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by Brian Bara (Prospero761@gmail.com)

Rated:

Genre: Action/Adventure User Review:

A high-adrenaline thriller with science-fiction overtones. A widowed mother of two witnesses what she believes to be a kidnapping. But the kid-nappers have seen her, as well and she soon finds herself in a race against time to save her children and mother from the clutches of a sadistic madman, who may very well have been responsible for her husband's death, three years ago.

FADE IN:

EXT. THE VATICAN - DAY

FATHER JULIAN, 30’s, makes his way across St. Peter’s Square
with an attaché, and enters the basilica.

INT. A VATICAN OFFICE - DAY

An extraordinarily exquisite room, befitting the office,
power and wealth of the Vatican. Father Julian is seated at
a large table with CARDINAL VASQUEZ and CARDINAL WARNER, who
are seated opposite. The two Cardinals, both in their 60's,
are examining the documents from Julian’s attaché. They
confer quietly; then, after a moment, Vasquez speaks to
Julian.

VASQUEZ
You are convinced the findings are
genuine, Father Julian?

JULIAN
There is no doubt, Your Eminence.

WARNER
This information is most disturb-
ing, Father. Most disturbing.

JULIAN
I thought His Holiness was going
to…

VASQUEZ
(Interrupting)
You know that His Holiness is not
well. News of this nature would,
no doubt be... detrimental, at the
very least.

WARNER
This is something best left to the
experts, Father.

Warner and Vasquez rise, signaling an end to the meeting.

JULIAN
(Upset)
I’m sorry, but I don’t think…

            VASQUEZ
      (Sharply)
Nor should you, Father Julian.
      (Softer)
We appreciate all that you have
told and shown us. It has been
most... enlightening. But we must
insist that this information go
no further than this room.

JULIAN
(Standing)
You mean, that’s it? Thanks, good-
bye and shut up?

VASQUEZ
You have quite a future career in
the Church, Father. Investigators
of your skill and talent can go
far. I would hate to see anything
stand in the way of your advance-
ment within the Order.

JULIAN
(Getting angry)
If I didn’t know better, Cardinal
Vasquez, I might think that was a
veiled threat.

WARNER
Please, please. No one is threat-
ening anyone here. We shall take a
closer look at the situation and a
decision will be made. All we ask
is a little... discretion on your
part, until such a time.

            JULIAN
      (Resigned, but
       unhappy)
I see. Of course. Thank you.

VASQUEZ
Oh, no. Thank you, Father.

CU on Julian, who can barely contain his anger as the two
Cardinals exit dismissively.

EXT. A RESTAURANT PARKING LOT - NIGHT

The scene is muted, glowing softly as though through gauze.
It is a dream.

A white mini-van pulls into the lot. The camera dollies
toward the driver’s side window where we see LINDSAY BUTLER,
an attractive woman in her early 30’s, behind the wheel.

She turns off the engine, drops the keys in her purse and
reaches for a small bag on the passenger’s seat. She removes
a greeting card, the front of which reads: “To My Beloved on
Our Anniversary.” She roots through her purse for a moment
and produces a pen. She signs the card: “Happy Anniversary,
My Darling! Loving You Forever, Lindsay!” She puts the pen
away and regards the signature. Impulsively, she applies
more lipstick and then kisses her signature, before placing
it in the envelope and sealing it. She applies more lipstick
and then kisses the flap. She writes the name ‘Aaron’ across
the front of the envelope, and then adds a kiss mark below
it. She puts the card in her purse and gets out of the
mini-van, carefully locking the door.

There is a squeal of tires and what sounds like a gunshot.

She turns to look and sees a red sport coupe come careening
around the corner, slamming, out of control, into an
oncoming truck. The coupe bursts into flames as Lindsay
screams in horror.

LINDSAY
Aaron! AARON!!

INT. LINDSAY'S BEDROOM - DAY

An alarm clock is buzzing loudly. Lindsay, her eyes still
closed, but crying, rolls over in bed and slams her hand
down on the alarm button.

The camera pulls back to reveal a nicely appointed, large
suburban bedroom. Lindsay reaches over to the empty side of
the bed, groping as though she expects someone to be there.
Her eyes open. She stares at the empty pillow for a moment,
sighs and gets out of bed, wiping at her wet eyes.

INT. THE BUTLER KITCHEN - DAY

Lindsay, wearing a suit, is pouring herself a cup of coffee
while CLAIRE DEVLIN, 50's, her mother, cooks breakfast.
Lindsay sips her coffee and then calls out to her children.

LINDSAY
Breakfast!

CLAIRE
I don’t know why I bother. They
don’t eat.

LINDSAY
Really?

CLAIRE
They act like they’d sooner eat
cow chips than my chipped beef. I
swear, if it isn’t deep fried or
dripping with butter, Christian
won’t touch it. And Tabitha just
informed me that she’s become a
vegan. Isn't that some kind of
'Star Trek' thing?

LINDSAY
(Laughing)
You should be used to their phases
by now. Next month, Tabby will be
on Atkins and Chris will be refus-
ing to eat dairy.

CLAIRE
When I was a kid, my brothers and
I ate what was set before us, or
we didn’t eat at all.

LINDSAY
(Calling again)
Last call! Don’t make me come up
there!

CLAIRE
And we came when we were called!

LINDSAY
Mother, I love you to death. You
know that. But you live with us to
save us both money, not so you can
(MORE)

LINDSAY (cont'd)
give me unsolicited advice on how
to raise my children.

CLAIRE
You should have sued the insurance
company, Lindse. I would have.

The sound of feet is heard pounding down the stairs. Lindsay
turns toward it as Claire sticks her tongue out at her.

Lindsay’s children; TABITHA, 16 and CHRISTIAN, 8, bound into
the kitchen.

Tabitha affects a “Goth” image, complete with black hair,
pale makeup and blood red lipstick. Her black clothing
consists of layers of shredded black lace, silk and netting,
accented by bits of leather and steel.

In contrast, Christian is a typical 8 year-old, in jeans, a
“Sponge Bob” t-shirt and sneakers.

LINDSAY
(To her kids)
I’m glad you could find it in your
hearts to join us, this morning.

TABITHA
(Sitting)
Are there pancakes?

CLAIRE
(To Tabitha)
Waffles.

CHRISTIAN
(Sitting)
Eggs?

CLAIRE
(To Christian)
With bacon.

TABITHA
Eeeewww!

CHRISTIAN
(To Tabitha)
Says you...

LINDSAY
Enough! Stop it, the both of you.
We are going to have breakfast as
a family and no one is going to
complain or make fun or criticize.

TABITHA
I can’t. Rob’s picking me up in
like five minutes.

LINDSAY
You will.

TABITHA
(Whining)
But Mo-om!

LINDSAY
No buts! Call Rob and tell him you
will see him at school.

TABITHA
But...

LINDSAY
What did I just say?

Tabitha “harrumphs” rather loudly, pulls out her cell phone
to call her boyfriend and moves to another room.

Claire begins to pile their plates with food from an
assortment of platters and frying pans, which almost seem to
appear and disappear at a magical speed.

The phone rings.

CLAIRE
I'm up, I’ll get it.

Claire sets down the food and picks up the phone.

            CLAIRE (cont'd)
      (Into phone)
Hello? One moment, please.
      (To Lindsay)
It's for you.

Lindsay gets up, sighing, and takes the portable phone from
Claire, who goes to wash dishes.

LINDSAY
(Into phone)
Hello?

MALCOLM (O.S.)
Lindsay Butler?

LINDSAY
Who’s calling?

MALCOLM (O.S.)
My name is Craig Malcolm.

LINDSAY
(Unsure)
Yes...?

MALCOLM (O.S.)
I worked with... with Aaron.

            LINDSAY
      (Recognizing the
       name)
Oh. Yes, of course. How are you,
Doctor Malcolm?

MALCOLM (O.S.)
(Nervously)
Mrs. Butler... Lindsay...

LINDSAY
(Annoyed)
Yes...?

MALCOLM (O.S.)
I’m sorry. I’m… ah... I... I need
to see you. It's... important.

JULIAN
About?

MALCOLM (O.S.)
(After a pause)
Aaron.

LINDSAY
(Cold)
We haven’t actually met before,
have we, Craig?

MALCOLM (O.S.)
No, but if you’ll just...

LINDSAY
(Interrupting)
You should know, Dr. Malcolm, that
I am no longer discussing that
particular topic. Please do not
call me again. Goodbye

Lindsay bangs the phone off as Claire clucks disapprovingly.

Lindsay glares at her mother.

LINDSAY
(Furious)
It’s been over three years, for
Christ’s sake! Can’t they just
leave it alone?

Tabitha returns, sulking. She takes her seat and starts to
pour syrup over her waffles, without looking at her mother.

LINDSAY (cont'd)
(To Tabitha)
Oh, honestly. The world doesn’t
revolve around you, Tabitha, no
matter how much you wish or
believe it so.

TABITHA
(Apathetically)
Whatever.

CLAIRE
(At the sink)
Hey, Tabby! How about I pick you
up after school and we do some
shopping?

            TABITHA
      (Brightening
       slightly)
Okay! Can we go to Hot Topic?

LINDSAY
(Adamant)
Absolutely not! Mother, she’s got
to learn that sometimes life isn’t
fair. You won’t be around forever
to give her a consolation prize
when she doesn’t get her way.

Claire “harrumphs” herself, and begins to rattle the pots
and pans as she puts them away.

Tabitha tries to hide a smirk as Lindsay shoots daggers at
her mother.

Christian continues to shovel food in his mouth, seemingly
oblivious.

LINDSAY
Christian Aaron Butler! Slow down!
You’ll choke to death!

Christian answers through a mouthful of ketchupy eggs, bacon
and waffles.

CHRISTIAN
No I won't!

TABITHA
(Grimacing)
Eww! That’s so gross!

Christian laughs, spewing eggs, ketchup and bacon. Tabitha
screams and jumps up from her chair as her blouse is
splattered with Christian’s food.

TABITHA
(To Christian)
Oh great! Thanks a lot, asshole!

Tabitha storms upstairs as Lindsay stands and calls after
her.

LINDSAY
(Frustrated)
Tabitha Devlin Butler! I will not
have name-calling or profanity in
this house!

Claire’s hand reaches onto Lindsay’s shoulder and gently
pushes Lindsay back into her seat.

CLAIRE
Let her be, Lindse.

Lindsay looks in her mother's face for a moment. Without
looking at Christian, she says:

10.

LINDSAY
(Through her teeth)
Go brush your teeth, Chris.

Christian looks at the two of them, without moving.

LINDSAY (cont'd)
(Barely in control)
Now!

Christian gulps down his orange juice and hurriedly leaves
the table, his napkin still tucked into his collar.

As soon as he is gone, Lindsay bursts into tears and
collapses into Claire’s open arms.

CLAIRE
(Soothingly)
Sh! There now. It’s alright.

LINDSAY
(Crying)
Oh, Mom! It’ so hard without him.
I knew it was going to be hard,
but this... If Aaron were here...

Claire takes Lindsay by the shoulders and looks at her.

CLAIRE
Oh, my poor darling. It is going
to get easier, I promise. But…
it’s going to get harder, first.

LINDSAY
I miss him, Mom. I still miss him
so much.

CLAIRE
And you always will. I miss your
father every single day. But I
have a feeling that I’ll see him
again. And he’ll want to know that
I took good care of our baby while
he was gone.

11.

LINDSAY
I always thought you were an
agnostic.

CLAIRE
(Shrugging)
A hopeful agnostic.

They both laugh and Lindsay wipes her tears away with her
fingers, sniffling a bit.

LINDSAY
I thought you said they didn’t
eat? Christian was going to ex-
plode if he ate any more.

CLAIRE
What, I can’t be wrong once in a
while?

They laugh again.

LINDSAY
I do love you, Mom. Thanks.

CLAIRE
That’s what mothers are for, you
know. Just wait until Tabby says
‘thank you’ for the first time.
You’ll realize it’s all worth it

LINDSAY
But what if she doesn’t?

CLAIRE
Oh, she will. You just did, didn't
you?

Lindsay laughs again, in spite of herself, and Claire hugs
her.

EXT. LARCHMONT HIGH SCHOOL - DAY

A typical high school morning. Students talk and walk. Some
hang in groups while others hurry past to avoid being the
brunt of some taunt or cruel trick.

12.

Lindsay pulls up in an SUV, with Tabitha in the front
passenger seat and Christian in the back, playing a
hand-held video game.

INT. THE SUV - DAY

As Christian plays a video game in the back seat, Tabitha
unbuckles her seatbelt and opens the door, but Lindsay puts
her hand out to stop her from exiting the SUV.

LINDSAY
Tabby. I’m sorry, but sometimes
you just have to deal.

TABITHA
(Not looking up)
I know.

LINDSAY
And don’t forget; I have a house
to show at three, so your grand-
mother will be picking you up. And
no mall! You know that Chris will
squeal the minute I get home.

            CHRISTIAN
      (Not looking up
       from his game)
Not if Gramma pays me twenty bucks
not to, like last time.

Lindsay whips around, stunned.

LINDSAY
What!?!

            CHRISTIAN
      (Looking up,
       grinning)
Gothcha!

TABITHA
I gotta go; I’ll be late.

Tabitha gets out of the car and Lindsay sighs, pulling away.

Lindsay speaks to Christian, glancing at him in the
rear-view mirror.

13.

LINDSAY
(To Christian)
I don’t suppose she talks to you?

CHRISTIAN
Even if she did, I wouldn’t lis-
ten. She’s retarded or something.

LINDSAY
Chris, You know how I feel about
name-calling!

            CHRISTIAN
      (Changing the
       subject)
Is Gramma picking me up, too?

LINDSAY
Yes. And I mean it, Chris; don’t
let Gramma take her to the mall.

CHRISTIAN
No way. Gramma already promised to
help me with my Little Big Horn
diorama.

LINDSAY
Good. It’ll keep her occupied.

EXT. A ROAD - DAY

Lindsay’s SUV continues down the road.

EXT. BUTLER REALTY - DAY

Lindsay pulls into the parking lot next to her realty
office.

As she gets out of the SUV, she takes notice of a yellow
Hummer parked in the other spot and looks at it, curious.

INT. BUTLER REALTY - DAY

A small realty office with two desks. Behind one sits SARA,

14.

30’s, Lindsay’s assistant. Sara is busily tapping away at
her PC’s keyboard as Lindsay enters.

SARA
Hey, Lindse.

LINDSAY
Morning, Sara. Anything new?

SARA
No. Just the usual. The Clarks
called to confirm their three
o’clock.

LINDSAY
Is that your Hummer in the lot?

SARA
God, no. It’s my husband’s.

LINDSAY
Oh. I was wondering.

SARA
The Celica is in the shop, and
Mickey has off today, so I drove
his in. I hate the damned thing.
Too big.

LINDSAY
Yeah, it didn’t strike me as some-
thing you would drive.

SARA
You here all day, today?

