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An Original Screenplay By Holly Copella


FADE IN: EXT. OLD MANSION -- DAY We see the old mansion far from town. The gates are securely chained and rusted. Ivy seems to hold them together. The estate is in ruins. The lawn is overgrown from years of neglect. A car pulls up to an older car parked before the gates. A wiry man paces before the gates. He approaches the stopped car. Two men and two women get out of the car and gaze at the distant mansion. The wiry man, STEVENS, approaches with a nervous, disapproving look. STEVENS I'm not entirely comfortable about this. The first man, a large, Greek looking man, MURDOCK, looks from the mansion to Stevens. MURDOCK What's possibly uncomfortable about renting the house for the weekend? Another man, CROSBY, continues to stare at the mansion. CROSBY We're paying you well. STEVENS I only own the house. never been inside-I've

JERI SANTON, an attractive, dark-haired woman eyes Stevens. JERI Because of the hauntings? STEVENS The rumors are enough, thank you. The entire town completely freaked when they heard I was letting you inside. They're convinced the ghosts will remain confined to the estate as long as they're not disturbed. They're afraid you're going to disturb them. I'm not sure I believe in all this ghost business, but I don't really want to find out either. CROSBY No one's asking you to go inside.

MURDOCK You have to forgive Crosby, he's become desensitized to the entire mortal world. STEVENS (low) Uh, huh. That's all fascinating-MURDOCK We've been tracking the paranormal for a few years now. It's unlikely they would even notice our presence. Aggressive behavior to the living is completely unfounded. CROSBY The exorcist-(shakes his head) Never happen. STEVENS (sarcastic) That makes me fee so much better. Maybe we should reconsider our deal. CROSBY We've put a lot into this little field trip, Stevens. We're not going back empty handed. STEVENS Fine, but you're entering at your own risk. I'll leave the gate open, but I can't be responsible for anything that happens in the house. (extends key) That's to the front door. Knock yourselves out. Stevens approaches the smaller gate and opens it for them. STEVENS I'll be back in the morning. For your own sake, I hope you can walk out, because no one will be willing to go in after you. They watch Stevens get into his car and drive away.

A young, blonde woman, KATHY, leans on Jeri's shoulder and watches Stevens drive away. KATHY Nervous guy, don't you think? MURDOCK Looks like we carry the equipment. We'd better get started. I want to be set up well before dark. INT. FOYER All four enter with their arms full of electronic equipment. They pause and look around the cobweb coated interior. The foyer and open lounge are very creepy. CROSBY A virtual ghost heaven. JERI I have to change careers. MURDOCK Why so nervous, Jeri? They can't hurt you--seduce you, maybe. Jeri glares at Murdock. CROSBY If they have any taste, they will. KATHY Will you two leave her alone? They love to torment the new kid. Jeri and I are going to explore. You can handle setting up. Kathy removes a hand held gauge and pulls Jeri along the hallway. MURDOCK Scream if you see anything. Crosby chuckles softly and shuts the door. The sound of the door appears to echo through the main room. Jeri and Kathy wander along the great hall. Most of the rooms appear very open. KATHY This place is amazing. feel the energy? Can you

JERI No. KATHY (giggles) You'll get the hang of it soon enough. Just don't make any sudden moves and don't do anything to piss them off. JERI Are you referring to the ghosts or Murdock and Crosby? KATHY The ghosts, of course. Though the same rules apply to them as well. There's a very good chance we won't even see a damned thing. We should fix up the lounge a little. Crosby hates when I clean. He thinks it disrupts the spirits. Honestly, I can't sleep in dust. Kathy opens a set of double doors and beams happily. INT. LIBRARY -- CONTINUOUS We see Kathy and Jeri standing in the open doorway. The library is tall and huge, completely filled with dusty books and trailing cobwebs. Kathy enters and looks up to the cathedral ceiling. KATHY This is too cool. Can you feel the energy? JERI Just dampness. KATHY Might be one of the ghosts. JERI I should have brought a sweatshirt. A fire sparks in the fireplace. Both spin toward the walkin fireplace. The fire catches and burns hot. Kathy and Jeri look at one another with surprise.

KATHY Oh, this is a good sign. (aims the device) The energy is spiking in this room. Let's get Murdock and Crosby. Kathy turns and hurries from the room. Jeri turns to follow after her. A breeze gently blows past Jeri. She quickly spins with a soft gasp. There's no one there. Jeri turns back to the doors. They slide shut. She hurries to the doors and attempts to open them. They don't move. Jeri feels her hair move. She quickly turns and attempts to remain calm. JERI Hello--is someone there? Nothing happens. She slowly walks deeper into the room and closer to the fireplace. She shivers slightly and stands near the fire. The sleeves of her shirt crush slightly. Jeri suddenly tenses and remains perfectly still. Her hair moves from her neck. She trembles slightly and shuts her eyes. JERI (softly) Stop that. The library doors open. Kathy hurries in and points past Jeri to the fire. Crosby and Murdock enter with some equipment. Jeri remains perfectly still. MURDOCK (aims the camera) Jeri, out of the shot. JERI (tense) I can't. He won't let me go. KATHY He? You've made contact? That's cool! Crosby approaches with a small device and aims it at her. JERI (conern) Are you guys just going to gawk or are you going to get him off of me? Talk to us. MURDOCK What's happening?

JERI (low) He thinks I'm his girlfriend. Guys, do your experiment on someone else. CROSBY This is incredible. This reading is through the roof. (moves closer) He's not going to hurt you. Just a few more readings. Cold? Icy? MURDOCK Information, Jeri.

JERI (hesitates) I think--he's trying to keep me warm. CROSBY Sounds rather chilling. A cold spot thinking it can warm. JERI He's not cold. He has very warm breath, and it's on my neck. Think we can end this before this turns into a sick and twisted porno? Crosby and Murdock look at one another. We couldn't. immoral. MURDOCK That would be Both frown.

CROSBY On the other hand, she knew the risk-KATHY I don't believe you two. Crosby moves a little closer. stops and Jeri jerks. We hear a low snarl. Crosby

JERI (frightened) I think--he's upset. CROSBY Cool.

JERI No--not cool. Get him off of me. I'm serious. The hair moves away from her ear. Jeri tenses and shuts her eyes. She appears to clutch and arm around her shoulders. Murdock lowers the camera. MURDOCK Jeri, you okay? JERI As long as he doesn't bite. KATHY Can you move away? JERI (slight gasp) I don't think that's in his plan. Murdock and Crosby look at one another. MURDOCK Rush him? CROSBY Did you hear that sound? growled at me. He

MURDOCK Maybe Kathy could get closer-KATHY Not me. JERI You people are going to be the death of me. CROSBY I don't think killing you entered his mind. JERI That's enough now. Jeri attempts to loosen the invisible arms around her shoulders. Her hair moves from the back of her neck. suddenly jumps and clings to the invisible arm. JERI Stop--that tickles. Crosby moves toward her. Jeri's suddenly whirled around. She still appears to be contained by her ghostly assailant. Jeri

We hear a loud, threatening snarl. Crosby jumps back as his shirt shreds. The gurgled growl fills the room. Crosby looks at his shredded shirt. CROSBY (to Jeri) He's your friend--you deal with him. Jeri is held in an unnatural position, apparently facing the ghost. The growling subsides and the hair is brushed from her face. Crosby backs to the door and leaves. MURDOCK Kathy, you have to try. be able to move in. KATHY Great. Kathy takes a step closer. Jeri holds her hand out to stop her. Jeri slowly reaches before her and appears to touch the ghostly face. KATHY That wouldn't be my first choice of moves in this situation. JERI He's--so warm. It doesn't seem right that he'd be warm. Her head is suddenly pulled forward. She gasps then braces her hands against the unseen object. It's obvious he's kissing her harshly and passionately. He pulls away just as quickly. We hear an added, warm kiss. Jeri allows a slight breath to escape. She then catches her balance as if being released. Jeri quickly looks around then runs for the library doors. A book falls from the shelf and lands with a cloud of dust. Kathy slowly approaches the book and picks it up. INT. FOYER Jeri runs for the main doors. Murdock chases after her. She pulls on the door. Murdock shuts it from behind her. Jeri spins around with a look of surprise. Her face shows embarrassment from her ordeal. JERI What are you doing? MURDOCK I could ask you the same thing. That's it? One little encounter and you're ready to pack it in? You may

JERI I didn't join this research team to be a sex toy for some horny ghost. MURDOCK I know you're upset, but you have to remember they can't hurt you. JERI Really? Then what happened back there? What would you call being probed by--whatever that was? Do you honestly think he won't try it again? MURDOCK Okay, okay, this was an emotional situation. You need to relax and reassess what really happened. JERI He growled. MURDOCK Tell me exactly what happened. JERI He put his arms around me from behind, breathed down my neck, and then kissed me. MURDOCK So--he was being friendly? JERI A little too friendly. MURDOCK But he didn't grab your butt? JERI Well, no, but he was against me. MURDOCK You're completely overreacting. That may have been his way of greeting you--just a friendly, happy spirit. JERI Much happier now, I'd say.

MURDOCK Point being, he didn't make any sexual advances. He probably had no intentions to harm you. You've made actual physical contact. That's more than I've ever achieved. This is a glorious day. JERI I'm not sharing your enthusiasm. MURDOCK Please, Jeri. Don't run out now. You're our ace in the hole--our link to the spiritual world. So the ghost likes you. Use that to your advantage. This is a big deal. Just a couple of hours. If you still want to leave, you can take my car to town. JERI All right, but if he tries anything again, I'm out of here. It's a deal. footage. No thanks. MURDOCK Let's review the JERI Once was enough.

Jeri uncomfortably follows Murdock along the hall. INT. LOUNGE -- CONTINUOUS

Jeri enters the open lounge and casts herself into a chair. Kathy hurries up to Jeri with the book in her hands. KATHY Jeri, you're not going to believe what I found. Jeri glances at the book. KATHY It's a private journal kept by Stevenss grandfather. JERI The one who died here?

KATHY (nods) There's whole bunch of paranormal gibberish that only Crosby would understand. JERI Yes, Crosby--wait until I get a hold of him. KATHY But this tells about the spirits trapped in the house. The man claims that there are five ghosts, well, he calls them the exiled. They've been banned to particular rooms. Almost like a ghost game preserve. JERI That's bizarre--though I've recently seen worse. KATHY He goes on to describe each one, but here--this tells of an ancient spell that allows us to actually see them. JERI See them? KATHY Yes, there are a few sections on different spells to perform on the ghosts, but this one really has me intrigued. Could you imagine? Actually being able to see them? JERI About an hour ago, I would've shared your enthusiasm. KATHY He was just playing with you--no harm done. JERI You didn't exactly rush to my aid.

KATHY I'm entitled to be a little nervous too. Come on, let's do this spell so we can see them. JERI First off, that's all nonsense. KATHY So is being fondled by a ghost, but I believe you. JERI I don't think you should mess around with that. You may release some hideous demon. KATHY But you said it's just nonsense. JERI Why take a chance. Kathy stands. KATHY I'm going to find Crosby. know what it all means. INT. HALLWAY Kathy approaches Murdock and Crosby standing just outside of the library. They review the footage shot earlier. CROSBY Definitely an energy force behind her. Look at the shading. MURDOCK You don't suppose we're dealing with a poltergeist, do you? CROSBY We couldn't be that lucky. Kathy stops before them and holds out the book. KATHY There's a spell to make the ghosts visible to us. Could we try it? Crosby reads. He'll

MURDOCK I don't believe in that black magic stuff. CROSBY I think it's worth a shot. Can't hurt. MURDOCK Are you sure? We don't want any funny business. CROSBY No, only visible, nothing too dramatic. MURDOCK Okay, but don't tell Jeri. She's already teetering. JERI (approaches) I heard that. You can't seriously believe that. CROSBY You don't have to believe for it to be real. Crosby looks to the book. CROSBY Besides, wouldn't you like to see your boyfriend face to face? JERI You're already on my shit list, Crosby. Don't push it. CROSBY It's in Latin. I'll translate. All spirits in this house, show us who you are. May we see your face. Crosby half shuts the book. MURDOCK Was that it? CROSBY That's all he wrote. KATHY The journal claims they're all exiled to particular rooms.

