Scene opens with Keel getting out of a taxi at the door of a restaurant. The door is opened by an attendant while another takes Keel�s coat. Keel walks to the stand as a young woman approaches:

Woman: �Yes, sir?�
Keel: �Reservations for three under Keel.�
The woman looks at her list, nods and says: �The others in your party haven�t yet arrived, would you care to wait for them in the lounge?�
Keel: �Sure. You�re Scottish, yes? From your accent I�d say north, maybe Inverness?�
Woman: �Very good! You�ve just a slight accent yourself. I�d say Edinburgh, but schooled in England?�
Keel: �Oh my, you�re very good yourself.�
Woman, laughing, showing Keel to a booth in the lounge : �I�ll get you a single malt. No self respecting Scotsman drinks anything else after all. I�ll come get you when the rest of your party arrives.�
Keel smiles his thanks, sits and waits.

Scene opens on Paul and Evelyn in the Hoopty mobile. They are pulling over in a driving rain on a lonely highway.

Evelyn: �Don�t tell me we�re out of gas! How lame can you be?�
Paul: �Oh please, what kinda� guy do you thing I am anyway? The gauge says half full. The motor just stopped. You�re not a mechanical sort by any chance? Keel�s gonna kill us for missing this little get together he�s got planned.�
Evelyn: �No kidding. He was so happy you decided to stick with us after that episode in Denver. I�m wondering what this wild goose chase is about though. Do you really think there�s some kind of witches� coven starting up?�
Paul shrugs and then gets his cell phone out of his pocket
Evelyn: �Hey! Aren�t you even going to try looking under the hood? We�ll be here all night waiting for a tow.�
Paul: �Evie, I wouldn�t even know where to start, plus�the flashlight is dead.�
Paul opens the phone and places a call.

Back to Keel in the restaurant, his phone rings.

Keel: �So where are you two? I�ve been waiting over an hour! Wait, you�re cutting out�what? OK, I�ll see you back at SQ. What?�
The woman approaches
Keel: �Can�t hear a thing Paul,�Paul? Paul?� The phone is dead.
Woman: �Is there a problem?�
Keel: �Yes, my friends won�t be joining me this evening, car trouble or some such nonsense.�
Woman: �I�ve very sorry to hear that. Would you like to take your table for dinner?�
Keel: �Oh, I guess not. I don�t really care to eat alone�.�
Woman: �Well, I haven�t eaten yet and if you don�t mind�I�m Jillian Westmont, by the way. I�m the owner of the restaurant.�
Keel: �That would be nice. I�d love to chat with you about the decorations in here, quite unusual, almost medieval.�
Gillian: �Yes, it took quite some time to assemble all these pieces. If you�ve time, I�ll tell you about some of my adventures in Hungary, scouring ancient castle ruins for bits of dungeon gear.�
Keel and Jillian take their seats at a table in the back corner of the dining room. Scene fades as a waiter approaches.

The next morning. Paul and Evelyn enter SQ, Keel comes out of his office.

Keel: �So, where�s my car?�
Paul: �It�s in a garage over on 44th. They weren�t sure what was wrong. It started right up as soon as they pulled it in last night. They�re going to take a look anyway.�
Keel: �How many calls did you make on your phone last night? Any trouble with those calls? Or was it just the one with me?�
Paul: �Funny, now that you mention it�I called information, then the tow truck, then Evie called home. No static or anything until I called you.�
Keel: �Odd, that.�
Evelyn: �Maybe it was just the rain. The storm was pretty intense.�
Keel: �Storm? We didn�t have any rain in the city. You two weren�t that far out�hmm.�
Evelyn: �So what did you do last night? You look a little�disheveled.�
Keel: �Well,�I had a nice meal�with a beautiful restaurant owner and we discussed a lot of arcane and boring things until the wee hours��
Paul and Evelyn laughing and eyeing each other knowingly.
Paul: �So, you didn�t miss us at all then?�
Keel: �Not really. Now, tell me about the animal sacrifices you went to investigate. What kinds of animals, how exactly were they killed and was the blood taken?�
Paul: �Lambs, disemboweled�and all the blood was drained�.pretty graphic scene.�
Paul opens a file as Keel and Evelyn gather to look at photos.
Evelyn: �So, what�s her name, when are you seeing her again and when do we meet her?�
Keel looks up: �Jillian, Jillian Westmont, tonight and you may never.�
Paul mimicking Keel: �Jillian, Jillian Westmont. You like saying that don�t you?�
Keel glares at Paul and says: �Watch it.�

It�s dark as Keel pulls to the curb in front of a house, gets out, goes to the door and knocks. Jillian opens the door, smiles at Keel as he goes in and pauses to look at a large black bird in the tree outside before she closes the door.