Lindsay sets a large manilla envelope on Sara's desk.

LINDSAY
Actually, I just stopped by to
drop off the paperwork on the
Wilson house. I have a class this
morning and a million errands to
run before I show the Clarks that
new listing.

SARA
Okay. I’ll call your cell if I
need you.

15.

LINDSAY
Good. I’ll check in after I’m fin-
ished with the Clarks.

SARA
Alrighty, then. Ciao

LINDSAY
Banana.

Lindsay starts to leave as Sara continues to type.

Sara remembers something and stops Lindsay.

SARA
Oh, hey! I almost forgot. I have a
message for you.

LINDSAY
Oh?

SARA
Yeah... let me see...

Sara rummages through the papers on her desk, finally
locating a bright pink sticky note.

SARA (cont'd)
Here it is. A Julian York called.
He says it’s urgent, but personal.

LINDSAY
And that’s all he said? No number
or anything?

SARA
That’s all he said. No number or
anything. He did say he would call
back, though.

LINDSAY
(Sarcastically)
Right. I’ll be waiting by the
phone. I really have to run...

SARA
Okay. Ciao. Again.

16.

LINDSAY
(Going out)
Okay. Banana. Again.

INT. A TAE KWON DO STUDIO - DAY

Lindsay works out with the class as the teacher barks out
instructions. It is clear that Lindsay is quite good.

INT. A SUPERMARKET - DAY

Lindsay pushes a cart up and down the aisles, examining
labels as she places items in her cart and crosses them off
of her list.

EXT. A SUPERMARKET PARKING LOT - DAY

Lindsay pushes a full cart of grocery bags out of the store.
She arrives at the SUV and lets go of the cart to unlock the
tailgate. The cart starts to roll away. By the time Lindsay
notices, the cart has gained momentum and is heading toward
a fence at the end of the parking lot. She begins to chase
after it.

LINDSAY
Hey! Oh my God! Hey!

Before she can catch up to it, the cart smashes into the
fence and topples over, spilling groceries onto the macadam.

LINDSAY (cont'd)
Aw, shit!

Lindsay slows and approaches the fence. The sounds of
speeding traffic can be heard in the distance.

As she reaches the cart, Lindsay looks through the fence,
which faces a very steep embankment and a highway below,
where cars zoom past.

Sighing heavily, Lindsay turns the cart right-side-up and
begins to gather up her fallen groceries.

LINDSAY
Be glad you didn’t buy damn eggs,
Lindsay!

She continues to gather her items.

17.
From the highway below, comes a squeal of tires. Looking down towards the sound, Lindsay gasps, seeing a pickup truck as it skids onto the median and turns over on its side, before sliding to halt. A black van immediately pulls up behind the truck. Several men, all dressed in black and wearing ski masks, pour out of the van. Three of the men rush to the pickup, while three or four others seem to guard the area. All of them carry rather imposing weapons. Lindsay stares, gape-jawed, her groceries forgotten. The first three men pull another man out of the pickup’s cab. He struggles violently. We can hear that he is yelling, but cannot make out what he is saying over the sound of the traffic. The three men rush the man to the van and force him inside. As the others fall in behind, one turns and looks up at Lindsay. Lindsay gasps again, lightly, and holds her breath. The man turns toward the van and another man comes out. The first speaks to the second, and then he points up, directly at Lindsay. The second man nods and both jump into the van, slamming the door behind them. In a panic, Lindsay drops the two items in her hands and runs toward her SUV. She presses the remote opener and throws the door open, getting in while trying to jam the key into the ignition. She misses several times, but finally manages to fit it in and start the engine. The SUV’s door and seatbelt alarms ring madly. She slams the door closed and throws the transmission into reverse, without buckling her seatbelt or checking to see what or who might be around her. The SUV’s rear-end smashes into a woman’s shopping cart, spilling its contents all over the parking lot. Lindsay doesn’t even notice, and the SUV screeches away as the woman yells obscenities at her.


INT. THE SUV - DAY

Lindsay, breathing hard, dumps her purse onto the passenger seat and grabs her cell phone, dialing 911. The phone beeps in her ear. She looks at the display, which reads: ‘Low Battery.’ She looks up in time to see the traffic light turn red as

18.

she speeds through it, almost causing an accident.

She glances in the rear-view mirror and sees the black van
turning onto the road a few blocks behind her. She throws
the phone to the floor, screaming in frustration.

Suddenly, she remembers her GPS service. She punches a red
button above the rear-view mirror and a voice responds
almost immediately.

DAVID (O.S.)
SecureSat, this is David. What’s
the nature of your emergency, Mrs.
Butler?

LINDSAY
I need the police! I just wit-
nessed a kidnapping or something!
And they saw me!

EXT. A SURBANAN BUSINESS DISTRICT - DAY

Lindsay’s SUV continues down the street, past strip malls
and chain restaurants, as the black van approaches.

Horns blare and tires squeal as the van maneuvers around the
traffic to get closer to the SUV.

INT. THE SUV - DAY

LINDSAY
(Screaming)
Oh God! They’re right behind me!

DAVID (O.S.)
I’ve notified the police as to
your location. They should be
arriving shortly, Mrs. Butler.

19.

EXT. A SUBURBAN BUSINESS DISTRICT - DAY

Lindsay looks in the rear-view mirror to see the black van
suddenly make a right turn to avoid the accident. She looks
and makes the next left into a strip mall parking lot,
narrowly avoiding yet another accident, as tires squeal and
horns blare angrily.

The SUV makes its way among the cars in the lot as Lindsay
searches for a parking space.

INT. THE SUV - DAY

DAVID (O.S.)
Mrs. Butler? Are you alright?

LINDSAY
I... I think so...

DAVID (O.S.)
The police will be there soon.
Stay put and you’ll be fine.

Lindsay looks in the side view mirror and sees the black van
pulling into the lot. Her eyes widen in fear.

She pulls into a parking space and shuts off the engine.

LINDSAY
(Opening the door)
David? I’m leaving.

DAVID (O.S.)
The police are coming, Mrs. But-
ler. Stay where you are.

LINDSAY
David, they’re here.

DAVID (O.S.)
The police?

            LINDSAY
      (A frightened
       whisper)
No.

Lindsay slips out of the SUV, grabbing her purse and cell
phone.

20.

CU on the ‘SecureSat’ speaker.

DAVID (O.S.)
Mrs. Butler, please wait for the
police. Mrs. Butler? Mrs. But-
ler...? Hello...?

EXT. A STRIPMALL PARKING LOT - DAY

Lindsay is making her way among the parked cars, trying to
stay out of sight, while keeping the black van in hers.

The van slowly cruises among the cars.

Lindsay watches carefully, sees a break and makes a dash for
the stores. Hoping to lose herself in a crowd, she joins a
group of people standing at a bus stop shelter. Her eyes
rarely leave the van.

The van continues to cruise the lot, slowly moving down a
row of cars, facing away from the shopping center.

A bus turns into the lot and Lindsay begins to dig
frantically in her purse for change.

The van reaches the end of a row and begins to turn back
toward the center.

Lindsay ducks behind a tall man as the bus pulls up,
obscuring her view of the van and the van’s view of her.

She joins the crowd and boards the bus, keeping her head
down.

INT. A PUBLIC TRANSIT BUS - DAY

Lindsay pays her fare and makes her way to a seat, watching
as the van turns into the row where she parked.
Lindsay’s POV. The bus starts to pull away as she watches
the van stop at her car.

Several men get out of the van. They no longer wear ski
masks, but they are too far away to make out distinct
features.

One is blond; one is Afro-American; one might be Italian or
Latino; another, a non-descript brunet. All of them are big
and menacing; muscles bulging ominously through their black

21.

clothing. They carry handguns and approach the SUV with
caution. The few other people in the parking lot seem to pay
them no attention.

Lindsay watches intently, noting the absence of a license
plate on the van.

EXT. A STRIP MALL PARKING LOT - DAY

The bus pulls out of the lot. We see Lindsay watching
through one of the windows.

The camera swings around to where the men have gotten the
SUV open, only to find it empty. They turn and begin to scan
the lot.

Sirens are heard and as the bus makes its way down the road,
a police cruiser passes the bus and turns into the parking
lot.

INT. A PUBLIC TRANSIT BUS - DAY

Lindsay breathes a sigh of relief and crumples into a seat,
next to an ELDERLY WOMAN.

ELDERLY WOMAN
(To Lindsay)
Are you alright dear?

LINDSAY
(Still shaking)
Honestly, no. But I will be.

Lindsay begins to laugh uncontrollably and the Elderly Woman
looks at her as though she were crazy.

EXT. A SUBURBAN BUS STOP - DAY

The bus pulls up to the stop and Lindsay gets off, looking
about to make sure she hasn’t been followed.

As the bus pulls away, Lindsay makes a bee-line for the row
of payphones nearby. Shaking, she forces change into a
phone’s coin slot and dials.

22.

INT. THE BUTLER KITCHEN - DAY

CU on the phone as it rings.

INT. A SUBURBAN BUS STOP - DAY

Lindsay listens as the phone rings in her ear.

EXT. THE BUTLERS' BACK YARD - DAY

Claire is working on Christian's diorama of the Battle of
Little Big Horn, meticulously trimming cardboard scenery
with a box cutter. She turns toward the house as she hears
the phone ring and slips the cutter into the back pocket of
her jeans.

CLAIRE
I'm coming, I'm coming!

EXT. A SUBURBAN BUS STOP - DAY

Lindsay sighs heavily as the phone continues to ring.

LINDSAY
Come on, Mother! Where are you?

INT. THE BUTLER'S KITCHEN - DAY

Claire enters through the sliding glass doors and reaches
for the phone. As she does, a black-gloved hand clamps down
on hers. Her eyes widen in fear and she gasps.

EXT. A SUBURBAN BUS STOP - DAY

Lindsay listens as the phone rings once more and the
answering machine picks up.

LINDSAY (O.S.)
(On machine)
Hi. You’ve reached the Butlers.
We’re unable to answer your call
right now, but leave a message
and we’ll get back to you as soon
as we are able.

23.

LINDSAY
(Into phone)
Shit! Mom? Mom, pick up! Mom!

INT. THE BUTLERS' KITCHEN - DAY

CU on Claire’s face. The black-gloved hand is clamped
tightly over her mouth as she is dragged away. Her eyes
widen as she hears Lindsay’s voice.

EXT. A SUBURBAN BUS STOP - DAY

Lindsay hangs up the phone, sighing

LINDSAY
(Frustrated)
Shit! Where the hell is she?

Her eyes widen as she makes a realization.

LINDSAY (cont'd)
Oh God!

She digs out more change and plunges it into the phone,
dialing frantically. After a ring or two, she speaks.

LINDSAY (cont'd)
(Into phone)
Sara? I need a big favor... now.

X-FADE to:

EXT. A SUBURBAN BUS STOP - DAY

A few minutes later

Lindsay watches as Sara pulls up in the Hummer.

SARA
Are you okay?

            LINDSAY
      (Getting in the
       Hummer)
I will be. Let’s go.

Sara pulls away.

24.

INT. THE HUMMER - DAY

SARA
What’s going on, Lindse?

LINDSAY
I wish to Christ I knew.

SARA
You need to go to the police,
Lindse.

LINDSAY
No! I think... You didn’t see
these guys, Sara. They meant
business. The police... I just...
I mean, I don’t think they’re
equipped for this sort of thing.

SARA
The FBI, then?

LINDSAY
I think calling any government
agency would be a mistake. For
now, I just want to get the kids
and get to somewhere safe.

SARA
(Unsure)
Lindse...

LINDSAY
Sara, please. Trust me on this.

Sara looks at Lindsay for a moment and then sighs, knowing
she won’t win.

SARA
(Giving in)
Where to, first?

EXT. ANDREW JACKSON ELEMENTARY SCHOOL - DAY

Lindsay gets out the Hummer, looks about and then dashes
into the school.

25.

INT. AN ELEMENTARY SCHOOL OFFICE - DAY

Lindsay enters the office, to find no one about.

LINDSAY
(Calling out)
Hello? Hello? Is there anyone
here?

A door opens and a SECRETARY, 50’s, comes through it.

SECRETARY
May I help you?

LINDSAY
I need to pick up my son, Chris-
tian Butler. There’s been a... a
family emergency.

The Secretary is puzzled at first, then a light seems to
dawn.

SECRETARY
(Overly bright)
Oh! Oh, I know. I’m so sorry, Mrs.
Butler.

LINDSAY
(Puzzled, herself)
You... you know?

SECRETARY
Well, yes. Your mother just picked
Chris up about five minutes ago.
She told me all about it. Your
brother was a hero, dear.

            LINDSAY
      (Completely
       confused, now)
What? My... my mother was here?

SECRETARY
Yes. She and your older brother.
Quite a handsome fellow, too, your
brother. Well, they told me all
about how your younger brother was
killed in Iraq this morning.

26.

            LINDSAY
      (With dawning
       horror)
I... I don’t have any brothers. Oh
my God! Tabitha!

Lindsay turns and runs out of the office, leaving a very
confused Secretary to stare after her.

INT. THE HUMMER - DAY

Sara smokes, looking toward the school doors as she sees
Lindsay come running out at full speed. Lindsay throws open
the passenger door and practically leaps in.

SARA
(Startled)
Lindse, what the fu...

LINDSAY
(Cutting her off)
They’ve been here. Go! Go! Go!

The Hummer peals away from the school with a squeal and a
roar.

SARA
Can we please go to the cops, now?

LINDSAY
After we get Tabby.

INT. A GIANT WAREHOUSE - DAY

A poorly lit, abandoned warehouse, filled with crumbling
pallets; rusting machinery; canvas-covered crates; dust and
rats.

In the middle of the enormous room, tied to a chair and
blind-folded, is CRAIG MALCOLM, late 20’s. He is the man
Lindsay saw being pulled from the truck. He is slumped over,
unconscious and surrounded by several of the men who
abducted him. Two of them hold guns on him.

GUNNER, an enormous Arian of indeterminate age, throws a
bucket of water on Malcolm, who sputters and shakes into
consciousness.

Gunner speaks with a slight accent.

27.

GUNNER
Welcome back, Doctor Malcolm.

Malcolm continues to cough and sputter. Blood leaks from his
nose and the corner of his mouth; angry bruises peek out
from under his blindfold.

GUNNER (cont'd)
My benefactors are very unhappy
with your lack of cooperation,
Doctor. In fact, they have advised
me to employ any means I wish to
use, to extract the required in-
formation.

One of the other men pulls a cross-shaped branding iron out
of a nearby fire and presses it to a raw steak. The steak
sizzles as the brand sears the meat.

Malcolm raises his head toward the sound.

GUNNER (con't)
You know that neither of us wants
me to make you any more uncomfort-
able than you already are. Now, I
am going to ask you one more time;
where is that nanochip?

MALCOLM
(Weakly)
I already told you... I don’t...
I don't know. Please...

Gunner sighs loudly.