MURDOCK Well, there's only one way to find out. CROSBY Send Jeri back into the library? MURDOCK Behave yourself. They approach the library and look inside. INT. LIBRARY -- CONTINUOUS We see the cobweb covered room with a warm, burning fire. We see the back of the chair near the fireplace with a pair of feet resting on the footrest and an elbow on the armrest. The rest of the spirit remains hidden behind the chair. INT. HALLWAY -- CONTINUOUS They look at one another. KATHY My God, it worked. Think we should go inside? JERI I'm not. CROSBY A miracle of nature, and you won't embrace it. JERI You're sick, Crosby. Reverse the roles. How would you feel? CROSBY If a sexy, female ghost wanted to get friendly with me, you better believe I'm reacting. If you want to survive in this business, you'd better learn how to collect information any way possible. MURDOCK Guys--that's enough. JERI Maybe he'll be satisfied with you instead. You were the one who ran out of the room, remember?

CROSBY I didn't want to distract the contact. JERI Bullshit! KATHY Guys-Both Kathy and Murdock stare at the library. Jeri and Crosby look to the library as well. We see the male ghost, DANE RAFFERTY, standing in the doorway. Jeri slowly backs up a step. Crosby catches her by the shoulders. She tenses. CROSBY Look--he wants you. The ghost jumps against the invisible force field and is thrown back a step. We hear a low growl. Jeri stares at the ghostly nearly solid image in the doorway. He stares back at her and makes actual eye contact. Crosby pushes her forward a step. CROSBY Kiss--kiss-The growl becomes louder. barrier. The ghost strikes the invisible

CROSBY In the name of research, I vote we put her in there with him. MURDOCK Will you shut the fuck up. Crosby releases Jeri. Kathy flips through the book.

KATHY If this is accurate, his name is Dane Rafferty. MURDOCK This is why we're here, Jeri. I'm not asking you to go in. Just talk to him. This could be the biggest moment of our lives. Jeri hesitates then approaches the invisible barrier. JERI (nervous) What do you say to a ghost when you're face to face?

MURDOCK Never had the opportunity. Introduce yourself. JERI Dane Rafferty? Dane smiles with a slightly devious look about him. JERI (mutters) I guess that's accurate. (to Dane) I'm Jeri Santon. Dane carefully takes a step back and extends his hand to her from his side of the barrier. CROSBY Sly--very sly. JERI No, we've played that game before. I don't like the way you play. Dane approaches the invisible barrier. He places his hands in his pockets and leans his shoulder to the doorframe and props his foot. Jeri looks to Murdock. He encourages her with his eyes. Jeri looks back to Dane. Murdock lightly slaps Crosby on the arm. MURDOCK Let's check out the other rooms. Kathy follows the men, leaving Jeri alone with Dane. Dane begins pacing before the opening, keeping his eyes on Jeri. JERI How did you come to be here? you remember? Do

Kathy flips through the book while following Murdock and Crosby. She suddenly stops in the hallway. KATHY (nervous) Oh, my God-Murdock and Crosby quickly turn and approach Kathy. MURDOCK What's wrong? KATHY They're all mass murderers.

MURDOCK What? KATHY This tells who they were and what they did to be exiled. They're all psycho killers. It's okay. MURDOCK They're contained.

CROSBY Give me the book. We'll check out the study. MURDOCK No one enters any of the rooms. KATHY I'd better warn Jeri. Murdock and Crosby stop by the study and open the door. A man lunges for the doorway. He's thrown back several steps. He's creepy looking with long, scraggly hair, and a thick beard. His clothes are frayed and blood stained. CROSBY Guess Kathy was right. (looks from the book) Hello, Gresler. The creepy man snarls and paces before the doorway. MURDOCK (soft groan) Moving along-Kathy quickly approaches Jeri, as she stares into the library. Dane continues to pace and watch Jeri. KATHY (nervous) Jeri, I think we should leave now. JERI What changed your mind? KATHY The book. They're all psycho killers. (eyes Dane) Including him. Dane appears annoyed.

KATHY He's a modern Jack the Ripper. He lures women into his company then kills them. There may be a very good reason why they don't behave like regular ghosts. JERI Whys that? KATHY They may be demons. JERI Murdock will talk you out of leaving. KATHY We won't tell him until we're out the door. Im not into demons. JERI I'm with you. Dane strikes the barrier and is forced back. It's obvious he doesn't want her to go. He places his hand to the barrier and gives her a sympathetic look. She backs away. He frowns and looks annoyed. Jeri hurries after Kathy. Murdock runs after them. MURDOCK Where are you two going? KATHY I don't do demons. MURDOCK Who said they were demons? KATHY The book. Murdock cuts them off before the door. MURDOCK Okay, Crosby and I will do the research. You two just attempt to get some footage, okay? KATHY (to Jeri) What do you think?

JERI Sounds harmless. We should leave. MURDOCK Walk out that door and you're looking for another job. The two of you signed on to this. We're spending the night. That's what you're paid for. KATHY We'll film for you, but we're not getting anywhere near those creatures. MURDOCK Fair enough. KATHY (to Jeri) You take one camera, and I'll take the other. JERI Only if you go with Crosby. KATHY (frowns) All right. Jeri and Murdock stand near the dining room. Jeri films into the room while Murdock reads from a sheet. MURDOCK This is the ghost of Major Daniel Zwartz. He killed twenty people in his home town--mostly women, back in the seventeen hundreds. JERI Why are women always the targets for these psycho killers? They walk back to the library and stop. MURDOCK Because women are perceived to be weaker. Maybe they like the way they scream. I really don't know.

JERI I know why. Because they're cowards. It's easier to kill someone you know you can defeat. There's less challenge and less risk. Dane stands in the doorway and stares at them. JERI That's probably why they're psycho in the first place. They just couldn't stand up to their peers. Their inadequacies with their own masculinity causes them to pick on someone weaker. MURDOCK Jeri, not in front of the g-h-os-t. JERI Yeah, whatever. Jeri aims the camera at Dane. reach through the barrier. Dane makes a calm attempt to

MURDOCK We have before us Dane Rafferty, known to be quite the charmer. He'd lour his victim into seclusion with his romantic illusion then murder them. Nonsexual. He strangles his victimsthats humane. All of his victims had bruising on their necks, shoulders, and breasts--indicating a prior passionate moment. Cute. Killed them while making out. JERI (lowers the camera) Why do you suppose that is? MURDOCK Element of surprise. Vulnerability-JERI No, why no sexual assault?

MURDOCK Impotence, maybe? Religious, hates easy women? Any number of psychoses, I suppose. It wasn't my major. If this tape shows what were seeing, we're going to get tons of investors. JERI But will they believe it's real? MURDOCK They were willing to buy what they couldn't see. I wouldn't see why they'd doubt us now. JERI You've gotten your footage. we leave now? Come on, Jeri. to happen. Can

MURDOCK Nothing's going

JERI Those are famous last words. really don't want to spend a moment longer.

MURDOCK Okay, you win. Why don't you go pack the camera and start taking some things out to the car? I'll check on Crosby and Kathy. JERI That's more like it. Jeri shuts off the camera as Murdock walks away. She looks back to the library doorway. Dane watches her with great interest. Their eyes meet. MURDOCK (O.S.) Jeri, they're upstairs. We'll be down in a few minutes. Jeri turns to look toward the stairs. JERI There aren't any ghosts up there-There's no response. Jeri sighs and slings the camera over her shoulder. She glances back to Dane in the doorway. He still watches her.

JERI I doubt I'd want to know what's going through your head. Dane smiles, places his hands in his pockets, and leans to the inside of the doorframe. JERI That charm won't work on me. His smile doesn't diminish. EXT. OLD MANSION -- NIGHT Jeri carries the camera bag and another bag out to the car. She places them into the trunk then continues back to the house in the dark. The outside light doesn't reach to the gate. INT. HALLWAY -- CONTINUOUS Jeri enters the house and immediately looks down the hall. We see a camera on a tripod outside of the library. Jeri becomes puzzled. She slowly walks along the hall toward the video camera. The filming indicator light is lit. INT. LIBRARY -- CONTINUOUS We see Dane pacing the room near the fireplace. sees Jeri, and approaches the doorway. INT. HALLWAY -- CONTINUOUS Jeri looks away from the room and down the hall. Crosby darts out of the bathroom and strikes Jeri on the head. Jeri staggers then sinks to the floor, barely conscious. From a lower elevation, we see Dane angrily strike the barrier. It jolts him back. He strikes it again. Jeri attempts to pull herself to her hands and knees. The room appears to spin. She looks back. Crosby, in a haze, approaches with the book. CROSBY It says here that they can be released from their cells. They can also be returned to their human forms. Whoever wears this pendant-(holds up a pendant) can control them and have unlimited power. Pretty fucking fascinating, don't you think? Crosby suddenly grabs her by the hair and pulls her onto her backside. He turns, Jeri turns and walks away.

CROSBY You aren't sharing my enthusiasm. He violently releases her hair. Dane strikes the barrier with great force. Crosby looks to Dane and smiles. CROSBY Patients, my ghostly friend. Jeri holds her head and attempts to remain in a seated position. CROSBY (to Jeri) You don't understand what this means to our research. No more sniffing trails that go no where. I could have a direct link to the spiritual world. Isn't that exciting? Jeri moves to her knees and attempts to stand. Crosby pulls her up by her arm and slams her backward against the wall near the library. She's forced to stare at Crosby. His look is evil. Dane strikes the barrier repeatedly. CROSBY But first, I want some exclusive footage. A rare shot of a psycho killer in action. Crosby suddenly casts Jeri through the doorway into the library. INT. LIBRARY -- CONTINUOUS Jeri is propelled halfway across the room before stumbling to the marble floor. She slowly and weakly pulls herself to her hands and knees. We see Dane's pants legs and shoes approaching her. Jeri attempts to crawl away. She collapses and flips onto her backside and attempts to back away. Dane follows after her. She strikes a bookcase with her back and stares, paralyzed with dizziness and fear. CROSBY (O.S.) You're going to be a star, Jeri! Dane slowly lowers himself to one knee before her and leans closer. He's only inches away from her face. Jeri stares directly into his eyes, despite her trembling body. He reaches for her face. She jerks with a gasp. He touches her temple then pulls his hand back to reveal blood. We see Crosby paging through the book.

CROSBY Maybe you need a little more incentive. Crosby reads a passage from the book in Latin. Dane suddenly tenses and shuts his eyes as if in pain. He begins to appear less ghostly and more human. Jeri uses the bookshelf and pulls herself to her feet. INT. BEDROOM Murdock rams his shoulder against the door with a loud and painful grunt. Kathy attempts to open the window. KATHY (frightened) What's he up too? Why would he do this? MURDOCK You don't think he'd-KATHY Oh, my GodJeri! Murdock grabs a vase and throws it through the window. The glass shatters along with the vase. Murdock hurries to the window and kicks the remaining glass. Murdock motions for Kathy. MURDOCK Climb across the ledge and go down the rose trellis. I'll be right behind you. KATHY You go first--get Jeri. worry about me. Don't

Murdock nods then climbs through the window. INT. HALLWAY Crosby reads another passage from the book. He holds up the pendant. Four completely human men appear from their rooms. Crosby holds up the pendant and smiles. CROSBY You're empowered to serve me. INT. LIBRARY -- CONTINUOUS Jeri stumbles across the library floor, clinging to the bookshelves. We see Crosby in the open doorway. The now human Dane appears before her. She attempts to dart the other way and nearly falls. Dane follows alongside her.

