Episode Seven: Danse Macabre

By LazyCalm

Act One

FADE IN:

EXT. ROAD-MORNING

POV. UNKNOWN

Looking through a car windshield on a cold November morning, the air is misty, the sound of the police radio can be heard along with the wailing of the car's siren and up ahead the figure of a man emerges from the mist, waving to us. Behind him are two police cars parked near the side of the road, with a handful of cops gathered around a crime scene.
As the cop car pulls over, the man (JEFF CHILDS a rookie Detective in his early thirties) walks towards our door, leaning on the roof of the car and bending down to the driver's window

CHILDS
Morning George

EXT. ROAD

Childs is addressing DETECTIVE GEORGE MACCREADY (an experienced Detective in his late forties) who steps out of his car and begins to head over to the crime scene.

MACCREADY
So, what've we got here?

Childs rubs the back of his neck nervously

CHILDS
I...
(beat)
Sir I--I think you better see for yourself

MACCREADY
(Confused)
Come on Jeff, you've been a Detective for a year now. Don't tell me a simple car crash has gotten to you?

MacCready flashes his badge to the officer guarding the crime scene

CHILDS
It's not a car crash-

MacCready looks at Childs, puzzled, as Childs lifts the “Crime Scene” police tape to let MacCready under.

CHILDS (CON'T)
-that would've been a lot more straightforward,
(beat)
and less unsettling to deal with.

Childs follows MacCready under the police tape and walks on ahead while MacCready stops for a second to consider what Childs has just told him.

EXT. ROADSIDE, CRIME SCENE

MacCready follows Childs as they get to the black car (a classic Chevy Impala).

POV. MACCREADY

Taking a good, long look at the 67' Chevy.

MACCREADY
Damn that's a sweet ride.

CHILDS
Exactly. No dents, no scratches, no sign of road rage or an automobile altercation.

MACCREADY
Yeah, she's in great condition.

CHILDS
Yeah
(beat)
Can't say the same for the passengers though.

MacCready is curious to know what's got Childs so disturbed.

MACCREADY
Show me!

CHILDS
(nods)
This way.

MacCready follows Childs to the front driver's side door, which is wide open as a crime scene photographer takes pictures of the inside of the car.

CHILDS
(gestures to the open door)
Just here George.

MacCready notices that Childs seems to be avoiding looking at the car altogether.

POV. MACCREADY

Peering into the Impala he sees the horrific sight of two dead bodies. Thier eyes wide open, staring straight ahead, frozen in concentration on something so terrifying that it must have scared them to death. There is no doubt, these are the corpses of SAM and DEAN WINCHESTER!

CHILDS
Chilling isn't it?

MacCready shakes his head with a mixture of shock and fascination.

MACCREADY
Sweet Jesus.
(to Childs)
Who found them?

CHILDS
I did. I thought they'd had some car trouble or just pulled over for a nap but when I got to the window I...

POV. CHILDS
Glancing at the bodies of Sam and Dean.

BACK TO SCENE

CHILDS
Really shook me up that's for damn sure.
(beat)
I reckon this is going to haunt me for some time.

MACCREADY
(Still examining the bodies)
Cause of death?

CHILDS
(snaps out of it)
We...we don't know. There's no entry wounds, no signs of a struggle, no footprints anywhere
(glances back at the bodies)
It's as though they just pulled over and-

MACCREADY
Died?

Childs nods.

POV. MACCREADY

Looking over the bodies.

CLOSE UP as the camera PANS ACROSS slowly from Dean-

MACCREADY (O.S.)
What the hell happened out here?

POV. MACCREADY
-to Sam.

Hold on CLOSE UP of Sam for a beat.

SUPERNATURAL: “DANSE MACABRE”

Eleven hours earlier.

MAN (O.C.)
You're listening to KTALK radio; with your “Ghostly” host, Steve “Spooky” Spence-

FADE IN:

EXT. ROAD-NIGHT

We see the Impala driving down the road. It's headlights shining brightly against the dark backdrop.