GUNNER
Doctor Malcolm, I’ve already
told you that we know you were
there when Doctor Butler hid the
chip.

MALCOLM
I have no idea what you’re talking
about. What chip?

Gunner sighs again and nods. The other man approaches
Malcolm with the branding iron.

28.

CU on Gunner smiling as, off screen, we hear the sizzle of
burning flesh, immediately followed by Malcolm’s screams.

EXT. LARCHWOOD HIGH SCHOOL - DAY

The Hummer screeches to a halt in front of the school and
Lindsay bolts, letting the door hang open as she runs toward
the entrance and Sara calls after her.

SARA
Slow down! You’re going to break
your neck!

INT. THE WAREHOUSE - DAY

Smoke wafts from the fresh, cross-shaped burn on Malcolm’s
shoulder. He is whimpering and tears stream out from under
his blindfold.

Gunner sprays the air with an air-freshener.

            GUNNER
      (Wrinkling his
       nose)
I do so hate that smell. Now, let
us try this one more time... Where
is the nanochip?

MALCOLM
(Crying)
Alright, alright. I know what chip
you mean. At least I think I do...

GUNNER
(Soothingly)
Of course you do.

MALCOLM
But I swear to God, I have no idea
what Aaron did with the damn
thing!

GUNNER
(Softly)
Go on...

29.

MALCOLM
He said something about taking
good care of it.

GUNNER
When did you see it last?

MALCOLM
The day before he died.

GUNNER
And where was that?

MALCOLM
In the lab.

Gunner regards Malcolm for a moment.

GUNNER
(Grinning)
I don't believe you!

INT. LARCHWOOD H.S. MAIN OFFICE - DAY

Lindsay bursts through the door wildly, causing everyone in
the office to stare as their conversations come to an abrupt
halt.

INEZ MARTIN, 50’s, approaches her, smiling despite Lindsay’s
wild look and demeanor.

INEZ
May I help you?

LINDSAY
I’m Lindsay Butler. I’m here for
my daughter, Tabitha. There’s a
family emergency.

            INEZ
I’m sorry to hear that, Missus
Butler.
      (To another woman
       in the room)
Elise, find out where Tabitha But-
ler is and have her brought up.

30.

Elise nods and goes into another room.

Inez turns back toward Lindsay.

INEZ (cont'd)
(To Lindsay)
I’m Inez Martin, the Office Man-
ager. I hate to ask, Missus But-
ler, but I’m afraid I must see
your ID.

LINDSAY
Then she’s still here?

INEZ
As far I know, yes.

            LINDSAY
      (Instantly
       relieved)
Oh, thank God.

INT. THE WAREHOUSE - DAY

Malcolm is screaming as the branding iron is pressed against
the side of his neck, smoking and sizzling.

            MALCOLM
      (In excrutiating
       pain)
He showed it to me... and said he
was going... to hide it. He... he
had a syringe. I know he didn’t...
inject himself... He... he...

Malcolm slumps over, passing out from the pain.

Another man, ANDREW, approaches with more water, but Gunner
stops him.

GUNNER
He’s no good to us if we kill him,
Andrew. Let him rest. We have
time. Besides, we must prepare
for our other guests.

Gunner grins in sadistic anticipation and sprays the air-
freshener again.

31.

INT. LARCHWOOD H.S. MAIN OFFICE - DAY

Lindsay is putting away her driver’s license as Elise
returns and speaks softly into Inez’s ear.

Lindsay watches intently.

INEZ
Thank you, Elise.

Elise leaves again.

LINDSAY
What is it? What's wrong?

INEZ
I’m afraid Tabitha is truant, to-
day, Mrs. Butler.

LINDSAY
But I dropped her off, myself.

INEZ
I'm sorry, Tabitha apparently
never made it inside the building.

LINDSAY
Oh my God!

She turns to leave and then turns back again.

LINDSAY (cont'd)
Ms Martin, is Rob Savini truant
today, too?

INEZ
Rob Savini? That little punk was
expelled last year.

LINDSAY
Tabby, you stupid little...
(To Inez)
Do you know if any of her friends
are truant or absent today?

INEZ
I’m really not supposed to give
out information on other students,
Missus Butler. I shouldn’t even
have told you about the Savini
(MORE)

32.

INEZ (cont'd)
boy. In fact,I shouldn't have said
anything about him at all.

LINDSAY
(Desperate)
Look, I have to find her! Her life
may be in danger! I’m begging you,
please!

Inez studies Lindsay’s face for a few beats. She sighs and
motions for Lindsay to follow her.

INEZ
Come on, then. Let’s go see what
we’ve got. I have a daughter of my
own, you know.

EXT. A WOOD - DAY

Tabitha is seated around a small fire, joined by several
other teenagers in Goth drag. A boom box plays dark and
violent Goth music as they pass a joint around.

ROB SAVINI, 17, takes a long pull on the joint, holds it and
then draws Tabitha to him, expelling the smoke into her
mouth as they kiss deeply.

Tabitha pulls away, smoke leaking from her mouth and nose.

TABITHA
How’d my tonsils taste, asshole?

The others, including Rob, laugh.

PAUL, 16, reaches out toward the joint in Rob’s hand.

PAUL
Yo dude, you passin that thing or
what?

Rob takes another toke, stands and makes to move toward
Paul, but turns and gives it to TRINI, 16, instead.

Trini giggles and sticks her tongue out at Paul. She takes a

33.

toke and passes the joint to ARIEL, 16.

Ariel has an amazing array of piercings, with rows of rings
along her ears, eyebrow and lip, many of which are connected
to others by delicate chains. She takes a deep
pull on the joint.

Ariel speaks while holding in the smoke and gesturing to
Paul with the joint.

ARIEL
Paul... ‘ere...

Paul reaches for the joint, but she pulls it away at the
last second and passes it to KEVIN, 17.

ARIEL (cont'd)
(Expelling smoke)
Psych!

The others laugh. Kevin walks over to Paul with the joint,
takes a long pull on it and then pulls Paul to him, kissing
him and blowing smoke into his mouth.

ROB
Oh, gross, Dudes! Get a friggin
room or something!

TRINI
Gay sex is so hot!

Kevin and Paul have begun to furiously make out.

Tabitha takes the joint out of Kevin’s hand and draws on it.

Rob takes Tabitha in his arms and begins to kiss her throat
and face.

ROB
(Between kisses)
What time do you have to be back
at Lamewood?

TABITHA
My grandmother is picking me up at
two-thirty.

            ROB
      (Looking at his
       watch)
            (MORE)

34.

ROB (cont'd)
Plenty of time. Wanna get out of
here?

TABITHA
(Grinning)
Why? Got something in mind?

ROB
(Grinning back)
No, but I got whole lotta some-
thin in my pants.

As the two couples continue to make out, Trini takes the
joint and shares it with Ariel, laughing.

Suddenly, The music stops and they all turn to see Julian
holding the boom box. He does not wear his collar.

JULIAN
Which one of you is Tabitha
Butler?

ROB
(Chest pounding)
Who the fuck are you?

JULIAN
I said, which one of you is
Tabitha Butler?

ROB
She’s not here. Now fuck off, ass-
hole!

JULIAN
Young man, I know that she is
here. Now, from your eloquent vo-
cabulary, I must assume that you
are Rob and the young lady in your
arms is Tabitha.

Rob removes himself from Tabitha’s arms and advances angrily
on Julian.

            ROB
      (Swinging at
       Julian)
You fuckin pervert...

35.

Julian catches Rob’s punch and twists his arm behind his
back, turning Rob around so that his back is to Julian.
Julian knees Rob in the kidneys and pushes him headfirst
into the trunk of a large tree. Rob crumples to the ground,
dazed, but not seriously injured.

The others stare, incredulous.

Suddenly, Trini jumps up and runs off, screaming, dropping
the still-burning roach to the ground.

Julian turns to Tabitha.

JULIAN
Tabitha. My name is Julian York. I
knew your father.

Tabitha just looks at him, warily.

JULIAN (cont'd)
I know you don’t know me, and I
know this doesn’t make any sense
right now, but you have to trust
me.

TABITHA
(Suspicious)
Why?

Rob stands, shaking his head. He growls angrily and charges
Julian, who, at the last moment and without looking, merely
extends his arm, ‘clotheslining’ Rob in the throat.

Rob’s feet fly out from under him and he falls flat on his
back with a wheeze and a thud.

TABITHA
You want me to trust you after you
just killed my boyfriend?

JULIAN
He’s not dead. And right now, you
really have no choice.

Tabitha looks to Kevin, Paul and Ariel, who cling to each
other, terrified.

36.

TABITHA
(To Julian)
No, I guess I don’t.

There is a crash from the woods and a gunshot.

They all turn to see two men racing toward them, firing.

Kevin, Paul and Ariel scatter, screaming.

Julian grabs Tabitha and pushes her.

JULIAN
Run! Now!

Tabitha takes off, heading into the woods.

Julian turns, pulling a semi-automatic pistol from inside
his coat. He calmly takes aim and fires, taking one of the
men down.

Tabitha, running, hears the shot and stops to listen.

The other man, JOSEF, hides behind a tree and calls out.

JOSEF
(From behind tree)
Julian, we only want the girl!

JULIAN
(Calling out)
I know that, Josef. That’s why I’m
here, to stop you.

Josef whips around and takes a shot at Julian, immediately
retreating behind the tree.

Julian ducks behind a tree of his own.

Josef scans the woods, looking for Julian as he speaks.

JOSEF
We already have the boy and the
grandmother, Julian.

In another part of the woods, Tabitha’s eyes grow wide as
she hears this.

37.

JOSEF (cont'd)
It’s just a matter of time until
we get them all. I don’t want to
have to kill you, too.

Josef slowly moves out from behind his tree, panning his
rifle in front of him. He comes upon his fallen companion.

JOSEF (cont'd)
You’ve killed Paulo, Julian. And
for what? The Order will have
what they want. You know that.

Josef stands, scanning the woods.

Julian silently steps out from a tree behind Josef and grabs
him, holding a knife to his throat. Josef stiffens.

JULIAN
The Order wants to continue to
perpetrate lies and hide the
truth, Josef. And I can’t let them
do that anymore. Especially at the
cost of innocent lives.

Josef suddenly drops his gun and grabs Julian’s arm,
flipping Julian over his shoulder and onto the ground.

Julian arches his back and is on his feet, spinning around
to face Josef immediately.

Josef charges, grabbing Julian’s knife hand and ramming his
back into a tree.

Tabitha has crept back and watches the fight, frightened.

EXT. SARA'S DRIVEWAY - DAY

Sara stands in the driveway, talking to Lindsay, who is in
the Hummer’s driver’s seat.

SARA
Lindse, I really think this is a
bad idea.

38.

LINDSAY
They have my mother and my son.
They might have my daughter. I...
I think there’s more to this than
just seeing what I saw...

SARA
What? Oh, come on...

LINDSAY
No, really. This morning I got a
call from one of Aaron’s col-
leagues. He said he needed to
speak to me about Aaron. Now that
I think about it, he sounded...
well, scared.

SARA
Lindsay, listen to yourself. You
sound like one of those conspiracy
theory crackpots.

LINDSAY
I’ll pay for any damage to the
car.

SARA
That’s assuming you live through
this.

LINDSAY
(Smiling)
That’s the plan.

SARA
(Uncertain)
Go get your family.

Sara steps back as Lindsey puts the Hummer into gear and
backs out of the driveway.

The Hummer takes off down the street as Sara waves.

SARA
(Shaking her head)
My husband’s gonna kill me...

39.

INT. THE WAREHOUSE OFFICE - DAY

This room is as dilapidated as the rest of the warehouse,
though there is an intact desk and a rusting file cabinet.
Dirty Venetian blinds cover the windowed walls. Gunner is
seated with his feet up on the desk, reading the last few
pages of "Anna Karenina,' crying silently.

There is a knock at the door and Gunner quickly stands, puts
away the book and wipes his eyes.

GUNNER
Come!

The door opens and Andrew steps through, followed by Claire
and Christian, both blindfolded. They are being prodded from
behind with a rifle held by another man.

ANDREW
They’re here.

GUNNER
I can see that, moron! Get out.

Andrew’s jaw tightens, but he says nothing as he and the
other man leave, closing the door behind them.

Claire and Christian cling to one another, shaking.

GUNNER
(To Claire)
Relax. Here, let me help you.

He removes their blindfolds.

CLAIRE
Why... why are you doing this? Is
this about money? Because you
should know, we don’t have any.

            GUNNER
      (Smiling
       pleasantly)
No, Mrs. Devlin, this is not about
money.

He indicates two chairs opposite the desk.

GUNNER (cont'd)
Please, have a seat.

40.

Christian looks at Claire, who nods. They both sit down as
Gunner returns to his seat behind the desk.

CLAIRE
Let my grandson go. You can do
whatever you want with me.

GUNNER
(Laughing)
No. I think you’ve got it all
wrong. I want nothing from you,
Mrs. Devlin. Your grandchildren...
now that’s a different story.

CLAIRE
(Enraged)
You filthy animal!

GUNNER
(Laughing harder)
Everything seems to be about sex
these days. How sad; because sex
used to be a lot of fun. The truth
is, Mrs. Devlin, your grandchild-
ren have something my employers
want very much. Or at least, one
of them does.

CLAIRE
What are you talking about? What
could they possibly have that any-
one you work for would want?

GUNNER
Let’s just say their father gave
one of them a ‘gift’ just before
he died, so tragically. Now, until
we find out who was the recipient
of this gift, I suggest you try to
relax. This can be very easy or
very difficult. The choice is en-
tirely yours.

Claire glares angrily as Christian looks on, terrified.

GUNNER
(Standing)
Now then... can I get you some tea
or a soft drink?

Claire stands and signals that Gunner should move in closer.

41.

He does.

Claire spits in Gunner’s face.

Gunner stiffens, his smile fading to a sneer.

GUNNER
(Hardening)
I had hoped you would be a bit
more... cooperative. I’m so very
sorry that it has to be this way.

Gunner crosses to the door and opens it. Andrew immediately
steps inside.

GUNNER (cont'd)
(To Andrew)
Take them to see Malcolm!

Andrew signals to the third man, who comes in to push Claire
and Christian out at gunpoint.

As Andrew follows the three out of the room, Gunner calls
after him.

GUNNER (cont'd)
And find the girl!

Gunner slams the door, violently, and then kicks the desk
over with a howl of rage.

EXT. A WOOD - DAY

Julian and Josef continue to fight. Though Josef is bigger
than Julian, Julian’s agility is far superior and he soon
has Josef on the ground.

Rob stands up, shaking his head and trying to focus. He sees
Julian straddling Josef with the knife raised, and decides
to charge.

Tabitha sees this and stands.

            TABITHA
      (Shouting to
       Julian)
Look out!

42.

Julian and Josef look to see the charging Rob, who tackles
Julian, pushing him off of Josef. Rob and Julian roll away,
struggling.