She avoids looking at him like a mouse attempting to escape a cat. CROSBY (O.S.) Get on with it, Dane. I'm only giving you five more minutes. You want to screw her, you'd better do it quick. Dane turns his head in Crosby's direction and frowns. looks back at Jeri with a pleasant smile. DANE Don't move Dane turns and walks toward Crosby. then extends the pendant. CROSBY Don't get aggressive. the power. Dane continues to approach. CROSBY Stop right there, I command you. Jeri continues to pull herself along the bookcase. She approaches the fireplace and removes the fire poker. INT. HALLWAY -- CONTINUOUS Dane's about to step though the doorway. Crosby turns away from Dane and to the approaching demons. The first two grab him. The third removes the pendant from him and backs away. The other three violently attack Crosby. Dane simply turns the camera on the tripod. The third demon holding the pendant approaches him. Dane shuts the library door. We hear it lock. INT. LIBRARY -- CONTINUOUS Dane casually turns around. Jeri stares at the closed door with a horrified look. We can hear Crosby's horrified screams from the other side of the door. Her hands are behind her back, holding the fire poker. Dane indicates the poker behind her back. DANE Is that for me? Jeri stares at him with fright. DANE (firm) Put it down. Crosby turns his head Dane

I hold

Dane casually approaches her. behind her back and clutches. JERI Stay back.

She pulls the poker out from

DANE (calm) You can barely stand, let alone hit me with that. If you try to hit me, you'll just make me mad. He continues to approach and is nearly upon her. Jeri swings as best she can. Dane catches her wrist and slams it back against the bookcase. The fire poker easily falls from her hand. He stares into her eyes with a slightly annoyed look. DANE (calm) I asked you not to do that. JERI Please, let me go. Dane slowly moves her hand to his chest and holds it there. His eyes don't leave hers. DANE One hundred years since I've felt what it's like to be a man. JERI Please, don't do this-DANE (humored) Don't do what? I've just saved your life. Those four--they wouldn't hesitate to tear you apart into bite-sized pieces. And your own man wasn't exactly interested in saving your ass as much as wanting to see me take it. I should think you'd be a little more polite, or I may be offended. JERI How can I be polite to a man who wants to kill me?

DANE Kill you? My dear, I'm not the one who knocked you on the head and tossed you into a wild animal's cage. That was your friend who did that. JERI He wasn't my friend. DANE Obviously not. No matter. What's left of him won't harm you ever again. Right now, I'm your only friend. Jeri appears sickened. Dane places his hand beneath her chin and forces her to look at him. DANE Now--where were we? JERI (nervous) What do you want from me? DANE I guess that depends what you're willing to give. JERI Will you let me go? DANE Just as soon as you show a little appreciation. Jeri places her left hand to her head and sways slightly. JERI I--don't know what--you want-Jeri falls against Dane, attempts to pulls away, but grabs his shoulder for support. Dane places an arm around her waist and holds her against him. He runs his fingers through her hair as she fights to stay awake. DANE Hmm, that's more like it. EXT. OLD MANSION -- NIGHT Murdock drops to the ground and runs for the main entrance. He stops just short of the doors as they open. The four demon men walk from the house. They're splattered with blood. They don't even give Murdock a glance.

They walk across the overgrown grounds and toward the open gate. Murdock hurries into the house. INT. HALLWAY -- CONTINUOUS Murdock runs through the door and immediately stops with a horrified look on his face. We see Crosby splattered along the entire length of the hall. We can't even tell that it used to be human. MURDOCK Jeri? There's no response. Murdock slowly walks along the gruesome site toward the fallen camera on its tripod. He pauses before the open library doors and looks inside. INT. LIBRARY Murdock's POV. We see the library is vacant, and the fire's out. We hear Kathy's horrified screams. INT. HALLWAY -- CONTINUOUS Murdock spins in the hallway. Kathy stands in the foyer. She continues to scream hysterically. Murdock hurries to her and collects her in his arms, attempting to muffle the screams. KATHY Oh, my God--Jeri! MURDOCK No, that's not Jeri. Kathy looks around. KATHY Where is she? You stay here. look for her. Are you crazy? me here alone! MURDOCK I'm going to KATHY You can't leave

MURDOCK Listen to me. They're gone. Four of them left. Jeri's here somewhere. She's with Dane Rafferty. I have to find her. KATHY I'm coming with you.

EXT. BACK PORCH -- NIGHT Jeri slowly wakes to a gentle rocking. She slowly lifts her head from Dane's shoulder and looks at him with alarm. He smiles warmly and continues to gently rock the old, padded porch swing. DANE Feeling better? We realize she's securely on his lap and in his arms. She attempts to pull away from his chest but fails. Her hand rests against his chest. She's now exhausted. JERI (softly) You're making me dizzy. Dane stops the swing from rocking at her request. We hear faint voices calling for Jeri from within the house. Dane gently brushes the hair from her face. DANE My time is short--and just when you were becoming cooperative. Her head falls back into his hand. He holds her head up, keeping her from falling forward with his thumb under her jaw. DANE I've enjoyed your company tonight. I'm sorry it has to end so soon, but perhaps I may call on you again. Sometime when there will be less interruptions. Jeri attempts to hold herself up and once more paws at his chest. DANE Ah, it's no use pleading, I really must go. Her head falls to his shoulder. She struggles again to pull herself up. He repositions her on his lap, tilting her back and supporting her head. She's forced to look into his eyes, even though she can't focus. DANE Perhaps something to remember me, so you won't stray. Dane kisses her on the mouth gently at first then becomes more passionate. Jeri attempts to hold him back but only manages to run her hands along his chest and tempt him more.

He slowly leans her back down to the swing, pulling her legs up over his in one, swift motion. He half lie on top of her, supporting her head while kissing her. He gently removes her hand braced against his chest and places it around his neck then proceeds to run his hand down her side and under her buttocks. Perhaps she's fading out. She begins returning the kiss for no apparent reason. We hear her name being called a little louder. Dane moans softly. He slowly pulls away and smiles with satisfaction. DANE (warm) That's a good girl. Jeri's eyes don't open. DANE There's just one more thing-Dane unbuttons the first two buttons on her shirt. He continues to support her head and moves down to her chest before her bra. Jeri suddenly jumps with a gasp and clings to his head. His free hand slips beneath her shirt and over her bra. Jeri moans softly and runs her fingers through his hair. He pulls away from her chest and the fresh mark he's left. His hand remains beneath her shirt. He returns to her mouth and kisses her passionately. She aggressively returns the kiss. He kisses her quickly and removes his hand. Her eyes remain closed. He brushes his lips past her cheek and speaks softly near her ear. DANE I have big plans for you, my dear. The front door opens. Murdock and Kathy appear on the back patio. We see Jeri lying on the swing. Her hands are neatly across her abdomen. They rush to her. We see her shirt is partially open and the bruise can be seen near her bra line. Murdock leaps to her side and immediately checks her neck for a pulse. KATHY Oh, God--no! Murdock looks back to Kathy MURDOCK She's okay--just unconscious. Let's get her to a doctor. EXT. TOWN -- DAY We see the small town is alive with a huge country fair. There's a field of parked cars and even the streets in town are crowded.

EXT. MOTEL -- DAY Jeri walks out of her room and gently touches her head. She slowly walks along the covered porch past several people in town for the fair. She approaches the small diner just near the motel and enters. INT. DINER -- CONTINUOUS Jeri slowly enters the diner and looks around. Kathy waves from a nearby booth in the crowded diner. Jeri approaches and joins them at the table. Both eye her a moment then return to their coffee. MURDOCK How do you feel? JERI Violated. Kathy hugs Jeri and sniffs. KATHY I'm so sorry, Jeri. JERI I'll survive. MURDOCK Are you sure you don't want to go to the hospital--get examined? For what? JERI A hickey and a grope?

MURDOCK Are you sure he didn't-JERI Yes, Murdock, I'm sure. The entire scene keeps running through my head like a bad movie. Every detail is crystal clear. Way too vivid. MURDOCK As long as you're sure. Yes, I'm sure. JERI Drop it, okay?

MURDOCK Here's the plan. We already got our equipment this morning. I say we run like hell.

JERI Crosby was butchered. Don't you think the police will want to do an investigation? If we can't tell them, they'll think we did it. MURDOCK They'll never go up there to find out. JERI Five psycho killers have just been unleashed on this town. Don't you think we should say something? MURDOCK Like what? Five demons were raised from the dead, made human again, and are now roaming around this town? They'll think we're insane. INT. POLICE STATION We see cupie dolls on each desk. An officer, RANDY, eats cotton candy with a teddy bear on the desk before him. Jeri sits before the sheriff's desk. The sheriff suddenly bursts out laughing. SHERIFF You must be crazy! You want us to go up to that house based on your colorful story? Give it a rest, lady. People have been telling spook stories about that house for over a hundred years. I'm not about to check out every ghost story that crosses my desk. JERI A man was brutally murdered up there. Go look for yourself! SHERIFF Lady, we don't hunt ghosts here.

JERI Well, I do. And I'm telling you, five psycho killers walked out of that house last night. If even one of them is in this town, it's going to be a bloodbath. The people in this town will be very upset when they hear you knew about it and looked the other way. SHERIFF (stands) Come on, Randy. Randy looks up from his cotton candy. SHERIFF We're taking a drive up to Tombstone Manor. RANDY But, Sheriff, that place is haunted. SHERIFF Then bring along your poltergeist pepper spray. Randy frowns with disapproval. EXT. OLD MANSION We see the old mansion as it had looked last night. The front gate is now unlocked and Stevens stands before the large, open gate. He appears uncomfortable and upset as the police pull up to him and the open gate. Stevens approaches the window of the truck. We see Randy riding shotgun and Jeri in the back seat. STEVENS Is this really necessary? SHERIFF Get in. Stevens frowns and gets into the back with Jeri. INT. HALLWAY The front door slowly opens to reveal the sheriff and Randy. Both step into the foyer and look around. SHERIFF (to Jeri) Care to come inside?

Jeri and Stevens both enter. Jeri stares with surprise. We see the spotless hallway. There's no blood or any sign of Crosby's remains. JERI No, this isn't how it looked. They must've cleaned it up. Who? SHERIFF The ghosts?

JERI No, Murdock and Kathy. They came back for their equipment early this morning. They didn't want me coming to you. SHERIFF I don't know what you're on, but you'd better get off of it, Missy. JERI I'm telling you, Crosby was spread across this hall like a deer hit by a semi. Why won't you listen to me? SHERIFF (to Randy) Let's have a look around. Randy stares at the sheriff with a look of concern. SHERIFF Now! Randy walks with the sheriff along the broad hallway. Stevens turns toward Jeri. STEVENS I told you this would happen. You should've just kept quiet, and they wouldn't look at you like that. They used to look at me like that. They'll never believe you either. JERI Then you've seen them too?

STEVENS The freak show, yeah, I've seen them. My grandfather was proud of his psychopath collection. Then the unthinkable happened. The crazy bastard accidentally entered one of the rooms. He managed to pull himself out, but he was already bleeding to death--his bones were broken and his skull partially crushed. You and your friends mess with the spiritual world with little regard. They eventually get even. JERI That's what happened to Crosby. He tried to control them. You need to help me convince them that this really happened. STEVENS Oh, no--not me. I went down that path once before. It's best if we just seal the house up and never speak of it again. JERI It won't do any good now, they're already out. STEVENS (surprise) They're what? JERI Crosby released them and somehow gave them new life. Now they're out there somewhere. Stevens paces nervously a moment and nearly pulls out his hair. He spins to face her. STEVENS You mean there are five psychotic killers running around free? This is not good--not good at all. After one hundred years in exile, they must be going into hormonal overload. There's no telling how many lives they'll take. JERI Then you'll help me?