STEVE (O.C.) (CON'T)
-Okay listeners, coming up next-

INT. IMPALA

DEAN and SAM are listening to the DJ STEVE SPENCE (a younf "hip" disc jockey) on the car radio.

STEVE (O.C.) (CON'T)
-we've got more true tales of [i]terror[/i] to chill your very soul on this horrific Halloween night.

DEAN
Sam do we have to listen to this crap?

SAM
I know, I know It sucks. But Dean, we're pretty stuck for work right now and this is just as good as scouring the local "obits" or reading cases on the internet. Besides, if nothing else, at least it's always good for a laugh.

DEAN
Yeah, like that last lady who called in to say that the ghost of Buddy Holly haunts her attic and keeps her awake at night by playing “Peggy Sue” over and over.

They both laugh.

STEVE (O.C.)
Our next caller is Cliff from Ohio. How ya doin' Cliff?

CLIFF (O.C.)
I'm okay Steve.

STEVE (O.C.)
Good to hear it my man. Now lay it on me Cliff, what's your spooky tale of true life ghostly goings on?

CLIFF (O.C.)
Actually Steve my call is more of a warning. You see, I'm a psychic of sorts and I have a very strong feeling that the world will end sooner rather than later.

STEVE (O.C.)
(taken aback)
Really?

Dean and Sam glance at each other.

DEAN
(Dismissive)
Nut.

CLIFF (O.C.)
Yes, really. I predict that in this next year we are going to see signs and portents of greater tragedies to come. Earthquakes, typhoons, violent storms and raging tempests will ravage the whole world. Creatures clawing their way from the darkness as whole cities lie in ruin.

Dean and Sam glance at each other again. This time looking a little worried.

SAM
Wow.

CLIFF (O.C.) (CON'T)
(getting carried away)
And this is just the beginning Steve.
(beat)
The beginning of the e-

STEVE (O.C.)
(cutting in)
Okay, well thanks for that Cliff. Er...nice talking to you.

CLIFF (O.C)
Steve! I'm [i]telling[/i] you it's-

Steve cuts him off.

STEVE (O.C.)
Well...Okay, little warning there to our listeners at home about the dangers of reading “Revelations” while jacked up on too much Halloween candy.
(beat)
Alrighty, next up we have Linda who claims her dead husband Alf, came to her in spirit form and told her who would win the next World Serie-

Dean switches off the radio.

DEAN
Well that was...intense.

SAM
Think we should pay him a visit?

DEAN
What! Are you serious? Sam guys like that are a dime a dozen.

SAM
Yeah. But, Dean he sounded pretty convinced.

DEAN
Of course he did. Would you have believed him if he hadn't put in the effort?

Sam is silent.

DEAN
Now if Missouri had said something like that then it'd be different. We know she's on the level, but some kook from Ohio...

Dean shakes his head.

DEAN
Halloween just brings out the "crazies" in people.
(beat)
Always has.

EXT. ROAD

The Impala suddenly slows, then comes to a complete stop. The engine winds down and the headlights fade out. The car is not moving, it's as though it's just “died” on them.

INT. IMPALA

DEAN
What the hell?

Dean tries to start the ignition, but the engine fails to respond.

SAM
Out of gas?

DEAN
You kidding? I filled her up about two hours ago at gas station while you dozed off.

SAM
Maybe it's the battery?

DEAN
Could be.
(beat)
Well, one thing's for sure-

Dean slumps back in the driver's seat, puts his arms behind his head.

DEAN (CON'T)
-she ain't going anywhere.

SAM
I'll see if I can get a tow truck out to us.

DEAN
If it's not here within half an hour tell them we ain't paying them.

SAM
Actually Dean I think that only applies to pizza delivery.

Dean laughs.

DEAN
Figures.

He shuts his eyes.

DEAN
Either way, wake me up when it gets here.

Sam laughs and begins dialing, when something catches his eye through the front windscreen.

POV. SAM

There is a faint, solitary light far in the distance.