As Julian and Rob struggle, Josef stands and runs over to
his gun. He picks it up and looks right at Tabitha, winking.

TABITHA
No!

Tabitha searches the ground desperately.

Josef takes aim.

Julian and Rob continue to struggle.

Tabitha finds a rock and throws it, hitting Josef’s arm.

Josef shoots wild; the bullet ricocheting off a tree.

Rob and Julian look up at the shot. Julian sees his chance
and punches Rob in the face.

Josef turns to Tabitha.

JOSEF
(Menacingly)
You little bitch!

JULIAN
Josef!

Josef turns toward the sound of his name and Julian throws
the knife, which catches Josef squarely in the throat.

Josef is stunned for a moment. Gurgling, he claws at the
knife, around which blood pulses copiously. After a second
or two, he falls over, dead.

Tabitha runs to Julian.

JULIAN
(To Tabitha)
Thanks.

TABITHA
Are you okay?

Julian nods, catching his breath.

43.

TABITHA (cont'd)
Look... I’m still not sure what’s
going on here, but I heard what
that guy said about my brother and
my grandmother... Is that true?

JULIAN
I’m afraid it might be, yes.

TABITHA
Okay, so like, what is going on?

JULIAN
That will take some explaining.
Right now, we need to find your
mother.

They begin to walk. Tabitha looks back at Rob.

TABITHA
What about Rob?

JULIAN
(Not looking back)
He’ll have a headache for a few
days, but he’ll be fine.

They continue on a few paces.

TABITHA
So where’d you learn how to do
that?

JULIAN
Do what?

TABITHA
Fight and shoot and... kill
people...

Julian turns to her, smiling.

JULIAN
I used to be a priest.

EXT. THE ROAD AT THE EDGE OF THE WOOD - DAY

Lindsay drives the Hummer, slowly passing the woods, looking

44.

for any sign of Tabitha.

She is startled to see Ariel, Kevin, Trini and Paul come
running out of the trees. Linsay maneuvers the Hummer so
that she cuts the three of them off.

They stop and stare at her, wild-eyed.

Lindsay jumps out of the Hummer and grabs Ariel by the
shoulders.

LINDSAY
(Shaking Ariel)
Where’s Tabby, Ariel? Was she with
you?

Ariel is still too shaken to talk and can only grunt
incoherently.

KEVIN
I think she’s with that guy.

LINDSAY
(Turning to Kevin)
What guy, Kevin?

KEVIN
Jules or something... He said he
knew her dad. Then those other
dudes came and started shootin. We
booked.

LINDSAY
(Grabbing him)
Where? WHERE!?

Kevin points back in the direction they just came from.

LINDSAY (cont'd)
(To all of them)
Go home. Go home and tell your
mother that you love her. Now!

The three frightened teens take off again as Lindsay starts
to make her way into the woods.

INT. THE WAREHOUSE - DAY

Malcolm lies strapped to a wooden rack, unconscious and
nearly naked, his groin covered with a filthy, ragged cloth.

45.

Claire and Christian sit blindfolded and tied to chairs
facing the rack, their necks and wrists held in “violin”
stocks.

Two armed men, DEITER and RAOUL, stand guard, one each
behind Claire and Christian. A third man, MIKHAIL, stands at
the wheel of the rack.

Gunner walks in, tight-faced and grim.

GUNNER
(To Mikhail)
Wake him up.

Mikhail throws water in Malcolm’s face. Malcolm sputters and
coughs into consciousness.

GUNNER (cont'd)
(To Malcolm)
Welcome back, Doctor.

MALCOLM
Please... I’ve told you everything
I know.

Gunner moves in close to Malcolm’s face and slowly removes
the blindfold, pausing to lick a drop of blood off of
Malcolm’s cheek. Malcolm shudders at Gunner’s touch.

Gunner laughs, gutturally. He puts his lips very close to
Malcolm’s ear.

GUNNER
I have some guests I’d like you to
meet, Doctor.

Gunner turns Malcolm’s head toward Claire and David.

GUNNER (cont'd)
You may not recognize them, but I
am sure you know who they are.

Gunner nods at Deiter and Raoul, who remove the blindfolds
from Claire and Christian.

            GUNNER (cont'd)
      (To Claire)
Mrs. Devlin, this is Doctor Mal-
colm. He worked with your son-in-
            (MORE)

46.

GUNNER (cont'd)
law. You’ll notice he’s bound to a
rack. This particular rack is a
favorite of mine. It dates all the
way back to the Spanish Inquisi-
tion.

As Gunner talks, he walks around the rack, describing its
features like a salesman trying to sell a used car.

GUNNER (cont'd)
Over four hundred years old and it
still works as well as it did when
it was first made. Old World
craftsmanship and all. And it has
some wonderful features. For
instance, just out of sight, under
the small of Doctor Malcolm’s
back, is a steel drum, studded
with dozens of tiny, razor-sharp
teeth. Each time the big wheel is
turned...

Gunner points to Mikhail, who gives the wheel a quarter
turn.

Malcolm screams in agony.

GUNNER (cont'd)
...those teeth bite into the good
doctor’s flesh.

He points again, and Mikhail turns the wheel another quarter
turn.

Malcolm screams again.

Christian has begun to cry.

CLAIRE
Why are you doing this? I’ve al-
ready told you, we don’t have what
you are looking for.

GUNNER
Oh, but you do. Well, maybe not
you, personally.

47.

He points again. Mikhail turns the wheel and Malcolm
screams.

Blood begins to seep out from under Malcolm’s
back, dripping down the side of the rack.

Gunner walks back around to the other side of the rack,
picks up a rag and gently wipes the sweat from Malcolm’s
face.

Claire watches with horror as Gunner raises the rag to his
face, closes his eyes and inhales deeply.

GUNNER
Mmm! There’s nothing quite like
the scent of fear. It’s most...
invigorating.

EXT. A WOOD - DAY

Julian and Tabitha make their way through the woods.

TABITHA
So how did you know my dad?

JULIAN
He called me in as a consultant on
the project he was working on when
he... when he died.

TABITHA
Why would a geneticist consult a
priest?

JULIAN
Your father had discovered some-
thing... amazing. Something that
would change the world, forever.

TABITHA
(Surprised & proud)
Really?

JULIAN
Really. He called me in because he
wanted to make sure that what he
(MORE)

48.

JULIAN (cont'd)
had found wouldn’t upset people as
much as he was afraid it would.

TABITHA
I’m not sure what you mean.

JULIAN
Let’s just say that the Church was
none too happy with what he had to
show me.

They walk along in silence for a moment.

TABITHA
You said that you used to be a
priest...

JULIAN
Yes...

TABITHA
How come you’re not, anymore?

JULIAN
Well, in large part because of
what your father had discov...

From somewhere in the woods comes the loud snap of a branch
being broken.

Julian grabs Tabitha’s arm and freezes, pressing his finger
against his lips for silence.

Julian’s POV as he scans the woods for movement.

Julian leads Tabitha behind a tree and indicates that she
should take cover there.

Just as he turns around to face the woods again, Lindsay
comes flying at him, feet first; screaming. Her feet land
squarely in Julian’s chest, sending him flying backwards
into the tree behind which Tabitha cowers.

Julian staggers to his feet and assumes a defensive posture
as Lindsay rushes toward him, fists at the ready.

JULIAN
Please, Mrs. Butler...

49.

Before he can get in another word, Lindsay is upon him,
throwing a fierce punch.

Julian ducks and Lindsay hits the tree, sending bark into
the air. She cries out in pain.

Julian sidesteps out of the way as Tabitha stands and comes
out from behind the tree.

TABITHA
Mom! Stop it!

Lindsay stops and looks at Tabitha as Julian makes his move,
sending Lindsay to the ground with a kick to her solar
plexus.

Lindsay sits, the wind knocked out of her, looking at Julian
and Tabitha with a puzzled expression.

TABITHA
Mom, please. He helped me.

LINDSAY
(To Julian, winded)
Who... the hell... are you?

            JULIAN
      (Helping Lindsay
       up)
My name is Julian York. I knew
Aaron. I’m here to help.

INT. THE WAREHOUSE - DAY

Gunner walks around the rack and faces Claire and Christian.
He holds a corner of the rag between two fingers, sniffing
at it occasionally.

Gunner leans back, resting his buttocks against the rack,
careful not to lean against the blood.

50.

GUNNER
Now, you may be asking yourself
why I would want to make you watch
Doctor Malcolm’s torture? Well, I
just want you to see what happens
to people who don’t tell me the
truth.

Gunner suddenly leaps forward and violently grabs Claire’s
violin stock, yanking her to her feet.

Claire whimpers as Gunner drags her toward Malcolm until she
and Malcolm are nearly face-to-face.

Malcolm and Claire stare at one another, both of them
terrified.

GUNNER (cont'd)
(To Malcolm)
Look closely, Doctor. You don’t
want this poor old woman to suffer
what you have suffered, do you?

Claire’s eyes silently plead with Malcolm.

After a moment, Malcolm shakes his head ‘no.’

GUNNER (cont'd)
Good.

Gunner pushes Claire away and she falls to the floor with a
cry.

Christian screams.

Deiter helps Claire up and back to her seat. It is clear
that even he is disturbed by Gunner’s tactics.

GUNNER
(To Christian)
Christian! For shame! That is no
way for a man to behave.

            CLAIRE
      (Through gritted
       teeth)
You’re a monster!

51.

Gunner laughs and takes another whiff of the rag.

GUNNER
(Amused)
You would have liked my mother,
Missus Devlin. She thought very
much the same way.

Keeping his eyes on Claire, Gunner snaps his fingers and
makes a rolling gesture with his finger.

Without a word, Mikhail lifts Malcolm and turns him over, so
that he lies on the rack on his stomach and we get a glimpse
of the steel drum’s bloodied blades.

Gunner walks over and examines the wounds on Malcolm’s back.

            GUNNER
      (Cluckling his
       tongue)
Tsk, tsk! Oh my! Such a fuss over
a few little cuts. Why, I’ve got-
ten worse, shaving.

Gunner leans down and licks blood off of Malcolm’s back.

Deiter and Raoul try not to wince in distaste, but fail.

GUNNER (cont'd)
Hmm... needs something... Ah, I
know... Salt!

Gunner reaches into a sack under the rack and pulls out a
handful of rock salt, which he gleefully grinds into
Malcolm’s wounds, as Malcolm shrieks in pain.

Claire and Christian scream.

EXT. A WOOD - DAY

Lindsay glares at Julian as Tabitha comes forward.

TABITHA
Mom. Really, It’s okay.

LINDSAY
Tabby, run!

52.

            TABITHA
      (Standing next to
       Julian)
No, Mom! He’s really here to help.
He... he killed a guy who was
shooting at us.

LINDSAY
(To Julian, warily)
You really knew Aaron?

JULIAN
Yes. And... sadly, I... I think I
may have been indirectly respons-
ible for his death.

LINDSAY
You have to understand, this is...
this has been... well, let's say
it hasn't been the best of days.

JULIAN
(Smiling)
Trust me, I understand.

Lindsay looks to Tabitha, who smiles.

Lindsay opens her arms and Tabitha runs to her mother,
hugging her fiercely, crying.

Lindsay looks at Julian.

LINDSAY
What’s really going here?

JULIAN
Actually, I was just explaining it
to Tabitha. Did Aaron ever discuss
his work with you?

LINDSAY
Occasionally. Why?

JULIAN
I first met your husband eight
years ago, at a symposium on
genetics and ethics. This was just
after they had cloned the sheep in
Scotland.

53.

LINDSAY
(Slightly confused)
Dolly?

JULIAN
Dolly, yes. Anyway, I found his
work fascinating. You do know what
he was looking for, don’t you?

LINDSAY
I know he was interested in find-
ing the genetic origin of Homo
Sapiens.

JULIAN
Indeed. And therein lies the prob-
lem.

LINDSAY
I... I don’t think I understand.

JULIAN
I think I need to start long be-
fore I met Aaron. Come, let’s go
back to your car.

Tabitha raises her head and looks at Lindsay.

Lindsay looks back, questioningly.

Tabitha nods.

LINDSAY
You seem to have won my daughter’s
trust, Mr. York. That’s more than
I can say. But I’ll tell you right
now, if I don’t like or believe
what you have to tell me, I’ll
kill you where you stand and take
my daughter home.

JULIAN
(Smiling)
Fair enough.

54.

INT. A WAREHOUSE - DAY

Malcolm lies unconscious on the rack.

Claire and Christian remain stocked. Christian is weeping,
silently.

Deiter and Raoul stand to one side, smoking, their rifles
slung over their shoulders.

Gunner and Mikhail are nowhere in sight.

CLAIRE
(Sotto voce)
Christian!

Christian does not look up.

CLAIRE (cont'd)
Christian! Look at me!

He does, tears streaming down his face.

CLAIRE (cont'd)
You know that I will not let these
men hurt you. And you know that
your mother is out there, looking
for us.

Christian nods.

CLAIRE (cont'd)
Good. Now, you need to go along
with me here. I have an idea.

Christian looks at Claire, uncertain.

CLAIRE (cont'd)
Trust me on this one, okay?

She smiles and Christian smiles back.

            CLAIRE (cont'd)
      (To Deiter and
       Raoul)
Excuse me! Excuse me!! I have to
go to the bathroom!

55.

DEITER
So go.

Deiter and Raoul laugh.

CLAIRE
You aren’t going to make an old
lady wet herself, are you?

They laugh again.

CLAIRE (cont'd)
What if it was your mother in this
chair, and someone else in your
position? Would you want your mo-
ther to have to wet herself?

Deiter and Raoul look at one another. Raoul shrugs. After a
beat, Deiter sighs and walks over to Claire, pulling a set
of keys out of his pocket.

DEITER
Don’t be stupid, now. I don’t want
to have to hurt you.

Claire shakes her head as Deiter inserts a key into her
violin stock.

As soon as the stock is open, Claire grabs it and wrests it
loose from Deiter. She swings and hits him in the temple
with it. There is a loud ‘crack!’ as the stock connects with
his skull and he crumples to the ground.

Raoul races over, unslinging the rifle from his shoulder,
but Claire rounds about on her follow-through and catches
him in the gut. Raoul doubles over, air whooshing from his
lungs. Claire brings the stock down on the back of his head
and Raoul collapses atop Deiter.

Claire looks at a very shocked Christian and winks.

CHRISTIAN
Wow!

Claire picks up Deiter’s keys and unlocks Christian’s stock.

56.

CLAIRE
Did I ever tell you I was home-run
champion of my high school soft-
ball team?

            CHRISTIAN
      (Rubbing his
       wrists)
That was cool.

CLAIRE
(Proudly)
It was, wasn’t it? Now shush. We
still have to get out of here.

Claire picks up Deiter’s rifle and begins to lead Christian
away, but he looks back at the unconscious Malcolm lying on
the rack.

            CHRISTIAN
      (Pointing at
       Malcolm)
What about him?