STEVENS No--absolutely no. I don't want any part of this. They can't trace it back to me or this place. I'm not getting myself killed for anyone. Stevens leaves the foyer. Jeri curses softly then walks slowly along the hall. She pauses before the library. INT. LIBRARY -- CONTINUOUS Jeri enters the dimly lit library and approaches the shelf near the fireplace. We see a section of books without dust and cobwebs. Jeri pulls out a few books then removes the journal. We see the bloodstains blotched on the old leather. She carries the book with her from the library. EXT. OLD MANSION -- DAY Jeri holds the book to her side beneath her shirt. Stevens ignores her and paces the porch. The sheriff and Randy return with less enthusiasm. SHERIFF We didn't find a damned thing. JERI I'm sticking with my story, Sheriff, but I know I won't be able to convince you if you don't want to listen. SHERIFF I gave your story half a chance, Miss Santon, but there's nothing to support the blood bath you'd described. JERI Will you please take me back to town? This is getting us no where. The sheriff sighs and extends his hand for her to lead the way. Stevens bolts from the porch and across the grounds. EXT. MOTEL -- EVENING We see Kathy and Murdock hurrying from separate motel rooms with their bags to the van. They open the van door and toss their bags inside. Murdock closes the door and turns. He comes face to face with Jeri. She leans against the van with her arms folded across her chest.

JERI You're certainly leaving in a hurry. Avoiding me? MURDOCK Nothing personal, Jeri. We've just decided you're not right for our research team. JERI More like you're worried the sheriff will want to question you about Crosby's mutilation. You're pretty safe considering you'd disposed of his remains. KATHY We have to leave, Jeri. If those things are loose in this town, it's going to be a massacre. JERI It doesnt have to be. You have that tape. Play it for the sheriff. He'll believe my story and can identify the killers. These people need to know who's after them. MURDOCK The tape has been destroyed. They must've destroyed it when they killed Crosby. The camera doesn't even work. There's nothing we can do short of getting ourselves killed. You can come with us or take your chances here. JERI (straightens) I'm staying. Someone has to do something about them. You're supposed to be the big ghost expert, Murdock. You could be the best chance this town has. MURDOCK But you forgot, they're not ghosts. It's out of my hands. I'm not the one who set them free. Despite what you think, its not my responsibility to catch them. That's up to the police now.

JERI How many people will die before they get involved? How many will they kill before they're stopped? MURDOCK That's not my problem. Murdock pushes past her and rounds the van. approaches the passenger door. KATHY I'm sorry, Jeri, but I'm scared. They may come after us because we can identify them. We have to leave and so do you. JERI You can say you're not responsible a thousand times, but that still won't stop the victim's screams in the night. You know what they'll do to these people. KATHY I'm sorry, Jeri. Kathy climbs into the van and shuts the door. The van burns out of the parking lot. Jeri watches them leave with disappointment. EXT. BACK ROAD -- NIGHT We see the van driving along the back road. indicating the highway is five miles away. INT. VAN Murdock drives while Kathy fumbles with the map. KATHY Takes forever to get away from that cursed town. Murdock looks down several times. light is on. MURDOCK What the hell-KATHY What is it? The van bucks and starts rolling to a stop. the brake then puts it into park. Murdock pumps We see the out of gas We see a sign Kathy

MURDOCK We're out of gas. KATHY That's impossible. I filled it this morning like you asked me too. MURDOCK (irritable) You couldn't have. Great. I don't know where the nearest gas station is. KATHY There was a house with lights on back a little way. You could call roadside service from there. MURDOCK Wish we had that cell phone. KATHY It was on Crosby when they tore him apart. MURDOCK Do you want to come along or wait here? KATHY Is there a third option? Murdock gets out of the van. EXT. VAN -- CONTINUOUS Kathy and Murdock meet at the rear of the van. He opens the back door and sifts through some equipment. He finds a large flashlight. Kathy picks up a small tape and looks at the writing. Profiles of psycho killers. Kathy looks at Murdock with horror. KATHY This is the tape from last night. You told me it was destroyed. Kathy gets out as well.

MURDOCK (grabs the tape) This is our lives, Kathy. We need that funding for our research, and this will do it. I couldn't let Jeri turn it over to the police. It's evidence. No exclusive rights for anyone. KATHY That's low, Murdock. MURDOCK No, that's survival. You can either be righteous like Jeri or you can be rich with me. KATHY Let's just get to that house and get the hell out of here. MURDOCK Smart girl. KATHY I didn't say I agreed with you. They start walking back the way they'd come. Kathy looks to the woods several times. Murdock glares at her each time she does it. MURDOCK Stop acting so spooked. KATHY I can't help it. Maybe they'd cut the gas line. I know I filled the tank this morning. MURDOCK That's enough. I don't need you making our situation worse. We see lights from the house up ahead. KATHY Thank God, someone's still up. We hear something move within the woods. woods. Murdock is now spooked as well. MURDOCK Let's go. Murdock hurries her. the flashlight. We see a shadow move. Murdock aims Both look to the

We see an image of Horace, the butcherer, in the beam of light. Kathy screams. Murdock forces her to run. They run down the long driveway to the house. The butcherer hurries after them at a brisk walk. He's a big man and covers ground quickly. EXT. HOUSE -- CONTINUOUS They approach the house and run onto the porch. Kathy pounds on the door and screams. We see Horace approaching with a machete in his hand. Kathy turns the knob. The door opens. Kathy bolts inside. INT. LIVING ROOM -- CONTINUOUS Kathy enters the house with Murdock just behind her. Murdock suddenly grabs the door frame and gasps. Blood seeps from his mouth as a blade protrudes from his shirt. Kathy screams hysterically. Murdock is pulled back onto the porch. Kathy leaps for the door. We see the butcherer repeatedly strike Murdock with the machete as he twitches. Kathy slams and locks the door. We hear someone within the house. Kathy spins around. We see the major approaching with a pleasant smile on his face. MAJOR You must forgive Horace. limited people skills. He has

Kathy trembles from where she stands between the major and Horace on the other side of the door. The major turns on the living room light. We see Stevens tied to a chair with duct tape and across his mouth. MAJOR I believe you've met Stevens. It's nothing personal. I'd just like to see an end to Percival's legacy--Stevenss grandfather, who displayed us like animals in a petting zoo. Stevens struggles against the tape. with a pleasant look about him. Major approaches Kathy

MAJOR Did you enjoy your little visit to our exile home? KATHY I thought it was disgraceful the way Percival displayed you and the others.

MAJOR That's wonderful to hear you say that. Would you care to join me in a drink? Stevens slowly shakes his head with a look of terror in his eyes. Kathy continues to stare at Major and attempts a smile. Yes, I would. KATHY Thank you.

Stevens continues to shake his head. Kathy accepts the glass offered to her. She casually walks around the room and glances around. Major sips his drink, sits on the sofa arm, and watches her. Major, huh? KATHY Fight many battles?

MAJOR Many battles. My men were the bravest. We defeated many enemies. Death came swift to those who would appose us. Kathy turns away a moment to admire a small, pointed statue on the table. She lifts the glass and gently smells it. It smells of medicine. Kathy sets her glass down alongside the statue. She turns to face Major. KATHY I'm sure you were very brave. MAJOR Oh, we were, but our actions were frowned upon. We were sent home dishonored. My own people looked at me with shame. They couldn't know what we'd gone through. No one shames me and gets away with it. Not my wife--not you. KATHY I wouldn't shame you, I barely know you. You could tell me all about your adventures. I'd love to hear about them.

MAJOR I can see right through you. You and your friends stood outside of our prisons and disgraced us and exploited us with your reports of lies. You're no different from the others. I've always hated killing attractive women. There's something wasteful about it. Perhaps you could persuade me to spare your life. Kathy seductively leans against the table behind her and runs her finger along the neck line of her shirt. KATHY I'd do just about anything to stay alive. Major slowly approaches her. He grabs her by the back of the neck and around the waist and kisses her passionately. Kathy returns the kiss without hesitation. She grips the statue and raises it. Major suddenly catches her wrist with the statue, prevents her from striking, and breaks off the kiss. MAJOR Nice try-Kathy rams her knee into his groin. He suddenly gasps and partially sinks in pain. Kathy hits him in the head with the statue. He falls to the floor in agony but not completely out. Kathy runs to Stevens and attempts to untie him. The tape is strong. He grunts loudly beneath the tape on his mouth. She removes the tape. STEVENS The letter opener on the table. He nods across the room. Kathy runs for the sharp, long letter opener. She hurries back and quickly cuts through the tape. She straightens from his ankles. The front door cracks loudly. Horace stands in the doorway with blood covering his front. He holds Murdock's heart in his hand. Kathy and Stevens scream. They run for the back doorway to the dining room. INT. MOTEL ROOM Jeri lay on the bed with the journal open before her. She reads with great interest and turns the page. We hear faint screams, fireworks, and then laugher. Jeri tenses a moment then relaxes. There's a soft knock on her door. Jeri jumps with alarm. She springs off of the bed, slips the book under the mattress, and slips into her shoes.

JERI (nervous) Who's there? There's no response. She slowly approaches the door and looks out the peak hole. EXT. MOTEL -- CONTINUOUS Peak hole POV. We don't see anyone outside of the door.

INT. MOTEL ROOM -- CONTINUOUS Jeri slowly backs away from the door. The door suddenly vibrates and the knob is jiggled. The door snaps and strikes the chain lock. The door is struck a few more times and the chain rips from the frame. Brutus steps into the room. We see the room is empty. The curtains to the back of the room blow in gently. EXT. FAIR -- NIGHT The fair continues to erupt with energy and excitement. Many people crowd the fairgrounds and enjoy the fireworks. Jeri runs onto the fairgrounds. No one seems to be watching the admission gate. She hurries through the crowd of people and nervously looks around. In the distance, we see the sheriff at one of the game stands. Jeri pushes her way closer. We look to her right. Brutus makes his way through the crowd following her. Bristol is suddenly between her and the distant sheriff. Jeri freezes in the crowd. She looks to her left. Dane approaches from the left. Sheriff! JERI Sheriff! Over here!

The crowd is too loud along with the music and the fireworks. Jeri begins pushing through the crowd to her left and back. She breaks through the crowd and runs along the busy but less crowded fairgrounds. Jeri darts inside the funhouse. The man at the counter yells after her. INT. FUNHOUSE -- CONTINUOUS Jeri bolts past several people and darts through several passageways. She pushes on an exit door and bolts out. EXT. FAIR -- CONTINUOUS Jeri runs down the back exit stairs and runs for the back of the next exhibit. She collides with Brutus coming around the corner. He attempts to grab her. She throws herself to the ground, rolls, and scrambles to her feet. Bristol approaches from the other side. The funhouse door opens as she back up toward the steps. Dane appears in the doorway.

Jeri looks around with horror. JERI (soft) Fuck--I'm dead. BRISTOL Where's the book? JERI (nervous) Book? What book? BRISTOL Don't play dumb. It angers Brutus. Jeri moves alongside the steps. Dane jumps the railing and lands behind her. Jeri spins with a gasp and faces him. He grabs her arm and flings her behind him. He faces Bristol and Brutus. BRISTOL Give it up, Dane, before we decide to eliminate you too. Dane backs into Jeri, forcing her back and alongside the funhouse. DANE You can have anything you want, but this one's mine. JERI (mutters) Great. They're fighting over who gets to kill me. BRISTOL Brutus, kill him already. Brutus quickly approaches. Brutus exposes a handmade leather glove with knives sticking out from the fingertips. Jeri stares at the knives with a horrified look. She looks to Dane's profile. JERI I hope you have something impressive up your sleeve. DANE If you promise not to run, I may be able to save us. JERI I promise.