Back at SQ�10days/2 weeks later

Paul: �I�ve been interviewing a few of the families out in Still River. The ones who found the lambs. In the two weeks since we were last there, they�ve seen strange lights, heard chanting and drums late at night.�
Keel: �Are the police involved?�
Paul: �Well, yeah, they�ve made reports, but can�t find anything. The police seem to think it�s some kids partying out in the woods.�
Keel: �And they�re not concerned with the animals?�
Paul: �There haven�t been anymore since the first six.�
Keel: �Anymore found that is.�
Evelyn: �So what�s the plan? I mean, you should have some idea if witches are involved, being from the infamous Witch Hunter Keels.�
Paul: �The what?�
Keel: �Apparently some of my ancestors took it upon themselves to rid Scotland of witches in the 16th century. Now, of course, most of those accused were innocent, but there has always been some suspicion about a few of the families. Trouble is, these people were mainly landless peasants and no one cared enough to record information about all those who were burned at the stake. Most of the accused were just practicing one of the old religions of the area or even just herb lore. I can�t be absolutely sure of course, but this just doesn�t feel like witchery. More like some kind of summoning activity.�
Evelyn: �Summoning what?�
Keel: �More like who.�
Just as Keel reaches for a book off the shelf, the phone rings. Evelyn answers then hands the receiver to Keel.
Evelyn: �It�s your lady friend!�
Keel: �Shhh! She thinks I work with adults, please don�t disabuse her of that thought!�

Keel takes the phone and turns his back to Evelyn and Paul who smirk at each other and wander over to the other side of the room as if to give Keel privacy.

Paul: �Evie, have you noticed the difference in Alva lately? Messy, coming in late, forgetful and horribly cranky, I mean worse than usual.�
Evelyn: �Yeah, he acts like he�s been on some kind of drinking spree or something. And I�m pretty sure that he�s wearing the same shirt as yesterday.�
Paul: �Thought I smelled something.�
Evelyn punches Paul in the side.
With a sly chuckle, Paul: �I guess the girlfriend is keeping him busy.�
Evelyn: �But wouldn�t he be more interested in his appearance rather than less if he�s trying to impress someone?�
Paul: �Sounds like he�s making plans for tonight. I say let�s follow him and see what�s going on. We are friends after all and we�ve got to look out for each other.�
Evelyn: �You mean spy on each other? Remind me not to ever try to keep a secret from you.�

Keel drives down the same street as before, it�s storming and as he nears Jillian�s house, all the street lights go out on a huge clap of thunder and streak of lightning. Pulling to the curb, Keels stumbles out of the car and nearly falls. At the door, he is greeted by a waiting Jillian with the black bird on her shoulder. It flies off and she takes Keel�s arm to help him inside.

Jillian: �Oh my poor dear! You look awful. Well, Jilly will have you fixed up in no time.�

Cut to Paul and Evelyn hiding across the street in a bus wait stop.

Paul: �Hey that must be Jillian. What the hell! Did you see that?
Evelyn: �Oh my God! What is that?!�

A red cloud has enveloped Keel and pulled him into the house.

Keel is in a candle-lit room decorated with tapestries, large overstuffed chairs and a sofa with lots of pillows. He half falls onto the sofa, grabs his head, shakes it and says:

Keel: �I feel really dizzy for some reason. Just as I drove up I got this odd buzz in my head.�
Jillian: �It�s probably all the electricity in the air from the storm. Why don�t you relax, have a drink and tell me what you�ve been up to today.�
Jillian hands Keel a glass of scotch and runs her hand through his hair and down the side of his face.
Jillian: �Are you OK?�
Keel: �Mmmm, yes (taking a drink), much better now.�
Keel takes Jillian�s hand, kisses the palm and smiles up at her.
Keel: �So, are you preparing something special tonight? This is the first time we haven�t gone out for dinner.�
Jillian: �Something special, yes�actually, dinner is going to be a while. (Jillian takes a remote from a side table and points it at a shelf of electronic equipment across the room). I�ve been thinking how nice it would be to dance with you. I can tell you�re not one for dance clubs and that�s not really what I had in mind anyway. I just want to feel you hold me.�
Keel hesitates. Jillian sways and opens her arms invitingly. Keel puts down his drink and rises from the sofa.
The music is hypnotic. (Rob will have to come up with something!!), with a distant drum beat, a harp and just a hint of tambourine, very Celtic sounding and slow. Keel takes Jillian into his arms and they begin to sway to the music.
Keel: �I think dinner can wait.�
Jillian: �My thought exactly.�
Keel and Jillian smile and kiss (I mean a big smoocheroo!). Jillian turns, takes Keel�s hand and pulls him up the stairs. They enter a large bedroom with a four-poster bed hung with diaphanous fabrics. The music has followed them upstairs and they move to its rhythm. Somehow, their clothes are gone and Keel has his hands on the most incredibly soft, silky, satiny� then slippery�:

Jillian: �Ooh, tha sin gle mhath.�
Keel hears the words then suddenly realizes he knows the language, it�s Gaelic. His mind begins frantically to translate as she speaks:
Jillian: �Ooh, that�s very good.�
Keel: �De tha thu ag iarraidh (what do you want)?�
Jillian laughs and leads him to the bed.
She takes control and pushes him down. They move together and then roll as Keel takes his turn. He kisses her thinking:
She tastes like green apples. Tart, tangy, but with a hint of the sweetness of the ripe fruit to come. I didn�t shave, I hope she doesn�t mind�
Jillian: �No, ma �se ur toil e (no, please).�
Keel smiles and takes another bite of the apple, looks into her green eyes, weren�t her eyes blue? Something in the back of his mind says, �don�t look in her eyes, don�t look��
The pleasure seemed to go on forever, but Keel knew he couldn�t last very long with her. He heard her gasp and felt her tighten around him.
Keel: �uhh!�
His end came suddenly, crushingly, blindingly. He lifted himself off her as she whispered:
Jillian: �Tapadh leat (thank you).
Keel grins: �Se do bheatha (you�re welcome).� And slept.

Keel woke up at the sound of voices. Jillian was gone. He rose from the bed, pulled on his trousers and wandered out into the hall to find a bathroom. He opened the first door in the hallway and �
Keel is sucked into a dark, cold emptiness; there is not a speck of light. He can�t feel the floor, walls or anything around him-it�s as if he is floating in space. He hears voices whispering. He looks around, trying to see who or what the noise is coming from, but the voices swirl around his head.
Keel: �JILLIAN!!�
Voice One: �Did you think that hell was hot, Alva? It�s not you know. It�s cold and dark and empty.�
Voice Two: �And it�s endless�
Chorus of Voices; �And it�s endless�and it�s endless�and it�s endless��
FLASH THE DEMON FACE

It�s morning. Keel wakes lying on the floor as Paul and Evie rush into the room. The room is completely bare, wooden floor, broken window with bent and hanging blinds. Keel�s clothes are in shreds. He has cuts, scrapes and bites everywhere. What look like nail gashes still ooze blood down his face (ooh, sorry Alva!). Keel tries to sit up and does as Evie kneels to help.

Paul: �We�ve been trying to find a way into this house for hours. What happened?�
Keel: �I haven�t the slightest idea. My last memory was of falling and then�I guess I hit bottom and woke up? Wait�there were voices, but what they said�I can�t get my mind around.�
Evie: �Where�s Jillian? We saw her last night. She let you in.�
Paul: �Yeah, quite the looker! Gorgeous red head.�
Evie: �The woman I saw was a brunette.�
Keel: �The woman, or should I say entity, I was with last night was blonde, petite�>BR> Paul: �Then just as she turned, this dark ...thing I guess is the only way to describe it, swirled around you both and seemed to suck you into the house. It was incredible. We tried to get across the street, but it was like some kind of barrier was up and we couldn�t get through until dawn.�
Keel: �She was The Morrigan. Goddess of battle, strife and fertility. The bird should have clued me in, but I wasn�t looking at THAT bird! They are a trio and one of their guises is a large raven. That�s where I�ve heard that before! The voices, the raven song�it was the same! That�s how they found me.�
Evie: �Let�s get out of here.�
They all wander out of the now completely empty house.

Back at SQ. Keel is at a desk reading out loud from a book.

Keel: �All is sinister now to see, a cloud of blood moves over the sky, the air is red with the blood of men, and the battle women chant their song. That explains the missing blood from those lambs. Whoever summoned The Morrigan used the blood to call to them, entice them so to speak, to come into our world again. The second horseman of the apocalypse is war�The Morrigan ARE war. And they are loosed.

Episode ends.

Info on The Morrigan from Celtic Myths
Gaelic from Gaelic Phrases (sorry, my keyboard wouldn�t do the correct accent marks).