CLAIRE
He’s in no shape to run. We’ll
send the police. Come on. We have
to find a way out of here.

They begin to make their way through the warehouse.

EXT. A WOOD - DAY

Lindsay, Julian and Tabitha are walking through the woods.

JULIAN
Have you ever heard of the
'Malleus Maleficarum?'

LINDSAY
My Latin is a little rusty...
'Hammer of the... Evil Ones?'

JULIAN
‘Hammer of the Witches,’ actually.
It was a book, written in the
fifteenth century, after the
Papal Bull of Innocent the Eighth.
It described in detail how to i-
(MORE)

57.

JULIAN (cont'd)
dentify, prosecute and destroy
so-called witches.

LINDSAY
And... ?

JULIAN
And it is also the name of a sec-
ret Order, founded at the same
time. Seems old Innocent had a low
tolerance for witches and here-
tics. It was the Order’s job to
carry out the book’s instructions.
During the German Inquisition of
sixteen-oh-three, over fifteen-
thousand people were captured,
tortured and murdered, all in the
name of God.

TABITHA
You mean the Spanish Inquisition?

JULIAN
No, I mean the German Inquisition.
They called it ‘The Time of the
Burning.’ Seventeenth century Ger-
mans were particularly supersti-
tious, and blamed all manner of
evils on so-called witches, who,
once identified as such - usually
after several weeks of torture –
were burned alive at the stake.

LINDSAY
I still don’t see what any of this
has to do with Aaron...

JULIAN
As time passed, the Malleus became
sort of the Vatican Secret Police.
They carried out the Holy See’s
dirty work... identifying here-
tics, silencing dissenters and
generally doing all kinds of
things the Pope would rather not
have the world know about.

LINDSAY
Such as?

58.

JULIAN
The Order was instrumental in si-
lencing the Knights Templar by
creating the fictional secret so-
ciety known as the Illuminati.
During World War Two, Pius the
Tenth had the Order helping Hitler
in his search for relics and
sacred objects that would further
his ‘Final Solution.’ Needless to
say, the Order was happy to ob-
lige. In the last sixty years or
so, the Order has been used to
quash anything that might foment
anti-Church sentiment.

LINDSAY
But Aaron was a devout Catholic...

JULIAN
Which is why he called me.

INT. THE WAREHOUSE - DAY

Claire and Christian skulk about the warehouse, crouching
behind crates and boxes, searching for an exit.

As they make their way around a large stack of boxes, they
come upon a very large object which is covered by several
canvas cloths.

The object is an irregular oblong, varying from 6’to 12’
high by 15’ long. There are many bumps and bulges,
suggesting machinery of some sort.

Using the muzzle of the rifle, Claire lifts a corner of the
drape, but can tell very little from the grey galvanized
metal which is revealed. As she looks at it, puzzled,
Christian pulls on her arm.

CHRISTIAN
(Whispering)
Gramma! Look!

Christian points and Claire looks to see a red “Exit” sign
about 20 feet away.

Holding the rifle at the ready, Claire peers around the
covered object. Seeing no one, she motions for Christian to

59.

follow her.

They reach the door, and Claire pulls it open, to find
Mikhail and Andrew standing on the other side.

Startled, Claire manages to squeeze off one wild shot,
catching Andrew in the shoulder before Mikhail wrests the
rifle away from her.

Andrew pushes past Mikhail as Claire and Christian back
away, terrified.

Gunner comes through the door, smiling and clapping slowly.

GUNNER
Very good. Very good, indeed. I
didn’t realize you were quite so
resourceful, Mrs. Devlin. But your
mistake was in thinking I wouldn’t
have other means of surveillance.

He points up and Claire looks to see several cameras mounted
about the warehouse’s ceiling and catwalks.

GUNNER (cont'd)
Deiter and Raoul are certainly not
what I believe you Americans call
“wimps,” but I hardly expected
you to be quite so tough.

Andrew and Mikhail now hold Claire and Christian.

            GUNNER (cont'd)
      (Indicating the
       canvas)
I see you found my new toy. It’s a
most effective machine, capable of
eliciting responses and confes-
sions from even the most reluctant
and unrepentant of sinners.

Gunner walks over to the object and pulls off the closest
cloth, revealing an enormous steel vat, above which hangs a
giant spout.

GUNNER (cont'd)
This machine was initially devel-
oped for the commercial meat-
packing industry. They use these
in what I believe they call ‘dis-
assembly plants.’

60.

He pulls another cloth away. The spout is connected to a
large steel box, loaded with dials, crank wheels and gauges.

GUNNER (cont'd)
I’ve made a few modest adjust-
ments.

He pulls away another cloth, revealing a huge engine,
attached to the box with a series of belts and cogs.

Claire’s eyes widen in fear.

GUNNER (cont'd)
You look surprised. Just because I
have a love of the old ways, does
not mean I haven’t embraced new
technologies.

Gunner pulls away the last cloth. An enormous hopper feeds
into the box. We can now see all of what is obviously a
gigantic industrial meat-grinder.

GUNNER (cont'd)
It’s capable of handling up to a
thousand pounds of meat at a time.
You know, for fast food restau-
rants, pet food manufacturers and
such. As I said, I’ve made some
minor adjustments. Mostly, I’ve
just reduced the speed and...
(Smiling)
increased the torque.

EXT. THE ROAD AT THE EDGE OF THE WOOD - DAY

Julian, Lindsay and Tabitha are approaching the Hummer.

JULIAN
The Malleus are highly trained,
fanatically loyal and completely
without conscience. They will go
to any lengths and do anything
necessary to complete their
assignments.

LINDSAY
And you are one of them?

61.

JULIAN
Until about eight years ago. Until
I met Aaron.

LINDSAY
I don't see what Aaron...

JULIAN
Aaron had been given a tissue
sample. He never told me how it
came into his possession; only
that he knew that it was genuine.

LINDSAY
And... ?

JULIAN
And it held all the answers to all
the questions he had been asking.

LINDSAY
Look, Father...

JULIAN
Julian, please.

LINDSAY
Julian, then. I’m just trying to
understand. What does any of this
have to do with...

JULIAN
I'm getting there, I promise.
Please understand, this is as
difficult for me as it must have
been for Aaron.

LINDSAY
I’m sorry. Please, go on.

JULIAN
Apparently, this sample had been
collected by the Mars Surveyor.

TABITHA
I thought that mission was a
failure.

62.

JULIAN
That’s what everyone was supposed
to think. In fact, it proved
there was life on other worlds.

LINDSAY
(Nonplussed)
Oh.

JULIAN
Oh, indeed. In fact, it proved
something else, as well.

TABITHA
What?

INT. THE HUMMER - DAY

Lindsay drives. Julian sits in the passenger seat and
Tabitha in the back.

JULIAN
You have to understand, this
information will change every-
thing. Not just science; not just
genetics; not even just evolu-
tionary theory. This information
is going to change religion. Maybe
even eradicate it. Imagine it:
over five thousand years of
Christian-Judeo dogma, gone.
Buddhism; Taoism; Hindu; Shinto;
Islam; Voodoo; Shamanism... Every
single religion on earth, proven a
lie. Would you want to be the one
to invalidate millennia of social
and moral precepts?

Lindsay is silent.

JULIAN (cont'd)
I thought not. And neither did
Aaron.

LINDSAY
Which is why he called you.

63.

JULIAN
Precisely. And I, being a member
of the Order in good standing, had
to report on what he had told me.
As you can imagine, my superiors
were less than thrilled at the
prospect of being put out of busi-
ness.

LINDSAY
But what do these people want with
me and my children?

JULIAN
Aaron’s death was no accident. The
Order arranged it, to keep him
from revealing what he knew.

Tears begin to run down Lindsay’s angered face.

JULIAN (con't)
I’m sorry. I know this is all a
bit difficult. Not long after
Aaron’s death, I received a call
from Doctor Malcolm. He told me
that Aaron had hidden the sample,
and placed all the data, includ-
ing the location of the sample,
on a nanochip, which he had then
injected into...

Lindsay glances up into the rearview mirror to see the black
van pull onto the street behind them.

LINDSAY
(Wiping her eyes)
Shit!

Julian and Tabitha turn around to look the van, which is
fast approaching.

TABITHA
Mom!?

JULIAN
It’s them.

LINDSAY
How the hell did they find us?

64.

JULIAN
Josef. He must have told them
where he was looking.

LINDSAY
Unless... dear God, I hope Sara's
alright.

JULIAN
Sara?

LINDSAY
My assistant. This is her car. I
just hope... Now what?

JULIAN
Punch it!

Lindsay presses down on the gas and the Hummer picks up
speed.

Tabitha is watching out the back window, a look of panic on
her face as the van’s passenger, a vicious and hungry-
looking member of the Order, leans out the window with a gun
aimed at the Hummer.

TABITHA
MOM!!

INT. SARA'S HOUSE - DAY

Sara lies in the foyer, her head in a pool of blood.

INT. THE WAREHOUSE - DAY

Claire and Christian are now tightly chained to a wall,
their wrists and ankles shackled in heavy iron bindings.

Raoul and Deiter, their heads bandaged, stand guard,
training their rifles on them and grimacing angrily.

Malcolm, naked, bloodied and terrified, hangs above the
grinder’s hopper from two large meat hooks in his back.

Mikhail stands at the grinder’s controls as Gunner
paces in front of Claire and Christian.

65.

GUNNER
Doctor Malcolm, I am a reasonable
man. I assume you are, as well. I
will now give you one last chance
to tell me the truth.

Malcolm stares wildly; obviously insane from the torture he
has been subjected to.

CLAIRE
Stop this! Please...

            GUNNER
      (To Claire)
Oh, it’s much too late to stop
anything, Mrs. Devlin. The die has
been cast and there is no going
back, now.
      (To Malcolm)
As I was saying, before I was so
rudely interrupted, I will give
you one last chance to answer my
question, Doctor.

Malcolm continues to stare, vacantly.

Gunner nods to Mikhail, who starts up the grinder.

EXT. A ROAD - DAY

The Hummer swerves to the right as the gunman fires. Sparks
fly as the Hummer scrapes the side of a parked car.

INT. THE HUMMER - DAY

JULIAN
(To Lindsay)
We’ve got to get to a highway.

A shot shatters the rear window and Tabitha ducks,
screaming.

EXT. A ROAD - DAY

The Hummer swerves left, driving an oncoming car off the
road

66.

INT. THE HUMMER - DAY

LINDSAY
There isn’t a ramp onto the high-
way for a few miles.

JULIAN
This is a Hummer, for God’s sake!
Make your own ramp!

EXT. A ROAD - DAY

The Hummer takes the next right, fish-tailing into parked
cars.

The black van stays with it, following right, slamming into
more cars.

The Hummer makes another sharp turn, fishtails into more
parked cars and narrowly avoids hitting two teenagers who
are roller-blading in the street.

The van swings around the corner, and one of the teens just
manages to jump out of its way. The teens curse and give the
finger.

INT. THE HUMMER - DAY

TABITHA
They’re getting closer!

LINDSAY
Tabby, I can only go so fast with-
out wrapping us around a telephone
pole!

JULIAN
Take the next right!

EXT. A STREET - DAY

The Hummer makes a wide right onto the next street, which is
cordoned off for a street festival, a few blocks ahead.

67.

INT. THE HUMMER - DAY

LINDSAY
Oh my God!

Julian grabs the wheel and yanks it hard to the left.

EXT. A STREET - DAY

The Hummer swings into an alley.

The van flies past the alley, crashing through the
barricades and into the festival crowd.

The panicked crowd scatters as the van spins around and
heads the other way, its tires screaming and smoking.

EXT. AN ALLEY – DAY

The Hummer flies down the alley and swings left onto the
next street.

INT. THE HUMMER - DAY

LINDSAY
(Looking in mirror)
Did we lose them?

TABITHA
(Turning front)
I think s...

A tanker truck appears in the intersection directly in front
of the Hummer.

TABITHA (cont'd)
MOM!!!

Lindsay yanks the wheel to the left.

EXT. A STREET – DAY

The Hummer swings wildly, just missing the tanker.

The black van appears behind the Hummer.

68.

INT. THE HUMMER - DAY

Julian points up at the highway, on their left.

JULIAN
There! On the left!

EXT. A ROAD – DAY

The Hummer swings left, into a yard, plowing through a
backyard swimming pool and nearly hitting the children who
are about to enter it. Water sprays wildly as the pool
collapses.

The van follows right behind as the children scream and
scatter.

The Hummer tears through a fence, climbs an embankment,
smashes through a guardrail and flies up onto the highway,
spraying sparks as the undercarriage scrapes the rail. Horns
blare as cars swerve to avoid the sudden intruder.

The van follows, knocking a small import across the highway
as it enters the already snarling traffic.

The Hummer barrels down the highway, wildly swerving around
cars and barely keeping its wheels on the road.

INT. THE HUMMER - DAY

LINDSAY
I can’t do this...

JULIAN
You're doing fine...

INT. A WAREHOUSE

Malcolm has been lowered so that his feet are in the
grinder’s hopper.

CU on the inside of the grinder, where Malcolm’s toes
dangle just above the first set of grinding gears, which
spin and gnash metallically.

EXT. A HIGHWAY – DAY

69.

The Hummer continues down the road, the van close on its
tail.

INT. THE HUMMER - DAY

Lindsay struggles to maintain control over the wheel as she
guides the Hummer through the traffic.

LINDSAY
Hang on!

She yanks the wheel hard to the left.

EXT. A HIGHWAY – DAY

The Hummer leaps the median and skids into a 180 degree
turn, joining the traffic in the opposite direction.

The van spins about and follows, smashing through the median
guard rail.

Traffic becomes more snarled as more cars pile into one
another in the wake of the chase.

The gunman leans out of the van again, firing at the Hummer.

INT. A WAREHOUSE

Malcolm’s legs have all but disappeared into the grinder.
His upper body is covered in gore which has sprayed up onto
him.

Claire watches with stolid resolve, while Christian sits
with his head on his chest, quietly crying beside her.

Gunner is having the time of his life.

GUNNER
I can end this all right now, but
you have to tell me to. One word.
One name. And all the pain goes
away...

Malcolm looks at Claire, who shakes her head, almost
imperceptibly.

Malcolm smiles and looks at Gunner.

70.

MALCOLM
Ta... Tabi... tha.

Gunner’s smile grows exponentially.

GUNNER
Somehow, I knew that...
(To Mikhail)
Finish it.

Mikhail nods, takes out a pistol and shoots Malcolm in the
center of his forehead, splattering the area behind Malcolm
with brains and gore.

EXT. A HIGHWAY – DAY

The Hummer continues to careen along the highway, the van in
hot pursuit. Sirens blare in the distance.

INT. THE HUMMER - DAY

LINDSAY
(To Julian)
Any more bright ideas?

JULIAN
When’s the next exit?

LINDSAY
Kaplan Drive; about five miles.

EXT. A HIGHWAY – DAY

The van’s passenger takes careful aim.