Dane releases her and pulls two small bottles from his pockets. He sprays pepper spray in both men's faces. They cry out, clutch their eyes, and fall helpless. Jeri spins and runs around the side of the building. Jeri runs past several people and down one of the pathways past rows of games and shouting carnies. She darts between two stands, along game stand alley, and appears between two food stands. She darts inside a shower house and women's restroom. INT. LADIES' ROOM -- CONTINUOUS She pauses alongside the doorway and catches her breath. A woman dries her hands, eyes her, and then leaves. Jeri allows her head to fall into her hands a moment. She finally straightens and turns. She comes face to face with Dane. DANE You promised you wouldn't run. Jeri cries out with surprise and fear. She trusts her knee toward his groin. He blocks her knee with his outer thigh while using it to protect him at the same time. Her knee strikes his thigh. He suddenly pushes her against the wall with his body and pins her there. He appears irritated. DANE That really would've hurt. JERI Let me go! DANE Not until you learn to play nice. I don't like being lied to, and I especially don't like being kicked there. Jeri stares at him with some fear but more anger. JERI What do you want from me? Dane slowly releases her arms and steps back, allowing her to straighten. DANE First things first. book. JERI What book? I want that

DANE (icy) The one Bristol intends to kill you for. JERI I don't have it. Crosby had it last night. DANE I can't believe you lied to me again. My attraction to you is very superficial. You don't want me to stop liking you. JERI You're right--I don't. take you to it. I'll

DANE Don't disappoint me, Jeri. You don't want to get on my bad side. EXT. FAIR -- CONTINUOUS Jeri and Dane leave the woman's restroom. They receive strange looks by other women entering. Dane holds onto Jeri's arm and keeps her snug to his side. They walk along a less crowded section. JERI Why do you want the book? What's so important about it? DANE You already know the answer to that. There's a way to return us to exile. Forgive me if I seem rude, but I can't allow you to return me there. Jeri keeps up with him across the fairgrounds. several people, hoping to get their attention. No one seems to pay much attention. JERI And allow you to destroy it, so you and your friends can terrorize the world again? Jeri suddenly pulls herself to a stop. Dane spins to face her and pulls her against him with an arm securely around her waist. Their eyes meet. She looks to

DANE You don't understand what I've been through. I can't allow you to return me to that prison. You're not only helping me, but you'll be saving yourself. If you give me the book, and I destroy it, they won't have any reason to kill you. Jeri attempts to pull away, but he won't release her. JERI Destroy that book and many more will suffer far greater. DANE I'm sorry if I seem a bit selfish to you, my dear, but I don't want any surprises. I just want to live my life as planned. Being so close to death, surely you must appreciate where I'm coming from. JERI (gently) I'm sorry, I can't. I'm partially responsible for releasing you and those other monsters. DANE Oh, I'm a monster, am I? I would've hoped you'd feel differently--especially after last night. A monster would've assaulted you perhaps even killed you. I did neither. I'm very disappointed, Jeri. I should release you here and just walk away. Surely you'd find your fate at the hands of Bristol or Brutus. Either one would harm you in ways I couldn't even fathom. Judging by that look in your eyes, you'd kill me given the chance. Even at that, I couldn't possibly allow you to fall into enemy hands. Is that how a monster thinks, Jeri? Does that sound like a monster to you? Jeri stares into his eyes a long moment.

She relaxes her hands against his chest. less harsh but remains frightened.

Her look becomes

JERI (gently) When innocent people are senselessly butchered, should I pretend I'm not in some small way responsible? You couldn't possibly understand, Dane. I can't watch people being murdered and not do something to prevent it. I'd prefer to be dead myself. Dane releases her arm and gently strokes her cheek while staring into her eyes. DANE You can't win. I admire your bravery, but you'd die very quickly--if you were lucky. You can't defeat them. I'll help you escape with your life, but you have to trust me. JERI Why would you want to help me? DANE I wont let them to have you. I know what theyre capable of. I wouldn't want that to happen to you. JERI Then help me destroy them DANE In doing so, I would also destroy myself. I've just received a second chance. I'm not willing to throw that away. Jeri easily pulls away from him and stares into his eyes. JERI (gently) I don't think we'll ever be on the same side, Dane. I'm sorry. Jeri bolts past him. Dane attempts to stop her, but she's too fast. Jeri runs for the open exit gate. She runs past two security guards. Dane chases after her. Jeri runs at top speed through the rows of parked cars in the field. The lot seems to extend forever on a slight down hill slope. Jeri reaches the end of the cars and runs toward the old


Dane isn't far behind.

EXT. CEMETARY -- CONTINUOUS Jeri climbs the stone fence and jumps to the other side. Dane gracefully casts himself over it, gains ground on her, and grabs her from behind. He casts himself to the ground with her landing on top of him. They roll several times. Dane forcefully flips her onto her back beneath him while straddling her hips. She thrashes and punches at him, striking him once in the jaw and bucking beneath him. He finally captures both her wrists and pins her to the ground. She continues to struggle effortlessly beneath him. Both are breathing heavily from the chase. DANE (forcefully) Stop it. Jeri stops struggling, continues to gasp, and falls limps with exhaustion. DANE You're really starting to piss me off. You were much more cooperative last night. Jeri's eyes meet his. Anger crosses her face. She begins to violently struggle beneath him, and nearly topples him. DANE I don't want to hurt you, but you're going to give me no choice. Jeri continues breathes heavily but no longer struggles. Dane attempts to catch his breath. He regains some of his strength and pulls himself onto his knees and half sits on her hips while holding her wrists to the ground near her head. DANE You're really not making this easy on me, are you? JERI I never was the type to roll over and play dead. DANE You're a remarkable young woman. You'd rather die fighting then beg for your life. I admire that. I really do, but now isn't the time for heroics. You want to fight a battle you cant win.

Jeri suddenly turns her head to his right arm and bites his wrist. Dane cries out and pulls away quickly. Jeri tosses him off balance. She attempts to break away from him but he doesnt release her right wrist. They struggle and roll around the grass. We hear the click of handcuffs. Both become still. Dane slowly pulls himself to his knees and breaths less heavily. He exposes the cuff to his left wrist and her right. A sly smile crosses his face. DANE Now you're stuck with me. Dane stands and roughly pulls her to her feet. Jeri attempts to remove the handcuff. She becomes furious and grabs for Dane's jacket pocket. She searches frantically for the key. He smirks and places his hands in the air. DANE They're not on me. you'd like. Check if

Jeri frantically searches his inner jacket pockets then moves to his front pants pockets. Dane jumps slightly with a broad smile. DANE Getting warmer. Jeri reaches into his right side pants pockets. DANE If you're trying to turn me on, it's working. JERI (checks his back pockets) Give me that fucking key. DANE Oh, you're getting cold. I'd prefer if you'd only use that language during heated passion. Jeri checks his front pockets again. DANE (smirks) Getting warmer. Jeri removes her hand from his front pocket and slowly meets his gaze. Her eyes narrow. JERI You didn't--

DANE If you can find the key, you can have it. Jeri hesitates then reaches for his groin. a mocking smile. Not so rough. for that. DANE I may have use Dane jumps with

Jeri continues to feel around. DANE (softly) Hmm. Very hot. I'm starting to enjoy this game. What's it called? Jeri pulls her hand away. embarrassment. She looks at him with anger and

JERI Where's the key? DANE I told you, it's not on me, but I appreciate the fondling. Would you care to molest me further, or should we go for the book? JERI I'm not giving you the book. Dane frowns and grabs her arm. DANE Don't you get it? They're going to kill you. JERI There's nothing I can do about that. He takes her by the hand cuffed to his and pulls her along the field.

DANE (mutters) One hundred years--all I want is a little love and attention. Instead I get Joan of Arc. (to her) I don't owe you anything. I should just let them have you. There must be more agreeable women in this day and age. Don't know why I'm wasting my time on you. JERI Good question. EXT. MOTEL -- NIGHT We see the hotel just across from the parking lot. Dane stops Jeri. We see her motel room door is open, and the room is dark. He continues to pull her toward the motel. INT. MOTEL ROOM -- CONTINUOUS The light comes on. Dane and Jeri stand in the doorway. We see the entire room has been torn apart. Jeri frowns and shakes her head. JERI What are the chances they didn't find it? Dane pulls her into the room and shuts the door behind them. DANE If they have it, were both screwed. JERI I thought you said they want to destroy it. DANE No, I said I wanted to destroy it. (searches room) There's a passage in the back involving a pendant. Bristol's probably discovered the pendant is useless without the book. If he possesses the book, he can control the dead and bring more like us back to life. He can either destroy me or control me as well. I can become the monster you think I am.

Jeri touches his arm with a look of concern. her. JERI You mean, he could bring more exiled psycho killers to this world? DANE That's what the book said. I'd had plenty of time to read that book the last one hundred years. JERI And the book can destroy him? DANE And me. It's all or none. I realize you don't care much whether I live or die, but I do.

He looks at

Jeri firmly pulls him across the room. She moves to her knees before the bed and begins to feel around beneath the mattress. She hesitates then removes the book. She clings to the book a moment then shuts her eyes while on her knees. JERI (softly) Forgive me for what I'm about to do. Jeri slowly stands and turns toward him. JERI We'll destroy it. Dane holds his hand out. JERI I can't read Latin anyway. (exposes her cuffed hand) I'm not exactly going far. DANE (takes her cuffed hand) We have to hurry, before they find us. INT. DINING ROOM Stevens and Kathy barricade the side dining room door. It's immediately pounded upon. They run from the dining room and onto the patio.

INT. GARAGE Stevens and Kathy hurry into the garage and jump into Stevens car. He fumbles with his keys and starts the car. Kathy grabs the garage door opener and presses the button. The door opens to reveal Horace. Kathy screams. Stevens looks into his rearview mirror with horror. He shifts the car into reverse and floors the gas. The car bolts backwards. Horace is thrown over the back of the car and rolls to the ground. EXT. GARAGE -- CONTINUOUS The black car jets down the long driveway backwards. Horace slowly pulls himself to his feet as Major joins him. The black car backs onto the road, spins halfway, and rockets forward. INT. CAR -- CONTINUOUS Kathy looks back a moment then collapses on the seat. Stevens clutches the steering wheel tightly and doesn't slow down. STEVENS We are in deep shit. KATHY Where are we going? To town. sheriff. STEVENS We need to tell the

KATHY Are you crazy? The other three are back in town. We need to get away from here--far away. STEVENS I may be a bit of a coward, but I'm not going to spend the rest of my life running from them. KATHY You're as crazy as Jeri. (horror) Oh, my God--Jeri. We have to get the motel. STEVENS It's probably already too late for her.

KATHY Please, we have to make sure. That one wanted her. I can't imagine what he'd do. EXT. OLD MANSION -- NIGHT We see the new rental car outside of the mansion doors. INT. CAR -- CONTINUOUS Jeri sits behind the wheel of the car and puts it into park. They're still cuffed together. The book remains on the console between them. Dane reaches for the book. Jeri quickly grabs it and holds it to her. DANE Still don't trust me? JERI I have no reason to. Maybe it's you who wants to posses the others. DANE (frowns) Please-He opens his car door and starts getting out. pulled along. Damn it! off? JERI Can't you take these Jeri is half

DANE I have no reason to trust you either. EXT. OLD MANSION -- CONTINUOUS Dane helps Jeri out of the car while she clutches the book. JERI Why exactly would you have a rental care anyway? And who would give you one? They approach the house. DANE It wasn't exactly given to me. I had to check on something this morning, and I needed a way to get there.

JERI You stole a car? So much for that fresh start. DANE I didn't steal it. I used your friend's credit card to secure it. He was dead. He had no use for his license and credit card. JERI Yeah, that's much better. They approach the porch. INT. LIBRARY Jeri stands alongside Dane as he builds a fire in the fireplace. Jeri clings to the book and watches the flames grow. Dane straightens and holds out his hand for the book. Jeri uncertainly gives it to him. He holds it a moment then places it on the fire. The inside pages burn very quickly. Dane reaches into his shirt pocket and removes the handcuff key. He opens both cuffs and tosses them aside. He turns to face her, placing his hand in his pockets. DANE You realize you can't remain in this town. We should probably leave tonight. JERI We? I'm not going anywhere with you. DANE I'm not a killer--I was never a killer. I was a convenient suspect because I knew one of the victims. I've never killed anyone. JERI I wish I could believe you. Dane walks past her and sits in the chair before the fireplace. He stares at the burning fire. DANE You exhaust me. I've done nothing but try to protect and please you, but it just doesn't matter. I can't prove my innocents over something that happened one hundred years ago.

