it to the hall below. Death grabs a vase and cracks it against Kane's head. Kane is slightly dazed. Death grabs Kane and slings him forward, through the stained glass window and over the balcony rail. Kelsa is horrified. The remaining glass falls to the floor. KELSA No!

Death turns to her. She slings the cane at the reaper with all her strength, striking him repeatedly. She strikes him several times in the face. His hood falls to reveal the grotesque mask. He attempts to stop the trashing cane, but she comes at him hard and fast. Death sinks to his knees as Kelsa continues with several more blows. Kelsa's suddenly struck on the back of the head. Everything becomes blurry, and she collapses to the floor. Her vision straightens. We see Nan standing over her with the candlestick. Death holds his masked face a moment. Nan slowly approaches the kneeling Death. He appears more surprised then Kelsa. Kelsa slowly reaches to her wrapped ankle and presses the record button on her recorder. She slowly pulls herself to her hip and hands, clutching the cane, but too disoriented to move. Nan kneels before Death and reaches for the mask. NAN I couldn't let her do it--when I realized it was you. Nan removes the mask to reveal Ray. horrified. Kelsa is completely

NAN I know about your problem, and I'm willing to help you through it. Let me help you, Ray. We can tell the police Kane killed everyone and you killed him in self-defense. RAY You'd do that for me? NAN (tiny smile) Of course I would. I love you, Ray. I've always loved you. I can help you, I know I can--if you'll just let me. RAY What about Kelsa? Nan looks at Kelsa, who can barely pull herself to her knees. NAN (cold stare) She couldn't keep a secret to save her life. She'll have to go. Nan looks back to Ray with a sympathetic smile. the butcher knife. Nan appears confused. Ray holds

Ray stabs Nan in the throat. Once she falls, he begins to stab her violently in the chest with an uncontrollable rage. Kelsa pulls herself to her feet with some weakness. Ray pulls the knife from Nan's brutalized body and springs to his feet. He holds the dripping knife up in the air, prepared to strike. KELSA (clings to the cane) You killed all those people? RAY I had to. You can't possibly understand--no one can. KELSA Whatever your problem, Ray. sure there's help for it. I'm

RAY (angry) You're all alike! Making fun of me! I know you think it's funny that I'm unable to have sex. You'd feel sorry for awhile then cast me aside! Just lead me on so you can laugh at me behind my back! You deserve to die like the others! Ray thrusts the knife at her. Kelsa blocks it with the cane in both hands. The force and her weakness, sends her to her knees while still holding his knife back. We hear the crunch of broken glass. Ray thrusts Kelsa backwards and spins around. Kane limps slowly through the broken glass. He bleeds from several cuts on his body and face. Ray appears surprised then angry. RAY That's impossible. KANE (icy) I don't appreciate you trying to kill my girlfriend. RAY Your girlfriend? She's my girlfriend! KANE That must explain why you were trying to kill her. RAY You'll never have her!

Ray lunges at Kane with the butcher knife. Kane dodges to the side, clutches Ray's wrist, and kicks him twice in the ribs. He then slings Ray over his hip and roughly onto the ground. Ray stabs Kane in the calf. Kane leaps backward with surprise and pain. Ray jumps to his feet and begins slashing at Kane like a madman. Kane starts backing himself into a corner. Kelsa pulls herself to her feet while holding the cane by the middle. Kane looks to her while avoiding the slashing knife and signals for her to stay. She stops. Kane throws himself to the ground, sweeps Ray's feet out from beneath him, and rolls across the floor to Kelsa. Ray scrambles to his feet and lunges for them with the knife above his head and a psychotic expression upon his face. Kane pulls the cane's handle from its base to reveal a twelve inch dagger. He rises up, while thrusting upward with the sword. Ray stops in mid-stride and stumbles backwards, staring at the sword embedded into his chest on an upward angle. Ray starts coming at them again with the knife thrashing more slowly. Kane clings to Kelsa. He kicks upward, striking the sword, and rams it deeper into Ray's chest. Ray stumbles backwards from the force of the kick and falls to the floor. Kane straightens while holding Kelsa. Both watch Ray struggle a few moments longer then stop moving. We hear feet running along the hall. Hawk, Phoebes, and Lucy approach from the back stairs. They slow and stare a moment in horror. Phoebes sees Nan and cries out. Hawk pulls her into his arms and holds her. Hawk looks from Ray to Kane. HAWK But I thought you were the-Lucy gently jabs Hawk, stopping him short. We hear the police sirens grow louder. Kelsa reaches into her wrappings and presses the stop button on the recorder. PHOEBES But why did he do it? KELSA (gently) I doubt we'll ever know. Kane looks at Kelsa. A tiny smile crosses his battered face. He gently kisses her forehead. EXT. TOWN GOSSIP NEWSPAPER -- DAY We see the "Daily Gossip" covered over with a banner that reads "Visions Gazette".