We see the shooter’s POV through the cross-haired sight of
his gun, which is trained on the Hummer’s left rear tire.

INT. THE HUMMER - DAY

JULIAN
Get off! Get off the highway, now!
Now!

71.

LINDSAY
What?! Are you out of your mind?!
That’s a fifty foot drop!

JULIAN
I knew I should have driven!

Julian grabs the wheel and yanks hard to the right as
Lindsay and Tabitha scream.

EXT. A HIGHWAY – DAY

The Hummer cuts across two lanes of traffic, causing all
kinds of mayhem, and crashes through the guard rail, flying
through the air.

The van’s passenger fires, hitting the Hummer’s bumper.

INT. THE HUMMER - DAY

As the Hummer flies through the air, Julian whips around and
plunges a hypodermic into Tabitha’s left shoulder. Tabitha
is too stunned to react.

EXT. AN ENBANKMENT ALONG THE HIGHWAY - DAY

The Hummer crashes into a tree, bounces backward and comes
to a stop on its roof, tires still spinning.

EXT. THE HIGHWAY - DAY

The van pulls across traffic as well, skidding to stop just
before the spot where the Hummer flew off the highway.

Several black-clothed men pile out of the van and begin to
race down the embankment.

The sound of sirens grows closer.

INT. THE WAREHOUSE - DAY

Gunner paces back and forth in front of Claire and Christian
as he speaks.

GUNNER
Doctor Malcolm was a fool. I hope,
Mrs. Devlin, that you are not.

72.

Claire glares at him with hate in her eyes.

GUNNER (cont'd)
You hate me. That is good. It is
as it should be. Please do not
give me cause to make you hate me
any more than you already do.

CLAIRE
I don’t know, nor do I care what
all this is about. I do know, how-
ever, that my daughter has most
certainly notified the police and
they will be looking for us.

Gunner laughs, cruelly.

The door opens and Andrew, his shoulder bandaged and his arm
in a sling, enters and whispers into Gunner’s ear.

Gunner nods and turns back to Claire.

GUNNER
I think not. I’ve just received
news that my operatives have fi-
nally caught up with Lindsay and
Tabitha.

CLAIRE
I don’t believe you.

GUNNER
It doesn’t matter whether you be-
lieve me or not; it is true. They
should be here, shortly. Then it’s
a simple matter of a minor pro-
cedure to remove the the chip from
the young lady’s body. Then this
will all be over... for all of
you...

Claire continues to stare daggers.

EXT. THE HIGHWAY - DAY

Emergency vehicles arrive, converging around the broken
guardrail. The black van is nowhere in sight.

73.

As the police, firefighters and EMTs begin to race toward
the broken guardrail, an enormous explosion from below
forces them all back.

The fireball is gigantic and the debris thrown indicates a
much larger explosion than just the Hummer.

A policeman is crushed by a particularly large piece of
flaming debris.

Another large chunk of fiery debris smashes atop an
ambulance, which bursts into flames.

Two EMTs look at one another as they take cover behind their
own ambulance.

EMT #1
I sure hope no one was down there.

EMT #2
If there was, they aren’t down
there anymore.

As the explosion subsides, the emergency teams all edge
their way towards the guardrail, peering down at the raging
inferno below.

A policeman whistles as firefighters and EMTs shake their
heads, sadly.

POLICEMAN
Ho-ly shit!

EXT. THE HIGHWAY – DAY

A few miles away, a maroon van rockets down the road.

INT. A MAROON VAN - DAY

Lindsay, Tabitha and Julian lie unconscious on the floor, as
several men sitting on benches along the van’s walls aim
rifles at their heads.

All three of them are bloodied and bruised.

The van’s driver, CALEB, looks over his shoulder at them and
then turns to the passenger, GUILLERMO.

74.

CALEB
They okay?

GUILLERMO
They will be, Caleb.

CALEB
Even Julian?

GUILLERMO
Oh yes, even Julian.

CALEB
You’re certain the plastique was
enough to take care of everything?

GUILLERMO
Both vehicles are in pieces so
small or so warped, it will take
them months to identify anything.
Not that any of what they find can
be traced to us, anyway. This was
a very clean operation.

CALEB
(Smiling)
Gunner will be quite pleased with
you and your team, Guillermo. You
have all done very well.

GUILLERMO
(Proudly)
Oh, I know he will, Caleb. I know
he will.

Guillermo looks back at Julian.

GUILLERMO (cont'd)
(Sneering)
Heretic! Burn in hell! This is for
Paulo and Josef!

He spits in Julian's face.

CALEB
Save your spit, Brother. He isn’t
worth it.

75.

INT. THE WAREHOUSE - DAY

Blackness.

Julian’s POV as he slowly opens his eyes and focuses to look
about the warehouse.

He is crucified on a large, wooden X, his wrists and ankles
bound to it with barbed wire.

Looking down from the ceiling, we see for the first time how
truly tall and vast the warehouse is.

At one end of the warehouse sits the grinder, covered in
blood; gore oozing out of the spigot and into the barrel.

Lindsay hangs above the hopper; her wrists bound around a
large meat hook and her mouth gagged, though she is still
unconscious.

Julian’s crucifix stands atop a pyre, next to the grinder.

Four of the men from the van stand intense guard, training
their guns on Julian.

From around a stack of boxes, Gunner strides into Julian’s
view, followed by Andrew, Caleb and Guillermo.

The guards all back away from Julian to make way for Gunner,
but keep their weapons trained on him.

Gunner wears a Cardinal’s red robes and hat, while the other
three wear blue cassocks with black surplices.
All four wear small, stylized gothic “MM” insignia pins on
their robes.

GUNNER
Good. There’ll be no need to wake
you.

JULIAN
Gunner. I knew they’d send you.
I’m surprised it took you so long,
though.

GUNNER
You need the best to catch the
best, Julian. And you were the
best, you know.

76.

JULIAN
I still am.

GUNNER
If that were true, you wouldn’t be
where you are now, would you?

JULIAN
Where are Tabitha and the others?

GUNNER
Here. At the other end of the
warehouse, actually. I’ll take you
to them, shortly.

Julian looks at the others and then back to Gunner.

JULIAN
Your Tribunal means nothing. I
officially left the Order eight
years ago.

GUNNER
Oh, but there you are mistaken.
The Tribunal means a great deal
to the Order. And to his Holiness.

JULIAN
I understand your reluctance to
recognize the truth. I was in the
same place of denial, myself. But
then I saw the evidence with my
own eyes. The video feed from the
Surveyor; the paper trail; the
signatures authorizing the cover-
ups. Aaron even showed me the
tissue sample, itself.

GUNNER
Satan’s wiles should never be un-
derestimated, Julian.

Julian studies their faces, all of them glowering
menacingly.

JULIAN
Play your game. Have your trial.
Kill me. None of it will change
the fact that all of us have been
(MORE)

77.

JULIAN (cont'd)
living a lie.

Gunner glares at Julian for a moment.

Bells ring. Andrew, Caleb and Guillermo turn to look behind
them, as several men enter, wearing blue monk’s robes, their
faces hidden under their hoods. Each robe bears the MM
insignia embroidered upon it.

INT. THE WAREHOUSE OFFICE - DAY

The desk has been turned into a makeshift hospital table.
Tabitha lies upon it, fading in and out of consciousness.
She is surrounded by odd machinery, scanners and monitors.

Claire and Christian are now duct taped together, back to
back, with one GUARD training his rifle on them. They are
gagged, but not blindfolded.

Christian grips Claire’s hand very tightly.

Two men in surgical scrubs hover over Tabitha

MAN #1
I see no evidence of major phys-
ical trauma.

MAN #2
Have you used the E.M.P. scanner?

MAN #1
If the chip has gone dormant, it
won’t emit an E.M.P.

MAN #2
So how do we find it?

MAN #1
We send in reinforcements. Most
nanochips are designed to work as
a team. They usually share a sort
of artificial hive mentality.
Without other nanos to interact
with, they shut down. We just need
to send in some more chips, and
Voila! They’ll light up the scan-
ner like fireflies.

78.

MAN #2
And how are they extracted?

MAN #1
Depends on where they are. If we
are lucky, we’ll be able to get
them with a syringe. The thing is,
they’re so damned small, the chip
could’ve settled anywhere...

Across the room, Claire has begun to wriggle the wrist the
Guard cannot see, working at the tape in an attempt to
loosen it.

Realizing what she is doing, Christian joins in. Claire
squeezes his other hand in encouragement.

MAN #1
We’ll need to make sure she’s well
sedated. Get me a sodium pentothal
drip and bring in a vial of Dem-
erol, just in case.

MAN #2
(Smiling)
Anything for the girl?

MAN #1
Everyone’s a comedian.

Claire and Christian continue to work at the tape, but their
motions become a little too frantic and the guard narrows
his eyes in suspicion.

They stop immediately, keeping their eyes on Tabitha.

The Guard raises himself up a bit, straightening his
shoulders and lifting up onto the balls of his feet to get a
better look at his prisoners. He raises his rifle slightly,
almost taking aim.

Claire looks at him, tears pooling in her eyes.

After a moment, the guard relaxes and returns to his
original stance.

79.

INT. THE WAREHOUSE - DAY

The monks are chanting softly in Latin.

Gunner produces a scroll, unrolls it and proceeds to read
from it.

GUNNER
Julian York, you stand before this
Tribunal, having been found guilty
of the following crimes against
the Order of the Malleus
Maleficarum, His Holiness the Pope
and the Holy Roman Catholic
Church: Heresy; Promotion of
Heretical Ideas; Treason; Con-
spiracy to Commit Treason and
Murder. Have you anything to say
before sentence is pronounced?

JULIAN
How long have you known me, Gun-
ner? Did you honestly think I
wouldn’t have something to say?

Gunner glares at Julian.

JULIAN (cont'd)
You’re a fool, Gunner. All of you
are fools. You can kill me; kill
the girl; kill the whole damned
family. But you know as well as I,
the truth will out. And nothing
you can do will stop it. Nothing
you can do.

The chanting comes to an abrupt halt.

            GUNNER
Julian York, having been found
guilty of all charges, and in
accordance with the precepts
described in the Malleus Male-
ficarum and by the power vested
in me by His Holiness, the Pope,
you are hereby sentenced to be
burned at the stake until dead.
      (Making the Sign
       of the Cross)
In nomine patris et filii et
            (MORE)

80.

GUNNER (cont'd)
spiritus sancti. May God have
mercy on your soul.

Julian begins to laugh at this last pronouncement.

GUNNER
You find this amusing, Julian?

JULIAN
Oh, on so many levels.

GUNNER
Well then, look at it this way: If
I am right, you face an eternity
of damnation and pain. If you are
right, you face an eternity of
black non-existence. Either way, I
win.

JULIAN
Who’s to say if either of us is
right? Maybe Genesis is just a bit
wrong... or a bit right, depending
on how you look at it. Maybe God
has chosen this time to reveal
this part of His plan.

GUNNER
Maybe you have lost your mind.

JULIAN
You have lost yours. Don’t you see
what you are doing here? You’ve
already killed Aaron Butler. I
suspect you have killed Craig
Malcolm, as well. In fact, I am
almost certain you tortured him
before killing him. Just as you
are going to torture me and the
rest of this innocent family, be-
fore you kill us all.

GUNNER
If this is going to be a speech
on morality, you can save your
breath, Julian.

81.

JULIAN
What else have we, Gunner? Without
morals, what do priests have? If
Christ were here, right now, what
do you think he’d have to say
about all of this? If you believe
Christ was the incarnation of God,
and spoke God’s words, then tell
me how all of what you do... what
we do, can be done in His name?
It’s perverse. And trust me, if
there is a hell, I’ll be seeing
you there, paying for the very
same sins.

Gunner turns to the monks.

GUNNER
Shut him the hell up...

Gunner sweeps back around to where he came from, followed by
Andrew, Caleb and Guillermo, as the other monks scurry to-
ward Julian.

INT. THE WAREHOUSE OFFICE - DAY

CU on Claire’s wrist and the progress she has made in making
the tape looser.

Claire and Christian keep watching Tabitha, as Man #1 peers
into a microscope, preparing for the procedure.

Man #1 uses a pipette to take something out of the Petri
dish which is under the scope.

INT. THE PIPETTE – FX SHOT

The camera zooms in for a microscopic ECU of the pipette’s
contents.

Floating in a clear solution are several dozen nanochips,
all lined up in a geometric pattern. They pulse with
color-changing light, which moves along the pattern in
waves.

The chips begin to rush forward, warping and breaking up the
pattern.

The camera zooms back out into the room, to reveal Man #1
drawing the solution into a hypodermic syringe.

82.

INT. THE WAREHOUSE OFFICE

Man #2 returns, carrying a tray of surgical instruments. A
third man follows, wheeling in an IV stand and carrying a
tray of vials and hypodermics. Man #2 sets his tray down,
then takes the tray from MAN #3. #2 nods to #3.

MAN #1
Thank you, Adrian.

Man #3 exits and almost immediately, Gunner enters.

The two men and the Guard come to attention.

Claire’s and Christian’s eyes grow wide at the sight of
Gunner in his robes.

GUNNER
Is everything ready, here?

MAN #1
Yes, Your Excellence.

GUNNER
You are confident your chips will
find Butler's?

MAN #1
That, Your Excellence, is the easy
part. It’s removing them again
once they have been found, that
may be problematic.

GUNNER
I have faith in you, Gianni. God
will guide your hands
(Indicating Man #2)
And Etienne?

MAN #1
An excellent student. He may
prove to be as good a surgeon as
myself, one day.

            GUNNER
Wonderful.
      (Turning to Claire
       and Christian)
And how are you doing? I know this
has not been the most pleasant of
            (MORE)

83.

GUNNER (cont'd)
days, but it’s very near to being
over. I promise.

Claire stares daggers at him. Gunner smiles broadly.

GUNNER (cont'd)
I must say, Mrs. Devlin, you help-
ed to make this a far more inter-
esting assignment than I had ex-
pected it to be. It’s refreshing
to meet a woman who doesn’t know
when to give up. I admire your
tenacity, Madam. I’m sorry you
have to be here for what might be
a rather messy procedure on dear
Tabitha, but I am using the down-
stairs for so many other things,
right now. And who knows? Doctor
Gianni may be able to find what
he’s looking for without slicing
her open like a Christmas goose.
(To Man #1)
Carry on, Doctore

He sweeps out of the room, smiling triumphantly.

INT. THE WAREHOUSE - DAY

Mikhail stands his post at the grinder’s controls as another
man trains his rifle on Lindsay.

Raoul, Andrew and Deiter stand guard over Julian, who is
conscious, though his head hangs on his chest in exhaustion.

In between the grinder and the pyre, stands a large brazier
in which a fire blazes and several torches reside.

On the long, twisting staircase from the office above,
Gunner descends swiftly, followed by two monks who struggle
to keep up with him.

He reaches the ground and strides over to the pyre.