Dane drops the car keys on the small table near him. sits back and shuts his eyes. DANE Take the car--go. Leave me. want to be alone. I


Jeri slowly approaches him. She eyes the keys a moment. She kneels on the floor before him and places her hand on his knee. JERI You have a chance to change you life, Dane. What I think really doesn't matter. I can no longer hurt you. You don't need me anymore. DANE Need and want are completely different. JERI Yes--they are. There are plenty of women out there who'd appreciate you and your charm. You don't need to waste your energy pursuing the first one you run into. You don't even know me. DANE Maybe I wanted to get to know you. I'll admit we got off to a bad start. I wasn't in complete control over myself the other night. You're no longer human when you're exiled--you're just tortured. I'm sorry if I took advantage of you on the porch. I never would have done that in the past--or today. Dane reaches for her face, hesitates, and then pulls back. DANE Please, just leave me. I'd prefer to be back in exile then have you hate me. Jeri reaches for his hand and grasps it. to look at her. JERI I don't hate you. I'm just scared. I'm afraid of being hurt. Dane's eyes open

DANE Afraid of being strangled? JERI Yes. You're very charming, Dane. It would be very easy to see how they could suspect you. DANE I made a lot of men in town angry, by just being myself. Women liked the way I talked to them, made them feel special, made their husbands look less romantic. I didn't do it on purpose. I just like making women smile. You've never smiled for me. JERI (tiny smile) You haven't exactly caught me at my best. DANE (gently) Same here. They stare into one another's eyes. JERI (softly) I'm sorry. DANE What for? JERI For not realizing you were sincere. Everything you've done--that's not the behavior of a killer. Dane touches her face and slowly slides from his chair and onto the floor before her. DANE I'm happy just to hear that. Jeri gently kisses him on the lips. He shows no aggression. She slowly pulls away and looks into his eyes and smiles warmly. JERI Would you settle for holding each other by the fire?

DANE I'd like that. Time lapse. Dane and Jeri lay on the sofa together in each other's arms asleep. It's one in the morning. Jeri slowly wakes as Dane kisses her forehead. DANE I need t run out for something to eat. Do you want anything? JERI No, thanks. She curls back on the sofa after he moves out from under her. We hear him toss more wood on the fire. He gently kisses her on the cheek. DANE Promise you won't run away? JERI (softly/eyes shut) I promise. DANE I'll only be a few minutes. We hear the library door close. It seems to echo. Jeri's eyes suddenly open as she gasps. It's now two in the morning. She slowly sits up and looks around. JERI Dane? The library door is pulled open. Stevens and Kathy stand in the doorway. Jeri quickly stands with a look of surprise. Kathy hurries into the library and hugs Jeri. JERI What are you doing here? thought you'd left town. KATHY They killed Murdock. JERI What? The sheriff and four officers, BRAD, THOMAS, DILLIN, and VERN, enter behind them. The sheriff's look is harsh and serious. I

SHERIFF I have the coroner down there with a mob. What's left of him isn't even enough to identify. You're here alone? JERI Yes-SHERIFF Your motel room was torn apart. The manager saw two men leaving your room earlier then you and another man leaving an hour or so later. What exactly are you doing here? JERI Hiding from the men who tried to kill me earlier. The other man saved me. He went out to get something to eat. You believe my story now? SHERIFF Oh, I'm not sure I believe the entire ghost thing, but I have some pretty strong evidence against the two men this young lady saw. I'm forced to believe there are three others with similar intentions. JERI Two others. SHERIFF You said five. JERI I know, but the fifth man saved my life more than once. He's not a killer. KATHY Jeri, you were there. of them. He's one

JERI He wasnt involved in Crosby's death. KATHY You don't know what you're saying--a woman was found strangled only twenty minutes ago. It fits his motive.

JERI In town? SHERIFF A young woman from the town fair. Not dead more than an hour. Raped and strangled. JERI He only left an hour ago. Town is twenty minutes from here. And the killer described from one hundred years wasnt a rapist. There's no way it could've been him. SHERIFF Two murders in one night--really not something I'm accustomed too. JERI It had to be one of the others. Possibly Bristol. Brutus is the butcherer sort. KATHY You should come back to the station with us. The sheriff is going to get us protection until they catch these guys. SHERIFF If this fifth man had nothing to do with that woman's murder, he won't mind answering some questions. We hear the front door open. DANE Jeri? Jeri hurries into the hallway. INT. HALLWAY We see Dane standing in the foyer before the open doorway with a small bag of groceries. Jeri hurries down the hall toward him. The sheriff enters the hallway. SHERIFF Stop right there, missy. Jeri stops and looks back at the sheriff. The others follow.

SHERIFF Dane Rafferty? DANE What's going on? JERI (to sheriff) Stop acting all official. Jeri continues toward Dane and walks up the foyer steps to him. She takes his free hand and leads him down the foyer steps. Dane stops her at the bottom. DANE I'd like to know what's going on around here. SHERIFF A woman's been murdered. DANE What does that have to with me or Jeri? SHERIFF There's some concern over a group of five men--all believed to be psychotic killers. There's some similarity between you and this strangler. JERI She was killed less than an hour ago. DANE I was only gone an hour. It's twenty-five minutes there and twenty-five minutes back. There's a young woman who can identify me and their security camera. (removes a slip) I even have the receipt. Jeri takes the slip and looks at it. sheriff. She takes it to the

JERI This is from the interstate from twenty-five minutes ago. It would've been physically impossible for him to have killed that woman.

The sheriff looks at the slip then back to Kathy. SHERIFF Completely opposite directions. Even if she lied about the time he'd left, it would've been while the woman was still alive. (to Dane) Sorry for questioning, but I don't like murders in my town. DANE I understand completely. KATHY I still think you should come back with us, Jeri. JERI (to sheriff) What do you intend to do about these men? SHERIFF We have descriptions of the two from Kathy and Stevens. If you could describe the two who attacked you and fill out a report, we can get that report out and pick them up as soon as we see them. DANE How about sketches of them? SHERIFF We'll call in an artist in the morning. May take a day or two. DANE I can draw sketches of all four for you. SHERIFF That would be most helpful, if you think you can do it. DANE Of course. Dane sets the bag on the table then points to the study. DANE If you'd allow me to use the study--I believe there are paper and a pencil in there.

The sheriff nods. Dane removes a bottle of iced tea for himself from the bag. DANE (to Jeri) I got you some orange juice. wasn't sure what you wanted.

He takes two steps to the study, hesitates, and then returns to the bag and removes potato chips. DANE (to Jeri) In case you get any ideas about taking my chips. You can have the cookies. Dane enters the study, leaving the door open. the sheriff and smiles. JERI Cookies and orange juice--not the greatest combination, but thoughtful all the same. KATHY Jeri, you're out of your mind. Come back with us. JERI Dane's in just as much danger as I am. If I'm to go then he should go. STEVENS He's a psychotic killer. He wouldn't have been here if he wasn't. JERI You can't believe that when the man had many opportunities to harm you and chooses to buy you cookies instead. Kathy can't argue her point. Stevens frowns and turns away. Jeri looks to

SHERIFF He has an alibi. I'll check on it, of course, but I can't arrest him based on what some man did one hundred years ago. If he's done nothing wrong, I can't do anything about it. If he's in danger and cooperates fully with our investigation, he'll be protected by law.

KATHY (to Jeri) You're going to get us all killed. JERI No, that was that bastard Crosby who tried to do that. You were wrong trusting him. Maybe you're wrong not trusting Dane. INT. STUDY Jeri enters the study and shuts the door behind her. Dane continues to draw with great detail behind the desk. She approaches the desk and picks up the completed picture of Brutus. She cringes and tosses it down. JERI Very good likeness. Even the drawing gives me the creeps. They want us to go with them. The sheriff will post round the clock guards to keep us safe. DANE That would be very convenient, us together. They wouldn't have to gar far to kill us all. I'd rather not box myself in someplace. Bristol's smart. He'll get through if he wants too. He sets aside a drawing of Bristol. JERI You're really very good. DANE I was considered to be an artist in my time. When they branded me a killer, all my art work was destroyed. (MORE) DANE (Cont) Well, most of it. The few items left are considered to be priceless. What is the value of priceless these days? JERI Several million, I suppose. Jeri looks at it.

DANE Really? I should probably get back into painting. Perhaps afford a place like this. JERI I'd like to get through today before even considering tomorrow or the next day. DANE Would you really feel more secure with the police protection? JERI They have guns. You only have mace. Dane opens the desk drawer and places a gun on top and sits back. His smile mocks her. DANE Any other arguments? JERI Put that away. That's all you need is a gun not registered to you in your possession. Dane replaces the gun to the drawer. DANE As with everything else, my aims a little rusty too. JERI How about a couple of days? That'll give the police a chance to find them or push them from town. We really don't need any more close calls. I don't want to end up like Crosby and Murdock. DANE You wouldn't. If it came to that, I'd kill you myself before ever letting them touch you. JERI If you're trying to make me feel better, stop trying.

DANE I'm sorry. I won't mention it again. (continues to draw) Would we be allowed to remain in contact with one another or would they be separate cells? JERI They'd put us in a safe house of sorts. Not cells. Though we'd be pretty much prisoners for our own safety. I suspect they'd put you and Stevens together and me with Kathy. DANE Forget it. I want no part of it. As my true personality returns to me, I realize you need to do what's best for you. If you want the police to look after you, I won't stand in your way--not saying I'd like it much. JERI (hesitates) What if you and I could remain together? Would that make you more comfortable? DANE You and me--in the same room? JERI Well, let's not get carried away. In the same safe house-separate bedrooms. DANE Somehow it doesn't sound nearly as inviting. But we could sneak into the other's rooms--just for company sake. Jeri stares at him a moment then smiles warmly. JERI There's something very appealing about you, Rafferty. DANE You really think so?

Jeri leans toward him and stares him in the eyes with a pleasant smile. She kisses him on the cheek. JERI Yes, I do. Dane suddenly pulls her from her feet and onto his lap. lets out a startled cry. DANE You're begging to be ravished. Dane pulls her against him and kisses her passionately, taking her by surprise. The door suddenly opens. The sheriff stands in the doorway with his gun aimed. Jeri gasps with surprise. SHERIFF I heard screaming-Sorry. JERI We were just-She

SHERIFF If you wouldn't mind saving it for later, I'd like to get you guys out of here before we get visitors. Dane assists Jeri off his lap. DANE Just finishing up now, Sheriff. The sheriff leaves the room as Dane returns to his drawings. DANE Getting me in trouble already? Just wait until I get you alone. JERI If I scream, you'll be in more trouble. DANE They'll never hear a thing. JERI On that note, I'll be waiting in the hallway. Jeri leaves the study. INT. HALLWAY -- CONTINUOUS Dane joins the others in the hallway and hands the sheriff the sketches.

The sheriff looks through them with nodding approval. and Stevens look at them as well. KATHY They're pretty accurate. We hear the sheriff's walkie talkie on his hip sound. RANDY (V.O.) Sheriff--come in, Sheriff. SHERIFF (into radio) Yeah, Randy. RANDY (V.O.) We have a problem. A man was stopped in town. Two officers are down. He's armed and extremely dangerous. Last seen near the fairgrounds. He's roughly six foot eight and covered in blood. KATHY (gasps) Horace. STEVENS They'll never capture him alive, Sheriff. He'll crush them all. SHERIFF (into radio) Randy, tell all units to be on the look out, but do not apprehend. Use stun guns. RANDY (V.O.) Stun guns are ineffective--just pissed him off. SHERIFF If he's armed, shoot to kill. I'll be right out. The sheriff looks to the other officers. SHERIFF Brad--Thomas, you two take them back to the station, Vern-Dillin, you'll help find this lunatic. We hear a frantic voice on the radio.