INT. TOWN GOSSIP Kelsa sits at her desk while finishing an article on the computer. Hawk approaches with a letter in his hand. HAWK (reads) Dear "Ask Hawk", I'm dating two men and don't know which one to choose. (lowers the letter) I'm thinking she should confess to each, and if either wants her afterwards, she'll have her answer. KELSA People really enjoy your sarcastic replies in your column, don't they? HAWK I'm having fun just trying to figure out who they're from. Want to take a shot at it? KELSA No, thanks. I'm out of the gossip business. Phoebes hurries from the back with a plastic negative of the paper. PHOEBES I did it, I did it! I developed a negative all by myself! Hawk hugs and kisses her. HAWK That's wonderful. You're hired. Phoebes winks at him and hurries back to the dark room. Hawk pauses and appears concerned. HAWK (calls after her) You did develop all the negatives before you came out, right? Hawk hurries to the back. Kelsa looks to the front door. Kane stands before the closed door. He wears a fedora hat elegantly on his head. He reaches up and bats the bell so it rings.

He smiles and walks toward her with the use of his elegant cane. He appears stiff and hurt. The cuts to his face are healing, but the scabs remain visible. Kelsa stands as he pauses before her desk. She Kane sits on the edge of her desk and smiles warmly. KELSA What brings you by this early in the day? KANE I was hoping to sweep you away for lunch. KELSA (leans closer) Remember what the doctor said-no sweeping for a week. KANE He changed his mind and removed the staples. I'm free to sweep all I want. KELSA Oh, really? Does that mean an extended lunch back at your house? He leans closer and kisses her gently on the lips. KANE Umm, hmm. Kelsa returns the kiss. They kiss more passionately.

HAWK (O.S.) For goodness sake--get a room you two. KANE (to Hawk) Sorry--we don't have the luxury of our own private dark room. Hawk sneers and returns to the back. fedora and places it on her head. KELSA Let me get my jacket. Kelsa approaches the coat rack. KELSA Steve was released from the hospital today. Kelsa removes Kane's

KANE He's very lucky. (stands) Lucky plastic wrap is multipurpose. Kelsa approaches him while slipping into her jacket. KANE I just heard some gossip today. KELSA I'm not interested. of that reputation. I want out

KANE It seems you've acquired a new reputation. It only took three days for the entire town to figure out you've been sneaking around with me. KELSA I wasn't sneaking. I'm very proud to be seen with you. Let the whole town know I haven't been home in three days. KANE I've never cared much for gossip, so I thought we should make it official and nip it. KELSA You want me to tell everyone we're lovers? KANE Yes. He removes a diamond engagement ring. then looks back at him. KELSA This is a surprise. don't you think? Kelsa stares at it

Sudden--

KANE No, I nearly died for you. If that doesn't prove how I feel-Kelsa smiles and extends her finger to him. Kane slips the ring onto her finger. She throws her arms around him, and they hug a long moment.

KELSA Don't you ever go to that length to impress me again. KANE No, no more windows for me. Lucky for me I have cat-like reflexes and was able to catch that ledge. KELSA Lucky for me too. I was nearly a goner myself. How did you know about that secret passageway in the lounge? KANE I used to play at old man Eckenrod's house many years ago, when I was a little boy. KELSA You were a little boy once? KANE Yes. I used to love playing in the secret passageways. The bell to the press rings. They release one another and look to the door. Sheriff Parker enters and stands by the door with a nasty look on his face. PARKER I can't believe this. I just heard from Lucy that you two are--that you two have-(glares) I should arrest you both. KANE On what charge? PARKER Annoying the law. All the time I'd spent trying to keep you two away from one another--and this is the thanks I get. I should have thrown you two in a cell together and avoided this entire mess. Kane and Kelsa look at one another with lustful smiles. Both make a face and shake their heads. KANE Not very private.

PARKER Well--at least I shouldn't have to spend every morning wondering which one of you will cause the most trouble that day. (eyes them) Scary, very scary. What will happen next around here? We hear Phoebes shrill scream from the back. All three look toward the back. Kane remains calm with his arm around Kelsa's shoulder. Phoebes runs into the main office area with Hawk chasing after her. She stops when she sees Parker. Hawk suddenly grabs her from behind and tosses her over his shoulder. He stops and looks at Sheriff Parker. Phoebes attempts a smile from her position over Hawk's shoulder. PHOEBES Hi, Dad. Hawk returns Phoebes to her feet and attempts a nervous smile. Phoebes collects herself and fidgets. Parker stares with a look of surprise. PARKER (to Phoebes) You've been seeing Hawk? PHOEBES Well--yes. HAWK (mutters) I'm dead. Parker places his hand on the handle of his gun in his holster. Hawk jumps behind Phoebes. PARKER I was afraid you were out with that drunken college friend of yours. No, Dad. months. Good. (to Hawk) Don't mistreat my daughter, Hawk. Her mother will kill you. HAWK No, Sir. PHOEBES I haven't seen him in PARKER

Parker nods, attempts a smile, and then leaves the press. Hawk nearly collapses against the back counter. HAWK That was too close. PHOEBES I told you my father's a great guy. Kane straightens with use of his cane and takes Kelsa by the hand. KANE You two try to behave. We're taking an extended lunch. HAWK Why should we behave? not going too. You're

KANE Kelsa's father doesn't own a gun, and he's also not just down the street. KELSA (flashes her diamond ring) And we're engaged. We're allowed to misbehave. Phoebes cries out excitedly. FADE OUT