GUNNER
You know I have to kill you. And
them. Well, them first.

He strides over and proudly pats the grinder.

84.

GUNNER (cont'd)
A beauty. Very efficient, if a bit
messy. Though, I suppose it was
designed to handle previously
slaughtered meat. They certainly
don’t grind cows alive. That would
be cruel, don’t you think?

He laughs at his own joke as Julian slowly lifts his head
and glares at him.

GUNNER (cont'd)
(To Julian)
You’re a hypocrite, Julian! I’ve
seen you in action. No one was
better at it than you.

JULIAN
It was wrong. I was wrong.

Julian laughs, sadly.

GUNNER
I’m glad to see that you are as
amused as I am.

JULIAN
We were all wrong, weren’t we?

GUNNER
What do you mean?

JULIAN
You must have seen the files. You
know what all this is about?

GUNNER
Of course I do. And it’s ridic-
ulous. Completely manufacturered
in a deliberate attempt to create
panic and discredit the Church.

85.

JULIAN
If it’s a hoax, then why go to
this trouble to cover it up? Have
Vasquez and Warner ever assigned
you to wipe out an entire family,
no matter what the cost, to si-
lence a hoax? We exposed hoaxes
for what they were; we never kill-
ed their perpetrators.

GUNNER
I have my orders, Julian.

JULIAN
Directly from God, I suppose?

INT. THE WAREHOUSE OFFICE - DAY

Claire has managed to get the tape loose enough to slip her
arm up inside the tape. She struggles to slowly widen the
tape along her hidden side.

The two men continue to hover over Tabitha, who is now
hooked up to the IV. Man #1 is finishing injecting Tabitha,
and he puts down the syringe to join Man #2 in watching a
monitor.

On the monitor is a scan of Tabitha’s body. At the injection
site, several small lights blink. The lights begin to travel
along the circulatory system.

MAN #2
Look at that! Amazing!

Overcome by curiosity, the Guard turns to look at the
monitor.

Claire takes advantage, forcing her hand into her back
pocket, removing the box cutter.

INT. THE WAREHOUSE - DAY

As before. Gunner moves around to the collection barrel.

GUNNER
I promised Brother Calvin some
organic fertilizer for his garden.
Such delicious vegetables in
Calvin’s garden. Now that I know
his secret...
(MORE)

86.

GUNNER (cont'd)
(Giggling)
...I just might start a vegetable
garden of my own.

JULIAN
You really are insane...

GUNNER
(Fiercely)
I’ll tell you what’s insane, dear
Julian! Insane is trying to scare
people with lies about alien life
and the origin of Man. God made
Man in His image, Julian, not
E.T.’s.

JULIAN
I haven’t stopped believing in
God, Gunner. In fact, I believe
even more. How could a God so full
of love, be selfish enough to only
create one race with which to
share it? No, I still believe in
God, Gunner. It’s the Order I
stopped believing in. I stopped
believing in killing people in the
name of God. I stopped believing
the lies I’d believed for thirty
years. We’ve abandoned the truth.
God is love. Plain and simple. All
things; all life; all beings, are
of God’s love, and therefore are
parts of God, Himself. The Scrip-
tures only tell our side of the
story, Gunner, not His.

Gunner and Julian eye each other for a beat.

GUNNER
Mikhail!

Mikhail grins as he starts up the grinder.

INT. THE WAREHOUSE OFFICE - DAY

Claire has begun to very carefully cut away at the tape with
the box cutter.

The two men continue to watch the monitor as the Guard

87.

steals glances away from his charges to watch, as well.

On the scanner, the lights have traveled down into Tabitha’s
abdomen. They stop moving near her navel.

INT. TABITHA’S BODY – FX SHOT

Inside a blood vessel in Tabitha’s abdomen, the chips float
in their geometric pattern, lights pulsating as they
exchange information.

An army of white blood cells begins to attack, but the
nanochips repel them with electrical pulses.

The chips located along the outer edges of the pattern start
to break away, one at a time.

INT. THE WAREHOUSE OFFICE - DAY

Man #1 begins to look puzzled.

MAN #1
That’s odd...

MAN #2
What's odd?

MAN #1
Well, you see how they have start-
ed to spread out?

On the scanner, the lights drift apart.

MAN #2
Yes?

MAN #1
They shouldn’t do that.

MAN #2
What does it mean, then?

MAN #1
They’re confused... they can’t
find it. Maybe it’s not even
there, after all.

A bright green light suddenly blinks on in the scan’s right
shoulder.

88.

MAN #1 (cont'd)
Wait, I think that’s it...

The lights join up again and begin to travel towards the
shoulder.

MAN #1 (con't)
And they’ve got it. Whew! For a
minute there, I thought you were
going to have to break some bad
news to the Cardinal.

Man #2 gives Man #1 a look, which Man #1 ignores.

MAN #1 (cont'd)
Lucky for her it’s only in the
shoulder. Should be easy to get
them out of...

His voice trails off as he watches the monitor.

INT. TABITHA’S BODY – FX SHOT

The chips have met up with the green chip in a blood vessel
in Tabitha’s shoulder. They remain in formation and pulsate
a moment. The green chip pulsates in reply. The group pulses
again, then suddenly begins to reconfigure into a new
pattern.

            MAN #1 (O.S.)
      (Stunned and
       confused)
What the hell?!?

As the chips create the new geometric pattern, their light
pulse patterns change, as well.

Just as the new pattern seems to be complete, the chips
begin to drift apart and slowly wink out, one at a time.

INT. THE WAREHOUSE OFFICE - DAY

The two men watch in horrified fascination as the lights on
the monitor begin to blink off.

            MAN #1
No, no! That’s not possible!
      (Screaming at
            (MORE)

89.

MAN #1 (cont'd)
monitor)
That’s not possible!! You’re not
supposed to be able to do that!

When the last light has gone out, the green light pulses
twice and goes out, itself.

MAN #2
What just happened?

MAN #1
I... I’m not sure. I think we may
have been had.

MAN #2
What do you mean?

MAN #1
That chip should have joined in
with the hive. Instead, it di-
rected them to shut themselves
down. Nanochips don’t work that
way. This thing is more like a...
a nano-virus.

MAN #2
What the hell is that?

MAN #1
It isn't. Doesn't exist.

MAN #2
Well, it does now.

From outside the office comes an explosion, rocking the
room.

As the three men turn to look, Claire rips the tape open
with the box cutter.

INT. THE WAREHOUSE - DAY

Through a hole blown in the wall, an armored assault vehicle
enters the warehouse, followed by armed ATF agents.

The guards and monks all turn, produce weapons and begin to
fire at the intruders.

90.

Gunner howls in rage and frustration. He runs to the brazier
and pulls out a torch.

Armored ATF agents have begun to pour into the building,
firing back at the guards and monks.

            JULIAN
      (Grinning down at
       Gunner)
Oh, good. They got my message.

Lindsay’s eyes begin to flutter. She opens them, focuses and
realizes that is about to be ground to death. Her eyes widen
in fear and she tries to scream through her gag.

GUNNER
I’ll see you in hell, Julian!

Gunner tosses the torch onto the pyre, which catches
immediately. He gestures to Mikhail, running his finger
across his throat.

Mikhail nods and begins to lower Lindsay into the hopper.

Lindsay begins to struggle frantically, causing the chain to
sway. She sees what’s happening and begins to swing herself
back and forth, over the hopper.

Gunner races up the stairs toward the office, looking back
to see Mikhail getting shot by an ATF agent.

The chain mechanism stops, leaving Lindsay dangling above
the hopper. As her momentum slows, she looks about at the
chaos in the room.

An ATF team is using fire extinguishers on the pyre, as
Julian coughs and sputters.

Monks and ATF agents hide behind boxes and crates, firing at
one another.

The armored assault vehicle continues to roll through the
melee.

INT. THE WAREHOUSE OFFICE - DAY

Gunner races in, to find the Guard dead, his throat cut from
ear-to-ear, and the two other men cowering in the corner.

There is no sign of Claire, Christian or Tabitha.

91.

GUNNER
(Growling)
What happened here?

MAN #1
We don’t know.

GUNNER
(Enraged)
WHAT!?!

MAN #2
There was an explosion. The next
thing I knew, he was dead and the
old lady had his gun.

GUNNER
Where’d they go?

Man #1 points out the door. Gunner shoots him in the
forehead.

Man #2 screams and covers his head.

GUNNER (cont'd)
(Soothingly)
Etienne, be calm, dear boy. Now,
about the chip... Gianni did re-
trieve it, didn’t he?

Man #2 sobs. Gunner fires at the ceiling.

GUNNER (cont'd)
(Screaming)
Where’s the goddamned chip!?!

MAN #2
I... I don’t know... It... it
wasn’t in the girl. There was
another chip. A... different chip.
It... it shut Gianni’s chips down.

GUNNER
I see. Now then, when they went
out the door, which way did they
turn?

MAN #2
Left.

92.

GUNNER
See? Now that wasn’t so hard, was
it?

Man #2 shakes his head.

GUNNER (cont'd)
Thank you Etienne. You’ve done
well. You may go.

Man #2 cannot believe his luck. He grins and stands to
leave. Gunner steps aside to let him pass. Just as Man #2
reaches the door, Gunner, without turning toward him, calls
out.

GUNNER (cont'd)
Oh. Etienne?

Man #2 stops and turns to look at Gunner, who still faces
the other way.

Reverse angle as we see Gunner with his hands in his robes’
pockets.

Reverse angle to Man #2’s POV.

MAN #2
Yes, Your Excellence?

GUNNER
You forgot to say “thank you.”

Man #2 starts to speak, but Gunner whirls around, pulling
his hands from his pockets and hurling several metal discs
at Man #2.

The discs criss-cross through the air, appearing to buzz
past Man #2 and stick into the wall behind him.

Man #2 stands for a moment, a shocked look on his face. His
lips and jaw work, as though he were trying to speak, though
he can only produce a wet, wheezing sound.

Slowly, thin red lines appear across his face and body.

The lines begin to drip blood.

93.

Finally, Man #2 slides apart into several pieces, falling to
the floor in different directions.

            GUNNER (cont'd)
      (Grinning, now
       truly insane)
You're welcome, my son.

He exits, searching for the escapees with a look of grim
determination on his face.

INT. THE WAREHOUSE - DAY

Two figures make their way slowly up the staircase. We see
that they are Guillermo and Caleb, trying desperately to
stay out of the visual range of the ATF team below.

Julian, his wrists and ankles bandaged and wearing an ATF
jacket, is overseeing a team that is helping Lindsay get
down from the hook. Once she is on the ground, he removes
her gag.

JULIAN
Are you okay?

LINDSAY
I... I think so. Where are Tabby
and Chris?

JULIAN
We’re working on it. I wanted to
make sure that you were alright.

LINDSAY
I’m fine. Where are my children?

JULIAN
I said we’re working on it.

LINDSAY
Then let’s go.

JULIAN
You’re not going anywhere.

LINDSAY
I’ve come too far to leave this
unfinished, Julian. I want my
children back. And I don’t care if
(MORE)

94.

LINDSAY (cont'd)
you, or the feds or the fucking
Pope himself tries to stop me, I’m
going after them.

Julian looks at her and nods, acknowledging the resolve in
her voice and eyes.

JULIAN
(Not happy)
Alright. But stay behind me.

LINDSAY
You won’t have to ask twice.

Julian starts toward the stairs. Lindsay stops him with a
hand on his shoulder.

LINDSAY (cont'd)
Julian. Thank you.

JULIAN
Don’t thank me yet.

They begin to ascend the stairs.

About halfway up, Julian looks out over the warehouse, where
the ATF team is mostly doing clean-up work; arresting monks
and guards, confiscating weapons and removing the dead and
injured.

A noise from above startles Julian, and his head whips up
toward the sound, but he sees nothing and he and Lindsay
continue to the top of the staircase.

They step onto the catwalk and Julian, his gun drawn,
cautiously looks into the office doorway, motioning to
Lindsay to stay put.

Julian’s POV as he scans the room.

Blood has spattered on almost every surface. Pieces of Man
#2 are scattered all over the floor; a third of one leg
still standing upright amid the gore.

CU on the leg. We see part of a pant leg pooled around the
ankle and over the shoe, exposing a bloody argyle sock just
below a neat, diagonal amputation.

The bodies of the Guard and Man #1 are just discernable
through the offal.

Julian backs out of the room and onto the catwalk, motioning

95.

to Lindsay that she need not go in.

Julian continues on and looks down to the floor, five
stories below. The noise from the bustle is far away and the
people all look rather small.

There is a moment when the focus shifts very quickly down to
the floor and back up again, almost as though the camera was
on a bungee.

Julian stands up quickly, steadies himself on the handrail,
and takes several deep breaths.

LINDSAY
(Concerned)
You okay?

After a beat or two, he is back in control and back in
hunter mode.

JULIAN
Yeah, yeah. Fine.

He scans the complicated series of catwalks for movement.

It is dark; what little light there is comes in at odd
angles, through holes in the papered windows and from the
hooded lights beneath; casting harsh, geometric shadows on
top of the catwalk’s own geometrics, making it all look like
something out of an M.C. Escher illustration.

Julian begins to make his way his way into the shadowy maze,
Lindsay close on his heels.

As Julian reaches the first intersection he looks about,
desperate to find his way through the shadowy labyrinth. He
listens closely, sniffing the air in all three directions.

Lindsay tries to look past him, but he motions for her to
stay behind.

He chooses to turn right. He takes a few steps and stops,
having stepped on something. He bends down to examine it,
and finds Claire’s bloody box cutter under his boot. He
places it in his pocket, grimaces and continues forward,
picking up the pace.

Guillermo and Caleb have already been past the office and
are trying to stay as far away from anyone else as possible.
They turn and look out onto the catwalk, where they see a
darker shadow moving among the shadows ahead.

Julian motions for Lindsay to be quiet as they make their

96.

way across the catwalk. He freezes and listens intently for
a moment. He grabs Lindsay’s arm and pulls her toward him.
When they are face-to-face, he looks upward and her eyes
follow his, toward a set of air ducts.

On the catwalk, Guillermo and Caleb have made their way
toward where they thought they had seen something. They look
about carefully, but find nothing.

GUILLERMO
You’re seeing things!

CALEB
Me? You’re the one who wanted to
go for a closer look!

Suddenly, a pair of legs comes down from above, one on
either side of the two men. The legs scissor closed, bashing
their heads together.

Julian jumps down from the ductwork above and grabs each man
by his belt.

JULIAN
Hope you had a good summer,
boys...

He lifts them up by their belts and flips them over the hand
rail.

JULIAN (cont'd)
...‘cause it’s gonna be a hell of
a fall...

Julian lets go of their belts.

On the floor, several people are trying to figure out how to
turn off the grinder, which is making a horrific noise.

Unable to speak over the grinder, one of the ATF agents
mimes pulling a plug out of a socket, just as Guillermo and
Caleb fall into the hopper. The two men scream as blood
flies everywhere.