RANDY (V.O.) Sheriff, someone's broken into the police station. An officer is down. He's loose in the station. SHERIFF (into radio) Copy. We're on our way. (to Brad/Thomas) Stay here with them. Secure the house. (to Vern/Dillin) Let's go. Sheriff, Vern, and Dillin hurry from the house. Stevens looks around with some concern. Brad locks the door behind the others and joins them in the center of the hall. BRAD If everyone will remain calm, we should be safe. We'll stay together and wait in the lounge. DANE The library would be the safest place. The only windows are thick, stained glass. Very difficult to break. STEVENS He's right, but I don't want to be locked in the same room with him. THOMAS Let's not start fighting already. We need to stick together. Once everything's clear at the police station, we'll return there before taking you to a safe house. JERI Why would they be attacking the police station? Surely they don't think they can take on the police force even though there aren't many officers, it would be suicide. STEVENS My car--it's near the police station. They were looking for us.

KATHY But why? We don't have the book, and the tape was on Murdock. JERI The book's been destroyed. STEVENS That could've stopped them. JERI They wanted it to bring others to life and join them. They nearly got it once. KATHY I can't believe it. You let him talk you into destroying the book. JERI You're the one who chose to run away and make me look like a liar. You and Murdock covered up Crosby's death in the first place. I was in this alone when those bastards came after me looking for that book. I had to make a decision. You have no room to judge me or my actions! At least I didn't run! DANE No, running was my idea. BRAD Okay--okay. That's enough finger pointing for awhile. Let's all go into the library and try to relax until we get the all clear. KATHY No, we're being set up. one of them.


STEVENS I'm a bit uncomfortable too, but he should've killed Jeri by now. I don't think senselessly agitating him will help matters. KATHY Trusting him is a mistake.

JERI And I'm the only one who'd be in any danger if he was a killer. The strangler only killed women whom he sought involvement. DANE What does a man have to do to prove he's innocent? Even in this century, the people are ignorant and narrow minded. THOMAS That's enough. Everyone into the library. And not a word out of anyone. KATHY I refuse to barricade myself in a room with him. DANE (to Jeri) This is what I tried to warn you about. We should just leave. BRAD No one's going anywhere. The sheriff wants you four to remain here. JERI Dane and I will remain in the study. Thomas and Brad look at one another for approval. BRAD One of us should stay with you. DANE No. We'll be fine together alone. Dane guides Jeri into the study. The door closes and locks. Brad motions Kathy and Stevens into the library. Thomas follows. Their door remains open. INT. SHERIFF'S OFFICE We see the sheriff's office in on edge. And officer lay dead door. He appears to have been Brutus. The sheriff and Randy the dead officer. a fiasco. Everyone appears on the floor just near the attacked by a tiger--or enter the office and peer at

PARKER We don't know where he went, Sheriff. This guy just suddenly appeared, killed him and took off into the building. SHERIFF Are the others searching the building? PARKER Others? There's only Bud and Danny. The others are out hunting down that mammoth around the fairgrounds. Every last extra hand from the fair is out on the street already. RANDY What could do that to a man? SHERIFF Get in contact with Bud and Danny. We're going to sweep the entire building. (hands the sketches) Is our man one of these? Parker sifts through the sketches and stops on Brutus. PARKER That's him! That's the one! He had blades on his fingers--like claws. SHERIFF You heard the man. We're looking for Freddy Krueger. I want him found. No heroics. He's armed and considerably dangerous. I want him taken down--excessive force required. The sheriff approaches a cabinet and hands out shotguns to the officers, Randy, and the desk clerk, SANDY. She eyes him with a horrified look. The sheriff takes one for himself. SHERIFF (to Sandy) Call Dixonville--have them send me every available man. We have four psychotic killers loose in this town.

SANDY We already have four officers from Dixonville. SHERIFF Then call the fucking FBI. We have a town full of tourists. I'm not about to turn our summer festival into a massacre. RANDY (lowers radio) Bud and Danny just sealed off the emergency doors. They'll meet us in the lower hall. SHERIFF Let's go. All three rush from the office. Sandy carries her shotgun to the nearest phone and makes a call. SANDY Hello? This is Brighton Police Department. I need to speak to someone in charge. We have a crisis. WOMAN (V.O.) One moment. I'll connect you with Agent Davenport. We hear the sound of the door. The clerk tenses and looks around the empty office. She looks to the dead officer and the blood on the walls. SANDY (nervous) They aren't paying me enough for this. We see the main door gently swaying back and fourth. Sandy places the call on speaker, hangs up the phone, and snatches the shotgun. She cocks it and looks around with fright. DAVENPORT (V.O.) Agent Davenport-SANDY (nervous) This is Brighton Police Department, Sandy Gilmore. DAVENPORT (V.O.) How may I help you, Ms. Gilmore?

SANDY We have a serious situation here. Four men are terrorizing the town. Several officers have been killed already. (looks around) I don't think I'm safe here. DAVENPORT (V.O.) Do you have a positive ID on the suspects? Sandy looks around the room. She suddenly turns. We see Bristol only ten feet away. He stands with his hands in his pockets and a pleasant smile on his face. She cocks the shotgun as he approaches. SANDY He's standing right in front of me. Sandy slowly backs away, holding the shotgun leveled at him. Bristol approaches the phone and casually sits on the edge of the desk. BRISTOL (to the speaker) Whom am I speaking to? DAVENPORT (V.O.) Special Agent Davenport. Who's this? BRISTOL Not important. DAVENPORT (V.O.) Put Ms. Gilmore back on. BRISTOL I'm sorry, Ms. Gilmore's dead, but I'll be sure to send you the parts I don't like. Sandy appears horrified as Bristol disconnects the call. She tightens her finger on the trigger. Brutus is standing behind Sandy. She appears to feel his presence. She spins around. Brutus clutches the shotgun as it fires and backhands her across the chest with his claws. She cries out while being thrown into the back wall. The shotgun blast only hits the ceiling. Sandy clutches her bleeding chest and attempts to get away. Bristol stands with a frown.

BRISTOL You idiot. Now the entire building knows where we are. Bristol shakes his head and approaches the frightened Sandy. Sandy backs away and into a nearby desk. BRISTOL Don't be frightened. Brutus didn't mean anything by that-(indicates her cuts) He just doesn't like shotguns. Sandy falls against the desk. Bristol removes his hands from his pockets. In one, swift motion, he pushes Sandy onto the desk, holding his hand to her throat. BRISTOL (to Brutus) Join the others. I'll be along momentarily. Sandy and I would like to become more familiar. Brutus eyes him with a look of disgust and leaves through the nearby window. Sandy continues to struggle against the hand on her throat. BRISTOL (to Sandy/smiles) Now--where were we? Bristol rests on top of Sandy and kisses her on the mouth while reaching for her pants. Sandy fights his hand on her throat as he kisses her roughly. He pulls away and squeezes her throat. She gasps for breath. BRISTOL Let's do this the easy way-shall we? He returns his mouth to hers. His free hand works on her pants button. Sandy pulls open a drawer beneath her. She thrusts a letter opener into his shoulder. Bristol jumps back and nearly falls to the floor while clutching his bloody shoulder. Sandy gasps and flings herself off of the desk with the bloody letter opener in her hand, above her head. Bristol becomes enraged. BRISTOL That's going to cost you. Bristol lunges for her, catching her wrist with the letter opener as it strikes. He tackles her into the wall, nearly knocking her out. He makes a fist and throws it for her face. Sandy cries out and ducks.

His fist strikes the wall behind her, cracking through the dry wall. Sandy punches him in the face, knocking him back a step. SANDY (angry) They-(hits him again) Don't pay me-(hits him again) Enough for this shit! Bristol reaches for the discarded shotgun. Sandy dives to the floor after him. The letter opener stabs his hand. Bristol cries out and springs to his feet. Sandy scrambles for the shotgun. Bristol kicks her in the side, tossing her across the floor. Bristol grabs the discarded shotgun and aims it at the floor. Sandy's gone. He looks around with surprise and confusion. He slowly walks closer to the nearby desk with a dozen red roses on top. We see Sandy crouched just on the other side, just out of his view. We see an ultrasound x-ray of a fetus on the desk near the roses. Bristol slowly moves closer to the desk. Sandy suddenly leaps onto the desk and lunges for Bristol. The roses crash to the floor. Bristol drops the shotgun and stops her hand with the letter opener. He catcher her around the waist and forcefully throws her back onto her desk. A photo of her and her husband crashes to the floor. Sandy struggles against his hand on her throat and his hand holding her wrist with the letter opener. Her legs thrash just off the desk, attempting to get leverage or kick him where he stands over her. Bristol forcefully removes the letter opener from her. It falls to the floor along side the scattered roses. BRISTOL (evil smile) You put up a good fight, Sandy. But I think it's time to say good-bye. Bristol squeezes her throat. She gasps and struggles violently. Bristol looks to the desk alongside her at the ultrasound. His eyes narrow at the picture of the small fetus. Sandy gasps and breaths more easily as he becomes distracted. He picks up the picture then looks to Sandy's belly beneath him. He drops the x-ray photo and pulls up her shirt to reveal her small belly. SANDY No!

His eyes suddenly meet hers with an expression that's impossible to read. His hand gently caresses her exposed belly. INT. HALLWAY Sheriff and Randy approach the office door with their shotguns in hand. Sheriff plows through the office door, leveling his shotgun. INT. SHERIFF'S OFFICE -- CONTINUOUS We see the sheriff in the doorway with his shotgun aimed. Sandy sits on her desk with one hand on her belly and the other to her throat. She lowers her hand from her throat and looks at the sheriff. He hurries to her. SHERIFF Are you okay? I'm fine. really. SANDY Just scratches, SHERIFF What happened? SANDY (strokes her belly) He just--left. The sheriff appears confused. INT. STUDY Jeri lay against Dane on the leather sofa. from behind with his cheek to her head. JERI Were you married? DANE Came close once. She turned on me when I was accused of killing those women. I can't say I blamed her. JERI Any idea who the real killer was? He holds her

DANE I can't be sure, but there were similar killings after I'd been exiled. I read it in one of the library books. A man in his forties was convicted of the similar killings. He was originally from town. I think it may have been him the entire time, but I can't prove any of it. JERI I know you didn't do it. DANE Just like that, eh? JERI Yeah, just like that. DANE I was an artist and a lover. I took both very seriously. Of course, I was a bit flirtatious, but I told you about that. That first day you met me in my exile. That was a raw emotion. I was about as out of control as any man could be. Emotion is all you have in exile. Had I been a killer, you'd be dead. JERI I'll admit you were quite persuasive. If I hadn't feared for my life, I may have been turned on. DANE Don't be silly. You knew I wasn't going to hurt you--even if you couldn't walk straight. JERI I appreciate that, you know? DANE What's that? JERI You looking after me in my helpless state. Not letting the others get to me. I didn't give you much reason to want to help me.

DANE (cuddles her) I couldn't help myself. You're too beautiful to allow anyone to scar--emotionally or physically. JERI You are a charmer. I bet you were very popular with the ladies. DANE Very, but I wasn't much of a womanizer. I only seriously romanced the special ones. JERI Define special? DANE Pure, innocent, and sincere. If a woman asked to pose nude for me, she'd get no where but on canvas. Aren't you tired of probing into my past romances? JERI No, I'm just feeling you out, that's all. DANE I believe you'd already done that in the field. JERI I mean, I want to figure out what it is you want from me. Then want then will kiss want want DANE you should just ask. I to paint you in the nude burn it, so that no man ever see it. I want to every inch of your body. I you to want me as much as I you. Is that unreasonable?

JERI No, not at all. Jeri slowly turns in his arms and looks at him with a warm smile. JERI I'd like to finish what we'd started on the patio.

Dane stares at her a moment with a look of surprise. smile crosses his face. DANE What about our company across the hallway? They might hear. JERI If you're worried about getting caught, we can wait.