BACK TO SCENE

SAM
Hey, Dean.

DEAN
Mm?

SAM
(gesturing to the light)
What do you make of that?

Dean opens his eyes and looks out of the windscreen. He too sees the light up ahead. It appears to be dancing around one spot further up the road, near the trees, surrounded by darkness.

DEAN
Maybe it's a person.

SAM
Maybe they have a phone.

DEAN
(exiting the car)
well if we don't catch him in time we might lose him.
(slams the door shut) (O.S.)
Come on.

Sam gets out of the car and follows after Dean.

EXT. ROAD

Dean is running after the light.

DEAN
(shouting)
Hey! Wait up.

POV. DEAN

The light just keeps on moving, off the road and now-

EXT. FOREST

-into a forest, where it easily weaves it's way through the trees making it harder for the brothers to follow it.

JUMP CUT:

TRACK Sam as he runs through the forest, trying to catch up wth Dean.

SAM
(shouting)
Dean! Hey! Dean hold on.

Dean stops to let Sam catch up with him and to catch his own breath too.

DEAN
(exhausted)
Man, feels like I've been running for miles.

SAM
(breathing heavily)
Yeah, I know what you mean.
(looking at the light)
It's stopped.

DEAN
What?

POV. DEAN

Looking ahead the light is floating in the same spot, stationary.

BACK TO SCENE

DEAN
Oh I've had enough of this.
(resumes running after it)
Hey! What's your damn problem?

SAM
(chasing after him)
Dean wait up will you.

POV. DEAN

As he gets closer to the light it begins to vanish; as it does so the faint sounds of classical music can be heard from all directions.

Music cue - "Concerto for Violin and Strings in E "La Primavera"" by Vivaldi.

BACK TO SCENE

DEAN
(confused)
What the?

He and Sam stop dead and listen. They try to work out where the music is coming from.

SAM
(pointing to the left)
This way...I think.

Sam heads off in that direction.

DEAN
(sarcastic)
You think!?

POV. SAM

As he and Dean run through the trees, in the darkness, the music slowly gets louder until-

EXT. CLEARING

-they stop in the middle of a clearing and find a huge, majestic hotel right in front of them.

DEAN
(looking at the hotel)
Okay, now this is just plain weird.

ANGLE UP ON the hotel.

ESTABLISHING SHOT

A huge building, built from golden-yellow bricks. It must be at least 300 rooms. The entrance is framed by two huge pillars (with flamed torches attached to each one) and a intricately carved archway above the door.

Dean and Sam are awestruck.

DEAN
It's...incredible.

SAM
Yeah...

DEAN
(jokingly)
Reckon they've got a dress code?

VOICE (O.S.)
Not at all-

Sam and Dean look and see a man dressed in a smart Butler's uniform standing in the main entrance, under the arch. His accent has a real upper-class, English quality to it.

BUTLER
we welcome all guests from all walks of life.
(gesturing to the entrance)
Please, come inside.

Sam and Dean exchange a “don't trust this guy” look but they take up his invite and walk inside.

We CLOSE UP on the Butler's face as he watches with a sinister smile as the brothers enter the hotel.

INT. HOTEL LOBBY

It's even more magnificent on the inside. The architecture is sublime, the golden walls are lined with pearl-white supporting pillars, and the entire hotel is decked out in the most fantastical and elaborate Halloween decorations ever seen. Jack-O-Lanterns are placed everywhere, with the glowing embers illuminating the macabre pumpkin face carvings, and a huge banner reading “HALLOWEEN BALL: TONIGHT” is hanging above the receptions desk.

Sam and Dean are speechless.

SAM
This place is-

DEAN
A little out of our league I think, we should just find a phone and-

BUTLER
(laughing)
Nonsense. You're guests and you're welcome to stay here and as a matter of fact you've arrived just in time for our annual Halloween Ball.

He ushers them towards a huge set of double doors, which swing open revealing a gigantic ballroom filled with couples (the men dressed in fancy and elegant suits and the women wearing spellbinding dresses) dancing various old-fashioned dances (like Tango and Waltz).