After a few seconds, the grinder squeals and shudders,
finally coming to a noisy halt, smoke pouring from every
opening.

The blood-spattered ATF agents simply stare at the sight of

97.

legs, arms and heads sticking out of the top of the hopper
at impossible angles as smoke pours out around them.

On the catwalk, Lindsay joins Julian in looking down at the
mess caused by Guillermo’s and Caleb’s fall.

LINDSAY
Looks like they got a little be-
hind in their work.

Julian slowly turns and looks at her.

JULIAN
You’re a little sick, you know
that?

LINDSAY
Takes one to know one.

Julian shakes his head, smiling, and moves forward.

In another section of the catwalk, Claire, Tabitha and
Christian are trying to stay out of sight. Claire leads
them, with Christian trying to pull Tabitha along.

CHRISTIAN
Gramma... Tabby can’t keep up.

Claire stops and takes Tabitha in her arms, shaking her.

CLAIRE
Tabby! Tabby, wake up!

Tabitha looks at her, trying to focus.

CLAIRE (cont'd)
Tabby, you have to wake up!

From out of the darkness, a voice speaks.

GUNNER
Yes, Tabby. Wake up!

Claire and Christian both gasp in fear.

Julian treads lightly across the catwalk, his eyes wide in
search of anything that might lead him to Claire and the
children. Behind him, Lindsay continues to follow.

98.

A strange, echo-ey cry draws Julian’s attention. He turns
toward the sound, straining to listen.

Gunner now has both a semi-conscious Tabitha and a
struggling Christian, in his grip. Gunner’s robes have been
removed and he wears black again.

Claire lies on the catwalk, where she landed when Gunner
apparently struck her.

GUNNER
Too bad I only have two arms. You
were a tough old bitch, I’ll give
you that.

CLAIRE
Go... to... hell...

Gunner smiles and kicks her in the head. Claire collapses as
Gunner and the children fade into the shadows of the
catwalk.

Julian has picked up his pace again, heading toward where he
thought the sounds originated.

Lindsay struggles to keep up, quickly depleting the last
vestiges of whatever energy she has left. She stops to catch
her breath, holding her side in pain.

Julian runs through the shadows, his feet now banging
audibly on the catwalk, intent on reaching his target.

He stops and looks down to see blood on the catwalk. Lindsay
reaches him as he squats down to get a better look.

LINDSAY
(Out of breath)
What... what is... it?

JULIAN
Blood.

LINDSAY
Oh God...

JULIAN
Let’s hope it’s that bastard
Gunner’s.

99.

Suddenly, a figure leaps out into an intersection.

Julian stops and looks, unsure as to what he sees in the
shadows.

GUNNER
Ah, alone at last... well, not
quite...

Gunner steps forward into the light, revealing that he holds
Tabitha and Christian close to him.

Christian is held again in the violin stock, but Tabitha
wears a curious device which covers most of her head, with
the exception of a small slit through which we can see her
terrified eyes.

JULIAN
Leave them alone, Gunner. They
have nothing to do with this.

GUNNER
There, dear Julian, you are wrong.
They have everything to do with
this.

Julian steps forward and Gunner tenses, grabbing a knob that
is attached to the neck of the device on Tabitha’s head.

            GUNNER
I wouldn’t do that, Julian.
      (Indicates the
       device)
This is called a Veronica’s Veil.
I just added it to my collection.
A very rare piece, indeed. You
see, with each turn of this knob,
a thousand steel pins edge closer
and closer to the wearer’s face.

LINDSAY
Oh my God!

GUNNER
(Grinning)
Indeed.

100.

JULIAN
You would kill a child? Look at
her, Gunner. She’s sixteen, for
God’s sake! Her entire life ahead
of her...

GUNNER
According to you, a life spent in
pursuit of nothing, when all is
said and done. What difference
then, sixteen or sixty?

JULIAN
Don’t you remember being sixteen,
Gunner? Full of hope for the fu-
ture... Do you remember your first
day of seminary? I was so excited,
So full of Christ’s love... You
must have been, too.

GUNNER
(Unmoved)
Where’s the chip?

JULIAN
What happened to those two ideal-
istic novices?

GUNNER
(Becoming annoyed)
Where’s the chip?!? Now, or I kill
the girl!

JULIAN
You are going to kill her, anyway,
so why should I tell you anything?

Tabitha’s eyes widen in fear inside the mask and she begins
to struggle.

GUNNER
(To Tabitha)
Stop making such a fuss, child!

Gunner shoves Christian forward. Christian runs to Lindsay,
and she unlatches the stock.

101.

GUNNER (cont'd)
(Smiling wryly)
There. A show of faith, shall we
say?

LINDSAY
(To Christian)
You okay?

CHRISTIAN
(Nodding)
I think so. He kicked Gramma.

LINDSAY
It's going to okay. Stay behind
me.

Christian moves behind his mother as Lindsay glares at
Gunner.

JULIAN
(To Gunner)
Alright. It doesn’t really matter
now, because the data has been
transmitted to every major tele-
vision news network, world wide.

Gunner turns the knob and Tabitha whimpers in fear.

GUNNER
You were always a terrible liar,
Julian. I know you feel a... re-
sponsibility to these people, and
that you have some perverse sense
of loyalty to them. I have no
doubt you would say or do anything
to protect them. Especially the
children.

JULIAN
My point, exactly. Do you think
I’m stupid enough to make some-
thing like that up? Do you have a
TV or radio? No, of course you
don’t.

GUNNER
I'm a Catholic, Julian, not a Lud-
dite. Shame on you for thinking
such a thing.

102.

JULIAN
I think you’re so bent on keeping
your concept of God intact, you
cannot allow that it just might be
flawed.

GUNNER
This isn’t about God, Julian. This
is about the fall of Western Civi-
lization.

JULIAN
You haven’t heard a word I’ve said
to you, Gunner. For me, it was al-
ways about God. For you, it always
seemed to be about revenge on God
for your own miserable life. How
can one be damned for sins com-
mitted in His name? You thought
that was your out, didn’t you?

            GUNNER
      (Laughing)
Ah, Psychology... Damn Sigmund
Freud... Oops! Too late!
      (Growling)
Enough stalling. All I care about
right now, is that chip.

JULIAN
Let Tabitha go.

GUNNER
Oh dear. It would seem we are at a
stalemate. I won’t release the
girl and you won’t tell me where
the chip is. I know it isn’t in
the girl. Butler was no fool. He
would never have jeopardized his
family by implanting the chip in
one of them. Just tell me where it
is.

JULIAN
You’re right. Aaron refused to im-
plant the chip in Tabitha, like I
wanted him to. He hated the idea
(MORE)

103.

JULIAN (cont'd)
of using his child as a vault. So
he implanted it in himself. And
you blew him to pieces, three
years ago.

Gunner’s eyes widen in anger. Forgetting all about Tabitha,
he raises his fist and howls in fury.

On the catwalk, Julian holds his hand out to Tabitha.

JULIAN
(To Tabitha)
Come, now!

Tabitha runs to Lindsay as Gunner continues to scream.
Lindsay frantically works to remove the Veronica’s Veil from
Tabitha’s head.

Julian turns to see that Gunner has realized that he has
lost Tabitha and become even more enraged.

Julian looks to Lindsay, who, tearing the device off of an
hysterical Tabitha, nods and assumes a defensive position.
Julian assumes a similar stance as Gunner prepares his
attack.

LINDSAY
(To Christian)
Take your sister and run! Now!

Christian grabs Tabitha by the wrist and they take off into
the shadows.

Shrieking, Gunner launches himself at Julian, who ducks out
of the way, allowing Lindsay to deliver a kick to Gunner’s
solar plexus.

Gunner responds by flipping over Lindsay’s shoulder and
landing behind her. By the time Lindsay has turned around,
Gunner has regained enough control to land a kick to her
head.

As Lindsay tries to duck the blow, Julian launches himself
at Gunner, who manages to “limbo” under Julian’s leg and
come up facing Julian’s back as Julian tries to regain his
footing on the narrow catwalk.

Lindsay stands, shaking off the blow to her head and

104.

prepares to attack Gunner from behind.

A scream of anger from behind her, distracts Lindsay as
Andrew rushes forward from the shadows and fires a pistol at
Julian, who manages to dodge the bullet.

Lindsay reflexively kicks Andrew’s wrist and the gun goes
flying. We hear it land somewhere on the catwalk with a loud
thunk.

Gunner turns to Andrew and screams.

GUNNER
(A enraged roar)
HE'S MINE!!!!

Gunner rushes past a stunned Lindsay, lifts Andrew by the
lapels and tosses him off of the catwalk, then immediately
turns his attention back to Julian and Lindsay.

On the floor, Andrew’s screams attract the attention of
those below, who all watch as his body plummets to the
concrete floor with a splat.

On the catwalk, Gunner and Julian circle one another, facing
off like wrestlers.

GUNNER
(To Julian)
When Warner and Vasquez told me
that you had left the Order, I
knew it was because of this ridic-
ulous hoax. What I didn’t know was
how completely you’d been suckered
in by it.

JULIAN
If I’ve learned nothing else, it’s
that the truth is undeniable. You
refuse to look at the evidence,
because you know it is the truth.

GUNNER
Heretic!

Gunner leaps at Julian and the real fight begins. The
advantage seems to turn quickly back and forth between the
two.

Several times, Gunner seems poised to kill Julian, only to

105.

have Julian maneuver out at the last second.

They part briefly, both of them panting in exertion.

GUNNER
You’ve been studying.

JULIAN
No, I’ve been preparing...

Julian leaps at Gunner and the fight continues.

Evading Julian’s grasp, Gunner reaches into his pocket and
produces more of the razor discs, which he launches at both
Julian and Lindsay.

Lindsay ducks and rolls as the disc headed for her head
imbeds itself with a spark into the steel railing behind
where she had just been standing. But she is unable to avoid
a second disc, which tears into her upper arm, leaving a
bloody gash.

Julian leaps, tumbling through the air to avoid two of the
discs which carom off into the shadows.

Tabitha and Christian crouch on the catwalk as one of the
discs lodges in the rail just to the right of Tabitha’s
eyes.

The other disc hits the ceiling and ricochets back toward
Gunner, who ducks.

The disc lands in the ductwork behind him, severing an
electrical cable which spits sparks as it dangles just
beyond the railing.

On the floor of the warehouse, lights flicker and the entire
building goes dark.

Lindsay launches herself at Gunner, landing a foot in his
chest. Gunner is thrown back, but manages to grab her ankle
and throw Lindsay over the railing.

Lindsay grabs onto the rail and tries to pull herself back
up onto the catwalk.

Gunner regains his footing as Julian attacks. This time
Gunner is able to outmaneuver Julian, who lands
ineffectually on the catwalk.

Gunner jumps astride Julian and begins pounding Julian’s
head against the metal catwalk, speaking a word with each
violent movement.

106.

GUNNER
Thou... shalt... have... no...
other... gods... before... Me!

We hear the sound of a gun being cocked and Claire’s voice:

CLAIRE (O.S.)
Hey! Cardinal Adolph!

Gunner looks up to see Claire, aiming Andrew’s pistol at
him. She is bloody and bruised, but she holds the gun
steady.

CLAIRE (cont'd)
When you get to hell, tell Satan
that Tabitha and Christian But-
ler's Gramma sent you.

She fires, hitting him in the shoulder.

Gunner stands, screaming; blood pouring from his wound. He
runs toward Claire, who fires again, hitting Gunner in the
knee, as Julian groggily reaches out and grabs Gunner’s
ankle.

Gunner trips and falls over the rail, a look of stunned
disbelief on his face.

As he falls, he reaches out and grabs onto the dangling
electric cable. The exposed wires make contact with his
chest and he is electrocuted in a shower of smoke and sparks
which rain down over the warehouse floor.

Lindsay manages to pull herself up onto the catwalk as
Gunner’s blackened corpse slides off of the cable and falls
with a thud to the floor below.

On the catwalk, a battered Julian stares at Claire.

CLAIRE
(Proudly)
State Champion, Teen Target Shoot-
er; nineteen-sixty-eight.

Julian grins thankfully as the scene fades to black.

107.

EXT. THE BUTLER HOUSE - NIGHT

SUBTITLE: Seven Months Later

The house is decorated with holiday lights, wreaths and
garlands.

INT. THE BUTLER'S LIVING ROOM - NIGHT

A large Christmas tree dominates the room. Presents lie
around the tree, waiting to be opened. A fire burns in the
fireplace.

Lindsay and Julian sit on the sofa, wrapped in each other’s
arms, watching the fire. They hold half-filled wine glasses.

LINDSAY
Mmm. This is nice.

JULIAN
Yes, it is.

LINDSAY
I still can’t believe I’m dating a
priest.

JULIAN
An ex-priest, please and thank
you.

A noise comes from the kitchen.

They turn toward the sound to see Claire entering, followed
by Tabitha and Christian.

Claire carries a tray of cookies and hot cocoa. Tabitha has
abandoned her Goth look, and is actually quite a lovely
young lady in a holiday dress. Christian wears dress pants
and a tie.

CLAIRE
I think Santa would approve of
these, don’t you?

She places the tray on the coffee table as we fade to:

108.

INT. THE BUTLER'S LIVING ROOM - NIGHT

A few hours later...

Julian, Lindsay and Claire sit, drinking coffee and brandy,
staring at the fire.

Torn wrapping paper surrounds the children, who lie sleeping
amid piles of gifts.

LINDSAY
Will they actually leave us alone,
do you think?

JULIAN
Without Gunner, they have only
Vasquez and Warner to lead them.

LINDSAY
Meaning?

JULIAN
Meaning that if they don’t want to
be exposed, they’ll leave it a-
lone. It took everything they had
to straighten things out with the
ATF. If we’re quiet, they’ll be
quiet.

They sit in silence for a moment.

CLAIRE
And the rest of the world? Don’t
they deserve to know the truth?

JULIAN
Maybe. Someday. When they’re ready
for it.

LINDSAY
Personally, I’d like to keep the
status quo. I like Christmas too
much.

Julian looks about at the tree, the lights, the gifts and
the sleeping children. He pulls a chain out from beneath his

109.

shirt and examines what appears to be a glowing crystal.

The camera moves in to an ECU of the ‘crystal.’

INT. THE CRYSTAL – FX SHOT

An ECU of the crystal reveals a microscopic nano chip
floating inside, pulsing with light.

INT. THE BUTLER’S LIVING ROOM - NIGHT

Julian drops the crystal and raises his mug. The others
follow suit.

JULIAN
Me too. To Christmas!

LINDSAY
To Christmas!

CLAIRE
To Christmas!

They clink their mugs.

FADE OUT.

Feedback

From George Hartpence	Date 5/30/2006
I can see this one's gonna make the Vatican's "Must See" list! Taut thriller.. fast paced... good, if graphic, visuals... loved the humor... esp the tough guy reading "Anna Karennana"!!! Looking forward to the next one! Keep up the good work!

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