A warm

Dane turns her in his arms and practically throws her to the sofa. DANE It doesn't bother me, if you're okay with it. Jeri smiles her response. Dane kisses her passionately. Jeri returns the passionate kiss and clings to his neck. Dane moves on top of her and runs his hand along her side. He pulls away a moment, looks into her eyes, and smiles warmly. He then moves to her neck and kisses her. INT. LIBRARY Brad paces the library and looks into the hallway several times. Kathy sleeps on one of the sofas while Stevens attempts to sleep in the chair by the fireplace. Thomas watches Brad pace. THOMAS What's with you? Sit down awhile. You're wearing me out. BRAD I wish someone would tell us what's going on. I hate sitting around--especially while others are fighting. THOMAS We have our assignment. If you're so antsy, why don't you check on those two next door? Make sure he hasn't killed her. Brad nods with a frown and leaves the library. INT. HALLWAY -- CONTINUOUS Brad approaches the study door. He's about to knock. We hear male and female moans. Brad hesitates then places his ear to the door. Thomas walks to the library doorway and lights a cigarette. Brad pulls away from the door and smiles.

BRAD He hasn't killed her yet, but it certainly sounds like he's giving it to her. THOMAS You're a pig, Brad. BRAD He's a lucky bastard. I'll tell you that. Wouldn't mind making her scream myself. Thomas returns to the library. Brad smiles and returns to the door to listen again. We hear movement from the kitchen. Brad pulls away from the door. He slowly walks toward the kitchen while drawing his gun. INT. STUDY Dane lay on top of Jeri on the sofa. Both are missing their shirts. Dane kisses her shoulders while fumbling with her bra clasp in the back. He suddenly hesitates and pulls away. He looks into her eyes a moment with a strange look. JERI (concern) What's wrong? Dane looks away a moment and listens. He quickly moves off of her and springs to his feet. He grabs their shirts and gives her hers. DANE Something's wrong. Jeri quickly puts her shirt on. Dane buttons his on the way to the door. He quickly unlocks and opens the door. Jeri jumps to her feet and hurries toward him as he looks out into the hall. Dane turns to her and hands her the car keys. DANE If anything happens, you get out of here. Jeri slowly nods. INT. HALLWAY Dane slowly enters the hallway. Jeri steps in to the hall behind him. He looks back at her with a frown and points back to the study. She frowns and returns to the study. Thomas steps into the library doorway and eyes Dane.

THOMAS Something wrong? Dane glances into the room past Thomas then looks back to him. DANE Where's the other officer? THOMAS He was just here a minute ago. Maybe he went to look for something to eat. DANE He won't find anything. better check on him. I'd

THOMAS He's my partner. I'll check on him. Thomas shuts the library door and approaches the kitchen. Dane follows behind him. INT. KITCHEN -- CONTINUOUS Thomas and Dane enter the kitchen. We see Brad standing before Brutus. The blades are exposed through the back of Brad's neck. Brutus sees them and pulls his bloody blades free. Thomas holds his gun, but remains paralyzed with fear and horror. Brutus casts Brad aside and storms toward them. Dane jumps back. DANE Shoot him! THOMAS F-freeze! Brutus keeps coming. DANE (to Thomas) Shoot him! Brutus coils back nearly on top of them now. Dane pulls the gun from the back of his pants, raises it, and fires, striking Brutus directly in the forehead. Brutus's head snaps back but he still approaches. Thomas stares with horror. Brutus suddenly stumbles to his knees and collapses to the floor. We hear a scream. Dane turns and runs from the kitchen. INT. STUDY

Jeri opens the study door. Bristol enters. Jeri jumps back with a horrified gasp. Bristol shuts the door and locks it behind him. Jeri backs put to the desk and clutches the marble paperweight behind her. INT. LIBRARY Kathy and Stevens back across the library and stop against the far wall. Major and Horace enter the room and shut the door behind them. MAJOR Well, what a small world. I'll bet you're wishing you hadn't pissed me off earlier. KATHY Actually, I'm wishing I'd killed you. Stevens looks at her with wide, horrified eyes. MAJOR (low chuckle) Then I'm sure you won't make that same mistake this time. (to Horace) See what's taking Bristol so long. If he's killed her already-Horace walks to the library door. MAJOR (to Kathy) Bristol's always after the women. Perhaps I'll even allow him a little piece of you, before I kill you. I think I owe you that much. Horace pulls on the door. MAJOR (groans) It slides, Horace. Horace again pulls on the door, this time more harshly. Major frowns and approaches the door. INT. HALLWAY Dane throws himself against the study door. Jeri! DANE Jeri--open up!

Dane strikes the door again. There's no response. hurries down the hall toward him. THOMAS We have to get out of here. DANE They have them. (strikes the door again) Shoot to kill!


Thomas pulls open the library door. Horace grabs Thomas and throws him down the hall. He lands several feet away and slides several more feet. Dane spins with his gun. Horace knocks the gun from Dane's hand. It flies clear across to the foyer steps. Horace punches for Dane. Dane ducks. Horace's fist penetrates the study door. INT. STUDY Jeri stands behind the desk with the marble paperweight raised in her hand. Bristol paces before the desk with a gun in his hand. BRISTOL Got close to Dane, haven't you? (continues to pace) Get you in the sack yet? I used to be charming like him. Women used to really like me. (scratches the gun to his temple) Do you know how long it's been since I had a woman? A willing woman, that is. (paces/slings the gun) I messed up. I screwed around on my wife. She found out and said she was going to leave me. (stop/stares) Without even knowing what I'd done, I'd killed my seven month pregnant wife. And for what? For cheap sex with some tramp who taunted me day in and day out? She put me in that position. That tramp deserved to die. They all did! JERI And that justifies raping and murdering innocent women?

BRISTOL Yes! She died because she told my wife! If she hadn't told, my wife wouldn't be dead! I didn't want to kill my wife! It was an accident! JERI You must've loved you wife very much. BRISTOL It was an accident. JERI (nods) But those other women, they did nothing wrong. You were punishing them for your mistake. BRISTOL I killed my wife! JERI (calm) I can't judge you. You need to ask her for forgiveness. Only then will you be free. BRISTOL (aims the gun at her) Don't be fucking nice to me! Jeri jumps back a step. INT. HALLWAY Dane leaps away from Horace. Horace runs after him. Kathy and Stevens jump past Major. Major slashes at Stevens with a hunting knife. Stevens jumps back. Kathy runs for the study door and pounds on it. KATHY Jeri! Jeri--for God's sake. Answer me! Major chases Stevens down the hall. Thomas slowly pulls himself to his feet and shoots Horace in the shoulder. Horace casts Dane aside and charges for Thomas. Thomas attempts to shoot again. Horace grabs his arm and snaps it. Thomas cries out in pain. Horace casts him back to the kitchen. Horace charges for Dane. We hear a gunshot from the study. Dane suddenly freezes with a look of horror. Horace is nearly on top of Dane. Kathy dives on top of the giant's back and attempts to choke him. He attempts to toss her, but her legs are clamped to his waist.

She punches him in the ear with her free hand. Dane watches as Horace starts backing for the wall to crush her. Dane charges low and throws his body into Horace's legs. The giant falls forward. Kathy rides him down to the floor, still pounding on his head. The study door opens. Dane angrily charges the door. Jeri steps out and is tackled to the floor. She screams. Both relax and stare at one another. Dane appears shocked. DANE Jeri, I thought-Jeri appears horrified. JERI Kathy! Dane turns and springs to his feet. Kathy thrashes the giant as he climbs to all four. He straightens on his knees. Kathy is thrown and roughly hits the floor. Dane approaches Horace and kicks him in the face. While on his knees, Horace is nearly Dane's height. He's stunned slightly. Dane attempts to punch him. Horace catches Dane's fist and throws him back into the wall. Dane is momentarily stunned. Horace climbs to his feet. Horace swings at Dane again. Dane dives to the floor. Horace's hand goes through the wall again. KATHY (to Jeri) Where's the gun? Jeri looks around as well. JERI The kitchen! Kathy runs for the kitchen. Horace suddenly grabs Dane by the throat and lifts him off his feet, holding him on eye level. Jeri runs for them. She kicks Horace in the groin with her best field goal kick. Horace jerks slightly. He backhands Jeri across the face. She's thrown across the hall and to the floor, sliding around the floor in a small circle. Dane's eyes fill with anger. He kicks with his gangling legs and strikes Horace in the knee repeatedly. Horace drops Dane. He falls to the floor and gasps for breath. Horace comes after him again. Dane rolls out of his path, whirls along the floor, and kicks Horace's legs out from under him, knocking him backwards. He lands with a loud clunk. Horace returns to his feet. Dane kicks him twice in the chest as he rises. Stevens runs from the lounge with Major on his heels. Major still has the hunting knife, now with blood on it. Stevens screams as he runs past them. Horace lunges for Dane. Dane kicks Major high in the chest, stunning him. He grabs Major by the arm and slings him and the knife. Horace and Major collide. Horace suddenly gasps. He pulls back.

Major appears surprised as Horace clutches his bleeding abdomen. Major backs up a step. Horace angrily grabs Major by the neck and rams him into the wall. Major gasps, twitches, and fades out. Horace releases Major. We see the broken, bloody wall. Horace staggers several steps then falls to the floor. Both Kathy and Stevens approach from the direction of the kitchen. Kathy holds a gun in her trembling hand. Dane leans against the wall while breathing heavily. He slowly sinks down the wall and allows his head to fall into his hands. Jeri quickly approaches and kneels before him. JERI Are you okay? DANE (nods) Bristol? JERI He's dead. DANE How'd you get the gun from him? JERI (gently) He killed himself after telling me he was sorry. DANE What? Jeri shakes her head. The front door bursts open. Sheriff, Randy, and several other officers enter. Thomas slowly makes his way along the hall while holding his arm. Dane slowly pulls himself to his feel with Jeri's help. SHERIFF What the hell-DANE Nice of you to drop by. SHERIFF What happened? THOMAS Brad's dead. SHERIFF Where are the other two? DANE In the kitchen and study. They're all dead.

SHERIFF (to Randy) Get the medics out here. Randy removes his radio as the sheriff and others replace their guns. SHERIFF I'll need full statements. I want the story tight for when the feds arrive. KATHY (to Dane) If it means anything, I'm sorry. We owe you our lives. DANE If you mean that, you'll help think of a way to explain me to the feds. STEVENS I have friends in high places. Leave it to me. It's the least I can do, considering what my grandfather did to you all those years ago. EXT. FIELD -- DAY We see the frame of an old house in the fields. Most of it had been torn down years ago. Dane and Jeri walk along the old floor of the ruins. JERI What exactly are we looking for? Dane stomps on the floorboard. He kneels and pulls the floor board up. There's a cloud of dust. INT. COMPARTMENT -- CONTINUOUS We see several sheet covered paintings. sheet to reveal an old painting. EXT. RUINS -- CONTINUOUS Dane stands over the compartment. smiles warmly. He looks at Jeri and Dane removes a

DANE A compartment full of Dane Rafferty originals. A man in New York offered me ten million for the whole lot. Is that good?

JERI Considering you've been dead one hundred years and most of the others were destroyed, it might be underpriced, but I'd take it if I were you. DANE Will that be enough to buy Steven's grandfather's house? JERI With the shape that place is in, I'd say five hundred thousand would be reasonable. You really want to live there? DANE After one hundred years, it feels like home. I was hoping we'd live there together. JERI Are you sure? You've been gone a long time. I wouldn't want you to feel like you're settling. DANE I've been on the market before. I know I'm not settling. Besides, after what I did to you last night, I have to marry you. JERI You know better. DANE (walks away) Fine, you won't marry me? See if I sleep with you again. Jeri follows him from the ruins. Jeri spins him to face her. She kisses him briefly but passionately. DANE (walks away) Nope, that won't work. Jeri turns him to face her, jumps on top of him, and knocks him to the ground. They roll several times then kiss passionately. FADE OUT