The ballroom itself is just as amazing as the rest of the hotel, if not more so.

CUT TO:

An intricately designed and solid gold chandalier hangs down from the ceiling, surrounded by some Halloween decorations in the form of fake dummies designed to look like hanging victims.

CUT TO:

Lined up against one of the walls we PAN ACROSS a long banquet table, decked out in a red cloth with all kinds of food and champagne, and a few pumpkin Jack O'lanterns spread about.

ANGLE UP FROM THE TABLE TO The windows, which are long and vertical, allowing some of the moonlight outside to seep in.

CAMERA POV SHOT:

We move through the dancers all the way to the far stage and reveal a group of musicians, dressed in tuxedos and wearing Venetian masks as they play their instruments.

DEAN
(taking it all in)
Sweet...Child O' Mine!

SAM
That's one way of putting it.

BUTLER
Impressive, is it not?

Dean stares at the sight before him then, something catches his eye.

POV. DEAN

We see a beautiful young woman dancing with a man. She is in her early 20s with long blonde hair, perfect petite frame and a smile that could melt a thousand hearts. Her name is JENNIFER RAIMONDSON.

BACK TO SCENE

Dean says nothing but continues to watch her as she dances.

POV. DEAN

Jennifer glances up and sees Dean watching her, she gives him a “come hither” smile.

BUTLER (O.S.)
Of course you're welcome to take part in the festivities-

BACK TO SCENE

Dean and Sam turn around to face him.

BUTLER (CON'T)
-but first, let's get you checked into your room.
(gestures to the reception desk)
This way please.

Dean and Sam follow him over to the desk, which is being manned by a rather odd looking fellow with sunken eyes, dark hair and a meek exterior. He looks to be in his late thirties.

BUTLER
This is MR. SOWIN.

The Butler and Mr. Sowin give each other a cold stare.

BUTLER
(still glaring at Sowin)
He'll check you in and show you to your room.
(beat)
Won't you, Mr. Sowin?

Sowin looks at the Butler, with an expression that's somewhere between fear and hatred.

SOWIN
Of course.
(to Dean and Sam)
One moment.

Sowin walks to the back of the desk and fetches a guest registration book. Sam looks along the back wall of the desk and sees a row of Jack O' Lanterns lined up along the desk behind the counter.

POV. SAM

Looking along the row of lanterns we see that one is slightly different, it's not a pumpkin, but is in fact a hollowed out turnip. Just like all the others though, it has a small ember burning inside it.

BACK TO SCENE

SAM
(looking at the turnip)
Guess you ran out of pumpkins, huh?

Sowin walks back with the book and glances back at the turnip.

BUTLER
(to Sowin)
I've told you before Mr. Sowin, not to leave that revolting thing lying about-

Sowin scowls at the Butler. Something isn't quite right here.

BUTLER (CON'T)
(sternly)
-I want it removed at once.

SOWIN
(irritated by this order)
Of course, sir.
(to Sam and Dean)
Here, sign this please.

Dean and Sam sign the book, Dean hands over some cash to Sowin.

SOWIN
Much obliged.

He walks round the desk.

SOWIN
Now gentlemen, if you'd like to follow me, I'll show you to your room.

He leads them over to the elevator.

SOWIN
This way please.

POV. BUTLER

Watching the three of them get into the elevator.

CUT TO:

AERIAL SHOT

From the reception room ceiling we ANGLE DOWN to see Dean, Sam and Mr. Sowin enter the elevator. One of the “fake” hangmen decorations is also in frame and LIFTS its head to watch the three men step into the elevator.
These decorations apparently aren't fakes!

The Butler goes to leave but stops, turning around, as he gets the feeling he's being watched.

CLOSE UP on the Butler looking up at the hangman decoration.

POV. BUTLER

The decoration is back to normal, as though it had never moved.

BACK TO SCENE

The Butler gives a stern, thoughtful look before exiting the room.

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